Source Code. It’s good clean fun!
film
M.F.A.
Revenge
Revenge. Really liked it. Take some pulpy Kill Bill and cross it with high-contrast Spring Breakers and The Guest-like creepiness and soundtrack. Thematically heavy-handed sometimes, with the fruit and the bugs and the beer cans and tattoos. Contrast the male gaze at the opening with the appreciatigve gaze after the cave scene – one of awe, of power rather than lust. And that leads into one of my favorite shots in a while, with her riding the ATV through the desert with that earring gleaming. Maybe file this one under loincloth chase films?
Annihilation
Annihilation. Second viewing (the first). Felt more sluggish and less magical this time, but I don’t regret the rewatch.
Angel Heart
Angel Heart. Love the mood and atmosphere. A nice blend of noir and horror, sort of ambling along as our PI reluctantly goes where the clues take him. Mickey Rourke was super charismatic. Haven’t seen much with him aside from the recent stuff (Iron Man 2, The Wrestler, and the small bit in Man on Fire).
Coherence
Coherence. Very nice little chamber scifi. I liked it quite a bit. Just put people in a room and give them a problem. Easy. This would pair well with other small-scale scifi like Primer, Upstream Color, The One I Love, or something like The Invitation for stressful dinner-party hijinks.
Allied
Allied. Second viewing (the first). The seams showed a bit more and the pastiche was more apparent and I liked it more because of it, I think. The too-clean appearance heightens the fairy tale, like memory tends to soften things. Noticed a few fun edits, like the lightning shifting to the lantern on the landing strip, and the beats of the final gunshots at the tank crew matched by the curtains being drawn open. I also liked the parallels with two big decisions happening in cars – once during the sandstorm, again in the rain at the airstrip.
Rush Hour
Rush Hour. Lots of it is very fun. It’s also of an era where, with 2018 eyes, a lots of it makes me cringed. I miss these action/adventure movies. Low stakes, focus on fun.
Barracuda
Barracuda. Features one of the most unlikeable yet magnetic characters I’ve seen in a while. Good fun.
Carrie
Carrie. Last time I saw this was middle school I think. Long time ago. So sad, wrenching. We remember the mad scene for good reason, but build-up to it at the prom is exquisite.
There Will Be Blood
There Will Be Blood. Second viewing. Daniel Plainview is a sad sad sad lonely man, who is also very funny sometimes. Filed under: Paul Thomas Anderson.
The Fast and the Furious
The Fast and the Furious. Second viewing (the first). It’s aged pretty well. I really got a kick out of the dialogue this time around. I also like the sound effects when cops break up the street race, and everyone scrambles, and you can hear the car alarms/locks chirping. And that first moment when Brian hits the NOS and we dive into engine is still such a rush. Filed under: The Fast and the Furious.
Streets of Fire
Streets of Fire. It’s such a good mash-up. Combine a western-style rescue movie with hardboiled dialogue (Michael Pare has a good John Wayne-ish drawl to his delivery sometimes), and set it in a rockabilly + ’80s glam alternate universe, and take some musical breaks. It stays pretty high-energy and moves along quickly. Early work from Diane Lane, Willem Dafoe, Bill Paxton, Rick Moranis. It’s just plain fun.
The Florida Project
The Florida Project. Kids are deeply weird. I like how this movie holds to their perspective with a lower, child-height camera angles. And the colors! It’s largely episodic, but eventually adds up. The choices in the very very last scene didn’t work for me, but I forgive it easily. I liked Sean Baker’s earlier Tangerine, too.
The Revenant
The Revenant. Second viewing (the first). I appreciate it so much more this time around. Jumping out this time were the recurring trees that save his life or support him throughout. (“The wind cannot defeat a tree with strong roots. If you look at its branches, you swear it will fall. But if you watch the trunk, you see its stability.”) Like when he uses a branch as a cane. Or when injured, he’s hauled on a pallet of branches. When leaving his son for the last time, he turns away and props himself on a tree trunk. When escaping downriver, he floats on a log. He’s sheltered by an impromptu branch hut during a storm, a tree breaks his fall from a cliff, a tree branch makes a decoy when trying to lure Fitzgerald out of hiding. I also liked the nature interludes – elk crossing a river, buffalo stampede, avalanche – that make this epic tale seem so small, and nature indifferent.
