Chi-Raq. This one made me wonder if other movies are even trying to be interesting. Some parts I didn’t love, some I actively kinda disliked, but man there’s so much good stuff. So many different moods and shifts. It’s a little bit of a mess but I’d much rather feel that investment, alternately cackling with pleasure and rolling my eyes, than settle for a placid, sated indifference for two hours.
Creed. Loved it. Loooooooooooved it. I’d put it up there with the original. Jordan and Thompson leads radiate young beautiful blackness. There’s nothing new in the plotting of their story, but I love how they grow together. They each have their own thing cooking, neither one gives it up, and they find a way to show up for each other. Stallone – and I love how these movies can’t help but be autobiographical – is solid, that ideal Balboa mix of tough and noble and vulnerable. Interesting naming of Jordan’s lead. I was thinking Adonis complex, but rather than driven by misperceived appearance, it’s a deeper shame from ancestry, or maybe even just existing in the first place. Also ties in with rebirth pattern you see in the myths: the son and the franchise. Love the camera tracking in the first big fight, and its willingness in calmer scenes to sit back and bit and not shove faces in your, uh, face. Also dig the fun details like the stat cards for rival boxers. Why not? Even the triumphantly corny moment with the biker kids taps into something so local and specific you can’t argue with it. I was ready to fight. One of my favorites this year.
Only God Forgives. Rewatch. I thought maybe I was missing something the first time around, but I have trouble meeting it where it is. I wish there more tension to hang these beautiful moments on.
To the Wonder. I dig it, just like the first time. Filed under: Terrence Malick.
Ex Machina. Definitely thinner the second time around (the first), but it’s still fun.
Spectre. Nope. I admit that I’m not a huge fan of the franchise, in general, but this seemed especially flavorless.
Room. I love that a huge piece of this movie starts where many would have left off. Like most of it is time-shifted, where we see the after-affects of a horrifying experience, not just the first victory over it. Some side characters I can’t get behind, but the leads are solid gold.
Crimson Peak. Marketed as one thing, gives you something better. Loved this beautiful heightened melodrama, everything so grand and loaded.
Pan’s Labyrinth. Watched in preparation for Crimson Peak. It was a DNF when I first attempted it a few years ago. This time around? Eyes glued to the screen. Really good stuff, if you time it right.
Bridge of Spies. It was a perfectly pleasant and engaging movie and I have not thought about it in a couple months.
Public Enemies. I love how so many people get to “lead” in this movie, though Depp is still at the heart of it. Forgot about the brief Channing Tatum scene. The arrest/trasnport/imprisonment scenes have some nice echoes of Kit Carruthers, the charisma and confidence. “We’re having too good of a time today; we’re not thinking about tomorrow.”
American Psycho. Great example of how a movie can depict the absolute worst human being and make it enjoyable. A tale of hyper-masculine narcissism and sociopathy. Status envy. The recitations of facts, routines, brands and such, all that cataloging reminded me of… Walt Whitman? Bale’s character develops in only one direction, but he gives it his all.
The Martian. What’s most refreshing here is that it’s a fairly gentle, nice movie. Perfectly pleasant, always positive. I don’t think there’s anythig here for me to come back to, but it was really fun to watch. I didn’t finish the book.
Primal Fear. Ugh.
Absolute Power. A jewel thief witnesses the President murdering his mistress. I’d put this in the upper middle-class of movies Eastwood has directed.
In the Line of Fire. Cat, mouse. Better than I’d hoped. I still can’t jive with Malkovich, though.
Collateral. I keep trying to re-rank Mann movies and running out of #1 slots.
3:10 to Yuma (2007). Well, Russell Crowe is no Glenn Ford, but who is. Loved the original movie, which fleshes out the very short story really well. This movie adds in a bit too much extra material for me, which dissipates the tension. Good, though. Themes of pride, circumstance, honor. Love this line on insurance/forced retirement, basically: “They weren’t paying me to walk away; they were paying me so they could walk away.” Filed under: westerns.
The Salvation. I feel like Mads Mikkelsen’s face was just begging to be put in a Western. This one sometimes feels like it was assembled from a western-movie kit, but has some really good moments – I particularly like the conversation with the priest in the jail, the parallel funerals, and a silent escape on a train.
Mark Larson 