Her

Her. I expected to love it, I did, and I still was pleasantly surprised with some of the mordant humans-are-screwed humor and the science-fiction-y, speculative thoughtfulness. It’s pretty wonderful. Shout-out to movies that rely on conversation and subtle music. Also neat to see a movie set in the comfortable future – nothing crazy here, just a few plausible tweaks that have had some time to settle in. Some of the writing and face-acting didn’t work for me, but for ideas and smarts, I will forgive many things. Also, seeing Joaquin Phoenix and Amy Adams on screen together again made me want to re-watch The Master.

American Hustle

American Hustle. Disappointed with the ending, but that’s heist movies for ya. I should note that most of my disappointment was because most of the movie has such an enjoyable, playful ambiguity to it. You spend so much time on your toes, wondering what these folks are really up to, because there’s no real obvious villain or goal, and then it all wraps up too neatly for my taste. But Amy Adams is so good, the sets and stuff are a trip, and there’s some fun visual gags in there. I’d also recommend David O. Russell’s Three Kings, which has a lot of the same energy and restlessness.

Taken

Taken. Preposterous fantasy fulfillment popcorn flick that has everything you need, if that’s all you seek. Tough guy does cool shit! Gérard Watkins was perfect in his brief appearance. Liam Neeson also has a great badass role in The Grey. If you’re looking for another good abduction/chase movie set in Paris, you need to watch À bout portant (Point Blank).

Oblivion

Oblivion. If you have seen and enjoyed a science fiction movie, you will probably find something to like here, where they’re all mixed and mashed into a movie that’s far from perfect, but more than good enough. Easy to find plotlines and moods from movies like Moon, Solaris, the new Solaris, 2001, The Matrix, WALL·E, Star Wars, Star Trek. (I particularly like the space-captain-retiring-to-California parallels with Star Trek V: The Final Frontier and Star Trek: Generations). I would have been okay with more time exploring the love/memory/identity stuff and less generic action, but no biggie. Outside of the plot, a few areas I was impressed by: camerawork with a smart sense of space and geography; world/technology design and general gorgeousness; and a good soundtrack by M83, et al.

12 Years a Slave

12 Years a Slave. Not sure how to talk about this one. Hard to watch. At times it is very, very on-the-nose. If you’ve seen Steve McQueen’s Shame and Hunger, this will be no surprise. But it’s strange that it doesn’t feel… dramatic. It is focused. It is facts. It also makes you feel some of the same unease (the score is a huge contributor here). The movie is all in the protagonist’s perspective, which unfortunately means everyone else can seem a little flat (despite the cast being awesome), or merely functional. But it also puts you in the center, witnessing the moral bargains and compromises, comparing and contrasting how each person manages an impossible situation, and perhaps suggesting the futility of passing judgment on how each copes. A couple more things to note. I’m not sure if it was intentional or not, but you don’t get the sense of time passing, though it’s ostensibly twelve years we see. Could definitely be by design – the monotony and sameness by design – I’m just not sure. And I gotta say, I’m not thrilled with Brad Pitt’s late appearance. He’s got too much star power to show up so late, in such a role, for so short a period. I couldn’t quite get used to him. It’s not his fault, though. Anyway, good movie. The contrast with Django Unchained could not be more stark.

Enough Said

Enough Said. Sometimes we are our own worst enemy, as they say. Louis-Dreyfus is a genius. Gandolfini is instantly lovable. Keener plays a perfect flaky narcissist. Such a good heart to this movie.

In the Mood for Love

In the Mood for Love. Gorgeous, seductive movie. One of the dilemmas here is, (how) can you get what you want if you don’t want to be the kind of person that would do what it takes to get it? When you’re watching it, it’s easy to sympathize with the protagonists, but afterward… don’t they seem a little, um, weird? I love the parallels in setting and architecture. They’re so hemmed in, so much kept inside. Thematically, it pairs well with David Lean’s Brief Encounter.

Mud

Mud. Best summarized in this review I stumbled upon where I lifted the still above: “Mud reminds us that the most special effect is compelling characters caught in a vexing situation.” Check and check. I loved this movie. Jeff Nichols is on a roll right now, after directing Shotgun Stories, and then Take Shelter, and then this. I’m excited for whatever is next.

Ninja

Ninja. I overreacted, but that doesn’t mean my opinion was wrong. I was inspired to watch this after the AV Club article on direct-to-video action movies. You will find nothing surprising in plot or writing, and now that I think about it, a lot of the actual ass-kicking isn’t that amazing. But – huge but – this movie is pure gold when it comes to the art of moving cameras around moving bodies doing cool things. Really dynamic fight scenes that are still completely comprehensible in time and geography? Sold. E.g., the subway scene. Ultimately, it gets down to a one-on-one battle like you’d expect, which isn’t as cinematically fun. Plenty of good stuff, though.

Captain Phillips

Captain Phillips. I really dug it. Hanks is great, so is Abdi. And what makes this worthwhile is that both of them get fair treatment in how the story is structured (despite the one-sided title). Pretty strong similarities to Zero Dark Thirty in tone and tension, and how they’re not quite really about the obvious thematic baggage they might have easily tended toward. The scale of the stuff – real gigantic boats and aircraft – made me think of 80s/90s action movies. Very refreshing. Also, having captain on the bridge talking to engineering down with the engines reminded me of Star Trek. I really liked Noah Millman’s write-up.

Star Trek Into Darkness

Star Trek Into Darkness. This one does not compare well to the other Star Trek movies. Fun, maybe, kinda, but there’s all kinds of narrative whiplash, and the non-Kirk, non-Spock characters aren’t quite there for me. Slapdash effort. Oh, well. I’ve still got my top 5 or 6 in the series to fall back on:

  1. Star Trek VI: The Undiscovered Country
  2. Star Trek II: The Wrath of Khan
  3. Star Trek IV: The Voyage Home
  4. Star Trek: The Motion Picture
  5. Star Trek: First Contact
  6. Star Trek
  7. Star Trek: Nemesis
  8. Star Trek V: The Final Frontier
  9. Star Trek III: The Search for Spock
  10. Star Trek: Generations
  11. Star Trek Into Darkness
  12. Star Trek: Insurrection

Gravity

Gravity. It’s definitely worth seeing. Very stressful in an entertaining way. Gotta respect a movie with moments where just grabbing a rail feels like the most important thing in the universe. It’s a steady sequence of disasters and new problems. The special effects are just tremendous. I love the way Cuarón plays with the sound, changing with the environment or how the camera or the viewpoint would experience it. The score is omnipresent, for better or worse, depending on how you feel about that sort of thing, but I liked its spacy abstraction.

The writing is a real weakness I was willing to ignore in the moment, but made me sour a little bit when thinking back. The plotsplaining was a bit tedious at times (“But now we have to do X, but we have to look out for Y.”, or “It’s getting really hot in here!”), and there’s some backstory and associated melodrama that probably could have been excised, but it’s a popcorn genre film, sooooo whatever. Deal.

A Perfect World

A Perfect World. I didn’t realize it had been a year since my last Eastwood movie. Not many directors exploring violence so thoroughly and thoughtfully. The thematic priorities are pretty clear when you consider what is depicted and what takes place off-screen. Ties into the father-son/parent stuff. The kid’s personality is not the most interesting but neither are real kids, so fine. It actually helps the bond with Costner, as you really don’t know where these two are headed. A bigger weakness is that Eastwood and the other cops feel a bit superfluous. It’s not much of a manhunt/chase movie. There’s some story details that come out via the police, and they bring a variation in tone, but the heart is with Costner and the kid.

I’ve got so many Eastwood movie rankings that specific placement is getting silly, but not like it’s gonna stop me…

  1. Unforgiven
  2. Gran Torino
  3. Million Dollar Baby
  4. Mystic River
  5. The Outlaw Josey Wales
  6. Changeling
  7. A Perfect World
  8. Play Misty for Me
  9. Hereafter
  10. The Gauntlet
  11. High Plains Drifter
  12. Bird
  13. Midnight in the Garden of Good and Evil

In a World…

In a World…. Loved it. The power of voice! And such a great a set of characters. No one is perfect; no one is irredeemable. I couldn’t help but think of Frances Ha, but this one, like its protagonist, is far more polished. A really fine piece of work. Also was reminded of writer/director/producer/star Lake Bell on screenwriting:

It’s so intimate, and it’s one of your best friends, this stupid script that you end up living with for seventeen drafts or twenty drafts. […] You’re like, ‘You’re still here?? Can you clean up your shit? You leave it everywhere!