Run All Night

Run All Night. Well there’s nothing new here, but some good stuff, and also a groaner of a villainous re-appearance. I was surprise at how many nice photographs there are in this one, in particular some really lovely nighttime city scenes. Makes me more curious about Unknown and Non-Stop.

Top Five

Top Five. Let’s see, a movie about an actor known for more mass-market-friendly work who’s anxious about trying his hand at something more serious. Sounds familiar, but worked so much better for me. I don’t follow the business side of movies very much, so I really hope this did well enough for Rock to do many more.

Fargo

Fargo. First off, how is this movie 19 years old now? Second, it’s great. Some of the gee-golly-dontcha-know Midwestern charm doesn’t age as well, but it does a wonderful job of nudging these great characters along, and switching between their scenes. McDormand and Macy are geniuses. I realized when watching this time that Stomare’s Grimsrud character is something of an early variation of Waingro, and anticipates their own rendition of Chigurh, too. As for the based on a true story part:

If an audience believes that something’s based on a real event, it gives you permission to do things they might otherwise not accept.

The Silence of the Lambs

The Silence of the Lambs. Absurdly great movie. Its greatest strength is its exploration of institutional sexism and the constant, relentless challenge of demanding respect and getting her shit done without it. Combines some great slow-burn mystery/thriller tactics with occasional over-the-top violence and just enough sly humor. The pacing and the ties between scenes are brilliant. I also appreciate the small bits of foreshadowing and “warm-up” material (the view from the Belvedere, inkpen, creeper nightvision goggles, etc.) throughout.

Still Alice

Still Alice. Effective and depressing. Moore is awesome, but the movie isn’t very adventurous, and sometimes a little tedious. Unfortunately strays a bit into advertorial/advocacy/message territory. Which is fine, it’s a great cause, etc. But I think it would have been stronger if it had stuck with the family.

Haywire

Haywire. Second viewing (the first). Sometimes it could use a little spark, but I do appreciate it’s overall reserve and steady rumble. If I were in charge, I’d probably do some trimming at the end. Nice, though, to let the side characters like MacGregor and Douglas shine a bit.

Lucy

Lucy. Movie trailers can be deceiving. In this case, they sold it as a pretty yawner-looking action movie, but the story is delivered with more spirit and weirdness than you’d expect. There’s this really wonderful ongoing pattern of spliced-in nature footage as counterpoint to the story. A few moments are delightfully heightened (e.g. opening the briefcase), or thoughtfully disorienting (not translating other languages). Most of that is early on, though, and it unfortunately falls back on serviceable scifi/action pastiche, including plenty of Matrix-y philosophy talk. What really helps the early going is that Johansson is more fun to watch. It’s too bad that our hero basically turns into robot, loses affect. There’s an ongoing theme of conquering time via reproduction/evolution, and how knowledge transforms. Notice how they smuggle drugs in their stomach (womb). Also makes me think of study drugs, nootropics, etc. Also reminded me of Ted Chiang’s story Understand in his (really really good) collection Stories of Your Life. So maybe the overall problem here is that it was too good too soon, and once you’ve got the premise up and running, it’s hard to keep it weird. I’d place The Fifth Element ahead of this in my Luc Besson power rankings.