
Erin Brockovich. Roberts is great, but it’s hamstrung by its repetition. Manages to make paperwork interesting for a couple hours, though.

Erin Brockovich. Roberts is great, but it’s hamstrung by its repetition. Manages to make paperwork interesting for a couple hours, though.

The Devil Wears Prada. It does a good job of playing both sides. I wish it would move a little more quickly.

The Social Network. I didn’t like the Zuckerberg characterization as much this time around (previously), but somehow I felt more sympathetic. Great movie. Filed under: David Fincher.

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.

Mean Girls. Brilliant. Another screen-on-the-green viewing. This might be the movie I quote the most? (Previously.)

Blade Runner. Had the good fortune to see this on a big screen, in a big park. So rad. Filed under: Blade Runner.

The Equalizer. Second viewing (the first). I wish there were a prequel about Marton Csokas’ character.

Wild. Meh.

Nebraska. It’s good. Does it’s best work in the lighter moments, but that’s just me.

Lost in Translation. Bill Murray is the best. Johansson is really good, but I don’t see this movie working without him.

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.

Nightcrawler. Second viewing, ditto everything I wrote before), and I loved it even more this time. This was the first of a handful I watched on a very long flight. Sorry not sorry for the deluge to come.

No Country for Old Men. Fourth or fifth time I’ve watched it, I think. Dear lord. There might be just a single-digit number of movies better than this one.

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. 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. 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.

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.