October 2017 Viewing Log

  1. A Ghost Story (17, B): Some peaks and valleys, but as a temporal, sonic mood piece, I think it works splendidly, though others love it more. – 10/2/17
  2. The Little Hours (17, C-): Balances modern & period flourishes well. But craziness never feels that crazy. Loses steam as it goes, if anything. – 10/2/17
  3. Savage Grace (08, B+): Mannered tale of moneyed perversion only more fraught by keeping us so very off kilter. Incestuous. Cannibalistic. – 10/2/17
  4. No Country for Old Men (07, B): I like many scenes more than the whole, but still packs a punch. Third time least charming. Indelible sound. 10/3/17
  5. Spider-Man: Homecoming (17, B): I couldn’t believe it was so fun. And funny! Holland has charm for days. Standalones are really improving. – 10/4/17
  6. Arrival (16, B): No tweet. Watch it. – 10/5/17
  7. Girls Trip (17, B): More going on for its characters than a good time, but also the best time you could have. Thank you, ladies. Thank you. – 10/6/17
  8. Battle Royale (01, B+): Hyperbolic take on insane premise frightening and funny. Keeps hold of its targets without mocking the students. – 10/6/17
  9. Gaslight (44, B): Frequently commanding, missteps & wasted potential sitting with what’s great. Odd start, uneven middle, strong end. – 10/7/17
  10. The Ornithologist (17, A-): Thank God it’s on Netflix. I need more than one trip to wrangle its everything. Impossible to look away from. – 10/9/17
  11. Mars Attacks! (96, B): Sort of defines eccentric, often pretty fun. Wish it didn’t belittle most of the characters it killed. Ack ack. – 10/12/17
    1. Props to the Lisa Marie Smith sequence, Annette Bening, glittery capes & thongs, Brown & Grier, their kids, “Guess it wasn’t the doves”
  12. Blade Runner 2049 (17, B): Aesthetically dazzling on all fronts. Actors rarely imaginative. Not sure how worthwhile the story is. – 10/14/17
    1. The more I think about it, the more 2049 seems like squandered potential by mostly ignoring replicant deviancy and mechanical autonomy.
    2. Also why Ana de Armas feels like the only worthwhile performance. She blurs those lines, and by actually emoting – emphatically! – onscreen
  13. Dragon Seed (44, C-): Ghastly casting, lamely executed. Barely hums along on own terms. I regret paying for it. I regret, well. Everything. – 10/16/17
    1. (Talking to someone about Katharine Hepburn in Dragon Seed) I could not believe how bad the early going was. She barely looked anyone in the eye! I’m just grateful it wasn’t worse.
  14. Get Out (17, A-): How come Jordan Peele’s amazing direction is barely getting play? Why isn’t this a lock for Picture? How is it so good? – 10/17/17
  15. The Death of Louis XIV (17, C+): Last third clicked, for some reason. Narcotic. But if this lets you craft each frame as tapestry, so be it. – 10/17/17
    1. The lighting of faces and wigs and sets and fabrics, the blocking of actors, the texture of everything. So painstakingly styled to the art of its era.
  16. Atlantis: The Lost Empire (01, C-): No tweet. Not impressed. – 10/18/17
  17. Faces Places (17, B): Starts out awkward, but grows real flair, deepening relationships between Varda, JR, and their subjects. – 10/19/17
  18. The Road Movie (17, A-): First third blends absurdism, comedy, horror, spectacle so adroitly. Less funny as it goes, but never loses impact. – 10/19/17
  19. Human Flow (17, B-): I wish I liked it more, but this feels weirdly distant, and vague around politics & contexts damning the refugees. – 10/20/17
  20. Lightning Over Braddock: A Rust Bowl Fantasy (89, A-): Protests of dying town, dreams of con & director surprisingly well-suited together. – 10/21/17
  21. Spettacolo (17, C+): Study of autodramatic Italian village fine by its present, & by unclear future. Oddly skimpy on long, flavored history – 10/21/17
  22. Quest (17, B): Olshefski indulgent with close-ups and hand shots, but still emerges with a strong, often touching portrait. Great with PJ. – 10/21/17
  23. Since You Went Away (44, B): Too long, but it got me good. Corny, but still plenty moving, with a surprisingly sad core. Colbert a gem. – 10/21/17
  24. Mrs. Parkington (44, C-): Garson’s charm can’t carry through two shitty timelines, embarrassing dialogue, vile misogyny. Evaporates on sight. – 10/22/17
  25. Cameraperson (16, B+): No tweet. See it! – 10/23/17
  26. None but the Lonely Heart (44, B): Amazing that something where seams show so frequently, from all central parties, resonates so powerfully. – 10/24/17
    1. So, Barrymore’s gonna win the Smackdown right? I mean, Jones and McMahon are good, Moorehead’s a hoot. But that last scene! My goodness.
  27. Stagecoach (39, A): Even piecemealed for class, it’s power and velocity isn’t diluted in the slightest – 10/26/17
  28. To Sleep With Anger (90, B+): Quieter and more quotidian than I expected, but still a potent and compelling experience. Actors a huge plus. – 10/26/17
  29. Laura (44, A+): Perfect balance of baroque embellishments, unknowable characters, ornate style. A masterpiece, gloriously realized. – 10/28/17
  30. Days of Glory (44, A-): Surprisingly full probing of guerrilla ethics, tactics, politics. Better made, directed, and acted than I expected. – 10/30/17
    1. A lot of films look great next to Dragon Seed but this just overwhelms that similar kind of WWII story in so many ways.
    2. The cast is great, especially the leads, who sell their romantic and political maturation beautifully. Stellar child perf from Dena Penn too
  31. The Miracle of Morgan’s Creek (44, A-): Amazing that it exists at all, let alone in that year, with that tone. Cast, Sturges on fire. – 10/31/17
  32. Marjorie Prime (17, B-): Multiply centered structure seems to play with ideas, scenarios without committing. Strong finish. Smith! – 10/31/17

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