September 2017 Viewing Log

  1. Ingrid Goes West (17, B): You wanna make Mr. Ripley even more noxious? Swap in a palpably ill stalker. Plaza the exception of a smart cast. – Sept. 1
  2. Death Note (17, F): Awful as an individual property, truly heinous & offensive as an adaptation. How could this protagonist be made so bland? – Sept. 2 (review)
    1. You can palpably feel how much the Death Note people wanted Evan Peters and Emma Roberts for this. Also this is gross as shit.
    2. I’m so fucking mad
  3. John Dies At The End (12, B+): Who needs a budget to make something this fun and trippy? Keeps finding new ways to explore itself. – Sept. 3
  4. Heavenly Creatures (94, A): Mad, yes, but everyone emerges as humans with their own, sometimes terrible wants. Love is in the air, and it hurts. – Sept. 3
    1. That last scene, but especially that last shot of Melanie Lynskey, is gonna haunt me till I die isn’t it?
  5. Citizen Kane (41, A): Hyperbolic sets the perfect living spaces of a man too big and finally too small to properly fill those rooms. – Sept. – 4
  6. Beatriz at Dinner (17, B+): What else would the death of the world inspire but it’s own righteous anger? Why is that always scarier? – Sept. 4
  7. Raising Bertie (17, A-): No tweet, but please rent it on iTunes. – Sept. 6
  8. Modern Times (36, A+): Also no tweet, and streaming on Criterion so. Find it and savor it if you can. – Sept. 6
  9. The Passion of Joan of Arc (28, A+): No tweet. Criterion. Pure fucking brilliance right here folks. – Sept. 6
  10. Little Evil (17, D): Nothing again! But honestly, there’s just so little to say about it. – Sept. 7
  11. Gremlins (84, B+): Amazing that you can be this morbid and this fun without bungling tone. Perfect antidote to all that holiday cheer. – Sept. 7
    1. Is it really kid appropriate> Not sure how much it woulds resonated with my tiny ass save Frances Lee McCain(!!) slaying all those critters.
  12. It (17, B+): So much dread and humor and kindess, in so many stripes. Marvelously made and indelibly cast. Has its kids and eats them too. – Sept. 9
  13. Lady Macbeth (17, B): Impressively constructed as a taut, almost nasty experience, though so much so tough choices wind up easy to suss out. – Sept. 10
  14. It (17, B+): This is such a great movie you guys. So amazingly made. Probably my favorite ensemble of the year. Who else wants to go? – Sept. 10
    1. It’s so incredible that Pennywise and Georgie’s scene at the beginning somehow isn’t (or is it?) the film’s best scene yet fits the tone so perfectly.
    2. I kept thinking of Juliette Lewis’s and Ileana Douglas’s big scenes with Robert DeNiro in Cape Fear. Those actors were amazing together. Fuck
  15. The Conversation (74, A): Amazing that a story of paranoia stars a character so resistant to being seen, who winds up being even less. – Sept. 11
    1. So many contradictions. That calm, maybe too calm score. A crime where every party plays the wrong roles. Spies who keep getting spied on.
  16. Trouble the Water (08, A): Finds two of the best people to lead us through a terrifying, preventable, and poorly handled disaster. – Sept. 11
  17. Get Out (17, A-): No tweet but friends. Romans. Countrymen. See it. Set it again. Or see it three times, like me did. – Sept. 11
  18. Heathers (89, B): Amazing this satire has survived near 30 years of one of the most livewire topics alive. Or dead. You hear how it died? – Sept. 12
    1. (Talking to someone who hates it) I definitely think it could use more punch in editing, acting. Not an all-timer. But I love how ridiculous it makes the school’s reactions.
    2. Even if the suicides were real everyone uses them for personal gain and learns nothing. The onlookers get satirized more than the corpses.
  19. Starlet: A- (17, A-): Plays like watching lives being lived. Funny, deft, and so very substantial while feeling light as a feather. – Sept. 13
    1. Watching Besedka Johnson realize she got bingo was the happiest I’ve felt in what feels like a long, long time. Way to go girl.
    2. *me, every time I watch a film where they look at the sky through gnarly, cool-looking tree branches* the cinnamontography
  20. mother! (17, ??): Mise-en-scene, sound impress. I get the point it’s making but this felt like the ugliest way to do it. Not going again. – Sept. 14
    1. I really liked parts of this. Pfeiffer’s rad. But I didn’t feel good watching this, and practically the whole theater rebelled. Poor Her.
    2. It felt awful watching all that happen to her. And for what? Is this what it means to be with A Great Man? Fuck men! That was fucking gross.
  21. The Big Sick (17, B): The warmest blanket of a movie 2017 could offer in counter to last night’s … . spectacle. Ace cast, script. ❤️❤️❤️ – Sept. 15
  22. True Romance (93, B): Super fun! Eclectically and charismatically cast, with a corker of a script. Badlands link weird but hey, it kinda works. – Sept. 15
  23. The Girl Without Hands (17, B): Simplicity of tone and tale is a marvel next to so many modern Grimm adaptations. Art style grew on me. – Sept. 16
  24. It Follows (15, A-): Looking at it one way, getting mono was terrible. Looking at it another way, thank fuck that’s all it was. – Sept. 16
  25. It (17, B+): No tweet, but guys. Go. – Sept. 17
  26. Maudie (17, B+): Colorfully in league with A Quiet Passion for distilling the life of a fascinating artist, with an equally inspired lead. – Sept. 17
  27. Baby Driver (17, C-): The more Baby became the film’s moral center, and the worse it treated the other characters, the less I liked it. Bleh. – Sept. 17
  28. Raging Bull (80, A): This is how you implode over the course of 20 years, and how everyone puts up with the fallout till they can’t. – Sept. 19
  29. The Color Purple (85, B+): Not quite the novel, but stacks up as an adaptation that carries visual and emotional power. Goldberg’s a miracle. – Sept. 19
  30. Agnes of God (85, D+): Actors try, Nykvist goes above & beyond. But script stinks, pacing is off. Flails with ideas it barely grasps. – Sept. 20
  31. Twice in a Lifetime (85, B): Applause for evoking so many points of view with such empathy. More than anyone else, the cast makes it special. – Sept. 20
  32. Ex Libris – The New York Public Library (17, B+): I wish we spent more times in certain areas but there’s no denying how fascinating it is to be in this library. – Sept. 21
  33. Prizzi’s Honor (85, C): I love Hickey’s odd vibe, but be it script, direction, or other performances, everyone’s their own kind of uneven. – Sept. 21
  34. mother! (17, B-): Remember how I said I wouldn’t see it again? Most interesting to me for the wronged wife stuff. And fun to talk about. – Sept. 23 (review)
    1. Would you believe everyone I saw mother! with had visceral, negative reactions to it?
  35. Arrival (16, B): I can’t be Totally There with it, but there’s no denying its ambition, not just with temporal narrative but with sound. – Sept. 25
    1. I think Adams is fine with it, but I kept imagining how well Louise would fit Sigourney Weaver, and especially how interesting Kristen Wiig might be.
  36. Obit. (17, C): Politics and process of memorializing, favorite features of reporters intrigue. Not sure there’s a feature film here. – Sept. 26
  37. The Girl With All The Gifts (17, B): Smarter about unsettling mood, world building, dystopian elements than so many adaptations. A gem. – Sept. 26
  38. The Mist (07, B): Not great with techs, but marvelously realized on a budget, and tight as a drum with story and character. Cast on fire. – Sept. 26
  39. Plenty (85, B): Tracing of messy, self-destructive lives impressive in a film that never shakes the feeling of being an adaptation. Streep! – Sept. 27
  40. Columbus (17, C+): Rapport of mature leads eventually becomes more interesting than lusty affair between the cinematography and those sets. – Sept. 28
  41. Fantastic Planet (73, B+): Style feels a bit cramped, but imagine adapting anything this odd with all its sharp, unusual edges intact. Hot damn. – Sept. 28
  42. Kiss of the Spider Woman (85, B+): I want to talk about its politics, it poignancy. Does so much, I want to make sure I’m not missing a thing. – Sept. 30
  43. Lost in America (85, B+): Sometimes, to reinvent yourself properly, you have to fail at it miserably. Brooks, Hagerty a wonderful duet. – Sept. 30

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