March 2018 Viewing Log

  1. Félicité (17, A-): You watch it in your head the way you watch Get Out in your guts. Deftly negotiates an evolving story, impenetrable characters. 3/1/18
  2. I, Tonya (17, B+): WHERE is Sebastian Stan’s nomination? 3/3/18
  3. The Salesman (17, A-): N/A 3/5/18
  4. Since You Went Away (44, B): Homefront patriotism often blunt, but melancholy and deep family ties are richly evoked. Colbert works it. 3/5/18
    1. Since You Went Away is an Important film that I like well enough but Airplane! ruined that goodbye train sequence for me
  5. The Descent (06, B+): Human terror of the first half amplifies and complicates the inhuman ones of the second. Fuck caves. 3/6/18
    1. I don’t know WHAT is in those caves but this is scary enough without subterranean hell beasts
  6. Western (18, A): Astounding document of communication, of assimilation as filtered by fondness, prejudice, and outsider status. 3/8/18
  7. A Wrinkle in Time (18, B-): Impassioned heart of first half (C+) limit its impact, but raised stakes of second half (B) bring it to life. 3/9/18
  8. Black Panther (18, B): Three times I’ve seen Black Panther now, and every time I’ve had a different reaction. What an unexpectedly slippery film. 3/10/18
    1. Plus: Wakanda and the characters are wonderfully realized on a visual scale. Minus: Morrison is so the film’s most uneven contributor, and the editing’s not super either
  9. The Party (18, D+): Why offer ideas when I can just state my personal ideologies in overbaked witticisms? That’s the same thing, right? 3/11/18
  10. Lifeboat (18, B): Stylistically limited. Script muddled. Impactful nonetheless, but there’s a tougher film inside. Tallulah pretty good 3/11/18
  11. Stonewall (15, D): Engages ideas with barely any complexity, horrendously made and acted. Perfect case of what not to do at every turn. 3/13/18
    1. Whoever this is playing Marsha is Bad
    2. Every scene of Stonewall opens like it’s a porno but then just devolves into abusive nonsense or mangled attempts at pathos
    3. Can’t believe I just had to watch Jeremy Irvine almost cry his way through a blowjob
    4. Why is there not one sexual encounter that isn’t remotely horrifying in one way or another
    5. *with completely unconvincing anger* GAY POWER!!! GAAAYYY POOOWEER
    6. Wow this really. Does not know what to do with the riot huh?
    7. You’re telling me there were FOUR ADDITIONAL NIGHTS and just skipping them over for what? For that? What kind of nonsense is this?
  12. The Danish Girl (15, D): Dismal understanding of its own characters, further heightened by Hooper’s directorial style. Final scenes laughable. 3/14/18
    1. I saw folks criticize Get Out for its painfully low budget but like, Danish Girl is buried in money and has no idea what good framing is
    2. Redmayne is weirdly creepy?, and Vikander’s hardly the life raft I remembered
    3. I would honestly take the very fascinating and somewhat engaged failure of Stonewall to the overwrought disconnect of The Danish Girl
    4. Why does the actual surgery seem so terrifying? For fuck’s sakes
    5. Why are they playing it like Lili knows she’s doing the new surgery too soon and – ergo – is planning on dying? What is this?
    6. Tom Hooper’s sense of framing is absolutely hazardous
  13. Tinker Tailor Soldier Spy (11, B): N/A 3/14/18
  14. The Big Sick (17, B): Appropriately messy, but could be leaner. Heart, warmth, terrific writing and performances more than worth it. 3/15/18
  15. Fullmetal Alchemist (18, D-): Atrocious wigs. Even more atrocious CGI (besides Al). Even more more atrocious adaptation. 3/19/18
    1. It’s bungling the iconography soooo badly
  16. Velvet Goldmine (98, A): Deconstruction/eulogy/celebration uses the emptiness of its era to poignant, startling effect. 3/20/18
    1. Gloriously mounted, delightfully pansexual, rich with ideas. Haynes, Powell, Alberti all flying above us.
    2. In honor of Brian Slade I’m gonna fill my queer cinema paper with lots of big, flashy words and drain it of any substance whatsoever
  17. My Entire High School Sinking Into the Sea (17, B): N/A 3/23/18
  18. A Woman’s Life (17, A-): N/A 3/23/18
  19. Double Indemnity (44, A-): Deliciously entertaining, muscularly constructued. Script, actors fit together like a watch. 3/23/18
  20. Love, Simon (18, B): Incredibly charming cast & story. Kinda long, ends a lot, but more personality and gayness than I expected. Miller the MVP. 3/25/18
    1. I’d like to amend here and now that after stewing on it some more I rank it at about a C+, think the cast is sorta iffy outside of Miller, and that the film’s relations to queerness and to race are problematic
  21. Moonlight (16, A-): The kind of film that gives Best Picture a good name. Hard to image a storytelling mode it doesn’t perfectly utilize. 3/26/18
    1. Contextualizing this for class has made me even more impressed with the film as an act of representation and as a marvelously assembled artwork
    2. Ali, Rhodes, Holland, Laxton, Brittel, Jenkins, all all all all perfect. Sound mixing, editing even better than I remembered
    3. The surest sign that I’m learning shit in college is that I feel a lot more confident in my ability to explain what I love about this film in a way I know I couldn’t last year
  22. The Death of Stalin (18, C+): Cast, script have many moments but escalation of Ianucci’s themes yield broader, easier film than In The Loop. 3/26/18
  23. Menace II Society (93, B): More schematic, less impactful than Boyz, but does right by less respectable characters without glorification. 3/26/18
  24. The Imitation Game (14, D+): Not a bad codebreaker film, decently acted. Near absolute failure to engage with Turing’s sexuality pathetic. 3/28/18
    1. Fifty minutes into the Imitation Game. Still no mention of his homosexuality. Still no need for the schoolboy shit. Still whatever
    2. 59 minutes. First sighting of homosexuality
    3. My fuckin skull hurts how did this WIN adapted screenplay
    4. Has any character gone without one monologue about how awful Alan Turing is? I don’t think so
    5. I should clarify that yes, I am upset about how the film handles his homosexuality, but also it’s just terrible from a storytelling standpoint
    6. Wishing Carol had won Adapted Screenplay even more just so we could’ve gotten four consecutive years of The Gays absolutely OWNING that category

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