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Awards Season: Week 13
Fading like a flower, bloo bloo bloo. Not sure why I'm feeling so dopey today, but I am, so this will be quick.
Brother's birthday was last week! He's 15 now! What the fuck!
Picard is making me really happy, especially now that they finally got the damn team together after half a season of freaking table setting.
All the snow melted again! Fingers crossed the sidewalks were clear and dry when the temperature dropped in the last few hours so I don't die walking home.
I wonder if I could find the time to take a bath every single night this week.
...that would eat up a lot of movie time, though, HEY SPEAKING OF.
The Woman in the Window (1944): I feel like I could really easily bullshit out a one-page essay on any single frame in this movie, it's just so packed full of imagery and mood that it doesn't even really matter that the plot is a whole lot of whatever? Edward G. Robinson and his big weird head make for the strangest noir protagonist I've ever seen, and that ending was fucking ridiculous (IT WAS ALL A DREAM~~~~ and you were there! and YOU were there!), but man, idk, this is just one of those movies that really make me love movies, guys!
The Black Stallion (1979): God, horses are fucking terrifying. What is wrong with horse kids.
The Killing (1956): Slow to get going, but once it does, UNF, this was so deeply satisfying. I loved everything about this; the focus on character, the random omniscient voiceover, the 'OH FUCK RIGHT OFF' of an ending... KUBRICK GIVES GOOD HEIST.
He Ran All the Way (1951): There's some really interesting ideas here, and Garfield and Winters do a lot with what they're given, but everyone in this movie is just. So very, very dumb. Apparently this was his last movie before HUAC fucking murdered him?
Les amants du Pont-Neuf (1991): Yeah, I'm just not a Carax fan, I don't think. Not when it comes to whole movies of his stuff, at least, because there are definitely FLASHES of brilliance here (the scene with the burning posters in the subway is absolutely gonna stick with me), but overall, this was two hours that felt much longer. Much like when I watched Holy Motors, found myself largely bored right up until Kylie Minogue's song, and then immediately needed to rewatch that part three fucking times in a row before I could continue because AAAAAAHHHH CHILLS.
The Breaking Point (1950): Jesus, John Garfield is just CRIMINALLY underrated, he's so damn good. I've got a real fondness for this sort of sun-soaked noir, and this is all just so well done, I honestly didn't think Michael Curtiz had this sort of thing in him! The staging of the final shootout on the boat is kind of crazy when you think about the logistics and how clear and deliberate it winds up being?? Anyway, this movie has legit the most realistic portrayal of a married couple I think I've ever seen. She's all unglamorous, especially next to Patricia Neal's femme fatale, but they still clearly just love each other so much??? And definitely fuck a lot! I also love that this movie's relentlessly bleak, but never in an over-the-top way? It's all so grounded. Like, it's just life! Shit happens! Good dudes get in over their heads! I do wonder if the way Wesley and his son are treated by the script is kind of a quiet rebuke of the casual racism I generally expect from Hemingway stuff? That last shot was such a fucking gut punch, man. A new favourite! I REALLY LOVED THIS MOVIE, SORRY BOGART/BACALL.
The Miracle of Morgan's Creek (1943): Maybe I just wasn't in the right frame of mind for something so screwball and need to give it another chance, because uh... what the fuck was that.
Doctor Strange (2016): STILL DISAPPOINTED ABOUT LOSING DERRICKSON FOR THE SEQUEL, GDI. Top-tier MCU. They went full weird with it and it was fucking perfect. Dr. Strange and Cloak & Dagger are the two non-mutant* Marvel properties I care about the most, and it really means a lot to me that those two in particular got got so right onscreen.
*Yes, you can make the Cloak/Dagger = mutant argument; no, I don't care about retcons, they got their powers from drugs, fuck off. Scarlet Witch/Quicksilver/Squirrel Girl ARE all mutants, though.
Alfie (1966): God, Michael Caine is just the most endlessly watchable douchebag, isn't he?
Get Carter (1971): My cocaine double feature! The plot feels kind of inscrutable at times unless you're paying super close attention, there's a lot of 'wait, who is this guy again?', but it almost feels beside the point? It's a roaring rampage of revenge, just go with it. There are not enough fire emojis in the world for the last half hour.
Upstream Color (2013): SHANE CARRUTH MAKE ANOTHER MOVIE CHALLENGE
The Shop Around the Corner (1940): Loved this, holy shit. Jimmy Stewart's such a fuckin' dreamboat, what even. I am as decidedly unromantic a person as it gets, and even my heart was racing at the final scene, this is another new favourite. Also, I really miss that old trend of setting movies in other countries and just having the characters speak English in their regular American and British accents. It's Star Trek rules, we know they're not actually speaking English in canon, it's fine!
In the Good Old Summertime (1949): Same movie, nine years later, except it's a golden-age MGM musical now (AND Y'ALL KNOW HOW I LOVE THOSE). I liked it! It doesn't hold a candle to the original, but Garland remains the GOAT and they kept most of what worked really well with Shop while snipping out some of the more downbeat moments cuz fun Technicolor musical.
...in retrospect, I really should have watched You've Got Mail afterwards and made it a triple feature. ALAS.
Gold Diggers of 1933 (1933): A fun little romp about showgirls hacking their way through the great depression, full of delightful musical numbers, wacky mistaken identity shenanigans, and good-natured $camming... that then ends on a grim, depressing number all about America's forgotten veterans??? WHAT EVEN.
기생충 (2019): HOLY SHIT GUYS, PARASITE FINALLY CAME HERE FOR A WEEK!!!
is good movie
Also, this was the first time I've ever seen something with subtitles in a theatre and it actually took me some time to get used to having to move my eyes so far to read them! Maybe about twenty minutes before it became second nature? I'm so uncultured.
That actually only takes me up to last Wednesday, but I'm zoning out at work so fuck it, maybe next week's will be double-sized or something.
Brother's birthday was last week! He's 15 now! What the fuck!
Picard is making me really happy, especially now that they finally got the damn team together after half a season of freaking table setting.
All the snow melted again! Fingers crossed the sidewalks were clear and dry when the temperature dropped in the last few hours so I don't die walking home.
I wonder if I could find the time to take a bath every single night this week.
...that would eat up a lot of movie time, though, HEY SPEAKING OF.
The Woman in the Window (1944): I feel like I could really easily bullshit out a one-page essay on any single frame in this movie, it's just so packed full of imagery and mood that it doesn't even really matter that the plot is a whole lot of whatever? Edward G. Robinson and his big weird head make for the strangest noir protagonist I've ever seen, and that ending was fucking ridiculous (IT WAS ALL A DREAM~~~~ and you were there! and YOU were there!), but man, idk, this is just one of those movies that really make me love movies, guys!
The Black Stallion (1979): God, horses are fucking terrifying. What is wrong with horse kids.
The Killing (1956): Slow to get going, but once it does, UNF, this was so deeply satisfying. I loved everything about this; the focus on character, the random omniscient voiceover, the 'OH FUCK RIGHT OFF' of an ending... KUBRICK GIVES GOOD HEIST.
He Ran All the Way (1951): There's some really interesting ideas here, and Garfield and Winters do a lot with what they're given, but everyone in this movie is just. So very, very dumb. Apparently this was his last movie before HUAC fucking murdered him?
Les amants du Pont-Neuf (1991): Yeah, I'm just not a Carax fan, I don't think. Not when it comes to whole movies of his stuff, at least, because there are definitely FLASHES of brilliance here (the scene with the burning posters in the subway is absolutely gonna stick with me), but overall, this was two hours that felt much longer. Much like when I watched Holy Motors, found myself largely bored right up until Kylie Minogue's song, and then immediately needed to rewatch that part three fucking times in a row before I could continue because AAAAAAHHHH CHILLS.
The Breaking Point (1950): Jesus, John Garfield is just CRIMINALLY underrated, he's so damn good. I've got a real fondness for this sort of sun-soaked noir, and this is all just so well done, I honestly didn't think Michael Curtiz had this sort of thing in him! The staging of the final shootout on the boat is kind of crazy when you think about the logistics and how clear and deliberate it winds up being?? Anyway, this movie has legit the most realistic portrayal of a married couple I think I've ever seen. She's all unglamorous, especially next to Patricia Neal's femme fatale, but they still clearly just love each other so much??? And definitely fuck a lot! I also love that this movie's relentlessly bleak, but never in an over-the-top way? It's all so grounded. Like, it's just life! Shit happens! Good dudes get in over their heads! I do wonder if the way Wesley and his son are treated by the script is kind of a quiet rebuke of the casual racism I generally expect from Hemingway stuff? That last shot was such a fucking gut punch, man. A new favourite! I REALLY LOVED THIS MOVIE, SORRY BOGART/BACALL.
The Miracle of Morgan's Creek (1943): Maybe I just wasn't in the right frame of mind for something so screwball and need to give it another chance, because uh... what the fuck was that.
Doctor Strange (2016): STILL DISAPPOINTED ABOUT LOSING DERRICKSON FOR THE SEQUEL, GDI. Top-tier MCU. They went full weird with it and it was fucking perfect. Dr. Strange and Cloak & Dagger are the two non-mutant* Marvel properties I care about the most, and it really means a lot to me that those two in particular got got so right onscreen.
*Yes, you can make the Cloak/Dagger = mutant argument; no, I don't care about retcons, they got their powers from drugs, fuck off. Scarlet Witch/Quicksilver/Squirrel Girl ARE all mutants, though.
Alfie (1966): God, Michael Caine is just the most endlessly watchable douchebag, isn't he?
Get Carter (1971): My cocaine double feature! The plot feels kind of inscrutable at times unless you're paying super close attention, there's a lot of 'wait, who is this guy again?', but it almost feels beside the point? It's a roaring rampage of revenge, just go with it. There are not enough fire emojis in the world for the last half hour.
Upstream Color (2013): SHANE CARRUTH MAKE ANOTHER MOVIE CHALLENGE
The Shop Around the Corner (1940): Loved this, holy shit. Jimmy Stewart's such a fuckin' dreamboat, what even. I am as decidedly unromantic a person as it gets, and even my heart was racing at the final scene, this is another new favourite. Also, I really miss that old trend of setting movies in other countries and just having the characters speak English in their regular American and British accents. It's Star Trek rules, we know they're not actually speaking English in canon, it's fine!
In the Good Old Summertime (1949): Same movie, nine years later, except it's a golden-age MGM musical now (AND Y'ALL KNOW HOW I LOVE THOSE). I liked it! It doesn't hold a candle to the original, but Garland remains the GOAT and they kept most of what worked really well with Shop while snipping out some of the more downbeat moments cuz fun Technicolor musical.
...in retrospect, I really should have watched You've Got Mail afterwards and made it a triple feature. ALAS.
Gold Diggers of 1933 (1933): A fun little romp about showgirls hacking their way through the great depression, full of delightful musical numbers, wacky mistaken identity shenanigans, and good-natured $camming... that then ends on a grim, depressing number all about America's forgotten veterans??? WHAT EVEN.
기생충 (2019): HOLY SHIT GUYS, PARASITE FINALLY CAME HERE FOR A WEEK!!!
is good movie
Also, this was the first time I've ever seen something with subtitles in a theatre and it actually took me some time to get used to having to move my eyes so far to read them! Maybe about twenty minutes before it became second nature? I'm so uncultured.
That actually only takes me up to last Wednesday, but I'm zoning out at work so fuck it, maybe next week's will be double-sized or something.
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