bjhex1 Reviews

Late Night with the Devil (2023)

Paranormal slow burn to nowhere

[2/10 · 6 May 2024]

The best thing to be said about this movie is the 8, count 'em, 8 production company screens eat up a good portion of the beginning of the film. A few minutes that at first seemed ridiculous, until I realized later on that we'd already passed the artistic peak. (And 4 minutes of end credits help reduce actual story screen time to well under 87 minutes.. thank goodness for small favors).

I have no idea what the budget was for this movie, but it's clear the vast majority went toward recreating a 70s vibe. And in that regard, it was reasonably successful. But how much is too much? After a wooden expository mockumentary intro (sparking, every so fleetingly, unlikely hopes of a Zelig or Spinal Tap experience), there's an interminable buildup, forcing the audience to sit through a dreadful talk show with alarmingly over-the-top acting. At first, it seems that this is just run-of-the-mill parody. But there's not indication that it's being played as anything other than straight. In the vein of Ishtar and Triangle of Sadness, it's intentionally subjecting the audience to this torture, presumably with the intention to 'pay off' with some rather tepid horror-esque hijinx later. But at this point, nothing could save this dreck.

She Came to Me (2023)

Dinklage, Tomei, and then there's everybody else....

[6/10 · 28 April 2024]

Peter Dinklage and Marisa Tomei are absolutely fantastic in this film. Their presences on screen, individually and together, demand attention at all times. This even while struggling through a woefully pedestrian script, the expository parts of which are mind-numbingly bland. Thankfully, these two are able to rise above script. And it doesn't hurt that even made to look a bit rough as a tugboat captain, Marisa Tomei is positively gorgeous in her late 50s. But that's about where the praise slows down. The truth is, they are not on screen for nearly enough time.

There are three intertwined stories that never really quite gel cinematically (go see a John Sayles film, Lone Star, or Sunshine State to see this done masterfully). Anne Hathaway is serviceable, but in a role that could be, and largely was, phoned in. One extreme (the kreplach) scene, presumably meant to go viral, doesn't really land. Nor does the rather telegraphed final joke for her character (no spoiler).

But the anchor that drags this otherwise interesting film down is the onerous thread of the star-crossed teens. A bad script with supreme talent (Dinklage and Tomei), leaves a film short of its potential but passable. A bad script with dull and listless young actors is a recipe for an atrocious afterschool special. The ham-fisted symbolism of the father's Civil War re-enactments (isn't that really just cosplay, though?) and the 'futurism' of the teens gets hammered home. There were audible shifts from the audience with whom I watched, as scenes changed from the dynamism of the leads to the lethargy of the teen story. The biggest problem with this is that the audience needs to care about these two young people and their future. And we just don't.

Unfortunately, the three threads are needed to make the story come around full circle in the end. Only one thread is compelling with Dinklage and Tomei. Hathaway's thread had potential but ultimately was just tangential, and the teens' thread was a burden to endure to necessitate the final act. And all this and overwrought opera presentations, not good enough to be worthy of praise, but not quite so obviously parodic to garner laughter. Perhaps that's symbolic of the film itself, middling. Dinklage and Tomei deserved better.

Anatomy of a Fall (2023)

Ham-fisted role reversal and language gimmickry sink an otherwise familiar story

[6/10 · 11 March 2024]

From the outset, a couple things are clear. There is going to be a reversal of gender stereotypes, and there will be a lot of close ups to convey deep emotion. To come later is the uneasily contrived English language info dumps, done presumably to drive English language viewership and awards season consideration. Each element ultimately gets in its own way to hinder rather than help.

It's no new story presented here, but the viewer might be more familiar with the genders of victim and accused reversed. It's an interesting experiment at first, not unlike the film 'Tar' where Cate Blanchett exhibited traditionally male bad habits. But the reversal is so complete that it defeats the purpose. Samuel is passive, to the point of fragility, and Sandra is hard and unemotional. It plays out like a bad parody of roleplaying in a marriage counselor's office.

Secondly, there was the opportunity for some wonderful cinematography, and it looked early as if that would be the film's strength. But a cloying adherence to ultra closeup shots, along with predictable dutch angles and extended courtroom scenes put that hope to bed.

But the overarching disappointment is the contrivance of English conversation. As a native English speaker with decent French comprehension watching the film in a Tokyo theater, with Japanese subtitles, I was able to follow the story more than adequately (though in fairness, the English parts required slightly less diligence!). And the filmmakers made the effort to explain away the need, even making it a source of friction in the marriage... English in the house as a compromise between her German and his English. But still, to me, it is an obvious acquiescence to gaining a wider audience and international awards glory. And any time a technical or promotional film element intrudes on the picture, it's never for the better.

Argylle (2024)

8 Stars for Sam Rockwell, -2 for every other frame of this movie

[6/10 · 3 March 2024]

It is sheer drudgery to get through the first 15 minutes of this film (I can't be sure, it felt like hours). Only when Sam Rockwell appears does the film have any vitality or purpose. The best comparison would be the beginnings of Ishtar or Joe Versus the Volcano, where the audience is browbeaten by the setups that, respectively, two cabaret performers are horrible at their jobs, and Joe has a dreary, fluorescent-lit basement job. And we, the audience, are driven to share their despair. Here, the audience is presented, a la 'Romancing the Stone' (a much better film, btw), with a live action performance of a meek writer's story. And, as exaggerated as it is, it just goes on too way long, over-egging the CGI and VFX cakes, as it were.

The problem is, it's not entirely clear how much is meant to be serious and how much is legitimate parody of ridiculous action from The Kingsman series (obviously a Matthew Vaughn inside joke), or even 007. It's probably better than those examples, but not good enough be be a good movie unto itself. Even the outrageous set pieces in the final half hour are so baroque as to suggest parody, but yet still oddly wish for the audience to take them seriously. The movie is, to its credit, honestly self-aware of its frivolousness. But it is hopelessly predictable in the sense that it's timing of seemingly unexpected twists is so obviously precise, that there is never really any jeopardy attached. We know how it will end. (And who will be there at the end... no spoiler).

So, does Sam Rockwell salvage the project? Partly. I enjoyed enough of what he does onscreen that every other bit of wasted talent and trop-ish casting could be forgiven. And yes, he dances.

Poor Things (2023)

A black comedy, with one running joke

[7/10 · 28 January 2024]

This is a film that is desperately trying to tell the audience that it is not taking itself seriously. But in the process manages to convince us that it does *massively* take itself too seriously. The joke is fair enough, that being that Bella reacts and speaks hyper-literally about her surroundings, feelings and experiences without filter, presumably until she reaches that stage of development. It hits more than it misses, but teeters on the edge of predictability and tropishness.

The film's theme is simple enough, tracing the evolution of humankind, specifically womankind, in a lifetime. And we see the growth, recognition, obstacles, detours that Bella encounters. Insofar as it functions as Victorian satire, it should come as no surprise that it closely mirrors, particularly early in the film, the growth of the Frankenstein monster in the stage production co-starring Jonny Lee Miller and Benedict Cumberbatch. Thankfully, this film does move out of the motor skills learning more quickly than that production.

Which is not to say it is briskly paced. While it is at times funny. At other times, is not... (even cringily when it is supposed to be). As noted above it's not so terribly esoteric in presentation. Stages of development are clearly signposted, not much need for psychological (nor theatrical for that matter) interpretation. It's straight as an arrow. And it has good parts, but it is dreadfully slow at times. By then end, it redeems itself mostly, but you still realize you've spend every bit of two and half hours in the cinema.

Good film, worthy of a watch if for no other reason to see something out of the ordinary. But not one likely to return to again soon.

Napoleon (2023)

Plodding military history and a lifeless 'passionate' romance

[6/10 · 10 December 2023]

I would have to say that this film might be best for people who know nothing about Napoleon. Not for the liberties it takes (and those are myriad in the film), but that it is so methodical in its presentation. Starting with the narrative subtitles, explaining in broad strokes the French Revolution and identifying major players, the audience is already being told not to overly worry about subtext. And it becomes clear early on, that the intention is not to humanize Napoleon, as much as de-mythologize him, to the extent of humiliation.

What is most noticeable, as might be expected in a Ridley Scott film, is that the plodding progression is nothing more than pacing for the battle set pieces. Which, while elaborate, are not entirely convincing (particularly the naval ones). Scott has claimed no CGI was used, but only VFX, but to me it still looks more like a video game than authentic.

But the biggest negative has to be the attempt at a dramatic counter to the military engagements, in the love story. Certainly an integral part of this man's story, it is undermined by the fact that, despite numerous incidents of overwrought acting in their scenes together, Joaquin Phoenix and Vanessa Kirby demonstrate zero chemistry. Zero. Quite an obstacle when the thrust of the relationship is the struggle between passion and duty.

Not an uninteresting film by any means. I have to say that I was engaged most of the time. Just not always for the right reasons. First of all, there are as many unintentionally funny moments as there are intentional ones. And interestingly, perhaps midway through the film, I started noticing a Kubrick-esque style of light/dark lighting of scenes, a la 'Barry Lyndon'. Nothing more to add to that, just to say that as the mind wandered from the plot, I inadvertently found technical points of interest.

Léon: The Professional (1994)

Neither here nor there

[5/10 · 6 November 2023]

Revisiting this film nearly 30 years after the first viewing, it's clear time hasn't been kind. All I could think was how much better this film *could* have been, with improvements on a couple fronts.

While stylistically it is impressive, it suffers by a lack of substance. Transitions and plot progressions are just too easy. I suppose the juxtaposition of gritty reality and cartoonish action is a selling point. But now more than ever it looks like a messy hodgepodge, not exactly knowing what it wants to be. And while we all enjoy a precocious kid (and Natalie Portman has shown herself to be a talented performer into adulthood), saddling her with absurd dialogue just muddies the water even more.

Jean Reno and Danny Aiello are stellar in the film. Both hit just the right tone, exuding sincerity but never quite losing a lurking sense of cynicism. Natalie Portman, as stated above, is very charismatic in her role, but probably would have been better if Mathilda were less so. But the painful part was seeing Gary Oldman again. In a career loaded with a variety of weird and wild characterizations, this one is just ridiculous. It's as if he's phoning in the crazy, the viewer can virtually see his thought process into his trop-ish mannerisms.

But ultimately, I think I was disappointed by how artistically, or intellectually, dishonest the film was. It's a Hallmark card of bourgeois sentimentality posing as avant garde cinema. It teases taboo and seeks to subvert convention, but never quite allows itself to pay off. The predictability of the plot makes (no spoiler) the resolution of the story and characters abundantly clear. It also leaves the dramatic scenes providing little or no drama, and the comedic ones no laughs. There are unintentional laughs, but I doubt that counts.

The Killer (2023)

Like sloppy Dexter with a Smiths soundtrack

[5/10 · 30 October 2023]

If you like slow-moving 'thrillers' with darkly lit fight sequences, set to the sound of Morrissey bemoaning the miseries of life, then this is the movie for you. Unfortunately, it wasn't for me. And for a number of reasons (Not a huge Smiths fan, but at least that part was tolerable).

First of all, the audience has no reason to care about the lead character. He's fastidious in preparation and philosophy, but woefully incompetent in practice. You might have thought that would engender pity, if nothing else. But the snail's pace and the all-too-convenient plot progressions (when they periodically appear) had me looking at my watch far sooner than any audience member ought have to do. I was put in mind of "The Mechanic" which also begins quite slowly. But in that film, the filmmakers had the sense to keep Charles Bronson quiet throughout the opening preparations, and not narrate his deep thoughts about life.

The existential quandary of a blundering professional killer might have worked if it had been played as parody. The running gag of the fake IDs kind of gives that feeling (after all how can someone who plans so carefully, possibly leave a trail of receipts with the names of 70s and 80s TV stars, and NOT expect to be tracked?). But there's nothing else to indicate humor. Except perhaps unintentionally. There is a ludicrous, dimly lit fight scene with may actually benefit from the audience not really seeing much of it. I suspect it would have looked even more ridiculous with good lighting.

Killers of the Flower Moon (2023)

Brilliantly crafted film of a remarkable and reprehensible period of American history

[10/10 · 22 October 2023]

Anyone who's read the book about this true story had to be thinking the same thing... how do you film a murder mystery where there is no mystery, and make it dramatic? But Scorsese has done it, in spades.

It's a film that flows at a leisurely pace yet manages to move the story ahead briskly. It might be described as a slow burn, with little in the way of grandiose set pieces. In fact, the only truly bombastic moment is delivered off screen. Nearly all the characterizations are fantastically conceived, with DeNiro in particular, delivering a masterful performance. Lily Gladstone, as Mollie Burkhart, is also magnificent. In an early, less circumspect time, Mollie may have been portrayed merely as victims. But the story gives Mollie and her family a fullness and richness that only enhance the empathy from the audience.

It is quite a long film, but it never drags or bores. The person who wishes for <2 hour film, with the story tied up in a neat bow, must lack imagination or the desire for masterful film storytelling. And a lesser filmmaker could easily have provided that... in fact, even this film could reasonably have been cut by 30-45 minutes (mostly on the back end) and provided a satisfactory experience. But the film is so engrossing, the audience doesn't want it to end... at least myself and the audience I was with, didn't. To top it off, there is a unique and cleverly delivered epilogue to the story. And I would recommend staying through the end credits. No surprises or flourishes, but just a period for reflection and meditation, calling back to scene early in the film. Overall, a magnificent experience.

Fair Play (2023)

Private lives of financial parasites

[5/10 · 1 October 2023]

From trailers, the viewer knows what themes to expect from this movie. But unfortunately, a complete movie has to be about more than male fragility and office gender politics. On that surface level, it does well. There is a well paced slow burn of tension and passive-aggressiveness throughout the picture. However, there are too many insurmountable obstacles to this being a fully realized film.

First, there are arguably no sympathetic characters. We as the audience, I suspect, are meant to resonate with the two leads, but it fell flat for me. Young investment professionals on the come are just a hard pass for me (unless the story is a come-to-Jesus tale about leaving the money-grubbing life and learning to become a real person... but alas, that is not this story). I'll give credit that the filmmaker did give complexity to the main characters, their ambitions and their insecurities, particularly Emily, portraying each in less than flattering lights. But it never made me connect with them. In particular was the, what might be called Tom Cruise plot armor for Emily. Put in a challenging situation, but the wunderkind can prevail in the end. (Perhaps a better example would be the Sidney Poitier effect... having an actor carry the burden of a fantastical excellence as a representative for an entire demographic group).

The actors did grew on me as the movie progressed, but tended to lose a lot of that goodwill with some egregious overacting in later stages. Alden Ehrenreich was serviceable as Luke, in portraying emotional reactions (for most of the film, anyway). Phoebe Dynevor, as Emily, was equally appealing at first. But unfortunately, as happens all too often it seems, a Brit with a listless American accent gnaws away. (Full disclosure... I KNOW this is on me, it's the audience's responsibility to suspend disbelief... but when you know something is just off, it distracts...I think, maybe the character is not who they claim to be? Or is it just the actor? Only after I'd watched the film, I checked IMDb and confirmed).

I think there was a better film hidden away somewhere in this story. A glimpse of it may have been in a scene later in the film. A scene obliquely reminiscent of Sam Peckinpah's Straw Dogs. (Anyone familiar with the most controversial scene in that film, with Susan George, can immediately understand). It's touched upon later, almost as an afterthought, but would have been a much more interesting avenue to pursue regarding the main characters' relationship.

Don't Look Up (2021)

Death by comet would be a welcome relief if it stopped this movie

[2/10 · 27 September 2023]

I cannot understand how a film with so much talent on display is so excruciatingly bad. Well, I do know a little... the writing is mind numbingly vapid, yet thinks itself far wittier than than it actually is.

The truth is that it's taken me at least 7 or 8 tries to finish the movie. I'll try to get through, thinking it *must* get better, but only to find out it doesn't. Invariably, yet another annoying character or situation pops up, causing me to look elsewhere for entertainment.

I think the most obvious failing is that while it's ostensibly being played as societal parody, the representations are so familiarly obnoxious, it's just fatally disagreeable. There... I've completed the minimum required characters to review this dreck.

Stillwater (2021)

Engaging film, but with massive pitfalls

[6/10 · 25 September 2023]

The most conspicuous potentially problematic point of this film, the stereotypical midwestern American fish out of water story, can be forgiven. That, I would say, was reasonably well done. Matt Damon portrays a character that is supremely recognizable, with the script skillfully dancing around the touchier aspects regarding his belief systems and pointedly, his voting record. All the while, resisting the urge to dismiss his rough edges as hopelessly provincial, even so far as exposing the Marseillais' own prejudices and moral shortcomings. The growth of Damon's character is slow and believable, and creates an endearing atmosphere, particularly with the young girl, who becomes a kind of surrogate daughter, as his own is in prison.

Also of note, is the decision to make the daughter, Allison, decidedly unsympathetic in her character. Not nasty or evil, but an uneasy mixture of bourgeois entitlement and righteous non-conformist rage. It would have been easy to portray a scared young woman out of her depth, to tug at the audience's heartstrings.

Which is not to say there aren't glaring issues with the story. Without resorting to spoilers, I'd say there are at least 3 major tropes (along with a few convenient plot armors scattered about) which make appearances. For those who know, the "Help Me Make it Through the Night" scene, and the stadium scene, in particular, are where the film went off track for me, and unfortunately descended into cliché. And by the time "la cave" is resolved, it's been telegraphed so clearly, that the scene imparts virtually no jeopardy, at least in a legal sense. But of course the purpose is clearly other.

All in all, not a terrible film, but one that appears to have striven to be unique, but ultimately succumbed to some base tropes.

Travelin' Band: Creedence Clearwater Revival at the Royal Albert Hall (2022)

Great concert, not so much a documentary

[9/10 · 24 September 2023]

Clearly the intention of the filmmakers was to release concert footage of Creedence Clearwater Revival at the Royal Albert Hall. I can't attest to the full running time of the concert, but it seems as if the filmmakers also felt the need to pad out time with a fair amount of backstory for the band, as well as some candid video interviews of the band touring Europe. All this is well and good, but having the backstory of the band, without the aftermath, leaves the whole enterprise feeling a bit uneven as a documentary film.

This is not to say I necessarily wished for the whole sordid breakup and litigation to be rehashed. But it leaves the film in a kind of limbo. On the one hand, being a wonderful concert presentation, with a lot of upward trajectory of the band, but on the other and unfinished story abruptly ending on an ominous (at least to CCR fans) high note.

Well worth watching for the concert alone, even if we know the ending is bittersweet.

Young Plato (2021)

Positive message, perhaps needed more grit

[9/10 · 24 September 2023]

Quite an educational and heartwarming documentary about utilizing philosophy to change a culture of anger and violence at a primary school level.

It's well made and clearly is heartfelt in its delivery. Having young boys learn to think for themselves and apply conflict resolution techniques can certainly resonate with parents worldwide, not just Belfast.

But while the presented conflicts come primarily from backsliding boys and a pair of rambunctious cousins in particular, it becomes apparent there is an entire other, more daunting, obstacle to be tackled. Namely the parents who adhere to the old ways. It's only tangentially touched upon in the film, and clearly was omitted to maintain the positive energy of the message. But, in my opinion, confronting *that* is what would have been necessary to lift the film above an aspirational story for a new generation, to a landmark document for sea change, (a 10 star rating from me). And it can't be overlooked that for all the talk of philosophy and freethinking, they are still at a Catholic boys primary school, notably sidestepping any discussion of the culpability of religion in the matter.

Barbie (I) (2023)

Pink Rose of Cairo

[7/10 · 23 August 2023]

The absolute best thing about this movie, is that it drives *exactly* the right people up a wall. In truth, it is neither as frivolous as it outwardly appears, nor nearly as socially progressive as it wants to be. And it's certainly not as clever as it thinks it is. Supporting characters played by Kate McKinnon and Will Ferrell are basic, and frankly unnecessary. As for the humor, only a few lines land. "I'm a man without power, does that make me a woman?" was one of the few. The 2001 opening was cute. The railway joke I'd seen on social media, and thought that was good, but in the film it just felt like they were trying a little *too* hard to be clever. I appreciate it, but I just don't feel they committed enough to that tack.

On the plus side, there's never going to be a time when watching Margot Robbie is going to be a chore. She is wonderfully charming, and does a great job making the character and film work as much as it does. America Ferrera also does a great job, and has the only real scene of strident messaging to bother (those people who try hard to be bothered by such things). But, that is the point-of-view of the film, and what the filmmakers wants to portray. More power to them.

As for the "plot' such as it is, it's really just another fish-out-of-water, or even, body-switch trope, with the added metaphysical dimension of reality vs. Fantasy. Which is what put me in mind of Purple Rose of Cairo. A film with a broader, less directed, female empowerment message, but a similar contrast of harsh reality and idealized fantasy. Pink Rose of Cairo.

QT8: The First Eight (2019)

Stroking QT, Blaming Harvey

[6/10 · 11 August 2023]

I generally like Tarantino movies, some hits, some misses. And there's no question that he makes the same story over several times. But he has been a unique storyteller over that past few decades. I tend to lean more to Jackie Brown as being brilliant, Reservoir Dogs being sparsely masterful, Pulp Fiction being imaginatively constructed but generally overrated, and the rest somewhere between that and disappointing.

Ultimately, I guess, I don't know why we needed this film. Sycophantic as it may be, there is nothing particularly added to the legend, beside personal stories from actors of on-set hijinx. These range from the genuinely informative, Christof Waltz, Sam Jackson, Tim Roth... to the bland, Zoe Bell, Lucy Liu... to the hopelessly self-indulgent, Michael Madsen, Jamie Foxx.

It shamelessly slurps QT for his relaxed sets, creatively designed stories, and dedication to respecting and writing strong roles for women (though Uma is conspicuously absent from interview footage... relying on stock footage of the two in happier times). These are all admirable qualities but it all comes off as more of a DVD extra than an actual film (which, for all I know, it may have been).

It also tries to address accusations of Tarantino being derivative, as always, by leaning into the charge harder. It acknowledges, if fleetingly, the influence of Blaxploitation, Hong Kong martial arts (which frankly, we all know anyway), but doesn't delve much further. Myself, I was expecting a deeper dive into the influence of Sam Peckinpah, an undeniable cinematic forebear to Tarantino. But only a quick shot of his cinema house marquee showing two Peckinpah films starring Steve McQueen, "The Getaway' and 'Junior Bonner' even hint at any connection.

But the single most annoying part was the presentation of Harvey Weinstein. Obviously, he's an easy and well-deserved target of scorn. And certainly it had to be addressed. But it's done in a way that, let's say "over-eagerly" tries to cleanse QT of any connection to the man. Tarantino is portrayed as an angel of a man, and Weinstein is the devil, end of story. Okay, fair enough. But if the issue of their professional relationship is going to be broached, go deep with it. Being shown so superficially, it becomes an unnecessary distraction, glossing over QT's rather belated, and generally unsatisfying, admission of having known about the allegations and doing nothing, It's just an acceptable amount of tarnish for the filmmakers to allow into the love fest.

Peaky Blinders: Lock and Key (2022) Season 6, Episode 6

Weak ending to weak final season

[2/10 · 25 July 2023]

Having long since accepted that Peaky Blinders was an intriguing program, despite its over-reliance on an anachronistic soundtrack, I was disappointed to see how the series finally concludes, with a whimper not a bang.

Such a drawn out and tired final season lacked any of the vitality of the first few seasons. The writing, apart from that for select characters, Polly and Alfie in particular, was never a strong point of the show. It's reliance on the same tired (and frankly, derivative) slow motion walks through the alley, sparks and fire abounding, was to be expected. What could have been merely a signature style quickly became a cliched set piece, the dramatic equivalent of a sitcom catchphrase.

But yet, again, these sins I can forgive. They made a compelling character-driven program. One which, sadly, time and reality stripped of many of its best characters. By the end, the core of really stellar characters, Tommy, Arthur, Polly and Alfie, had been gutted. More unfortunately, they had little to replace them. Michael as an antagonist was never a serious storyline, and Mosley was little more than an evil cartoon figure. And the Joseph Kennedy clone, who never could quite decide where his accent originated? Don't get me started.

The final episode, like the final series, was slow and plodding, yet from a narrative standpoint, somehow felt annoyingly rushed. Perhaps they could have used better writing skills rather than rely on the soundtrack to drive the emotional train.

The Killing of a Chinese Bookie (1976)

If boring and artistically effete is your thing....

[4/10 · 10 July 2023]

It's not hard to understand the ethos of a John Cassavetes film. The essence of the human condition is to be found on the outskirts... in the fringes... in the moments between significant events. Where a wise person once said that life truly happens. Well, that's one way to tell a story. Unfortunately it's not a particularly interesting way to do it. What we have is essentially a 30 minute story (and I'm being generous!) strung out for 2 and a quarter hours. One would be hard pressed to pay attention to a film that actually cared about the plot, stayed in focus and didn't have the camera crammed in everyone's faces. To be fair, the last two points in particular are artistic choices.... more's the pity. And it was very likely a financial choice as well, so as to not betray its limited scope and cast.

I can recall seeing this years ago, and I'm sure (absolutely sure, in fact) that my main take away was the Paris stage production midway through the film, where the film does manage some puerile stripper titillation. I'm sure my teenage self was giddy, and completely ignored the droning tedium of the rest of the film. And even now, that scene is only one small part of agonizingly bad stage show, which gets repeated time and again. Imagine you had to watch the beginning of Ishtar repeatedly, and you get the picture.

I *get* that this is meant to be avant garde cinema. I get that Cassavetes is trying a European sensibility in an American film. But why use all the most tedious and hackneyed techniques and atmosphere? 4 stars, only for the effort to make something different... and the fond nostalgia for Azizi Johari.

Monster (2023)

Who judges whom?

[9/10 · 10 July 2023]

A very well constructed film exploring the complexity of how simple words and actions affect people in unexpected ways. Highly relatable in showing how, armed with only a superficial understanding of a person or situation, context can be manufactured to fit a particular narrative. But not only individuals, but institutions as well are put in the crosshairs. The bureaucratic value placed on appearance and propriety (perhaps more particularly in Japanese society but nevertheless universal) is also critiqued.

But the most telling point, and for me the one most central to the story, was what could have been dismissed as a throw-away line. But at its heart, the perfect example of how simple words create a life of their own. It's when the teacher, Mr. Hori, casually, and quite un-seriously, remarks in the PE class about what it is to be a man. At its core, that's what the film is about, understanding who you are as a human, and accepting it on your own terms. Confusion, misinterpretation, familial and societal expectations of how someone must be, or act, or love, can turn them into the other, the strange, the monster. And the film is overflowing with empathy for all those who become afflicted in one way or another.

If the film has one drawback, it's that the editing in the later stages of the film gets a bit loose. The time-jump and multiple perspective structure of the film works magnificently well for most of the film, but nearing the end, it does tend to drag a bit. But overall, a wonderfully engaging and skillfully produced film.

Homicide: Life on the Street: Control (1996) Season 5, Episode 9

Weak partner

[6/10 · 20 June 2023]

I've loved this show since it was first broadcast, dedicated viewer, and I regard Frank Pembleton as one of the 5 greatest TV characters of all time. That being said, I feel that this episode is one of the weaker efforts to rationalize Bayliss as a peer of Pembleton. We've always known Frank is a stellar detective. We've seen it, largely due to Andre Braugher's brilliant characterization, even through the stroke. But, we only know Bayliss as a premier detective because he's been give nearly all names in black on the board and (most importantly) Pembleton says so. Since we enter the program essentially through Bayliss' eyes, he's clearly with whom we are expected to identify, and we are sympathetic to his initial failure.

Re-watching these episodes decades later have helped me realize that the Bayliss character, for me, never really earned his level of respect, like Pembleton. Nor was he merely, as presented in numerous ways, a naive avatar of white privilege, and the carrier of several silly novelty storylines (the Hearts gambit, the Waterfront cynic, etc), but a supporting character unfortunately thrust into the forefront. It makes me appreciate Frank Pembleton, and Andre Braugher, all the more.

The Card Counter (2021)

Simple, but subversively stylized

[7/10 · 19 June 2023]

I didn't know exactly what to expect from this film, but I generally liked it for most of the time. Oscar Isaac does a fine job in presenting an understated, complex figure, balancing his skills in assessing future probability with the anguish of his disturbing past.

But on the acting front, he doesn't get a lot of support. Willem Dafoe brings his customary menace to his role, but is woefully underused. He's largely used as a stand-up bogeyman for the film to lean its expectations against. Tiffany Haddish... reads her lines. She's not terrible, but the performance is essentially just personality, without any real character development. She's there to facilitate William's quest. The same with Tye Sheridan playing the character Cirk, with a C. His place in the story is fairly straightforward, particularly in light of William's teaching about the differences in Blackjack and Poker. Not a lot is required of the actor, and he obliges by not giving much.

The story is simple, sometimes a bit too convenient, and wouldn't stand close inspection, but it's serviceable. It subverts all expectations of this kind of film (if one could categorize it exactly), which is welcome. But yet, the conclusion seems rushed, and more than a little contrived, so as to be slightly disappointing in its inelegance, considering the build up. Oscar Isaac's performance is the key positive of the film.

Marlowe (2022)

Pale imitation of the noir genre

[4/10 · 18 June 2023]

Liam Neeson is certainly a popular movie star, but he is woefully miscast in this film. He has neither the stylish wit of Bogart as Marlowe (largely due to the script), nor the aged resignation of Mitchum in his 1970's iteration of the role. But unfortunately, it's not the worst casting. While it is a kind of throwback to the 1940's to have more mature actors in roles, the two main female roles are laughably incongruent. While the archetypical femme fatale need not have great beauty or youth, they typically have tremendous presence (Barbara Stanwyck, Mary Astor). Sady, as likable a performer as she may be, Diane Kruger has none of it. By any measure, she'd have been more suitable for the role of the mother, played by Jessica Lange. Lange was absurdly too old for her character's backstory to make any sense, and her incessant scenery chewing just added insult to injury. Similarly, Colm Meaney, Alan Cumming and Danny Huston are wasted in roles that are stock versions of boring, baroque and fiendish, respectively.

The original noirs featuring Philip Marlowe from stories by Raymond Chandler, the scripts needed punching up and performances by Bogart, Mitchum, (even Powell, Gould, Garner and Montgomery) to rise above the pulpish source material. This film, not from a Chandler story, doesn't even rise to meager heights of pulp. Twenty minutes in, and already I know that I don't care about anything that's happening.

The only positive that can be stated about this film is (and even this has to be qualified, because I think they tried a bit too hard) the effort to recreate a noir-ish atmosphere. There is a lot of work with shadows and obstructed views, and the cinematography definitely held up its visual end of the film. But, as stated earlier, at a certain point that becomes excessively noticeable which, perhaps thankfully, distracts from the plot. It might be a good drinking game, to identify the attempts for conspicuously noir-ish shots, like the sunlight shining through the columns of a marble parapet or a beaded door curtain.

Robin and the 7 Hoods (1964)

5 Stars, ALL of them for Peter Falk

[5/10 · 5 June 2023]

Honestly, the only parts of this movie that are truly entertaining, are when Peter Falk takes center stage. His portrayal of gangster Guy Gisborne, rival to Sinatra's Robbo characterization of Robin Hood, is absolutely magnetic. Falk displays a new (perhaps original?) kind of movie gangster persona, one that is still supremely recognizable, even if done cartoonishly, to this day.

Beyond Falk, the movie drops precipitously. Since it's nominally a musical, the songs eat up a considerable amount of time, but few did much to hold my interest. I've heard people praise Mr. Booze, but I could have done without it. Perhaps it's a sign of the times, but the schmaltzy style of the numbers and the cornball humor typical of the Rat Pack do little to recommend the movie. I'd suggest watching Peter Falk and fast-forwarding through the music.

Baby Face Nelson (1957)

Moves apace, but lacks dynamism

[4/10 · 4 June 2023]

I suppose the audience going into films of this time that have government imprimatur or effusive praise for Federal Agencies, ought to know what they're getting. Certainly now, looking back, we can see crime films, crime bios and particularly film noir (though this film is not noir) with such official approval lack a vitality that the more mischievous ones, testing the boundaries of the Hays Code possess. This film benefitted by loosening of the code, but still remains rather constricted.

It's not that this film is necessarily inaccurate, or predictably moralistic in its simplistic portrayal of criminality, It's more that the film delivers a scrapbook of events, with a economical script of exposition. (The dialogue leading into Dillinger's demise is laughably terse). And the addition of an incessant, snappy jazz background works too hard to give the film a dynamism it hasn't earned, making it all the more unwelcome. It's like a history class that gives facts and dates, but students don't really care, waiting for a creative teacher to come and make it more compelling.

The Verdict (1946)

Greenstreet and Lorre make it worthwhile

[6/10 · 28 May 2023]

While I understand the original story "The Big Bow Mystery" is considered by some to be the first locked room murder mystery, I can't help but think the shine is off that particular apple. The story itself, without providing any spoiler, is as virtually all locked room mysteries are constructed. The only question is by whom and why. And that does provide some amount of interest, though the process of populating the story with red herrings does become laborious.

Sydney Greenstreet and Peter Lorre as a pair will always be at their apex supporting Humphrey Bogart in The Maltese Falcon, and to a lesser degree Casablanca. And Mask of Dimitrios is quite entertaining as well. This effort comes in a bit short of those, but these two uniquely talented actors are always a pleasure on screen.