#22. Easter Parade (1948)

 

 

There really is something transcendental about those sweet, simple Technicolor musicals of the '40s and '50s, isn't there?

 

That's not to say that they were all great movies or anything. Frankly, even Easter Parade has its faults, primarily in its story-heavy structuring and its emphasis on a love square that I didn't find particularly compelling (or convincing, for that matter; at the movie's conclusion, I found myself wondering if Garland was actually making the right decision). But then you remember just how warm, colourful, and lively the visuals are, and these issues suddenly seem a lot more trivial.

 

Plus, I should probably touch on the main selling point, which is obviously the extravagant dance numbers. I'm not sure that any of these songs have fully achieved immortality status (though "Steppin' Out with My Baby" must come close, especially in that one shot where Astaire's moving in slow motion against a background of normal-speed backup dancers), but that doesn't really matter. What matters is that Irving Berlin's tunes are so endearing and delightful, and watching these two leads perform together is such a genuine pleasure, that the best elements of this movie are just a joy to behold. 

 

Grade: B+

 

#21. Coyote Ugly (2000)

 

 

Here's a movie that wants to be seen as trashy and salacious and at least somewhat distinctive, but the problem is that those ambitions are constantly undercut by a mind-numbingly unoriginal story. "Young woman moves to the big city in hopes of 'making it', only to realize that achieving her dream is much more difficult than she ever thought possible" is already a trite premise, but then you tack on the disapproving parent, the bland and needlessly complicated romance, and the hellish-turned-homey work setting, and you start to feel like you can connect the dots yourself. 

 

Still, it does contain a few of my guilty pleasures. The editing's pretty lively, as is the soundtrack (you can try to resist it, but you know [but you know] that "Can't Fight the Moonlight" kicks ass), and I'm a total sucker for Y2K-era fashion and culture, which this movie's got in spades. It's also really sincere and optimistic in a way that speaks to me, possibly because it seems so emblematic of the times. I'm not at all surprised to learn that Coyote Ugly has become a cult film, especially considering how upbeat it is. As close as I am to getting there, though, the formula's simply too stale for me to completely agree.

 

Grade: B-

 

#20. Crumb (1994)

 

 

By and large, documentaries aren't my thing. I'm really more of a fiction guy, at least as far as this medium is concerned (funny enough, when it comes to books, I tend to be the exact opposite). Of course, having said that, if the material interests me, I can absolutely get on board. And that was the case with Crumb. 

 

I didn't have much prior knowledge of this man or his cultural importance, but Terry Zwigoff enlightened me with an insightful and compelling portrait, one that also makes use of some careful structuring. We open with an introduction to his artistry and voice, and we then spend the next two hours learning why he has this particular voice. It's actually pretty fascinating.

 

That's not to say that I like the guy. I don't. He honestly comes off like a bit of a self-obsessed creep. But the movie isn't really asking you to like him, either. It's incredibly honest about his shortcomings, from the controversial elements in his art to the evident flaws in his personality. And yet, when we delve a little deeper into his world, and start to learn more about him, the women in his life, and especially his brothers, everything falls into place. The information is doled out rather expertly, and it makes the whole thing feel strangely relatable, which is exactly what a biographical documentary is supposed to do.

 

Grade: A-

 

P.S. This is the second movie I've watched in two days where someone admits to finding Bugs Bunny attractive. Just thought that warranted mentioning.

 

#19. From Dusk till Dawn (1996)

 

 

Prior Viewings: 1

 

The main talking point with this movie, other than the fact that it sees Quentin Tarantino at possibly his most foot-obsessed, has always been the sudden genre shift. Most viewers tend to enjoy the crime-heavy first half to some degree, with its dry, dusty settings, hostage-related suspense, and sharp dialogue (which Clooney performs the hell out of, by the way). But then this story takes an unexpected detour around the halfway mark, where it remains for the duration. It's the kind of thing you either go with or you don't.

 

I'm able to go with it. Generally speaking, I like when movies are daring enough to take sudden left turns like this. And while the back half definitely feels a little cheaper at times (which isn't helped by the janky special effects and campy performances), and you kinda get the sense that Tarantino only did it because he got bored and/or wrote himself into a corner, I think it's still an engrossing and fun time. And it helps that the stylish dialogue and interesting character developments and amusing twists are just as present as they ever were.

 

If horror really was as stagnant in the mid-90s as everyone says, something this offbeat and subversive must've been a welcome change of pace.

 

Grade: A-

 

#18. Wayne's World (1992)

 

 

Wayne's World is one of those easygoing comedies that manages to rise above its own premise and sense of humour. We've seen the "small-time protagonists fight to maintain the integrity of their project against money-hungry businessmen" setup elsewhere, and I was honestly never especially crazy about the silly catchphrases and incessant camera mugging (which I guess makes me Pralines & Dick). Despite this, though, the mood is always so light and the punchlines are otherwise so creative and versatile that the movie basically becomes its own brand of humour.

 

What keeps everything infectious, though, is the characters. Wayne and Garth might be hammy and kinda lame, but that's why we find them so endearing. And the fact that this movie actually takes the time to showcase their friendship (we see what they do in their spare time together, how they make each other laugh, how they confide in one another, etc.) that it all becomes that much sweeter and more sincere, which I think is why I'm so willing to play along with the shenanigans.

 

So I guess what I'm really trying to say is: I didn't think this movie sucked.

 

Grade: A-

 

#17. First Man (2018)

 

 

It can't be easy to make an effective and compelling drama out of something we've read about in history books our whole lives. First Man, like a lot of biopics, certainly has its share of checklist moments, but it's generally more subtle and personal than that. It gets to the heart of its subject in a way that feels characteristic: a cold and reserved portrait of a cold and reserved person.

 

Watching the movie, you can understand why this man might want to take on such a scary and isolating mission, and why his achievements always come with a sense of melancholy. More than a space movie, this is really a story about grief, and about the lengths we'll go to suppress it, even if that means leaving the planet. Gosling expresses this feeling wonderfully (if you've seen Drive or Blade Runner 2049, you already knew he was born to play characters who struggle to emote), and Damien Chazelle captures it all with quiet insight and thrilling spectacle. 

 

Plus, as expected as the climax might be (spoilers: they go to the moon), its presentation is so awe-inspiring and tender that I was riveted anyway. 

 

Grade: A-

 

#16. Two for the Road (1967)

 

 

It's frustrating reviewing something like Two for the Road because I can absolutely see the positives here. This movie has wit and complexity and intelligence and a fantastic performance from Audrey Hepburn. And yet my praise can only go so far, because I wasn't particularly moved by any of it.

 

My main issue is the central relationship. I just can't find much chemistry or warmth in this couple. And while I can acknowledge that romcoms don't have to be sunshine and rainbows in order to be successful, this one veers a little too far in the other direction for my liking, to the point where you start to wonder what these two even see in one another. When that happens (especially in a way that doesn't feel intentional), it can make for both a dour comedy and a tedious drama. 

 

And then there's the non-linear storytelling. I really want to praise this aspect, as it's both creative and often quite funny, but I think it ultimately does more harm than good. The narrative bounces around so frequently and arbitrarily that any sense of growth or progression is mostly lost. Maybe that's the point (relationships often stagnate, after all), but it only served to exacerbate my apathy.

 

Grade: C+

 

P.S. Another possible explanation for my not being a fan: Albert Finney's voice was like nails on a chalkboard to me. Can't say this was a familiar occurrence; I've never had a problem with the guy before. But I thought he was genuinely insufferable here.