#116. Smile (2022)

 

 

We're all aware that Smile is an extremely derivative movie (it's basically just the detective story from The Ring mixed with the tone and creature from It Follows), but I honestly don't mind that. Even putting aside my weakness for this brand of modern high-concept horror, the mood is pretty consistent, and Parker Finn's direction kept me on edge, so I'm willing to overlook some unoriginality.

 

Where I'm not quite as forgiving, though, is in the frustrating lack of energy and personality. The story often has a bit of a "going through the motions" vibe, to the point where you can tell that it's being adapted from a short, and the grey presentation makes the whole experience a lot blander and more forgettable than it needs to be. Like, I can understand that this is all supposed to be an allegory for trauma and regret (which is a trend that could really use some shaking up), but would it kill you to throw in a little flavour or style every once in a while? 

 

Ah well. I still found the movie pretty engrossing overall, enough so that I'm probably gonna check the sequel out at some point. I just hope that one leans a little harder on the inherent silliness of this subject matter. 

 

Grade: B

#115. Shadows and Fog (1991)

 

 

Even when you put aside the controversies, I wouldn't call myself a Woody Allen fan. Like, the guy can be kinda funny sometimes, I guess, but I mostly just find him smug and irritating. And, to me at least, his movies often seem like they're so focused on being intelligent and cultured that they don't leave much room for anything interesting or memorable. 

 

That's basically how I feel about Shadows and Fog, too. As far as I can tell, this one really only exists so that Allen can run wild with German Expressionism for 80 minutes. There's very little story (and what's there isn't nearly as interesting as it should be), the subject matter is old hat, and the large cast is completely wasted. Even most of the jokes don't really land.

 

I'll give him this much, though: the movie sure looks the part. Yeah, the angles and camera movements don't remotely resemble the films he's attempting to replicate, but the soundstage sets, hazy imagery, and black & white photography are all gorgeous, and they really go a long way in establishing the proper atmosphere. It's just a shame that this style ultimately isn't in service of much. 

 

Grade: C+

 

#114. Dragonwyck (1946)

 

 

This is one of those Gothic period melodramas, similar in story and style to Wuthering Heights and Rebecca. And, just like those two comparables, it works best when it leans into the quiet (and sometimes not so quiet) eeriness of its setting.

 

When we're trapped in this hauntingly beautiful titular castle, with its towering sets, spooky vibes, unsettling music, and creepy (is there any other kind?) turn from Vincent Price, we reach that level of dark pomp and circumstance that I find atmospherically irresistible. And the whole thing's captured with such glowing cinematography and measured pacing that it's hard to believe this was Joe Mankiewicz's first movie.

 

Well, okay, you can sometimes tell. The tone's not as consistent as I'd like, and the passage of time could've been communicated a lot better (months frequently pass out of nowhere, and minor characters [including one or two who seem kinda vital] completely vanish from the story without explanation). But while the overall execution is far from perfect, I think the scenes that focus on building character and mood mostly are.

 

Grade: B+

 

#113. Thirst (2009)

 

 

Something I like about vampire stories is that there's about a million unique directions you can take with the subject matter, and almost all of them are interesting. It can be a comedy about change, a romance about lust, a drama about guilt/mortality, or simply a thriller about bloodsucking monsters. And the wonderful thing about Thirst is that it manages to fall under every single category simultaneously.

 

Like, the ambition here is just remarkable. Every time you think the movie has locked into its genre/plot, it suddenly swerves into a completely different tonal lane. I suppose you could argue that the result is kinda messy, with a few too many strings being pulled at once, but I found it all incredibly fresh, diverse, riveting, and unpredictable, thanks especially to Park Chan-wook's lively and energetic (not to mention funny and creepy and horny) direction.

 

Shamefully, this is the first Asian film I've reviewed on this blog, and I really need to make a concerted effort to ensure that I don't go another 112 posts before watching the next one - especially if I can expect similar results.

 

Grade: A

 

#112. The Navigator (1924)

 

 

Thus far, the silent films I've covered haven't exactly rocked my world, so I thought I'd return to ol' faithful.

 

More than maybe any comic actor prior to... god, the seventies?, Buster Keaton still manages to make me laugh. It's all there in his stone face, limber body, flawless timing, and legitimately certifiable stunts. And even if his films lack the plotting and emotional depth of, say, a Chaplin movie, I think it's precisely that jokes-come-first prioritization that continues to make him so likeable and watchable (and besides, who really cares about plot in something like this?).

 

Of course, that's not to say that The Navigator is structurally flawless. It takes a little too long to get going (especially given the runtime), and much of the third act conflict with the cannibals has obviously not aged well. But everything in between - i.e. Keaton and Kathryn McGuire on the boat - is pure bliss. It's nothing but physical comedy and clever prop work, which is exactly what we came for.

 

There's also something I find especially cozy about this one. Probably has a lot to do with my love of large and largely empty settings (think The Overlook in The Shining, or the mall in Dawn of the Dead), of which this boat is a perfect example. It's grand and intimate at the same time, which adds an extra layer of warmth and comfort to the humour, in my opinion.

 

Grade: A

 

#111. The Last Detail (1973)

 

 

If you wanted to make an anti-establishment movie in the '70s (and it was pretty common practice at the time), you weren't gonna find a more perfect lead than Jack Nicholson. Everything about the guy screams anger, rebellion, and controlled insanity, so he's perfect for a script about powerless men who want to fight the system but know deep down that they never will.

 

It's a somber premise, frankly, and neither Robert Towne nor Hal Ashby shy away from this futility. But they're also willing to indulge in some beer-soaked shenanigans for the time being, with the result being an entertaining and exhausting little odyssey, one that strikes a great balance between comedy and drama (especially because, no matter how silly or stupid the antics get, you never once forget what they're doing or why they're doing it).

 

I also just love the look of this movie. It's got some great wintery atmosphere, and it makes heavy use of long takes and dissolves, all of which emphasize the length of the journey, the sluggish stupor these poor guys find themselves in, and the bleakness of their future. It's simple, straightforward, and character-rich storytelling, which is precisely how I like it. Know what I mean?

 

Grade: A+

#110. Mud (2012)

 

 

Prior Viewings: 1

 

The first time I saw this one, it mostly missed me. I don't know if that's because I fell victim to my own expectations or if I was simply hoping for a snappier story, but, either way, it didn't make much of an impression. Now that I've given it a second chance, though, I think I've fallen in love with it.

 

Mud might be quiet and tentative, but it also plays out with such subtle suspense and ambiguous character motivation that every single scene thoroughly gripped me this time around. And because Jeff Nichols examines his coming-of-age themes and ideas through subdued interactions, isolated settings, uneasy atmospheres, and beautiful imagery, it results in a take on love and its complexities that's as poignant and thrilling as it is heartfelt.

 

If you, like me, didn't have much of a reaction to this one after a single viewing, I'd highly recommend a rewatch. Once I knew what tone and pace to anticipate, I couldn't get enough of the way everything gradually unfolded, and felt as though I could've watched these characters in this setting forever. 

 

Grade: A+