#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.

 

#15. Detachment (2011)

 

 

The whole "radical teacher makes a difference at some ghetto school" formula got stale decades ago (if it was ever interesting to begin with), so, at the very least, I admire Tony Kaye's dedication to making Detachment look and feel as fresh as possible. This movie's got documentary-style interviews, sexually explicit dialogue, flashback imagery, chalkboard animation, and an ungodly bleak tone. It's unique, I'll give it that much. But does it actually work?

 

I guess sometimes it does. For the most part, I was invested in these miserable characters and their miserable lives (the strength of the cast definitely helps), and the gritty cinematography certainly fits the intended mood. But these elements are largely undercut by stock supporting characters, forced editing choices, and downright cringe-worthy POV shots. Plus, as compelling as this depressing tone might be, the movie's overall lack of subtlety pushes us dangerously close to "misery porn" territory.

 

Still, the emotions hit more often than they miss. I just think they would've hit even harder if everything else wasn't so gimmick-heavy, on-the-nose, and borderline aimless. 

 

Grade: B-

 

#14. Mr. Deeds Goes to Town (1936)

 

 

You can call the Frank Capra formula corny all you want. You can tell me that his penchant for gooey sentimentality and easily-consumed messages is both shallow and manipulative, and that his stories in no way reflect the harshness of reality. I don't care. As someone who craves a little heavy-handed optimism once in a while, it almost always works on me. And Mr. Deeds Goes to Town is no exception.

 

I'm not sure that I'd rank this one among the true Capra elite (which, to my taste, is Mr. Smith Goes to Washington and It's a Wonderful Life), partly because I'm not completely sold on Gary Cooper in this kind of role and partly because the emotional core isn't quite as strong (though that's a ridiculously high bar), but it's nevertheless a timeless and wonderful romantic comedy, bolstered by its sincerity, its playful attitude, and an extremely likeable performance from Jean Arthur.

 

Plus, I dunno, I guess I'm just a sucker for Capra's belief that one person really can make a difference. That's a message that'll always resonate, even if none of our real-life billionaires seem to agree.

 

Grade: A

 

#13. Torso (1973)

 

 

A.K.A. Carnal Violence

 

Prior Viewings: 1

 

This was the first true giallo film I ever saw, and I can remember not quite knowing what to make of it. In hindsight, it's clear that I lacked a frame of reference. So I was curious to see if a revisit would improve my perception now that I've come to adore this subgenre as much as I do. 

 

The answer, you won't be surprised to discover, was a pretty emphatic yes. All the mystery and horror stuff was appealing to me from the word go, but I was much more equipped to embrace the foreign flavour and general pulpiness this time around. And while I remember thinking that the movie loses a lot of steam once those four college girls take shelter at the villa, this rewatch made me realize that I was likely just being impatient; the third act might be stripped-down and more deliberately-paced, but that's what allows it to be so intimate and suspenseful. 

 

To date, Torso is still the only Sergio Martino movie I've seen, and that really needs to change at some point. Not only is this a great piece of debaucherous entertainment, it's also beautiful to look at, stylishly pieced together, far more efficient than my memory led me to believe, and actually somewhat groundbreaking in its proto-slasher sensibilities.

 

Grade: A

 

#12. Indecent Proposal (1993)

 

 

Our first Razzie winner, Indecent Proposal caught a lot of flak for being contrived and implausible and emotionally over-the-top, but I was honestly fine with those elements. If anything, I wish they were more prominent. That stuff is why we're here. My problem is that, once you put them aside, you start to notice how little else there is to cling to. 

 

In particular, the overall story arc is just far too obvious. Scene for scene, it plays out in the exact way you would expect it to, from the initial hesitancy to the growing jealousy to the temporary separation. There just aren't any surprises here, which isn't good in a movie that wants to be seen as risqué and dangerous. And while the leads do provide some damage control (especially Redford, who turns this rich monster into someone strangely sympathetic, and Moore, who's really giving this her all), their talents and efforts only further illuminate the weaknesses in the writing.

 

This is a competent and watchable movie, and I'd argue that it's not quite as bad as its reputation would suggest, but it's also too flavourless and underdeveloped to work for me in any meaningful way. 

 

Grade: C+

 

#11. The Cell (2000)

 

 

The critical reception for this one has always been fiercely divided, and I can now understand why. It's got a lot of cool concepts, from creating visual environments out of psychological theories to the notion of literally going inside the mind of a killer. But I guess my main issue here is that the movie never really makes any effort to actually capitalize on these ideas.

 

Like, I have no problem with abstract storytelling, but there is a difference between abstraction and laziness. And when, for instance, the killer's backstory basically boils down to "he was abused as a child", I'd say that we're veering closer and closer to the latter. Plus, it doesn't help that the real-world elements are so tropey (the cop is an insomniac who cares too much about his job and the criminal is a socially awkward weirdo who keeps women in his basement) that I otherwise feel like I'm watching an episode of Criminal Minds. 

 

Still, there's nothing wrong with Criminal Minds, and many of the ideas and visuals presented here really are quite neat (when they aren't too overwrought). I think this is a decent movie, and even occasionally a creative one, but I can't help but feel as though it's also a bit of a missed opportunity.

 

Grade: B-