It has been a little while since I have posted anything here, so I think it is only fair we have a little catch up before I jump back into doing this on a more regular basis. By that I mean I am going to tell you what films I have been watching since I last posted. And as I sit down to write this, I realised I have seen more films in the last month than I had suspected, so you best strap in because this is going to be a bit of a longer one.
Spider-Man: No Way Home (2021) – Jon Watts
The film that has taken the world by storm. The fact that I managed to avoid any kind of spoilers for this film is some sort of minor miracle. And before any of you jump on me, I did enjoy this film quite a bit. But I do not think it is a masterpiece by any stretch. It is a lot of fun and I would be lying if I said that I wasn’t swept up in all that Sam Raimi nostalgia. But, at the end of the day, it is a modern Marvel film, and I am just not the biggest fan of that formula. It has some great moments, and I did have fun, but it also suffers from the same flaws that all these Marvel films do.
Belfast (2021) – Kenneth Branagh
One of the favourites for the Oscars this year and I can see why. It is a film that is right up the Academy’s street, a heartfelt period piece with a renowned director at the helm. This shouldn’t be seen as a criticism of the film, and I in fact very much enjoyed it. Again, it isn’t a masterpiece at all, but it is filled with great performances, an engaging story, and some really wonderful cinematography. But most of all I just had a big beaming smile on my face through most of the runtime. I was thoroughly charmed by it, and while it is not my favourite of the best picture nominations, I would not be upset should it win.
Nightmare Alley (2021) – Guillermo del Toro
This one just so happens to be my favourite of the best picture nominations. This is a film of two halves, but each half is equally engaging and wonderfully crafted. The first half really plays in to the del Toro-isms we are used to, the brilliantly weird designs, the sympathy towards the ‘monstrous’, etc. The second half goes much more into the film noir and, although maintaining a clear visual style, does step more into standard genre conventions then the first half. It is a film that is wonderfully crafted through its visuals and performances and keeps you on the edge of your seat from start to finish.
The Grudge (2004) – Takashi Shimizu
This remake did not commit the cardinal sin that many remakes do in that it doesn’t bastardise the original. On the other hand, it does bastardise the idea of a horror film in that it just isn’t scary. It is a weird one because it isn’t terrible, but there is nothing that got me gripped either. Perhaps my overwhelming love of the original overshadows this, but it is mostly just a bit forgettable and not worth the time.
Parallel Mothers (2021) – Pedro Almodovar
This was my first time with Almodovar so I have no comparison to his back catalogue, but I enjoyed this, even though my opinion on it has become slightly more negative since my initial opinion. It is beautifully shot and has a wonderful central performance from Penelope Cruz. It manages to keep the intrigue and emotion high and has an ending that really struck a chord with several audience members who I saw it with, but it also really struggles with keeping a focus on its narrative and feels like it has two full stories going on at once which never blend together in a satisfying way.
Saw (2003) and Saw (2004) – James Wan
I have clumped both the short film and the feature length together as the short film is just the best scene from the feature length film. If I had seen this as a teenager when I was first getting into horror, I think I would have loved it. I also came into it knowing all the twists and turns so the main draw of the film could never grip me. Still, it had some fun moments, and I loved the frenetic editing style. Some of the acting is hugely over the top, but it was never overly distracting. Pretty okay, although doesn't make me want to rush out to see the rest of them.
The Souvenir (2019) – Joanna Hogg
I watched this in preparation of my viewing of Part 2 which was released recently. I could have definitely done with watching this under better conditions, mainly not starting it past 10pm when I'm already tired. The film is happy to take its time and this, along with my tiredness going in, didn't make I feel very long. But it is wonderfully shot with every frame being beautifully crafted, and the acting is also wonderful, managing to create a real sense of realism. I would definitely come back to it, and it was definitely worth a view before getting into Part 2.
The Souvenir : Part II (2021) – Joanna Hogg
I thought this was just wonderful. It takes everything great about part one and elevates it. It is beautifully shot and acted in a way that feels more like a documentary than narrative film. I am a sucker for films about making films and so this worked wonders for me, whilst also elevating Part 1. There is also a sequence that delves into the surreal which is exquisite in both its design and cinematography. It does give the film a different dynamic from the rest of it but it really works. I loved it.
The Eyes of Tammy Faye (2021) – Michael Showalter
Solid if not great. Unspectacular in terms of direction, editing, and cinematography, but with two really entertaining lead performances from Andrew Garfield and Jessica Chastain. Chastain in particular just throws herself into the performance and completely nails it, so much so that it may be worth seeing the film just to see her performance. Glad to have seen it but I don't see myself returning to it.
The Girl Who Leapt Through Time (2006) – Mamoru Hosoda
Was going to give these 3 and a half stars on Letterboxd originally but the last twenty minutes earned it an extra half star. Full of charm and heart, and having a time travel precise that doesn't become overly convoluted (although it does fall into some traps narratively). My main take away is the animation of the environments throughout which are just beautiful. My first step on my Hosoda journey and I'm bought in.
Jules et Jim (1962) – Francois Truffaut
It had been a long time since I had seen a French New Wave film and that style sacked me in the face very early doors. There is a lot to really like, not least the overall style which is what kept me gripped. But I feel it doesn't stick in the narrative or emotional department, which admittedly may not be what Truffaut was going for, but it does mean I could never get truly invested.
Casablanca (1942) – Michael Curtiz
What can I possibly say about this film that hasn’t already been said a million times? This is a true classic of cinema, and I am not going to be coming with you with any out-there opinions, I also adore it. It is wonderfully shot and performed, but its real strong aspect is the screenplay which is truly brilliant. Of course, it is filled with so many quotes that have been adopted into pop culture, but it remains funny and contemporary despite it coming up to its 80th anniversary.
Belle (2021) – Mamoru Hosoda
In terms of visuals, I can have no complaints with this, especially when it comes to scale. It balances the huge scale of the digital world with the much smaller real world well visually, and the contrasting visual styles help to both differentiate each world while remaining beautifully animated. However, narratively the film doesn't balance its scale well at all and is in fact a little all over the place. It really works when it is focusing on the character relationships in the real world and the stakes aren't so high, although they feel high for our teen characters. But the film delves into much heavier subject matter, which is fine, but it doesn't tackle it well and it all feels very rushed, not allowing me to buy in and get emotionally invested. It may be one that I appreciate more later down the line, but for now it remains a visually stunning mess.
Death on the Nile (2022) – Kenneth Branagh
This was a film that washed over me. It isn’t horrendous in any sense, but it isn’t great in any sense. Everything is just about serviceable, but the issue is the main mystery is just not gripping in the slightest and I was not bought in at all. It is a film that is demonstrably fine and not much more.
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