I loved this movie. It’s a basic courtroom drama except if revels in the ambiguity that most crime films use as catharsis. No catharsis here! The performances are amazing by everyone.
Grade: A-
Talk to Me (2023)
It’s really good but too much for me. I almost had to tap out a couple times. I guess that makes it effective.
Being home with my Mom means watching lots of movies. She normally doesn’t like what I pick and I don’t like what she picks. So far it’s been…
Everything Everywhere All At Once- figured this to be a slam dunk. I cried. My mother complained about the subtitles and it being weird.
Blood Father (picked by my mother) - She liked it. I didn’t think it was exactly bad but it was a pretty predictable, formulaic movie that took no chances. Mel Gibson was the lone positive of the movie.
Trainspotting - Again, figure this is gonna be a hit. My mother found it hard to follow what they were saying due to their accents and thought it dragged on. I sort of agree with the latter point but the movie isn’t a typical beginning-middle-end plot. It’s a darkened slice-of-life film about drug addiction in Scotland.
Whiplash - Another film I thought crushed it. My mother seems to like it but was totally put off by the meanness of the instructor. Ummmm… that’s kind of the point of him. He’s supposed to be aggressive and borderline psychopathic. If you hate him, then he’s doing a good job acting.
In short, my mother does not have great taste in movies and seem to dislike anything that deviates from predictable formulas.
I think the performances far outweigh the narrative. At its core, its no different than a win at all costs sports movie except the coach doesnt have a heart of gold and is essentially a man full of paychopathic drive, that ends with a fairly ambiguous “what the hell did we learn” ending.
But its one of Simmons’ strongest ever characters, so its tough to not enjoy it if you go in looking for a great actor killing a pretty difficult role.
I agree with your mom on Trainspotting, SUB. But then again I often have trouble with quick talking british accents in movies.
I think thats what lead so highly to my enjoyment of Banshees. I was able to just go along with the flow of the conversations that I often have quite a bit of trouble with when watching film from that part of the world.
really enjoyed once upon a time in hollywood. great extended shot of margot robbie’s bare feet in a movie theater and then another extended shot of margaret qualley’s bare feet in a car. other stuff happened i guess. i think the whole point of the movie for quentin was to film those two scenes and go back into retirement
This is pretty comprehensive since there’s only a handful I know of that I’d like to see and simply haven’t been able to get to yet due to limited rollouts that haven’t reached my city. So, for context, not considered: Zone of Interest, The Taste of Things, Fallen Leaves. I think most every other major release is reflected here either through their inclusion or exclusion.
Deciding between Oppenheimer and Killers of the Flower Moon is fairly brutal, and long-term I could see myself siding with KOTFM, but as of right now this is where I land. Both delivered at the absolute top of their expected ranges.
When I first saw Across the Spiderverse, my reaction was, “Okay yeah that was definitely good, but people are going a little over the top about this.” I watched it back since it hit Netflix, and…yeah, the people going crazy were right, not really sure why my initial reaction was more muted. Truly excellent movie.
As a person who thinks that people should obsessively guard against recency bias at all times, I kind of hate trying to confidently slot The Color Purple into anything because my viewing of it is only days old, but this is what happens when the powers that be jam half the top movies into the last six weeks of the year for awards reasons. As I posted previously, I loved it despite its issues.
If you liked Edge of Seventeen…I think Are You There, God? It’s Me, Margaret might be even better. Kelly Fremon Craig can just keep churning out coming-of-age stuff forever IMO.
Pretty impressive that John Wick Chapter 4 could notch such a high slot considering that the entire existence of the film is fruit of the poisonous tree thanks to just how aggressively stupid the ending to Chapter 3 is, but Chapter 4 ultimately proved undeniable to me.
Anatomy of a Fall is a bit of an odd one for me, because I left the theater shrugging and going, “that was okay.” And then it wore well the more I thought about it (in that way, one might call it the anti-Saltburn), and as I listened to further conversation about it I became more and more sold that it’s a really good movie. But I haven’t actually rewatched it, so I guess I don’t know exactly what I’ll think of it over time.
This was an exceedingly strong year. Just so much good stuff. Between the delayed effects of the work stoppages and the fact that 2024 won’t magically give us releases from every single great filmmaker the way that 2023 did, I certainly expect a dip in quality in the year to come, but fingers crossed that we get our share of nice surprises.
Priscilla was the bubble entry that couldn’t quite make my list. Weird to even compare it to Creed III since they have nothing in common, but there we are.
I guess I haven’t realized that the consensus put it lower than the other films in the franchise; it had the unfortunate fate of dropping a week before Barbenheimer, getting immediately forced off IMAX, and then existing in the shadow of the undeniable big two of the year, so I understand that - through really no fault of its own - its prospects for making a big cultural impact were unintentionally sabotaged to pieces.
Anyway, it definitely landed as one of my favorites, but with it being M:I, it’s not like I can point to any specific justification aside from “the action was incredible.” Like every installment after the first one, the movie is full of utter nonsense from a plot standpoint, but I was transfixed and I thought both the handcuff/car chase sequence and especially the entire final train segment were fantastic.
Obviously trying to compare crazy action movies to broad comedies to dramatic epics comes down to little more than vibes. There’s so little relative separation from 5 to 20 that it easily could have been lower, but that spot felt right to me.
Same. I actually didn’t realize until after I was done with Margaret that it was the same director, but it was an immediate reaction of, “Yup, makes sense.” Since you’ve been watching The Curse, it will also feel jarring to you to see Benny Safdie in the entirely wholesome father role he plays in this one. He’s background to Rachel McAdams (his wife in the movie), who really shines, but I liked having him in there too.
I felt like the action was sort of lacking for an MI film. The big set piece motorbike jump didnt compare to the previous films for me like the skyscraper stunt.
It’s tucked away on Starz for now, which I only really have because I bumped into a “$20 for six months” deal. I realize that’s just about the last service most people have. Hopefully it gets onto something more people have before long.
Another thing with it is that I usually scoff at the notion of “this didn’t even feel like three hours!” Even when I love a movie like the ones at the top of my list, I feel that length. M:I being 2:45 didn’t feel long to me in the slightest; as it was signing off, I honestly would have guessed there was an hour left. I realize that this is partly owing to the fact that it didn’t go into the beats of a final act the way that most movies do, but I still remember going, “Wait WTF?? It’s not actually over, is it?” And I’m pretty sure I felt it more from a length standpoint than just a “there was no ending” standpoint.
Obviously the fact that it wasn’t its own self-contained story is a ding against it, but I’d have to knock Spiderverse for that too, and ultimately I don’t find that it cut into my enjoyment too much even though I fully understand where it might for others.