Screening Season in Los Angeles - Round 2

by Eurocheese

can we have father and son Skarsgård nominations, please?

In Round One (in case you missed it) I shared thoughts on One Battle After Another, Train Dreams, Blue Moon, Hedda and more. Here are a few thoughts on ten more films, ranked by personal preference...

Sentimental Value – A+.
Joachim Trier has solidified himself as one of our most deft storytellers, and his portrait here of a family struggling to reconnect particularly touched a nerve in addressing haunting tragedy reverberating through generations. All four central performances are given moments to shine, though it is perhaps the quietest among them, Inga Ibsdotter Lilleaas’s portrayal of the youngest daughter that stands out most (on first viewing). I'm looking forward to revisiting this film for years to come.

Frankenstein – A
This film completely took me off guard, considering early word was so dismissive of it. Watching Del Toro paint a loving tribute to his childhood monster-loving roots with the finest sets, costumes, score and cinematography was one of the highlights of my screening season. Are there times when the script lingers too long? Sure, but it’s a small complaint when the film is a feast for the senses. I also would never have guessed Jacob Elordi’s initially muted creature would be one of the most delicately drawn portrayals of recent years, though in retrospect, of course Del Toro’s love for the character shines through. See this on the biggest screen possible.

Pillion – A
Who knew we needed a BDSM rom com? This film does not shy away from sexuality (though Alexander Skarsgård has teased a less “family friendly” version of the film exists) as its central pair find their limits and reset their boundaries. Relationships are a compromise, and while many of us do not directly relate to these scenarios, watching these two men learn about their own needs as they attempt to adapt to one another speaks to universal themes of allowing someone else into our worlds. I would love to see Skarsgård father and son Oscar nominations in Supporting Actor this year, but that’s wishful thinking given the material.

 

Nouvelle Vague – B+
Richard Linklater’s second film in the race this year (after his excellent Blue Moon) is a treat for cinephiles. In this celebration of the French New Wave, the charismatic but irritating Godard finds his directorial footing with his masterpiece Breathless. Linklater's recounting makes it abundantly clear why working with Godard must have been a challenge. Zoey Deutch stands out as the hilariously frustrated Jean Seberg, who has little patience for what will become the signature role of her career; the push and pull between director and actress is always engaging. Between a slew of enjoyable cameos and a winking charm that captures its protagonist’s spirit, this film is a fun escape.

Kiss of the Spider Woman – B
The 1985 Oscar winning performance from William Hurt has not aged well, but watching a modern take on this material in an age where fascism is attempting to resurface gave it more resonance than I ever had with the original. The slick musical numbers are a fun throwback, though the camp escapism is perhaps a touch too glossy. Jennifer Lopez is vibrant, Diego Luna brings heft, but it’s Tonatiuh who announces himself as a major talent. Count this among the LGBTQ+ films this year worth checking out that are unlikely to find awards love (I’d also name Plainclothes and Twinless in this category).

Wicked: For Good – B.
Just like the stage musical, the second half of the Wicked saga is less joyful, though ultimately satisfying. Cynthia Erivo fleshes out Elphaba’s frustrations, though her excellent rendition of “No Good Deed” has no chance of hitting the emotional climax experienced in “Defying Gravity.” The more interesting arc belongs to Glinda, though Ariana Grande’s strong work s less surprising after she nailed every tone perfectly in the first act (an extremely difficult task, both in acting and singing, which she made look easy). The two new songs feel appropriate, and the film is most successful when it focuses on the two women and a swoon-worthy Jonathan Bailey. A step down, but still a step worth taking.

Bugonia – C.
The tonal inconsistency of this film, bouncing between engaging dark comedy, truly grim plot points and B-movie campy elements, ultimately leaves a sour taste. There is no question Emma Stone and Jesse Plemons are game for whatever Lanthimos throws at them, and for many viewers that will be worth the price of admission. Nevertheless I appreciate the big swing.

The Secret Agent – C.
The first two acts of this film are meandering, building up ongoing backstory and dragging at several points. There is a sense that tension should be building, but the film’s length weighs down these attempts. Then the third act comes and surprisingly, there is significant payoff. Could editing have turned this into a sharp, taut thriller? I think so. Maura has charm but it’s not enough to counter the film’s delayed impact. Ultimately this is a mixed bag – I might rewatch the excellent final act but doubt I’ll ever revisit the whole film.

The Testament of Ann Lee – D.
Director Mona Fastvold and co-writer Brady Corbet share similar elements in their films: impressive production, given their limited budgets; cold, hard looks at tragic situations for their protagonists; and attempts to dictate emotion with extreme circumstances, hoping to force the audience to feel empathy. Both here and in The Brutalist, the attempt doesn't land for me. Seyfried, like Brody, plays the emotional depths to the best of her ability, but the film keeps her at an arm’s length, never allowing Ann to peek out from behind her religious fervor for self-reflection. I expect fans of The Brutalist will find this material compelling; I found it even harder to emotionally connect. (Also, can I ask why we are torturing so many of our leading ladies in storylines this year?)

Springsteen: Deliver Me from Nowhere – F.
Over the years I have become increasingly frustrated with the lack of ambition in awards bait musical biopics. Here is a film which perfectly distills those issues. The by-the-numbers romance, the failure to celebrate the art we are supposed to be enjoying and the general plodding of the script – Springsteen deserved more. The performances are perfectly fine and aren’t the issue. Give me a dozen Ann Lees or Bugonias that don’t work for me over the apathy on display here. This is a rare instance where I had no desire to look up more about the artist or their music once the credits rolled.