Previously... I shared brief thoughts about rewatches of Big Hero, Grand Budapest, Babadook well as The Homesman and Skeleton Twins.
What came next in the home-screening adventures, you ask? Here I am to answer. I haven't had as much time as I'd hope (aint that always the case) but I've been trying to cram movies in. Here are a handful of notes on movies from the screener stack.
Credit where credit is due: For once a Clint Eastwood movie is not filmed like its sinking into an inky black void where color is a total affront to sober intent. It turns out Tom Stern can make movies that take place in reasonably well lit places. Okay, okay, let's not get carried away. It's still largely colorless but this time there is daylight though the subject matter remains brutal. I'm not sure what to make of its dead-eyed killings which aren't filmed with any rah-rah glee that you'd think would accompany the movie's conservative America is #1 conservatism. Even its one note patriotism is presented rather than, I think, fully endorsed: Chris Kyle, very well played by Bradley Cooper though there isn't much in the way of an arc, memorably refuses to engage with any criticism and is all "God, Family, & Country" in each scene. But something about its very matter-of-fact presentation and inarticulate hero wore me down after awhile despite gripping action sequences. I have no idea how Oscar might respond but my hunch is it's either full hog or both sound nominations only a la Lone Survivor.
INTO THE WOODS
Reviewed by ranking its musical numbers here. It was the second time I'd seen it having watched it on a big screen originally. Weirdly I think the cinematography, which often looked too muddy and dark on the screen works a little better on a TV. But anyway... let's hear it for Disney for a great opening weekend. It's important that musicals do well so that we get more of them! Into the Woods won not only the biggest opening weekend ever for a Broadway adaptation but the biggest of Meryl Streep's career, as well. I imagine we'll continue to talk about Into the Woods for a while -- multiple Oscar nominations coming -- so I'll let this be all for this post.
I already peed on that here but it keeps haunting me like bad trip flashbacks. Especially the dye job on Vera Farmiga who deserves better Hollywood, come on. Also that scene where RDJ is like superhero-lawyer and stops a bar fight with the power of his wily words!
ONLY LOVERS LEFT ALIVE
A love letter from Tangiers & Detroit to all of you who recommended this movie throughout the year. Though I was once the type who would rush to anything vampiric, I'll readily admit that Hollywood's overuse of the bloodsuckers finally wore me out; I've been avoiding all such movies for years now. But I should have trusted Jim Jarmusch to come at it from an entirely different angle and I don't know how I missed that it was shot by Yorick Le Saux who won my silver medal for cinematography in 2010 for I Am Love. Detroit has never looked so beautifully haunted, Tilda and Tom couldn't have been a more exotically languid well-cultured pair, its slow moods weren't trying but contemplative, and the ending was pitch-perfect delayed gratification.
A surprise. If you only listen to this movie as opposed to watching it (which is what I sometimes do when The Boyfriend is watching TV) it sounds rather like a horror movie. I'm not kidding. There are a lot of scary animalistic noises supposedly emanating from human people (not just Spall's famed grunt speak) and the score by Gary Yershon might be the creepiest outside of Under the Skin this year.
P.S. Speaking of The Boyfriend...
This time of year chez moi he watches a ton of screeners since he doesn't go to many critics screenings with me. I usually don't watch carefully (having already seen them) and drift in and out as I'm working. He is unpredictable about movies. He loved Pride and Ida (as most sane people do), thought Mr Turner was "good. well made" but clearly had no passion for it. Cried huge apartment-flooding puddles during Still Alice and Wild, and inexplicably H-A-T-E-D both Force Majeure and A Most Violent Year (what the what??? x 2). Finally, he was paying so little attention to Love is Strange that I had to make him shut it off. That wonderful movie from Ira Sachs is too delicate for half-watching. It requires your full attention or that glorious final 15 minutes just won't resonate.
Have you ever learned something new about a movie you loved by catching only pieces of it or hearing it in the background?