Dotty lives in a rest home and needs some help using her phone. Take ten minutes and watch this touching film from New Zealanders Mick Andrews and Brett O’Gorman. It’s one of the best shorts I’ve seen lately: one perfect scene, that is also a complete story.
- The cast. Kidman, Fanning, Dunst, Farrell & the young ‘uns too. Everyone’s good. No weak links.
- It’s dark. The rural south, losing the war & suspended in a timeless, perpetual dusk.
- It’s quiet. Shhhhh. (A salve for the headache BABY DRIVER gave me)
- It’s squarish. 1.66 aspect ratio. Perfect for this film.
- Virtually no musical score. The girls sing a bit. One plays a violin. In other moments: distant cannons, like drums.
- The restraint. This film is 9/10ths delicious anticipation. Often funny; flirting with horror.
- It’s short. 94 minutes TRT! The End.
- Given COLOSSAL’s fun premise, the film that unfolds is not quite the romp you might expect.
- COLOSSAL puts Kaiju monsters & indie-film slackers into a genre blender. Like many smoothies the result is a bit lumpy & faintly sour
- The lumps: Characters poorly defined. Plot threads meander. Some end abruptly and add little. Even the monster origin story is half-baked.
- The sour: characters aren’t typical indiefilm losers. Not clever/charismatic enough. The range is more like “pathetic” to “pathological”
- Premise pulls you through the rough patches, even as COLOSSAL turns darker. One scene evokes mass carnage without showing a drop of blood.
- And as stakes rise, COLOSSAL rallies. The film deploys its cleverest notion near the end, delivering a satisfying resolution.
- LIFE is not a bad movie, but it’s a B-movie. #LIFEmovie #rental
- So yeah, if you liked the trailer that’s what the movie is. No more, no less.
- There IS a long, lovely single-take intro that’s maybe the best zero-g scene ever in a space movie
- There’s also a major action scene toward the end that just doesn’t work very well, IMO
- But there’s tension/suspense, gross-outs & scares. Things zip along in a 10-little-Indians way that can’t help but remind you of ALIEN.
- The ending (SPOILER!) reminded me of the ’70s when big studio pictures more often than not went “tails” at the end instead of “heads”
I’ve kept an annual list of films, TV and books every year since 2014. This year I’m going to add a ranked list of my favorite films of 2016 as well. My list is better than all the other “top 10” lists, because… mine goes to eleven.
1. Hell Or High Water
2. Manchester By The Sea
5. American Honey
6. Certain Women
8. Toni Erdmann
9. Don’t Think Twice
The above ranking obviously doesn’t include pictures I haven’t seen yet, and that’s a list of its own that includes THE HANDMAIDEN, SILENCE, SING STREET, PATERSON, HIDDEN FIGURES, FENCES, and JACKIE. I’m working on it.
Below is a complete list of everything I saw in 2016. As always, the list only reflects things seen for the very first time. If I came across JAWS or GROUNDHOG DAY or YOU’VE GOT MAIL already in progress on TV and sat there like a zombie through ’til the end, well, that’s not considered worthy of note. What is worthy of note: ZOOLANDER 2 is so very, very bad it makes you feel stupid for having liked the first one. THE LOBSTER is the other movie I regret having made the effort to go see in the theater. I’ll give it points for originality, I guess. Then I’ll take those points back for being a miserable, cruel, misbegotten thing.
Linked titles will take you to either my review or more information on a particular film.
MOVIES ON THE BIG SCREEN
My Name Is Doris
Don’t Think Twice
Eat That Question: Frank Zappa in His Own Words
Star Trek Beyond
Absolutely Fabulous: The Movie
Pete’s Dragon (2016)
Hell Or High Water
20th Century Women
MOVIES ON THE SMALL SCREEN
What We Do In The Shadows
Amira & Sam
Captain America: The First Avenger
Shaun The Sheep Movie
The Libeled Lady
Captain America: The Winter Soldier
Jeanne Dielman, 23 Commerce Quay, 1080 Brussels
Lassie Come Home
The Shop Around The Corner
Swiss Army Man
The Mindy Project
Odd Mom Out
Mike Birbiglia: My Girlfriend’s Boyfriend
The Good Place
Game of Thrones
BOOKS and OTHER READING
Devotion – Dani Shapiro
60 or so screenplays for the Austin Film Festival competition
- Obviously ZOOTOPIA is allegory for race/crime issues that are very top-of-mind in America right now.
- Gutsy to take on this theme in a “kids’ movie.” If this film is even that.
- I squirmed during the confrontation after Judy’s speech; Nick (the fox) leaning in: “are you afraid of me?”
- If you haven’t seen it, here’s the scene. It’s kind of amazing: https://www.youtube.com/watch?v=AbbdW4wVo6o
- So yeah, prejudice… But, using animals to tell the story puts a whole ‘nother layer on ZOOTOPIA, doesn’t it?
- Just kind of astonishing seeing a Disney movie using talking animals to take on nature red in tooth and claw.
- Here’s a global media empire built largely on drawing cute animals that act like people. Imagery so commonplace in our culture we hardly think about it.
- And now they make a movie that says, “think about it.”
- “Think how we sentimentalize animals, and how that insulates us from the natural world.”
- “Also: think about what they eat. And what you eat.”
- Apparently everyone in ZOOTOPIA lives on berries, ice cream, and donuts. There must be a lot of hungry, malnourished lions and bears there.
- ZOOTOPIA doesn’t address the topic of vegetarianism overtly. in fact, they carefully avoid the issue. But it’s there.
Star Trek, we need to talk. We’ve had a lot of good times. But we’re both in such different places now. I’ve grown. You’ve shrunk.
I never saw INTO DARKNESS. After STAR TREK (2009) I decided to save myself the aggravation. But I was one of the hopeful fans who’d heard STAR TREK BEYOND would be the course-correction the series needed. I got burned again.
Initial reports that this one “got it right” were probably based on a few quiet scenes between McCoy (Karl Urban) and Spock (Zachary Quinto). The casting has always been the best thing about these reboot movies, and indeed, here they kinda get the dynamic: Spock and McCoy bicker but underneath we can tell they respect each other. Fine. The bar is pretty low if we’re pleased with 10 minutes of chit-chat amid two hours of frenetic nonsense.
I won’t waste anyone’s time with a plot synopsis, but BEYOND kicks off with Kirk whining into his Captain’s log that he’s basically bored (what) with the routine (WHAT) of his 5-year mission. Exploring strange new worlds and boldly going has apparently become a big drag. I wanted to slap Chris Pine. Imagine original series Shatner/Kirk expressing this. It would never have happened. Here, the reboot (or “Kelvin timeline,” if you must) gets fundamental traits of both Kirk and the franchise wrong. This scene was Star Trek putting itself on the psychiatrist couch, trying to diagnose its own malaise. It’s not you, Jim: it’s the scripts.
But J.J. Abrams (director on the first two reboot pics, producer on BEYOND) has never respected the source material. He’s never treated Star Trek like anything more than a gig. He said he tried to watch the original series but “couldn’t get into it.” So he ripped it to shreds and picked out the bits that looked shiny to him. The end result is some kind of assemblage that only vaguely resembles Trek. In this metaphor I think Abrams is either some kind of primitive folk artist or maybe a crow.
But if you like movies made by crows, there’s plenty of shiny bits here to keep you busy. Kirk rides a motorcycle! The Enterprise gets smashed (again), and then the crew blows up the bad guys with an old Beastie Boys tape! Neat! And director Justin Lin never, ever, ever stops moving the camera.
In a rare quiet moment near the end of the film, Spock pulls out a picture of the original cast (from WRATH OF KHAN, I believe) and silently gazes upon it. More soul-searching, maybe: “where did we go wrong?”
Star Trek, I came back to you. I thought you’d changed. I thought maybe it could be like it was before, when we were both younger. But I got hurt again. So this is goodbye.
At least until May, when Discovery debuts.