Fri Dec 07 2018 17:34 November Film Roundup:
- Attack the Block (2011): Good action, cool alien effects, lots of fun in a "simple sci-fi action film" way. The plot is something you'd see in the 80s, right? Or even the 50s. But nobody did it this way before.
- No Country For Old Men (2007): This was good but was it Best Picture good? I'd have given the 2007 Oscar nod to Hot Fuzz, so I'm clearly not Academy material. I did like the way this film ignored the sunk cost fallacy, killing characters off regardless of how much time had been spent exploring their psychologies. Very Psycho.
The obvious symbolism is that Javier Bardem's character represents Death, but I like to think of him as representing Entropy instead. Try it out!
- True Grit (2010): One of the things I love in stories, which the Coens do really well (but sometimes choose not to do, see below), is showing someone who isn't "supposed to" be in this kind of story. Either because Hollywood stereotypes say this isn't their story (Marge Gunderson) or because they're actually unqualified (the Dude). This film starts out real strong in that area, and then not so much. The first half-hour would have been a great addition to The Ballad of Buster Scruggs (again, see below). Then do a Greed-style title card and cut most of the rest.
- Infinite Football (2018): We thought this would be "17776: The Movie", but it ain't. It's not even a meditation on what "rules" are, because the bureaucracy scenes don't show the rules of bureaucracy, such as they are, in action. Sumana compared this film to The Peacemaker because it's about a guy who's really devoted to one project and lets a filmmaker get very intimate showing its effect on his life. Overall, a cut above the average meandering Eastern-European documentary.
Also, apparently in Romania the sport called "football" is slightly different? More like soccer. Who knew?
- The Ballad of Buster Scruggs (2018): Loved the titular segment. So corny. Also really liked "The Gal Who Got Rattled" but felt ripped off by the ending in a way that this non-hand-wringing roundtable gets at pretty well. All these stories are taking place during an enormous heist/misunderstanding/murder spree/clusterfuck that's like every Coen Brothers movie happening simultaneously, and although the Coens are aware of this and certainly not celebrating it, they're also not giving it the treatment they'd give a convenience store robbery.
- Mama Mia: Here We Go Again (2018): Seen on a plane. A great movie to see on a plane. The 'Waterloo' segment is fab, everything else a welcome distraction from the tedium of plane travel. To answer the implicit question I had while this movie was in theaters, the dozens of people on the poster aren't new characters, they're flashback versions of the people from the first movie, like in Dongal. They're all my friends now... my plane friends... whenever I'm on a plane, I can count on them. Sorry, I fell asleep. I have a hard time falling asleep on a plane, but an easy time when thinking about being on a plane. It's my curse.
Everyone who dies should be able to return for one last musical number.
- F For Fake (1973): Like Italianamerican and Daguerreotypes, this is one of those films that would be a Youtube video today. Actually it reminds me of Tony Zhou's Every Frame a Painting, which might would explain why Every Frame a Painting mentions it so often. Like with The Third Man, there's a piece of metadata about this film that will be a major spoiler if you notice it. But I was still along for the ride. I enjoy Orson Welles as a safely dead blowhard, his talent and his ego forever locked in a giant squid/sperm whale deathmatch.
- Inquiring Nuns (1968): The nuns are back! The film was remastered and this time I took Sumana, who loved it. To add a bit of thought to my previous review, all interview subjects are putting on an act to some extent. The highly artificial setup of these particular interviews forces people into their acts, but the nuns are serious in trying to get behind the acts. One guy in the art museum starts off sarcastic and one of the nuns asks "Is that a sincere answer?" and gets him to open up.
Director Gordon Quinn was present at the screening and mentioned that the nuns are still alive, although neither remains a nun. One married a former priest who first saw her in Inquiring Nuns! Both women found making the film a positive experience and one of them has done Q&A at screenings. Sumana asked: when Quinn was performing meta-interviews to find the nuns to use in the film, what was he looking for? "Good listeners."
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