The Souvenir


2019 autobiographical drama

Rating: 12/20

Plot: An aspiring filmmaker gets a new boyfriend, but he's got some problems.

Were both of these characters supposed to be unlikable? It certainly seemed that way even though one of them is based on the writer/director as this is autobiographical.

Maybe this says more about me than it does Joanna Hogg or the characters or the movie, but I just couldn't connect to these characters or their story. It felt like the movie was making an effort to keep itself at a distance.

The guy had a nice suit and sock game. I'll give him that.

Raven's End


1963 drama

Rating: 16/20

Plot: A writer struggles with getting published while dealing with relationship issues and his parents.

This was one of Bergman's favorite movies.

Two quotes stood out to me:

1) "The brighter the light, the clearer you see the scum."
2) "The napkin is the only thing that separates man from the carnivorous animals."

I suspect there were some subtitle issues with the version of this that I watched, and I'd like to see it again.

A startling conclusion. I wasn't sure how I was supposed to feel. There was a crossroads moment that reminded me of a pair of crossroads moments in my own life, and I was conflicted.

I can't write anymore. I have a few more of these to get finished before 2019 is over.

Amazing Grace


2019 concert video

Rating: 15/20

Plot: Aretha Franklin sings some gospel songs at a church.

1) The introduction has Aretha's friend James Cleveland introducing her as a woman who could sing "3 Blind Mice" and make it good. By the end of this, I was really disappointed that I didn't get to hear her rendition of that one.

2) I have no real interest in Aretha Franklin, but I figured I'd watch this after seeing Obama's list of favorite movies of the year and realizing how much I missed having a real president. Watching Amazing Grace became an anti-Trump act, so I put it on and played it fucking loud! I kind of figured I might do some other things while it was on, but I was transfixed the second she opened her mouth and started making words happen.

3) And moved. It's too bad the titular gospel song appears at the end of the first of two nights because the movie peaked then and nothing on the second night matched it. Watching the response of the crowd, the choir behind her, and James Cleveland made me weep. But as Cleveland said, "If I seem a little misty, it's just cause I'm happy."

4) Mick Jagger seemed to dig it, too. At first, I was only joking to my family that I saw him in the congregation, but a later shot confirmed that it was actually him.

5) One of the choir dudes, a little bespectacled fellow who looks like he might be Indian, really stands out. The guy seemed like to love the camera, and by golly, the camera loved him as well.

6) This is one of two documentaries from this year (the other I'll write about in a few minutes) that showcases what human beings are capable of better than anything I've seen in a long time. Aretha Franklin could work magic with that voice.

Muriel, or The Time of Return


1963 drama

Rating: 17/20

Plot: A woman, her step-son, her old lover, and his niece enjoy each other's company for a couple of weeks.

"It's hard to follow you."

That's a line of dialogue, but at first, I was pretty sure it described the movie as well. And this film, from Alain Resnais who directed two movies I have absolutely loved (Hiroshima Mon Amour and Last Year at Marienbad) did perplex me with its jumpiness and seeming lack of interest in its narrative. With 813 shots (and only one tracking shot), this has a rhythm that I don't believe I've seen in another movie. It's almost off putting initially, and I can imagine a lot of people giving up on this one early. I was always intrigued, however, and trusted Resnais. Eventually, I fell into that rhythm, and while some of the narrative pieces didn't quite make sense after this first viewing, I ended up understanding these characters on a deeper level than I normally do with a movie.

Those characters are trapped in this place that "feeds on memories," and like in those aforementioned Resnais masterworks, this explores the ideas of time and place and memory. It toys with the viewers' expectations and seemingly toys with the characters as well.

It's a real tightrope walk this one, a director having this idea to piece together a story like this with this maddening editing, dialogue leaking into subsequent scenes, and all these narrative gaps. It's hard for me to imagine what the vision of this movie would have looked like in Resnais's head, but you have to appreciate a director like this balancing high above the crowd without a net like this.

How about Hiroshima, Marienbad, and this as a 1-2-3 punch to start a film career? Man alive!

Investigation of a Citizen Above Suspicion


1970 Italian crime drama

Rating: 16/20

Plot: A policeman commits a crime and tries to get away with it. Sort of.

1) The silent opening credits befuddled me, especially after I saw that Ennio Morricone did the music for this. Once that playful score hits, however, it makes the wait worth it. There's a repeated "boing" motif in the score that I thought was delightful.

2) More playfulness--the first line in this is "How are you going to kill me this time?" It really sets the mood for this one, a playful darkness.

3) Back to Morricone--I really want him to score my sex scenes if I'm ever in a situation where I will have sexual intercourse again.

4) There are a lot of visual references (and one reference in the dialogue) to the protagonist's socks being too short. I can identify!

5) So much of this leans on dramatic irony. It's a police procedural, in a way, but we know exactly who the criminal. References to a murderer who "wouldn't do that" or being "an idiot" work nearly every time because we watched the first 15 minutes of the movie. And the perfect irony near the end when a character says, "I confess to my innocence!" is just perfect. It's fresh on my mind, but it reminds me of the visual irony constructed at the end of The Executioner.

6) I made a note while watching this. "Montage of phone calls--man alive!" I have no idea what I'm referring to.

7) I tried my best to figure out how the theme of power works universally here. The main character is working to figure out if he's reached a point in his career where he can get away with this murder. I kept trying to connect that to the self, a person trying to excuse himself for his past metaphorical murders, but it didn't work. Besides, with the references to Stalin, Mussolini, Che Guevara, Trostsky, the "bureaucracy," and other political things, it seems this has more to do with politics than humanity in general. And maybe more to do with Italian politics than I would even have enough context to understand.

8) There are some jabs at America that I do understand, however. A few times, a character talks about crime or police investigations being "like in America" and there's an interrogation where a character is trying to do it more like they do it in America. There's also a machine/computer connected with America that makes it seem like Elio Petri is poking fun. Trump isn't going to care for that.

9) There are some cool visuals in this, mostly in the first third. One shot I liked had a picture on a wall in the background of some guys in turbans putting cats down a shirtless woman's pants. Somebody figure out what that is for me.

10) Man alive! I don't even say "Man alive!" ever. What the heck?

The Fanatic


2019 thriller

Rating: 4/20

Plot: A developmentally-challenged cinephile stalks an action star.

1) Redbox Entertainment--I should have known I was in trouble from the get-go.

2) "Moose is in the house!" Moose indeed is in the house, and John Travolta's lost his mind. He's got a haircut that is capable of doing all the acting for him, but he turns it to 11 anyway. "I can't talk long. I've gotta poo." That's one of his first lines, so the screenplay definitely isn't doing him favors here, but it was still his decision to be in this movie and play the titular fanatic like he plays him. I mean, I assume this was a lot of his creation. Fred Durst isn't going to tell John Travolta to stop doing a character a certain way, right?

3) That's right--Fred Durst directed this. As I said, I should have known I was in trouble before Travolta tells us he's got to poo.

4) Just think about how big of a gap there is between the opening shots in Travolta's break-out performance and the opening of this one when he says, "I can't talk long. I've gotta poo." He's cooler than cool, and you can tell by the way he walks his walk in the 70s. In 2019, he's gotta poo.

5) Whether you want to blame Durst or Travolta or the hellish combination of the two, it's hard not to see "Moose" as an offensive character. Travolta plays up the mannerisms for comic effect, a character obviously on the spectrum who I think we're supposed to laugh at more than sympathize with. His disability--whatever that might be--is the source of his conflict here. I don't want to spoil anything, so I'll put this vaguely, but his disability is what leads to what you could describe as a downfall here, and it's almost cruel what Durst and Travolta are doing here.

6) More offensive is a scene where the action star (never caught his name, but he's played with a little bit of irony or satire by Devon Sawa) is in a car with his son and plays Limp Bizkit. "You like a little Bizkit?" I don't care how desperate I am as an actor or how much I need the work. I see that line in a script, and I'm walking.

7) There's Vis-a-Vis markers product placement in this as well.

8) Durst isn't seasoned enough as a filmmaker to realize that alluding to a lot of better movies is just going to make me realize how bad the movie I'm watching really is. The best reference--a "blink and you miss it" type of reference--is when Moose is looking at a Star Maps app on his phone and sees the address of Jack Torrance. For a brief moment, I thought that was clever, but then I remembered I was watching a movie from the guy in Limp Bizkit and realized that it was the opposite of clever. Other references: the "Stuck in the Middle" scene from Reservoir Dogs, a reference that almost seems blasphemous now that I think about it) and some ramblings about how Louise Fletcher isn't a good nurse. I'm embarrassed for those movies having to be in some IMDb trivia page for this movie.

9) Travolta does get a nice moment where he plays a piano and sings bits and pieces of "Great Balls of Fire." And by "nice moment," I mean that it's awful and embarrassing.

10) This has a few tense moments, but they're only tense because of what is happening. It seems like Durst and Travolta are doing everything they can to deflate them.

11) Ummm...the maid? What the hell? If you have seen this, maybe you can help me clear up something about the timeline of this narrative. Also, if you frequent Hollywood, maybe you can tell me if "Cereal Man" is real.

12) Best moment in the movie: John Travolta smelling his finger after touching his stalkee's ear.

13) Oh, sorry. He's not a stalker! He's not a stalker!

14) Durst tried to give this a neo-noir flavor by adding some narration. That's provided by Moose's friend. Unfortunately, the narrated lines she's given are maybe worse than the dialogue. "Moose didn't just cross the line. He fucking nuked it." That's the exact kind of line you'd expect from somebody who was in Limp Bizkit, I guess.

15) I hope Fred Durst doesn't read this and decide he wants to fight me. Or stand outside my door with a boombox and play Limp Bizkit.

16) Credit has to go to Travolta because I think he's doing his own moped stunts in this.

17) I can't type anymore. I gotta poo.

Long Day's Journey into Night


2019 Chinese movie

Rating: 16/20

Plot: I don't have time for a plot synopsis!

1) The title screen appears 1 hour and 11 minutes into the film, right before this turns into the most magical thing I've seen in any film from this year.

2) And I thought the five-minute opening long take was impressive, the first of many shots in this that managed to trick me. Me! A guy who watches about a movie every single day! Me!

3) "The TV said dreams are lost memories," a character says at some point in this, and this final hour is a surreal journey, purely surreal since it's quite obviously a dream. It's a narrative juiced by dream logic, and it's an exhilarating trip through memories and hopes and dreams within dreams within dreams.

4) I gasped audibly, probably the best way to gasp, while watching the last hour of this movie. I can't remember gasping at camera movement like that since Soy Cuba. 

5) "Tricked how?" you might be asking. Well, am I seeing floor or am I seeing ceiling? Wait, these people are a reflection? I had no idea! Another reflection? Got me again, movie! That's got to be a reflection, right? What? Those are flesh 'n' blood people! Movie!

6) "It's living in the past that's scary, not mudslides."

7) That last shot, a symbol of transience, took my breath away. It's maybe the most gorgeous conclusion to a movie I've seen all year, and that's saying a lot because I'm a guy who watches about a movie a day on average. And if you remember #7 on this list while you're watching this movie for the first time, that might be a spoiler. Sorry about that.

8) Water, water, everywhere! Rain, a car wash, a pond, water dripping down walls. All that rain, all those neon lights. Why didn't I see this on the largest screen ever constructed?

9) A watch, claims a character in the middle of a dream narrative, is a symbol of eternity. And the watches and clocks in this movie are busted. So what's that tell you?

10) "Dipping water with the point of a knife,
Examining snow with a microscope,
Doing this over and over,
One still wants to ask:
Have you ever counted the stars in the sky?
They're like little birds
Ever parachuting through my chest."

I decided to create lines from that mini-soliloquy to make it into a poem. It deserves to be a poem! This movie deserves to be a poem!

11) Fruit, a spinning house, the consumption of entire apples, those broken watches and clocks, karaoke, mudslides, movies.

12) And an agitated mule! The mule is a better actor than Brad Pitt, and it has a better chance of making any sense out of this review than you do. And I'm sorry about that. 

This Sporting Life


1963 drama

Rating: 16/20

Plot: A miner impresses enough to land on a rugby team, but he is unable to impress the widow he's shacking up with.

1) Richard Harris has an intensity that reminds me of Brando, a man who seems like he's larger because there's something inside of him that is bursting to get out.

2) My favorite moment with this character is when he slow rolls with quad kings, a stylish move if you ask me. That might be everything you need to know about the character.

3) I searched for a list of books the protagonist reads, but I couldn't find anything. I thought there might have been some significance with the titles. The only one I caught was Cry Tough!

4) "You're a man! You're a bleedin' man!" cries Rachel Roberts' character, a widow with a cute nose. The poor guy--because as much as a bastard as he is, it's hard not to be sympathetic--just doesn't know how to be a bleedin' man. He doesn't really understand what a man is supposed to want. He doesn't know how to show feelings appropriately. He only knows how to lumber around with burly shoulders and scowl, how to crack jokes at the expense of others, and how to boil. He's a man searching for validation, and the tragedy is that he doesn't find it.

5) Man, Richard Harris can sure chomp on gum.

6) My favorite moment with this character was an awkward date that reminded me a little of Travis Bickle's in Taxi Driver except he doesn't take his date to a pornographic movie. This really does remind me of a 1970's movie that came out in 1963.

7) Apparently, I have two favorite moments with this character.

8) "Umpah whoa yeah yeah." There was that song, and a few other songs at parties or in bars. The score is from Roberto Gerhard. It's atonal, adds to the building tension in scenes, and is generally really interesting. I guess a lot of the score was cut by Lindsay Anderson, and Gerhard stopped doing music for movies.

9) There's a scene with a spider near the end that apparently critics thought was a little "on the nose," but I thought it had a wonderful ambiguity to it.

10) Richard Harris's character's main competition is a dead man's pair of boots. My favorite moments with this character are any scene when he stares at those boots.

Star Wars Episode IX: The Rise of Skywalker


2019 sequel to a sequel to a sequel to an original series that has a prequel

Rating: 13/20 (Dylan: 10/20)

Plot: I'd really rather not talk about this one.

Before I get to a numbered list, I have a few things to say.

First, it's hard to believe that this movie exists. I remember meeting Darth Vader and a Jawa outside the Great Scot grocery store in Terre Haute, Indiana as a kid sometime around the time before Episode V came out, and somebody (maybe Darth Vader himself) said that the plans were to have a series of nine movies. Then for the longest time, it seemed like that would never happen. And now it's happened, and it was hard to believe even though it was on a giant screen right in front of me.

Second, it's an emotional experience for me watching this with my adult son. The music hits me, and then there are words scrolling on the screen, and I get emotional. I watched the prequels with the kid when he was just a little fellow, and we've watched every movie in the theater together since The Phantom Menace. He's a man now, and I'm an old man, and even if we don't love Star Wars the same way we did when we were younger, it's still something that I can't think about without thinking of him.

Anyway, here's a numbered list because that's how I want to write movie "reviews" now.

Oh, and don't read anymore if you haven't seen the movie but want to. This will have spoilers throughout.

1) This doesn't stick the landing, and it's irritating what it does to The Last Jedi, a movie that I really grew to appreciate. That one, though it has a sloppy narrative, remains cohesive because it is so focused on a central theme. It also took some risks, attempted to expand the universe, and toyed with our expectations. This one also has a sloppy narrative--a whole lot happens here--but compared to Rian Johnson's episode, it's much safer, gives people what Mickey Mouse thinks they want, and falls back on the same basic themes of the first films. It's Star Wars for dumber folk, and "Completely Good" vs. "Completely Evil" just feels a little tired. Hell, the bad guy even says "I am all the Sith" and is answered with "I am all the Jedi" at one point, like two kids dividing up action figures in the early-80s to play a little Star Wars in their bedroom. I'm pretty sure the Jedi aren't supposed to deal in absolutes, yet that's exactly what J. J. Abrams does here, watering down something that could have been so rich and so complex and so much fun to think about.

2) Let's get to the bad guy. It's Emperor Palpatine, back and better than ever except for some missing digits. I'm not sure we needed him, but at least we get to see Ian McDiarmid back in action. And we are forced (no pun intended) to think about Palpatine having sex, so that's cool. Well, unless there's some sort of midichlorian rape thing going on. That's not nearly as sexy though.

3) If you really think about it, this entire saga becomes more about Palpatine than any other character. The Skywalker siblings are only babies in a very small part of the prequels. Darth Vader's only there in spirit for this sequel trilogy. Sure, Palps (that's what his buddies call him) is only in 1/3 of Episodes IV-IX, but he's an integral part of everything that happens in any of these movies.

4) Finn has something to tell us, but J. J. Abrams isn't really interested in letting us know what that is. I was hoping that it was that he and Poe were involved in a hot romantic relationship, but apparently that's not the case.

5) Richard E. Grant seems to be doing a Werner Herzog thing here. I kind of dug it.

6) Like in The Force Awakens, C3PO actually gets the funniest line. It's about his "one of his oldest friends" and actually made me laugh out loud for real.

7) That "oldest friend" is the new character in this that is my favorite. He's even got a cool name--Babu Frik. I knew I needed more Babu Frik in my life after his scenes seemed to be finished, and then when I unexpectedly got some more Babu Frik (impractically), I nearly leaped out of my seat and fist-pumped.

8) Speaking of fish pumps, I'm pretty sure C3PO gave a fist-pump at one point in this movie, and if that's true, it's about the silliest thing that's happened in a Star Wars movie. It's definitely the silliest thing since the prequels.

9) Chewbacca finally gets a medal in a scene that made me smile, but it was at the very end of the movie. If the plan was to finally get Chewy his metal, you'd think that they'd give it to him much earlier since it seems unlikely that he'll survive the experience of this movie. Chewbacca also has fat legs in this movie. I think he's been doing squats.

10) This has some horrifying elements. Palps is hanging out (literally) in a setting that is probably the creepiest of any of these Star Wars movies, and the sound design and visuals really make it horrifying. From the opening scroll, I knew exactly who we'd meet there and wasn't sure how I felt about that, but I loved the way that place looked.

11) I hate everything that has to do with that stupid dagger in this movie. That didn't make any sense at all. The dagger having those words inscribed on it didn't make any sense. The dagger being a kind of map didn't make any sense.

12) Everything involving Carrie Fisher in this movie was really goofy. She didn't look like she was actually there in some scenes, and a lot of the dialogue the character has feels shoehorned in. That's understandable since it likely was. There's the key Leia moment at what you might call the climax of the movie that doesn't make a lot of sense because she wasn't around to film stuff that would help that make sense.

13) They do give Leia an appropriate send-off, however. R2D2 standing by her deathbed was such a nice touch. A less-callused version of myself might have lost it at that point.

14) The scene that got me was Harrison Ford's brief appearance. That "I know" was such a perfect line. That whole sequence is the kind of thing that should have pissed me off, but it didn't.

15) In general, I wasn't nearly as pissed off by this movie as I thought I was going to be. I had what I thought my review was going to be written in my head prior to going in. It was going to be something like "This movie broke my heart" and then a frowning emoticon. There are things that pissed me off, for sure, but as a whole, I wasn't all that annoyed.

16) But wow, this thing sure has a frenetic pace. It jerks you around like those Avengers movies. There's an early scene where the Millennium Falcon is lightspeed jumping (I can't remember what Poe actually called it, but it was something like that), and that almost works as a metaphor for the whole movie. Let's go over here now! Now let's go over here! Let's blow something up! Let's do some lightsaber stuff! Let's shoot some things! Kaboom! Zoom zip, time for a reflective moment. Zip zoom, time for another explosion! It's all fun, but it's a whole lot, especially for an old guy like me.

17) The older I get, the less I'm willing to fall for John Williams' scores. But the child in me will always love what he does in these Star Wars movies, and the child in me loved every note in this. The child in me is much easier to please than the adult costume I'm watching.

18) Let's talk about Kylo Ren's posse, the Knights of Ren! Actually, never mind. There's nothing to talk about!

19) Was it good to see Billy Dee Williams? Absolutely. Was it a little odd that he popped in out of nowhere twice? Absolutely. What a cool cat that guy is, however, although his dialogue with a new female character at the very end befuddled me. Maybe it's just because he's Lando, but it seemed like he was flirting with somebody 1/3 his age who may or may not be his daughter. I had no idea what was being suggested there. Maybe that's what Finn wanted to tell people?

20) The lightsaber action (and a lot of the spaceship action) was frankly a little boring in this. There's a ton of action, but it all kind of blends together after a while. Very little stands out although I liked the final lightsaber stuff at the end when Kylo and Rey are in two different spots in Palp's horrifying abode. It wasn't quite Snoke's Red Room fun, but it was nifty.

21) I want an entire spin-off series about failed Snoke clones running around and having misadventures.

22) That Rose character sure was Jar-Jar-Binksed out of this thing, wasn't she? She had a line here and there, but it was clear Abrams wanted nothing to do with this character because he was trying to appeal to the moron majority, and the moron majority did not approve of that character.

23) Oscar Isaac sure has charm to spare, doesn't he? If a character has to have a spin-off from this trilogy, I suppose he'd be the one I'd be most interested in.

24) Wedge Antilles! My son and I didn't know who he was until we looked it up early. My God, they managed to find a way to put Wedge Antilles in this movie. Abrams has no shame!

25) My favorite line: "They're just people." That was one of the lone things that helped connect this with its predecessor.

26) I thought I was done, but my son just informed me that Admiral Ackbar's son was in this movie. Oh, boy.

The Organizer


1963 drama

Rating: 17/20

Plot: Overworked factory workers struggle to get rights until the titular organizer stumbles into town to give them some direction.

1) This would make a good, though lengthy, double feature with Matewan since they both deal with workers' rights.

2) I was won over immediately because of the opening credits, stills of the working class and a score that had fart noises.

3) Personalities for the central characters in this are created so effortlessly. They're nearly caricatures, but in a good way if that makes sense. Even before Marcello Mastroianni shows up to be a recognizable face for me, I had already fallen for a lot of these characters. They're shown in a way that forces the viewer to empathize. Even the characters defined by their flaws manage to be likable.

4) One heartbreaking moment--the revelation a horde of characters have when they visit one of their coworkers. A door is busted through, and you wonder how a family could live like this movie has this family living while knowing that it's probably sadly accurate.

5) My favorite character was a mustachioed outsider who just stood around silently with his hands in his pockets most of the time. He has one moment in a hospital that reminded me of Chaplin or Keaton.

6) This really captures the monotony of the workplace. There's a rhythm to the factory, but it's like a drumbeat resounding in this personal hell these characters are forced to exist in for 14 hours a day. It's a depressing place, even the dusty lunch that is miserable except for a lighter moment when a person belches or when there's a glimpse of knickers.

7) I'm not totally sure this balances tragedy and humor very well, but the movie's tone is engaging. It's an easier watch than Matewan, but that might have more to do with a bias I have against West Virginians than anything else. This movie's smooth though, and it flies by despite the lengthy running time.

8) Marcello Mastroianni is just as good as you'd expect him to be. The character's got some contradictions and he leaves a lot of questions unanswered about his past and future. A lot of the performance is carried by a pair of spectacles.

9) Teachers will appreciate the emphasis on the importance of education in this movie. It's not just a random mention or two either; it's a recurring idea. Adults need to learn to read in order to vote. One of the young worker's brother is chastised when he doesn't study very hard because a good education is a way out of the life the characters are trapped in. There are lots of references to characters not being able to write.

10) One of the best bits has to do with that inability to write. The factory workers are drawing names out of a hat, and a whole bunch of them have just written an X for their signature.

The Sword in the Stone


1963 cartoon

Rating: 14/20 (Abbey: 12/20)

Plot: King Arthur, before he was King Arthur, makes a wizard friend and later pulls the titular sword from the titular stone which makes him king.

Here's a question--why's Merlin need to stand on a stool to sing his silly songs and perform magic? I mean, he's the guy who said, "Don't take gravity too lightly or it can catch up with you." It seems like standing on a stool like that is only asking for trouble.

Though I really like how the characters look and move in this, it seems like Disney went really cheap with the backgrounds. It also seems like Disney recycled itself in a scene where Arthur (Wart) is being chased by skinny Gaston, the latter who stumbles and falls on his face. The first time, it's in a forest, and the character trips over a log. The second time is in the town right near the end of the movie. It's the same angles and everything, and I think they just reused the characters over a different background.

But I do like how the characters move. Merlin's beard is almost a character on its own, and you just have to love how Merlin and the witch lady march to their wizards duel. That duel itself is a highlight, showing off the creativity of these Disney storyboarders, the kind of creativity that can overcome financial restraints. Most of the movie has Merlin changing Wart and him into various animals, and though I appreciated the whimsy in those scenes, I wish the legends added up to a little more. There's really no arc to this character. He turns into various animals and then stumbles into this situation where he yanks the sword from the rock. The end.

The Red Squirrel


1993 love story

Rating: 15/20

Plot: A suicidal rocker befriends (or kidnaps, depending on how you look at it) an amnesiac woman.

Despite the appearance of defecate from the titular mammal (that's probably a spoiler!), the ending of this wasn't very satisfying.

With squirrel perspective shots, a really strange dream sequence, a cheek-cutting sequence, various surrealistic interludes, questionable character quirks, and a character with Jedi reflexes, this is one of the stranger cinematic love stories I've seen in a while.

Stanley Kubrick was apparently a big fan of this one.

The Executioner


1963 Spanish black comedy

Rating: 16/20

Plot: A mortician falls in love with the daughter of an executioner and reluctantly takes her dad's place when he retires.

This might appeal only to those who have a special kind of sense of humor. I caught traces of Tati or Buster Keaton, Roy Andersson, and Czech movies from the same decade in this dark comedy from Luis Garcia Berlanga, a guy who's skilled at  slamming together tones that should not work together but somehow do here. I suppose there are a lot of people who would watch this and miss nearly every clever visual gag, maybe until the end when the movie's ironic punchline makes it kind of hard to miss.

The Big City (Mahanagar)


1963 Ray movie

Rating: 17/20

Plot: An extended family is tested when a wife gets a job as a door-to-door salesperson and starts wearing lipstick.

One of my biggest--if not THE biggest--film-watching embarrassments is not seeing enough movies by Satyajit Ray, probably a combination of not knowing how to say his first name and not being able to spell his first name without looking it up several times. I loved The Music Room, and I liked the lone film I've seen from the Apu trilogy (I know, I know), so it doesn't even make sense that I've not seen anything else. That should be the #1 thing I focus on fixing about my life in 2020. I mean, almost everything else is perfect about me and the world around me, so I might as well focus on this.

I think I'm going to just make numbered lists instead of reviews in 2020. I'll experiment with it here. Let me know if you love it or only like it.

1) The titular "big city" has no scale at all until one of the final shots. A pair of characters are standing in what I'd call an alley. They're having a conversation about this and that, and the camera pulls back eventually to reveal just how expansive the city is around this family. It engulfs them! The only other real glimpses of the city that we get are the view from the window of the wife's boss. Those shots make it look like a big city, too.

2) That's right before a brilliant final shot with a pair of light bulbs, one that Ray says didn't have any intended symbolism but is great because it's so open to interpretation anyway.

3) It took me too long to figure out that the wife's work friend--an Anglo-Indian lady--was an outsider, a target of racism. I loved the rhythm of her curses. "Why shouldn't we get 10% too, damn it," the "damn it" without emphasis and just kind of falling off the end of the sentence.

4) The wife's mole deserves a spot in this list! I have a mole myself, you know, only it's not very attractive, seemingly only there so that various people can say, "Wow, you really need to get that thing checked out."

5) My favorite shot is this crawling close-up of the wife's father-in-law when he learns that the wife has gotten this job. The score is creeping, and it just zooms to this old fart's face, so defeated. That scene ends with another great shot of a glass of milk. Or at least it's something milky.

6) The father-in-law was a teacher, and there are some scenes with him going to former students and asking for favors--free glasses, etc. As a teacher myself, I couldn't help appreciate the idea that students owe a debt to their teachers. I can't think of any reason why I should find out where my former students work and go ask for free stuff or heavy discounts.

7) The significance of lipstick! Cause the lips, they are a-changin'.

8) "If you were a little bit less attractive, I'd want you to get a job." Sure, the husband's a dick in the early scenes--kind of a dick in a sneaky way, but you really feel for him at the end. He's so silent in the second half of the movie, wandering through scenes like he's a ghost.

9) Another great shot has the husband eavesdropping in a restaurant. He's in the background--silent, a ghost--and another couple is in the foreground. There's one slow camera pan that is just remarkable.

10) More advertisements need to refer to people as "nitwits," I think.

11) There's one moment after a character makes a major decision when Ray--for the only time in the movie, I believe--switches to a handheld camera. That was startling and very effective.

12) Ray wrote the music for this, and it's mostly really great. I could have sworn I heard Yoko Ono creeping in at one point, but I guess that wouldn't have made any sense.

13) I like how one important plot point involves a character wanting to win a crossword puzzle competition so that he can see a bridge that was constructed by monkeys.

Santa's Christmas Circus


1966 Christmas travesty

Rating: 2/20

Plot: A clown named Whizzo ruins Christmas.

Yes, I watched a RiffTrax version of this.

Somebody wanted to watch a Christmas movie and then refused to pay any attention to the comedic stylings of Kansas City television legend Frank Wiziarde as Whizzo the Clown. The only writing credit for this is Byers Jordan who is credited with the "idea," and it's no surprise this didn't really have a script. It's just Wiziarde freestyling, talking a mile a minute and seemingly unable to focus long enough to complete a sentence at times. The takes are long, making this experience even more bizarrely excruciating. It's like the director (umm, Frank Wiziarde) wanted us to feel stuck with this insane clown, trapped in these moments that seemed unlikely to end. I was uncomfortable several times, and I can't imagine how the children who had to be there felt.

Movie magic that seems more dated than the movie magic Melies filmed 70 years earlier, shots of animatronics in storefronts, a magic carpet powered by crepe paper, some racist wind-up toys. And lots and lots of Whizzo, more Whizzo than I assume most people would be able to handle.

Even better than whatever the hell Whizzo is doing is this little girl who couldn't stop coughing. I assume she died of tuberculosis within a week of the filming, but at least her life ended on a high note.

What the hell is wrong with Whizzo's feet, by the way?

The RiffTrax guys also shared a short film about Christmas trees with human faces. It was disturbing.

It should be noted that I was giggling uncontrollably throughout this.