Film Reviews
Some of my favorite reviews I've written from the last few years.
West Side Story (2021)
Director: Steven Spielberg
Originally Published: November 29, 2021
https://letterboxd.com/alex_lillquist/film/west-side-story-2021/
Originally Published: November 29, 2021
https://letterboxd.com/alex_lillquist/film/west-side-story-2021/
Further proof that 21st century Spielberg is far more interesting and just better than 20th century Spielberg.
Loved every second of this, save for a mostly meh Elgort (great cast otherwise) which isn't really a problem being this is Spielberg's show. Looking back at his 1941, in particular the dance hall brawl scene which I am still 100% certain that's the most fun he's had in his 50+ year career, it's clear that Spielberg has been dying to make a musical for basically his entire life and now at the peak of his powers he's fully let loose. He's always had that fire in him to make one; now he's burning the whole world down and no color, angle, pan, or cut is getting away safe. No contest, his most gorgeous film and wildest camera yet. For real, give yourself a free semester of film school by watching that soulless, Old Navy commercial In the Heights and this back-to-back. Can't wait to watch this 100 more times. Felt every single emotion here, whether it was between Maria & Tony catching each others' eyes before/as they start walking to the bleachers or with Spielberg simply just moving the camera with either a piece of glass in the foreground or a puddle in the back. We can't be taking something like this for granted. No one else like him making big budget pictures like these. Hope he's still working when he's as old as Eastwood.
Loved every second of this, save for a mostly meh Elgort (great cast otherwise) which isn't really a problem being this is Spielberg's show. Looking back at his 1941, in particular the dance hall brawl scene which I am still 100% certain that's the most fun he's had in his 50+ year career, it's clear that Spielberg has been dying to make a musical for basically his entire life and now at the peak of his powers he's fully let loose. He's always had that fire in him to make one; now he's burning the whole world down and no color, angle, pan, or cut is getting away safe. No contest, his most gorgeous film and wildest camera yet. For real, give yourself a free semester of film school by watching that soulless, Old Navy commercial In the Heights and this back-to-back. Can't wait to watch this 100 more times. Felt every single emotion here, whether it was between Maria & Tony catching each others' eyes before/as they start walking to the bleachers or with Spielberg simply just moving the camera with either a piece of glass in the foreground or a puddle in the back. We can't be taking something like this for granted. No one else like him making big budget pictures like these. Hope he's still working when he's as old as Eastwood.
Hudson Hawk (1991)
Director: Michael Lehmann
Originally Published: November 5, 2021
https://letterboxd.com/alex_lillquist/film/hudson-hawk/
Originally Published: November 5, 2021
https://letterboxd.com/alex_lillquist/film/hudson-hawk/
"With the world saved and the secrets of da Vinci protected Eddie finally got his coffee."
At once considered the worst movie ever made by almost every single critic (and probably the casual moviegoer who saw this expecting a full on Bruce Willis action-thriller) when it was first released. Bunch of prudes. Not sure if I would call this "ahead of it's time" but it sure has a home here with me now in 2021. Incredibly irresponsible that a major studio spent 65M 1991 dollars on something that isn't afraid to be it's true self and nothing but. If it had a more expressive (or frankly just a better) director and a few less scenes that are definitely a bit problematic in today's world I wouldn't be afraid to give this a higher score. Completely out of it's mind to the point that it's really insane to think about that of all vanity projects that could've been a Bruce Willis vanity project the winner is an almost surreal Da Vinci Code action-slapstick comedy. I don't know how anyone who invested money in this thought it could possibly appeal to a world-wide audience but I'm sure glad they invested every single cent into it. Standout scenes are Willis barreling across the Brooklyn Bridge on a stretcher, him shooting a dog out of a window of a castle with a tennis ball to the dog's death, and the two scenes of him and Danny Aiello singing their hearts out in sync while committing crimes and saving the day.
A relic that we should all cherish for it is the only recording in existence that contains footage of Bruce Willis actually enjoying his job as an actor (set aside maybe the first Die Hard) and life itself. The Yin to his pure misery of Cop Out's Yang. The one time he truly cared about anything ever (this is one of two writing credits he's had his entire career) and this horrid world dragged his ass miles around the block for YEARS for it. So many wonder why he's always so bitter nowadays. Nothing but SHAME for this planet.
At once considered the worst movie ever made by almost every single critic (and probably the casual moviegoer who saw this expecting a full on Bruce Willis action-thriller) when it was first released. Bunch of prudes. Not sure if I would call this "ahead of it's time" but it sure has a home here with me now in 2021. Incredibly irresponsible that a major studio spent 65M 1991 dollars on something that isn't afraid to be it's true self and nothing but. If it had a more expressive (or frankly just a better) director and a few less scenes that are definitely a bit problematic in today's world I wouldn't be afraid to give this a higher score. Completely out of it's mind to the point that it's really insane to think about that of all vanity projects that could've been a Bruce Willis vanity project the winner is an almost surreal Da Vinci Code action-slapstick comedy. I don't know how anyone who invested money in this thought it could possibly appeal to a world-wide audience but I'm sure glad they invested every single cent into it. Standout scenes are Willis barreling across the Brooklyn Bridge on a stretcher, him shooting a dog out of a window of a castle with a tennis ball to the dog's death, and the two scenes of him and Danny Aiello singing their hearts out in sync while committing crimes and saving the day.
A relic that we should all cherish for it is the only recording in existence that contains footage of Bruce Willis actually enjoying his job as an actor (set aside maybe the first Die Hard) and life itself. The Yin to his pure misery of Cop Out's Yang. The one time he truly cared about anything ever (this is one of two writing credits he's had his entire career) and this horrid world dragged his ass miles around the block for YEARS for it. So many wonder why he's always so bitter nowadays. Nothing but SHAME for this planet.
Free Guy (2021)
Director: Shawn Levy
Originally Published: August 2, 2021
https://letterboxd.com/alex_lillquist/film/free-guy/
Originally Published: August 2, 2021
https://letterboxd.com/alex_lillquist/film/free-guy/
The most Ryan Reynolds' product that could've ever been Reynold and depending on who you are that's either gonna be your worst nightmare or your wet dream. For those of you usually in the former category like myself the good news is that he is in no way the most insufferable character here (Taika Waititi once again in the role of the quirkiest quirk to ever quirk) and I would even go as far as to say that this is the very first time I genuinely bought into his schtick. Really feels like he had more say in what goes on here than anyone else who worked on this and for that his brand of epic-bacon coats the entire film/product and as awful as that sounds/is I actually found his optimism here pretty infectious. There's at least a handful of scenes here that I was honestly moved by. Almost to the point of myself thinking that maybe I've been too hard on Reynolds all these years. I have no doubt in my mind that he's actually an a-okay friendo in real life and while I usually can't stand him it is something watching someone do and show what they love on the screen. I know for a fact that this performance won't change most of the minds who just find his brand/acting dreadful (I'm sure Deadpool 3 will completely erase all positive thoughts I had of him here) but his positivity here really got me through the whole thing and he's no doubt the reason (along with his relationship with Howery and Tatum who is just great to see here) why I didn't have a totally awful time watching this.
Too bad about everything else. That coat of epic-bacon throughout and the insanely cringe (unironic) use of Disney IP at the end really does bring this down to the point of me almost attacking anyone who cheered during this screening (they are much happier people than myself, no doubt). Probably could've been forgiven if Shawn Levy was capable of stitching together a single competent action sequence. He even struggles with the simple stuff that the second-unit could've done a better job with. Final moment of Joe Kerry and Jodie Commer finally falling in love with one another is one of the most embarrassing put-together scenes I've witnessed on the screen in a long time. Honestly, imagine making a movie with an entire digital landscape at your disposal and not only are you boring but the only joke you milk the entire time is that all this violence and carnage caused by the real life players is completely normal for those who live/programmed inside the video game. I think the biggest problem with video game movies like this is that there are literally no rules in these worlds. If a character can do literally anything when they're not in trouble what's stopping them when they are? Commentary on the video game industry is just your basic "creativity matters, big corporations are soul sucking" stuff and as well-intentioned as it seems when you have complete scum like the streamer Ninja (unironically) cameo severally times throughout the "well-intentioned" does come into question. No doubt in my mind that this will be a hit amongst Reynolds' fans and as much as I enjoyed him here this is the exact kind of soul sucking corporate product that the movie is apparently so much against.
Too bad about everything else. That coat of epic-bacon throughout and the insanely cringe (unironic) use of Disney IP at the end really does bring this down to the point of me almost attacking anyone who cheered during this screening (they are much happier people than myself, no doubt). Probably could've been forgiven if Shawn Levy was capable of stitching together a single competent action sequence. He even struggles with the simple stuff that the second-unit could've done a better job with. Final moment of Joe Kerry and Jodie Commer finally falling in love with one another is one of the most embarrassing put-together scenes I've witnessed on the screen in a long time. Honestly, imagine making a movie with an entire digital landscape at your disposal and not only are you boring but the only joke you milk the entire time is that all this violence and carnage caused by the real life players is completely normal for those who live/programmed inside the video game. I think the biggest problem with video game movies like this is that there are literally no rules in these worlds. If a character can do literally anything when they're not in trouble what's stopping them when they are? Commentary on the video game industry is just your basic "creativity matters, big corporations are soul sucking" stuff and as well-intentioned as it seems when you have complete scum like the streamer Ninja (unironically) cameo severally times throughout the "well-intentioned" does come into question. No doubt in my mind that this will be a hit amongst Reynolds' fans and as much as I enjoyed him here this is the exact kind of soul sucking corporate product that the movie is apparently so much against.
The Trial of the Chicago 7
Director: Aaron Sorkin
Originally Published: March 3, 2021
https://letterboxd.com/alex_lillquist/film/the-trial-of-the-chicago-7/
Originally Published: March 3, 2021
https://letterboxd.com/alex_lillquist/film/the-trial-of-the-chicago-7/
Entirely engaging and watchable up until the final scene which is so mismanaged and embarrassing that it forces you to reevaluate everything leading up to it. On the surface this is solid. In one of those rare instances it doesn't matter too much how bland the director is when his writing, editor, and actors are all in sync with one another. Fast as all can be and I can honestly say that I wasn't bored once. Anytime the characters get into those signature Sorkin back-and-forth dialogue moments I am just there eating it all up. I always forget just how damn good a courtroom drama can be. While there are many moments of Sorkin dialogue being way too Sorkin-ey he does know how to get the blood pumping both in excitement and on genuinely infuriating issues here. In the moment it's never not compelling for us uneducated about Abbie Hoffman and the other members up until you read something as little as a Wikipedia summary about the group's lives and beliefs. After just a few sentences it’s blatantly obvious that Sorkin wrote pretty much every single character not after their real life counterparts but after himself and himself only.
Going deeper into the script where you have Abbie saying that the "institutions of our democracy are WONDERFUL things that right now are populated by some terrible people" (to be fair that may have been sarcasm but I can’t be 100% sure on that and nonetheless I'm sure there are plenty more quotes to choose from to prove my point here) is when things start to get real messy real fast. Between that and having a known radical pacifist like Dellinger punch a cop in the courtroom (did not happen at the actual trial) it's clear that Sorkin isn't interested in their beliefs and story as he is in trying to find an outlet for his own. Obviously historical accuracy shouldn't be a breaking factor in movies but straight-up misrepresentation of who someone is (especially when it comes their politics) to spout your own beliefs is a completely different thing. Just shameful and, frankly, morally irresponsible.
It all culminates to that final scene that somehow managed to be more emotionally manipulative than Steve Job's ending. The entire courtroom going insane as they cheer on Redmayne as he reads the names of dead American soldiers (did they cheer throughout all 5000 names? Did he ever read off the names of the Vietnamese victims as well?) and Frank Langella swinging that gavel all around as he becomes possessed by the ghost of an incredibly frustrated Daffy Duck. Anything for that feel-good ending which actually worked on me up until the next morning when it all left my system as I awoke screaming. In what sense does it make to end this on a happy note? There was no justice served whatsoever between an incompetent judge, who's already decided the fate of the 7/8 long before the trial began and Bobby Seale being literally beaten, bounded and gagged in front of the entire court amongst plenty of other things. Anything for Sorkin to further blur the group's belief that the issues they were fighting against were systemic. According to Sorkin, as stated in that Abbie quote in the last paragraph, it all works. You just gotta get out there and vote and all will be fine in the world which hey good on him for believing in that. Come up with your own story or actually find people who agree with your ideology to tell that then. If this wasn't such a handsomely put together and legitimately entertaining courtroom drama it would probably be a single star for how completely disrespectful it is to the 7/8 and maybe as I think about it more it will get down there. Nothing but shame for Sorkin here.
Going deeper into the script where you have Abbie saying that the "institutions of our democracy are WONDERFUL things that right now are populated by some terrible people" (to be fair that may have been sarcasm but I can’t be 100% sure on that and nonetheless I'm sure there are plenty more quotes to choose from to prove my point here) is when things start to get real messy real fast. Between that and having a known radical pacifist like Dellinger punch a cop in the courtroom (did not happen at the actual trial) it's clear that Sorkin isn't interested in their beliefs and story as he is in trying to find an outlet for his own. Obviously historical accuracy shouldn't be a breaking factor in movies but straight-up misrepresentation of who someone is (especially when it comes their politics) to spout your own beliefs is a completely different thing. Just shameful and, frankly, morally irresponsible.
It all culminates to that final scene that somehow managed to be more emotionally manipulative than Steve Job's ending. The entire courtroom going insane as they cheer on Redmayne as he reads the names of dead American soldiers (did they cheer throughout all 5000 names? Did he ever read off the names of the Vietnamese victims as well?) and Frank Langella swinging that gavel all around as he becomes possessed by the ghost of an incredibly frustrated Daffy Duck. Anything for that feel-good ending which actually worked on me up until the next morning when it all left my system as I awoke screaming. In what sense does it make to end this on a happy note? There was no justice served whatsoever between an incompetent judge, who's already decided the fate of the 7/8 long before the trial began and Bobby Seale being literally beaten, bounded and gagged in front of the entire court amongst plenty of other things. Anything for Sorkin to further blur the group's belief that the issues they were fighting against were systemic. According to Sorkin, as stated in that Abbie quote in the last paragraph, it all works. You just gotta get out there and vote and all will be fine in the world which hey good on him for believing in that. Come up with your own story or actually find people who agree with your ideology to tell that then. If this wasn't such a handsomely put together and legitimately entertaining courtroom drama it would probably be a single star for how completely disrespectful it is to the 7/8 and maybe as I think about it more it will get down there. Nothing but shame for Sorkin here.
Quantum of Solace (2008)
Director: Marc Forster
Originally Published: May 8, 2020
https://letterboxd.com/alex_lillquist/film/quantum-of-solace/
Originally Published: May 8, 2020
https://letterboxd.com/alex_lillquist/film/quantum-of-solace/
While I'm not one who dreads a long run-time before watching a movie, as soon as I saw the 106-minute run-time as oppose to the Craig usual 150 minutes I almost shed a few tears of joy. Of course, I'm well familiar with Ebert's quote "no good movie is too long, no bad movie is short enough," and while I stand by it there are just those days where you really just want to watch something not over two hours. In comes the shortest and most divisive (save for No Time to Die) entry of Craig's lean, mean Bond machines. It's also the first and only Bond "sequel" where you actually need to watch the one prior in order to understand and feel the what's what.
A whole lot of firsts with this new Bond. Biggest one is in his first outing where for the first time this series actually cares about the women. An even bigger factor than Bond being a blonde, as every internet forum pre-Casino Royale's release would let you know. We watch Bond fall in love with lady Vesper. For the first time in his life he's finally able to trust someone and then she's gone. Blackmailed. Sent to her death. That's how Royale ends. It ends right with Bond's pain and denial and Quantum immediately begins with a silent roar before bursting into the angriest car chase this series has to offer. Bullets flying and cars ramming and grinding into the pavement and one another; almost turns into straight-up horror.
With this opening scene comes the two biggest complaints of this entry: the editing and that this ain't Bond, it's Bourne. Valid complaints if you look at it on its own and, frankly, don't read too much into it. Being I just watched Royale the night before I can't speak for how this holds by itself. For most people, probably not too well given its reception back when initially released when most critics and audiences no longer had Royale fresh in their minds (not to say a whole lot would've changed if it was). For myself and as a sequel/second part to Royale it's good. Instead of being viciously asked to care about Bond's loss you already do and it gets right into all of that rage from the very first frame.
You could write-off the editing as sloppy, but all those quick and rough cuts suit what Bond's feeling (while feeling mostly coherent, nothing here I found too head inducing). We feel all that fire and fury through every punch and pull of the trigger. A far more violent, action packed Bond, but after an already hot-headed agent witnesses the death of a loved one it feels like the logical next step. After so many entries, it's almost as if they're treating this new Bond as a character with actual feelings as oppose to the others (take that criticism with a grain of salt being my memory isn't so fresh with the Bonds pre-Brosnan). His eyes bleed with regret. His clothes get drenched in all that blood as the oil gets injected into his veins. A Bond like no other. In such a popular role like this, it's easy to forget just how good of an actor Craig is. His physicality on display in all of the small moments here is so smooth and effortless it's hard not to be completely intoxicated in all of his ruthlessness throughout Quantum.
The only thing that stuck out as BAD to me was Mathieu running away from that fire/explosion in slow-motion and probably a few other CGI heavy moments that took me right out of the moment. Otherwise Forster does a pretty solid job piecing together a brutal Bond on-the-run movie. So many wonderful set pieces, with the opera house standing out, and incredible uses of fades and dissolves in this one. Specifically in the desert scenes and upon reflection of Ms. Fields' body soaked in oil (the latter scene itself, just a wonderful callback to Goldfinger as long as you don't think too much about how they got her body back in that hotel room). Never would've expected something like this from a director with not the most exciting filmography. Maybe not your "traditional" Bond film and that's just fine. This is so much better than what I remember/was led to believe.
A whole lot of firsts with this new Bond. Biggest one is in his first outing where for the first time this series actually cares about the women. An even bigger factor than Bond being a blonde, as every internet forum pre-Casino Royale's release would let you know. We watch Bond fall in love with lady Vesper. For the first time in his life he's finally able to trust someone and then she's gone. Blackmailed. Sent to her death. That's how Royale ends. It ends right with Bond's pain and denial and Quantum immediately begins with a silent roar before bursting into the angriest car chase this series has to offer. Bullets flying and cars ramming and grinding into the pavement and one another; almost turns into straight-up horror.
With this opening scene comes the two biggest complaints of this entry: the editing and that this ain't Bond, it's Bourne. Valid complaints if you look at it on its own and, frankly, don't read too much into it. Being I just watched Royale the night before I can't speak for how this holds by itself. For most people, probably not too well given its reception back when initially released when most critics and audiences no longer had Royale fresh in their minds (not to say a whole lot would've changed if it was). For myself and as a sequel/second part to Royale it's good. Instead of being viciously asked to care about Bond's loss you already do and it gets right into all of that rage from the very first frame.
You could write-off the editing as sloppy, but all those quick and rough cuts suit what Bond's feeling (while feeling mostly coherent, nothing here I found too head inducing). We feel all that fire and fury through every punch and pull of the trigger. A far more violent, action packed Bond, but after an already hot-headed agent witnesses the death of a loved one it feels like the logical next step. After so many entries, it's almost as if they're treating this new Bond as a character with actual feelings as oppose to the others (take that criticism with a grain of salt being my memory isn't so fresh with the Bonds pre-Brosnan). His eyes bleed with regret. His clothes get drenched in all that blood as the oil gets injected into his veins. A Bond like no other. In such a popular role like this, it's easy to forget just how good of an actor Craig is. His physicality on display in all of the small moments here is so smooth and effortless it's hard not to be completely intoxicated in all of his ruthlessness throughout Quantum.
The only thing that stuck out as BAD to me was Mathieu running away from that fire/explosion in slow-motion and probably a few other CGI heavy moments that took me right out of the moment. Otherwise Forster does a pretty solid job piecing together a brutal Bond on-the-run movie. So many wonderful set pieces, with the opera house standing out, and incredible uses of fades and dissolves in this one. Specifically in the desert scenes and upon reflection of Ms. Fields' body soaked in oil (the latter scene itself, just a wonderful callback to Goldfinger as long as you don't think too much about how they got her body back in that hotel room). Never would've expected something like this from a director with not the most exciting filmography. Maybe not your "traditional" Bond film and that's just fine. This is so much better than what I remember/was led to believe.
Paint Your Wagon (1969)
Director: Joshua Logan
Originally Published: March 3, 2020
https://letterboxd.com/alex_lillquist/film/paint-your-wagon/
Originally Published: March 3, 2020
https://letterboxd.com/alex_lillquist/film/paint-your-wagon/
Can't believe Roger Ebert led me to believe that this was "scandalous cinematic waste" for my entire life. He did the same with Heaven's Gate, Brown Bunny, even Freddy Got Fingered. He'll always be the one that got me into this filthy art form and while I still and always will enjoy his writings I'm sure as hell glad that I've outgrown his POV and learned to love movies in my own way. I mean, he's probably 100% correct on this one. Especially at the time when musicals were at the same exhausting point superhero movies are today. For this to have been released at a different point in time... it... would still probably have been received terribly as it was back then and probably rightly so.
Beyond a miracle that I wasn't once bored during these 164 minutes mainly, not only, thanks to Lee Marvin being the absolute GOAT. From the second he gave the okay for those men to fling Clint Eastwood's dead brother's body out from the grave (that body flies at least 10 ft in the air before coming down on top of the camera) when they realized it was laying on silver I knew I was dealing with a product that surely could not have received the appreciation it deserved back in 1969. That's up until Lee and Clint start singing. When it's all the town folks singing there are some actual bangers there, for real. When it's Lee and Clint on their own it's just weird but in an oddly charming way being it does seem that they're actually trying. Helps that Lee was drunk nearly every day of filming so we're getting an extra layer of honesty in his notes.
It all just keeps on giving. Just when you think it's gonna start running on empty, and with the reputation it has this happens several times, some new completely absurd element introduces itself and keeps this can of beans filled. Gold digging, woman auctions, Clint Eastwood singing to trees, polygamy, a bear-v-lion fight all surround Lee Marvin doing his damnedest not to lose his balance. I can't stress just how mesmerizing he is here. I could easily watch another two hours of him corrupting the youth as long as it all leads to the same psychotic climax. Not too hard to see it coming but the giddiness you'll feel leading up to it is otherworldly. A wonderful motion picture. If the fact that director Joshua Logan dynamited the set after a "long, painful shoot" doesn't at the very least get you interested in seeing this I don't think anything will.
Beyond a miracle that I wasn't once bored during these 164 minutes mainly, not only, thanks to Lee Marvin being the absolute GOAT. From the second he gave the okay for those men to fling Clint Eastwood's dead brother's body out from the grave (that body flies at least 10 ft in the air before coming down on top of the camera) when they realized it was laying on silver I knew I was dealing with a product that surely could not have received the appreciation it deserved back in 1969. That's up until Lee and Clint start singing. When it's all the town folks singing there are some actual bangers there, for real. When it's Lee and Clint on their own it's just weird but in an oddly charming way being it does seem that they're actually trying. Helps that Lee was drunk nearly every day of filming so we're getting an extra layer of honesty in his notes.
It all just keeps on giving. Just when you think it's gonna start running on empty, and with the reputation it has this happens several times, some new completely absurd element introduces itself and keeps this can of beans filled. Gold digging, woman auctions, Clint Eastwood singing to trees, polygamy, a bear-v-lion fight all surround Lee Marvin doing his damnedest not to lose his balance. I can't stress just how mesmerizing he is here. I could easily watch another two hours of him corrupting the youth as long as it all leads to the same psychotic climax. Not too hard to see it coming but the giddiness you'll feel leading up to it is otherworldly. A wonderful motion picture. If the fact that director Joshua Logan dynamited the set after a "long, painful shoot" doesn't at the very least get you interested in seeing this I don't think anything will.
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020)
Director: Cathy Yan
Originally Published: February 6, 2020
https://letterboxd.com/alex_lillquist/film/birds-of-prey-and-the-fantabulous-emancipation-of-one-harley-quinn/
Originally Published: February 6, 2020
https://letterboxd.com/alex_lillquist/film/birds-of-prey-and-the-fantabulous-emancipation-of-one-harley-quinn/
The only thing worse than clichés or unoriginal writing (which doesn't always have to be a negative, especially in movies) is the recent head-inducing, meta "calling out" of it and then continuing to go down that "cliched" path without even attempting to do anything new. This happens two or three times in Birds of Prey, where writer Christina Hodson just has to take the time to tell the audience how above 80's police procedural shows and movies she is. It’s not clever if all you’re doing is pointing it out. You’re just admitting to your own lazy writing and wasting everyone’s time with it. Imagine being such a sad individual riffing off of that genre as you are creating what is really nothing more than a female oriented carbon copy of one of your competition's biggest hits.
Obviously, this is DC's answer to the just as loud Deadpool only more watchable being they actually got people who know how to shoot and edit action sequences. There are some really great moments with baseball bats, car windows, hammers, cocaine bags, roller skates, legs and bodies just flying all around that are so enjoyable I would gladly give this another watch. That thought is with me until I remember that all those actions scenes, along with the movie itself, are covered in this coating of “no one ever shutting up for five seconds” (whether it be the actors or the movie itself and I’m not just talking about the atrocious sound mixing) which brings the entire experience down tremendously and by the hour mark I just wanted it all to be over with.
Most of the visuals are pretty flat, even when it's trying, with the most uneventful looking Gotham City to ever hit the screens but at least when the action's afoot it's a lively watch with a few chase scenes that are competently put together and some gnarly PWSA influence here and there. Margot and the cast, especially Ewan having the time of his life, are all solid when they're not doing their damnedest to be the quirkiest quirks to ever quirk. I can totally see why a majority of users here would get down with this, hard not to admire a solo Harley Quinn movie get off the ground with a nice budget and a knack for breaking bones, but just... why? This is what so many of you want? All these wacky fourth wall breaks and non-stop meta humor? The keyword there is non-stop. Nothing ever stops. Everyone is talking, the movie is left on 1.5x speed without any breathers, music and sounds are constantly blasting. If this didn’t try so hard to be as exhausting as humanly possible, we could’ve had something real nice here. Instead, they go HARD with including as much SMUG and KOOK and RANDOM LOL as they can and good on you if you're into that. Anyone else, you're probably gonna lose it far before you reach the third act of the title.
Obviously, this is DC's answer to the just as loud Deadpool only more watchable being they actually got people who know how to shoot and edit action sequences. There are some really great moments with baseball bats, car windows, hammers, cocaine bags, roller skates, legs and bodies just flying all around that are so enjoyable I would gladly give this another watch. That thought is with me until I remember that all those actions scenes, along with the movie itself, are covered in this coating of “no one ever shutting up for five seconds” (whether it be the actors or the movie itself and I’m not just talking about the atrocious sound mixing) which brings the entire experience down tremendously and by the hour mark I just wanted it all to be over with.
Most of the visuals are pretty flat, even when it's trying, with the most uneventful looking Gotham City to ever hit the screens but at least when the action's afoot it's a lively watch with a few chase scenes that are competently put together and some gnarly PWSA influence here and there. Margot and the cast, especially Ewan having the time of his life, are all solid when they're not doing their damnedest to be the quirkiest quirks to ever quirk. I can totally see why a majority of users here would get down with this, hard not to admire a solo Harley Quinn movie get off the ground with a nice budget and a knack for breaking bones, but just... why? This is what so many of you want? All these wacky fourth wall breaks and non-stop meta humor? The keyword there is non-stop. Nothing ever stops. Everyone is talking, the movie is left on 1.5x speed without any breathers, music and sounds are constantly blasting. If this didn’t try so hard to be as exhausting as humanly possible, we could’ve had something real nice here. Instead, they go HARD with including as much SMUG and KOOK and RANDOM LOL as they can and good on you if you're into that. Anyone else, you're probably gonna lose it far before you reach the third act of the title.
CATS (2019)
Director: Tom Hooper
Originally Published: January 7, 2020
https://letterboxd.com/alex_lillquist/film/cats-2019/
Originally Published: January 7, 2020
https://letterboxd.com/alex_lillquist/film/cats-2019/
This probably says more about me than anything I've written on this site, but if you honestly think this is the most unbearable thing ever conceived you really need to watch more Oscar bait biopics. I've been (actually) watching movies for a decade now and I can tell you that I'd rather watch Tom Hooper risk his entire career all on a $100M furry's wet dream/human nightmare than attempting to go for gold with The Danish Girl, something far more offensive and insufferable than anything here in CATS.
Of course, that's not to suggest that Hooper's CATS is some kind of hidden masterpiece only elite cinema critics can unlock the secrets of (it's not) or that this isn't filled with a good amount of film making/human atrocities because when the main subjects of your movie look like what they do here you probably deserve a critical beat down and hundreds of joke headlines. As long as they have a couple layers of clothing on and you don't stare at them for too long you'll be just fine up until Idris Elba completely exposes his incredibly shiny cat body to the world and you're left there with just too many questions. The kind of (upsetting) questions that I don't think any filmmaker in the world could avoid while bringing a live action CATS to the big screen.
I don't think it's possible to comfortably translate the play's characters/costumes onto film (not saying it's already comfortable on the stage). The majority of audiences would most likely find practical cat costumes tedious and now we know what $100M of CGI looks like (the more memorable option, without doubt). Environments aside, in no way could any sane person say this looks good. A few shots at the end with the CATS in direct sunlight for the first time will solidify that opinion/hard fact to anyone still on edge, should those people still exist after enduring the cockroaches with human faces which is less hilariously weird than it is embarrassing. A proposed animated CATS from Spielberg during the 90's would've without doubt been something of actual visual competence and not just because it would've featured actual (animated) CATS and not these human/CAT pro-furry hybrids. When they're just doing normal human things all is fine and well and then when you're at peace suddenly one character starts rubbing their face on another's or just hisses out of no where and it's just all way too bizarre not to love and wonder just why the hell you're watching this.
This is probably Hooper's most exciting work for both right and deeply wrong reasons. For every Skimbleshanks and Mr. Mistoffelees, two legitimately good pieces of music and dancing, he gives us Memory where the music is turned up so loud it completely drains out Hudson's voice ruining the biggest moment in the movie. More offensively, for a CGI monstrosity about a cult of suicidal CATS this definitely doesn't go as hard as it should. Definitely cool to seem Tom put in the effort to get down an unexpected geographical layout of the back alleys, stores, and houses for this very small world. In the end, that doesn't really matter for to shoot all the atrocities going on here with a complete lack of self-awareness, doing nothing interesting with the camera, editing, staging, or most of the set pieces here is probably the biggest offense in CATS. As much as I enjoyed the Skimbleshanks and Mr. Mistoffelees pieces I can't remember a single thing about them as I type this. A lot of fun in the moment, but I'll probably forget just about everything in this by next week that isn't those songs (or at least the thought that I enjoyed them) or Idris' furry bare cat groin.
Still, reflecting back I can't deny that I wasn't thoroughly entertained throughout the whole thing while sitting there in the theater. While shockingly forgettable (which honestly should earn this a solid one star) it's all those individual moments of CGI war crimes and extreme uncomfortableness that earns CATS a recommendation from myself even though you probably should never see this. Whether it be Idris' stellar cat body (I hope his family tortures him over this for the rest of his life), a solid 30 seconds of Rebel Wilson really going at her groin, Ian McKellen meowing and gagging and not knowing where he is (honestly, there's probably some elder abuse going on here), or Judi Dench talking into the camera while getting seriously aroused just by thinking of salmon paste. A damn good time with friends, but this deserved a director who's willing to go all out with such ridiculous material like this.
Of course, that's not to suggest that Hooper's CATS is some kind of hidden masterpiece only elite cinema critics can unlock the secrets of (it's not) or that this isn't filled with a good amount of film making/human atrocities because when the main subjects of your movie look like what they do here you probably deserve a critical beat down and hundreds of joke headlines. As long as they have a couple layers of clothing on and you don't stare at them for too long you'll be just fine up until Idris Elba completely exposes his incredibly shiny cat body to the world and you're left there with just too many questions. The kind of (upsetting) questions that I don't think any filmmaker in the world could avoid while bringing a live action CATS to the big screen.
I don't think it's possible to comfortably translate the play's characters/costumes onto film (not saying it's already comfortable on the stage). The majority of audiences would most likely find practical cat costumes tedious and now we know what $100M of CGI looks like (the more memorable option, without doubt). Environments aside, in no way could any sane person say this looks good. A few shots at the end with the CATS in direct sunlight for the first time will solidify that opinion/hard fact to anyone still on edge, should those people still exist after enduring the cockroaches with human faces which is less hilariously weird than it is embarrassing. A proposed animated CATS from Spielberg during the 90's would've without doubt been something of actual visual competence and not just because it would've featured actual (animated) CATS and not these human/CAT pro-furry hybrids. When they're just doing normal human things all is fine and well and then when you're at peace suddenly one character starts rubbing their face on another's or just hisses out of no where and it's just all way too bizarre not to love and wonder just why the hell you're watching this.
This is probably Hooper's most exciting work for both right and deeply wrong reasons. For every Skimbleshanks and Mr. Mistoffelees, two legitimately good pieces of music and dancing, he gives us Memory where the music is turned up so loud it completely drains out Hudson's voice ruining the biggest moment in the movie. More offensively, for a CGI monstrosity about a cult of suicidal CATS this definitely doesn't go as hard as it should. Definitely cool to seem Tom put in the effort to get down an unexpected geographical layout of the back alleys, stores, and houses for this very small world. In the end, that doesn't really matter for to shoot all the atrocities going on here with a complete lack of self-awareness, doing nothing interesting with the camera, editing, staging, or most of the set pieces here is probably the biggest offense in CATS. As much as I enjoyed the Skimbleshanks and Mr. Mistoffelees pieces I can't remember a single thing about them as I type this. A lot of fun in the moment, but I'll probably forget just about everything in this by next week that isn't those songs (or at least the thought that I enjoyed them) or Idris' furry bare cat groin.
Still, reflecting back I can't deny that I wasn't thoroughly entertained throughout the whole thing while sitting there in the theater. While shockingly forgettable (which honestly should earn this a solid one star) it's all those individual moments of CGI war crimes and extreme uncomfortableness that earns CATS a recommendation from myself even though you probably should never see this. Whether it be Idris' stellar cat body (I hope his family tortures him over this for the rest of his life), a solid 30 seconds of Rebel Wilson really going at her groin, Ian McKellen meowing and gagging and not knowing where he is (honestly, there's probably some elder abuse going on here), or Judi Dench talking into the camera while getting seriously aroused just by thinking of salmon paste. A damn good time with friends, but this deserved a director who's willing to go all out with such ridiculous material like this.
The Star Wars Holiday Special (1978)
Directors: Steve Binder & David Acomba
Originally Published: November 27, 2019
https://letterboxd.com/alex_lillquist/film/the-star-wars-holiday-special/
Originally Published: November 27, 2019
https://letterboxd.com/alex_lillquist/film/the-star-wars-holiday-special/
An avant-garde CBS special of the day-to-day maintenance operations of one population in the never-ending Star Wars universe. More specifically, Jeanne Dielman, 23, Quai du Commerce 1080 Bruxelles ala Wookie. Only about five hours longer. We watch these Wookies clean, cook, relax, watch television and weirdo interpretive dance holograms, listen to music, and play. No subtitles for these Wookies for we are only outsiders given permission to take a peak into their foreign world. The choice to not cut scenes when the Wookies have been screaming at each other unintelligibly for 15 minutes straight to put a bigger emphasis on the surroundings helps engross us into this incredibly detailed, dirty as shit house. Featuring Jefferson Starship and Chewbacca's dad fully engaged with VR porn. What I'm getting at here is that while it's the most unbearable thing ever conceived by humans there's more originality going on here than anything in Force Awakens [and Rise of Skywalker]
Happy Thanksgiving and an ever-lasting Life Day, friends.
[Edited]
Happy Thanksgiving and an ever-lasting Life Day, friends.
[Edited]
Terminator: Dark Fate (2019)
Director: Tim Miller
Originally Published: November 2, 2019
https://letterboxd.com/alex_lillquist/film/terminator-dark-fate/
Originally Published: November 2, 2019
https://letterboxd.com/alex_lillquist/film/terminator-dark-fate/
After having to listen to that "I'm going huuunnnting" trailer bullshit for the past couple of months this is definitely much more enjoyable than what the marketing would lead you to believe.
That is not true, however, when it comes to the narrative. It's basically T2 but clearly directed by the guy who did Deadpool and written by people who think bigger is ALWAYS better yet somehow, but not surprisingly, lack ambition in all of its forms. Skynet's gone and a new company (whose name I've forgotten) is now threatening the fate of the world. Plenty of new things for the writers to do here and they play it as close as they possibly can to T2's structure and beats. "save John, save the world" turns into "save Dani, save the world" and there's really not anything new beyond that.
This new company is literally just Skynet 15 minutes into the future; as in everything they do is exactly what Skynet eventually would've gotten to if they weren't eliminated which explains why this future is exactly the same and why the new Terminator (the Rev-9) is just the iPhone 11 Max to Robert Patrick's (T2's T-1000) iPhone 11. Just a little bit different yet pretty much completely the same and definitely not a reason to upgrade. It's definitely tense when he's in the room, but he lacks the chic that made Patrick both intimidating and memorable.
The machine gets upgraded and the direction goes down to the iPhone 5c (c as in COWARD). Am mostly disappointed with myself for thinking Tim Miller would even attempt to try and replicate Cameron's style (that of a good director). Instead he's doing his own thing which is just your typical generic action movie faire which is decent enough. Still, I gotta give him points for some neat moments of body/endoskeleton horror and the final scenes where he does a pretty good job at getting down the weight of these machines as oppose to the rag-dolls in T3 and Salvation.
I'm actually pretty shocked to see so many three starred reviews here and I can only attribute that to the probable fact that all of you had such low expectations for this and for the cast who really make the whole thing worth watching. I really love those first two and it's so nice to see Linda just doing whatever she wants in probably her last leading role in a $185M movie; with as many forced uses of the f-bomb as she can possibly fit in. Arnold is as watchable and hilarious as ever, stealing every scene he's in, and Mackenzie is such a strong lead that it's so disappointing that Tim and co. did nothing to make something more than a retread of T2.
Narrative aside, these characters really do make the whole experience way more engaging than it should be and at the end of the day I really can't say that I didn't like it, which is way different than saying it's a good movie. It all really depends on your relation with those first two movies. If they mean nothing to you don't expect too much from this and even if they do... well good luck. Most of the time it ranges from "whatever" to "neat" with one killer moment for every two that drag making it the most three starred Terminator sequel that could've been made. I look forward to the next James Cameron approved reboot in 2026.
Edit: Brought this down a star because the more I think of it the more I realize that I CAN say that I didn't like it for just how lazy and cheap it is.
That is not true, however, when it comes to the narrative. It's basically T2 but clearly directed by the guy who did Deadpool and written by people who think bigger is ALWAYS better yet somehow, but not surprisingly, lack ambition in all of its forms. Skynet's gone and a new company (whose name I've forgotten) is now threatening the fate of the world. Plenty of new things for the writers to do here and they play it as close as they possibly can to T2's structure and beats. "save John, save the world" turns into "save Dani, save the world" and there's really not anything new beyond that.
This new company is literally just Skynet 15 minutes into the future; as in everything they do is exactly what Skynet eventually would've gotten to if they weren't eliminated which explains why this future is exactly the same and why the new Terminator (the Rev-9) is just the iPhone 11 Max to Robert Patrick's (T2's T-1000) iPhone 11. Just a little bit different yet pretty much completely the same and definitely not a reason to upgrade. It's definitely tense when he's in the room, but he lacks the chic that made Patrick both intimidating and memorable.
The machine gets upgraded and the direction goes down to the iPhone 5c (c as in COWARD). Am mostly disappointed with myself for thinking Tim Miller would even attempt to try and replicate Cameron's style (that of a good director). Instead he's doing his own thing which is just your typical generic action movie faire which is decent enough. Still, I gotta give him points for some neat moments of body/endoskeleton horror and the final scenes where he does a pretty good job at getting down the weight of these machines as oppose to the rag-dolls in T3 and Salvation.
I'm actually pretty shocked to see so many three starred reviews here and I can only attribute that to the probable fact that all of you had such low expectations for this and for the cast who really make the whole thing worth watching. I really love those first two and it's so nice to see Linda just doing whatever she wants in probably her last leading role in a $185M movie; with as many forced uses of the f-bomb as she can possibly fit in. Arnold is as watchable and hilarious as ever, stealing every scene he's in, and Mackenzie is such a strong lead that it's so disappointing that Tim and co. did nothing to make something more than a retread of T2.
Narrative aside, these characters really do make the whole experience way more engaging than it should be and at the end of the day I really can't say that I didn't like it, which is way different than saying it's a good movie. It all really depends on your relation with those first two movies. If they mean nothing to you don't expect too much from this and even if they do... well good luck. Most of the time it ranges from "whatever" to "neat" with one killer moment for every two that drag making it the most three starred Terminator sequel that could've been made. I look forward to the next James Cameron approved reboot in 2026.
Edit: Brought this down a star because the more I think of it the more I realize that I CAN say that I didn't like it for just how lazy and cheap it is.
The Irishman (2019)
Director: Martin Scorsese
Originally Published: October 24, 2019
https://letterboxd.com/alex_lillquist/film/the-irishman-2019/
Originally Published: October 24, 2019
https://letterboxd.com/alex_lillquist/film/the-irishman-2019/
[CIFF #6 OF 8]
Edward Norton's Motherless Brooklyn is about one hour shorter than The Irishman and yet somehow feels about five hours longer. Despite that, this had more walkouts than Brooklyn which I'm pretty sure didn't have any. Though, I guess that's not too surprising.
We can feel the lifetime of Frank "The Irishman" Sheeran pass by. With most movies of this length that's just about the worst thing you can say about them. Here the pace and the 210 minutes are appropriate, and it isn't until the last 50 minutes does this turn from an already great movie into top tier Scorsese with what's probably the most self-reflexive and introspective film of his career, to no surprise. Bringing back his boys, along with their one friend he's always known but never really hung out with, for one last look at a gangster's supposed paradise. Only this time he doesn't end it when they all go to jail. He extends it for Frank, the last survivor. He's now old, crippled, hated by his family, left with nothing but a room in the local retirement home and an invisible camera for which he tells his story into for he has no one left to talk to. As long and meandering as the scenes could be of Frank and all of his friends in their glory days, as we watch him struggle to make his way down a hallway, cane in hand, before he's taken to that retirement home we realize just how quickly those scenes/the entire movie/Frank's life has passed. It hits you hard. You never thought you would reach it, but now you're here? Gone are the vacations, the parties, the ice cream, the love and presence of friends and family. It's just your frail body, jelly skin, and your memories now. The ones from around the time(s) where you messed everything up will stand out the most and for Frank it's going to be hard to think of anything but. Hopefully you'll do your best to live a good life.
"And now it's all over"
Nothing left to do now except pick out your coffin and die.
Edward Norton's Motherless Brooklyn is about one hour shorter than The Irishman and yet somehow feels about five hours longer. Despite that, this had more walkouts than Brooklyn which I'm pretty sure didn't have any. Though, I guess that's not too surprising.
We can feel the lifetime of Frank "The Irishman" Sheeran pass by. With most movies of this length that's just about the worst thing you can say about them. Here the pace and the 210 minutes are appropriate, and it isn't until the last 50 minutes does this turn from an already great movie into top tier Scorsese with what's probably the most self-reflexive and introspective film of his career, to no surprise. Bringing back his boys, along with their one friend he's always known but never really hung out with, for one last look at a gangster's supposed paradise. Only this time he doesn't end it when they all go to jail. He extends it for Frank, the last survivor. He's now old, crippled, hated by his family, left with nothing but a room in the local retirement home and an invisible camera for which he tells his story into for he has no one left to talk to. As long and meandering as the scenes could be of Frank and all of his friends in their glory days, as we watch him struggle to make his way down a hallway, cane in hand, before he's taken to that retirement home we realize just how quickly those scenes/the entire movie/Frank's life has passed. It hits you hard. You never thought you would reach it, but now you're here? Gone are the vacations, the parties, the ice cream, the love and presence of friends and family. It's just your frail body, jelly skin, and your memories now. The ones from around the time(s) where you messed everything up will stand out the most and for Frank it's going to be hard to think of anything but. Hopefully you'll do your best to live a good life.
"And now it's all over"
Nothing left to do now except pick out your coffin and die.
Donnie Darko (2001)
Director: Richard Kelly
Originally Published: September 13, 2019
https://letterboxd.com/alex_lillquist/film/donnie-darko/
Originally Published: September 13, 2019
https://letterboxd.com/alex_lillquist/film/donnie-darko/
"How did you feel? Being denied these... hungry... hungry hippos?"
One of the dozen movies I watched over and over again on my good old 80GB iPod classic (still works today!) back in high school. I wasted so much money buying movies on iTunes it sickens me, but they'll forever be ingrained into my mind and when the Alzheimer's starts to kick in years from now (probably) I'll still be able to recall those movies scene by scene and enjoy every second of them as I wither away. I've had favorite movies before watching Darko for the first time, but Darko was definitely my first FAVORITE movie. The one that completely blew me away and unlocked some hidden emo-ish phase inside of me that thankfully never made itself public to the world. And oddly enough it was the director's cut I watched first!
To this day after all these years, I remember enjoying the director's cut more even after viewing the theatrical cut so, so many more times. I've read enough words from people whose opinions I trust to know that I'm wrong on that. Still from what I remember the school assembly scene from the director's cut (cut down in the theatrical) added a lot more characterization to Patrick Swayze's "therapeutic" teachings. Him confidently giving such vague and clueless answers to those teenagers, with money signs bolded in his eyes, gives more of a solid reason for Donnie's immediate take down of him.
That scene in the theatrical cut feels less impactful as it did in the director's by not including those answers and being I still remember that from my only viewing of the director's cut probably ten years ago now (that's pretty much the only added scene I can still remember from it) I think there's some merit to that. Nevertheless, this is still great. Maybe not the full-on masterpiece I once worshiped it as, but I can clearly see all the reasons to why I absolutely loved this one back when I probably had less than 100 watched movies under my belt.
Pretty sure this is the first movie I saw that actually did stuff with the camera. That dutch angle shot of Donnie getting off the bus in the beginning hit like a plane's engine hurdling down from the sky and teleported me back to my first time watching this. Not too sure just how well composed those tracking shots that follow are but having Head Over Heels play over them certainly keeps me from questioning them too much. Entire soundtrack is just top tier stuff, not to mention the score that just KILLS. I'm shocked I didn't rip the entire thing onto my iPod back then.
All the 80's hits that would cause anyone with a pulse to wear out their cassette tapes from constantly rewinding them all the time. Honestly forgot this is technically a period piece all because Kelly isn't at in your face about the whole thing. Not once does he shamelessly exploit outdated products, technology, or even stereotypical characters to let us know the period. He blends them in while giving them purpose to the story showing how life actually was back then and that really helps to engage us with this time and place instead of taking us out of the moment just to say "we're in the EIGHTIES" which feels like a rarity to see in most movies made in the 21st century about that decade. Even more, it's not just the year he nails it's the time of the year, too. This is a perfect Fall/October movie. Where you can feel the cool winds and the warmth of that one jacket you wore for months straight throughout that year in high school.
On top of all this great film making and hilarity (this is a legitimately funny movie), you've got time travel, existentialism, spirituality, and some guy wearing a stupid bunny suit. Somehow we teenagers were still able to relate to it all and even if we couldn't make sense of it we knew exactly how it be. This is my like tenth viewing of this one, last watched probably like eight years ago, and it's still just so wonderful. Even with just three films Kelly is far more interesting than most working directors today. High hopes that supposed Rod Serling biopic of his gets off the ground for the world deserves to see more of this man's work.
One of the dozen movies I watched over and over again on my good old 80GB iPod classic (still works today!) back in high school. I wasted so much money buying movies on iTunes it sickens me, but they'll forever be ingrained into my mind and when the Alzheimer's starts to kick in years from now (probably) I'll still be able to recall those movies scene by scene and enjoy every second of them as I wither away. I've had favorite movies before watching Darko for the first time, but Darko was definitely my first FAVORITE movie. The one that completely blew me away and unlocked some hidden emo-ish phase inside of me that thankfully never made itself public to the world. And oddly enough it was the director's cut I watched first!
To this day after all these years, I remember enjoying the director's cut more even after viewing the theatrical cut so, so many more times. I've read enough words from people whose opinions I trust to know that I'm wrong on that. Still from what I remember the school assembly scene from the director's cut (cut down in the theatrical) added a lot more characterization to Patrick Swayze's "therapeutic" teachings. Him confidently giving such vague and clueless answers to those teenagers, with money signs bolded in his eyes, gives more of a solid reason for Donnie's immediate take down of him.
That scene in the theatrical cut feels less impactful as it did in the director's by not including those answers and being I still remember that from my only viewing of the director's cut probably ten years ago now (that's pretty much the only added scene I can still remember from it) I think there's some merit to that. Nevertheless, this is still great. Maybe not the full-on masterpiece I once worshiped it as, but I can clearly see all the reasons to why I absolutely loved this one back when I probably had less than 100 watched movies under my belt.
Pretty sure this is the first movie I saw that actually did stuff with the camera. That dutch angle shot of Donnie getting off the bus in the beginning hit like a plane's engine hurdling down from the sky and teleported me back to my first time watching this. Not too sure just how well composed those tracking shots that follow are but having Head Over Heels play over them certainly keeps me from questioning them too much. Entire soundtrack is just top tier stuff, not to mention the score that just KILLS. I'm shocked I didn't rip the entire thing onto my iPod back then.
All the 80's hits that would cause anyone with a pulse to wear out their cassette tapes from constantly rewinding them all the time. Honestly forgot this is technically a period piece all because Kelly isn't at in your face about the whole thing. Not once does he shamelessly exploit outdated products, technology, or even stereotypical characters to let us know the period. He blends them in while giving them purpose to the story showing how life actually was back then and that really helps to engage us with this time and place instead of taking us out of the moment just to say "we're in the EIGHTIES" which feels like a rarity to see in most movies made in the 21st century about that decade. Even more, it's not just the year he nails it's the time of the year, too. This is a perfect Fall/October movie. Where you can feel the cool winds and the warmth of that one jacket you wore for months straight throughout that year in high school.
On top of all this great film making and hilarity (this is a legitimately funny movie), you've got time travel, existentialism, spirituality, and some guy wearing a stupid bunny suit. Somehow we teenagers were still able to relate to it all and even if we couldn't make sense of it we knew exactly how it be. This is my like tenth viewing of this one, last watched probably like eight years ago, and it's still just so wonderful. Even with just three films Kelly is far more interesting than most working directors today. High hopes that supposed Rod Serling biopic of his gets off the ground for the world deserves to see more of this man's work.
First Man (2018)
Director: Damien Chazelle
Originally Published: October 1, 2018
https://letterboxd.com/alex_lillquist/film/first-man/
Originally Published: October 1, 2018
https://letterboxd.com/alex_lillquist/film/first-man/
If you're still complaining about the omission of the flag planting by the end you've completely missed the entire point (of course, most people who are complaining haven't even seen this yet). This is not about one nation. The line is not "....one giant leap for Americans." Of course, this is the single greatest achievement in all of mankind which just so happened to be accomplished by Americans (with a good amount of help from a few other parts of the world), and while not overtly glaringly patriotic it's still very proud of it's country. Nonetheless, this is not just about America. The keyword here is mankind. The newspapers and magazine articles shown at the end from countries all around the world were filled with nothing but pride and joy. This wasn't just an accomplishment for Americans but an accomplishment for all of mankind and to actual complain about First Man not being even more proud of it's country and people as it is for all human beings is just ignorant (especially because we couldn't have done this alone).
Even more, this is not just about mankind and the great strides to keep on moving forward no matter the challenge. Above all else, this is about a father and the love he has for his daughter who he will never see again. First Man is heartbreaking and along with that no movie this year has made me feel more connected to every individual on this planet than this one. It's beautiful. I love it. Really didn't think Damien had it in him to make this story anything more than remote but he's on fire here. He knows how to work a camera without being an asshole and he puts so much effort into things that are so little it's hard to think that his previous two wide releases were just flukes, though he's completely indistinguishable from his previous works here (except for the use of music which is SO good here it's worth the price of a ticket alone, not to mention an album purchase). The impact of Armstrong placing his foot on the moon is felt to the bone and in lesser hands that scene could've just been another tick mark off the moon landing story's checklist (as could've been showing the planting of the flag instead of something we haven't actually seen before, point being he knows what he's doing) and the human drama on the ground could've been an unforgettable drag that it makes me sick just thinking about it. There may be better movies this year, but I really don't think there's going to be one more impeccably crafted than First Man. IMAX or not this is great.
Even more, this is not just about mankind and the great strides to keep on moving forward no matter the challenge. Above all else, this is about a father and the love he has for his daughter who he will never see again. First Man is heartbreaking and along with that no movie this year has made me feel more connected to every individual on this planet than this one. It's beautiful. I love it. Really didn't think Damien had it in him to make this story anything more than remote but he's on fire here. He knows how to work a camera without being an asshole and he puts so much effort into things that are so little it's hard to think that his previous two wide releases were just flukes, though he's completely indistinguishable from his previous works here (except for the use of music which is SO good here it's worth the price of a ticket alone, not to mention an album purchase). The impact of Armstrong placing his foot on the moon is felt to the bone and in lesser hands that scene could've just been another tick mark off the moon landing story's checklist (as could've been showing the planting of the flag instead of something we haven't actually seen before, point being he knows what he's doing) and the human drama on the ground could've been an unforgettable drag that it makes me sick just thinking about it. There may be better movies this year, but I really don't think there's going to be one more impeccably crafted than First Man. IMAX or not this is great.
Mile 22 (2018)
Director: Peter Berg
Originally Published: August 17, 2018
https://letterboxd.com/alex_lillquist/film/mile-22/
Originally Published: August 17, 2018
https://letterboxd.com/alex_lillquist/film/mile-22/
"Say hello to your mother for me" *
* actual line of dialogue said to Marky Mark
No one is really talking about this beyond how horrendous the editing is (not that I at all blame them), but I'm looking forward for someone smarter than myself to take a look at this because I think, in the grand scheme of things, this is really interesting. Never mind your personal feelings towards their work and their pretty much overbearingly patriotic views, the Berg/Wahlberg team have consistently made competent, structured films that paint Wahlberg and our country in the brightest light imaginable as well as being all around liked by critics and general audiences (all of them are certified fresh on Rotten Tomatoes, the most important validation for any film of course, so they're all, more or less, well liked). Mile 22 is not any of these. It's the complete polar opposite. The people/team/our country itself here are not heroes nor are they ever treated as such. If anything, Mile 22 absolutely hates all of them. This is an angry, almost nihilistic film that goes against everything that the previous Berg/berg team is known for. These characters annoy, hurt, scream at, betray, and kill with no mercy at all. They are MEAN and there's little to no playful banter at all. They aren't even very good at what they do. There are literally zero redeeming qualities for any of them and the more I think about it it's really shocking when compared to how much the character's in their last films are truly beloved by them.
If you thought Lone Survivor was disgustingly violent you haven't seen anything. Necks are being slid back and forth on broken car door windows, eyes are being grabbed at, multiple stab wounds, meat flying everywhere, and an unlimited supply of grenades. This is about as hard R as it gets. Mile 22 doesn't just hate it's characters, oh no, it hates us just as much. I think we can all agree that their last three works were appropriately paced and were pretty simple to follow. Here there is not a single shot that lasts for more than two seconds. Every single time a character makes just a slight movement it cuts to that movement. Just imagine the action scenes. Wahlberg and Uwais both have a small meditative/stress reliever character signature (berg snaps a live strong band on his wrist, Uwais touches his fingers together) and they utilize their one and only characteristic about every two minutes. It will ALL drive you insane, especially since this is a non-stop action gore fest with no breathers whatsoever, but maybe that's the whole purpose of Mile 22. Is this the Berg/berg's anti-thesis to their patriotic trilogy? Is this the beginning of something wickedly experimental, a brutally honest message towards where this country is heading/has headed, or downright career suicide? I don't know, but for the time being I kind of dig this extremely cynical excess. It most certainly will not work for everyone (an appropriate 22% on Rotten Tomatoes) and I don't at all blame them for not getting in on this, but I am certainly interested to see what a (supposedly planned) trilogy has in store. There's a whole lot more to think about than the editing here.
* actual line of dialogue said to Marky Mark
No one is really talking about this beyond how horrendous the editing is (not that I at all blame them), but I'm looking forward for someone smarter than myself to take a look at this because I think, in the grand scheme of things, this is really interesting. Never mind your personal feelings towards their work and their pretty much overbearingly patriotic views, the Berg/Wahlberg team have consistently made competent, structured films that paint Wahlberg and our country in the brightest light imaginable as well as being all around liked by critics and general audiences (all of them are certified fresh on Rotten Tomatoes, the most important validation for any film of course, so they're all, more or less, well liked). Mile 22 is not any of these. It's the complete polar opposite. The people/team/our country itself here are not heroes nor are they ever treated as such. If anything, Mile 22 absolutely hates all of them. This is an angry, almost nihilistic film that goes against everything that the previous Berg/berg team is known for. These characters annoy, hurt, scream at, betray, and kill with no mercy at all. They are MEAN and there's little to no playful banter at all. They aren't even very good at what they do. There are literally zero redeeming qualities for any of them and the more I think about it it's really shocking when compared to how much the character's in their last films are truly beloved by them.
If you thought Lone Survivor was disgustingly violent you haven't seen anything. Necks are being slid back and forth on broken car door windows, eyes are being grabbed at, multiple stab wounds, meat flying everywhere, and an unlimited supply of grenades. This is about as hard R as it gets. Mile 22 doesn't just hate it's characters, oh no, it hates us just as much. I think we can all agree that their last three works were appropriately paced and were pretty simple to follow. Here there is not a single shot that lasts for more than two seconds. Every single time a character makes just a slight movement it cuts to that movement. Just imagine the action scenes. Wahlberg and Uwais both have a small meditative/stress reliever character signature (berg snaps a live strong band on his wrist, Uwais touches his fingers together) and they utilize their one and only characteristic about every two minutes. It will ALL drive you insane, especially since this is a non-stop action gore fest with no breathers whatsoever, but maybe that's the whole purpose of Mile 22. Is this the Berg/berg's anti-thesis to their patriotic trilogy? Is this the beginning of something wickedly experimental, a brutally honest message towards where this country is heading/has headed, or downright career suicide? I don't know, but for the time being I kind of dig this extremely cynical excess. It most certainly will not work for everyone (an appropriate 22% on Rotten Tomatoes) and I don't at all blame them for not getting in on this, but I am certainly interested to see what a (supposedly planned) trilogy has in store. There's a whole lot more to think about than the editing here.
You Were Never Really Here (2017)
Director: Lynne Ramsay
Originally Published: July 9, 2018
https://letterboxd.com/alex_lillquist/film/you-were-never-really-here/1/
Originally Published: July 9, 2018
https://letterboxd.com/alex_lillquist/film/you-were-never-really-here/1/
"She would've made a good mother"
Really loved it this time around. This is the kind of film where you really need to feel what it has to offer on the first viewing before trying to understand it which explains why I wasn't too impressed with it on my first round (despite my high rating). Still don't 100% understand what's going on with the whole senator conspiracy being the dialogue by the half way mark turns into a competition to see whose mumble whispering can annoy Alex the most, but because the dialogue and the fine details of the story aren't what You Were Never Really Here is all about that's okay. Ramsay's screenplay works with so few words and yet I've felt more connected and touched by this one than with any other movie this year. Reading reviews about how stupidly simple or overly explanatory this is isn't something I'd disagree with. Whether I fully understand what's going on or know nothing about it at all isn't important to me, as long as the filmmakers aren't being schmucks about it. It's what I feel.
The images of Joe floating underwater was a complete out of body experience for myself already sunken into my seat in crowded(ish) theater that seats a thousand people. It's like 80+ degrees here and yet I felt as cold as Joe's suspended corpse. As the sun gives light to his lifeless body surrounded by darkness we are frozen in time right there with him. It's as beautiful as it is horrific. Two elements that were much more clear this time around, and in the likes of everyone's favorite Taxi Driver, is the loneliness Joe feels and the fact that this a horror movie. Despite Phoenix being 5'8", though extremely beefed up for this role, the sounds of his footsteps as he walks down the motel hallway in the beginning are to the likes of Frankenstein's monster and he is filmed as such. A towering, unstoppable, yet damaged figure who is still able to have a heart. Haunted and tortured by his past, the loneliness he feels can be summed up in the one bit of dialogue presented at the top of this review. Joaquin is so good here. The inner turmoil, rage, loneliness, and his love is completely felt throughout his entire body. This is a cold movie, but it was able to melt me down into an emotional mess. I love these kind of bare bones, little dialogue, man on a mission/in deep trouble kind of movies and this one hits just about every tick mark. It doesn't exactly feel right to call this one cool because of how emotionally devastating it is to see and feel Joe live and breathe, especially on this second viewing, but it's pretty damn cool. From it's neon aesthetic, to Joaquin's mostly silent/body focused performance, to how Ramsay paces and films the more violent scenes, and you can just never go wrong with the always cool Greenwood. I love it as much as it torments me. Fantastic.
Really loved it this time around. This is the kind of film where you really need to feel what it has to offer on the first viewing before trying to understand it which explains why I wasn't too impressed with it on my first round (despite my high rating). Still don't 100% understand what's going on with the whole senator conspiracy being the dialogue by the half way mark turns into a competition to see whose mumble whispering can annoy Alex the most, but because the dialogue and the fine details of the story aren't what You Were Never Really Here is all about that's okay. Ramsay's screenplay works with so few words and yet I've felt more connected and touched by this one than with any other movie this year. Reading reviews about how stupidly simple or overly explanatory this is isn't something I'd disagree with. Whether I fully understand what's going on or know nothing about it at all isn't important to me, as long as the filmmakers aren't being schmucks about it. It's what I feel.
The images of Joe floating underwater was a complete out of body experience for myself already sunken into my seat in crowded(ish) theater that seats a thousand people. It's like 80+ degrees here and yet I felt as cold as Joe's suspended corpse. As the sun gives light to his lifeless body surrounded by darkness we are frozen in time right there with him. It's as beautiful as it is horrific. Two elements that were much more clear this time around, and in the likes of everyone's favorite Taxi Driver, is the loneliness Joe feels and the fact that this a horror movie. Despite Phoenix being 5'8", though extremely beefed up for this role, the sounds of his footsteps as he walks down the motel hallway in the beginning are to the likes of Frankenstein's monster and he is filmed as such. A towering, unstoppable, yet damaged figure who is still able to have a heart. Haunted and tortured by his past, the loneliness he feels can be summed up in the one bit of dialogue presented at the top of this review. Joaquin is so good here. The inner turmoil, rage, loneliness, and his love is completely felt throughout his entire body. This is a cold movie, but it was able to melt me down into an emotional mess. I love these kind of bare bones, little dialogue, man on a mission/in deep trouble kind of movies and this one hits just about every tick mark. It doesn't exactly feel right to call this one cool because of how emotionally devastating it is to see and feel Joe live and breathe, especially on this second viewing, but it's pretty damn cool. From it's neon aesthetic, to Joaquin's mostly silent/body focused performance, to how Ramsay paces and films the more violent scenes, and you can just never go wrong with the always cool Greenwood. I love it as much as it torments me. Fantastic.
The Thing (1982)
Director: John Carpenter
Originally Published: December 19, 2017
https://letterboxd.com/alex_lillquist/film/the-thing/
Originally Published: December 19, 2017
https://letterboxd.com/alex_lillquist/film/the-thing/
"I dunno what the hell's in there, but it's weird and pissed off"
It only makes sense this opened the same weekend as Ridley Scott's Blade Runner. Two sci-fi masterpieces that were treated by critics upon release much like how the general public is treating The Last Jedi right now. Soon enough to become a beloved cult classic and to then receive the praise it 100% deserves (and then some. Get you hands on the board game). While there are many similarities between the two, what makes the both of these so special after all of these years is atmosphere. Antarctica is as cold and barren as the halls at the research facility are tight and encapsulating. The Thing fully utilizes it's environment to not just trap us there with those scientists, but to panic along with them from every light that shouldn't be turned on to every door that definitely should not be open. Morricone's score only furthers this terror with such simple beats that don't stop repeating until we're running for our lives too scared to turn around.
The title alone of the novel on which the film is based on, who goes there?, I think is absolutely terrifying. When one of the characters is alone when the lights go out and the thing runs past him I thought of those words (along with him probably saying a version of them). Maybe it's just myself being a complete wimp, probably, but if it's not the question that gives me anxiety it's the answer then. When someone asks those words when there is a thing on the loose is it more terrifying to get a response from someone you don't know/shouldn't be where they are or just complete silence? It's hard enough living out in a snow covered desert for months. Now you can't trust the only people out there with you? The film never takes a side with any of the hella cool characters (not even everyone's favorite Kurt!) and I love that. Any one of them could be the thing and that just gets us to stay wide awake with them and keep guessing on who's who. Paranoia (and certainly special/practical effects) at it's very best. I love it.
It only makes sense this opened the same weekend as Ridley Scott's Blade Runner. Two sci-fi masterpieces that were treated by critics upon release much like how the general public is treating The Last Jedi right now. Soon enough to become a beloved cult classic and to then receive the praise it 100% deserves (and then some. Get you hands on the board game). While there are many similarities between the two, what makes the both of these so special after all of these years is atmosphere. Antarctica is as cold and barren as the halls at the research facility are tight and encapsulating. The Thing fully utilizes it's environment to not just trap us there with those scientists, but to panic along with them from every light that shouldn't be turned on to every door that definitely should not be open. Morricone's score only furthers this terror with such simple beats that don't stop repeating until we're running for our lives too scared to turn around.
The title alone of the novel on which the film is based on, who goes there?, I think is absolutely terrifying. When one of the characters is alone when the lights go out and the thing runs past him I thought of those words (along with him probably saying a version of them). Maybe it's just myself being a complete wimp, probably, but if it's not the question that gives me anxiety it's the answer then. When someone asks those words when there is a thing on the loose is it more terrifying to get a response from someone you don't know/shouldn't be where they are or just complete silence? It's hard enough living out in a snow covered desert for months. Now you can't trust the only people out there with you? The film never takes a side with any of the hella cool characters (not even everyone's favorite Kurt!) and I love that. Any one of them could be the thing and that just gets us to stay wide awake with them and keep guessing on who's who. Paranoia (and certainly special/practical effects) at it's very best. I love it.
Dunkirk (2017)
Director: Christopher Nolan
Originally Published: July 22, 2017
https://letterboxd.com/alex_lillquist/film/dunkirk-2017/
Originally Published: July 22, 2017
https://letterboxd.com/alex_lillquist/film/dunkirk-2017/
Something I've waited to see from Christopher Nolan after revisiting his entire filmography over the last year. Silence. I'm changing as a film goer/critic. I used to love all those talkies with all that fancy, gripping dialogue (and, of course, I still do). At this point in my life, however, my absolute favorite kind of films I watch are those where everyone just barely says a word. Where it's up to the actors to act and filmmakers to visually convey the story to the audience. I'm becoming allergic to exposition. I hear enough people speak in real life all the time. Let me actually WATCH something. Seeing Nolan do something so restricted compared to his last two bloated and talky works (Rises, Interstellar) is one of the most refreshing moves in any directors careers. Being this is only the first film of his where he shows a true understanding of "show don't tell" doesn't mean he'll stick with it. Not at all. It's just nice to see that he's capable of creating something so tender and epic without having characters who talk emotions and having to stretch it to a near three hours. 107 minutes?! Where is the Nolan we've all known and loved?
He's on his way to Dunkirk! Let me tell you. I love Nolan and, pretty much, all his films (even if all the Letterboxd users I dream of being one day hate his guts). Even his last two, though they do deserve a beating for being, more or less, complete messes (though there's nothing always wrong with being messy). Dunkirk is tight. Maybe his most complete film since The Dark Knight. Everything just feels so clean and complete (and actually storyboarded which is always nice to feel). THIS is the Nolan I always wanted to see. At the beginning of his career, starting with the excellent Following he was a man who loved the language and feel of noir and it was apparent by Insomnia his love for images and landscapes were becoming more romanticized. Mainly because of a bigger budget, but still the best shot in Insomnia (with the blood on the clothing) could've been done in his first two films. After my second watch of Interstellar I just really wanted him to be quiet and create something purely based off his landscapes. I really wasn't expecting something like this. With Dunkirk, this feels like the film he's been waiting to make his whole life. The reason to why he became a filmmaker in the first place. Like my recent taste for movies, he's progressed into a new, more mature direction that he never before realized just how much he loved. Where he lets the actors do their jobs and lets the images tell the story. It's just wonderful seeing him go from the talky noir, talky superhero, talky sci fi, all the way to the silent and booming war epic. Shuts the hell up out of all of us who complained his films were too talky (or is it poorly written? Eh, doesn't matter. They're all still great).
Bare bones, sound, and fury. This is how you make a movie. More importantly this is how you make a movie for theaters. Start on silence, break it with the first shot of many bullets, and keep up the tension until any silence whatsoever becomes almost weary as it is peaceful. Taking place on land, air, and at sea everything cuts to one another so smoothly. Not to mention crystal clear when it's apparent. We're meant to be there with those soldiers and we see everything the way they see it. Maybe a bit confusing at times, but never by mistake. It just adds to the thrill and horror of it all. Horror is a keyword here. For a PG-13 rated war film it doesn't hold back. Nolan knows how to terrify you. One shot that stands out is when one character is practically sucked into the blackness of the water. His hands weaving all around trying to grasp onto anything to save himself. There's some very haunting/powerful imagery here. More than any Nolan film before. Just as powerful are the moments between the characters. I keep hearing this one is emotionally dead with character development of no kind whatsoever and I don't know. I don't really see how the latter can be too much of a complaint here because we're at war here (and frankly there's a fair amount of it for me here, though I'm not too concerned with it), the former however-- I won't spoil anything, but one scene in the film shows this underlying understanding between two (three, depending on yourself) characters where not a single word needs to be said and it ends up being one of the most beautiful moments of compassion in the film. It may be simple, but it speaks volumes to me. It feels like in any other Nolan film something would've been said. Not here. He's growing and learning and that's what's up. He may not be for everyone (as it's been made very clear on this site), but damn do I love him and all of what he brings to this world. Dunkirk is something new for him and I hope for him to develop even further beyond this pathway. It's very, very exciting.
He's on his way to Dunkirk! Let me tell you. I love Nolan and, pretty much, all his films (even if all the Letterboxd users I dream of being one day hate his guts). Even his last two, though they do deserve a beating for being, more or less, complete messes (though there's nothing always wrong with being messy). Dunkirk is tight. Maybe his most complete film since The Dark Knight. Everything just feels so clean and complete (and actually storyboarded which is always nice to feel). THIS is the Nolan I always wanted to see. At the beginning of his career, starting with the excellent Following he was a man who loved the language and feel of noir and it was apparent by Insomnia his love for images and landscapes were becoming more romanticized. Mainly because of a bigger budget, but still the best shot in Insomnia (with the blood on the clothing) could've been done in his first two films. After my second watch of Interstellar I just really wanted him to be quiet and create something purely based off his landscapes. I really wasn't expecting something like this. With Dunkirk, this feels like the film he's been waiting to make his whole life. The reason to why he became a filmmaker in the first place. Like my recent taste for movies, he's progressed into a new, more mature direction that he never before realized just how much he loved. Where he lets the actors do their jobs and lets the images tell the story. It's just wonderful seeing him go from the talky noir, talky superhero, talky sci fi, all the way to the silent and booming war epic. Shuts the hell up out of all of us who complained his films were too talky (or is it poorly written? Eh, doesn't matter. They're all still great).
Bare bones, sound, and fury. This is how you make a movie. More importantly this is how you make a movie for theaters. Start on silence, break it with the first shot of many bullets, and keep up the tension until any silence whatsoever becomes almost weary as it is peaceful. Taking place on land, air, and at sea everything cuts to one another so smoothly. Not to mention crystal clear when it's apparent. We're meant to be there with those soldiers and we see everything the way they see it. Maybe a bit confusing at times, but never by mistake. It just adds to the thrill and horror of it all. Horror is a keyword here. For a PG-13 rated war film it doesn't hold back. Nolan knows how to terrify you. One shot that stands out is when one character is practically sucked into the blackness of the water. His hands weaving all around trying to grasp onto anything to save himself. There's some very haunting/powerful imagery here. More than any Nolan film before. Just as powerful are the moments between the characters. I keep hearing this one is emotionally dead with character development of no kind whatsoever and I don't know. I don't really see how the latter can be too much of a complaint here because we're at war here (and frankly there's a fair amount of it for me here, though I'm not too concerned with it), the former however-- I won't spoil anything, but one scene in the film shows this underlying understanding between two (three, depending on yourself) characters where not a single word needs to be said and it ends up being one of the most beautiful moments of compassion in the film. It may be simple, but it speaks volumes to me. It feels like in any other Nolan film something would've been said. Not here. He's growing and learning and that's what's up. He may not be for everyone (as it's been made very clear on this site), but damn do I love him and all of what he brings to this world. Dunkirk is something new for him and I hope for him to develop even further beyond this pathway. It's very, very exciting.
Heat (1995)
Director: Michael Mann
Originally Published: October 29, 2016
https://letterboxd.com/alex_lillquist/film/heat-1995/
Originally Published: October 29, 2016
https://letterboxd.com/alex_lillquist/film/heat-1995/
This review may contain spoilers.
It's been a while since I've felt this emotionally connected with a film. There are far too few things in this world that are worse than having to leave the one you love behind. While this pain is clearly seen in De Niro's eyes towards the end it's Val Kilmer, of all actors, who truly suffers the most. De Niro had a way out. Kilmer just has to go on living with the fact that he can never comfortably settle down with his family again.
Of course, the bad guys aren't the only ones who suffer. Pacino suffers from the same problems as Kilmer. The only difference is that he can see his wife again. With as many differences come several similarities between these boldly professional cops and robbers. They all, without choice, want love, but they can't have it. Not in any comfortable way for the matter because who are they without their work? They don't know how to do anything else in this world. This is how they function in society and without it they'll all be left lost in the abyss, so they think.
It's amazing at just how sincere De Niro's relationship with Brenneman felt in such few scenes. Mann's sound design and framing get so much attention, and rightfully so, that we sometimes overlook that he's a romantic and is able to convey each and every tender moment without ever feeling or looking like a sap. This is what's real. The swipe of a hand and a 30 second look has more impact than a fire fight from hell down the streets of LA.
That's not to say one aspect outdoes the other. This is an extremely well balanced film between the romance, coolness, and underlying philosophical exchanges or something. This is one smart film that doesn't waste a single second of its near three-hour run time. What's even better is that this actually feels like a cinematic experience. From the light-fueled LA view from De Niro's apartment to the sound of bullets echoing throughout with such confidence you'll want to shut your windows so the neighbors won't call the cops.
Everyone loves the coffee shop scene and how can't you? Of all the things that could've happened between these two heavily dedicated actors for the first time on screen together we get a well-lit and low-key conversation. A conversation between a cop and a robber and how they're not so different after all. They learn that they're both human beings doing what they feel they have to do in this world. They earn each other's respect and it's that respect that makes the ending not only make sense, but perfectly closes it out.
I think it's illegal in some countries for Heat not to be your favorite Mann film. I was always for that rule even before this second viewing based alone on the coolness, but I was completely ignorant on the more sensitive side of Heat and Mann on my first watch. This is a sad, sad film about having to let go or give up those you care about. It hides itself in a macho-man, bad-ass bank robbing power-kick to the face type action film that could very well be deceiving to those who know nothing of the film itself or Michael Mann, but in the end empathy triumphs over all and we're left to weep along with the characters. Cold-blooded Mann will knock you on your ass in more ways than one in the film of his career.
It's been a while since I've felt this emotionally connected with a film. There are far too few things in this world that are worse than having to leave the one you love behind. While this pain is clearly seen in De Niro's eyes towards the end it's Val Kilmer, of all actors, who truly suffers the most. De Niro had a way out. Kilmer just has to go on living with the fact that he can never comfortably settle down with his family again.
Of course, the bad guys aren't the only ones who suffer. Pacino suffers from the same problems as Kilmer. The only difference is that he can see his wife again. With as many differences come several similarities between these boldly professional cops and robbers. They all, without choice, want love, but they can't have it. Not in any comfortable way for the matter because who are they without their work? They don't know how to do anything else in this world. This is how they function in society and without it they'll all be left lost in the abyss, so they think.
It's amazing at just how sincere De Niro's relationship with Brenneman felt in such few scenes. Mann's sound design and framing get so much attention, and rightfully so, that we sometimes overlook that he's a romantic and is able to convey each and every tender moment without ever feeling or looking like a sap. This is what's real. The swipe of a hand and a 30 second look has more impact than a fire fight from hell down the streets of LA.
That's not to say one aspect outdoes the other. This is an extremely well balanced film between the romance, coolness, and underlying philosophical exchanges or something. This is one smart film that doesn't waste a single second of its near three-hour run time. What's even better is that this actually feels like a cinematic experience. From the light-fueled LA view from De Niro's apartment to the sound of bullets echoing throughout with such confidence you'll want to shut your windows so the neighbors won't call the cops.
Everyone loves the coffee shop scene and how can't you? Of all the things that could've happened between these two heavily dedicated actors for the first time on screen together we get a well-lit and low-key conversation. A conversation between a cop and a robber and how they're not so different after all. They learn that they're both human beings doing what they feel they have to do in this world. They earn each other's respect and it's that respect that makes the ending not only make sense, but perfectly closes it out.
I think it's illegal in some countries for Heat not to be your favorite Mann film. I was always for that rule even before this second viewing based alone on the coolness, but I was completely ignorant on the more sensitive side of Heat and Mann on my first watch. This is a sad, sad film about having to let go or give up those you care about. It hides itself in a macho-man, bad-ass bank robbing power-kick to the face type action film that could very well be deceiving to those who know nothing of the film itself or Michael Mann, but in the end empathy triumphs over all and we're left to weep along with the characters. Cold-blooded Mann will knock you on your ass in more ways than one in the film of his career.
To Kill a Mocking Bird
Director: Robert Mulligan
Originally Published: July 13, 2015
https://letterboxd.com/alex_lillquist/film/to-kill-a-mockingbird/
Originally Published: July 13, 2015
https://letterboxd.com/alex_lillquist/film/to-kill-a-mockingbird/
"In the name of GOD, do your duty."
I was able to see this one on the big screen last night as part of the midnight release of Lee's Go Set a Watchman. I'm not as much as an avid reader as I could be, but my urge to read has been growing significantly over this summer with Weir's electrifying The Martian. I'm not sure how I'll feel about Watchman given the early thoughts and publishing controversies surrounding it, but I can't imagine it tarnishing the ole' so bold Mockingbird. No matter how hard someone tries you can't tarnish a classic such as this one. To put it to shame would be like killing a mockingbird.
It only took two years for Lee's Pulitzer Prize novel of two kids growing up in a small, prejudice American town to get the big screen treatment. The biggest challenge for the adaptation, I would think, would be the casting of Atticus Finch, who Lee based off her father. He's not the focus, but he's the pillar and most interesting character of the novel. Peck is the main reason, aside from the message of course, to why the film still holds up so well today. Mockingbird turns from good to great when the courtroom cross-examination begins. It's hard to find a more honest performance than Peck's nine minute monologue ending on such a powerful line listed above. Harper Lee actually broke down crying on set one day after seeing Peck rehearse a scene being at just how closely he resembled her father. What makes Atticus above all other men is not just his tolerance or coolness, but simply that he's a great father.
One scene that I don't think I'll ever forget is the reveal of Boo Radley. Being that I saw this one in theaters, the audiences reaction to who plays Radley mixed in with the film's score was just something of a great beauty. I think time has done this scene extremely well. Seeing such a familiar actor (today, not so much then) play Boo Radley almost immediately demises all the rumors that surrounded the character throughout the film being some kind of crazy psychopath and makes his symbol of the good within people even stronger. It's here where Mockingbird's message, one of many, is the strongest where we truly don't know anything about someone until we meet them or walk in their shoes. This scene isn't light on emotions, but it sure is hard not to get caught up in it.
The exploration of racial injustice, good and evil is as strong today as it was back then. Being told through the eyes of a child gives us another story of learning how to deal with situations and how to view the world throughout different perspectives. There's a reason why this book is still taught in schools today. It teaches kids that while good and evil may exist in many forms we can learn distinguish the two and make them work in our own world. It teaches them how to grow up. It's not only a great novel but probably the most important one. Mulligan's film is one of the best book adaptations for just how well it captures the spirit of the book and for improving on the emotions and possibly the many themes (it's been a while since I've read the book). One thing's for sure it certainly has Gregory Peck in the perfect casting choice. I'm not sure how well Lee's Watchman will be received over time, but Mockingbird will live on forever.
I was able to see this one on the big screen last night as part of the midnight release of Lee's Go Set a Watchman. I'm not as much as an avid reader as I could be, but my urge to read has been growing significantly over this summer with Weir's electrifying The Martian. I'm not sure how I'll feel about Watchman given the early thoughts and publishing controversies surrounding it, but I can't imagine it tarnishing the ole' so bold Mockingbird. No matter how hard someone tries you can't tarnish a classic such as this one. To put it to shame would be like killing a mockingbird.
It only took two years for Lee's Pulitzer Prize novel of two kids growing up in a small, prejudice American town to get the big screen treatment. The biggest challenge for the adaptation, I would think, would be the casting of Atticus Finch, who Lee based off her father. He's not the focus, but he's the pillar and most interesting character of the novel. Peck is the main reason, aside from the message of course, to why the film still holds up so well today. Mockingbird turns from good to great when the courtroom cross-examination begins. It's hard to find a more honest performance than Peck's nine minute monologue ending on such a powerful line listed above. Harper Lee actually broke down crying on set one day after seeing Peck rehearse a scene being at just how closely he resembled her father. What makes Atticus above all other men is not just his tolerance or coolness, but simply that he's a great father.
One scene that I don't think I'll ever forget is the reveal of Boo Radley. Being that I saw this one in theaters, the audiences reaction to who plays Radley mixed in with the film's score was just something of a great beauty. I think time has done this scene extremely well. Seeing such a familiar actor (today, not so much then) play Boo Radley almost immediately demises all the rumors that surrounded the character throughout the film being some kind of crazy psychopath and makes his symbol of the good within people even stronger. It's here where Mockingbird's message, one of many, is the strongest where we truly don't know anything about someone until we meet them or walk in their shoes. This scene isn't light on emotions, but it sure is hard not to get caught up in it.
The exploration of racial injustice, good and evil is as strong today as it was back then. Being told through the eyes of a child gives us another story of learning how to deal with situations and how to view the world throughout different perspectives. There's a reason why this book is still taught in schools today. It teaches kids that while good and evil may exist in many forms we can learn distinguish the two and make them work in our own world. It teaches them how to grow up. It's not only a great novel but probably the most important one. Mulligan's film is one of the best book adaptations for just how well it captures the spirit of the book and for improving on the emotions and possibly the many themes (it's been a while since I've read the book). One thing's for sure it certainly has Gregory Peck in the perfect casting choice. I'm not sure how well Lee's Watchman will be received over time, but Mockingbird will live on forever.