This Week in Tickets: 21 October 2024 - 27 October 2024 (No real pattern)
It's funny, seeing other folks doing forty horror movies in October and I'm just all over the freaking place. Like, maybe Sunday's kind of Halloweeny, but...
I started the week off right with
North By Northwest on 70mm film, which looked great, but like
The Searchers a few weeks back kind of looks odd because the restoration process had them scanning the VistaVision film in an unusual fashion - since VV is 35mm run through camera/projector horizontally, with each frame two standard frames, they scanned two "frames" and put them together digitally, then did the restoration work, then output that to 70mm film - like it's definitely been in and out of a computer, even without the weird line right down the center of the screen in one scene.
(To be fair, movies shot in VistaVision often look kind of off to me, like they never did quite figure out how to light right for the process)
The next night was given to
Goodrich, which was not another corporate origin story and not exactly the
Mr. Mom redux it initially looked like, but a pleasant enough couple hours. Would have been funny if
Mr. Mom had been a Meyers-Shyer thing, though.
Wednesday night was a "last evening in theaters" show of
The Outrun, which is one I spent the better part of a month not quite being in the mood for but ultimately liking a lot. It had a kind of weird release - spotty times everywhere but Kendall that make me wonder if it's sort of being four-walled for Academy members or something. Pretty good, though.
After a couple days not going out and watching baseball, I hit Chinese movie
High Forces Saturday afternoon, which was wobbly but had some quality minor-action-movie trailers in front of it:
Werewolves just getting right out there with "One year ago, a supermoon turned millions into werewolves" with no buildup whatsoever,
Elevation offering more big ravenous aliens, and
Weekend in Taipei's trailer updated because it first started showing up in October with a "Coming in September" caption on it. Then, somehow, not really doing anything besides groceries and a trip to the comic shop in the afternoon, I was oddly worn down by the time
Max and the Junkmen in the evening and was in and out too much to really say i watched it. Amusingly, I passed on getting it in the Kino Lorber Fall sale because I knew I'd be watching it over the weekend. Hopefully they'll still have some left for the next big sale!
That turned out to be my last "Melville et Cie." film at the Harvard Film Archive, because Saturday offered the choice of two things on my unwatched shelf -
The Bat at the Somerville with Jeff Rapsis on the organ and
Army of Shadows at the Archive on 35mm film. I went with
The Bat and it wound up a lot of fun. Then, in the evening, it was out to the Seaport for
Magpie, which is also pretty neat.
More on
my Letterboxd account as I see more, if you don't need to wait for me to actually get spelling and such right.
North by Northwest
* * * * (out of four)
Seen 21 October 2024 in Somerville Theatre #1 (A Bit of Hitch, 70mmm)
Available to
rent/purchase digitally on Prime or
elsewhere;
4K, Blu-ray, and DVD available on Amazon
Much like
Psycho didn't exactly invent the modern horror movie but refined it into something sort of respectable rather than the back half of a twin bill,
North by Northwest feels like the birth of the modern blockbuster: A-list talent, a sense of play in the script that lubricates a kind of silly plot that's nevertheless always moving forward, and grand action set pieces that spill into familiar locations. Not the first of its kind, for sure, but more like the James Bond films and other bits of star-driven action that followed it than the Cinemascope epics that preceded it.
(Maybe I'm overthinking it, missing something obvious, or going over well-worn territory here)
At any rate, this is one of my go-to answers when someone asks me my favorite movie and I don't want to either spend a lot of time thinking about it or let them down by saying I can't name one, but I'm not being glib; it's an exceptionally fun film with enough great moments that one will probably surprise you even if you've seen it a dozen times. In this case, it's the awkward little "excuse me" flashbulb as someone captures a picture of Cary Grant's Roger Thornhill apparently stabbing a man, and the little callbacks to it later.
There's a certain oddity to Grant as this sort of reluctant hero 65 years later, as "Cary Grant" lands in the part of the Venn diagram where "foppish" and "suave" intersect, just enough of the latter that the moments where he's suddenly pretty capable don't quite jar. The rest of the cast, though, is terrific, especially Eva Marie Saint, who makes Eve feel exactly that cool, James Mason and Leo G. Carroll as amiably aloof opposites, and a wonderfully dangerous Marin Landau. Hitch and writer Ernest Lehman move them all around quickly but not frantically, slowing down a bit for the scene when we get to see the leads actually like each other without qualification in a way that's sweet, charming, and clarifying, just before the big Mount Rushmore finale, a rougher and scrappier thing than a modern take on it would be but which maybe works better because it's trying to communicate rather than fool.the audience.
Still a ton of fun, and I'm glad that Warner is pushing 70mm prints to theaters to promote the upcoming 4K disc.
Goodrich
* * ¾ (out of four)
Seen 2 October 2024 in AMC Causeway Street #2 (first-run, laser DCP)
Available to
rent/purchase digitally on Prime or
elsewhere
Goodrich is the sort of film writer/director Hallie Meyers-Shyer's parents (Nancy Meyers & Charles Shyer) used to make, which in their own ways were kind of throwbacks to earlier days of cinema: Mostly-amiable comedies set against affluent backgrounds with well-cast stars. They were meant to entertain and do so in a relatively frictionless way, and if Meyers-Shyer can't quite make that work, it can be tough to see where it's what she's doing and where it's the times.
It opens in spikier fashion that could almost be a commentary on that as Andy Goodrich (Michael Keaton) is woken up by a call from his wife saying she has checked herself into rehab, so he's in charge of their nine-year old twins Billie (Vivien Lyra Blair) and Mose (Jacob Kopera). He's not completely inept, but the nanny having a conflict means he has to call on Grace (Mila Kunis), the daughter from his first marriage (pregnant herself) while he works to save the gallery he's run for decades which has been losing money for a while now.
Whether or not Meyers-Shyer had Michael Keaton in mind for the title role, the part fits him like a glove, letting him go into cruise control a bit. That's not exactly a problem; I like Michael Keaton, and this film is basically him being the same guy he was in his 80s/90s heyday, but maybe a little more mellow if not quite as much wiser as he should be. That's kind of a "for better or worse" thing, at times; it makes for a fairly pleasant couple of hours but you can't help but wonder if maybe his title character shouldn't have been a little more prickly or selfish at points, and the film dances around the moments when his blithe, privileged optimism is burst; things are expected to just work out, eventually, because he's generally a good dude and things work out for guys like that.
This isn't that movie, though, it's resolutely nice and well-meaning and after the first ten minutes or so works very hard to avoid situations where someone gets as upset as they maybe should. It plays fair while it does that, at least, and even theVivien Lyra Blair (as the daughter who is too witty for being nine) never grates. There's a part of me that wonders if this started life as a movie about Mila Kunis's Grace, which would seem the more autobiographical route, only to have the more interesting bits of the script coalesce around Andy. Kunis has a great moment or three where Grace is allowed to confront that she loves her dad but that she sometimes feels like practice for raising her siblings There's a story in there that is not necessarily just an L.A. story as is implied in the dialogue, which would seem to be where she would start from.
Goodrich is almost certainly not all it could be, but it's easy enough to enjoy throughout and gives its star a couple hours to do the sort of thing he does well. There's worse ways to spend a couple hours.
The Outrun
* * * ¼ (out of four)
Seen 23 October 2024 in Landmark Kendall Square #6 (first-run, DCP)
Available to
rent/purchase digitally on Prime or
elsewhere
Drinking and alcoholism are boring. Yes, they're incredibly impactful and cause drama, but I suspect that even those with a lot of personal experience will look at scenes of Rona drinking, fucking up her life because of it, and going through AA meetings, and have a little "ugh, this shit again" reaction as it happens. It kind of puts the like to the old trope that happy families are all the same but unhappy ones are unique and interesting.
This sounds like a complaint, but it's actually what makes
The Outrun kind of engrossing: Main character Rona's narration, which wanders from her own history to topics from geology to mythology to biology, reveals her as smart, curious, and self-aware of how her childhood has left her kind of a mess, and the version of her we see when she drinks is more loud than fun and uninhibited. We kind of get it; her father's bipolar syndrome and mother's religiosity on top of growing up on a farm where the work often involves grimly delivering stillborn lambs and disposing of their carcasses is the sort of thing we can see drinking to escape. And "escape" seems to be her reaction to her alcoholism when things come to a head, insisting on the sort of rehab that locks her up and running north, not just to her home, but to progressively smaller islands. She perhaps needs the quiet to progressively get rid of the noise that leads her to drink - and to make getting a bottle more work when the compulsion comes over her anyway - but it's stark.
Rona fleeing crowds winds up leaving us with Saoirse Ronan and the desolate rocky beauty of the Orkney Islands, and it's a solid foundation to build a movie on; Ronan's taciturn but engaging performance matches the stern environment and offers hints of the occasional joy she'll be able to show later. You can see her trying at times and going through the motions at others, and how her best self is smothered under the noise of drunkenness. The film's got some big clear metaphors working - the rare bird that's hard to find, the polar-bear dips to give one a jolt - but they work pretty well, in part because Rona is smart enough to see them as something she can sort of adapt and learn from in the world rather than the filmmakers building the world to reflect their points. I especially like a moment toward the end when she's explaining how she's changing her area of study to seaweed to her religious mother in a tiny apartment; it's earnest nerdiness that the drink has covered, but it's her also engaging in the world and something important about it that makes life happen. Her mother (Sasika Reeves) doesn't necessarily get it, but this is the way her daughter understands a higher power even as she lashes out at Christianity and is pointedly silent during certain phrases at Alcoholics Anonymous meetings.
It's a tough sit at times - dull for some, maybe triggering for others - but the people involved recognize and work with it, winding up with something often quite lovely.
Wei Ji Hang Xian (High Forces)
* * ½ (out of four)
Seen 26 October 2024 in AMC Causeway Street #2 (first-run, laser DCP)
Not yet streaming in the USA;
check here for when it is
Oxide Pang is just about exactly slick enough to pull this very silly movie off. He doesn't really make it
good, per se, but he keeps it moving even as the audience's eyes roll, and when the finale gets big and silly, folks are going sure, why not, rather than really laughing at it, comparing it to Hollywood productions (I'm tempted to revisit
Passenger 57 to see just how much they have in common), or asking just which Chinese city, exactly, is big enough for a ring road that the largest passenger liner in the world can land on but not an airport.
Before that, we're introduced to Gao Haojun (Andy Lau Tak-wah), whose demonstration is canceled and is thus able to fly home on the new superliner; the company president, Li Hangyu (Guo Xiaodong), will also be aboard, though in a private office suite, as will ex-wife Fu Yuan (Tamia Liu Tao) and daughter Xiaojun (Wendy Zhang Zifeng). The former has reconciled with Haojun since he has shown real progress in treating the bipolar disorder that used to lead him to fits of rage; given that one caused the accident that left Xiaojun blind, she has not. Also on board, roughly a dozen terrorists whose leader Mike (Qu Xhuxiao) has a similar diagnosis and aims to ransom the plane half a billion dollars - but should the passengers be worried that they brought parachutes?
The script is dumb, and if the bad guys are ever given names rather than numbers in Chinese, they don't make the subtitles. I think this is Andy Lau's second movie in as many years which feels like it may do a real disservice to people with bipolar disorder, though I can't say myself. The "
Die Hard on a plane" stuff is often weirdly choppy and frustratingly edited - you can see just enough cool action to wish you had a clearer view - even before getting into how it doesn't really take the tight quarters and sudden motions of an airplane into consideration very much. It almost makes me wonder if there had been a long negotiation worth the censor board, between the brutality of the kills and the way this new release shows 2018 every time the year shows up.
The finale, on the other hand, is big and likably dopey. I don't really believe a minute of it, but Pang and his crew mostly manage to hit the sweet spot where you know the physics is laughable but the effects are pretty well rendered (or, as the credits show us, built), it's well-paced, and the filmmakers seem to know just how much to err on the side of larger than life as opposed to realistic. It's entertaining enough to send one out of the theater enjoying its absurdity, and somehowthat's value for the price of a ticket.
Max et les ferrailleurs (Max and the Junkmen)
N/A (out of four)
Seen 26 October 2024 in the Harvard Film Archive (Melville et Cie., 35mm)
Available to
rent/purchase digitally ;
Blu-ray and DVD available on Amazon
I dozed off a bit here, and I'm upset about it, because it looks like two or three really fun movies in one: A cop so desperate for a win (and maybe a deterrent) that he resorts to entrapment, a group of slackers unable to really commit to a crime, and the cop falling for an old friend's sex-worker girlfriend. It's almost built for their not to be a heist, and the filmmakers are clever in how they show the general path to the foregone conclusion and don't give it twists so much as odd terrain - to torture the metaphor further, nothing ever actually disappears behind a hill, but you can't follow a straight line.
Plus, Romy Schneider, wow.
Anyway, sticking a pin here to this movie the next time Kino Lorber has a big sale.
The Fall
* * * (out of four)
Seen 27 October 2024 in Somerville Theatre #1 (Silents Please!, laser DCP)
Not yet streaming in the USA;
check here for when it is;
Blu-ray and DVD available on Amazon
Beyond having a few things that clearly inspired some comic book creators a decade later,
The Bat is a genuinely fun Old Dark House movie, and that's a genre where I usually like the idea a lot more than the actual execution. It moves quickly enough that one can miss that it's playing fair, near as I can tell on a single viewing, has a fairly enjoyable set of characters that mostly stay on the right side of "too broad", and doesn't wear out its welcome.
The plot is kind of all over the place- it involves a cat burglar who announces his crimes, a young lady trying to hide her boyfriend who many believe to be said "Bat" from the police, passing him off to her spinster aunt as a new gardener, and a hidden room with a safe. It's convoluted and full of a few holes - if The Bat has been at this for a while, why are the cops investigating the latest robbery like it's a one-off - but the bones are simple enough to support more.
It's also kind of noteworthy that this was a movie from 1926 based on a play from 1920 or so, which means that it antedates a lot of things that it could be seen as riffing on, whether they be Batman or Agatha Christie or Miss Marple specifically, and, heck,
The Old Dark House was a few years in the future. The building blocks were sort of sloshing around, but this puts a lot of things together in ways that anticipate what will work, and looks great - it's got a fair number of folks who would have notable careers well into the talkie era behind the scenes doing the excellent work where, nearly 100 years later, one can see the seams or the lack of refinement, but the ideas and execution are nevertheless impressive. There's a nice knack for having some funny bits and larger-than-life portions while still taking things fairly seriously.
It's not perfect even before you get to the racist tropes piled so high on the Japanese butler that one might be surprised actor Sojin Kamiyama was not a white guy in yellowface; it tries to juggle enough balls long enough that it can't help but drop a few on occasion. Still, the filmmakers tend to bounce back quickly and cram a lot of movie into its 90 minutes.
Magpie
* * * ¼ (out of four)
Seen 27 October 2024 in Alamo Drafthouse Seaport #4 (first-run, laser DCP)
Available to
rent/purchase digitally on Prime or
elsewhere
The fun thing about
Magpie is that not a lot seems to happen, but it's still got three phases that potentially twist things up: Before one realizes this looks like an unreliable narrator movie, discovering that one doesn't necessarily know who the unreliable narrator is, and when it sorts itself out. It's not that tricky a mystery to solve, but it's satisfying because the red herrings work differently than usual.
As it opens, it's been about five or six years since Anette (Daisy Ridley) and Ben (Shazad Latif) moved to the countryside so that Ben could concentrate on his writing and they could raise their daughter Matilda (Hiba Ahmed), with Anette leaving her job in the publishing industry. Matilda is now a child actress, and has been cast in a period piece as the daughter of a character played by Alicia (Matilda Anna Ingrid Lutz), who has just had a sex tape posted online before filming. As Ben visits the set to supervise Matilda, he finds himself feeling a connection with Alicia, while being left home alone isn't doing wonders for Anette's mental health, and it is implied she had some sort of breakdown before Matilda was conceived.
In addition to playing a lead role, Daisy Ridley has a story credit here, and it sort of confirms that she's been seeking out a certain type of role since
Star Wars, these wired-differently young women who can make a viewer feel like they're hard to crack. She's interesting to watch as Anette, portraying the way parenthood can overwhelm somebody while also making them feel left behind without necessarily yelling it. There's a precision to how it's directed, emphasizing strain without having to have Ridley exaggerate anything about Anette. There's also a sort of fun in watching her, Shazad Latif, and Matilda Lutz find ways to play scenes so that one isn't quite sure whether they're just a bit awkward, showing guilty conscience, or if the actors are portraying not what the characters are actually doing and how, but what someone else thinks they're doing.
It eventually heads toward a Big Reveal that includes flashbacks, but I like how director Sam Yates and Tom Bateman haven't really worked on hiding things that much, doing only the slightest bit of misdirection in hiding something so that the audience is actively engaged with what's happening later; they seem to want viewers weighing possibilities instead of passively watching and waiting to be blindsided and explained to.
It's a nicely compact film - 90 minutes, not really an ounce of fat on it, but also pretty sparse in its action. Everyone seems to know how to get a lot of its minor events, but it's seldom the sort of consciously still movie that requires the audience to elevate tiny movements to something bigger. Just efficient and tight without feeling like it's been passed down in the name of efficiency.
