Place your bets, folks, at how long until I fall hopelessly behind. Last year, we didn't make it to the Oscars, but I'm feeling good about 2025!
Latest appointment book layout is vertical, like most movie tickets these days, although they're wide enough that there's going to need to be some staggering. Not sure what's up with the yellow, though, though.
I had enough vacation time I couldn't entirely roll over to have the last couple days of the year off, so I caught the Coolidge's 35mm print of
Nosferatu '24 in the afternoon, really enjoying it far more than I expected, having fallen a little short of loving Robert Eggers's previous work at times. It was obviously very much influenced by the original silent version, which made a nice sort of way to roll into restarting Film Rolls, which by the nature of how my new-to-me shelf is setup will almost always start with silents, in this case
The Enchanted Cottage '24 and Lights Out '23 on Monday and Tuesday evenings respectively, As you might expect from movies that were released on crowdfunded Blu-rays, they're not exactly classics, but they're interesting; you can absolutely see what the filmmakers were going for.
First film of the new year was
Honey Money Phony, a New Year's Eve romantic comedy from China that gets a long way on just how crush-worthy star Jin Chen is in her role, and most of the cast around her is the kind of good company that helps this sort of movie roll even when you notice it doesn't have a lot of great, big jokes.
Thursday, I got started on the next round of Film Rolls by starting a box set, with the first film of four on tape being
Five Shaolin Masters. Friday night had me hitting a new film from Korea,
Harbin, which is undoubtedly a big part of Korean history but maybe doesn't quite make for a great movie, at least for those of us who aren't already have particular investment in its subjects. Saturday, it was back to Film Rolls with
Shaolin Temple.
Then on Sunday, I closed the week with
The Damned, a period thriller that has a lot going for it but only intermittently lands - which, truth be told, is better than the average horror movie that grabs a release on the first weekend of a new year.
As much as I always intend to keep the New Year's resolution to keep up with this, it can't hurt to follow
my Letterboxd account just in case, although I'll generally at least try to have Film Rolls entries on the blog first.
Nosferatu 2024
* * * ¾ (out of four)
Seen 30 December 2024 in Coolidge Corner #1 (first-run, 35mm)
Where to stream it (when available)
This might become my favorite version of
Dracula, even if I was kind of skeptical going in: I don't like sexy vampires, especially preferring "the walking embodiment of death and decay" for this variant in particular,, and some of the bits I do really like cause the end to leave a more sour taste in my mouth. It doesn't quite reinvent the story - indeed, by filming it as
Nosferatu, Robert Eggers is more or less committed to a specific strain - but finds interesting things to do within those bounds.
There's an impressive streamlining of the story that many adaptations of Bram Stoker's epistletory novel don't always manage - Count Orlok (Bill SkarsgĂĄrd) has a pre-existing mystical connection to Ellen Hutter (Lily-Rose Depp), so it can be assumed that he somehow corrupted Knock (Simon McBurney), the employer of Ellen's wife Thomas (Nicholas Hoult), in such a way as to serve the dual purpose of disposing of the romantic rival and establishing a foothold in a new place. Eggers highlights how Ellen's stay at the home of Friedrich Harding (Aaron Taylor-Johnson) and his wife Anna (Emma Corrin) highlights both financial precarity and questions of mental health, both assumed and real, that lurk under the couples' friendship. The decision of Ellen's physician, Wilhelm Sievers (Ralph Ineson), to call in mentor Albin Eberhart von Franz (Willem Dafoe) feels like both a wise move and desperation because physicians aren't really equipped to deal with contagion, whether biological or supernatural.
Some of this reorganization makes me curious how the first half or so will play on later viewings, because I think the familiarity of the story means director Robert Eggers is able to play things for laughs a bit. He doesn't crank it up to 11, but maybe 10.5, having fun pushing the whole thing as overtly stylized without having to worry too much about what folks will take literally. It also means that he can bring the nastiness of the horror down to earth later. The film is often quite funny but folks might not realize they've got permission to laugh until the second or third time they see it.
I was also kind of suspicious of him making Orlock this muscular, mustachioed warlord instead of the silent version's wraith or Bela Lugisi's elegant noble, but it really works: It lets him dig into the Eastern European origins for all manner of designs on the one hand, and it makes the death and pestilence that Orlok embodies a brutish thing that sacks the city, not just consuming the lifeblood that it needs to fend true death off but gorging itself. Bill SkarsgĂĄrd may be a handsome Dracula, but his gluttony is monstrous and precludes romance or sympathy.
It's a contrast to the core of this movie which I really like, a scene with Lily-Rose Depp and Nicolas Hoult that has a strikingly modern feel as it becomes clear just how real their love is. They challenge each other and demand explanations, but in the end, they trust each other far more than the pair who said pretty words and did what was expected of people like them at the start. Eggers uses them to see the imbalance between gender roles that this sort of period piece takes for granted, reject it, and put both in position to drive for the rest of the film.
There's tons of good stuff around all this, too: Art design where the architecture is just askew enough to remind one of German Expressionist silents without being an obvious imitation. The carriage ride to the castle that recalls
2001 as much as previous versions of
Dracula with its threatening bass and slow zooms of doors opening and closing on their own. Willem Defoe's Van Helsing equivalent is funny and almost always right but also mad enough that he probably should have been thrown off the university faculty. Heck, now that I think about it, I wonder if his madness doesn't lead to the bits of the finale I find unsatisfying because, as one character points out in a grieving rage, his zealous obsession with the supernatural threat blind him to the individual and aggregate humanity around him.
Darn good all around, and that comes from someone who often describes the F.W. Murnau
Nosferatu as his favorite vampire movie and has often been left cold by Eggers style.
Shao Lin wu zu (Five Shaolin Masters)
* * ¾ (out of four)
Seen 2 January 2025 in Jay's Living Room (off the shelf, Blu-ray)
Where to stream it, or
buy the disc at Amazon
How many Shaolin Masters is too many Shaolin Masters? The answer isn't necessarily "five, possibly fewer", especially when people seldom complain about seven samurai being excessive, but it kind of feels like the filmmakers should do a bit more to earn that number toward the start, as it introduces five pretty nondescript masters with similar costumes and haircuts, in the middle of a lot of folks with similar looks getting slaughtered, and aside from Fu Sheng's Ma Chao-Hsing, who is more comedic than the rest, they feel kind of interchangeable, especially since they all immediately go their separate ways rather than stick together and explore the contrasts between them and their fighting styles.
(More to come when I finish the Film Rolls round!)
Shao Lin si (Shaolin Temple)
* * * (out of four)
Seen 2 January 2025 in Jay's Living Room (off the shelf, Blu-ray)
Where to stream it (
Prime link), or
buy the disc at Amazon
Because of the way I tend to see Shaw Brothers movies - randomly, every few months or so, as they show up at various midnight movie programs or when there's an archival print at a festival - it's easy to forget, or not even realize, that Chang Cheh had a sort of "Shaolin Temple Cinematic Universe" going, reusing characters and actors so that the stories would, at least roughly, line up and form a larger saga. Which is a sort of roundabout way of saying that it was kind of neat when the stars of the previous night's movie,
Five Shaoline Warriors, showed up and it became clear that this movie would end more or less where the previous one started.
(More to come when I finish the Film Rolls round!)
The Damned
* * ½ (out of four)
Seen 5 January 2024 in AMC Causeway Street #1 (first-run, laser DCP)
Where to stream it (when available)
The Damned is solidly in the category of films that i would have loved to see at BUFF or Fantasia with a packed horse on a hair trigger, but where I just figure it's got some nifty pieces at a Sunday 7pm show in the AMC's smallest screen with one or two other folks in the audience who are occasionally coughing. It's a long 89 minutes, but there's at least one shot of snow covering a house built of black wood and the black volcanic mountains in the background which looks like it's a hand-printed woodcut worth 10% of my A-List membership for the month.
It takes place at a fishing station on the coast of Iceland; Eva (Odessa Young) has inherited the business from her late husband, with some question as to whether she would keep it going. The helmsman of the small boat is Ragnar (Rory McCann); his second-in-command is Daniel (Joe Cole), a longtime friend of the dead man. There are four other men on the team, plus Helga (Siobhan Finneran), the cook. It's a lean year pulling fish out of the treacherous waters, and the group is horrified when they see a large ship foundering, but seek to salvage needed supplies. Helga worries that the morbid mission will result in the drowned sailors becoming draugur, angry undead revenants, but the rest are too practical for such superstition.
I want to like the film a lot more, because it does a thing I love in this sort of period indie, pulling us into a very specific time and place and making it feel accessible rather than opaque, grounding the fantasy in procedure that may not be familiar but which is interesting to learn. All the characters tend to feel exactly like they should, but human rather than types. Even the one guy who feels a bit too 21sr Century does so in a way that says there must have been people like this in 1871 as well. It's got a really nice cast - Rory McCann and Francis Magee capture the period without being consumed by it, and filmmaker Thordur Palsson doesn't make Odessa Young protest that a woman can handle this amid the difficult decisions. She's got a nice chemistry with Joe Cole; when they're not dealing with potential monsters, it's interesting to watch them feel their way around the void left by Eva's husband as they clearly have feelings for each other.
On the other hand, while I feel like I should like the spot it hits between folklore and guilt and maybe guilt come to life, the telling of the tale is a slog. There is just not enough for these people to
do while the draugur stalks them or rifts that can be exploited as the evil gets in their head and makes them turn on each other. We're constantly waiting for something to happen, but only really on edge a couple of times. There are a few striking images and scenes - I particularly like one where the perspective has the viewer not sure whether the black shape in the center of the screen is a person, a creature, or just a rocky outgrop with one's eyes playing the same tricks that the characters' are.
Get It in another environment, and I'm probably along for the ride if the rest of the audience is. Without a crowd, though, I've got way too much time to think about why I'm not as scared as I should be.
