• credit: Warner Bros.
    movie reviews

    Review: The Lord of the Rings (1978)

    I’m simultaneously impressed by the sheer ambition of the project, and feeling wholly incapable of ever giving this a star rating. This is…unique.

    The animation is incredible, when it’s animated, and when it’s interspersed with heavy rotoscoping or filtered footage, it’s very interesting.

    The Halflings look like children, mostly, which is unsettling. In several places, it definitely looks like they rotoscoped children for Hobbits. I just don’t think of them as childlike, though Frodo is certainly young.

    Twinkolas is drawn VERY pretty. Gimli is as tall as Twinkolas and Old Man Aragorn. Boromir wears a pseudo-viking horned helmet. The Men have miniskirts (TUNICS) and either naked legs or skin toned leggings.

    A lot of this is just aesthetic sensibilities of the 70s, or Bakshi’s taste, and Bakshi was a hell of an artist. Sacrifices were made in design in an attempt to do more animation, and when he succeeds, it’s beautiful.

    The microexpressions of his characters and their hand gestures are like…wow. The backgrounds are divine! I love the fully rendered environments but I love the more abstract ones more.

    I scream-laugh at the Ringwraiths every time they show up.

    Thing is, you can nitpick what feels weird about this until the end of time, BUT IT ALL WORKS! This is obviously an incredible labor of love, and even the compromises are made with dedication and genius imo.

    I could see this being a great kids’ intro to LotR.

    (This review was originally posted on Letterboxd on Jan 03 2023. Image credit Warner Bros.)

  • Diaries

    Some 2023 statistics off Sara’s Letterboxd

    Earlier I ranked my top 10 movies from 2023, but here are a few other fun stats from my Letterboxd about the year’s movie-watching habits.

    My first film watched was 10 Things I Hate About You. It’s funny because I ended the year thinking I was due a rewatch. Apparently I’m on an annual cycle with this one?

    The last film I logged in 2023 was my second viewing of What Happens Later, which made me cry happily all over again.

    Since I watched over 200 films, Letterboxd made note of some important milestones.

    On the other hand, there were three movies that I rewatched more than others, logging each of them three times on Letterboxd.

    • Bottoms was one of my favorite movies of the year, and it had the most rewatchability. It really has that “I have to make xyz watch it now” factor.
    • I rewatched Nimona several times right when it came out because the queer and family-friendly message resonated, but it’s hard to watch movies with my kids at the same time. It’s in my top 10 for the year for sure.
    • Mandy was the dark horse of rewatches. I blasted through it three times early in the year when I was on a horror binge. The vibes are so absolute, it consumed me. I think I’m due to revisit it.

    Comedy and romance ended up being the main genres of my year, with 114 and 74 films respectively logged. It’s no surprise. I really took off watching romcoms after Halloween.

    That said, I gave the highest ratings on average to animated movies and action/adventure.

    Since I have Letterboxd Pro, I have a lot of interesting statistics that aren’t worth recapping here, but probably very representative of my interests as a human being. Here’s a screenshot of one highlight. There’s a lotta words, so click to embiggen, or you can just go look at my stats on Letterboxd.

    Basically I like movies that are very exciting, genre, and juvenile that have Meg Ryan in them. Maybe not all at once.

    The last statistic on the page is one of the more interesting ones. It’s a list of popular 2023 movies I haven’t logged yet.

    • Spider-Man: Across the Spider-Verse is the first, and I don’t know if I’ll finish watching it until the sequel comes out. I found it pleasant to watch but it didn’t grab me the way the first one did. It’s hard to get invested knowing it’s got a cliffhanger, too.
    • Two movies are related to Attack on Titan, which is a cool property (I’ve read a couple manga and played the AoT Fortnite event) but I don’t plan to see the movies.
    • I have no desire to see the Eras Tour movie or Oppenheimer.
    • I’m still waffling on Pretty Things because the aesthetic is great but the story sounds awful.
    • I haven’t paid any attention to Past Lives or The Holdovers. I wonder if I should watch them?
  • sara reads the feed

    Peloton makes Christopher Nolan sweat, May December is exploitative comedy maybe, and labor rights as usual

    I mentioned a while back that I got a $15 balance board off Amazon and I love it. Guess what? It’s mostly fixed my hip pain (at least the way that matters to me right now). I can stand at my desk for hours. When my hip/back starts aching at all, I climb on the balance board.

    My guess is that it’s just engaging all the muscles I normally don’t engage standing and sitting around, and that’s enough to stabilize my hip. Or whatever. The first week or so, I felt that achiness that indicates muscle growth in all sorts of weird places, like the adductors, obliques, and even my *deltoids*? (I think because my arms have to stabilize me against the desk to use my computer.)

    Whatever I was missing in my routine to alleviate pain, the board has helped way more than using the treadmill at my desk and going for walks and stuff. It’s awesome.

    Typing honestly isn’t my favorite on the balance board, just because it makes me so tall that I can’t raise my standing desk any higher and it’s not ergonomically ideal. But I’ve been using it a lot for gaming. My combination is padded standing mat + balance board + slippers with supportive soles, and I can stay standing for hours.

    ~

    My favorite chuckle of the morning came from Christopher Nolan complaining that a Peloton instructor shit-talked Tenet during a class (Variety), unaware Nolan was in the class. Hysterical. Nolan’s response was (paraphrased) “How dare you? Criticism shouldn’t be instinct but a job.” Meaning he thinks nobody should have opinions on movies where he might hear them unless they’re a critic.

    I still love Nolan’s directorial style, but the last couple years have made it clear he’s intolerably precious. He’s among the guard of Hollywood who feels entitled to the movie community’s time. He feels the movie community should have gates and keepers. He thinks that he should have a certain number of big screens for a certain period of time. He thinks the masses should keep their opinions to themselves, as someone who only gets these budgets because the masses tolerate him.

    I think Nolan is a giant wiener who should accept nobody *needs* to take movies as preciously as he does. And he should accept that being a household name means everyone has opinions on him. He can’t reshape the world to his demands no matter how many times he stomps his feet; the world is not made of executives kissing his rings for providing profit-generating content. Nolan needs to learn to Deal With It.

    I like art to be rowdy and messy and full of unprofessional people and so Nolan’s preciousness has officially made him a target of my playful mockery. I hope he never knows another peaceful Peloton class. Fucking Peloton! They hurt his feelings! What a precious little wiener. lmao.

    ~

    Kate Hudson keenly noted that romcoms are hard to make now (The Hollywood Reporter) because, ultimately, studios aren’t investing in good writers. The headline is about actors, but she says it’s because studios aren’t getting writers that write movies worth big-name time. Hudson is surely longing for another Nora Ephron, much like Meg Ryan, and it’s just nice seeing folks remember that writing matters once in a while.

    ~

    I am not disturbed by the man in Las Vegas attacking the judge. (NPR) Did you watch the video? He tried to make himself vulnerable in a plea for leniency based on his overall behavior, and she crisply, patronizingly said something like, you need a taste of punishment, byyyeee. I just think it would take a real strong person not to lose their shit over this.

    I don’t know what he did to land in the court. Maybe he’s a horrible person. But I just don’t think that people with the power to toss humans into the meat grinder of our carceral system with the sneering dismissal of a middle school math teacher should be *surprised* if they get an unpleasant reaction. Do you know how violent the entire prison system is? Do you know what’s going to take over this man’s entire life for months/years to come, and probably has already done a mess to him?

    I’m not violent personally; I just find it a willfully ignorant position to act like judges are vulnerable lil innocent babies when they are knowing, powerful participants in a vicious system. This man looked so desperate to me. America puts way too many people in desperate positions.

    ~

    Vili Fualaau, the victim of Mary Kay Letourneau, doesn’t like May December. (IndieWire)

    When I watched the movie, I thought it was more broadly cribbed off the type of abuse in the Letourneau case, not about the Letourneau case specifically. Shortly thereafter I learned that some lines were directly taken from an interview with Fualaau and Letourneau, and the lisp that was so central to the female characters also came from the real-life abuser. It’s not as much a mosaic as I thought. It’s much more direct, like Velvet Goldmine.

    I do feel like May December is yet another act of abuse against Fualaau, effectively; it’s insane we live in a world where others’ stories are fair game for profit-making schemes. The fact that May December is one of the most tasteful and respectful iterations doesn’t matter from the viewpoint of the man it’s about.

    It’s crazy to think he’s been dealing with this public scrutiny of his life for so long. Letourneau truly robbed this person of any opportunity to be innocent, and the various sordid retellings make creators complicit in this theft.

    As for my position as a viewer who loved the movie, I don’t know. I already deal with this dilemma in all sorts of media that I routinely enjoy. True crime is riddled with people who don’t consent to their involvement; the industry is built on furthering trauma against victims. I think it’s normal for humans to be sordidly curious. I also think all humans have deep deep flaws, and maybe my conscious willingness (and enthusiasm) to engage with media that makes entertainment of others’ pain is one of my worse ones.

    That’s not satisfying commentary, I know. But I think it’s true all at once that May December is great filmmaking, and an act of abuse against Fualaau, and a sign that I like juicy stuff even when it hurts people. The fact the movie itself may ask us how similar we are to Portman and Moore’s characters in our complicity with this situation is so much of why I liked it.

    There’s also a lot of conversation right now as to whether May December should be regarded as comedy. (Variety)

    ~

    It’s interesting to hear that use of hearing aids (NPR) can lengthen life span, since hearing loss can worsen cognitive *everything,* isolate the individual, and send them to an early grave.

    I don’t need hearing assistance (yet?) but I do use glasses, and have done so since elementary school. My eyes aren’t that bad. I can get around a house fine without glasses, and if I’m not attached to seeing details or reading captions, I can watch TV.

    But I noticed if I go without my glasses for a while, I kinda fully disconnect from the world. I just start drifting. I don’t respond as strongly to anything. I can imagine how losing hearing might cause a more profound drift unless consciously combated.

    ~

    Reading about the old Vectrex console was an absolute delight for me yesterday. (Ars Technica) It makes me wonder how different gaming might look if we’d focused on vector-based rather than point-based design.

    ~

    Al Jazeera English notes this is a big year for elections and democracy is kinda on the ballot everywhere.

    ~

    In 1905, Lucy Parsons wrote her feelings about the problems with labor in capitalism, which I could have written nowadays 120 years later. I’d surely have more fart jokes though. Read it on Panarchy.

    Every person who is rendering no good to humanity is useless, no matter how hard he works. Head work and hand work are equally hard and equally useful if rightly applied. All men, rich and poor, are working at something; perhaps one at useful labor, the other at useless labor. Nevertheless they are each and all using their energies at some occupation.

    Men work because they cannot hold their physical and mental energies in check without causing themselves pain. But we have made work disagreeable because we have allowed conditions to obtain which force us to continue to work after we are tired, or at something for which we have no taste, take no interest in and have no adaptability for.

    For this reason we lose pleasure in work and it becomes irksome to us; for this reason, often what we do is done in a slovenly manner and the community loses thereby. The selfish scheme called “property rights” has superseded human rights and created four times more useless work than is required to produce and distribute all the comforts and luxuries of life.

    All these useless workers are either capitalists or the allies of capitalists. In this class of workers whose sole business is to sustain the “rights of property” can be classed the lawyers, jailers, police, bankers, insurance companies, agents and nearly all bosses in all branches of industry; add to these those who cannot get work and those in prisons, and we get some conception of the vast hordes that must be supported by those who perform useful labor, and these must devote their entire life’s energies in keeping up the “rights of property,” a thing which they have neither a share nor interest in.

    And this condition of affairs makes paupers, suicides, thieves, cut-throats, liars, vagabonds, hypocrites, and unsocial beings generally.

    Who, pray, are benefitting by all this waste and confusion? The few, a mere small percentage of the population of the world. All the remainder submit, because they think “it always has been so and it must always be so.” The work of those who have a conception of a true society of the future, must devote all their efforts toward disabusing the people’s minds of the ancient falsehoods. It can be done. Many other hoary lies have passed away, so will this one, too.

    As a side note, eleven miners are trapped in Zimbabwe. (AJE) These are subsistence miners working in unsafe unregulated mining sites. It seems to make it easy for the owners of the mines to mostly shrug when things happen. The owner sent a team to rescue folks, but they say they can’t get in because of unsafe ground. The ground was already unsafe and they let the subsistence miners go. Anyway, just thinking about labor today. My heart goes to the miners and the families and hope rescue operations proceed smoothly.

  • credit: Warner Bros. Pictures
    movie reviews

    Mad Max: Fury Road (2015) *****

    Baroque isn’t the first word most folks would associate with Fury Road, but I’d argue this movie exemplifies the concept. I recall Guillermo Del Toro describing certain projects as baroque when they are detailed down to the most minute elements; his art style can be rather baroque. Whether you look closely or step back for a wider look at his films, you will see absurd levels of detail. Everything is considered.

    George Miller’s style of filmmaking for Fury Road is similar, even if the aesthetic is post-apocalyptic.

    An enormous ensemble is filled with distinct characters who have obvious lore associations that is mostly explained via aesthetics. Actor performances are outsized. You can be confident these characters are filled with character even if you haven’t seen the other movies, read the comic books, or seen interviews with the cast and crew sharing details. Just doing a few searches for Fury Road information brought up so much Mad Max lore that my head’s still spinning.

    The editing is also baroque, packing so many quick shots into sequences that it feels like you’re somehow watching action occur from inside and outside vehicles simultaneously. A conscious focus on clarity of framing (trivia says they chose to center characters in the frame to make it easier to track) means you can absorb a lot of the exhilarating details without losing everything to the blur of violence.

    And oh boy, the violence. These creative characters smashing around the movie are doing so with gleeful, drug-hazed brutality. The energy is usually frenetic. There are so many explosions and car flips. I’ve never seen another movie with stunts that feel as visceral as these ones. Though the special effects aren’t exactly hidden — often, the visuals look like a really cool art wall at a tattoo parlor rather than shooting for realism — a shocking amount of the movie was produced with practical effects, and you can feel it. Fury Road is a movie made out of exclamation marks with hardly a comma to breathe.

    With this level of detail everywhere you look, it’s fitting that the actual plot of the movie is simple. Our Heroes try to get from point A to point B with minimal deaths, then are forced to turn around and return to point A. There isn’t much to follow if you don’t care to do so. The main character doesn’t talk very much.

    If you do pay attention, you’ll note character development all over the place. Max goes from a feral blood bag to someone who goes to any end to save Furiosa’s life, the brides each find different routes to becoming fighters in charge of their own destinies, Nux turns his zealotry away from Immortan Joe–but while the presence of these arcs serve as a rugged scaffold to connect action scenes, Fury Road is still mostly about action scenes.

    It’s fun to have such beautiful models centered in a fashion that seems typical for genre movies — presumably, under-dressed for our titillation as much as Immortan Joe’s — who each let slip quite a bit of character in their depictions and coexist in the movie alongside elderly and disabled women. They’re a great example of how Fury Road subverts the very tropes it benefits from. Despite the whole movie ostensibly being framed as another episode in Max’s life, this is one of the more radically feminist movies in the genre.

    Behind-the-scenes trivia is worth reading for this one. The shoot it took to produce a ballet of exploding Burning Man cars was as harrowing as you’d think, and I can’t begin recapping all the trivia here. It starts with “Charlize Theron and Tom Hardy hated each other” and carries through “the oldest actress was 78 and did her own stunts” into “the nearly-naked girls nearly froze to death because the desert is flipping cold” and beyond. Hopefully everyone got over the difficult shoot well enough to feel proud of their contributions to one of cinema’s modern classics in retrospect.

    My love for Fury Road isn’t anything new; it was one of the most popular movies of 2015. We knew Fury Road was a classic when it came out. For my money, it’s as good as Dredd 3D, the under-performing 2012 release that also featured an oppositional male/female pairing getting closer through killing people. The front half of the decade was so good for SF action movies!

    (image credit: Warner Bros. Pictures)

  • credit: Vertigo Releasing
    movie reviews

    Review: Crimes of the Future (2022) *****

    A mellower, low-saturation story told in the “Repo! the Genetic Opera Universe” that isn’t about rich people, but about horny performance artists. Also, the pandemic here is novel organs rather than organ failure–but I think you get my drift.

    I just watched Hellraiser yesterday and they have one basic similarity – in the commingling of pain and pleasure, losing the lines that distinguish them. It’s interesting how Hellraiser was so violent and desecrating, but Crimes of the Future felt sensual and rapturous.

    Normally i do not watch, much less recommend, movies that not only make the death of a child central to the story, but starts off the movie showing the mother killing a child. (Not a spoiler, it’s literally the first five minutes.) But the emotional temperature is so turned down that it didn’t bother me.

    Everyone is so mellow in this movie, mostly – well, it more seems like numb than mellow. Pleasure isn’t pleasure anymore. Surgery is sex. They only feel anything when they’re being gored. Léa Seydoux fellates Viggo Mortensen’s viscera and makes it feel like a normal moment of intimacy between a long-time couple.

    I’m always more into horror aesthetic with dark themes rather than horror itself, strictly speaking, and that’s what that was. Delicious, weird, lovely, grimy, bleak, warm, loving. I want Viggo Mortensen’s wardrobe.

    (Image credit: Vertigo Releasing. This review was originally posted on Letterboxd on Jan 25, 2023.)

  • credit: Warner Bros
    movie reviews

    Review: The Batman (2022) ****

    If you’re in the mood for a Batman which serves largely as an Older Millennial response to Christopher Nolan’s Gen X Batman, have I got the Emo Robert Pattinson for you.

    “Underneath the bridge
    Tarp has sprung a leak
    And the animals I’ve trapped
    Have all become my pets
    And I’m living off of grass
    And the drippings from the ceiling
    It’s okay to eat fish
    Cause they don’t have any feelings”
    – Something in the Way, Nirvana

    Director Matt Reeves was inspired by Something in the Way while creating this movie, as he told Esquire. “Early on, when I was writing, I started listening to [‘Something in the Way’]…which is part of the voice of that character. When I considered, ‘How do you do Bruce Wayne in a way that hasn’t been seen before?’ … His drug is his addiction to this drive for revenge. He’s like a Batman Kurt Cobain.”

    This is a trauma-informed Batman that interacts with most of the imagery we’ve gotten from Nolan Bat (which, in turn, heavily drew upon Frank Miller Bat) and takes an emotional approach to the reasoning behind all events. More than that, Traumatized RBattz is trying to heal from it without knowing he’s trying to heal from it, confronting his family’s legacy and literally punching his way through his issues.

    It would be easy to do this traumatized Bat and leave it there, but Matt Reeves also offers Emo Batman a path to healing, and a light that shines on that path, in the form of a foil: the Riddler wrought as a serial killer who was inspired to madness by much of the same trauma which brought Batman here. The Riddler is the mirror RBattz needs to realize he’s losing himself – and he needs to choose to help, rather than hurt in the hopes the hurt will help someone someday.

    This is not unlike the work that Millennials have done as younger siblings of our irony loving Gen X elders. Nolan’s Batman gets closest to healing by simply walking away from everything – very much an “eff this shizz, this will never get better for me” attitude that seems appropriately cynical for the era. But our Millennial Emo Batman has stepped into adulthood and realized, “Hecc, I need to do something about my trauma where I’m at. I need to face it and do the thing.” Then he leaves the Riddler heartbroken and screaming in Arkham, and he carries the people of Gotham out of the wreckage of their shared grief into sunrise, because he’s decided he’s That Kind of Batman.

    It’s pretty cool and I cackle every time I see Bruce Wayne in smudged eyeliner.

    (Image credit: Warner Bros. This review was originally posted on Letterboxd on Mar 04 2022.)

  • credit: Newmarket Films
    movie reviews

    Review: Donnie Darko (2001) ****

    This movie is pure vibe. I am *always* in the mood to play this movie and listen to it. The sound design, the soundtrack, the emotions I feel as everything plays out…it’s a nightmare on xanax where you’re too numb to feel how bad it is that these surreal things are happening.

    I loved Donnie Darko as a kid. I was exactly the right age when it came out (thirteen and an edgelord). As an adult, I find myself thinking a lot more about how the movie feels irresponsible at its core, and maybe how that dangerous feeling is really the appeal of it. The titular character is a paranoid schizophrenic. The movie is essentially a paranoid episode if everything the voice in your head was telling you is true. And it glamorizes the tragedies that befall this sickly young man, bestowing him with attention and mystique and a degree of deranged coolness that resonates with damaged teenagers. “Your fantasies are true,” says the movie, “and you really do see the core of the way the universe works, and your untimely death fits into it aesthetically well.”

    It would be easy for someone struggling with unreality to take Donnie Darko as a positive example. So it’s dangerous–evocative of sadness without being sad–and that sort of ferality is a lot of what makes it feel darkly delicious. Maybe that’s just me, as a frequent mental health patient.

    It’s definitely a lot more relatable from a Millennial teen’s pov, but now as someone who has grown into something that vaguely resembles adulthood, I mostly enjoy it for the vibes. Donnie Darko makes emotional sense. Any rational analysis of the plot (and time travel/milieu) is going to fail to support the best qualities of the product, which is entirely vibes, the incredible cast (Maggie Gyllenhaal!!! my wife!!!!), and the sound design.

    (This review was originally posted on Letterboxd on Feb 18 2023. Image credit Newmarket Films.)