I wish this video weren’t true. But it is. And it’s a microcosm of all that’s wrong with contemporary filmmaking in general (not just trailers).
Movies
Edit Credit
Yes, it’s in odious fucking “YouTube Voice,” but it’s still a great look at how important editors are to films and exactly what they contribute.
Eb and Flow
Roger Ebert’s 4-Star Review of ‘Halloween’ Made Me Want to Be a Writer.
I miss Roger Ebert. I often disagreed with him, but never regretted reading what he wrote. Siskell & Ebert is what made me love movies and to see them in a way I likely otherwise would not have.
There are not any critics like him left writing any longer and that is indeed a great loss.
Peri Aye
Anyone else enjoy Blood Red Sky?
The film itself was ok. Worth watching. But Peri Baumeister as the protag Nadja gives a fucking knockout performance. That’s the reason to watch the film there.
Some actors make a film. She did for that one.
Dune or Dune Not
I was talking with a woman at work and I mentioned I’d seen the first Dune in 70mm Imax.
She said, “Isn’t that pretty small?” For a split second, I had no idea what she was talking about. Then I realized she thought “70mm” was the screen size, not the film stock. I couldn’t help laughing. But once I explained she laughed along with me. I still chuckle a little thinking about it.
80s Trick
Whatโs your comfort horror movie?
Trick ‘r Treat. It’s just such a goddamn good film. It’s underrated as horror always is. Also, because it feels like an 80s movie, which throws a lot of younger millennials and Gen Z off. It’s not prudish, in other words.
Such a gem that went unrecognized for years. And so funny too, in a macabre way.
Double
Brian De Palma on the โBody Doubleโ Ending and His New Film.
That is a good film that sometimes hits greatness.
Body Double is beloved today. But itโs also the kind of movie that nobody could make today
That’s true; I miss those kind of movies. Sydney Sweeney in The Voyeurs is as close as we can get these days. And De Palma on younger millennials and Gen Z is dead on.
What I find interesting when you see contemporary people watch these movies is theyโre shocked by the nudity. They go, โOh my God.โ Iโm thinking, What, are we living in the Victorian Age here? You know, they have these things on YouTube where they have two people watching a movie and reacting as they watch it? I saw two people watching the opening of Carrie. I thought they were going to have a heart attack! I was like, What has happened to this next generation? They seem to have gotten very Victorian.
I don’t think that the new Puritans realize they are living staid, bland lives at the behest of tech companies and their profits. But it’s obvious when you think about it (as De Palma also has) for 30 seconds. I wonder what if anything will shift this cultural course?
Blissful
Another underrated film. I’d say it merits at least a 7.5. It’s underrated because it does not handhold the viewer very much; it does not tell you what to think or why. And it turns out people really prefer to have what to think really hammered in there.
Gershwin
One of the things I particularly enjoyed about My Summer of Love is that it was made in 2004, before smartphones and before social networks became ubiquitous. Thus, it feels really quite dated in a good way. The whole terms of relation are much different. Modern movies are glaring in their omissions of smartphones if they are not present while still being dominated by the social forces of their preponderance.
Also, Summer was filmed before the current deep prudishness had set in so the characters treat sex as just another part of life, like eating or breathing. No, those times weren’t better in every way (the 90s were even better in those respects), but it’s clear that everyone was just much mentally healthier then.
One of These Mornings
We watched My Summer of Love earlier. Like most movies about girls/women, it’s underrated on IMDB. It’s a beautifully-shot study of the summer love affair of two girls-verging-on-women in the Midlands of the UK. The first one we meet is a lower-class, rough-around-the-edges dreamer who yearns for a better time in her life, often without quite being able to express it.
The other girl is from a posh family and seems to be sincerely looking for companionship and the solidity of a real connection after a recent tragedy has left her grieving.
But this is a deeper and more compelling work than the surface would indicate, and quite a bit darker. I’ll not say more to avoid spoilers as it’s best watching unaware. With great performances by both Emily Blunt and Natalie Press, the film never goes for the easy clichรฉ, either in its shots or its narrative, and never is less than true to its characters and their motivations; the film moves how they would move.
Recommended.
Span
Both Cailee Spaeny and Kirsten Dunst were very good in Civil War, but the movie itself was meh. It didn’t know what it wanted to say or to be; it committed to nothing. There is a lot of noise and Sturm und Drang but it just has no thesis. At the same time, it’s not observant nor perspicacious enough to be a slice of life (or of death) film, either.
It just was not a good film despite the combat portions being pretty well-done. I wish it had been attempting to say something, anything, to have some history or future or meaning. Not every movie needs that, of course. But this one did.
Not recommended, unless you’re a particular fan of Cailee or Kirsten or both.
All Rise
The best lines from Evil Dead Rise are these:
Kassie: You’d be a good mom someday, Auntie Beth.
Beth: Oh yeah?
Kassie: Yeah. You know how to lie to kids.
Dang that hits hard.
Melan
That is a great scene. Amazing filmmaking. It has a perfect setup and payoff. It pulls out all the stops on the despair organ and leaves that motherfucker blaring.