Malcolm1980's 2021 Movie Review Thread

[malcolm1980]

2/25

All is Forgiven (Mia Hansen-Love) ***1/2 - This is a film divided into two distinctive halves. The father of a family of three falls into the drug addiction. His wife leaves him. Then the other half is his now grown-up young daughter reconnecting with him. This is an early work from director Mia Hansen-Love and it's a wonderfully lovely human story that under a lesser director may have been a sensationalist melodramatic tear fest or something corny and preachy. But this is just a stripped-down, honest and frankly, moving portrayal of both addiction and forgiveness. It's frank and matter-of-fact about it but there's an underlying warmth. An excellent film.

Oedipus Rex (Pier Paolo Pasolini) ***1/2 - This is writer-director Pier Paolo Pasolini's version of the story of Oedipus Rex, the man who murdered his father and married his mother. The story of Oedipus has sex and violence, battles and some magic. Pasolini's film despite its rough and tumble handmade, dirty quality manages to infuse a lot of magic, wonder and of course eroticism into the proceedings. It feels like a tactile, lived-in world and makes the well-known story of Oedipus into compelling cinema. This is quite possibly the definitive cinematic version of this story (if you don't count Funeral Parade of Roses). I would consider this top-tier Pasolini. Highly recommended.

Judas and the Black Messiah (Shaka King) ***1/2 - This is the story of William O'Neal, an FBI informant who was recruited to spy on Fred Hampton, one of the leaders of the Black Panther movement. This film is based on a true story and if you know anything about it, you probably know how it's going to end. But even then, it still manages to milk some suspense out of it and makes this film all the more compelling. As we all know, this film is sadly still relevant to this day. Daniel Kaluuya is as great as the reviews and his awards run indicate. His performance in the scenes featuring Fred Hampton's "I am a revolutionary" speeches made me wanna stand up and chant along with him. His performance is that great. LaKeith Stanfield matches him as the Judas in this story to his Black Messiah. Yes, I think this is one of the best films of the (awards) year.

[malcolm1980]

2/27

Welcome to Chechnya (David France) ***1/2 - This is the documentary about the persecution of LGBTQ people by the government in Chechnya, the organization that helps them and the people who escaped. There are scenes in this film that are quite upsetting, shocking and disturbing. I, for one, can't believe such things still happen in the world but there you go. This film is unique in that it actually uses deep fake CGI technology to disguise the faces of some of their subjects in order to protect their identity and it is used quite effectively. This film will definitely make you sad and angry especially if you're LGBTQ or know/love someone who is and while there are unpleasant moments, there are also moving moments as well. So, yes, this is one of the best documentaries of 2020.

The Devil is a Woman (Josef von Sternberg) ***1/2 - A man visiting his friend falls in love with a mysterious woman who is infamous for making men obsess over her and manipulating them. I thought I had seen every collaboration between movie star Marlene Dietrich and director Josef von Sternberg. As it turns out, I missed one! I have to say this feels like an atypical performance from Dietrich. I mean, she still plays a ball-buster but she infuses a lot more humor in this one. The way she screws around with the two male characters are pretty funny, I think. The magic of her performance is that a lesser actress would have made her character unlikeable and annoying but Dietrich oddly keeps on her side. It's not my favorite of the Dietrich-von Sternberg films but it's a solid entry.

[malcolm1980]

2/28


Shree 420 (Raj Kapoor) ***1/2 - A happy-go-lucky but penniless vagrant makes it to the big city but while there, he gets robbed. Then he decides to claw his way to the top. This is an almost three-hour Bollywood musical film from the 1950's but as I was watching it, I can't help but be reminded of Charlie Chaplin. From the comedic beats especially in the early acts and its left-leaning humanist message near the end, it feels like a film Chaplin would've made if he was Indian, and this isn't an accident of course, Chaplin was indeed an influence...and it works. It's a big, bold, beautiful and, despite it shot in black & white, it also feels quite colorful with its big, bold swings that it takes. I've been delving a bit more into Indian cinema the past few years and between this Awaara, I would say Raj Kapoor may rank alongside India's best filmmakers.

Emma (Autumn de Wilde) ***1/2 - The latest adaptation of the Jane Austen classic novel about a young woman who interferes with other people's love lives at the expense of her own. I *think* I have seen the Gwyneth Paltrow version though I barely remember it. Nevertheless, this is still an utterly delightful, earnest version of the novel that manages to be funny, sweet and fresh. It is certainly a joy to watch, thanks to the always terrific Anya Taylor-Joy who continues to impress with her acting prowess and she's deservedly on the rise this year. She's supported by a strong supporting cast and a beautifully mounted production. This is Autumn de Wilde's first film and I have to say she nailed it with flying colors. This JUST missed my Top 10 of 2020 (but who knows, I may change my mind).

[malcolm1980]

3/5

Sazen Tange and the Pot Worth a Million Ryo (Sadao Yamanaka) ***1/2 - It's ancient Japan. A man gets rid of a old pot, not knowing it was worth a million ryo (the currency at the time). When he finds out and the word spreads, the hunt begins. Here's something I haven't seen much of, a period comedy from Japan during the 1930's. It's actually quite funny yet it also has a certain warmth and sweetness that you don't expect in a comedy with this plot. This is from the same director of Humanity and Paper Balloons, Sadao Yamanaka, and it has that same tone although this leans more in the comedy. This is definitely a gem that needs to be seen more.

Shed No Tears (Jean Yarborough) **1/2 - A man listens to his younger, duplicitous wife and fakes his own death for the life insurance money. Like with any film noirs of the era, betrayals and backstabbing abound. Reading the plot, it feels like a lower rent Double Indemnity and in many ways it is. This is strictly B-movie stuff. However, this is quite watchable thanks to June Vincent's wonderfully nasty performance as the cheating wife. The film rises above the material whenever she's around. She can almost go toe to toe with Barbara Stanwyck. She makes this B-noir worth checking out.

[malcolm1980]

3/6

The Mauritanian (Kevin Macdonald) *** - Based on the true story of Mohamedou Ould Salahi, a suspected terrorist who was tortured and detained for 14 years in Guantanamo Bay despite not being formally charged with a crime or not having any strong evidence against him. This is a legal procedural thriller, basically. It's a film that hits all the right notes but does not really elevate or do anything special with it. It's a film that makes you angry because it's right. Even though you may have an idea on how it ends, you're glued to your seat because of the performances of both Tahar Rahim and Jodie Foster who are both outstanding. It's a solid enough film but it's like a really good HBO cable film from the 1990's.

Pinocchio (Matteo Garrone) *** - This is the first of no less than THREE film versions of Pinocchio that's gonna be released in the next few years (the others being Guillermo del Toro's stop-motion animation version and Disney's live-action remake of its own version). This features Roberto Benigni almost doing penance for his critically lambasted version that ruined his mainstream Hollywood career back in 2000, this time playing Geppetto to Federico Ielapi's Pinocchio. This is Matteo Garrone's version and even though it's not R-rated, it bears closer resemblance to his Tale of Tales than any kid-friendlier version of the story out there. So it's darker and a bit more slower paced than many kids are used to. As a visual feast, it is truly something to see. The choice to use makeup and animatronics with minimal CGI is a breath of fresh air. It will not replace the Disney version in some people's hearts but those in the mood for something darker, this is a welcome version.

Crazed Fruit (Ko Nakahira) *** - Two brothers on a seaside vacation get smitten by a young woman and this forms a love triangle that becomes passionate and obsessive. This is a Japanese film in Japanese language but the look and feel of the film feels more European than most Japanese films of this era. There's an almost French New Wave-is or a contemporary Italian film aura to this film that gives it a unique cinematic flavor. The film has no nudity or graphic sex scenes but it manages to be oddly erotic in some scenes. It did not quite blow me away but the film does give us a glimpse of contemporary Japanese youth culture of the time (which I don't think I've ever seen in Japanese films from this era). This is worth a look for any serious student of Japanese cinema.

[malcolm1980]

3/7

Il Bidone (Federico Fellini) ***1/2 - This film follows a gang of con artists who swindle all sorts of people out of their money and how this lifestyle affects them in the long run. I thought I've seen all of Federico Fellini's essential pre-1960's work but this one fell out of my purview. Broderick Crawford is terrific even in dubbed Italian form as the leader of a gang of con artists and swindlers who all start to consciences. He's supported a couple of nice performances from Giulietta Masina and Richard Basehart. The film starts out as being like a dark comedy of sorts but turns into completely something else by the end. This may not be on a lot of people's lists of the best Fellini film but there are some brilliant sequences here that are quite unforgettable particularly the end. Don't sleep on this one.

Notturno (Gianfranco Rosi) ***1/2 - Shot in four war-torn countries, Iraq, Syria, Kurdistan and Lebanon, over the course of three years, this documentary chronicles the lives of people just living their lives in this harsh, unforgiving environment. This is from director Gianfranco Rosi who also brought us Fire at Sea and like that film, this film doesn't have talking heads or sensationalism. It presents a stark, matter-of-fact story but in an oddly beautiful, poetic way. There are moments of true beauty in this film even though the situations are alternately sad and downright horrific. The pace and the way it's presented may be challenging for some people but it is rewarding for others who stick with it. This is definitely a solid documentary, one of the more beautiful ones anyway.

[malcolm1980]

3/9

Happiness (Aleksandr Medvedkin) *** - A hapless loser goes through a lot of misadventures being plagued by both his greedy rich neighbor and bunch of a-hole clergymen. This is a somewhat surreal and slapstick silent comedy from Russia (well, sort of silent, there's score and sound effects but no dialogue). There's some really funny, weird and wacky stuff and some really weird and wacky imagery here. The silent-but-not-really-silent conceit gives this film an almost surreal feel (Oh, my God, that polka dot horse!) It's not for everybody but I found it to be a very interesting look at both Russian film history and Russian society at the time. So, yeah, it's worth a look.

Blonde Ice (Jack Bernhard) **1/2 - A gold-digging femme fatale leaves a trail of bodies as she marries and romances a group of men for their money who for some reason all look alike (I'm not kidding). This is strictly B-movie, pulpy, B-noir stuff. It is however made watchable by the great performance of Leslie Brooks as the titular "blonde ice". She really has fun with the role, making it chillingly believable. It's too bad the movie surrounding her wasn't better. I'm really not kidding that a lot of the supporting men are interchangeable and totally uninteresting, you're almost rooting for her. It's disposable but surprisingly watchable.

[malcolm1980]

3/12

Six in Paris (Jean Douchet/Jean Rouch/Eric Rohmer/Jean-Daniel Pollet/Jean-Luc Godard/Claude Chabrol) *** - This is an anthology film of six short films by six French filmmakers (Jean Douchet, Jean Rouch, Eric Rohmer, Jean-Daniel Pollet, Jean-Luc Godard and Claude Chabrol) each one set in a different arrondissement of Paris. Yes, this is the film that Paris Je T'aime cribbed from. Like with most anthology films, the films here are of varying degrees of quality. I personally thought that Rohmer's and Chabrol's segments were the best and oddly enough, I thought Godard's segment was the weakest. Rohmer's segment in particular is surprising coming from him. Overall, it is interesting and worth a look especially if you're a completist of any of these filmmakers.

[malcolm1980]

3/13

First Cow (Kelly Reichardt) **** - It's 1820. A cook who was traveling with a group of fur trappers befriends a Chinese immigrant and together they come up with a business plan but it involves filching milk from the cow of a powerful landowner. It took me a long time to finally get around to this but I'm glad I finally did. It is one of the best films of the year. I've really grown to be a fan of writer-director Kelly Reichardt's work. She has this real talent of immersing you into the world she has created and takes you on a ride in ways that can often be surprising. This is no different. This is a beautifully shot, beautifully acted film which tells a story of friendship, perseverance and the pursuit of the American dream but in a way which throws cold water on that concept. I hope this gets more awards recognition.

Mandabi (Ousmane Sembene) ***1/2 - A man in a Senegalese village receives a money order from his nephew in Paris. This leads to a bunch complications involving money grubbing neighbors and government bureaucracy. This is from Senegalese auteur Ousmane Sembene and as such, it contains his distinctive combination of depicting a bright, colorful and distinctive African cultural milieu and pointed social commentary which mixes the comedic with the serious. Watching this, you will alternately laugh and get frustrated for the lead character who has to jump through hoops to get the money order (which is "mandabi" in the local language). Sembene, despite his somewhat limited filmography, is one of world cinema's most renowned auteurs so this film is an essential watch for film lovers.

The Mole Agent (Maite Alberdi) ***1/2 - A private investigator hires an elderly man to go undercover at a nursing home to uncover allegations of elder abuse in the facility. This is actually a documentary though it doesn't seem that way at first. It's really the magic and the appeal of this film. Once you realize it is actually a documentary, it continues to surprise you. You will be expecting one thing and it completely pulls the rug from under you in ways you would never expect. It turns out to be a funny, sweet, sad and even thought-provoking piece on how we treat our elderly but how it becomes that is the surprise. This is one to watch.

[malcolm1980]

3/14


Black River (Masaki Kobayashi) *** - Set against the backdrop of post-World War II Japan near an American military base, a university student moves into a apartment and has a romance with a waitress while the landlady tries to evict them to sell the building. This is from director Masaki Kobayashi who is actually one of my favorite Japanese filmmakers. He, in my book, ranks alongside the greats, Kurosawa, Ozu, Mizoguchi, et.al. and he has directed quite a number of flat-out masterpieces. This is unfortunately not one of them. This is still a very interesting film with some pretty good ideas but I thought it never rises above that. It's still a well-made, well-crafted film but considering this is from a man who made the Human Condition trilogy and Kwaidan, I can't help but feel a little let down this is just merely "good". It is still worth a look though.

Never Rarely Sometimes Always (Eliza Hittman) ***1/2 - A teenage girl with an unwanted pregnancy along with her young cousin go to New York from Pennsylvania in order to get an abortion. I was not the biggest fan of writer-director Eliza Hittman's previous film, Beach Rats, I thought it was well-acted, good-but-not-great film with some glaring flaws. So I was a bit guarded coming into this. But lo and behold, this is a better film. Yes, it is about the very touchy subject of abortion but it turns out to be a bit more than that. No matter where you stand on the issue, the film doesn't scream at you either way. It uses the realistic non-judgmental approach where it's all about the lead character's dilemma. Sidney Flanagan gives a stunning performance especially in that particular scene (people who have seen know what I'm talking) which blew me away. It may not be a perfect film but it's a solid, beautifully mounted drama.