Letterboxd - Demi Adejuyigbe
This movie is basically The Great Gatsby if Daisy realized how much of a fuckin’ loser Jay Gatsby is. “Good luck with your lemonade stand.”
(Watched this for an episode of The Bechdel Cast, live in San Francisco, which should be available to listen to, uhhhhh, eventually! Soon probably!)
Fri, 24 Jan 2020 01:08:00 +1300
Only liked this the slightest amount more on this viewing, but all the things I didn’t like before (Taika’s Hitler, Scarlett, the tone of the entire film not really landing the comedy or the drama for me) are all still there.
Tue, 21 Jan 2020 14:12:03 +1300
this is the first david lynch thing i’ve seen besides the Twin Peaks pilot and, uh... this guy’s freackin weird!!!!!!!!!!!!
Tue, 21 Jan 2020 12:49:18 +1300
I think this movie is pretty bad. I think it’s shallow and dumb and poorly written/directed and masquerading as a film with meaning in a way that has somehow tricked Academy members into believing it’s a prestigious piece of work and not a ridiculous feature-length 30 Rock cutaway parody buoyed entirely by some nice cinematography and a reliably-terrific performance from an actor who is always as good as he is here, and even often better in similar films (You Were Never Really Here.)
That said, this is all just my opinion! It’s not right, it’s not wrong. What is wrong- and very weird and embarrassing– is the strong inability for this movie’s biggest champions to accept that some people think this movie is pretty bad without getting defensive or arguing in favor of a conspiracy, or pretending that disliking Joker is a choice made just because Joker is popular, and not because Joker is a bad movie. Every single time, without fail, I’ve been able to personally trace just how embarrassing and bad I would find a movie by measuring the reactions of the people who love it (cough cough really any DC film) and sorry to all of you who do, but good lord the people online who have taken this film into a core part of their personality are troublesome! What a weird thing! Especially given how many of you believe that the message of this film is “be nice to people or they might snap and hurt you.” (Which is a whole other bag of worms that makes me terrified for every single person you come into contact with and firmly makes me believe you should be put on some sort of watch list!)
Does this mean everybody who likes Joker is bad? Of course not! That’s a ridiculous statement, and the people who I’m actually talking about won’t even make it this far into the review anyway to read this caveat. Movies are wonderful and the best thing that could have resulted from the countless hours of loving work that went into this film, or any film, is for you to love it. What a powerful thing! I wish we ALL loved Joker! But the irony is not lost on me as to how many people find themselves deeply relating to this absolutely, irredeemably horrid man simply because they threw “he’s mentally ill” and “he’s been bullied” into his character, only to then turn around and show their whole asses online.
This isn’t really a review of Joker, though. It’s more a review of Joker’s audience. That’s because I already wrote a review of Joker, and a bunch of clowns (natch) came out in droves to shout me down about not liking it, as if they weren’t a block button away from being thrown into the phantom zone (DC ref! I’m one of you! Except, not!) Anyway, let me get back to reviewing the 2019 film Joker.
I think the movie is pretty bad.
Tue, 21 Jan 2020 11:03:49 +1300
“Dad, today I made a plan.”
It’s absolutely fucking absurd that Song Kang-Ho did not get any Oscar attention for his role in this film. He gives the most expressive, wide-ranging performance of the year. I mean, the entire ensemble is outstanding (I think I’ve already said how terrific Cho Yeo-jeong’s comedic performance is) but Song is the emotional center of this film both in its funniest and it’s most tragic moments. Also, after five viewings (I know) of this film, it’s so fun to me which line deliveries (in a language I fully do not know) stick out to me so much. Kim Ki-taek screaming “Lady! Are you mad?!” is a strong favorite.
I retain a dumb optimism that the Academy will wise up and give this film Best Picture, but even if they don’t, I have no doubt that it simply is the year’s best picture. Every single time I watch this film, I feel my heart breaking at the ending as if it’s the first time.
Mon, 20 Jan 2020 20:29:15 +1300
Three thoughts I had during this movie:
1) Think of the best possible cameo that this movie could have. Yeah, they got it. (No, not ** ******. The other one.)
2) Honestly a little disappointed at how smooth the action in this film felt– it was like they wanted to sand down the edges of Bayhem into something a little more palatable. Which is impressive! But Bad Boys should be the kind of dumb action movie where a bunch of cops drive recklessly through Brazilian favelas, just because it seems cool.
3) If they ever make a Gears of War movie (sorry- when) these guys should be behind it. The entire third act screamed Gears of War to me, which is an outstanding thing to do since that is a game and phrase I have not seen or thought about in maybe 8 or so years now.
Sun, 19 Jan 2020 10:43:48 +1300
I hate Times Square bcuz of the Silver man, he was disgusting, i hate him with my life, he doesnot leave the gold man alone
Sat, 18 Jan 2020 23:52:39 +1300
I had never seen this movie before but my friends Jocey and Celia insisted I had to, and I’m so glad I did. :) The “Make ‘Em Laugh” sequence has been something I’ve known and loved for years, and I can’t believe I was depriving myself of the rest of this film for so long. Gorgeous, vibrant, joyful, funny, and cornball in all the best ways.
And the dancing! A beautiful physicality that is all but gone from modern film in the most crushing way. It’s why those dancing scenes with Channing Tatum in Hail, Caesar! made my heart soar so much; a glimmer of what talent might still exist, hidden in the repertoire of some of our greatest stars, if only someone were to just fucking usher it out of them! Give us more incredible choreographed dancing routines, goddamn it! The people deserve it!
Fri, 17 Jan 2020 22:09:48 +1300
I’ve been wanting to rewatch this every day since I first saw it and it was just as rewarding as I thought it would be. 2:20PM on a Thursday and the theater was still full, the reactions were still audible and powerful. It feels weird for this movie to have come out so late in the award season, as it feels like the kind of thing that should’ve taken over the last few months of our collective discourse, but it popped up and become a Best Picture contender all in what feels like a matter of two weeks. Deservedly- it’s beautifully shot, spectacularly paced, and the aspect that makes the film most notable never feels like a showy gimmick. It just works!
I attended the Oscars VFX bake-off earlier this month, where shortlisted contenders for Best VFX presented their films & their accompanying VFX reels. I was the most excited about seeing how this film pulled off its stitches, because it’s clear that VFX had to play a heavy part in it. (91% of the film has VFX in it.) And it did not disappoint. There are some stitches that are obvious, like the one or two times the film completely dips into black, but aside from that they used full CG body/scene doubles and clever frame pans and composited CG scene elements to hide transitions in such a brilliant way. (The way they did the plane scene made me smile, and I hope the reel is released online because I don’t know how to really explain it!) The VFX even helped them stitch together certain scenes that were shot in two entirely different countries. It’s the exact kind of VFX usage that screams “best” visual effects to me, rather than the usual winner that often screams “most.”
They also mentioned how involved Roger Deakins was not only in the cinematography, but also the effects and set design, as they all had to work together to work effectively. Deakins would tell them all “ah, a cloud’s moving in two hours, we’re gonna have to wait to shoot” so they could match the lighting exactly. He also worked with them to figure out the exact trajectory the magnesium flares in the (GORGEOUS) third act had to travel (had to go 30 meters in 22 seconds exactly) and how to specifically design the set so that the shadows would cast a specific way. I shouldn’t be shocked at how tightly so many departments have to work together just to compose a movie like this, but something about hearing the specificity of it broken down like that really drove home how much of a masterwork this film was.
And that SCORE!!!!!!! God damn!!!!!!!!!!!!!!
Fri, 17 Jan 2020 21:58:54 +1300
This review may contain spoilers.
Took me like a week to finish rewatching this and then I totally forgot I did last night.
It’s fine. A very fun movie that seems unnecessarily long and feels like multiple movies squashed together. The entire Sharon Tate storyline feels completely pointless and like it serves no purpose besides setting up a predictable violent confrontation for the ending (which should have involved Sharon Tate as a fighter herself, if you ask me. I’m shocked that people have called the ending surprising, as if this isn’t the eventual conclusion of every Tarantino movie.)
As others have pointed out, it’s weird that Tarantino’s three big historical revenge films center on slavery, Nazis, and then... the Manson family. And that’s even by accident. A little uneven there. It’ll be nice to see Brad Pitt win an Oscar for a role that is pretty much 100% comedic, though. If only the Academy gave a shit about comedies that weren’t extremely star-studded.
I think individual scenes of this movie are wonderful, but altogether I just feel so empty and unmoved by it all. It’s the Hail, Caesar! of 2019. And I liked Hail, Caesar! So... great!
Fri, 17 Jan 2020 09:54:24 +1300
This film is absolutely gorgeous. One of the best shot films of the year. Also one of the most grueling, disorienting, claustrophobic, psychotic films of the year. I’m not sure I even know what really happened, but I was captivated the entire time. I’m sure Dafoe and the cinematographer are gonna get shafted through awards season, but I hope they’re both proud of their work. Shit. I really hope we get to see Eggers’ Nosferatu.
Thu, 9 Jan 2020 20:30:45 +1300
I liked this movie just alright until the final scene, where everything came together so beautifully! A little shocked Cher won an Oscar for this role but I’m glad she has it!
Thu, 9 Jan 2020 20:18:18 +1300
The biggest mystery in this movie is why a broke man who lives in Silver Lake supposedly is going to The Last Bookstore, which is downtown, "all the time."
I think I agree with the take of how poorly the women in this film are shot (yes, even past it being "the point" of the movie) and have enjoyed a nice afternoon of reading various takes on this movie because of how unsatisfying its wrap up was (which also is likely another "point" of the movie) but I really really enjoyed it. DRM has such a great eye and the way this movie is shot is fantastic and gripping that it ended and I thought "hmm maybe I could watch it again, maybe that will explain everything."
And boy, I know I literally live in Los Angeles but this is the first time I've been disoriented to watch a movie that was so noticeably shot in the places where I literally go every day. Big year for surprise Riki Lindhome appearances in mystery movies and Mike Gioulakis split-diopter shots!
Thu, 2 Jan 2020 21:25:18 +1300
Truly outstanding competence! With a wonderful ending! A simple, familiar-feeling story made as masterfully as humanly possible. Vincent Van Gogh painting the cool S.
Wed, 1 Jan 2020 17:52:38 +1300
“There’s no audience for that side of the story.”
Having real Three Billboards syndrome as I watch this a second time and go "wait... uh... why did I like this a lot the first time."
Somehow, this movie feels both too general and too specific. All the shots they take at Fox are couched in jokes, so they feel kind of toothless and secondary, and all the movie has to say about corporate sexism seems so focused that it feels like they’re suggesting this sort of misogyny is a Fox-specific problem.
The only real shot it wants to take at Fox is on how they treat women. Which– good! You should address that! But, uh… the beast has a million eyes. Weird to poke one and call it a day! Especially when this just feels like it’s using Fox as set dressing for the greater story of how misogyny is bolstered by powerful men. I think the most damning thing this movie has to say about Fox News is that their best anchor married a man who knows she's fearing for their life but still spent two weeks planning a “fun” scare on her!!
Rob Delaney, Brigitte Lundy-Paine & Liv Hewson aren’t getting enough credit for how good their supporting roles around Megyn Kelly are! I also don’t believe Brigitte had come out as non-binary until long after the film was finished, but how rad that two non-binary actors have such large supporting roles in this film. Does it factor into my feelings on the film? Nope! I just think they’re neat!
Absolutely wild choice for my final watch of 2019!
EDIT: no longer my final film of the year, thanks to ford v. Ferrari. if only I had a metaphor for an object suddenly overtaking another object in the final moments of a time crunch but hmmm
Wed, 1 Jan 2020 15:48:45 +1300
This review may contain spoilers.
In my previous 'review' of the movie I said that I knew I wasn't going to watch this movie again– but then the WGA sent out an email with a link to a digital screener, so I said fuck it and put it on. I liked it even less! And what's worse, is that because I was watching in the comfort of my own home, I started just writing notes about things I didn't like, which is an incredibly poisonous way to watch movies and something I'm gonna actively stop doing in 2020. (Along with probably star-rating these movies altogether because I am SHOCKED this damn website has not yet come back to bite me professionally. To my knowledge. Love you, JJ!)
There's nothing more embarrassing than writing down nitpicks over conflicting points of lore about Star Wars (a franchise I literally did not care about until two years ago) and realizing you are slowly turning into one of the worst people on the internet. Anyway, I got 1:34 in before I realized that I was pretty much only watching bitterly and stopped. Here are the least insufferable of the absolutely insufferable things I wrote down:
• I still can't deal with the fact that they reveal Palpatine’s return, which should be a massive, plot-shaking franchise twist, with the opening crawl. And they don't even explain how he's back, they literally say "somehow, Palpatine returned." I still haven't seen the first two prequels, but there's no way the lines people laugh about are as ludicrous as "The dead speak!"
• Nothing represents this film more succinctly than the moment where Lando looks directly at the First Order fleet flying towards them and says “I’ve got a bad feeling about this.” It makes absolutely no sense for him to say he has a bad “feeling” about something that is so obviously and objectively a bad event, but he says that phrase anyway, because that’s the famous phrase from the series. It doesn’t have to work contextually, it just has to remind the viewing audience of the beloved film Star Wars, which they all know and love.
• Things I love about this movie: the amount of work that goes into creature design! The all-write room on the First Order base is beautiful– feels like the first time I've seen a room in the sequel trilogy that harkens back to the original. The fight where they're going back and forth between the ship and Kijimi is terrific! The jokes in this movie land like 95% of the time for me!
• “We need to get the dagger!” “Why” “… A feeling.” Alright, I think I hate the writing convenience that the undefined power of the Force offers at any given point. And while I'm at it, I have several questions about what it means to be a force ghost if Luke can catch a lightsaber, walk through fire, and lift an X-Wing as a force ghost! You motherfuckers are invincible! Why is there a war happening at ALL
• [Flavor of Love 'Beyonce' voice] Jodie Comer???????
• PALPATINE: “Kill Rey! Actually, no bring her to me. I’ll kill her. Actually no, Rey– you kill me. I’m going to become so damn powerful when you do it. Oh fuck, you're actually killing me! Shit, this is destroying me! Fuck!”
• JJ’s favorite camera move is dollying into characters as they’re moving towards/past the camera. It's something I've taken note of before, but there’s exactly one moment in the film where it particularly sticks out, and it's the scene where the Falcon crash lands on that planet, but it only sticks out because the move happens immediately after they do an analog zoom across the landscape into our heroes, which is truly not something that I think ever happens elsewhere in the sequel trilogy. It feels like a shot we would've seen in the original trilogy, and when put back-to-back with the JJ shot right after it, it’s easy to see what the visual differences are even in just the simple cinematography of the OT and the ST.
• Why and how do Leia and Finn know about the Palpatine connection? How long have they known? Is this what Finn was going to tell her when they were “about to die?” And if so, why? And why have they not told her? Why have they not told Poe? What is going on?
• What... is... Dark Rey.... and why does she have fangs?
• Dominic Monaghan’s involvement is wildly distracting and honestly a little insulting given how much JJ sidelines Rose through the whole film, especially knowing that a) he's only in the movie after winning a bet and b) JJ publicly gave some quote about how casting Kelly Marie Tran was the greatest thing Rian Johnson did for him. If people really thought Rose sucked in TLJ, I feel like the reaction shouldn't be to write her out of the sequel, it should be to write her better in the sequel! (But I shouldn't talk here because I think Rose was great in TLJ)
• Wait, Dominic Monaghan translates a message that’s being broadcast by the Final Order across the galaxy– can HE translate Sith?? Did they never have to go to Kijimi at all?? Isn’t this presumably the same system that would’ve been used to broadcast the message mentioned in the opening crawl (which by the way, was actually recorded and was dropped into a promotional event for Fornite instead of being written into the film which Is a whole other fucking can of worms) in which case, did he have to translate it then too??? Why is the Final Order broadcasting threatening messages that have to be translated!??!?
Anyways, without even a hint of sarcasm and with full recognition that I just wrote [*gestures with deep embarrassment to everything up there*] I am truly glad that some people loved this film. If I had it my way, we'd all love every film! Films are fun! Star Wars is fun! It is such a truly special franchise that means so much to so many people and I have the utmost respect for JJ Abrams and everybody else involved who worked hard as hell to bring even more magic to this world.
I am going to go sleep for several thousand years. Wake me up when September ends!
Sun, 29 Dec 2019 02:31:11 +1300
The helicopter service Blade didn't even exist until 2014, a whole two years after this film takes place. Absolutely sloppy filmmaking. Shameful.
But seriously, this film is absolutely fucking masterful. I know it's extremely weird and almost disrespectful to talk about films like this in terms of how they're awarded, but I really truly think this film is such a precise depiction of what "good directing" looks like that I'm gonna be absolutely shocked if the Safdies aren't at LEAST nominated for Best Director off of this movie. Also incredible sound design and mixing– so much of the tension in this film is built off the way the dialog overlaps so well and how sudden sounds land like firecrackers. I thought it would be hard to watch this movie again but it was honestly a blast, even as I started to feel myself becoming hotter and sweatier through it all. The "this is how I win" scene is Sandler at his absolute best.
Fri, 27 Dec 2019 20:27:02 +1300
Every single part of this is so fucking funny- “Grandma’s Got A Boyfriend” is already stuck in my head- but it’s also surprisingly beautiful? Like, the chess scene looks gorgeous.
“As soon as he exhaled through his nose, I turned to the man next to me and said, ‘That’s our Mandy.’”
Thu, 26 Dec 2019 15:30:26 +1300
Knives Out is a Christmas movie. (And a perfect opportunity for your parents to audibly recognize actors that they can tell you minor facts about!)
Ana de Armas for Best Actress please!
Thu, 26 Dec 2019 12:39:03 +1300
i love steven soderbergh so much and as a self-identified huge dumb ass, i also love adam mckay-style “lemme explain a political problem in a fun way” movies AND unnecessary twists that exist just to make you go “oh hoh hoh you got me you son of a bitch” so you’d think this would be a slam dunk for me- and yet!
i didn’t read one good review of this movie but i just had to see it for myself because the ingredients seemed to be fairly up my alley. big mistake. i will surely repeat this mistake many more times before the year is over. can’t stop sippin on this big ol dumb ass juice 😊
Tue, 24 Dec 2019 22:09:08 +1300
I have no fucking clue what this movie was. It's like if Robert Zemeckis directed an Aristocats movie in 2004. It looks absolutely ghastly, the music is extremely off-putting, the effects literally aren't finished and glitch out in a few places, and there's an uncomfortable horniness to the entire thing that makes it feel like an exercise in loopholing the MPAA to rate fetish porn for kids. This is the highest budget experimental film ever made.
I had a fucking blast.
Our theater was completely full of people who were there for the same reasons we were, ready to watch a beautiful slow-motion (and I do mean slow– fuck this felt so long) CG train-wreck and hoot and holler through the whole thing. We got rowdy, we screamed and laughed, we sang, we stood up and clapped along and made comments about the audacity of the whole film– I truly feel a bond with these strangers. It was maybe the best moviegoing experience of my life, and I will never forget it.
I will also never forget the Cronenbergian horror of Idris Elba's Macavity without his coat. Absolutely fucking ghastly.
Sat, 21 Dec 2019 00:09:19 +1300
This review may contain spoilers.
In the third film of every Star Wars trilogy, there is a moment where a character dies and we're not really given a good reason why or how they die. They just do. This happens twice in this film.
This was so weirdly disappointing. Like, it feels like there's no heart to this movie, just a desperate attempt to satiate insatiable fans and tackle as many plots (both recycled and new-but-lazy) as they possibly can. It feels like an entire season of a Star Wars TV show that was compressed into a film, with a script made entirely by dictating the live actions of two children playing with Star Wars toys, changing their motivations and powers whenever it's convenient.
They introduce new characters with no meaning or permanence past being a plot device, they use death as a tool of suspense without any real consequence or finality, they throw in dashes of romance like a spice with no concern for whether it feels right, and no one goes through any meaningful arc or has any experience that isn't just a series of actions to serve the story. We got two films of well-done development with Kylo, and it's all thrown away for him to turn good with little motivation, and then not have any more lines for the rest of the film. Even the opening crawl was weirdly procedural– they didn't care about explaining Palpatine's return or making it feel like an important event, they just start in media res with a "anyways, he's here." And on top of all that, they commit the cardinal sin of absolutely wasting Keri Russell. What the fuck!
I feel like I could tell halfway through the film that I wouldn't ever feel like rewatching this one. Easily my least favorite of the trilogy. And maybe my least favorite of the Disney era? At least Solo had cool war scenes and a neat train heist. This one was funny, though.
Fri, 20 Dec 2019 23:59:44 +1300
Oh, this was a painful watch.
This is a movie about the inescapable trauma you can inherit from your parents and how hard it is not to love them in spite of it all. It’s a movie about recognizing your own problems as they happen but still feeling powerless to stop them, feeling like you need them. I recognize so many of Otis’s actions and emotions in people I know, in people I’ve loved. I’ve reckoned with the frustration of loving these people and feeling like they should “just be better,” only to see a pain in their eyes that shows me that they’re trying. More than anything, it’s clear that this movie is a cathartic (if maybe too meta) exercise for Shia, but it was also a cathartic one for me. Hurt people hurt people, and while you can’t necessarily remove the pain that ripples through them to you, you can understand it. And you can forgive it.
Shia LaBeouf, Lucas Hedges, and Noah Jupe are truly excellent in this movie. I cannot understand how the hell Hedges perfectly nailed Shia’s voice and so many of his mannerisms. I think Shia’s screenplay is outstanding, but largely in the context of why it was written, which may or may not factor into his Oscar chances. I think I hope it does. Alma Har’el is a brilliant director. Shia LaBeouf says the title of the movie three times. The credits say Natasha Lyonne and Maika Monroe were in this film and I was very confused as I did not see them once.
Wed, 18 Dec 2019 09:07:20 +1300
Most accurate scene in this movie is when the crowd at a Kenny Rogers concert claps along to the music with absolutely appalling rhythm.
Take a drink every time they say “Richard Jewell.”
Sun, 15 Dec 2019 23:02:24 +1300
Outstanding. Tense, emotional and impressive without feeling flashy. Thomas Newman’s score is terrific! I think some of the most beautiful scenes of the year are in movie. Honestly might watch again! Some scenes in this movie make me really wanna see a Sam Mendes adventure film.
Sun, 15 Dec 2019 20:59:17 +1300
This review may contain spoilers.
a series of notes i took while building stuff as 6 underground played in the background:
• Bay has definitely been watching Neveldine and Taylor movies
• There is an incredible satire about how billionaires ruin countless innocent lives in the pursuit of power and a fantastical idea of “the greater good” somewhere in the bones of this movie. But like, waaaaay deep in there.
• Jesus Christ the callousness with which people in this movie die... seeing bodies go limp as a car explodes, seeing total bystanders get hit by a car as the focus of multiple scenes... I don't think I've ever seen a more nihilistic film
• The best possible adjective I can use to describe this movie is “Unrestrained.” This is like Bay’s ultimate blank check movie. Made without a system to give him notes.
• The needle drops in this movie make it feel like the outreach video for youth services at a megachurch.
• The entire soundtrack screams "Imagine Dragons said no."
• Michael Bay has a very pointed contempt for Italy!
• Bay has always been good about blending CG and practical because he mostly does it with objects, like vehicles and buildings and machines and whatnot- but this feels like the first time I’ve seen him try to do it with people too, and it feels less smooth. And just ups the nihilism, because he mostly uses it to show people dying!
• Michael Bay wants to make sure that you see every single person that dies in this movie.
• “Comedy is when a man does something that is for girls and/or children.” - Ryan Reynolds
• One chase sequence is set to a eurobeat remix of "O Fortuna."
• This feels like a big budget action movie from 2007 directed by a war vet with PTSD.
• Some of this movie feels weirdly spiteful. Like it was directed with specific elements that Bay wanted to include to piss people off.
• The very first non-action scene of this movie is so poorly directed it really seems like Ryan Reynolds is trying to egg a guy into killing himself when he’s just being weirdly militant.
• Major plot point of this movie is a character having PTSD because he did not kill more people in Afghanistan. To clarify, his PTSD isn’t focused on the traumatic effects of seeing people die. He doesn't care about that. It’s based specifically on not being allowed to shoot a guy.
• This is honestly like a live-action Team America. There’s a scene where they disguise themselves as Muslims and set down explosives that are disguised like prayer candles.
• For some reason they have a joke in the middle of the movie that makes fun of their own soundtrack?
• God I hope the editors were paid by the hour.
• I knew this was gonna be awful and I still logged right in and watched it. On the day it was released. When 7 Underground hits Netflix in two years, I am absolutely to blame.
Sat, 14 Dec 2019 23:05:43 +1300
Managed to catch another screening of Little Women and unfortunately, my impressions didn't change much. Not at all for me.
This film is paced so quickly that it feels like it's made specifically for people who are fans of the book and don't need time to sink into who these characters are, which is maybe why I don't love it. I don't know the story at all! Ease me in! I'm a dumb dumb little baby boy!
The timeline stuff is often confusing, but my real gripe with the movie's timeline is that there are several sections of the film that feel like smaller episodes of a large Little Women TV show, where a conflict arises and resolves quickly and feels like it doesn't really have a bearing on the greater film.
There are also some minor directorial choices I didn't like (a lot of strange sudden closeups– and i'm pretty sure they warp-stabilized Amy and Aunt May's carriage ride in the beginning?? very distracting to me both times) and a very frenetic, Gilmore Girls-esque style of dialogue that I just didn't care for. I don't know how to describe it, but I had a thought halfway through the movie of "I can feel Sony's influence on this movie."
The things I did love though? Florence Pugh! She's outstanding!!! (although i'm worried my good friend florence is going to get typecast as "woman that wears a flower crown and burns something in revenge") And there's a sequence where we get to watch a book being printed and bound that is so pleasant to watch that I spent a lot of the second half getting excited to see it again. Also noticed this time that the film opens on a shot of Jo facing away from the camera, and ends on a shot of Jo facing the camera. Neat! I'm trying to end this on a nice note so that you all can't be too mad at me for not really liking it!
Fri, 13 Dec 2019 22:14:11 +1300
I would pay at least $10 to read an extensive interview with one (1) of Ari Aster’s nuclear family members.
Sat, 7 Dec 2019 22:40:53 +1300
a stunning but slow-burning entry in the annals of "i get it, and can sort of relate, but for the love of god please dump him" cinema
Sat, 7 Dec 2019 14:11:28 +1300
This review may contain spoilers.
Pelle's very first line/moment:
MARK: See? You could be getting that girl pregnant right now.
PELLE: And don't forget about all the Swedish women you can impregnate in June"
Watched the Director's Cut and am of two minds about it: one, there is a scene of Christian and Dani arguing that seems pretty critical to hitting home just how shitty of a partner he is (although I wish it happened in the day, because Dani's nightmare being the only nighttime occurrence feels structurally great) as well as some moments that make it even clearer that he was absolutely intending on fucking that teenage girl with or without drugs. (which he gave to himself, folks.)
two: look, i know this is "the point" of a lot of the film, but goddamn the deliberate pacing of this movie is just... not my thing! maybe the theatrical cut was slightly snappier or something, but the first hour of this film i just kept thinking "was it seriously this slow and lingering in the original?" the reveal of dani's family dying felt particularly overwrought, almost reveling in the awfulness of it all.
that said, this movie still fucking rocks. the psychedelics, the pareidolia, the measured cruelty and compassion of the cult– all in a bright, inviting technicolor dreamscape. dani's grief and pain at every turn feels so real and christian, mark, and josh are each such distinctly hatable men but the film does a great job of making each of their deaths feel a little bit unearned. in a movie with some truly heinous moments, the things that really make my stomach turn the most are the ways dani is forced to contort her own emotions and almost beg for christian's support in the face of his gutless apologia. it's truly painful to watch a dynamic on screen that you can recognize as real and totally fucked but not even a little bit overdramatic. if florence pugh and dp pawel pogorzelski get overlooked for an oscar nom, the swedish grief circle begins at my house, gang
I hate midsommar bcuz of the Bear boy, he was disgusting, i hate him with my life, he doesnot leave the sad girl alone
Wed, 4 Dec 2019 10:59:46 +1300
I've never seen a movie with such an unlikeable protagonist.
Mon, 2 Dec 2019 18:26:29 +1300
Gorgeous! Brilliant! Fuck, this is a cool film.
I'm glad I got to watch it with absolutely no concept of what it was about. For some reason, every single thing I've seen written about this movie so far has massive spoilers. Just watch it, don't look anything up. Let yourself be a bit confused and then feel the joy as it all comes together.
Sun, 1 Dec 2019 14:20:05 +1300
(nothing here is a huge spoiler but i’d still avoid this if you haven’t seen it because you should go in fresh, god damn you)
Docking a half-star because I watched this in a near-empty theater, which really hit home how much of the fun of this movie is dependent on the exact opposite! (Though it might play better at home. But boy was the lack of reactions hard to handle.)
Also, because I watched it so intently the first time, the structure stands out in both good and bad ways on a second viewing. Certain things (which i won’t get into until my inevitable third watch, surely a month or so down the line when it’s been out for a while and more people have seen it) feel a bit obvious with hindsight, though their obviousness is what makes them so well-hidden in a film where you’re assuming everything is a trick. And there are very few rewarding discoveries to uncover in a second viewing (although tracking the irony of the baseball’s path is a lot of fun, as it’s a ruinous series of events that wouldn’t have been set in motion without Don Johnson throwing it out the window)
Still, I stand by my thoughts on that first watch. It’s a goddamn blast of a film where truly half of the cast is giving performances that are among my favorites of the year. I’m dying to read the screenplay.
Sat, 30 Nov 2019 08:34:55 +1300
Verrrrry glad I ended up watching Céline Sciamma's previous work after being bowled over by Portrait Of A Lady On Fire. (And very glad I watched them with my girlfriend, whose insights were invaluable in helping me properly contextualize certain moments as the credits rolled.) Water Lilies, Tomboy, and Girlhood are all so different than POALOF but they carry similar themes of the complications of identity that can make the already-harrowing experience of adolescence even more distressing. Tomboy stands out as my favorite of the pack, but there's a confidence in the way that Sciamma directs Girlhood that makes me feel like she wanted to follow Girlhood with something different because she knew she'd mastered the genre. Such an incredible trilogy. And a really terrific showcase of what "good direction" looks like when it isn't as flashy or stylistic as any direction that has an actual chance to win an Oscar.
Obviously, there's an inherent "hmmm" factor in a white director making a film like this that seems to suggest a heavy lean on how blackness intersects with girlhood, but I think the real thing that made me go "hmmm" here, is that the movie doesn't seem to address it very much at all. I've talked before about how much I want to see films that explore a story with diverse characters but don't lean on the diversity as a storytelling element, but I dunno if this is the way. Aspects of the movie seem almost underwritten because they don't explore the reasons behind them, which leaves you to connect it to race and class in a way that the movie never really does. It's almost as if Sciamma knew she wasn't the person to tackle those elements, but needed them to still tell the story she wanted to tell. At least that's my interpretation of it; obviously I'm not a black French woman at all, so maybe there are things here that connected the story to race/class in a way I just missed.
I also think "Girlhood" as a title is a misnomer, as the film isn't so much about growing up as a woman as much as it is about the relationships that young women have with each other and how their camaraderie becomes a warm blanket, especially in the face of patriarchy. The original title of "Bande de Filles" is so much closer to that idea, and sets you up for a greater understanding of what I think Sciamma wants you to see. But even with that mislead, there's a sequence right after the title card that acts as a thesis for the entire film and will certainly stick with me a long time: a group of girls walking home from a football game in the dark, loudly and playfully conversing with each other until they come across a pack of boys sitting on the stairs to their block and get quiet. And that sudden switch could be for a variety of reasons, but the reasons aren't as important as the reflection of a very real and recognizable boy/girl dynamic, in which girls are socialized to silently understand that they must compose their lives around the whims of men. It's such a short moment in the grand scheme of the movie but it almost made me go "oh hell yeah" under my breath!
Truly in love with Sciamma's work. And super excited to see POALOF again now that I stan.
Fri, 29 Nov 2019 16:17:12 +1300
Céline Sciamma is a rockstar, childhood is trauma, and gender is a fucking prison!
Wed, 27 Nov 2019 21:18:16 +1300
In January of 2018 I did a 2am tweet storm about how terrific I think Rian Johnson’s films are and how perfectly they all feel like they‘re tailored to my taste. Five months later, I ran into Rian on the street in my neighborhood and he recognized me because we follow each other on Twitter. (Feel free to roll your eyes and dismiss this whole thing as a pointless humblebrag, but it’s relevant.) We made plans to grab lunch a few days later and did exactly that, all the while I was quietly telling myself “don’t fuck this up, absolutely do not tell him how much you are a fan of his work.” People just HATE hearing compliments, you know?
When we got lunch, we talked mostly about movies and writing and commiserated about how hard it was to motivate yourself to write anything; I was on the fifth year of passively writing my own passion project movie between jobs, and he was six months out from having written and directed a billion-dollar Star Wars movie. Very similar struggles. I restrained myself to asking just one question about his upcoming Star Wars trilogy and he said he was gonna tackle it after working on his next project, a “New York murder mystery” that was all inside of a tiny notebook he was carrying around. Still trying my best to act cool and aloof I avoided asking him any questions about it, despite being a huge absolute sucker for any and all of those words (especially “York!”) and aspiring to write a murder mystery of my own. Part of this was me not wanting to freak out someone who I hoped would become a friend by showing how much of a fan I was, and part of it was knowing as soon as I heard it was a murder mystery that I wanted to go in literally knowing as little as I possibly could. (This was a full 17 months before it’s release, and before they had even started shooting- but you can never be too careful!!)
A few weeks later, I read a Deadline article announcing Knives Out with Daniel Craig, and my imagination immediately went into overdrive, trying to figure out what the movie would be. Then casting announcements started dribbling out. Then Rian tweeted about principal photography ending. Then a poster dropped. Then a trailer. Then I went into nuclear mode and muted every possible permutation of the words “knives” and “out” to shield myself from seeing even a GIF of footage. Because I’m nuts.
There’s a very fun experience of watching a movie when you know it’s going to be twisty. At the end of the day, you want to take in a movie like Knives Out and do your best to figure out the ending before they give it to you, as if the fastest one to solve it is going to be whisked from the theater into a Mensa meeting. The more movies or stories you take in, the easier that gets. The more stories you take in, the more jaded you feel to seeing plots and plot devices recycled and the more enthralling it is to feel like you’re seeing a genuine magic trick; having someone direct a tale so well that they can lead you to a natural conclusion just before pulling the rug from under you is great, but it gets harder the more you see somebody do it. “Got your nose” only works the first few times. (Just figured the secret a week ago- the nose is a finger. Absolute bullshit.) So how do you navigate that exact dynamic, in a genre that is predicated on the very idea that such a rug-pulling has to happen? How do you fool an audience that has come to be fooled?
I think figuring that out is the secret to a truly thrilling story. And there are many ways to do it, but I think it’s not often attempted because it’s easier to surprise an audience that isn’t expecting to be surprised, such as when the genre doesn’t guarantee it (which is why a shock like the one in a certain recent-ish MCU debut film worked so well.) But when it’s done very well, you get a goooood fucking rise out of your audience. Unexpected laughs, whoas, gasps, joy screams, jaw drops, a few “turn to your friend in silent shock” faces- pretty much anything Lucille Bluth would do when she was caught by Gene Parmesan. I think I did 10 consecutive Gene Parmesans to my friends Celia and Kevin at the end of Knives Out.
Knives Out is absofuckinglutely phenomenal. I knew I was going to watch it again and again about 25 minutes in. It’s tied for my favorite movie of the year, but might just inch out the other upon subsequent viewings. (Parasite. Let’s not get into that now.) It’s an incredible script, it’s funny, it’s charming, the score is perfect, there are multiple honest-to-God dramatic AND comedic Oscar-worthy performances in it, and it manages to weave a politically incisive story that hits you over the head with its modernity but develops its characters with the same brush in a much more subtle and affecting way. And it wouldn’t work if Rian wasn’t so keyed in to knowing exactly how an audience is going to watch this movie and how to play to that, which is something he does well. For lack of a better phrase and at risk of launching a flare to attract the least funny nerds of all time, (deep belabored sigh)..... he’s very good at subverting expectations. He has made a whole career out of doing it and doing it well with every film since Brick and I think it’s why I love his work so much and why I find his movies truly inspiring.
Rian Johnson is so deftly able to get that joyful, wondrous reaction out of me by expertly controlling every aspect of the script and the direction in a way that makes it clear he sees the entire process as a symphony that he’s conducting, where the audience is just another instrument being played. He’s terrific at leading you down the road he wants you to down and convincing you that you made the choice yourself. He’s one of my favorite directors and writers currently working today and I don’t think I would have finally finished writing my movie (a whole three weeks ago!) without taking in the lessons I’ve learned from watching his work with enormous stars in my eyes.
I will never tell him this.
Mon, 25 Nov 2019 19:50:19 +1300
I didn’t grow up with Mr. Rogers and only know him as a legendarily kind figure of great renown, so seeing him depicted doesn’t do much for me. I had this same sort of apathy issue with Won’t You Be My Neighbor? last year, which was sweet but largely ineffectual for me. I think where this one lost me just a little more is by casting someone as bombastic as Hanks as a quiet figure, because it just feels like he’s performatively whispering through the whole film. A great performance, and a very wonderful film- but it was hard for me to not just see Quiet Tom Hanks. There’s also a very meditative nature to this movie that makes Hanks’s whisper-performance feel almost...... sinister at times. Like it’s building tension for something to come. Which it was not.
Mon, 25 Nov 2019 18:09:11 +1300
It feels unfair for me to rate this movie because i was 10 min late and then left to go to the bathroom an hour in and stayed in the lobby for a bit because I wasn’t really feeling it (dramatic period pieces are an uphill battle for me) but I do think it’s a good film! Just one I probably need to watch again later. Florence Pugh kinda stoke the show for me, and Chalamet has one scene in particular that I really loved. But also, I didn’t know what this movie was about and as I slowly started to realize, I kinda felt myself losing interest.
Also, I did not know *** ******** was in this?????? And it was a TRIP when they showed up
Mon, 25 Nov 2019 09:14:24 +1300
I think Melina Matsoukas is a visionary, and one of the best contemporary black artists making unapologetically black art. I’ve been so psyched to see what a film from her looks like, and am still psyched to see her take on Y: The Last Man next year, but... I feel like I was hoping for something a lot stronger from this film.
It’s beautiful, the soundtrack is flawless, and there’s a shocking amount of big humor in the movie that works very well through the tension and fear, but it also feels like an extended short film. A lot of this movie is so art-forward and performed with a stilted dialogue style that it feels so much more like an art piece than it does a movie. It has a strange sense of pacing and the characters make some frustrating choices that left me wanting things to pick up a lot quicker than they did, but that’s not to say it doesn’t all feel real: it just feels a little... underwhelming. Maybe if I’d gone in with lesser expectations.
All that said, I think it’s still a great movie. It very well might be the most seminal black film of the year, rife with plenty of great shots and scenes that might stand the test of time as iconic. I’ve written so much about how endlessly exhausted I am to see black pain depicted in film over and over again, and this movie doesn’t necessarily bring anything new or refreshing enough to the table for me to feel invigorated in seeing it here yet again, but it’s still such a well-crafted, artful, powerful and painful film that I’d recommend without hesitation.
Also, someone needs to write a straight-up comedy for Bokeem Woodbine as soon as possible, and someone else needs to tell me when Flea and Chloe Sevigny are gonna show up in movies. You can’t just spring that on people, it’s irresponsible.
Tue, 19 Nov 2019 18:41:45 +1300
Jesus Christ, the exhale I did at the end of this film. Adam Sandler does a predictably incredible job, but honestly every performance in this movie is terrific. Stunning, tense, and surprisingly funny in a very dark way. Nobody builds tension out of overlapping dialogue like the Safdies. And that SCORE! Oh– if the Academy fucking ignores this one like they did Good Time, they're only gonna be embarrassing themselves.
Mon, 18 Nov 2019 16:37:40 +1300
I have mixed feelings on how this film handles the "it's Fox News" of it all, but Margot Robbie and Charlize Theron are doing absolutely stunning work here and the final resolution of the film is perfectly sobering and honest in a way that I didn't expect it to be. Also, every (white) actor in Hollywood is in this film! Good on them.
Mon, 18 Nov 2019 16:34:00 +1300
I love Alan Alda so much.
Very hard to watch this movie without immediately recognizing it as Noah Baumbach’s attempt to reconcile his own divorce in the most self-aggrandizing way, but I will forgive it on the sole condition that Laura Dern either runs me over with her car or allows me to treat her to a lovely expensive dinner and then never calls me again. Your choice, Laura!
Sat, 16 Nov 2019 20:04:41 +1300
Easily the silliest movie that has almost brought me to tears. A fun, easygoing movie about what even the most ridiculous films can mean to people. The Disaster Artist found dead in a ditch.
Sun, 10 Nov 2019 15:22:22 +1300
One detail I noticed this time around is that Min and Mr. Park both react the same way to being asked if they like or love the people that they're romantically involved with– by laughing. And in Mr. Park's case, giving a sarcastic answer that undercuts his saying 'yes'. Min and Mr. Park are both seen as powerful figures deserving of respect, and the way they dismissively respond to an earnest question about whether they truly care for the people they're supposed to tells us a lot about how powerful people think about not just the people below them, but everyone in their lives.
"I just feel comfortable here. It feels like I was born here. Maybe I had my wedding here, too. In my old age, love will comfort me."
Thu, 7 Nov 2019 13:33:15 +1300
it is insane how relentlessly horny movies were right before 9/11. my man baz directed this thing like the tasmanian devil on cialis
Sun, 3 Nov 2019 20:43:52 +1300
(no real spoilers per se, but i'm talkin about the tone of the film so if you wanna go in completely blind on what to expect, go away!!! but also, the movie is 3.5 hours, there is a strong chance you will have forgotten all of this by the time the ending comes)
About an hour into the film, the format starts to unravel in a way that makes you think "ah, this just might be another 'portrait of a criminal' Scorcese movie– but longer." And it isn't until the last hour that you can really feel what makes this movie different– there's absolutely no joy in Scorcese's portrayal of Frank's life. No fun times, no "this is the life it gave me," no celebration or pride in what Frank is doing– and very little sadness in it either, until a crucial point where the movie turns (and, imo, becomes truly fucking stellar.) Pacino is giving an absolutely stunning comedic performance in this movie and it's truly a shock and a shame that this is the first time he's worked with Scorcese. Pesci comes out of retirement and hits a grand fucking slam with a very intense but quiet and terrifying character that draws your attention every time he's on the screen.
My hottest take that is sure to get people yelling at me about this film, is that it might be better to watch on your TVs at home! I loved watching it with an audience. But something about the film made it feel like a cozy cable TV watch where you don't mind the commercials because hey, the movie is three Bambis long. It's also not much a visual spectacle film– though fuck, the CGI de-aging is truly outstanding. Even if you're looking for it at first, it quickly fades into the film so well that you forget they did anything at all.
Sun, 3 Nov 2019 19:16:18 +1300
Scarlett Johansson absolutely nails the role of a German woman who is actually from both Long Island & Nigeria. Nick Frost and the Benjamin Button VFX team absolutely nail the role of Jojo’s best friend Yorki. Sam Rockwell, for the umpteenth time, absolutely nails the role of “virulent racist who is actually good.” Taika Waititi absolutely nails the role of guy who reminds you how much you like Life is Beautiful and Wes Anderson.
Tue, 29 Oct 2019 17:27:32 +1300
God, the final act of this movie is truly so bad. But I still want to restate my desire to see an artsy remake a la Suspiria. Thank you.
Mon, 28 Oct 2019 19:12:16 +1300
Good news for everyone who hates this film: this is the first time I've watched it that made me go "hmmm okay parts of this movie are very very corny." Bad news for those same people: I still think the opening is so beautiful and celebratory and exuberant in a way I want more movies to be, I still think Emma Stone is so fucking fantastic and deserved the Best Actress Oscar, and Damien Chazelle deserved his Best Director Oscar! This movie rules!!!!!!!!
Mon, 28 Oct 2019 07:04:10 +1300
Cute and endearing, but I think the parts that are obviously over-dramatized really didn’t work for me. And once you get the crux of what this tour is going to be, it feels like you’re fighting against the urge to find it a liiiiiiiil tedious. But remember, I also called it cute and endearing!
Sat, 26 Oct 2019 08:29:27 +1300
movies that my friends tell me "you HAVE to watch" (and im GONNA)
...plus 2 more. View the full list on Letterboxd.
Thu, 31 Jan 2019 07:53:40 +1300
my favorite movie from every year since 1992 (holy shit this was hard)
...plus 17 more. View the full list on Letterboxd.
Sun, 21 Jan 2018 09:40:54 +1300
commence the yelling
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Wed, 30 May 2018 09:59:34 +1200
we’re after that same rainbow’s end
...plus 18 more. View the full list on Letterboxd.
Mon, 23 Apr 2018 08:56:44 +1200
inspired by jamie woodham. feel free to yell at me
i bought it because i feel like i'm gonna like this movie but i'm never in the mood to prove it
i don't even know why i own this
someone bought this for me. i haven't seen any of the bond movies before casino royale (i know)
don't remember why i bought this, but it looked fun (and then a girl i dated said it sucks and i lost the spirit)
i've think i might have seen this one, just not all the way through? i'm not sure
a gilmore guys fan sent me this in the mail because i'm a big LCD soundsystem fan and hadn't seen it. i started watching it the night after i last saw them live, but didn't finish it
my best friend loves this movie, but i feel like i'm just gonna go "sure whatever" when it finishes
bought it on a criterion sale bc someone described it in a way that seemed fun, but like all of my criterions, i'm never in a mood to watch a movie that seems "important" so i get scared and leave it alone
bought this bc i love the radiohead song (just kidding. i mean, i do but i don't remember why i bought this or why i haven't watched it)
recommended during the last criterion sale. i keep confusing it with NETWORK in my mind. not a reason not to watch it, just a fun little detail to color your understanding of how bad i am at this
...plus 16 more. View the full list on Letterboxd.
Sat, 14 Apr 2018 20:04:45 +1200
“entire titles” and “comfortably” and "rhythm" being the operative words
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Sun, 15 Apr 2018 04:43:59 +1200
my favorite movies of 2018. gotta stress that my choice in "favorite" over "best" was one thousand percent intentional. as you will realize almost immediately, those star ratings don't mean a damn thing now
...plus 19 more. View the full list on Letterboxd.
Mon, 15 Jan 2018 21:02:56 +1300
Last year I saw 29 movies. And I think some of those were even repeats. So to challenge myself this year, I'm going to try and watch 100 movies I haven't seen, where there has to be an actor in common between movies. I started with THE REVENANT, so I've got DiCaprio, Hardy, Gleeson, Poulter, hell even Haas movies to choose from next. But past that, who knows how this will go! I'll update each entry with the actor they have in common. Fingers crossed. Also, I don't know why nothing gets 5/5 stars either!
EDIT: I DID IT! And the order got real fucked up because I didn't keep good track of the movies closer to the end of the list (ended up using Alan Tudyk and Michael Shannon twice) so I just filled in the gaps. The last movie I saw was Fences.
So what did I learn from this? I learned that by gamifying the act of watching movies, you'll start to hate watching movies. I learned that there are a lot of bad movies out there! I learned that good actors are in terrible movies all the time. I learned that Ryan Gosling, Tim Curry, Rebecca Hall, Sally Field, and Susan Sarandon are some of my favorite actors. I learned that watching movies is something I gotta do more often on a whim, and not as a means to an end. I forced myself to watch some terrific films that I might've not seen had I not had a reason- but overall, this challenge was nuts and stupid and uhhh I won't do it again! Happy new year!
(DOMHNALL GLEESON) Really funny, and really sweet. They spend so much time establishing Domhnall Gleeson's character that it feels like they rush through his relationship at one point (a relationship that never falters, by the way) but it still all works! Bill Nighy is beyond delightful.
(MARGOT ROBBIE) Wonderfully directed, wonderfully acted, and completely and totally enraging. For great reason- the story told is meant to frustrate you. It's as much a tale of a big fuck-up as it is a warning that the fuck-up is gonna happen again. The last twenty minutes of the film compelled me to start over and watch the beginning again, and that only frustrated me further. Truly can't recommend enough.
(BRAD PITT) A classic, and with good reason. One of the best road films I've ever seen, both heartwarming and heartbreaking, a powerful and fun movie.
(GEENA DAVIS) Honestly, I didn't love it? It was fun, and clearly inventive- a movie that wouldn't be made as whimsically today, but it felt like there were a few strings missing for what I expected it to be. All of the "classic" scenes fell flat to me. VERY surprised at how little Keaton is actually in this movie! Like he doesn't even show up until halfway. I think I need to watch this again.
(MICHAEL KEATON) Incredible. Worth every Oscar nomination.
(BILLY CRUDUP) God, what a sweet movie. My favorite Burton flick by far. I have a real desire to rewatch this one.
(MISSI PYLE) What was I doing that I hadn't watched this movie until now? I think I'd seen it in parts on TV, but never in full. My mistake. It's so good.
(SIGOURNEY WEAVER) Sigourney Weaver is the absolute MVP of this movie. Melanie Griffith is MVP runner-up in case of injury.
(HARRISON FORD) It's so cool to watch this movie and see its direct lineage to at least 3 other Tommy Lee Jones movies. He deserved that Oscar. TLJ's version of a US Marshal was as distinctive, in its finding a way to play an archetype differently and with personality, as Ledger's Joker. The ending was also very funny having seen Mulaney's Comeback Kid special four times.
...plus 92 more. View the full list on Letterboxd.
Tue, 5 Jan 2016 11:17:35 +1300
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