Sunday, December 31, 2023

2023's Film-Watching Summary

 







2023 - They Cloned Tyrone
2023 - The Venture Bros.: Radiant is the Blood of the Baboon Heart (excellent culmination of one of the greatest animated shows of all time)
2022 - The Menu
2022 - RRR
2022 - Barbarian
2021 - Petite Maman
2020 - Palm Springs
2019 - Parasite
2009 - A Perfect Getaway
1991 - A Brighter Summer Day
1979 - Porridge
1970 - Donkey Skin
1968 - If.... 
1959 - Black Orpheus
1955 - Summertime
1954 - La Strada
1952 - The White Sheik
1952 - Ikiru
1937 - Grand Illusion
1937 - Pepé le Moko
1934 - L'Atalante
1926 - Faust                                       } no reviews for these
1922 - Nosferatu                                } because Jami was in charge
1920 - The Cabinet of Dr. Caligari       } of writing them
1920 - The Golem                               }

 Well that's a pretty paltry collection!  I guess we were too absorbed with the golden age of television this year (concluding with a binge of all three seasons of Slow Horses in December).  Also, not having the Criterion Channel hurt.  We'll see if we can do better next year.  Probably the standout in terms of pure entertainment was Barbarian (although, perhaps if we'd watched Parasite first that might have pipped it - but the thematic overlap took some of the shine off the latter).  Having said that, Grand Illusion is definitely a greater film and we're much more likely to return to it, but Barbarian was just such a fun series of left turns.  If I had to have a top 5, then If...., L'Atalante and ooh, let's say The White Sheik round it out.  There weren't really any complete stinkers in there but I'd probably give The Menu the razzie this year.

[It's worth mentioning a couple of those TV shows that might have flown under the radar.  Two animated shows were particularly impressive: Scavengers Reign (a beautiful mixture of sci-fi and body horror) and Carol & Ehe End of the World (putatively a comedy but oozing with existential dread; also beautiful in its own ugly way (the drawing style reminds me a little of Gahan Wilson). I amazed that either got made, and would not be surprised if we never see either's like again. On a more mainstream note: huge shout-out to the excellent Bad Sisters for having the most hateable antagonist in any show ever.]

Wednesday, December 27, 2023

Film review: Ikiru (1952)

 


Another of the classics from our Criterion 50-film DVD collection, and the last major Kurosawa film we'd yet to see.  Part of our hesitation was the absence of Mifune, but, if I'm honest, the subject matter (an office drone learns he's dying of stomach cancer and tries to salvage meaning for his humdrum life in the little time left to him) was a bit off-putting. But, it being Kurosawa, it managed to be entertaining, even at nearly 2 1/2 hours.  The film opens with a shot of an X-ray and a voice over telling us that the owner of this stomach was our protagonist and did not yet know that he had terminal stomach cancer. Said protagonist (Mr. Watanabe) 


is section-head of a particular corner of the massive city bureaucracy, and before we get to him, we get to see that bureaucracy in (non-) action, as a group of women from a particular neighborhood try to get something done about a sewer that's overflowing, and get passed from department to department as each comes up with an excuse as to why it's not their purview.  As the voice-over says explicitly, all the people who make up city government are working very hard not to accomplish anything.  


With this established, in the course of the first approximately 2/3 of the film, Watanabe-San finds out about his cancer (not from his doctor, who tells him he has a mild ulcer and that he can eat what he wants so long as it's "digestible," but from the man in the waiting room 


who said that if your doctor says exactly that it means you're a goner, and who described the symptoms of stomach cancer to the growing horror of our hero, who obviously suffers all of them) and goes AWOL from his job, breaking his thirty-year streak of never missing a day, and, first accompanied by a dissolute novelist 


who introduces him into the nightlife (and a natty new hat to replace the one stolen by a lady of the night), and then a chatty, cynical young woman who had been his underling but has already decided after a year that it's too boring and soon quits to work in a factory making toy rabbits.  Initially she (played by the remarkable actress Miki Odagiri, who just commands the screen whenever she's on it) is delighted by his solicitousness, and to discover that he's not the dried up Mummy (her nickname for him - she has one for every member of the office) she thought, but soon frankly tires of his attentions (he isn't really attracted to her, although his brother and son and daughter-in-law are convinced he is, and that this infatuation explains his sudden otherwise inexplicable change of behavior) and scolds him that she is starting to find him creepy.  He is really following her around because she finds such joy in her life and he envies that.  She tells him that she is happy now because she's making things and that he needs to find something to make.  


This triggers an epiphany (so much so that he grabs the rabbit and exits the restaurant, oblivious to the fact that he is in the middle of a group of schoolgirls singing happy birthday)


that ties us back to the patch of waste ground flooded by a leaking sewer, and he makes it his mission to get it cleaned up and a park built there.  Newly energized, he returns to work, instructs his startled employees that this is going to happen, and sets off to get started, and... dies.  Or at least, we suddenly cut to his funeral, about 6 months later.  The last third (approx.) of the film is all the attendees of the wake arguing about how much credit should go to Watanabe-San for the park.  One man in particular is outraged by the (initial) majority view (encouraged by the odious deputy-mayor, who did not even name-check Watanabe in his speech opening the park that he had to be driven practically at gunpoint by Watanabe (who was himself actually threatened with violence by organized crime elements opposed to the opening of the park) not positively to torpedo the project) that it was a joint effort, and (as another man argues) if anything it's just coincidence of various competing interests (not least a reelection effort) that brought the park into being.  However the women whom we saw at the beginning of the film, who show up at the wake to burn incense, are under no illusions that it was all Watanabe's doing.  Then debate rages as to whether or not Watanabe (who died the night before sitting on the swings in the park in a snow-storm - an indelible image that is often used to advertise Ikiru


but rather spoilerly, if you ask me) knew he had stomach cancer.  Arguing against this are the family members who cannot entertain the idea that he would've known and not told them.  But the consensus soon comes around to the view that he did know, at which point it is argued that any one of them would've done the same in the same circumstances.  But then the objection is raised that any of them could drop dead at any moment, yet the knowledge of their mortality hasn't caused them to be anything other than obstructionist pen-pushers.  (And so it transpires in the days after the wake, when we see a similar fate affecting members of the public bringing complaints to their desk, with only Watanabe's most vocal defender even so much rising to protest... before sitting back down again.)

What are we to take from this?  That it is possible for anyone to turn a life around, and that it is truly living - living for others - that counts, not the amount of time you get to do it in?  That seems like a trite message, and were it transmitted by a Hollywood picture it would be an unbearably treacly one.  But this manages to be bracingly unsentimental (helped in large part by Miki Odagiri's brutally blunt character) and a tour-de-force for the great frog-faced Takashi Shimura, 


who conveys agony and ecstasy equally effectively in our hero.  One has to wonder, though, whether shepherding a tiny park into existence merits the plaudits he receives at the wake.  Imagine if he'd've cured Malaria or something.  I guess defeating post-war Japanese bureaucracy was tantamount to facing down the massed armies of Napoleon.  Anyway, not depressing at all, as it happened - would make a good double-bill with Harold and Maude, perhaps.

Tuesday, December 26, 2023

Second batch o' mince pies

I had to order my mincemeat from England this year, and it finally arrived just before Xmas. I forgot to photograph the first batch, but these look better anyway.

T-shirts on Boxing Day

We visited Grandma and exchanged gifts, and then Frederick and I headed for the Hogbacks. It was 55 F today (and yesterday) so, T-shirt weather. A bit different from last year.

Sunday, December 24, 2023

Xmas Eve

Thomas came and went

Tuesday, December 19, 2023

Film review: Porridge (1979)

Having just re-watched the series, a completist demands that we see the spinoff movie (so common for 70's British sitcoms) which I must have seen some time in the past, as I definitely recognized several scenes, and not just from reading the novelization (for some unknown reason) at some point in the indefinite past.  In general, it retains the charm of the series, and essentially all of the same cast - 'Orrible Ives, the illiterate "Bunny" Warren, Black Jock, et. al. (although I think the Prison Governor was new) with the addition of a new screw, there to be a toady for Mackay (the strict and pompous Scottish foil for Ronnie Barker's Fletch) and as a result, a punching bag for the lags.  I was surprised when re-watching the series to see how infrequently the sinister "Genial" Harry Grout 


(Peter Vaughn - I stood next to him in a pub in Santa Monica once, probably watching the cup final at some early hour of the morning), the real governor of Slade Prison, appears, given how large he loomed in my memory, but he plays a major role in the film.  A surprising percentage of these surprisingly large number of film versions of British sitcoms revolve around the cast going on holiday.  You'd think that's not really an option for a Prison film, unless...  And in fact the crux of this film is Fletch and Godber (played, of course, by Richard Beckinsale, who died suddenly of a heart attack between the completion of the film and its release, casting something of a pall over a light comedy) being dragged along on a prison break against their will (it's complicated) and having somehow to break back in to Slade Prison so that their sentences are not extended.  The film takes its sweet time getting there, though, which is fine, because you settle into the rhythms of Slade Prison like a warm bath.  Sideplots (besides a familiar one of Fletch being asked to read Bunny a letter from his missus and making up stuff about budgies with hemorrhoids and his wife having an affair) include a new young inmate being tutored by Fletch (including some lectures about how unsafe the bathrooms are that might not have made it to the TV version) and McKay trying to convert the fellow screws to the "joys" of his bleak new officer's club.  But eventually we find out that another new inmate, Oakes, wants out so that he can enjoy the fruits of his armed robbery and asks Grout to arrange it.  Grout then gets Fletch to suggest to the new screw the idea of a celebrity football team coming to play a Slade Prison eleven, and Fletch being put in charge of said team.  (Side plot of Godber sucking up to Fletch to get in the team, then becoming convinced it's not working and getting resentful of how Fletch has been exploiting him.)  Oakes is terrible, but has to be included in the team because of course, this is the escape plan.  Then, when the team arrives, thoroughly devoid of celebrities (not even the promised Michael Parkinson, David "Diddy" Hamilton, or even one of the Goodies) Oakes makes sure to get "injured" so he can be taken to the locker rooms where the bus driver (that 'Allo 'Allo! bloke) meets him and gives him his clothes and gets tied up in one of the stalls.  All is going to plan until Godber bangs his head on the goal post and has to be taken to the lockers, whereupon Fletch and Godber catch Oakes in the act, and despite Fletch's protestations (Godber is concussed and confused anyway) that they won't say anything, Oakes insists on taking them along.  Godber and Fletch are put in the luggage bay and the disguised Oakes drives the tour bus out of the gates.  (Why it would make sense for their bus to leave when the celebrity team are in the middle of a match is not clear, but never mind.)  He meets up with accomplices in a camper van in a nearby wood and Oakes is happy to celebrate with our heroes and tell them about his plan to head north to Dumfries, which the authorities will not suspect, before heading for the sunny Costa Del Crime.  However, Fletch laments that both he and Godber have less than a year on their sentences and no pile of money waiting to pay for things like plastic surgery, and eventually Fletch persuades Oakes to drop them off, in the middle of the chilly northern countryside.  Their adventures outside don't amount to much (stealing a bike from a vicar and apples from a barn, having to get past a farmer disguised as a boxer and his trainer - which doesn't fool the farmer one bit) and eventually they find the copse (swarming with cops) with the bus in it and sneak back in the luggage bay.  The apples provide the final payoff of the film when Mackay has made it clear that he doesn't believe that they were trapped by Oakes in the storeroom of his officer's club (forced to drink whisky to stay warm) and relates the strange reports he's heard in the village of stolen bike and apples.  Still, he admits he can't prove anything, and as he turns to leave their cell, Fletch and Godber each fishes out an apple and takes a big juicy bite.  Very satisfying, and in general, a fine coda to one of the classic British sitcoms of all time.

Monday, December 18, 2023

That's more like it

Friday, December 15, 2023

Second batch of wood

Wednesday, December 13, 2023

Film review: They Cloned Tyrone (2023)

 

This is a straight-to-Netflix film that doesn't feel like it.  It has very impressive production values - it builds a satisfying urban world that is simultaneously gritty but also unreal, in that it adopts the indeterminate time-setting that has become almost standard these days (see everything from It Follows to Severance) where modern technology mixes with cathode ray tubes and 70's/80's vehicles and clothing - and three excellent central performances, from John Attack the Block/Star Wars Boyega (doing an impeccable American accent and providing the pathos), Jamie Foxx (his pimp could easily have been purely a cartoon character, but he manages to deliver archly artificial and very wordy lines naturalistically and also convey gravitas when called for), and (the new to me) Teyonah Parris (as the aspirational, Nancy Drew-loving prostitute who emerges as the real hero).  


The basic plot is a sort of Get Out/Westworld/The Truman Show/Robocop hybrid, where it turns out [SPOILER] an entire ghetto neighborhood (called "The Glen") is actually an experiment in social control, with key figures actually clones, and black "institutions" like church, an insanely popular fried chicken franchise (the ads for which recall the "I'd buy THAT for a dollar" commercials in Robocop), a grape beverage ("drank") and a hair-straightening cream the mechanisms for mind manipulation.  


The presence of white people with afros dotted around the Glen is a clue, and elevators down to a massive underground complex reveal the true scope of the conspiracy.  Half outrageous satire (some of the dialog, especially from Foxx's Slick Charles and Parris's Yo-Yo is truly exceptional) and half serious commentary, this film sprays its fire in all directions, with Boyega's Fontaine forced to assess his own role in his community's subjugation.  I would say it's John Carpenter-esque except that it's considerably less cheesy than his movies (The Thing being the notable exception).  While it flags at various points in its runtime, and one key scene (involving an effective Kiefer Sutherland as a predictably loathsome but also scary white villain) strains credulity to the limit, it deserves mention up there with anything by Jordan Poole.  A truly excellent little hybrid film.  Put it alongside Barbarian - not quite as stellar, but with more things to say (not all of them coherent, but all of them entertaining), and just as bold a mashup of genres.  All the more amazing, then, that it was written by the writer of the recent Space Jam remake...

Oh, and you have to wait for the closing credits for Tyrone to make his appearance...

Last thought: why "Olympia Black"?  Here's one theory.

Saturday, December 9, 2023

Feels more like April than December

Getting progressively balmier this week, until today it was in the 60s and Frederick wore shorts on our walk!

Sunday, December 3, 2023

Film review: A Perfect Getaway (2009)

 


This is a perfect little B-movie (as you might infer from the generic title and poster), one that I'm shocked was even being made in 2009, and now would be a straight-to-Netflix production, if it wasn't an hour-long episode of a TV show.  But instead we get a surprisingly recognizable cast (Timothy Olyphant, Steve Zahn, Milla Jovovich, a pre-Thor Chris Hemsworth) and it got a cinema release, although I don't remember hearing about it.  One shouldn't give away too much, but the essentials are: Steve Zahn and Milla Jovovich are newlyweds Cliff and Cydney 


(we know this because we see their wedding from their point of view at the beginning of the movie) who are embarking on a dream honeymoon in a part of Hawaii that you have to helicopter into and hike 11 miles to a secluded beach.  While driving from the town to the start of the trail, our couple stop to pick up a slightly skeezy looking pair (Hemsworth's Kale 


and girlfriend Cleo), try to back out of it, get talked back into it by the girl, who shows them their wedding photos, only for Kale to sulkily insist on turning them down because he was insulted by their initial refusal.  It seems then that they have made enemies, and when later they hear news on the trail about a couple who butchered another pair of newlyweds on another island and are supposed to have hopped islands to where they are, they start to worry.  They are also passed by Timothy Olyphant's Nick, who's favorite exclamation is "outstanding!" and who likes to tell tales of his exploits as an "American Jedi" in the Persian Gulf, which earned him a titanium plate in his head that also allows him to sneak his favorite ankle-sheathed hunting knife through customs.  


He takes a shine to Cliff who is a screenwriter and keeps suggesting titles for the film of his (Nick's) life.  He also introduces them to his girl, Gina, who is clearly devoted to him, referring to him as "a man in full" (especially when he brings back a bow-killed goat for her to butcher (which she cheerfully does, noting that she worked in the meat department of a Piggly Wiggly once)) and also that he's very hard to kill (foreshadowing much?)  Olyphant is great at being casually sinister and Nick has soon overtaken Kale as prime suspect in Cliff and Cydney's eyes... at least until they are woken up early one morning by police in a helicopter come to arrest Kale and Cleo, who are camped nearby, and who find a tin of "mints" in Kale's pack that turns out to be human teeth.  Case closed, right?  Well, they certainly get to the beach with no more trouble and cavort on the beach with fellow holidayers.  And then a kayaking trip to nearby caves is suggested...

A great film for afternoon viewing on a day when you've got nothing to do.  You won't be bored.  I do feel like they copped out a bit with the ending - the villains could've got away with it...  A rewatch would probably reward one with a lot of signposts to the ending.  Thinking back, Kale was right about one thing in particular...