The Little Hours is an odd little film, a period piece featuring contemporary foul language. Mick LaSalle, SF Gate:
Though very funny, “The Little Hours” remains low-key and subtle in its effects. There’s no winking or nudging, no straining for laughs.
He thought it more funny than I, but there were a number of good laughs, and I liked the tone. Tone is important. Stephanie Zacharek, Time:
The Little Hours coasts along breezily on the oddball rhythms of its actors. The cast also includes John C. Reilly and Molly Shannon, who cap the whole crazy enterprise in a surprisingly tender coda. It doesn’t hurt that Baena and cinematographer Quyen Tran shot the picture in sun-washed Tuscany. Looking for a break from the Black Death, or even just the summer heat? The Little Hours is just the thing.
There were many moments of exhilarating fun, and other parts that dragged it down. End result: Baby Driver soars above most films of its ilk. 7/10
The Book of Henry is too sappy, and carries too much of an after-school special vibe. It is a broken film on account of believability, but still better than most critics can figure. Not a bad idea, but not terribly well executed. I did like the final stretch and the major, unexpected plot-turn midway through. 5/10
A24 Films continues in the tradition of The Witch of substituting long-staring camera shots and dramatic dream sequences for actual plot points.
A number of critics have disseminated that the plague or sickness in the film is never identified. Some great cleverness is afoot, they argue. I say poppycock: the filmmaker is simply incompetent, or worse, taking the easy way out. It Comes at Night may have been a fine short film, but there is way too little here for a feature.
One critic — solidly in the minority — gets it:
The movie is far too solemn and high-minded to indulge in anything resembling scares or thrills, instead doubling down on the queasy atmosphere and lots of long, slow-tracking shots in which nothing happens.
Put another way: The Trigger Effect was a good movie. Toward the end of the picture our heroic father attempts to break into a house to save his young child. It Comes at Night is just that small part about trying to break into a house. You have to think a little bigger sometimes people. You’re making a movie.
One last thing: the non-ending of It Comes at Night fits this non-movie well. 3/10
Comparison Notes (recommended): the much better films 10 Cloverfield Lane and Blindness (2008)
The terrific TBS promo for We’re the Millers had a lot to do with my desire to see the film. This promo does not exist anywhere on the internet, that I can find, other than the fragment pasted below — and that’s a shame. TBS should be proud of its promos. I do have a small problem with it — there is no girl playing a saxophone on the beach in the movie. There’s not even a beach. The musical backdrop, indeed, has no relation to the film at all — which technically amounts to perjury. However, I certainly can’t ding a movie based on a television network’s independent ad campaign for it.
We’re the Millers falls in the sub-50% zone on Rotten Tomatoes. One critic wrote that “The filmmakers lack the courage of their convictions.” Maybe so — but I know that going in. Put another way, I judge a movie on what it is, not on what it isn’t. I’m not expecting high art or tense edginess. I’m expecting Jason Sudeikis and Jennifer Aniston in a fairly mindless comedy.
And it works on that level. There’s something likable about these characters, and this story — raunchy and banal as it often is. It comes nowhere close to comparable films Vacation or Due Date, but for what it is, it succeeds — barely. 6/10
I’m pretty much loving the new Twin Peaks on Showtime. There are some bits here and there that seem awkwardly implemented or haphazardly introduced, but overall I’ve been very pleasantly surprised. My fear was that David Lynch, having been out of the filmmaking game for so long, would have lost his mojo. More specifically, that the series would have been little more than a re-tread of the original. No fear: his mojo is solidly in place, and bright, novel storytelling abounds.
The New York Times has written a lot on the return of Twin Peaks, including a good amount of favorable criticism. On episode (“Part”) 3:
Mostly though, this hour is pure, magnificent abstraction, right down to the unexplained few minutes of Dr. Jacoby’s spray-painting a rack of shovels. The rest of the series could be nothing but Kyle MacLachlan shouting “Hell-ooo-ooo!” at slot machines and this episode alone will have justified the entire “Twin Peaks” revival.
Thankfully, the other 3 hours have been equally worthwhile, which portends well for the remainder of the series: an auspicious beginning to be sure.
I’m really looking forward to this…
My initial reaction to Richard Gere’s personal odyssey Norman: The Moderate Rise and Tragic Fall of a New York Fixer was a mild thumbs-down due to a number of story weaknesses. I wasn’t buying the premise. But following Gere’s Norman around did get under my skin, just enough for a 6/10.
SPOILER ALERT!! Spoiler follows! To elaborate, the premise that Norman is, as we find out definitively late in the film, homeless, I just didn’t buy. A much better movie would have shown, assuming this was some sort of recently-incurred station in life, how it happened. But even if it had, how would he be homeless at the outset and still years later? Homeless, yet buying a $1,200 pair of shoes. I think not.
Comparison Notes: Dark Water (attorney)