A Toasty Cold War

I went into Cold War hoping to receive some limited salvation from this abysmal year in movies at the hand of Paweł Pawlikowski, the director of Ida, one of the best movies of the last 10 years.  Something, maybe, to eke out at least a Top 5 of 2018.  No such luck.

The problem is that despite the magnetism of the femme fatale Joanna Kulig, the movie is a narrative jumble, especially in the latter half as transitions from one stage to the next seem unfounded and disingenuous.  I wasn’t entirely buying the love story at the heart of the movie either — the chemistry did not work 100%.

I BLAME AMAZON

For all the narrative issues, I blame Amazon, not the director.  Bezos didn’t stick his fingers in Ida, and the result was a lot better.

The dreaded square-frame-for-no-reason rears its ugly head again too.  It was not at all distracting here, but unlike with Ida, it did not seem to add anything either.  Nonetheless, I liked the singing, I liked the music, and I liked the dancing.  All very nice.  There were some luminous moments to be certain.  And the star’s magnetism throughout, even if she’s a bit spoiled.  The post-war Polish setting provided some edification as well.  And finally, maybe I’m giving someone too much credit, but I think there’s a clever double entendre with the title as a cherry on top.  7/10

Comparison Notes: the aforementioned Ida4 Months, 3 Weeks and 2 DaysLa Dolce Vita, Barbara, Wings of Desire, Under the Skin, A Star Is Born (2018), La La Land, Leviathan, Blue Valentine

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VOD Log: Roma

Netflix does Roma a tremendous disservice by releasing it simultaneously to its own streaming service and theaters.  Yes, I see that it officially was released in a highly “limited” way to theaters beforehand, but that does no good for people who live in such far-flung locations as San Diego.  By releasing in that way, it very well assures that the only way realistically to watch it is at home.

Which is a shame, because of all the films of 2018, Roma is the one that perhaps most of all needs to be seen on a big screen.  There are many sweeping long shots with lots of small detail that are absolutely miniaturized on even a 4K 55″ set as mine is.

A MOVIE SHORT-CHANGED BY NETFLIX

Roma′s visual depth is one of its strongest features, despite being in black and white — this is a very cinematic film.  But I can only go by my viewing experience, which was handicapped.  That, and trailer perjury — there is no Pink Floyd in the movie — knocks Roma, as seen at home, down to as many as two pegs from where it might otherwise have been.  One thing it does is reaffirm why I go to the movies.

Having said all that, the movie did hold my interest, and I liked a number of the scenes.  Roma had a good, almost Iñárritu-like flow to it, and even on my small screen the visuals were conveyed, though tamped down like so much pipe tobacco.  7/10

Comparison Notes: La Dolce Vita, Wings of Desire, Bicycle Thieves, La Cérémonie, The Housemaid

Film Brief: Double Lover

At first, I loved Double Lover.  In the early going especially, the storytelling was strong, driven by the leads’ performances.  But the story was uneven, eventually falling into a derivative doppelgänger tale crossed with silly, even absurd, David Cronenberg-esque elements.  David Lynch has proven to be the master of the doppelgänger / film as soufflé .  A key to his success is that he doesn’t belabor the point.  The doppelgänger isn’t the story itself, as it was with Double Lover.  For Lynch, it’s almost incidental to the larger story at hand.

As the doppelgänger elements were mishandled here, a better tack would have been more the approach displayed in Thelma.  That is, the approach of a better movie.  5/10

Comparison Notes: Vertigo, Cronenberg films, Mulholland Drive + other Lynch projects.

Film Brief: Thelma

Not to be confused with Thelma and Louise.  It’s just Thelma here.

Knowing filmmaking locked onto a tight character-driven story kept me enrapt.

Note: Two Norwegian films within a month of one-another: what’s going on?  Is Norway the new France for film?

SPOILER ALERT:  I suggest watching only HALF of the trailer below.  It gives away too much.

8/10

Comparison Notes: Recommended: Donnie Darko, Sleeping Beauty, The Craft; Not recommended: Ich Seh Ich SehThe Square, Raw.  A number of similarities exist between Raw and Thelma.  Thelma is the right way to do it.

Film Brief: The Square

The Square is interesting, perhaps, but more so self-important.  Pretentious even.  It is ultimately a small movie, and I’m not talking budget.  I didn’t hate it, but there’s too much nonsense and weak elements masquerading as something bigger — a veil I saw right through.  4/10

 

 

 

PS: The fact that so many critics thought The Square better than director Ruben Östlund’s previous work Force Majeure lays bare why I write a movie blog.  A lesser critic called The Square “Smart, Sharp.”  I got news for you: I’m smarter than you, and I say The Square was not smart.  The ape-man finale that you thought was so clever was ridiculously untenable.

Raw, Local, Organic

I love good edgy indies foreign and domestic; Raw is not one of them.  I wasn’t buying most of it, and there wasn’t enough style or substance to overcome its many issues, for example I never felt like I was watching students at a veterinary school, but maybe some sort of weird cult.  More problems:

SPOILER ALERT!  SPOILERS ALERT!  This girl is a devout vegetarian one moment, and the next, for no good reason, is scarfing meat down with abandon.  Vet students are animal haters?  And she grew up never seeing her father with his shirt off?  These and many other issues toss Raw down to B-movie territory, except there’s not enough fun to elicit that B-movie charm.  Forced, inorganic storytelling exacerbates these weaknesses.

Still, there was a certain raw, explosive power to the movie that kept it engaging.  But even in this regard, when the director was holding a straight flush she folds.

On top of everything else, Raw just wasn’t as original as it’s been made out to be; see Comparison Notes.  Entering the local arthouse, I was told that someone had fainted during a previous showing.  Barf bags and warning signs were hastily dispatched.  I so wished that Raw lived up to all the hype.  5/10

PS Raw is categorized as a horror film, but it’s a joke as a horror film.  Hardly horrifying.

Comparison Notes (all recommended): for infinitely better French ‘fare’ about consumption of human flesh — which they have a knack for, check out the greats Delicatessen and Les Amants Criminels; Teeth, every vampire movie ever (Only Lovers Left Alive looks like a masterpiece by comparison), Antichrist, The Neon Demon