• Little Tony

    Little Tony

    ★★★

    My Warmerdam marathon continues. Little Tony doesn't appear until maybe an hour into the movie, when we've been consumed by the absurd enterprise that led to his birth. A lot of the insane domestic sparring takes place in the living room. Three doors open into the kitchen, the toilet, and the outside. And they open and close constantly, with the three main characters popping in and out, interrupting delicate conversations, offering food (those horsemeat sausages! that porridge!), as the desired…

  • Grimm

    Grimm

    ★★★

    I watched the version on AppleTV, which is the Re-Edit. See KubrickFan's review for some comparisons with the original.

    This quickly leaves the opening Grimm tropes behind (harsh winter, abandonment of brother and sister by parents), segueing into a jaunty roadtrip of sordid misdeeds. Then we're in the promised land Spain! When Warmerdam works with a (somewhat) conventional narrative, the results can be a bit haphazard and less than focused. But nothing is what it seems on the surface, and…

  • Schneider vs. Bax

    Schneider vs. Bax

    ★★★½

    This is the funniest movie I've seen in ages. The mundane domestic environments and relationships, the blindingly white walls of Schneider and Bax's respective houses, the spic-and-span Dutch interiors, the idyllic rustling green reeds and lake, all unravel quickly into dark (but absurd) situations and violence. In other words, another day at the office for Warmerdam. I can't say more without spoiling, but this was very enjoyable.

  • Hypochondriac

    Hypochondriac

    ★★½

    Zach Villa's Will exudes an easy charm in the beginning, which makes his subsequent deterioration harder to watch. The mother's intrusions into the tender relationship scenes are genuinely disturbing, as the movie quickly takes a darker turn. 40 minutes or so from the end, we've unfortunately figured out most of the important story details, and what follows is rather drawn-out, somewhat heavy-handed, and not free of cliches.

  • Amour Fou

    Amour Fou

    ★★★½

    Hausner's depiction of the frosty distant social interactions is riveting. Von Kleist, awkward, self-absorbed child, pursues his absurd tragic enterprise, seemingly unaware of the changing social backdrop. I kept thinking these events couldn't have actually happened. But they did. Which makes the whole thing more horrific and absurd.

  • Nope

    Nope

    ★★★

    An absorbing and mysterious first half, with lots of interesting ideas. The Gordy episodes were genuinely chilling (and absurd and funny), then just tossed aside. The movie eventually shifted into a second half that's bombastic and messy (not in a good way).

    I of course approve that the Keke Palmer character wore a Jesus Lizard t-shirt in a few scenes.

  • The Outsiders

    The Outsiders

    ★★★

    Some surprisingly clunky moments. And that theme song, ouch.

    The print on AppleTV could use some cleaning up.

  • Dead of Night

    Dead of Night

    ★★★

    Michael Redgrave's famous segment with the ventriloquist dummy still packs a punch. It's clearly the class of the movie, opening up into that elaborate Paris nightclub scene with the jazz band.

  • No Light and No Land Anywhere

    No Light and No Land Anywhere

    ★★★

    There are moments of sustained tension and painfully uncomfortable social situations. This is enjoyable, but not as focused and memorable as Seeley's later No Man of God.

  • Lost Highway

    Lost Highway

    ★★★½

    Beautiful new restoration at the Roxie.

  • Mandy

    Mandy

    ★½

    I enjoyed Cosmatos' earlier Beyond the Black Rainbow, and was hoping for something similar. The first half hour or so was pretty restrained and promising, though it quickly degenerated into revenge torture porn. (With nods to axe-throwing, I guess.) Some interesting production design though, reminiscent of the earlier movie.

  • Dracula

    Dracula

    ★★★

    Somehow this exercise in excess wasn't on my radar until recently. Coppola's dedication makes this highly enjoyable (and often funny), complete with towering gothic buildings, creatures and backdrops almost straight out of Beksinski, over-the-top costumes whipped around by the wind, and vintage technology. Reeves' main job is to look pretty, but Hopkins does his psycho doctor with perfect comic timing, and Tom Waits has a blast with Renfield. Oldman of course carries most of this, donning his Beatle look to seduce Wynona Ryder, plus an assortment of grotesque monster outfits, as he plunges relentlessly to the finish. Great silly fun, and visually gorgeous.