A24 Film #136
I remember when I thought one-take movies were inventive; now, the idea just seems contrived. Ever since 1917, though this movie is definitely a bit worse – Hardiman and co. definitely had to get creative to fit multiple settings into a story that isn’t just “journey from one location to another,” but it’s not good enough. A lot of that movement is just showing the back or front of someone walking, and while it’s still an impressive…
A24 Film #134
Another stellar debut from A24, Earth Mama uses an intensely honest, personal lens to tell a story about a poor young mother that feels at once universal and individual. Consistently balancing varied depths and shot compositions with uncommon fledgling ease, creator Savanah Leaf begins the sympathy for Gia (a great unknown actress Tia Nomore) in herself long before it comes out on the screen, and this sensitive attention is well worth the extra care.
Great new directors…
I do not recall seeing theaters showing old movies when I was a kid, they used to do it so much before I was born, but only now am I seeing the trend resurface in full swing. Stop Making Sense begs to be seen big, with a grand design from beginning to end that only occasionally turns from its own experience into just a concert. Most people are not into concert videos, which is why Stop Making Sense is special…
Though the mystery itself is not as twisty as Death on the Nile, the story, production, and entertainment value of Haunting in Venice makes it the best of Kenny’s Poirot movies so far. Diving more and more into Poirot’s character means more investment, and though it ultimately rang a bit hollow with the ending throwaway sentiment, it is still a nice touch that benefits the proceedings. The spooky factor that never quite makes Haunting a full-on horror is the primary fun draw – even though this new series pales in comparison to Knives Out, the new entry is good enough for me.
Though I did think The French Dispatch was classic Wes, I am going to go farther and say that this is the best of his projects since Grand Budapest Hotel. Henry Sugar has an energy that was lesser in his recent work as he spiraled into his own vision (I still laughed a lot at Asteroid City); here, he is back to being funny and gripping while adding new and old actors from his back catalog, all doing double roles…
A24 Film #135
Though basically just a typical possession story, I’ll never get over seeing creative debut directors let their visions run wild. This ouija board twist is full of grief, trauma, and an emotional performance by little-known Australian actress Sophie Wilde. They have marketed the film as one without jump scares, effects, and gore, but for those looking for the creeps, fear not: Talk to Me contains plentiful scares, practical horror effects, and nastiness. And yes, it might end…
