I went deep on Muriel Box a while ago and I still have her two books staring at me in my physical to-read pile so I'm not sure why I didn't get to this except maybe I deliberately put it off til I was ready… just the colour thing, I was worried cos I had ripped it off a DVD n as I was reading about this gimmick I was like fuck I hope I didn't rip it in greyscale……
I was mad to find apparently this should've gone before Obi-Wan (I've been trying to watch them all in chronological order around it… incidentally might as well say here cos I'm not gonna log it separately: just… Leia hugs <3)I really forgot how much this one had going for it… Glover's Lando needs a series, Chewie?, Jon Favreau's character and Phoebe Waller-Bridges' droid which is still embarrassingly the only thing I've seen her as lol. Also John Powell's adaptation of the John Williams style is up there with John Ottman's H20 and Superman Returns. Wrote more last time
"Careful. It's new."
"If you're going to be good at living undercover, part of you has to believe."
The casual approach and stilted deliberate dialogue here is just so much more to where I always say I sort of felt like I parted ways with Cronenberg (after Crash but especially eXistenZ which I still feel refined that tone even further - and as much as I've subsequently warmed massively to History of Violence and Eastern Promises especially, his whole filmography…
[edit I'm upping this for now to at least a 4 cos god damn how it goes in the final act, I miss whatever the fuck this movie was doing in the early 00s]
It's mad enough how young Daryl Hannah is playing here and she gets away with it. I know we got her in Kill Bill but I feel like we were denied a lot of great performances she could've done this time. That said, this is one,…
Obviously watched this for Dominique n accordingly expected the worst even though it was 2004 but as soon as Hopper came on screen I was just gone. It's a hard 4. Nothing more need be said. I'll only come back if it gets crazy better lol. [edit: it kinda gets crazy better… this is way up there in the Dominique ranking… not enough to be a five but dang… still…]
"It's him. It's always and ever-fucking-lastingly him."
"Don't do that again. Don't touch my toes."
I'm mad at the title this has on here. It's aka Briar Patch, such a more poetic and light approach. I would've come in the same way anyway cos I was coming for Dominique Swain but I still feel like that title differentiation is gonna clearly either attract a different audience or inspire different expectations.
On my level? Coming at it for Dominique? It's way…
"If I could just always believe in me."
"The balloon fiesta's gonna be a complete and total bust! I can't think of any more fund raising ideas! I can't ride Picasso in front of people! I can't do anything!"
There's a dinner scene in this that's almost on the level of the one in Before Midnight. It killed me on an ethereal level. I thought this was gonna be awful but consider me still on the American Girl train. This made me just as cosy as every one before it, the exact same vicarious devastating feeling. This made a beautiful mess of me.
I'm unreasonably hard on Jacques Demy cos Umbrellas of Cherbourg is so perfect to me, I know, but I have to start with that… but I more immediately liked this than I did the Young Girls of Rochefort at least. It's just as more difficult to connect to compared to Cherbourg, but the more I finally dive in and try to understand him beyond that frankly nostalgic and very personal fave for me at this point, it's a really great…
"Dee… do be careful, you're terribly attractive."
"Anne's… not married…"
"This is different."
"It's always different, isn't it? If my father could read the history of his daughters-"
"…and as they say to understand is to forgive… or is it… to understand is not to forgive? I can never remember."
(That awkward moment when your first thought is "wow this is set in the same place and a decade earlier than the Parker/Hulme murder, which wasn't long before…
"we both did wrong from the start but now it's our murder too… whatever happens I wanna share it with you… prison, death, hell, anything…"
It's hard to empathise with Anthony Perkins as a good guy so close to Psycho but this is stagey melodrama I can get behind, it had me at Elmer Bernstein doing the score. It feels too much like TV even for the time (even the image quality of whatever transfer the channel I watched it…
Even before the drama twist, I've actually never seen a movie like this, the love it has for the world it's about. I adore the early American Girl movies but always imagined the later ones were more blatantly cash-in. The fact that this one was so contemporary always put me off pursuing the series. But they were always staring me in the face unwatched. I'm really sorry it took me 10 years to get round to this. It broke me…
Probably my second fave Mel Brooks after Blazing Saddles this viewing around even though I saw it before I'm sure I didn't know how involved Hitchcock himself was in its production till reading Brooks' book recently… did you know that? Like he literally suggested a whole joke they had to abandon cos they didn't have the budget. Anyway he loved it so much he sent Brooks a case of ridiculously expensive wine. I love stories like this especially when they make me watch movies different. And as silly as this is it really has a sense of class you can't deny… it starts with Madeline Kahn…