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  • The Watermelon Woman

    The Watermelon Woman

    ★★★

    Had to step before The Watermelon Woman left CC. Important film. The premise/structure is brilliant, especially with the epilogue. Inventive mixture of doc and scripted. The ‘90s melodrama tone is humorous and sitcom-y. Andy pointed out there’s a tag on a building in the background by the late singer of Ink & Dagger.

  • Eyes Wide Shut

    Eyes Wide Shut

    ★★★★½

    Like Ozu or Bresson, Kubrick positions Cruise, et al, like impassive marionettes to fulfill his final film fantasy, Eyes Wide Shut. The repetition of "rehearsal" (unbeknownst to the actors?) fits into the thematic nature here, by retracing steps the mystique is ruined.

    When Bill Harford (Cruise) is in the belly of THE sex party, all he's concerned with is seeing the face under the mask. The truth. And it's the truth that doesn't set him free, no, it holds him…

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  • Loqueesha

    Loqueesha

    I watched Loqueesha (it’s on Amazon Prime) and it’s just as terrible as you imagined it would be. A few surprises/thoughts:

    1. They acknowledge the problematic nature of the premise of the film but don’t really address it. It’s a bizarre confrontation that ends in the two people (the white guy and black woman) kissing.
    2. There are a large number of non-white speaking roles in the film, more so than all of the Coen Brothers movies combined.
    3. It takes…

  • Raising Arizona

    Raising Arizona

    ★★★★½

    Current mood: John Goodman screaming for far too long.

    As a followup to Blood Simple this is simply BANANAS. There is definitely a thread through the two films but in terms of tone and style these exist on different dimensions.

    The chase scene is cinematic perfection yet it's the unnecessary touches like, "Son, you got a panty on your head" that turn it into a Hall Of Famer.

    Nicolas Cage's voiceover is so soft, I love it. I wish more of Cage's roles would offer his tender side!