This Changes Everything (2019)

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This Changes Everything (2019)

I’ll be the first to admit I’m no expert on the subtleties of film distribution. I just watch the movies and react to them. But it’s telling and more than a little ironic that a documentary about sexism and misogyny in the entertainment business isn’t getting a traditional theatrical roll out. This Changes Everything, directed by Tom Donahue and executive produced by Geena Davis, will be seen in theaters for one night only on July 22nd, 2019 as part of a Fathom Events special screening on 800 screens across the U.S.

Those screenings, in conjunction with the documentary’s availability on streaming platforms, has the potential to create a lot of buzz for a movie with a vitally important message. But it also has the potential to fizzle in a blink-and-you’ll-miss-it scenario. Let’s hope the latter doesn’t happen.

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Toy Story 4

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Toy Story 4

I was 15 in 1995 when the first Toy Story was released. That’s a bit older than the target audience for Pixar’s inaugural feature film, but I vividly remember seeing it and being dazzled by both the story and the groundbreaking animation. I’ll be 40 next year. I’ve been wowed by each successive Toy Story installment released over the last quarter century. Both the astonishing leap in digital animation technology and the touching stories involving old pals Sheriff Woody, Buzz Lightyear, and the rest of the gang – Toy Story 2 and 3 consistently bring me to tears with every revisit – get better with each new film.

That’s definitely the case with the seemingly impossible jump in animation quality between Toy Story 3 and Toy Story 4. The plot, however, isn’t quite up to the level of the earlier films, especially Toy Story 3, probably the strongest of the series. While “cash grab” is too strong a phrase, this is the first entry in the franchise that feels like the artistic vision got a little fuzzy.

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Midsommar

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Midsommar

Much like his first effort, Hereditary, director Ari Aster’s follow up, Midsommar, is an exercise in exacting detail. From the meticulous set design, to the beautiful execution of each camera movement, to the painterly quality of almost every shot composition, Aster is an uncompromising film artist. That he uses his skills in order to shock and disgust his audiences (as well as make them laugh) is part of what makes him such a unique filmmaker. Midsommar is Stanley Kubrick meets Dario Argento. At the same time, you won’t see anything like its sui generis sensibility on screen this year.

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Yesterday

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Yesterday

Yesterday set itself a pretty low entertainment bar to clear with its premise. “You mean I’ll get to sit and listen to Beatles tunes for two hours? Yeah, where do I sign?” Screenwriter Richard Curtis – he of Love Actually fame – and director Danny Boyle have crafted a movie that feels slight, yes, but one that is also infectiously charming and just a plain damn good time at the movies. It might not contain the deep and meaningful qualities with which we’ve all imbued the music at its center, but it brought a big, fat smile to my face while I was watching it. On this occasion, and in these bleak times, that was more than enough.

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Late Night

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Late Night

There’s a scene toward the end of the comedy Late Night in which Emma Thompson’s character, the hard-driving talk show host Katherine Newbury, climbs multiple flights of stairs in a Brooklyn walk-up in order to have a heart to heart with Molly, her newest writer. Out of nowhere – or perhaps out of the early 2000s – a cheery, vaguely inspirational pop song comes on the soundtrack as Katherine huffs and puffs up those stairs, stopping at one point to take off her shoes in order to aid her ascent. It’s one of a few cliché moments (also included is an obligatory montage, showing hard work resulting in success) that stand out for all the wrong reasons in what is otherwise a smart, funny, and fresh take on both feminism and cultural diversity in the work place.

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The Last Black Man in San Francisco

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The Last Black Man in San Francisco

I was resistant at first to the The Last Black Man in San Francisco. I couldn’t make sense of the movie’s tone. It seemed funny and serious, elegiac and silly; a study in contradictions. It is all those things and more. Once I gave myself over to it, when I fell into sync with its wavelength, it blossomed before me into the most moving, unforgettable experience I’ve had at the movies so far this year. Director Joe Talbot and his childhood friend, creative collaborator, and star Jimmie Fails have made a singular work of art here.

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Booksmart

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Booksmart

The laughs are the least effective element in the coming-of-age comedy Booksmart. Don’t misunderstand me: Booksmart is a funny movie. There are several gags and one entire sequence in particular that is downright inspired. But with four different screenwriters – Susanna Fogel and Katie Silberman each supplied rewrites and revisions to Emily Halpern and Sarah Haskins original script during the preproduction process – the movie feels a little overwritten. The comedy style is too frenetic and never settles down enough to deliver really big laughs.

The other facets of the story all work splendidly.

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Her Smell

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Her Smell

I had to watch the opening sequence of Alex Ross Perry’s Her Smell twice to make sure I hadn’t imagined that the first 30-odd minutes are one long, uninterrupted take. I ended up watching the whole movie twice; that’s how easily it sucks you into its world. Turns out, I had imagined that one unbroken take. My mistaken impression about the opening is a testament to Perry’s serpentine camera movements and the brilliantly controlled chaos of the scene. I was even more surprised when I learned Perry didn’t shoot Her Smell digitally. He shot it on 35mm film, which would have made a sustained shot like the one I invented in my head that much more difficult.

My faulty memory aside, the real take away is that Perry – as well as his star and co-producer, Elisabeth Moss – has displayed virtuoso talent with this ambitious picture.

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Revisited: Star Wars Episode I: The Phantom Menace

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Revisited: Star Wars Episode I: The Phantom Menace

Twenty years ago this week, I was caught up in the spectacle of the biggest pop culture event I had ever seen in my short two decades on earth. The triumphant return (according to all the promotional materials) of George Lucas to the franchise that changed movies forever was cause for feverish celebration. I remember seeing the headline of a review for Episode I in the days after the film’s opening that dared to disparage the first new Star Wars movie released in 16 years. It called the origin story of Anakin Skywalker The Phantom Movie.

I scoffed. I was having none it. As a die-hard Star Wars fan, the fact of The Phantom Menace’s existence was proof of its greatness. There was no way to convince me that the movie wasn’t anything other than what was promised: the greatest, most exciting movie event in a generation. After a stint in film school, twenty years of studying movies, and a hard-fought effort to refine my critical thinking skills – not just about movies, but everything – it’s no surprise that I don’t look at The Phantom Menace in the same way that I did a long time ago in a small town far, far away.

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Hail Satan?

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Hail Satan?

The Satanic Temple is doing the Lord’s work. That statement is meant to be both provocative and ironic, just like the organization that Penny Lane’s documentary, Hail Satan?, examines. The film manages to be both hilarious and enraging. While it gets close to delving under the surface of The Satanic Temple’s leading members – most notably the tension between co-founder Lucien Greaves and TST Detroit chapter head Jex Blackmore – it never quite gets there. Hail Satan? stays at arm’s length from the people it’s documenting. That’s not the case with the ideas that Greaves, Blackmore, and other TST members are championing. The documentary does a fabulous job of explicating The Satanic Temple’s ideals and goals.

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100 Essential Films: 4. King Kong

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100 Essential Films: 4. King Kong

This is the next entry in my ongoing 100 Essential Films series. If you missed the first one, you can find the explanation for what I’m doing here. Film number four is 1933’s King Kong. This is the first talkie of the series, as well as the first straight genre picture. The stop-motion animation in King Kong forever changed the industry. It was a watershed film for special effects. Just like the first two films in the series, I borrowed a Blu-ray through intralibrary loan. It’s a lovingly produced transfer from 2010 by Warner Bros. which features a two+ hour documentary. Director Peter Jackson, who made his own mega-budget remake of King Kong in 2005, played a role in the making of the documentary.

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Avengers: Endgame

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Avengers: Endgame

Those of us who didn’t grow up reading the source material, who can’t recite chapter and verse the labyrinthine backstory for the dozens of characters integrated into the MCU, can sometimes feel like outsiders. As one of those outsiders, my first instinct is to focus on these films’ over-reliance on Earth-in-Peril (and more increasingly, Universe-in-peril) scenarios, the deadening effects of pixelpalooza CGI battles, and the constant hype machine always building towards the next movie.

While the criticisms are valid – especially in the weaker MCU entries like Avengers: Age of Ultron – they cause me too often to overlook the moments of emotional resonance that these movies contain, and the connection that their most loyal fans have to the characters. With Avengers: Endgame, the grand finale and culmination of over 20 Marvel movies spanning more than a decade, it’s impossible to overlook the emotional resonance. Screenwriters Christopher Markus & Stephen McFeely and sibling directing team Anthony & Joe Russo made a film rich with human drama.

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The Man Who Killed Don Quixote

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The Man Who Killed Don Quixote

The most uncharitable way to describe Terry Gilliam’s work is that it is solipsistic. Almost every film the director has made centers on a hero battling – not always successfully – to maintain his autonomy and individuality in a society obsessed with conformity. Gilliam’s characters rage against the system to protect their romantic, singular view of the world. The most satisfying of his films are those in which Gilliam is able to make us see the world through his protagonists’ eyes. His best films, Brazil, The Adventures of Baron Munchausen, 12 Monkeys, and Fear and Loathing in Las Vegas, unlock the hero’s mind. His misses – The Fisher King, The Brothers Grimm – frustratingly fail to do so. We can see the vivid imagination of the central character, but only from the outside. We’re never allowed all the way in.

Gilliam’s The Man Who Killed Don Quixote belongs in the latter category.

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100 Essential Films: 3. City Lights

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100 Essential Films: 3. City Lights

Here’s the third entry in my 100 Essential Films series. If you missed the first one, you can find the explanation for what I’m doing here. Film number three is Charlie Chaplin’s City Lights. This is what many consider to be his best film, which means a lot considering Chaplin was a masterpiece machine. Just like the first two films in the series, I borrowed a Blu-ray through intralibrary loan. This edition was produced by Criterion Collection in 2013, and it looks and sounds great.

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The Beach Bum

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The Beach Bum

The movie gods arranged a bit of serendipity this week that had me watching Harmony Korine’s new film The Beach Bum and John Waters’ 1972 gross-out classic Pink Flamingos within hours of each other. Flamingos is one of those films that’s been on my “to see” list for years, and when I discovered a local theater was holding a midnight screening, I made sure to pregame (read: take a nap) for it, so I could check it off the list.

The Beach Bum isn’t anywhere near as (intentionally) disgusting as Flamingos is, but Korine and Waters both have reputations as cinematic enfants terribles. They gleefully push boundaries, if only for their own enjoyment.

I wasn’t a fan of either film, but for completely different reasons.

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Us

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Us

Us is an example of the most thematically and intellectually satisfying kind of horror movie. There is a razor-sharp critique of our society running right underneath – and often on the surface of – what is otherwise an unsettling, scary film in its own right. Just like his previous effort, Get Out, writer/director Jordan Peele has something more on his mind with Us than scenes of blood-curdling horror, although he proves himself capable of delivering those as well.

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Climax

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Climax

Provocateur director Gaspar Noé has put a waking nightmare on screen with his newest movie Climax. The film is unsettling, nauseating, confusing, and, in the end, a singular viewing experience that only Noé could unleash upon the world. The director responsible for the equally singular Enter the Void – which I revisited as the second part of a double feature with Climax, a night I won’t soon forget – uses nihilism the way Bob Ross used happy little trees, often and with great satisfaction. There is no lesson to be learned here. Climax isn’t exploring any deeper truths about the human condition. Noé’s only goal seems to be to shock and disorient his audience. In that way, Climax is a complete success.

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Gloria Bell

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Gloria Bell

Chilean director Sebastián Lelio has pulled a Michael Haneke with his latest film, Gloria Bell. In 2007, Haneke, an Austrian filmmaker, made an English-language version of his 1997 movie Funny Games that was a shot for shot remake. Lelio is calling Gloria Bell a “reimagining” of his own 2013 hit Chilean-set movie, called Gloria. I’ve seen both versions, and while they aren’t as exactingly identical as Haneke’s films apparently are (I’ve only seen the 2007 version of Funny Games), it’s pretty damn close. A few lines of dialog have been changed, one minor character is swapped out for another, and obviously the actors have their own unique take on the material, but otherwise the two movies are strikingly similar. Where Haneke used both versions of Funny Games as a sadistic (arguably hypocritical) critique of mindless violence in the media, Lelio’s films are a warm, ultimately soaring character study of one woman.

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100 Essential Films: 2. The General

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100 Essential Films: 2. The General

Here’s the second entry in my 100 Essential Films series. If you missed the first one, you can find the explanation for what I’m doing here. Film number two is The General from 1926. Directed by Buster Keaton & Clyde Bruckman, and starring Keaton in arguably his most iconic role, The General is based on an actual train heist that took place during the Civil War. Just like Intolerance, I borrowed a Blu-ray edition from my local library. The disc is a 2009 edition produced by Kino. Just like with Intolerance, the restoration work here is gorgeous.

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100 Essential Films: 1. Intolerance

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100 Essential Films: 1. Intolerance

This is a new series I’m dubbing 100 Essential Films. Last year a friend gave me a really cool gift. It’s a scratch-off poster featuring 100 movies that someone (whoever put the poster together) considers essential viewing. We all know how these kinds of lists work: they’re extremely subjective. But, I have the poster, and it’s a good set of films. I figured, why not write a little about each one as I watch them and (literally) scratch them off the list? There are a lot I’ve never seen, and a fair amount that I have. This will be a great way to catch up with the former, as well as a good way to revisit and get on record with the latter.

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