Every so often, I feel compelled to clean up my movie backlog, so I went through another year's worth of blindspot movies this year. I got a wide variety of reactions from this selection from enraptured, disappointed, very disappointed, baffled, aroused, etc. Needless to say, I should be able to pick out six films to talk about.
The Film That Shows the Chick-Flick Genre Deserves Better: The Princess Diaries
This is one of the few described with the regressive "chick flick" moniker, and it is one of the few that I was interested in. You got two of my favorite female actors. You got a very fun premise. It has everything to be a spiritual successor to a John Hughes style of comedy.
Instead, I got nothing.
Now, I know it's too much to ask an early 2000s Disney film for a progressive exploration of white privilege, exploitation of child celebrities, and the shit you associate with royalty. But honestly, I just want something, anything more interesting than whats on display. Instead, the movie feels undercooked.
I was very indifferent towards this movie. The comedy and drama were bland. And idk, it lacks any of the flavor I like from say a John Hughes movie.
Speaking of which, this movie would have been a lot better if Molly Ringwald was leading. Nothing against Anne Hathaway. It's her film debut, and she would go on to give amazing performances long after this role. However, I felt she was miscasted in this. Her comedic chops lack any punch to it. Compared to Molly Ringwald or even Amanda Bynes, where their delivery, facial expressions, and physicality elevates the material and can leave an impression even if the movie itself isn't very good. I know I reviewed Sixteen Candles last time I did this. And despite hating that movie, I still remember Molly Ringwald giving a great performance. Look, all Im saying is that Anne Hatheway's performance wasn't that great. Im sorry ladies.
The final straw is some annoying characters. Good God, I don't know what their intention was with that Lily character. I guess they were trying to do the annoying but loyal friend. But in execution, Lily comes off as extremely unlikeable. And in real life, Anne Hathaway would have every excuse to cut that bitch out of her life. Shit, I would unfriend so many people if my grandma was Julie Andrews even if they weren't like Lily.
I suppose that segways to Julie Andrews who I guess does a decent job. Again, it didn't blow me away. Like everything else in the film, I was sort of indifferent. Granted, Julie Andrews fares better because she is Julie Andrews. She emits an aura that's immediately infectious.
But yeah, it's hard to write about a movie when you get no emotional reaction from it. And I love these types of movies! I love romance. I love the wholesome feelings these movies try to evoke. I also know chick flicks get a bad rap cause women and their special interests are often treated as less than. And with media often appealing to male sensibilities, there shouldn't be this animosity towards entertainment that's here to offer escapism for women.
However, more than a feminist, I am a movie buff, and this movie sucks. Fuck you.
The Film That Unexpectedly Went the Hardest: Adventures in Babysitting
Take Adventures in Babysitting. I was recommended this movie. And if I didn't have the obligation of watching blindspot movies, I probably wouldn't have bothered with this one. A classic case of judging a book by its cover.
To be fair, part of why I didn't think I would enjoy this movie was because I didn't even hear about this film until this year. I figured if this movie had anything worthwhile, I would have heard about it especially since it was directed by Chris Columbus. I thought I should at least have heard about it as an obscure cult classic like other 80s cult films like Last Unicorn.
Because in my mind, this should be up there with Back to the Future and the Princess Bride as one of the great 80s movies. The kind that's high concept and well executed throughout. The 80s were always great at doing that. These experiences that, while straightforward, are nonetheless magical for achieving the feat of genuine escapism.
And like the great 80s movies, you get a window to the mindsets of the 1980s, and Adventures in Babysitting is one of the better glimpses. The anxieties of suburbia and their view of inner city life. That kind of thing could easily age a movie, but this movie avoids this. One because it doesn't bog down the characters in regressive stereotypes. Or at least, if you view them as mere stereotypes, it is leveraged in a way where that complements the qualities of the movie. And two, the movie gives the world an aura of fantasy. It gives this mundane world a sense of whimsy which makes me more compelled to suspend my disbelief.
And finally, again like the great 80s movies, you got an excellent lead performance. Elizabeth Shue is delightful. I know the music and soundtrack is beloved, and it's great. However, I think what makes the music so infectious is how the characters perform with the music. And man, that opening with Elizabeth Shue dancing to the Crystals is emblematic of this whole movie. It's wonderful. Not to mention that great jazz number that took the movie from cute to classic.
The one flaw this movie has is that Elizabeth Shue's love interest is rather weak. You get the sense the love interest was included for obligatory reasons. You want a kiss to tie a neat bow at the end. You want a character to connect with the protagonist and offer a reprieve to Shue's torment throughout the movie. But other than that, the relationship is rather weak and feels like a formality. It doesn't quite feel like two heteros creating a spark.
But what a badass film. This movie feels like discovering a family photo album you didn't know you had. This was a hidden treasure for me of nostalgia and charm.
The Film That Sucked the Hardest: The Pest
Im quite privy to annoying comedies. Ive seen my fair share of Biodomes and Disaster Movies. The Pest, at first glance, seems like another instance of this type of comedy. The kind that thinks making constant noise is a suitable replacement for wit and creativity.
The Pest stands out more than comedies of this style. It's rare that I let a movie this bad stay rent free in my head, almost like this movie is a type of organism that's a nuisance to our day-to-day lives, but enough about Fox News viewers.
I think what makes the Pest special compared to its peers is that the movie has a frustrating amount of potential. Im going to pitch this movie to you as if I really want to sell this movie. See if this premise sounds appealing to you. "Ok let me get into my public speaking mode. ahem"
"What would happen if you take Bugs Bunny and put him in a 80s action B-movie?"
It's a great concept. Taking an archetype known for outwitting dangerous people and putting it in a context of a Rambo sequel. But in execution, well it's a two star avg. rating on Letterboxd.
It's a great concept. Taking an archetype known for outwitting dangerous people and putting it in a context of a Rambo sequel. But in execution, well it's a two star avg. rating on Letterboxd.
I blame the director. John Leguizamo, while terrible in this film, is not a bad actor. In fact, later in his career, he would channel a similar annoying energy quite well in Ice Age. He's no Daniel Day Lewis but he has turned in quality work over the years.
And honestly, to even call it terrible is a bit harsh. This is nowhere near as bad as Biodome. The performance is at least striking and memorable. The shower scene at least is burned into my skull.
I think it's a lack of restraint of Leguizamo that makes the movie insufferable, and that feels like a lack of communication between the actor and director. You can easily make this character work. His look is unique. The vibe complements the premise. You got a good and based foundation of a clever Latino annoying the shit out of a Nazi. But when the movie is a constant assault of Pest chatter and unearned visual gags, we end up having to pay for the expense of the joke. And next thing you know, you are put into a very unfortunate position of siding with a Nazi.
I think this movie falls in the same category as Freddy Got Fingered. It's awful. But unlike Biodome which is awful for its laziness, this movie at least has an audaciousness that's slightly redeemable. And hey, I know how brain rotten some of yalls sense of humor is. The people who find Freddy Got Fingered funny might make this movie work for him too. I don't care. Though, I recommend you shouldn't vote in the next election.
The Film That Made Me Officially Love Robert Rodriguez: Planet Terror
I always had a soft spot for the man. He and I are both Tex-Mex guys. It's not often a director as high profile as this makes me feel like we are cut from the same cloth.
While I always liked Rodriguez, I never respected him the way I would for Scorsese or Tarantino.
And initially, I watched the Grindhouse double feature to watch the only Tarantino feature I haven't seen. I merely added on Planet Terror for completion sakes. I would have never expected that not only would I enjoy Planet Terror more but that it would elevate how I see Robert Rodriguez as a filmmaker.
I was aware Robert Rodriguez was a trailblazer in low budget filmmaking which is another aspect that goes unsung when talking about Rodriguez. But ever since Planet Terror, that aspect can really be felt.
Rodriguez demonstrates how passion and authenticity can do a lot that other qualities can't. Im not going to lie and say that Rodriguez is great from a technical standpoint. His stories are often sloppy and schlocky. A good chunk of his films can almost be described as intentionally dated. Yet regardless of quality, yes even including Sharkboy and Lavagirl, it's always apparent that it's a Robert Rodriguez film.
There is a unique and infectious personality in all of his films, and that shouldn't be dismissed. There will always be movies with good cinematography, symbolism, or any quality that film buffs gravitate towards. But, there is only one Robert Rodriguez. Great art at the end of the day are merely remnants to a human experience that could only have been made in one exact place and time.
Planet Terror feels like peak Rodriguez, second only to maybe the 2nd Spy Kids movie. I love the energy of this movie, and it nails being a B-movie homage better than any movie Ive seen. It's clear Rodriguez is one of the few who understands the essence of what makes a B-movie of that era so enjoyable. Much like how an arthouse film will explore the nuances of the human condition, these films shamelessly wallows in the id of the human condition. It's finding any excuse to showcase over the top violence and sex, and the best ones do it without feeling lazy. Robert Rodriguez throughout his career, from making Mariachi with $7000 to all the trouble he went through when making Sin City, has demonstrated he is not a lazy guy.
Well ok, maybe Sharkboy and Lavagirl was lazy. Maybe he wasn't feeling well that day.
However, Planet Terror has that effort, and I'm glad I decided to give this movie a chance.
That Film That Allows Me To Talk About Robert Altman Again: 3 Women
This year I got around to doing another one. And with Shelley Duvall passing away last year, I figured I know more about her work that isn't the Shining and Popeye.
Needless to say, she's great in this film. I'd say this is her best performance. Not from an intensity or emotive standpoint. But in terms of nuance, she is given a lot to work with and she takes advantage of all of it.
Nuance is probably the word you need to describe this film. A lot of people, mainly morons, like to besmirch films like these. And in fairness, I don't blame them. Arthouse films require a certain level of academic appreciation to enjoy them. It can be frustrating when an arthouse film is bad or seems bad. An arthouse film that's pretentious, self-indulgent, or lacking in quality still require proper discourse in order to properly express that frustration. There's rarely a clear black and white answer in judging these types of movies, and that's simply not a quality typical audience members would enjoy.
If I were to pitch 3 Women to a layman, it would not be easy.
Some movies get better upon a second viewing. 3 Women, at least for me, is one of the weird cases where you won't really enjoy the movie in full until seen them at least twice. Some movies not only show their true colors after seeing the full picture but the colors won't even show unless you see the beginning again with the trajectory of the ending envisioned in your mind. It's the cinematic equivalent of an optical illusion. You are presented with the picture and it's only when the effect becomes apparent to you that you gain a better appreciation. The magic is knowing all of that was on screen from the very start. Your eyes just need a little time to *see* it.
During my first viewing, I didn't really enjoy myself. The pacing has some dips. Sissy Spacek character's is rather uninteresting early on. And since the movie is a slice of life that revolves mostly around her, it starts off on the wrong foot. Until you get to the second half, it is kind of a slog.
But man, once you *see* it, you realize that has been there the entire movie.
The movie is about the transformation we as humans go through in order to be accepted in our social groups, and the harm that can create. It's not a unique theme. That's the rags to riches story in a nutshell. However, what makes 3 Women compelling is that it conveys that in a way I haven't seen a movie do before or since.
I love when a movie uses the medium in a novel way. That's how a medium evolves. Lord knows we wouldn't have Ice Cube mugging at the camera in War of the Worlds without filmmakers from the 1900s willing to risk precious film material to try out these techniques. Yes I know that's a bad example, but I don't care!
3 Women has such a respect for the intelligence of its audience. It's slow and doesn't readily give you the answers but expects you to let it unwrap organically. It embraces the medium and its linearity by understanding that said linearity can be rewatched. It can be looked back on retrospect. And before you know it, you are giving undivided attention to a simple close up that's been used for several decades.
Of course, 3 Women is not the first in doing a lot of the things it does. Instead, it reflects why Robert Altman became one of the most celebrated American filmmakers. He impacted modern filmmakers to the point where Wikipedia dedicates an entire section listing all the filmmakers that cite him as an inspiration. If you want to know why that is, I think 3 Women best demonstrates it.
David Lynch
Ok, I actually struggled to think of a sixth film. But that's ok, I think this is more important anyway.
This year we had the passing of David Lynch. And in typical fashion, I watched most of his filmography. One, because they were a few stragglers I still haven't seen. But more importantly, David Lynch is one of the few directors I would do this with.
One thing about David Lynch's passing that struck me was the global reaction. Many directors have passed away over the years but none I recall have had this kind of reaction.
It speaks to what I was saying about Robert Rodriguez. One of central draws of David Lynch as a director is his ability to instill himself in every movie, regardless of genre. The man has done biopics, surrealist horror, intriguing thrillers, and even sci-fi. All of them are undeniably David Lynch. While many will appreciate David Lynch's impact with his surrealist style that has no doubt influenced many people from Robert Eggers to the fucking weirdo who made Danganronpa, I feel that ignores the bigger lesson. That any movie is an opportunity to speak through the movie. And assuming you are not a pretentious bellend, people are willing to listen.
David Lynch's movies made us fall in love with him as much as the characters on screen. We fell in love with his playfulness, the creativity, the respect. His love of transcendental meditation layers all of his movies the way Tarantino's foot fetish layers his.
Im of the opinion that there is a David Lynch film for everyone who is up for the challenge. I think every filmmaker, film lover, and everyone in between can grow as a human being from one of his films.
If you are familiar with my tastes as a enjoyer of all things narrative, you would know that I value characters above most elements of a story. The reason is because we are at the end of the day humans. We crave connection so much so we personify our appliances and the stars in the sky. Every facet of our culture is our strive for connection. Communication, and by extension art, reflects this very human need.
A lesson I learned from revisiting Lynch's movies is how the depth of a character can go further than any element of story telling. Many would argue that motifs, symbolism, or other artful storytelling devices can provide more depth, but I argue those are only deep because our consciousness are willing to say it is. Motifs, symbolism, etc. are mere obfuscations of commentary that humans need for the sake of challenge. At the end of the day, it's merely an indulgence. An indulgence that many enjoy including myself. Why else am I writing all of these blogs????
What I like about Lynch's work is that he deeply favors the depth of characters. His themes are simple despite his reputation saying otherwise. It's his personal touch and characters that flavors the richness of his movies. I know for me this year rewatching Straight Story, I felt truly one with the human condition. It's a movie about one man. A rather mundane man, but his story reflects that even the most mundane boring person has depth far surpassing any piece of art.
People are beautiful. We often don't see that because of our own obfuscations: bigotry, cynicisms, and the many things that currently ail our culture. It's why empathy can be such a healing feeling, and it's a feeling movies excel at making. Roger Ebert called movies "empathy machines" for a reason.
David Lynch's gift to humanity was opportunities to experience the most profound kind of empathy. There's plenty to love about Elephant Man, Straight Story, Blue Velvet, to name a few. You can strip all the Lynchian flourishes, but you still get the most important thing depicted on screen: humans seeking connection....
Unless you are watching Twin Peaks, in which case it's a cup of black coffee and a slice of homemade cherry pie.
