Log: week 16 / 2024

One of Tarantino's favorites, and sure enough, it's not that hard to see the link with Reservoir Dogs. That's kinda neat, but it doesn't really make the film better. Other than the obvious references to a much better film, this is a rather classic noir, with the usual pitfalls and limitations included.

A fun and interesting film, that tackles somewhat more challenging concepts, but does so in a way that's a little too traditional for me. Regardless, I consider it a good sign that a film like this can be made now, one that moves beyond the type of entertainment that's criticized here.

More of the same but with slightly higher stakes. Banks took on the role of director for this sequel, not that I really noticed. This is rather generic Hollywood stuff, no matter how you look at it. It's not worse than the first film, but since that wasn't all that good to begin with, it's pretty low praise.

The 90s sure was a great time if you love documentaries about trees. Kiarostami had his olive trees, while Erice went for quince trees. I can't see I'm a big fan of these films though. Slow cinema only works for me when it's properly stylized, which is the exact opposite of Erice's documentary style.

Bettinelli-Olpin and Gillett trying to revisit their Ready or Not success. Abigail is a good enough attempt, but it doesn't hold a candle to their first film. For that, the promotion material was too spoiler-ridden, while the film itself feels a little too repetitive, and the overall quality is lacking in places.

Watanabe and the Suzuki connection. Seijun Suzuki featured in Watanebe's first, Watanabe in his turn took on a role in Pistol Opera. Loved Gun feels like the love child between Suzuki and Watanabe. It's a weird film, mixing cartoonesque Yakuza violence and absurd comedy with a deeper layer of melancholy. The cast is excellent, Watanabe's direction is confident and the mix of styles still feels fresh and unique. I'm not sure if there's a large audience for films like this, but if you like films that are a little different, this is a certified hidden gem.

For a few years now, the Farrelly brothers have also been doing solo projects, with varying levels of success. Ricky Stanicky is the type of film they'd use to make together, a lowbrow comedy with a little feel-good drama in the second half to even things off. A classic late 90s/early 00s US comedy in other words.

A classic Russian horror film. The film was made in the late 60s, but they could've fooled me if they told me this was a 40s flick. The effects are horrendous, so much in fact that it almost turns the film into a comedy. But maybe that's because I was also reminded of the 80s Hong Kong vampire films.

A fine drama. In general, I find LGBTQ+ cinema to be somewhat underwhelming, as it is often too focused on themes and messaging. A Fantastic Woman doesn't just have a more interesting premise, it also comes in a neat and polished cinematic package. That makes it so much easier to sit through.

Bette Davis, an acquired taste. She often acts as if she's doing a silent, which isn't all that fitting for a film like this. Especially as the film leans heavily on the dialogue. Add to that the fact that I'm not a big noir fan, and The Letter was quite an ordeal to get through. Many classic noirs are like that for me.

Mielants demonstrates he's a talented director. Wil is a film that, at least on paper, wouldn't suit me. I'm weary of wartime stories, I dislike the 4:3 aspect ratio, and the fact that it's a book adaptation is a pretty big red flag too. But it turns out Mielants has cinema in his fingers, and so he saves what could've been a dull film.

In the wake of glee, it wasn't too surprising to see a film like this gain popularity. I'm not a big fan of US high school/college comedies, nor bad pop music, but with some comedic additions (Rebel Wilson and Elisabeth Banks are gold) the film remains somewhat watchable. If you ignore the music.