What I watched: July 2023

People Just Do Nothing: Big in Japan

As a big fan of the tv series, I had to check this out. Film adaptions of tv shows can be very hit or miss. The increase in scale and timings often leaves characters that work well on the small screen feeling out of place. Thankfully, this is not the case here. As an already ridiculous show, they utilise a big film budget by ramping up the absurdism whilst importantly not losing what made the characters so beloved in the first place. A great send off to one of the funniest shows of the 2010s.

3/5

The Darjeeling Limited

After checking out Asteroid City, I felt compelled to return to his earlier works. Post cinema viewing, I was speaking with a friend, and she told me that this was her favourite of Wes’ films. This surprised me as it ranks last in my ratings. However, her points made me want to check it back out and see if I had been harsh in my initial rating. I must say, whilst it is still my least favourite of Anderson’s efforts, it is still a brilliant film. It is the most real of his films and quite a big tonal shift. Anderson’s films often carry a melancholic air, with more metaphorical and allegorical addressing of emotional beats. This addresses trauma and family dynamic head on and aggressively. It still carries the classic Anderson wit and style but utilises it in a more subtle way. Whilst it did not move up in my Anderson rankings, I did gain a new appreciation for this film.

3.5/5

Casablanca

I went and saw this by chance really. I was at the Asteroid city pop up and then went to the screen on the canal at Kings Cross to watch the end of Wimbledon with some friends. The weather was lovely and so we ended staying and then Casablanca came on. I had heard a lot about this film but had no great desire to check it out, maybe it is the cynic in me. I really enjoyed this film; it deserves the reputation it has as the ultimate romance film. The story is simple enough, forbidden love, but it does so much with it. The moody atmosphere is amplified by the black and white cinematography and lingering shots. The stakes are raised with the added political tension to result in one the best and most iconic endings in cinema.

4/5

Being John Malkovich

I am a sucker for an absurd plot and I think this might take the cake when it comes to ridiculous plots. A bit like the tiny door in the film, this was always going to suck me in and it is just as good with each rewatch. I am a big fan of Spike Jonze (https://www.threeactstructure.com/post/yeah-right-the-overlooked-art-of-cinematography-in-skateboarding) and pairing him with Charlie Kaufman’s writing is a wonderful fever dream come true. This film is so good and balances the perfect line between silly and effective writing. I cannot really say too much without spoiling the magic of this film so all else I will say is do yourself a favour and check this out!

5/5

Barbie

I spoke about this extensively in a full review (https://www.threeactstructure.com/post/barbie-a-classic-brought-back-to-life) so I will keep this brief. I loved this film and the vision that Greta Gerwig has for this character. She continues to be an incredible voice in film making and I am so excited to see her next venture!

4.5/5

Indiana Jones and the Last Crusade

The most recent Indiana Jones entry made me nostalgic for the original trilogy, especially the Last Crusade. Watching this, there is no comparison to with the last one, in fact it feels like it is chasing the magic, trying to replicate this. This is a special film that sums up what is so great about this series. The action set pieces are incredible, the jokes are on point, the story combined with the mystery is engaging and the dynamic between Indy and his father is a nice twist that elevates this to one of the best adventure films of all time. It also highlights the flaws of the new one and how this series really needs to be left alone now.

4.5/5

Human Traffic

Dazed and Confused for the MDMA generation. I cannot help but draw comparisons to Linklater’s classic due to the heavy drug use, multiple character approach and loose story. This film makes itself its own through its abstract shots and storytelling, dissecting scenarios in very fourth wall breaking shots. It is a fun time, but the gimmick gets a bit old after a while and at times detracts from what is actually a pretty good story and character development.

3/5

Baghead

Post Barbie scrolling through Mubi led me to this Greta Gerwig starring indie movie that is part of the mumblecore craze of the late 2000s. I was not aware of ‘mumblecore’ before and to be quite honest I won’t be seeking it out much after viewing this. When it works, it is incredibly effective, I found one scene excruciatingly painful to sit through due to the awkwardness. However, it often dragged and felt directionless often self-congratulatory and smug in nature when it was far from earned. It was entertaining enough though.

3/5

Death Proof

I had been avoiding this Tarantino effort for a while due to the bad reviews I had heard. I often see this labelled as his worst film and after seeing this I really do not understand that view. This was fantastic! It is a very blatant homage to the exploitation cinema that Tarantino grew up on and his passion bleeds through in such a fun way. This film is an absolute blast, fantastic performances, particularly Kurt Russell as Stuntman Mike, incredible practical stunts, and a banging soundtrack. This film utilises a split in a wonderful way to fully indulge the genre. The first half revels in the fetishisation and exploitation that was typical of the style. The dialogue is goofy and ridiculous, and the female characters are nothing more than props for sexual and violent fantasies. This changes in the second half, with Tarantino reclaiming the genre and handing the power back to the women. This might have the most satisfying ending to a film of all time. Tarantino also alludes to his appreciation for the forgotten stuntman. It is a theme he develops on with Once Upon a Time I Hollywood but gets ample focus here, with Uma Thurman's Kill Bill stunt double being given a starring role. An absolute blast of a film!

4.5/5

Planet Terror

Released as a double billing with Death Proof and that is exactly how I watched it. This film’s problem was having to follow the brilliance of Death Proof. Robert Rodriguez certainly has his own style, and it is a lot of fun, the problem is, it just is not as good, not as clear as Death Proof. This film embraces the ridiculousness in the way that Rodriguez is great at, the film is silly, and it knows it. The homage to exploitation film with purposely damaged film and jump cuts is fun, as is the fake trailer at the start. I had fun watching this, it just did not really leave an impression on me after.

3/5

The Life Aquatic with Steve Zissou

Another of Wes Anderson’s films that needed a revisit. I think this is one of the most aesthetically pleasing of Wes’ early works and you can see a lot of its influence n his work today. From the striking colours, silly animation and fun practical sets, it certainly marks the start of the classic Wes Anderson looking film. I don’t think this film gets the shine and attention it deserves, it is wickedly funny and emotionally punchy. The film addresses the impact of personal crises and their impact on others head on. Anderson is fantastic at telling stories of humanity and identity and this is right up there with his best. Despite their wacky and zany nature, Anderson always writes wonderfully honest, grounded, flawed characters that are endlessly compelling and relatable.

4/5

They Cloned Tyrone

For all the rubbish that Netflix churns out, occasionally they allow talented filmmakers to have a voice that they previously might no have in the age of the big budget blockbuster. This is certainly the case with Juel Taylor’s latest effort. This is a fantastic piece of social commentary told through a multitude of genres. The blend of blaxploitation and sci-fi will no doubt draw comparisons to Sorry to bother you, especially with both film’s hilarity. However, whilst there could certainly be influence from Boots O’Riley, this very much its own film. The unique plot is expertly crafted and never once feels tacky or predictable. The three leads have effortless chemistry and Jamie Foxx steals the show with his performance as Slick Charles. If this got lost in the Barbenheimer hype for you, go and check this out!

3.5/5