Lilah ,'Conviction (1)'
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This post brought to you by the fact that I have about a dozen movies checked out the library right now but nothing I want watch.
I feel this.
I started Raging Bull. stopped after 10 min. I started Airport. stopped after about 12 min. I started The Emigrants. stopped after about 20 min.
I have from the Library: An Unmarried Woman, Up in the Air, and Sideways.
I have from the Library: An Unmarried Woman, Up in the Air, and Sideways.
Barring one scene, I like Sideways quite a bit. But I have a certain fondness for Solvang in particular (and wine in general) so that may play a role. I remember liking Up in the Air when I saw it in theaters, but I wouldn't think it has aged well.
I saw Airport a number of years ago. I didn't think it was great moviemaking, but I enjoyed it. Owes more to older movies (maybe '50s soap opera types like Imitation of Life, Peyton Place) than to anything that was New when it was made.
Big multi-plot, cast of thousands disaster movies were all the rage back then. Several of them were based on books. I enjoyed seeing how the different characters would intersect.
I wish I could find a complete uncut version of Goliath Awaits.
Airport is the film that pretty much defined George Kennedy's later career. I saw it in the theatre when it came out, and was ehh about it, except for George.
I like all of those, msbelle. Hope you will, too.
Finally saw Us today. I liked it a lot but don't see it having the resonance that Get Out did. In part for reasons laid out in that Verge article. That said, I'd say it showcases Peele's directing talent far more than Get Out, which was all about the script for me. I am glad to have not read anything before going into it though, so I highly recommend if you plan on seeing Us that you do so sooner rather than later.
Went to see The Mustang yesterday, a terrific small film about a prison-run rehabilitation program for wild mustangs. The parallel between the main character and the horse he is trying to tame could have been much more sledgehammer-y, but by and large, the director takes a light hand. Matthias Schoenaerts, an excellent Flemish actor whom I've seen in a bunch of things and whose name I could never spell and always have to look up, is splendid as the lead and acts almost entirely with his body language and his eyes to a devastating effect. Beautiful-looking film, too. It's the first feature film by Laure de Clermont-Tonnerre, who is French and has done most of her work in front of the camera. Very impressive film for a debut.
This makes for the third movie I've seen in the last couple of years that was made by an outsider on the American West, esp. on the subject of the relationship between a man and a horse, after Lean On Pete by Andrew Haigh (Brit) and The Rider by Chloé Zhao (Chinese). All worthwhile watching, moving in different ways.
Unfortunately, there was a couple that was sitting in the row behind me who would just NOT SHUT UP. They were not even trying to be quiet -- just talking at a full volume for the first 20 minutes and really, really loudly rattling their popcorn bucket and just being rude, thoughtless assholes. I ended up moving away half an hour into the film rather than trying to interact with them. UGH. Why are people so bad about the most basic of etiquette?
"Special hell, for child molesters and people who talk at the theater."