Directed by Sarah Smith, Barry Cook Written by Peter Baynham, Sarah Smith
The review:
Even if this movie didn’t have a scene that takes place in Idaho, it would be worth watching just for the action movie–style depiction of how presents are delivered using the S2, a googleplex of elves, and a doddering Santa, but what makes it a magical Christmas movie is how that operation is contrasted with a simpler one later in the film.* The story of Santa’s second son Arthur, this film has all of the hallmarks of a quality Christmas film: wonder, delight, sorrow, hilarity, and steadfastness. The worriers among us will love how Arthur harnesses that feeling to save Christmas and those of us who hate wrapping presents will marvel at the elf Bryony’s** skill in a time of need.***
The verdict: Recommended
Cost: $2.99 via Redbox On Demand Where watched: at home
Directed by Baltasar Kormákur Written by Aaron Kandell, Jordan Kandell, and David Brandson Smith
The review:
I think one has to be in a certain mood to watch survival-at-sea-type films, and if you are anywhere near such a mood, please find time for Adrift which is not only a solid entry into the genre, but a great depiction of a woman getting things done.* I thought the back-and-forth structure worked well for the film’s general tension—there was both respite and insight in the flashbacks and I liked how they were often linked to the present. Claflin is good, and Woodley is her usual excellent self, so there’s no reason not to find and watch this film of survival.
The verdict: Recommended
Cost: Netflix monthly fee ($8.99) Where watched: at home
This article wondering where all the female-centric survival films are
Further sentences:
*That we don’t have a better pipeline to these types of films is frustrating. I was intrigued by the trailer but did not prioritize this film for a few years. Part of it was not being in an ocean survival mood, but I wonder if I would have been quicker on the draw if I knew how much woman power this film has?
Questions:
How would you have cut the trailer to better bring out this story?
What’s your favorite Shailene Woodley role?
Favorite IMDB trivia item:
According to Shailene Woodley, there were times on the open sea when, except for the director and cinematographer, everybody was throwing up overboard due to severe seasickness.
(I’ve never wanted to be an actor, and for sure I’ve never wanted to film a movie on open water.)
Directed by Alfred Hitchcock Written by Robert E. Sherwood and Joan Harrison
The review:
Rebecca has the usual problems one runs into with a film older than my social-security-collecting parents,* but that shouldn’t keep you from watching it. It’s a whole atmosphere, from the first line** to the last, iconic image, and so much of what’s fun about the atmosphere is the head housekeeper stink-eye provided by Judith Anderson. This is a great intro to Hitchcock, both for the universality of feeling being in over one’s head and for the Hitchcock camera angles.
The verdict: Recommended
Cost: Free via DVD copy from the Multnomah County Library. That copy kept freezing, so I also watched part of it via TV Time, the Roku channel that shows old movies and has commercials. Then the internet dropped out, so I went back to the DVD. It was a journey. Where watched: at home
*Older man treating the woman he loves like a child, the woman in question wandering through her life, the couple “falling in love” in the time it takes a rich lady to recover from pneumonia, the proposal that was a put down, etc. The infantilization of women in classic films is sometimes hard to take. **”Last night, I dremt I went to Manderley again” gave me chills and when paired with the visual and the distant tone in Joan Fontaine’s voice throughout the monologue, propels this first line right to the same territory as: “As far back as I can remember, I always wanted to be a gangster.”*** ***Goodfellas. AFI has neither of these quotes on its list of top 100 movie quotes, but what do they know?
Questions:
What would your reaction have been, coming home to Manderly?
It’s weird that there aren’t any titles used, eh? Like is he a lord, or a commoner from a very rich family?
Favorite IMDB trivia item:
The first movie that Sir Alfred Hitchcock made in Hollywood, and the only one that won a Best Picture Oscar. Although it won Best Picture, the Best Director Award that year went to John Ford for The Grapes of Wrath (1940).
For those interested, back in the 90s, I watched an interesting documentary called Hitchcock, Selznick and the End of Hollywood. I really liked the comparison between the two men and it’s worth searching out. It seems to be an episode of American Masters.
Full opening quote: (Though more fun to watch. I’ve got it queued up here.)
Last night, I dreamt I went to Manderley again. It seemed to me I stood by the iron gate leading to the drive, and for a while I could not enter for the way was barred to me.
Then, like all dreamers, I was possessed of a sudden, the supernatural powers and passed like a spirit through the barrier before me. The drive wound away in front of me, twisting and turning as it had always done. But as I advanced, I was aware that a change had come upon it. Nature had come into her own again, and little by little had encroached upon the drive with long tenacious fingers, on and on while the poor thread that had once been our drive.
And finally, there was Manderley. Manderley, secretive and silent. Time could not mar the perfect symmetry of those walls. Moonlight can play odd tricks upon the fancy, and suddenly it seemed to me that light came from the windows.
And then a cloud came upon the moon and hovered an instant like a dark hand before a face. The illusion went with it. I looked upon a desolate shell, with no whisper of a past about its staring walls. We can never go back to Manderley again. That much is certain. But sometimes, in my dreams, I do go back to the strange days of my life which began for me in the south of France…
It’s baby boomer nostalgia written and directed by our favorite walking and talking baby boomer: Aaron Sorkin.* But this is baby boomer nostalgia that all generations should catch up with because holy cow, the parallels with today. This film has a tight script,** great performances,*** and manages to balance ten-plus main characters in ways that let them have their moments.****
The verdict: Recommended
Cost: Netflix monthly fee ($8.99) Where watched: at home
Consider also watching:
Inherit the Wind
Primal Fear
12 Angry Men
Anatomy of a Murder (interesting just to compare then and now)
*You know, walking and talking like in The West Wing. I had hoped that Sorkin was born after 1965 so I could have said: …baby boomer nostalgia written by everyone’s favorite Gen Xer that includes political parallels that will seem familiar to the millennials and Gen Z-ers. But alas. Sorkin was born in 1961 and he’s too old to be a Gen Xer, so no dice with that sentence. **The intro of the many players is handled in a robust and amusing fashion. ***Tom Hayden and Abbie Hoffman are the main players, and to my great surprise Hoffman was played by Sacha Baron Cohen. I had no idea! ****I liked seeing the different approach to protesting that the various groups brought. It’s common to hear about “the protesters” during the 60s, but they didn’t act as one body.
Questions:
What part of this film reminded you of today?
Which of the seven (eight) did you identify with most?
Favorite IMDB trivia item:
Sacha Baron Cohen admitted he was terrified of having to do an American accent for the film. He had used a few different variations of the accent before for comedic reasons, but never for a dramatic role. He knew Abbie Hoffman had a unique voice, having a Massachusetts accent but also having gone to school in California, and was worried he would “sound wrong.” Aaron Sorkin had to reassure him that the role was “not an impersonation, but an interpretation,” which Baron Cohen claimed did not help much.
This film tricks you into thinking it’s a kind of rich-people problem, white-woman-depression film, but Soloway is so good at ratcheting up the tension that at the critical juncture I had trouble breathing as I waited for the hammer to drop.* The camera keeps its eye on Kathryn Hahn, which is a treat for the audience because Hahn’s dramatic roles are as good as her comedic ones.** Her relationship with the stripper McKenna*** drives this forward while also catching markers of wealthy moms-with-school-age-kids life.****
The verdict: Recommended
Cost: free via Hoopla, Multnomah County Library’s lesser streaming service. Where watched: at home
*It also began with a car wash scene that captured the magic I feel whenever I travel through that magical washing machine. **Check out Private Lifefor drama and Bad Momsfor comedy. ***I watched this movie that prominently features a stripper the same day I wrote a newsletter about how few men have to consider stripper roles when looking for work. There’s a lot to unpack when it comes to stripping as a profession, which I won’t do here, but please know that Juno Temple was the complete package when it came to her character. ****I saw aspects of this life when I worked at a charter school. It strikes me as yet another oppressive part of being a mother that no one talks about. Props also to Annie Mumolo as “Kosher Amanda” who I’ve just realized is “Barb” in Barb and Star go to Vista Del Mar, thus ensuring I will prioritize this film when it appears. She also has a story credit for Joyand co-wrote Bridesmaids.
Questions:
What do you think was Rachel’s motivation for bringing McKenna into the household?
What do you do to shake up your life when you get stuck?
Favorite IMDB trivia item:
(Also the only IMDB trivia item) One of Quentin Tarantino’s favorite movies from 2013, according to Variety.
There’s a sense of peace that comes over me when I watch any Kelly Reichardt film.* Watching Cookie and King-Lu form a friendship and a business in the time of early 19th-century Oregon was a quiet meditation on friendship and dreams of the future. As always, the dialog is sparse, the actors telegraph much,** and the landscape is almost another character.
The verdict: Recommended
Cost: $3.99 via Redbox On Demand Where watched: at home
*It’s the equivalent to those people who find it calming to hear people whisper. **Watching the actors in a Reichardt film is always a treat, and this pair (John Magaro and Orion Lee) reminded me a lot of Daniel London and Will Oldham in Old Joy. So much unsaid but still said!
Questions:
Did you feel the opening of the film unduly influenced your viewing of the film?
Why do you think Cookie and King-Lu connected?
Favorite IMDB trivia item:
First Cow (2019) is the first Kelly Reichardt film to receive a PG-13 rating.
(I can’t think why. Language? Common Sense Media says language, drinking, and smoking.)
Directed by Lynn Shelton Written by Lynn Shelton & Michael Patrick O’Brien
The review:
Low-key humor is my favorite thing about Lynn Shelton movies* and Sword of Trust provides a full scabbard. The other thing she does well is to showcase relationships; in this film we get to see a long-term relationship between Cynthia and Mary,** plus how they interact with two pawn shop employees*** when they go to sell the inherited sword that purports to show the South won the Civil War. The film takes a few gentle pokes at internet conspiracies and had more than a couple great scenes with Marc Maron**** that elevate an already solid movie.
The verdict: Recommended
Cost: $5.99, because Matt and I split a month of ad-free Hulu plus some shenanigans with a free trial of Hulu+Showtime because Hulu lied to me and said this movie was available on Hulu. Where watched: at home
*Though she died in May, I’m not up to writing about her in the past tense. **Jillian Bell and Michaela Watkins who also starred in the excellent Brittany Runs a Marathon ***Jon Bass’ commitment to his slack jaw was impressive. ****Maron talking about how he came to own the pawnshop plus his interaction with two men harassing the group.
Questions:
What’s your favorite part of a Lynn Shelton film?
What was the best nickname in this film?
Favorite IMDB trivia item:
Marc Maron scored the film. The blues guitar solos heard throughout were played by him.
While it’s Andy Samberg* who gets this movie started, it’s the delightful performance of Cristin Milioti** that pushes this comedy into a fully rounded film that is something more than a funny romp through a wedding. The relationship between the two leads is the joy of the film, with a little J.K. Simmons as a disgruntled wedding guest sprinkled in for bonus fun. I went in knowing nothing, pulled the boyfriend in to watch it at J.K. Simmons’ first appearance, and greatly enjoyed myself.***
The verdict: Recommended
Cost: Hulu subscription (with Disney+ $12.99/month) Where watched: at home, with Matt who also enjoyed it.
*I am mostly familiar with him through his comedy pieces like Pop Star: Never Stop Never Stopping **I enjoyed her in It Had to Be You, and am hoping I get to see more than her. So far she seems to have shown up on TV series. **That said, this isn’t a cinematic masterpiece. It’s a solid film. Don’t go in with your expectations set too high.
Questions:
How would you have spent that day?
Shall we discuss the dinosaurs?
Favorite IMDB trivia item:
Palm Springs broke the record for most-viewed Hulu release in its first weekend on the streaming service.
Directed by Christopher Nolan Written by Christopher Nolan
The review:
Nolan’s love of playing with time adds a ton to this taught, tense* depiction of a memorable event. The cast is well balanced, with mostly unknowns playing the men on the beach** and more well-known actors (and members of his informal company) handling the sea and air roles.*** I love this film for portraying how random war is, for the differing time lines, and for how much feeling wells up when those boats appear.
The verdict: Recommended.
Nolan’s best film!
Cost: $3.99 via Redbox OnDemand Where watched: at home
*Unlike Interstellar and Inception, Nolan never lets the narrative get away from him. It’s also a much shorter film. Coincidence? **It is at this point that someone usually brings up Harry Styles. Yes, he is in this film. Yes, teenage girls also like him. All of those things are okay. Move on. ***“Is Michael Cain in this film?” I asked Boyfriend Matt as it started. We both did the squinting off into the distance thing while we pondered. My question was answered quickly when Cain’s voice came over the radio, talking to Tom Hardy. And the pretty-eyed Cillian Murphy made an appearance too.
Questions:
Which is your favorite story: land, sea, or air?
Which character is the heart of this film?
Favorite IMDB trivia item:
In the sequence where the Spitfire ditches into the English Channel, an IMAX camera was strapped into the cockpit to film Collins (Jack Lowden) trying to get out. However, during filming, the plane with the camera still inside sank quicker than predicted. It took so long to retrieve the plane, that the IMAX camera housing filled with water, potentially ruining the expensive camera and the film inside. Christopher Nolan used an old movie technique of keeping the film wet, and shipped it back to Los Angeles, getting it processed before it dried out. The take from that scene is in the movie.
Directed by Thomas Kail Written by Lin-Manuel Miranda
The review:
Recreating live theater experiences on film* is a tricky feat, and I’m pleased that this effort was a successful one.** I’m also thankful I can see a simulation of what everyone was talking about five years ago.*** I found this to be a deeply nerdy musical**** which didn’t take away from how enjoyable it was; my standouts were Renée Elise Goldsberry as Angelica, Jonathan Groff as King George,***** and Daveed Diggs, who was good as Lafayette, and amazing as Thomas Jefferson.
The verdict: Recommended
Cost: $13.00? (Matt signed us up for some combo Hulu/Disney+ deal which we will evaluate if we will continue.) Where watched: at home with Boyfriend Matt
*Or “film” given that digital has taken over. **Other “live” experiences I’ve taken in this year that were great: Homecoming, a Flim by Beyonce, Stop Making Sense. (Those are both concerts, though, not theater.) ***My plan was to see Hamilton on it’s second run through Portland as it was impossible to get tickets in my price range during the inaugural run. It looks like theater is paused for the foreseeable future, so I’m glad this option was available. ****Musicals are already the nerdiest of performance mediums. (And I say this as a big fan of musicals) Layering on a studious biography about early American politics increased the nerd factor exponentially. *****I had no idea about this character and enjoyed him so much. “Sweetheart, it’s a domestic violence song!” I exclaimed during his first number.
Questions:
Who gave your favorite performance?
What’s your favorite stage-to-screen musical adaptation?
Favorite IMDB trivia item:
Filmed over the course of three days in June 2016. It started by filming a live Sunday matinee performance with cameras in the audience, after which the cast and crew spent the rest of the day and evening filming close-ups, dolly shots, and crane shots. Filming continued all day Monday (normally the cast’s day off) with more close-ups and Steadicam footage. More filming took place on Tuesday morning, before shooting another live performance on Tuesday evening, with cameras again in the audience but in different positions. Lin-Manuel Miranda said, “It was basically a three-day film shoot with the best-rehearsed cast in the history of the movies, ’cause we’d all been doing the show for a year at this point.”
