FAVE FIRST VIEWS-NOVEMBER
1. My Night at Maud's (Rohmer, E. '69)
2. Kiss Me Deadly (Aldrich, R. '55)
3. True Stories (Byrne, D. '86)
4. Melvin and Howard (Demme, J. '80)
5. The Last Days of Disco (Stillman, W. '94)
Today also had THE IRISHMAN which is of course a masterpiece and has Scorsese closing the film with what is probably his best piece of filmmaking. That minute redefines an opus as a testament to melancholy through memory. Top 3 Scorsese.
@unspooled in conversation with @rianjohnson discussing Albert Brooks’ MODERN ROMANCE (an all-timer) is apt upon MARRIAGE STORY’s release. The ANNIE HALL comparisons are clear but couldn’t get Brooks’ work out of my head whilst watching.
LUCY IN THE SKY is a baffling, admiral failure at almost every level. Incoherent, faux-existential hokum packaged as a prestige piece. Reminds me of Ryan Gosling’s LOST RIVER (I’m a fan) without the ideas or intrigue.
Walter Matthau is a joy in HOPSCOTCH and the film acts as a succinct distillation of his star power. This very good essay is a perfect companion piece and nails his screen presence. https://t.co/OM5ZQK5Hpu
1 shot on target tonight!! 2 wins in 10 in the league. No definitive style or plan. Negative goal difference. No improvement in the defence. Not creating anything. Why would Laca or Auba renew? Can't blame them! We have to make the tough decision Arsenal! It's not getting better!
FAVE FIRST VIEWS-OCTOBER (bumper month)
1. The Silence (Bergman, I. '63)
2. Aparajito (Satyajit, R. '52)
3. Orphee (Cocteau, J. '50)
4. Kwaiden (Kobayashi, M. '65)
5. The Spirit of the Beehive (Erice, V. '73)
6. Sabrina (Wilder, B. '54)
7. The Grapes of Death (Rollin, J. '78)
Still haven't fully wrapped my head around ZOMBI CHILD (@mubiuk from today), but Bonello's dealing with cultural appropriation is both provocative and sensitive. The film itself is disorientating and seductive and often plays like an American Apparel advert.
Man, Dennis Hopper is real nutso in Roland Klick’s WHITE STAR; a bizarre-o rock-pic that half heartedly plays like a post-cold war paranoia flick. Worth it alone for a joyous coked up Hopper.