2023 in review
2023 Ego and Real
The end of the year came quickly -- I wanted to have a bit of commentary on the perception of greatness of certain narratives within films I watched last year. 2023 seemed to especially be involved with the biopic or auteur films as myth making - frankly the more I watch films based on "real" events the more it establishes the falseness of film as a means to portraying truth. The established facts are made for a melodrama- and in the course of the telling it reflects the authors need to attach themselves to that greatness. For Nolan this is a technical fetishism involved with Oppenheimer- both in how it was marketed and the abstracted nothingness of dust collecting in macro visuals. Nolan is not so concerned with the Atom Bomb itself as he is with a creator that obsesses over his own profundity. The latter half of the film could have been a film in itself and not needed the theatrical bloviating of the marvel of science (and therefore Nolan's craft) from the first.
It is within this fascade of auteurness that we get into the competency porn genre- Of such massive personalities that one just can't help but be captivated by the brillance of a performance so that there will be enough oscar chum to go around. Tar is one of these films- Where Cate Blanchett portrays an overindulgence in ego. Unfortunately the film doesn't really extend anything about sexual harrassment or the emotional resonance of the subject matter either- of how music establishes itself within an artist. The film is not so concerned with this as to create a cult of persona.
Within that same subject we get what is supposed to be a meta commentary on competency itself- The Killer's team-up of Fincher and Fassbender seems to want to laugh at Fincher's thriller work. However the final product is quite dry- and dumbwitted- the irony of a all knowing assassin that doesn't know he's really just another slouch. The obsession of the body of Fassbender isn't helped to point out within a film when there's marketing within the real world on how to get the same body in Men's Health. Saying so, we're getting into an artistic hypocricy of evaluating a normal life as boring- the worst thing that could happen and finding that you yourself are not so competent too. The joke could be on the character- or the audience itself for actually finding enjoyment from movies that really do embrace the action genre. Sure I got the joke- but it doesn't make for a very good film.
That's not to say that genre film is always great- even when embraced enthusiastically. Rebel Moon is a complete disaster of a movie. Snyder can't help but emphasize the wong things- both from slow mo on grains of wheat to short changed world building of a sci-fi roleplaying adventure. If you're trying to recreate space opera it's probably not the best to set most of the dramatic conflict over some farmland... It seems pretty absurd when resources from starships and fuel could be utilized in better ways. That and obvious facist references and lackadasical plot twists make Jupiter Ascending look good (JA knows how ridiculous it is).
There's a few other films within the greatness biopic like Napoleon or Maestro that I never got to watch- and perhaps I'm at a place where I'm thinking why bother? I eventually started 2024 with watching the Fablemans- Spielberg on Spielberg that doesn't really create any sense of Spielberg himself, but rather a reimagined cast of characters around him. I don't see introspection there- just a recreation of what truth is for the audience. It's something I'm more aware of- and finding less patience for. If anything there's a particular flow to creating a good story that seems to get muddied when these films focus too much on character study.
Watching gangster films over Thanksgiving always feels appropriate as they tend to have hours long buildups--Black Mass gets very lost in Depp's thuddingly cold portrayal of a killer- where Goodfellas has such a great momentum behind it that it doesn't really feel so much like a "real" biopic as an interesting story that has a reason for being told. The reliance on good music to help build that momentum does help, but the construction of the scenes together towards a frenetic ending help the pacing as well. Watching Casino in comparison feels so oddly lost- like Scorsese didn't really know what story was being told so there's not a lot there to connect with. It's oddly funny then having Scorsese comment on the value of real cinema in comparison with Superhero films vs his own body of gangster cinema that mythologizes in a bigger than life- superhuman way.
In a more humanistic portryal of superhumans- Rush by Ron Howard allows for a rivalry of real life F1 racers to have that melodramatic arc, but without feeling like the Director's hand is stifling the project. It becomes less about Howard's body of work as it is telling the story itself- without having to fully embolden the audience to fully like the characters on screen. The adrenaline rush of the cars too work as a natural sense of wonder and escape- but allowing the present danger to have ramifications within the story too. Gran Turismo too seems like an out of the world setup of video game driver becoming a real world racer- unfortunately the story melodrama needs to counterfeit some of the elements of timing within the life of the driver to give emotional oomph, but generally it succeeded in presenting passion for what a driving simulator can be- even as some of the characters feel more like cutout antagonists that get in the hero's way.
This quasi realistic choice is contrasted to the hyper aware meta reality of a Wes Anderson film- especially Asteroid City where the false world of an artistic endeavor is brought on screen with existential qualities. At least to that end it feels like there's some point to the stage like quality of the work- even if it does seem to wrap itself in its own craftmanship- the monotone quippy dialog driven at frenetic pace while keeping the emotional connection as a desert. This is not without a particular design, but it's hard to really connect to- perhaps an alien encounter really just makes sense when everything else is so false.
This meta connection to a body of work a Director is on full display in the films Cat in the Brain and the House that Jack Built. Where Cat in the Brain makes a question into the author's mind as a silly splatterhouse endeavor - it has a certain comedic element that makes for a fun context for Fulci's work- even if a lot of the scenes are just spliced from one film. The House that Jack Built in comparison almost seems like a guilty plea from an egomaniac, fully deriding his false artistry even as his wallowing self inverts to a special place in Hell. Perhaps nothing more needs to be said for Von Trier's self pity, but this is a provacateur making provacation. It's a hard to watch film, but one that absolutely is about how we contrive our own narratives.
Nope however constructs a genre movie that embraces old science fiction invasion movies- as a celebration of cinema and early black artists that worked within Hollywood. This passion for cinema comes through moments of a man on horseback going full speed against an unknown force. And though the quality of the work perhaps doesn't live up to some of the more knotty reveals of Peele's other work I wonder if this won't grow in appeal with repeat viewings. Sometimes having a straight forward film can be enough. How an artist delves into work is again emphasized in Sion Sono's Why Don't You Play In Hell? as a Japanese film club finally finds their cinematic moment with a group of Yakuza- no matter the cost of life and limb. Earlier in the year I also watched Hugo- but Scorsese's "love for cinema" film never really finds much wonder within its own narrative.
That's my point here- what drives a good movie can't just be a "truth" hook or how serious the subject matter is, but why are we watching this in the first place? Is it to reflect the Director's own attachment and ego? Or does the audience's experience with the narrative resonate in a way that connects. A film can't be everything- and the quality doesn't suffer from having a different aim.
Here's the Tier list for 2023- how I feel months after watching and whether they resonate.
Halloween/Horrorvember Tier List:
Prelude to Horror- All top Line
Possession
The Handmaiden
The Blackout
First Reformed
Blind Beast
They Cloned Tyrone
Top Line--
The Devils
Return of the Living Dead
Onibaba
Nosferatu the Vampyr
Madman
Antiviral
2LDK
Samurai Reincarnation
Cemetery Man
Faults
Safe
Great Films---
Kwaidan
Repulsion
Trauma
Phantom of the Paradise
Jacob's Ladder
Road Games
Rosemary's Baby
The Exorcist
Better on Rewatch--
Angel Heart
Event Horizon
Death Proof
Addams Family Values
Splatter and Silly Cheeze-
Intruder
Blood Sucking Freaks
Death Spa
Xtro 3
The Lair of the White Worm
Thirst 1979
The Boogeyman
The Dark Side of the Moon
Terror Train
Cat in the Brain
Mehness—
The Exorcist 2
Count Dracula 1970
Blacula
Annihilation
Totally killer
The Pope’s exorcist
Renfield
Puppet master 2
Infinity Pool
Hanging heart
Graduation day
Death Line 1972
The red queen kills 7 times
The addiction
Seven notes in black
Mommie Dearest
Gothic
Demons 2
Trash—-
Knock at the Cabin
The Skin I Live In
Insidious: the Red Door
Ghostbusters: Afterlife
Deadly Blessing
The Blackening
The Dentist
Terror at Tenkiller
Return living dead 2
Midnight 2021
Lepruchaun 2
House on sorority row
Halloween resurrection
Creepshow 2
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2023 Full Year Top Films- (after watching about 320ish films)
Burning Paradise- Great adventure Martial Arts Film that feels similar to Indiana Jones and the Temple of Doom
The Menu- Horrific bleak comedy that skillfully plays on haute cuisine.
Decision to Leave- Park Chan-wook may have made another masterpiece on the level of the inspiration from Hitchcock's Vertigo. A darkly wonderful Neo-Noir.
The Yakuza- Paul Schrader and Robert Towne develop a layered script on Post-WW2 Japan as much as a detective westerner in the 70s could grasp cultural discovery. Interesting film
X - Although Pearl may add to some interesting backstory, this horrific film thematically explores aging and sexuality
Deranged 1974-- Pre-Chainsaw Massacre Ed Gein that sets a lot of imprinted images that are similar to the grotesque aesthetic of that horror landmark.
Barbie- I think this hit a wonderful cultural moment post pandemic on how we interact with gender and self acceptance
Double Indemnity- Old school Noir that features such great chemistry and a musical syntax to the dialog.
New Rose Hotel- Abel Ferrara's erotic self destruction mindfuck narrative is oddly fascinating. Willem Dafoe and Walken.
Burning 2018- Steven Yeun may be one of my favorite actors now- a bombastic slow moving film that builds tension.
Joint Security Area- Park Chan-wook's human look at the division of North and South Korea is heart breaking.
Why Don't You Play in Hell? Sion Sono's love letter to cinema- splattered in blood and guerilla film flair with yakuza ridiculousness.
Mama Mafia - A funny inversion of typical gangster movies as Toni Collette takes over as a Mob Boss
The Nine Demons- Amazingly odd demonic Kung-Fu movie with trippy sequences and great fight scenes
Playing With Fire (1975)- Meta Bafoonery as a kidnapping goes badly- sleazy Eyes Wide Shut like silly that pushes a dreamlike quality for the movie.
Come Drink With Me- 1966- Great Wuxia martial arts movie that has amazing swordplay and really should be watched to delight in the cinematography of the stunts.
Paris When It Sizzles- Audrey Hepburn as a typist for screenwriter William Holden begets some wonderful career meta commentary on Audrey's previous roles. Also some hilarious snipes at "method" actors in 1964 that has relavance today.
Highlander- first real watch- epic feeling of dark fantasy with 80s pitch black lighting. Clancy Brown really eats up every scene he's in too.
The Umbrellas of Cherbourg- Catherine Deneuve in fashion-- beautiful cinema and some melancholy for a romantic musical.
M3gan- kinda fun chucky like update with a dancing murderdoll. Unfortunately wasn't as scary as it could be.
Cain At Abel- 1982 - as harsh as a biblical story. Shows how violence begets violence through generations
Election- Another amazing 1999 movie. Reese Witherspoon plays a perfect overachiver. Broderick's performance as a man who can't allow his obnoxious female student to succeed shows the logical leaps a character like this can go through to hold his ego.
Dungeons and Dragons: Honor Among Thieves- The film did a good job with showcasing how actual gameplay feels with a group. The banter and fantastical quest felt part of the D&D world.
In Bruges- Though I wasn’t as taken to The Banshees of Inisherin I have always liked this Farrell and Gleeson teamup. A crass and funny assassin film set around Xmas.
Classic Rewatch——————————————
The Fifth Element- The pacing and flow to this really make it a constantly wonderful movie to watch.
The Shining- The Horror epic-- every time noticing small differences in the characters and how they interact
Fargo- Cold and darkly funny. The Show is great too. Runs at a quicker pace than I recalled as it's only 90 mins.
Showgirls- May as well be a classic now because of how ridiculous and over the top these sequences are. Great on rewatch and knowing it's campy
Willy Wonka and the Chocolate Factory- I love how lightly sinister Gene Wilder is as Wonka.
Bad Santa- Billy Bob Santa Claus is a perfect movie to break the sweetness of most Xmas films.
John Wick- The first film has a great mystery to the world and character that doesn't need to become bloated in extraneous plotting.
Cheezy and WTF movies——————————————————
Hell Comes to Frogtown- Roddy Piper in a post nuclear sex symbol. Hilarious and stupid
Freeway II: Confessions of a Trickbaby- Natasha Lyonne's a manic and disgusting psychopath. Beyond crass exploitation movie.
The House that Jack Built- Meta Lars as a creative serial killer is a sad Lars. Or is that part of the process?
Chained 2012- Jennifer Lynch directs a harsh horror with Vincent D'Onofrio's menacing serial killer.
Shin Masked Rider- Japanese Superhero Splatterfun movie that just screams cinema!
Space Truckers-- A live action cowboy bebop like movie from 1996 that stars Dennis Hopper, Stephen Dorff, and Charles Dance? Hilarious and bad and kinda wonderful
We are the Flesh- 2016 - a horrific and gross tale of mexico delivering itself into the abyss with drugs. Gaspar Noe levels of tedium and absurdity
Mindwarp- 1992- kinda awful almost Matrix setup that goes B-Grade Madmax
Evil Laugh- Campy B-level slasher that has some meta trashy wonder to it
Moebius 2013- Weird fucking movie about family and castration while alienating what it means to be a man
Mannequin- 1987- Andrew McCarthy falls in love with Kim Cattrall as a shopping mannequin that takes human form. Pretty silly fun for an 80s romp with a cheezy James Spader performance
Bones and All- Timothee Chalamet and Taylor Russell as cannibals in love doesn't quite push the boundary of how a horrific romance this could be. In some ways becomes too meetcute and typical romcom that belies some grotesque sequences that make it disjointed.
I See You- Helen Hunt is oddly not the best of this scary home movie. There are some twists here, but unfortunately doesn't make it excellent- but cheezy in any case.
Wicked 1998- Julia Stiles in a trashy thriller with evil intentions is a worthwhile b-movie.
An Evening With Beverly Luff Linn- Straight faced oddball comedy with askew what the fuckery. Aubrey Plaza silly dreamscape.
Wild Ochid II: Two Shades of Blue- A sleazy erotic noir mystery that feels like it could exist in some of the same bars of a Lynch movie. Sex and Sax
In the Mouth of Madness- John Carpenter's Lovecraftian horror movie isn't too bad- perhaps one that deserves a few watches as Sam Neil plays a horror author.
**whew! That’s quite a few movies. I wanted to focus on the better or more interesting ones. I’ll be writing in 2024 to highlight specific movies and general cinema thoughts!