A running tab of movies and series I’ve seen in theaters or at home, and a quick comment about them. I’ve succumbed to the idea of assigning a personal score for each film. My scale:
- 4 Stars – One of the best, well recommended
- 3 Stars – Recommended, but some issues here and there
- 2 Stars – Problematic, hard to recommend
- 1 Star – Disappointment, stay away
2021 Movies | 2020 Movies | 2019 Movies | 2018 Movies | 2017 Movies
Sr., December on Netflix with Allie. Capping off our 2022 holiday binge of films at home, Allie and I mostly enjoyed this offbeat and ultimately poignant documentary by Robert Downey Jr. about his filmmaking father. 3 Stars.
Disenchanted, December on Disney+ with Barb and Allie. Dipping even further into the pit of family friendly films we could all agree to try, we watched this sequel to the treacly but much better 2007 film, Enchanted. This was a mostly awful movie but we had a pretty good time wondering what went wrong with all these talented people involved. 1 Star.
Spirited, December on AppleTV with Barb and Allie. Seeking some other film we could agree to watch as a family, we tried this new musical take on The Christmas Carol starring Ryan Reynolds and Will Farrell. It was not nearly as clever as it wanted to be but I fear it may become a holiday standard within a few years. 1 Star.
Glass Onion: A Knives Out Mystery, December on Netflix with Barb and Allie. We were eager to watch this mystery as a family when Allie visited for the holidays. We hunkered down with dim sum leftovers on the coldest night of the year and had a good time watching this diverting but far from great film. The plot was annoyingly convoluted and the performances were mostly tongue-in-cheek cutouts — an overblown version of any number of British whodunits. But we like that kind of stuff. 2 Stars.
Descendant, December on Netflix. I put this documentary on my Netflix watchlist when it came out in early 2022 but never got around to it. When we visited the Embreys in November and were discussing Rhiannon Giddens, Joe recommended I watch it which I did after I got home. The documentary is excellent and I had no idea that Rhiannon (and Dirk Powell) contributed some of the music. Beyond the coincidence of the music, the story of the descendants of the last slave ship, Clotilda, to arrive in North America is compelling and artfully told, like an onion revealing its layers. I did not realize that the story was given a boost thanks to the 2018 publication of Barracoon by Zora Neale Hurston. That would become something else for me to look into. 4 Stars.
The White Lotus, Season 2 (Sicily), November-December on HBO. I eagerly went along for the Sicilian ride in this second season of the HBO series. I felt the scenery was pretty, the interconnected plots a little silly, a bit too filled with inside references and allusions to films I hadn’t seen, and I couldn’t understand why the characters weren’t more interested in the food. Still, it was a fun ride and interesting to see how the series captured the culture for the few weeks it was on. 3 Stars.
The Banshees of Inisherin, November at AMC Columbia. As a fan of their 2008 film, In Bruges, I looked forward to this reunion of actors Colin Farrell and Brendan Gleeson with writer/director Martin McDonagh. I nearly missed this darkly comic Irish yarn — with the emphasis on dark, and Irish — in theaters but caught it on a Tuesday before it disappeared. I’m glad I did. I would have seen it eventually on TV but I was happy to directly support this kind of film that too rarely gets made anymore. McDonagh weaves a bleak story suitable for a dank Irish evening, but the charm is in the storytelling, acting and small asides. It’s not a film for everyone, but I recommend it for anyone interested in memorable performances, characters, irony and the rugged Irish countryside. Now I can look forward to seeing it again sometime on TV. 4 Stars.
Tár, November at AMC Columbia. Cate Blanchett’s portrayal of the downward spiral of symphony conductor Lydia Tár is well-acted, beautifully done and unnerving. It makes for a memorable, impressive though not necessarily enjoyable film. Set in the high art world (and very cool apartment and cars) of Berlin and sometimes New York, Blanchett creates a realistic character that is herself a product of self-creation, working in a hall of mirrors world that is very nearly our own. There is a lot to admire about the film and production but the downward trajectory of the plot makes this a ride I’m not eager to go on again or unequivocally recommend. 3 Stars.
Amsterdam, October at Snowden with Barb and Leslie. A mostly disappointing use of a massive array of talent to tell an anti-fascist fable based very loosely on the 1933 Business Plot which I’d only vaguely heard of. There were so many big stars deployed in bit roles it was actually distracting. Meanwhile, the tone of the movie wandered haphazardly from farce to caper to romance to buddy film to war commentary to conspiracy polemic. They should have tossed in a few song and dance numbers…oh wait, they more or less did. Amsterdam sits with Don’t Look Up and Death of Stalin as films with heightened expectations and failed good intentions. 2 Stars.
See How They Run, September at Snowden with Barb and Leslie. An instantly forgettable murder mystery loosely constructed around Agatha Christie’s The Mousetrap. This was a light trifle of a film, with Saoirse Ronan being cute and Sam Rockwell being miscast (they could’ve used any number of actual British actors). It might have helped if any of us had actually seen The Mousetrap, the longest running play in the world, going more or less continuously in London since 1952. There’s never been a movie of it because of a contractual obligation to wait until the end of the show’s theater run, or so they say. 2 Stars.
Nope, July at Snowden. I figured I should see what the fuss was about for this much-hyped Jordan Peele movie. I was a big fan of Get Out but skipped his second film, Us, because I fundamentally don’t like horror films. I’d heard enough about Nope to know that it was more of a scifi/alien theme than straight horror so I figured I could handle it. I needn’t have worried, and should probably seek out Us at some point. Peele is playing at a different level than simple shocks. This film is a kind of mashup of Jaws, Close Encounters and Jurassic Park, an ode to Spielberg more than any horror film masters. Without giving away spoilers I’ll say that I enjoyed the ride and admired the craftsmanship and actors even if some of the pieces did not completely make sense. Peele lets you fill in many blanks but I guess I missed some insight into the Jupe character and the connection to his sitcom past. I had to read several articles and listen to a couple of podcasts to sort it out, which is more trouble than it’s worth. Still, I admire Peele for his efforts and the place he has carved himself in Hollywood and American culture. 3 Stars.
Mrs. Harris Goes To Paris, July at Snowden with Barb. I accompanied Barb to this fluffball of a movie for the sake of having dinner at the new Madrid Spanish Taverna tapas place near the theater. The movie, based on a 1958 novel, is a throwback to bygone values and sentimentality. It belies the notion that “They don’t make ’em like they used to.” This one feels like it was made in the early 1960s. Barb enjoyed it more than I did but then she’s more of the target audience, I guess. I don’t know why it got made or how it got a wide release in theaters. It’s not a bad film, and Lesley Manville in the title role is quite good, but I don’t see what point the filmmakers were trying to make. 2 Stars. Dinner at the tapas place, however, was quite nice. Especially the churros. We look forward to taking Allie there.
Elvis, July at Snowden with Leslie. Baz Luhrmann’s take on Elvis was not as bad as I’d feared after reading some mixed reviews and other articles about it. In fact, I think the film did a pretty good job of trying to fit his complicated life and legacy into 2.5 hours. Austin Butler does a convincing and honestly pretty amazing turn capturing Elvis’s looks, speech and mannerisms. Tom Hanks has taken heat, some deserved I think, for his portrayal of Col. Tom Parker but then again, I have no reference of an actual interview or footage of the guy. Luhrmann’s theatrics are mostly held in check and put to good use. The movie can’t be taken as straight history, but it will help cement a negative impression of Parker which I think is probably accurate. If anything, it goes too gently on Elvis’s own involvement and responsibility for some of the bad decisions that made his life more tragedy than triumph. I can see why Priscilla and Lisa Marie are praising it; the film reinforces their narrative of a good boy done wrong. 3 Stars.
Official Competition, June at AFI Silver Spring. I decided on the spur of an open Sunday moment to see this Spanish comedy with Penelope Cruz and Antonio Banderas after reading some good reviews. It was my first venture back to the AFI Silver Spring in more than two pandemic years and I almost couldn’t get in because I didn’t bring my proof of vaccination, but eventually I found a photo on my phone. The film itself was a fun satire of the pomposity and pretensions of movie making. Cruz, Banderas and Oscar Martinez have a fine old time skewering themselves and their industry. The script is clever if a little too predictable; one wonders who will be in the Hollywood remake if and when there is one. 3 Stars.
Everything Everywhere All at Once, April at Snowden with Leslie. While Barb saw the new Fantastic Beasts movie, Leslie and I saw this highly rated exercise in multiverse existentialism 101. The film was mostly fun, especially for featuring a mostly Asian-American cast without a whole lot of explanations or excuse-making. Michelle Yeoh does a fine job holding down the center of the complicated plot that cleverly incorporates bits of her own film career. I had trouble remembering where I’d seen Stephanie Hsu (in the Awkwafina-like daughter role that turns out to have been meant for Awkwafina) until Wikipedia reminded me that she is Mei in Mrs. Maisel. The film’s ultimate message of love and family loyalty is hard to argue with even if it is somewhat predictable as a resolution. The film comes about as close to expressing and endorsing a thesis of embracing Existential Joy as I’ve seen. I especially liked the absurdity of the scenes with the rocks. The film qualifies as both ambitious and enjoyable which nowadays is a rare combination. I wonder if it will bear repeated viewings, maybe becoming this generation’s Big Lebowski or at least maybe Buckaroo Banzai. 3 Stars.
Note (January 2023): It does bear repeat viewings. Allie and I enjoyed it again in January while she was here, and the film received a big boost from award season in 2023, including a leading 11 Oscar nominations. I belatedly upgrade it to 4 Stars.
Death on the Nile, February at Snowden with Barb and Leslie. I tagged along with Barb and Leslie for Kenneth Branagh’s take on Hercule Poirot in Egypt, mostly as an excuse to get out of the house. Neither Barb nor I could remember much about the original Agatha Christie plot but I was happy to go for the ride to see what the filmmakers could conjure up for 1930’s Egypt. The answer was a whole lot of computer-generated fluff of dubious accuracy in support of a endlessly twisting and ludicrous plot. I’m not sure how great an investigator one has to be when so many of the suspects kill each other off. There’s very little to recommend about the film but I hope everyone involved (except Armie Hammer) was well paid. After the film, we all went for a very pleasant “linner” (Leslie and Barb’s neologism for a lunch/dinner) at Dok Khao Thai Eatery in Columbia’s new Merriweather District. The food and conversation was much better than the movie, and we brought leftovers home for the next day. 2 Stars for the movie, 4 Stars for the overall afternoon.
Munich – The Edge of War, January on Netflix. Based on a novel I’ve had on my reading list for several years, this film toys with events surrounding the 1938 Munich Agreement between Hitler and Neville Chamberlain. I liked the concept of the novel when I read reviews of it, but this film is a mess. Jeremy Irons seems to do a decent impression of Chamberlain but the rest of story and frankly even the actors are overwrought and way beyond believable. As I write this, I haven’t even seen the end of the movie but I’m confident it doesn’t turn out well. At least now I don’t have to read the book. 1 Star.
The Matrix Resurrections, January on HBO. The original Matrix was one of the Movies That Matter to Me, blowing my mind in 1999 with its concepts, effects and layered story. The two sequels released in 2003 were not nearly as compelling but the story seemed conclusively wrapped up. Nearly two decades later, they got the band back together and churned out this further sequel. It’s competently done but fundamentally a money grab that mostly circles back on the original film and plot. As such, it’s better than the 2003 sequels but not really a necessary complement to the original. 3 Stars for being well executed…but only if you were a fan of the original.
The Landscapers, January on HBO. Continuing with my Olivia Coleman binge, I watched the last two episodes of this 4-part miniseries right after seeing The Lost Daughter. Coleman and David Thewlis star as a husband and wife accused of killing her parents. The story is based on true events, but the nature of that truth is up for grabs. The real-life couple maintain their innocence; this production does a fine job of mixing up reality, theater and wishful thinking to keep one guessing. It’s very good, with Coleman and Thewlis having a grand time acting rings around everyone else. It’s not as good as The Lost Daughter, but I’m happy to give it 4 Stars anyway, one of the best things I’ve seen lately.
The Lost Daughter, January on Netflix. Finally, a well done movie! Maggie Gyllenhaall wrote and directed this adaptation of a novel, her first time behind the camera, and it’s a triumph. Olivia Coleman plays a college professor on a working holiday on a Greek island where she confronts other tourists and her past. The film unfolds enigmatically, taking its time to reveal secrets and backstories. I can’t claim to understand all its nuances in one go but I was happy for the ride. The film revolves around the unusual proposition that children are a “crushing responsibility.” The acting is excellent, the camerawork and setting compelling, the structure is complex and the story is offbeat enough to keep you on your toes. 4 Stars.
Don’t Look Up, January on Netflix with Allie. This film tries hard to be a new generation Dr. Strangelove or something but mostly is just weak tea with an all-star cast. It toys with what happens when a meteor is discovered on path to destroy the earth but the filmmakers readily concede that it’s really supposed to be analogous to climate change. One problem with an all-star cast is that it’s distracting to see Meryl Streep, Leonardo DiCaprio, Jennifer Lawrence and many others slumming in a film that’s supposed to be satire. Are they sending up themselves? Is that supposed to be Donald Trump? Don Jr.? Anyway, the humor is too heavy handed, the self-righteous messaging too blatant, and the whole effort too depressingly obvious to achieve liftoff. 2 Stars.
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