Thief's Monthly Movie Loot - 2024 Edition

Master of None

09-02-24

Catching up all the time, now with my summary for JULY 2024:

A film with the number 7 (Seven, Seventh, etc.) in its title: Seven Days in May
A musical: Sing Street
A film from Abel Ferrara (born July 19): Bad Lieutenant
A film from Egypt (Revolution Day, July 23): The Sin
A film from Letterboxd's Official Top 250 Narrative Feature Films list whose ranking includes the #7 (i.e. 7, 17, 73, 227, etc.) The Ascent (#67)

Other films seen, not for the challenge:

Monsterverse: Godzilla: King of the Monsters, Godzilla vs. Kong, Godzilla x Kong: The New Empire
Horror films: Eden Lake, Damien: Omen II
Jim Cummings' short films: The Robbery, Is Now a Good Time?, The Mountains of Mourne, Hydrangea, Us Funny, Cory Comes to Christmas
Other films: Beverly Hills Cop, Greenland, Batman (1966), Dial M for Murder, Refused Classification

I think Jim Cummings takes the cake as far as my favorite first-time watches of July. All of his shorts ranged from pretty good to great. Beyond that and rewatches, I would say maybe Sing Street, Seven Days of May, and The Ascent. It was a really strong month.

Least favorite first-time watch was easily Godzilla x Kong: The New Empire. That film was a mess.

__________________

Check out my podcast: The Movie Loot!

Last edited by Thief; 09-02-24 at 06:11 PM.

Thief

Master of None

09-03-24

SPY CAT
(2018, Lauenstein & Lauenstein)

"We're just a bunch of losers."

Spy Cat follows Marnie, a tabby cat that is often pampered by her owner Rosalinde. She spends most of her days eating special foods and watching detective TV shows, dreaming of an adventure some day. Her adventure comes in the form of Phil, the uncle of Rosalinde who pretends to be wheelchair-bound while moonlighting as a thief in the neighborhood. When Marnie catches him off guard, he tricks her into thinking he's a detective and recruits her to "help" him by sending her away. As she makes her way back, she makes friends with "a bunch of losers" that might help her catch Phil.

Obviously this was a watch mostly for the kids, but as usual, I sat down and watched it as well. Most of the fun comes from the odd pairing of this "bunch of losers". The gang is comprised of Elvis, a grumpy abused pitbull running from home; Eggbert, a neurotic rooster trying to escape from being cooked; and Anton, a donkey that dreams of joining a circus by pretending to be a zebra. As is expected, they are pretty one-dimensional, but they all have fairly distinctive qualities that make the kids root for them.

Uncle Phil's plan is a bit nonsensical, and a lot of it seems like just loosely connected setpieces. But there was some fun to them, plus the back-and-forth between the characters was enjoyable. What's most important, the kids were laughing at it. Since being a parent, I've sat down for far worse films. Spy Cat might not be a clear winner for me, but it's also far from being a loser.

Grade:

Thief

Master of None

09-03-24

REAR WINDOW
(1954, Hitchcock)

"We've become a race of Peeping Toms. What people ought to do is get outside their own house and look in for a change. Yes sir. How's that for a bit of homespun philosophy?"

That's how Stella (Thelma Ritter) sounds off against his patient, describing the way we're living, which basically states one of the subtexts from this Hitchcock masterpiece. We often get so caught up with looking outside to how other people live, trying to fix their problems in our mind, that we don't bother to look inside our own house and our own lives to fix ours.

Rear Window follows photographer L.B. Jefferies (James Stewart) who, after an accident at work, finds himself confined to a wheelchair and with nothing better to do than spy on his neighbors. When he sees and hears strange things, he starts suspecting that one of them (Raymond Burr) might've killed his wife. Jefferies tries to convince his girlfriend Lisa (Grace Kelly) and his nurse Stella about it, and although they dismiss his beliefs as pure paranoia, both of them find themselves quickly obsessed with finding out what really happened.

This was one of the first Hitchcock films I saw back in the 90s; probably the second. The film is yet another example of Hitchcock at his pure best. The casting of Stewart is perfect, and his chemistry with Kelly, despite the age difference is great. And speaking of Kelly, she is gorgeous, but more important, has that playful charm that is perfect for the role. Ritter is also perfect as the cynical and sarcastic nurse, while Burr rounds out the cast in a role that requires him to use his physique instead of his voice.

But aside of the cast, all of the elements are almost pitch perfect; the production, the set, Hitchcock's direction, and how he builds the tension, drawing us in the mystery; everything is at its best. I always recommend accompanying this with any "Making of" featurette, cause everything that Hitchcock achieved on that set is masterful. I remember that my first watches of this, decades ago, didn't leave much of an impression, but as I continue to revisit it, it now sits comfortably on my Top 5.

Grade:

Thief

Master of None

09-03-24

One of the things I tried to do in August was to revisit favorite films or films I hadn't seen in a very long time. The above, Rear Window, falls in the former so that review was pretty much a rehash of something I had written back in 2017. I also rewatched Alien, so I will just post what I had written back in 2021.

ALIEN
(1979, Scott)
Freebie

"You still don't understand what you're dealing with, do you? The perfect organism. Its structural perfection is matched only by its hostility."

Released in 1979, Alien follows the mining crew of the Nostromo. As they are en route to Earth, they are awaken by the ship's computer to investigate a distress signal from a nearby planet. As they investigate it, they unknowingly bring back a deadly alien creature aboard that starts eliminating them one by one.

The above quote comes from Ash (Ian Holm), the science officer aboard the ship, as he "admires" the alien creature's "perfection", but in many ways it could apply to the film as well. A structurally perfect "organism" that wasn't necessarily understood as first (Alien received mixed reviews from critics upon its release), it wasn't until later that many realized how good this was.

The film managed to subvert numerous tropes about the role of women or the blending of sci-fi and horror. It made a star out of Sigourney Weaver, while paving the way for female action stars in years to come. Weaver's performance is a thing of beauty as she espouses confidence within her precarious situation, and strength within her weaknesses. I love the way we can see her hold her own and put her foot down against people like Dallas, Parker, or Ash.

But in the midst of it all, there is a mixture of terror and awe at this creature. You can obviously see it in Ash, but also in Brett (Harry Dean Stanton) as he faces his demise. A creature unlike anything humanity had seen before, as the "star" of a film unlike anything people had seen before, about fears of things that we may never see.

Grade:

Thief

Master of None

09-04-24

ORGAN TRAIL
(2023, Jann)

"Suffering ain't noble. It's just suffering."

The "Wild West" was indeed wild. The push of settlers into American territory came with lots of risks. You could be attacked by outlaws or have an accident and die alone in the wilderness. You could drown or die of exhaustion, or maybe even fever or dysentery. Some of these risks are tackled in the cleverly titled Organ Trail, an interesting mish-mash of Western horror, thriller, and drama.

The film is the second film from director Michael Patrick Jann, who gained some notoriety in 1999 after directing Drop Dead Gorgeous. That film didn't do that well, which might have prompted Jann to get lost in the shuffle, but eventually became a cult hit. After listening to a podcast interview on that film a couple of weeks ago, he brought up this project and when he mentioned the title, I just couldn't resist.

Set in the 1870s, Organ Trail follows Abigale Archer (Zo� de Grand Maison) and her family, as they travel the Oregon Trail. When tragedy hits at the hands of a group of outlaws led by Logan (Sam Trammell), Abigale is determined to do whatever it takes to retrieve her family's horse. She is joined in her journey by Erik (Cl� Bennett), a married rancher that might be getting in too deep in this situation.

I'm a sucker for a good western, and I think this one delivered pretty much what I was asking from it. The first act as we meet the Archer family is traagic and brutal. It then hits a bit of a lull as we get to know the four outlaws, but the performances and characters are interesting enough to keep me engaged. Perhaps the most notable is Rhys (Nicholas Logan), who is a bit of a psychopath that can't feel pain. There's also Cassidy (Olivia Grace Applegate), a woman that is rescued by the Archers and whose allegiances pretty much shape the course of the film.

The film is indeed a slow burn, and the pace could've used some work. I also think the film could've used some trimming here and there. But overall, I enjoyed the characters, the setting, how it was shot, and the way it presents the underlying brutality of the "Wild West"; a "Wild West" where you could die of fever, exhaustion, or dysentery; or by stumbling into a group of ruthless outlaws.

Grade:

Thief

Master of None

09-04-24

CONSPIRACY
(2001, Pierson)

"Politics is a nasty game. I think soldiering requires the discipline to do the unthinkable and politics requires the skill to get someone else to do the unthinkable for you."

Hannah Arendt once famously wrote about "the banality of evil" saying "the sad truth is that most evil is done by people who never make up their minds to be good or evil." In a way, that means that some of these "unthinkable" evils in history were committed by ordinary people who followed orders thinking that their actions were normal. That is part of what's addressed in this magnificent HBO film.

Conspiracy gives us a chance to see that banality in the works as it dramatizes the events of the Wannsee Conference in 1942. The meeting, attended by a small group of Nazi officers, was supposed to be a moment to decide on the "Final Solution" for Germany's "Jewish problem". The meeting is organized by Adolf Eichmann (Stanley Tucci) and led by Reinhard Heydrich (Kenneth Branagh). Tucci and Branagh are surrounded by an ensemble of respected TV and stage actors.

This is a film I've easily seen about a dozen times and I've loved it since the first one. This is not a film of booms and bangs, but more a film of dialogue and subtle performances. The film is full of these little moments of great direction and non-verbal acting that help establish the personalities of every character. Be it in the way they arrive, how they are addressed, and how they mingle with each other, you know who each person is. Some characters establish their authority with their attitudes and demeanor, while others prance around pimping their credentials.

Branagh is probably the more notable example. From his grand arrival to the way he establishes his authority at the table with swift decisions and blunt responses. Not only that, but we also see how he cunningly manipulates those around him to be on the same page, carefully adjusting his strategies and approach to each target. However, Tucci is just as excellent in a more subtle performance, while Colin Firth and David Threlfall, as Wilhelm Stuckart and Friederich Kritzinger respectively, also shine in specific moments.

Much like 12 Angry Men, most of Conspiracy takes place in a single room. Most of the action is shot from a tabletop point of view, putting us right at the table with these people. As the camera moves around, we see the banality with which the attendees discuss "unthinkable" things like forced sterilization and mass murders; all while joking, drinking, and munching hors d'oeuvres. We are at the table and we can do nothing, much like them.

If I were to have a minor gripe, it would be with the epilogue where Heydrich shares a story that Kritzinger told him, which I consider unnecessary. But that doesn't hinder the overall impact for me. Conspiracy is an excellent film; a perfect portrait of how those in power can manipulate us into doing the "unthinkable" without we even noticing it.

Grade:

Thief

Master of None

09-04-24

CIVIL WAR
(2024, Garland)

"Every time I survived a war zone, I thought I was sending a warning home - 'Don't do this'. But here we are."

Set in the middle of a civil war in the United States, the film follows a group of war journalists traveling to Washington, DC to try to interview the President before the capital is taken over. Leading the group are Lee Smith (Kirsten Dunst), a war-torn and cynical war photographer that seems to be questioning the purpose of everything as the violence around her rages on, and Jessie (Cailee Spaeny), a younger, and seemingly more optimistic and na�ve photographer who idolizes her.

I think the biggest act of provocation from this film is to actually call it Civil War. I don't know how intentional or not that might be, but with a title like that, this may very well be a film that lives or dies on your expectations, or how well you adjust to what the film is actually offering you. Civil War does take place during a "civil war", and the war does move the plot forward, of course; but the film is not about *the war* but rather about how people, namely these group of journalists, react and approach it.

I don't mean the above in a bad way; I was up for it. But I can imagine some people being frustrated by the ambiguity and lack of context about the actual war that the film offers you. One of Lee's many nuggets of advice to Jessie is when she tells her not to ask certain questions cause "once you start asking those questions you can't stop. So we don't ask. We record so other people ask." It seems that Garland has taken the same approach to his film by just shooting it and putting it up, and letting us decide how it applies to our situations.

Although we're not offered a lot of details about the nature of the war, Garland does present us with different pockets of people in different cities and towns. Each of these is an opportunity for him to create incredibly tense setpieces and great, little moments. From a tense conversation at a gas station or a stop at a town that seems detached of the war, to an intense shootout at a field or a dread-filled confrontation with two militia members at a mass grave site. Each moment gives us a glimpse of how people are dealing with the war.

By the same perspective, it is really interesting to see the choices in how each journalist acts and reacts to the events. From Lee's partner, Joel (Wagner Moura) who seems to be in for the "fun" and "thrills", to the veteran of the group, Sammy (Stephen McKinley Henderson), who provides a beacon of hope among the group's cynicism. Judging from what I've read (or not), Moura's performance is one of the most undervalued aspects of the film, cause he was fantastic. But it is Lee and Jessie's relationship what is front and center; a relationship that's very much maternal, but also symbiotic and maybe even parasitic, and both actresses are great in it.

I think I might have been one of those that was initially expecting something different from this film. However, after reading some reviews and starting to watch it, I guess I adjusted my bearings quickly to what it was offering. There might be some issues in execution here and there, but Garland's message, or should I say warning � arguably devoid of any specific allegiance � seems to be clear: Don't do this. It's up to us whether that warning gets to us on time, before we have to say "here we are."

Grade:

Thief

Master of None

09-04-24

SYRIANA
(2005, Gaghan)

"We're looking for the illusion of due diligence, Mr. Pope."

That's how attorney Bennett Holiday (Jeffrey Wright) dismisses the efforts of his "investigation" to one of his interviewees. Nothing's gonna be done, but they need to give the appearance that something is being done. But there's a lot of that illusion across the board in this multi-layered political thriller about CIA botched jobs, oil rights, government investigations, power struggles, corruption, and the little ones that end up crushed by the fallout.

Syriana follows an ensemble cast through four main storylines, all tied to a corporate fight for oil rights in the Middle East. There's Prince Nasir (Alexander Siddig), who wants to take his country into a more progressive path, and Bryan Woodman (Matt Damon), the energy analyst that he hires to assist him. Then there's Bob Barnes (George Clooney), the veteran CIA agent that is assigned to eliminate Nasir under the illusion of him being a threat. Finally, there's a subplot about Pakistani oil workers that are being affected by all the struggle between the oil companies.

That's just a bit of what's going on, cause there's a lot. I've seen this film easily 10 times, and I still forget details of what is going on until I'm watching it again. Regardless, I just find it to be one of the most thrilling films I've seen. Director and writer Stephen Gaghan, who also wrote Traffic, brings some of that fast-paced jump between storylines without it feeling suffocating. Plus, every storyline has a character that serves as an effective anchor for the audience.

The cast, as you can see, is stacked but I didn't even mention Christopher Plummer, Chris Cooper, Tim Blake Nelson, William Hurt, Mark Strong, among many others. There's not really a weak spot among the lot, but I would highlight Wright and Cooper as probably my favorite performances from the bunch. Wright, in particular, adds so many layers to his character in an extremely nuanced performance as a man desperate to prove himself at any cost.

Your enjoyment of Syriana will greatly depend on your tolerance for the above; a sprawling modern epic with a dozen characters spread across the globe, that shows us the cost of corruption through all the rungs of the economical ladder. A political thriller where there is no due diligence, and ultimately no winners.

Grade:

StuSmallz

Forum Nomad

09-05-24

Originally Posted by Thief

Much like 12 Angry Men, most of Conspiracy takes place in a single room.

Speaking of which, were you inspired to rewatch it because of this?: https://www.highonfilms.com/movies-l...ngry-men-1957/

PHOENIX74

I forgot the opening line.

09-05-24

Don't know if you caught my review on my watchlist thread (if I remember correctly, you were the one that inspired me to watch this), so I'll share it here :

Originally Posted by PHOENIX74

CONSPIRACY (2001)

Directed by : Frank Pierson

I feel quiet. I feel depressed. I just watched Conspiracy - a film about the Wannsee Conference, which didn't make the decision to murder all of the Jews in German-occupied Europe but made it clear this was to be done - each person attending in charge of a branch of government which would see it done. Reinhard Heydrich (Kenneth Branagh) tops the list of awful conspirators, Branagh winning an Emmy (he was also nominated for a Golden Globe) because his performance feels too real. A mixture of hatred and "pfft, so we're killing them? So what?" Treating the murder of innocent civilians on about the same level as killing chickens - the industrial scale that this was being done on almost comparable. Stanley Tucci brings us a taciturn and dour Adolf Eichmann - his only sense of positivity one in which he relishes doing his job well. Colin Firth is the practical and lawyerly principled Wilhelm Stuckart - annoyed because this Final Solution of the Jewish Question means the Nazis will be operating contrary to their own laws.

Many a reviewer has written a sterling, impassioned review of this film that says it all so very well. It's a daunting film to talk about, because to do so you're having to acknowledge one of the greatest crimes in human history - and there are no words that can do the feeling of horror justice. The way some of the conference members snort, snicker and chuckle as if this were some ordinary council meeting discussing adding a lane to a highway or requisitioning a park. The way some argue because the Final Solution is going to drain their slave labour workforce (I'd have them admit - for the Nazis there was never any shortage of slave labour when you consider those they found to be unworthy of being free.) The way they serve dinner mid-conference, at which point I felt sick - stuffing their faces while discussing death, disease and murder - all of which is of their own doing. I don't know how the actors all did it - maintaining that level of animalistic nonchalance at the thought of murder and general hubris must have been difficult.

So - this is really required viewing. We usually see the Holocaust at the point of the terrible work being carried out - but it's ideation is an important moment to study because listening to these guys talk makes me realise it could happen again. There are factors I recognize. The arrogance is one. The excessive pride and narcissism another. The lack of empathy, and embrace of nationalistic ideals. All it takes is for the wrong people to have the power to do it. Before it happened, the average everyday German never would have thought it possible that their own government would commit such terrible crimes. It's very interesting to note, at the end of the film, how many of those at the conference ended up free to participate in West German governance after the war ended. Not every participant in the Final Solution received the punishment they probably deserved. Thanks to Undersecretary Martin Luther (Kevin McNally) the minutes of the meeting weren't destroyed - so we know exactly how it played out. For conspiracy theorists - here's one that actually happened, and doesn't need to be dreamed up and spread online.

Glad to catch this one - winner of a BAFTA, Golden Globe and Emmy for Best TV Drama, Stanley Tucci and Kenneth Branagh respectively.

__________________

Remember - everything has an ending except hope, and sausages - they have two.

Latest Review : The Mob (1951)

Thief

Master of None

09-05-24

Originally Posted by StuSmallz

Speaking of which, were you inspired to rewatch it because of this?: https://www.highonfilms.com/movies-l...ngry-men-1957/

Not really. It's just customary every now and then

According to my Letterboxd notes, I've seen it in 2006, 2008, 2013, 2018, and now 2024, but I'm sure I've seen it a bunch more times in between.

Anyway, that's a nice list to check off films I haven't seen. Thanks for sharing.

Thief

Master of None

09-05-24

Originally Posted by PHOENIX74

Don't know if you caught my review on my watchlist thread (if I remember correctly, you were the one that inspired me to watch this), so I'll share it here :

I think I missed your review, so thanks for sharing it. Very well written and I agree with your sentiment in the last paragraph. There are definitely hints of this around us nowadays; be it in the US or Europe, which is terrifying.

Thief

Master of None

09-09-24

PERFECT DAYS
(2023, Wenders)
A film whose title starts with the letters O or P ● A film from Wim Wenders

"Next time is next time. Now is now."

Perfect Days follows Hirayama (Kōji Yakusho), a humble man that works cleaning public toilets in Tokyo. When he's not working, he spends his time through a daily routine that includes listening music on his cassette tapes, reading, looking at trees and photographing them. The above quote seems to be his mantra, as he remains unfazed by what tomorrow might bring, but rather focused on the little pleasures that today might give him.

Things didn't start that way, though. The film came to be after Wenders was invited by entrepreneur Koji Yanai to observe his Tokyo Toilet project, consisting of more than a dozen public toilets uniquely designed. The main intention was to see if Wenders would make a short film about the facilities, but he had other things in mind. Instead, he took this project and used it as a foundation for this deeply personal and moving story about the simplicities of life.

This is my first Wim Wenders film, a notable blindspot in my movie-watching journey, and I couldn't be more pleased with it. The way he delineates Hirayama's daily routine is great and Yakusho's performance is, for lack of a better word, perfect. Wenders then goes on to contrast Hirayama's way of living with characters like his co-worker, his niece, and his sister, among others, all while patiently revealing little tidbits of his past.

If someone would've told me a film about a guy that cleans public toilets would be this beautiful, I probably would've laughed it off; and yet, here we are. Perfect Days is a beautiful character study and, pun intended, a perfect illustration of regular daily life. What we do, what we give value to, and ultimately how we live our lives *now* in any way that makes us feel complete. A testament to how to face each dawn, each day, each life, and feel good in the end.

Grade:

Thief

Master of None

09-09-24

LUCA
(2021, Casarosa)

"You know, we underdogs have to look out for each other, right?"

Set in a small town in 1950s Italy, Luca follows the titular character (Jacob Tremblay), a sea creature, who meets Alberto (Jack Dylan Grazer), a fellow sea creature who lives alone. After discovering that he changes to human form when he's on land, the two set out to enjoy the summer, which will include exploring the nearby town of Portorosso. It is there that they meet Giulia (Emma Berman) and end up as the "underdogs" in a triathlon competition with the local bully.

This was a watch with the kids. I think they had seen it before, but it was a first-time watch for me, and I enjoyed it quite a bit. There is a charming simplicity to its story of friendship and acceptance that I enjoyed. The relationship between the three friends, especially Luca and Alberto, is well built, and it's fun to see them as "underdogs" looking out for each other. I think that aspect is the most important of the film.

The filmmakers also nailed the whole design and persona of the bully, which made it easier for us to root for the lead kids. I also enjoyed that there were some underlying layers to some of the characters; for example, Giulia's father and his relationship with Alberto. And obviously, there's the coming of age aspect of Luca, as he tries to find his place in the world, along with his "underdog" friends.

Aside from that, the animation was very colorful and vibrant. There were certainly some liberties taken with the logistics of how the kids changed back and forth from sea monsters to boys, but I understand why it's done. Overall, Luca doesn't really offer a lot of new things, but it does offer a fun and endearing look at what it means to have friends looking out for each other, right?

Grade:

Last edited by Thief; 09-09-24 at 10:59 PM.

Thief

Master of None

09-10-24

TREMORS
(1990, Underwood)

"That's how they git you. They're under the g-oddamned ground!"

Set in the small desert town of Perfection, Tremors follows Val (Kevin Bacon) and Earl (Fred Ward), two friends working odd jobs that are trying to get out of town to find something better. That is until the town starts being attacked by three giant creatures from under the g-oddamned ground. It's up to Val and Earl, along with geologist Rhonda (Finn Carter), to stop the monsters while trying to save the people of Perfection.

This is a film I've seen dozens of times since I was a kid. It was a constant staple on TV, so I was very familiar with it. However, it has been a good while since I last saw it, so I decided to travel to Perfection once again, and what a fun trip it was. Tremors manages to strike such a great balance between action, adventure, thrills, and humor that not many films succeed at.

In addition, the cast is very likable and easy to root for. Bacon and Ward have an insane chemistry and their banter is a big part of why the film works so well. The cast also includes the likes of Reba McEntire, Victor Wong, and Michael Gross as a "doomsday prepper" that ended up becoming the lead of the franchise for *checks notes* five sequels and a TV series.

But again, the film is a lot of fun. Maybe it hits a bit of a lull in the middle to last act as the residents are stranded in the desert, but nothing that hinders the overall effect that much. Overall, Tremors knows what it is, doesn't try to be anything else, and never overstays its welcome. It gives you exactly what you see in its poster, which is big creatures coming from under the g-oddamned ground.

Grade:

Thief

Master of None

09-10-24

PINOCCHIO
(2022, Del Toro & Gustafson)

"You did bring me joy. Terrible, terrible joy."

Based on the popular novel and set in Italy at the beginning of the 20th Century, Pinocchio follows the adventures of the titular character (Gregory Mann), a wooden puppet created by Geppetto (David Bradley) after the loss of his real-life son in a World War I bombing raid. Through the movie, Pinocchio embarks in a journey which includes a stint in a circus, time at a military youth camp, performing for Mussolini, and ending up in the belly of the terrible Dogfish.

Co-written and co-directed by Guillermo del Toro, this is a "passion project" he had been working on since 2008, at least. Del Toro has said he had been wanting to make his own version of the story since his teen years. Although announced in 2008, it ended up in development hell as no studio wanted to take on the project. it was in 2018 that Netflix picked it up and started production.

When the film opens, we meet Geppetto and his young son Carlo, who ends up being killed in a bombing raid at a church. It is after an anguish-filled 20-year span that Geppetto decides to create Pinocchio. Not necessarily as an earnest act of love, but rather in a drunken fit of grief and anger. This change in tone from what we might be used to for this story was one of the most interesting approaches of the film. Pinocchio's creation can be seen, in many ways, as an act of madness and despair.

That dark tone permeates the whole film. Pinnochio is still charming and na�ve, but he's also reckless and careless as he keeps on finding ways to die and come back again. The "ghost" of Carlo is constantly hanging above the choices of Geppetto and Pinocchio, along with the impending doom of war upon them. As interesting as those layers might be, I do think the film hits a few bumps as it tries to juggle the struggles of Geppetto and Pinocchio with both the stories of the circus and the military youth camp.

I did enjoy the way the character of Sebastian Cricket (Ewan McGregor) is incorporated into Pinocchio's life, from living inside the tree trunk that was used to carve the wooden boy to literally living inside him, close to his "heart", to guide him and serve as his conscience. Worth mentioning also that the cast is evidently stacked, including Tilda Swinton, Cate Blanchett, Ron Perlman, Finn Wolfhard, John Turturro, and Tim Blake Nelson.

This was definitely an interesting watch. An adaptation that not only manages to be visually impressive, but that also adds new layers and new perspectives to a story we're already widely familiar with. It is remarkable that Del Toro was finally able to see it through, after so many years and so many hardships. I'm sure that seeing it finally come to light gave him joy. Terrible, terrible joy.

Grade:

Thief

Master of None

09-10-24

SPONTANEOUS
(2020, Duffield)
A romantic film

"You're, like, the best thing to come out of spontaneous combustions for me."

What would you do if all of your friends started to literally blow up in front of you one by one? What if you're the next one? That is the premise of this unique film. Blending aspects of romcom, coming-of-age, dark humor, and horror, Spontaneous focuses mainly on Mara and Dylan (Katherine Langford and Charlie Plummer), two teenagers at Covington High that are thrust into the unexpected situation described above.

I was trying to complete one of the categories of my challenge that asked for a romantic film; a good Internet friend recommended this, and imagine my surprise when instead of a romantic film, I found a really powerful exploration of trauma and grief through the eyes of these two lovestruck teenagers. It's always refreshing when you stumble upon a filmmaker that can walk that fine line between genres, and Duffield here does an acrobat job, walking between romance, comedy, drama, and horror, without it feeling like an overstuffed mess.

Your classmates exploding all of a sudden can work as a metaphor of a bunch of things. From the obvious one in school shootings to other stuff like the pandemic, terminal illnesses, or just growing up/drifting apart. The thing is that it's done in such a clever and unique way, without feeling like the filmmakers are hitting you in the head with their point; and when tragedy strikes at various points, the way the story progresses feels natural and organic, instead of preachy.

Special kudos also go to the cast, particularly Langford and Plummer. The latter has an innocent charm to his performance that's very endearing and easy to like, but it is Langford the one who runs the gamut of emotions in the role of Mara. From smitten lovebird to traumatized teenager, her performance is fantastic. I also enjoyed Hayley Law's supporting performance as Mara's best friend Tess. She brought a sobering and soothing perspective to Mara's more emotional journey.

It's been a while since I've been really impressed with a film; one that really hits me and sticks with me, but this one fit the bill to a T. It's been already about a month since I saw it, and I would still probably put it at the top of my first-time watches of the year. I was hesitant to give it a straight 5, and maybe I will raise it later. As for now, you could say this film is the best thing to come out of spontaneous combustion for me.

Grade:

Thief

Master of None

09-10-24

WEREWOLF BY NIGHT
(2022, Giacchino)

"Any hunting that I do is done by a part of me that is not me... and that's not the part you're with right now."

Werewolf by Night follows Jack Russell (Gael Garc�a Bernal), part of a secret group of monster hunters gathering to win a mysterious gem by defeating a powerful monster. The twist? Russell is a werewolf himself, but will he be able to control that part of him if it comes to that?

If you're like me, chances are you didn't even know this show or IP even existed. But it does, and it's actually part of the MCU. Werewolf by Night aired as a "TV special" through Disney+ as part of their Phase IV. Whether there are plans to bring the characters back again? That remains to be seen.

But aside from its ties to any bigger universe, this was a pretty interesting experiment. Director Michael Giacchino and cinematographer Zo� White wisely use black and white cinematography and a unique directing style, which gives the film a look reminiscent to the Universal Monster films.

That classic look extends to Garc�a Bernal's performance and look which borrows a lot from Lon Chaney and Bela Lugosi. Despite all those positive points, the story is still a bit lacking and stale. But as far as look, style, and vibe goes, Werewolf by Night has a lot of it.

Grade:

Thief

Master of None

09-11-24

CIAO ALBERTO
(2021, Harris)

"I can't do it. I'm not good at this. I'm not good at being your... employee."

After watching Luca with the kids, I decided to check out this short. Ciao Alberto follows the attempts of Alberto (Jack Dylan Grazer) to win the approval of Giulia's father, Massimo (Marco Barricelli), with whom he lives now. This relationship is one of the subplots I admired from the original film, so I appreciated the opportunity to revisit it and focus on it.

I really liked the way the short highlights the place where both characters are, with Alberto wanting a father figure and Massimo having the chance to have the son he never had. It's great how they put all of that up front, without necessarily hammering us with an overload of sappiness. Ciao Alberto is a simple but charming short film that's emotionally effective, and maybe even better than the original film.

Grade:

Thief