It’s no coincidence that the last entry I made here referenced the fact that I went an entire year without writing on this platform and so it feels fitting that this new post will simultaneously commemorate that it’s now been 2 years since I wrote that piece and also break the dry spell I’ve been in when it comes to a routine newsletter.
I have a few personal writing projects I’m trying to get off the ground but part of fulfilling those intentions is going to require writing consistently so this can be considered the first installation in what I’m hoping will be a weekly occurrence with publishing a new piece of writing every Sunday. I have a google doc filled with abandoned writing prompts that I didn’t get around to before these back to back hiatuses that are waiting to be revisited so, fingers crossed!
We’ll start off nice and easy with a list of my favorite films from the first half of the year in no particular order.
Godzilla (1954) directed by Ishirō Honda
The imagery of Godzilla has long been in the cultural lexicon. Even though I had never seen the original film, all references to a giant monster stomping through tiny cities below have been in countless other movies and television shows that I falsely believed, through this pop culture osmosis, I had already seen this movie.
I was impressed by the costume and set design that brought Honda’s vision to life. What may look rudimentary now, given all the progress made by technology and visual effects, was trailblazing work being done in real time. In a movie-making era that has become obsessed with relying on the use of green screen or post-production computer magic, it’s a nice reminder that practical effects have been successfully employed in the past.
It’s a fantastic classic film with a rich cultural history and context, making it understandable why filmmakers continue to return to the creature time and time again. It was also nice to see frequent Akira Kurosawa collaborator Takashi Shimura in his role as Dr. Kyohei Yamane who makes an appearance in another film on the list.
Daughters of the Dust (1991) directed by Julie Dash
There is a great level of genuine affection and intention woven into the fabric of this film that explores ancestral struggle, love, and power from the perspective of the women in the Peazant family.
All of the actors, in particular the women, are firing on all cylinders with their command of the dialogue, which flows effortlessly in melodic monologues.
From Julie Dash on the film’s dialogue and non-linear structure:
I didn't want to tell a historical drama about African-American women in the same way that I had seen other dramas. I decided to work with a different type of narrative structure...[and] that the typical male-oriented western-narrative structure was not appropriate for this particular film. So I let the story unravel and reveal itself in a way in which an African Gullah would tell the story, because that's part of our tradition. The story unfolds throughout this day-and-a-half in various vignettes. It unfolds and comes back. It's a different way of telling a story. It's totally different, new
It is lush and verdant storytelling made effective through captivating lyricism and imagery that has influenced many artists in the years that have passed, most notably Beyoncé and her album Lemonade (2016).
Daughters of the Dust is a gift that cinema at large should be more grateful for and fully recognized as the profound experimental and poetic production that it is.
The Magnificent Ambersons (1942) directed by Orson Welles
Some of my favorite pieces of media revolve around dysfunctional families. There’s something comforting about seeing a group of people who are bound together by circumstance navigate life events. It is made even more appealing to me when this group is constantly having petty disagreements and unnecessary infighting.
Orson Welles film follows 3 generations of the wealthy Amberson family who have a sustained fall from grace after a succession of deaths, coupled with mismanaged financial matters, leaves the remaining Ambersons destitute and distraught. It’s a perfect capsule depicting the period of rapid growth within 19th century America.
One of the most impactful moments in the film comes from Agnes Moorehead, who plays Fanny Minafer, when she has an emotional breakdown against an unheated boiler. She displays a stunning level of desperation that hints towards Orson Welles original vision of a much darker film, a version that unfortunately we don’t get to see the full scope of because RKO deleted the footage and reshot it to end on a happy note.
Even while watching the film I felt something was amiss, and I do hope that the rough cut sent to Orson Welles when he was in Brazil are found someday, it’s not enough to make me dislike the end product. I also think the end credits are wonderful.
High and Low (1963) directed by Akira Kurosawa
High and Low is an enthralling watch from start to finish and so much of that is due to not only the high stakes of the film’s kidnapping and ransom plot but the clear visual language that Kurosawa and his cinematographers have established. Toshirō Mifune anchors the film, as always, but Tsutomu Yamazaki is eerily compelling as the kidnapping mastermind and really runs away with the movie.
The blocking in this film is superb. There are many instances throughout the film where the actors are moving and positioned in ways that make the scene much more interesting to absorb, not to mention these are prolonged shots vs. the quick cuts that have become commonplace in most of our media. High and Low is often cited as a masterclass in blocking and it was nice to see that the praised was warranted.
A bonus for anyone interested: Composing Movement and The Geometry of a Scene video essays by Every Frame a Painting. I remember watching these video essays when I had recommitted to my college film studies (which was once again short lived) years ago and they were super informative and just enjoyable to watch.
I’m also cautiously optimistic to see Spike Lee’s upcoming interpretation of High and Low that was announced this year with Denzel Washington set to star.
The Tragedy of Macbeth (2021) directed by Joel Coen
Speaking of Denzel Washington (as we all should be, have you seen the Gladiator II pictures?) his performance in The Tragedy of Macbeth was one of my favorite discoveries this year. It’s nice to see an actor really take the dense material and deliver it with a degree of capability few possess.
Denzel is truly one of our greats and while he might have an impressive run of action roles, The Tragedy of Macbeth was a reminder that Denzel is not new to this, he is true to this. You can tell he is comfortable reciting these words because it’s how he cut his teeth as a young performer and it was just wonderful to watch him eat up the screen and a not have the dialogue devour him.
Frances McDormand compliments Denzel nicely on screen as his Lady Macbeth though I have mention that two standouts for me were Corey Hawkins as Macduff and Kathryn Hunter as the witches.
While Covid-19 was not ideal for anyone anywhere, I do believe this film is actually a successful product of the early pandemic and benefits from a closed-off, claustrophobic vibe. It’s immersive from all angles and being filmed on sound stages, it does feel like like you’re watching a play in the most positive way.
Bottle Rocket (1996) directed by Wes Anderson
I have long since been a fan of Wes Anderson with The Royal Tenenbaums being my first and most favorite in his filmography although Bottle Rocket definitely shot its way into my top 5. It’s such a charming debut for Wes Anderson, Owen Wilson, and Luke Wilson. This is undeniably the base structure off of which every subsequent Wes Anderson film has been built. It’s classic Wes.
As a writer and filmmaker, I’m always astonished by how easy it was to get a film made in literally any other era than the one we’re currently in (especially if you are white and a man) and they secured financing for Bottle Rocket thanks to the short film they created before it, which was the same premise but 13 minutes long and shot in black and white, and caught the attention of Polly Platt, a then executive Vice President at James L. Brooks’ Gracie Films, who saw an original voice worth championing.
You Must Remember This hosted by Karina Longworth has an entire season dedicated to Polly Platt. You can hear more about her involvement and the making of Bottle Rocket in Episode 9 of the podcast. She’s an incredible woman and artist outside of Bottle Rocket so I highly recommend giving the entire season a listen.
My final thoughts are that Luke Wilson is exceptionally dreamy in this and Owen Wilson needs to get back to the co-writing table.
Tampopo (1963) directed by Juzo Itami
Wherever there’s a film about food, I’m there. I was expecting a straightforward film about a ramen shop but it’s an eccentric comedy featuring a series of vignettes depicting other people, other stories, though threaded together through a connection that ultimately leads back to food.
Whether it’s two lovers engaging in hedonism through passing an egg yolk back and forth between their mouths or a dying housewife preparing one last meal for her family, it’s an interesting exploration of how food is used, prepared, and regarded through a number of different social lenses.
Choosing to surround a film about a ramen shop owner in pursuit of the perfect noodle recipe with a bunch of seemingly non-related stories made me think that it wouldn’t technically be classified as a slice-of-life film but I think in a lot of ways it’s just as rambunctious, erotic, violent, unpredictable, dramatic, and delightful as life itself is and that might be truer to the genre, the blending of all those tones for a satisfying combination, than thinking of it only as a comedy.
Gentlemen Prefer Blondes (1953) directed by Howard Hawks
If I had to sum this movie up in one word it would be “slay”. This is another movie I had tricked myself into thinking I’d seen before thanks to Marilyn Monroe’s iconic “Diamonds Are a Girl’s Best Friend” number, which has been recreated countless times though I can safely say no version actually lives up to the original.
Jane Russell and Marilyn Monroe are perfectly matched and play off of each other beautifully. Their dynamic makes the entire film worthwhile along with the amazing performances and wardrobe. I’m always hoping for more modern musicals but I’m happy to dip back into the archives for treasures like Gentlemen Prefer Blondes.
While Howard Hawks was not responsible for the musical numbers in the film, which are arguably the most exciting moments, he did direct one of my favorite screwball comedies of all time Ball of Fire (1941) starring Barbara Stanwyck and Gary Cooper that I highly recommend. After you’ve watched this of course.
Girlfight (2000) directed by Karyn Kusama
This is a stunning directorial debut for Karyn Kusama and an acting debut for Michelle Rodriguez. It’s a gritty boxing film that explores the dynamics between men and women in the ring, and while I do really appreciate this film, I think the more interesting story of gender and racial politics exists in the world outside of it.
In the case of Karyn Kusama, she had to fight at every step of the process just to get the film made and then after its release she was more or less given one chance to stick the landing and be accepted into the Hollywood scene. Another podcast What Went Wrong hosted by Lizzie Bassett and Chris Winterbauer has an episode on Aeon Flux, also directed by Kusama and her second film after Girlfight, that goes into more detail about the situation and I would recommend giving it a listen for more context.
Girlfight might be Karyn Kusama’s debut but it’s easily her at her most assured. While the world of independent filmmaking that made Girlfight possible seems to no longer exist, it’s an incredible example of what storytellers who are in tune with their voice and the story that they want to tell are capable of achieving.
The Quick and the Dead (1995) directed by Sam Raimi
I admit that I was attempting to launch myself into a Western frenzy after the release of Cowboy Carter (2024) but this is the only film I managed to watch in its entirety before abandoning that idea and I’m really glad it was. Which is ironic considering that this project was made in homage to the work of Sergio Leone and I could not get myself to watch more than 15 minutes of A Fistful of Dollars (1964).
Sharon Stone is incredible in this film as a vengeful gunfighter known as “The Lady” who rides into the town of Redemption looking to settle the score between herself and the mayor John Herod, played by Gene Hackman (we love you, king), who is responsible for the death of her father.
It’s a good time with a good cast and it’s also summertime which is kind of the perfect time to put this movie on.
Postcards from the Edge (1990) directed by Mike Nichols
I do think I want to write a longer piece on this film but I did want to send my condolences to everyone else who also suffers from mother issues. I happened to watch this on Mother’s Day and was mentally transported to another dimension thanks to the fantastic performances by Meryl Streep and Shirley MacLaine.
The film is based off the semi-autobiographical novel of the same name written by Carrie Fisher and while Carrie had said these are not fictionalized versions of herself of her mother, Debbie Reynolds, it’s very easy to see where these lines could be blurred. It’s a film about the push and pull of a mother who’s having difficulty letting go of the life she used to have so that her daughter can have an identity of her own with the room to grow that comes along with it.
I didn’t know Gene Hackman was also in this movie so that was a pleasant surprise. Again, I hope you’re enjoying retirement, legend.
Wanda (1970) directed by Barbara Loden
An outlier in the New Hollywood era of filmmaking between the mid 60s and early 80s, Wanda had both a small budget and a small crew, though what really sets it apart from other films of the American New Wave is that it is a singular film about a woman, written by a woman, and directed by a woman, with Barbara Loden occupying all 3 roles. Even during this maverick period of moviemaking, what Wanda represented was more progressive and pioneering than even some of our most favorite directors could ever dream of creating.
Wanda Goronski is an apathetic housewife and mother who decides that she no longer wants to carry on with her routine. Her disinterest in life lands her in the company of a robber, Norman Dennis, who she refers to as Mr. Dennis. It feels like an exploration and interrogation of motherhood, womanhood, and marriage. She successfully leaves her initial station in life but still finds her fate shaped by the actions of men. There’s a definite fatigue that is present and hangs around Wanda so that whole film winds up feeling like you’re waiting for her to catch her breath.
There wouldn’t be another feature film from Barbara Loden as she would die a decade later of breast cancer. I think we’re extremely lucky to have Wanda.
Challengers (2024) directed by Luca Guadagnino
There’s a lot to love about Challengers and I think it’s buoyed by a trio of perfectly capable actors who have undeniable chemistry. As Luca himself said it’s a love triangle where all corners touch and the dynamic amongst all parties is sumptuous.
I can’t say enough good things about the performances of all 3 leads. I want to be on the record as a Tashi Duncan stan. She’s an all-time character and what a treat to see Zendaya bring her to the screen. It’s also the first time in a long time that I’ve seen a film show its stars in startling close-up, sweaty and glorious. Thank you, Mike Faist.
If I had one complaint, I do think this film would’ve benefitted from an older cast. I’m not a tennis expert, so I don’t even know if it would be possible or accurate to have someone in their late 30s playing these roles, but I do know that there is something about the level of hate, frustration, and desperation that these characters are supposed to embody that feels a little bit stunted due to the fact that they absolutely look like actors in their mid 20s to early 30s.
It’s still a brilliant movie and I want to inject the Trent Reznor and Atticus Ross original score directly into my veins.
Don’t Look Now (1973) directed by Nicolas Roeg
First thing’s first, Rest In Peace to Donald Sutherland. It was sweet to learn in the aftermath of his death that he had given his children first and middle names from directors he had previously worked with, one of them named Roeg after Nicolas Roeg.
I love any media that explores grief and that is a major theme in Don’t Look Now. What begins with a healthy, happy home with Donald Sutherland and Julie Christie soon devolves in the wake of their daughter’s death. Grief has the power to transform you in ways that you can’t comprehend until you experience it yourself and even then there will be certain things you can’t explain or decisions you make in the depths of grief, that won’t become clear until much later.
The film has a fascinating visual style that adds to the mystery of the film. There are recurring motifs and cuts that disrupt the timeline and have you questioning what direction everything is headed in. It feels disjointed at times but I think that plays in its favor. This same editing style is present during one of the most memorable moments in the film, which is the sex scene between our main characters.
The sex scene is muted with the score playing over interspersed shots of their love making and getting ready for dinner. Even by the 70s standards, it was pretty wild to watch. To me, it seemed like a natural extension of their grief. It didn’t seem passionate, it seemed like they were in distress. Their writhing seemed like a warning of darker things to come. Was it graphic? Sure. But it also served a purpose.
I think it communicated a couple in despair more effectively than any piece of dialogue, reaching and grabbing for anything to hold onto in the dark while trying to present another image to everyone else.
The Iron Claw (2023) directed by Sean Durkin
Okay, someone should’ve told me not to watch this movie if I had siblings. What a stellar performance from Zac Efron that should’ve garnered more attention. He is so vulnerable in the best of ways and he’s held up by an equally talented supporting cast.
The true story of the Von Erich family is far more grim but I think it’s a great entry into the dysfunctional family film canon.
Fallen Leaves (2023) directed by Aki Kaurismäki
“The film is about lonely people with baggage who meet later in life. It takes courage to fall in love later in life” is from the lead actress Alma Pöysti on the film.
There is so much gloss on romance films in this day that it was nice to see normal looking people on screen. These are real people with real jobs and real problems that affect the trajectory of this couple. It’s a romance film for the working class, subtle and affecting. I wish we had more films and filmmakers who created work like this.
This entry is a lot longer than I had hoped it would be and I’m also not going to go back in and edit anything because I’m still rusty and I know that will also add time on and prevent it from being published, so if you see any spelling or grammar errors, then congratulations you are better than me!
If you’re interested in keeping up with what I’m watching, or have been watching, you can follow me on Letterboxd. I am marginally better at updating that platform than this one, though I don’t typically post full blown reviews, just ratings, so be sure to check back here for future deep dives.
I’ll see you next Sunday!