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Harte Rates, 2020, #1

I have watched some films. Here are the films I have watched.

1. What We Do in the Shadows (2014) - 8/10

Good cast. Good fun. Does well with it’s budget, sparingly employing effective special effects and makes good use of the mockumentary format. Liked it, but didn’t love it.

2. Manhattan Baby (1982) - 5/10 This was originally planned to be one of Fulci’s most expensive films but having had it’s budget cut in half during production what you get is a fairly pedestrian disappointment. Some good photography and a smattering of half-decent effects work suggests that things could have been better had the producers not fucked him over, but ultimately it’s a pretty forgettable affair. (As evidenced by the fact I can’t really remember what happened)

3. My Cousin Vinny (1992) - 8/10

Not sure if it was watching Home Alone and The Irishman at the tail-end of last year that prompted me to re-watch this, but fondly remembering it from my childhood I wanted to see how it held up. It holds up well. Yes, it’s implausibly plotted, but it’s sharply scripted the result is an amiable romp with some great performances, not least Marisa Tomei’s Oscar winning performance as the titular Vinny’s long-suffering but supportive fiancee.

4. Little Women (2019) - 8/10

My first trip to the cinema this year and a very pleasant way to start; this was a welcome antidote to the gloom and horror that 2020 was offering up in the real world. It’s a refreshingly nice film. It reminded me a bit of Terms of Endearment but less overtly sentimental. Good performances all round from a strong ensemble, with Florence Pugh and Saoirse Ronan standing out as especially accomplished. Timothy Chalomet is also good and avoids being annoying with a character that easily could be. Less immediately likeable than Ladybird for me, the film is smartly constructed and directed with assurance and restraint and a good eye for colour. Well worth a look.

5. It's My Turn (1980) - 5/10

I mostly watched this because this it was a 1980 film featuring Michael Douglas and Charles Grodin that I’d never heard of and because I sometimes like to watch obscure stuff I’m not invested in to fall asleep to. It’s not exceptional but it has it’s moments and by focussing on the male stars to start I’ve done it a bit of a disservice. Jill Clayburn, whose name I know but am otherwise largely unfamiliar with, is the real star of the show. Directed by Claudia Weill from a script by Eleanor Bergstein (who’d go on to write Dirty Dancing) you get a refreshingly nuanced and complex take on the romantic comedy with an intelligent and accomplished woman (Clayburn plays a Maths professor) at it’s centre and, like watching Varda (though to a far lesser extent) you are reminded of how much more interesting things can be when women are able to be in control of telling their own stories. The plot’s mediocre and there’s too much music throughout, but the script has some decent moments and there’s more emotional maturity at play in how it handles it’s relationships than you tend to see in mainstream cinema. It’s certainly not great but might it satisfy your curiosity if you keep your expectations low.

6. La Dolce Vita (1960) - 9/10

Unquestionably a masterpiece, but having seen 8 1/2 last year it’s hard not to look at this as to some extent a rehearsal for that film, which has a more even tone and benefits from the director’s injection of self reproach and whimsical humour. There’s still lot’s to love here though and i found myself checking off traces of it’s influence in much that has come since; Antonioni’s depiction of Rome in L’Eclisse, the depth of contrast and camera movements of Cuaron’s Roma, Altman’s drifting focus and, seemingly, the entire basis of Sorrentino’s career. (That last part may be unfair, I’ve only seen The Great Beauty and Youth) It also seems to me to be in part a check to the romanticised depiction of Rome that featured in Roman Holiday, where the paparazzo and exploitative reporter are loveable rogues (and American ex-pats) who ultimately comport themselves honourably. Fellini’s Rome, while still bristling and bursting with glamour is far more cut-throat. Structured over 7 days in the life of Mastroianni’s jaded journalist, the film largely luxuriates in the heady Cosmopolitan glitz of life among the rich and famous in 60′s Rome the film also ventures to some surprisingly dark places and though repeat viewings may change my mind, it felt it little uneven in tone on this viewing. Also, while the film features a parade of great actresses it doesn’t really give them much to do other than present themselves for adoration and/or degradation, something that 8 1/2 also improves on (though arguably marginally)

7. Motel Hell (1980) - 6.5/10

A better than average little 80′s horror with competent direction, some visual flair in it’s use of colour and it’s tongue in it’s cheek. Oh and a chainsaw battle, if that sort of thing floats your boat.

8. Daisies (1966) 10/10

Fucking magnificent. An anarchic, inventive delight full of charm, wit and compelling imagery.

9. Five Fingers of Death (1972) - 6/10

Aka King Boxer. I thought I’d seen this before but I’m not sure I had. It’s decent enough; it’s better plotted/paced than a lot of kung fu films, if you’re not already a fan though I’m not sure this’ll convert you.

10. Sweet Smell of Success (1957) - 9/10

Burt Lancaster shines as the black-hearted Broadway columnist J.J. Hunsecker manipulating Tony Curtis’s press agent into a downward spiral of dark deeds in pursuit of J.J.’s favour. Blackly cynical, it sits well along-side Billy Wilder’s Ace In The Hole and the aforementioned La Dolce Vita for the disdain it shows toward the less scrupulous side of the journalistic trade, and has a wonderfully mean script full of barbed jibes and menace. Also of note is the beautifully textured photography of pioneering cinematographer James Wong Howe, who also shot Hud and Seconds among many, many other films. It’s a shame more contemporary films don’t portray the rich and powerful with as much unashamed venom as this delivers.

11. Who Saw Her Die? (1972) - 6.5/10

A better than average Giallo; the plot’s still clunky and overcomplicated but the imagery is good, there’s some decent stunts and effects and there’s a great score by Ennio Morricone that elevates it.

12. El Topo (1970) - 8/10

I last saw this many years ago as a midnight movie and fell asleep for an uncertain amount of time in the middle so it was nice to see it in full. Actually, nice probably isn’t the word. While there’s amazing imagery and a grand meandering and maniacal story, the massive quantity of dead animals that feature in the film (and were killed exclusively for it’s aesthetic) dampened my enthusiasm somewhat for it’s artful expression. There’s some amazing scenes and the idiosyncratic allure of Jodorowsky persist, but I’m in large part glad they don’t make ‘em like they used to. The Dance of Reality is a far friendlier and engaging showcase for his creative spirit, as is the excellent documentary Jodorosky’s Dune

13. Cameraman: The Life and Work of Jack Cardiff (2010) - 8/10

A solid little documentary about one of cinema’s greatest cinematographers. The man whose technicolor wizardry was instrumental in bringing the Red Shoes, A Matter of Life and Death, Black Narcissus to life. Also shot The African Queen and Rambo: First Blood Part II. Well worth a watch to spark or rekindle enthusiasm for catching up with Powell and Pressburger if nothing else.

14. Les Demoiselles de Rochefort (1967) - 9/10

An infectiously gleeful musical, where even a slightly baffling subplot about a serial killer doesn’t manage to dampen the mood. Wonderfully colourful, what it might slightly lack in choreographic finesse it more than makes up for with gallic charm and sly artful direction that teases and tortures its audience with the knowledge that it possesses and the characters do not.

15. Winter Light (1963) - 10/10

81 bleak beautiful minutes of gorgeously shot, pristinely directed cinema. Devilishly well written and wonderfully acted (Gunnar Björnstrand and Ingrid Thulin are particularly excellent) you get a similar sense of the philosophical and theological searching you get with Nuri Bilge Ceylan delivered in a fraction of the time.

16. F/X2 (1991) - 5/10

Somehow they managed to make a sequel more ridiculous than F/X Murder by Illusion. A sillier re-run of the original has Bryan Brown returning as “Rollie” Tyler and managing to foil corrupt cops and mafia henchmen with the questionable aid of Bryan Dennehy’s detective ineptitude and a bunch of McGuyver style bullshit. Also, overlong. No-one needs 109 minutes of this. It saddens me somewhat that this was directed by Richard Franklin, whose 1981 film Roadgames is a taut little Ozsploitation delight. Watch that instead.

Right think that’ll do. See you in a couple of weeks. (*fingers crossed*)

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thefutureisplywoodbikes · 4 years

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Harte Rates - 2.0

Hi all.

Well it looks like last year’s plans fell at the first fucking hurdle doesn’t it? Clearly I didn’t factor in just how unenthusiastic and ill disciplined I am. Not being one to let calamitous, abject failure deter me from fruitlessly pursuing an unnecessary task that no-one is especially interested in, including me, I figured I’d give this another go. There will be changes. Firstly I’m throwing out the previous format. I was swiftly reminded last year that I don’t particularly enjoy writing, nor do I think I’m very good at it, so the more I obligate myself to talk at any length about some 2 star dogshit like Gargoyles or Sucker Punch, or demonstrate my inability to adequately express with any eloquence, originality or expertise the reasons why I actually like something, the more disheartening a slog this becomes. So, firstly I’ll say as little or as much about things as I like but will generally try to keep things brisk. Secondly, monthly didn’t work so lets try fortnightly. Despite my plan to average a film a day this year, weekly still doesn’t really feel meaty enough. Plus I don’t really fancy weekly analysis. Can’t be arsed. And yes motherfuckers I am fully aware it’s the 18th and the first deadline has already gone, but let’s not pretend anyone really gives a shit eh?

I will slot in my best of 2019 in once I’ve got around to writing it. But for now let’s try to get up to date.

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thefutureisplywoodbikes · 5 years

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Harte Rates, #1

Hello. Those who know me well know I watch quite a lot of films and because I’m a nerd I rate them all on IMDB so that, come December, I can write a film of the year list that no-one really wants to read. In a bid to turn this activity into something useful/exacerbate a waste of time (delete as your opinion deems applicable) I’ve decided to make this into a monthly exercise, in case others wish to risk trusting my guidance when selecting what to watch. Below you’ll find a list of what I’ve watched so far this year with a rating out of ten. Below that will be a little additional information on each film for those of you that like that sort of thing. (I tend to rate things based on how I feel in the immediate aftermath of watching something so there is a chance I may be swayed by a prevailing mood and if you’re suspicious of my praise or damnation this may be why) Right at the bottom will be a breakdown of the ratings and what they mean. Anyway enough preamble.

Since January 1st I have watched:

- What Ever Happened to Baby Jane? (1962) - 9/10

- Rumble Fish (1983) - 9/10

- The Last Movie (1971) - 7/10

- The Lobster (2015) - 9/10 (rewatched)

- Pacific Rim: Uprising (2018) - 3/10

- Shin Godzilla (2016) - 6/10

- Sucker Punch (2011) - 2/10

- Alien³ (1992) - 6/10 (rewatched)

- High Noon (1952) - 9/10

- Gargoyles (1972 TV Movie) - 3/10

- The Favourite (2018) - 10/10

- Madhouse (1981) - 6/10

- The German Sisters (1981) - 8/10

- Fyre (2019) - 7/10

- Roman Holiday (1953) - 9/10

- Moon (2009) - 8/10

- Eyes Without a Face (1960) - 7/10

- Funny Face (1957) - 8.5/10

- Destroyer (2018) - 7.5/10

- The Thomas Crown Affair (1968) - 10/10

- A Quiet Place (2018) - 7.5/10

- Sabrina (1954) - 9/10

- Burning (2018) - 9/10

- Alison's Birthday (1981) - 3/10

- Roma (2018) -10/10

Further Details

What Ever Happened to Baby Jane? (1962) - 9/10

Should you watch it: Definitely if you haven’t already. Probably if you already have.

Where did I watch it: It was on Amazon Prime but I don’t think it is any more

What’s it like: Beautiful photography and brilliant performances of contrasting style from the two leads. Also it’s crueller and more blackly comic than you might expect from a film from 1962, in a good way.

If you like ______, watch this: Not sure really, maybe Psycho regarding the dark humour perhaps Frankenheimer’s 60′s films for an approximation of the aesthetic. If you’re a fan of Davis or Crawford you probably wont require prompting for this.

Rumble Fish (1983) - 9/10

Should you watch it: Yeah.

Where did I watch it: Caught it at the cinema on 35mm. Print had seen better days and I’d say is nearing the end of it’s serviceable life. Even with ropey sound at the beginning and a few scenes chopped up more than I’d like it was great though.

What’s it like: Looks great and has a superb soundtrack from Stewart Copeland. Full of incongruous smoke and inky blackness it’s a surprisingly and I’d say unusually seductive film from Coppola. The story is kind of absent and Coppola pitching it as an “art film for teenagers” maybe belies a lack of serious depth but if you’re prepared to relax and let it wash over you it’s got a lot of dreamy charm to offer.

If you like ______, watch this: I could maybe scratch up some movie parallels but the most apt I think is Charles Burns’ Black Hole; they share a commitment to pitch black nights and hypnotic hazy days in the visuals.

The Last Movie (1971) - 7/10

Should you watch it: Maybe. It’s interesting and has some great imagery but it’s Hopper in his years under the influence so you’ve got to put up with some really erratic editing.

Where did I watch it: At the cinema, the 4k restoration.

What’s it like: As I said above interesting with some great imagery but occasionally taxing. It’s got some good scathing moments regarding the corrupting and toxic influence of American culture and insidious decadence but the highlight for me is the town that adopts the actions of the movie shoot seen at the beginning into a perverse pseudo-religious ritual

If you like ______, watch this: El Topo maybe, but don’t expect the same level of exuberant flair that that has. Medium Cool maybe

The Lobster (2015) - 9/10 (rewatched)

Should you watch it: Definitely. Or least start watching it. You may hate it and if so you may want to duck out before it get’s really dark. Personally I enjoyed it more on the second viewing and was disappointed I hadn’t returned to it sooner.

Where did I watch it: It was starting on Film4 when I got in from work.

What’s it like: Cruelly delightful. An utterly absurd premise but within that setup it mercilessly and hilariously mocks the compromises, capitulations and deceptions we succumb to in pursuit of love or under pressure to conform and suggests the reality we inhabit to be if not equally then similarly fickle and ridiculous.

If you like ______, watch this: The work of Chris Morris, or other Jorgos Lanthimos films obviously.

Pacific Rim: Uprising (2018) - 3/10

Should you watch it: Fuck no!

Where did I watch it: NowTV.

What’s it like: Tiresome pointless bullshit. It’s a film with giant robots fighting giant monsters that I managed to asleep during more than once.

If you like ______, watch this: The first Pacific Rim, also tiresome pointless bullshit but not to quite the same extent as this. The Transformer films maybe, they’re also insufferably fucking awful.

Shin Godzilla (2016) - 6/10

Should you watch it: Meh, do what you like.

Where did I watch it: NowTV.

What’s it like: A Godzilla movie but taking itself more seriously than you maybe think it should but somehow being better for it.

If you like ______, watch this: It plays out a bit like a disaster movie with teams of experts earnestly theorising, but is also entirely ridiculous, so maybe shit like The Core or The Day After Tomorrow.

Sucker Punch (2011) - 2/10

Should you watch it: No-one should have ever seen this.

Where did I watch it: NowTV.

What’s it like: Like someone who really wants to direct music videos made a 2 hour showreel inspired by computer games, borrowed the plot from a women in prison film to tie it together. It’s woefully incoherent but weirdly effective at being consistently sleazy.

Annoying they managed to waste the time of and sully the resumes of some really talented actors while doing so.

If you like ______, watch this: Babestation Daytime, youtube clips of the cut-scenes in the early Resident Evil games, the grimier depths of 70s exploitation cinema. Basically if you're already a lost cause.

Alien³ (1992) - 6/10 (rewatched)

Should you watch it: If you feel the inclination.

Where did I watch it: Film4 I think

What’s it like: Alien, but not as good. Decent cast. Some fun moments

High Noon (1952) - 9/10

Should you watch it: Yeah, why not? It’s only 85 minutes and it’s good.

Where did I watch it: NowTV

What’s it like: It’s brilliantly shot for starters; most of the shots have a crispness in the focus that you notice because you don’t see it achieved much elsewhere. The depth of contrast is also really good. Where this really excels though is in the pacing and editing, it plays out in near real-time and ramps up tension really effectively. Also the story’s more cynical than you might expect and jars with heroic narratives of the times and with those traditionally seen in Westerns. John Wayne called it “the most un-American thing I’ve seen in my whole life”, which alone should be enough to perk you interest.

If you like ______, watch this: If you like From Here to Eternity also directed by Zinnemann, you’ll certainly like the look of this at least. Touch of Evil maybe too. And while Hitchcock perhaps fairly complained her character is a bit mousy in this, if you’re a Grace Kelly fan she’s mesmerising whenever she’s on screen here. And if you fancy another unusual western with a black-list connection, check out Terror in a Texas Town (written by Donald Trumbo)

Gargoyles (1972 TV Movie) - 3/10

Should you watch it: No, it’s shit.

Where did I watch it: Go Flow Streaming TV, it’s a channel you can get on Roku currently free that has a few gems available for free (Umbrellas of Cherbourg, Wages of Fear) nestled amongst shit like this.

What’s it like: Shit.

(Though it’s still only the second worst Scott Glenn film on this list)

If you like ______, watch this: Shit

The Favourite (2018)

Should you watch it: Absolutely, it’s wonderful.

Where did I watch it: At the cinema, and so should you while you still can.

What’s it like: From the trailer I was expecting a deliciously vicious mean little comedy, what you actually get is a more sophisticated tale of Machiavellian manoeuvring and some surprising tender moment. A pristinely hilarious script, stellar performances throughout and visually beautiful.

If you like ______, watch this: Good films. The Death of Stalin perhaps. Also, probably goes without saying but if you like Lanthimos’ other films, more so The Lobster than Killing of a Sacred Deer.

Madhouse (1981) - 6/10

Should you watch it: Eh, probably not unless you really like this sort of thing.

Where did I watch it: Amazon Prime

What’s it like: Pretty standard 80′s slasher fair but with a couple of decent special effects moments and a bit more visual flair than you normally get with these. It was one of the video nasty titles on the DPP list if that interests you.

If you like ______, watch this: Crappy 80′s horror films.

The German Sisters (1981) - 8/10

Should you watch it: Yeah catch if you can.

Where did I watch it: At the cinema, part of a Margarethe von Trotta season that may still be touring.

What’s it like: Serious and engaging; if you’ve seen any other New German cinema, or other politically charge European cinema from the late 70′s/early 80′s you’ll likely have an idea of what you’re getting.

If you like ______, watch this: Reminded me generally of Antonioni and One Sings, The Other Doesn’t more specifically

Fyre (2019) - 7/10

Should you watch it: Oh yes.

Where did I watch it: Netflix

What’s it like: It’s not an exceptional documentary but it is an exceptional story. It is the perfect antidote to the suggestion that you can achieve anything with a positive attitude and the unquestioning conflation of success with capability. I experienced perhaps the most prolonged period of schadenfreude in my life while watching this, and I’ve been an incurable misanthrope for at least 20 years. On another note, watching this will introduce you to Andy King, a man of such astonishing professional commitment and unassuming likability, that after this he likely became the world’s most eligible employee.

If you like ______, watch this: If you like seeing the affluent disappointed. Documentary wise it’s pretty standard fair but Three Identical Strangers or Precinct Seven Five may also be up your street.

Roman Holiday (1953) - 9/10

Should you watch it: If you find Audrey Hepburn to be an enchanting screen presence, yes. If you don’t, maybe not.

Where did I watch it: NowTV

What’s it like: Somewhat old-fashioned in a charming way, but also in a way that may make you a little uneasy with the exploitative manipulation of Peck’s character when viewed in a modern light. Not to the extent it spoils the film though I’d say. It looks great, makes superb use of its location and zips along merrily.

If you like ______, watch this: Audrey Hepburn, Gregory Peck or the mismatched romance movies of the 40′s/50′s

Moon (2009) - 8/10

Should you watch it: Yeah, but I’m late to the party on this one so you probably already have.

Where did I watch it: Amazon Prime

What’s it like: Good. A smart little movie that plays to its strengths and limitations. Sam Rockwell is always watchable and is on good form here.

If you like ______, watch this: Reminded me of Outland though I’ve not seen that for ages and that might be down to a plot-point rather than anything more general. If you liked Silent Running you may well enjoy this.

Eyes Without a Face (1960) - 7/10

Should you watch it: If it sounds up your street, yeah. It’s good, not great.

Where did I watch it: Go Flow Streaming

What’s it like: Good. A bit predictable in a Hammer kind of way but, refreshingly, more callous. The special effects while not exceptional have a mundane quality akin to actual surgical procedures that make them seem more realistic.

If you like ______, watch this: Similar look to Les Diabolique from what I recall of that.

Funny Face (1957) - 8.5/10

Should you watch it: Again, if you especially like Audrey Hepburn and/or musicals yes, otherwise maybe not.

Where did I watch it: NowTV

What’s it like: Pleasant, but outmoded. The celebration of the transformation from independent intellectual to model and girlfriend is a bit queasy, as is the titular song. It’s wonderfully colourful though and decent fun; Astaire is charming as usual, Hepburn reliably delightful and Kay Thompson wittily brash.

If you like ______, watch this: It’s Stanley Dolen so if you liked Singin’ in the Rain you may well enjoy this (though probably not as much). Also, I haven’t seen them but Jacques Demy’s Umbrellas of Cherbourg and The Young Girls of Rochefort look to have a similar exuberance.

Destroyer (2018) - 7.5/10

Should you watch it: Yeah, but I wouldn’t worry too much if you’ve missed it at the cinema

Where did I watch it: At the cinema

What’s it like: Solid. Maybe a bit predictable but well worth a watch. Felt a bit derivative to me, but derivative of good things; Lynne Ramsay (We Need To Talk About Kevin and You Were Never Really Here) and the first series of True Detective. Mostly fairly low key but has one particularly invigorating scene in the middle that’ll satisfy the thrill-seekers among you.

If you like ______, watch this: As I said above, We Need To Talk About Kevin, You Were Never Really Here, True Detective. Maybe Brick too. If you feel like exploring Kusama’s earlier, Jennifer’s Body is good fun.

The Thomas Crown Affair (1968) - 10/10

Should you watch it: I fucking loved it but it’s up to you. I feel mine may be an idiosyncratic assessment.

Where did I watch it: NowTV

What’s it like: Achingly cool. McQueen and Dunaway are both effervescently alluring throughout as is their cat and mouse seduction. The playfulness of the extensive use of split-screen adds to the fun. This is a film that makes polo enjoyable viewing and chess sexy.

If you like ______, watch this: Steve McQueen and/or Faye Dunaway. The films of Norman Jewison. You may also like Out of Sight, How To Steal a Million or The Hot Rock but they’re all at best vaguely related.

A Quiet Place (2018) - 7.5/10

Should you watch it: It’s pretty good. You choose.

Where did I watch it: NowTV

What’s it like: A pretty dumb premise but one that it commits to it and makes good use of. It’s an endearing and well put together little movie.

If you like ______, watch this: Not sure, nothing particularly springs to mind. Probably if you like John Krasinski and Emily Blunt. Edge of Tomorrow is probably a good fit. Pitch Black perhaps

Sabrina (1954) - 9/10

Should you watch it: Yeah, it’s Billy Wilder of course you should.

Where did I watch it: NowTV

What’s it like: Smart and funny but with the bittersweet touches you expect from Wilder. Hepburn and Bogart are great while Holden and the rest offer solid support. Like Roman Holiday and Funny Face the aspects whereby it’s just accepted that men will manipulate the lives of women as they see fit don’t really sit too comfortable nowadays within a romcom but it’s a pretty minor niggle

If you like ______, watch this: Roman Holiday, The Apartment

Burning (2018) - 9/10

Should you watch it: Yes. I thought it was great.

Where did I watch it: At the cinema. You should too.

What’s it like: Brilliant and brilliantly unnerving. And that’ll do for now, the less you know the better.

If you like ______, watch this: I don’t want to say too much lest I spoil it, though I’d say it has some of the feel of Blow Up (not the pretension though)

Alison's Birthday (1981) - 3/10

Should you watch it: Nah.

Where did I watch it: Amazon Prime

What’s it like: It’s a zero-budget, bloodless Australian horror movie from 1981 and while it’s competently put together in a TV movie kinda way, it is incredibly dull. It’s like an episode of Neighbours trying to make your afternoon especially spooky.

If you like ______, watch this: Minder is probably on a par in terms of dramatic tension. Maybe if you have a hankering for a particularly dull episode of Tales of the Unexpected.

Roma (2018) -10/10

Should you watch it: Yes, in the cinema if you can.

Where did I watch it: I saw it at HOME and if you’re in Manchester so should you but go to a Curzon if you must.

What’s it like: Spectacular. It’s beautifully photographed throughout but some of the shots it features are masterful. The sound design is superb too and even though it looks stunning is probably the main reason I’d say to see it in the cinema. And it has a deeply compassionate, complex story, that seems transparently informed by the truth of the director's life. A majestic cinematic triumph.

If you like ______, watch this: I was reminded a bit of Andei Rublev and Altman in the camera movements, Cold War in the clean naturalism of its look and maybe Nuri Bilge Ceylan in the scope of the story, though this is a far less demanding watch. But you don’t need any of this bullshit anyway, just go see it.

And we’re done. Congratulations if you stuck with it. It took fucking ages to write, hopefully it was an easier read. Let me know if you think it’s a taxing format and I’ll maybe shift to more regular updates. (Also I think that as it stands, this moreso serves to highlight the inadequacy of my vocabulary than it does the presence of any useful film knowledge.)

A word on ratings

I used to a movie recommendation site called JInni, now defunct, which had the a breakdown of ratings that I liked enough to keep using after it shutdown. See below.

10 - Must watch

9 - Amazing

8 - Great

7 - Good

6 - OK

5 - So-so

4 - Disappointing

3 - Poor

2 - Bad

1- Awful

My baseline is likely a 6, if I don’t actively regret or resent watching something it’ll likely be there. Anything 7 or above I’d say is worth seeing, 5 and below I wouldn’t necessarily bother, a 6 is up to you, it’ll pass the time. So if you feel the inclination you can obviously treat 5 as 0, 6 as 1 and 10 as 5, for a simpler 5 star rating system; I like to distinguish the full spectrum from dogshit to sublime but what you choose to do is your business.

#HarteRates

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thefutureisplywoodbikes · 5 years

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The “My Top Films of 2018″ post positively no-one has been crying out for

Hi friends, it’s been a while. I’ve been meaning to do a little monthly film round up / review thing for a while now (A suggested enterprise that I should say I have received specific encouragement for) but it felt a bit weird starting in the middle of the year so maybe consider this a warm up for that. I HATE spoilers so rarely read any kind of detailed review for anything I feel inclined to see until after I’ve watched it, so the usual format here will be a sentence whether you should bother to go see a film, a few films that might have a similar feel of characteristics if you’re still undecided or looking for more of the same, and finally I might give some extra details or specific opinion. If you’re a spoiler pedant like me you might want to skip this last part but I imagine most of you will be OK.

As what follows are what I consider the best films of the year, it should be a given that I suggest you seek them out and watch them. If you can’t be arsed with or don’t want the details and discussion, of which there’s a lot below, skip down; I’ll put the list near the bottom, along with a selection of other highlights that didn’t make the cut.

Anyway, onto the business at hand. To qualify for my long-list films had to be new releases that I’ve seen in a cinema this year. I’ve not counted any Netflix or Amazon fare, or any classics, some of which obviously are some of the best films I’ve seen in the cinema this year, but you shouldn’t really need specific encouragement to go see Rear Window, Once Upon a Time In The West or The Apartment if you get the chance. I did have a solid 10, but had forgotten something important, so you’re getting a top 11 and a best of the rest section instead.

11 (also 10)

- You Were Never Really Here (Lynne Ramsay)

- A Woman’s Life (Stéphane Brizé)

Two very different films share 10th place. You Were Never Really Here is a bruising tale of a damaged person not so much seeking redemption as just getting by. Set in contemporary New York, it features a superb central performance from Joachin Phoenix and is beautifully shot by Lynne Ramsay. Has a similarly feel, in terms of the editing at least, to her earlier film We Need To Talk About Kevin. There was a lot of talk about this being a modern day Taxi Driver which is an understandable comparison given the subject matter but might unfairly raise expectations if you’re not careful; it isn’t and it isn’t trying to be. It does however have a bit of a Paul Schrader feel to it so if you enjoyed First Reformed this would be worth a look. Currently on Amazon Prime, if you’re not boycotting Bezos.

A Woman’s Life I saw pretty much solely on the strength of how much I liked Stéphane Brizé’s previous film, The Measure of A Man which covers similar territory to I, Daniel Blake but with considerably more subtlety and sharper focus and is for me more successful for it. An adaptation of Guy de Maupassant first novel, Une Vie, the story as the title suggests, takes you through the life of a woman in 19th Century France. It‘s a slow, measured and intelligent film, sympathetic, naturalistic and moving and slyly shines light on the inherent cruelty of the pervasive limitations of the patriarchal society of the time. Not sure what to recommend for comparison since it was early in the year I saw it and I don’t think I’ve seen much else like it. If you’re a fan of Bresson give it a look. If you enjoyed Jacques Rivette’s The Nun maybe. If you liked Barry Lyndon but think it needs toning down in terms of flair and mood. Tolstoy was a big fan of the novel if that floats your boat, Mostly I’d say watch Measure of a Man and maybe track this down if you liked that.

Let The Corpses Tan (Hélène Cattet, Bruno Forzani)

From the Brussel-based French duo behind Amer and The Strange Colour of Your Body’s Tears, if you’ve seen either of their earlier films you’ll have some idea of what you’re getting here. It’s not going to be to everyone’s tastes; if you want a straightforward plot, narrative resolution or ultimately to fully understand what the fuck is going on, you’re in the wrong place, but if you like the sound of a pristinely crafted and gorgeously shot amalgamation of spaghetti western and Poliziotteschi aesthetics, this is likely very much up your street. If you liked Mandy as a film that is effectively an homage to the mood a variety of 80′s films, I think this does similar for a different period more smoothly. If you’re not sold by now I’m not sure what else to say but you can watch it on Amazon Prime if you’re curious.

Lucky (John Carroll Lynch)

On paper this shouldn’t be as good as it is. Not a lot really happens. It’s competently shot but not visually exceptional. It would seem to unashamedly be a vehicle to showcase the enduring charm of Harry Dean Stanton in a role that I would be astonished if i were to discovery it wasn’t written specifically for him. And yet it’s HUGELY endearing. It’s sweet without ever approaching being mawkish or saccharine. Stanton is an irascible, charming and poignant delight as a man doing his best to defiantly maintain his independence while coming to terms with his encroaching mortality . David Lynch is less convincing as a man bereft after his tortoise has escaped from the garden, yet still it all kinda works and has context. If you’ve liked Harry Dean Stanton in anything else, but particularly Paris, Texas. You’ll likely enjoy this. If you’re a Twin Peaks geek, liked The Straight Story, St Vincent (As in the 2014 Bill Murray movie), Mystery Train or maybe even On Golden Pond you’ll likely be OK too.

Filmworker (Tony Zierra)

You’d be forgiven for not knowing who Leon Vitali, the subject of this film, is. Some of you with better memories may place him as the actor who portrayed Lord Bullingdon in Barry Lyndon, likely because at some point you’ve looked him up after watching his superb performance wondering whatever happened to him. What you’re unlikely to be aware of (unless you’ve already seen this) is his immense contribution to, and sacrifices for, the work of Stanley Kubrick, an ongoing commitment that will likely persist until his dying breath.

In awe of the auteur on the set of Barry Lyndon, he effectively abandoned his acting career at the moment it was set to take off, to work with Kubrick in whatever capacity he could, over time becoming his most trusted, and woefully overworked, assistant. There is a sense that this a tale of one man being exploited in another man’s ruthless pursuit of their vision, which in part it is, but Vitali’s devotion is effectively religious and so he commands more respect and admiration than pity for the extent he has given over his life to his passion. If you like Kubrick, have seen and loved any on his films at the cinema, on video, DVD or blu-ray you have a responsibility to see this, because it is extremely likely that Leon is the man who has personally checked the prints and colour gradings to ensure they are precisely as they should be. It should also be a reminder that there are hundreds of thousands of others unsung who’ve had a hand in making the films you love.

If you’re a film geek, serious cineaste or fan of any of Kubrick films but particularly the last four (Barry Lyndon, The Shining, Full Metal Jacket, Eyes Wide Shut), you should see this.

Lady Bird (Greta Gerwig)

At heart Lady Bird is a simple story, very well told. It has suitable faith in its script to keep things simple and in doing so delivers 95 breezily delightful minutes of cinema. I saw this immediately after having endured The Shape of Water (Superficial, predictable, indulgent, emotionally-manipulative dross, with some insultingly shallow politics shoe-horned in to bolster its credibility) so the contrast may have inflated my enjoyment but after that, this was a breath of fresh air. It has a lean, clever script flawlessly delivered by it’s stellar cast, led by primarily by the equally excellent Saoirse Ronan and Laurie Metcalf but also featuring Timotheé Chalamet and the reliably remarkable / remarkably reliable Lucas Hedges in supporting roles. The result is a film full of well-rounded, flawed and relatable characters. The depiction of teenagers seem particularly sharp; the traumas of negotiating the trials of burgeoning adulthood are treated sympathetically but you’re also shown achingly absurd moments of pretension that’ll likely spark a pang of amused recognition in anyone over 20.

If you liked 20th Century Women or Greta Gerwig’s other cinematic outings (I don’t think I’ve actually seen many others but it stands to reason.) you’ll likely get a kick out of this not really sure what else compares suitably.

It’s a nice film. Give it a go if you haven’t already.

Phantom Thread (Paul Thomas Anderson)

The latest offering from Paul Thomas Anderson, Phantom Thread is a curious creature and a bit of departure for the director, stylistically at least. On the surface a dry tale of a celebrated English tailor discovering a new muse and lover and the shifting of power and negotiation of compromises as their relationship develops, I’d say the real meat here is in the subtexts but I don’t want to prejudice your viewing with my half-baked theorising so I’ll say no more. Visually sumptuous, pristinely photographed and with a deliciously acerbic and quotably witty script, you also get a trio of marvellous performances from Daniel Day-Lewis, Leslie Manville and Vicky Krieps in the lead roles. A wry treat for all who like seductive subtlety at a steady pace and one that’s sure to benefit from repeat viewing. (I’ve yet to rewatch myself but am keen to and in the course of writing this list I’ve been compelled to bump it up a few spots and suspect it may well have faired better if I had)

If you’re a PTA fan you’ve likely already seen this but if you need specific prompting I’d say it’s closest in spirit to The Master, but it’s still more idiosyncratic among his output than similar to the others. If you like the barbed charm of the writing of the films of the British New Wave, or Pinter’s script for Losey’s The Servant you'll also likely find this worth your time.

Climax (Gaspar Noé)

Despite it's place here, I have a hard time recommending Climax. Watching it was possibly the most queasily unnerving experience I've ever had in a cinema, which is entirely it's intent.

Following the events that unfold one snowy evening at an isolated rehearsal hall where a group of dancers having a final night party fall victim to an LSD-spiked sangria, what starts out as a mesmerising display of dancing skill and exuberance slowly shifts into a hellish, decadent descent as innermost fears and desires surface and are enacted.

The film is technically spectacular, largely composed of a single twisting shot that woozily drifts among the action and skilfully approximates the helpless intoxication of the characters. Prior to this the film opens with a series of interviews with the dancers, shown on a tv flanked by videos and books, the theme of which would appear to be transgression in its various forms. It's a simple, smart device that foreshadows events to come but also lays out the story's influences and inspirations. The overall result is the sense that experience you receive has been carefully and precisely crafted, something all films obviously aim to do but that this actually delivers, extraordinarily well. Even when things slow and drag in the last 20 minutes (which they undeniably do) you feel like you're being made to endure the comedown of the preceding proceedings. It's not going to be for everyone and I'm not sure the visceral unease of seeing this in the cinema will translate to small screen viewing, but it's a brilliant affecting piece of cinema for those prepared to brave it.

If you didn't like Enter The Void, you're probably not going to like this but if you did, you probably will. The content isn't necessarily especially graphic but there's a sense of callous disregard and cruelty that made for uneasy viewing for me at least, similar to the darker moments of Henry Portrait of a Serial Killer or Man Bites Dog. You probably know by now if you're gonna watch it or not, so let's move on.

Utøya: July 22 (Erik Poppe)

Not to be confused with the Paul Greengrass Netflix film (Which went into production a year later than this then stole it’s working title) Utøya: July 22 is the second film on this list to centrally feature an extended tracking shot. This one was shot in one interrupted take and, much like Climax, is a harrowing film elevated by the directorial decisions that informed and shaped its creation.

Unfolding in real time the film shares the experience of Kaya, a teenage girl attending the summer camp on the Norwegian island of Utøya during the 2011 terrorist attack there. It’s a heartbreaking watch. Less generous reviews suggest it to be manipulative, others, which I am obviously moreso inclined to agree with, feel that the films choices place the victims in the forefront of the story and in doing so highlights failings within the usual handling of such events on film and more broadly in the media, failings which, while I haven’t seen it, I have heard the aforementioned Netflix film is guilty of. While the characters in this film are fictional, their stories are based on the testimonies of survivors and survivors were heavily consulted both during the writing of the script and the filming. The terrorist is not named and is only shown once in the distance which, given the intention of his murderous assault was to draw attention to himself and his toxic political views, is very effective at both resisting unwitting complicity in advancing these aims and preventing the victims and the horror of their experiences from being shifted into peripheral significance. They are not merely a notorious individuals tragic statistics and they, or any other victim of mass murder, should never be allowed to be seen in such terms. This film has been painstakingly and thoughtfully constructed to honour them and the gravitas of their suffering and is intelligent and powerful film that deserves far greater attention.

It feels somewhat ridiculous to offer comparative suggestions for this one; it’s not an enjoyable viewing experience, so if you’re not already moved to watch it maybe you shouldn’t bother. If you’re still undecided this does feature perhaps the most effective and emotionally involving uses of the single shot proximal viewpoint, a technique employed in a number of titles of recent years (Birdman, Victoria, The Revenant, Gravity etc.) that I’ve seen. It something which Son of Saul was celebrated for, where the intent was similarly a claustrophobic immersion, but which, in that instance, I found somewhat distracting. This succeeded for me where Son of Saul did not.

Cold War (Pawel Pawlikowski)

I still haven’t seen Pawlikowski’s previous film Ida but the strength of esteem that it garnered led me to see this without knowing anything about it. (And if you really want to enjoy it, you should skip the rest of this and do the same. Actually you should do that anyway, because I likely create an unreasonable high expectation by the end of this.)

The film covers a love story as it unfolds and transforms over the space of 20 years under the shadow of the Cold War. At various points the romance is frustrated either by the ubiquitous demands and expectations of the Soviet state apparatus or by the lovers diverging fates negotiating it. Given the tale is loosely based on the story of his own parents, one would be forgiven for fearing this might be a melodramatic tale of predictably plucky triumph, but the nuance and complexity of the central relationship, challenged as it is by not only external forces but internal conflicts, has a suitable quantity of bitterness and disappointment to feel like a truthful portrayal. It’s refreshingly unsentimental, as is the depiction of life under totalitarian rule and in some ways this is as much a film about the potential for lives to be crushed by oppressive regimes as it is about loves ability to resist them.

Also of note; the film is gorgeous. The black and white photography is pristine throughout and subtly shifts with the films location. The soundtrack comprises Eastern European folk and 50s Jazz and, with music forming a central role in the plot, the scenes where it features most heavily stand out and are at times breathtaking. The acting too is great with Joanna Kulig proving a particularly enchanting screen presence. It’s a manifoldly beautiful film.

If you still need persuading (though you really shouldn’t, because by this stage I’m just over-egging the pudding) if you liked Ida obviously this’ll be up your street, if you’re a Tarkovsky fan in general you’ll likely appreciate some of the framing and pacing here but if your especially fond of Ivan’s Childhood (And if you’re not you probably should be) the look and feel of this should prove particularly appealing.

Shoplifters (Hirokazu Kore-eda)

It’s unlikely that I’m alone in placing this at the top of my list. I don’t think I’ve spoken to anyone who hasn’t liked this film. Most have loved it. This is very rare. In fact, if you haven’t yet seen this, don’t bother reading further, just go see it in the cinema while you still have the chance. (I don’t want to hear any shit about spoilers or whinging about missing it.) If you’ve seen any of Kore-eda’s other recent films (with the possible exception of The Third Murder) you will have had some idea of what to expect with this. He is a master of tender, low-key tales of everyday life and the drama contained within. Our Little Sister was my first encounter with his work and was my favourite film of 2016. It features the intertwining lives of three sisters who live with their grandmother and the half-sister they effectively adopt when their estranged father dies. It’s a simple, wonderfully uplifting film that unceremoniously shows you the progressing lives of a loving family in rural Japan. After The Storm looks at another family, this time in Tokyo and more fractured and dysfunctional but still observed with compassion and though flawed, prove deeply sympathetic and relatable. In Shoplifters we are again presented with a family, this time a gathering of humble misfits and miscreants predominantly bonded by solidarity in the face of poverty, hardship and neglect. Their love for each other is evident in their actions but as the film progresses it is brought into question by figures of authority and more broadly a society that though unwilling to help them when in need is more than prepared to judge and condemn them regardless of their circumstances.

This is both an overtly political film and a deeply philosophical one but fundamentally it’s an achingly sensitive and compassionate drama. It brings to light rarely discussed economic disparity in Japan and the difficulties of those struggling to get by. It examines what constitutes a family and questions the value of traditional familial and societal bonds when they don’t encompass a duty of care. It lead you to reflect on you own fortunes compassion and morality. And it does all of this simply by presenting you with a group of characters with complex stories. Acts that might be considered otherwise outrageous are given suitable context to leave you entirely capable of empathising with the decisions to undertake them.

A devastatingly moving and humane film, this is beautifully shot, scripted, edited and brilliantly performed by a hugely talented cast. An irrefutable masterpiece. Must watch.

Right, below is a recap of the list then below that will be a list of notable highlights that made the long-list, for those of you not already bored shitless

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OK, welcome back slackers. Here’s the list.

10. - You Were Never Really Here (Lynne Ramsay)

- A Woman’s Life (Stéphane Brizé)

9. Let The Corpses Tan (Hélène Cattet, Bruno Forzani)

8. Lucky (John Carroll Lynch)

7. Filmworker (Tony Zierra)

6. Lady Bird (Greta Gerwig)

5. Phantom Thread (Paul Thomas Anderson)

4. Climax (Gaspar Noé)

3. Utøya: July 22 (Erik Poppe)

2. Cold War (Pawel Pawlikowski)

1. Shoplifters (Hirokazu Kore-eda)

And now for the best of the rest. You should maybe try to watch these before reading the details too

The Rider (Chloé Zhao)

This was unquestionable beautiful and does an excellent job of showing the limitations of investing in an outmoded code of masculinity, in this instance that of the cowboy. The amateur cast effectively play versions of themselves in the thinly disguised the story of lead actor Brady Jandreau’s struggles to adjust after a severe rodeo injury curtails his career and hopes. Why it’s not in my top 10: This is a cinematic love letter to Brady and while it’s effective in display the depth of the directors affection for him and his, admittedly very endearing, family, it’s less so as a means to convince you to share it’s viewpoint if, like me, you don’t share Chloe Zhao’s unquestioning sympathy from the outset. Questions about animal welfare, the validity of cowboy traditions, practices and iconography in the modern world and whether that imported culture dominating life on a Lakota reservation can ever be anything but a toxic cul-de-sac, all go unasked and unanswered.

The Wild Pear Tree (Nuri Bilge Ceylan)

This probably should be in my top ten. It’s absolutely spectacular. Beautifully naturalistic and expansive in scope and ambition. One regular customer at the cinema where I work said it authentically encapsulates the experiences of everyday Turkish life and so if that sounds up your street and you have a spare three and a bit hours to invest this is richly rewarding watch.

Why it’s not in my top 10: It’s just soooo long. It’s 188 minutes but feels like longer, which I’d actually say is a good thing because it covers so much ground at such a measured pace you’re surprised when it’s over that you’ve experienced so much in such a, relatively, short space of time. But it’s still exhausting. While lengthy discussions work within the context of the film their inclusion teeters on the brink of indulgence and the main character, a youthful and arrogant would-be intellectual, is frankly a bit of a dick, and that’s a long time to spend in the company of someone you don’t necessarily like. So in essence, while this is a masterpiece, it is a demanding one, and it’s because I found the physical experience of watching this to be more challenging than either enjoyable or invigorating that it slipped into the runners-up. Once Upon A Time in Anatolia, which I rewatched earlier this year, manages to cover similar territory but still leave you enlivened so I was hoping this might do the same.

Leave No Trace (Debra Granik)

A well-paced, great looking and emotive little drama featuring exceptional central performance from Thomasin McKenzie and the dependably compelling Ben Foster as a father and daughter living on the margins of society in contemporary America. Comparisons with with the work of Kelly Reichardt seem justified.

Why it’s not in my top 10: It’s a great film, I just personally think I saw at least 10 better ones this year. You might feel otherwise. (But you’d still be wrong)

The Miseducation of Cameron Post

I found this to be really sweet and engaging and similarly effective to Lady Bird in giving dignity and truth to the voices of youth. It felt a bit like a modern day update of a John Hughes film (but with the startling misogyny and casual racism excised obviously)

Why it’s not in my top 10: It’s good, but not that good.

Marlina the Murderer In Four Acts

Indonesian. Feminist. Western.

What more do you need to hear. A great little film that deserves a wider audience.

Why it’s not in my top 10: You’ve got the gist of this by now surely?

A Fantastic Woman

I think this did a really good job in highlighting the various forms of conspicuous everyday cruelty that hinder the lives of trans women and more broadly the harmful prejudices that nestle within normative society. The film is far from perfect and is not without it’s justifiable criticism; I have heard it said that this represents a CIS gendered persons idea of what trans experience is like rather than the reality and it is true that the central character is pretty much entirely defined by her victimhood rather this being a more nuanced portrait. So, yes, it’s maybe more than a little melodramatic but the central performance of Daniela Vega is i think still suitably engrossing to warrant your attention.

Why it’s not in my top 10: and nor are the films below

Faces / Places (Agnès Varda, JR)

This was a really lovely film. I tend to overuse the word charming (You’ll likely notice a bunch of equally overused synonyms of it where I’ve attempted to avoid doing so above.) but it’s really apt here. This is a delightfully playful look at the collaboration and friendship of it’s creators, filmmaking legend Agnes Varda and photographer/muralist JR as they travel around France making work. And that pretty much it. It’s smart, fun and funny but mostly it’s nice. Refreshingly and unashamedly pleasant.

This was one of 3 Agnès Varda films I saw in the cinema this year and I’m deeply disappointed both that I didn’t catch more but also that I’m so late in being introduced to her work. The other two I saw were Cleo From 5 to 7, a truly stunning piece of work that effortlessly makes many of it’s French New Wave contemporaries look painfully austere, and One Sings, The Other Doesn’t, whose first 5 minutes alone are so deliciously, guilefully political as to make this, and discovering Varda’s films in general, one of my highlights of the year.

While the ship has sailed for the folks of Manchester to catch the Gleaning Truths season, the lucky folk of London still have a chance to catch them all and suitable time to plan as they’re all showing in early 2019 at the Prince Charles Cinema. I heartily recommend you do so (or at the very least see Cleo From 5 to 7 then see how you go) Link here.

Lastly I want to mention a trio of horror films that stood out this year.

Hereditary was hokey, divisive and derivative of a bunch of late 70′s horror but had a great cast, some surprising twists and I found it to be a great deal of fun. Others did not. The choice is yours.

Mandy was a more maniacally entertaining treat, again derivative but as it’s effectively an adoring pastiche of 80′s genre films it can’t be judged too harshly on those terms. I still think Let The Corpses Tan covers similar territory better, but this has some spectacular visuals, a superb soundtrack and a gloriously unhinged Nicholas Cage to keep you amused along the way.

The new Halloween marked an entertaining return to for the long-suffering franchise and, pleasingly, a box office success but what I found most interesting about it were the sly touches in the screenplay that suggest changes may be afoot in Hollywood. The key protagonists are all women, they’re surrounded by a parade of shitty men who show themselves to be either abusive, untrustworthy or impotent when the time comes to face up to the embodiment of senseless murderous misogyny, Michael Myers. There was a similar vibe in Widows, and with both it was encouraging to see politics being injected into successful mainstream offerings. Lets hope it persist.

Celebrated films I haven’t seen that may be notably absent above:

I’ve heard good things about both Wajib and 120 BPM but haven’t seen them, so obviously can’t comment on them. Also I haven’t got around to watching Cuarón’s Roma yet. Or Sweet Country. I missed that one too.

Alternative facts

In the interest of fairness and balance and the spirit of sharing here’s an alternative top 10 from my learned colleagues at HOME: https://homemcr.org/article/top-10-films-of-2018-ushers-choice/

(Just because their reviews are more thorough and better written, it doesn’t make them right)

And a 2018 highlight podcast if you’re really keen:

https://homemcr.org/media/the-home-film-podcast-special-2018-round-up/

Things I’m looking forward to seeing next year:

The Favourite looks deliciously vicious and entirely up my street so I can’t wait to see that. Green Book I very much like the look of too and is an intriguing shift for Peter Farrelly that I hope pays off. I also have high hopes for If Beale Street Could Talk, like the sound of Destroyer, the look of Vice and am intrigued by Burning. Anyway that’s more than enough for now. I’m gonna go do something else. So should you. See you in the new year.

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