Still trying to catch up here, so these will be much shorter than usual. As I mentioned in my last post, I just got back from a trip, am moving and have a lot of stuff to do, so I’ll get back into a regular rhythm here soon.
#140. Gas, Food, Lodging (1992, Anders)
“I’m just afraid of running out of daydreams”
The power of artificial melodrama and the voiceover narration of a blossoming adolescent with nobody else to ramble to is our introduction to this frank yet delicate American indie about two sisters and their single mother trying to get by in a New Mexico trailer park. J. Mascis’s score (oh how 90’s) is just right, with plenty of moments when your ear catches just how great his contribution is here. And Fairuza Balk (one of my favorite actresses) is touching as the endearing Shade (oh how 90’s), trying so hard to change her circumstances and those around her with idealistic and naive solutions.
It’s the Little Things:
“Look that’s the best I can do. I’m tired”
“Women are lonely in the 90’s; it’s our new phase”
#141. Orlando (1992, Potter)
An elaborate mirage on gender identity and stigma, where past and present are just an edit away and where there is little fixture in space even within specific time periods. Sally Potter approaches this Virginia Woolf adaptation (a novel I loved in concept but felt removed from in reading) with witty presentational candor and Tilda Swinton sells it with softness and a hearty wink. Singular, amusing, and honest.
#142. Mauvais Sang (1986, Carax)
“I love her and she loves me, but she already lights my cigarettes like I do”
“And I hope my prints on you fade”
Leos Carax lets his films live in the moment, forgoing a bigger picture. There’s an impulsive and purely cinematic drive to his work that feels like the process of discovery is taking place as we watch it. Story is a footnote. There’s a half-hearted peripheral disease at work that must have some parallel to the AIDS virus. But none of it works because it doesn’t matter. What matters are these characters defined by clothing, color, and by combinations of aesthetics and effects from silent film, French new wave and modernist techniques. Primary colors are used in a way that predates 1992’s Savage Nights. It’s all been said about the “Modern Love” sequence already but I’ll throw my perfection! exclamation into the mix. Juliette Binoche and a very young Julie Delpy exemplify why they had futures as French movie royalty.
#143. Step Brothers (2008, McKay)
“Stop being a fucking dinosaur and get a job”
Overflowing with golden line deliveries (seriously, Will Ferrell and John C. Reilly, in his comedy star career phase, are stellar) this absurdist comedy depicting the extremity of the literal man-child (these aren’t men-children, these are men literally pretending to be children. Like a combination of Dumb and Dumber and Clifford for the aughts.) has a wildly subversive streak, daring to run all the way in one direction with something brazenly meaningless. One of countless examples of how Step Brothers hilariously discards narrative is when we learn that the two step brothers have a sleepwalking problem. It adds nothing to the film, only setting up a later sequence, that also means nothing, in which the two sleepwalk into their parents bedroom with Christmas presents and jerkily chuck them in the air.
Goes for a third act momentum that undercuts the uselessness of what came before but this is trimmer than most mainstream comedies today and also dares people to fucking hate its guts. It shows that black comedies are still possible, if only we were able to notions of realism more. I honestly don’t know the last time I laughed this consistently through a modern comedy. I don’t think I’d like it much with lesser actors in these roles, but Ferrell and Reilly are a perfect match for each other.
#144. Careful (1992, Maddin)
Careful made me eager to watch the rest of Guy Maddin’s filmography; it’s full of ideas, interwoven humor, photographic verve unlike anything I’ve seen (riffing on German nationalist cinema, Bergfilme in particular, it mimics the two-strip Technicolor process). Despite all this, it mostly drags, at least as much as a film about outlandish incestual desire can. Shows more promise than anything else, and would have been better suited to being a full-on silent film.