Sometimes it’s difficult to write a review for a movie that you believe to be absolutely perfect and the definition of pure cinema. It becomes less a review and more of a rave, although reviews in general run the gamut from rant to rave. Celine Sciamma’s masterpiece — a word I use very rarely — is one such film that deserves all the praise it has been given, and more.
I came across this Oscar-nominated film while browsing Netflix for something intriguing, thriller-like to watch while self-quarantining at home. If you’ve seen some of my other reviews, you’ve probably noticed that I’ve been drawn to horror and similar films, perhaps just because I’ve been in the mood and have a newfound appreciation for them. While Anthony Minghella’s star-studded film is more of a mystery/thriller than a horror film, it contains some horrifying and creepy elements that are often found in horror genre flicks.
In case you can’t tell from some of my reviews, I was on a bit of a horror kick. Maybe being trapped inside my house made me want to feel even more uncomfortable? Or maybe it’s because I’d realized my newfound love for the genre, and not just in recent films.
I’m not sure if it would have made more sense for me to watch Hereditary before writer-director’s second [wide-release] film, Midsommar, released about a year apart. I did the opposite. And, if you’ve seen my review for Midsommar, you know that I appreciated Aster’s unique style and the strong performance from Florence Pugh, but I wasn’t too keen on the way things played out.
Misery is essentially the first movie I watched during my self-quarantine, and one that is basically perfect viewing for being trapped in your home (unless you’re too freaked out by what transpires in the film). I’d been wanting to catch up on Oscar-winning performances that I missed, including this one that features Kathy Bates in her Best Actress-winning role as the kooky, villainous Annie Wilkes.
Kramer vs. Kramer is, in a way, the spiritual and thematic successor to Marriage Story. Yet, while the newer film focuses on the rift between the soon-to-be-divorced couple, the former focuses on the impact of the divorce and separation on the couple’s young son.
You can never fault Pixar for lack of imagination, and their latest, the fantastical-set Onward, is no different. The film centers on two elf brothers, voiced by MCU stars Chris Pratt and Tom Holland, living in a world that is very similar to our own, except that it is inhabited by magical creatures (like the Monsters films, in that sense).
At the beginning of the pandemic, in addition to watching newly-released films, I started catching up on Oscar winners/nominees of years bast. And, I decided to go back over 50 years, to the first and only X-rated film to win Best Picture, Midnight Cowboy.
I wasn’t always a fan of horror films. In fact, until recently-ish, I didn’t want to watch them, no matter how strong the reviews. I guess I just didn’t want to be scared.
Let me start off this review by saying that I have not read Jack Lownden’s book, Call of the Wild, on which this movie is based — so this means that I may not have the same issues with the adaptation as fans of the book might. In fact, I had very few issues with this new adaptation, which features a fully-CGI dog (and other animals).