I saw quite a few movies this month, partly because I added in some of the movies watched at home. In any case, here we go!:
- Nine to Five on DVD at home, November 3: Although I saw this at the Dryden a few years ago, I never reviewed it, so here's that review of when Jenn and I settled in to watch it. In short, it's a hilarious comedy that brilliantly lays out the benefits of workplace equality and workers rights. Lily Tomlin plays Violet, a secretary at Consolidated Companies who's assigned a new hire, Judy (Jane Fonda). Most of the women in the office despise their boss, Franklin—brilliantly played by Dabney Coleman to be a humorous, cartoonish exaggeration of a "sexist, egotistical, lying, hypocritical bigot". And they sneer at the apparent affair he's having with his busty secretary Doralee (Dolly Parton). When Violet is passed up for a long-deserved promotion, she, Judy, and Doralee half-hatch, half-stumble into a bizarre plot to turn the office around. It's all a wild and fun ride that has all the comeuppance one could want.
- Wait Until Dark on DVD at home, November 6: Jenn and I revisited this popular old film. It's still tense and interesting, but neither of us could quite get over the extraordinarily convoluted plot by the bad guys. It's almost plausible that Alan Arkin's bizarre sadist Roat would have been amused by it, but even he was too practical.
- Lime Kiln Club Field Day at the Dryden, November 10: I was quite amazed and impressed by this presentation of 1913 footage of "the earliest known surviving feature with a cast of black actors" (according to the Dryden calendar). Since it was incomplete, the story had some gaps, but the gist was there and it was rather amusing. I'd like to draw attention to Bert Williams—the star of the film (in black-face among his unadulterated costars, ostensibly to make the film amenable to white audiences of the time)—who was as much a multidisciplinary virtuoso as the more well-known Duke Ellington. (And I can't omit a mention of the dazzling beauty Odessa Warren Grey, capably playing his love interest.) The film was reconstructed by MoMA Associate Curator Ron Magliozzi, and Preservation Officer Peter Williamson from seven untitled reels of unassembled negative footage from a 1939 acquisition from the Biograph studio upon its closure. Although a print was struck in 1976, it wasn't until 2014 that the footage was analyzed and assembled into a sort-of working print.
- The Bad News Bears on DVD at home, November 12: I didn't sell the film well enough, but Jenn agreed to watch. We both enjoyed it a lot—both of us under the mistaken belief that it's film for kids. It's actually more of a tale of redemption for the drunk, washed up, ex-baseball-player coach Butterworth, played perfectly by Walter Matthau. And it's funny. And the kids are all great—a rare treat in a movie with a lot of them.
- Tea & Cake (Kirsty Robinson, U.K. 2015, 92 min.) at the Little, November 13: Jenn and I stopped by this film at the High Falls Film Festival. I thought it was overall good, but quite uneven. Some of the color correction and cinematography were lacking, and the film was full of way too many ideas at once. Generations, friends, coming-of-age, growing up, moving out, the reality of one's dream job, one's visible life versus their internal life, tragedies, aging parents, and self-image all crammed into one movie.
- Odd Brodsky at the Little, November 14: Jenn liked this selection from the High Falls Film Festival more than I did. While I couldn't fault it for having a good heart—the story of trying, failing, and flailing in L.A.'s entertainment mecca—I didn't care for the bland characters and underwhelming story. On the technical side, while production values were generally quite high (especially in cinematography), much of the audio was ADR with the distracting artificiality of a studio recording.
- Bob Roberts at home on DVD, November 15: It was hard for me to watch this as its a little to close to reality … in it, a slick politician wins the hearts of voters through a campaign that celebrates greed and disparity. Written, directed by, and starting Tim Robbins, his political leanings antithetical to his character were glaringly obvious.
- The Lennon Report at the Little, November 16: Select as the winning narrative of the High Falls Film Festival, I decided to check it out. Its a great film that documents in near-real-time the sad and solitary events as John Lennon died from the gunshot wounds that cut his life short. When I heard about it at the festival, I thought it was a documentary as the filmmakers did extensive research into the events, interviewing everyone involved. As such, it's got a procedural feel to it, but somehow the lives of everyone involved make for compelling, rich characters.
- Underground at the Dryden, November 18: Having seen the recent documentary about the Weather Underground, I was curious to see what the members had to say at (what was to be) toward the end of their active period. The five interviewees formed what was the bulk of the most radical arm of a progressive organization, active in the early 1970s. After three of their friends were killed making bombs, they rethought their actions and decided to destroy property while (successfully) not injuring or killing anyone. Their ideas—that human beings have right to their lives, that the imperialist stance of America was wrong, and that the capitalist system that forced people to wallow in poverty was wrong—still ring true today. And that's when I realized I had lost hope. Here were these young people, fully believing in the possibility of revolution in America, had no idea that the election of Ronald Regan just five years out would result in inequalities and injustices for the next 35 years and counting. All they had worked for was for naught as it would be swept away in the coming decades.
- Smokey and the Bandit at home on DVD, November 19: I've been curious to revisit this odd film from the 1970s that was one of a couple of films at the center of the CB craze. Burt Reynolds plays The Bandit alongside his buddy Snowman played by country music star Jerry Reed, and against Jackie Gleason's hilariously over-the-top racist sheriff. The story is ridiculously simple—written by stuntman friend of Reynolds Hal Needham—The Bandit is bet he can't bootleg 800 cases of beer across state lines in under 28 hours. He and Snowman barrel through the highway and meet a young woman on the run from her planned marriage (Sally Field). As simple as it is, it's actually a goofy fun little movie.
- Sliding Doors on DVD at home, November 20: I saw this many years ago and remembered it was fairly good (according to IMDb's oddly detailed ratings, I gave it a 5/10 on May 22, 1999), but I have a "policy" that all reviews older than 10 years are invalid and this is no exception. The premise is fascinating: imagine if we could see what happens when some inconsequential event causes a major change in one's life? The execution, however, is severely lacking. Gwyneth Paltrow plays Helen who, after getting fired from her job, just misses a subway train / just catches a subway train home. As such, she is unaware / finds out about an affair her boyfriend is having (a discount Hugh Grant) and her life is suddenly changed. The rest of the film follows both lives until eventually reverting back to one story. The problem is the story is rather inane. Her boyfriend has no redeeming qualities yet inexplicably earns the undying love of two very attractive women; and although the other woman's story is unexplored, Helen is at least also successful. And both Helen and her boyfriend each have best friends whose functions are as sounding boards for their lives. So unfortunately most of the movie both Jenn and I were left wondering, "who cares?" and "why wasn't Paltrow's character just made an American so she could avoid that embarrassing fake accent?"
- A Manly Man and My Best Girl at the Dryden, November 24: The short "A Manly Man" was terrible, albeit only shown as an example of Mary Pickford's earliest work. My Best Girl was much better. Pickford was introduced by her carrying pots from a stockroom. As she walked, she dropped some and kept bending and picking them up—all the while a don't see her face … a clever and amusing way to introduce the star. The story was refreshingly mature and Pickford's love interest was well defined. I really did understand her appeal … at one point I found myself reading her lips and suddenly confronted by the reality of her having been alive and vibrant. It was kind of a weird, brief moment of pseudo connection.
- Loin du Vietnam (Far From Vietnam) at the Dryden, November 25: A very difficult movie for me to watch, it's a film showing the tumultuous opinions about the Vietnam War at its height. Although there were a few disturbing images, the most challenging parts had to do with the absolute futility of changing the minds of people who support war. One segment was basically a frustrated monologue, centering on the duality of living a privileged life that is predicated on the spills of past war that rang painfully true.
- Me and the Boys and Bachelor's Affairs at the Dryden, November 27: Jenn and I checked out this second installment in the UCLA Film Preservation program. The short was quite entertaining—just a couple songs performed by a jazz band (that apparently included an uncredited 20-year-old Benny Goodman on clarinet). Bachelor's Affairs was also rather entertaining. It's about a "middle-aged playboy" who is tricked into "marrying a beautiful but vacuous young blonde, after her older sister has expertly set the bait". It was fun, witty, and ribald, just as promised.
- Pulp Fiction at the Dryden, November 28: What a treat for Jenn and I to see a nice clean 35mm print of this defining Quentin Tarantino classic. I remember when I saw this (I think when it came out) and I had a hard time with the then-new-to-me non-linear, interrelated storylines involving a couple hitmen, their boss, a boxer, and a couple petty thieves. It really deserves its praise as all facets of the viewing experience are top notch, making the 2½ hour run-time paced perfectly.
- Bridge of Spies at the Cinema, November 30: I headed out to see the biopic double-feature starting with one about a New York lawyer who's selected to defend an unpopular, captured Soviet spy during the heart of the Cold War. With affable Tom Hanks as the lawyer, our affection for him is automatically assured (although I'm sure there are some Hanks haters out there who'd disagree). And Steven Spielberg gives a light touch to his trademark style, allowing the story to speak for itself with only a few heavy-handed metaphors. It turns out this real-life lawyer has a knack for negotiations and diplomacy and is invited to negotiate a spy-for-spy trade which he tries to leverage into a 2-for-1 deal. Overall it's an enjoyable movie to watch and offers a view of someone I never knew existed.
- Steve Jobs at the Cinema, November 30: In the second film, Michael Fassbender does his best to emulate Steve Jobs—the founder of Apple Computers who was infamously difficult to work with—but doesn't manage to convey the depth and totality of thought that I've come to understand Jobs had. Unfortunately, the meticulous reconstruction of Apple product releases overshadows the flimsy three-act story. In other words, if you had no idea of the cultural significance of Apple, Macintosh, and NeXT, the film would seem like a flat "so what?" Yeah, Jobs is an incessant jerk to the talented people all around him. So what? He had a challenging relationship with his oldest ally Steve Wozniak (underwhelmingly played by Seth Rogen). So what? Product launches are stressful. So what? And he was a lousy family man, treating his daughter and her mother like nuisances. So what? The whole thing really failed to come together.
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