In years past, I would pontificating, criticizing and generally waxing on and off poetic about the Academy Awards which take place this Sunday, but I'm done with all that and especially the Oscars themselves. They finally wore me down enough so that I just don't care anymore. I'll watch it, basically out of habit, but that's about the size of it and not a fun size at that.
Instead, here are takes on some recent movies, some of which that may even get some Oscar, as if that means anything anymore.
This year's big birthday blockbuster, a present I give to myself: Robert Eggers' version of NOSERATU. (There was another one with Jimmy Durante in the thirties: NOSEFERATU) So pleased to see it in the cinema, the last day before heading to streaming. It would not have worked its black magic on me at home as it did on the big screen. Loved it, but quite frankly, it scared the shit out of me and that almost never happens, the first time since Blair Witch. Dread lurks in every single scene and pays off in ways I did not expect. It's a one note movie like Oppenheimer, one that is a dirge that may be hard to take for some, but how does one extend a light touch during a rat-infested plague? It's ultra-violent as well, though I didn't find it gratuitous. The dialogue was an issue here and there, which could have been my ancient ear-drums or thick accents especially by the main blood-sucker himself. He actually was an issue, not the nightmarish demon of previous versions I really desired, but more a drunken uncle from the old country. Performances were superb all around with Lily-Rose Depp proving to be a force of nature equal to a howling storm. And any movie with Willem Dafoe is a plus no matter what. Eggers is awesome and so is his film. Happy birthday to me.
Starting off with a couple I heartily endorse instead of merely saying merely say "I like 'em both." NIGHTBITCH could be seen as a feminist diatribe by nitwits or a pointed view of motherhood and identity that resonates to even someone like me. Amy Adams nails it and has been sadly overlooked here in awards season. The same can be said about Marielle Heller's direction. Both make me want to howl at the moon. (or more likely, chase a parked car) Jesse Eisenberg's surprisingly triple threat work on A REAL PAIN gives him the major career lift he rightly deserves. And to allow Kieran Culkin to dominate the proceedings is almost a selfless act in itself, even though it's all in service of his film.
Here are a couple of recommendations (with reservations) from a genre I don't usually wade in-the dreaded rom-com. I wanted to see WE LIVE IN TIME mainly because I have a mad crush on Florence Pugh. (It's true. I love Pugh) The non-linear approach to this love story saves it from scrutiny while I watched it until later when I tore it apart. Still, it has its moments and worth a look. THE STORIED LIFE OF A.J. FIKRY was the nicer surprise and although not a traditional romancer, there is a lot of love to be found so it works for Val's Day. It ain't perfect and has its share of clunky scenes to be sure, but I got all misty-eyed toward the end. Then again, I cried when my team lost in the Puppy Bowl. I lost fifty bucks.
Finally, a question of the day. it doesn't have to be this day. It could be tomorrow or next month for all I care, but here it is anyway:
Do the people of Boston consider the title of WICKED to be cultural appropriation?
Discuss and never get back to me.
