Rope (1948) REVISIT

The opening shot of Rope is intense although our modern sensibilities might miss just how much. Two men rapturously murder a man by strangulation and then hide him, almost in plain sight, while inviting over the dead man's friends and family. It is gruesomely powerful and defiant. It skirts our comfortable morals and pushes us to start considering the unimaginable. 

The film is about their attempt to pull off the "perfect murder," to justify their entitlement, and celebrate their accomplishment. It is a portrait and intellectual exploration evil, and one that almost convinces itself of its subjects point of view. The film is remarkably uncomfortable in how much it makes us fascinated in the killers' point of view. We become enthralled with Brandon's glee and Phillip's doubt. We come to these movies because of our fascinations with murder and Rope confronts us with that and makes us wrestle with our attraction to these stories. 

The other captivating aspect of Rope is the technique Hitchcock used to make it. He films in a series on long takes all run together to appear as one take. At the time a film real only allowed him to film for around 9 minutes so he structured his film in single shots of that amount of time giving the film an appearance of us being present at the doomed party. I find this trick works wonders. It grounds us in the centre of the story; we're trapped in it. So all of our complicated reactions to the killers and their plot keep us tightly wrapped up in the heart of everything. And the film literally breaks the fourth wall. The crew moved walls to allow the camera to smoothly follow its characters forcing us to see what constructed nature of the set and giving us an omnipotent point of view. All of this structure gives the film a feel like few others and sutures us into the story in ways most films don't. 

The film focuses on the passions and intellectual musings of the killers and their circle, especially their former teacher. Questions of morality are batted around, some more radical than others. It's all delicious and somewhat dangerous and the film's structure pushes it all closer to the surface that it might be otherwise. It makes us call into question our own feelings and whether we could also be convinced. While the film ends up reaffirming the values we are more comfortable with Rope quite effectively flirts with more disturbing impulses and plays with how much more curious we are than we want to admit. 

As with many Hitchcock films, there is a palpable queer subtext to the work. The film is about two fairly obvious gay men who are hiding a rather big secret in the middle of the room amongst all the people surrounding them. One is dying to just reveal the truth, to revel in it and rub it in their faces, while another is about to fall apart stressed about what will happen when the world knows what he wants to keep secret. In the middle of this is an older man who has nurtured and influenced the younger men and doesn't know exactly just how much of an impact he has had, and perhaps isn't willing to take responsibility for what he has inspired. In the end he has to recant and take back all his philosophical musings. Casting real life queer actors Granger and (likely) Dall plays double duty as both queer coding the villains while also bolstering the queer subtext of the film. There is even a moment Granger's character is called explicitly "queer." 

For me watching Rope is always a riveting experience. From that stunning opening moment through the building tension of the screenplay, through to the conclusion which forces us to reckon with our own complicity in the plot, Rope always grips me and doesn't let go. There are times I almost root for the pair to pull it off but I am always relieved by the conclusion. I appreciate how Rope indicts us in its own crime, as we should feel questionable about how we react to it. I always get a dark feeling watching Rope and . 

Rope

Starring: Jimmy Stewart, Farley Granger, John Dall, Joan Chandler, Edith Evanson, Douglas Dick, Constance Collier, Cedrick Hardwicke 

Director: Alfred Hitchcock

Writer: Arthur Laurents

Good on Paper (2021)

I really enjoy Iliza Shlesinger and usually she makes me laugh out loud. Which is why it was disappointing how few good laughs are in this vehicle for her, written by her, in which she is in almost every scene. Good on Paper is a riff on rom-coms that gets underneath a lot of the assumptions of the genre but likely would have worked better if it was funnier. I mean Margaret Cho is in this and she's not that funny either. I know, that's hard to believe. 

The film was a weird progression, starting out about how a platonic friendship morphs into a romantic relationship even going so far as to ensure Hansen's character is "unattractive" and never establishes why she suddenly becomes so passionate about him. Then it moves into questioning whether he is who he says he is. Then it becomes a revenge comedy. But none of the parts fits well with the others. 

The film goes into over the top territory so that it feels more like a bit than a movie with a full plot. By the third act Cho and Schlesinger are just camping it up so much it is hard to take any of it at face value. And there is this weird Seinfeld gimmick where we constantly cut to her on stage doing her comedy that, like the rest of the movie, isn't often very funny. 

But it's not a total disaster. The film has a nice subplot that challenges the rivalries and competition between women. The strength of the film is the way it attempts to pass along a message of being true to yourself instead of needing a relationship. But the film is just generally clunky and not as entertaining as one would hope. 

Good on Paper

Starring: Iliza Shlesinger, Ryan Hansen, Margaret Cho, Rebecca Rittenhouse

Director: Kimmy Gatewood

Writer: Iliza Shlesinger

 

F9 The Fast Saga (2021)

I have to give this disclaimer every time I discuss one of the Fast & Furious movies; they aren't my jam. I don't like the aesthetic, the cast, the themes, or the unending commitment to asinine plotting and ridiculous stunts. I get that for many those are exactly the reasons they like the films. So for fans of the FF films. For me, once again the film left me cold. I came close to liking one with Hobbs & Shaw spinoff but it still isn't the sort of film I could get into rewatching for enjoyment. Now that we're back to the main story again, I am once again on the outs with popular opinion. 

For me watching absurdly over the top car chases, explosions, and stunts just isn't enough to entertain. I'm willing to give films a lot of leeway if they are fun but none of these films is quite fun enough for me to get invested. And the stories are just so filled with unreasonable coincidences, melodrama that would make the casts of any Real Housewives show blush, and questionable moral-to-the-stories that I just spend most of the run time frustrated instead of entertained. 

I am going to point out the yes the characters of colour remain sidelined compared to the light skinned cast, serving mostly as comic relief. And yes the women in the film still fill in the support roles there to ensure the men's arcs are completed. And yes, so much of this cast should stop pretending and come out of the fucking closet. I mean, they even when with a Pride Flag poster for this one. But hey! They go to space in this one! Yes, space. Seriously. 

But more power to those who love these films and seeing them on the big screen. I do know what it means to sit in a cinema in the dark and watch spectacle unfold with glee. I hope the audiences who keep consuming these films have that experience with this latest instalment and the endless. 

I do enjoy just how the films keep one upping themselves in the stupid name department. They make James Bond films seem like they have reasonable names. In this case I find it confusing. This one appears to be named "The Fast Saga" but to me the term "saga" implies the entire series. Yet this one is the "saga?"  Okay. 

F9 The Fast Saga

Starring: Vin Diesel, Michelle Rodriguez, Tyrese Gibson, John Cena, Chris "Ludacris" Bridges, Helen Mirren, Charlize Theron, Michael Rooker, Kurt Russell, Sung Kang, Jordana Brewster, Nathalie Emmanuel, Lucas Black, Bow Wow, Jason Tobin, Gal Gadot, Jason Statham

Director: Justin Lin

Writers: Daniel Casey, Justin Lin

 

The Sparks Brothers (2021)

Most of us aren't going to be familiar with Sparks. Some may have never heard of them. Others may have some recollections of one of their songs. They are one of those institutions that has flown just under the radar for 50 years. Film maker Edger Wright has made a love letter to them celebrating all that makes them who they are to their fans. 

The Sparks Brothers presents Sparks as an enigma, celebrating their uniqueness but then, most incredibly, explores just how normal and human they are. The movie doesn't attempt to create and sustain any arms-length inaccessibility. Instead it allows Ron and Russell Mael to be tremendously relatable. Their talent is celebrated for sure, but so is their boy-next-doorness which is perhaps the most radical thing you can do in a film about a band like Sparks. 

The film is a love letter. The music of the band is showcased in such a way that you can't help but become a fan, even if you've never hummed along to them before. You'll want to run out and buy their greatest hits after seeing the film. From live performances to their undeniably incredible music videos the film glories in Sparks music. 

Wright is one of my favourite film makers, always up for showing me some new way to telling stories on the screen and The Sparks Brothers is no different. His effort here is clearly as a fan and that love for the band, and all they've inspired, including his own work, shows through beautifully. The Sparks Brothers is a gorgeous film in its own right. 

And you'll be singing My Baby's Taking Me Home all the way home from the cinema...

The Sparks Brothers

Starring: Sparks, Weird Al Yankovic, Flea, Beck, Patton Oswalt, Mike Myers, Neil Gaiman, Bjork, Andy Bell

Director: Edger Wright

 

Fatherhood (2021)

I'm not a fan of Kevin Hart but I have to give him credit. He's upped his game with Fatherhood, giving the sort of performance that takes a comic and grows him into a real actor. The film may be on the inspiration porn side of things (think Hart's recent remake of Intouchables, The Upside) but it is elevated by a great cast centred around Hart's strong performance where he balances the humour with the pathos. 

Fatherhood had a lot to overcome for me to embrace it. First Hart himself as I find his style of humour rather... uninspiring. But then there is the premise of the film itself. I struggle to embrace thinking it's funny and or inspiring for fathers to actually parent. I'm of the uncommon belief that fathers can parent and it's not funny to watch them try, and it's not sweet or adorable when they do. It's just as average and a part of life as anyone else parenting. So a movie centred around such a story is a little on the insulting side.

However the film pulls off a minor miracle. Fatherhood finds just the right balance between the funny and the moving in this story about a widowed father raising his daughter despite everyone around him having no faith in him. The film doesn't go overboard on the silliness (no Mr. Mom antics here) instead focusing on a more realistic isn't-parenting-hard kind of commiserating. The film actually explores the pain of his loss and the overwhelming aspects of single parenthood with a finesse and respect I found refreshing. 

Truly the cast is what elevates Fatherhood into being a such an entertaining film. Alfre Woodard is (unsurprisingly) wonderful as his mother-in-law. Melody Hurd joins the pantheon of adorable child actors who steal the show. And Lil Rel Howery and Anthony Carrigan add just the right amount of comic relief allowing Hart to do more of the dramatic heavy lifting which, as I have indicated, he is pretty much up for. 

So while Fatherhood still manages to be a little on the Chicken Soup for the Soul side of things and resolves its central conflicts a bit too easily, it still manages to win you over with just how right it all comes together. Kudos to director Weitz for finding the right mix and pulling it all off. 

Fatherhood

Starring: Kevin Hart, Alfre Woodard, Melody Hurd, Lil Rel Howery, Anthony Carrigan, DeWanda Wise, Paul Reiser

Director: Paul Weitz

Writers: Dana Stevens, Paul Weitz

 

Luca (2021)

With Luca Pixar animation studios has taken a bit of a change in tone and style. Visually quite different from the studio's traditional approach and narratively lighter in tone, Luca is delightful and refreshing although someone overly simplistic while still being delightfully charming. 

First I loved the look of the film. The film makers have been quoted as saying the look of the characters was based on Hayao Miyazaki's style and there is definitely an Aardman animation look to them too. This is a big shift for Pixar which has honed its own identifiable style for decades, but it is a welcome shake up. Luca doesn't attempt to try to look "real" instead creating a structurally animated looking world which breaks free from the need to be seen as realistic. I enjoy animation that embraces the freedom to create its own world. Its a very different approach from sister studio Disney's recent hyperrealistic Raya and the Last Dragon and it is just joyous to watch. 

Pixar is the master of underwater animation from its ground breaking Nemo films and the way this film captures the transition from the sea worlds to the surface is gorgeous and powerful. But it isn't just that achievement. The film is also a loving tribute to Cinema Italiano and the works of the master Federico Fellini. The way the film uses light, tone, and its Italian coastline settings evokes the spirt of that genre of film that cinemaphiles will adore. 

The film makers have stated the film's narrative is about that feeling of being different and how we all feel like outsiders at times. Luca truly grapples with this on a universal basis to be inclusive of the generalized feeling of not belonging and while that theme is important the film often feels so generalized that it never quite hits on a deeper level. The film kind of goes out of its way to ensure it isn't being a strict metaphor for anyone in particular and tries to be everything to everyone and that waters down (no pun intended) the power of the message somewhat. Still the story and its message are a beautiful story about being yourself and there is nothing wrong with that. 

Pixar has in the past been able to take us through its stories to emotional levels of resonance that transcend the average film watching experience and I'm just not sure Luca ever quite breaks out. However what it lacks in depth (again no pun intended) it makes up for in pure visual artistry and charm. I love that the studio is attempting new things and not getting stuck in a rut. I love that they appear to be moving on from just making more Toy Story sequels, and I love that they can release something like this, a little delightful love letter to a number of different film styles that is just so damn joyous it will make you smile. 

Luca

Starring: Jacob Tremblay, Jack Dylan Grazer, Emma Berman, Maya Rudolph, Jim Gaffigan, Sandy Martin, Saverio Raimondo, Marco Barricelli, Sacha Baron Cohen

Director: Enrico Casarosa

Writers: Jesse Andrews, Mike Jones 

Demon Slayer: Mugen Train (2020)

From the opening shots of Mugen Train, the film is visually incredible. The film fades in on a forest scene and the moment is a remarkable example of hand drawn animation. The film will mix CGI into the work but is often a revolving blend of different animations styles, from the heavily stylized reactions featured in anime, to stunning CGI, to beautiful hand drawn traditional animation. It all comes together to produce a film that is stunning to watch on the big screen. 

Continuing the story from the first TV series, this film manages to be both a satisfying continuation of the plot and a stand alone story enjoyable for anyone new coming into the story. It is dark, with references to violence and loss which are powerful, but it is also handled with a sensitivity and maturity which make it all the more impactful. The plot is gripping and more than fills its run time with a story that will engage you fully along the way. 

Interestingly the story is encapsulated all in one setting, this infinity train, yet the film remains entirely cinematic. The main plot follows a dream demon's attack on the train passengers allowing for an entire world to come to life while staying firmly on the train. 

The film is firmly in the tradition of popular Japanese anime meaning that for western audiences who aren't as familiar some of the tropes and conventions of the genre may feel remote. But I believe the storytelling is strong enough that even those with little appreciation for the genre will get sucked into the story's power. 

And as the film reaches its tragic conclusion it just makes me want more of the story. 

Demon Slayer: Mugen Train

Director: Haruo Sotozaki

Writer: Ufotabe

 

In The Heights (2021)

John M. Chu has made an old fashioned musical that captures Lin-Manuel Miranda's unrelenting optimism, and this mix, especially when it's all centred around the adorably loveable Anthony Ramos, is probably the most joyous thing to hit the screens in a long time. In The Heights is a story that skirts the issues of poverty and discrimination but never succumbs to a hint of darkness. Instead it is absolutely about love, community, and inspiration. That might be hard for the cynics to take, but they will likely still lose the battle, especially in light of just how infectious the film is from the music to the spirited cinematography, to the loveable cast. In The Heights is a big huge shot of compassion and joy. 

I normally have a hard time with such stuff but Chu does such an amazing job of making it all feel honest and genuine. It isn't Chicken Soup for the Soul sap. He tells his story by paying homage to the classic screen musicals of the past and finds a modern techinicolour-ish aesthetic that harkens to the sort of stories that get in our heads and won't let go, like the music in it. The scenes of the city coming alive to dance in the streets are incredibly choreographed and both pay tribute to the past but also feel essentially modern and of the moment. The pool scene especially stands out as the kind of number one wants to just rewatch again and again. But it was the moment when Benny and Nina started dancing up the side of the building, riffing on the Fred Astaire's famous "ceiling" number from Royal Wedding, that sold me. In The Heights has classic written all over it and it's shooting for the stars. 

And it helps that Miranda's songs are so infectious endlessly singable. Less familiar and somewhat less dense than his Hamilton catalog, the songs here are all the kind that make you smile and hum along. Cause that's what this film is about. Hope. Inspiration. The film looks death in the face and stays positively optimistic. It faces racism down with love. The main criticism I would have is how easily it dismisses the evil all around it with an overly simple "love is all we need" sort of message. But the strength of the film is how well it sells it. You believe it, even if just for a moment. 

The film is beautifully performed by a talented cast of beautiful people who shine both as actors and singers (as well as dancers now that you mention it). The film is a warm hug that is practically impossible not to smile through and that smile will likely stick with you as you leave the cinema. Sure it's fantasy, never really digging deep into just how entrenched the barriers are which its characters are facing. But it also doesn't talk down to its audience and assume that these are not real problems. It just lets us set those problems aside for a long enough to rest and pick ourselves back up to get right back at it. And maybe that is worth smiling for. 

In The Heights

Starring: Anthony Ramos, Corey Hawkins, Leslie Grace, Melissa Barrera, Olga Merediz, Daphne Rubin-Vega, Jimmy Smitts, Lin-Manuel Miranda, Marc Anthony

Director: John M. Chu

Writer: Quiara Alegria Hudes

 

The Birds (1963) REWATCH

The Birds feels different from most of Hitchcock's films, more spectacle than puzzle, shot mostly in bright daylight, and no villain per se. But in some ways there are some recognizable signatures of the auteur. This might be the best example of his skill for building suspense over time as he crafts long moments of increasing tension out of very little. And the plot is a bit meandering and switches gears suddenly a la Psycho. But overall it stood out for me as I rewatch his catalogue as being an outlier in many ways. 

His story starts out in a way that did evoke Psycho for me. There is a rather oddball plot about Hedren's quite quirky character stalking a man she meets in a pet store. This goes on for quite some time, including a long drive she takes on her own which again mirrored Janet Leigh's fateful drive. Then we spend some time with her insinuating herself into the life of a small beach town. Although we know what we are here to see (attacking birds... I mean it's in the title) little happens in relation to that for a long time but Hitchcock keeps reminding us it's coming with his ominous shots of birds just hanging around, and his placement of the animals, just waiting. It was remarkable to me, as a post-modern watcher who should be cynical to these sorts of stories, just how tense I was with each passing reference. The first attack is minor and excusable, as these movies tend to go, which just adds to the vice tightening.  Regardless of whether this feels slightly silly or not, the film gets you in its grip quite completely and relentlessly. 

And once the attacks start and become more frequent the film gains a sense of hopelessness. The characters express a need to answers, which are never provided, a masterful choice in my opinion. I find some of the best horror doesn't explain why (A Quiet Place being a recent example) and just forces us to live with it. Our need for explanation is often powerful and not delivering that makes it all so much more upsetting. This is one of Hitchcock's gorier films and it sometimes feels like he's trying to mimic the success of Psycho here with the bloody moments. Yes the special effects don't hold up but the story, as thin as it is, is told so well modern audiences can forgive. 

I found The Birds to be a very thinly drawn movie that is crafted in a way that elevates it above the material. There isn't much here in characterization or story and the performances by the cast really aren't that good but Hitchcock so cleverly builds suspense and delivers on tapping into our fears that it becomes far more engrossing than it would normally be. This could have easily been a Them! style B movie but instead it becomes something you experience differently.  

It isn't one of my favourites of his work but it remains interesting for what it does manage to make out of its story and genre and how well it gets under your skin, including its subtle and ominous, almost anticlimactic ending which just makes you hold your breath. 

The Birds

Starring: Tippi Hedren, Rod Taylor, Jessica Tandy, Veronica Cartwright Suzanne Pleshette

Director: Alfred Hitchcock

Writer: Evan Hunter