In order to incentivise blog posts I have decided to detail a brief log/review of the films I’ve watched each week. Posted Fridays.

Safe (1995) dir. Todd Haynes
03/03/16
rewatch

Review written for Letterboxd:

Inexplicably ambiguous. Haynes puts his heart and soul into this feature; he frames Moore (as Carol before Carol) in ways that act as an extension of her isolation within her materialistic lifestyle, working in complete control of every facet of the frame. Moore is shown endlessly trapped within the confines of her designer San Fernando villa, shot hovering on the peripheries (even in her own garden, Haynes positions her lost amongst her own jungle, a slow zoom out wholly encapsulating these emotions). Sound design here also plays an enormous part in capturing the ambiguities of Carol’s disease, the perpetual whir of electricity detailing her deterioration and superimposing the sound of silence during the film’s brooding first act. Thematically, Safe defines the feeling of anxiety; the hopelessness of an explanation and an understanding from others epitomised by Carol’s final relocation to Wrenwood, and to a greater extent, the enigmatic Lester. This is a horror film. ★★★★½

The Suicide (1978) dir. Todd Haynes
03/03/16

Inherent Vice (2015) dir. Paul Thomas Anderson
05/03/16

Review written for Letterboxd:

“They told me I was precious cargo that couldn’t be insured because of inherent vice.”
“What’s that?”
“I don’t know.”

A trivial quest of a film, not as indecipherable as many have protested but undeniably shares many similarities with a puzzle box on first viewing. Phoenix is the most lovable, bumbling pot-head ever acquitted to the screen. Also boasts some of the funniest moments of PTA’s filmography (here, here and here to name a few). Slow zooms are crucial. ★★★★½

In Bruges (2008) dir. Martin McDonagh
07/03/16
rewatch

Almost a 21st century rendition of ‘the fairytale’; Bruges is the new Oz. ★★★★★

Holy Motors (2012) dir. Leos Carax
08/03/16

Carax’s scathing critique of the contemporary film industry is really a goldmine. More thoughts to come after well warranted rewatch next week. ★★★★½

Stella Dallas (1937) dir. King Vidor
09/03/16

It was a pleasure to witness this in all its 35mm glory, Vidor’s eye for composition in order to produce to most viable of emotional responses is a strength to be admired. Moved both a little too fast and a little too slow for my liking, Vidor clearly trying to compress as much content as possible into a 100 minute runtime that the film’s final act becomes a constant back and forth motion (while some transitions throw the delicate story years into the future without much more than a fade). All in all, Stanwyck truly is the glue that holds everything together in this truly heartfelt picture. Also features one of the most melancholic endings ever put the screen. ★★★½

The Lady Eve (1941) dir. Preston Sturges
09/03/16

Hilarious. Stanwyck again steals the show, leading an admittedly wonderful ensemble on a wild trip across the high seas. Sturges’ clearly possessed a comedic talent that was years ahead of its time. The Lady Eve is concrete proof that rom-coms aren’t simply throwaways. ★★★★½