For me, January is usually a mad rush of consuming recent titles from my watchlist before submitting my Chlotrudis Awards nominations; despite the pandemic, this year was no exception. In fact, my number of eligible films seen was the highest it has been since 2006, which makes sense given I’ve viewed over 300 titles at home since things first shut down last March.
The best of this year’s recently-watched bounty: Kajillionaire (Miranda July, Richard Jenkins, Evan Rachel Wood playing a character named “Old Dolio”—what’s not to like?), Sorry We Missed You (never thought Ken Loach would seem more essential than Mike Leigh at this phase of their careers), Beanpole (Russian miserabilism, beautifully shot and not without humor), The Planters (Wes Anderson-ian in the best ways) and She Dies Tomorrow, which, while imperfect, is at least an original (and timely) take on apocalyptic dread. Also, two titles worth subscribing to Apple TV for: Wolfwalkers, a stirring Irish animated epic and Boys State, an engrossing doc that’s a complete microcosm of modern American politics in male teen Texan form.
A subscription to HBO Max (for Wonder Woman 1984, natch) enabled me to catch Bad Education (if this is the template for Hugh Jackman’s post-Wolverine career, more, please) and much buzzed-about docs on The Bee Gees and Jane Fonda; meanwhile, a deal on a subscription to MUBI, a very different streaming service, gave me an excuse to finally watch The Holy Mountain (exhausting but often inspired madness) and Terrorizers (an Edward Yang film that’s more technically accomplished but less emotionally satisfying than Taipei Story from the previous year) and revisit Terence Davies’ Distant Voices, Still Lives. The latter, which I hadn’t seen in over 20 years, naturally led to breaking out my Blu-ray of The Long Day Closes (last watched about 7 years ago.) One of the most groundbreaking filmmakers of the last half-century, and a reminder that I want to revisit his third feature, The Neon Bible, also on MUBI.
Revisited an above-average amount of films this month, most notably two mid-70s features from John Cassavetes: A Woman Under The Influence (still his masterwork) and The Killing of a Chinese Bookie, a deep-dive into a very particular Sunset Strip sleaze, tempered by the director’s most heartfelt and elaborate commentary on being part of a cast and putting on a show. From roughly the same period, also watched Chinatown for the first time this century, which holds up nicely as a blend of classic and New Hollywood sensibilities. Gillian Armstrong’s inexplicable New Wave musical Starstruck remains a curio, while Bill Forsyth’s good, underseen adaptation of Marilynne Robinson’s great novel Housekeeping should be as renown and beloved as Local Hero.
Films viewed in January in chronological order, with director, year of release and my rating (out of 10); starred titles are re-watches.
Midnight Family (Luke Lorentzen, 2019) 6
Death to 2020 (Al Campbell, Alice Mathias, 2020) 3
A Woman Under The Influence (John Cassavetes, 1974)* 10
Bridesmaids (Paul Feig, 2011)* 8
Sorry We Missed You (Ken Loach, 2019) 8
Princess Mononoke (Hayao Miyazaki, 1997) 8
She Dies Tomorrow (Amy Seimetz, 2020) 7
The Bee Gees: How Can You Mend A Broken Heart (Frank Marshall, 2020) 7
Vitalina Varela (Pedro Costa, 2019) 6
Make Way For Tomorrow (Leo McCarey, 1937) 8
Kajillionaire (Miranda July, 2020) 8
Chinatown (Roman Polanski, 1974)* 10
Mamma Mia!: Here We Go Again (Ol Parker, 2018) 3
Ma Rainey’s Black Bottom (George C. Wolfe, 2020) 6
Beanpole (Kantemir Balagov, 2019) 8
Un Flic (Jean-Pierre Melville, 1972) 6
Wolfwalkers (Tomm Moore, Ross Stewart, 2020) 8
The Killing of a Chinese Bookie (Cassavetes, 1976)* 8
Time (Garrett Bradley, 2020) 7
The Holy Mountain (Alejandro Jodorowsky, 1973) 8
Gordon Lightfoot: If You Could Read My Mind (Martha Kehoe, Joan Tosoni, 2019) 6
Boys State (Amanda McBaine, Jesse Moss, 2020) 8
Housekeeping (Bill Forsyth, 1987)* 9
Cuties (Maimouna Doucoure, 2020) 6
Bad Education (Cory Finley, 2019) 8
The Forty-Year-Old Version (Radha Blank, 2020) 6
The Planters (Alexandra Kotcheff, Hannah Leder, 2019) 8
Red, White and Blue (Steve McQueen, 2020) 8
Terrorizers (Edward Yang, 1986) 6
Starstruck (Gillian Armstrong, 1982)* 7
Distant Voices, Still Lives (Terence Davies, 1988)* 8
The Long Day Closes (Davies, 1992)* 10
Jane Fonda In Five Acts (Susan Lacy, 2018) 7
Let Them All Talk (Steven Soderbergh, 2020) 6