Film Journal: October 2018

Movies seen in October, including three from Japan and two of the year’s best–both of the latter seen at IFFBoston’s Fall Focus mini-festival and slated for release before year’s end. Starred titles are re-watches.

Shoplifters
Naming a favorite film by Japanese director Hirokazu Kore-eda is like doing the same for his closest progenitor, Yasujiro Ozu–nearly impossible, given their tendencies to revisit and refine themes of domesticity and humanism while maintaining a higher-than-average consistency. SHOPLIFTERS may have finally won Kore-eda the Palme d’Or at Cannes this year, but I could name at least three earlier titles of his equally deserving of the prize.

This film hues most closely to one of those three, NOBODY KNOWS in its focus on an impoverished family; only here, it includes adults and children and stretches the notion of what a “family” is. With that in mind, SHOPLIFTERS explores the concept of give and take and how illegal activities such as the titular past time are weighed against both their moral implications and whether or not they serve the greater good. You sense Kore-eda sincerely pushing for the latter but also keeping in mind the former’s importance, which is what makes the film so heartbreaking once its increasingly precarious house of cards begins to topple.

A graceful overview of the human condition via fully recognizable, relatable characters and situations is one of the film’s most admirable qualities. The cast is typically solid for a Kore-eda picture; the standout, as usual, is Kirin Kiki as the family matriarch–her character arc here is especially poignant, given the actress’s recent passing. But there’s so much to love about SHOPLIFTERS, not least of which its kindhearted but fair depiction of how ordinary is, flawed people attempt to survive. On occasion, they may even seek solace in each other; often, the real tragedy occurs whenever one is unable or unwilling to reciprocate. Grade: A

Freaks and Geeks: The Documentary
A total lovefest, but few TV shows deserve one more. B

Heaven Knows What
I no longer feel bad I took so long to see this, as it now plays like a mere warm-up to GOOD TIME, albeit an interesting one. Admittedly, Arielle Holmes annoyed the hell out of me at first, but I grew to appreciate and eventually love her performance–thank the Safdies? B

The Happiness of the Katakuris*
“Like a cross between a slasher film and an all-singing, all-dancing episode of THE LOVE BOAT” is how I described this back in the day; it’s much weirder than that. A tad longer and misshapen than I remember. Perhaps HOUSE (which hadn’t yet been rediscovered in 2002; see below) has supplanted it somewhat in terms of batshit crazy Japanese horror comedies, but it’s still a hoot if you just go with its demented glee. The karaoke homage remains my favorite of the musical numbers; the typhoon climax’s still as giggle-inducing as the best of slapstick Keaton or Allen. A-

A Star Is Born (2018)
As modern Hollywood musicals go, *slightly* better than LA LA LAND, and much better than any umpteenth remake of this hoary old tale has a right to be. If Cooper finally wins his acting Oscar for this, I won’t be disappointed. Questionable camp value aside, I can imagine choosing to watch this again long before BURLESQUE or MAMMA MIA! B

Shaun Of The Dead*
A romp in every sense of the word. Bonus points for sneaking “They’re coming to get you, Barbara!” in there. B+

Beautiful Boy
Another great performance from Timothée Chalamet (CALL BE BY YOUR NAME was definitely no fluke) and a good one from Steve Carell (despite him generally being better suited to comedic roles such as BATTLE OF THE SEXES). Along with the perpetually underrated Maura Tierney, they elevate the material in a way Glenn Close’s impressive work couldn’t quite save THE WIFE. In this case, the problem’s less the material than some heavy-handed direction from Felix van Groeningen (THE BROKEN CIRCLE BREAKDOWN). As any movie-of-the-week will show you, melodrama’s not an ideal fit for depicting drug addiction (nor is an overwrought musical score.) While this will undoubtedly comfort those with a loved one going through it, for the rest of us, it’s just an endurance test in watching other people’s misery. B-

Cold War
Pawel Pawlikowski’s follow-up to IDA is cut from the same fine-polished glass: set in post-war Poland and shot in 1:33 black-and-white by cinematographer Łukasz Żal, it spans a fifteen-year period (leading up to roughly the time of the previous film) over which jazz musician Wiktor (Tomasz Kot) and younger singer Zula (Joanna Kulig) have an on-again, off-again love affair. They first meet in a sanctioned troupe meant to spotlight traditional Polish song and dance. Wiktor, disillusioned as the Communist government transforms it into a propaganda vehicle, finds himself wanting to defect from his homeland, while the strong-willed, gregarious Zula has other designs.

Using his own parents as inspiration for the leads, Pawlikowski recreates a culture in the throes of a severe political takeover, drawing implications from the minute to fully societal as he limns his focus onto two very different people who nonetheless are drawn to each other. Each frame is a lovingly crafted tableau, strikingly rendered in high-contrast black-and-white and deep focus photography. The mostly diegetic soundtrack, ranging from hard bop jazz to hymn-like folk songs is a character in itself. I’m not sure if this is ultimately as deep or clever as IDA was, but in the end, it resonated with me a little more. A-

The Silence of The Lambs
Last tried watching this in a dorm room 20+ years ago at 3:00 AM, falling asleep ten minutes in (duh), so it’s great to finally see this on a big screen ALL THE WAY THROUGH (turns out I remember the last twenty minutes, but little before it.) Foster and Hopkins are both career-best, but credit Demme for rendering this more profound than your average horror procedural; even better, it still totally works as an entertaining and smart horror procedural. A-

Mid90s
I’ll go to bat for Jonah Hill as an actor, but Rick Linklater he’s not. He’s assembled a pretty good cast and the skateboarding montages are nice but the clumsy pacing reveals someone with more enthusiasm than talent for this sort of thing. C+

House*
Nothing compares to this glorious, insane mashup of THE HAUNTING, POLTERGEIST and Hello, Kitty! sensibilities. Also, I had to laugh when one of the girls says, “This is like a horror film!” and another (probably “Prof”) dismissively responds, “That’s out of date.” A

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