These last ten films I’ve watched are an interesting bunch. Luigi Cozzi’s cut of Godzilla proved to be an underwhelming novelty, a primitively cut fanmix that was unfortunately dull as Raymond Burr stiffly toured through the movie under the haphazard haze of faded yellow and purple gels, then verged on offensive as it cut horrendous atrocity footage into Godzilla’s rampage and aftermath, creating a kind of Cozzila Holocaust. If only Cozzilla could have resembled something more intrepid like its colourful, sensational, practically incoherent epilogue, this movie could have at least been an entertaining mess.
- The Cremator (Juraj Herz, 1969)
- The Bitter Stems (Fernando Ayala, 1956)
- Magic Mike (Steven Soderbergh, 2012)
- Get Shorty (Barry Sonnenfeld, 1995)
- Cozzilla (Luigi Cozzi, Ishirô Honda, and Terry O. Morse, 1977)
- Ghidorah, the Three-Headed Monster (Ishirô Honda, 1964)
- Midsommar (Ari Aster, 2019)
- Come and See (Elem Klimov, 1985)
- Godzilla: King of the Monsters (Michael Dougherty, 2019)
- Her Smell (Alex Ross Perry, 2018)
I also inadvertently managed to create a pair of unusual double features. Come and See and Midsommar were expectedly traumatizing in their own ways, yet they proved to be remarkably easier to watch than I initially anticipated thanks to some captivating storytelling. The Bitter Stems and The Cremator managed to find common ground on the subjects of death and delusion, however it was the slippery interiorities of these films and their wild subjectivites that really connected them. On reflection, I might recommend watching The Cremator first and letting its more audacious style enliven The Bitter Stems all the more.