These last ten films I’ve watched continues to reflect my desire to catch up with the best films of 2018 as well as my discovery of hoopla, another library streaming surface and a surprising home to a number of top films from last year. My intention is to round out my 2018 screenings, submit my top 20 to the Film Comment Reader’s Poll, and post my list at the end of the month. The deadline for submission is February 28, 2019, so get your lists in as well and maybe win some stuff!
- Roma (Alfonso Cuarón, 2018)
- Ryuichi Sakamoto: Coda (Stephen Nomura Schible, 2017)
- Blindspotting (Carlos López Estrada, 2018)
- Night is Short, Walk On Girl (Masaaki Yuasa, 2017)
- Support the Girls (Andrew Bujalski, 2018)
- Burning (Lee Chang-dong, 2018)
- The Night of the Virgin (Roberto San Sebastián, 2018)
- The Marriage of Chiffon (Claude Autant-Lara (1942)
- A Bay of Blood (Mario Bava, 1971)
- Day for Night (François Truffaut, 1973)
As far as surprises go, as much as I enjoyed Blindspotting (a West Coast, post-millennial reflection of Do The Right Thing), Masaaki Yuasa’s Night is Short, Walk on Girl was even more impressive, a trippily fanciful tale of romantic pursuit and youthful experience. This seems to be the year that Yuasa demanded recognition as a master of the animated form, having released Night as well as Lu Over the Wall (2017) and Devilman Crybaby (2017). Yuasa’s work is defined by thin lines, careful impressionism, and bravely untethered narratives. His style is not the typical aesthetic we are accustomed to in feature animation, sometimes resembling the appearance of rough storyboards (Yuasa has worked as a storyboard artist for many projects including Space Dandy and Adventure Time) and embracing a visual distortion beyond the typical stretch and squash, but his imagination and daring seems unparalleled. Add Yuasa to this year’s crop of Oscar snubs and keep a look out for his next film, If I Could Ride a Wave With You, a romantic story connected to Lu and centred around surfing.
These last ten movies I’ve watched reflects two things: (1) I’m trying to catch up with the movies of 2018 and round out my list of favourites for the year, and (2) I’ve discovered Kanopy and I think I’m in love. (Not that I need to tell anyone reading this post but) Kanopy is a streaming service with an impressive collection of classic films, independent cinema, and documentaries. Probably the most stupendous aspect of Kanopy (over selections from The Criterion Collection, Kino, A24, Oscilloscope, The Orchard, Flicker Alley, Arbelos Films, the DEFA Film Library, and others) is the inclusion of Frederick Wiseman’s entire documentary catalog, so expect to see more Wiseman appearing on future “10 on the 10th” posts and on MMC!‘s top film discoveries for 2019!
- Racetrack (Frederick Wiseman, 1985)
- If Beale Street Could Talk (Barry Jenkins, 2018)
- All You Can Eat Buddha (Ian Lagarde, 2017)
- The Phenix City Story (Phil Karlson, 1955)
- Vice (Adam McKay, 2018)
- Darker Than Amber (Robert Clouse, 1970)
- The Other Side of the World (Orson Welles, 2018)
- Save the Green Planet! (Jang Joon-hwan, 2003)
- Happy as Lazzaro (Alice Rohrwacher, 2018)
- Mary Poppins Returns (Rob Marshall, 2018)
Ian Lagarde’s All You Can Eat Buddha deserves some comment here as possibly the least known title of the ten. This small, Canadian film stars French actor Ludovic Berthillot as a mysterious, diabetic, Québécois tourist who becomes the patron saint of a waning all-inclusive resort, quietly performing miracles and bringing slow ruin to the vacation spot while allowing his own body to deteriorate. Buddha is strangely funny and hauntingly enigmatic, operating something like the snowbird nexus between David Lynch and Luis Buñuel. (And while technically having a late 2017 festival release, Buddha sits as my #13 title of 2018.)
Happy October film nerds! This month’s list of the last ten films I’ve watched reflects my concerted effort to spend most of my time watching horror films. And while I quite enjoyed most of these films, I once again seem to be running against the popular grain by not loving Martyrs. It felt unfortunately dated in its looks and style, philosophically thin despite its “big idea,” and somehow less violent than I expected. (I’m obviously a monster.)
- The Unholy (Camilo Vila, 1988)
- The Fly (Kurt Neumann, 1958)
- Scooby-Doo! Mask of the Blue Falcon (Michael Goguen, 2012)
- Demon (Marcin Wrona, 2015)
- Santo vs. Frankenstein’s Daughter (Miguel M. Delgado, 1971)
- Solo: A Star Wars Story (Ron Howard, 2018)
- Martyrs (Pascal Laugier, 2008)
- Are We Not Cats (Xander Robin, 2016)
- Let Me Make You a Martyr (Corey Asraf and John Swab, 2016)
- Horrors of Malformed Men (Teruo Ishii, 1969)
Are We Not Cats was a surprisingly enjoyable body horror romance about a pair of underemployed twentysomethings with a proclivity for eating hair, Demon remains a secret masterpiece, Solo‘s production design was the movie’s star by capturing the janky technology and frontier spirit of the first two Star Wars films, and I loved watching a priest level-up on Catholic demon-fighting powers in The Unholy (even if my mother, who watched the film with my wife and I, thought the sexy demonic temptress had “ugly boobs” – Wha?). I watched Let Me Make You a Martyr specifically based on Sam Ashurst‘s description of it being “True Detective if it were directed by Andrei Tarkovsky” and while I’m not sure it’s quite the success he makes it out to be, the film’s unusual combination of ellipsis-heavy plot structure, white trash criminality, portentously philosophical dialogue, and grimy mise-en-scène kind of won me over.
This latest list of the last ten films I’ve watched kicks off with a movie recommended to me by the TIFF Cinematheque Recommendation Engine. Sandra was recommended for me along with Rashomon, Seven Samurai, In a Lonely Place, and To Live and Die in LA. I’d say that the TIFF Engine knew me pretty well but Visconti’s film is certainly the least of these five titles and probably would have not been remarkable but for Claudia Cardinale’s starring role. My hunt for a Visconti film to fall in love with continues!
- Sandra (Luchino Visconti, 1965)
- Design Canada (Greg Durrell, 2018)
- Stalker (Andrei Tarkovsky, 1979)
- Ready Player One (Steven Spielberg, 2018)
- Deep Red (Dario Argento, 1975)
- Shanty Tramp (Joseph G. Prieto, 1967)
- Get Out (Jordan Peele, 2017)
- Save the Tiger (John G. Avildsen, 1973)
- The Cat o’ Nine Tails (Dario Argento, 1971)
- David Lynch: The Art Life (Jon Nguyen, Rick Barnes, and Olivi Neergaard-Holm, 2016)
Those looking for sneaky fun titles should check out Design Canada and Shanty Tramp. The former is a conventionally congratulatory but thoroughly charming take on the golden age of Canadian design, while the latter is a byNWR hicksploitation title that crazily mashes up white trash hussies, hep cat biker gangs, legit racism, moonshiners, gangsters, and plenty of cheap deaths. I can’t really decide what that titular tramp is worse at: dancing or stabbing!
There’s a lot of good stuff amongst the last 10 movies I’ve watched but I’m going to take a moment to stump for the byNWR site. So far, I’ve watched two of the three films included in the site’s first volume and they are weirdly fascinating in the trashiest of senses. Both films declare themselves by very odd ellipses. The Nest of the Cuckoo Birds commences with a barely depicted infiltration of bootlegging operation and then quickly sidesteps into dreamy psychodrama of Southern hospitality gone terribly wrong; while Hot Thrills and Warm Chills centres around an unseen heist but prefers sleazy sex scenes and topless belly dancers on the one hand and period Mardi Gras footage on the other. It could all seem rather icky except byNWR takes it very seriously, providing a bounty of other content that unpacks the secret histories of these rare films and explores their odd themes through complimentary works. byNWR is for Criterion admirers waiting for more John Waters, Arrow Video fans of Spider Baby and Pit Stop, and devotees of Something Weird Video. And did I mention that it’s all free?
- Michelle Wolf: Nice Lady (Neal Brennan, 2017)
- Hot Thrills and Warm Chills (Dale Berry, 1967)
- Demons (Lamberto Bava, 1985)
- LA 92 (T.J. Martin and Daniel Lindsay, 2017)
- Isle of Dogs (Wes Anderson, 2018)
- Doom Asylum (Richard Friedman, 1987)
- The Nest of the Cuckoo Birds (Bert Williams, 1965)
- White, White Storks (Ali Khamraev, 1966)
- Wanda (Barbara Loden, 1970)
- Beyond the Black Rainbow (Panos Cosmatos, 2010)
To be honest, I’m feeling pretty guilty about the lack of activity here at MMC! but things are swamped right now here (moving and merging homes takes a lot of effort!) and I am working on a series of posts that marks the return of imagined Eclipse sets to the blog – MME! baby! Look for those posts coming up in the next week or so (hopefully).
With a lot of discs in storage, we’re left watching things on demand or working through some TV series we’ve been neglecting. Shout out to Gravity Falls (Alex Hirsch, 2012-2016), which has proven to be just the smart, fun, quirky show we’ve needed right now. If you’re like us and you’ve missed this series but love Adventure Time, Rick and Morty, Steven Universe, Over the Garden Wall, and The Amazing World of Gumball, then Gravity Falls should be your next screening.
These last ten films I’ve watched are a fun collection of titles. I actively avoid most of Wonder Boys‘ cast but still love that film. O Brother remains a perfect case of fans getting a film ahead the critics and takes on added resonance in the current political landscape. Watching Zach Galifianakis recite Burt Reynolds lines in The Campaign is stupendous, seeing Snoop Dogg cover one of my favourite hip hop tracks in Old School is magical, and every moment of Sam Rockwell in Gentlemen Broncos is proof of divine power at work in our daily lives.
- Wonder Boys (Curtis Hanson, 2000)
- Aventurera (Aberto Gout, 1950)
- The Campaign (Jay Roach, 2012)
- O Brother, Where Art Thou? (Joel and Ethan Coen, 2000)
- Old School (Todd Phillips, 2003)
- Red Rock West (John Dahl, 1993)
- Gentlemen Broncos (Jared Hess, 2009)
- Inflatable Sex Doll of the Wastelands (Atsushi Yamatoya, 1967)
- Mad Monster Party? (Jules Bass, 1967)
- A Fish Called Wanda (Charles Crichton, 1988)
Yet for as unusual a film as was Inflatable Sex Doll of the Wastelands (think a Suzuki-esque, free-jazz hitman film with problematic, Wakamatsu-like erotica), the real winner for cinematic wildness was Aventurera, a Mexican melodrama/film noir/musical/revenge film starring Cuban rumba queen Ninón Sevilla. Anyone looking for impossible musical numbers, chiaroscuro, mute henchmen, infidelity, fallen women, ping-pong, back-stabbing, and fruit-inspired stage costumes should run to see this and free me of my periodic use of italics for emphasis!