Tag: Apple TV

2021 In Film

Every year, I take the month of January to catch up on as many of the films I missed throughout the year as I can. This post/list/sleep aid is the result of my annual maniacal start to the new year. And yeah, I realize it’s nearly February but the academy has only begun their own voting process. So shhhhhhhhhhhhut it.

One of the final films on my list to see was Spielberg’s remake of “West Side Story.” This one always seemed like a bad idea. Why remake something widely regarded as a stone cold classic? Now, specifically for me, West Side Story holds a special place in my heart. This was a family film for me growing up. Both my parents were fans and showed the film to my brother and I beginning when we were still pretty young. For my mother to be a fan was no surprise. She liked cool things like Martin Scorsese and David Lynch.

Quick side note: My mother really was my introduction to two of my all-time favorite directors in the two aforementioned gentlemen. As a small kid, I was really into Star Wars. I also loved to read and so my mother figured I’d like Dune. That was my introduction to David Lynch. I didn’t just watch movies, I would also read the boxes in the rental store and study the opening credits. Dune was based on a book and so I immediately had respect for it, lol. It was directed by David Lynch and I knew that was super important because it was the final name listed. Okay, Dune rocked this little kid’s socks and Lynch was on the radar.

I was still too young to really dive into Lynch though, lmao. I remember my parents renting Blue Velvet and me trying to sneak into the hallway to catch some of it because I was most definitely not allowed to watch that one yet myself. Next up was Twin Peaks and I remember my mom being really into the show and though I didn’t understand a lot of what was going on, it was Lynch and the guy from both Dune and Blue Velvet and so I watched some of it too. Those who know me know that in the years since, Lynch has established himself as my all-timer and Twin Peaks rivaled perhaps only by LOST as my favorite piece of visual entertainment ever.

But I digress.

We were discussing 2021 in film and I just whisked us away to the 1980s for two separate tangents. Back to tangent number one. The real kicker was that my father loved West Side Story. “But dad, it’s a musical.” My father was always your prototypical country boy tough guy. He was happiest watching Robert Redford trudge through the snow for three straight hours. He loved Chuck Norris and shit like that.

And…a musical?

Yep.

So West Side Story was the rare treat where the entire family could bond over something we all pretty much equally enjoyed. My skepticism of the remake remained for a long time. Yeah, I know it’s Spielberg and he’s responsible for my favorite film of all-time. Hell, He’s responsible for probably two of my top three films of all-time. Double hell, he’s probably got a half dozen films in my top twenty five. What the hell was I worried about?

Spielberg hasn’t seemed like himself in a long time. A loooooong time. In recent years, it’s felt like he’s either lost the rhythm or the joy. Well, even if it was only for one film, he regained it all back because the West Side Story remake is an absolute triumph.

This triggered another thought: Man, I haven’t seen “The Outsiders” in a long time. And I’m happy to report that in recent years, Coppola has revisited his film and added scenes back in — scenes deemed unnecessary to the runtime when originally released. Adding these scenes back in allows the story to focus on what was always most important: the relationships between these damaged and sensitive boys. It helps show the macho antics as armor and the giant rumble near the end of the film as the useless exercise in toxic masculinity that it always was. If you haven’t seen the film before, or haven’t seen it in a long time, first read the book. Always read the book. But then go ahead and check out “The Complete Novel” version of the film. I think you’ll be glad you did. (The courtroom scene is still hilariously terrible though)

And now, several million words into this manifesto, we have the films of 2021. First off, 2021 electrified me as a film lover way more than 2020 did. These twenty five films I liked quite a bit and there are fifteen more that I’ll add on at the end that I also really enjoyed. There are at least seven films on this list that I love enough to have already purchased on disc or plan to — maybe more. But enough is enough and it’s time for the list.

1. DRIVE MY CAR – This is the most recent film I’ve scene and caused me to completely rewrite everything about this list. (Full disclosure: I always anticipated this though) The moment I read about this film coming out of Cannes, I was in. The trailer was great and it was based on a short story by Haruki Murakami, one of my all-time favorite authors. Still, I was blown away by the humanized beauty of what I saw for three hours the other night. The film is full of moments where humans are human and that’s all. It’s simple and profound. It will make you smile and laugh and cry real, deep, emotional tears. A film about the highs and lows of life and how trying to subdue yourself into the middle road can lead you nowhere. Cigarettes hanging out of the sunroof. Those who’ve seen it know what that means.

2. C’MON C’MON – A film where Joaquin Phoenix plays a documentarian who is tasked with taking care of his young nephew for a few weeks. Until I finally saw Drive My Car, this was firmly at the top of my list. Joaquin Phoenix is everything anyone could ever want in an actor. His range, both intellectual and emotional, is fucking limitless. He is as good an actor as I have ever seen and this may be my favorite ever performance from him. Another film about human beings trying their best to be human beings. And another film that made me weep.

3. THE GREEN KNIGHT – Art. This film is like an interactive art exhibit come to life. Mesmerizing and deeply strange and perfectly told. Every single shot in this one feels like it could hang on the wall of a museum. Seriously dropped my jaw. Dev Patel is one of the most underrated actors working today and I hope he and David Lowery continue making art together.

4. WEST SIDE STORY – My favorite Spielberg film since…I don’t even know? Munich (seriously underrated Spielberg) or Minority Report? Nah, it’s better than those. Saving Private Ryan? Nah, I think I prefer this to that one as well. Schindler’s List? Okay, maybe there’s the line. Still, that was nearly thirty years ago but also marks the moment where I feel like Spielberg became a bit more serious and eventually his worked suffered as the message began to smother the joy of the work. For me, he recaptured nearly all of the joy and cleverness from his 70s and 80s output with West Side Story. It’s only sad to me that it released during a pandemic where a ton of new eyes have yet to find it.

5. THE TRAGEDY OF MACBETH – The best adaptation of this work I have ever seen. Another jaw dropper. Minblowingly beautiful for every single second of it’s runtime. Joel Coen laid waste to anyone even thinking of adapting Shakespeare. Someone asked me: How was Denzel? And I was like: The fuck? I just told you to see this at all costs, that it’s a masterpiece and Denzel fucking Washington is playing Macbeth. How do you think he was?

Okay, I wasn’t quite that mean about it but for real? It’s Denzel and yes he crushes it. CRUSHES it. Also, Corey Hawkins delivers what should be a star making performance in this as Macduff.

6. LICORICE PIZZA – Paul Thomas Anderson has yet to make I film I haven’t dug. I feel like he’s one of those filmmakers whom I occupy the same mental wavelength with. Licorice Pizza is no different. There’s been a ton written about this film already and I disagree with a lot of it. I can see where the criticisms are coming from but I personally feel like the film was aiming at something totally different. I’m not going to get into it all here — maybe later, around late March perhaps? But this was maybe the funniest film of the year. Cooper Hoffman. This was his first film? Alana Haim. This was her first film? Jesus Christ these two had insane chemistry together and total command over every scene. And there’s Bradley Cooper who gave this year’s most hilariously over the top performance. Every single second of Cooper in this is a riot. He damn near steals the entire film in about four scenes. Another future purchase for me.

7. THE POWER OF THE DOG – The first third of this film, I thought Campion had seriously miscast the role of Phil Burbank with Benedict Cumberbatch. Whoops. Jane Campion deserves to win every directing award handed out for her work on this film. I’m glad to see she was nominated by the DGA already. “The Power Of The Dog” unfolds like a really great, challenging book (which it was based on). Campion sets each scene with precision and every actor in the film each give subtle yet profound performances. This one surprised me.

8. NIGHTMARE ALLEY – Bradley Cooper again! I’m a huge fan of Guillermo Del Toro. He’s on that list of: show me nothing just tell me where to be and I’ll see it. Nightmare Alley is like a rotten onion of a movie where each layer gets peeled back to reveal a little bit more of the worst of mankind. It’s marvelous and the most gorgeous movie of the year. Also my favorite film score of the year. Also easily the best final scene of any film this year. Fucking haunting.

9. THE FRENCH DISPATCH – I love Wes Anderson. And this was maybe the most Wes Anderson film Wes Anderson has ever made. It’s almost like he could sense someone was about to make a “Wes Anderson type” film and said to himself: well, allow me to set the bar a little higher. Loved it. Give me more. I hope Bill Murray lives forever.

10. PIG – The surprise of the year for me. I’m a huge fan of Nicolas Cage. He never stops and more importantly he’s never stopped giving a damn about his work. He is always “all-in.” If you’re a filmmaker and just hired Nicolas Cage, you’re getting 100% of him. I have an immense amount of respect for Cage exactly because this is his outlook. He’s amazing. And “Pig” ended up being a completely different film than I thought it would be, albeit a much better film. It completely subverts genre conventions and plays with the dead carcass of those old thoughts. Plus, this is the best Nicolas Cage performance in DECADES. Hey Academy voters, nominate him you cowards!

11. RAGING FIRE – Donnie yen. Nicolas Tse. Abandoned church fight with a sledge hammer. You’re welcome.

12. DELIVER US FROM EVIL – Operatic violence only the way the eastern hemisphere can deliver these days.

13. BOILING POINT – Single camera shot drama about the owner/chef of a restaurant on a busy night. Stephen Graham is one helluva actor.

14. THE HAND OF GOD – From the director of “The Italian Beauty.” More unbelievable Italian artistry on display by Sorrentino. Another one that snuck up on me.

15. THE HARDER THEY FALL – Jonathan Majors is poised to be a HUGE star. Great dialog. Great cast. Cool as fuck. Great time. Plus: Delroy Lindo!

16. DUNE – Yes I talked about the Lynch version earlier. I realize that wasn’t a great adaptation of the novel. This one is. Epic filmmaking from Denis Villeneuve.

17. VAL – I love Val Kilmer and I miss him being in movies. This was a true treat from one of my all-time favorite actors.

18. Roadrunner – I cried the day Bourdain died and I’m getting emotional typing these words now. I cannot understate how much of an inspiration Bourdain has always been for me. I miss him so much every single day.

19. GODZILLA VS KONG – Big dumb fun with just enough heart. A script that knows to just get out of the way and also that Kong should be a part of the emotional core of the film. What do you want me to say? I love Kong.

20. LAST NIGHT IN SOHO – A weird one for me. Super fun, messy movie. I dug it a lot but still probably my least favorite Edgar Wright film. I’m not dissing it because I’ve liked all of his work and he’s another filmmaker where my only question is: what’s next and where do I need to be?

21. THE SUICIDE SQUAD – James Gunn cracks me the fuck up. He just does. I’m laughing right now thinking about the animation of how King Shark runs. It’s fucking hilarious. I laughed so hard, like three minutes in that I missed the next five minutes. Plus, it’s now spawned the Peacemaker show and that one is pure chaotic joy.

22. CANDYMAN – I like this one. Very pretty to look at. Felt like a cool idea for a legacy sequel.

23. COPSHOP – The attitude on display makes up for anything else this film might lack. Carnahan can be hit or miss for me but this was a definite hit. A good, old fashioned, 70s throwback of a stupid action flick. It’s good.

24. OLD HENRY – Another western? Hell yeah, another good one. I will beat the drum of Stephen Dorff until I die. He fucking rules and he’s a great villain here. Another good, old fashioned film.

25. WEREWOLVES WITHIN – Sam Richardson is one of the funniest people on the planet. He’s currently killing it on After Party for AppleTV+. Formerly killing it on Veep and Detroiters and anything else he’s been in. This is a cool, silly, sarcastic as shit, funny movie.

That’s the top twenty five. And now for fifteen more I enjoyed (in alphabetical order so you know I went to school and shit).

Antlers, Belfast, Don’t Look Up, No Sudden Move, No Time To Die, North Hollywood, Shang-Chi, Small Engine Repair, The Beta Test, The Card Counter, The Guilty, The Last Duel, The Matrix Resurrections, The Super Bob Einstein Movie, Vacation Friends.

I’m tired now. I’ve wasted enough of your time. I’m gonna go do something else now. Next week…I don’t know…I’ll figure something out. Until then, love each other.

Sofia Coppola Friday #7 – On The Rocks

I am a sucker for a New York film. I grew up about an hour north of the city. Some of my family grew up in Hell’s Kitchen, some in Queens, some are on Long Island, some in Sleepy Hollow, you get the point. New York is in my blood and my heart. As a kid, I was always excited to go to the city. That never changed. I remember going on school trips to the Museum of Natural History and sneaking out to go record shopping — haggling with the dude at Bleecker Bob’s, going to Kim’s video off of St. Marks and my Holy Grail, Generation Records on Thompson. When I met the woman who I would eventually trick into marrying me, she was living on West 80th. Goddamn I loved that apartment. I remember her introducing me to Big Nick’s and then Vinny’s, where the greatest calzones on the planet reside. Going down to Chinatown to eat at Shanghai Joe’s was always a favorite and for the record, the Chinatown location is the best of the three (we’ve eaten at all of them). It’s set back in an alley and if you’re not there when they open, you may not get the soup dumplings you so crave. There is no English on that menu and the staff is rude in the best possible New York way. I fucking love that place. And don’t get me started on Halal Guys — the greatest 30 minute wait in line you’ll ever have. That food is the greatest fucking thing on planet Earth. Seriously, it’s so good you won’t make it twenty feet before sitting anywhere you can find and digging in, even if it’s snowing (I know this because I’ve seen me do it). I know I’m talking at length about food but that’s because eating is what we always did. When you’re in New York, you’re always on your way to doing something and eating is always a part of that something. New York is always alive, the sidewalks vibrate and breathe, steam rises and random shit fits break out amongst total strangers. And I love and miss it so much.

I haven’t even talked about the Italian restaurant we always ate at, Coppola’s. It’s funny because Coppola’s is what set off this trip down memory lane. The first time I went there I thought it was owned by Francis Ford Coppola. I was an idiot but there it is.

Anyway, the reason I bring all of this up is that Sofia Coppola’s newest film, On The Rocks, is set in New York. It’s her first film set in the greatest city in the world and good goddamn did she shoot the ever loving shit out of this film. It just FEELS like New York. I can smell it and I love it and it brings memories flooding in like a dam broke.

And finally, we’re ready to fully dig in to Sofia Coppola’s seventh feature film, On The Rocks. I’m not going to quite dig into spoilers because this film is so new. I want people to experience this film fresh, like I did. With that said, we will still get into the themes Coppola explores.

On The Rocks is the story of Laura (Rashida Jones) and her dad Felix (Bill Murray). She’s stuck in life and fearing that her husband (Marlon Wayans) has fallen out of love with her to the point that he’s cheating on her. Felix is a wealthy art dealer and a bit of a cad. He loves his daughter and perhaps he loves everything in life a bit too much. He cheated on Laura’s mother and then left. He’s a womanizer and heavy drinker — always up for a party. Laura leans on her father and he takes this opportunity to embroil her in a caper to catch Laura’s husband Dean in an affair.

From the start, we are all the way in Laura’s shoes. We feel her paranoia and how she begins looking at everyone sideways. Her trust in Dean is eroding and so we do not trust Dean. More than this, we feel the loneliness Laura is experiencing. She’s surrounded by millions of people but the one she wants is never around. She suffers paralysis with her work and is overwhelmed with the task of raising two children by herself. Coppola adds two nice touches to cement Laura’s uncomfortable stasis: making boxed macaroni and cheese in a Le Crouset and then that fucking Roomba just banging away on every possible surface. I love these subtle touches.

At her breaking point, her father calls and then shows up. Now it’s Felix time and man does he rule. Bill Murray is the only actor who could play this role and Rashida Jones is the perfect foil for his antics. They come across as a real life father and daughter. Again, perhaps Coppola’s greatest strength is her ability to cast to the role. Their dialog is so crisp and rat-a-tat-tat on point yet natural. One of the “big” scenes of the film is when Felix convinces Laura to tail Dean to a business dinner. Felix, in a near broke down convertible, with caviar and champagne as a snack, is ridiculously hilarious in this sequence. Murray turns into a teenage boy before our eyes as he runs red lights, cuts people off, speeds, bottoms out, and does it all while cackling. They eventually get pulled over by the police and well, that scene ends up being even funnier. In fact, this is easily Coppola’s funniest film. It resembles a madcap road trip film as much as it does a mediation on married life. It’s great at the former but the latter is where the film truly shines.

Felix and Dean share a scene at the door to their building that gave me goosebumps. It’s a father and a husband, who size each other up and let one another know something about the other without actually giving up much ground. Like I said, goosebumps. It’s here where we begin to understand Felix a little better. He’s not just being a protective father. Felix sees some of himself in Dean. Felix is beginning to reckon with his past failures. He doesn’t know how to change but he knows that his lifestyle has consequences for others. The film takes us down to Mexico near the end and Felix again unfurls a bit more. He confesses to Laura why he did what he did and it’s proof that in life and love there are no easy answers. He knows he’s wrong but he’s finally being honest about why he did what he did. It’s wonderfully naked. For her part, Laura does not allow Felix off the hook. She gives him his medicine. He’s earned it and even though he may not like it, he knows it’s deserved. It’s tough for us because Felix is so likable. Maybe he reminds us of people in our own lives. Telling someone you love that you’re angry or disappointed or even disgusted by their actions doesn’t mean you don’t love them — it’s the opposite. Love requires honesty. Again, there are no easy answers.

This is what Coppola is pointing out to us above all else. The film is about relationships and the give and take they require. Relationships cannot be a one-way street. Marriage cannot exist without work. Love cannot work without trust.

Another great film from Sofia Coppola — one I will be rewatching over and again. Next week, our wrap-up. Until then, love each other.