One of these weeks I’ll watch less films… I’ll try, at least.
Give me some suggestions on what to watch, or what not to watch, for the next week.
What We Do In The Shadows (2015)
Directed by Taiki Waititi & Jemaine Clement
This past week was the Sundance Film Festival and not only did Taiki debut his latest film, Hunt for the Wilderpeople, but he went on Twitter to discuss some of his thoughts on how he was going to tackle his next project, Thor: Ragnarok. This was enough reason for me to revisit this extremely hilarious film: a mockumentary about vampires in New Zealand. Personally, I’m looking forward to the sequel, We’re Wolves. Yes, that’s the actual title and it’s genius.
Eddie The Eagle (2016)
Directed by Dexter Fletcher
This film doesn’t open until February 26th, but screenings have started and, in short, go watch this crowd-pleasing film when it comes out. Longer review here.
There Will Be Blood (2007)
Directed by Paul Thomas Anderson
Not a single frame is wasted in this film. Breath-taking visuals with incredible performances. Need I say more than “Daniel Day-Lewis”? This film is a little daunting to attempt writing about because of the amount of skill, precision, and utter talent that is poured into it.
Boogie Nights (1997)
Directed by Paul Thomas Anderson
PTA channels his love for Robert Altman and Martin Scorsese. While this is arguably before he settles on his own style (which occurs right around Punch-Drunk Love), it never minimizes this film. Boogie Nights is his Goodfellas, showcasing a “dirty” world while showing how alluring it can be before it all goes to hell. It’s also about the birth of the video camera and how the porn industry switched to the amateur world, emphasizing the value of film. This reminds me of Singin’ in the Rain, as that explores the transitional period between silent to sound, while this does the same for film to digital. Also, Anderson’s “needle-drops” are exceptional (ending a film with “God Only Knows” is never a bad idea). Not to mention the extremely talented cast of John C. Reilly, Wahlberg, Burt Reynolds, Don Cheadle, William H. Macy and, finally, Philip Seymour Hoffman. I almost forgot he was in the film, but when his sweet character walked into the frame I just couldn’t stop smiling. I miss PSH.
Galaxy Quest (1999)
Directed by Dean Parisot
This viewing was partially due to the sad passing of Alan Rickman. I wanted to see this again and see if it has held up over the years. I not only think that it holds up, but it’s far better than I ever remember it being. There’s a balance of taking it seriously, and not doing so at all. While being both a parody of sci-fi shows (mostly Star Trek) and of the fandom convention lifestyle (far more mainstream than in 1999), it remains a good story with heart.
The Exorcist (1973)
Directed by William Friedkin
Ah, one of the greatest horror films of all time. You can never go wrong with The Exorcist. A film I, sadly, only saw last year, so unfortunately I don’t have any real emotional connection to it. No, it didn’t give me nightmares for weeks when I was under 13 – that would have been The Shining. I put in my blu-ray copy around 11 at night, turned off all the lights, turned the volume up, and loved it all.
Django Unchained (2012)
Directed by Quentin Tarantino
I don’t think I’ve seen this film since 2013, and after watching it again, I’m not sure why I’ve waited so long to watch it again. What a great revenge/love story.
Mulholland Drive (2001)
Directed by David Lynch
This coming week, I’m going to watch this movie again and write a more in-depth Film Finale article on it. But, in the meanwhile, Lynch is at his finest in this.
Directed by Jason Moore
Tina Fey & Amy Poehler: amazing. A very funny film that frankly wouldn’t work without the stars being where they are. The very funny supporting cast need to be in more work outside of SNL. I’m looking at you Bobby Moynihan. The film was written by Paula Pell (who also comes from SNL). The film was directed by Jason Moore, who previously made Pitch Perfect. While I would have preferred a woman’s perspective on this situation, it’s clear that Moore let Pell (and one can only imagine Fey and Poehler) make sure their voices were heard.