Women Talking – 5

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With cinematography by Walker Evans, dialogue by Kahlil Gibran and star turns by Ben Whishaw as Anthony Perkins and Rooney Mara as the non-Virgin Mary, this film had serious and artsy engraved on every tableau. Unfortunately, it just didn’t connect with me. I couldn’t tell if it was a fable, a parable, a women’s dream, a philosophy class or a visitor from an alternate universe, one where the Southern Cross is visible in the Northern Hemisphere and census workers broadcast “Daydream Believer” from their van.

Black Panther II: Wakanda Forever – 5

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For an action movie directed at the short-attention-span generation, this was one slow film. Every scene between fights dragged on; as for the predictable fights, they were without visceral emotion and internal logic, as was the rest of the film. Deep looks of concern and longing mainly recalled their comic book source. The ending was one long hint of a sequel to come, which I will be glad to avoid. On the plus side, I was happy to see Richard Schiff and Julia Louis-Dreyfus representing the White establishment, and Wakanda gets my Oscar vote for costume design.

Saint Omer – 7

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A simply shot, mesmerizing courtroom drama, semi-opaque as a drama but evocative of ideas. Of maternity, of personal responsibility, of colonialism, of man and woman, of race, more of race, of journalistic objectivity. From our viewpoint, it is also curious to observe and try to understand the French criminal justice system (with six seasons of Spiral as our background). We never quite understand the two Black women at the story’s center, the writer and the defendant who murdered her child. It is not our place to understand them. But they are unforgettable.

Retrograde – 7

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Utterly remarkable footage of the last days of the Afghan war, embedded with American troops/advisers in Helmand Province, then with the Afghan forces after the Americans withdrew. The story wasn’t much, and there were perhaps too many scenes of soldiers looking at each other, talking on the phone, and just thinking; but the portrait it painted of the two forces was devastating: the Americans exuded competence, the Afghans were amateurs. You wondered what 19 years of American training had accomplished; or, conversely, what we were doing there at all. There was no discussion or explanation of why the Taliban were such superior fighters, or even what the war was about. And footage of the withdrawal itself–what a mess! As a scrapbook of a doomed war, this should be a keeper.

Happening – 7

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A one-trick pony on an unpleasant journey. I take it this was based on Annie Ernaux’s experience seeking an illegal abortion in 1963 France (similar in monotone to her 2002 memoir which I’m currently reading about her affair with a Russian diplomat). The acting was impeccable and realistic, a la Francaise, but the film wasn’t easy to watch. From the start we knew where we were going, just not exactly how we’d get there. The subject, an important one, was handled more to my appreciation in Call Jane.

Avatar: The Way of Water – 5

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What a spectacle, what a production! If there was an ounce of originality in the story or characters, however, I missed it. The dialogue might as well have been cartoon bubbles; action scenes came straight from Moby Dick, Wizard of Oz and Titanic, just to name obvious sources. Any drama was dissipated by the three-hour length. And attempts to make the incredible plausible–e.g., the discussion of breathing underwater–just called attention to the logical absurdities–e.g., every arrow hit its target, while the machine guns mostly missed. And call me a racist, but I didn’t find the Navi terribly appealing.

All Quiet on the Western Front – 7.9

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As movies showing the horror of war go, this is hard to beat–more realistic and thus more powerful than 1917. In fact, that is perhaps the sole purpose of the film. There are characters, but we are told nothing about them, any more than we know about the pawn or the knight on a chessboard. The wastefulness, uselessness and stupidity of World War I trench warfare hits even harder when we have read that morning of Ukrainian and Russian soldiers locked in similar combat. What a species are we! My only complaint, and it’s not insignificant, is that the 2-1/2 hour film is a half-hour too long. I kept identifying welcome and appropriate endings, only to have the camera find one more battle, one more wound to the gut to show. [Although a Netflix film, this needs to be seen on the very wide screen of a movie theater.]

All The Beauty and the Bloodshed – 7

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This was three films in one, but none dug as deeply as I would have liked. Nan Goldin’s crusade to make museums expunge the Sackler name bookended the documentary, but we never saw how the museums grappled with the issue. Second was Nan Goldin’s loveless upbringing, which produced the film’s title and her sister’s suicide, told through scrapbook phots. Third, and most intriguing, was Goldin’s artistic output, but the movie didn’t address the question I’ve always had: how did her photographs of grungy people in their underwear make her an art star? You could say her upbringing led to her art, and the success of her art enabled her to accomplish her crusade, but a film that concentrated, instead, on any of those three topics could have been better.

Catherine Called Birdy – 3

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A silly cartoon of a film about an unappealing, unattractive 14-year-old who comes of (romantic) age in 13th century England. I couldn’t wait for it to end, so I didn’t. Monty Python, where art thou?

Living – 7

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A fairly literal relocation of Ikiru, by Akira Kurosawa, from Tokyo to London, with the estimable Bill Nighy playing the role created by the incomparable Takashi Shimura. As I watched, all I could see were the echoes of the Japanese original (somewhat like seeing David Copperfield as I read Demon Copperhead). By cutting 40 minutes from its source, the English movie loses texture and context: Mr. Williams’s tortured relationship with his son and daughter-in-law is among the losses. The biggest loss, however, is the devastating social satire: Ikiru commented on the Japan of 1952, when it was released. A 2022 film about England as it supposedly existed 70 years ago carries no bite. And I found it hard to believe that the mores of Tokyo and London in 1952 were so identical. In short, I found this an interesting experiment, but I can’t judge it on its own merits or lack thereof.