Downton Abbey: The Grand Finale – 6

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Like looking at a favorite old scrapbook. No problems were introduced without quickly apparent solutions that enabled one and all to live happily ever after (at least until further collapse of the British Empire).

Highest 2 Lowest – 5

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A clunky movie. Denzel Washington was neither believable nor interesting as a record company executive (think Berry Gordy), and we had to watch him the entire movie. A rare misfire by Spike Lee, based on a Kurosawa film that wasn’t that great to begin with.

Thursday Murder Club – 5

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A faithful re-creation for the screen of Richard Osman’s charming novel, unfortunately without its charm. Too much plot, too little air for the characters to breathe, and too recognizable actors in the roles, with Pierce Brosnan especially out of place.

Americana. – 8

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What distinguishes America, according to a character in this movie, is “imagination,” which might be another word for greed. Director Tony Tost gives us an array of mid- to low-lifes, the kind you might find at a remote Badlands diner, in a smart, funny take on American dreams, in the language of Quentin Tarantino, which probably accounts for the title’s punctuation. Sydney Sweeney in the Shelly Duvall role and Halsey as Joan Jett are superb. This was my kind of Tuesday afternoon movie.

Sorry, Baby – 7

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Very indie. Writer/director/star Eva Victor is charmingly quirky (or quirkily charming?) as an English professor (really?), her inexplicable bff (Naomie Ackie) not so much. The random chapters reminded me of a collection of ’60s-era New Yorker short stories. Once I got over the seeming aimlessness and screechy sound I settled in and felt proud to be enjoying myself.

Weapons – 7.5

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This six-chapter horror film had me alternately cringing in my seat and laughing out loud. Writer/director Zach Cregger adroitly handled the mashup of quotidian and supernatural with a style that was engaging and captivating and kept you from questioning the absurdity of it all, right up to the explosive ending. Josh Brolin and Julia Garner made their characters real, while Amy Madigan handled the other.

F1 – 7.8

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It was formulaic, but why shouldn’t it be? It’s fun to immerse yourself in a different world, and Formula 1 is that.  Not understanding the sport, I couldn’t tell how accurate it was or even understand what was happening, which was probably a plus. Instead I could just admire Brad Pitt being Brad Pitt, the gorgeous maverick outsider with a troubled past and a soft heart. Javier Bardem and Kerry Condon command the screen as well. Great cinematography and good score too.

Superman – 3

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Silly. Not a lot of laughs (one chuckle) and the rest was ridiculous.

And So It Goes (Part 1) – 8

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A stunningly well made biopic that not only captures Billy Joel, it explains. The filmmakers weave together archival footage, contemporary interviews, talking heads, studio sessions, concert performances and critical comments, all with the nonpareil soundtrack of Joel’s first six albums. His first wife Elizabeth emerges as the hero of his career amid struggles that were never evident to the fan. Best is the revelation, to me at least, of how directly Joel’s songs related to his life experiences. Part 2 is also watchable (6.8), but lacks the novelty of watching Part 1 and, “Uptown Girl” aside, covers drearier material and music.

Eddington – 5

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The first film I’ve seen to baldly tackle the political dysfunction/divide/disaster that is the American fringe today, hitting bang-bang-bang on Covid masks, Black Lives Matter, gun culture, cults, indigenous rights, political distortion–what have I left out? Perhaps in trying to do too much, the plot is full of unresolved red herrings and relies on mysterious forces to reach its conclusion. It also would have helped if we could have understood anything Joaquin Phoenix’s lead character was mumbling.