Another month, another array of watches that include the new and the past. So, let's see what films I watched this past September.
White Heat (1949) - 4.5/5 - The pieces may feel familiar, as a police officer goes undercover to get close to a psychopathic criminal, but the execution feels as fresh as it must have done 75 years ago upon the films release. What unfolds is a taut crime thriller that zips along so effortlessly, holding onto viewers' attention as director Raoul Walsh mines tension out of the premise so phenomenally. Key to it all is an astounding James Cagney, who brings alive the calculating criminal with mother issues with a performance best described as a force of nature. A figure whose anger cannot be reasoned with, all that can be done is to get out of the way and hope for survival. What an utterly astounding watch.
Freaky Friday (2003) - 3/5 - A favourite of my fiancee's that I saw many adverts for, but I never actually watched. Maybe I would have appreciated it more if I were the target audience, but watching it as a 31 year old man, I did find it to be decent. It's a film that rests upon the lead performers selling their swapped personas, and it helps that Jamie Lee Curtis and Lindsey Lohan are such a talented pair that they sell the premise effectively. The story does feel like it bends character intelligence really easily to fit the plot, and it cannot be overlooked how the material for the asian characters feels distractingly outdated. All in all, I did have fun and was touched by the mother-daughter resolution.
Saint Clare (2024) - 2/5 - A curious idea struggling to emerge from a messy cocoon.
Cara (2024) - 1/5 - Grim realities are depicted through the title character's headspace.
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| Best film of the month and Best film rewatched: Rosemary's Baby (1968) |
Red Rooms (2024) - 4/5 - An engrossing thriller about true-crime obsession, where the reality of such horrors is written all over people's faces.
The Substance (2024) [rewatch] - 5/5 - What a picture!
Offspring (2009) - 1.5/5 - A suburb set take on The Hills Have Eyes.
Please Don't Destroy: The Treasure of Foggy Mountain (2023) - 3.5/5 - A trio of childhood friends go to Foggy Mountain in search of its long fabled treasure; a golden bust of Marie Antoinette. From the comedy troupe Please Don't Destroy, this is an absurdist comedy that feels in the vein of Lonely Island and their rapid fire assortment of gags which go for broke in very fun ways. Don't gel with a gag? Don't worry, a new one will be along very soon. A very fun work that did not outstay its welcome, and had Conan O'Brien stealing the show with his utter gem of a performance.
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| Best film seen in cinemas: The Substance (2024) |
Twisters (2024) - 3.5/5 - What an enjoyable time this was. A standalone sequel to 1996's Twister, this continues on the premise of having stormchasers in pursuit of tornados as an effort to try and understand the phenomenon. Yes, it's a film that signposts where it is going, and relies on the terrific cast to compensate for their underwritten roles. Despite that, this is a fun piece of spectacle which passes the time rather well, capturing the destructive power of nature as effectively as Glen Powell's sheer charisma.
Piranha 3D (2010) - 3/5 - What a curious beast this is to watch in 2024. Alexandre Aja's reboot of the Piranha series is an unapologetically sleazy ride, piling on the excess in ways that feel engineered to appeal to horny teenagers, while also compensating for underwritten characters and a dull romance. Plus, watching scenes that were clearly filmed for 3D without that third-dimension makes for something that toes the lines between naff and endearing. Where this film excels is in the third-act, as it goes all-in for a gory and gruesome ride that delivers exceptional carnage courtesy of Greg Nicotero's phenomenal effects.
Piranha II: The Spawning (1982) - 1/5 - The only interesting thing about Piranha II: The Spawning is how it is the first credited feature directed by James Cameron. It may be set within the water and have Lance Henricksen, but this feature is not reflective of what the iconic director would come to deliver. This sequel to Piranha is utterly dire, as this cheap looking mess is utterly boring, poorly acted, and bizarrely has the strongest sexual chemistry between a mother and son. Do yourself a favour and don't spawn to watch this dreck.
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| Best film watched for the first time: White Heat (1949) |
The Emperor's New Groove (2000) [rewatch] - 4.5/5 - Considering the troubled history that this film went through, it is a miracle that this is such a joyous, heartfelt, and hilarious work. Justice for Kronk, he deserves somebody that will compliment his spinach puffs.
The Fall Guy (2024) - 3/5 - An adaptation of the Lee Majors TV series, director David Leitch uses it as a jumping off point for a story about a stunt performer trying to locate the star of a blockbuster film. Admittedly, this is a film that is longer than necessary, with a middling hit-rate regarding its gags. Plus, the overcomplicating of the plot leaves it feeling like a romcom trapped within an action narrative that is aiming to be shown at Hall H in Comic-Con. It is worth praising that this is a well-directed piece that makes its action sequences really sing, has terrific chemistry from its leads, and is a fantastic love-letter to the stunt community. At the end of the day, it's too messy yet entertaining.
Anyone But You (2023) [rewatch] - 3/5 - A fun tale that is elevated by the talented performers, and my fiancees introduction to Glen Powell.
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| Biggest Disappointment: Hellboy: The Crooked Man (2024) |
The Group (2024) - 1.5/5 - There could have been a good film about addicts made to face their sins through excess, but this is not that.
Scarlet Blue (2024) - 3/5 - A visually arresting trip through tragedy and a fractured mind.
Rosemary's Baby (1968) [rewatch] - 5/5 - Whenever I watch this film, I'm left wondering if any cinematic piece of shit will ever eclipse Guy Woodhouse. Probably not, because John Cassavettes plays the role exceptionally well and the terror of his actions are perfectly conveyed by Mia Farrow. An eerie tale where the slimmest of hopes are snuffed out in devastating fashion, and atmosphere builds exceptionally.
Apartment 7A (2024) - 2.5/5 - Julia Garner delivers an expressive performance in this prequel to Rosemary's Baby.
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| Biggest Surprise: Please Don't Destroy: The Treasure of Foggy Mountain (2023) |
Speak No Evil (2024) - 3.5/5 - Perhaps it is due to growing up throughout the 2000s, but despite my hopes for films to be good, the idea of horror remakes can leave a part of me woeful for what may come. So, colour me impressed with what James Watkins has done here. The Danish film has been relocated to the West Country, for a tale that takes its own path in ways that will definitely be more palatable for a wider audience. This is far more interesting than a retelling, allowing the film to create its own identity in ways that are fun, while still capturing that tension with social niceties amidst a culture clash.
Key to the film is how it does not forget about the characters, with Mackenzie Davis and Scoot McNairy terrifically capturing the struggles of their relationship and job prospects. James McAvoy gets the most showy role, although Aisling Franciosi captures layers to her character that hints at more horrors. What is delivered is an effective companion to the brutal original that charts its own path well, and utilizes the originals final shot effectively in a brand-new context.
New Initial D the Movie - Legend 1: Awakening (2014) - 3/5 - My knowledge of Initial D is limited to the one volume that I have read, which makes up the majority of this short feature. The story sees high school student Takumi Fujiwara whose work as a delivery driver has led him to be considered the best amateur road racer on Mt. Akina's highway. Despite lasting 66-minutes, the story is a lot of build-up to Takumi realizing his talent behind the wheel and actually racing. When the racing scenes happen, they are exciting to watch, but there is too much time instead focused on an underdeveloped romance and an irritating best friend. At the very least, this has me interested in where else the story can go.
Rebel Ridge (2024) - 4.5/5 - Unbelievably tense and equally thrilling.
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| Worst film of the month: Megalopolis (2024) |
Hellboy: The Crooked Man (2024) - 2/5 - An admirable attempt at a horror-focused mood piece.
Shaun of the Dead (2004) [rewatch] - 5/5 - I remember watching this for the first time on Sky Movies when I was 12, so it is wonderful to see this on the big-screen with a packed audience. It remains an electric piece of cineliterate filmmaking, utilising horror and comedy in phenomenal ways for a tale about one man sleepwalking through life whose potential finally shines during the zombie apocalypse.
The Hitcher (1986) [rewatch] - 4.5/5 - An absolute gem from the '80s.
Megalopolis (2024) - 1/5 - A project that he has tried to make for decades, Francis Ford Coppola has finally gotten to realize his vision for Megalopolis. The story is a fable about building a better future, centering around an artist's vision for a utopian future that clashes with the mayor's attempts to uphold the status quo. For all the news of Coppola self-financing this film by selling his vineyards, what remains feels like a massive fumble in its execution. A cast whose reputation precedes them may be assembled, but you could not tell their stature from the awkward performances. Perhaps it was tough for them to work with dialogue that feels written by an alien, an unfocused plot that feels like the barebones of a four-hour cut, and CGI backgrounds that just prove ugly and distracting on-screen. The only one who escapes this film with their head held highly is Aubrey Plaza as the bizarrely named Wow Platinum, and that must have been tough when Shia LaBeouf feels like he's going for gold at the irritating Olympics, and Jon Voight gives a performance that leaves one questioning if he knew he was meant to be acting, or just wanted to talk about his boner. After all of that time, money, and controversy that went into crafting this work, it is fascinating that it ends up resembling a Neil Breen film with a $120 million budget.
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