Last Seen Movie - The Latest Movie You Have Seen; ratings

[Heksagon]

I liked Braveheart as a teenager but I don’t know how I’d feel I saw it now for the first time. I have been avoiding seeing that film again precisely because I’m worried about ruining the memories.

I didn’t like Crash and I hated A Beautiful Mind. But I do know plenty of people who liked these films.

[dreaMaker]

You mean someone actually liked Braveheart and A Beautiful Mind and Crash?

All these three films are so much better than horrible Boyhood. I mean, I wouldn't hate it that much if it wasn't the frontrunner at the Oscars. I can't see any reason why would Patricia Arquette win the award. I can't see any reason why Ethan Hawke would be nominated at all. Best editing? Really?? Directing??

[mlrg]

You mean someone actually liked Braveheart and A Beautiful Mind and Crash?

~
Well, I liked Crash, found Braveheart entertaining and loathed A Beautiful Mind

[OscarGuy]

You mean someone actually liked Braveheart and A Beautiful Mind and Crash?

[dreaMaker]

Boyhood
4/10

Well, if it wins Best Picture Oscar, it will be THE worst film winning Best Picture Oscar ever.

Someone hasn't seen "Cimarron."

True that!
I just said that for having a dramatic effect. But let's say the worst since sixties.

[ksrymy]

Boyhood
4/10

Well, if it wins Best Picture Oscar, it will be THE worst film winning Best Picture Oscar ever.

Someone hasn't seen "Cimarron."

[dreaMaker]

Boyhood
4/10

Well, if it wins Best Picture Oscar, it will be THE worst film winning Best Picture Oscar ever.

[Bog]

The emperor has no clothes on and this film is wretched."

Boy, I sure can't relate to sentiment whatsoever...I'd understand being "annoyed" by the construction, feeling it is too abrasive or even pretentious, but hmmm...wretched? And yes, your friend appears to be attempting a quip with his paradoxical statement, I see it simply if were we not given the gift of JLG we wouldn't have had such a late career gem as Goodbye to Language. Eh agree to disagree.

However, some recent thoughts I wanted to share my feelings:
Foxcatcher and Still Alice >>>> The Theory of Everything (not to swipe too much from Armond White) .
Sure makes me wonder what causes certain actor vehicles to catch multi-category Oscar momentum (Theory) while others go the opposite direction, where Alice is almost seen as a detriment to its actors. Seems as though these are the 2 films which will represent actor/actress Oscars and (not to fire up Marco too much) in the grand scheme of 2014, aren't they merely Blind Side-y type choices? I'm not attempting to come off naive that Oscar-worthy performances cannot be within lesser films, just why Theory is not seen as one.

For my money Timothy Spall and Scarlett Johanasson should be on JK Simmons type rolls

I struggled with The Gambler like most did here with The Judge...which I still haven't gotten to, but nothing seems more daunting than this...from the man who brought us Fred Claus and Wedding Crashers, next remaking Lynch...

Lost in Translation is still an 11/10 for me as well

[Precious Doll]

Obvious Child (2014) Gillian Robospierre 6/10
The Gambler (2014) Rupert Wyatt 2/10
Selma (2014) Ava DuVernay 6/10

Repeal viewings:

Paradise: Hope (2013) Ulrich Seidl 8/10
Straight Time (1978) Ulu Grosbard 6/10
Lost in Translation (2003) Sofia Coppola 10/10
Rock 'n' Roll High School (1979) Allan Arkush 6/10
Gone Girl (2014) David Ficher 9/10

[ksrymy]

Mr. Turner (Mike Leigh, 2014) 9/10

The last quarter century of artist J. M. W. Turner's life is played out. Timothy Spall grumbles his way to one of the year's finest performances earning the Subtle British Performance of the Year Award in the meantime. This is also the best-shot film of the year by a longshot. It's obvious that Dick Pope is using light to make the film feel like a Turner painting, but he never seems incredibly ostentatious or "look, ma!" The supporting cast is spectacular as is the case in most Mike Leigh films with Dorothy Atkinson and especially Marion Bailey playing the women in Turner's life. Also, I haven't seen sets so beautiful in a very long time. A remarkable film.

Big Hero 6 (Don Hall & Chris Williams, 2014) 4/10

A teen prodigy, an inflatable healthcare unit, and a group of nerds team up to form a high-tech superhero squad. I've had superhero film ennui for a long, long time, but this takes the cake of just how plain it can get. The awful typical Marvel-structured plotline is tired and tedious. The jokes aren't funny at all, there are tons of questions that don't get answered, and, aside from Baymax and Hiro, the core set of characters aren't very worthwhile. They basically fall into "We're nerds and not very good with superpowers, but we'll become seasoned vets with them in the next fifteen minutes." It's incredibly annoying. Also, there are so many deus-ex-machina plot devices and unexplained elements that the film becomes a mess during the end of the second act. The animation is gorgeous though, and it has several eye-popping scenes. Disney's had a solid effort as of late with "Tangled" and "Wreck-It Ralph," but it seems they're starting to skid like Pixar.

At least it's better than "Frozen."

The Book of Life (Jorge R. Gutierrez, 2014) 7/10

A toreador and the son of an accomplished general vie for the affections of their beautiful childhood sweetheart. I wish more animated films would be like this. The animation is really quite excellent channeling puppetry and ventriloquism over a more natural or fantastical style. The Mexican culture throughout is rampant but easily accessible. The voice work isn't really too impressive - it's more practical than anything else. The music, at times, can be great. For every "Apology Song," there's a really bad mariachi version of Radiohead's "Creep." But the story, concept, and everything going into the film makes it quite a spectacle. My favorite animated film of the year, so far.

American Sniper (Clint Eastwood, 2014) 7/10

The story of Chris Kyle, the most lethal sniper in U.S. history. The film's biggest achievement is in its strict portrayal of Kyle and his thoughts. It doesn't try to have anything bigger to say like Kathryn Bigelow's similarly-located films do. This is also a large success due in part to Bradley Cooper who is proving himself to be one of the best working actors we have right now. He balances the right amount of machismo and swagger with a decent portion of introspectiveness. The film's script can be all-over-the-place quite some times. For every scene you have with Sienna Miller on the other line of an in-combat Cooper, you have a girlfriend screaming, "I DO THIS FOR ATTENTION; DON'T YOU GET IT?!?!?!?!?" The sound work in the film is probably the most impressive of the year.

Unbroken (Angelina Jolie, 2014) 4/10

The real life story of Louis Zamperini - Olympic medalist and prisoner of war. It's kind of embarrassing to think that the Coen Brothers wrote something as trite and dull as this. The film is a total cheeseball that feels like one of the legions of WWII movies released in the late '40s/early '50s. Some brighter spots in the poorly-written film are Jack O'Connell, who is going to be the next big thing, and Roger Deakins' cinematography (as usual). But the annoying presences of actors like Finn Wittrock and Miyavi really ruin the whole mood. I'm not quite sure how Miyavi gained any kind of attention. He's basically doing a louder, less-inspired version of Sessue Hayakawa's amazing work in "The Bridge on the River Kwai." A total lame duck of a film.

Starred Up (David Mackenzie, 2014) 8/10

A juvenile offender is promoted to adult prison where he runs into his father. This is an incredibly unnerving film. The paranoia this film makes you feel is truly disconcerting. This is what a prison film should feel like. The film is ballasted by the great, more original father-son dynamic. Ben Mendelsohn, an actor nobody really seems to appreciate, and Jack O'Connell are both marvelous. They create truly embittered, impassioned individuals instead of falling into normal prison tropes. Granted, it does fall into some classic tropes (the guards trying to hang O'Connell to make it look like a suicide), but they're minor enough to be overlooked as they play out a little differently that you'd guess. This film is brutal and one of the best of the year.

REWATCH: My Man Godfrey (Gregory La Cava, 1936) 9/10

A homeless man is hired as a butler by an eccentric (to say the least) family. I like this even more than I did when I saw it a couple years ago. This is definitely one of William Powell's greatest performances; I'd put it right ahead of Nick Charles and just under his work in "Jewel Robbery." And Carole Lombard is a riot as a spoiled society girl - it may be her best work (though I'm partial to "To Be or Not to Be"). The supporting cast is great too. AMPAS incorrectly cited Mischa Auer as the best supporting male in the film as Eugene Pallette's tired father is the most complex, funniest role in the film. Alice Brady does her usual shtick, but, as always, she does it well. The best supporting female, I'd say, is Gail Patrick who handles her character's arc in a believable and subtle fashion. In a loud film full of funny people, she doesn't try to yell over the rest of them. This is very much an actor's film though that isn't to say the set design and costumes aren't absolutely gorgeous. A treat I'd be happy to revisit often.

Sisters of the Gion (Kenji Mizoguchi, 1936) 10/10

Two sisters work as geishas in the Gion district. One of Mizoguchi's finest. While it's not quite up to speed as his mid-'50s work (then again, most people could never come remotely close), it's his best early film - dare I say better than "The Story of the Last Chrysanthemums?" The success of this film is largely due to the surprisingly feminist script and the acting power of the titanic Isuzu Yamada - Yamada is absolutely perfect as Omocha, a progressive, western-clothed lady who is more keen on sex and class relations than her traditional, more behind-the-times sister. Yamada uses subtle expression and superb line delivery to give one of her career-best turns. She's a force to be reckoned with and easily one of the greatest women to step in front of a camera. Mizoguchi's tight, strict framing on Umekichi is beautifully contrasted with the loose, dreamy shots focused on Omocha. The director uses a lot of refined, simple, and elegant touches to really polish the film up and help us discover who these women are. Mizoguchi does fallen women better than any other directort; sorry, von Trier.

REWATCH: Osaka Elegy (Kenji Mizoguchi, 1936) 10/10

A switchboard operator becomes a mistress to several different men to support her wastrel father. As perfect as the first time I saw it. Mizoguchi is master class, and Isuzu Yamada proves to me, yet again, that she may have been the greatest Japanese actress of all-time. Mizoguchi presents another surprisingly feminist bit of work as we follow Ayako and her sacrifices to help a man she must only obligatorily appreciate. It's a look at the then-modern family that would make Ozu blush. The supporting males playing Ayako's lovers are at the tops of their games, each serving their own literary purpose for our entertainment. This film is rapidly making its way up my all-time list.

The Crime of Monsieur Lange (Jean Renoir, 1936) 10/10

A man with a hobby of writing Western novels is put in a precarious situation when his boss fakes his own death and then reappears later with demands. This is, without a doubt, one of the greatest French films I've ever seen. It's incredibly admirable in its balancing plot with politics; that's not something even the greatest of directors can do so easily, but Jean Renoir does is flawlessly here. And Jules Berry puts in a noteworthy, important performance in support; it's the kind of role any character actor would kill to play. The sets are great and everything, but, really, the story and brilliant acting is what propels this film to perfection. One of the best films I've ever seen.

The Lower Depths (Jean Renoir, 1936) 8/10

An easy-going thief befriends a rich baron and falls in love with a girl in the process. Renoir's masterful touches and embellishments in this film are astounding and remarkable. His eye for depth (apropos for the title) is something I don't see in most films - emotional depth but also physical depth as there is a lot of shadowplay and toying with the backgrounds. As always, Jean Gabin is completely captivating, but, for once, he isn't the real star; Louis Jouvet as the taken-advantage-of baron has the juiciest part with all the best lines. It's a performance where every bit he has could be his awards show clip. One of the best performances Renoir ever directed. One of his best. Renoir is quickly becoming a top ten director for me.

REWATCH: Partie de campagne (Jean Renoir, 1936) 8/10

A family spends a day in the countryside, and the daughter of the family falls in love with a man at the inn in which they are staying. Equal parts beautiful and frustrating, Renoir's unfinished work could have easily been his masterpiece. Sylvia Bataille is great at the daughter mentioned before. There's an innocent air Bataille puts on (or maybe it's natural) that really helped her craft a quite interesting and complex character. The opening shots over water are incredible especially for its time. Maybe the best thing about the film is its score - what gorgeous music. I wish I could give this a perfect score, but I just can't. It's too frustrating an unfinished work to fully reward.

Mayerling (Anatole Litvak, 1936) 8/10

The disgruntled son of the Emperor abandons his arranged marriage for a 17-year old consort. This is incredibly shocking and daring for its time; even moreso because it's based on a true event. Charles Boyer's performance is something to take notice of - it's quite disturbing. He really gets into the psychological side of Rudolph and crafts a truly menacing portrait of obsession and illness. And, as his lover, Danielle Darrieux (in the role that made her a star) is terrific. She takes a role not asking for much and injects it with a certain potency that makes it all very real and beautiful. Gorgeous set pieces and costuming aside, the film is quite good by a director who's very hit or miss with me.

Swing Time (George Stevens, 1936) 9/10

A man tricked into missing his wedding forms a successful dance partnership with a dancing instructor, but their relationship is marred by the instructor's bandleader boyfriend. This is the best Astaire/Rogers film bar none. Ginger Rogers doesn't leave me cold and Fred Astaire isn't twee and bothersome. The dance sequences are spectacular, of course. Sure, the film is basically a duplicate of "Top Hat" in terms of plot, but it's much better done here. The one big thing that caught me off guard was Fred Astaire doing blackface - it's really shocking and uncomfortable. The songs written for the film are all iconic in their own rights. The costuming is, obviously, radiant. Other than that "Bojangles of Harlem" sequence, it's a damned fine film.

Modern Times (Charles Chaplin, 1936) 10/10

The Tramp struggles to adjust to the industrial era but gets some support from a beautiful homeless girl. This is Chaplin's most creative, inventive, and original work. Is it his best? I'd say that endowment belongs to "The Gold Rush." But "Modern Times" is another kind of animal entirely. The feeding machine sequence is the film's greatest achievement. It feels right out of a Marx Brothers film as well as right out of an Aldous Huxley novel. It's the crowning achievement in a film full of them. The score to this film is also Chaplin's best, I think. Also, Paulette Goddard > Virginia Cherrill.

Port of Shadows (Marcel Carné, 1938) 10/10

A military deserter finds love in a 17-year old deserter whose awful father and vicious gangster ex-boyfriend try to insert themselves into the mix. This film has done the impossible: filled the void in my life since "Sunset Blvd." No film comes close to the perfection of Billy Wilder's masterpiece, but "Port of Shadows" has all the perfect elements in one whole film that I've been craving for years now. Jean Gabin is perfect as the brooding protagonist, Michel Simon is perfectly used in support, and Marcel Carné's direction is superb. There's this eerie, evocative moodiness that envelops the film like the harbor mists we see so frequently here. The cinematography is beyond stunning and, at times, some of the best I've ever witnessed. This is a film I could easily watch once a month and never tire of.

Le jour se lève (Marcel Carné, 1939) 9/10

A man locks himself in a hotel room after a murder and recounts everything leading up to the event. This seems ahead of its time. "Citizen Kane" gets praised for its non-linear storytelling, but this came a good two years before then and seems to get no credit at all. The script is marvelous, as is expected, and the acting is all top-notch with Jean Gabin (as always), Jules Berry, and Arletty giving star turns. Marcel Carné is a hell of a director into whom I need to continue delving. The film is very gritty and dark for its time - even for French cinema, the tinges of incest, real or not, throughout really struck a chord with me. The film is a clinic in cinematography also; every shot seems to have been perfectly calculated and constructed. A really beautiful film that seems to have fallen out of favor unrightfully.

We Are the Best! (Lukas Moodysson, 2013) 8/10

Three girls with almost no musical experience form a punk rock band. Adolescent rebellion has never been as fun as it has here. Lukas Moodysson captures the angst in his framing and direction alone. The three girls are perfectly cast and they act their little hearts out. You can tell which bands influenced the making of the film, and it's really a punk rocker's dream come to life. A good film by one of the best up-and-comers out there.

The Judge (David Dobkin, 2014) 2/10

A successful lawyer returns home to find that his father, a respected judge, is accused of murder. This is basically what a really bad 2.5 hour episode of "Law & Order" would look like. Robert Downey, Jr. knows he's in a crap movie, so he doesn't really try. Robert Duvall's Supporting Actor nod is egregious and worthless. There isn't anything redeeming about this movie. It's filler.

Wild (Jean-Marc Vallée, 2014) 5/10

A woman with a tragic past hikes the Pacific Coast to find herself. This isn't really any different than any other "woman finding herself" movie, but at least it's ballasted by a Reese Witherspoon performance that is out-of-character for her but also refreshing and well-done. Laura Dern is good in her few scenes, but I've always liked her so I may be a bit biased. Had there been no big names in this, it would have debuted on the Lifetime Movie Network.

Love Is Strange (Ira Sachs, 2014) 8/10

After nearly four decades together, a gay couple marries only for one of them to lose his job because of it. I really enjoyed this one. It didn't go out of its way to damn conservatives and talk about the evils of business; it, instead, focuses on the story at hand which is quite a good one, I may say. John Lithgow and Alfred Molina have a wonderful chemistry and both have several opportunities to shine (and they take full advantage of them). Surprisingly though, neither was my favorite part of the film. I really enjoyed Marisa Tomei's supporting work as Lithgow's novelist daughter. Her role basically amounts to a couple scenes with some background work involved, but she takes those scenes and creates a memorable, beautiful character. Is it her best-ever work? Probably not, but, in a year where the supporting actress slate is pretty weak, she's one of the best. And Ira Sachs' screenplay is marvelous on top of all this.

Show Boat (James Whale, 1935) 5/10

The daughter of a performer becomes the main attraction on a touring riverboat. Much like the title object, the film is full of hot air. Irene Dunne in blackface is something that needs to be seen to be believed - it's hilarious for all the wrong reasons; also, it doesn't feel overly black like most numbers. The film is quite a drag though. It can't hold its melodramatic water. It tries too hard to develop several storylines and casts the most boring of them all to the foreground. Of all the couples, Paul Robeson and Hattie McDaniel are both the most entertaining and moving. Everyone else (Dunne and Allen Jones, Helen Morgan and her boring companion(s)) pales in comparison. At least "Ol' Man River" is a complete success thanks to Robeson's amazing voice. The costumes are nice too, but this film wouldn't be much more without Robeson and McDaniel.

Things to Come (William Cameron Menzies, 1936) 8/10

The human drama behind a seventy-year trek through global war and rebuilding. This film is undeniably cool. The sets are grander and more spectacular than the ones in "Metropolis." It's not better than the Lang film (the acting would need to be much better), but it certainly deserves to be mentioned alongside it. The visuals are stunning and the score is especially noteworthy. The film gets a little messy in the second act but picks itself up and dusts itself off in the third to really tie it all together nicely. A great cautionary tale appropriately released in the Cold War era.

The Story of a Cheat (Sacha Guitry, 1936) 8/10

The life story of a treacherous scoundrel of a man who seems to cheat and escape his way out of everything. The cheat himself is entirely unlikable on paper, but Sacha Guitry really molds him into a brilliant, funny, poignant, and realistic person. The film is essentially a silent flick with voiceover guiding us through - voiceover is incredibly difficult to do naturally ("Sunset Blvd." perfects natural voiceover), so the film is a big accomplishment because of this. The screenplay is radiant as are the sets and costumes. A very fun flick with a lot to offer.

The Devil-Doll (Tod Browning, 1936) 3/10

A respected banker uses miniature assassins to rid himself of problems in his life. The film is basically a ripoff of Tod Browning's previous film(s) "The Unholy Three." Lon Chaney in drag is far better than Lionel Barrymore in drag. The film is a bit of a bore save for the great visual effects and good campy Barrymore performance. Not worth much else though.

Craig's Wife (Dorothy Arzner, 1936) 5/10

A spoiled, materialistic woman connives and controls everything on her way to perfection. Much more psychologically interesting than most films of this time. A lot of this has to do with Rosalind Russell's exquisite, terrific performance. It may be Russell's best early performance. I've never been so terrified of an actress I so admire and adore. It's something else to behold entirely. Other than Roz, though, the film is a bit flat. Still, it should be seen for her performance alone.

REWATCH: Come and Get It (William Wyler & Howard Hawks, 1936) 5/10

An ambitious lumberjack leaves his saloon singer girlfriend to marry into wealth only to fall in love with a similar-looking girl years later. I expected more from a Hawks/Wyler picture. This is as mediocre as you can get. Decent performances, decent technical bits, decent everything. The logging montage was really great though and reminded me a lot of Aleksandr Dovzhenko's bread-making montage in his masterpiece "Earth." I don't get the hoopla over Frances Farmer.

Anthony Adverse (Mervyn LeRoy, 1936) 3/10

An orphan raised by nuns falls in love and battle evil aristocracy. Like a beached whale, this film is about as bloated as you can get. Olivia de Havilland phones everything in, and even the reliable Fredric March is a bore - I've never liked his period work. Claude Rains seems to be the only person having any kind of fun. The film has a lot of great technical aspects - its cinematography is top-shelf and the costumes are nice. The tracking shots throughout are beautiful too. But, man, I could not care any less for any of the characters. Anthony is milquetoast and even the potentially-awesome Faith Paleologus could have been amazing, but Gale Sondergaard played her so mild-manneredly. A big disappointment.

The Trail of the Lonesome Pine (Henry Hathaway, 1936) 4/10

A long-running feud between two mountain clans is interrupted when love barges in. A historically-important but unmemorable film with a melodramatic and eyeroll-worthy love story. Henry Fonda in a smaller role is really good, but Fred MacMurray and Sylvia Sidney are pretty boring and lame. The on-location, Technicolor cinematography is, predictably, breath-taking though. It's certainly something to see even if the rest of the film is tripe. Beulah Bondi does the best work in the film as the grizzled matriarch.

Mr. Thank You (Hiroshi Shimizu, 1936) 8/10

A friendly bus driver escorts several different passengers from rural Japan into Tokyo. The film, while obvious in its literary elements, really creates a unique blend of characters with the virgin daughter being sold into prostitution taking the forefront. The best performance is very much the lead's - Ken Uehara injects a lot of sincere monotony into each of his arigatos. His scenes helping people onboard or even with their daily problems are top-notch work. It's a performance I really admire by an actor I hope to see a lot more from. I need to see more by Hiroshi Shimizu - I've only seen this and I cannot wait to find more by him. The editing in this movie is quality as well - that and the winding cliffside shots from the grille of the bus are gutsy and smart. A film I'm very happy to have stumbled upon.

As You Like It (Paul Czinner, 1936) 2/10

The classic Shakespearean tale of a woman who masquerades as a man to teach a man how to woo her. It's like they completely abandoned Shakespeare and just wanted to make a showcase to show how cool and English-speaking Elisabeth Bergner was. One of the worst adaptation I've ever seen. At least Laurence Olivier is great as Orlando and the costumes are really billowy and nifty.

The Boxtrolls (Graham Annable & Anthony Stracchi, 2014) 9/10

A comedic fable involving a young boy raised by a group of trolls who live inside boxes. I am completely obsessed with this film. The animation is perfection, the music by Dario Marianelli is superb, and the voice work is amazing. The voice work is especially noteworthy in that, unlike Pixar's casting, the voices seem so natural and don't distract us from what's happening. Ben Kingsley as the lead villain is some of the best voicework I've heard. Also, Snatcher's drag number is one of the scenes of the year. The Victorian, cheese-related steampunk setting is adorable and not overly-quirky. I want a boxtroll of my own, and I'll probably end up being one for Halloween. Like I said, I'm kind of obsessed with this movie.

Guy and Madeline on a Park Bench (Damien Chazelle, 2010) 8/10

A womanizing trumpeter forms a keen interest in and relationship with an introverted girl who takes to his music. This is one heck of a film. It's got the feel of a '30s or '40s musical with the charm of one from the '60s and the cinematography and raw power of today's indie films. It's "Top Hat" by way of "Whiplash" really. And that's not just because Damien Chazelle directed this and "Whiplash." It has a gritty, shaky feel to it that I really appreciate. Shakycam usually annoys me, but it works for the jazz feature here. It shakes and quakes with our characters emotions. It's barebones, 16mm aesthetic is the real star of the film. The stars playing the title characters are captivating; there isn't a scene they don't eat up. This is a rare kind of musical film that I truly appreciate. It's like an Astaire/Rogers picture if it were Miles Davis/Joni Mitchell. I greatly enjoy this film, and I look forward to future viewings.

Plus, how can I not enjoy a film whose lead characters' names are direct references to the leads in one of my all-time favorites "The Umbrellas of Cherbourg?"

The Unguarded Hours (Sam Wood, 1936) 5/10

A prosecutor's wife is embroiled in the case on which he's working. The film tries to be a clever bit about blackmail and consequences and marriage, but it falls flat. Franchot Tone is one of the most boring leading men in Hollywood history - he does consistently subpar work. How his career ever started, I'll never know. At least Loretta Young is okay as a woman in over her head. The story could have been really great, but the film is rather harebrained.

The Prisoner of Shark Island (John Ford, 1936) 5/10

The doctor who helped heal John Wilkes Booth is sent to a brutal prison. This is John Ford at his most mediocre. The story isn't all that engrossing, and Warner Baxter never could really hold a film up on his own. At times, the film seems to be screaming "Hooray for the Confederacy!," but I don't think that's what it intended. The cinematography in this is really great though - the exterior shots of the prison are beautiful.

Theodora Goes Wild (Richard Boleslawski, 1936) 6/10

A conservative town is morally shaken by a scandalous novel written, under a pseudonym, by a respected townswoman. The film is really cute, and Irene Dunne turns on the charm for almost 90 solid minutes. It's a good performance though nowhere near her best. One of the biggest faults in the film is Melvyn Douglas whom I never found great as a leading man - he's always outclassed and outacted by his female leads. He's such a bore. This is basically "Chocolat" for the '30s.

The Story of Louis Pasteur (William Dieterle, 1936) 5/10

French chemist Louis Pasteur proves his colleagues wrong when his discovery of germ theory leads to clean milk and unspoiled alcohol. I'll take brooding, angry Paul Muni over great man Paul Muni any day. I dislike this more than I did the first time I saw it (and I moderately enjoyed it the first time). The film is just an unexciting, bland look at a great man deserving of a great picture. Muni is very plain and looks kind of ridiculous in the makeup he's in. A very unaffecting, though not bad, biopic.

Libeled Lady (Jack Conway, 1936) 7/10

An editor hires a man to compromise a woman suing the paper for libel. Has so much charm ever been found in a cast? William Powell and especially Spencer Tracy hit their comedic strides with such great confidence. Tracy is really funny, and it's a shame he's not in the picture more - the film starts out shaping him to be the lead. The women here, Jean Harlow and Myrna Loy, are two I'm not particularly fond of at all; both are radiant with wit and sass here. They succeed in making these women real and complex while balancing the overtly comedic tone of it all. Had this been directed by Preston Sturges, it could probably have been one of the best screwball comedies ever, but, for now, it'll be good but not great.

REWATCH: Dodsworth (William Wyler, 1936) 10/10

A retired automobile magnate tours Europe with his wife who sleeps around to sate her midlife crisis. This is a film I return to pretty regularly because it has so much to say. It is the most modern film of its era hands down. The film is the closest thing I can think of to an American Bergman film. The heartbreak and impending sense of loss and doom in this film malingers over the whole picture like a cloud of cigarette smoke and sawdust. Walter Huston gives his greatest-ever turn as the title character. His almost dopey portrayal of Dodsworth makes him all the more endearing and touching. He's grown soft with age instead of cold like his wife. And Ruth Chatterton is great here though I've never really cared for her. Their scenes together are spectacular but nowhere near Huston and Mary Astor's scenes. Astor lights up the picture as the only semblance of hope in the film. She clears that smoke-and-sawdust cloud from the room like a reverse vacuum. She plays Edith with such dignity and quiet, charming repose. It's one of the greatest supporting turns of all time. The art direction is incredibly impressive - the shot out of the office window overlooking the giant neon 'DODSWORTH' sign never ceases to astound me. This is a top one hundred film for me. A picture that will stay forever relevant.

REWATCH: Fury (Fritz Lang, 1936) 9/10

A wrongfully-convicted man is thought to be dead in a prison lynching but carefully exacts his revenge on the twenty-two persons responsible. Fritz Lang's American debut is a hell of a thing to witness. This was my second viewing, and it still begins and ends with quite a bang. Spencer Tracy is perfect as Joe Wilson - our Hitchcockian everyman. Sylvia Sidney takes a melodramatic role and carves out something really beautiful in it. There are several scenes she controls with her vocal timing that really make me admire her. The cinematography and score are incredible. The film's only misstep is its bizarre ending.

The Petrified Forest (Archie Mayo, 1936) 5/10

A diner is held up by a fearsome gangster while a British man with nothing left to lose observes it all. I don't really get the acclaim for Humphrey Bogart's performance. It's the same schtick as everything else he does - the only difference is that this was the first time he did it. He played the role better in films like "High Sierra" and just as run-of-the-mill in "Angels with Dirty Faces" and the crappy "Dead End." Leslie Howard is dull and full of himself, and Bette Davis doesn't get a fair shot to make the picture more exciting. The script still manages to make things interesting plot-wise, so I can't knock it for that at all.

The Gorgeous Hussy (Clarence Brown, 1936) 3/10

A pretty and politically-involved woman courts every man except the one who loves her. A bloated bore of a film. Joan Crawford is too modern for a period piece like this. She was the only cast member who showed any kind of personality which kept the film barely afloat as every other cast member flails and grabs onto her bustle to not drown. Beulah Bondi's Oscar nod is odd as she smokes a pipe and has a couple very typical scenes for her - the one scene where she asks Crawford to watch out for the women gunning for her is actually pretty good though. The hairstyling and costumes are really good, but this is a perfect example of a lifeless costume drama in early sound Hollywood.

Sabotage (Alfred Hitchcock, 1936) 6/10

A detective races to stop a man from setting off a bomb in a public London setting despite his cover being blown. Standard, forgettable Hitchcock. Every actor in the film seems to think his/her co-star is the star, so every performance feels phoned in. The real reason to check this out is the marvelous editing and great special effects. The fifteen minutes (in the movie) on the double-decker bus are memorable and tense. It's like "Speed" for the '30s. Other than that big scene, though, the film isn't really anything to write home about.

Secret Agent (Alfred Hitchcock, 1936) 5/10

Three English spies are sent to kill a German, but two of them are uneasy to do it as the mission conflicts with their consciences. Peter Lorre, in a campy role as a bloodthirsty, over-the-top Mexican killing machine, is the only truly memorable thing about this movie apart from the captivating trainwreck scene at the end which has some of the best visual effects I've seen for the film's time. Lesser Hitchcock worth watching but not worth canonizing.

Desire (Frank Borzage, 1936) 9/10

A cunning jewel thief plants a priceless strand of pearls on a dopey, unsuspecting American on their way out of France to pass security. Holy cow, I was not expecting to absolutely adore this as much as I did though, honestly, I should have known I'd appreciate this since I'm enamored with "Trouble in Paradise" and "Jewel Robbery." The film is also an absolute dream - directed by Frank Borzage, produced by Ernst Lubitsch, written by Waldemar Young, shot by Charles Lang, and starring Marlene Dietrich, Gary Cooper, and Alan Mowbray. It does not get any better. And the film's biggest success is that Borzage doesn't try to mess with the Lubitsch formula. He follows it step-by-step but adds that helpless romanticism he so perfectly captures in all his films to make the film the definition of a delight. Nobody films falling in love quite like Frank Borzage. I never would have guessed Marlene Dietrich could be so funny. She is on record saying it's the one film she could never regret doing, and you can tell she's having so much fun playing the role. At times, it seems like she's a single breath away from laughing at the sheer humor of what's happening and having to reshoot. And Gary Cooper is perfect as the dummy in love with her. He really loosened up from his usual wooden façade (probably having already appeared alongside Dietrich before in "Morocco") and lets loose. Alan Mowbray, as the man Dietrich frames the robbery on, is really, really funny in his few scenes; I think it's the best performance of his that I've seen. This is a film I will cherish for a long, long time.

[ksrymy]

Living on Velvet (Frank Borzage, 1935) 5/10

A pilot and the woman who became his foundation for life relegate themselves to middle class normalcy, but when an influx of funds surfaces their relationship is put to the test. Under any other director, this would be a total dud, but Frank Borzage is the greatest of all romantic directors. He shows the tribulations and pleasures of love in a relationship's development with such graceful ease. Kay Francis and George Brent are great in poorly-written roles. The script's greatest benefit is playing on Kay Francis' speech impediment, but, aside from that little bit of meta brilliance, it's a fairly phoned-in script with cheesy lines and predictable plotlines.

Hands Across the Table (Mitchell Leisen, 1935) 7/10

A slacker and a manicurist, both looking to marry for money, fall in love with each other. This is actually a funny, clever little movie. A fun premise with Fred MacMurray and Carole Lombard (always a great duo) makes for a real saccharine treat. The script is the best asset - it's not quite Ben-Hecht-level stuff but it holds its own and doesn't have any damning flaws. Carole Lombard is always so gorgeous and charming and she plays on that persona here while transforming into the Regi character. Fred MacMurray, who is usually very hit or miss with me, is delightful here. Maybe better than both of them is Ralph Bellamy in support as Lombard's customer who helplessly falls in love with her. His character brings the real touches of heart and sadness into the film. But, to counteract that, the pranks Lombard and MacMurray play together are very laugh-out-loud funny. A well-polished film.

China Seas (Tay Garnett, 1935) 6/10

A sea captain battles with typhoons and pirates while choosing between a brash, bold ex-flame and a prim, aristocratic ex-flame. Clark Gable does standard dialed-in work here, but everyone else seems to be in tip-top shape. Rosalind Russell is great as Gable's proper ex-lady. She seem to be channeling a more serious Aline MacMahon from "One Way Passage," and it's a wise choice because it really works out well for her. Wallace Beery is great as a pirate on the inside doing some of his best ever work (in an incredibly impressive career). And this is the second time ever I've really liked Jean Harlow's work. She plays her character smartly and in a very reserved manner. It's basically her "Red Dust" role amplified and controlled better. The sound work on this is really crisp for an early film too. The film is still pretty cheesy and predictable but a fun watch - something TCM would play in the afternoon on a weekday.

The Last Days of Pompeii (Ernest B. Schoedsack, 1935) 3/10

A blacksmith becomes a gladiator in the days before the deadly explosion of Mount Vesuvius. Well this is a load of crap, but it has Merian C. Cooper behind it, so it's worth seeing for some post-"King Kong" action sequences. The problem is that it takes 90 minutes to get anywhere. The storyline is bloated and basically tripe. The performances are terrible and nobody seems to care. But then the last twelve minutes come and the visual effects are stunning. If you want to sit through this, just watch the last fifteen minutes and you'll be good.

She (Lansing C. Holden & Irving Pichel, 1935 7/10

A man whose father's father's father's (...) discovered the fountain of youth goes on a quest to find it only to encounter She Who Must Be Obeyed, a woman who loved one of his ancestors to whom he bears a striking resemblance. The costumes and visuals pop as if they're in 3D. The set design is crazy, contorted, and harlequin in appearance but functional and beautiful nonetheless. The performances are merely okay - the script never calls for them to do anything truly dramatic or demanding. It's mostly a visual feast guiding by Merian C. Cooper. A good fantasy film I'd love to revisit soon.

The Phantom Light (Michael Powell, 1935) 3/10

Criminals pose as ghosts to scare away a new lighthouse keeper. This would've been better as a comedy. The only real thing it has going for it is Michael Powell's incredible eye for angles and framing and Gordon Harker's sheer blue-collar, backwoods feel. Other than those two things, it's not really too terribly great. I didn't actively dislike it though.

Force Majeure (Ruben Östlund, 2014) 7/10

A Swedish family is torn apart by a reactionary bit of cowardice during an avalanche. This film has a lot of potential, but it is never fully exploited. Lisa Loven Kongsli is great as the matriarch of the family unsure of where her marriage is going. She's the real center of the film even though the cowardly father is the main character. Many people ask which spouse you side with; I side with neither. I think they're both idiots, but I think that may also be the point Ruben Östlund is getting at. The avalanche itself is one of the scenes of the year - beautifully shot and very tense. The satire on masculinity is seething and great in this though. It just needed to be about 30 minutes shorter.

A Midsummer Night's Dream (Max Reinhardt & William Dieterle) 6/10

Shakespeare's classic tale of a king's love magic going awry on mortals. This is better than most Shakespeare adaptations. It's not incredibly stagey and this allows the camera to explore the forests. The acting is pretty subpar, and this is not including Mickey Rooney's Puck which may be the absolute worst performance in any Shakespeare movie (or play, for that matter) ever. Rooney obviously has zero idea how Puck should be played - the performances in Christopher Dunne's 1999 infamous "Titus Andronicus" were better.

With all that though, the film has to be the most visually impressive feature from this period that I've seen. The costumes, sprites, and flying are all so seamless and sharp. Incredible.

A Tale of Two Cities (Jack Conway, 1935) 7/10

Charles Dickens' classic tale of a Frenchman and an Englishman in love with the same woman during the French Revolution. The acting here is pretty great. Ronald Colman, Basil Rathbone, and Lucille La Verne are all great, but the best work goes to Blanche Yurka as the sinister Madame Defarge. She's despicable and uses her silent-filmed-trained expressions to deliver her lines with great unnerve. The film is glamorous and grand. It's sets and costumes are stunning. Not the best adaptation of Dickens but a good one altogether.

David Copperfield (George Cukor, 1935) 7/10

Charles Dickens' classic tale of a young boy's fight for happiness. With vibrant costumes and great acting, "David Copperfield" succeeds in many senses. While Dickens is very hard to adapt to the screen, this effort is one of the best. Maybe the best aside from David Lean's "Great Expectations." W. C. Fields as Micawber and Edna May Oliver as Aunt Betsey are marvelous. Roland Young does great work as the vile Uriah Heep too. An all-star cast. If only Freddie Bartholomew weren't so annoying...

Love (Edmund Goulding, 1927) 6/10

Leo Tolstoy's classic story of a privileged doctor's wife who falls in love with a Russian officer. "Anna Karenina" is one of the best books ever, so, naturally, it is basically impossible to translate to the screen. But with faces like Garbo and Gilbert, you can succeed in your own right. Both actors do a fine job in their roles (Garbo more than Gilbert). Maybe most impressive are Adrian's costume designs as it really feels authentic and they look great on Garbo. Nothing incredibly spectacular though.

Anna Karenina (Clarence Brown, 1935) 6/10

Leo Tolstoy's classic story of a privileged doctor's wife who falls for a Russian officer. Again, "Anna Karenina" is hard to bring to the screen, but if anyone could play her, it'd be Greta Garbo. This version may be marginally better or worse than Garbo's previous "Karenina" film "Love" from 1927 - it depends on what I'm feeling that day. Fredric March is great as Count Vronsky - much better than John Gilbert. Freddie Bartholomew is a little prick and the fewer films I see with him, the happier I'll be. Clarence Brown is a very milquetoast director; he plays everything safe and focuses only on the script at hand, but he always made Garbo look even better. Great costumes, great sets. Typical period piece.

Becky Sharp (Rouben Mamoulian 2/10

Two English girls navigate the social systems of England during the Napoleonic Wars. Holy crap, this movie is awful. Miriam Hopkins, a very good actress (but certainly not here), deserves a better film and performance for her Oscar nomination. The whole movie is loud. And not in a "we have new sound technology! Look at what we can do" loud; more of a "blubber as loud as you can because another actor might be getting more attention than you" loud. Hopkins is incredibly shrill throughout. I was extremely tempted to turn this off, but I don't stop watching a film once I start it.

Tripe with good costumes and good early color work (the first three-strip Technicolor bit is all this film has going for it). I expected so much more from Rouben Mamoulian, a director I've grown to appreciate.

The Raven (Louis Friedlander, 1935) 6/10

A mad doctor turns a fugitive into a deformed monster to exact revenge on a couple promising him a beautiful new face if he goes through with it. Karloff/Lugosi pictures are always good fun, and this is no exception. While the film basically elbows you in the side and says, "DO YOU GET THIS POE REFERENCE?! AREN'T I CLEVER?!" the whole time through, it's still fun to see the homages to the master of horror. The acting is understandably cheesy, and Lugosi reciting an excerpt from the title poem is worth seeing alone for its awfulness. A good popcorn flick but nothing more.

Calm Yourself (George B. Seitz, 1935) 5/10

An advertising exec starts his own company to do the tasks no one else wants to. The film could have used the advice the title suggests, but it's still sweet matinee filler. Robert Young is funny in the lead role, but even better is his secretary played by Madge Evans. It's a role that reminds me a lot of Rosalind Russell's in "His Girl Friday" only with a little less depth and a slower script. She shines above everyone in the film. The film does get a little messy when it tries too hard to end and start several subplots, but, again, it's nice matinee filler.

The Murder Man (Tim Whelan, 1935) 6/10

A star reporter with a penchant for murder cases always stays one step ahead of the cops when a man is shot from a shooting gallery across the street. This is my favorite kind of Spencer Tracy - toned down. When he isn't yelling the whole time like in most his other films, he's really quite affecting. Dialed-back Tracy mixed with a twisty, turny script and James Stewart's screen debut make this a more than interesting film in an era filled with thoughtless whodunit films. One of Tracy's best performances.

"G" Men (William Keighley, 1935) 6/10

A lawyer put through school by a gangster refuses to get involved with the mob and, instead, works with the FBI. American propaganda at its most fun. James Cagney, in an off-kilter role, does his usual shtick with a smile instead of a scowl. Edward Armstrong is good in support, but the air gets sucked out of the room every time Ann Dvorak comes on screen. Her smoldering sexuality seeps into every crevasse on set as she gets all the best lines and the best character - and she knows she got the best part too. Other than that, the sound quality is top notch here.

Captain Blood (Michael Curtiz, 1935) 9/10

A man sold into white slavery becomes a pirate king and woos the woman who bought him. Of all the early films I've seen, this one has to be the most fun. Two hours of non-stop laughs and action in the best way. Errol Flynn and Olivia de Havilland, the overnight stars of the film, have great chemistry together - Flynn's charm is unbelievable. But even better than them is Basil Rathbone as Flynn's confidante and second-in-command. In here and "Anna Karenina" the same year, Rathbone owned the film whenever he was on set. And, technically, this film is a wonder: near perfect sound quality, eye-catching costumes and sets, beautiful cinematography. It's one of the best adventure films I've seen.

Roberta (William A. Seiter, 1935) 4/10

A singer, a musician, a football player, and the niece of a gown shop owner all come together to help one another out while the ownership of the gown shop is played for. This should have been much, much better. Not necessarily with the Astaire/Rogers duo in lead (they were perfectly fine in their roles), but Randolph Scott is a snooze in this, and Irene Dunne can do much better. The musical numbers are nice, for what it's worth, though seeing Dunne in closeup for five minutes singing "Smoke Gets in Your Eyes" in operatic style makes me want to die a little from boredom.

The Dark Angel (Sidney Franklin, 1935) 3/10

A woman marries her childhood sweetheart who is ushered off to war and put in extremely dangerous situations by his superior who is bitter about his unrequited love for the woman. Melodramatic trash. Merle Oberon is one of the stiffest, most agonizing to watch actresses ever. She's gorgeous, but that's all she has going for her. Her Oscar nod was a waste here. Fredric March and Herbert Marshall barely keep this sinking raft afloat.

Alice Adams (George Stevens, 1935) 8/10

A shy, naïve girl is reluctantly thrust into the upper crust of society thanks to her obsessive mother and a boy who loves her. I like this more than the first time I saw it years ago. Fred MacMurray is dull as dishwater here even though he looks right for the part. His performance is very phoned-in. However, there are two standouts. One is obviously Katharine Hepburn in her first truly great performance. Seeing a woman noted for such strong, independent roles play meek and frail so flawlessly is an awe to behold. She plays Alice meekness with such conviction you'd be convinced she was like this in reality had you not seen any of her other work. The second standout is Fred Stone whom I am surprised to see so few people citing. He's a marvel as Hepburn's father never succumbing to dialogue that begs him to overact. His scene where he fights with his wife is great, but any of his number of scenes with Hepburn are highlights. The whole glue factory plot feels extremely out of place at times and really hurts the momentum the picture builds up, but, other than that, it's a fine film.

Selma (Ava DuVernay, 2014) 7/10

The story of everything leading up to and the execution of the Selma marches. I'm fairly happy with this one. Its major accomplishments are its not over-glorification of Dr. King and everyone else involved. The screenplay allows everyone to be a deeply complex character with several flaws. The cast is very impressive with David Oyelowo doing more impression of King than actual acting à la Jamie Foxx in "Ray" instead of Denzel Washington in "Malcolm X."

And the first two acts are very strong. There's lots of intimate and intense dialogue between several characters you'd never expect the film to touch on. There's a small scene between Coretta Scott King and Malcolm X that could have been a throwaway scene in any other picture, but it really allows us to experience Scott's frustrations with her husband's infidelity and illuminates us on X's views. The film's soundtrack also helps usher everything along - it's a very well-curated group of songs.

And Bradford Young, at 37, did an incredible job shooting the film.

But then there are some major problems with the film.

Number one: the godawful use of slow motion. It seems self-parodistic or straight-to-the-Lifetime-channel. Its only function is to let you know that they slowed everything down to give you a couple extra seconds of cry time. Not to say the scenes they used slow motion in weren't upsetting - they just didn't need to have ribbons floating in the wind or faces falling to the ground.

Number two: holy crap, some of the acting is beyond dreadful. And I understand why this is - "Selma" tries to be "The Butler" in that it wants an all-star cast. No small names allowed. The thing is that the smaller-named people are more successful here (Stephan James as John Lewis and Andre Holland as Andrew Young were the standouts among the cast) than the larger names in the cast. Martin Sheen and Cuba Gooding, Jr. are completely shoehorned into their courtroom scene and it may be the film's biggest distractor. Even worse is Oprah Winfrey. If you thought she was bad in "The Butler" (and she was), she's even worse here. Plainly, she cannot act, at least not anymore. Every single one of her scenes is over-the-top with overthought and overwrought facial expressions. Had someone else taken the role, Annie Lee Cooper would have been much easier to sympathize with; I mainly found myself rolling my eyes every time she came on screen.

Number three: There is no third act. The film starts to get really messy in the last forty minutes or so. The biggest problem I had is that the film was doing a very good job of avoiding conventional biopic tropes, but it ends like every show on The CW or every episode of "Scandal:" dramatic music plays over dramatic looks, but this time it tells us what everyone did after the marches. The screenplay falls into the classic beginning writer's fault: show instead of tell. Instead of saying LBJ signed the Voting Rights Act with King by his side, why not show it. It could have been a really great scene even if it were small.

With that, though, the film held up very well.

The Whole Town's Talking (John Ford, 1935) 8/10

A mild-mannered ad agent is mistaken for a brutal gangster and is given a piece of paper with which to identify himself as an innocent man; the gangster gets wind of this and tries to obtain the paper for himself. Without a doubt, this is Edward G. Robinson's finest hour. His dual performance is one of the best and one strangely overlooked. He becomes each character without doing too many tics and habits to identify each man. Robinson was a very funny actor, I'm coming to realize, who never really got the potential to shine in comedic roles. Jean Arthur is also good as a snazzy, snappy coworker who expounds on Robinson's image. This is one of John Ford's finest achievements that has been left behind in favor of his, albeit powerful and awesome, Westerns.

The Devil Is a Woman (Josef von Sternberg, 1935) 5/10

A beautiful woman flip-flops between two very different men during Carnival in Spain. One of the lesser (maybe the least) Dietrich/von Sternberg collaborations, but it still has its merits. It has some really beautiful and intricate costumes (the hats! the hats! the hats!) and its cinematography is stunning. Dietrich is very miscast for what it's worth which is really odd since she works so well with von Sternberg. It's a very uneven, unbalanced performance where Dietrich seems to be playing the caricature. The screenplay is super predictable, though I'm not sure it's trying to be anything revelatory. A nice enough effort with potential to boot.

Peter Ibbetson (Henry Hathaway, 1935) 8/10

A man who wrongfully goes to prison communicates with his childhood sweetheart turned future lover through dreams. At times, it's very self-serious and borders on cheese, but this film is really something quite beautiful. It's the earliest Gary Cooper performance where he seems light-on-his-feet and not stiff as a board. He gains some elegance and bravado to keep Peter believable and interesting. Ann Harding is great opposite him; they had some great chemistry together. The real star here is Charles Lang's cinematography which is some of the best I've seen in a black-and-white film. It's stunning. I'd put it just above his work in "A Farewell to Arms." The score is gorgeous as well. A real treat.

Mark of the Vampire (Tod Browning, 1935) 3/10

An expert is sent in to make sure a man (who may be a vampire)'s daughter doesn't turn into a vampire. Even at a short 60 minutes, the film feels overlong and never really keeps interest throughout. Tod Browning always did well with eerie (and he does a fine job of it here), but the story seems to have lost all coherence and matter. It makes you wish even more that "London After Midnight" never got lost.

Annie Oakley (George Stevens, 1935) 6/10

The famous sharpshooter falls in love with her sideshow rival. While not actually exploring the woman at hand, the film opts instead for a typical Hollywood love story. She's obviously better than him and he knows it. Will she forsake her pride for his?! Nothing special. Barbara Stanwyck does a great job with what she is provided, and Preston Foster does a good job at being handsome. Fluff but fun fluff.

Inherent Vice (Paul Thomas Anderson, 2014) 9/10

A stoner P.I. investigates the the disappearance of an ex-girlfriend. Oh, man, this is going to be incredibly divisive. Those upset with the film's disjointedness A) don't understand how Thomas Pynchon works, and B) seem to praise "The Big Sleep" for the same thing. And it really is reminiscent of a stonery "Big Sleep:" A great detective flick with very little plot (or a lot of plot, depending on how you think). I think "Maps to the Stars" is the disjointed disappointment by an acclaimed director from 2014; "Inherent Vice" is smart. The film meanders in and out, obviously, as a stoner's mind works. There are hysterical moments of lucidity and hysterical moments of the absurd.

The performances are really excellent. Joaquin Phoenix is in great form as Doc Sportello. It's not a flashy role; he's expected to play Doc with quiet conviction and subtle humor. It's a very accurate portrayal of a stoner which is one of his best moves. He could have easily played Doc as a stumbling, bumbling idiot as in most films, but, as I said, the realism in his performance is a huge asset. Josh Brolin does a great job as a too-serious cop and Katherine Waterston delivers a great voice-over performance and her on-screen bits are lovely too. Some of the characters feel out of place though due to the casting. Every small role is played by a notable person, and this is fairly distracting at times especially with Owen Wilson.

Jonny Greenwood's score is one of the very best of the year too.

This future misunderstood masterpiece is on its way to becoming a cult classic, I'm thinking.

Steamboat Round the Bend (John Ford, 1935) 8/10

A riverboat captain, while racing a rival upstream, tries to find to a man whose testimony will exonerate his murdering nephew. John Ford is great directing another funny film which nearly evolves into a full slapstick feature by the end. Will Rogers is a riot in a posthumously-released performance. The film starts off a little clunky but finds its step somewhere in act two and becomes what I believe to be a silent film with words. There's a load and a half of physical comedy happening. A really fun film.

A Most Violent Year (J. C. Chandor, 2014) 9/10

An immigrant facing several lawsuits for tax evasion and sketchy business dealings deals with the rampant violence in the winter of 1981 New York. It's hard to think of a filmmaker whose first three films have been as diverse and successful as J. C. Chandor. This is easily his best yet, channeling Sidney Lumet and Arthur Penn. Oscar Isaac, whose performance starts a little off-kilter and too-channeling Al Pacino, slowly drives his way to one of the best turns of the year as Abel Morales. It's an intense, glaring look at a smaller-scale American crime empire. Chandor's biggest success is in not aiming for Morales to be a Corleone or a Soprano. He lets Morales develop naturally with bravado, gusto, and a tinge of paranoia. Jessica Chastain does a fine job as Morales' independent wife. It's definitely the most subtle work she's done and her one or two big scenes are quite captivating. It definitely goes to show the bigger freedom women of the '80s were gaining. The supporting cast is great including Albert Brooks and David Oyelowo. The cinematography, score, and credits song are marvelous.

The Imitation Game (Morten Tyldum, 2014) 7/10

The story of Alan Turing and his team's efforts to crack the Nazi code. Just slightly better than your standard, late-year biopic, "The Imitation Game" is ballasted mainly by Benedict Cumberbatch's great performance. Everything from his hulking, lumbering, almost juggernaut-ish walk to his nervous stutter breathes Turing, and this is all thanks to Cumberbatch. It's a very, very swell performance. That's not to say the film does a really great job of portraying him though. I think the film handles the homosexuality perfectly. A fair amount of people wanted it to be the forefront of the story, but the film is balanced very well. The film does get a little "the enigma isn't the code... IT'S THE MAN!!!!!!!! (clever right?!?!)" at times, but that's Graham Moore's fault. Keira Knightley is fine in a role that could've been played by anybody. The bleak British set decoration worked in favor of this film, and it's something for which I usually don't care. Again, a better-than-average biopic that doesn't break any new ground.

Into the Woods (Rob Marshall, 2014) 6/10

To retain her youth, a witch demands four hard-to-get items in exchange for giving a barren couple a child. The biggest problem with the film isn't the movie itself - it's the music. I am writing this after seeing the film ten hours ago, and I cannot recall a single song. And because of this, the film is a bit of a drag. Most modern movie adaptations have the composer add a new song or something, but this is beyond dull. However, the cast is fairly good. James Corden does his usual shtick though less buffoonish, Emily Blunt looks pretty and sings well, Anna Kendrick is gorgeous and sings well, and Chris Pine looks super handsome. Honestly, and I never thought I'd say this, but Meryl Streep was easily the best part of the film. It's the first interesting work she's done in years. It's not worthy of the nomination that it'll receive, but she was fun to watch at least. The costumes and makeup and hairstyling and other aesthetics were pleasant, but, overall, the film's a bore.

Big Eyes (Tim Burton, 2014) 5/10

The story of painter Margaret Keane and her husband who took all the credit for her works. What a mess of a film. A watchable mess but a mess nonetheless. My friend Dan Gaertner put it perfectly in saying that Christoph Waltz is acting in one film and Amy Adams in another with Tim Burton nowhere to be found. The film is very aesthetically pleasing though, and Lana Del Rey's title song isn't as dreadful as her typical music. I feel like there could be a really good movie underneath all the gunk here if they were to recast Waltz with (almost) anyone else.

Cake (Daniel Barnz, 2014) 5/10

A woman suffering from chronic pain tries to find out as much as she can about a woman in her support group who killed herself. As mediocre a film as one can get. Jennifer Aniston is surprisingly alright. Deserving of all the hype? Probably not quite so but it's definitely something interesting to behold. Adriana Barraza is the best part of the film (except for Anna Kendrick who is the most beautiful person on earth). The film is basically "Rabbit Hole" for those who don't want to brutal realism of "Rabbit Hole." It may just be the most mediocre film I've ever seen.

Pride (Matthew Warchus, 2014) 5/10

A group of gay and lesbian Brits elect to aid striking coalminers in 1980s Wales. This film would have been universally-acclaimed and won every award in sight back in the '90s. The film's problem is that it's just so sickeningly saccharine. It ignores most any problem that could (and probably did) come up. The film's cast is alright with Imelda Staunton and Andrew Scott giving the only noteworthy turns. The real star is the soundtrack which is well-curated and always appropriate. Otherwise, this is a bland film that I only watched because the HFPA deemed it wonderful.

Goodbye to Language 3D (Jean-Luc Godard, 2014) 2/10

To quote my friend Dan Gaertner: "Would anyone care about "Goodbye to Language" if it weren't directed by Jean-Luc Godard? The emperor has no clothes on and this film is wretched."

[Greg]

I watched on Logorama YouTube. Logorama is a 16 minute short that won the Best Animated Short Oscar in 2009. All its characters, as well as almost everything in it , are corporate logos. Ronald McDonald is the villain. While I appreciated the cleverness with the logos, as well as the animation in general, I have a problem with its script. That is mostly because it strikes me that Logorama lacks a real story, even for a 16-minute film; and, it really has no story arc at all. A better script could have turned the idea and animation into something truly great.

7/10

[Precious Doll]

Sin City: A Dame to Kill For (2014) Robert Rodriquez & Frank Miller 4/10
Still Alice (2014) Richard Glatzer & Wash Westmorcland 7/10
The Theory of Everything (2014) James Marsh 3/10
May in the Summer (2013) Cherien Dabis 6/10
Foxcatcher (2014) Bennett Miller 6/10

Repeat viewings

The Four Adventures of Reinette and Mirabelle (1987) Eric Rohmer 8/10
The Skin (1981) Liliana Cavani 6/10
A Good Marriage (1982) Eric Rohmer 9/10
Perceval (1978) Eric Rohmer 9/10
Halloween (1978) John Carpenter 6/10
Paradise: Love (2012) Ulrich Seidl 9/10
Paradise: Faith (2012) Ulrich Seidl 9/10

[Precious Doll]

Captain America: Winter Soldier (2014) Anthony & Joe Russo 1/10
The Boxtrolls (2014) Graham Annable & Anthony Stacchi 6/10
How to Train Your Dragon 2 (2014) Dean De Blois 4/10
Unbroken (2014) Angelina Jolie 4/10
Wild (2014) Jean-Marc Vallee 5/10
Middle of Nowhere (2012) Ava DuVernay 6/10
American Sniper (2014) Clint Eastwood 4/10

Repeat viewings

Valley of the Dolls (1967) Mark Robson 4/10
Will Success Spoil Rock Hunter? (1957) Frank Tashlin 6/10
Wetlands (2013) David Wnendt 8/10

[Precious Doll]

Dumb and Dumber 2 (2014) Bobby & Peter Farrelly 4/10
Birdman (2014) Alejandro Gonzalez Inarritu 7/10

Repeat viewings

Susan and God (1940) George Cukor 6/10
Beyond the Valley of the Dolls (1970) Russ Meyer 9/10
Policeman (2011) Nadav Lapid 8/10
The World Before Her (2012) Nisha Pahuja 7/10
Citizen Kane (11941) Orson Welles 10/10
The Magnificent Ambersons (1942) Orson Welles 10/10