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Evan C

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Everything posted by Evan C

  1. Favorite films of 2017

    My list is up: https://catholiccinephile.wordpress.com/2018/01/17/2017-top-ten/
  2. Favorite films of 2017

    Normally I'd post my list this week, but both Phantom Thread and The Post are opening this weekend, so I'm definitely waiting to see those, and I may wait until next week to see Call Me By Your Name as well.
  3. A better film about...

    If I interpreted the final scene of Thelma correctly, and I'm not 100% sure I did, Lady Macbeth is a better version of Thelma. Also, Frozen is a better version of Thelma.
  4. Huh. I emailed them twice and never heard back. If it's not too late, I'd still be happy to see it, if you have a connection.
  5. Thanks for doing all of this, Joel. Thelma opens in Bloomington on Friday, so I'll be turning my ballot in at the last minute, but I will not forget. Christian, I haven't seen Loveless, and sadly have no idea when I'll be able to, although it's one I'm very much looking forward to tracking down eventually. Same thing goes for The Breadwinner.
  6. The Greatest Showman is currently listed as seconded, even though no one seconded it as of this post. However, the themes Ken mentioned make it worthwhile considering for this list, and it's a pretty good musical too. So second. I'd also like to make a last minute push for My Happy Family, which is the sort of intimate family drama about how we interact with one another that's very appropriate for this list, and it deserves a lot more attention as well, and it's streaming on Netflix right now.
  7. For some reason, I thought The Work had been nominated and seconded. Anyway, second. It's also streaming on Amazon for $0.99, and it is worth spending that on.
  8. The Shape of Water

    A very fine review, yourself, Andrew. Since del Toro placed those two Biblical stories so prominently in the film, I thought I should discuss them in my review.
  9. The Shape of Water

    I found this to be quite powerful and moving. https://catholiccinephile.wordpress.com/2017/12/23/the-shape-of-water/
  10. I'll second Coco, although I'm not as wild about it as others are. I nominate My Happy Family, Bilge Elbiri's #1 film of the year, a Georgian drama somewhat in the style of Farhadi about the dynamics of a supertight family when one member decides she wants to move out. The exploration of the family dynamic is quite powerful, along with the generational and gender expectations. It's streaming on Netflix now; as a warning, Netflix defaults to playing it dubbed in English, and the dub is pretty terrible, so make sure to switch it over to Georgian dialogue with English subtitles.
  11. A better film about...

    For films about examining traditional notions of heroism and suggesting there is victory in loss and retreat, Dunkirk is a better version of The Last Jedi.
  12. I nominate The Shape of Water and The Transfiguration. The first is another beautiful del Toro fairy tale about giving a voice to the voiceless with a few Biblical references tossed in; the second is a low-key vampire coming of age tale set in Manhattan that uses the inherent isolated, predatory nature of vampirism as a force compounding the isolation the young black protagonist already feels since he doesn't want to join the local gang but doesn't trust his teachers or the police either.
  13. The list has finally arisen from its long slumber, and here it is: Ikiru (Kurosawa, 1952) Rob Z Something, Anything (Harrill, 2014) Overstreet The Double Life of Veronique (Kieslowski, 1991) Evan C Spirited Away (Miyazaki, 2001) Darryl A. Armstrong Red Beard (Kurosawa, 1965) Andrew The Assassin (Hou, 2015) NBooth The Trial (Welles, 1962) magadizer The Secret of Kells (Moore and Twomey, 2009) Darryl A. Armstrong Wings of Desire (Wenders, 1987) Overstreet The Insider (Mann, 1999) M. Leary Joe Versus the Volcano (Shanley, 1990) J.A.A. Purves Arrival (Villeneuve, 2016) Joel Mayward Marty (Delbert Mann, 1955) Mr. Arkadin Malcolm X (Lee, 1992) EdB99 Cleo from 5 to 7 (Varda, 1962) M. Leary Picnic at Hanging Rock (Weir, 1975) M. Leary This Is Martin Bonner (Hartigan, 2013) SDG The Truman Show (Weir, 1998) Rushmore The New World (Malick, 2005) Brian D Fearless (Weir, 1993) John Drew Punch-Drunk Love (Anderson, 2002) John Drew Close Encounters of the Third Kind (Spielberg, 1977) Anders Pan's Labyrinth (Del Toro, 2006) Evan C Knight of Cups (Malick, 2015) Anders The Tree of Life (Malick, 2011) Joel Mayward Please keep the results to yourselves until the Image webpage is up. Greg has promised he will get on that once we've submitted all the write-ups. For requesting write-ups, priority will be given first to the nominator, then to the seconder, then to whomever asks for it first. If two people really want the same film, please discuss it among yourselves and see if one of you would be willing to take another film. A film is not assigned until it has been crossed out and the assigned A&F member's name written next to it. For submitting the write-ups either email me or use messenger here. Remember, write-ups are short, one paragraph, about 120-150 words. If you volunteer for a write-up, aim to have it completed in three weeks. Also, was it a 2 or 3 film limit per director? If 2, the next two films are Groundhog Day and Tender Mercies.
  14. Oscars 2018: Best Picture

    Huh. The Post was shut out completely. Was it not screened in time, or did the SAG not care for it? Of these five, I haven't seen Mudbound yet, but I would guess the race is between Lady Bird and Get Out for the Oscar.
  15. Re: The Boss Baby - it's a delightfully inventive take on sibling rivalry with some really impressive animation to match the originality of the story told from the pov of a 7 year old, and it features some of the best one liners of the year. So, second.
  16. Second Darkest Hour. And Ken, I will be watching The Boss Baby this week.
  17. The list is up! Thank you everyone for you contributions. https://imagejournal.org/top-25-films-on-waking-up/
  18. Three Billboards outside Ebbing, Missouri

    Yes, she definitely said ex-cop, which was used to explain his rage over the billboards. As regards Dixon, I'd say he takes a baby step toward being marginally less terrible a person, but he would still have a hell of a way to go before I would say the film offers him redemption, which if it did, I think would be problematic.
  19. I thought this deserved its own thread. Three Billboards is the first McDonagh film I would say is not a comedy. It's punctuated with a number of darkly comic moments, but the overall arc of the narrative is that of a tragedy. Scott Renshaw's review nails precisely what makes this movie so great.
  20. Three Billboards outside Ebbing, Missouri

    I thought Scott meant that the Ebbing police haven't done anything wrong as relates to investigating Angela's murder, which is why he wrote, "at least in this case," and as Peter mentioned there's the first scene where Willoughby visits Mildred and details all the steps they took to find the killer. MORE SPOILERS I absolutely agree; I don't think there are any clean hands in the film (maybe Lucas Hedges as Robbie and Caleb Landry Jones as Red excepted). As I said to Ken in the Ecumenical Jury thread, it's possible John Hawkes' line is too on the nose, but "all this anger only begets greater anger" is an indictment of the whole town, and I think McDonagh's point is that if you let your anger, however righteous, boil into rage you're not that different than Rockwell's Dixon, which is why Mildred teams up with him at the end. She didn't care that much about police brutality against blacks; it was a convenient club to beat up the police department over not catching her daughter's killer. When working with someone such as Dixon becomes the easiest way to fuel her anger, she's happy to partner with him. Also, I think I'm in a minority here, from reading your review, Andrew, and other reviews, but I didn't think Dixon got a redemption at all. He shows he can occasionally do the right thing when the occasion presents itself, but that hardly absolves him from being a violent, racist jerk. Yes, the scene in the hospital was a hugely undeserved mercy, but that says more about Red than it does about Dixon. And considering his final decision is to become a vigilante and go murder someone, I just don't see that as a redemption of his character; he's just found a new source toward which he can direct his anger and violence.
  21. Three Billboards outside Ebbing, Missouri

    Good point about the previous scene and her demand for civil rights violations. We certainly don't know at that point how far her anger is going to take her, but the more I think about those scenes, they definitely seem to be the beginning of her not being a righteous heroine fighting for justice, which is how she's introduced. Sorry to hear that; I hope there aren't too many more films in that vein. On an unrelated note, this is at least the second film of McDonagh's which has explicitly referenced Don't Look Now. When Collin Farrell wanders onto the film set in In Bruges, someone mentions Roeg's film set in Venice. And in this Sam Rockwell's mother says she's watching the Donald Sutherland film where his daughter dies. Now I'm curious if McDonagh has referenced it any other of his films.
  22. We're down to 2. I'm hoping to be able to send the blurbs to Greg by Monday.
  23. I started a Three Billboards thread, and I think Scott Renshaw says it eloquently and succinctly, which is why I quoted his review over there. Yes, it is the sort of speech that gets audiences nodding along, especially as we haven't yet seen how far Mildred's anger is going to take her and at that point we only know her as a victim protesting gross injustices, but through the course of the film McDonagh implicates the audience and condemns our anger when it leads us to make similar sweeping condemnations. John Hawkes' line is on the nose, but not overly so. "All this anger only begets greater anger" is what the film is about, and Mildred's swipe at the priest is one of the earliest examples of that anger. As to the priest not getting a quasi-redemption even the way Sam Rockwell's Dixon did, Mildred makes it clear that religion has no part in her life (whether that's because of Angela's death, earlier hardships, or something else is unclear) and since the main opposing forces are her and the police department, it didn't bother me that small supporting character of the priest, whom Mildred has no time of day for, didn't reappear later in the story. I started writing a review, and I realized I was making this sound like another Crash - everyone's more complicated than they appear, even racists - and I think the film is much more nuanced and complex than that, so I abandoned that review to think over the film some more. But I will say: while it's quite plausible McDonagh wants the audience to agree with Mildred's remarks to the priest, then I think that's because he wants to turn the tables on them. As McDonagh is Irish, I was wondering if that broad condemnation was his initial reaction to the sex-abuse scandal and if he was using that speech to condemn his own propensity for anger as well.
  24. Heartily second Three Billboards. As to the scene with the priest, it's a legitimate expression of very justifiable anger that runs out of control, and I don't think we're meant to agree with Mildred's sweeping condemnation any more than we're meant to agree with the other acts she does as her anger escalates.
  25. I'm seeing it in twenty minutes so we'll find out soon, but I'll say, this is my second most anticipated film of the year end, behind Lady Bird, and considering how much I like In Bruges and even Seven Psychopaths, I have fairly high hopes for this.