[What Did Jaci Think? Early February]

Chinese film dominated the first half of the month for me, with genres from romance to screwball comedy to cop stories and a large-scale space story.

First up from Pang Ho-cheung, the writer-director behind the Love in a Puff series, was Missbehavior, a film that follows a group of once-close friends come together over the course of one afternoon to help a member in a crisis: she needs to replace her boss’s bottle of breast milk. It’s pretty dumb, but it features a well-known and enjoyable cast, and it has an earnest sequence that very nearly steps right out of the movie to make a case for marriage equality.

One weird question: the incessant use of the word “bitch” was very off-putting (in fact, I almost walked out because of it) and I’m curious what the original word was and if it is as harsh & misogynistic. If anyone knows, please tell me!

Integrity was a fine & forgettable cop thriller, and I was literally the only person in the theater. I managed to keep my phone in my bag for the entire movie, though, so fyi it can be done even if no one would be bothered.

The next morning, though, the same house was virtually sold out for The Wandering Earth, which is doing killer business in the States and will apparently be coming to Netflix. Finally people will be able to see that I did not invent wholesale a movie where the sun is expanding so folks deal with it by attaching ten thousand engines to Earth, moving into underground cities, and blasting the planet slowly out of the solar system in search of some unknown other place to live until! Horror! Things Happen which mean they almost crash into Jupiter. This is fine. Is it good? It’s okay.

I am a sucker for a non-US genre picture, especially one with Big Ideas, and this one takes a nutball premise and treats it Very Seriously. There are touching family moments and Lunar New Year celebrations despite there no longer being a moon, but there is also some very cool production design, from now-frozen Shanghai to small details of how everyday machinery has evolved. A headline I saw when I was doing a quick runtime Google called it gorgeous & goofy, and honestly I could have done with a little more goofy. It was gorgeous, though.

In the snowpocalypse gap I took myself down to the Film Center for the restorations of Police Story & Police Story 2. I’d somehow never seen either one, and it was a blast to catch them with a dedicated audience. They’re great fun both for the genius of Jackie Chan, of course, but also for the introduction of my girl Maggie Cheung as his character’s long-suffering girlfriend.

My Valentine’s Day viewing was Fall in Love at First Kiss, a young adult romance that didn’t work on me, though part of the issue was the lack of translation of on-screen text, an ongoing problem I’ve been encountering with Chinese films. Our heroine (Lin Yun, title star of Stephen Chow’s The Mermaid, a hoot of a film about environmentalism, no, really) winds up kissing the smartest guy in school on the first day of term and then basically imprints on him, engaging in a bunch of stalking behavior despite the fact that he’s flat-out cruel to her in response.

It almost works because she’s cute as a button (and his mom is for the match), but I did find myself hoping she’d wind up with the guy crushing on her instead. He was a wannabe bad boy who cooks! I’m sold. The film tries to retcon her crush’s bad behavior at the end with flashbacks from his perspective, but since so much of the sequence is dependent on untranslated onscreen text (social media captions & a lengthy letter) it left me completely lost. Ah well. But while you’re here, I can tell you one of my favorite recent Chinese romcoms is still on Netflix: This Is Not What I Expected, starring faves Takeshi Kaneshiro & Zhou Dongyu (I handwaved the age gap & you can too!)

The first feature from writer-director Marcelo Martinessi, The Heiresses is the story of an older lesbian couple who have financial difficulties which result in one going to prison. The other, Chela, is forced out into the world as she navigates life alone, falling into work as a private taxi driver for elderly women and through them meeting a younger, freer woman.

Some of the most effective scenes involve the sale of the couple’s assets, Chela peering through curtains and around doors at what remains of her life as people pick up, chat over, and put down an inheritance and a lifetime of trinkets, dishes, and linens. It’d be an interesting companion film to Outside In; Ana Brun as Chela was terrific & subtle, and reminded me a lot of Edie Falco in that film, opening up as a young person expanded the boundaries of her life.

Capernaum is a heartbreaking but ultimately a little hopeful story, one of those movies where I spent the whole film worrying about terrible things that didn’t happen. (To be clear, terrible things do happen, just… never underestimate the sheer number of terrible things my brain can come up with in any given situation.)

It’s told in flashback, as 12 year old Zain (Zain Al Rafeea) is in front of a judge for committing an assault. His parents are in court, and through the flashbacks we see the wide void between the faces they present in court and the way they treat their children when no one else is watching. It handles a lot of hard subjects, including child abuse and neglect, child marriage, extreme poverty, and exploitation of undocumented immigrants, but it does so in a clear-eyed, organic way. I can see why people called it depressing, but it ends on such a gut punch of an up-note that I can’t reduce it that way. Incredibly sad, but still hopeful. I’m glad I saw it.

Finally, we’ve been all over this on Twitter, but you’ve all watched Russian Doll (#whatweowetoeachother) & the new season of One Day at a Time, right? Good. Because I promise they will both make your life better.

[What Did Jaci Think? Late January]

Ben Is Back, while another unnecessary sad-white-boy-drug-addict movie, worked much better than Beautiful Boy by improving on (or at least acknowledging) many of the issues I had with that story. Rather than trying to encompass the whole complicated arc of an addiction narrative, writer-director Peter Hedges focuses on two (fraught) days – Christmas and Christmas Eve – in the life of a family with a teen son (Lucas Hedges) in recovery with an opioid addiction.

It does not waste the women of the story (a low bar Beautiful Boy did not clear), and much of the conflict of the story is between …ah, I just got this. Between Holly & Ivy (Julia Roberts & Kathryn Newton), the mother wanting to believe her son and the sister wanting to protect the rest of the family. A few other points I appreciated: it acknowledges the financial privilege of the family in their ability to afford treatment, they say explicitly that if Ben were a black teen he would be in prison, it is clear about the role the pharmaceutical industry plays in addiction, and it doesn’t give us a sunny Christmas morning ending.

While I had low expectations for Mary Queen of Scots, and thus liked it better than I expected, it has not stuck with me across time except as a tragedy of men always getting in the goddamn way. Saoirse Ronan is always worth watching, but the movie is a mess of motivations and consistently unclear about the passage of time. Somehow Mary is exactly the same age when she’s beheaded as she was when she returned to Scotland. Also, it wastes Gemma Chan.

Peter Jackson’s WWI documentary They Shall Not Grow Old moved into regular release this month, but when I caught it it was still a Fathom event and included an introduction by Jackson and a post-film making-of featurette. Among other things, he discussed other stories he found in the footage from the Imperial War Museum, and honestly, I’d love to see any and all of them.

I saw the documentary in 3D solely for scheduling reasons, and while I don’t think it’s necessary, it also wasn’t distracting (a relief to me, generally not a fan of 3D). The strength of the documentary is its other uses of technology – colorizing the film and adding sound, both period-correct environmental sounds and regionally-correct voices – to bring the past into the present. The use of lipreaders to determine the on-screen speech to be delivered by actors, plus voices of veterans interviewed years later, minus any use talking heads means that we’re getting this story of the war from men who lived it, not analyzed or at a distance. It’s very effective.

I went to Ralph Breaks the Internet on a bit of a slow A-List week whim, but I enjoyed it a lot, more than the original. It is just as relentlessly branded, but in the way my actual life is, I guess, depressing but true. It’s a smart movie about the challenges to a friendship when one person is ready to grow and the other is comfortable with how things are. It’s hard being both of those people, and Ralph does a lovely job of taking that motivating tension and paralleling it with computer viruses and bullying (both seeking out and exploiting insecurities!) Also the Disney princesses were great, and luckily for my wallet, Disney doesn’t believe fat girls deserve sassy princess sleepwear.

Mirai, an animated film about a small boy & his struggles with the changes in his family with the arrival of a baby sister, is a lovely series of vignettes of daily life with a splash of the magical: from time to time in the garden, he encounters various family members from across time. It is strongest in its Ghibli-level naturalism about the behavior of small children and the quirks of family life, but it lost me a bit at the end when it attempted to explain the encounters. I didn’t need that; I was happy to enjoy them as they were.

A small note: I particularly enjoyed the use of transitions without cuts. Here, the open terrace design of the home (the father is an architect) allows pans up from floor to floor as a way to move across time, showing the rhythms of the day in a single shot. I see it more in live action: first in Lone Star and most recently in The Haunting of Hill House. It’s nice to see it being used for forward, positive motion!

This half of the month also included a handful of repeat viewings: The Favourite (still filthy & hilarious – laugh, people!), Shoplifters (still beautiful & heartbreaking), Can You Ever Forgive Me? (still too achingly close to home), The Muppet Movie (still pure joy), The Adventures of Prince Achmed (still delightful, especially with a live score), & Spider-man: Into the Spider-verse (still almost perfect – let’s pass that Bechdel Test next time!)

[What Did Jaci Think? Early January]

Welcome back! For 2019 we’ll attempt a regular posting schedule of two weeks out from the block in question, on the 1st & 15th. Let’s get to it!

On the Basis of Sex is an affectionate superhero origin story about the young Ruth Bader Ginsberg, covering her time in law school through her first historic case. It’s better than the pop documentary RBG, but still more simplistic than I would have liked. I do keep being tempted to see it again for supportive-partner!Armie Hammer alone. Look, sometimes what a girl needs is to watch a disconcertingly symmetrical man get it done in the kitchen. No shame.

Minding the Gap had been on my radar as “another skateboarding movie”, mentioned in concert often with Skate Kitchen & mid90s. While skateboarding is how the subjects of the documentary are connected, it’s more accurately a documentary about cycles of family violence and access to opportunity. The director, Bing Lui, is a subject himself, and his long-standing relationships with the other subjects gives us access to a privileged intimacy on difficult topics. (The skateboarding scenes are also pretty sweet, excellent work by Lui.)

It’d make a great (but intense) double feature with Hale County This Morning, This Evening. I was grateful for the opportunity to see this in the theater, because I know myself, and at home I would not give its pacing the attention it deserved. Hale County is a beautiful documentary about a black community in rural Alabama, lightly focused on two young men, and while wholly its own piece of art, it is also the sort of constellation-of-moments, impressionistic picture we rarely if ever see about black people. There is no narration, only the occasional name or intertitle, and it is on us to do the work of considering why two scenes have been placed together, or to find the story in a lengthy shot. That work is well worth it.

Becoming Astrid was fascinating, both specifically about the late childhood, early adulthood of author Astrid Lindgren, but also generally as a Swedish biopic. I found it difficult to imagine a similar film being made about an American children’s author. It introduces Lindgren to us as a clever teenager, taking a job at a newspaper where she is, frankly, groomed into a …let us say wildly inappropriate relationship with her older, married editor. Though the film is bookended by elderly Lindgren reading messages from children on her birthday, the bulk of the film is Lindgren’s struggle with this relationship, with the inevitable pregnancy, reclaiming her child, and single motherhood. Alba August is terrific as Lindgren, taking her from the charismatic energy of her teens through her growing independence and struggles as a single mother.

And then, then there was Replicas. Look. I went to see this because it stars Keanu Reeves and I have an A-List subscription. It’s a ridiculous movie and I have no regrets. But I have a good deal of confusion. Keanu is a father and a scientist, and when his family is killed in a car accident he…downloads their memories and clones them. YES. It’s absurd. It raises a lot of questions and doesn’t answer any of them. We would be here all day if I tried to list them all.

Plus, Replicas drops hints that it might turn into one of many different films, and then it does not (maybe a clone horror movie where his family turns on him? or there’s a scene that hints at a Flowers for Algernon situation?). There are also robots, and how it jumps from robots to human cloning is unclear. There’s a scene where cops stop by and they’re like “Oh, you’re the only person who was not a victim of this random crime? How lucky for you! Clearly this does not make you a suspect in any way! Have a nice day!” I could go on and on, but most importantly, the montage of Keanu crying and scrubbing the kitchen table is why cinema was invented. Thank you and goodnight.

Oh, but wait. Did I talk about Shirkers yet? It’s on Netflix, and you should definitely watch it. It’s a documentary about an indie film that the documentarian made in the early 90s as a teen in Singapore. I loved it for the throwback to early 90s indie film & zine culture, the mystery of what happened to the film, the peeks at the film itself and the making of it, and the terrific personalities of the three women who made it (I would like to be friends with all of them but I am definitely not cool enough.)

[2018 Film Wrap-Up]

Total: 280 (full list here)
Revival: 45
SIFF: 81
Avg cost: $2.58

Wrap-ups for previous years live under the year-end tag.

This year I wrote bimonthly posts of varying timeliness and hotness of take, and they live under the whatdidjacithink tag. I also managed a bit of SIFF coverage, available here. Finally, I wrote a handful of standalones, which are linked in this thread:

Or, you know, you can just scroll back.


Films of my heart: Annihilation, Eighth Grade, Black Panther, Dirty Computer, Shoplifters

Other faves: En El Septimo Dia, Support the Girls, Hereditary, The Favourite, Crazy Rich Asians, You Were Never Really There, If Beale Street Could Talk, Tully, Blindspotting, Leave No Trace

Continue reading “[2018 Film Wrap-Up]”

[What Did Jaci Think? Late December]

Ah, the end of the year, where we’re spoiled for film. First up, Shoplifters finally opened here, and I adored it. I’m a sucker for a chosen family narrative, and this one is beautifully done, slowly expanding your heart for most of the picture & then stomping on it for the last half hour. Sakura Andô killed me. In, you know, a good way.

Also building me up and breaking me down, the gorgeous & pure If Beale Street Could Talk, which I don’t feel equipped to talk about, but also we’re not talking about it enough & more of you need to see it. It will lift you up.

Everyone I have told this to has laughed at me, but I wish Aquaman had been goofier. Which is not to say it wasn’t goofy, because it definitely was. But I wish it had been the goofball situation the nuance-free dundundun-heavy score wanted it to be. I wish it had been 45 minutes shorter, that Patrick Wilson had leant into the campy gay villain that role was meant to be, and that it had cut out all of the Game of Thrones nonsense that had armies I cared nothing about battling it out at the end. Also, I have no confidence that Live Action Gaston is really the one we want turning around a culture where the punishment for not being into an arranged marriage is death, but I guess we should be relieved he’s surrounded himself with a few smart ladies. PS Nicole Kidman forever.

Green Book is infuriating, a feel-good racist film designed completely to maintain white supremacy. The fictionalized retelling of an employer-employee relationship, it repeatedly centers the white character, leaving Dr. Shirley as a supporting (and mysterious) character in a film about his own tour. It’s a film where white people constantly explain black culture (both as it is and as they imagine it to be) to other white people and, even more insultingly, to Dr. Shirley himself (and in this case, in a way that is intended to be humorous. It is not.)

It’s a film that purports to show the finding of common ground, whatever that means, between the races, but only shows a racist white man deigning to form a relationship with an exceptional black man. It in no way indicates a change in Tony’s attitudes in relation to any black person other than Dr. Shirley, nor a change in his actions – such as when he threw away glasses which had been used by black workers – for any reasons other than financial. It allows white people to condemn the past and be comfortable in the present. It is nonsense.

Green Book is particularly insulting as a release in the same year as BlacKkKlansman, a film that also focused on a working relationship between a black man and a white man, where the white character also was confronted with the fragility of his relationship to whiteness, but where the violence was not left safely in the past, but was brought forward sharply with the inclusion of footage from August 2017 in Charlottesville. Please, see that instead.

Clearly the most important thing to note about Mary Poppins Returns is that they put Emily Mortimer in trousers as Jane, gave her a flat to herself & established her role as a labor organizer and then! Fucking Disney! Inflicted some goddamned compulsory heterosexuality on her. What the fuck. Whatever. The movie’s okay. Ben Whishaw is lovely as always, Emily Blunt puts a terrific spin on the title character, and I’m always happy to see Dick Van Dyke. It was the perfect movie to see with my aunt over the holidays and then promptly forget everything about it.

Finally, we saw a couple Chinese films: Airpocalypse (a movie about a psychologist who absorbs the power of a god and which argues that terrible air quality is the fault of a vengeful god) and Kill Mobile (a movie about a dinner party where it’s open season on everyone’s cell phones and which argues that straight people are not ok).

…and that is that! Thank you for joining me this year! My 2018 round-up should be up next week, so be sure to have all your library hold lists and streaming queues in order by then.