Images, lines, gestures, moods from the year’s films
* Cliff Booth (Brad Pitt), on the roof to repair Rick’s TV antenna, leans into the California sun and the music Sharon Tate (Margot Robbie) is playing in the nearby house. Once upon a Time…in Hollywood… * “Now is not the time to not say.” Angelo Bruno (Harvey Keitel) to Frank Sheeran (Robert De Niro), The Irishman… * Joker: Arthur Fleck (Joaquin Phoenix) meets gaze of clown in passing taxicab…. * Marriage Story: the Invisible Man watching a horror movie on TV… * Richard Jewell: “Why did Tom Brokaw say that about you?” Bobi Jewell (Kathy Bates) to person-of-interest son (Paul Walter Hauser)… * It’s a Beautiful Day in the Neighborhood: Minute of silence in Chinese restaurant; Mister Rogers (Tom Hanks) looking us in the eye…
Welcome 2020 with one last look back at the best releases of 2019, as seen by the Parallax View contributors and friends.
(In reverse alphabetical order by contributor)
Richard T. Jameson
1. Once upon a Time … in Hollywood
2. The Irishman
3. Marriage Story
4. Little Women
6. Richard Jewell
7. A Hidden Life
10. Pain and Glory / Parasite
A few steps behind, in alphabetical order:
1917, The Art of Self-Defense, The Dead Don’t Die, Dragged Across Concrete, It’s a Beautiful Day in the Neighborhood, Joker, The Last Black Man in San Francisco, The Lighthouse, The Nightingale, The Souvenir, Uncut Gems
I just started a new monthly column for the Film Noir Foundation that searches out and showcases classic film noir available to stream. Here is the debut installment….
As any fan of classic movies seeking treasures on streaming services knows, it’s a wasteland out there. There are oases, of course, but at any given time there are fewer options for pre-1970 movies between the three major streaming services—Netflix, Amazon Prime Video, and Hulu—than you could find in your better neighborhood video stores twenty years ago.
Given that, there are some treasures to be found out there, especially on Prime Video. The problem is knowing what to look for. Since the shuttering of FilmStruck, there really isn’t a service that curates its catalog of classics (Kanopy, a free service offered from public and college libraries, is an exception). So, consider this your guide to streaming noir, and, for this inaugural installment, we’ll look at the options among the big three streamers.
Netflix is first in subscriber numbers but last in its commitment to classic movies. It does, however, currently feature a couple of noir classics. Many services offer a copy of Orson Welles’ The Stranger (1946), with Orson Welles as a Nazi war criminal in hiding and Edward G. Robinson as the government agent on his trail. Netflix, to its credit, presents the superb Kino Classics master, which is also streaming on Kanopy.
The Academy Awards will be handed out on Sunday, February 24. Are you caught up on the major nominees?
Eight films made the cut in the category of best picture and a few of them are still in theaters, notably the offbeat royal drama The Favourite (2018, R), which came away with ten nominations, political commentary Vice (2018, R) which scored eight nomination, and Green Book (2018, PG-13), with five nominations in all.
Also still in theaters is Spider-Man: Into the Spider-Verse (2018, PG), the current favorite in the animated feature category.
A number of nominated films, however, are already available to watch at home. Here’s an easy guide to what you can see and how you can see them.
Two of the top nominees are currently available to stream on Netflix. Roma (Mexico, R, with subtitles) and Black Panther (PG-13).
Images, lines, gestures, moods from the year’s films
* At the movies, Roma: German slapstick on screen in deep distance, a pair of lovers in closeup silhouette in left of frame, gray ranks of anonymous filmgoers in between. The space is familiar, auspicious, yet somehow fraught. Camera does not move, but things come undone…. * “I felt like I was Jacob wrestling all night long with the angel, fighting in the grasp. Every sentence, every question, every response a mortal struggle. It was exhilarating.” Rev. Toller (Ethan Hawke), First Reformed… * Leave No Trace: the myriad intonations and valences Thomasin Harcourt McKenzie can get into “Dad”… * Pirandellian rewrite: At the outset of The Other Side of the Wind—begun 1970, completed 2018—Peter Bogdanovich speaks with old-age voice…. * The Death of Stalin: body tumbling down stairs in background as Lavrentiy Beria (Simon Russell Beale) makes his rounds… * Hereditary: rooms that suggest dollhouse miniatures, and may be… * Filial love in You Were Never Really Here: Joe’s honkhonk honk mock hammering of Mom; Joaquin Phoenix and Judith Roberts… * The endless, obscuring, occasionally decapitating frames of civilization in Zama; maddening protocols and deflections… * The Old Man and the Gun: Forrest/Robert Redford’s “yeah it’s for real” shrug after slipping note to bank teller… * The Ballad of Buster Scruggs: the Wingless Thrush (Harry Melling) catching snowflakes in his mouth… * Lisa (Regina Hall) almost falling asleep in the midday sun—Support the Girls… * Widows: Dog in arms blinks as Veronica (Viola Davis) enters husband’s workshop…. * If Beale Street Could Talk: moving “furniture” in the loft… * Bohemian Rhapsody: cats in window watching Freddie’s limo leave for the concert… * Queen Anne (Olivia Colman) petting a rabbit while having her hair brushed—The Favourite… * Michael Myers mask rising out of car trunk—Halloween… * Border: yearning through windowglass—werewolves in love?… * A Quiet Place: Creature that can’t see and one who can’t hear pass in the night…. * “Being dead” up on the roof, Roma… * “Go for a cruise,” the horseman proposes, and his steed breaks into fluid glide, camera tracking right along. Brady Jandreau, The Rider…
Here’s what’s new and ready to stream now on Netflix, Amazon Prime, Hulu, HBO Now, Showtime Anytime, FilmStruck, video-on-demand, and other streaming services …
A Chinese-American professor (Constance Wu) collides with the culture of the ultra-rich in Singapore when she meets her boyfriend’s family in Crazy Rich Asians (2018, PG-13), the hit romantic comedy based on the semi-autobiographical novel by Kevin Kwan. Henry Golding, Awkwafina, and Michelle Yeoh co-star. Now on Cable On Demand and VOD, also on DVD and at Redbox.
Sorry to Bother You (2018, R), the feature debut of hip-hop artist turned filmmaker Boots Riley, is a social satire as comic fantasy starring Lakeith Stanfield as a telemarketer who finds the secret to sales success and rises up the ladder of a soulless corporation. Tessa Thompson, Jermaine Fowler, Terry Crews, Danny Glover, and Armie Hammer co-star. Streaming on Hulu.
FilmStruck, the premiere streaming service for American and international classic movies, ends its service after two years on Thursday, November 29. Criterion has announced a plan to restart its own service in Spring 2019 and Warner Media (parent company of Turner Classic Movies) promises to bring back its classics in a new streaming service in a year, but until then this is the end. If you’re a subscriber, time to see those films on your watchlist or browse through the catalog one last chance to stream some of the greatest films ever made.
The holiday season is already arranged around rituals, so it makes sense that we come back to the same movies every year. In certain households annual showings of A Christmas Story or Elf or It’s a Wonderful Life are as rigorously observed as the lighting of Advent or Hanukkah candles. I’m not necessarily comparing religious belief with the secular comforts of Mr. Magoo’s Christmas Carol, but let’s just say there are different kinds of gospel.
A scan of the streaming services reveals a collection of acceptable films, but I’d like to point out how thin the tree is. Netflix has a scattering of bona fide holiday classics, for instance, but after that you’ve got a whole lot of chintzy-sounding movies with “Christmas” in the title. Given the recently announced demise of the classic-film service Filmstruck, it would be nice if someone reminded these providers that movies existed before 1980.
Nevertheless, here are a few titles for the Christmas stocking, and maybe a couple of lumps of coal.
Bing Crosby and Danny Kaye play entertainers who put on a show for their former military commander at a snow-less winter resort. Definitely a time capsule from a vanished era (1954), this Irving Berlin musical has great production numbers, eye-popping color, and the enduring fascination (for me, anyway) of Crosby’s hepcat patter. Netflix
If you’re reading this you’re one of us. You see the patterns that no one else does. You find the answers to questions too bewildering for others to comprehend. But the deeper you dig, the more confusing things get. And then there are the shady characters who keep weaving through your journey. It’s a conspiracy, but you’re the only one who can see it! That path can lead only to madness. Or a movie. We all love a good conspiracy thriller, but we are mesmerized by a conspiracy plot where the answers one seeks may not exist in the material realm.
Under the Silver Lake, the latest film to explore a mystery that seems to defy the logic of science and reason, has been pushed back from its original June release date to December. Ostensibly it’s to give filmmaker David Robert Mitchell time to recut the movie. But could there be another, more sinister reason behind this delay? What exactly aren’t they telling us? Just who is really pulling the strings here?
If the revenge movie is a staple of American exploitation cinema, the female revenge film pushes exploitation to extremes. At its most gratuitous it makes a spectacle of sexual assault on a female victim for the gruesome entertainment of a male audience, then celebrates righteous vengeance on the perpetrators with additional spectacle. It’s a genre dominated by male filmmakers, which makes the new movie Revenge a welcome alternative to the male gaze. Director and screenwriter, Coralie Fargeat, making her feature debut, brings her own sensibility to these conventions.
Here are some of the films that paved the way for Revenge. No, these are not the pulp thriller answers to #MeToo—grindhouse exploitation and serious art film alike, they have their sexist blind spots—but they do offer a little more complexity to the formula and, sometimes, they empower women beyond simple violence.