It’s not all comic books here at Longbox Graveyard (and it’s maybe not even comics any more — I did just kill the blog). My recent movie to Canada — sans family — has left me with idle hours in the evening, and my new job ensures that come dark I’m creatively drained, too. What’s a poor Moleman to do?
Watch a lot of movies, of course. Here’s a list of the films screened at Longbox Graveyard Secret HQ this past month.
(Note that despite the image below, this post is pretty much bereft of comic book content — go here for that)
Spider-Man: Homecoming: Perfectly reliable, mid-tier Marvel entertainment. The Captain America PSAs were a scream. I did coincidentally catch the Doctor Octopus train fight from Spider-Man 2 on cable the other day, though, and Spidey 2 blows Homecoming out of the water in pretty much every way.
Baby Driver: Caught it alone in a Vancouver movie theater, killing time until the Canada Day fireworks started. Walked out of the theater brilliantly focused, alert to every sound and color, like I’d emerged from the most effective meditation session of my life. I guess you could say the movie captured my attention. Favorite picture of the summer.
War For The Planet Of The Apes: Yeah, sure, OF COURSE we are living in an era where talking monkey movies are legitimately in the discussion for the best film trilogy of all time. Watching the scenery in this movie, all I could think was … this has got to be British Columbia. Yep, it was. Journeyed out to the Othello Tunnels the next day to experience one of the locations. Caesar Is Home.
Dunkirk: Doesn’t fully live up to the rapturous reviews — and I say this as a WW2 buff and a Christopher Nolan fan — but I did enjoy this human-scaled epic. It was chilling to see bodies bombed on a beautiful beach, and ships sink on a clear and untroubled ocean. That’s probably just how it felt, the juxtaposition of life and death. Thinking back on it, though, I’m inclined to agree the movie is “at heart a high-stakes drama about proper queue etiquette.”
Cabaret (1972): One of those genre classics I’d managed not to see in my half-century of being a film fan. Despite my love of the Silver Surfer, I’m not mad for musicals, but I enjoyed the melodrama. Never really got Liza Minelli, either, but I can see how this picture helped make her an EGOT superstar.
Hell or High Water (2016): Held up on re-watch, originally saw this in the gloriously shitty little La Paloma theater in Encinitas last year. Grim, gritty, and pulls off the trick of getting you to root for some pretty awful heroes. Didn’t realize until today that this film shares a screenwriter with Sicario, another recent favorite, and now I’m anxious to see that selfsame screenwriter’s directorial turn in Wind River. Chris Pine was also pretty good here …
Star Trek Beyond (2016): … but Chris Pine is only so-so here. Same with poor Idris Elba and everyone else who wasn’t Sofia Boutella. Second or third time I’ve seen this movie and I still don’t know what the hell is going on. I’ve been a supporter of the JJVerse in general, but each picture is proving worse than the one before.
John Wick (2014): Worst-Russian-Accents-Ever. I fell asleep.
The Day The Earth Stood Still (1951): … the original still packs some punch. Not so much for the “Earthman, get off my lawn” bit so much as for how it made me long for a prosaic time where White Men In Uniforms might be trusted to pay attention when confronted with unimpeachable evidence of Impending Doom.
Force Majeure (2014): Can’t stop thinking about this one. Fate confronts a couple with an ugly truth, and then their lives unravel, one thread at a time. Unsparing and uncomfortable — reminded me a bit of Yorgos Lanthimos’ The Lobster in that regard. Director Ruben Östlund is one to watch and now I’m eager to view his Palme d’Or-winning The Square.
Shock Corridor (1963): Working hard to develop an appreciation for Sam Fuller. I admire that he tried to elevate his material with political and racial commentary … but pulp is pulp.
Genocide (1968): Deeply strange Japanese picture where a hot-but-insane American temptress escapes a Nazi death camp to join the East Bloc to create a strain of insects that can destroy the world. Ripped from today’s headlines! Would have had the bleakest ending of any movie I saw this month if not for …
Shoot First, Die Later (1974): Come for the crazy car chases, stay for the fashions, casual violence, cat murder, sexism, and the frozen-faced beauty of a leading man who looks like he walked off the set of Team America World Police. And that ending! Oy.
Rules of the Game (1939): The outrages that shocked French society upon this film’s release have largely faded with time, but what remains is a masterfully constructed comedy of manners. Sweeps you up as only a classic old movie can do.
8 1/2 (1963): Fellini clearly has problems with women, but at least he puts them all in full view. No one shot a dream sequence better. In a crazy sum-of-the-parts way, this movie does depict the experience of being a director (at least to the degree that I’ve come to understand it directing video games). I love the part where Mastroianni’s knees give out while his producer hauls him toward his ridiculous, overbuilt spaceship set.
L’Atalante (1934): A dreamy, aimless cruise down the canals of France. Remarkable for its slice-of-life filmmaking — like a time machine, really. Plus, it has lots of cats.
Persona (1966): Overall I think Bergman’s reputation for being challenging, dour, and remote is overstated — I find his movies insightful and full of life. But Persona is … challenging, dour, and remote. And brilliant! This is what you get when Bergman decides he’s not concerned for the commercial success of a film (a masterpiece).
Plus Some TV
Enterprise, season one, which I like despite myself; Batman Brave And The Bold (which is the best Batman); and the Black Mirror Christmas Special, which is the most messed-up goddamn thing ever broadcast.
More next month, maybe.