Twenty Twenty-One in Film

Howdy everyone. Since 2017 (I believe?) I've made one of these year-end lists, ranking all the movies released in the previous year, that I've seen, in order from best to, let's say least-best.

The factors that go into the ranking are all arbitrary, but they include overall quality (obvs), novelty, and rewatchability, as well as many other metrics. For rule sticklers, there are some pre-2021 films in here which were added because their initial release was either outside the U.S., at a film festival, or maybe even both. Add to that COVID's effect on theatrical screenings and my cautious avoidance of the ones there were, and I ended up counting a lot of "released on streaming dates" as "wide release" dates.

There is a method to the madness.

To that end, there are also some short films and some miniseries included on here because that is the way things are trending - streaming services are willing to shell out the moolah for a project, but more easily for a miniseries than a single, non-franchise, average runtime film.

Also, I usually include a poster or other image from the flick, but currently I'm having a lot of fun with that Wombo Dream app, which is an art app which uses artificial intelligence to generate an image based on your prompting, so I've used that to make "movie posters" for the films. Enjoy!

EVERYTHING OLD IS NEW AGAIN Vol. 34 - December 2021

EVERYTHING OLD IS NEW AGAIN

Vol. 34 - December, 2021

By: “Doc” Hunter Bush, Podcast Czar

Oh boy. Let me just unbuckle my belt here a moment. I’m still full from Friendsgiving. Hope everybody had a nice time at their respective ‘sgivings, and I hope you’re gearing up for another, equally nice end of the year couple of holidays. Or failing that, just maybe some quiet time off. That sounds pretty good, eh?

Well here at Everything Old Is New Again, we’re down with down time, so long as its spend with a movie or TV series (and, following protocol, that it be based on some pre-existing concept, movie, book, or what have you). Being the end of the year, there are slightly fewer offerings, BUT they’re pretty big draws.

Why not just dive in?

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PREMIERS

Flicks coming to screens great and small this month

17th

Nightmare Alley (dir. Guillermo del Toro)

Where: Netflix

I’m pretty in the pocket for Guillermo del Toro. I love the man; his enthusiasm for monsters, film, genre trappings, and romance. And he just seems so huggable, y’know? So I’ll definitely be checking this out. Luckily, it’s the kind of movie that would catch my interest regardless of pedigree. Based on a 1946 novel by William Lindsay Gresham (and having previously been adapted in ‘47 as a noir film starring Tyrone Power) Nightmare Alley is about a conman (Bradley Cooper) in a relationship with a therapist (Cate Blanchette) who swindles a tycoon (Richard Jenkins) out of money promising to reunite him with his long-dead sweetheart, only for the con to go wrong and leave him with no option but to go on the run. I love the circus, and circus stories (Katherine Dunn’s Geek Love is a favorite book of mine), and why wouldn’t I? The circus is everything I love: rubes happily being conned by charlatans, and outcasts given a place where they’re the stars. I feel like these are things GdT enjoys as well (call it an extremely educated guess) as well as stories that ask you to consider just who is manipulating whom? Who is the conman and who is the mark; and is there a difference in the methods if the end result is the same? Plus - lots of cool sideshow folks and special effects! Like I said, I’m already in the pocket for this one. Still not going to a theater, but I’ll catch it as soon as I can.

I also intend to watch the original, which I’ve never seen.

Spider-Man: No Way Home (dir. Jon Watts)

Where: In theaters

The Tom Holland Spider-Man has been a pretty consistent high point in the MCU for me. The tone is usually pretty breezy and except for the inevitable shared-ultiversal creep at the edges, the stories are of a nice scale. In fact the thing I didn’t enjoy about that last Spidey flick was when it tried to get too Big Picture. “Save that for those Avengers movies!”, I practically shouted. Well my metaphorical cries fell on deaf ears as it seems this latest film is all about ~tHe MuLtIvErSe~ but not in a fun, no-strings-attached way like Into the Spider-Verse (where you were given all you NEEDED to know about the characters in relatively slim, well-crafted punches of backstory and worldbuilding). NoNoNO! This seems to be done in the aggravating You-Better-Remember-Every-Relevant-Thing-About-ALL-The-Different-Spiders-Men style that the recent MCU films have been grinding my mind to dust with. You, and I, should be able to pop in an MCU movie with no idea of who these characters are and not be brow-beaten into caring about artificial stakes.  *sigh*

This is the same complaint I have all the time and I’m sorry you have to keep reading it. I’ll move along: if you’re a huge Spidey fan, this kind of looks fun: because of a botched magic spell, ~ThE mUlTiVeRsE~ is beginning to encroach on the regular universe, meaning all kind of villains from previous interpretations of Spider-Man are appearing and attacking Tom Holland, despite the number of logical fallacies (that I’m sure will be hand-waved away) that we’re supposed to ignore in exchange for the ecstasy of seeing Willam Dafoe, Jamie Foxx, Alfred Molina (and perhaps more?) reprising their roles in the current MCU.  ¯\_(ツ)_/¯  I DO like that Molina’s Doctor Octopus seems to become a reluctant ally to Tom Holland’s Spidey, and that there is a metatextual commentary on how these villains all seem to die by Spidey’s hands (because of lazy writing and contract negotiations presumably). I’m sure this will be fun enough, but my enthusiasm for these lore-heavy entertainments is really waning.

21st

Being the Ricardos (dir. Aaron Sorkin)

Where: In theaters / Amazon Prime

This is an odd one. It’s not based on any specific property, but it is inspired by real events from the life of Lucille Ball wherein she was believed to be affiliated with the Communist party apparently without her knowledge or consent. The thing that keeps kicking around my head is “Why now?” Is this a story we’re just dying to have recounted? Is there some specific resonance that this story will have in the larger world at this time? I mean, I know there are more than the usual amount of people discussing Communism right now (mostly because of a misunderstanding of Socialism) but like: ok. So on to the big question: How good do they look? And the answer is …ok. Javier Bardem just isn’t gonna look like Desi Arnaz. Ain’t gonna happen. Nicole Kidman on the other hand, makes a decent Lucy so long as she’s speaking or doing something. Weirdly however, this trailer has a fair amount of Lucy standing still, staring into the middle distance. This is an odd thing especially from writer/director Aaron Sorkin who is primarily known for having his characters walking while talking. Overall though, the effect is like seeing your pals’ couples Halloween costumes: separately you might not recognize them, but side-by-side you totally get it. I will say that Kidman really seems to have a handle on Lucy’s mannerisms and voice. I’m intellectually curious about this one.

22nd

The Matrix: Resurrections (dir. Lana Wachowski)

Where: In theaters

In 1999, the Wachowskis unleashed The Matrix and, for good or ill, culture was never the same. There are a lot of arguments about whether or not art can be interpreted wrong (beauty being in the eye of the beholder and all that) but I think it’s safe to say that if you were going to prove that, The Matrix would be a good place to start building your argument. And then there were two sequels which, while interesting, largely suck. When I heard there was a new installment in the works, I was uninterested/exasperated but I’ve got to tell you, that trailer really got me. So. It seems Mr. Anderson (Keanu Reeves) now going by “Thomas”, is back inside the titular Matrix, being kept sedated with a steady dose of prescription blue pills from his therapist (played by Neil Patrick Harris wearing symbolically blue glasses) but, since he’s The One, he’s able to sense the edges of his reality. Somehow, he bumps into Trinity (Carrie-Anne Moss) and the resonant harmony of their two souls will awaken yadda yadda yadda.

This is the thing about the Wachowskis: I agree with their POV and enjoy their ideas and world building, but they tend to overstuff their projects with concepts that never seem fully realized (because they don’t often get enough space to do that) so after a while I get a little eye-rolly about it all. To be clear, this is a failing of me or at most a greater failing of me in response to a lesser failing of them. However it happens, “Thomas” will have to relearn all the stuff he once knew and (educated guess) die to pass on the One-ness to either a new One or All Of Humanity, and along the way there will be CGI augmented kung fu and action scenes galore. The thing that absolutely rules about the first Matrix Res trailer is the remix of Jefferson Airplane’s White Rabbit, which is chopped and screwed in a way that I would normally find a little tedious UNTIL they added in Don Davis’ score from the original Matrix (that sharp little repetitive strings part) at the crescendo. It legitimately gave me chills. Fun fact: I knew that one of the Wachowskis wasn’t involved in the production here, but I’m so used to thinking of them as a pair that I couldn’t remember if it was Lilly or Lana (it’s Lilly btw, and I hope she eventually returns to filmmaking if that’s something she wants to do) but I noticed on IMDb that Christina Ricci will be appearing in this?!?! Sold. I know she was in Speed Racer so it’s not a left field casting choice or cameo appearance or whichever, I’m just always so glad to see her in stuff! Big fan.

29th

The Book of Boba Fett (series)

Where: Disney+

Let me guide you on a journey. Not through Star Wars’ history as an extant property; we’re all sick and tired of that. Instead let me guide you through my emotional journey with regards to Boba Fett. Of course I thought he was cool when I was a kid and he was a crummy little barely-mobile toy that I inherited from my older cousins when they went to college. First of all he looks cool: cool helmet, rocket backpack, the whole shebang. Secondly, in the movies he’s barely there, so you can project all sorts of cool concepts and theories onto him. He was strategically used to better the larger project. He was essentially the Chandler* of the Star Wars universe.

* Chandler from Friends, played by Matthew Perry, but specifically the Chandler from the first 2-ish seasons when all he did was pop into a scene, make some jokes and leave. Before they decided to develop him into a “real character” and he just became tedious.

Cut ahead to the Mouse House Mega Corporation announcing a series called The Mandalorian. Having been inundated with innumerable “Boba Fett is the best character in Star Wars” nonsense takes for decades, I was underwhelmed. BUT THEN. I found out it would be following a NEW character and I was intrigued. Cautiously optimistic, even. Then, watching the show for 2 seasons, becoming invested in the characters and what do they do? They slip Boba-ass Fett into the story AND they do it in such a way that I kind of fall in love with the character all over again. They made him a paunchy, older, war vet who can still whoop a bunch of ass! That’s kind of great! Then they announced the next season of The Manda will actually be a spin-off following Fett and I was kind of hesitant again. I’m worried that they’ll make him into late-period Friends style Chandler and he’ll overstay his welcome (AND start dating Monica? Sheesh, they really found that barrel bottom quick hunh? But I digress) This brings us pretty well up to date.

What’s really interesting about the Book of Boba Tea is that it looks like they’re kind of setting up a mafia style, Unite-The-Families story, which hasn’t really been seen in a galaxy far, far away. I’m all for the tonal experimentation here. The Mandalorian is a straight-up western transposed to this setting and it satisfies in both regards, so I’m really excited for The Godfather but in space. Added Bonus: Jennifer Beals is going to be playing an as yet unnamed character (though in the trailer you can see she’s a Twi’lek, which are the aliens with two long wormy tentacles coming off their heads) and, having just watched Flashdance for the most recent episode of Hate Watch/Great Watch, I’m kind of all in on Ms. Beals right now.

SPOTLIGHT

Recommended movies that, though not exactly new, still meet EOINA criteria

1st

12 Strong: The Declassified True Story of the Horse Soldiers (a.k.a. Them Horse Boyz) (dir. Nicolai Fuglsig)

Where: HBOmax

I actually covered this one way, way back for MovieJawn and, while it’s not a GREAT movie (not NEARLY enough Michael Shannon for starters), it’s a pretty entertaining time and when I saw it was gonna be streaming I got genuinely excited to rewatch it. It has some solid action scenes, an unusual story and a decent cast: besides “Big Chicago” Michael Shannon and lead Horse Boy Chris Hemsworth, there’s Michael Peña, William Fichtner and Rob Riggle! Like I said, it won’t blow your hair back but it might be the perfect thing for a lazy Sunday around the holidays.

The Legend of Zorro (dir. Martin Campbell)

Where: Netflix

Antonio Banderas returns as Don Alejandro de la Vega a.k.a. Zorro, having inherited the big Z from Anthony Hopkins in the previous installment The Mask of Zorro. BUT. If you think having not seen that first film will hinder your understanding or enjoyment of watching Banderas and on screen wife Catherine Zeta-Jones buckle a bunch of swash, you’d be wrong. I haven’t seen it in a l-o-n-g time, but I remember enjoying it.

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Well that about wraps her up for this month, and the year! Thank you for reading, as always, and thanks to MovieJawn for hosting & posting. Please support the MovieJawn Patreon because it helps keep things running smoothly AND as an added bonus, you’ll get access to lots of fun bonus stuff, so: win/win. 

If you’d like to hear more from me, you can find me all around the MovieJawn site, and on every episode of Hate Watch/Great Watch, which I cohost alongside Allison Yakulis. In December, we’ve got episodes on 1974’s porno parody Flesh Gordon, 1983’s aforementioned Flashdance, and 2003’s messy adaptation of Stephen King’s Dreamcatcher!

Until next time, remember: Boba Fett is the Chandler of Star Wars!

And: Long Live the Movies!

The Triplets of Belleville

"The Triplets of Belleville"

By: Hunter Bush

I've been struggling to get my head into this article. I think the issue is that I have no really strong "take" on The Triplets of Belleville. I just really like it. In an era where far too much animation feels homogeneous, the idiosyncrasies in director Sylvain Chomet's caricatures are profoundly charming, the instances of computer-augmented images feel deliberate and carefully chosen. The story is similarly impressive, what with its unusual central character(s), concepts, style and overall POV, but it's all done is an offhand, non-showy way. It's just really very good. Isn't that enough?

The greater part of Triplets is hand drawn and Chomet's style of caricature is fairly unique to long-form animation. It reminds me a little of Bill Plympton's style, but cleaner and for the most part less cynical/satirical. There are critiques of encroaching modernity and American gluttony, but it feels less meanspirited. There are a few instances of computer generated objects (vehicles, the ocean, elaborate fly-overs) but it's the way I generally like CG: as an ingredient, not the whole meal.

As a director, Chomet is fascinated with turn of the previous century entertainment and culture. Triplets of Belleville opens with a musical number featuring representations of Django Reinhardt & Josephine Baker (among, I'm sure, others with whom I'm less familiar). He also has a segment in the live action film Paris, je t'aime  about mimes falling in love and in The Illusionist (2010) an entire animated feature based on an unproduced screenplay from Jacques Tati about how rock 'n' roll killed vaudeville-era stage magic. Chomet's films are largely dialogue-less, so his captivation with mime makes sense.

His films all also have genuine heart in an adult sense. They're emotionally engaged and nostalgic - making them just the slightest bit sad - and don't shy away from complicated bittersweet feelings. In Triplets, a grandmother has to care for her young grandson after his parents pass away and in an effort to connect with the boy, named Champion, sets him on his way to a world class athlete. Champion only has one photo of his parents, posed around their bicycles, so Grandma gets him a tricycle in the prologue. Once the current timeline of the film sets it, Champion has become a cyclist competing in the Tour du France.

What no one could know is that someone is kidnapping cyclists and transporting them to Belleville (a New York City stand-in) where they'll be doped up with an IV drip of wine and used as the lynchpin of an underground gambling ring. It's really something to see this sinister yet still humorous plan reveal itself because, the film being mostly wordless, you have to just allow it to unfold at its own pace. Chomet balances the admittedly dark subject matter - international kidnapping, doping, gambling, there's even gunplay and explosions - with with his strange character designs and genuine charm, plus Bruno, a very cute fat dog who's as devoted to rescuing Champion as Grandma is.

Grandma is very devoted btw. She's absolutely badass in her determination. Champion is her whole world - she's been his coach presumably since childhood, whistle training him, massaging his muscles, managing his diet, all to help him chase his dream and maintain that connection to his parents. So when Champion goes missing, Grandma uses Bruno's sense of smell to track him to the dock and then rents a paddle boat (20 minute time limit!) and gives chase by *paddling across the ocean* to Belleville and resuming her search! I love Grandma. Watching her cresting the rocky waves in the middle of an ocean storm, Bruno sliding around the small boat's deck, I was smiling and cheering with tears in my eyes. It's just lovely.

But how unusual is it to have an animated film whose main character is not just female but, conservatively sexagenarian? On top of that, as I said, she's a genuine heroine. In fact, Bruno aside, the rescue party is ultimately made up entirely of old women who it cannot be understated, absolutely hilariously decimate the organized crime syndicate in a hilarious and spectacular low-speed chase in the film's finale.

The movie ends on an emotionally ambiguous note, with a now much older Champion seeming to watch the climax of the film on television at which time he remembers a few of the film's scant lines of dialogue; an exchange from his childhood that apparently translates to

"Is that it? Is it over do you think? What have you got to say to Grandma?"
"Yes I think that's probably it. It's over, Grandma."

It's bittersweet, nostalgic - making it just the slightest bit sad -, and just  really very good. Isn't that enough?

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This piece was written for inclusion in the MovieJawn zine, a fabulous publication from a fabulous site where you can find tons of other excellent movie-centric writings, a shop where you can subscribe to the quarterly physical zine, or listen to me on the  Hate Watch / Great Watch  podcast! Support the MovieJawn Patreon here!

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