Promising Young Woman (20): Sue me, I still like it. The heightened dark fairytale quality is brimming with sly humor and a gutsy premise. Mulligan rewards the film with canny grace and ferocity I wouldn’t have expected. Still love the design’s Pinterest mood board of color theory. B+/A-
Pretty in Pink (86): The Duckie-incelish stuff is worse than I thought, but I appreciate Hughes putting more mature themes (ie socioeconomic concerns) in the mouths of teenagers in the 80s. Ringwald is lovely, but Potts, the costumes and kick ass soundtrack steal every scene. B+
The French Lieutenant’s Woman (81): Save for Streep’s frightful wigs, the film is beautifully made— lush photography, smart cutting, and a big, momentous score. Even on revisit, the dual stories and performances just feel all exercise until late when it comes together, like the last ten min. B-
Green Card (90): A movie that’s this much of a trifle doesn’t have any business looking this good. The photography is beautifully lit and framed and the art direction may be better. Depardieu and McDowell have interesting chemistry, but it’s awakened by a lovely finale. Fun. B
Caught Stealing (25): Maybe one too many moving pieces or plot layers, but as character-driven crime capers, I had a good time. Butler is acquitting himself well in leading man mode, and I’m never gonna be unhappy seeing Regina King or Zoe Kravitz—the film needed more of them. B
Casino Royale (06): Muscular, emotional, and swinging with big dick energy, Craig’s first Bond is his best. His performance is vulnerable and fresh, and Green is downright stunning as her conflicted femme fatale. The chic and slinky costume design and confident editing make every scene sing. A
Skyfall (12): Touching and thrilling throughout and what an easy rewatch. Per usual, Deakins and especially production designer Dennis Gassner create spaces and set pieces of color and light that breathe with emotion and flair. Dench’s as a final Bond girl is a lovely touch. A-
Q: Which members of the cast are returning? A: Willingly, none of them.
What To Know About ‘Euphoria’ Season 3 theonion.com/what-to-know-about-eupho...
Tumbleweeds (99): The themes and situations are familiar, but I’m impressed by O’Connor and particularly McTeer finding ways to buck and swerve. Brown is a lovely foil, and the mother/daughter banter feels balanced and realistic. Still, maybe too familiar to be audacious. B
You’ve Got Mail (98): As easy as Meg Ryan’s neutral separates, but still packs an emotional punch. Ryan does some of her best work, and it’s fun to see Hanks slightly snarkier. Ephron’s reliance on cute and quirky gets a bit much by the end, but the writing is acerbic enough to elevate. B+
Field of Dreams (89): Maybe too hokey, but honestly felt. There’s enough darkness to cut through the sugar. I’m a sucker for father-son films, but this handles it with grace and surprise. The supporting cast led by Jones and Lancaster pop, but it’s firecracker Amy Madigan who stands out most. A-
Smash-Up: The Story of a Woman (47): The fearless, boozy work by Hayward is mercurial and elevates a movie she can do in her sleep. Impressed by dark they let the plot go especially for a mother in ‘47. Still ends up slightly silly in parts. Susan knows how to play blitzed. B-
Yeah I would easily agree especially with his far superior work on Wonderstruck the same year!
The nominated!!! Dinky ass score! It’s such a parody of his best work.
Three Billboards Outside Ebbing, MO (17): Purposely pushing the audience to the brink, ok. Undermining the stakes and motivations even within scenes; that’s not. Well-acted, but gossamer. Fran can do this role in her sleep; I wish there was newly seen layers. Painfully shot. C+
Call Me By Your Name (17): A man’s touch on sun-kissed skin, a gulp of cold water after a sweltering bike ride, or the sweetest bite of fresh fruit pale in comparison to the roiling emotions and sensuality of first romance and heartbreak. Gets those first tingles perfectly. A total mood. A-
I’ll join you.
Doing my best
The exquisite Emma Thompson, born 67 years ago today
In terms of the win, I’m all Julianne. Easily. Kim isn’t a factor. My runner up is actually Minnie.
And I’d probably even rank Kim 4th or 5th.
I don’t find the win that surprising: known actress, “pushing” herself to deeper places in a best picture nominee and she’s only woman in a very male movie. That stands out.
As for the performance, I think she’s pretty good. She clearly loved being in directors’ hands that knew how to use her.
L.A. Confidential (97): Lustrous even 29 years later, this noir doesn’t lose an ounce of the complexity of the genre’s heyday or its beautiful modernity for today. Hanson has such a mastery of form, character, and story and his cast repays tenfold. All three leads are terrific. A
The Pope is soft on crime though.
Dreamgirls (06): A bullet train of color, music, and performance. Condon makes you feel the skyrocketing fame and its emotional fallout. Murphy has Jimmy’s sadness along with the performer’s soul. Costumed impeccably. Hudson is better in non-singing moments than I remembered. Second half drags. B+
If you see this, post a picture of you in glasses🤓
Four Favorites with Michaela Coel ❤️
The Christophers is now playing in NY and LA and expands across the US on April 17 via NEON. Mother Mary, also starring Coel, is in theaters April 17 via A24.
My Lineup:
Jean Hagen “Singin’ in the Rain” **WINNER**
Norika Honma “Rashomon”
Katy Jurado “High Noon”
Ann Todd “The Sound Barrier”
Ethel Waters “The Member of the Wedding”
Favorites? Rankings? Others you’d shout out from ‘52?
“The Sound Barrier,” as the wife of these test pilots, Katy Jurado aches in “High Noon” with mystery and a knowing history of life behind her, and Grace Kelly the perfect counterpoint in the same film.
She tries to guide Frankie towards a better understanding of the world while navigating her own dilemmas. She’s motherly, tough, but so warm.
Norika Honma as the medium in “Rashomon” takes a giant statement with just a few moments.
Ann Todd is lovely and heartbreaking in
