5 Best Movies To Watch After Curtiz (2019)
June Zero
So back in 1982, Harrison Ford was on Letterman promoting Blade Runner (this is gonna make sense, promise), and when Dave asked him to describe the movie's tone, Ford took a long pause and said, “It’s no musical comedy, David.” The most succinct way to describe June Zero, directed and co-written (along with Tom Shovel) by Jake Paltrow, is that it’s no musical comedy. What it is is a subtle, thoughtful, closely observed story about a small moment in history that explores the difficulty in distinguishing justice from vengeance, understanding your trauma versus defining yourself by it, and how hard it can be to find moral equilibrium in a world in constant turmoil. It’s not what you’d call a fun movie (see above re: Ford, Harrison, and Blade Runner), but it is quietly gripping and manages to find a fresh new perspective in one the most wrung-out of genres, the Holocaust Reckoning Movie. One of the most prominent Nazis to survive the war and escape Germany was Adolf Eichmann, a high-ranking officer in the SS and one of the primary organizers and executors of the Holocaust. Eichmann managed to escape Allied imprisonment and avoid capture until he was apprehended in Argentina in 1960 by Israeli Mossad agents. He was taken to Israel, tried, convicted, and sentenced to hang, which he did on June 1st, 1962. June Zero is barely interested in any of that very well-trodden ground. What it focuses on instead are the dual problems of keeping Eichmann alive until the state can execute him and what to do with his body after he dies. Burying such a monster on Israeli soil was obviously out of the question, as was the prospect of returning the body to Eichmann’s family or anywhere else out of fear that it could be interred and become a pro-Nazi symbol. The only choice that makes any sense is cremation. And so Israel went about the business of building an oven to incinerate the corpse of a man who planned and oversaw the incineration of so many of their people. Continue Reading →
Ghostlight
“I don’t know what normal is,” Dan Muller (Keith Kupferer) says toward the end of Ghostlight. His family might be dramatic, but to him, “they don’t get it from me.” And maybe he’s right. He’s a Chicagoland construction worker whose marriage to Sharon (Tara Mallen) isn’t particularly strong. When they receive a call from their daughter’s (Katherine Mallen Kupferer) school, they learn she’s been expelled for allegedly shoving a teacher. Perhaps it’d be “normal” for 16-year-old Daisy to go through a turbulent phase, but as the movie slowly reveals, the three are reeling from a tragedy. The movie approaches what happened with a euphemistic ambiguity for almost an hour, even if it’s rather obvious early on. And the stress is accumulating. While preparing for a deposition, Dan berates a pedestrian on the job, resulting in a temporary leave. As chance would have it, though, a stranger named Rita (Dolly De Leon, Triangle of Sadness) witnesses the altercation. And guess what? She’s in a local theater troupe putting on Romeo and Juliet. So, what does this blue-collar, midwestern dad do? Despite not knowing the story, he joins in, which mirrors some stuff he’s still grappling with. It’s funny how that always happens. It's a contrived bit of plot in the face of character progression, and not the only time Ghostlight forces itself forward despite trying to feel seamless. How on-the-nose the concept is is another issue. And yet it mostly works, thanks in part to the movie’s tonal and technical normalcy. Kelly O’Sullivan & Alex Thompson’s direction may not leave the starkest impression, but they know how long to hold on a scene. The result welcomes the viewer to see their characters past the occasional issues with O’Sullivan’s script. Continue Reading →
The Zone of Interest
Jonathan Glazer's first feature in 10 years is a near-unclassifiable work of patience and intentional distance from its historical horrors. What am I to say here? What can I say? I feel as if I’m to say nothing at all. My mind has gone and I feel sick, and while that’s due to the film in question, another degree of it comes from a deeper truth. I feel wrong in my reaction to it; it can’t help but feel inadequate. The Zone of Interest has leveled me like few things ever have, but that’s not the point. That’s not its point. Continue Reading →
Napoleon
Ridley Scott’s surprisingly hollow biopic of the French military commander falters as a character piece and comes shy of victory as an epic. For a film with as many contradictions as Napoleon, it’s odd for it to be so straightforward. It covers 28 years, but it never feels like a lot of changes. It’s over two and a half hours, which, while not a herculean runtime, never entirely slows down. Perhaps it’s because it never really gets started. Ridley Scott’s latest opens with a public decapitation of Marie Antoinette (Catherine Walker), giving way to the 1793 Siege of Toulon. The violence is often unsparingly graphic, so why, then, does it feel so cosmetic? Shouldn’t a live horse eviscerated by a cannonball to the chest do something to the viewer? Maybe not when there’s such little context. If Napoleon is one thing, it’s episodic—ahistorical, even. David Scarpa’s script begins in the trenches and is content on staying there. Everyone and everything are simply window dressing. That includes Napoleon Bonaparte himself (Joaquin Phoenix), whom the film oversimplifies from intrinsically flawed leader to wholly externalized man-child. After the Siege, he wins the affections of Joséphine de Beauharnais (Vanessa Kirby). The two soon marry. Continue Reading →
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