5 Best Movies To Watch After The Man Who Cried (2000)
Love Lies Bleeding
The word for Rose Glass (Saint Maud) and Weronika Tofilska's Love Lies Bleeding is "precise." From the individual and combined performances of leads Kristen Stewart and Katy O'Brian (whose turn as a cunning Imperial agent was a bright spot in the often dreary third season of The Mandalorian) to DP Ben Fordesman's chameleonic camera work and hair department lead Megan Daum's wide-ranging design work, everyone on the project knew exactly what they wanted to do and how to get it done. The result is a bracing, clear-eyed noir thriller, and a fraught, swoon-worthy romance. It's my favorite movie of 2024 so far. It's the late 1980s. The reserved and insightful Lou (Stewart) manages a grimy bodybuilding gym in a sunbleached western suburb. She does not talk to her father, the cruel, cunning crime lord Lou Sr. (Ed Harris). She loves her sister, fraying housewife Beth (Jena Malone), and hates that she will not leave her loathsome slimeball husband JJ (Dave Franco). The closest person Lou has to a romantic partner is the aggressively cheerful Daisy (Anna Baryshnikov), and their on-off something or other boils down to, in Bart Simpson's words, "geographical convenience, really." Enter Jackie (O'Brian), a drifting bodybuilder aiming for a Las Vegas contest where victory can leap passion into profession. The sparks are immediate. Jackie (Katy O'Brian) strives for bodybuilding stardom. She's doing the work, but the events of Love Lies Bleeding bend the barrier between her reality and her dream. A24. Jackie's drive lights a fire in Lou, and Lou's methodical care grounds Jackie. Simultaneously, Lou's desire to help Jackie achieve her dream and Jackie's desire to make Lou happy lead them to make bad calls—the sort of bad calls that lead to worse calls that lead to blood. And neither JJ's venality nor Lou Sr.'s mercilessness should be discounted. Continue Reading →
The Color Purple
Blitz Bazawule's adaptation of the Alice Walker classic (and the Broadway musical) is a more joyful, celebratory film than its predecessor. The Color Purple has taken on a musicality ever since Steven Spielberg and Quincy Jones adapted Alice Walker’s 1983 Pulitzer Prize-winning novel for the screen. When the first film was released in 1985, Spielberg already referred to it as a “musical.” In a behind-the-scenes interview about the film's musicality included in Warner Bros’ sumptuous new 4K release, Walker, Spielberg, and Jones conduct us through the “diverse places” that music appears in the original film. There are rail work songs, African dance, juke joint blues, and revival gospel; all tonally matched together in a near seamless “immersion” of sound. In an age where nearly every popular and cult film gets a Broadway adaptation, The Color Purple is a particular no-brainer. Celie’s journey of self-discovery through systematic abuses and struggles at the turn of the twentieth century lends itself to the kind of emotional bigness a musical requires. With music by the legendary Brenda Russell and the late queer songwriting icon Allee Willis, The Color Purple: The Musical also showcases a diverse range of musical styles and modes, especially those well suited for the stage, like swing and Greek chorus. Continue Reading →
Flashdance
Forty years on, Adrian Lyne's tale of welding, dancing, dreaming, and cold-shoulder sweaters still leaves us all feeling like maniacs. Personally, the notion of referring to films as "guilty pleasures" has always struck me as slightly absurd—if a movie can touch, thrill, amuse, arouse or otherwise entertain you in some way, don't feel guilty about it. So when I say that I've been a huge fan of Flashdance since its original release in 1983 (and can confirm, via the new 40th anniversary 4K UHD release from Paramount Home Video, that I still adore it), I feel absolutely no guilt or shame. Sure, the film is as preposterous a concoction as has ever been placed before a camera, assembled in such a calculating manner that you practically hear the gears grinding away in the background. But every time I've watched it over the years—and that's a lot—I find myself falling under its goofy spell once more. Continue Reading →
Moonage Daydream
In the unforgettable Looney Tunes cartoon Duck Amuck, director Chuck Jones posits a question to the viewer. What is Daffy Duck? Are his qualities recognizable even if he was in a different body? Entirely invisible? The various visual manifestations of this fowl, complete with a consistent personality emanating from the character’s voicework and body language, make it clear that Daffy Duck is more than just one physical vessel. He transcends form. Continue Reading →
Jagged
Alison Klayman's chronicle of the Canadian singer's rise to fame centers around her seminal 1995 album, and the trail it blazed for female artists. (This review is part of our coverage of the 2021 Toronto International Film Festival.) This year’s edition of the Toronto International Film Festival finally got a hint of scandal—albeit of the most well-mannered variety imaginable—when it was announced that rock star Alanis Morissette, the focus of the new documentary Jagged, would not be attending the film’s gala world premiere, reportedly due to what the Washington Post dubbed “unspecified issues with the finished product.” Continue Reading →