The Holdovers
SimilarApocalypse Now (1979), Brazil (1985), Donnie Brasco (1997), Driving Miss Daisy (1989), Edward Scissorhands (1990), Fargo (1996), Forrest Gump (1994), Full Metal Jacket (1987), GoodFellas (1990), Home Alone 2: Lost in New York (1992), I Am Not a Serial Killer (2016), Monster (2003), Mystic River (2003), Oldboy (2003), Scrooge (1951), Shrek the Third (2007), Solaris (1972), The Apartment (1960), The Departed (2006), The Fisher King (1991), The Party 2 (1982), The Poseidon Adventure (1972), The Silent Partner (1978), To Die For (1995), Wonder Boys (2000),
Watch afterAmerican Fiction (2023), Anatomy of a Fall (2023),
Barbie (2023) Killers of the Flower Moon (2023),
Oppenheimer (2023) Poor Things (2023), Society of the Snow (2023), The Killer (2023), The Marvels (2023),
StarringGillian Vigman,
StudioMiramax,
After stumbling with Downsizing, Alexander Payne bounces back with a gentle & witty comedy-drama.
The artist Dmitry Samarov one said to me that the ratio of good to bad late periods in an artist's life was depressing to consider. For every Sir Edward William Elgar there was an Eric Clapton (my example, not his), and that it was rare to see someone sharpen as they aged. Now, I like Dmitry and certainly respect his opinion, but I can’t help but feel that when film overtook painting as the dominant artwork that people engage with, the ratio shifted towards bizarre experimentation and welcome self-reflection as much as dull self reflection.
Take for instance 62 year old Alexander Payne, who, after the biggest disaster of his career (2017’s confused parable Downsizing), has started his fourth decade as a director by leaning hard back into what he knew (and what the royal “we” enjoyed) and rediscovered himself with The Holdovers, a movie no one can seem to stop comparing to Hal Ashby. No mean feat, of course, but even that sells its virtues short. This is no mere homage, no mere return to form, this is the movie that Payne’s been hoping to make since his 90s heyday, a film that earns both its jaundiced gaze and its catharsis. Continue Reading →
Spoiler Alert
SimilarBrubaker (1980), Freedom Writers (2007), Mississippi Burning (1988), Rope (1948),
While they say that love is eternal, eventually, even the greatest of love stories come to an end. Marriage vows foretell the reality of “to death do us part.” It’s an inevitability rarely explored in cinema, and even then, only in schmaltzy melodramatic weepers. Fortunately, Michael Showalter’s Spoiler Alert is free of schmaltz. Instead, the film deftly explores the process of a couple dealing with a terminal illness amid all the usual messiness of a real relationship. Continue Reading →
Armageddon Time
Armageddon Time, writer/director James Gray’s eighth feature film, follows a young boy named Paul Graff (Banks Repeta), a stand-in for Gray. He’s an unknowing, bratty, artsy kid. He breaks rules, makes fun of his teachers, won’t eat his mother’s cooking. He’s a regular, if not annoying, teenager. Paul’s family is Jewish and living in Queens in the 1980s. They send him to public school while his brother attends private school. They’re constantly hoping to get a leg up for their family amongst a sea of other discriminated families. Continue Reading →
Licorice Pizza
SimilarLet the Right One In (2008),
Watch afterNightmare Alley (2021), The Power of the Dog (2021), West Side Story (2021),
StudioBron Studios, Metro-Goldwyn-Mayer,
Paul Thomas Anderson set out to make a love story with Licorice Pizza, and ended up creating his most joyful flick to date. Seemingly lacking is the dark heart so many of his stories contain, whether it’s in the wildly toxic relationship between designer and muse in Phantom Thread or brutal depictions of loss and loneliness in Magnolia. Instead, Licorice Pizza has a lightness he hasn’t truly approached since Punch-Drunk Love. Continue Reading →