Liquorice Pizza (2021). CINEMA. 24.1.22. A rollercoaster of great scenes (with the odd miss) but the second half fell just a little flat and lacked cohesion. 8/10
Ipcress file (1965). 28&29.1.22. This thriller is gripping almost despite itself, notably the wooden acting and wooden script. It shows just how important a good story and ruthlessly efficient pacing & editing can be. John Barry’s stylish score does no harm either. 8/10
Lost daughters (2021). 29.1.22. Nuanced and affecting drama, well-made and which rings true. (The story is similar in essence to The Awakening, a book from 1897 by Kate Chopin, which I read in 2020.) The first half in particular is quite outstanding. It is interesting that the aggregate audience review score is much less than the aggregate critic review score; perhaps audiences are not en masse able to understand the potential for profound problems with motherhood? 8½/10
The Handmaiden (2016). CINEMA. 4.2.22. Continuing a surprising run of very good films! I am a sucker for altered-chronology films as, by nature, they are usually more engrossing – and this was no exception. Slightly reminiscent of the brilliant Kill Bill Volume 2 in style, this was a hugely entertaining and ultimately coherent spectacle which would doubtless be even better on repeat viewing. (Two asides: the sex scene as a sort of epilogue was very curious and maybe even unprecedented? It served no narrative purpose so must have been added purely for aesthetic / ‘arty’ reasons. And I was astonished that this was not directed or written by the same people who made the more recent “Parasite”, due to the almost identical premise of the two films.) 8½/10
After the storm (2016). 5&6.2.22. A promising start but eventually decided it wasn’t good enough to watch completely (watched just over half).
The sisters brothers (2018). 7.2.22. The first half was good enough, with some taut plotting, potent dialogue and nice touches, e.g. the inventions of a toothbrush and flushing toilet. Unfortunately the plot petered out in the second half, and so did the other qualities. Mention should be made of Phoenix and Reilly, who were excellent throughout. 6½/10
Jules et Jim (1962). CINEMA. 11.2.22. The third Truffaut film I’ve seen recently, and notably the worst. After a sparkly, fast-paced start, leaving the audience no time to catch breath, it became (to today’s eyes) hackneyed, tedious and pretentious. Dated in all the wrong ways. Perhaps it seemed much better at the time as this was a novel / original way of making films. If it carried on the way it started this would have been excellent. 5½/10
The souvenir (2018). 15&16.2.22. With relatively few words spoken between the couple, the film manages to be one of the most genuinely evocative films about a love affair. We can absolutely feel the love, on her part if not his, which arises and evolves often from relatively mundane situations and dialogue, awkwardness.... basically just time and travel together! Despite that, and the two leads’ almost astonishingly brilliant performances, it is still not nearly as tight, accessible or ultimately satisfying as Hogg’s “Archipelago”. She seems to have a uniquely realistic style of film-making – a sort of upper middle-class kitchen sink – which is truly captivating. 8/10
Annie Hall (1977). 20.2.22. A worthy best film Oscar winner. Light, bright and colourful, it’s one-dimensional but entertaining throughout with some knock-out, belly-laugh humour. Short and very sweet. 9/10
The Searchers (1958). 21.2.22. Hearty, old-fashioned Western with depth. Rough around the edges and the dialogue is a touch fast-paced at times, but it is nonetheless always watchable with lots of nice touches. Thought-provoking as well. 7½/10 (but probably 8/10 if viewed contemporaneously).
