I’ve no plans to give up writing about the films I’ve watched – and I still plan to chase completing the 1001 Movies You Must See Before You Die list 2013 edition, and to watch films from as many countries as I can. But I’m not intending to write another seventy of these posts in 2018 as I’m going to try and read more books this year.
The Salt of the Earth, Wim Wenders & Juliano Ribeiro Salgado (2014, France). I don’t know if I stuck this on my rental list because it was by Wim Wenders or because it was a documentary that looked interesting. But it certainly shouldn’t be confused with the excellent 1954 social drama about a strike at a US mine, whose title lacks the definite article. The Salt of the Earth is about photographer Sebastião Salgado. Born in Brazil, Salgado was originally an economist. While living and working in Paris, his wife bought him a camera. He began using it on his trips to other countries. Eventually, he gave up his career to focus on photography. His photographic work tends to stark black and white photographs of people in extreme situations – refugees, famine victims, war, workers at a vast open gold mine… It’s fascinating stuff, and Salgado’s work is both beautiful and harrowing, some of it perhaps too harrowing. Although Salgado has been exhibited all over the world, I’ve never seen any of his exhibitions – but then it’s only the last five or six that I’ve started visiting art museums, and I usually go to the modern art ones… but I did discover the work of Richard Mosse at one such. (Although this Christmas, I visited the David Collection‘s exhibition of Islamic Art, which was cool; and I liked their exhibition of paintings by Vilhelm Hammershøi (1864 – 1916).) Anyway, The Salt of the Earth is worth seeing.
Logan, James Mangold (2017, USA). Professor X says “fuck”! He says it a lot! I mean, okay, you expect that from Wolverine, but Professor X dropping the f-bomb is just weird. One day, someone will decide Logan is a post-superhero film, when in fact it’s just a straight-up superhero film, and if it does something new in MCU terms, I’m pretty sure the comics have covered similar ground many times in the past. Logan works as a limo driver, he is ageing and his powers are waning. He lives just over the border in Mexico, in an old industrial plant, where he and Caliban look after a doped-up Professor X. Who is doped-up because he had some sort of mental fit which killed a lot of people and they’re medicating him to prevent a re-occurrence. And then a woman turns up with a young girl in tow and begs for Wolverine’s help. It turns out Nasty Corp has tried to weaponise mutants by breeding kids with superpowers – come on, who wants to play in a universe in which scientists experiment on children? Are you sick? – and the girl is one of them, in fact she has Wolverine-like powers and is a pretty mean fighter to boot. So snarky cyborg enforcer, with private army at his back, and Mengele-like scientist played by Richard E Grant, go mano a mano against Logan, who has gone on the run with the Prof and the girl… And that’s about it. Yawn. It’s a chase movie, the baddies are tooled up, the good guys are either old or young but still not massively outmatched… It’s a definite improvement on the usual dreadful superhero films with their cartoon characters, who cause as much damage as the supervillains, and cartoon violence and cartoon morality. They don’t even have the saving grace of cartoon wit. It might well be that Logan is the superhero film growing up, but it’s got a long way to go yet.
The Sense of an Ending, Ritesh Batra (2017, UK). I read Julian Barnes’s novel of the same title during Bloodstock last year. I seem to remember it being a bit of a damp squib. A very nicely written novel, but it just sort of petered out, and its concerns were so trivial I really couldn’t care about any of its cast. And the same is, unsurprisingly, true for the film. Jim Broadbent plays a very Jim Broadbent character, who has his past rudely thrust in his face when he’s willed a diary by the mother of a woman he used to see when he was at university thirty-plus years earlier. Except he doesn’t have the diary. Because the woman, played by Charlotte Rampling, won’t give it to him. In fact, she tells him she destroyed it. So he stalks her, and discovers she has a mentally disabled son called Adrian… which is also the name of Broadbent’s best mate at school, who went on to marry Rampling after she and Broadbent drifted apart. Prompting a really shitty letter to them on his part. However, Adrian junior is not Rampling’s son, but her half-brother. And Broadbent sort of remembers an afternoon alone with Rampling’s mother… Yawn. We all confabulate, it’s a fact of life. It seemed a really feeble point to a story that didn’t appear to be going anywhere – no matter how well-acted, or -written, it was. Missable.
Suntan, Argyris Papadimitropoulos (2016, Greece). You know that story in The New Yorker that went viral the other week, and the writer ended up with a $1.2 million advance for her short story collection? There’s no logic behind why one thing goes viral and another doesn’t, although the story clearly described a situation many women had experienced. I’ve seen plenty of evidence of it happening on social media myself. It’s the same premise which drives Suntan. Kostis is hired as a doctor on a small holiday island. He keeps mostly to himself, but one day he treats a twenty-one-year-old female tourist, Anna, who flirts with him and invites him to the beach with her friends. So, after work, he heads down there, and sees Anna and her friends sunbathing nude or in skimpy outfits. They recognise him and he joins them… and over the space of several days, he spends his time after work hanging out with them. One evening, the two have sex on the beach. But then Anna disappears for several days, and when she returns Kostis is furious she left without telling him. She saw no reason to tell him, and is put off by his behaviour. He does the male thing, and stalks her. The film ends with a drunk Kostis, who has been fired from his job for his bad behaviour, kidnapping Anna… I have not watched much Greek cinema, only four films in fact, by Angelopoulos, Lanthimos, Tsangari and now Papadimitropoulos; but what I’ve seen has been very good. Recommended.
Your Name, Makoto Shinkai (2016, Japan). There’s no doubt Shinkai has produced some of the best feature-film anime to have come out of Japan this century – Your Name‘s home box office is only second for anime to Spirited Away (and Spirited Away holds the record for highest-grossing film in Japan). Mitsuha lives in a small town in central Japan. She has dreams about a boy in Tokyo. One day, she finds the words “Who are you?” written in her exercise book, and her friends remark on her weird behaviour the day before. It turns out she and the boy, Taki, have been swapping bodies. They help each other with other’s lives, communicating via notes or text messages they leave each other. Taki tries to track Mitsuha down, but all he has is a sketch of her town. He eventually discovers the town was destroyed by a meteorite, a piece of a passing comet, three years earlier. Their body-swapping time-slipped. So Taki tries to tell Mitsuha she must persuade the town to evacuate on that night… As you would expect from Shinkai, the animation in Your Name is gorgeous. It takes a moment before the story starts to pick up and it’s clear what’s going on – the viewer is initially just as confused as Mitsuha. But as the plot unfolds – as it’s clever how it works out – so you’re drawn into, first, the mystery, then the rush to warn Mitsuha, and, finally, the race to change the past. Good stuff. I suspect this may be an early runner for by top five of the year.
Star Wars VIII: The Last Jedi, Rian Johnson (2017, USA). So let’s talk about The Last Jedi. It is, I think, the dumbest of the Star Wars films yet, and that’s not an especially high bar to clear. It does some things well and it makes some interesting choices, but in its headlong rush to reset the universe back to what it was when the franchise kicked off, it runs a series of set-pieces which make zero sense either in relation to the world-building, the characters, or the warped physics that pertain in space opera movies. I liked that the Resistance is now run by women, older women, and I can’t help but wonder what the film might have looked like had Carrie Fisher completed filming. I liked Laura Dern’s character and I thought she was used well. But. Poe Dameron is not only a liability, he was pretty much responsible for the destruction of the Resistance. I realise the story template needed to have the Resistance reduced to a small band of heroes (which is a blatant retcon of the original trilogy, anyway; but never mind), but Dameron should have been booted out of the airlock after his first stupid stunt with the space bombers. (“I like him,” says General Organa… even though his dumb plan just resulted in the deaths of around 90% of the Resistance? Huh.) And… space bombers. WWII in space is one thing, but… space bombers. Bombs don’t fall in space… because there’s no gravity. It’s one thing to send a squadron of really slow spaceships on a suicidal mission – stupid, but it fits Dameron’s character and the Resistance’s clear military incompetence – but making them bombers is… Ugh. Next, there’s the central narrative of the film: the First Order’s big fuck off superstardestroyers are chasing the ragtag fugitive fleet of the Resistance… who can’t go very fast, only just fast enough to keep out of range of the First Order’s big fuck off superstardestroyers’s guns. I mean, really? Was that the best they could think up? Hugely powerful stardestroyers can’t catch up to a medical frigate? And they used to have a gun that could fire across the entire fucking galaxy in an instant? But now their superstardestroyers’ guns have an effective range of a few thousand kilometres? It’s such blatantly manufactured jeopardy, it feels like it’s treating the audience with contempt. Yes, yes, the General Organa blasted into space thing was silly, but made more sense within the universe than the space bombers did. On the other hand, I did like the sections set on Skellig Michael, and I thought the bit with the mirrors was especially good. Rey, in fact, makes a really good hero, much more so here than in The Force Awakens, where she seemed overwhelmed by the story. Kylo Ren, however, is still a petulant blank, whose characterisation and motivation bounce all over the place. (Having said that, the fight scene in the throne room was a proper bit of action sf cinema.) The Last Jedi also muffed its major villain – we don’t know where Snoke came from, and he dies without us learning. All that build-up for… zip. But then I still don’t understand how the First Order managed to pay for, build and staff a fleet of big fuck off superstardestroyers, while the actual government of the galaxy, the New Republic, ends up stuck with the pieces of crap it had when it destroyed the Death Star. That’s the big problem with this new Star Wars trilogy – it wants to go back to the plucky band of heroes versus the big bad empire, but it can’t plausibly get there within the lifetimes of its heroes. So the film-makers just went, ah fuck it, let’s have a new evil empire that’s more powerful than the Republic which defeated the old evil empire hiding out somewhere all along, just in case, you know, the old evil empire was defeated… Or something. And we’re supposed to swallow it. Can you imagine if the Fourth Reich turned up from nowhere in the 1970s, and it was better-equipped than the USA and USSR combined? Having said all that, lots of people have been finding positive things in The Last Jedi that were sadly lacking earlier Star Wars films. If we can just add intelligence to that list, then the next one might turn out alright…
1001 Movies You Must See Before You Die count: 895