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Monthly Report: December 2013

One last Monthly Report to fill out the last bit of 2013. A solid group of movies of different types, with both some strong showings and some disappointments. As usual.

I’m hoping to get my annual year end awards post up within the next few days, so if you’re waiting for that one, just hold on for a little bit longer.

Happy new year, by the way!

Frances Ha (Noah Baumbach, 2012)
Few people can make movies that are as great to just listen to as Baumbach does. Frances Ha is no exception. More grounded and “real” than his usual collections of strange characters, this is a fun look into the life of a woman struggling to fit into her own idea of life. Greta Gerwig is great in the lead, while the script is smart and oddly touching.
4/5

One Last Thing (Alex Steyermark, 2005)
A teenager with cancer tries to get a date with a supermodel he fancies before he dies. This is a frustrating movie. The tone set by the awful poster is not indicative of what the film tries to be. The beginning is promising, as I found myself thinking “Oh, this is one of those movies that’ll be smarter than what it looks like at first glance.” It isn’t, though it certainly tries to be. It’s just kind of poorly put together. The actors do decent enough work – I particularly enjoyed Cynthia Nixon‘s turn as the mother – but there’s not enough time for the characters to get fleshed out enough for what the story tries to pull off with them. The film takes narrative shortcuts, skipping scenes that, while not crucial to understand what’s going on, are necessary from an emotional standpoint. There’s too much half-baked focus on religion and spirituality, and the climax just felt messed up to me. I wanted to like this film, but there’s too much getting in the way.
2/5

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Trust (David Schwimmer, 2010)
I wonder why this didn’t garner more Oscar attention for its actors, as it’s exactly the kind of “big” acting AMPAS usually loves. Just the wrong time and place, I suppose. The main trio (Clive Owen, Catherine Keener, and Liana Liberato) are all great, and the film has its emotional priorities straight. An interesting look at both how a young girl copes with sexual assault, and how her parents react. Strong movie.
4/5

Miss Representation (Jennifer Siebel Newsom & Kimberlee Acquaro, 2011)
This is a documentary everyone ought to watch. It’s not perfect by any means – tons of talking heads, some repetition, more of a light-shiner than a solution-finder – but the subject of female representation in media is a vital one that more people need to get into. And this is a good movie, don’t get me wrong. I’ve been thinking and reading about things like this for a while now, and this film still had a good deal of new insight in store for me.
4/5

Ghostbusters II (Ivan Reitman, 1989)
Strictly speaking not a new watch, as I have seen it one a great many years ago. I didn’t remember much of anything about it though, so whatever. It’s easy to come down hard on this one due to the existance of the original Ghostbusters. The first one is indeed superior in every imaginable way, mostly thanks to sharper dialogue and that whole “originality” thing. The sequel doesn’t bring much new stuff to the table, but it does have its moments, and Bill Murray as Peter Venkman remains a very fun character. It makes the passing grade – if not by a huge margin – but there’s no reason to watch it when you could be watching the 1984 movie.
3/5

(A)sexual (Angela Tucker, 2011)
Solid doc on asexuality, a subject which I knew very little about before seeing this film, learned a lot about through seeing it, but was left with a lot of questions afterwards. The movie is short, clocking in at 75 minutes, and I feel like they could have gone deeper without sacrificing pacing. Some of the stuff that was included felt a bit fuzzy too, like the whole “multiple quasi-romantic relationships” thing. Still, a movie that lets me learn new stuff, and does so in a well put-together manner, deserves credit.
3/5

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His Girl Friday (Howard Hawks, 1940)
The rapid fire dialogue took some getting used to, but this turned out to be a really funny movie with a bit of an edge to it. I wouldn’t mind watching more stuff like this.
4/5

Our Idiot Brother (Jesse Peretz, 2011)
Obvious but harmless.
3/5

Inseparable (Dayyan Eng, 2011)
Chinese movie in which a guy attempts suicide, only to get interrupted by a strange dude (played by Kevin Spacey, intriguingly enough) who tries to get his life back on track. Naturally, this involves becoming a superhero. There’s a bit more to this story that what first meets the eye, but while it’s all handled fairly well, there’s little here that hasn’t been done before in films like Defendor, Special and Kick-Ass. The addition of Spacey to the otherwise largely Chinese cast is ultimately more of a distraction than anything, even though he of course puts in a fine performance.
3/5

Sightseers (Ben Wheatley, 2012)
Wheatley’s follow-up to the intriguingly baffling Kill List offers a similar sense of bizarre and Britishness, but blends it with some down-to-earth comedy. The thick mood is still present too, offering a sense of things just being really off. It’s the stand-out quality of the film, but the acting is nothing to scoff at either. Wheatley makes films like few others.
4/5

Paradise: Love (Ulrich Seidl, 2012)
Middle age woman goes on vacation to Kenya hoping to find a man, at least for a night or two. The subject matter is of course uncomfortable, so this is not what you’d call an enjoyabe viewing experience. The film does get its points across though, and the acting is solid. Very European.
3/5

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Upstream Color (Shane Carruth, 2013)
The man who brought Primer to the world returns with an equally confusing but far less entertaining film. I have no idea what this one was even about, and I couldn’t wait for the credits to start rolling. The sound was good though, I’ll give it that.
1/5

The Hobbit: The Desolation of Smaug (Peter Jackson, 2013)
It looks good, and there are enough cool action scenes to bring the score up to a passing grade. You pretty much know what you’re getting yourself into with a film like this. But man, this trilogy is really starting to run out of steam. Stretching out the relatively modest-length novel to three movies was worrisome enough, but then they have to stretch out each individual installment too just to make it “epic”, and it’s beginning to show some tearing. There is quite a bit of padding, many scenes just run way too long, and the flow of the story is bumpy indeed. At this rate, I’m not even sure I’ll be going to see the closing chapter next year. Also, fuck Legolas.
3/5

Total # of new films seen: 13
Average score: 3.2 / 5
Best film of the month: Frances Ha
Worst film of the month: Upstream Color

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Posted by on 2 January, 2014 in Monthly Report

 

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Woes of organizing movies

There is no fully satisfactory way to organize a film collection. No system ever works without compromises, exceptions, workarounds, and/or annoying logic gaps.

Alphabetical? Sure, it makes sense in theory, but drawbacks quickly become apparent when you think about it. Does it really make sense to put Batman Begins and The Dark Knight far away from one another on the shelf? Surely they belong together. What about foreign films? Take The Diving Bell and the Butterfly, for instance. That’s its translated English title, and the name I mostly know it as. In its original French, it’s called Le scaphandre et le papillon, which could be said to be its real name. On the Swedish DVD case I have, it’s titled Fjärilen i glaskupan. So do I put it under D, S, or F?

In the past, I’ve toyed with the idea of organizing my collection according to my numerical ratings. The films I love would be showcased up front and center on my shelves, with unfavored films hidden away down at floor-level. This is another idea that sounds good organization-wise, as I tend to instinctively remember what scores I’ve given to various films. Unfortunately, this too has the undesirable side effect of splitting up franchises. Terminator 2: Judgment Day is for my money among the very best action films ever made. While I do think that Terminator 3: Rise of the Machines gets way more hate than it deserves, it’s certainly not on the same level as T2. But they still ought to stand side by side in my collection. Box sets further complicates the system. I can’t split up the Alien Quadrilogy box even if I wanted to.

Chronological order? Nah. What with me mostly having films from this side of the millenium border, it’s not all that useful. Besides, do I go with US, international, or Swedish release dates? Plus, you still have the franchise-splitting problem.

The system I’ve used for the past few years is based on genres. My shelf space is divided into sections that are assigned different types of film: Action, comedy, dramedy/black comedy, drama, romance, horror, thriller, documentary. Everything has its spot. The benefits of this system are plentifold. Franchises can be kept together – for the most part. I can say “Hmm, I’m in an action mood today” and go to the action section to pick out something suitable. I can micromanage to my liking within the subsets as well, such as bunching together musicals in the comedy section, J-horror in the horror section, Jason Statham in the action section, and so on.

Even this is not perfect, though. The aforementioned Alien Quadrilogy rears its xenomorph head again, for instance, with Alien arguably being horror while Aliens is more action-y. Where do I put my Coens set consisting of Blood Simple (thriller), The Big Lebowski (comedy) and Barton Fink (what the hell is Barton Fink anyway?) Exceptions also have to be made due to my sorting tendencies. I want to keep Kevin Smith‘s View Askew films together, for instance, but while Chasing Amy is more of a dramedy or off-beat romantic comedy, Clerks II is more straight-up comedy in my mind.

Plus, you have the often troublesome task of determining genres of individual films. Is Ghostbusters primarily an action movie or a comedy? Is Let the Right One In horror, thriller, or romance? Is Man on the Moon a comedy or a dramedy, or simply a drama that’s funny by proxy due to the subject matter? What genre is Rashomon? What genre is Inglourious Basterds?

Oragnizing is tricky indeed. Maybe John Cusack in High Fidelity has the right idea:

How do you organize your movie collection?

 
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Posted by on 15 November, 2012 in Discussions, Misc.

 

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