November is unthemed this year: one noir collection but otherwise not heavy on the femmes fatale and criminal sorts. It’s also nicely varied, with one blockbuster of a collection and a fair amount of other cool stuff. Actually two blockbuster collections now that I think about it.
[Crossposted from Population: One; go here for the original post.]
Hey, I’m using the year in the titles now! Shows I didn’t have much confidence that I’d keep this going a year ago. Well, a big raspberry to younger me.
We’re getting spooky again, of course, with a lineup that is varied both in types of horror and in quality. I think we have another contender for worst movie to ever play on the Channel — read on to find out which one.
[Crossposted from Population: One; go here for the original post.]
Well holy crap, that’s a year’s worth of these. I’m certainly not blogging like I used to but the monthly commitment is working out!
And what a good lineup for my 12th month. The top line collections rotate around two unquestionable masters, and the good programming doesn’t end there. We’ll eat well in September. Let’s get to it.
[Crossposted from Population: One; go here for the original post.]
What a fun lineup. I think the Channel’s really nailing the summer feel this year. As always, there’s a palpable absence of Boston Crime collections, but I imagine they’re just waiting for the fall to get into that one.
[Crossposted from Population: One; go here for the original post.]
Summertime!
Pretty solid lineup coming in July; last month set a very high bar but we’re definitely continuing with those sun-drenched themes. Plus, uh, Haneke.
[Crossposted from Population: One; go here for the original post.]
It’s clearly the beginning of summer because Criterion’s June lineup is even more summery than last month’s. And last month they did a whole collection of Coastal Thrillers.
[Crossposted from Population: One; go here for the original post.]
The May Criterion lineup is, in my book, timely and exceptional. I am going to be excited for perhaps controversial reasons; let’s dig in! (Man, and I completely forgot to post this in a timely manner. Had it ready days ago.)
[Crossposted from Population: One; go here for the original post.]
I’m going to start keeping track of how many New York themed collections Criterion runs before they get around to Boston. Which I suppose would need to be Boston Crime — it’s a low hanging fruit, y’all. Or Boston Journalism but that’s not quite as rich a topic. Anyhow I did wind up watching Carol from New York Love Stories so I can’t complain too hard. So, April’s lineup:
[Crossposted from Population: One; go here for the original post.]
Aw, that’s cute, I thought I wasn’t going to watch as many movies as I did in 2022. Instead I went from 423 watched to 508 watched. Remember when I said “I want to spend more time following my whims”? That worked out really well. In 2022, I did a weekly challenge plus a weekly movie watching club plus another weekly movie watching club — it got to be a grind. In 2023 I was more varied about my tastes and I had more fun.
I also went to not one but two film festivals, SIFF and Fantasia. S. came with to Montreal! Including shorts, I watched 36 movies at SIFF and 45 movies at Fantasia, so that’s a pretty big chunk of the additional movies right there. The festivals were immensely fun and I really, really need to remember how much I enjoy that kind of thing.
My time spent watching movies was absolutely worth it. My top ten movies of 2023 were excellent, and there were way more good ones than just those ten. Plus this was the year I really discovered Iranian cinema (A Separation, Certified Copy, No Bears), I got that Bergman boxed set and watched a ton of it, and I dug into 1970s American film in a more serious way.
Directors who were largely new to me who I really liked: Bergman, as per the above; Claire Denis, as a direct result of watching Trouble Every Day and Stars at Noon as a double feature at the Grand Illusion; and Aaron Moorhead and Justin Benson, thanks to the 2023 Hooptober challenge. I also kept watching more than my share of Aki Kaurismäki.
Oh, and while I only watched one Bela Tarr/Agnes Hranitzky movie in 2023, it was in fact enough to cement them among my very favorite directors. It gets no more grim than this. I’m very glad I got to watch Werckmeister Harmonies on the big screen, and I made a point of making Satantango the first thing I watched in 2024.
My most watched actor was Juliette Binoche, thanks to Claire Denis and a rewatch of Three Colours and a bunch of other good movies. After her it’s a lot of Shaw Brothers character actors — we finished the first volume of the Arrow Shawscope set, and got started on the second — plus some 70s Italian actors which I chalk up to a lot of poliziotteschi. Huh, I watched nine of those grimy nihilistic Italian crime flicks in 2023! Not bad. I did say I was more varied about my tastes.
How about 2024? For the second year running, I’m going to watch more TV. One reason I held off on this post for a month was because I wanted to test that theory out, and in fact I only (ha) watched 24 movies in January. Six a week is a lot of movies, but I also caught up on some Slow Horses and got started on a couple of other shows. It feels good.
S. and I won’t be attending Fantasia, barring something pretty unusual. I do plan to hit SIFF harder, since I got a pass this year, and I’ll be doing Noir City at SIFF this month. I also got a subscription to Radiance Films‘ releases for 2024. Not cheap! But I think of all the boutique Blu-ray labels they come closest to hitting my sweet spot, and S likes the look of the upcoming releases. So that’ll be cool.
All in all, if I had to guess, I’ll probably see close to 400 movies… but no weekly challenges again, other than our beloved Boofest.
As is perhaps obvious, I’ve stopped copying Letterboxd reviews to this blog. I finally figured out how to script downloads of my Letterboxd data, though, so over the course of the next month or so I’ll be writing code to pull my reviews into Datasette, which accomplishes my goal of making sure I control my own words without clogging up a mostly inactive blog.
And just like I said last year, the best video store in the country makes it possible for me to watch a huge range of movies I couldn’t see otherwise. If you have a local video store, and you like movies, support them. They need you.
[Crossposted from Population: One; go here for the original post.]
I was perusing the Criterion Channel’s themed collections the other day and realized that the Caught on Tape collection was a) smack dab in my wheelhouse and b) mostly unseen by me. So in an effort to get my money’s worth out of my subscription, I decided to work through the whole collection. I’ve seen Diva and The Lives of Others before, but both are well worth revisiting.
The first movie was A Face in the Crowd, which doesn’t actually fit into the collection theme but never mind that. I’m a sucker for a good old-fashioned evil American populist movie, mostly because of my Huey Long obsession. This was that.
Andy Griffith was really awesome. Like everyone else in the world I think of him as the down to earth charming guy. His “Lonesome” Rhodes had all the charm plus a huge helping of self-centered evil, so that was great. He’s always just on the edge of over-acting which is a perfect fit for his kinda dumb drifter character.
His downfall is a great exemplar of the myth of exposure, which is particularly poignant lately. “Trump can’t possibly wriggle out of this one… ah, yes. Well. Nevertheless.” We know better than to believe that exposed contempt will strip away popularity these days; it’s wryly amusing to see one of the early expressions of that trope. To be fair the public turned against Nixon, so perhaps Kazan and Schulberg weren’t completely off-base.
They got the rest of it right, though. A billionaire and a Senator backing the populist for their own ends? Yep. Nativist sentiment as a political tool? Yep — and that was the most chilling scene of the movie.
[Crossposted from Population: One; go here for the original post.]
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