2017 Movie Viewing Log

Top 10 of the Year:

1. The Iron Giant (1999, Bird)
2. The Castle In The Sky (1986, Miyazaki)
3. Delicatessen (1991, Jeunet, Caro)
4. Mother! (2017, Aronofsky)
5. Wind River (2017, Sheridan)
6. Arrival (2016, Villeneuve)
7. Get Out (2017, Peele)
8. Donnie Darko Directors Cut (2001, Kelly)
9. Baby Driver (2017, Wright)
10. Hell or High Water (2016, Mackenzie)

Well it’s that time again.

January:

1. Meek’s Cutoff (2010, Reichardt)-65, Netflix Instant Viewing
2. The Gunman (2015, Morel)-70, Netflix Instant Viewing
3. The Lobster (2015, Lanthimos)-92, Family Video
4. Hail, Caesar! (2016, Coen Brothers)-91, Family Video
5. Night Moves (2014, Reichardt)-88, Public Library
6. Room (2015, Abrahamson)-95, Family Video

Movie of the Month: Room (2015, Abrahamson)-95, Family Video

February:

7. Dirty Grandpa (2016, Mazer)-78, Amazon Prime
8. Hell or High Water (2016, Mackenzie)-96, Family Video
9. Out of Sight (1998, Soderbergh)-90, Crackle
10. Dead Men Don’t Wear Plaid (1982, Reiner)-83, Family Video
11. Beyond The Black Rainbow (2010, Cosmatos)-81, Public Library
12. Ex Machina (2015, Alex Garland)-95, Family Video
13. Justice League: War (2014, Oliva)-70, Netflix Instant Viewing
14. Girl Asleep (2015, Myers)-93. Netflix Instant Viewing
15. Justice League: The Flashpoint Paradox (2013, Oliva)-81, Netflix Instant Viewing
16. Death Race 2050 (2017, Echternkamp)-80, Netflix Instant Viewing
17. John Wick Chapter 2 (2017, Stahelski)-95, Theater Viewing
18. Manchester By The Sea [2016, Lonergan)-93, RedBox
19. Arrival (2016, Villeneuve)-97, RedBox
20. The Crippled Avengers (1978, Chang)-77, Netflix Instant Viewing
21. Finding Dory (2016, Stanton)-88, Netflix Instant Viewing
22. Gnomeo and Juliet (2011, Asbury)-60, DVD
23. Zach and Miri Make A Porno (2008, Smith)-87, Netflix Instant Viewing

Movie of the Month: Arrival (2016, Villeneuve)-97, RedBox

March:

24. Man of Steel (2013, Snyder)-90, Family Video
25. Batman Vs Superman: Dawn of Justice (2016, Snyder)-71, Family Video
26. Get Out (2017, Peele)-97, Theater Viewing
27. Superman: The Movie (1978, Donner)-91, Netflix Instant Viewing
28. Night Owls (2015, Hood)-86, Netflix Instant Viewing
29. Kung Fury (2015, Sandberg)-90, Netflix Instant Viewing
30. The Iron Giant (1999, Bird)-100, Netflix Instant Viewing
31. Logan (2017, Mangold)-94, Theater Viewing
32. Kong: Skull Island (2017, Vogt-Roberts)-90, Theater Viewing
33. Superman II (1980, Lester/Donner)-90, Netflix Instant Viewing
34. Ms. 45 (1981, Ferrara)-93, YouTube
35. Superman III (1983, Lester)-34, Netflix Instant Viewing
36. Superman IV: The Quest For Peace (1987, Furie)-65, Netflix Instant Viewing
37. X-Men: Apocalypse (2016, Singer)-81, RedBox

Movie of the Month: The Iron Giant (1999, Bird)-100, Netflix Instant Viewing

April:

38. Looney Tunes: Back In Action (2003, Dante)-80, Netflix Instant Viewing
39. HairBrained (2013, Kent)-76, Netflix Instant Viewing
40. Joe Vs The Volcano (1990, Shanley)-88, Family Video
41. In Like Flint (1967, Douglas)-88, Netflix Instant Viewing
42. Eyewitness (1981, Yates)-75, Netflix Instant Viewing
43. Micheal Bolton’s Big, Sexy Valentine’s Day Special (2017, Aukeman)-90, Netflix Instant Viewing
44. Reptilicus (1961, Pink)-40, Netflix Instant Viewing
45. Free Fire (2016, Wheatley)-93, Theater
46. High Rise (2016, Wheatley)-95, Netflix Instant Viewing
47. The Castle of Fu Manchu (1969, Franco)-7, Comet TV

Movie of the Month: High Rise (2016, Wheatley)-95, Netflix Instant Viewing

May:

48. Carnage Park (2015, Keating)-75, Netflix Instant Viewing
49. Guardians of the Galaxy Vol. 2 (2017, Gunn)-93, Theater Viewing
50. Sausage Party (2016, Vernon and Tiernan)-80, Netflix Instant Viewing
51. Donnie Darko Directors Cut (2001, Kelly)-97, DVD
52. Eegah (1962, Hall Sr.)-15, Netflix Instant Viewing
53. Alien: Covenant (2017, Scott)-93, Theater Viewing
54. Catalina Caper (1967, Sholem)-5, Netflix Instant Viewing
55. Future War (1997, Doublin)-10, Netflix Instant Viewing
56. Twice-Told Tales (1963, Salkow)-80, Comet TV

Movie of the Month: Donnie Darko Directors Cut (2001, Kelly)-97, DVD

June:

57. Wonder Woman (2017, Jenkins)-91, Theater Viewing
58. It Comes At Night (2017, Shults)-92, Theater Viewing
59. Hercules Against the Moon Men (1964, Gentilomo)-35, Netflix Instant Viewing
60. Horrors of Spider Island (1960, Böttger)-6, Netflix Instant Viewing
61. I Accuse My Parents (1944, Newfield)-40, Netflix Instant Viewing
62. Jack Frost (1964, Rou)-65, Netflix Instant Viewing
63. Fist Fight (2017, Keen)-80, Family Video
64. Laserblast (1978, Rae)-0, Netflix Instant Viewing
65. Merlin’s Shop of Mystical Wonders (1996, Berton)-50, Netflix Instant Viewing
66. Los Nuevos extraterrestres (1983, Simón)-15, Netflix Instant Viewing
67. Spy (2015, Feig)-88, Family Video
68. Ant-Man (2015, Reed)-88, Family Video
69. My Neighbor Totoro (1988, Miyazaki)-95, Theater Viewing
70. The Pocket Man (2016, Chubinidze)-92, Theater Viewing
71. Snack Attack (2012, Cadelago)-75, Theater Viewing

Movie of the Month: My Neighbor Totoro (1988, Miyazaki)-95, Theater Viewing

July:

72. Santa Claus Conquers the Martians (1964, Webster)-0, Netflix Instant Viewing
73. The Sidehackers (1969, Trikonis)-0, Netflix Instant Viewing
74. Baby Driver (2017, Wright)-97, Theater Viewing
75. Spider-Man: Homecoming (2017, Watts)-93, Theater Viewing
76. A Single Life (2014, Blaauw, Oprins, Roggeveen)-82, Theater Viewing
77. Game Over (2006, Pes)-85, Theater Viewing
78. Luminaris (2011, Zaramella)-91, Theater Viewing
79. Kiki’s Delivery Service (1989, Miyazaki)-91, Theater Viewing
80. Valerian and the City of a Thousand Planets (2017, Besson)-55, Theater Viewing
81. Teenagers From Outer Space (1959, Graeff)-51, Netflix Instant Viewing
82. National Lampoon’s Van Wilder: The Rise of Taj (2006, Nathan)-56, Charge TV

Movie of the Month:  Baby Driver (2017, Wright)-97, Theater Viewing

August:

83. Dunkirk (2017, Nolan)-93, Theater Viewing
84. Night Monster (1942, Beebe)-56, MeTV
85. Bite (2015, Archibald)-60, Public Library
86. The Black Torment (1964, Hartford-Davis)-81, Public Library
87. Blair Witch (2015, Wingard)-69, Public Library
88. Atomic Blonde (2017, Leitch)-88, Theater Viewing
89. Johnny Express (2014, Woo)-93, Theater Viewing
90. The Castle In The Sky (1986, Miyazaki)-100, Theater Viewing

Repeats Seen On The Big Screen: Temple of Doom (1984, Spielberg)-90 and The Last Crusade (1989, Spielberg)-95.

Movie of the Month: The Castle In The Sky (1986, Miyazaki)-100, Theater Viewing

September:

91. Godzilla Against Mechagodzilla (2002, Tezuka)-75, Comet TV
92. Deathstalker III: The Warriors from Hell (1988, Corona)-35, Comet TV
93. The Castle of Cagliostro (1979, Miyazaki)-92, Theater Viewing
94. Cave Dwellers (1984, D’Amato)-0, Comet TV
95. Wind River (2017, Sheridan)-98, Theater Viewing
96. Afternoon Class (2015, Oh)-90, Theater Viewing
97. The Centrifuge Brain Project (2012, Nowak)-90, Theater Viewing
98. Nausicaä of the Valley of the Wind (1984, Miyazaki)-92, Theater Viewing

Movie of the Month: Wind River (2017, Sheridan)-98, Theater Viewing

October:

99. Mother! (2017, Aronofsky)-98, Theater Viewing
100. Bride of Frankenstein (1935, Whale)-95, Public Library
101. Crawlspace (1986, Schmoeller)-90, Public Library
102. A Cure for Wellness (2017, Verbinski)-65, Public Library
103. Urban Legend (1998, Blanks)-80, Crackle
104. The Satanic Rites of Dracula (1974, Gibson)-70, Tubi TV
105. The Manster (1959, Crane, Breakston)-45, Tubi TV
106. Final Destination 2 (2003, Ellis)-82, Public Library
107. 20 Million Miles To Earth (1957, Juran)-80, Public Library
108. Blood For Dracula (1974, Morrissey)-70, Public Library
109. Raw (2017, Ducournau)-92, Netflix Instant Viewing
110. Legion (The Exorcist III DC, 1990, Blatty)-94, Public Library
111. The Curse of the Cat People (1944, Wise, Fritsch)-71, Public Library
112. It (2017, Muschietti)-94, Theater Viewing
113. Pieces (1982, Simon)-77, TubiTV
114. Flesh For Frankenstein (1973, Morrissey)-75, Public Library
115. Fright Night (2011, Gillespie)-84, Public Library
116. Alice, Sweet Alice (1976, Sole)-82, TubiTV
117. Jennifer’s Body (2009, Kusama)-90, Blu Ray
118. Salem’s Lot (1979, Hooper)-90, Blu Ray

Movie of the Month: Mother! (2017, Aronofsky)-98, Theater Viewing

November:

119. Cutthroat Island (1995, Harlin)-45, Charge TV
120. Crossfire Trail (2001, Wincer)-77, Get TV
121. Delicatessen (1991, Jeunet, Caro)-100, Netflix Instant Viewing
122. Thor: Ragnarok (2017, Waititi)-91, Theater Viewing

Movie of the Month: Delicatessen (1991, Jeunet, Caro)-100, Netflix Instant Viewing

December:

123. Paprika (2006, Kon)-95, Public Library Blu Ray
124. Star Wars: Episode VIII – The Last Jedi (2017, Johnson)-94, Theater Viewing
125. Scary Movie (2000, Wayans)-83, Netflix Instant Viewing
126. Justice League (2017, Snyder)-82, Theater Viewing

Movie of the Month: Paprika (2006, Kon)-95, Public Library Blu Ray

Director Spotlight: Wes Anderson

When I was an even younger man years ago I stumbled onto a movie by a director named Wes Anderson. The film was named Rushmore, and it came out in 1998, although I saw it a couple of years after its release. The movie had a large impact on my life, as I was in high school at the time and therefore related to the tale of a young man who lusts after a gorgeous teacher at his school. This was also one of my first experiences with Bill Murray, who at the time I only knew of through comedic works such as Groundhog’s Day and later on Ghostbusters and Caddeyshack, among other famous movies that he’s been a star of.

Rushmore though witnessed Murray showing a different side, a dramatic and tragic aspect of his acting that most, perhaps even himself included, didn’t know he was capable of doing. However the film’s star is fresh-faced, pimples and braces included, Jason Schwartzman, who became famous and who’s character Max Fischer is one of those Anderson character types that have become typical of his films. Only after seeing Rushmore did I finally watch Bottle Rocket, which was his first movie, and thus like some of his films I went forwards first and then backwards, then forwards again.

Although many of his films are non-linear, Anderson primarily chooses to divide many of his films into book chapters, something that Quentin Tarentino has also done along with many other famous directors. To me Bottle Rocket was a rather fine debut, a first film that I eagerly revisited after purchasing it on Criterion a couple of years back. Own Wilson and Luke Wilson may have slummed it through some awful movies in their time, but their work with Anderson has been nothing but excellent and Own has properly assisted him at times in the writing and screenplay departments.

Although quite raw due to being Anderson’s earliest work, Bottle Rocket properly establishes many of his themes and showcases also his ability to expertly work in classic rock populated soundtracks. It’s also one of the handful of movies of his that is set in the present, although even in his modern-day films there are old devices and mediations upon the effects time has on us all.

Which brings me to The Royal Tenenbaums, one of his masterpieces. Gene Hackman is the centerpiece of a movie about a family that crumbles apart only to slowly piece itself back together. Anjelica Huston is marvelous as Royal’s poor wife, a strong woman who has put up with Royal’s lies and bumbling for far too long. I’m not sure which movie sports the better Luke Wilson performance: Bottle Rocket or Tenenbaums, yet he is excellent in both films. By this point Anderson had mastered the art of bringing together amazing and rather huge casts, as this film has everyone in it from Danny Glover to Ben Stiller-two actors by the way that I wish had been in another of his films.

In Tenenbaums Anderson also reveals his obsession and mediation upon wealth and power, ambition and fame, family and problems lurking beneath the surface. Class is an important aspect of all of his movies, and standing both social and imagined is noted by the characters in his films. Yet his next two movies take the viewer even further down his own special version of the rabbit hole, peering into new avenues and enlarging his own universe.

Some days I regard The Life Aquatic as his best film, other times I think its Rushmore. Featuring arguably Bill Muarry’s best performance (out of the ones I’ve seen, anyways) and also featuring the wonderful Willem Dafoe and the properly grumpy Michael Gambon, among many distinguished others, The Life Aquatic is Anderson taking his drama-comedy style and adding action/adventure to the mix. Steve Zissou, the film’s tragic protagonist, is wary and put upon, having sadly become a punch line even among his own people. The quest to destroy a shark is really Zissou having one last grand voyage before he is forced to hang it up for good, done in by time, lack of funding, and a diminished ability to create anything worthy of note.

This is Anderson going meta, and in the process the fact that it has a rotten rating under 60% on the Rotten Tomatoes Tomotemeter is fitting and ironic considering what The Life Aquatic is about. I remember Roger Ebert’s thumbs down review and after seeing this  movie I think most of those critics missed the point, or they got the point and didn’t like it. I love this movie: its one of his funniest, most entertaining, and delightful films.

Which brings me to a movie that at first I was not a huge fan of at first, yet a recent second viewing thanks to Criterion caused me to re-evaluate my opinion: The Darjeeling Limited is a difficult movie to consume and examine, particularly since I cannot thankfully relate to losing a parent. However the magnificent trio of Adrian Brody, Own Wilson, and Jason Schwartzman (naturally like all self-styled auteurs Anderson uses the same people in most of his movies) make this film a rather very good, almost near great, picture, one that I enjoy. At the same time I think its one of his lesser works, although I do love the soundtrack and the ending is rather fitting. Out of all of Anderson’s movies I feel this one is dead set on moving on from the past and striving toward the future, which is interesting considering the next film he chose to make.

Even though I think its his weakest film, The Fantastic Mr. Fox is still really good and quite enjoyable. Considering how quirky and weird many of his movies are I’m a little surprised that Anderson did not direct an animated movie sooner; I suspect given the right material he will make another one in the future. I loved George Clooney and Meryl Streep in this, as they work well together and form the movie’s emotional center. Also this film has one of Anderson’s best soundtracks, which adds to the movie’s mood and underlines the brilliant animation-I loved the waterfall shot, which was beyond gorgeous.

Unlike The Darjeeling Limited though this movie is more about not being able to escape your past, as Clooney’s Mr. Fox gives in to his base desires and endangers his clan and friends in the process. I like that at this point Anderson uses largely the same actors not so much because he thinks he is an auteur but also because by this point in Anderson’s career this group works incredibly well together. Oh and Clooney and Bill Murray’s interactions in this movie are my favorite parts. “Are you cussing with me?” This is also the first Anderson movie I was able to see in theaters, and it was a delightful experience.

After two lesser movies I thought that Anderson was losing his touch, so when he created Moonrise Kingdom and it was a truly marvelous thing of beauty to watch I was revealed that he was back in a manner of speaking. Unlike his other films he centers this primarily around kids, with the adults taking a backstage. The aptly named Sam and Suzy are running away, embracing their own destiny having fallen in love over the course of a warm New England summer. With the adults in pursuit, the two kids end up going through an outlandish and comedic adventure that is thrilling and engaging. This film is also the Anderson debuts of Edward Norton, Bruce Willis, Tilda Swinton, and Harvey Keitel. The last act is the most action packed out of any of Anderson’s movies save for The Life Aquatic and The Grand Budapest Hotel, and the two young child actors Jared Gilman and Kara Hayward are naturalistic in their performances. It’s a new favorite of mine.

Lastly, The Grand Budapest Hotel sports Ralph Fiennes in his first Anderson movie as M. Gustave, who is the hotel’s concierge and who becomes the mentor a young lobby boy named Zero. Combing elements of 1930s Hitchcock films with elements from his other films, The Grand Budapest Hotel is hilarious, tragic, and beautiful-everything that I’ve come to expect from an Anderson movie. I’m glad that I’ve seen the last three movies of his in theaters, as seeing them on the big screen adds something that watching them on my TV does not. I also think that Hotel has what is arguably his most gigantic and best cast, and I loved F. Murray Abraham as the film’s narrator. Also this is probably the most bittersweet out of all of Anderson’s movies, and thus achieves an odd sort of grand status.

Despite other modern directors being better than Mr. Wes Anderson, I consider him to be one of the finest American auteurs-a true artist in the sense of the word. His movies are entertaining, funny, never boring, and rather colorful. I love the color schemes he chooses for his movies, and his style is rather distinctive. It is interesting how despite never experiencing great awards success his films are mostly well reviewed, which suggests that the Academy either doesn’t understand his work or they fail to appreciate it. Too bad, although many great Hollywood performers over the years have failed to capture a little golden man. When Anderson retires the film world will be a little more empty, and I hope that I never witness the day when he makes a bad or dull film.

I’d Like To Thank The Academy…

Every year I tune into the Oscar ceremony without fail, despite how I feel about who got snubbed or why they nominated this movie and that movie. Look I’m the last guy to defend the Academy since they have been wrong so many times, and yet…I like the Oscars. The whole pomp and spectacle, the way too long TV presentation-I find it entertaining. The only thing that I skip is the red carpet pre show, which happens to be way too dumb for someone like to me to enjoy, although I guess some of the interviews that take place are amusing.

Besides the Academy Awards often get things right when it comes to who wins, even if it takes them longer than it should. Which is different from other awards shows, particularly the Grammy’s-and Oscar haters should keep in mind that the Grammys, the Emmy’s, and even the Golden Globes have been wrong about who they gave awards to. Besides people forget it’s all subjective, and that the awards season has become incredibly saturated to the point where even a grand old classic like the Oscars has lost a lot of its magic.

Which is a shame, because the Oscars is the main attraction of the awards season. Oh sure the Golden Globes is the fun party, the Emmys the awards show for the often too overlooked medium of television. The Grammy’s on the other hand is utter crap and has always been so, and for some reason I find the gross super populism of the MTV Movie and Music awards to be almost refreshing at times. Still if there is one telecast that almost everyone tunes into, pours over the day before and after, and cares about, it’s the Academy Awards.

I remember when Rotten Tomatoes’ message board exploded when Crash won Best Picture over Brokeback Mountain. There doesn’t seem to be anything that compares, and I like that way. I have been watching the Academy Awards telecast since 1996, the year that Braveheart won Best Picture and Apollo 13, Babe and others were nominated. I was too young to see any of the nominees from that year save for Babe and yet I was hooked. Its been that way ever since.

Yes I have complained about who wins almost every year, despite the fact that the Academy has also brought me plenty of joy. I cheered when the Coen Brothers finally won Best Director, and I was so happy when Martin Scorsese broke through to get his first little golden man. Christopher Waltz taking home an acting Oscar was great too, and I smiled at George Clooney and later on Ben Affleck finally getting their proper dues. Quentin Tarentino acting so happy at winning Best Screenplay last year for Django Unchained reminded me that even though he didn’t win for anything else I loved that he held up that statue like he had just won the Super Bowl. Yes the awards show is flawed-they play off the awards winners too quickly (I loved it when Jon Stewart invited back onstage the people from Once who won Best Song when they had been rudely played off-a really nice touch). The show seems to be stuck in this hard place between inviting entertainment and not being incredibly long.

What I especially recall though was the year that Titanic won Best Picture. Billy Crystal’s spoof opening for the ceremony was hilarious, and yes James Cameron went full blow ego-manic with his awards speech. That’s what we often tune in for, though-the unscripted moments, the parts that are unexpected. Even if the awards have become too obvious and unexciting, we, the audience, watch just for that one part that catches us by surprise. And that’s why I still watch the Oscars every year. It’s a bad habit, sure, but its my bad habit. For better or worse.