I went to the Astor Theatre with a friend for a Robert Eggers double feature: last year’s The Lighthouse and his debut film, The Witch, that I was happy to re-watch on the big screen. T’was a fun night of creepy folk tales and period horror. Now that the coronavirus is shutting theatres down, it’s strange to think that this might be my last cinema outing for a while, and that the last two films I’ve watched are about people going insane and killing each other in confined spaces.
I’m slowly catching up on the acclaimed 2019 movies, most recently this World War I drama from the director Sam Mendes. I always have to overcome a barrier of reluctance with war movies set in the modern era, but I’m glad I managed to watch 1917 on the big screen (and in the plush comfort of Village Gold Class too!)
My first reaction to the title of this movie was to wonder if it was something in the spirit of Pride and Prejudice and Zombies, maybe a horror parody of Henry James’ The Portrait of a Lady? But no, instead this exquisite French film is a sumptuous and sensual drama about an impossible love between two women in 18th-century Brittany.
I appreciated this new take on Louisa May Alcott’s beloved semi-autobiographical novel more than I loved it, which is not to say that there weren’t things I unabashedly loved.
If you haven’t read the book or seen any previous adaptations, some spoilers to follow.
A somewhat overlong but still fabulously entertaining caper movie about the lesser-known effects of the Global Financial Crisis, with a career-best performance from Jennifer Lopez.
A film about Tom Hardy driving a car late at night and talking to people on the phone. Yep, that’s literally what the movie is about, and it kept me engrossed from start to finish.
I can’t say if I “enjoyed” this artsy and perplexing sci-fi film in a conventional sense, but I always appreciate a unique movie and Under The Skin is certainly an original experience unlike anything I’ve seen before.