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Showing posts with the label Highly Recommended

R.M.N. (2022)

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Well, I've got a new favorite Romanian Christmas movie. And before you roll your eyes, let me remind you that actually means something  - for whatever reason the nation has produced some extremely good holiday films. I've got no idea what else exists that hasn't gotten attention over here, of course, but the three that made their way to the States all packed a punch. Also, all three have featured faltering romantic partnerships as plot elements - no idea what's up with that trend, either. That's about where comparisons end between R.M.N. and the other two, however. Actually, comparisons should probably end a bit earlier, as even that's a tenuous connection: the male lead in R.M.N. has a very different relationship with both his wife and mistress than those presented in the films I linked to. Before we get into the actual story, I do want to caution this is a movie best experienced spoiler-free, and - in case that whole "new favorite Romanian Christmas movi...

El día de la bestia [The Day of the Beast] (1995)

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Another in a long line of movies I'm gobsmacked I never knew existed until now, The Day of the Beast is a Spanish horror/comedy from director Álex de la Iglesia about a Catholic priest attempting to prevent the apocalypse by committing enough sins and spreading enough evil that he tricks the devil into buying his soul and revealing the birthplace of the anti-Christ. A premise this absurd is of course going to rest on style and tone - fortunately, de la Iglesia is up to the task, and the resulting film is compelling and darkly funny. Where it comes up a bit short is the ending, which feels like it's missing a beat. But more on that when we come to it. The movie starts on December 22nd with Angel (the aforementioned priest, played by Álex Angulo) bringing his discovery to a fellow clergyman, who agrees to help him in his quest to prevent the end of the world. Unfortunately, that guy dies immediately after when a comically large cross falls over and crushes him; the first of many ...

Morvern Callar (2002)

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This is one of several movies I found on a BFI list of great Christmas movies of the 21st century . Like a few movies on that list, Moven Callar's holiday credentials are a tad dubious - I'd defend this as a Christmas movie, but it's a pretty close margin. What's less ambiguous is the quality. The movie is gorgeously shot, with a fantastic performance from Samantha Morton in a role conveyed largely through physicality. I don't quite agree with the assessment in the article linked above that she "barely says a word throughout the film," but it's notable that virtually nothing she says offers a hint as to why she's doing any of the things she does. The movie is exceptionally good, and those in the mood for something dark and meditative will find it a satisfying experience, provided they're not easily frustrated by narratives that are disinterested in explaining themselves. So, take all that into account before reading on, because - as usual - we...

Cover Up (1949)

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I'm going to cut right to the spoiler warning, because Cover Up is a delightful Christmas mystery that fans of noir (and the era in general) deserve to experience without having the story, ending, or even tone spoiled. It's the sort of movie that leaves me confused as to why it's not already considered a classic. That's not to say it's perfect - aspects of the last act are a bit underwhelming - but it's extremely good, compelling, and unlike any other film from the era I've come across. And, like any good mystery, it's better seen without being familiar with the synopsis. You've been warned. For those left, in the first paragraph I recommended this for fans of noir, but I didn't outright identify it as such. Others have, and it certainly bears hallmarks of the pseudo-genre: black and white cinematography, heavy use of shadow, expressionist elements... you know the drill. But ultimately the film almost feels like an anti-noir, leaning more towards...

Merry Christmas [Hindi] (2024)

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It's almost easier to describe Merry Christmas as a neo-noir that serves as a throwback to American noir Christmas films of the '40s and '50s, as well as Hitchcock's mysteries, and leave it at that. Only doing so ignores the fact it's an Indian film set in Mumbai and filmed simultaneously in Hindi and Tamil and based on a French crime novel called "Le Monte-charge" which was previously adapted into a 1962 film called, "Paris Pick-Up" (which I'm absolutely adding to my watchlist, despite a sinking suspicion I'll never find a copy). All of which is to say the movie is an intricate web of references and homages spanning continents and eight decades, some of which I'm qualified to discuss and others... not so much. The movie is dedicated to a famous Indian director, and dialogue in the movie itself references what I assume are Indian films inspiring Merry Christmas - I'm sure there are layers I'm missing because I lack a backgroun...

Dear Santa (2024)

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A throwback to '80s and '90s kid's comedy genre flicks (think Small Soldiers), Dear Santa is an amusing, high-concept family film posing the question, "What if a kid misspelled "Santa" and wound up summoning the Devil by mistake?" I should note it isn't alone in exploring this idea - there's apparently a movie from the Philippines with virtually the same premise and (depending on how things shake out) possibly the same title that might get released soon (though it's having some issues with various censors). Also, some guy wrote a similar short story twelve years ago with a very different tone you can read here . And of course Christmas demons are nothing new. Hell, Christmas demons in movies built around kids are nothing new - Krampus , Rare Exports , and The Sacrifice Game all feature protagonists in their teens. But those are all horror movies, intended for older audiences, while Dear Santa is targeted directly at kids and families. Just m...

The Sacrifice Game (2023)

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We're going to start this off with a combination spoiler and content warning, because I absolutely loved this movie, it's packed with twists and surprises you're better off not knowing about, and it's also got some extremely disturbing sequences some of you probably are better off being aware of before deciding whether to see it. If gore and violence are dealbreakers for you, this might be worth avoiding, or at the very least holding off until someone who knows your precise limits can advise you on whether it's worth proceeding. However, if you're able to handle a handful of brutal moments, the payoffs here are plentiful, and - again - better if you don't know what's coming. So if you enjoy horror, dark fantasy, or anything of the sort, please stop reading now if that warning didn't scare you off. This is one of the rare incidences where it actually matters. The Sacrifice Game is sort of a nesting doll of genres, twists, and ideas. It lets you in on ...

The Night of the Hunter (1955)

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When I first watched this a few years ago, I came to two conclusions: first, that it wasn't really what I'd consider a Christmas movie, and second that it was a goddamn masterpiece. That second point isn't exactly a new observation, even if audiences and critics weren't ready for Charles Laughton's visionary work of horror when it came out. The Night of the Hunter may have been a flop in 1955, but these days any list of "the greatest movies ever made" that doesn't include it is liable to face criticism of its own. I'll touch on why it's become so well regarded, but first let's tackle the thornier issue: whether the film's admittedly brief holiday sequence qualifies it for discussion here. The sequence in question occurs at the very end of the movie following a time jump - prior to that, the film seems to be set in the summer, though the precise date is left nebulous. It's a relatively brief sequence serving as a sort of coda to the ...

The Holdovers (2023)

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Sometimes I'll say a movie doesn't have much of a plot, or that it's not driven by its story. In most cases, I'm lying: the movie has a plot, it's just that said plot is driven primarily by subtle character interactions and developments that are both difficult to remember and even more difficult to recap. In other words, I'm really saying the movie's plot isn't defined by external story beats but internal growth. The Holdovers is one such film. I'm spelling that all out, because I don't want to give the impression that very little occurs in the course of the movie, or that there's anything less than fantastic about the writing. This is an amazing movie, and it deserves the accolades it's received. But it's also a subtle movie, which means it's a pain in the ass to actually describe the plot, so don't expect more than a vague overview this time. The premise centers around two or three characters, depending on which side of the ...

Things to Come (1936)

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Let's acknowledge up front that this isn't something I'd call a Christmas movie, though it comes significantly closer than I'd have expected. Things to Come is a 1936 British science-fiction film directed by William Cameron Menzies and scripted by... hold on... got to check my notes here... some guy named H. G. Wells. Anyone heard of him? Things to Come doesn't have a typical narrative. While the movie sort of has a lead actor, his characters (he plays a couple) are really just standing in for an ideology. The real main character is the fictional city of "Everytown" (subtle!) which evolves and changes over the course of a century. The movie is less interested in its human characters than it is in speculating on the arcs of history. This is quite literally Wells's vision of a possible future, augmented with absolutely astonishing sets and visual effects that often left me scrambling to figure out how shots were achieved. That qualifies as a recommendati...