Anora (2024)

Anora is easily Sean Baker’s best film. This is very funny; the editing is great. the performances are excellent, and the physical comedy is top-notch. Best of all, Baker sticks the landing. He’s terrible with endings, but this one works very well. Anora ends with empathy and care. 

Still, I kind of can't believe this won the Palme d'Or. This is a filmmaker who almost uniformly shows contempt for his characters, despite coaxing brilliant performances out of his actors. And yet, I was stunned by this film’s last few moments. They don’t make the movie into something great or anything like that—it's a rather silly farce with a stellar ending—but I was still stunned; I didn’t know Baker had it in him. 

It's worth saying, too, that the supporting performance by Mark Eydelshteyn is wonderful.

Bird (2024)

My good friend Dayne once said to me that an Andrea Arnold movie looks the way it feels—it’s one of the hallmarks of her brilliant filmmaking, and this statement characterizes Bird through and through. 

This movie is about feeling alone even when you’re not physically alone; it’s about trying to fit in, trying to make a way in the world. And Bird is also about the world, by which I mean the greater-than-human world of birds, dogs, horses, snakes, toads, and the way our human lives intertwine with theirs. And this is a film about magic and love and needing other people. 

Goddammit this is a great movie.

Give 'Em Hell, Harry! (1975)

Give ‘Em Hell, Harry! is a filmed evening at the theatre (it's TheatroVision), watching James Whitmore in his celebrated role as Harry S. Truman in Give ‘Em Hell, Harry! and there’s nothing cinematic about it. It’s clearly filmed for television, in fact, with blackouts timed helpfully for commercial breaks. Whitmore is great, of course, and the play is filled with the kind of generic liberal political ideas that most people agree with across the board. The whole idea is a kind of no-nonsense politics that at least feels reasonable. The audience in the theatre loves the show and applauds throughout at various clever stories in Samuel Gallu’s play. It’s a one-man show, though, and that can make for tiring viewing. Once I realized the gist of the thing about 20 minutes in, I got rather bored. It’s a clever note, but there’s only one note.

I don't think you can watch this film anywhere...? I watched it on a bootleg DVD, and I'm sort of surprised to find it's not streaming and there is no DVD.

Twisters (2024)

Twisters is a fun time. The script is absurd, but I had a good time. Glen Powell is a star. And Maura Tierney is really great. (This film does suffer from a severe and bewildering lack of Helen Hunt.)

My lord the script is stupid though. For some reason we are supposed to believe that these YouTubers aren’t really YouTubers but are actually like humanitarians in disguise? They don’t even chase the last tornado; they drive into the town it’s about to hit and try to save people’s lives? And people listen to them? Makes no sense. But I dunno. It’s hard to be mad at this. It’s loud and suspenseful and has a good soundtrack.

Kneecap (2024)

Kneecap is hilarious, wild, and supremely satisfying. I had a great time. And I fully feckin’ cried more than once.

Do Not Expect Too Much from the End of the World (2023)

Nu Aștepta Prea Mult de la Sfârșitul Lumii (Do Not Expect Too Much from the End of the World) is the bleakest of dark comedies. This is a funny satire from Radu Jude, delivered in his insouciant, constantly innovative and unexpected style. This is a very challenging film, and it offers its laughs and its critiques in an uncompromising and bold way. This is hardcore, even brave. 

Honestly I just fucking love Radu Jude. This is so hard to watch at times, but fucking hell it’s smart… so smart. There are so many amazing, bananas sequences. And just so much heartbreaking, cutting absurdity.

The Settlers (2023)

Felipe Gálvez's Los Colonos (The Settlers) is very intense. We begin with these gorgeous views of Tierra del Fuego. A Scottish mercenary working for a Spanish settler–colonizer maps a path to the sea and kills native people. The film analyzes colonialism in no uncertain terms – it is about extracting land and people, destroying life in order to transform both land and people into property. "Nation" appears in this film as a nonsensical concept in the first part of the movie (the same colonizer owns the land on either side of the national border between Chile and Argentina) and then in the movie’s third act, nation has become something insisted on by the colonizers, forming a new nation with “justice” and “truth” and “equality” for everyone. The concept is just as absurd in the third act as it is in the first. 

This film gets even better the more I think about it.

Boys on Bikes

In preparation for The Bikeriders, I wanted to watch a kind of legendary old British biker movie I had heard about called The Leather Boys from 1965 that has a homosexual twist (or a homophobic one, depending on how you're looking at things).

Well The Leather Boys is not nearly as gay as I wanted it to be. It’s actually a very typical angry young man/woman drama from the 1960s. Lots of married young people yelling at one another and living in tiny rooms when they shouldn’t have gotten married in the first place. From the perspective of The Leather Boys, hanging out with the boys while riding around on bikes looks a lot better than going home to tea and baked beans from a can. But I’m not sure the movie really says anything about queerness or queer bike riders or any of that. This seems like a sort of strange addition to the angry young man genre. But it's clear that some of the men in the biker gangs just really don't do well with society—with going to college and getting a job and, like, raising a family and stuff—and then some of the men in the biker gang are there to wear leather and get their rocks off with other leather boys. Seems reasonable enough to me.

Anyway, that is how I prepared for The Bikeriders. And, well, it was fine. 

The Bikeriders is shot in a cool way—it reproduces a series of documentary photos taken by the (completely undeveloped) Mike Faist character—but I don't really understand what Jeff Nichols has to say about this gang of bikers. The character development for all of the men is pretty much nonexistent. We don't really know Austin Butler or Tom Hardy at all. Who are these guys? Why do they hang out together? What are they doing? They actually almost never talk about bikes, so it's probably not really that. But, then, they don't really talk about anything. They’re violent and awful and drink too much and fight for no real reason, but I guess we’re supposed to find that charming. But, like, why?? 

What’s strange is that The Bikeriders just doesn’t have much of a point of view about them. I think I know why, too. The film almost completely avoids politics—there’s one part where a guy gets beaten up because he says he wants to become a cop and another where a guy says he hates “pinkos” who go to college—but the film doesn’t agree with any of this stuff. It’s just sort of presented for us. The same guy who hates pinkos tells us that he really really wanted to go to be in the Vietnam War, except that he didn't really because he got super drunk the night before and then slept through his alarm the day he was supposed to sign up. These biker guys are counterculture dudes, right? They hate cops and the government and having a job and the man. This is what I understand. They're violent, and they think cops and firemen are schmucks, which is why they flout the law and start fights and stuff. It’s the only real reason I can think of for their antiestablishment antics. And it must also be what ties the men together. But none of them ever talks about any of that. And the film doesn’t ask them to. 

Consider, for example, the gang going to Brucey's funeral. Why does the family send their flowers back? And why does the old woman spit in Johnny's face? There's literally no reason for these old folks to hate this group so much—as far as we know. Have they done something horrible that we don't understand? The screenplay, in other words, leaves a very large lacuna in the center of the film. The Bikeriders just seems sort of there, like a documentary that never presses its subjects on anything they say.

As for my homo-preparation for this movie, I was glad I prepped with The Leather Boys. There's this crazy erotic sequence in The Bikeriders when Tom Hardy asks Austin Butler to run the club after he quits (although he's not quitting, so the scene's purpose is actually just for Tom to tell Austin he's his favorite person). But the whole scene is firelit, and they are just so close together that it feels like they should be kissing. They didn't. And I'm not actually sure why they didn't.

Inside Out 2 (2024)

Miss Joy did not learn her lesson in the first film. So we need another movie to teach us all the same things. 

Inside Out 2 has three or four good jokes and a really funny reference to that famous 1984 Apple commercial, but this movie is really stupid. I was bored for most of it. 

Why must Pixar movies all be about forcing the child to explain herself, with making sense of the darkness within all children? In fact, Pixar now makes movies where they intensely project their feelings onto the kids in their films. I imagine these Pixar folks as really, really anxious parents, intensely worried about what’s going on inside their kids’ heads. They made a film about a teenager having anxiety, but of course teenagers didn’t make Inside Out 2. This is actually a film about parents’ anxiety about what their kids aren’t telling them. 

The clue to this is that we're supposed to identify with a rainbow of characters who are trying to take care of the teenager at the center of the film rather than the teenager herself, whose actions we consistently judge. And then the big lesson that Anxiety and Joy and the other emotions need to learn is that they have no control over who the teenager will grow up to be. At whom might such a lesson be directed? Right: parents.

The filmmakers show their hand at the end of the movie when we find that "This film is dedicated to our kids. We love you just the way you are."

If my impatience with all of this is exasperatingly obvious, it's because one of the arguments I make in my book Love Is Love Is Love is that animated films seem these days to be overwhelmingly about adults' frustrations with their children's inscrutability. I put it this way in my book:

Frozen and its sequels, in this sense, take part in a larger (adult) discourse within contemporary animated films – about children whose choices cannot be explained, who "act out," whose behavior is antisocial or mysterious or queer. Films such as Song of the Sea (2014), When Marnie Was There (2014), Inside Out (2015), My Life as a Courgette (2016), Your Name (2016), The Boss Baby (2017), Bao (2018), Over the Moon (2020), Soul (2020), Wolfwalkers (2020), Belle (2021), Poupelle of Chimney Town (2021), Luca (2021), Encanto (2021), and The Mitchells vs the Machines (2021) represent the child as frustratingly obtuse and distant, its desires inscrutable, its thought processes impossible (for the adult) to access. These are, in other words, all films about the queer child, the child who resists growing up according to the approved path laid out by adults or, as [Kathryn Bond] Stockton puts it, the child who grows sideways. Unlike many of these films, Frozen appears to celebrate the idea of Elsa leaning into this sideways growth, even if the film’s narrative still insists that she illuminate – "show herself" – so that her darkness no longer remains a mystery. 

And if this makes you think that I'm calling Riley, the teenager in Inside Out 2, a proto-lesbian that is because of course I am. But, unlike the parents who made this movie, I see no reason to be so anxious about it.

Furiosa (2024)

George Miller made the very intelligent decision to give Anya Taylor-Joy around 20 total lines of dialogue in this film. Instead, the script allows the brilliant Chris Hemsworth to do the screenplay’s heavy lifting. This means that the film’s emotional center is almost non-existent and that the most interesting character is Furiosa’s nihilistic villain. In other words, there are both drawbacks and benefits to this. Taylor-Joy can’t actually carry a movie, and Miller needed Hemsworth to do this, but it makes for a very jaded, emotionless film. 

Anyway Furiosa: a Mad Max Saga is visually relatively boring – there is nothing visually new about this film compared to Mad Max: Fury Road; it’s visually identical to its predecessor. And one wonders, after all, what the point of all this is? (I wondered this with MM:FR – a film I didn’t like – as well, honestly.null) Revenge, blood, bullets, gore, oil, depravity. OK. But why? Obviously this universe is terrible and bloodthirsty and hateful. And obviously Miller believes our own universe is headed in this direction, but, like, what does the movie have to do with that?

Evil Does Not Exist (2023)

I liked Evil Does Not Exist (悪は存在しない) so much better than Drive My Car and Wheel of Fortune and Fantasy! This is a mysterious, slow-building eco-thriller that had me thinking about it hours and hours after I watched it. The film is still bogged down by Hamaguchi’s penchant for long sequences of boring conversations in cars and other static locations, but weirdly those worked for me better in Evil Does Not Exist. And because the movie begins much more slowly and contemplatively, I forgave the long conversations in the car and at the community center. The ending is great!!

Alex Garland's Civil War

Civil War is a movie about journalism—it is not a movie about politics or humanity. And, in fact, it follows most of the tropes of those movies, just without any serious emotional depth. I hated this movie, and mostly I hated it because this movie loves war and plays to the audience’s enjoyment of violence. 

There is a case to be made that Garland’s film tries to make a movie about journalism in a war-torn country while also avoiding the usual Orientalist or paternalist gaze that those movies turn toward the places where the stories are set. I think that’s probably true. The movie does avoid that.

But the movie still gets off on showing the audience a war zone and asking us to enjoy the thrill of destruction, murder, death, and wholesale slaughter. 

I did like the scene with Jesse Plemons. It’s taut and interesting, and it’s also politically sound, by which I mean that that sequence makes a smart anti-war case. The rest of the movie thinks guns are fun.

Also, have you all heard of Joe Dante's film The Second Civil War? It's much better than this business.

Challengers (2024)

Challengers is the Trent Reznor and Atticus Ross show. 

Actually, look, everyone in this is a star. And they’re all sexy as hell. And this is shot gorgeously. And the editing is fucking brilliant. And the script is just a silly sports melodrama, but it doesn’t matter because it’s so perfectly made and exquisitely directed. 

The fucking shot when everyone is turning their heads back and forth to watch the ball and Zendaya just is staring straight ahead??! Perfection.

I know not everyone will love the ending of this movie, but what I love about the ending is the way that Challengers moves into the realm of the metaphorical more and more steadily as the match goes on until it just exists purely as metaphor and refuses to go back to the real. It's so great.

The Fall Guy

This is a great time from start to finish. The jokes are funny and they’re delivered very well by an excellent cast. The fights are so much fun. Really the whole thing is just a blast. The thing is, Emily Blunt and Ryan Gosling are fucking stars, and they just run the whole thing perfectly.

This is very much like David Leitch's last movie, Bullet Train, which I also thought was a very good time.

Mars Express

This movie is visually stunning with absolutely exquisite worldbuilding; this is a very smart movie about AI. It’s the kind of intelligent, generous, and humane exploration of AI that we need. But Mars Express is a fly-by-the-seat-of-your-pants action–crime thriller that kept me guessing and surprised me constantly. Great stuff.