(HBO MAX/VOD) Undersung misfit noir that directly inspired and influenced the major French New Wave directors, and you most certainly wouldn’t have BONNIE & CLYDE without it.
Filmed in a vivid cinéma vérité style, it’s a surprisingly complex character piece, while still managing to be a satisfying caper. The heist scene (https://www.youtube.com/watch?v=28aPxWtdaGY) is one that will feel familiar, simply because so many filmmakers have cribbed from it, Scorsese in particular.
(Apparently only available via peacock for some inexplicable reason.) Peter Greenaway’s astounding visual and theatrical marvel — intermittently abusive, cruel, and romantic — it weaves in his signature use of typography and painterly riffs in an accessible, sensational, manner. On top of that, it includes custom Gaultier designs that match the mood (and color) for every scene, and features Michael Nyman’s masterful dirge MEMORIAL.
Please note: the following trailer is NSFW.
(Criterion/HBO MAX/VOD) Peter Weir’s fascinating, gauzy adaptation of the classic Australian novel makes the source material even more enigmatic. A masterclass in evoking dreamy and hallucinatory imagery, and a quintessential ‘lost girls’ tale.
Amazon also released a six-episode adaptation of the novel recently, a surprisingly different — and welcome — take on the material.
(fubo/kanopy) Mid-90s indie queer film that Cheryl Dunye (who has directed eps of DEAR WHITE PEOPLE, QUEEN SUGAR, and LOVECRAFT COUNTRY) explores Black lesbian culture through the lens of film history. Features far more laughs than this description suggests, it’s very much of its time, but damn well worth yours.
(The following is a scene — not a trailer — as there appears to be no trailer of it online.)
(kanopy/Mubi/VOD) Amy Seitz’s directorial debut. A hard watch about a couple dealing poorly with a severe situation. Kate Lyn Sheil is amazing at toeing a thin line.
In the light of recent info regarding Seitz it seems rather twisted to watch, but is still worth your time, especially if you’re open to a modern take on BADLANDS.
(Criterion/HBO MAX/kanopy)? The directorial debut of Susan Seidelman (DESPERATELY SEEKING SUSAN, SHE-DEVIL) focuses on a woman trying to get by and create an image of herself in NYC. Also features punk impresario Richard Hall, if that’s your thing.
(STARZ/VOD) If you know me, you know I’ve been a booster for JOSIE AND THE PUSSYCATS practically since it was released. My wife has even walked into my office and exclaimed: ‘You’re watching JOSIE AND THE PUSSYCATS again?!’
It’s a cutting satire of late ‘90s/early naughts consumer culture, perfectly cast, with candy-coated visuals and a soundtrack to die for. Even if it didn’t have goddamn amazing songs fron Adam Schlesinger (R.I.P., also responsible for many great songs from CRAZY EX-GIRLFRIEND. Also, Fountains of Wayne) and Kay Hanley (Letters to Cleo), it’d still be amazing. It’s far smarter than it looks.
Also, it’s the only film to have prominently featured SEGA’s SPACE CHANNEL 5, an under-appreciated videogame classic.
(kanopy/VOD) A very quotable look at a young female punk rock group, starring Diane Lane as Corinne ‘Third Degree’ Burns, and penned by Nancy Dowd (SLAP SHOT) who ultimately changed her credited name to ‘Rob Morton’ because she was dissatisfied with the music video ending. (I can’t imagine the film without that music video.)
As you’d expect, it has a fantastic soundtrack and features a number of punk cameos. It’s also the reason why Laura Dern sued her family for legal emancipation, as her mother wouldn’t let her work on the film.
(DVD/BR) While I appreciate Bob Fosse as a talented choreographer and director, I don’t think much of the man himself, which is what conflicts me about this self-indulgent paean from himself, about himself, to himself. On one hand, the self-glorification of his caddish behavior — even if he hangs a lampshade on it — is pretty despicable and, even more criminal, it’s often dull. On the other hand, the closing scene is a goddamn stunner, and may make the film worth your moral price of admission.
Closing scene (NSFW):
Trailer:
(VOD) Me, upon starting the film: Ah, finally filling in one of my noir gaps.
Five minutes later: Wait, have I seen this before?
After an IMDB check: Duh, I forgot that it’s an adaptation of FAREWELL, MY LOVELY, and was renamed MURDER, MY SWEET because test audiences thought FAREWELL, MY LOVELY sounded like a Dick Powell musical.
Regardless, this is the definitive adaptation of FAREWELL, MY LOVELY, and the model for all Chandler-inspired films. Wish I would’ve watched it years ago, but better late than never.
