(VOD) Epic camp melodrama that never quite feels earnest enough, but is still a worthwhile display of a woman spiraling downwards, and the systems set in place that mean to put her in her place. (Also worth nothing: absinthe is a major plot point.)
REDS (1981)
(HBO MAX/VOD) I feel dumb for not realizing that THE AMERICANS cribbed liberally from Warren Beatty’s three-hour epic about American union organizers, socialists, and Soviet sympathizers. While it’s gorgeously shot, the written word and Diane Keaton are the complicated hearts of the film.
Fun fact: Sondheim was hired to score the film — at the same time as he was working on Merrily We Roll Along — and you can read more about it here:
MICKEY ONE (1965)
(VOD) Warren Beaty in Arther Penn’s (BONNIE AND CLYDE) most naked attempt at French New Wave within the American studio system and, yes, Beaty makes a damn fine Belmondo. It’s a bit of a maddening Kafka-esque mess that doesn’t completely cohere, but it remains a fascinating experiment (if all of the above sounds appealing).
It’s worth noting that it was an extremely formative film for Joe Dante, as he explains in this TRAILERS FROM HELL episode:
TULLY (2018)
(VOD) There aren’t enough films about motherhood mid-life crises, and this one has Charlize Theron AND Mackenzie Davis, with Diablo Cody putting words into their mouths. Cody’s come a long way since JUNO, tamping down on her writerly idiosyncrasies and has crafted an exceptional character piece.
As a sidenote: I love this trailer; I watch it at least once a month.
PRINCESS CYD (2017)
(Hulu/kanopy/mubi/tubi/VOD) Absolutely charming ‘summer of self-discovery’ film about a teen visiting her writer aunt in Ravenswood, Chicago. As I lived in Ravenswood for several years (and currently live adjacent to the neighborhood) I recognized -every single location- in the film, even down to the church the aunt attends, which means that the film’s home field advantage may unfairly tilt my critical scales, but it really is an extraordinarily delightful film. Pairs well with Showtime’s WORK IN PROGRESS.
(Warning: the trailer is less of a trailer and more of a highlight reel, so you may want to avoid it.)
THE GUEST (2014)
(IMDbTV/Netflix/tubi) YOU’RE NEXT’s Adam Wingard gave us this absolutely gonzo departure for DOWNTON ABBEY star Dan Stevens. A modern THE STEPFATHER that goes balls-to-the-wall in the final act, liberally cribbing from THE LADY FROM SHANGHAI. Also features an unappreciated Lance Reddick and one hell of a moody goth soundtrack.
DEALT (2017)
(AMC+/Hulu/VOD) I have a penchant for films and documentaries about magicians and tricksters, and DEALT is about one of the king card mechanics. This doc could hit harder, but it’s a fascinating look at an unprecedented talent and how he can’t see himself.
PAPER MOON (1973)
(Prime/VOD) Winsome depression-era period piece about a con man and his hanger-on. Sparkling dialogue, great chase sequences in a film that doesn’t need them, and surprisingly touching performances from Ryan O’Neil and his daughter. Peter Bogdanovich was on one hell of a roll.
ALWAYS SHINE (2016)
(fubu/kanopy/Plex/VOD/Vudu) A nuanced take on the ‘jealous friend’ genre from Sophia Takal (2019’s BLACK CHRISTMAS) that weaves in clever commentary about Hollywood and casting, while featuring deft camera work and terrific performances from Mackenzie Davis & Cailtin FitzGerald.
PILLOW TALK (1959)
(VOD) I’ll always love the use of a party line as a complicating device, regardless of how foreign the concept may be nowadays, so of course I was pre-disposed to enjoy this Hudson/Day tête-à-tête. PILLOW TALK is also notable for spending so much time with the primary characters in ‘splintered’ and ‘internal’ spaces, and it has some interesting visual framing and reframing work. A lot of it hasn’t aged well, especially the last 15 minutes — hell, it was almost certainly considered problematic even in 1959 — but at its best, it’s a surprisingly experimental and satisfying rom-com.
Full disclosure: I once wrote an entire horror radio play around the use of a party line.