(hoopla/kanopy/tubi) Winsome mostly because of Reiner’s light touch and Tomlin’s cagey performance. Even for a male/female body-swap(-ish) film, the end is pretty messed up.
THE CLEANSE (2016)
(VOD) A surprisingly thoughtful take on the ‘things aren’t what they seem like at this therapeutic retreat’ horror film, always managing to zig when you think it’ll zag. I identified with the leads far more than I’d like to admit. While there’s a link to the trailer below, I recommend going into the film blind.
STARFISH (2019)
I’ve been watching STARFISH (2019, AMC+/fubu/VOD) in intervals over the past week; it’s visually intense, with a haunting soundtrack, yet still hard to grasp. Has a melancholy that’s like catnip to me, and so goddamn relevant right now. “I wonder if the world still exists if I choose to ignore it.”
LIKE ME (2018)
(AMC+/kanopy/Shudder) Far more intriguing than the description — ‘A reckless loner sets out on a crime spree that she broadcasts on social media.’ — makes it to be. Visually inventive, and it’s nice to see Fessenden in a meaty role again.
DEATH IN HER HANDS (2020)
Finished reading Ottessa Moshfegh’s DEATH IN HER HANDS. It reminded me of David Robert Mitchell’s second film UNDER THE SILVER LAKE, but the protagonist is modeled after Miss Marple instead of a young Marlowe, and all of the clues are authors and word snippets and character studies instead of video games, and it doesn’t end with male gratification. In other words: I loved it.
https://www.penguinrandomhouse.com/books/612693/death-in-her-hands-by-ottessa-moshfegh/
STRAY DOLLS (2020)
Kind of a mess, a bit like THE FLORIDA PROJECT if it were a thriller, but it has style, the lead is fantastic, and (small spoiler) Cynthia Nixon shredding the lead’s passport is one of the most violent scenes I’ve seen in some time.
FAREWELL, MY LOVELY (1975)
(fubu/hoopla/peacock) A bit too late in life for Mitchum to play the role, but better late than never. Rampling makes a great femme fatale.
WOUNDS (2019)
(Hulu/VOD) Tepid relationship drama disguised as horror. Perfect role for Armie Hammer, though.
PROSPECT (2018)
(Netflix/kanopy/VOD) Some of the best sci-fi production design I’ve seen in years, with a story and solemnity to match.