You know how this goes. The book and movie lists it’s just what I saw/what I read during the year, with no thought of when it was actually released. But for music, it’s limited to what was released in 2014. So it’s reasonably up to date! Who’d’a thunk? In any case, without further ado…
Well, I usually wait until the new year to do the lists, but the chances I’m going to finish another book in the next week are vanishingly small, I’m not going to be grabbing any new music, and I’ve been focusing on the bottom part of my Netflix queue, so I don’t see these lists changing between now and January 1. And so, without further ado…
Antiviral (Brandon Cronenberg, 2012)
The whole time I was watching Antiviral, the debut film from Brandon Cronenberg—if the last name sounds familiar, it’s because Brandon is the son of revered Canadian filmmaker David Cronenberg—I was thoroughly enchanted with it. I kept having to remind myself that, yes, the movie does have some shortcomings, and they kept it from rating higher than it did. But the movie’s immense style made me want to gloss those shortcomings over. This is definitely a case of form over function, and in that, early Brandon is on the same track as early David was—and by “early” with David Cronenberg I’m talking about his earliest features, 1969’s Stereo and 1970’s Crimes of the Future, rather than the “early” stuff everyone’s seen (Shivers, Rabid, and The Brood, by the last of which Cronenberg had already, as far as I’m concerned, reached the heights of body-horror greatness he would plumb until 1999’s eXistenZ). When it comes right down to it, you’re going to want to say you knew him when.
La Cité des Enfants Perdus (City of Lost Children) (1995): Second Star to the Right and Straight on Till Morning
[I just realized it’s 9PM and I haven’t started the capsule reviews for this month. Well, that’s not happening today. Later this week…]
La Cité des Enfants Perdus (City of Lost Children) (Jean-Pierre Jeunet and Marc Caro, 1995)
[originally posted 17Jan2003]
Jean-Pierre Jeunet is an astounding talent, one of France’s true living treasures. Along with his longtime collaborator Marc Caro, he’s created two of the finest films of the nineties, Delicatessen and City of Lost Children. The former is a comedic nightmare, the latter a nightmarish comedy. It’s a subtle difference, but an important one. You’re more likely to be laughing out loud at Delicatessen most of the time.
Comforting Skin (Derek Franson, 2011)
The first half-hour or thereabouts of Comforting Skin is annoying in the extreme. It feels like it’s going to be just another mumblecore movie (not even a mumblegore movie because, you know, no violence). You know the drill. Annoying characters you can’t stand doing things they couldn’t afford in the real world without anything much really going on around them. And then Koffie (Good Luck Chuck‘s Victoria Bidewell), our main character, gets her tattoo. And everything changes.
My Sucky Teen Romance (Emily Hagins, 2011)
Despite only giving Emily Hagins’ first feature, Pathogen, three stars (but let’s remember, three is still “above average” on a five-star scale), I unhesitatingly recommended it in my review because, well, it’s a zombie movie that was made by a twelve-year-old and, aside from having basically no budget and some problems with acting ability, was a clever, fun take on the genre. Hagins returned five years later with her third feature, My Sucky Teen Romance, a teen vampire comedy whose purpose is to make fun of teen vampire comedies. And my favorite thing about it is that in every way, it’s obvious Emily Hagins took Pathogen as a learning experience. My Sucky Teen Romance is a much better movie technically, with much more solid acting and a clever script (written by Hagins). In short: if you like your teen comedies with more romance than raunch, My Sucky Teen Romance is for you.