Annihilation, 2018 – ★★★½

Bits of Arrival, Stalker, J.G. Ballard novels, Possession, and yes, a bit of Monsters and Predator. Natalie Portman leads a group of doomed women into a “forbidden zone” where alien life is replicating and copying life at a mutated pace. At the same time, as some have pointed out, a metaphor about depression, where all the characters are manifestations of dealing with trauma. Understandably not a favorite with the crowds because the execution and the metaphor begin to peel away from one another. However, very enjoyable in a headtrip way on the big screen with amazing sound design and soundtrack. Deep Dream meets Rousseau.

Also: nobody seems to care this is a “doomed army mission” sub-genre piece with a fully female cast.

Also: Actually a bit too straightforward and on-the-nose, which puts it at odds with its preceding film, Ex Machina.

Vía Letterboxd – Ted Mills

Phantom Thread, 2017 – ★★★½

PTA never disappoints, does he? To go from Inherent Vice to this gothic romance shows his range; to get these performances (and collaboration) out of DDL and Vicky Krieps shows his skill and talent; and to make the audience increasingly uncomfortable as the film nears its end shows the magician in him. I was entranced the whole way through. Beautiful score too, whether it be Greenwood’s originals or the Debussy/Ravel pieces.

This was the final Oscar-nominated film I saw this year, the first time in some time (maybe ever?) where I’ve seen all Best Pic noms before the big night. Wheeeee.

Vía Letterboxd – Ted Mills

Call Me by Your Name, 2017 – ★★★½

As an evocation of a first love during a summer vacation, the film is perfect: vignettes take precedent over plot. As for the romance itself, well, it’s not very romantic and surprisingly chaste, and wouldn’t make too many blush.
Michael Stuhlbarg’s monologue at the end is great (as is Chalamet’s final scene, up there with the ending of Tsai Ming-Liang’s “Vive l’amour” for embracing heartbreak.) But, as Ian McDonald once pointed out about Sgt. Pepper’s, the album would just be good-not-great if it wasn’t for “A Day in the Life,” and Stuhlbarg’s speech is just that. The film rests on those moments, and without it…well, your mileage may vary.

Vía Letterboxd – Ted Mills

Black Panther, 2018 – ★★★★

Sure this has its problems like any Marvel movie–fight scenes have no weight, powers seem to vary scene to scene, etc.–but have you ever read a Marvel comic? The MCU movies suffer from the same problems in all their comics. BUT! What an amazing world this creates, from the black sand based tech to the sci-fi world building, from the all the bad-ass female fighters to the amazing costume and production design. Many parents are going to have to explain to their kids that Wakanda is not a real place, btw.
A cultural event in the middle of the most racist administration we’ve had since…well, make your choice and discuss among yourselves.

Vía Letterboxd – Ted Mills

The Passionate Friends, 1949 – ★★★★

Quite a superb romantic film from David Lean that is also a lesson in old school directing that younger filmmakers could steal whole-heartedly from. Even though Mary and Steven (Ann Todd and Trevor Howard) are the focus, some of the best moments are when Lean settles on Howard’s discovery of the affair. It’s all very Hitchcockian! There are many sublime moments in the film–the gondola ride into the clouds; Mary behind a lace curtain, her face hidden to Howard; the evocation of the rush of air before the Underground train arrives; the flashbacks within flashbacks, along with fantasies and daydreams.

Watched on FilmStruck channel after reading how Paul Thomas Anderson borrowed several elements (including the New Year’s Eve scene) for Phantom Thread.

Vía Letterboxd – Ted Mills