movies

Mostly old B&W movies, as I'm want to do. The stand out was:

• The Scarlet Empress (1934), which was absolutely gorgeous and full of horses charging about. Not walking, but galloping into towns, up stairs, and everywhere. It is littered with fantastic sets, dramatic lighting, and shots of Marlene Dietrich at her height, ranging from shy, to coquettish, to powerful, she chewed up every scene.

The rest are mostly skippable, but I recommend the first couple to film lovers for reference if for nothing else:

• As the Earth Turns (1934) - the film gives a dichotomy between city and farm life in the desires of two of its characters. It isn't entirely successful at exploring different points of view, but overall, it was an interesting look back in time for: choice of subject, manner of delivery, set designs, and perhaps as reference for cinematography (it wasn't a standout like the Scarlet Empress, but it was shot well enough for a lower budget, simple film).
• Civil War (2024) - Near-future dramatization of what it is like to be a photojournalist in a war. I appreciated that political parties weren't mentioned. We can make guesses based on stuff like the non-military racist who's killing people out in the boonies and similar hints, but that has nothing to do with the main story: photojournalist life during wartime.
• Movie Crazy (1932) - The premise is that Our Hero accidentally mails a handsome headshot to hollywood instead of his own image, whereupon he sets off for a screentest and sees an actress in costume that he later can't identify as the some person such that he flirts with both her personnas and annoys her. Lots of pratfall-style silliness throughout via Harold Lloyd. Pre-code film with post-code content (nothing too risque, and an ending fight seen meant to be funny and long, but not that violent).
• They Met in Argentina (1941) - predictable, repetitive light fare, but the singing was nice.
• Baby Take a Bow (1934) - It's got Shirley Temple, if that works for you. She was about 5 and yes, she does some dancing.
• The Blue Bird (1940) - It's got Shirley Temple. She was about 11.
• Honeymoon (1947) - It's got Shirley Temple. She was about 18.

Garden State (2004)
A funeral sparks rebirth as a chemical fog lifts when Andrew, numbed by prescriptions, meets Sam, a grounded manic pixie dream girl who radiates sans cloying artifice. Expertly maneuvering clichés with earnest sweetness; each new apt soundtrack elevates his awakening. Though underutilized, the father and he together suture the chronic wound, feeling closure's quiet catharsis. After long night, sunrise.

The Shop Around the Corner (1940)
James and Margaret are bickering clerks unknowingly courting via epistolary exchanges filled with adoring prose. A timeless manuscript of hate-to-love romances, etched permanently into cinema's DNA. The simple predominant setting elevates characters' depth, including the side characters to beyond mere fixtures. Eternally charming.

The Menu (2022)
Overcooked satire skewers haute consumerism with the subtlety of a cleaver. Chef’s lament, “he aspires for greatness but he’ll never achieve it” echoes the film’s fate. Theming and plating entices as we're given an amuse-bouche of compelling premise giving way to an entrée of undercooked absurdist narration and a dessert of bland resolution. Style over sustenance; as our protagonist, Margot, says, "I'm still fucking hungry."

KPop Demon Hunters (2025)
Delivering exactly what the title promises, a generic synthesis of K-pop and their idols while slaying demons. Tropes abound as if produced in autotune, character depth flatlines like a dropped verse, and animation occasionally stutters but the original songs in K-pop style, true fandom archetypes, and exaggerated anime-esque reactions crackle with youthful fun verve. Formulaic as K-pop's mandatory concept change, yet easily palatable like listening to American Top 40.

The Lord of the Rings: The War of the Rohirrim (2024)
Hark! An avaricious shadow falls upon Middle-earth and another withered branch upon the White Tree. Hallowed memory desecrated by this wraith of the Riddermark; landscapes faithfully rendered in mimicry, pallid heroes bereft of myth and soul, animation jerks with the grace of orcs. This is no heir to Peter Jackson's reverence. Fly! Even The Hobbit’s follies shone brighter.

Caught up on some Marvel movies the past 2 weeks: Thunderbolts and Captain America: Brave New World. Thunderbolts was ok, but I found it lacking, like something is missing. Captain America wasn't good.

Also watched Ballerina. The action was great. Story is pretty meh, but that's expected on the John Wick films, except for the first one which was executed well. My wife and I found it funny that Eve was particularly brutal towards the Asian henchmen lol. I know it was just coincidence.

I watched Tamala 2010: A Punk Cat in Space (2002) this week in preparation to see Tamala 2030: A Punk Cat in Dark on Sunday.

It was pretty weird and I had to watch a YouTube video to help me understand a bit more. I still liked it though, the music was great, there was some good visuals and I prefer watching weird shit over boring Hollywood regurgitation.

Diablo starring Scott Adkins and Marko Zaror.