Céline Sciamma is rapidly becoming my favorite modern French director with her women-focused films. Here is another, about the relationship between a child and her mother told in a manner surely no one will expect. I love how complete and perfect this work is: the excellence of the performances of the two child actresses who carry the film, the accurate yet subtle insight into how children are dismissed by adults and all of it in a package only a little over an hour. It’s a wonderful example of compact, economical filmmaking that I will recommend to everyone I know.
I added this onto my watchlist purely because of Ridley Scott’s name and because the subject matter seemed promising. But I really should have heeded the atrocious reviews because this film is so mediocre I wondered why Scott wanted to take this project on. This isn’t about fashion or even the world of luxury goods at all but rather is about a feud within the Gucci family that would eventually lead to the murder of Maurizio Gucci in 1995. The characters are businesspeople not artists or craftsmen and it’s not even a particularly serious depiction of business. Lady Gaga gives her all to her role as Patrizia Reggiani but everyone just seems to be going through the motions. Since everyone doesn’t seem much bothered, I don’t see why the audience should either.
As promised, I finishing the final part of what ought to really be the first complete book starring Murderbot. I do believe this may well be my favorite entry of the set of four as there is somewhat less combat in here and instead Murderbot mostly has to deal with infiltrating a large space station while posing as a human and spends a lot of his time agonizing over meeting his original crew again. Finally we get the conversations and emotional closure I’ve been longing for over Murderbot being accepted as a person. This doesn’t redeem the series as a whole in my eyes but it does make bring it to a suitably fitting end.
After years of not watching a single Malaysian film, I suppose I’m picking up the slack now. The Story of Southern Islet is still really not that well known and this is director Chong Keat Aun’s first film. Nonetheless I believe it’s the best Malaysian film I’ve seen in a long time and is able to hold its own against the world’s best. Chong is actually a reasonably well-known figure in our local cultural circles but this is his first foray into directing. The result is an impressive debut that proves that he really does have the technical skills and artistic vision to have a promising career ahead of him.
Pedro Almodóvar’s films can be hit or miss with me and this one is definitely a miss in my book. The main story is perfectly cromulent even if some decisions in it seem a little suspect. On top of that is tacked on a secondary story about excavating the mass graves of victims of the Franco regime. This lends dramatic weight to the film but feels like a cheap trick as it’s so tangential. If it had been made by a lesser director, I think it would be a solid credit in their filmography. But with such renowned names attached to this project, it ends up being underwhelming.
I’ve stopped regularly playing boardgames a long time ago, yet I still experienced a touch of big box envy when I read about the Kickstarter for this project and all of the miniatures it contained. So when I saw the digital adaptation available for free on Epic, I naturally snagged it as quickly as possible. It really is a complete and faithful adaptation of the original boardgame and therefore includes an insane amount of content. In real-life playing through a full campaign might take months and even playing alone on this digital version might take over 100 hours. Alas after learning the rules and finishing several scenarios, I’ve discovered that this is too hefty a commitment for me. Even at a lowered difficulty level, this is tuned to be hard enough to require near optimal decision-making. I’m grateful to have been able to finally try this game out for nothing more than the cost of my own time but this is too stressful to me to be much fun.
Immediately from the opening shots, you can see why some have called this essentially Skyrim the movie. Unfortunately the plot and even its themes are far more straightforward and less sophisticated than the video game. This is a Viking revenge story pure and simple, deeply steeped in Norse mythology and played completely straight. Given that period film rarely go back so far, this has some exotic appeal. Yet it is so traditional, so old-fashioned in its sensibilities that it’s difficult to discern why someone would decide that making it in 2022 would be a good idea.
