Sometimes we watch stuff that we want to talk just a little bit about, not a full review worth. These are those films. If any of the films reviewed are available on Netflix Instant Watch (US or Canada) or HuluPlus (US only), we’ll note that by putting a direct link below the capsule.
1979 USSR. Director: Andrei Tarkovsky. Starring: Alisa Freyndlikh, Aleksandr Kaydanovskiy, Anatoliy Solonitsyn.
Stalker asks the big questions by asking why we ask the big questions. A film this dry and humourless (but ultimately, quite hilarious) could only be made in Russia. It bleakly proposes that art, science and religion are all male dodges to responsibilities at home, which I guess questions the very nature of why the film itself exists. I’d say this is ripe for a SCTV or Monty Python parody, but I guess, The Meaning of Life kinda covers some of the bases. Ultimately, it’s doom and gloom (pre-Chernobyl in the same way Fight Club is pre-9/11) premise says to me, “It’s not the end of the world, it’s just the end of the fuckin’ day.” (Apologies to Tony Burgess, and Pontypool for that…)
2003 USA. Director: Coen Brothers. Starring: George Clooney, Catherine Zeta-Jones.
Some would classify Intolerable Cruelty as a minor Coen Brothers work and I suppose that actually would be accurate. But as often stated, lesser Coen Brothers is better than 90% of the shit out there. And this movie is solid solid solid. Even with all the cliche tropes of conventional movie making (slow claps, fingers on the lips, etc.) the Coens somehow manage to make it their own and everything in here is goofy fun with pure magic backing it up. George Clooney recently gave the “performance of a lifetime” in The Descendants, but damn if his turns in Coen films aren’t right on the heels of that performance. He knows exactly how to ham it up for the camera and he is outright hilarious here. All of the side characters are of almost equal charm and hilarity – gotta love Billy-Bob as the paper-eating oil man. The story feels predictable but mysterious at the same time and every moment feels fresh and new – even though you’ve seen it before. The Coens have stuck with the same DP and set decorator since Miller’s Crossing, and even though this one is a bit brighter and glossier than their other works, these attributes of the movie stand tall. In short, fantastic Friday night date movie that everyone should love. If you don’t love it, we’re divorced.
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