Hangmen Also Die! [1943]
1. He notices her reflection in a puddle.
2. Nazi with a pimple.
3. Implicated by his gold cigarette lighter.
Hangmen Also Die! [1943]
1. He notices her reflection in a puddle.
2. Nazi with a pimple.
3. Implicated by his gold cigarette lighter.
Mothers’ Instinct [2024]
1. He justifies his behavior by complaining about “too many Mai Tais” the night before.
2. Conveniently labeled PHARMA-KEY.
3. Shakycam at the beach.
Mounting a story with this many contrivances, there are only two fruitful approaches: frosty and clinical (like Haneke) or hothouse camp (Araki by way of Ozon). This film avoids either extreme and is a tonal mess, a “heartfelt” examination of grief one moment, a would-be paranoia thriller the next. The overuse of shaky cam, for no discernable reason, also serves to torpedo any credibility it might have as an early 1960s period piece. And in terms of dialog, I didn’t believe for a moment that these characters were actually from that time and place.
Hathaway and Chastain can’t be faulted (both are well cast) but this film doesn’t offer them any support. What a drag.
Schizopolis [1996]
1. Costa Rica.
2. “Huh. I wonder what that’s like.”
3. At gunpoint, he ejects the cassette and hands it over.
Hackers [1995]
1. Pool on the roof.
2. To make a point he lifts his shirt and tweaks a nipple.
3. “I hope you don’t screw like you type.”
This movie has aged like a fine can of Jolt. Matthew Lillard MVP.
Eno [2024]
1. In the morning, delaying input (breakfast, reading the news, checking email) to give space to output (creative projects).
2. The unexpected utility of Discreet Music for a soundtrack to birthing.
3. Bowie and Eno unknowingly working at cross-purposes during the recording of “Moss Garden,” courtesy of Oblique Strategies.
Mandibles [2020]
1. Duct-taping the trunk shut.
2. Dominique examines the dog.
3. A bunch of bananas.
Secret Mall Apartment [2024]
1. An imposing facade without a pedestrian entrance.
2. Explaining tape art.
3. Two things had been stolen: their PlayStation, a photobook.
A Child Is Waiting [1963]
1. They watch Reuben from behind a two-way mirror as he sits at a literacy machine. It’s lit like a police interrogation room.
2. “It’s not what you can do for these children, it’s what they can do for you.”
3. He finds himself pulled into a game of football.
You could argue that this is the most “conventional” film Cassavetes ever made, but that doesn’t make it any less powerful or affecting. Unique among his works, it’s a film that simply looks beautiful. In later years he was clearly uncomfortable with its visual gloss (courtesy cinematographer Joseph LaShelle, who also lensed Laura), but the tension between its controlled aesthetics and the story’s messiness and intensity really makes this film hum.
Garland is stunning–her best performance apart from The Wizard of Oz and A Star Is Born. But Lancaster and Rowlands are also superlative. And the way Cassavetes handles the child actors illustrates his deep gifts for working with young people.
It may have been released in 1963 but in its insistence on dignity for every human being, A Child Is Waiting is more timely than ever.
Janet Planet [2023]
1. Sprinting through the mall.
2. “Die, bug, die!”
3. She starts the car. Classical music radio. She takes a few bites from a chicken drumstick.
Harry in Your Pocket [1973]
1. We never find out why she she was going to Chicago.
2. Dirt poor. White trash.
3. “If it’s the milk of human kindness you’re looking for, my boy, Harry ain’t the cow.”