Showing posts with label Poor Things. Show all posts
Showing posts with label Poor Things. Show all posts

Thursday, January 11, 2024

Top Ten of 2023

This year started slow for me. Up until July, my favorite movie of the year was Dungeons and Dragons. Nothing against that movie (it’s still in my top ten), but I was getting worried about how I was going to fill up a list of ten. But then all the heavy hitters started coming out, and I could have easily made this a top twenty, which I kind of did by including ten honorable mentions. Aside from the top two films, I could see this list being completely different every time I write it, so this is just what it is today. There’s something about all of these movies that I loved, and I thought this was one of the better years for film in recent memory. As always, I want to remind the twenty or so people who read this that these are my favorite films of the year, not the “best” films. Finally, there were a few movies I wanted to watch that I didn’t get to yet, but I can’t put off this list any longer. They are: Godzilla Minus One, Saw X (I will get to this one and update my rankings for the whole franchise, too), and Thanksgiving. There’s a ton of stuff I didn’t watch, but these three are the ones that I felt could possibly make my list. 


Oh, and I’ve done this differently from year to year, but the last few I’ve been starting with the number one film and working down from there. I think most people do more of a countdown style, but I don’t for whatever reason. Anyway, here you go:




1. Poor Things


I’ve already written a full review of this, so I’ll just add this: every year there’s a movie that is seemingly universally beloved that doesn’t click with me. Some stuff just isn’t for me, no matter how well made it is. That’s nothing special. What is special is when something like Poor Things comes out, because it’s one of those movies that I immediately love so much that I simply cannot understand how literally every one who sees it doesn’t think it’s the best film of the year. Normally, I come away from a film I love thinking, “Well, I liked it a lot, but I’m a weirdo.” With this one, I think you’re the weirdo if you don’t love this movie. 




2. Oppenheimer


I wasn’t crazy about this the first time I watched it. I knew it was good, but it didn’t click with me. I thought it was like Dunkirk for me, a movie I know is good, but I didn’t love. Then I watched Oppenheimer five more times. The acting, the structure, the mood, the music, it all just came together for me. It’s like when Niels Bohr asks Oppenheimer if he can “hear the music.” At first I couldn’t, but now I’m hearing it, in typical Nolan too loud fashion. In any other year, this is my number one, but the sheer joy I get from watching Poor Things changed that. Still, this is a movie I love, and maybe after watching it four or five more times I’ll feel prepared enough to write a full article about it.




3. Killers of the Flower Moon


It’s Scorsese, and it’s a big sweeping story about horrible things people do in the name of greed. Of course, I’m going to love this movie. And I’m really enjoying this later stage in his career in which he makes sure no one can claim he’s glorifying any of the terrible behavior of the criminals in his films. These are horrible people and are presented as such. What made this stick with me long after watching it was how successfully Scorsese was able to show how these people didn’t even consider the Osage as fellow humans. This is a terrible moment in history, and Scorsese presents it as such.




4. The Zone of Interest


No other movie on my list has stuck with me after a single watch as much as The Zone of Interest has. Initially, I thought the idea of the movie was more effective than the movie itself, but that’s not true because it stuck with me so strongly. It’s not a movie that I would typically want to watch again, but I feel like I have to because it keeps popping up in my mind, and I feel the need to watch it again. Much like the title of writer/director Jonathan Glazer’s previous film, this one just gets under your skin.




5. The Iron Claw


This is another one that stayed in mind long after watching it. The tragedy of this wrestling family is compelling, and the performances are great across the board, but it’s the mood of the film that worked most for me. The wrestling is treated with such seriousness, despite the innate silliness of the profession, that it creates the perfect tone. 




6. John Wick: Chapter 4


Enough with the miserable stuff, the John Wick franchise is a perfect example of what I want from action movies: a good time. This is somehow still fun four movies in and nearly three hours long. This is a fitting swan song to the most dependable action franchise in recent memory.  




7. The Holdovers


This was going to be in the honorable mentions, but I watched it again the other night, and it made its way into the top ten. Giamatti is great as always, but I mainly appreciate that a story that could easily delve into weepy melodrama stays funny and touching throughout.




8. The Killer


I’m a Fincher fan, so this was right up my alley. It’s also quite funny, as Fassbender keeps repeating rules like a mantra throughout despite breaking every one of them. Good stuff.




9. Barbie


Next to Poor Things, I found this to be the funniest movie of the year. The sequence in which the Barbies conspire to take down the Kens cracked me up and also hurt with how accurate it was (fun fact: I would be the type of Ken who could be distracted by asking me about The Godfather).




10. Dungeons and Dragons: Honor Among Thieves


Next to Poor Things and Barbie, the funniest movie of the year. I had to watch it again to make sure I legitimately enjoyed this movie and it wasn’t just that I enjoyed it because I was expecting it to be garbage (thanks to the disastrous previous live action adaptation). But this is just awesome, even when you don’t compare it to crappier versions of it. The talking to the dead soldiers sequence put me over the top with this one.


Honorable Mentions - I also really liked all of these, and I’ll explain why in one sentence or phrase or name for each.


The Boy and the Heron - Miyazaki is a blindspot for me, so maybe this isn’t as good as his best, but I wouldn’t know, so I loved it.


20 Days in Mariupol - Should be required viewing for people like me who tend to ignore the news because it’s too depressing; yeah, it’s depressing, and the least I could do is be aware of it.


Leave the World Behind - I know this one made a lot of people big mad with the ending or whatever, but I had a lot of fun with it.


Napoleon - I am so happy that Ridley Scott is still out there making classic epic action movies with a touch of weirdness; looking forward to the director’s cut.


The Promised Land - Mads fucking Mikkelsen growing potatoes.


Robot Dreams - The most delightful surprise of the year for me.


Dream Scenario - Amusing metaphor for fame in our shitty digital world.


Beau Is Afraid - This one is wild, but it makes the list for the perfect encapsulation of anxiety exhibited in the first act.


Smoking Causes Coughing - So weird, so funny.


Aquaman and the Lost Kingdom - Saved this for last because people would probably stop reading if they knew this made my list, but fuck it, I love these stupid, crazy movies; I’m sick of superhero movies for the most part, but if they’re willing to be this goofy and weird, then I’m in.




Monday, December 18, 2023

Poor Things - Kubrickian

Yorgos Lanthimos’s films have always been divisive, with films like Dogtooth, The Lobster, and The Killing of a Sacred Deer either completely working for people (like me) or falling completely flat on their deadpan faces for others. Then The Favourite came out and garnered a lot of awards attention (Olivia Colman won Best Actress and the film was nominated in nearly every major category). While The Favourite has its odd moments, it’s positively mainstream for a Lanthimos movie, which is why it disappointed me. I was afraid that Lanthimos had lost his weird edge. Then Poor Things kicked in the door holding a chicken dog, peed on the floor, tried to punch a baby, and let out a noxious burp bubble into the air.


In other words, Poor Things is wildly strange all around. It’s also the funniest, most well-acted, and inventive film of the year. (It’s also my personal favorite, and it won Best Picture from the Indiana Film Journalists Association.) 


Poor Things is hard to summarize, but here goes: Emma Stone plays Bella, a Frankenstein’s Monster-ish creation of scientist Baxter (Willem Dafoe). She begins the movie as an adult with the mind of a baby, but as she matures at a rapid rate, she decides to see the world with one of the best cinematic rapscallions of all time in Duncan Wedderburn (Mark Ruffalo, in a shockingly funny performance). Bella sees the best and worst of the world, and it’s all presented in fantastical, horrible, and hilarious ways. 


I typically do not like writing plot summaries (you can always just Google it or watch a trailer or something), but I liked the challenge of it for this one since I liked it so much. This movie simply works on every level for me in a way that I haven’t felt since Stanley Kubrick’s films (more on that later).


The writing (Tony McNamara, adapting the novel by Alasdair Gray) is the standout element, as the entire film is quotable. It’s funny, but the straightforward, child-like dialogue of Bella also points out many of the ridiculous elements of humanity. And while it’s all quirky and funny, I still cared about most of the characters, though they could be framed as villains in other films (especially Dafoe’s character). 


It takes skill to deliver the funniest lines of the script, especially in Lanthimos’s signature tone. And Emma Stone is perfect. She has to play an adult baby, a prostitute, and a scientist all in one role. Her performance as an adult baby alone is adwards-worthy, the rest is just a bonus. And Mark Ruffalo is an amazing foil to her. It’s funny when he just goes along with Bella’s oddness, but it’s the best when she finally breaks him, causing him wonder, “What the fuck are you talking about?” multiple times throughout. His transformation throughout the film is equally impressive and amusing. 


The writing and acting are so great in this film, it almost seems to be a waste that the music and production design are so unique, as well, because they are nearly an afterthought when they would be the standouts in other, weaker films. The discordant score captures the unsettling mood of each scene. And the creatures (what other film has a chicken dog walking around with no one talking about it?) and set decoration complete the picture by creating a world that is recognizable but also fantastical. 


All of this is enough to make this one of my favorite movies in recent years. But it’s the Kubrickian element that I think will cement this among my all-time favorite films. Lanthimos is no stranger to the Kubrick comparison. Anyone who uses deadpan humor, tracking shots, and slow zooms gets compared to Kubrick at some point. This is why I usually don’t like calling things Kubrickian these days. While Poor Things does have all those Kubrick-like elements, I label it as Kubrickian for what it represents in Lanthimos’s career arc. 


Poor Things isn’t actually similar, story-wise, to anything Kubrick would make. But it is the kind of movie he would make. Kubrick, while toiling around in similar thematic areas with his films, never tried to make the same film twice. And Lanthimos appears to be on that same track. The fact that I didn’t love The Favourite now seems like a good thing. If he kept making movies like The Lobster over and over, it would get tiring immediately. To go from Sacred Deer to The Favourite to Poor Things shows a willingness to go to new, interesting places, much like how Kubrick could go from Barry Lyndon to The Shining to Full Metal Jacket. The style may be similar, but the content shows a desire to keep things interesting. And for Lanthimos, that also means getting very weird sometimes, and that works for me. 


Random Thoughts


I only focused on Stone and Ruffalo, but truly every performance in this is great. Dafoe is amazing, of course, and Ramy Youssef has many great moments reacting to Dafoe’s craziness. 


This is a gloriously demented mashup of Benjamin Button, Jack, and Forrest Gump.


“Fate had brought me a dead body and a live infant. It was obvious.”

“It…was?”


“She grabbed my hairy business!”


“I was chloroforming goats all morning. I may have ingested too much.”


Lanthimos is truly like Kubrick. It’s not just that their films share some superficial similarities, it’s the tone in which they are made. This very much strikes me as the type of film Kubrick would make if he were still alive.


I worry myself in typing this, but Yorgos Lanthimos gets me.


I am so happy to live in a world in which a company is willing to give this lunatic a lot of money to make hilarious shit like this, which is a film that dares to ask, “What if Dr. Frankenstein was good at his job?” 


The segment of her just wanting to eat, drink, and fuck reminded me of when Bender became a human on Futurama.


I never knew I needed to hear Mark Ruffalo say, “What the fuck are you talking about?” in a British accent. 


“Hope is smashable. Realism is not.”


Usually, I think movies don’t justify their length, but I could watch Emma Stone break down situations in a deadpan manner for five hours, at least. My favorite was her working out how it made sense to start working in a Parisian brothel.


Her first customer kind of looks like Will Forte from the plane sketch in I Think You Should Leave.


“Hence, I seek employment at your musty-smelling establishment of good-time fornication.”


“She is no different to the chicken dog.”


“He has cancer, you fucking idiot.”


This is the most exciting character Ruffalo has played in years, maybe ever.

2023 IFJA Awards

 


The Indiana Film Journalists Association has named “Poor Things” the best film of 2023, a strong showing that also included Best Lead Performance for Emma Stone, Mark Ruffalo for Best Supporting Performance, Best Director for Yorgos Lanthimos, Best Adapted Screenplay (Tony McNamara), Original Vision and Best Ensemble Acting. 


Its seven wins is the most ever in the 15 years of the IFJA awards.


“Oppenheimer,” which was named runner-up for Best Film, also was runner-up in four other categories: directing, lead and supporting performance, and ensemble acting. It notched three wins: Cinematography, Editing and Musical Score. 


Eight other films were voted Finalists for Best Film. Along with the winner and runner-up, they represent the IFJA’s selection as the Top 10 movies of the year. 


“The Zone of Interest” was awarded Best Foreign Language Film and “Spider-Man: Across the Spider-Verse” won Best Animated Film. “Kokomo City” was named Best Documentary.


David Hemingson took the Best Original Screenplay award for “The Holdovers.” Writer/director Celine Song earned the Breakout of the Year Award for her debut film, “Past Lives.”


The Edward Johnson-Ott Hoosier Award, which goes to a film or filmmaker with Indiana ties, went to Sam Mirpoorian, director of the documentary “Greener Pastures.”


IFJA members issued this statement for the Edward Johnson-Ott Hoosier Award:

 

“Sam Mirpoorian has shown that an Indiana-based filmmaker can make major waves across the cinematic landscape. His documentary ‘Greener Pastures’ is a powerful look at the lives of independent farmers shot over several years, traveling alongside them before and during Covid, observing their struggles with depression and substance abuse but always demanding we see their intrinsic dignity as those who nourish us. Mirpoorian has rendered those who were largely invisible indelible in our eyes and hearts.”

 

In addition to the winner, IFJA recognizes a runner-up in each category (with one exception, noted below). Here is the complete list:


Best Picture

Winner: Poor Things

Runner-up: Oppenheimer

 

Other Best Film Finalists: (listed alphabetically)

Are You There God? It’s Me, Margaret.

Barbie

The Holdovers

John Wick: Chapter 4

Killers of the Flower Moon

May December

Past Lives

Robot Dreams

 

Best Animated Film

Winner: Spider-Man: Across the Spider-Verse

Runner-up: Robot Dreams

 

Best Foreign Language Film

Winner: The Zone of Interest

Runner-up: Godzilla Minus One

 

Best Documentary Film

Winner: Kokomo City

Runner-up: 20 Days in Mariupol

 

Best Original Screenplay

Winner: David Hemingson, The Holdovers

Runner-up: Samy Burch (screenplay/story) and Alex Mechanik (story), May December

 

Best Adapted Screenplay

Winner: Tony McNamara, Poor Things

Runner-up: Greta Gerwig and Noah Baumbach, Barbie

 

Best Director

Winner: Yorgos Lanthimos, Poor Things

Runner-up: Christopher Nolan, Oppenheimer

 

Best Lead Performance

Winner: Emma Stone, Poor Things

Runner-up: Cillian Murphy, Oppenheimer

 

Best Supporting Performance

Winner: Mark Ruffalo, Poor Things

Runner-up: Robert Downey, Jr., Oppenheimer

 

Best Vocal/Motion Capture Performance

Winner: Hailee Steinfeld, Spider-Man: Across the Spider-Verse

Runner-up: Shameik Moore, Spider-Man: Across the Spider-Verse

 

Best Ensemble Acting

Winner: Poor Things

Runner-up: Oppenheimer

 

Best Musical Score

Winner: Ludwig Göransson, Oppenheimer

Runner-up: Robbie Robertson, Killers of the Flower Moon

 

Breakout of the Year

Winner: Celine Song, Past Lives

Runner-up: Charles Melton, May December

 

Best Cinematography

Winner: Hoyte van Hoytema, Oppenheimer

Runner-up: Dan Laustsen, John Wick: Chapter 4

 

Best Editing

Winner: Jennifer Lame, Oppenheimer

Runner-up: Thelma Schoonmaker, Killers of the Flower Moon

 

Best Stunt/Movement Choreography

Winner: Jeremy Marinas (fight coordinator), Scott Rogers (stunt coordinator) and Stephen Levy (stunt choreographer), John Wick: Chapter 4

Runner-up: Jennifer White (choreographer) and Lisa Welham (associate choreographer), Barbie

 

Original Vision Award

Winner: Poor Things

Runner-up: Barbie

 

The Edward Johnson-Ott Hoosier Award*

Winner: Director Sam Mirpoorian, Greener Pastures


*As a special honor, no runner-up is named for the Hoosier Award. It is named after founding IFJA member and longtime NUVO Newsweekly critic Edward Johnson-Ott.


About IFJA: The Indiana Film Journalists Association was established in 2009 to celebrate cinema and promote quality film criticism in the Hoosier State. To be eligible for our awards, a film must have had a general release on any platform during the current calendar year, screened to IFJA critics in advance of a following year release date, or play in a major Indiana film festival.

 

http://indianafilmjournalists.com