Round-up 35: We're Back with New Films

To what I can only imagine would be the most intense display of annoyance and dismay from Larry David, allow me to wish everyone a delayed happy new year. It’s been a rather hectic transition into the new year, a good one, but wild at that. I haven’t had a ton of time to really sit down and reflect on the whirlwind that was the month of January (and February for that matter), nor to really watch as many movies as I would like. That has been a running theme here and while frankly that pains me, there is the other side of that coin, with how much advancement I’ve been making in my personal and professional lives. I candidly kept kicking this can down the road because every weekend I would look over my Letterboxd and see hardly anything, if anything at all, to look back and comment on. That being said, during the last week of January, I went on a film watching spree, and that spree has continued into the month of February. So, without further ado, let’s get caught up on what I’ve been watching.

I started the year off pretty strong, I used a Barnes and Noble gift card I had gotten for Christmas to pick up a 4K UHD Criterion Copy of Martin Scorsese’s Raging Bull (1980), a film that I had regretfully never seen before. I had very high expectations going into this one, and I was not let down in the slightest. For the longest time, I considered films that used black and white photography, after the introduction of color to the mainstream, very pretentious and unnecessary. Scorsese’s direction of Raging Bull is direct evidence that I am an asshole for thinking that. The boxing sequences are moving paintings; there are no wasted frames as we watch blood splatter across the mats in slow motion, or DeNiro or his foes dancing against the sweaty mist in the burning overhead lights. The fact that the film also serves as a period piece of sorts makes the utilization of the black and white imagery feel even more in place. It’s like John Huston made a boxing drama without the Hayes code. DeNiro gives the performance his all, as expected, of course. But what stood out to me the most about the character and portrayal of Jake LaMotta, the infamous boxer from the Bronx, was how the film refuses to shy away from the horrific behavior he exhibited, and not only that, but the consequences that would follow, of which we linger on inn the film’s final moments. Per my Letterboxd review, “Jake LaMotta is the toxic film bro final boss”. One of Scorsese’s very best efforts overall.

One of the Criterions I got for Christmas was Roman Polanski’s adaptation of Macbeth (1971). I will get out in front of the crazy TikTokers and say I am not a fan of Polanski as a human being, clearly the guy needs to be in a prison someplace; however, I do pride my ability of being able to separate the art from the artist. And dammit is this guy an artist. While not my favorite adaption of the famous Shakespeare play, it is without a doubt probably the closest to what ole Bill intended, should he have been alive to see the invention of the art of cinema. The attention to environments and the nature around the characters amplified the atmospheric tension of the story. Smoke, mist, fire, and blood are all very present in this particular adaptation, all of which bathe the screen. The war scenes are brutal and surprisingly violent, making this a weirdly fun war film aside from the Shakespearean English. Because of this, I could see the film being a great introduction into the world of Shakespeare’s work for younger folks who might otherwise be turned off to the literature. I didn’t personally find the acting to be anything that special, it’s fine, but it’s the direction and cinematography that shine through with this one. Worth a watch, especially if you’re a Macbeth fan in general.

A certain someone has infiltrated my life and has some very interesting films that have been put onto me. The first of which that have come up in this cycle being Goon (2011), a hockey comedy starring Sean William Scott as a down-on-his-luck bar bouncer who’s on a mean streak when it comes to disappointing his family, who gets the opportunity of a lifetime to play in the big leagues as an enforcer. I’ll admit I went into this with relatively low expectations; I wasn’t sure what to expect, really, but the presence of Sean William Scott as the leading man had me with my doubts. I have been proven wrong… Sean William Scott does in fact have the dramatic sauce necessary to give a raunchy midnight comedy the heart needed to allow it to transcend the stereotypes. Is it still a raunchy comedy at the end of the day? Yes, but one that has a great dramatic throughline that is exceptionally executed and acted. Liev Schreiber plays the quasi-antagonist of the film, and his character comically is analogous to a comparison between Schreiber and Scott in real life. The two play opposing enforcers on rival hockey teams, the story naturally culminating in a big fight between the two of them. I won’t spoil how everything goes down because it is tremendously well done, and I strongly recommend, especially for any sports movie fans, I think you’ll be pleasantly surprised.

There were a couple of expensive trips that were made to Barnes and Noble over the last month, both of which I would call great successes. Everything I picked up were films I had never seen before, and I started with Ken Russell’s Altered States (1980), a psychedelic horror romance film, something that seemed like it would especially pique my interest. William Hurt plays a truth-obsessed scientist who begins doing unethical psychological experiments on himself involving heavy dosing of hallucinogenic drugs and sensory deprivation tanks. The plot takes course over many years as he falls in love with his wife while teaching and eventually starts a family with her, all for the weight of his experiments to threaten his relationship with reality. I’ve become a real big sucker for well-executed trip sequences, and oh boy does this one have quite a few. The religious, spiritual, and historical imagery that is creatively intertwined into the retro-CGI effects makes for a very specific effect that I very much appreciated. Speaking of the effects, while they are not good compared to today’s standards, they are consistent in quality with the time of release and add a time capsule sort of feel to the whole experience. The dated effects also work well within the confines of the absurdist story, especially when William Hurt’s protagonist is in the tank. The climax and finale of the story is surprisingly sweet too, the cherry on top of a really unique film, one that I will definitely be returning to soon.

My next watch was another Criterion pick up from Barnes and Noble, a Guillermo Del Toro classic that I’ve been kicking around for the better half of a decade, ever since I first heard of the guy and especially since I’ve started appreciating horror. In 2006, Del Toro released what is to many his magnum opus, Pan’s Labyrinth, a fantasy, drama, and also sometimes horror film about a young girl named Ofelia as she struggles to face the reality of her life being uprooted by the Spanish civil war. The story begins with Ofelia and her pregnant mother being transported by the nationalist army to a ruthless captain’s compound, a man who would become Ofelia’s stepfather. As Ofelia is exposed more and more to the evil of the regime’s actions, she regresses into a fantastical labyrinth beneath the compound where she meets a variety of magical creatures that offer her a series of tests that if completed will give her immortality. A collection of fables converge on one another as the overarching fight against the fascist captain culminates in a tragic, horrific, and oddly beautiful conclusion for Ofelia. While very fantastical in tone, the actual scenes with creatures or magic were few and far between, one of my few critiques of the film overall. I understand the emphasis on the connection between the trauma of the heroine and the external war at play, but it felt far lopsided to the latter. When the magic does happen, however, it is quite attractive to look at. Animatronics and practical effects are at the forefront of the fantastical sequences and for this reason the film has aged very well for having been released back in 2006. Leaving this film, I am very much interested to see more of Mr. Del Toro’s work, as it’s an area of international film, I have much curiosity on. Nightmare Alley (2021) will be next.

For Valentine’s Day, I was gifted a Criterion… Probably the sweetest thing anyone’s ever done for me for that silly corporate holiday. It is a favorite of hers, Sound of Metal (2019), starring Riz Ahmed as a heavy metal drummer for his punk rock girlfriend (Olivia Cooke) who begins to experience rapidly deteriorating hearing loss. The story is very character-driven, which happens to be exactly my favorite sort of drama; we follow in the protagonist’s (Ruben) footsteps as he navigates learning how to exist without being able to hear. The flow of the film resembles the stages of grief, as he moves from denial to ultimately acceptance, and the emotional journey that occurs in-between. Many films, especially in recent years in the art house/Oscar-bait subregion, have turned to gimmicks like sound manipulation, visual hacks, and narrative shuffles, etc., but it is in Sound of Metal that I have experienced the best implementation of a technical creative choice. Throughout the film, there are countless scenes and/or moments where we, the audience, are put directly into Ruben’s perspective, sonically speaking. The audio changes throughout the story as his condition progresses and various steps forward and back are made. This choice becomes especially effective and revealing of both the character’s true arc and the director’s message to the audience in the final act of the film, where sound, or the lack thereof becomes the very forefront of the story. Riz Ahmed gives an outstanding leading performance, one that delicately balances rage with depression, and hopelessness with faith. A very immersive and visceral drama that demands its viewers to consider a world that has long been unconsidered in the cinematic medium. Beautiful film that anyone and everyone can appreciate.

The last new film I watched since the beginning of the new year was another recommendation of this new good friend; Dinner in America (2020), an indie dark comedy drama from writer and director Adam Rehmeier. I have some complicated views on this one, especially as it pertains to the casting and writing choices made throughout. The comedy is very much derived from four-letter curse words and excessive shouting that oftentimes goes on for far too long. The acting from many newcomers and small-time actors combined with this can be overwhelming and cringey at times; however, the strong heart and passion that the film is made with ultimately shines through the brightest. The story follows a troubled young man prone to violence and arson as he runs from the law while trying to simultaneously manage his punk rock band he “leads”. The other side follows a young woman struggling to connect with her peers and real life in general, obsessed with the aforementioned band, and moreover its “leader”. The story takes its time getting the ball rolling, but once it does finally pick up the pace, it is immensely rewarding to the audience. There is a song recorded during the runtime that becomes the theme of the film in a certain way, and the manner in which it comes about, and further how it is used in the finale, is really sweet and shows the level of care the auteur had when making it. Something tells me that a rewatch of this film in a different mood would yield a far more positive review. Still very enjoyable, and highly recommended to anyone who’s got the itch for an indie dark comedy.

I rewatched a few other films as well throughout the last couple of months. Most notably was another viewing of Harmony Korine’s Gummo (1997), one that my love grows for with every time I see it, especially as I continue planning the shoot for my own first feature film. My good friend and I also went to see Marty Supreme (2025) again, as this is currently my favorite thing in the contemporary cinematic universe. I loved it even more on a second viewing and I can’t wait to watch it on repeat when I can get my hands on a 4K UHD copy. Paul Thomas Anderson’s Punch-Drunk Love (2002) was also on the list, a totally lovable watch as always. I’m really hoping that Adam Sandler and PTA reconnect for another film at some point in the future, because they tapped into something special with that one. That is pretty much all for now. I apologize for the massive delay in round-ups, as I said at the beginning, it’s been hectic – I feel like a headless chicken some days, but honestly, in the best way possible. For those still reading, I wish you the very best as the new year continues to unravel. Please watch a good movie, and if you feel so compelled, let me know what you think of it. Comments encouraged, as always.