From The 40 Year Old Virgin to Zodiac

November 2024 at the Movies

As the year winds down and I prepare for not just my end of year best of list (check out my best of 2022 and best of 2023) but also try to dive through every film I own that I haven’t watched yet as I plan on selling my physical collection, this month was especially busy for film. November 2024 at the movies…

The 40 Year Old Virgin

Judd Apatow’s first film (the first three I wrote about in last month’s special features) is one I come back to frequently. Is it as uproariously hilarious as other films I love from the time, such as Anchorman or Dodgeball? No. But it’s a film with characters that stand the test of time, with a great lead performance from Steve Carrell, and a solid over-all story that can still hit you right in the funny bone twenty years later. Following the titular forty year old virgin as his secret is unveiled by his coworkers, only for them to rally around him in an attempt to finally get him laid, it may be a juvenile premise (and, at times, a juvenile movie) but direction from Apatow keeps it grounded and simple.

The romance between Steve Carrell and Catherine Keener is genuine without ever being sappy, and the supporting cast (including performances from Seth Rogen, Elizabeth Banks and Paul Rudd) keep the film moving forward whenever it threatens to fall into a rut. It does still feel flabby at time, as some subplots could have easily been cut for time (a problem Apatow will continue to have throughout his career). But overall this film still contains the laughs and the characters that are well worth a first or second or third visit.

Accepted

I remember reading that, according to research, you will never love new music more than you will the music you listened to when you were a teenager. At some point you’re locked in, and the artists that got you through your teenage woes will be the ones that get you through the rest of your life. One must wonder, then, if other aspects of your teenage years will forever bring about a sense of nostalgia and support, even years later. After watching the broad comedy Accepted, I’m surprisingly still on the fence for the concept. Is this a good movie? No, absolutely not. It’s not even a good comedy, providing minimal laughs throughout. Yet, somehow, there is a warmness to the outrageous circumstances and rather stupid premise that makes me feel like this wasn’t a (complete) waste of time.

Following Justin Long (who is always a welcome screen presence) as he and a ragtag group of friends form a completely fraudulent university in order to not disappoint their families. Something goes awry with the fake registration online and, in turn, hundreds of miscreants and outsiders end up at their fake university after being rejected everywhere else. Unwilling to turn everyone away from the one place they’ve been accepted, the group of recent graduates rally together to make this a real(ish) university. All the while they fall in love, make enemies with a nearby fraternity, and hope to foil the dean of the real university. It’s a film with shallow intentions, shallow characters, and a can-do 80’s comedy sensibility with just a touch of 2000’s raunch. By not going hard into the more raunchy aspects of the story, the film feels completely neutered, a weak imitation of what was happening in the comedy world at the time. Ultimately a sappy, forgettable film with glimmers of what could have been.

Affliction

The first of two Paul Schrader films I was able to catch this month, Affliction is a fascinating descent into madness and great dissection of the pull of familial destiny. Following a small town cop Wade Whitehouse (Nick Nolte) as he investigates a supposed hunting accident, all while other aspects of his life seem to be crumbling all around him. As he digs further and further into the shooting death, his grip on reality begins to loosen, and he begins down a treacherous path where everyone is his enemy. His actions mimic those of his bitter, drunken father (James Coburn) and, as Wade begins to isolate himself, we fear his eventual point of no return.

In a world where political divides have formed jagged scars across many communities throughout North America, and where groups like Q-anon make it so everything is a conspiracy, Affliction is a harrowing watch. Seeing a man, not perfect by any means but one who wants to do good, become a raving lunatic throughout the course of the film is a terrifying reminder of the power of a compelling lie. Nick Nolte is devastating in the lead role, and James Coburn plays his father with such a broiling rage that the moment they are on screen together you know that these two will come to an explosive moment. Paul Schrader’s desperation in searching for humanity in unconventional places makes this one of his best films. A harsh but necessary film.

Anora

Few filmmakers are as exciting in today’s cinematic landscape as Sean Baker. A humanist in the tradition of Wim Wenders and Richard Linklater, all of Baker’s films over the last decade have been about people on the edges of our every day finally getting their stories told. With his new film, the glitzy and glamorous Anora this trend continues, as we follow sex worker Ani (Mikey Madison) as she is hired by the son of a Russian oligarch for a week of her services. At the end of the week he proposes to her, and their marriage sets off a series of events that culminate in a wild night across the neon lit New York streets. Throughout the stresses placed on Ani and the life she’s chosen to live, she never buckles, she never breaks, and instead continuously comes out harder and stronger against each criticism or jab.

This could easily end of being my film of the year, for a myriad of reasons. First and foremost is the unforgettable performance of Mikey Madison, who doesn’t shy away from the more unglamorous aspects of sex work, nor does she ever play Ani as a victim. Ani is in control of everything she has ever done, and both Baker and Madison enforce this point. The supporting performers all shine incredibly bright, each of them getting one or more moments that you will remember when leaving the cinema. Whether it’s Ani’s man-child husband Ivan (Mark Eydelshteyn), Ivan’s reluctant guardian Toros (Karren Karagulian), Toros’ witless brother Garnick (Vache Tovmasyan), or their gentle hired goon Igor (Yura Borisov), every character is so artfully brought to life that it doesn’t feel right to single out a performance along them; they all work so beautifully together. Hilarious, powerful, and thought-provoking, Anora is the film of the moment.

Assault on Precinct 13

An early work from director John Carpenter, Assault on Precinct 13 is as simple as it is brutal and effective: a ragtag group of police, civilians, and criminals must outlast an onslaught of gang members over the course of a single night at a soon-to-be-defunct precinct. As plans fall through and schemes end in death, the remaining survivors must set aside all differences if they wish to see another dawn. Bare bones in plot and execution, there is still plenty here to Carpenter fans to recognize and for everyone else to dig into. From the brutal and shocking death of a child to the streamlined and to-the-point efficiency Carpenter uses to get us invested in these characters, this is well worth a visit for thriller and horror fans alike.

The simplicity of taking a likeable but unquestionably amoral criminal and teaming him up with a likeable but inexperienced cop makes the dynamics of the film immediately interesting. We know that not only is Napoleon Wilson (Darwin Joston) a murderer, but that he’s specifically murdered cops. This adds an immediate tension anytime Ethan Bishop (Austin Stoker) gives him some leeway, whether it’s letting him out of the cell or giving him a gun. This could turn sideways at any moment, leaving us on the edge of our seat. Add in a seductive and tough secretary (Laurie Zimmer) and a seemingly endless, almost zombie-like horde of gang members, and we have a fantastic entry in Carpenter’s filmography.

A Beautiful Mind

It’s interesting to watch films from the not-too-distant past and just see how influential they are, even when they have become somewhat derided since their release. There are so many elements of A Beautiful Mind from director Ron Howard which have infiltrated the common pop culture lexicon. And having those moments stem from a middle-of-the-road, at times outlandishly bland biopic makes one realize who much the cultural landscape has shifted in twenty years. The film tells the true story of Nobel award-winning mathematician John Nash from his times as a college student to his eventual twilight years as a respected man. In his early life, Nash is plagued by mental illness, causing him to lose almost everything in his life. His job, his sanity, his loving wife Alicia (Jennifer Connelly) all start to fall apart as the sickness took over. Only through the love of his wife and his determination was he able to rise above his illness and become a truly extraordinary mathematician and teacher.

This may be one of the cases where a story is undeniably compelling but it is all but impossible to make a compelling piece of art out of it. Howard tries to inject energy into the scenes where learning and discovering new math is important, and these are the elements which have risen into the cultural lexicon. But much of the film is weighed heavily by the uninspired biopic formula. Pursuits of stodgy academia are not the most enticing of stories, and the complete life trajectory from college student to pensioner makes the film feel unwieldy. There is simply not enough interesting in this life to make a two hour feature from, and the most compelling moments happen so far apart that it was almost a fool’s errand to try and connect them in a single narrative. An old-fashioned and dull picture.

Bite

Sometimes when expanding one’s film horizons you must go down instead of up. There is gold in the depths of the low budget, bargain bin productions of the world. Hundreds of films get made every year, and only a select few make it to the local cineplex. And while many of these films may not be up to the emotional or technical level of many wider seen films, they often can have a charm lacking from big budget productions. Bite is not one of those films.

A body horror flick following Casey (Elma Begovic) after she returns home from her bridal party abroad only to discover she was infected with something while away. Cocooning herself in her room as her body begins to degenerate and she starts laying roe-like eggs, her friends and family take turns showing up only to meet gruesome ends. An unimaginative and boring film, there is nothing surprising here. The performances are poor, and the characters are all deeply unlikeable, with no traits or interiority to latch on to. The special effects are a highlight, but they quickly become a repetitive, goopy mess. A film that thinks grotesque and frightening are synonyms, a poor imitation of The Fly.

The Blob

An 80s cult classic horror, The Blob follows a group of townsfolk, lead by misunderstood bad boy Brian (Kevin Dillon) and not-so-goody-two-shoes Meg (Shawnee Smith) as they try to save their town from an intergalactic threat. After a meteor crash lands just outside of town, a sentient blob begins to hunt down all life, slowly consuming anything and everything it touches. The townsfolk, along with a mysterious group of soldiers and scientists who claim to be protecting the town, must fight for survival against the seemingly unkillable mass of goop.

This is an excellent horror picture from director Chuck Russell. With a script co-written by Frank Darabont, Russell is able to create unique and interesting characters, wonderfully brought to life by the eclectic collection of character actors who sprout up throughout the film. Not only does the town feel incredibly genuine, but Russell is unafraid to then kill these characters in terrible, disgusting ways. The special effects are amazing, some of the best of the 80s, and the design of the monster make it so the deaths are not only violent but incredibly harrowing, with characters we quickly become attached to being dealt with just as suddenly. This creates tension throughout, as no character is truly safe. Shawnee Smith and Kevin Dillon’s characters deserve to be on the pedestal of great horror heroes, both incredibly dynamic and innovative in their resolve to survive. One of the best horrors I’ve seen recently.

Blood Harvest

Much like the previously mentioned Bite, Blood Harvest is a dive into the deep end of the schlock pool. This no budget horror film follows college girl Jill (Itonia Salchek in her only film appearance) as she returns to her tiny farm community to discover her parents missing and the entire town in a strange state. As progressively stranger things occur, the only person Jill can trust is her childhood friend Scott (Peter Krause), despite the fact it’s Scott’s bizarre, creepy brother who is causing most of Jill’s weariness.

This is an unfortunately deeply dull picture for the large majority of it’s run time. Only notable for starring eccentric outsider musician Tiny Tim as the creepy brother Mervo, the film stretches the paper thin plot to the point of breaking. Tiny Tim does give a wonderfully off-putting performance, full of extravagant, operatic glee and sorrow, but placed next to the mostly wooden performances of the rest of the cast it’s unfortunately waster. Salchek, while not given much to do, does she a glimmer of talent that makes it unfortunate this was her only role. If not for these two performances, though, the film would be absolutely dire. Only recommended to the most die-hard of schlock enthusiasts.

The Book of Life

An all-but-forgotten animated film celebrating the legends of Mexican tradion, The Book of Life is a film one wants to love. Following a young musician who, through a convoluted series of events, ends up exploring the afterlife in hopes of returning to the world of the living to save his village, there is as much here to be commended as there is to be condemned. The animation is absolutely gorgeous, with unique character designs and stellar world creations you are unlikely to see elsewhere. It reminded me of early Pixar in the worldbuilding, with every element feeding back into a point in the story later on. Unfortunately the absolutely unruly script and at times pandering humor put this artwork to waste.

There is a lot happening in this story, almost too much for a singular children’s film. Now I don’t believe that children’s films need to be dumbed down or should be uninventive due to their audience. In fact one of the main issues with The Book of Life are the cheap pop culture references that do nothing but make one wish the filmmakers had chosen a smarter option. But when you are tracking our heroes through several different worlds, several different lives even, if becomes a rats nest of storytelling. And while I’m certain the filmmakers simply wanted to show the Mexican tradition of the Day of the Dead as thoroughly and reverently as possible, it does bog down much of the film. A wonderfully designed if woefully written film.

Bottle Rocket

The first feature film from modern auteur Wes Anderson, Bottle Rocket is an interesting relic of an artist who has outgrown his old self tenfold. Following friends Anthony (Luke Wilson) and Dignan (Owen Wilson) as they execute a variety of heists planned by Dignan. Dignan has an intricate, 75-year long plan for the two of them, while Anthony feels restless with his current station in life. We follow them as they pull of a heist, flee to a rundown motel, fall in love, fall out with each other, and eventually end up right back where they began.

A fine first feature that doesn’t hold a candle to any of Anderson’s later works, this is more of a fun curio than an actively entertaining film. While I remember enjoying it, I couldn’t tell you hardly anything that happened in it, or any of the jokes, or any of the elements I enjoyed. It all fell off me like water from a duck’s back. It lacks much of the flair Anderson will become known for, and while both Wilson brothers are having fun, one can tell they were not well versed to being on screen. A supporting third act turn from James Caan is a welcome breath of fresh air, but otherwise this film would not be remembered if not for what was to come. A fine indie comedy, but an overall shoulder shrug of a film.

Conclave

One of the best surprises of the year so far, Conclave is a call back to talky, adult thrillers we so rarely see at the cinemas anymore. Following the secretive and ritualistic process of selecting a new Pope following the sudden death of the current one, Conclave develops it’s intrigue in the old fashioned way. Our main character is Cardinal Lawrence (Ralph Fiennes) the Dean of the College of Cardinals and the leader of the conclave. With four main candidates for the papacy, ranging the political spectrum from modern liberal to reactionary traditionalist, Lawrence must navigate the deceptions and schemes of the various cardinals in order to guide the conclave into choosing the best possible candidate for the new Pope.

A wonderfully intense film, director Edward Berger easily makes a film about rooms of various people whispering into one of the most intense films of the year. Every five minutes a twist, every ten minutes a revelation, at no point are you able to guess where the film is going until the credits role. Even with all the twists and turns, every moment feels entirely earned, especially with Fiennes giving a fantastic, grounding performance at the center. His portrayal of a man questioning not only everyone around him but his own motives constantly makes for exciting viewing. A brilliant film about the secret politics that influence all elements of our lives, for better or worse.

Contest

One of the films covered in my new podcast Absolutely Obscure with Josh & Rory, Contest is a 2013 teen comedy from director Anthony Joseph Giunta. You can hear our review on Spotify or YouTube!

Dallas Buyers Club

The AIDS epidemic of the 1980s/1990s will forever be a scar upon the American government. The treatment of sick people was all but dismissed, and many thousands of people died if only because the world refused to care. With Dallas Buyers Club we see one community and one man specifically has he comes to terms with a world that has dismissed him to die in the dark. But instead of giving up he pushes back with rage and vitriol, starting a business getting uncertified and experimental medicine to people who have nothing to lose. In the end he ends up learning about bigotry (something he was well versed in spewing before) and grace in the faith of insurmountable odds.

While this sounds like a film that is inspiring in massive quantities, it is not the film Dallas Buyers Club gives us. That film is vibrant and informative. Dallas Buyers Club is dull and unimaginative, a paint-by-numbers social drama. Matthew McConaughey does wonders in the lead, expressing his bitterness and anger while leaving room for humanity. But Jared Leto’s turn as a transgender sex worker who partners with McConaughey’s Ron Woodroof borders on parody, and the overall dreariness of the film robs it of any emotions it attempts to wring from the audience. It’s not something to hate, as it’s too lifeless to illicit such a visceral emotion. It’s simply a beleaguered biopic that is inspirational despite itself.

Funny People

Judd Apatow’s third film, and the one that, for me, really made the cracks in the Apatow formula finally break, Funny People is a turgid, lump of a film. Following hack comedy film star George Simmons (Adam Sandler) as he struggles following a cancer diagnosis, we watch as Simmons takes on young comedian Ira (Seth Rogen) as a personal assistant. As the two grow closer together it becomes evident that Ira is the only person George is able to confide in, and Ira eventually pushes George to reach out and be vulnerable to a world that has seen him as nothing but a lovable clown. This leads to George reaching out to an ex-lover who he still holds a candle for, and their reconnection threatens to tear apart her family she’s made since their break-up.

If this seems like not only a very heavy plot but far too much plot, you would be correct. This is a torturous watch, especially seeing as George Simmons is a deeply bitter and unlikeable character, with none of the charm or charisma of his actor Adam Sandler (who was obviously a blueprint for some aspects of Simmons’ character). The film is almost devoid of humor, with the stand-up scenes being painfully unfunny, and never have I seen a group of comedians be so naturally unfunny. Apatow is not a talented enough writer or director to make a film that doesn’t lean heavily on jokes, and this film proves that. Additionally the crushing weight of the two and a half hour run time makes this a film nobody should have to see in 2024 and beyond. A self-aggrandizing and bitter portrait of comedy, comedians, and people in general.

Gladiator II

I am still unsure if it was fair for me to go see the new Ridley Scott epic Gladiator II in theatres. After all, I haven’t seen the Academy Award winning first film! But as this seemed to market itself less as a direct follow-up and more as a legacy sequel, and seeing as sand-and-sword films are a rarity at the box office, I decided to forgo my misgivings. Whether are not this lack of knowledge was an impediment I am still uncertain, as speaking with people who have seen the first film, their reactions still track with mine: this is a fine film, with fine performances, with some of the most bizarre, hacksaw editing I’ve seen in a major motion picture all year.

Starring Paul Mescal as Lucius, the son of Maximus and Lucilla who was whisked away to safety at the end of the first film, only to spend years in exile harboring a hatred for Rome, the city that abandoned him. When Roman general Acacius (Pedro Pascal) conquers Lucius’ new home and kills his wife, Lucius vows to take vengeance. He’s purchased by low level Roman diplomat Macrinus (Denzel Washington) who has hidden ambitions for the city of Rome. All these elements, the political intrigue, gladiatorial battles, and family drama, mix together in a mess of betrayals and revelations. A confusing plot is exaggerated further by the bizarre editing choses which leave some performances (Mescal’s specifically) feeling uneven. Washington, as always, is an absolute highlight, a devilish snake in the grass who stands tall despite everyone wanting to cut him down. In the end it’s a fine film that will be easily forgotten this time next year.

He Got Game

This month’s entry in my Spike Lee deep dive, He Got Game tells the story of a father and his estranged son. The son Jesus (Ray Allen) is a high school basketball prodigy. As he nears the end of the school year he is being pressured by everyone in his life to sign with the university best suited for their own personal gains. His girlfriend is trying to scam him, his coach is taking bribes, his extended family are anticipating a big payout. The father, Jake (Denzel Washington), is in prison for killing Jesus’ mother. He’s given conditional release under one condition: he gets his son to sign to a specific university. With only one week to bridge to massive gap in their relationship, while also taking time to enjoy a life outside the prison, the pressure is on for Jake. Through Lee’s dynamic camera and Washington’s stellar performance, this makes it high in the Spike Lee rankings.

While some may ding this because of the performance of Allen, a non-professional actor, it’s easy to overlook this flaw because of how excellent every other point of the film is. Washington is, as always, firing on all cylinders. Jake is stuck between his desire for freedom, his desires for family, and his wish for Jesus to have the best life possible for himself. Allen’s scenes with Washington are the best, with the elder actor drawing a rage out of Allen unseen elsewhere in the film. The dynamic between the two is what makes this special, as it’s not simply about the relationship between father and son but between two men. They are strangers who know everything about each other, who are able to push each other like no one else, and seeing this play out is a thrill. Another stellar Spike Lee joint.

Heretic

It’s always exciting when a new horror film not only has more on it’s mind than blood and guts, but also more than trauma. The modern boogeyman (at least overtly) of the last decade or so has been horror as a response to trauma or fear of the self. While many of these films are great (more on that in an upcoming article) Heretic, the new film from directing duo Scott Beck and Bryan Woods, chooses a different approach. Following Sister Barnes and Sister Paxton (Sophie Thatcher and Chloe East), two young missionaries as they are caught in a cat-and-mouse game with the mysterious Mr. Reed (Hugh Grant). Reed has spent his life studying religions and claims to want to show the women a modern miracle. The spiraling terror that follows forces the two women to question everything they know about their beliefs in God.

A devilish little horror film, not afraid to have jokes or some cruel fun at the expensive of it’s characters, Heretic owes much of it’s success to it’s three leads. Thatcher and East do an excellent job in not only showing the fear that seeps into the Sisters but also the resilience which compels them to action throughout the film. Grant proves he is an absolute star when given a grimy, fatty scene to chew. The wrinkles on Grant’s face have aged into a beautiful thing, deceptive yet charming in all the worst ways. The script is not up to the level of the performances, at times feeling like the monologue of a Reddit atheist who skimmed a Wikipedia article. But the slick direction and genuine surprise of the film more than makes up for it’s at times clunky dialogue. A fun little horror that won’t disappoint.

Knocked Up

Judd Apatow’s sophomore effort, and possibly his best, Knocked Up follows Ben and Allison (Seth Rogen and Katherine Heigl), two polar opposites who, after a drunken night of unprotected sex, find out Allison is pregnant. Choosing to keep the baby and try to work as a couple, the two must confront their different ideologies and paths in life and come to terms with whether or not they are ready to be parents. They are joined in this by Allison’s sister and brother-in-law Debbie and Pete (Leslie Mann and Paul Rudd), a couple who’s marriage is on the rocks, as well as Ben’s stoner, loafer friends. The film is a much more grounded comedy than Apatow’s previous film The 40-Year-Old Virgin, and while the laughs are lesser here, this feels like an overall more accomplished work.

Rogen is great is the lead role of the man-child who is forced to face adulthood. He is believable as both the stoner loser as well as the man who is attempting (but not always succeeding) to be. Heigl is given not nearly enough to do in the film overall, though the scene in which she decides to keep the baby is a great showcase for her. The film does have the Apatow issue of dragging on far too long, with the subplots involving Debbie and Pete taking far too much of the run time that should have been dedicated to giving Heigl some more compelling beats. The reason this shines as bright of The 40 Year Virgin comes down to the comedic performances of Ben’s roommates (Jason Seagal is a standout as the too-cool-for-school type) and the ending, which doesn’t try to give us any answers. Instead the film’s open ending leaves it up to us to decide if this is a happy ending, a sad ending, or just a beginning. An uneven but still solid effort.

Light Sleeper

Another stark, cold drama from Paul Schrader, Light Sleeper follows Willem Dafoe as John LeTour, a former junkie and current drug dealer. Working as a delivery man for high end drug queen Ann (Susan Sarandon), John struggles with everything in life. In the grips of a midlife crisis, he can’t sleep, doesn’t have a love life, and is growing restless with his illicit career. A chance encounter with an old flame shakes John from his catatonic day-to-day, but the dangers of both his previous life and his current career cause him to delve further into a state of paranoia and unsettling despair. When a murder of a client causes the police to cast suspicion on John, he’s forced to decide if he needs to get out of the life, and, if so, how to do so cleanly.

A cold, sad film that is trying incredibly hard to find warmth in the world, this further shows Schrader’s mastery of storytelling. Dafoe is perfectly pitched as the quiet, disengaged man on the verge of collapse. He’s worn out and exhausted, a fragility existing in every moment he’s on screen. The small moments of hope are quickly shut off throughout the film, but never does he nor the film become hopeless, instead choosing to portray the world as difficult and cold but not impossible to change. Another excellent man in trouble feature from the Taxi Driver scribe.

Notting Hill

A classic romantic comedy from the heyday of Julia Roberts and Hugh Grant, Notting Hill is as light an affair as a film could be. When a simple owner of a travel books store (as the protagonist of a romantic comedy needs an unnecessarily niche passion) falls in love with the biggest movie star in the world through a series of unlikely events, the two must navigate the media, her not-so-ex-boyfriend, and the pressures of being the center of the entire world. Will they be able to survive the onslaught? Will she be able to convince him she’s just a normal girl? Will you laugh at any time during the movie? All of these questions can be answered with an indifferent shrug.

A movie that tries at all times to be as British and charming as possible, there is little here that one will be able to recall as soon as the credits roll. Grant and Roberts are both beautiful and stumble over their words in the best and most romantic way possible, but they are barely people. The supporting cast is mostly a bland mélange of upper middleclass Brits who are even less people than the leads. Ultimately the film poorly sells a fantasy relationship, and the few moments it does really hit the heartstrings are outweighed by the boredom that surrounds it. A film that doesn’t deserve it’s place at the top of the rom-com tower.

A Sailor-Made Man

A quieter classic from the Harold Lloyd catalogue, A Sailor-Made Man is a simple and small story for the third silent era comedy genius. Following Lloyd as a pompous rich boy who, after being threatened with destitution by his father, joins the navy to prove his gumption to the father of a woman he adores. As a seaman, his laziness and privileged attitude quickly put him at odds with the other crewmen. When the finally arrive at port in an unnamed foreign city, he must put others ahead of his own self-interest in order to save a his love interest after she ends up kidnapped by the local authorities (having arrived at the same port on her father’s yacht).

Lloyd always played the pompous, overly confident loser with a passion, but here it doesn’t work nearly as well as his more well known works. But here his character (simply known as “Boy”) feels rather thin even by silent standards. While the saving of his love (“Girl”) does have some well done and very funny bits, there is no stand out stunt that makes this stick out in his filmography. Additionally, while it can’t be helped due to the time period it was made, the black and brown face in the second half is unavoidably awful. Overall this is a fine silent picture, but one that would easily have been forgotten in the sands of time if not for Lloyd’s involvement.

The Straight Story

The only G rated film released in his entire career, The Straight Story may seem like a bizarre anomaly in the career of David Lynch. Following Alvin Straight (Richard Farnsworth) as he sets off on a 240-mile odyssey on his riding lawn mower in order to see his estranged brother. This journey takes six weeks, and this quiet act of love is what makes this one of Lynch’s best films. Excruciatingly human and kind, it’s a film that strips Lynch of his toolbox of dream logic and violence, instead showing in all it’s glory what Lynch is always desperately trying to explain: it’s a beautiful thing to love, and this world can be pure if we allow it to be.

Farnsworth gives an absolutely astonishing performance in a film filled with moments of gentle kindness. He breathes a sense of longing into every far away look, an unabashed determination into every word. He’s a man who has had his regrets, of that there is no doubt, but he knows there is too much brittle beauty in this life to allow the pains of the world to dictate things. He is a pure distillation of the logical side of Lynch, the humanity that Lynch wishes to imbue everybody with. His performance alone would make this a great film, but ass to it one of the most beautiful endings to a film there has ever been and you have a truly amazing picture.

Zodiac

The film featured in this month’s edition of The Favourites, I wrote about degradation and the failure of mid-century America as seen through Zodiac. Read it here.

Enjoy this article? Why not read about what I watched in October? Or even last November?

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