June Movies (so far)

Hot Pursuit 

The context of this experience is far from standard for me.  I walked into the room, saw the television screen, and asked my sister which movie it was that she had just began.  She told me, and justified the choice by explaining that she wanted a mindless experience.

For some reason, I decided to remain in the room--most likely an inertial decision.  I watched this thing, after failing to watch a movie for a week (abnormal for me) and an impressive streak of good movie experiences before that hiatus.

The domain of this streak can be defined as movies watched in May; this choice was made with significant consideration of narrative strength.

Let's discuss The Streak:

1 May - Happy Christmas
Joe Swanberg is successful in entertaining an audience, attempting to honestly explore a social dynamic; the pure humanity displayed compensates for the lack of cinematic ambition.
5 May - The 25th Hour
One of three Spike Lee movies I've seen (the others: Do the Right Thing, Inside Man).  This movie reminded me of the wonderful camaraderie New Yorkers share.  I don't claim that this is not idealized, but this characteristic is particularly prominently when considering both New York and Los Angeles.  I loved everything about this movie--particularly the strong use of color in the cinematography.
7 May - Mistress America
Somehow Noah Baumbach always manages to create movies that are effortless experiences for me.  I'll list them: Kicking and Screaming, The Squid and the Whale, Margot at the Wedding, Greenberg, Frances Ha, While We're Young, and now...this.
8 May - Bare
Another of the experiences I simultaneously enjoy and resent, a Female Attachment Film.
10 May - Captain America: Civil War
So when you're presented with an opportunity to go to a Marvel movie with two friends, I guess you do it.
14 May - The Discreet Charm of the Bourgeoisie, That Obscure Object of Desire
Buñuel's aesthetics are so removed from my own, making his achievements even more profound.  It is effortless to watch his creations.
15 May - The White Ribbon
A phenomenal period piece by Haneke.  So Palme-worthy.  His expertise seems to lie in showcasing and provoking human discomfort.
16 May - L'Avventura
A concept so simple can be displayed in a way that is so removed.  Antonioni creates mystique so thick and cloudy--I don't understand.  My lack of understanding of this movie seems to run parallel with my failure to be ontologically assertive.
20 May - Ali: Fear Eats the Soul
This legitimates Fassbinder for me--fantastic cinematography, relevant narrative choices, human acting.
24 May - Amy
Here, the art of documentary is ever present.  Sit, and immerse in the spirit of Amy Winehouse, watching human repression occur simultaneously with burgeoning fame.
25 May - Unfriended, Inherent Vice
Unfriended presents an uncharted aesthetic--the computer screen.  It successfully manuevers within this.  I was endeared by a youth culture I never experienced, so seeming so hyperbolized.  Paul Thomas Anderson's Inherent Vice is an adaptation so strong that it reframes the book itself.  Watching the movie a day after finishing the book, I was impressed by the matching tones of each.

Emerging from this digression, I declare I am ready to dissect the critically panned Hot Pursuit.  In this movie, everyone is a caricature.  This movie made money, disconcertingly affirming the lab-concocting studio industrial complex currently existing in Hollywood.  The formula is to insert movie stars into their audientially preconceived roles, and reach the baseline stimulation of the human animal.  I did not hate this experience, which makes me desirous of its altogether banishment from historical existence.

Her

The aesthetics of this movie are enough to justify experiencing it.  I've never enjoyed the dynamic between Theodore and Samantha in the two viewings, but I've come to a point of considering the legitimacy of such a relationship.  Its ontological status is determined by each participant, and nowhere else.

Chef

I don't understand the purpose of this movie.  It lies outside of the traditional formula that creates conflict at regular intervals throughout.  There is no conflict in the last three quarters of the movie.  Suspiciously, a chef is able to cook food on a fucking food truck without insecurity, giving him capacity to simply live wonderfully.

Amélie 

Here we stand, afoot the last movie I watched.  It's good.  It's so very good.  An elongated, perhaps idealized display, of reward stalking its cursed recipient.  My script so clearly lacks because of its vagueness, something I wish to improve, yet so quickly forego...

Imagine feeling motivated to give.  Actually manifesting that practice that seemingly everyone must be aware of now, after so much of fate's pounding its necessity into brains.

Accepting the messiness of humanity, and the purity of such an acceptance are the ingredients to enjoyably immersing into this movie.


I do not know if my additions to this blog will maintain a regular frequency, but know I am wishful they will.