Dune
Villeneuve movies can sometimes end up cold if the characters don’t resonate with the expectations of today's movie audience (of which I am a member). This is not the case here, so its rapturous reception is unsurprising. Even with limited exposure, Zendaya leaves an impressive imprint. Chalamet fails to embarrass standing in MacLachlan’s legacy. I’m not sure what to say about Ferguson; I’m on board obviously.
Undine
Lovers meet in a cafe, colliding with each other to shatter a tank and free its great gallons of liquid. The two actors are great together but their separation leaves the film disjoint and wanting. We’re left to wonder why there’s not the maze of upholstery we see in his other films.
CODA
I don’t like to rain on the parades of emotional Sundance pictures, but the contrivances here were tough to get over. I scored one point for CODA’s mean teacher, but elsewise there’s only tyrannical niceness.
A Floating World
The coldness of the other paired with the newness that accompanies its experience. Walking along and through untouched cobbled streets, seeing not a face at all. I jump at a stone-wall–not quite. Looking across the bay–which of those who stroll through is my friend? A nighttime walk across a bridge–where I should go next? Another temple–have faith, my son; show me. Into another square, another gardened walkthrough–and dreams that bring it all back. Do I know how to walk along the snowed roads, up in a circle? Did I ever really wander? It’s hard to summon anything but praise for the loneliest of pictures.
Ninnila Ninnila
I do like nice restaurant camaraderie with a cycle of dishes to gaze upon. A cartoon about a chef who’s now a magician, presented in warm soft-focus.
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