Colin Wessman

I love those oldies and hoagies, give me some beefcakes and cheesesteaks

Criterion Month Day 14: Z

Z (1969)

With each new year that we dive back into Criterion movies, there always seem to be recurring subgenres of films that each of us end up reviewing (John already mentioned his affinity for prison movies). This has never been intentional, but with past picks like Rome, Open City and The Battle of Algiers, it seems that each year I end up picking a political thriller based on what were recent events when these films were made. Unwittingly, I managed to pick another one of these films with Z, a film that tells a fictionalized version of the assassination of Greek leftist political leader Grigoris Lambrakis and the corrupt right-wing government that was responsible for it. However, the thing that separates Z from these other films I mentioned was that the authoritarian forces depicted here were still in power when the film was made, since Greek director Costa-Gravas had left his home country as a teenager to make films in France, where this film was produced (though oddly enough it was filmed in Algiers). Continue reading

Criterion Month Day 10: The Fabulous Baron Munchausen

The Fabulous Baron Munchausen (1962)

The Fabulous Baron Munchausen might be the movie I chose to review for Criterion Month this year that I had the least knowledge of and the least context for. Which might be the best way to go into this movie, considering it truly feels like nothing else. I know that may sound like hyperbole, especially considering I’ve watched far too many movies to ever be truly taken off guard by what kind of images are capable of being brought to the screen. But Czech filmmaker Karel Zeman was clearly a one-of-a-kind visual stylist, even if he may not have the same recognition as many of the other pre-CG visual effects pioneers. Continue reading

Criterion Month Day 8: Kind Hearts And Coronets

Kind Hearts And Coronets (1949)

Post-war Britain didn’t seem like a particularly great time to laugh, and yet this was the period that saw the rise of Ealing Studios, who gave birth to some of Britain’s best comedies. Perhaps it’s appropriate that during these somewhat bleak times, these films indulged some decidedly dark themes. I haven’t seen a ton of these Ealing comedies (other than The Lavender Hill Mob and The Ladykillers), but other than their deliciously biting nature, there’s also a sophisticated and unsentimental quality that makes these movies hold up much better than a lot of comedies from this era. Then on top of that, a lot of them feature Alec Guinness having about as much fun as he ever had as an actor (sorry George Lucas), and it’s hard to get more fun than playing nine different characters in the same movie. Continue reading

Criterion Month Day 4: Show Boat

Show Boat (1936)

It’s now dawning on me that I’ve been the one to review a movie on the 4th of July all four years that we’ve been doing Criterion Month. These reviews usually consist of me making some off-hand remark in the first paragraph about how crappy current-day America is before moving on to talk about the film in question. However, with this year’s 4th of July review, it’s a little hard for me to move on from current-day America, because one of our current dilemmas of trying to make media more diverse is a big part of Show Boat. While the film’s intentions are more than noble in that regard, there are more than a few things that are problematic about it, which — for better more than worse — makes it about as American as apple pie. Continue reading

Criterion Month Day 3: L’Atalante

L’Atalante (1934)

Though there are plenty of examples in the world of music and literature, movies don’t have a ton of singular artists who died too young to ever live up to their full potential. However, one of the early examples of this is French director Jean Vigo, who died before the age of 30 and only has one feature film to his name. L’Atalante is a film that has been said to have had a major impact on the directors of the French New Wave a few decades later, though I think the strangest thing about it is that despite being the film synonymous with its director, it doesn’t seem like it entirely embodies the themes and ideals that Vigo was interested in exploring. Continue reading

The 4th Annual Criterion Draft

Just as John wraps up talking about his favorite horror movies of the 2010s, we take a trip to the more distant past by making our Criterion Picks. As you may or may not know, each July we at Mildly Pleased review 30-ish movies from the Criterion Collection on the blog, and while many things may be different about this Summer in the world at large, this tradition remains essentially the same. This year, Colin and John stick to past themes of spreading their picks throughout the decades of films, while Sean commits himself to reviewing nothing but black and African-American filmmakers this year.

Unlike in years past, we recorded our draft just a week before Criterion Month starts, so look forward to some reviews already comin’ at ya tomorrow! Continue reading

The Pick: Outside In

Well, we’ve made it to the end of another season of The Pick, and in this finale we’re saying goodbye to one of our own — Seattle filmmaker Lynn Shelton, who passed away about a month ago. We discuss the indie director’s short-but-prolific career, while also going in-depth on her criminally underseen 2017 drama Outside In. We also get into some talk about another hometown hero, Jeffery Dean Morgan (because why not), while also airing some recent cancelations, because that’s just the world we live in. Continue reading