Sean Lemme

I started blogging as a way to lazily pass my high school senior project and somehow I've kept doing it for more than half my life

Criterion Month Day 18: Lenny

Lenny (1974)

Aw man, I was so excited to finally check out Bob Fosse’s next biggest movie (as a director) nearly a decade after doing All That Jazz until today, when I finally had to sit down and watch it. That’s because I realized I didn’t account for two things: 1) writing about biopics is incredibly boring and 2) The Odyssey came out this weekend and it rules and kinda all I wanna do now is read about The Sea Peoples. But worry not friend, Lenny was more than interesting enough to have really woken me up and grabbed my attention against those perilous odds. I mean, what did I expect? It’s Bob Fosse.

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Criterion Month Day 16: Five Easy Pieces

Five Easy Pieces (1970)

As I watched the Mariners absolutely shit the bed to begin the second half of the MLB season tonight, I couldn’t help but think of the main takeaway I had from rewatching Five Easy Pieces last night: expectations are a bitch. Now I didn’t remember this movie that well – it has been a decade since the first and only other time I saw it – I’m pretty sure my reaction to it was: boy, this Jack Nicholson guy is a dick. He’s surrounded by people who want to love him and he’s horrible to all of them. But now, I see it more as everyone wants him to live on their (honestly eminently reasonable) terms and he’s just not built that way. I still bristle at this character, but I see the internal tragedy better now.

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Criterion Month Day 14: Stolen Kisses

Stolen Kisses (1968)

While they seem like an invention of the 2010s, all these Criterion Months have taught me that the idea of shared cinematic universes actually goes way back. So it comes as no surprise to report that legacy sequels – a related and seemingly modern phenomenon – were actually invented by François Truffaut in the 1960s (eat your heart out, Richard Linklater). In between making some of the best movies ever made, Truffaut spent his career returning to his first film and its leading man, Jean-Pierre Léaud as Antoine Doinel, giving audiences a chance to check in on the troubled boy as he grew up.

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Criterion Month Day 12: PlayTime

PlayTime (1967)

I equate the experience of watching a movie with being told a story so naturally that I often forget that that isn’t essentially what a film has to do. Jacques Tati’s PlayTime is a monumental reminder that cinema can be a game each member of the audience plays by themself. That’s a challenging initial experience, but one I immediately wish to revisit.

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Criterion Month Day 8: Breathless

Breathless (1960)

When we talked, I talked about me, you talked about you, when we should have talked about each other.

Has there ever been a more damning indictment of romantic French cinema than Michel’s line here in Breathless? When I think about pretentious French movies, it’s exactly that: a man and a woman in black and white, both monologuing into the void about whatever the fuck instead of having anything that could possibly resemble human connection. So I guess it took a film critic making his first movie to put that shit on blast. It’s stuff like that that makes Jean-Luc Godard’s Breathless still an exciting movie to watch 66 years after its release.

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Criterion Month Day 4: Summer with Monika

Summer with Monika (1953)

From Terence Malick’s Badlands to Wes Anderson’s Moonrise Kingdom, one of the most beloved sub-genres cinema’s great auteurs inevitably explore is stories about young lovers on the run. Ingmar Bergman went there when he was 35, a bit before all the big titles in his filmography, but nonetheless Summer with Monika did achieve its own unique sort of infamy: two years after its Swedish release, a Time magazine article about “Sin & Sweden” inspired an edited-down version of the movie to be released in the US, where it was a poster child Swedish exploitation films. Hard to believe that was ever a thing! Against all odds did Ingmar Bergman of all people make an early erotic masterpiece? And can a movie from 73 years ago still titillate audiences in 2026?

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Oscars Fortnight: Scent of a Woman

Scent of a Woman (1992)

65th Academy Awards (1993)
Nominations: 4
Wins: 1

“What kind of a show are you guys putting on here today?” This clip, from Pacino’s big “courtroom” scene at the end of Scent of a Woman opened up every episode of the podcast Filmspotting, or at least did for as long as I listened to it until Matty Ballgame left. So to me, it’s just about as iconic a Pacino quote as there can be. And the Nineties were a very quotable period for Big Al, giving us hits like “she’s got a great ass and you’ve got your head all the way up it” and “just when I think I’m out they pull me back in.” So since I was in the area already, I figured I should probably finally watch this damn thing. Hoo-ah!

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