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 20: The Man Who Fell to Earth

The Man Who Fell to Earth (1976)

When you’re doing a project like this one, especially if you’re doing it the way I am, it’s easy to takes movies for granted. This month I’ve already watched eight other movies, and in most cases, written up reviews immediately after their credits rolled. When you’re watching some of the world’s finest cinema, it’s really not that hard to do; you just summarize the plot, comment on the themes or the film’s impact, and Bob’s your uncle. It such a streamlined process I didn’t even think to talk about how comforting it was to see familiar actors last night in The Last Picture Show, a rare gift in this mostly director-driven practice. But it all comes to a smashing halt when you watch something truly experimental, like The Man Who Fell to Earth.

Continue reading →

Criterion Month Day 19: The Last Picture Show

The Last Picture Show (1971)

The Last Picture Show is yet another coming of age story that’s really distant from my life experience. It’s set during the Fifties in a small (and shrinking) town somewhere in Texas oil country, where optimism seems to have already died long ago. This is a place where no one has career prospects and the adults entertain themselves by watching to terrible high school basketball team and sleeping with each other. For the kids, the entertainment options have dwindled to the property of one man, Sam the Lion (Ben Johnson), who has a cafe, a pool hall, an the movie theater, from which the title of the film comes.

Continue reading →

Criterion Month Day 14: Harakiri

Harakiri (1962)

I was never sure why sometimes people use the word “harakiri” and sometimes it’s “seppuku,” so I looked it up. Both words are written using the same kanji characters, “to cut” and “stomach.” The difference, I found out, is formality. “Harakiri” is an informal word, and would perhaps be used to describe a defeated warrior taking their own life on the battlefield. “Seppuku” is more formal, maybe more befitting describing the act of suicide that would also involve a second slicing the person dying’s head off. This is worth knowing, since Masaki Kobayashi’s film Harakiri is actually known as “Seppuku” in Japan.

Continue reading →

Criterion Month Day 13: The 400 Blows

The 400 Blows (1959)

Compared to your typical film protagonist, it’s hard to deny adolescence was easy for me. Just look at these general advantages I had: I grew up in the suburbs. I built up a loyal group of friends very on and have maintained those relationships to this day (as this blog proves). I was smart enough that it wasn’t especially hard to succeed in school. My parents were and are married and gainfully employed. Of course, that’s not really my life’s story, but it’s a hell of a lot better than Antoine Doinel’s plight in The 400 Blows.

Continue reading →

Criterion Month Day 12: Anatomy of a Murder

Anatomy of a Murder (1959)

I recently realized something about myself after watching Legally Blonde and being disappointed with how quickly its final case is wrapped up: I really like courtroom dramas. Nearly every movie I’ve seen that centered around a trial was one I enjoyed, and I don’t think I’m alone in this sensibility given how damn near everybody loved The People vs. O.J. Simpson: American Crime Story last year. There’s something about seeing America and Americans put to the test, sorting out right from wrong, pleading for justice, that’s consistently engaging. And one of the best representations of that in all of cinematic history is Anatomy of a Murder.

Continue reading →

Criterion Month Day 10: Pather Panchali

Pather Panchali (1955)

There’s this anime movie, Grave of the Fireflies, that is in a highly unusual class of cinema. Everyone who sees it loves that movie, but almost nobody would list it among their favorite films of all time – in fact, many people claim they could only stand to watch it once. I’ve only seen it once. People have such a visceral reaction to that depiction of poverty, childhood, and tragedy, that it feels like its made its complete impact by the first time the credits roll. What if I told you there was another movie that falls into the same category, but as soon as I was done watching it, I was eager to watch it again? That movie is Pather Panchali.

Continue reading →

Criterion Month Day 9: The Importance of Being Earnest

The Importance of Being Earnest (1952)

Did you ever wish that Catfish was an episode of Frasier? That’s The Importance of Being Earnest, a dry, eminently quotable little play (or in this case, film). Before even seeing it, I joked that I would rate the movie “very droll” out of five and that’s about right. It’s a sort of frivolous type of entertainment, obviously out-dated compared to the bombast of comedies today (or even a generation ago) that I was fortunate enough to at least enjoy on a leisurely Sunday afternoon, instead of desperately cramming it in today before writing this review. Now I just wish that we had a post format that would allow me to only list Oscar Wilde quotes.

Continue reading →