I take solace in knowing that even among cinephiles, my aversion to three hour movies is not unique. Whatever mental barrier there is that stops me from just watching Criterion movies every night all year long is 10 times stronger when it comes to these big boys. And that’s in spite of the fact that some of my all-time favorite movies being super long! I’m sure right around the time Drive My Car got a limited release I was busy finding ways to justify not watching The Beatles: Get Back every night. So long movies are hard to approach. What I need to remind myself is that, once you’re in there, long movies can suck you into them and you don’t even feel the time anymore. And Ryusuke Hamaguchi is one of the best directors to prove that point.

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If there was ever a film that felt genetically engineered to play exclusively at European film festivals, it’s Olivier Assayas’ Clouds of Sils Maria. Like, I’m passionate about complex characters in fiction, but not like Juliette Binoche’s Maria. That’s the distance I feel with Maria, an acclaimed film and stage actress, grappling with the defining work of her career and how it relates to her age. I’m not an actor, but I can never imagine becoming so entwined with my art that it feels like torture. That must be why they call them “tortured artists.”

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I used to love Mumblecore films. The idea that you could take a few friends and film an improvised drama or comedy on consumer-grade cameras was inspiring to my younger self. Sean Baker is not part of the mumblecore movement, but he taps into the same part of my brain that loves mumblecore. Baker’s films have the same lo-fi, improvised feel as a mumblecore film. He also uses numerous non-professional actors, often in major roles, but there’s a key difference that not only separates Baker from that movement but also elevates his work above most of those films.

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When I found out there was an Infernal Affairs II, my first thought was, “Really? A sequel? Isn’t that like trying to add more water to an already perfect cup of instant noodles?” I mean, the original film wrapped up tighter than a mob boss’s alibi, so I wasn’t exactly sure what more could be said. And after seeing how Martin Scorsese did his American Idol version of the first movie with The Departed, I wasn’t sure how Infernal Affairs II could top that. You know, aside from the fact that Infernal Affairs had already topped it by existing first. But hey, when Andrew Lau Wai-keung and Alan Mak are behind the camera again, you have to give it a shot, right? So, armed with popcorn and skepticism, I dove in.

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Lynne Ramsay’s coming-of-age drama Ratcatcher is the kind of film I hate writing about. Don’t get me wrong—it’s artful and subtle in a way that can only be truly communicated through film. The problem—excuse me, my problem—is that I like to believe a good review provides both questions and answers. Ratcatcher is a film where there are no easy answers, and I’m not even sure what questions I should be asking.

What I mean is that it’s hard for me to tell, scene by scene, what decisions are deliberate and what decisions exist to show the randomness of childhood. Film logic dictates that every scene moves the narrative forward, but here, I just don’t know how. Let’s see if we can find out.

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When I’m tasked with watching and reviewing 10 Criterion movies each year, my fear usually isn’t that one of the movies I watch will be bad. After all, Criterion has such a proven track record as cinephile tastemakers, that they rarely put a film in the collection that doesn’t have at least some artistic or cultural significance. That’s why the biggest fear for me is watching a film where I recognize the artistic merit of the film and can easily see why it would encompass Criterion’s aims of “gathering the greatest films from around the world”, but I just don’t connect with it. Flowers of Shanghai is certainly that kind of film, where I see why it’s innovative from a storytelling and filmmaking perspective, but I wasn’t all that emotionally invested in it. Continue reading →