People often say that you need to be objective to be a good critic, but I’ve often found that being invested in a work can illumine more pathways into what it’s trying to do and how well it succeeds. Of course, it’s not necessarily a “better” perspective, whatever that means, just a different one. Being a Swiftie, I find the Taylor Swift on screen in Lana Wilson’s Miss Americana (2020, aka Taylor Swift: Miss Americana) to be a familiar presence from all of the interview and behind-the-scenes footage of her that already exists, some of which is used in this documentary. As Swift suggests in an early interview, also included, fame and career longevity have always been on her mind, and the film grounds such abstract musings in raw and emotionally vulnerable moments, captured as they happen.
Chinese New Year is almost upon us, a time for family and reflection—the perfect context in which to see Chinese director Wang Xiaoshuai’s So Long, My Son (Dijiutianchang / 地久天长 2019). The Chinese title is also the title of the Chinese translation of “Auld Lang Syne,” and the two feel similar. And this is film whose (Taiwanese) trailer accurately reflects its feeling as well. It was my best theatrical experience of 2019.
I don’t understand the visceral hate of Cats (2019), the latest offering from Tom Hooper. It’s a perfectly respectable recording of a stage musical performance, touched up with a bit of CGI.
What? It’s meant to be a film, you say? Well, that does change things considerably.
A critical darling, writer-director Greta Gerwig’s Lady Bird (2017) is good, but overrated. Curiously, its faults are also overrated, in that many are characteristic of its genre.
First things first: Zombieland: Double Tap (2019) is worth a watch. With ten years’ acting experience and character familiarity on their shoulders, the four leads turn in better performances than last time, even if some (Emma Stone’s Wichita and Woody Harrelson’s Tallahassee) are better than others (Jesse Eisenberg’s Columbus and Abigail Breslin’s Little Rock—you can’t really blame Breslin, as the script treats her character as a MacGuffin most of the time). Speaking of the script, by Dave Callaham, Rhett Reese, and Paul Wernick, now that there’s less need to spend time on worldbuilding and forming character dynamics, this second installment can get right to the conflicts and character arcs and zombie-bashing setpieces. And that’s where it falters.
Weathering with You (Tenki no Ko / 天気の子 2019), Makoto Shinkai’s new feature, is a strange beast. The trailer conveys it well: stunningly beautiful, but with two plotlines that seem to be on different planes altogether, to the point where the trailer can’t find a way to put them together. Also, the characterizations are lazy archetypes and many points of tension are artificial. I still enjoyed it though.
Notes on an Appearance (2018), writer-director-editor Ricky D’Ambrose’s no-budget feature debut, runs an hour long but feels much longer, in both good ways and bad (the good and bad are mutually constitutive). D’Ambrose has made two shorts before, using them as experiments to prepare for Notes, and the thought and consideration that went into this film shine through.
You don’t need me to tell you that Angel Has Fallen (2019), directed by Ric Roman Waugh, is pretty damn shitty. The incoherent action sequences (edited by Gabriel Fleming), including one that’s so underlit as to be literally incomprehensible (cinematography by Jules O’Loughlin), is par for the course in today’s action blockbuster (or “blockbuster”) landscape, but you know something’s really wrong when even the dialogue scenes are confusingly shot. Secret Service agent extraordinaire Mike Banning (Gerard Butler) returns for another round of mayhem in this third installment of a franchise whose first installment was already inferior to another film released around the same time and with the same premise, White House Down (2013). I wish Jamie Foxx had gotten the threepeat treatment instead.
What if the titular protagonist of Constantine (2005) was a mixed-martial arts fighter? What if he was really, really good? What if he could burn demons with his bare hand? Writer-director Kim Joo-hwan’s The Divine Fury (Saja / 사자 2019) answers these questions we never thought we had.
Editor’s note: This piece is part of a series on the 2019 Taiwan International Queer Film Festival.
My Days of Mercy (2017), Tali Shalom-Ezer’s death penalty lesbian rom-com written by Joe Barton, is a strange bird. The basic structure is very similar to Up in the Air (2009), with Ellen Page playing the George Clooney audience surrogate role, and Kate Mara as the Vera Farmiga outsider role. But whereas that film used its downtime to explore the depths of the Clooney character’s loneliness (with the help of Anna Kendrick), here the second focus is a serious, nuanced exploration of the aftereffects of execution by the state (with the help of Amy Seimetz and an adorable Charlie Shotwell).