September is a minor Woody Allen drama, though there is plenty to like.
Saw this one with both my daughters at an Alamo Drafthouse screening. My almost-4-year old was shattered by the story of a kid separated from his family; it was the first time I saw her cry during a movie since Finding Nemo. Her palpable relief at their reunion in the ending was contagious to her daddy.
This is a surprisingly bleak and detailed look at immigrant life in late-19th century New York City. I found much of it quite good, especially in the first half when the story focused on Fievel. The second half, centered around an uprising against cats (kinda-sorta pro-unionization parable?) isn’t quite as rich or emotional.
The songs are hit-or-miss (“Somewhere Out There” is an all-timer, while the one with the friendly cat is completely disposable). The animation is quite good, especially the use of color. Hues range from gloomy bluish-brownish-gray to an almost amber-tinted warmth.
And the patriotic tone actually feels earned as the movie acknowledges the flaws and darkness of our country; that it could still settle on a message of hope is inspiring.
Bravura use of fake blood — like masterpiece-level artistry. Actually, everything about the movie looks amazing.
I haven’t seen too many exploitation revenge films, but this one is definitely on the less-misogynistic side (which is a low bar). It doesn’t dwell on her assault or humiliation, at least.
The gore is gruesome, a proper visceral transposition of the violence and violation against Jen — with lots iconography that can be read both literally and symbolically. Unfortunately, I couldn’t quite shake the feeling that the movie should have subverted its male gaze even more than it did.
Update: I’ve since published a full review of this film.
“It’s fire, it’s freedom, it’s flooding open”
There should be more big budget original non-animated musicals
Reviewed on The Goods: A Film Podcast during Circus Month
Radio Days is the Woody Allen version of a coming-of-age hangout movie, told in vignettes. These stories weave together compellingly, giving the film narrative heft despite its episodic nature.
Most pre- and mid-World War 2 period pieces show the country in grayish, dusty tones, but this is absolutely vibrant and sentimental. The cast is huge and great; the thematic scope is a panorama. Showcasing both celebrities and lower-middle class gives some appealing upstairs-downstairs tension. And of course the radio music is masterpiece-level — the lovely, soothing 1940s tunes bring so many scenes alive.
I’m not sure I’m ready to say that this is my favorite Woody Allen movie, but I will say it’s the one I’m currently most excited to re-watch.
Breezy, watchable, charming… I’m surprised more people haven’t seen this one. I found it to be a well made movie: sturdy script (if low on laughs with some undernourished characters), excellently cast, masterful early 60s summer soundtrack, and — most memorably — gorgeous pastel palette in every frame.
Lynch does more with a Lumiere cam and 1 minute than most filmmakers do with cutting edge CGI and 2.5 hours.
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Paper Towns (2015)
The set designs on this MF are absolutely bananas. Truly Dr. Seuss come to life.
A remarkably attractive cast plays a group of nice people in an intensely-early-90s Seattle. It has the signature Cameron Crowe warmth and generosity of spirit towards its characters, and also his weird pacing/narrative tics that I can never quite articulate but always bug me a little. Overall, it holds up quite well as a loosey-goosey ensemble romcom, and also as a period piece of a simpler time when you had to worry if your answering machine would eat its tape or playback your message.