I finished revising my novel a few weeks ago and since then I’ve been catching up on 2020 releases. There are so many 2020 female-directed movies that I want to still want to watch that I divided the remaining titles into three categories: Must See, Should See, and If Time. Theoretically I was going to start with the Must See list but I ended up watching two from the If Time category, including Summerland (pictured above) and The Glorias, and was pleasantly surprised by how much I enjoyed them both. Below, you’ll find reviews of those two, as well as five other recent movies . . .Continue reading “Last Reviews of 2020”
Watching movies has been a welcome distraction over the past few weeks. I’m breathing a sigh of relief that Biden won but very distressed by the way Covid-19 is spiking all over the country. Looks like we’re all going to be inside for several more months. Here are some new movies to keep you company . . .Continue reading “Autumn Movie Diary”
Losing Ground (1982) ★★★★
Written & Directed by Kathleen Collins
Early in quarantine, I subscribed to the Criterion Channel with the optimistic thought that I would have more time to watch old and obscure movies. But it took me a while to turn away from the news and Netflix’s latest offerings. At some point, however, a nostalgic desire for the past crept in. I started perusing Criterion. Losing Ground wasn’t the first thing I watched, but it was the movie that got me hooked on the channel, for the way it brought me into what felt like a lost world.
Read the rest over at The Common…
Director: Shannon Murphy
Writer: Rita Kalnejais
It’s hard to know, at first, what is amiss in the well-to-do Australian household at the center of Babyteeth. We first meet the daughter, Milla (Eliza Scanlen), standing on a train platform in her private school uniform, waiting with her friends at the end of the school day. When a feral-looking young man in grubby clothing jostles her, it seems at first that she’ll be scared, or at least irritated. Instead, she’s enthralled, and brings him home to her parents. It’s clear that he’s too old for her, and possibly a drug dealer, but Milla’s mother (Essie Davis) has taken so much anti-anxiety medication that she can’t focus on her daughter’s unusual guest. The father (Ben Mendelsohn), a psychiatrist, is equally distracted — he’s secretly dosing himself with morphine and nursing a crush on a pregnant neighbor in her third trimester. She’s the movie’s clock. But what are we counting down to? What bomb is about to go off?
How To Build A Girl (2020)
Director: Coky Giedroyc
Writer: Caitlin Moran (based on Moran’s novel)
I know many people believe it’s always best to read the book before the movie, but I’m on the fence. Very often, the book outshines the movie by a long shot — especially if you read the book shortly before seeing the movie, as I did with How To Build A Girl, which is based on Caitlin Moran’s 2014 novel by the same title. I loved the book, loved its early 1990s setting and its teenage heroine, Johanna Morrigan, a working-class girl who is obsessed with sex and books and writing. She’s a girl so sure of her literary talent that she auditions to be a rock critic without knowing a thing about rock music. She gets CDs from the library to catch up and invents a rock critic persona, “Dolly Wilde.” Soon, she has a full-time magazine job, and is going to concerts, meeting rock stars and having lots of sex. It’s very, very fun reading. And then at the end, you cry!
So, look: the movie had a lot to live up to . . . Continue reading “Review: How To Build A Girl”
Blow the Man Down (2020)
Writer-Directors: Bridget Savage Cole and Danielle Krudy
Easter Cove, Maine seems like a picture perfect postcard of New England, complete with fishermen singing traditional sea shanties like “Blow the Man Down” and kindly old ladies who take fitness walks together every morning. But look a little closer and you’ll see the quaint old inns and weathered docks hide murder, prostitution, and money laundering. And those old ladies out walking? They’re patrolling, not exercising. Don’t cross them!
I don’t want to give too much away about this extremely entertaining noir, which was thrilling enough to keep me watching, but witty enough to quell any anxieties. Directed and written by a debut team, Bridget Savage Cole and Danielle Krudy, it’s stylized just enough to wink at the viewer and create visual interest, but not so much that the world seems fake or glib. I noticed that early reviews compared it to the Coen Brothers, but I kept thinking of writers like Alice Munro and Elena Ferrante, authors who bring you into the unseen and ignored realm of women to show you the covert ways girls and women learn to deal with criminality and abuse. As one character says, “A lot of people underestimate young women. That’s why they get away with a lot.”
The cast is marvelous, and makes excellent use of veteran actors like June Squibb and Margo Martindale. I also enjoyed the performances of his younger leads, Sophie Lowe and Morgan Saylor. If you’re looking for something to take your mind off the news, this is a great weekend watch. I’m eager to see what these filmmakers do next.
Streaming on Amazon
I’m reposting this movie calendar, since a lot of the release dates have shifted over the past couple of months. The blockbusters and big-budget pictures have been delayed, but many independent films are having digital premieres. I’m hoping to catch with some of them over the next few weeks . . .
In the meantime, here’s my ongoing list of 2020 movies written or directed by women. These are mostly narrative films, but I’ve thrown in some documentaries, too. I’ve included specific dates when available, and some color-coding to help make sense of all the postponements and streaming changes due to quarantine.
BLACK = theatrical release/virtual theaters
GREEN = originated in and/or intended for theaters, now available VOD
PURPLE = originating on a specific streaming platform, i.e. Netflix, HBO, Disney +
Last updated: 10/09/20
I recently updated my list of 2020 movies written and directed by women and wanted to highlight this month’s selections because it ended up included a long list of movies premiering at South By Southwest.
Of the March releases, I have already seen First Cow — my review will be posted in a few days at The Common — and have plan to see Crip Camp next week. I’m also hoping to see Never, Rarely, Sometimes, Often, a movie about two teenage girls traveling in order to get an abortion, and my seven-year-old son is super-excited for the live-action Mulan, so I know I’ll be going to that, too.
Click through for a full list of March movies written or directed by women . . .
To All The Boys: P.S. I Still Love You (2020) ★★
Directed by Michael Fimognari
Written by Sofia Alvarez and J. Mills Goodloe, based on the novel by Jenny Han
It’s not a good sign when, watching a sequel, you begin to wonder what it was you liked about the original material. I went back to my review of To All The Boys I’ve Loved Before and saw that I compared it to the Great British Baking Show — high praise, indeed! I was new to the world of Lara Jean and thought there was something sweet and unpretentious about her character. I also really liked Lana Condor, the actor who plays Lara Jean. She’s just as delightful in this sequel, but she can’t rescue the material, which gets bogged down in a lot of high school logistics and relationship drama. Also — and it pains me to say this, because he’s like a Mark Ruffalo Jr. — but I think this second installment reveals the limits of Noah Centineo’s acting abilities. He’s perfectly cast as the unattainable love object in the original, but as a real person in a relationship, he comes off as a shallow performer. He just can’t convey the complexity and vulnerability that is needed.
There’s been a lot of talk about who didn’t get nominated for the Oscars and should have, and while I’m as disappointed as anyone that Greta Gerwig didn’t get a director nod, she did get nominated for best adapted screenplay, and her costume designer, Jacqueline Durran, was nominated as well. So those are two women that I’m rooting for. (In fact I wrote a review that is pretty much an argument for why Gerwig should win for best adaptation.)
Looking over the other nominations, I noticed the usual gender breakdown, with a lot of women in the art department, but hardly any in the cinematography, special effects, and editing categories — though I was happy to see that this blog’s namesake, Thelma Schoonmaker, was nominated for editing The Irishman.
Here are some other women to watch for this weekend. This isn’t a comprehensive list of all the female nominees (though it’s close), just the nominees whose work I am familiar with from the past year in movies . . .