Monogamy

This is a clever film (maybe a bit contrived and trying to be too clever, some might argue) with very strong performances from the beautiful Rashida Jones and a neurotic (in this film) Chris Messina. I can see how Monogamy garnered the Jury Award for the Best NY Narrative Feature at the Tribeca Film Festival and a nomination for Best First Screenplay at the Film Independent Spirit Awards.

Brownian Movement

It's an unusual and difficult story powered by a strong lead performance. None of the graphic nudity is gratuitous but be prepared for some scenes you won't see in mainstream films. It is an uncomfortable viewing experience that rewards you with more questions than answers. For all the sex, it's more of a cerebral film than an emotional one.

The Swindle

I can't recommend this other than to see Isabelle Huppert and François Cluzet in their younger years. Chabrol's work is "hit" or "miss". Perhaps this was a "hit" when it first came out, but it has not aged well and I would firmly put it in the "mis" column.

Ten Little Indians

It's hard to believe that this is based on Agatha Christie's biggest-selling mystery novel. The setting is all wrong, the revised plot is a travesty, and despite the efforts of the cast, it's an embarrassing film on just about every front. It's hard to believe this was not a made-for-tv production and that it had been released in theaters where it justly died a quick death. The movie poster is infinitely more exciting than the film itself.

Quartet

Pleasant film. Fine performances by the leads. Bonus points for real musicians in the cast.

Cats

As humans, we do not have nine lives, and life is too short to hate the film Cats.  Anyone who can sit for two hours watching a CGI-heavy movie about superheroes and supervillains with fantastical powers has the capacity to sit through Cats, which clocks in at 1 hour and 50 minutes.  Many superhero films go (well) beyond 2 hours.  Anyone who can sit for two hours watching a horror movie with all the gore and spooky special effects should be unable to claim to be horrified at seeing the humanoid cats in Cats.  Yes, it can be jarring at first, second or third sight.  It is merely the novelty of seeing the first (and pioneering) application of a new visual effect technology.  I will admit that I had to resist the temptation of stopping my Blu-ray player (it simply must be seen in high definition) during the first musical number, but that took less willpower than avoiding eating another cookie or chip (or crisp, as the Brits would say).  By the time the armies of cockroaches appeared, my brain had adjusted to the visual overload and re-baselined what was "normal" for the remaining 90-ish minutes.  I would venture to hypothesize that young children will have no problem diving into this make-believe world.  If you haven't completely lost your child-like curiosity, then use your kids as an excuse to dive into this film. The film Cats, like its on-stage predecessor, is such a unique experience that you might want to ignore all the negative press (a lot were previews of snippets of the film) and personally check it out for yourself so as to make your own decision. It's not plot-less, but it's not based on a Tolstoy novel either.  And it's about cats--many, many cats.  Playful cats.  Cats that dance and sing.  Cats that emote.  Cats that plot to game the system.  Cats that act more human than some humans.  Yes, strange-looking humanoid cats that will take you on an unexpected ride through 1930s London and make you forget your troubles for the moment.  And because the beginning of the year 2021 (it's January 23rd) has been an extension of 2020, we all could do worse than to buy into the magic world of Cats and to be transported to an alternate universe, if only for 110 minutes. Indulge in your curiosity about Cats and you may just find that the earnest and exuberant performance of the very talented cast has won you over.

Destry Rides Again

It's a Western but it's also a comedy and a drama, with a few musical numbers ("The Boys in the Backroom" is one of them). Marlene Dietrich makes a comeback playing against her uber-diva persona after a two-year absence. James (Jimmy) Stewart is on the cusp of stardom, playing a low-key pacifist deputy sheriff. The plot is good, the pace is brisk, and the dialog isn't too quaint for the modern viewer. Dietrich delivers some of the best lines: "The longer they wait, the better they like it." (She says this just before she performs "You've Got That Look".) The well-cast ensemble brings a lot of energy and color to the film, which has more than its share of outstanding characters. Female characters other than Dietrich's Frenchy get a lot of screen time and dialog, which is more than can be said about a lot of Westerns and action films that followed it. There is one black character, a maid, who has a lot of lines and is not a caricature when compared to the usual roles in films of 1939 (or much later). There are non-speaking Asian roles (presumably Chinese) in crowd scenes. The Criterion Collection's Blu-ray release is clear and crisp (you can see the fine lines on a young Stewart's forehead). Is this for everyone? Probably not. I was drawn to this primarily because of Dietrich and Stewart; I thought they would make an interesting pair to watch. It turns out they had good chemistry. Though Western films are not my usual fare, this one was thoroughly enjoyable.

Joyeux Noel

I think Christian Carion has created the perfect Christmas film in the most unlikely of settings, the first World War.

Come What May

This is another fine film by the French director, Christian Carion (see 2005's Joyeux Noel). The English title is so different from the French one ("In May, do what you like" or "In May, do what pleases you")...why? Perhaps it romanticizes the period. The level of violence is minimal by American standards, so the viewer should not expect much "action". I do think it's really about the human spirit with the second World War as the backdrop. The film is beautifully shot and well-executed, though it does not have the emotional impact of Joyeux Noel. The score by Ennio Morricone is the outstanding element for me.

Ridicule

This film has not aged well, despite very good performances from most of the cast. There was not enough witty dialogue, though the writers were clearly capable of it. The main love story was predictable and unsatisfying compared to the rest of the plot. I had had great expectations from this film given its Oscar nomination for Best Foreign Film (among its many awards and other nominations), but after the film's abrupt ending, I was left with disappointment tinged with annoyance, like a titillated virgin whose would-be lover had passed out drunk at the edge of the bed.