Tag: Movies

Things du jour

~ Chris ~ Leave a comment

Quote of the day

“I am not a recluse. I live like an unsociable person; it is different. People get on my nerves.” 

— Brigette Bardot, actress, animal activist 

Book of the day

“Bel Canto,” Ann Patchett’s 2001 novel about love, opera and hostage-taking, is one of those contemporary classics you should have read but never got around to, and now, 25 years on, it feels too late. It’s not. I started this book five years ago and put it aside for inexplicable reasons. That diss has haunted me and last week I gave “Bel Canto” another shot. The result was transcendent.

The plot is a small knot that unravels beautifully: A throng of international guests have gathered at the mansion of the vice president of an unnamed South American country for the birthday celebration of a Japanese businessman. A world-famous American opera soprano has been invited to regale the group, and soon, through her exotic talent and beauty, becomes the cynosure of the story. The party is abruptly crashed by leftist guerrillas looking to kidnap the nation’s president, who rather comically skipped the party so he could watch his beloved soap opera at home. Stymied, the invaders take the revelers hostage for what starts as hours, then weeks, then months. Thus the mansion becomes a human incubator, a constellation of international players, some of whom align as unlikely allies, others as peculiar romances fraught with forbidden yearning. It’s a rich tapestry that echoes the diners trapped for months in a similar mansion in “The Exterminating Angel,” Buñuel’s classic takedown of the gilded class. But Patchett is a gentler, less partisan observer, underscoring the universal languages of music, love and language itself for something divine. The book is so meticulously engineered — the many characters are spryly choreographed — and so big of heart that it dashes hopes of ever writing your own novel because it couldn’t brush these literary heights. There’s the hitch: You almost hate “Bel Canto” because it’s so stupid good.

Movie of the day

My love affair with Iranian cinema is long and varied, spanning Jafar Panahi’s charming debut “The White Balloon” to Abbas Kiarostami’s rigorously philosophical “Taste of Cherry.” Spare, talky and played mostly by untrained actors, the films are often covertly political, critical of the Iranian regime in as coded terms possible, secret messages packed with time bombs. But Panahi has used his recent movies for brazen broadsides and as such they are banned in his home country. Yet the director shrewdly snakes around these restrictions and his latest moral thriller “It Was Just an Accident” won the Palme d’Or at the 2025 Cannes Film Festival. It’s a bold gesture tracing what happens when a band of former political prisoners kidnap and confront the man they believe brutally tortured them during their imprisonment. Amid the moral complexities of revenge — do they even have the right man? — comes relief via mordant humor and absurdist touches that goose the overall lunacy. (Note the wry allusions to “Waiting for Godot.”) Panahi has made a tough and moving portrait of keeping one’s humanity in an impossible situation. Its stubborn ambiguity is a hallmark of Iranian cinema, and this one’s a classic. 

Drink of the day

That’d be Mr. Pickles Gin. My newly discovered sip is named for the distiller’s pit bull rescue, Mr. Pickles, who nobly emblazons the spirit’s label as the official mascot and makes me like it that much more.

Time to taste. Open the senses to a bouquet of dog urine. No. The fragrance is lovely, the gin superb. Its aroma is juniper, citrus, pepper, with a whiff, I think, of dill. It owns a strong herbal flavor with earthy undertones and tinges of orange, pepper and, aptly, a speck of dill pickle. And I swear on Mr. Pickles’ fuzzy head that is not just the power of suggestion. Made in Oregon by Wolf Spirit Distillery, the drink features 12 botanicals, including green tea, blood orange, pink peppercorns and marshmallow root (I have no idea). If it’s not as grand and complex as my revered Monkey 47, which boasts a whopping 47 botanicals and that I drink neat, Mr. Pickles will be a snappy refresher during the dog days of summer.

Photo of the day

They say a picture speaks a thousand words. This one speaks four words: I am so screwed.

Marseille? Oui, oui!

~ Chris ~ 3 Comments

The email contained bad news. My guide, whose ratings are off the charts, was bailing on our tour of Aix-en-Provence in Southern France. Cold comfort: He was enlisting a substitute guide in his place, someone named Ivanna, about whom I knew nothing. I pictured a comely Ukrainian woman, perhaps bespectacled, tall, sweet and ironic. 

A few days later Ivanna introduced herself via text: “I’ll be the little Asian lady with bluish hair, so I’ll be hard to miss!” 

Oh. Grand.

Trips are rife with hiccups, snags. This wasn’t one of them. Ivanna turned out to be a joy, a brainy fount of local knowledge, witty, thoughtful, considerate, with hair tinted a winning shade of cobalt. She’s young, Malaysian, went to Loyola University in Maryland and speaks three languages. She lives in Aix with her husband and children. In two brisk, stuffed hours, she led me down skinny cobblestone lanes and yawning boulevards, telling me scads about the city’s history, from kings to cathedrals, and where to get the best ice cream and ogle good art. 

This is the best of travel — the brain- and eye-popping excursions that crack open new vistas you could only wonder about. Topped with two scoops of lip-smacking ice cream. 

I was staying in Marseille for six days last week and Aix was an obvious day trip, as was Arles (Roman ruins! Van Gogh!), but more on that lovely town another time. Marseille and Aix are 39 minutes apart by train, yet worlds apart in complexion. 

Marseille: gritty and huge (France’s second largest city); slathered in graffiti and street art; assertively multicultural; set on a picturesque port; growling with speeding scooters and motorbikes; part Paris, part chaos.  

Aix: exuberant, medieval charm constructed of yellow and ocher stone; clock towers, boulevards and basilicas; fountains juiced by thermal springs; home of Cézanne (though, tragically, the city owns none of his paintings); boutiques and tranquil beauty.  

The dichotomy is dizzying. One thumps with rap and rock, while the other strolls, hands in pockets, whistling. Both are ancient —  at 2,600 years old, Marseille is the oldest city in France — and exude that quaint, sometimes ghastly, always intoxicating historical spirit that Europe seems to have a monopoly on. 

One of many famed fountains in Aix-en-Provence

Why Marseille, you say? Partly because it’s enjoying a moment right now, with hosannas in The New York Times to Condé Nast Traveler and beyond. A trend follower I am not. I did a day trip to Marseille in 2007 that spurred my urge to return to this bustling, bracingly diverse city. And so I did. And I’m glad. There you have it.

Marseille’s reputation for crime and grime is passé at best, slanderous at worst. Locals laughed with me when this was brought up, like, What are they talking about? Think New York, Chicago, San Francisco — they have their blights and trouble spots, but there are simple ways around that. And what’s a big city without some dirt under its nails? (My Fodor’s travel guide said my hotel was in an “iffy” neighborhood. I call bullshit. The crib and the hood are très cool.)

Marseille’s fabled Cours Julien district. It’s never met a can of spray paint it didn’t love.

Vaunted as a foodie’s paradise, Marseille let me down many times gastronomically. I tucked into good but never great dishes originating from France, Italy, Argentina, Tunisia and the Ivory Coast. Alas, with heaving disappointment, my maiden acquaintance with Marseille’s world-famous fish stew, bouillabaisse, was a bust. The fish was dry and flavorless, the broth bland and tepid, and this was at legendary bouillabaisse megastar Chez Fonfon. The soup and one glass of wine took me for a hundred US dollars. The web review I wrote back at the hotel is a seething tirade about getting rooked.

Where the food flopped, the people shined. My minor allergy to others is cured when I travel. Connections with locals are almost always tonic and nourishing, pulling me out of my fortress of solitude to swap world views and pleasantries. We laugh as we wrestle with our linguistic limitations — my French is pretty much non-existent, basically sign language — and commiserate when politics are broached, which gladly is not often.

Marseille from the hilltop Notre-Dame de la Garde basilica

My past as a film critic is my social super power. It uncorks an uncanny passion in people that’s rooted in the universal language of cinema. I had a half dozen lively conversations with local Marseillaise about their favorite films and filmmakers, from Tarantino to Tarkovsky and every indie and classic in between. France’s renowned love affair with the movies burns bright. (I stumped them all when I mentioned “Annie Hall,” however.)

Meanwhile, over at my hotel, the hipster joint with the hipster name, Mama Shelter Marseille, the music played loud on weekends, pure DJ slop stuck on the same crowbar-to-the-cranium beat. The throb carried straight to my fourth-floor room well past 1 a.m. and I found myself in grandpa grumpus mode, calling reception to complain. To my surprise, the next day they upgraded my room to a larger one away from the bar, and even gifted me two fat gourmet cookies and a bottle of apricot juice. I felt like a little boy. I thought it was the nicest thing in the world. I’ve never said merci beaucoup so many times.

A small Marseille port, lined with restaurants, including the notorious Chez Fonfon. A soup with a view.

About fifteen feet from the hotel is a tiny pizzeria, really rather a dump that’s mostly for take-out, where I got my final meal in Marseille. No more overpriced, underwhelming haute cuisine on this trip, I sniffed. 

Again, the people. The pizzeria is run by a stout, olive-skinned woman in perhaps her mid-forties with a handkerchief on her head and flour on her hands. I bought three plain slices and while they heated up we chatted in stilted English (she apologized for hers) about where I was from and she seemed happy for this foreigner’s patronage.

She told me her son had just visited Miami and loved it. She asked if I had been and I had to say I wasn’t a big fan of South Beach — the place reeks of douchebaggery, though I left that out — but that young men adore it and, for that, America is doomed. I left that out, too. She chuckled. I took my slices back to the hotel and bellowed a hearty Merci! Au revoir!

Later, after watching “Forgetting Sarah Marshall” in French with no subtitles, I went to bed. I heard nothing but the occasional motorbike screaming down the narrow streets.

The city in its graffitied glory. Me, I love the street art. It has character, panache.

A few things hijacking my brain

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During the post-holiday malaise, things poke and peck at my addled brain, fretting about the good, the bad, the grotesque …

Starting with the latter — the elaborate idiocy, the vomit-inducing venality of the so-called Donroe Doctrine, whose cutesy moniker makes me wonder: Who is he kidding with this crap? The perverted man-child is not kidding with, in his words, “my own morality,” which includes everything from ICE to Iran, a rogue’s gallery of revulsion. I pray that crippling tragedy looms in his wretched future. His crew of groveling lapdogs? Same.

On the good side, I’ve cracked a newish book that’s been called by critics “a magnificent vision,” “transcendent,” “spectacular” and “not so much a novel as a marvel.” That would be Kiran Desai’s “The Loneliness of Sonia and Sunny,” which is relatively slim for its daunting 700 pages. Yet what it lacks in girth it makes up in thudding weight. I could curl it and achieve Himalayan biceps.

I’m only on page 50 in this (let the publisher describe it) “story of two young people whose fates intersect and diverge across continents and years — an epic of love and family, India and America, tradition and modernity,” and I’m hooked. 

It’s one of those chunky novels with character/family trees for a prologue, like “War and Peace” or “One Hundred Years of Solitude,” which can trigger the scram instinct in me. I don’t relish flipping back every twenty pages to recount who’s who.

But so far, very good. Desai conjures scenes and characters with creamy eloquence and imagery as supple as a Degas. The prose is wise and true, and funny, too. I only have 650 pages to go (sound of me lifting a cinder block).

Planning for two imminent journeys — Southern France in February and, implausibly, Nashville in March — continues unabated. It’s kind of a chore, but, like cooking or Lego building, it becomes a stimulating hobby, a minor challenge with low stakes.

I’m doing well so far in this First World folly, but the fine tuning feels endless. A Nashville restaurant I booked just emailed to say, sorry, your reservation is canceled because we are now “permanently closed.” The same happened with the Patsy Cline Museum (maybe these closings qualify for the “bad” in my opening paragraph), which a dear friend hinted is better than the popular Johnny Cash Museum. Call me “Crazy,” but I’m more interested in Cline than Cash. Bummer. 

I voluntarily bailed on a street-art tour in Marseille, France, as I came to my senses that $194 is obscenely too much for a two and half-hour stroll amidst what’s essentially glorified graffiti. I don’t even know how I got myself tangled in that scam.

But I do that a lot. I plan trips with wide eyes and a growling stomach at first, and then, as the dates approach, I reel myself in and get sensible. Like, do I really want to do that whiskey distillery tour and tasting in Nashville? Well, yes. Yes, I do.

Denis Johnson’s “Train Dreams,” an exquisite novella I’ve read twice, once some years ago, once this winter, has been adapted for the small screen (Netflix) with mostly luminous results. Directed and co-scripted by Clint Bentley, the movie tells the story of a lumberjack razing towering forests in the Pacific Northwest to make way for the nation’s railroads. He marries. He has a child. Life intrudes.

Honoring the book’s ethereal touch, the movie aches to be a Terrence Malick epic: languid voice-overs, long traveling shots, fetishized natural beauty, breezes blowing through rustling trees, time-jumping episodes in place of linear plot. 

It’s commanded by sylvan abundance and the honed, minimalistic performance by Joel Edgerton, whose eerie quietude is near-tragic if well-earned. Though cast in shadow, there is joy here — family, friends, sharp epiphanies. I was moved by the story’s rich poignancy and tender humanity. It’s as delicate as a dandelion. 

Roaming Roma

~ Chris ~ Leave a comment

About that Mexico City trip I’m taking in November, I think I’m getting carried away. I’m there for a week and already I’ve booked four dinners and six tours, and I’m scanning more adventures in the heaving megalopolis, which goes by the sporty acronym CDMX. 

The gargantuan city is so overwhelming, with so much to see and eat, I feel I require more guidance and guardrails than on previous trips. I’m so fretful that I woke at 2 a.m. to make a pair of rarefied restaurant reservations just to make sure I secured them at the exact right time. (Scored!) 

But I’m also a loner, so, when it comes to tours, I really don’t want to get stuck with too many chatty chuckleheads from, say, Melbourne and Milwaukee. I can roll my eyes only so much. Still, I have six tours on my slate, a personal record, which could be a canny or foolhardy proposition. 

That said, I’m probably going to spend the rest of my time strolling the many neighborhoods solo and uncover my own delights. The place is frightfully big, so this expedition will either be sweetly exhilarating or operatically tragic. 

One of the tours I’ve booked is of the vibrant Roma area, billed as a paradise of local markets, parks, trendy restaurants, bars and hipster cafes. If that’s my sort of  thing — and it is, though I do love my grunge — it also evokes writer-director Alfonso Cuarón’s 2018 memory film “Roma,” set in the neighborhood during the much different 1970s, when the socio-political scene was uniquely combustible. (The area, incidentally, is named after Rome, Italy, as a tribute to its wealth and culture.)

The award-dappled movie is a languid stunner, an autobiographical portrait of growing up in Cuarón’s tight upper-middle class family, with special focus on the domestic help, namely Cleo, who, beyond sweeping up dog poop and making beds, takes care of Cuarón and his three gangly siblings.

Deceptively simple, “Roma” — shot in shimmery, Oscar-winning black and white that looks like quicksilver — is family drama at its most heightened and honest. Its verité verve is pure documentary immersion.

From the director of masterworks “Y tu mamá también,” “Gravity” and “Children of Men,” the movie examines with a flea comb the daily dynamics of living and loving together, and all the pain and joy that involves, including fatal frictions between husband and wife. 

And then there’s quiet, big-hearted Cleo, cooking and cleaning and embracing her role as part of the family — and in the process, becoming a sort of angelic savior keeping the clan together. The movie ranks #46 on the New York Times list of best films of the last 25 years.

The tour I booked has a lot to live up to.

(On Netflix.)

Newsflashes

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Keeping it light, some recent news plucked from the headlines …

RIP Ozzy Osbourne, madman and mensch, who amazingly didn’t die of rabies. He was the gentle, doddering Prince of Darkness, whose live shows brought out the crowd-pleasing celebrant, all cackles and hand claps. He would hop like a pogo stick. I saw him in concert when I was 13, my first metal show. I can’t shake it decades later. Satan is smiling. 

Trump can’t elude the loaded Epstein case, and he’s shaking in his loafers and pissing his pants as he tries to deflect the pressure. Wipe your brow, sir; the flop sweat is showing. And on a scathing “South Park,” so is your talking micro-penis.

The New York Times posted its 100 best films of the past 25 years just to tick me off. While I agree with the bulk of the choices, if in different order, some make me want to throttle the voters. For starters, “Parasite” (#1 ?!), “Mulholland Drive” (#2 ?!), “Inglourious Basterds,” “Hereditary,” “The Master,” “Amélie,” and I’m just getting going. But bless them for including “Melancholia,” “The New World,” “Grizzly Man,” “School of Rock,” and so many other gems. Still, I don’t know why I read such lists. I don’t need the aggravation.

She perched gracefully atop sign posts, fences, rocks and cars, like a canine ballerina, poised and pliant. Maddie the spotted coonhound was the subject of her owner’s lustrous photography, clearly in the spirit of William Wegman’s whimsical photos of his preternaturally patient Weimaraners. Maddie’s charming pictures boast 1.2 million Instagram followers and comprise two books. But there will be no new pup pics, as Maddie died this week at age 14. I just got acquainted with her visual poetry, and still I’m crestfallen. Her loving obit.

Chuck E. Cheese got mouse-trapped. “Come with me, Chuck E.,” said the policeman who arrested the human-sized mouse — er, a human in a mouse costume — at the children’s pizza chain in Tallahassee, Fla., this week. The un-mousey behavior? Credit card fraud. Somewhere Mickey Mouse is blushing. “Astonished children wondered why the restaurant’s mascot was seemingly done for the day even as they continued to eat pizza and play arcade games,” said one report. “How do you explain this to a 4 and a 6 year old?” asked a witness. A youngster wanted a photo with the mighty mouse, but “a cop out of nowhere grabs his arm and says: ‘Chuck E.’s busy right now.’” Dying to know how his fellow inmates take to his gaudy outfit, big plastic head and all.

Hulk Hogan, a hideous human being, did the world a favor — he died. 

Flicks and the physician

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Small talk with your various professionals, be it a masseuse or barista, is standard social glue. I gab with my barber extensively about world travel, for instance, swapping tales of our latest journeys to pass the otherwise awkward time. It’s chop and chat. (Most guys at the barbershop jaw about sports. Tedium crystallized.)

Things are different with your doctor, unless it’s with your therapist, where talk isn’t cheap but it is profuse. With medical doctors small talk is spotty, because the climate is so clenched, so clinical. For one, they always seem to be in a tizzy, a nerve-wracking rush. Two, it’s hard to shoot the breeze when they’re asking you to turn your head and cough. 

I had the biannual appointment with my primary care physician the other day, and I came away thinking how cool he is. After prattle about my prostate, gab about my gall bladder, and talk of a tetanus booster, he eyed my t-shirt and said, “That’s a great studio.” I had to look down to remember I was wearing my A24 shirt that looks like this:

A24, if you’re wondering, is the hot indie film distributor right now. The boutique shop — which (shockingly) scored a Best Picture Oscar this year with “Everything Everywhere All At Once” — is a mighty machine, celebrating 11 years in the biz with brazen and peculiar taste. Ambitiously art-oriented, A24 pushes cult films that garner lavish critical kudos and discerning viewing audiences. 

Movies like: “Ex Machina,” “Midsommar,” “Hereditary,” “Uncut Gems,” “The Tragedy of Macbeth,” “Aftersun,” “The Florida Project,” “Talk to Me” and more. 

And TV shows like: “Euphoria,” “Beef,” “The Idol,” “Ramy,” “Irma Vep,” “Ziwe” and more.

The good doc and I fell into a spontaneous groove, both of us animated by the splendor that is A24. We agreed that the ending of “The Witch” was spectacular and the ending of “Midsommar” sputtered. 

His favorite A24 movie is “The Lighthouse,” with Robert Pattinson and Willem Dafoe, and he loves “The Whale,” which snagged Brendan Fraser a Best Actor Oscar. I told him I like “The Witch” more than the mind-boink of “The Lighthouse,” both films directed by visionary wunderkind Robert Eggers. He was okay with that. He just nodded, knowingly.

So, yeah, A24 is badass. Dr. So and So digs it. I dig it. But I guess the point is me and my professional — a guy who actually used a stethoscope on me — forged a small connection. Everyone likes movies, and most everyone can chat them up. This, however, was specific, downright micro. It was like talking about a tiny kebab kiosk in the slimmest side streets of Istanbul that only the savviest tourist would know about. 

And then reality barged in. Suddenly, the nurse entered and jabbed me with a tetanus shot, and my fellow A24 fan was gone, vanished in the weird smelling ether of the doctor’s office.

Fade to black. Roll credits. We’ll always have “The Witch.”

50 great films with one-word titles

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Sometimes when the days are slow and long and hot, I can just sort of geek-out and ponder random things related to my passions. Welcome to today, in which I spent a preposterous amount of time ticking off some of my favorite films that have one-word titles, from “Casablanca,” to “Goodfellas.”

It was a pointless exercise — massively pointless — but it was fun jogging my memory and eventually putting down a litany of terse titles, which always seem a bit more evocative than longer titles. As a lark, I chose 50 great films almost entirely off the top of my pointy head, and present them here in no order whatsoever. (Now it’s your turn.)

“Nashville” (1975); “Sunrise” (1927); “Amadeus” (1984); “Jaws” (1975); “Casablanca” (1942); “Airplane!” (1980); “Freaks” (1932); “Goodfellas” (1990); “Rebecca” (1940); “Heat” (1995):

“Detour” (1945); “Shrek” (2001); “Rushmore” (1998); “Ran” (1985); “Magnolia” (1999); “Oldboy” (2003); “Gilda” (1946); “Brazil” (1985); “Psycho” (1960); “Frankenstein” (1931):

“Duel” (1971); “Manhattan” (1979); “Eraserhead” (1977); “Se7en” (1995); “Yojimbo” (1961); “Notorious” (1946); “Lincoln” (2012); “Boyhood” (2014); “Chinatown” (1974); “Alien” (1979):

“Deliverance” (1972); “Spellbound” (2002); “Babe” (1995); “Sleeper” (1973); “Scarface” (1932); “Network” (1976); “Memento” (2000); “Hamlet” (1996); “M” (1931); “Breathless” (1960):

“Rashomon” (1950); “Stagecoach” (1939); “Ikiru” (1952); “Zelig” (1983); “Macbeth” (1971); “Klute” (1971); “Joker” (2019); “Cabaret” (1972); “Laura” (1944); “Metropolis” (1927) :

There are many more — “Bullitt,” “Contempt,” “Up,” “Repulsion,” “Gaslight,” “Slacker,” “Clueless,” “Thief,” “Locke” — but I wanted to keep the list at a tidy 50. I’d be here till Labor Day if I rounded up all the great single-title movies. But feel free to share your own.

You’ll notice I’ve made some glaring omissions of highly acclaimed films that simply don’t astonish me, and sometimes even rankle: “Fargo,” “Gladiator,” “Vertigo,” “Unforgiven,” “Zodiac” and “Casino.” Argue with me all you want, please.

My big birthday wish list (aren’t I worth it?)

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My birthday’s fast approaching. Here’s what you can get me (thanks!):

1. The hefty new book “Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears” by New Yorker staffer Michael Schulman. It sounds frivolous, and a lot of it surely is, but it also promises a chunky serving of cultural history about the loved and lambasted Academy Awards, dusted with tidbits, like the similarities between two of my all-time favorite movies, “All About Eve” and “Sunset Boulevard.” Reviews say it’s compulsively readable, if you’re into that stuff, and I am. The damn thing costs $40. 

2. Monkey 47 — A deliciously complicated and original gin that’s out of my price range by a good 30 dollars. I generally wait to get this bottle as a gift. So I say to you: Go for it!

3. A pair of Black Ghost sneakers from Italian brand Oliver Cabell. They run a gulping $270 (that’s with a $68-off promotion code). But these “fashion-forward” kicks are true beauts: top-notch black leather matched with clear rubber outsoles — not white, black or gum, but clear. They’ll probably rack me with flesh-shredding blisters, but what’s searing pain in the name of unspeakable hotness?

4. Dinner for two at four-star, impossible-to-get-into restaurant Le Bernardin in New York, where you can nosh an eight-course tasting menu with caviar and langoustines for a piddling $298 per person. I promise you a doggy bag. Maybe.

5. A round-trip ticket to Istanbul in the fall. Expensive, you say? Hey, economy class is just fine. I like pretzels.

6. Any ritzy anti-aging serum that’s not hawked by Gwyneth Paltrow or Jennifer Lopez, those obscenely compensated airbrushed quacks. I’ve got a couple of crow’s feet that are absolutely mocking me. 

7. I chose seven gifts because my birthday lands on April 7. It’s a neat number, and a lucky one, too. But it’s awfully small. So how about $700 in cash, please. Cool.

Best. Birthday. Ever!

Oscar mired

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I haven’t seen, and will not see, James Cameron’s latest self-regarding epic of glorious wonderment and spine-tingling astonishment “Avatar: The Way of Water.” I loathed the first “Avatar” — its stupefying clichés, cornball story and embarrassing gravitas gave me the willies — and I have no need for three more hours of blue-hued pablum and pixie dust.

Still, the movie — which The Guardian torpedoed as “a soggy, twee, trillion-dollar screensaver” — is of course making bundles and is, Christ, nominated for Best Picture at the upcoming Oscars. It’s all so predictable, and so terribly depressing.

Cameron’s mammoth, mystical, magical 3-D cartoon joins nine other Best Picture contenders, a few of which look interesting. I’ve only seen four and a half of the 10 films, but I know what I like — and what to shun. 

The list isn’t totally offensive, yet it’s certainly not in the league of, say, the Best Picture roster of 1976: “One Flew Over the Cuckoo’s Nest,” “Barry Lyndon,” “Dog Day Afternoon,” “Jaws” and “Nashville.” (Top that.) 

Still, I did enjoy Martin McDonagh’s chatty, touching tale of a foundering friendship, “The Banshees of Inisherin,” as much for its shattering performances (led by Colin Farrell, all knitted brow) as for its emotional fragility. Baz Luhrmann’s typically over-caffeinated “Elvis” biopic was fine if rather pat and conventional considering its Visine-demanding razzle-dazzle.

I could not finish the highly (and curiously) lauded metaverse mess that is “Everything Everywhere All At Once,” its great and fitting title aside. I don’t know who this steroidal video game is aimed at (yes, I do: freaks and geeks) and I found it incoherent, unfunny and frenetically unwatchable. The baffling part: It will probably win Best Picture. Seriously.

I long ago stopped trusting Steven Spielberg not to bow to bathos, and his latest, the autobiographical melodrama “The Fabelmans,” looks like a hot, bubbly bath of bathos. Respectable reviews apart, I’ve heard it’s dreadful, only confirming my hunches. Michelle Williams is up for an acting award and I hope she gets it. She’s terrific and is likely one of the few watchable things in this movie I will not watch. I don’t even like the title.

Nothing against that elfin egomaniac Tom Cruise — I happen to think he’s an underrated actor — but I also won’t be squandering two and a half hours on “Top Gun: Maverick,” a popcorn flick without the laughable high-minded pretensions of “Avatar.” How this show about penises with wings got nominated I will never know. Because I won’t be seeing it. But good for it!

In Todd Field’s “Tár” a commanding Cate Blanchett plays the titular classical conductor, an imperious and imposing figure, the artist as viper. A chamber piece cum character study, this coiled drama entrances with theatrical flair and a seriousness that lends it a sheen of prestige. I like it.

Based on Erich Maria Remarque’s famous anti-war novel, “All Quiet on the Western Front” is a huge German production directed with gloomy zest by Edward Berger and starring piles of mutilated war dead. It’s grisly, affecting and deeply human. The film shimmers with ghastly beauty and unstinting realism — irresistible Oscar bait. 

Snubs? While I’m happy Noah Baumbach’s irritating “White Noise” was dissed wholesale, the rejection of delirious Indian action orgy “RRR” for Best International Feature Film is scandalous. (Though it is — whoopee — up for Best Song. Watch it on Netflix. Please.) James Cameron, self-proclaimed King of the World, was denied a Best Director nod for “The Way of Water.” I bet he’s having a seismic hissy fit.

Finally in the Best Picture race are Sarah Polley’s #MeToo-ready drama “Women Talking” and Ruben Östlund’s dark international satire “Triangle of Sadness,” neither of which I’ve seen yet. Critics love them. They are probably good, maybe even superb, and for that they will win nothing.

4 for fall

~ Chris ~ 1 Comment

1. Au revoir, France — hello, Ireland? That’s how it looks right now, especially since I’ve swapped my flight to Paris for a ticket to Dublin. So I guess I’m going to Ireland in October (insert a wee leprechaun kick). Or I think I am. The tyranny of the pandemic can upend everything, so while Ireland has relatively open tourism guidelines, things can change in a depressing snap. I scotched Paris because France’s Covid rules have become groaningly prohibitive — très crappy. I’m not torn up about it. I’ve been to Paris a few times, but this purportedly worldly traveler has never made Ireland. Frankly, it hasn’t lured me to its bucolic charms: rolling green hills, craggy ocean cliffs, mossy castles, obsession with pubs and, suspiciously, Guinness beer, minor museums and churches. It’s been on my index of non-bucket list destinations (including Australia, Iraq and pretty much anything Caribbean) until now. What clicked? The idea of something far and uncharted (and not tropical). Focusing on Dublin and, briefly, Galway, it will be a mellow journey, eight lolling days of food and drink, mild tourism, immersive history and lots of questionable Irish music. If I really get there, I’ll be lucky, charmed.

2. With uncluttered elegance, the film is called “Lamb,” and it will chill you to the bone. Coming October 8, it’s described by hip indie studio A24 as “Icelandic folktale on top, Nordic livestock horror on bottom,” and it flows in the vein of A24 creep-outs “The Witch” and “Midsommar.” This one, by Valdimar Jóhannsson, is about a childless couple adopting a creature that is neither lamb or human: a sheep has given birth to a hybrid animal that has the body of a baby and the head of a lamb. Watch the trailer here. It’s unsettling. It’s eerie. It’s glorious.

3. I’ll take sweaters over sweat anytime, and I cherish every cool breeze that cuts through this soggy, sloggy summer. Let’s call it a wrap. I have things to do this fall and the chaotic weather, be it soak or scorch, is proving a deflating victory for climate change. It’s time for 50s and 60s and the end of wildfires, heat waves and floods. Yes, I hate summer, but no season’s perfect. Even autumn, the best of them all, has its pesky drawbacks, from confetti storms of leaves and Mandalorian costumes on Halloween, to football and corn mazes. We can deal.

4. And we curl back to Dublin, via Irish author Sally Rooney, whose new book “Beautiful World, Where Are You” arrives September 7. A globally celebrated wunderkind for her twin novels “Normal People” and “Conversations with Friends,” both written before she was 28, Rooney returns to her familiar milieu of middle-class millennials swirling in career, interpersonal and libidinous distress. Couplings and uncouplings of bright young things juice the story and, if her other books are any indication, things will get hot. And bothered. A Rooney fan, I’m looking for artistic growth in the new novel, her longest yet. Rooney’s not the most assertive stylist, her stubbornly lean prose tweezered of metaphor. In a 2019 post, I concluded that “Rooney’s smart little beach reads — people boast about how they gulp her books in one sitting — are crisp divertissements. But they are lacking in weight, import, poetry, the stuff of lasting literature.” That said, they’re nourishing and human, and I’m banking on “Beautiful World” to be a frothy palate cleanser after more vinegary fare this summer. Then, for some tang, I’ll grab E.M. Cioran’s self-explanatory “The Trouble with Being Born,” and the world will sleep well again.