Average rating: 6.2, which totally belies the near-perfection of one of these...
SPOILER ALERT: review 4 of 5 (Homefront {2013}) contains a spoiler. Do not read it if that's a concern for you.
Woman Chases Man (1937) - "Cautious millionaire Kenneth Nolan refuses to give his eccentric inventor father, B.J., money for his latest project while remaining unaware that his girlfriend, Nina, and her so-called 'uncle' are lovers who are bent on getting to his riches through marriage. Their plans falter when a struggling but shrewd architect, Virginia Travis, pleads for a job from B.J. and convinces him that she can get Kenneth to fund the project, even if it means engaging in a little deceit."
length: 1h, 11m | source: TubiTV | directed by John G. Blystone | why I watched: it was on my Tubi watchlist thanks to my enduring interest in Joel McCrea's work
IMDb: 6.5/10 | Rotten Tomatoes: N/A% / 50% Audience | my IMDb: 7/10 | MPAA: Approved
tone & texture: humorous, monochrome/muted
notable quote: "'I'm sorry. I'm going. But this last noodle goes with me.'
'You finish your noodle. You're going home with me.'"
my notes: adorable proof that a movie can be simple without being obvious, funny without being stupid, and romantic without being dramatic. I like McCrea's ironic everyman persona, and was charmed by Miriam Hopkins' plucky, race-talking, vulnerable Virginia.
themes: transformation, love
overall: recommended
The Seven Year Itch (1955) - "In the midst of a summer heat wave, New Yorker Richard Sherman (Tom Ewell) ships his wife, Helen (Evelyn Keyes), and their son off to Maine for vacation. Left alone to work back in Manhattan, Richard encounters a gorgeous blonde model (Marilyn Monroe) who has moved into the apartment upstairs, and becomes infatuated. While pondering infidelity, Richard dreams of his beautiful new neighbor—but will his fantasies about her become a reality?"
length: 1h, 45m | source: Amazon Prime | directed by Billy Wilder | why I watched: I was curious and looking for an emotional palate cleanser
IMDb: 7.0/10 | Rotten Tomatoes: 84% / 75% Audience | my IMDb: 4/10 | MPAA: Approved
tone & texture: humorous, soft & naturalistic
notable quote: "'I think it's wonderful that you're married. I think it's just elegant.'
'You do?'
'Of course. I mean, I wouldn't be lying on the floor in the middle of the night in some man's apartment drinking champagne if he wasn't married.'
'That's an interesting line of reasoning.'"
my notes: so shallow. This movie, and the fact that I watched it, made me want to punch myself in the face. Monroe is wasted in this cardboard role (sighhhh), and Tom Ewell's Sherman is a disgusting, unappealing child. Some of Billy Wilder's movies are phenomenal—Sunset Boulevard (1950, reviewed here), The Lost Weekend (1945, reviewed here), Double Indemnity (1944, reviewed here), Stalag 17 (1953, reviewed here)—but if this was the first I'd seen, I'd vow to never watch another.
themes: identity
overall: only very weakly recommended
This is Not What I Expected {Xi huan ni} (2017) - "Lu Jin is a rigidly practical financial analyst whose life is governed by order, efficiency, and emotional restraint. Assigned to help manage a struggling hotel, he unexpectedly crosses paths with Gu Shengnan, the hotel’s head chef, whose cooking is intuitive, idiosyncratic, and deeply personal. Through a series of encounters shaped less by conventional romance than by meals, misunderstandings, and small negotiations of control, Lu Jin is gradually forced to confront how insulated his life has become. As professional tensions and personal vulnerabilities surface, the film traces how food becomes a medium for communication, memory, and change, nudging both characters—unevenly and imperfectly—toward a recalibration of what they value and how they connect."
length: 1h, 46m | source: my DVD | directed by Derek Hui | why I watched: Takeshi Kaneshiro, who plays Lu Jin, is a new favorite
IMDb: 6.7/10 | Rotten Tomatoes: 78% / 87% Audience | my IMDb: 9/10 | MPAA: TV-PG
tone & texture: whimsical, lush & romantic
my notes: loved it. This is one of those movies that sneaks up on you. As I was watching, I was entertained and amused. Since then, its depth and meaning really sank in. Gu shengnan (played with charm and enthusiasm, but also delicacy, by Dongyu Zhou) is eccentric and creative, while also being considerate, affectionate, and (sometimes) realistic. Kaneshiro's Lu Jin isn't the powerful asshole archetype, but rather smart, laden with responsibilities, and unfamiliar with acknowledging and expressing his internal life.
It's a light film, not meaning flimsy but rather infused with warmth. Consider it romantic comedy for people who fall in love through competence and curiosity, not swagger.
If every new film could make me feel like this one did, I'd give up on everything else and just watch movies all day, every day.
themes: chaos v. order, love, transformation, identity
overall: very, very much recommended
Homefront (2013) - "Hoping to escape from his troubled past, former DEA agent Phil Broker (Jason Statham) moves to a seemingly quiet backwater town in the bayou with his daughter. However, he finds anything but quiet there, for the town is riddled with drugs and violence. When Gator Bodine (James Franco), a sociopathic druglord, puts the newcomer and his young daughter in harm's way, Broker is forced back into action to save her and their home. "
length: 1h, 40m | source: my DVD | directed by Gary Fleder | why I watched: I've seen it before, but had lost the plot, and I'm trying to rewatch stuff I've seen before but not rated.
IMDb: 6.5/10 | Rotten Tomatoes: 42% / 61% Audience | my IMDb: 6/10 | MPAA: R
tone & texture: gritty, hyper-glossy action
notable quote: "In case you got any interest, Gator eats breakfast nearly every day at Lion's cafe, just like me. Now, he don't look like much or nothin', but you remember what I told you, he ain't true. Crazy, waitin' to happen."
my notes: I like movies with revenge or redemption or justice themes, people fighting for what's right or to make up for wrongs. This is a good one, too—the bad guys are bad but there are levels of badness caused by different situations, and more than one of them grows from start to finish. The child actor (Izabela Vidovic, as Maddy Broker) is outstanding, revealing much while not overacting.
It all falls apart in the climactic scene, when the otherwise-controlled, sensible and thoughtful Broker suddenly loses his shit and behaves in a way so stereotypical, so brainless, and so unrealistic in terms of his previous choices, that the illusion of the film is lost. In other words: it's all tied up with a nice freakin' bow. Gross.
Still glad I saw it, just wish the director had trusted his story.
themes: justice
overall: recommended with caveats
Tabú: A Story of the South Seas (1931) - "Tabu: A Story of the South Seas is divided into two parts and follows Matahi, a young pearl diver, and Reri, a young woman chosen by an elder priest to be set apart under a sacred prohibition. After Reri is declared forbidden to all men, she and Matahi flee their island together, attempting to live freely beyond the reach of custom. Their escape leads them to a colonial trading outpost, where economic pressures, debt, and outside authority gradually replace the ritual constraints they left behind. As the forces of tradition and commerce converge, the film traces how desire, obligation, and fate close in on the couple, culminating in an outcome shaped as much by inevitability as by choice."
length: 1h, 26m | source: Amazon Prime | directed by F.W. Murnau | why I watched: I was in the mood for a silent film, and have seen Murnau's work before (such as the excellent Sunrise: A Song of Two Humans {1927}, reviewed here)
IMDb: 7.4/10 | Rotten Tomatoes: 92% / 77% Audience | my IMDb: 5/10 | MPAA: TV-PG
tone & texture: straightforward, monochrome/muted
notable quote: "The love you have given me, I will keep to the last beat of my heart. Across the great waters, I will come to you in your dreams when the moon spreads its path on the sea. Farewell."
my notes: simplistic, racist as Hell (the image on that official movie poster is pretty telling—men are virile, and women are anonymously bland and subservient), and sometimes hard to follow. The filming was glorious, but the acting bare-bones and the plot sketchy. (It's possible to anticipate EXACTLY what happened.) My 5/10 is inflated, based on the groundbreaking cinematography and locating shooting.
themes: identity, love
overall: not especially recommended
[the title quotation is from Homefront]





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