Secret Movie Club has weekly blog posts about film, actors, directors, writers and more.
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"Bleu begins with Julie (Juliette Binoche), being the only survivor of a tragic car wreck that kills her husband and five-year-old daughter. She is injured, but survives, in body, at least. In her soul, she closes down entirely, deciding to live her life with no connections, she doesn’t want to own anything, or make new memories. The only person she still sees is her mother, in a care home, whose dementia means that she rarely knows who Julie is anyway..."
"Three years after the success of The Awful Truth, Irene Dunne & Cary Grant were paired again in another screwball comedy produced and co-written by that first film’s director, Leo McCarey. This reunion leans heavily – and I do mean heavily – on the foundation laid by its predecessor. Though the names are different, the lead characters are essentially the same..."
"I recently went to see Marq Evans’ documentary Claydream not knowing much about it, it was a whim based on my love of stop-motion. It tells the story of Will Vinton, one of the pioneers of claymation. I had heard Vinton’s name mentioned before, but knew nothing of him. While watching the film I was fascinated by his story, his techniques, and the persistence of his spirit."
"We all have the Disney movies that belong to us, that are our own Disney movies that were new when we were kids. Of course, before video and streaming there were re-releases, but the ones that truly belonged to us were the brand new ones. Not to mention the fact that there usually were record albums that contained the story as well as the songs. Disney always knew how to catch us young."
"In the four-year span from 1937 to '41, Irene Dunne & Cary Grant co-starred in three different films, from two different studios, and three different directors. Two comedies and one difficult to classify melodrama/tragedy/romance. Though they’d already had, and would continue to have, widely-acclaimed and popular success on their own – Dunne with Love Affair and I Remember Mama, Cary Grant with, well, being Cary Grant – there is a particular kind of crackle between them in these three films..."
"Emily the Criminal is the story of Emily, no surprise there, played by Aubrey Plaza. She doesn’t start out the movie as a criminal, she is just an underemployed young woman with a massive amount of student loan debt, unable to get a better job due to a felony conviction in her past."
"It's remarkable then that 1998’s Next Stop Wonderland somehow manages to be both genuinely romantic and comedic with multi-dimensional lead characters in an original story that surprises while remaining firmly ensconced within a traditional Romantic Comedy architecture. Incredible? Impossible? Unrealistic? Indubitably! But as is true in any film of the genre those obstacles disintegrate in the face of true love and, I have to admit, I truly love this movie…"
"While the summer season is coming to an end, it’s often known as a time of big loud blockbusters, but it’s also a time of sleepers that surprise you, and you share with friends. Since I normally write about one movie, I’ve decided to write about two that I recently saw, and would love to turn people on to."
"Bodies Bodies Bodies is a reasonably fun little horror film with a good amount of laughs. It’s not bad at all, but neither is it entirely great. It’s a base hit…" #cinema #movies #film #movienight #cinephile #secretmovieclub #moviecommunity #blog #filmwriting #filmblog #essay #review #bodiesbodiesbodies #horror
"Because a person’s history can’t be contained in their high highs and low lows, an accurate life story has to include countless digressions into the ordinary, off-topic, and non-narratively dependent. Happily, all of these are included among the eponymous thirty-two short films."
"Francis Ford Coppola once said (echoing someone else who very well may have been parroting an even earlier source) that you don’t really know if a movie is good or not for about 10 years. If people are still talking, watching, debating, enjoying the movie 10 years on, it’s a pretty good bet there’s something interesting going on…"
"Unlike some of these movies, where you see the trailers one million times until you get sick of them, I saw the trailer for Vengeance one single solitary time, but that was all I needed, because it definitely looked like my kind of movie. It looked great, but ended up being way better than I expected! The best of all possible outcomes…"
"Yes, this is a story about a (punk) rock band, based on an autobiographical graphic novel by the writer/director’s wife, Coco Moodysson, but by all accounts, it is a loose adaption and probably more fiction than not. We Are the Best! covers about a year in the lives of three early-1980s Stockholm thirteen-year-old girls who form a band despite only one of them knowing how to play an instrument. This is my favorite movie."
"One of the things we’re focusing on is actually returning to our three month seasons. So we’re in the process of confirming most of the titles we’ll show from October to December. I always liked programming a season. There’s a different feeling when you can see a lineup for three months. Like the ebb and flow of the ocean tide. You can see series come and go and how they comment, interact, dialogue with each other."
"I was listening to a movie review podcast and they were mentioning some recent independent films that they hadn’t had time to see yet, one being Neptune Frost, described as a sci-fi musical. I was immediately intrigued. Later that day I was looking to see if anything interesting was playing at the American Cinematheque, and there it was, Neptune Frost, that very night at 10p! Clearly, it was kismet."
"There are, of course, literally hundreds of music documentaries out there with their own well-worn cliches and WATFS is no outlier there. It ticks all the boxes: the band forms, loses members, gains members, finds it’s sound, lots of rock and roll hero stories, missed opportunities, breakthrough, and eventual success..."
"When I saw the poster for Mrs. Harris Goes to Paris, I immediately knew that this was a film I wanted to see. It turns out I was completely right, and I rather wish I hadn’t seen the trailer, which gives away too much. On the other hand, it’s not exactly the kind of film where you don’t know right from the start whether the cleaning woman who wants a Dior gown is going to end up with a Dior gown, so it’s hard to spoil..."
"On the surface, Her Smell bears many of the same rock biography hallmarks that I railed against in last week’s introductory screed but there are significant variations in this film to elevate it above the irritatingly predictable “biopic” template. The most glaringly obvious of these qualities – and one that I think bears mentioning before going on any further – is that it’s a work of fiction…"
"One of the fathers of film history, director Jean Renoir once remarked, “The saving grace of the cinema is that with patience and a little love we may arrive at that wonderfully complex creature which is called man.” One of the prime examples of this in his career is his 1932 comedy Boudu Saved from Drowning, where he doesn’t hold judgement on any of his characters, no matter what walk of life or class they come from."
MOVIE BLOG: Kymm Zuckert on Hallelujah: Leonard Cohen, A Journey, A Song (2022, dir. Dan Geller, Dayna Goldfine, US) "I’m sure there are a lot of people who will look at the title of this documentary and go, “Oh my God I’m so sick of that everlasting song,” and I’ve got to tell you, I don’t blame them, but they will be missing out on the story of an extraordinary life."
"Nico, 1988 takes a different approach to the traditional rock bio. Aside from one brief, non-narrative flashback sequence made up of actual archival footage from the late 1960s, this film only shows the icon well after the peak of her fame. Limited to the last few years of her life, she’s a middle-aged functioning addict touring Eastern Bloc countries with an assembled band of randos."
"Last week, we finally got to screen Japanese Anime Master Satoshi Kon’s 2004 13 episode television marvel Paranoia Agent. For all its messiness and occasional sense of slapdashness, this 5 1/2 hour meditation on self-delusion in the guise of a kaleidoscopic police procedural mystery is a revelation of what an artist can do when they’re really plugged into the possibilities of their medium."
"This movie is utterly delightful, not only because it is cute and funny, but because it has a lot of deep things to say about family, and connections, and making friends. It frankly could have been kind of twee, but Marcel can be a little acerbic, and that squeeze of lemon just balances the whole story."
"His 1961 The Man Who Shot Liberty Valance is often considered his summation movie. In a strange way, John Ford set a template that Akira Kurosawa (with 1985’s Ran), David Lynch (with 2017’s Twin Peaks The Return) and Martin Scorsese (with 2019’s The Irishman) would follow. He made a movie that strangely incorporated elements of his style from ALL his periods to make a kind of definitive statement on a genre (the Western) he had been instrumental in creating and defining."