{"id":186563,"date":"2023-06-09T17:32:00","date_gmt":"2023-06-09T21:32:00","guid":{"rendered":"https:\/\/www.sheilaomalley.com\/?p=186563"},"modified":"2026-04-28T10:50:07","modified_gmt":"2026-04-28T14:50:07","slug":"april-may-2023-viewing-diary","status":"publish","type":"post","link":"https:\/\/www.sheilaomalley.com\/?p=186563","title":{"rendered":"April\/May 2023 Viewing Diary"},"content":{"rendered":"

River of Grass<\/strong><\/em> (1994; d. Kelly Reichardt)
\nReichardt’s first film. <\/p>\n

\n\"\"<\/p>\n

Wendy and Lucy<\/strong><\/em> (2008; d. Kelly Reichardt)
\nThe start of Reichardt’s collaboration with Michelle Williams. <\/p>\n

\n\"\"<\/p>\n

Showing Up<\/strong><\/em> (2023; d. Kelly Reichardt)
\nReichardt’s latest. I reviewed for Ebert<\/a>. It’s fine. Her best, as far as I’m concerned, is Certain Women<\/i> and I am STOKED for Lily Gladstone. Headlining opposite Leo in Scorsese’s latest. YES. We all saw her here FIRST. <\/p>\n

\n\"\"<\/p>\n

\nThe Wrecking Crew<\/strong><\/em> (2008; d. Denny Tedesco)
\nSo exciting. I’ve seen this before. Always fun to re-visit. What an amazing group of people.<\/p>\n

\n\"\"<\/p>\n

Boston Strangler<\/strong> (2023; d. Matt Ruskin)
\nIn the time before streaming, this would have been in the theatre for a couple of weeks, generating buzz, maybe even getting some awards attention. Now it’s lost in the shuffle of “content” pouring onto streaming platforms, on the front page for a week, before getting lost in the fucking algorithims.. Stephanie Zacharek’s review in Time<\/a> made me check it out. I was riveted start to finish. The color scheme is a bit MUCH. it makes Boston look like an underwater sea-world, but I really dug the down-home grittiness of its approach: not too much melodrama, not too much leaning in to the feminist aspect of the story. They PRESENT the issue as opposed to commenting on it with girlboss monologues to make sure we get it. I’m so sick of girlboss monologues. This is an incredible story, in and of itself, of two women maneuvering in a world where they are the only women, and how they basically barge through the sexist bullshit they face. I loved the relationship between the two women, who are forced to be colleagues. They don’t become BFFs, they don’t go out and get drunk and dance around to show they’re bonding, although they do meet up in a bar after a tough day to have a drink, just like their male colleagues. They don’t bond “as women” – they bond as colleagues who happen to be women, who happen to share similar challenges. One is a veteran reporter, the other a rookie. There’s a subtle mentoring that happens, but again, it’s subtle. They’re both workaholic obsessives with an eye on the prize. Even their conversation about “how on earth do you manage raising kids while doing this job” is on a practical level, the way women actually speak to each other when men aren’t around. The story is wild and I’m not all that familiar with it, which is amazing considering my serial killer knowledge. Lots of red herrings and false starts. Boston Strangler is very controlled: it stays close to the investigation AND – Memories of Murder<\/em>-style, Zodiac<\/em>-style – highlights how cases like this infect the people working it, cops, reporters – the mystery cannot be compartmentalized. At a certain point the investigative spirit turns into an obsessive monomania. You can’t let it go. You must know what happened, you NEED to know what happened. I feel like Boston Strangler<\/em> shows the progression of that admirably. It almost happens by stealth. For years I was not on the Keira Knightley train, and believe me, it was an unpopular opinion I mostly kept to myself. For years I thought her best role was in Bend it Like Beckham<\/em>. The sexy tomboy jock. Then she became a superstar, she did period films, wearing corsets in every role, a romantic “leading lady”, and it never fit. I found her mannered and unconvincing in sweeping romantic leads. She did not seem “at home” at all in those films. I thought her performance in A Dangerous Method<\/em> was just plain bad. A minority viewpoint, again, but I stand by it. In the last 5 or 6 years, her career has changed and taken on a more human-sized aspect. She’s down-shifted and this new level suits her. She is choosing projects REALLY well. I’ve been impressed with her performances in the last 3 or 4 films she’s done, films that haven’t gotten a lot of chatter. She’s very VERY good here. <\/p>\n

\n\"\"<\/p>\n

Unbelievable<\/em><\/strong> (2019; d. Lisa Cholodenko, Michael Dinner, Susannah Grant)
\nI’ve probably watched this series about 4 times. <\/p>\n

\n\"\"<\/p>\n

Everything Went Fine<\/strong><\/em> (2023; Fran\u00e7ois Ozon)
\nThis film made me VERY emotional. I reviewed for Ebert<\/a>.<\/p>\n

\n\"\"<\/p>\n

Little Richard: I Am Everything<\/strong><\/em> (2023; d. Lisa Cort\u00e9s)
\nI reviewed for Ebert.<\/a><\/p>\n

\n\"\"<\/p>\n

Nine Days<\/strong><\/em> (2021; d. Edson Oda)
\nSeen at Ebertfest. I interviewed the director onstage after the screening. I reviewed for Ebert<\/a>.<\/p>\n

\n\"\"<\/p>\n

Tokyo Story<\/strong><\/em> (1953; d. Yasujir\u014d Ozu)
\nA 9 am screening at Ebertfest. I’ve never seen it in such a massive theatre, and I’ve never seen it surrounded by 1200 people. It’s an overwhelming film, seen by myself alone in my apartment, and it’s even MORE so in a theatre. Mitchell had never seen it, I don’t think, so we had just an incredible time, soaking it up, early in the morning in Illinois. Tokyo Story changes every time I see it. I think I saw it for the first time in college or my early ’20s. I sought it out because of Roger Ebert. Of course. I thrilled to it, the specificity of Ozu’s style – as strong a fingerprint as any filmmaker ever had. But now that I’m older (i.e. old), and have an elderly mother, and lost my father … Tokyo Story actually infuriates me. It makes me want to do better. Don’t be like those wretched adult kids in Tokyo Story. Be like Noriko (Setsuko Hara). <\/p>\n

\n\"\"<\/p>\n

\nThe Cabinet of Dr. Caligari<\/strong><\/em> (1921; d. Robert Wiene)
\nWe saw this after Tokyo Story<\/i>. Live orchestra! It was a blast. <\/p>\n

\n\"\"<\/p>\n

American Folk<\/strong><\/em> (2018; d. David Heinz)
\nThis played at Ebertfest. I hadn’t seen it. To be honest, I had some issues with it. Maybe because I was in New York “on that day”. Or, right across the river. Watching the towers fall. Knowing my sister worked in the building next door. The horrors. New York had a different experience than everyone else, I get that, and it’s fine to show the impact on everyone else. I can’t distance myself from my experiences that day. I’m not saying it’s all about me. But I am very picky\/choosy in re: films ABOUT “that day”. And a gentle meet-cute road-trip movie, filled with communal folk songs … it’s just so out of tune with what was going on in New York I don’t even know what to say. I’m glad you all had a nice road trip and bonded along the way? I mean, you know? Happy for you.<\/p>\n

\n\"\"<\/p>\n

Remember This<\/strong><\/em> (2022; d. Derek Goldman, Jeff Hutchens)
\nDerek Goldman is an old OLD friend of mine. I was in a number of plays directed by him back in Chicago, and was part of his traveling Anne Frank project. I was in his award-winning production of James Agee’s Death in the Family, one of my favorite theatre experiences ever. It’s how I met Kate, now one of my best friends. I went to his wedding. He’s gone on to great success, and I am not surprised at ALL. We were all around 24, 25 years old way back then, and he knew what he was about back then. A go-getter, yes, but also so smart, so thoughtful, an amazing adapter of material. Remember This, about Polish Resistance hero Jan Karski, started as a stage production, a one-man show starring David Strathairn. It played regionally and then moved to New York. Finally, they put it to film (they didn’t just film the play). Strathairn is a marvel, and Derek’s script is incredible.<\/p>\n

\"\"

David Strathairn in \u201cRemember This\u201d. Directed by Jeff Hutchens and Derek Goldman, produced by Eva Anisko. (Photo by Jeff Hutchens)<\/p><\/div>\n

Myra Breckenridge<\/strong><\/em> (1970; d. Mike Sarne)
\nWatched with Mitchell and Christopher. I saw it years ago. Unfairly maligned. <\/p>\n

\n\"\"<\/p>\n

The Year Between<\/strong><\/em> (2022; d. Alex Heller)
\nHeller wrote and directed. It’s about “the year between” when she got diagnosed with bipolar. 2012 was my “year between”. I really liked this, and not sure why I missed it. <\/p>\n

\n\"\"<\/p>\n

\n\"\"<\/p>\n

Saint X<\/strong><\/em> (2023; d. Dee Rees, Darren Grant)
\nWatched a couple episodes of this with Allison. It’s really interesting. Not crazy about the lead performance and the “coincidental” nature of her run-in with the dude she’s been looking for all these years … but the flashback sections are good, particularly in the cross-section of cultures colliding in this one Caribbean resort. I loved Dee Rees’ Mudbound<\/i> and she’s exec-producing this so that was another plus.<\/p>\n

\n\"\"<\/p>\n

Eight Mountains<\/strong><\/em> (2023; d. Felix Van Groeningen, Charlotte Vandermeersch)
\nI love this film even more than I did when I first saw it. I think about it often. I reviewed for Ebert<\/a>.<\/p>\n

\n\"\"<\/p>\n

Viva Las Vegas<\/strong><\/em> (1964; d. George Sidney)
\nPresented this at the Paris Theatre last month. Such a nice turnout, such a good time. My introductory comments went over well. A happy day. I mean, what’s not to like about this movie.<\/p>\n

\n\"\"<\/p>\n

It Ain’t Over<\/strong><\/em> (2023; d. Sean Mullin)
\nI loved this documentary about Yogi Berra. I reviewed for Ebert<\/a>.<\/p>\n

\n\"\"<\/p>\n

Facing Nolan <\/strong><\/em> (2022; d. Bradley Jackson)
\nThe Yogi Berra doc sent me on a baseball-documentary jag. Loved Facing Nolan<\/i>. <\/p>\n

\n\"\"<\/p>\n

Fastball<\/em><\/strong> (2016; d. Jonathan Hock)
\nI reviewed the doc Fastball<\/i> back in 2015<\/a> – I think it was on HBO – and it’s my kind of thing. <\/p>\n

\n\"\"<\/p>\n

Beef<\/em><\/strong> (2023; d. Hikari, Jake Schreier, Lee Sung Jin)
\nAllison and I watched the whole thing in one day. It’s fantastic. What a great premise, what a great “device” to explore all of these different very complicated issues, personal, cultural, etc. I wrote a thing on Instagram about Steven Yeun’s acting, particularly in the scene where he first goes to church and becomes overwhelmed. <\/p>\n

I\u2019ve seen Steven Yeun in 4 or 5 things now and he is totally different in each one so much so it sometimes takes me a second to even realize it\u2019s him. It\u2019s like he swaps out his soul or something so the look in his eyes is different. Sometimes it helps to state the obvious. Transformation is of course part of acting but lots of people can\u2019t do it – and leading men (like Yeun) often can\u2019t do it (and, to be fair, are not required to do it). But Yeun – who is super handsome but able to sometimes cloak the handsomeness – (again not everyone can do this) – transforms depending on context and he does so with no sense of strain, i.e. \u201clook at me transform!\u201d From the first scene in Beef you are aware of Danny\u2019s impotent free-flowing rage, and through the course of the series you get to know what the rage is covering, or, what the rage is HANDLING. Danny\u2019s life is unbearable to him. And yet he has a grifter-hustler side, where he \u201cacts\u201d like he\u2019s competent and got it together. People find him off-putting because he’s so obviously not authentic. It\u2019s a lot to juggle for an actor. I kept thinking of Burning<\/em> (which I reviewed<\/a>) and Minari (Yeun\u2019s Oscar-nominated performance, which I wrote about here<\/a>) and it seems like a different actor entirely. The scene in the church in Beef<\/em> was overwhelming because tough hustling Danny is completely undone by the music and environment. The character walks into this scene with grifter-hustle motivation powering him – he\u2019s \u201cworking an angle\u201d – he wants something, he always wants something – and over the course of the next 5 minutes he shatters. He has no control over it. He had no idea he had so much sadness. He never allows himself to feel what\u2019s underneath. He\u2019s not even aware what is going on down there beneath the surface. We watch this shattering happen in real time, not too many cuts. This requires skill on the part of the actor. Yeun has to really experience it. Everyone is good in Beef but he is so good and this performance is so visceral and upsetting – with enough episodes for him to dig into the layers – I wanted to call it out.<\/p>\n

\n\"\"<\/p>\n

The Night of the 12th<\/strong><\/em> (2023; d. Dominik Moll)
\nFrench crime procedural? Sign me up. I’m not picky. I reviewed for Ebert<\/a>.<\/p>\n

\n\"\"<\/p>\n

Stranger Things<\/strong><\/em>, season 1, episodes 1-5 (2016; d. Matt Duffer, Ross Duffer, Shawn Levy)
\nBinge-watched with my niece Lucy. We just lay on our respective couches and kept going. It was a dark day, nothing else was going on, she loves the show, I’ve never seen it, so we had so much fun! I knew I’d like it, I had a feeling, I just … you know, there’s always so much shit to watch it’s hard to keep up. Winona Ryder is crushing it. I mainly loved doing this because it was so fun to watch Lucy be so excited about something, and how much fun she had “showing it to me”. <\/p>\n

\n\"\"<\/p>\n

The Secrets of Hillsong<\/strong><\/em> (2023; d. Stacey Lee)
\nI’ve actually been following this story for years. If you lived in New York during the time in question you could not avoid Hillsong. They were everywhere. I watch these mega church services and … I’m no fundamentalist but I listen to these guys talk and I’m like … is this CHURCH or a motivational-speaker-weekend-retreat? Like it’s all self-improvement and strive strive strive – prosperity gospel, I guess, although I’m not hearing much “gospel”. It’s so BRAZEN, so OBVIOUS … but of course it’s not obvious when you are in it. Anyway, this all went down just as you would imagine it went down but each story has its own quirks and personality. What’s interesting here is he is interviewed for the doc. I don’t believe a word he says. But he seems LESS egregious than, say, Mark Driscoll. But … I could be wrong. <\/p>\n

\n\"\"<\/p>\n

Reality<\/em><\/strong> (2023; d. Tina Satter)
\nIt’s really really good. I reviewed for Ebert<\/a>.<\/p>\n

\n\"\"<\/p>\n

Close to Vermeer<\/strong><\/em> (2023; d. Suzanne Raes)
\nI learned a lot from this documentary. I got to review it for Ebert<\/a>.<\/p>\n

\n\"\"<\/p>\n

\n 
\n 
\nThank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here’s a link to my Venmo account<\/a>. And I’ve launched a Substack, Sheila Variations 2.0<\/a>, if you’d like to subscribe.<\/em> <\/small><\/p>\n

The Artifice Girl<\/strong><\/em> (2023; d. Franklin Ritch)
\nI reviewed for Ebert<\/a>.<\/p>\n