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<\/p>\nHere’s a roundup of most of the things I’ve written this year: here on my site, for Rogerebert.com, for my newsletter, and for my new column at Liberties Journal. Every year it’s the same thing. I spend so much time feeling like I’m wasting my time or not working hard enough. Then I put together my year-end roundup and have to give myself a stern talking-to. Here’s what I wrote this year, with links out to the pieces, in case you’re interested. <\/p>\n
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\nMy new column launched at Liberties<\/a><\/strong> with an essay on my Actors Studio background and how that has informed my film criticism. <\/p>\n If you haven\u2019t tried to act yourself, it might seem like it happens by magic. Hamlet wonders how a fictional situation can elicit real tears from an actor. A lot of the confusion about acting that I see in some of the commentary could be cleared up in one afternoon by attending a rehearsal for a community theater production of Our Town or The Crucible or \u2026 it doesn\u2019t matter. What you will see is a bunch of people in a room, problem-solving, solution-finding, trying stuff, creating together. The same thing happens in film. The budgets are bigger, that\u2019s all. <\/p><\/blockquote>\n \nI adored writing about Carole Lombard<\/a><\/strong>. It was also so much fun re-watching all of her films in preparation. <\/p>\n The fastest screwball dialogue was probably in His Girl Friday, but Carole Lombard was the fastest thinker (and talker) of them all. She followed Shaw\u2019s dictum as though born to it, tossing herself into silliness with such abandon she left everyone staggering in her dust. She is screwball\u2019s pinnacle. Screwball is cathartic because we watch people trying to maintain their dignity as they fall in love. Lombard was different. She had no dignity to lose. <\/p><\/blockquote>\n \n \nI interviewed author (and my old friend) Sean Abley<\/a> about the anthology he co-edited, Queer Horror: A Film Guide<\/strong><\/em>.<\/p>\n “As queer people, we have different rules about the media we consume and how we archive it. It\u2019s such a part of our history that to leave it out of the book felt negligent. It\u2019s also just fun and titillating. It\u2019s important to remember horror movies are fun. The fact that there\u2019s a gay porn Exorcist homage \u2026 I laugh just saying it.”<\/p><\/blockquote>\n \n \nOne of the most long-overdue-pieces I’ve ever written. I saved it for my column: I wrote about my simultaneous discovery of John Cassavetes’ Opening Night<\/em> and Tennessee Williams’ Two-Character Play<\/strong><\/em><\/a>.<\/p>\n Perhaps those who don\u2019t spend their time rehearsing plays find Myrtle\u2019s shenanigans incomprehensible. What is the big deal? Just say the lines. But it is a big deal. Cassavetes said once in an interview, \u201c[The actors\u2019] one goal is to communicate a precise thought in a way that can be clearly understood. It\u2019s a very difficult job.\u201d Actors always understand Opening Night. I didn\u2019t find the film \u201csurreal\u201d. To me, it was like, \u201cOh yeah, that\u2019s last Thursday night.\u201d <\/p><\/blockquote>\n \nI wrote this piece under terrible circumstances. It was a terrible late summer and early fall. But the piece flowed, because I’ve been wanting to write it for years: on Marion Keisker’s crucial role<\/a><\/strong> in “discovering” Elvis.<\/p>\n Keisker, though, sensed something. The boy had an inchoate quality: he was clearly unformed, but his presence was urgent \u2014 insistent, really \u2014 even with his awkwardness and noticeable stutter. She wanted to remember him, and asked his name (\u201cElvis Pressley,\u201d she wrote). She started a file for him, adding a note: \u201cGood ballad singer \u2014 hold.\u201d<\/p><\/blockquote>\n \nI interviewed film-maker Sin\u00e9ad O\u2019Shea<\/a><\/strong> about her documentary Blue Road \u2014 The Edna O\u2019Brien Story<\/em>.<\/p>\n “She wasn\u2019t \u201cold money. She wasn\u2019t \u201cnew money\u201d either. People didn\u2019t know how to place her. She made them feel bad. She was very threatening to the prevailing social order of the time, which was so patriarchal, all about propping up the weak man, the father, a stupid violent alcoholic. So many women devoted their lives to preserving this mirage.”<\/p><\/blockquote>\n \nIt’s so nice to have my own perch at Liberties, where I can put up my own list. Here’s my Top 20 of 2024<\/a><\/strong>, with some runners-up.<\/p>\n I\u2019ve put together an unranked list of the films I loved in 2024. Some of the films speak to How We Live Now. With others it\u2019s not so obvious. All are unique visions. None are cookie-cutter projects made to order. We\u2019re headed into dark times. We need art now more than ever.<\/p><\/blockquote>\n \nI reviewed the extremely emotional and very well done Society of the Snow<\/strong><\/a><\/i>, about the 1972 crash in the Andes.<\/p>\n Luque approaches the landscape with a healthy respect for its ominous quality: \u201cHuman beings cannot survive here. Nothing can survive here.\u201d<\/p><\/blockquote>\n \n \nI reviewed Chilean director Felipe G\u00e1lvez Haberle’s extraordinary directorial debut, The Settlers<\/strong><\/a><\/em>.<\/p>\n Westerns have been Hollywood\u2019s tentpole genre from the jump. For years, they were frank exercises in one-sided mythologizing (but even the one side wasn\u2019t presented truthfully). Eventually, Westerns entered a necessary period of deconstruction, where the original mythologies were interrogated. In the ensuing decades, there has been a lot to interrogate. <\/p><\/blockquote>\n \n \nI reviewed the first of two films starring Daisy Ridley this year: I’m impressed. First up: the weird quiet Sometimes I Think About Dying<\/strong><\/a><\/em>.<\/p>\n She is believably abstracted, as though Fran can barely be dragged out of her death-wish fantasy life to actually converse with the person right in front of her. In Ridley\u2019s hands, Fran is not a bundle of Awkward Lonely Girl cliches. She\u2019s an enigma. <\/p><\/blockquote>\n \n \nThe Promised Land<\/strong><\/a><\/i> was very good, would be a good companion piece with The Settlers<\/i>.<\/p>\n Mikkelsen\u2019s performance is a marvel, really. Haughty at first to Johannes and Ann Barbara, and downright mean to the child, Mikkelsen suggests depths which Ludvig attempts to conceal. What is this man\u2019s pain? What is he looking for? Or running from? At times, tiny flickers of human emotion appear at the corners of his eyes, or his mouth, softening him. These moments carry more weight because Ludvig is normally so inexpressive. <\/p><\/blockquote>\n \n \nI really loved Bas Devos’ Here<\/strong><\/a><\/em>.<\/p>\n This philosophical standpoint sounds rather grandiose when written down, but it\u2019s soothing and intriguing in Davos\u2019 approach. \u201cHere\u201d is experiential rather than story-driven. The big things happen not in the words, but through gestures, physical and emotional. Gestures like showing someone something. Pointing at something you want them to see. Opening your hands to show someone what you are holding. Offerings, all. <\/p><\/blockquote>\n \n \nGlitter & Doom<\/a><\/strong><\/i> is a movie made up of Indigo Girls songs. <\/p>\n The challenge for jukebox musicals is to create a script that could conceivably exist without the music. \u201cGlitter & Doom\u201d can\u2019t quite manage it.<\/p><\/blockquote>\n \n \nClub Zero<\/a><\/strong><\/i> is incredibly creepy and there should definitely be trigger warnings in re: eating disorders\/anorexia\/etc. <\/p>\n Presenting what it means to live in service of a single ideology could also be a \u201ccritique\u201d, but Hausner\u2019s approach leaves room for interpretation. Ideology creates monsters. The belief in Utopias also creates monsters. Is that what we\u2019re seeing?<\/p><\/blockquote>\n \nI was terrified by this two-hander, You’ll Never Find Me<\/a><\/strong><\/i>.<\/p>\n The pace is slow, and the sound design is oppressive: the howls of wind, the dripping, groaning pipes, floors and chairs creaking, all of which sometimes sound like human voices in agony. <\/p><\/blockquote>\n \n \nI loved Wicked Little Letters<\/a><\/em><\/strong>. So much fun. <\/p>\n Bullying campaigns waged in the comments sections of Instagram and TikTok are not at all different from harassing letters sent through the postal service. A person may be perfectly pleasant \u201cin real life\u201d, and when hiding behind a pseudonym they are a demon. We know this. This is our world. <\/p><\/blockquote>\n \n \nScoop<\/a><\/em><\/strong> is a fascinating look at how the BBC got the interview with Prince Andrew. How on earth was he convinced to do such a thing? And why did nobody tell him not to do it? <\/p>\n What kind of a bubble do you have to live in to say things like \u201cI don\u2019t sweat\u201d and \u201cIt was a convenient place to stay\u201d, and think afterwards, \u201cI really nailed that\u201d? Well, we know what kind of bubble he lived in. The royal bubble is made of iron. <\/p><\/blockquote>\n \n \nI guess it’s the year of the Indigo Girls. Too bad the documentary about them It’s Only Life After All<\/a><\/em><\/strong> isn’t good. But reviewing the film did give me a chance to write more about them, which was fun.<\/p>\n There\u2019s a claustrophobia in the documentary\u2019s approach, even a laziness. Ray and Saliers are the sole interview subjects.<\/p><\/blockquote>\n \n \nReviewed the pretty awful Jeanne du Barry<\/a><\/strong><\/i>. <\/p>\n At film\u2019s end, the voiceover informs us Zamor did what he did \u201cout of distress or spite.\u201d \u201cSpite\u201d? This sounds suspiciously like \u201che bit the hand that fed him.\u201d It is the \u201ctell,\u201d the giveaway of how the film wants us to view Jeanne. <\/p><\/blockquote>\n \n \nI reviewed Ezra<\/a><\/strong><\/em>, starring Bobby Cannavale, with Robert De Niro in a smaller role. Not perfect, not awful, but it does a lot right.<\/p>\n The exploration of neurodivergence in cinema has a pretty spotty history, although most of these films have good intentions. \u201cHellbent on Boogie\u201d points the way forward. So, too, does \u201cEzra,\u201d directed by Tony Goldwyn, with a screenplay by Tony Spiridakis. The film loads itself down with two different plots, one cliched, one new and fresh. This makes \u201cEzra\u201d a sometimes frustrating watch, but there\u2019s a lot here to recommend.<\/p><\/blockquote>\n \n \nJust the Two of Us<\/a><\/em><\/strong> was very effective. I love Virginia Efira. <\/p>\n Melodramas, then and now, have been dismissed as \u201csoapy\u201d or shallow, but melodrama is often the best vehicle for serious social and even political commentary.<\/p><\/blockquote>\n \n \nJennifer Connelly<\/strong> gives a great performance in Bad Behaviour<\/a><\/em><\/strong> (a not good movie), which is a little fascinating.<\/p>\n Three younger women interrogate her, and their dead eyes looking at her tell Lucy they have no interest in getting to know her, and they definitely don\u2019t respect her as an \u201celder\u201d. Her life experience means nothing to them. Lucy is a demanding role, and Connelly at times looks ravaged by the emotions tearing her up from the inside. Connelly outdoes herself.<\/p><\/blockquote>\n \n \nI was totally mesmerized by Daddio<\/a><\/em><\/strong>. <\/p>\n The chemistry between two actors is a mysterious thing. Johnson and Penn\u2019s chemistry is so compulsively watchable, which is fascinating because neither of them can move. For the most part, they are only looking at each other through the rear view mirror, but the back-and-forth is genuine.<\/p><\/blockquote>\n \nIt’s rare I hate a movie. I hated Goldilocks and the Two Bears<\/a><\/em><\/strong>.<\/p>\n Instead, we have naked young women talking about stereotypically male-centric Boomer cultural references, like Henry Miller and the Three Stooges, while never being convincing they know about any of these things. These women are lip-synching to Lipsky. It would have been refreshing if Ivy were a happy bimbo.<\/p><\/blockquote>\n \n \nNational Anthem<\/a><\/em><\/strong> is a really interesting look at a nearly-invisible but vibrant sub-culture, queer rodeo riders. <\/p>\n These people are not just \u201csurvivors\u201d. They are thriving. The rodeo is their world. They have created the world they want to live in. <\/p><\/blockquote>\n \nHuge fan of Damian McCarthy’s films and he’s only made two so far. I reviewed Oddity<\/a><\/em><\/strong>.<\/p>\n McCarthy has patience as a filmmaker. He can wait. He doesn\u2019t try to overwhelm with easy jump-scares. He allows the sense of uneasiness to build and build. <\/p><\/blockquote>\n \nI really loved Kneecap<\/a><\/em><\/strong>, a loosely fictionalized movie about the real-life Irish-language-only hip hop trio from Belfast. <\/p>\n Kneecap was playing sold-out shows, where hundreds of kids were screaming lyrics in Irish. Shouldn\u2019t the Irish language people welcome this development? Of course, they don\u2019t!<\/p><\/blockquote>\n \nGood One<\/a><\/strong><\/i> is so damn good. These little movies get lost in the shuffle of the entertainment hellscape we are currnetly living in. Please seek it out. <\/p>\n What starts off as a nice time (albeit chaotic with all the bickering) quickly becomes not so nice. In fact, there\u2019s a feeling in the air, more and more distinct as the film goes on, that Sam is not safe with these two men she\u2019s known all her life.<\/p><\/blockquote>\n \nThis was a tough one but it had to be done. I paid tribute to Gena Rowlands<\/a><\/strong>.<\/p>\n The man she\u2019s with (Val Avery) asks her to \u201cstop being silly\u201d, and to just \u201cbe herself\u201d. An abyss opens up. What does \u201cbeing herself\u201d even mean? Her beauty is part of the problem, and she knows it. She\u2019s a \u201clooker\u201d but no one sees<\/em> her.<\/p><\/blockquote>\n \nThe Wasp<\/a><\/strong><\/em> is a pretty wild two-hander: two very good performances, plus a couple of twists even I didn’t see coming.<\/p>\n \u201cWe\u2019re so different,\u201d Heather says to Carla. Carla squints at her, asking, \u201cAre we?\u201d<\/p><\/blockquote>\n \nOne of my favorite films of the year: Zia Anger’s My First Film<\/a><\/strong><\/i>.<\/p>\n We were 15 seconds in and I was already in tears. <\/p><\/blockquote>\n \nI thought Sweetheart Deal<\/a><\/strong> was one of the best documentaries of the year and … no one saw it. See it.<\/p>\n There are many documentaries where real-life events swerve unpredictably, outside the original project\u2019s scope, films like Gimme Shelter, Capturing The Friedmans, or Daughter From Danang. \u201cSweetheart Deal\u201d shares much in common with these films. Watching it is like being trapped in a nightmare and finally wrenching yourself awake. The truth is almost too horrible to bear when it comes out, but it\u2019s better than living in a lie.<\/p><\/blockquote>\n \nAmber Alert<\/a><\/em><\/strong>! It’s not good!<\/p>\n Now, here we are, in 2024, with another movie with the same title and scenario. They\u2019re basically the same film, although the recent one ditches the found footage approach. Kerry Bellessa directed both films. As Yogi Berra once said, \u201cIt\u2019s deja vu all over again.\u201d<\/p><\/blockquote>\n \nDaisy Ridley movie #2: Magpie<\/a><\/em><\/strong>.<\/p>\n Prehistoric man knew women needed protection in the vulnerable period after giving birth. Ben, a self-satisfied \u201cmodern\u201d man, makes her fend for herself. She\u2019s never forgiven him and has never been the same. <\/p><\/blockquote>\n \nNo Other Land<\/a><\/em><\/strong> is the documentary of the year. It’s harrowing. I will never watch it again. <\/p>\n Maintaining the ability to be shocked by heartless cruelty is what makes us human, and the only thing, at times, that keeps the flame of hope alive. If \u201cdoesn\u2019t matter\u201d is your response to a woman\u2019s plea for her daughters\u2019 lives, regardless of her politics\/culture\/religion\/race, etc., then you have left the human circle entirely.<\/p><\/blockquote>\n \nSmall Things Like These<\/a><\/strong><\/em> is in my Top 10 and (in my opinion) Cillian Murphy gives the best male performance of the year. <\/p>\n This is a marvel of a performance, extremely expressive and yet deeply inward-looking. When the depths are stirred, you can\u2019t see the bottom. <\/p><\/blockquote>\n \nAll We Imagine as Light<\/a><\/em><\/strong> is in my Top 10. <\/p>\n The film\u2019s evocative title (Kapadia is gifted with those) actually describes the experience of watching it, how the nocturnal insomniac mood is sparked with distant colored lights, and how moving into the light requires \u201cimagining.\u201d Perhaps the light isn\u2019t light, but it\u2019s good enough if we imagine it so.<\/p><\/blockquote>\n \nThe End<\/a><\/em><\/strong> is Joshua Oppenheimer’s latest, a post-apocalyptic musical starring Tilda Swinton and Michael Shannon.<\/p>\n We don\u2019t have to like the result, but in an increasingly play-it-safe world, where the bottom line dominates, experiments like \u201cThe End\u201d are a breath of fresh air.<\/p><\/blockquote>\n \nFor Ebert’s roundup of the best films of 2024<\/a><\/strong>, I wrote about All We Imagine as Light<\/em>.<\/p>\n \u201cAll We Imagine as Light\u201d is poetic and visually mesmerizing, the film filled with a sense of insomniac yearning.<\/p><\/blockquote>\n \n \nPamela Anderson’s performance in The Last Showgirl<\/a><\/strong><\/em> is one of the best of the year. <\/p>\n Anderson\u2019s accomplishment here defies easy comparison. It\u2019s not a comeback. It\u2019s a beginning.<\/p><\/blockquote>\n \nFor Ebert’s Great Performances of 2024<\/a><\/strong> compilation, I wrote about Ralph Fiennes in Conclave<\/em>.<\/p>\n What Fiennes is doing is harder than it looks; it takes great control, a control mastered over a decades-long career. <\/p><\/blockquote>\n \nIt’s a mistake to call Babygirl<\/a><\/em><\/strong> an “erotic thriller”. <\/p>\n When characters have metaphor-heavy jobs, you know there\u2019s trouble in paradise.<\/p><\/blockquote>\n \nI wrote about nuclear winter movies<\/strong><\/a>.<\/p>\n If you were a tail-end-of-Cold-War Gen X kid, you came into a world of saber-rattling anxious adults. You were subjected to the movies\/television made by these anxious adults. Even though you didn\u2019t vote yet and maybe had only a vague idea of what the old men on TV were fighting about, you knew you were at the mercy of adults who might decide to \u201cpush the button\u201d. Dystopia wasn\u2019t an interesting thought experiment in the early \u201880s. It felt imminent. <\/p><\/blockquote>\n \n \nI wrote about my favorite film of the year, Radu Jude’s Do Not Expect Too Much from the End of the World<\/em><\/a><\/strong>.<\/p>\n Jude knows all the counter-arguments to the theses he presents and gives them space in talk-heavy scripts. I Do Not Care if We Go Down in History as Barbarians and Bad Luck Banging or Loony Porn are, essentially, long arguments where all sides are presented, albeit not in orderly debate-club fashion. Liberal pieties are lampooned alongside right-wing idiocy. Jude, though, does not obscure his point of view. You always know where a caricaturist stands. A caricaturist always picks sides.<\/p><\/blockquote>\n \n \nI interviewed screenwriter Bonnie Gross<\/a><\/strong> (her script Lady Parts won a special jury award at the Florida Film Festival. I was on that jury. We adored her script, based on her own experiences with vaginismus). Fascinating project. <\/p>\n “I am an AP English nerd, and you can\u2019t have comedy without tragedy and you can\u2019t have tragedy without comedy. I feel like humor was really important for the script, especially if we wanted it to sit with people who maybe don\u2019t have a vaginal pain issue. It needed to resonate on a human connection level.”<\/p><\/blockquote>\n \n \nWrote about All I’ve Got & Then Some<\/a><\/em><\/strong>, winner of the Best Narrative Feature at Florida Film Festival. Adore this film. (It’s streaming now on Amazon and Tubi). <\/p>\n They shot it in seven days, after a prep period of just three days. Friends in real life, Dean and Stephens called their people in, quickly gathered a team, and charged out into the Los Angeles sun to make what was in their heads. They already had their source material: Stephens\u2019 own story of his early years in Los Angeles pursuing stand-up comedy while living out of his car.<\/p><\/blockquote>\n \n \nI wrote a little tribute to Dabney Coleman<\/a><\/strong>.<\/p>\n Coleman often played limited men, who seethed with barely controlled rage about losing their spot, what we would call \u201cprivilege\u201d now (even though the word is so over-used it probably should be retired. It\u2019s what Robert Lifton called a \u201cthought-terminating cliche\u201d.) Coleman understood men like this. He embodied resentful men who couldn\u2019t stand<\/em> the new era, hostile men who couldn\u2019t hide their hostility.<\/p><\/blockquote>\n \n \nI had to go long on Glen Powell<\/a><\/strong>, I just had to, because the way people were talking about him was so irritating.<\/p>\n The whole \u201cwhat\u2019s up with all the rodent-looking guys\u201d discourse is gross and a commentary on how THE SAME actors look now. Even nerds have six packs. Once upon a time, Jill Clayburgh was a star. Once upon a time, Richard Dreyfuss was a leading man. Donald Sutherland #RIP was a sexy leading man.) Whether or not you understand \u201cthe point\u201d of Glen Powell, he is here, and it might be interesting to talk about why.<\/p><\/blockquote>\n \n \nI wrote a tribute to dear wonderful Shelley Duvall<\/a><\/em><\/strong>.<\/p>\n Shelley Duvall was brilliant in that she was able to be as unself-conscious, as raw, as HERSELF, when the camera was rolling as she was in her real life. There was no difference for her. It\u2019s like she roller-skated into the frame from offscreen and there was no boundary between the two sides. Something happens to people – even very very good actors – when they hear \u201caction\u201d. You go from being a real person to an actor playing a scene. There\u2019s a little interior \u201cclick\u201d that happens. Shelley Duvall didn\u2019t experience that click.<\/p><\/blockquote>\n \nOne of my favorite reading experiences this year was Liz Riggs’ debut novel Lo Fi<\/em><\/a><\/strong>. <\/p>\n What would it be like if Past You could leap forward \u201cauthoritatively\u201d into the future and get a glimpse of what it all will look like? Of course we can\u2019t do that. But a novelist like Liz Riggs can.<\/p><\/blockquote>\n \nI wrote some more about Gena Rowlands<\/a><\/strong>. Too much to say in one lifetime.<\/p>\n Generations will continue to discover their work – and also the work she did in projects not directed by him. She had a lengthy career after he died, and one of her best performances was in a film NOT directed by John Cassavetes. Her career still needs to be grappled with critically. <\/p><\/blockquote>\n \nAlain Delon<\/a><\/strong> passed away the same week as Gena Rowlands.<\/p>\n![\"\"](\"https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2024\/12\/tumblr_my1dvjmQqS1riyibxo1_500.gif\")
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<\/p>\nFor Rogerebert.com<\/h1>\n
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