★ FILM LOG ★

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Beetlejuice (1988)

11-08-2024

An incomprehensible fever dream and I love every second of it. Everything about it - the sets, characters, CGI - is larger than life (haha) giving the afterlife a wonderfully lurid atmosphere that is so refreshing in comparison to the dull dark interpretations often displayed in film. I love the irreverent approach to death, which truly touches on the chaos and incoherence of it all. [...] I of course adore the melancholic goth Lydia and Keaton nails the zany uncomfortably creepiness required from a character such as Beetlejuice, but despite the film being named for it, it's the Maitlands who really function as the stars. Watching them navigate their deaths, (surprisingly) capitalism, and surrogate parenthood was incredibly engaging, with both the couple and Lydia clearly caring deeply for one another. Lydia's feelings of invisibility within her family are operate in the backdrop of the action, with her taking comfort in the ghosts' company, and it is so tragically relatable, with her at one point even hoping to join them in the afterlife. The whole film is so over the top it's a surprise all the elements work so well together, but they do, and I don't think it would be easy to recreate it's success today. I hear there's a sequel in production and I'm honestly not too sure how it could possibly live up to its predecessor.

Funny Face (1957)

11-03-2024

This is a gorgeous technicolour precursor to The Devil Wears Prada, with the medium working so well to capture the colours and vibrancy of the fashion and settings. And the parody of French intellectualism is absolutely delightful. Unfortunately Fred Astaire's geriatric ass is unnecessary and ruins the whole thing.

I Love You to Death (1990)

13-08-2024

Maybe I'm just incredibly biased because I'm in love with River Phoenix, especially in all his hippie feminist goodness here, but this is genuinely such an underrated masterpiece? It's got everything I want in a film - River Phoenix, dark humour, murder, River Phoenix, immigrant matriarch character, River Phoenix etc. [...] It's a silly film with a silly premise but I could rewatch it for all of eternity. All of the characters are so loveable and well played and Devo is so damn pretty and sweet, I need him expeditiously. It's a shame River didn't get the opportunity to star in more light-hearted media, I think he really shines in such roles. But other than the love of my life, what really makes this film so fun is the performances of Kevin Kline and Joan Plowright. Kline's Italian accent is objectively horrible but it just makes the over the top nature of the film even better. I thought the "based off a true story" tagline was just a ploy, but surprisingly it's true. I wish still they made dumb films like this. And did I mention I love River Phoenix?

I Married a Witch (1942)

12-08-2024

Veronica Lake is so so beautiful and I cannot believe she's only 19 years old here. She (and the smoke effects) carried the entire film. March's character, Wooley, is a lot less memorable and unsurprisingly I am not a fan of the 25 year age difference between the two. But this is unfortunately incredibly commonplace in Old Hollywood films, so it didn't make too big a difference in my viewing experience. [...] It is a cute and simple concept, and there's not much to say about it other than Lake's performance is the only thing that makes the film successful. She perfectly balances playfulness and naivety with allure that befits a witch. Used to her in more typically "femme fatale" roles, it was really interesting to see her play such a unique character. The visual effects are really kitschy and silly, but they add to the charm and I honestly adore them. One oversight the film never addresses is the fact Jennifer's attraction to Wooley is the result of a love potion, which leaves a sour taste in my mouth. That aside, I do however wish the film focused more on Wooley's marriage to Jennifer and the antics caused by her powers. Instead, the ending is an unsatisfying domestic scene with Jennifer losing all her spunk. Bewitched is closer to what I was expecting from this.

Shiva Baby (2020)

13-08-2024

Perfectly captures the feeling of attending a family gathering. I know it's listed as a comedy, but this is horror all the way. I put this on thinking it would be relaxing and fun like Bottoms but I was sorely mistaken. You can really feel the tension and claustrophobia in your gut, amplified by almost every scene mirroring personal experience. [...] I did think the discordant score throughout was overkill though, and a bit too on the nose. The overlapping dialogue and cinematography is more than enough to get the point and feeling of anxiety across. Even that at points did start to get repetitive. I had no idea this film would resonate with me as much as it did, but I think being in the same position in life currently as Danielle certainly helped. While aimlessness regarding the future is often portrayed through a lens of detachment and apathy, Seligman really accurately depicts the stress and helplessness that comes along with it.

Totally Killer (2023)

11-08-2024

"Horror comedy set in the 1980s" is probably one of my favourite genres and this film was definitely silly and fun, but it lacked any unique flavour to make it memorable. It was deliciously packed with references to other films like  Back to the Future, Halloween and, of course, my beloved Scream and the premise is incredibly fun and self-aware, but the actual slasher element falls somewhat short.

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The killer reveal is very expected and a little boing, much like the rest of the actual storyline. There is just something quite flat about it. The serial killing almost takes a backseat and each event is painfully formulaic. I'm well aware time travel never makes sense and I'm all for suspending my disbelief, but I feel as though it could have been a little more developed. I have so many questions because this system feels so contradictory. More so than Jamie, I found Lauren to be an incredibly interesting character who was unfortunately painfully utilised. This is also true of the relationships within the film. I was surprised they didn't fall into the cliche of Jamie's parent's realising who she is, but still I hoped for more development of the relationship and meaningful interactions with both Pam and Blake. The closest you get is her calling Pam "mom" either by accident or a moment of duress. The film's humour is simple, but mostly effective. Some of the dialogue, however, especially Jamie's lines, are of the "woke-genz-satire" variety, which can get infuriating, but Shipka's portrayal keeps them from becoming overly obnoxious. The soundrack was also really fun, but I was a little disappointed that the costumes and sets didn''t reflect the same cliche 80s energy like in  Lisa Frankenstein. I think that contrast with the "modern day" world would have been great. Overall, while the film is not the best of it's kind, I hope they keep coming out with more like it.