Let’s consider some more recent movies I’ve watched or re-watched in the not-so-distant past!

Despite getting a job (one with not many hours, true, but still), I still have time to watch movies, so here are some more “recent” movies (1990-present) that I’ve watched recently!

The Freshman (1990). I love this movie – I saw it in the theater lo those many years ago, and have seen it a few times since. My daughter enjoyed it, too, but she’s never seen The Godfather, so Brando’s performance wasn’t as funny to her as it is to anyone who’s seen him play Don Corleone. Even though many people thought Brando was washed up by this point, he’s excellent in the movie – he has the right mix of self-parody and the tiniest hint of menace and he can still emote with the best of them, and while the rest of the cast is solid, he makes the movie. Plus, it’s a movie in which a Komodo dragon features prominently (although it’s not actually a Komodo, it’s a monitor), and how many movies can you say that about? The thing I never understood is whether Brando and Maximilian Schell (who’s almost unrecognizable as the inscrutable European “doctor”) were scamming the customers the entire time that the “Gourmet Club” was in operation or whether this was the only time. It’s implied that they’ve always been scammers, but if they’re not, they were still breaking the law, just not this one time (even though, technically, they broke the law by simply bringing the Komodo dragon into the country). Still, it’s a very charming and funny movie, and it’s a good way to spend a few hours.

Supercop (1992). Technically, this is Police Story 3: Supercop, but it was released in the U.S. with only the subtitle (and not until 1996), so I’m sticking with it. This is a somewhat goofy movie, but it gets by on the strength of the chemistry between Jackie Chan and Michelle Yeoh, who work really well together (Yeoh was retired before this movie, but she had gotten divorced and, I guess, needed the dough, and the world is a better place because her marriage fell apart). The action scenes are superb, the humor is pretty good, the pace is super-brisk, and it’s just a fun time all around. The English dubbing is awful, as usual, but it’s part of what makes the movie fun, too. When I wrote about my celebrity crushes, I mentioned that I was crushing on both Yeoh and Maggie Cheung, who plays Chan’s girlfriend, and she is indeed as cute as a button, although she’s not in the movie all that much. This isn’t a great movie, but it’s very entertaining, and the fight scenes are just excellent.

Manhattan Murder Mystery (1993). After his weird break-up with Mia Farrow, Woody Allen got Diane Keaton back to star in this, his first true comedy in several years, and his best movie in a while, as well (I’ve never been a fan of Allen’s “dramedies,” mainly because they usually involve woman far more attractive and younger than he falling in love with him, and while that happens in his comedies as well, it’s usually played for laughs more). Allen and Keaton are married, and Keaton begins to suspect that their neighbor killed his wife. She investigates with their friend, Alan Alda, but eventually Allen begins to believe it too, and they all have to figure out how to trap him (along with Anjelica Huston and, in far lesser roles, Ron Rifkin and Joy Behar). It’s a very funny movie mainly because Allen is very funny (and, given that we know he’s a horrible person, a better actor than we all thought!), and while the murder mystery is fine, the movie is really about a couple reaching a stale point in their relationship and how they get the spark back. Alda digs Keaton, which is why he wants to help her, while both Allen and Alda kind of dig Huston, as she’s the exotic author (they’re all connected to the publishing world) who isn’t domesticated like Keaton is, so Keaton is naturally jealous. Neither Keaton nor Allen cheat on the other, but it’s interesting seeing how they’re both energized by other people and how that influences their own relationship in both good and bad ways. The other interesting thing about the movie is the contrast between the protagonists and the antagonist, played by Jerry Adler. Allen looks like a goofball, sure, but he and Keaton and Alda and Huston and Rifkin and Behar are all upper-middle-class liberal elitists, and you can’t imagine a world where they commit any crimes. Adler is older (he’s only a few years older than Allen and Alda, but he looks older) and looks more lower-class (although he’s living in a high-rise in Manhattan, so he’s not poor), and he’s dressed much less fashionably than the others, so there’s an interesting classist distinction going on between the “good guys” and the “bad guy.” It’s fairly subtle, but still there. It’s even in the women Allen casts – the murdered wife, Lynn Cohen, is only a few years younger than Adler, while Keaton is a decade younger than Allen and Huston is about 15 years younger than both Alda and Allen. There’s a lot of interesting stuff going on in the movie, and as I mentioned, it’s very funny. I haven’t seen a Woody Allen movie in years, but this is one of the ones I really like.

Secrets & Lies (1996). Sometimes I miss not having children, because the wife and I used to go to a lot of movies, and we just don’t anymore (it’s not only having kids, it’s having less money, being old and tired, and having the ability to watch so much at home). The 1990s, though, were our Golden Age of movies, because we were on our own and living in an awesome city for the arts (Portland, OR) that had a ton of great theaters, so we could see a lot of cool stuff (the 1980s were great for action movies, but I didn’t see a wide variety of genres because I was a male teen, so action movies RULED!!!!). One director who was killing it in the 1990s was Mike Leigh, and we saw all four of his great movies from the decade – Naked (1993), this movie, Career Girls (1997), and Topsy-Turvy (1999). This might be his best movie (despite that the fact that it’s the only one of the four that doesn’t star the magnificent Katrin Cartlidge), as Leigh gives us the story of Marianne Jean-Baptiste, a London optometrist whose adoptive mother is dead at the beginning of the movie and who decides to find her birth mother … who happens to be white. She’s played by Brenda Blethyn, who gives the performance of a lifetime as a single mom (her other daughter is about to turn 21) at the end of her rope, emotionally. If you can get past the fact that Blethyn cries at the drop of a hat, she’s tremendous, a woman who has been chewed up and spit out by life, disappointed in her daughter because she’s disappointed in herself, resenting her brother (an excellent Timothy Spall) and his wife (an also excellent Phyllis Logan) for their success. After the shock of learning that her daughter is black (she gave her up for adoption and never saw her), she latches onto Jean-Baptiste as a chance for redemption as a mother, but she still has to account for her other daughter (Claire Rushbrook) and her feelings about her brother and the secret he has with his wife. This is a marvelous movie, full of raw emotions and tremendous acting – it’s the kind of movie you want to watch more than once just so you can follow each actor through it, because they’re always doing something while others are talking. Blethyn dominates, with her penchant for calling everyone “sweetheart” and her jittery chain-smoking hiding the fear she has that Rushbrook is making the same mistakes she did but unable to talk to her without screaming, while Jean-Baptiste’s success in life seems, to Blethyn, to justify that she’s a “good mother” even though she had nothing to do with it. Spall and Logan love each other, but they don’t need words to convey the gulf between them, something they won’t talk about until it’s forced on them at Rushbrook’s birthday party, where everyone comes together for a tour-de-force of acting. Leigh barely touches on race except to make the subtle point that Jean-Baptiste, the black woman, is far more successful than Blethyn and Rushbrook, the white women (Spall is successful, too, but even that is just slightly tainted, as we find out during the course of the movie), and it’s a nice inversion of the norms. This is a fantastic movie, and I can’t recommend it or the other three movies Leigh made in the ’90s strongly enough.

From Hell (2001). This is one of those so-very-frustrating movies because you can see the good movie inside the mediocre one, and if the Hughes brothers had just done a few things differently, this might be a great movie. But it’s not, unfortunately. Johnny Depp is fine, I suppose, but Heather Graham is really, really miscast, especially when you consider that the other victims – the ones who weren’t supposed to look like Hollywood starlets – do a fine job (led by the aforementioned Katrin Cartlidge, who’s brilliant even in a small role in what turned out, sadly, to be her last feature film role). Really, the movie works in any capacity because of Ian Holm and Jason Flemying as William Gull and Netley, respectively. Holm is terrific, as always, and while the Hughes brothers don’t go into his psychosis as much as Moore did in the comic (they even leave out that panel that’s a candidate for most disturbing ever), when they do, Holm shines. Flemying’s role is far smaller (apparently it was larger before much got cut), but he’s very good as the terrified, unwilling-and-then-willing accomplice to Sir William. Parts of the movie are very good, but overall, it’s disappointing. The Hughes brothers completely miss the point of the comic, which is not the identity of Jack the Ripper at all, and they turn it into a mystery for Depp to solve. Moore didn’t care about the mystery, and it made the book a masterpiece, as he concentrated on the abuse of power, the tragic conditions of the working poor and the women of Victorian England, and the madness brought about by mechanization and technology (among other things). When Holm talks about giving birth to the twentieth century, he sells the line because he’s Ian freakin’ Holm, but it doesn’t really work as well as it does in the comic. Moore’s work tends to defy easy categorization and therefore doesn’t make for great streamlined movies, but people keep trying!

School of Rock (2003). Is this Jack Black’s best movie? Tropic Thunder might be, and the new Jumanji could make a case, and of course you all loved him in Enemy of the State and he was superb in Bob Roberts, but I think this is his best movie (not that I’ve seen them all, of course). Don’t even mention High Fidelity, because I enjoy that movie but want to punch Black so hard in his stupid face. He plays almost the same character as in High Fidelity, but his saving grace is that he’s much nicer in this one, so his music arrogance doesn’t rub me the wrong way. I love this movie, except for one small exchange. When Freddy and Katie are discussing female drummers and Freddy dismisses them, Katie counters with Sheila E and Meg White, which is weak sauce. Jack Black and Richard Linklater couldn’t come up with better drummers that Katie might have known about after doing some research? Jack Black could have told the class about Alice de Buhr, Gina Schock, Demetra Plakas, Torry Castellano, Janet Weiss, or Kate Schellenbach, couldn’t he? Anyway, I don’t know why that bugs me, but it does. Other than that, this is an excellent movie.

Dunkirk (2017). For a Christopher Nolan movie, Dunkirk is surprisingly short and surprisingly taciturn – a good chunk of it has no dialogue, and even some of the parts with dialogue don’t need them, because the ambient noise makes it very hard to hear the dialogue. It’s a terrific movie, focusing on a few characters to show the magnitude of trying to get off the beach. We get a main soldier on the beach who interacts with a few other soldiers, but not too many; we have Tom Hardy and Jack Lowden flying over the Channel to help get the German planes and ships off the evacuees’ backs; we have Kenneth Branagh coordinating things on the beach; we have Mark Rylance piloting his boat to Dunkirk with his son and his son’s friend. A few times, we get the scope of what’s happening, but Nolan still manages to keep it intimate, and the three timelines (a week for the beach plot, a day for the boat plot, an hour for the plane plot) isn’t confusing at all, although I’ve read some comments about people being confused about it and even by Cillian Murphy showing up in two different circumstances (which is annoying; this isn’t a puzzle box movie, and if a dummy like me can follow along, anyone should be able to). The randomness of death is handled pretty well, too, although I didn’t like two of the deaths in the movie – one because it wasn’t clear who died, and the other because it seemed like it was just to make us sad. But I’ll say no more about that! This is a very good war movie, and if Nolan could keep all of his movies under two hours like this one, he might be a better filmmaker!

It (2017). I’ve never read It nor have I seen the cheesy mini-series from 1990 (I’ve actually seen a few minutes of it, including the overwhelmingly cheesy ending), but this movie got such good reviews that I figured it would be a good watch. I’ve never been particularly scared of clowns, and it’s my contention that most people who were older than about 10 when It was published aren’t scared of clowns but those who were younger than that are, because King changed the conversation about clowns so much. It’s just a theory!!!! Anyway, It isn’t a particularly good movie, which is disappointing. The cast is pretty good (for being mostly kids, that is, which can be a crap shoot), the cinematography and attention to detail are excellent, and Bill Skarsgård really enjoys playing Pennywise, but overall, it’s disappointing. It’s not that scary, for one, which is kind of the whole point. It’s also packed with clichés, presented, it feels, without irony whatsoever. The cliché of the small town with lots of secrets was old when King decided to make it his go-to setting, and it hasn’t gotten any better with age. The evil and/or stupid parents don’t add anything to the movie, and there’s no explanation why they’re so blasé about the killer clown roaming the streets. The bullies are stereotypes, the kids are stereotypes, the girl and the black kids are tokens, and the kids are idiots. It begins with Georgie being about the dumbest kid in the history of kid-dom (“Sure, Mr. Clown-Standing-in-the-Goddamned-Sewer, I’ll stick my arm in there!”) and continues with the others, as they even tell each other not to separate yet they do at the earliest opportunities. I guess I should just be glad that they cut the sewer orgy scene, because holy shit would that have been bad. Anyway, there are some really neat sequences – Pennywise in the refrigerator is superb – and while it’s not a terrible movie, it’s just so by-the-numbers that it’s hard to care too much about it. I might watch the sequel when it shows up on cable, but we’ll see. (I do like that Sophia Lillis has been played as an adult by Amy Adams and now Jessica Chastain – she must be living right!)

American Made (2017). Doug Liman has made two great movies, and a bunch of entertaining ones, and American Made veers toward greatness, but doesn’t quite reach it. Part of the problem is its tone, which is comedic even though Liman is dealing with some very serious topics and the main character, after all, gets shot in the head at the end of the movie (I don’t think this should be a spoiler; it happened 30 years ago). Tom Cruise carries the movie, of course, because Cruise rarely shares the screen with anyone (I don’t know if he does this on purpose – apparently people like working with him – but he’s just so magnetic that he kind of takes over the screen), and he has a lot of fun playing Barry Seal, the pilot who ran guns for the CIA and smuggled drugs for the Medellin cartel and basically got really rich before it all came crashing down (as it always does). The movie is breezier than it probably should be, as Cruise is in the middle of some pretty serious operations and violations of law (both sanctioned and unsanctioned by the government), but it does work as a comedy to an extent, because so much of it is so ridiculous and even unbelievable (even though we know a lot of it is true). Cruise is close to being irredeemable, but a few things save him: one, he’s utterly committed to his wife and kids, wanting to provide a good life for them; and two, when the CIA (embodied by a terrific Domhnall Gleeson) first approaches him, he finds out he’s really not going to get paid a lot for what is really dangerous work, so why wouldn’t he try to make some money on the side? Plus, he’s Tom Cruise, so that helps, too. Anyway, this is almost a parody of the 1980s, and it’s enjoyable to watch even though we can spot all the beats coming a mile away (man, Cruise, don’t employ your redneck brother-in-law – that won’t end well!). It’s a bit of a departure for late-era Cruise (he’s decided to become a superhero, so he tends to avoid some of the really brilliant acting stuff he did a bit earlier in his career, as it seems like he’s realized he’s never going to win an Oscar, so why bother trying?), but that’s what makes it fun. And Liman is a great visual stylist, so the movie looks great. But it’s still a bit fluffy, which is too bad.

Game Night (2018). Jason Bateman and Rachel McAdams make a fairly adorable couple in this somewhat violent comedy about two very competitive people who host a “game night” every once in a while, and one of those nights goes horribly awry, as you might expect. Kyle Chandler, playing Bateman’s more successful brother, arrives in town and says they’re going to do a “kidnap game” – characters make references to movies, so I’m surprised no one mentioned the Michael Douglas/Sean Penn movie The Game, which is essentially a serious version of this movie – and then, of course, he gets kidnapped for real. It takes a while for the players to figure this out, and the early comedic stuff when they don’t know is probably the best part of the movie (Rachel McAdams dancing around with what she thinks is a prop gun is hilarious and downright damned sexy, because Rachel McAdams can bring it). They find out it’s not a game and it becomes more of a caper movie, but there are some twists at the end that bring it back around to the game. The cast is strong – Lamorne Morris and Kylie Bunbury are fine as one couple, but Billy Magnussen, playing a hot idiot, and the smart woman he brings to the game night (because he’s tired of bringing bimbos who don’t help him win), played by Sharon Horgan, are really good together, as she quickly realizes just how stupid he is. Jesse Plemons steals the movie, though, as the next-door neighbor who was only invited to Game Night because Bateman and McAdams liked his wife, but he’s divorced now, so they try to avoid telling him about it so he won’t come over. Plemons is a cop, and that’s played for laughs occasionally (not really poking fun at him, because he’s apparently an excellent cop, but more that he’s such a straight arrow he would actually write a letter to Frito-Lay to check up on a lie Bateman tells), and he’s so very deadpan that everything he says is hilarious even when it’s not meant to be (e.g., “I can’t say I care for that nomenclature” is a great laugh line when Plemons says it). This is the kind of movie that will play until the end of time on basic cable and only some salty language (rather gratuitous occasionally, but not too much that they can’t censor it) would mess it up. You can watch the entire thing or just plop down literally in the middle of it and not have to do much to catch up. It’s enjoyable that way.

So those are some more recent movies I’ve watched recently. And guess what? I still have plenty to write about, so you can look forward to that!

25 Comments

  1. Peter

    I personally like Jack Black a lot in High Fidelity, but School of Rock is his best movie and it’s not particularly close (he also knocked it out of the park in Bernie, although the movie itself is very good but not as great as School of Rock).

    1. Greg Burgas

      Peter: I think he does a good job in High Fidelity, but it’s the fact that he does such a good job making the character such an absolute asshole that makes me want to punch him in the face! And I’ve never seen Bernie, although I have heard he’s quite good in it.

  2. Eric van Schaik

    Agree on School of Rock being the best ack Black movie.

    But non of it is very important right now. I told you about having a girlfriend. The sad news is that after an operation in which an adenoma was removed from the pituitary there were complications and she is in a light coma right now. I go to the hospital every day and can only hope that she will recover but there is a great change that there will be permanent damage.

    1. Greg Burgas

      Holy shit, Eric, that’s terrible to hear. I’m very sorry about that, and I hope that it all works out. Believe me, I know what it’s like to sit by a hospital bed and hope things get better, so I know what you’re going through. I feel for you.

  3. fit2print

    You know, even allowing for poetic license, the early to mid-90s don’t even come close to counting as “recent”… just sayin’

    Disclosure: several of my formative years occurred during the 90s and that was a looong, looong time ago**

    **Specifically, back when Tom Cruise looked pretty much exactly the same as he does in “American Made” but wasn’t yet bugfuck crazy. Yes, kids, there was a time when Tom Cruise wasn’t yet bugfuck crazy.

    Donald Trump? Nope. He hasn’t changed.

    1. Greg Burgas

      fit2print: That’s why I always make jokes about how I consider it “recent,” which makes me really old! I want to split these up somehow, and until recently, I was even putting movies from the 1980s in here, but that really didn’t seem right! So yes, I know it’s not really recent, but until 2020 (probably), the 1990s are staying in the “recent” category! 🙂

  4. tomfitz1

    Seen 4 of these movies.
    You should watch Star Trek: Discovery if you want to get more Michelle Yeoh fix. 😉

    I agree with you on your assessment of FROM HELL. It could’ve been done better.

    Granted, doing a faithful adaptation of Moore’s grisly and gory graphic novel is out of the question, What was done was tastefully done in terms of toning down the blood and gore.

    Ian Holm is always a delight to watch.

    This film and the Watchmen were probably much better than the revilers gave them credit for. The other 2 Moore films weren’t all that great, but that’s Hollywood for you.

    1. Greg Burgas

      Tom: I’m not a big fan of Star Trek or paying extra money for CBS, so I probably won’t be watching Discovery. But I do hear she’s good in it.

      I actually really like V for Vendetta – I think it’s the best Moore-to-movie adaptation. But I might be in the minority in that regard!

  5. Manhattan Murder Mystery was definitely one of Allen’s better ones, and it’s rather novel in his work that the married couple ends up happy and nobody cheats.
    I’ve watched a couple of Mike Leigh films but despite some awesome performances “Well that wasn’t awful” is about the nicest compliment I’ve ever given his work. I can’t pin down what it is I don’t like, though.

    1. Greg Burgas

      Fraser: I wonder if Mike Leigh’s method might turn you off? He famously doesn’t start with a script, waiting until he has the cast and he just puts them into situations and lets them “become” their characters before deciding on a script. It makes his movies rambling, occasionally, but for me, at least, definitely worth it. But to each his own!

      1. Call Me Carlos the Dwarf

        Linklater does something similar, which is a major part of why Ethan Hawke and Julie Delpy get co-writes on the second and third “Before” movies – he has his actors spend weeks rehearsing and inhabiting their characters before he settles on the final draft of the dialogue.

        (Which likely plays a part in how great School of Rock turned out, despite the heavy reliance on child actors…most of whom weren’t even actors!)

  6. Jeff Nettleton

    It’s been a long time since I saw The Freshman (like, back when it was recent, on video); but recall enjoying it. Go on youtube and search for Matthew Broderick on the Graham Norton Show. He tells a story of working with Brando on the film and Brando speaking to his assistant, via a radio mike, which is pretty damn funny.

    Would agree that Manhattan Murder Mystery was more a return to form for Allen and I don’t enjoy many of his dramadies. Mighty Aphrodite isn’t bad; but, nothing beats the string of What’s Up Tiger Lilly?, Bananas, Take The Money and Run and Sleeper.

    I don’t know that there is a better movie within From Hell, though I would cite Bob Clark’s Murder By Decree as a better Ripper film, with the William Gull premise, and a better handle on London prostitutes in Whitechapel, in the Victorian Age. It also has Christopher Plummer doing a good turn as Sherlock Holmes and James Mason as a less doddering Watson. I agree that Heather Graham had no business near this film and I would say the same for Depp, personally.

    As for Moore and film, none have done him justice. I disagree greatly about V For Vendetta. I think it is a more effective adaptation of the material, for about 30-40 minutes, then falls apart. The latter stages are ludicrous and lose the entire point of the story. Moore’s political ideas are non-existent in the film, which didn’t surprise me. I thought the performances were good and Hugo Waving did a good job of getting through the mask; but, I felt there was too much Hollywood meddling.

    I don’t have enough space to condemn Watchmen or League of Extraordinary Gentlemen, other than to point out to Hollywood that Extraordinary does not start with an X (LXG indeed! Hrrmph!!)

    Supercop is better in the original Hong Kong edit and subtitled; but that is true of most of Jackie’s films. The American releases usually get edited down a bit, aside from badly dubbed. Michelle Yeoh is great. If you haven’t seen the Police Story series, the first is excellent, both as an amazing action spectacle and as an actual crime film, as Jackie deals with corruption and crime. The second one was way below the standards and is fairly dull. 3 (aka Supercop) was a nice return to form. First Strike is actually Police Story 4 and is kind of so-so, with better stunts than story. Love the soundtrack for the American version of Supercop though, with Tom Jones covering “Kung Fu Fighting” and some Devo. That’s a good combo on any soundtrack!

    The American releasing of Chan’s films is a headscratcher. Rumble in the Bronx was the breakthough, though it wasn’t that new, when it hit these shores. Then, they started working back and messed with titles. The truly hilarious bit is that they released Operation Condor first, despite it being a sequel to Armour of God, then release Armour as Operation Condor 2, The Armor of God. Thing is, you can tell, watching it, that it is the older film (and they edited it down). Operation Condor was one of the two films that early killed Chan, as he fell leaping to a tree and cracked his head on a rock and they had to drill his skull to relieve swelling. He went back and finished the film, with shorter hair; but, his hair length changes back and forth, since some thing were done out of sequence. Project A is the other one that nearly killed him, as he did a clocktower fall (aping Harold Lloyd) and flipped when he hit an awning (which was supposed to break his fall) and landed on his head and neck.

    Sadly, you had to hunt more to find Chan’s films with his “brothers” (Sammo Hung and Yuen Bao), like Wheels on Meals and the like (Project A is one of those).

    I still haven’t seen School of Rock, so I can’t say Black’s best film. High Fidelity was a far better book than film, though I mostly enjoy the film. About A Boy adapted Nick Hornby far better, with a few changes.

    1. Roger Ebert described V for Vendetta as a movie about political ideas that never says what they are.
      I like it more than you, despite the flaws, but I did think the bit with Stephen Fry was insanely dumb. How he could possibly imagine the government would laugh off his mocking the glorious supreme leader …

    2. Greg Burgas

      Jeff: Take the Money and Run is, I think, the first Allen movie I ever saw, and I still love it (it’s probably Top Three of his movies, even though I haven’t seen even half of them). The scene where he’s playing the cello in the marching band is sheer brilliance.

      Man, that’s a mess of Jackie Chan’s career. The only one I’ve seen from those early years beside Supercop is Rumble in the Bronx, which I enjoyed. Some day I’ll watch them!

  7. I love Dunkirk–maybe my favorite of Nolan’s non-Batman films, and that’s coming from someone who generally likes Nolan. Even when I’m not crazy about the film, that guy manages to immerse me in the middle of whatever is going on like no other.

    School of Rock was definitely good fun, as was Game Night. I don’t remember Game Night all that well (just caught it on the plane one flight) but I remember laughing at Jason Bateman telling his wife not to be scared of her phone while she’s trying to operate on him.

    Like others here, it’s been a loooong time since I saw The Freshmen (actually, since it was out in the cinemas) but I recall it being a hoot. I was a film student at the time, actually, although in a very different sort of class than Broderick’s character was in. I can’t even imagine my film professor spending a whole semester talking about the Godfather Part II.

    And I recall appreciating more than enjoying Manhattan Murder Mystery. I guess I’ve seriously gone off Woody Allen, even though I’d still call him an influential film maker for me. I haven’t actually seen anything by him since Everyone Says I Love You

    1. Greg Burgas

      Ben: For me, it’s still Memento, and then Inception. I enjoyed Dunkirk quite a bit, but it kind of felt too documentary-like for me, so any emotion was almost sucked out of it. Stiff upper lip and all, I get it, but that’s why I like the other two more!

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