Call Me By Your Name
Directed by Luca Guadagnino
Call Me By Your Name is a romance set in Northern Italy in 1983. Call Me By Your Name is a good film, but it is too impressed with its own importance — this itself is fine, except that the film appears more motivated by the desire for importance than an urgency to speak. Call Me By Your Name likes the idea of intelligent characters, but is bored by the details of their interests. It is a romance populated exclusively by ideas of people — there are no actual lives. The scenery is pretty and the story is moving, but Call Me By Your Name is entirely submerged in an ethereal emptiness.
Directed by Greta Gerwig
Lady Bird is a coming-of-age story set in Sacramento, California. The film is occasionally too on the nose, but it is also honest and charming. Lady Bird, unlike many movies almost like it, is the actual saying of something — not just the performance of having something to say.
Dazed and Confused
Directed by Richard Linklater
Dazed and Confused is a comedy about teenagers in Texas in 1976. Dazed and Confused, skillfully shot and directed, is specific in its evocation of time and place and is committed to its ambivalent nostalgia. The unmoored aimlessness of the characters, though, seems to have seeped, at times, into the production.
20th Century Women
Directed by Mike Mills
20th Century Women is a comedy-drama about a 15-year-old boy, three women, and a man who live in Southern California in 1979. Every accusation of pretension and hollow style baselessly levied against Wes Anderson’s films would accurately describe 20th Century Women. 20th Century Women goes through all the motions of saying something meaningful without ever actually saying anything at all. It’s saccharine, unfocused, and painful to watch.
Would not see.
The 400 Blows
Directed by François Truffaut
The 400 Blows is a drama about a misunderstood adolescent in Paris. The film is innovative, sincere, well acted, and well shot, but it is frustratingly distant.
Directed by Wes Anderson
Moonrise Kingdom is a coming-of-age film that follows a boy and girl who run away in 1965 New England. Moonrise Kingdom is an endlessly charming film. It ineffably captures the effervescent beauty of childhood. Wes Anderson’s style is mildly divisive, but it ought not be. Nothing in Moonrise Kingdom is frivolous affectation; the style invariably contributes to the substance. The film is meticulously crafted, but it is suffused with expansive feelings and casual insight.