Sara Watches Stuff

The beauty of art lies in its ability to make an audience feel things. Great art can make you laugh, can make you cry, can set you alight with passion to share or to argue. Book Club  has yet to make me shed a tear, but we're two from three. Is this movie about four older ladies reading 50 Shades of Grey secretly the best movie of 2018??????????? No. But it very well might be the best bad movie of 2018. It might actually be the movie I have the most to say about of 2018. Unlike so many other movies of its kind, Book Club takes no shame in what it is. The director, Bill Holdermann, and his wife who wrote it with him, knew exactly what demographic they were aiming for in crafting this movie. Every single element of the plot, from the perfectly pitched racy for the over-sixty set jokes to the movie's complete ignorance of how the dating app bumble. works is done with a wink and a nudge to the audience both of target demographic and beyond it, rolling their eyes. Every si...

When I watched the trailer for the new adaptation of Chekhov's The Seagull , directed by Michael Mayer, I felt a deep sense of sinking dread. Not every movie is made with every person in mind, and that is absolutely fine! But The Seagull  was most certainly not made for me. The trailer reminded me of a trailer from the early 00s, where rather than cutting together moments, an entire scene played out. An entire scene, full of uncompressed Chekhov dialogue and overzealous musical cues. I turned to my mother, with whom I was about to sit slack-jawed through Book Club , and said "That looks...long." Almost every review I've read of The Seagull , a problem with movie reviews in general, is written by a man in his forties. Occasionally a woman, always white. This movie is oppressively white. This movie is stuffy. It is presented for an audience who are familiar Chekhov, who want to rub their university educations on their friends when they tell them "The new Chekhov ...

A lot of people have loved, and will continue to love,  Paul Feig's adaptation of the Darcey Bell suburban thriller novel A Simple Favour . It's been marketed aggressively - Blake Lively will simply not  stop wearing suits - and it's aiming to capitalise off the success of pulpy book-to-screen conversions like the exemplary Gone Girl  (largely thanks to David Fincher's eye for detail) or the legion of close copies it inspired. With slick, female led advertising and polarising early reviews, I wanted to enjoy this movie. I wanted it to be over the top and dramatic and twisty and lack too much self-seriousness. I wanted beautiful women, hopefully fluid in their sexuality, embroiled in mysteries. I wanted to look at Henry Golding some more . While I got one of those wishes, with a lot of my desires I was left...wanting. We're asked to follow Stephanie, played by Anna Kendrick, as she tries to get to the bottom of the disappearance of her new friend Em...

I'm still wary to write about the Ghostbusters  reboot. I wrote this post originally in 2017, and in 2018 I still feel like it's a sticky subject. Attitudes towards this movie are so often vitriolic and rooted in personal issues. I believe that the personal is the political, and my review is definitely one deeply informed by my own feminism married with my preferences in regards to film, but I think it's important to address greater issues in filmmaking and how they reflect the world around us. Everyone's opinions deserve respect but when they are purely a result of a misunderstanding of power balances in the world, it's really upsetting, and that was a lot of my problem with the first wave of reviews for the movie. Let's focus on discussing the cheap jokes and lazy plotting; let's not look at all at ideas about women in comedy. I'll make more points about female reboots when I get to writing about Ocean's 8 , which I saw recently and loved. Here ...

It's been a while since I've written about movies! I've been sick, trying desperately to make it to the end of my degree, and watching predominantly television. I have a lot of thoughts about, say, the racial politics on this season of RuPaul's Drag Race or on the casting problems with The Bachelorette or on the importance of kind television a la Queer Eye or Nailed It but the movies sitting in my drafts have been left unremarked upon. That ead against all changes now. Time to ease back in with something that doesn't make me want to bang my head against my computer for discursive reasons but rather for very different reasons: let's talk about the new Jurassic World movie. I've never written about a Jurassic Park movie on this blog, but my history with the franchise is not one worth extensive literature. I watched the first movie in about sixth grade, and presumably there was some theoretical basis for that because I remember looking forward to classes ...

It's the end of the year, and the film snobs of the world are reflecting on their years in pop culture. As one of the gang - now with my very own bogus DMCA notice! - I figured I would jump on in. Of course, there are lots of caveats to that. I live in Australia, where several of the last quarter films with award potential have their wide release withheld til the next year. I don't go to previews, with the exception of the occasional rubbish horror movie, and I am not drawn to a lot of wide release movies. Dunkirk ? More like...um... done-urgh . A lot of it is to do with my exhaustion with male narratives and a lot of the industry's treatment of women and anything non white or heterosexual, both real and in fiction. I love the art form, but it's been a tough year for trying to avoid content that would make me extremely angry in a very real way. As mentioned previously, I haven't seen any new releases - it's been the busiest time of the year in my sector - so ...

It's that magical time of year...where Love Actually plays on television at least once a week.  There is nothing to be said about Richard Curtis' personal masterwork on the magic of love that someone on the internet hasn't already said. I'm partial to the Christmas countdown of daily Love Actually watches by Courtney Enlow at Pajiba , personally. Christopher Orr at The Atlantic offers what came to be a pretty standard modern response to the movie, in that it is a piece of junk depiction of romance. Lindy West at Jezebel broke it down. On the 10th anniversary of Love Actually , the world learned to hate it. Michael Koziol penned an interesting piece in defence of the movie at The Gaurdian; also at Pajiba, Joe Starr with one of my favourite hot takes entitled " Love Actually is a problematic movie and ugh who f*cking cares?" .  Let's focus on the more important things, people! Were we really all still wearing turtlenecks in 2003? There is not nearly e...

As someone with no interest in being heterosexual, sometimes I just look at a movie poster and think "that's definitely going to be gay". Such was the case with the French 2002 black comedy musical murder mystery  8 Women (or 8 Femmes , obviously in its original French). It's a special extra sense you get in the LGBT+ community - an ability to detect content from a mile off. From the opening of the movie, it was as if I was being specifically catered to: the 50s high femme aesthetic, pastel colour scheme, great lipstick, commitment to saucy plot twists and lighthearted approach to murder mystery felt like a blend of Clue with everything I would want in a movie. Pandering to me aside, this movie has a lot going for it. It was written and directed by   François Ozon as an adaptation of the 1958 play by Robert Thomas, and recreates that theatrical vibe effortlessly with its singular setting and small scale drama but never feels claustrophobic. Most critics write about ...

I read The Glass Castle , Jeanette Walls' memoir, back when my mother read it for her book club in 2008. I thought it was appropriately affecting, and the writing was fine, but it wasn't my favourite book - even though I don't mind media that dwells in its misery, but this particular book didn't strike the balance for me. All that considered, the movie adaptation was...faithful. It was well acted and well executed and a near completely faithful retelling of Walls' novelization of her youth. Whether or not that's a good thing depends on how much you enjoy this kind of story. I'll cop to having a low tolerance for the kind of story that spans a lifetime, focusing in on moments of woe to show the extraordinariness of one person. I wish more focus had been given to the adult characters of Walls' siblings, so it felt perhaps less self-indulgent. Alternatively, I would have enjoyed it much more if the jumps between past and past-present hadn't been so ab...

I have not seen The Lobster; I have not seen Dogtooth . The off-kilter world of The Killing of a Sacred Deer served as my complete introduction to the work of Yorgos Lanthimos, and to say I was hesitant would be an understatement. Nicole Kidman has called this one of her strangest projects yet, and I sat through Strangerland . I had read the spoiler-free reviews that critiqued Lanthimos' employment of a singular acting style, wherein every character is emotionless and near-robotic, and that the allegories were a little far reaching with too little grounding. I think that there is merit to those ideas - and would have to have more experience with the Lanthimos canon to make my own judgement - but on a personal level, this movie really clicked. The Killing of a Sacred Deer , a reference to the myth of Iphigenia which I was in no way familiar with but that does illuminate a whole lot, starts off with an extended shot of close up open heart surgery set to a near-deafening operatic so...

This movie came to me with rave reviews as a part of a curated selection of films. The critic who spoke to me about it - an actual movie critic - talked about the movie's much celebrated subversion of romantic comedy tropes and Rebecca Miller's directorial dedication to the honest, messy depiction of adulthood and romance. They also talked about Miller almost entirely in terms of who her father is and who her husband is, so I wasn't taking the greatest stock in his view of the movie from a critical feminist angle. The story had potential: a woman plans to have a kid on her own, but it's complicated when she falls for a fucking loser of a professor at the university she works for who also happens to be married with kids. While I appreciated those two things - the movie is unwavering in its commitment to the messiness of romantic and familial entanglements, and it is both romantic and a comedy without falling into the rom-com class - I also found the frustration I felt ...

I wrote fairly recently about my favourite horror movies and my twisted love affair with the Saw  franchise. When the movies were still getting released, I never got the chance to share in the Halloween tradition of horror releases, because no one else I knew cared at all. And so at 9:30pm on Halloween this year, I donned a bunch of fake blood and some hastily drawn jigsaw pieces and watched a new goddamn   Saw movie. Upfront and honest: Jigsaw  is not a good movie. It does not stand alone, and you will not enjoy it if you do not enjoy the movies as a whole. There was an obvious attempt made at creating an independent piece that stood apart from the seven films prior but still tied into the mythos, and while the game plan is clear, I wouldn't call it successful because it doesn't really make sense when viewed as a part of the series as a whole. As a reboot, it's just average; as a sequel (an octquel?) it's sub-par.  Jigsaw  is obsessed with creating a ...

The world is pretty hard on for clown movies, right? I remember how excited people were  getting for this on horror websites back when Eli Roth's involvement was announced, and then I swear I didn't hear a single thing about it until it popped up on to my Netflix feed recently. I think it only really released to VOD last year, to add to all of the clown movies the world can't get enough of. Man - so many clown horror movies. I know clowns are freaky, but they're not that freaky. Clown is about a Normal Horror Movie Dad who finds a clown costume for his son's birthday party and then finds himself unable to take it off but rather possessed by the demon of the costume that has a specific hunger for children.  I wish I had something interesting to say about this movie, but it was pretty generic. Peter Stormare was a bright spot as someone who had gone through the demon clown experience before, because he's never afraid to ham it up. Other than that, I found th...

On a superficial, deeply gay level, the reason I watched Byzantium is that Gemma Arterton is out of this world gorgeous and she spends chunk of this movie wearing lingerie and killing people (not necessarily at the same time).  The movie itself is a softer, quieter take on the traditional vampire story. Two vampire sisters tackle the world together, attempting to remain undiscovered. Neil Jordan, who directed it, also adapted Interview with a Vampire and while I haven’t seen that one, I’ve heard they share a lot of the same DNA. It’s beautifully shot, and the balance between period segments and the modern day is nicely done so that it isn’t overwhelmingly a period drama. All that said, there are times when it feels overwhelmingly like something else: a teenage melodrama. It’s definitely not a byproduct of the story’s feminine energy, but rather of how the material is handled - centuries old characters act, at times, like fifteen year olds and their views of romance ar...

Now, I've seen my fair share of Stephen King adaptations. As far as they go, this isn't quite Kubrick's The Shining in terms of cinematography, and it isn't half as terrifying as 1408 (that movie is sincerely underrated in the scare stakes). It does what the most successful of King's short story adaptations do, which is emphasizing the small scale and focusing on the psychological rather than trying to create spooky specters - a matter of preference, of course.  Gerald's Game is all about a woman torturing herself. Well: it's about a couple whose misguided foray into bondage is derailed by the man's heart attack, leaving his wife handcuffed to the bed with no escape route in sight. Jessie, the woman in question, is played by Carla Gugino, and her portrayal of the character's withdrawal from reality is easily what makes this movie worth watching. You get hooked in with the "this could really happen" 127 Hours type premise, but you stay f...

I know I've mentioned before my personal affinity for Big Fucked Up Family Movies, but I hate how often they neglect the exploration of the actual family dynamics and instead try to pile shock on shock. It's very much Alexandre Aja's modus operandi - he directed this remake along with 2003's  High Tension  - as he seems to thrive on creating movies that push the limits of "too far", but does so with choices that are often hard to track. As a big horror fan, I like to see people in movies get confronted with impossible situations. I want characters' limits tested. Aja's take on Wes Craven's 1977 movie follows the same story, where a family traveling through the desert find themselves stranded and under attack from a family of (sigh) mutant cannibals. I haven't seen Craven's movie, though it is generally agreed that the remake is superior; my issues with this movie come more from the carnival of horrors way the antagonists are deployed, not...

Sometimes I watch a movie and a joke is made in the first few minutes that lets me know that there's going to be a sense of humour present that will just not gel with me. In this particular Netflix original, it was probably the excess of jokes about "taking it out the butt" and calling the main character a pussy. For all of the times when we might not agree about what "funny" is, there are flashes of something special in The Babysitter . It makes the other stuff even worse. Oh, horror comedy, you tricky little nut of a genre. The Babysitter  follows a kid as he learns that his super hot babysitter is also a super devout devil worshipper who might be sacrificing people after he's gone to bed. Fun plot, generally well executed. Samara Weaving is great as the titular babysitter, and the teenage actors are remarkably un-painful. In fact, once the movie gets over how great it thinks it is, it ends up being pretty good.  I've mentioned that I like my horro...