May 2018 Film Log

Being free of the viewing demands for a biweekly TV show, I don't have to see--or feel compelled to see--as many of the new mainstream films that make it into the nation's multiplexes.  Perhaps it was always this way, but so many of the wide releases this year look more disposable than ever and don't pique my interest.  I don't think that such an impression is necessarily a byproduct of being able to be more selective.  As the number of each week's new releases grows and the turnover of these titles increases, it stands to reason that there's a lower bar to clear to get screens.

During the most intense periods of producing NOW PLAYING, it wasn't unusual for me to look at multiplex listings and find little to nothing I hadn't already watched except for what just opened.  Now the listings are peppered with films I haven't seen, yet I can struggle to identify something that seems even mildly worth the time.  Sight unseen, films such as BAD SAMARITAN, OVERBOARD, SHOW DOGS, and TRAFFIK aren't exactly compelling choices even if I'm looking to go to the movies just for the sake of it.  (That's how BREAKING IN ended up on this month's log.  It was something to do while all of the windows were being replaced in my apartment.)  It's as though movie theaters are being infiltrated by the types of offerings that would have once been direct-to-video.  It's also probably never been easier to get an independent film in theaters, at least for the blink of an eye.  (Getting a full run is another matter.)

While I would not argue that it should be harder for filmmakers to find screens for their works, the number of screens to fill and the ease of content delivery with digital distribution and exhibition has exploded the number of choices and diluted the perceived quality checks when access to consumers was tighter.  I'm not sure that I have a point other than to say I saw a fair number of mediocre and worse films this month while bypassing a bunch of others.

-La belle noiseuse (Jacques Rivette, 1991): A- -- Blu-ray

-Breaking In (James McTeigue, 2018): D+

-The Color of Pomegranates (Sayat Nova) (Sergei Parajanov, 1969): B -- Blu-ray

-Deadpool 2 (David Leitch, 2018): C

-Disobedience (Sebastián Lelio, 2017): C-

-Double Lover (L'amant double) (François Ozon, 2017): B-

-The Endless (Justin Benson and Aaron Moorhead, 2017): C+

-Ghost Stories (Jeremy Dyson and Andy Nyman, 2017): B-

-The Guardians (Les gardiennes) (Xavier Beauvois, 2017): B

-I Feel Pretty (Abby Kohn and Marc Silverstein, 2018): C

-Life of the Party (Ben Falcone, 2018): C-

-Mary Poppins (Robert Stevenson, 1964): B  -- repeat viewing

-Oh Lucy! (Atsuko Hirayanagi, 2017): C-

-Pope Francis: A Man of His Word (Wim Wenders, 2018): C+

-Psychokinesis (Yeom-lyeok) (Yeon Sang-Ho, 2018): B- -- HD stream

-RBG (Julie Cohen and Betsy West, 2018): B-

-Solo: A Star Wars Story (Ron Howard, 2018): B-

-Terminal (Vaughn Stein, 2018): D

-Tully (Jason Reitman, 2018): B+

The top films new to me (current releases):

-Tully

The top films new to me (repertory):

-La belle noiseuse
-The Color of Pomegranates (Sayat Nova)

Viewing locations & formats:

-Theatrical viewings: 16 (DCP: 16)
-Home viewings: 3

May Totals:

-# of screenings: 19
-# of unique films seen: 19
-# of feature films new to me: 18

Year-to-date Totals:

-Theatrical viewings: 106 (DCP: 99, 35mm: 5, 70mm: 2) (includes one live performance & one live accompaniment)
-Home viewings: 11 (HD streams: 5, Blu-ray: 3, HD recordings: 2,  DVD: 1)
-Live performances: 1
-Live accompaniment: 1

-# of screenings: 117
-Unique # of films seen: 112 features, 2 shorts compilation programs, and 4 shorts
-Unique # of feature films new to me: 101