→ May 24, 2025
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Stick to baseball, 5/24/25.

My first Big Board, ranking the top 100 prospects for this year’s draft, is now up for subscribers to The Athletic; I held a Q&A on Thursday to take questions about it and other prospects. I also posted a minor-league scouting notebook from my recent looks at Andrew Painter, George Lombard, Jr., Jhostynxon “The Password” Garcia, Mikey Romero, and others.

Over at Paste, I reviewed the game Diatoms, which has some incredible art and high-quality components, and almost plays too quickly – I wanted a few more rounds to keep building patterns.

I’ve now sent out two issues of my free email newsletter in the last two weeks, which I think counts as a streak.

And now, the links…

  • Longreads first: The best thing I’ve read this month is this San Francisco Chronicle story by their food critic, MacKenzie Chung Fegan, about her experience eating at The French Laundry and how chef-owner Thomas Keller treated her. It is nuanced, thoughtful, and ultimately allows the reader to draw their own conclusions.
  • Matthew Cherry won an Academy Award for his short film Hair Love, which then turned into a book and an animated series on HBO Max. He’s now working on a new short film, an animated musical project called Time Signature, and has a Kickstarter up for it.
  • My editor at Paste, Garrett Martin, reviewed a new video game called Despelote that is about sports but not specifically a sports video game. It sounds fascinating.
  • Two new boardgame Kickstarters this week: Tangerine Games has one for Sauros, a dinosaur-themed trick-taking and tile-laying game.
  • Board & Dice, which specializes in heavy Eurogames, has one for a new edition of Trismegistus, which is very highly rated on BGG but also has a game weight rating of 4.18/5.

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→ May 7, 2025
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Vermiglio.

Vermiglio was Italy’s submission for this year’s Academy Award for Best International Feature, making the 15-film shortlist, and earned a nomination in the same category at the Golden Globes, although it is probably just too small and intimate to win against bigger competitors like I’m Still Here or Emilia Pérez. It’s a simple story of a family in an Alpine village in Italy near the end of World War II whose nephew comes home with the help of a deserter, Pietro, who then falls in love with their eldest daughter, an affair that has unforeseen consequences for everyone when he leaves to visit his mother in Sicily. (You can rent it on iTunes, Amazon, etc.)

The patriarch of the family, who looks like someone asked an AI engine to make an Italian version of Sam Elliott, is the village’s schoolteacher, while his wife is the caretaker of their farm and does the majority of the work of raising the children. She’s already pregnant with their tenth child when Pietro arrives with Attilio, their nephew, who was injured and would have died had Pietro not carried him part of the way home. Pietro is extremely quiet, but settles in with the family and tries to help out around the farm while facing some backlash from other villagers because he’s a deserter and a southerner (there was, and still is, quite a bit of prejudice between northern and southern Italy, and in this case the village and Pietro’s home couldn’t be much farther apart). The eldest daughter, Lucia, falls for him immediately, although it also seems like she and the other girls haven’t exactly seen a whole lot of boys before, and Pietro is just an object of fascination. The next-oldest daughter, Ada, is pious to the point of parody, and writes out punishments for herself for anything she thinks is a sin – which, of course, doesn’t stop her from committing them. Meanwhile, Dino, their oldest son, chafes under his father’s strict rule, and wants to continue his studies while his father sees his son as the heir of the farm, and instead wants another daughter to be the scholar of the family and go away to boarding school.

Pietro and Lucia end up marrying before the film’s midpoint, and Lucia becomes pregnant almost immediately, which is about as much excitement as we get in the first hour-plus of Vermiglio, until they get word that the war has ended and he reluctantly leaves to go see his family. What follows is the one big event of the film, and it further exposes some of the cracks in the family’s dynamic, especially in how the father has ruled the house in the same way even as the children are reaching adulthood.

Vermiglio is a slice-of-life film without the traditional narrative arc, and even downplays certain events – the death of a child, an unexpected wedding – that would normally be high points in a movie. It moves at its own pace, allowing for more characters to move to the center and for the script to develop them, even secondary ones like Dino, whose ambition is crushed by his father’s domineering parenting style.

Indeed, the patriarch seems at first like a gentle sort, an intellectual who takes care of his family like an Italian Pa Ingalls, but over the course of the film it becomes clear that he’s the source of many of the family’s problems. He’s why they have too many mouths to feed, why they don’t have enough money to feed them, why his daughters are utterly clueless about the world, why his son drinks too much, and so on. He views himself as the lord of the manor and his wife and children as his serfs, which the film never points out explicitly, but rather demonstrates through large and small events that beset the family.

The excellent review of Vermiglio that appeared in The Guardian said the film had “an almost Hardyesque intensity,” just without the class struggles of Thomas Hardy’s novels, and I have no better comparison. Even though it’s set in the 1940s, it has the pastoral quality of all of Hardy’s novels that I’ve read, and the same sort of bleak outlook, and the same contrast between the two. Hardy was a prose master who wrote beautiful phrases about tragic people. Vermiglio is a beautiful, leisurely film, where some of the tragedies are quieter than others, that throws one small match into the window of a family’s home and waits for something to catch.

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→ April 24, 2025
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Soundtrack to a Coup d’Etat.

Soundtrack to a Coup d’Etat marries the dark history of the United States’ assassination of Congolese Premier Patrice Lumumba, done with the full consent of UN Secretary-General Dag Hammarskold and several other western leaders, with music from some of the great American jazz musicians of the time – as the U.S. was sending them on friendly missions to emerging post-colonial Africa. The contrast between this blue-note diplomacy and the vile, racist machinations of the CIA, President Eisenhower, and their co-conspirators makes it a tense, compelling watch, even though you probably already know how this ends. It was one of the five nominees for this year’s Academy Award for Best Documentary Feature. (I watched it free on Kanopy, which I can access through my local library, and it’s also on iTunes, Amazon, etc. for rental.)

The film has no narration but does use some on-screen quotes to keep things moving along, which allows the music to continue throughout almost the entire film. It’s a who’s who of mid-century American jazz, including Dizzy Gillespie, Louis Armstrong, John Coltrane, Miles Davis, Duke Ellington, Nina Simone, Abbey Lincoln, Max Roach, Melba Liston, and others, most of whom visited Africa on state-sponsored goodwill tours and/or became pan-African activists at home, tying the movement to U.S. civil rights efforts. (Gillespie’s quixotic campaign for President in 1964 gets prominent mention, even though it came three years after the Lumumba assassination.) The story begins several years before Congo’s independence, with scenes from independence movements across colonial Africa, speeches from African and American activists – including several from Malcolm X – and significant footage of Soviet leader Nikita Khrushchev, who became a champion for African independence movements because those groups often espoused socialist or communist ideology. Much of what plays out before Lumumba is elected happens at the UN, where we see speeches from Khrushchev and from ambassadors from Belgium, the U.S., and many non-aligned nations that had already obtained independence. The on-screen text also explains the importance of the Congo’s vast mineral resources, which at the time were led by huge uranium deposits that could be used in nuclear weapons, although today the emphasis has shifted towards coltan, a mixture of niobium (columbium) and tantalum that is extremely important to the manufacture of capacitors for electronic circuits – like you’d find in whatever device you’re using to read this.

This all sets the scene for the intrigue that ultimately led to the torture and murder of Lumumba by a rival leader, Moïse Tshombe, who led the breakaway State of Katanga. Tshombe was interested in power, and Katanga is the most resource-rich region of the country, so he had plenty of backers in the west. Days before Congo became independent, Belgium privatized the mining company Union Minière, taking the dominant force in the Congolese economy away from the native population and depriving the new government of a major revenue source – the final insult in Belgium’s seventy-year misrule of the territory and abuse of its citizens. Union Minière was based in Katanga, so Tshombe was the perfect stooge for the west, and was happy to oblige first through his political activities, smearing Lumumba as a communist, and then later through violence.

Throughout the film, director Johan Grimonprez (who is Belgian) intersperses the history of the conflict and subterfuge with the music, a jarring but effective choice that turns the whole endeavor into a visual fugue, with the music the counterpoint to the infuriating history on the other side. The struggle for independence across Africa, particularly sub-Saharan Africa, went on just as Black Americans were fighting Jim Crow laws, and the response of the United States government in both cases was built on suppression and violence. At the same time, President Dwight Eisenhower, who apparently was an early proponent of assassinating Lumumba, tried to use American jazz stars to spread American culture to these new and emerging nations, calling them “jazz ambassadors” and sending them around the world to Eastern Europe, the Middle East, southern and eastern Asia, and to Africa. Louis Armstrong’s tour of the Congo, which appears to be the only time the State Department sponsored such a tour in the continent, turned out to be a cover for the CIA’s coup. Over 100,000 people showed up to watch him perform in the capital, then still called Léopoldville, while Lumumba was under house arrest; less than two months later, he would be dead at the CIA’s hands.

No country bears more responsibility for the now 65-year tragedy of the Congo, a fake nation with borders set up by Belgium’s King Leopold that has been beset by civil war for nearly all of its history, than Belgium does. Grimonprez gives more attention to the United States and the UN, but gets a few stabs in at Belgium, particularly in how Belgian leaders and officials tried to claim that colonizing the Congo was almost an altruistic affair, bringing civilization to a “less developed” people. Their colonial rule was one of the most brutal and damaging of any, a story hinted at here and told at great and gruesome length in Adam Hochschild’s tremendous book King Leopold’s Ghost.

The film ends with Lumumba’s death and the turning of sentiment on the part of the jazz ambassadors against the U.S. government, although there will still a few more such tours into the early 1960s. There isn’t so much a conclusion here, as the stories of the Congo and the CIA’s involvement in coups and assassinations would continue for decades, and the U.S. does still occasionally send musicians out on goodwill tours, if not quite to the same level as they did in the late 1950s. It’s an important slice of history, not just for Africa but for the United States as well, a reminder of the great power we can wield through the impact of our culture and the value of our diversity, and the great evil we can do when we do not hold the powers that be accountable for their actions.

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→ April 21, 2025
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I’m Still Here + top films of 2024.

I’m Still Here won the Oscar for Best International Feature this year and earned nominations for Best Picture – becoming the first Brazilian film to do either of those things – and a nomination for Best Actress for Fernanda Torres, who delivers a commanding performance as a woman trying to hold her family together after the disappearance of her husband in the police state of Brazil, 1971. Based on the true story of Eunice Paiva, whose husband Rubens was arrested, tortured, and murdered by the secret police, it shows their beautiful, happy family, and the ways in which Eunice has to swallow her fear and grief to move forward and raise their four children without him. (You can rent it on iTunes, Amazon, etc.)

As the film opens, we see just faint signs of the terror to come, including a scene where the Paivas’ eldest daughter, Vera, is in a car with friends when they come up against a police roadblock. They’re forced out of the car and roughed up a little as the cops search for “terrorists,” mostly people suspected of engaging in any sort of activities opposing the dictatorship. Rubens is a former congressman who participates in clandestine, peaceful activities like passing letters to families of disappeared people – dissidents or innocent people – and coordinating with other like-minded people. They don’t seem to see any risk in their actions, but, of course, one day the secret police come knocking, taking Rubens away and barricading the Paivas in their house for what appears to be a day or two, after which they then take Eunice and another daughter in for interrogation as well. (Vera has gone to study in London and live with another Brazilian family that fled the country out of fear for what was coming.) The daughter is released in a day, but Eunice is kept for nearly two weeks, during which she’s tortured and asked to inform on her husband.

Eventually, she’s released, and begins to try to fight through the judicial system first to find out where Rubens is, and then later to get the state to admit they kidnapped and killed him. At the same time, she has four children, three girls and a boy, to raise, while the house’s breadwinner is gone and she finds herself unable to even cash a check because he can’t sign it or call to confirm. The hour or so spent in this time period is by far the strongest, as it focuses entirely on her, and all of the burdens placed on her as a mother, a de facto widow, a dissident, and more. It could be a metaphor for modern motherhood and all of the things we ask mothers in western societies to be, including how we ask them to hide or subjugate their own feelings to take care of their families (which reminded me of Jess Grose’s excellent book Screaming on the Inside), although I don’t know if that was intended, since the source material is the Paivas’ son’s memoir, a best-seller in Brazil about ten years ago.

After about 100 minutes, the film jumps forward 25 years to 1996, when Eunice gets word that the death certificate for Rubens has been found. By that point, she has returned to school and become a lawyer, while also making a name for herself as an activist for the families of the disappeared, making this a public event as well as a deeply personal one. Then we get a second flash-forward to shortly before Eunice’s death, a scene that is sentimental and doesn’t need to be in the film at all, although it allowed director Walter Salles to reunite with actress Fernanda Montenegro, who starred in his acclaimed 1998 film Central Station … and who happens to be Torres’s mother.

Torres just is this film; the whole endeavor hinges on her performance and she is superb. Any time she is on screen, she owns it – and the glory is in how subtle Torres’s performance is. There are no big, showy scenes, no giant outbursts, no soliloquies. Had she won the Oscar over Mikey Madison, I wouldn’t object; they’re the two best performances I saw in any 2024 movie, regardless of gender. No other character has half as much to do or matters a tenth as much to the credibility of the story. Once Rubens disappears, you’ll probably suspect we’re not going to see him again even if you don’t know the true story, at which point the script hands everything to Torres and asks her to carry it … which is pretty much what life did to Eunice Paiva, come to think of it.

I would have given the Best International Feature award to The Seed of the Sacred Fig, another film about life under an authoritarian regime, but this was the second-best of the nominees and of all eligible films I saw from 2024. And, if you’re curious, here’s my mostly-final ranking of the best movies I saw from 2024. I haven’t seen No Other Land, but I think that’s the only film out there from the 2024 cycle that might crack this list. I’ve seen 43 movies in total that were Oscar-eligible or were released to streaming in 2024, to give you some perspective; #43 was The Apprentice.

1. Anora
2. Nickel Boys
3. Nosferatu
4. A Real Pain
5. The Seed of the Sacred Fig
6. The Brutalist
7. September 5
8. Hard Truths
9. Sing Sing
10. Daughters
11. Kinds of Kindness
12. Memoir of a Snail
13. I’m Still Here
14. The Room Next Door
15. Sugarcane
16. Challengers
17. I Saw the TV Glow
18. All That We Imagine As Light
19. Kneecap
20. Rebel Ridge

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→ April 17, 2025
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The Girl with the Needle.

The Girl with the Needle was Denmark’s submission for this year’s Academy Award for Best International Feature Film, making the final cut to be among the five nominees even though it presents real-life serial killer Dagmar Overbye, who took payments from desperate women to adopt out their babies, only to murder the infants instead, in a somewhat sympathetic light. It’s dark, strange, and extremely creepy, playing out like a horror film where the main character is never truly in danger herself. (It’s streaming free for Mubi subscribers, or you can rent it on iTunes, Amazon, etc.)

Karoline (Vic Carmen Sonne) is a garment-factory worker in Denmark during World War I, married to a soldier who she presumes is dead, as there’s been no word from him in a year. She’s evicted from her rooms when the film opens, but when goes to her boss to try to get help obtaining widow’s benefits, he takes advantage of her and she becomes pregnant. Her husband returns from the war, disfigured from battle, and she sends him away because she believes she’s going to marry her boss. He reneges, of course, and she loses her job, after which she tries to perform an abortion on herself with a giant needle while in a public bath, only to have Dagmar (Trine Dyrholm) stop her and potentially save her life. Karoline has the baby with Dagmar’s help, at another job the older woman helped her find, and she pays Dagmar to give the baby to another family; when she can’t pay all of what she owes, she goes to work in Dagmar’s candy shop and helps convince other women to give their babies up as well, until she becomes suspicious that Dagmar isn’t what she seems.

The story itself is sort of beside the point; Dagmar is a real person, apparently quite infamous in Denmark as the serial killer with the most known victims in the country’s history, so clearly the film will end somehow with her arrest. Instead, director and co-writer Magnus van Horn focuses on the relationship between the two women, telling the New York Times that he chose to find “finding the humanity in these horrible deeds,” which is a bold strategy, given what Dagmar was doing. (There’s no direct violence in the film; the only murder that takes place on the screen is hidden from our and Karoline’s view.) That choice means that the film can only succeed or fail on the quality of the script and of the two lead performances.

The two women, both decorated actors in Denmark, deliver strong, compelling performances, particularly Dyrholm, who can be completely terrifying but also capable of surprising, often sudden bouts of empathy. The script depicts her murders as the result of a nihilistic view of the world, where in her mind these babies would go on to lives of suffering, poverty, and abuse, and a belief that she is actually helping the women she’s conning. (I couldn’t find any evidence that the real Dagmar Overbye was like this; her defense at trial was that she was abused as a child as well.) She’s initially cold to Karoline, helping her in some tangible, discrete ways, before eventually taking her in and bonding with the younger woman, as does Dagmar’s young daughter, Erena.

Van Horn lays the atmosphere on a bit thickly, however, and it ends up diminishing the film by going too far. The entire film is shot in black and white, and the streets are filthy – sooty, muddy, diseased, anything you can think of to increase the sense of bleakness and despair. The beginning resembles a misery-porn remix of Fantine’s story in Les Misérables, to a predictable level, until Karoline attempts the abortion, after which the story becomes something new and much more interesting; the first third or so of the movie is nothing you haven’t seen before. It needs Dagmar’s character to at least give us something new, even if it’s shocking; because Dyrholm plays her as someone who appears to exist on both sides of the edge of madness, the moment she arrives in the film the pace picks up, while it also allows us to get away from a story that keeps kicking Karoline in the teeth. Two hours of that would have been unbearable. Once the real plot begins, it’s still dark and unsparing, but a far more intriguing story, and a better watch due to the two strong leads.

(I still haven’t seen the winner of the Best International Film category, the Brazilian film I’m Still Here, but it’s loaded up for my next flight; of the other four, I’d put this second, behind the German submission The Seed of the Sacred Fig.)

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→ April 11, 2025
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Nosferatu.

I came into Robert Eggers’s Nosferatu knowing relatively little of the lore behind the story; I’ve read Bram Stoker’s Dracula, but had never seen any adaptation of it, not even the 1922 silent film of which this is a remake. It’s about as spot-on a gothic horror film as I’ve seen … maybe ever, really, with sound effects that will curdle your soul and a strong-as-always performance from Nicholas Hoult as the tragic real estate agent Thomas Hutter. (You can stream it free on Peacock or rent it on iTunes, Amazon, etc.)

Eggers’s screenplay adheres closely to the 1922 story, which changed several substantial elements of the Stoker novel, altering some major plot events and making the story darker and more violent while removing much of the sexual subtext in favor of more physical horror. Hutter is a young, ambitious real estate agent whose wife, Ellen (Lily-Rose Depp) has a psychic connection to the monster Nosferatu, who poses as the Romanian Count Orlok (Bill Skarsgård) and demands that Hutter visit him to sign the contract for Orlok to purchase an estate in Wisburg, where the Hutters live. Thomas has no idea of the grip the vampire has on his wife, other than that she has intensely realistic dreams and a history of sleepwalking and seizures, but he is terrified by Orlok and realizes that he’s some sort of undead or otherwise unnatural creature during his brief stay at the castle. Upon his return home, he finds that bubonic plague is spreading through Wisburg, along with a huge number of rats, but the occultist Prof. Von Franz (Willem Dafoe) sees that this is not a medical disease but a spiritual one and leads the effort to find Orlok and kill him once and for all to save Ellen and the surviving townspeople.

The story is somewhat beside the point in Nosferatu and even in Dracula, as neither even has a real protagonist; the main character is the vampire, and he’s off screen (or page) for large portions of both works. He is everpresent, often working through his acolyte Knock (Simon McBurney) or just spreading fear because we know he’s coming for Ellen and know of the destruction he’ll wreak when he arrives. It’s all atmosphere, amplified by the way Eggers always shows Orlok in shadow, or from the back, so that we very rarely see him clearly until his final scenes in the film, when we see just what a deformed monster he has become; we hear Orlok much more than we see him, with Skarsgård speaking in a slow, guttural, overenunciated accent that sounds like he’s moonlighting (pun intended) from his job as the lead singer for a melodic death metal band from Gothenburg.

Most of the best scenes in the film don’t involve Skarsgård at all, though; he’s scarier when we don’t know when he’s coming or what he’s up to. McBurney is just as horrific, because he is utterly insane; we know what the vampire is doing, but Knock is unpredictable and his violence is all the more shocking for it. (He’s the equivalent to Renfield from Stoker’s novel, but here Knock is Hutter’s boss and appears at first to be a mild-mannered real estate man, more like an accountant or a barrister than the asylum inmate that Renfield is when he first appears in the book.) Rose-Depp’s main function in the movie is to appear terrified, which she does well, as she’s the only character who understands all along what the true nature of the threat is. For most of the film nobody believes her, including her best friend Anna (Emma Corrin, underutilized here), except for Dr. Von Franz, the man everyone else thinks is a crank, further underscoring Ellen’s terror – she knows he’s coming, she knows she is inextricably bound to him, and everyone thinks she’s a hysterical woman.

Nosferatu sounds great, by which I mean it sounds absolutely awful, especially if you watch it with headphones. You may never want to eat again after hearing this movie. I would imagine sales of black pudding plummeted after this film hit theatres. Some of this is obvious – you wouldn’t expect any less from a scene where a vampire feeds on a victim – but even when Hutter is eating dinner at Orlok’s castle, every bite or sip feels like a menace. It’s a crime that this film, which was nominated for four Academy Awards, didn’t get anything for sound; three of the five nominees in that category went to musicals or films about music, which seems to exclude films that rely on other forms of sound, which Nosferatu did more than almost any other movie in 2024.

Hoult is excellent here, as he is in pretty much everything, although even his character isn’t that well-developed, and the acting as a whole is probably the one weak point of the film. Ellen is a damsel in distress who only develops any sort of agency at the very end of the film, so Rose-Depp doesn’t have a lot to do, and spends most of her time on screen looking terrorized (with reason) but not doing much else. Dafoe seems like an obvious choice for a mad scientist, but that works against him here – he is so obviously Willem Dafoe, and is the only actor who doesn’t really do a proper accent for his character, that he isn’t terribly convincing as a character whose main job is to convince everyone, us included, that he isn’t mad. It’s also not a film that depends on the performances to work its dark magic, as Eggers creates such a bleak, foreboding atmosphere, and then layers increasing degrees of shocking violence on top of it, that it works extremely well throughout without getting as much from its actors as it might have. I’ve got one more major 2024 release to see, but this is easily in my top 5 from last year.

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→ April 8, 2025
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The Brutalist.

Brady Corbet’s The Brutalist is a vast, sweeping character study rich with detail and allegory, powered by a tremendous (and Oscar-winning) performance by Adrien Brody as the title character, memorable and meticulous scenery, and one of the strongest scores of the year. It’s also far too often a slog, running three and a half hours, with too much inconsistency in the pacing and the level of specificity from scene to scene. (You can rent it now on iTunes, Amazon, etc.)

Brody plays László Tóth, a Bauhaus-trained architect in Hungary before World War II who is sent to the concentration camp in Buchenwald by the Nazis, while his wife Erzsébet (Felicity Jones) and his niece Zsófia (Raffey Cassidy) are sent to Dachau. Tóth survives the camp and immigrates the United States, where he works in his cousin Attila’s furniture store, although Attila’s Catholic wife clearly doesn’t approve. Attila lands a major renovation project for Harry Van Buren (Joe Alwyn) as a surprise for his father, the wealthy Carnegie-esque Harrison Van Buren (Guy Pearce), putting Tóth in charge. Tóth’s designs transform the library space, but Van Buren is enraged that his son made these plans without him, firing the contractors and refusing to pay. Attila kicks László out, which leads to him working as a manual laborer and living in a charity workhouse, while his previous use of morphine has devolved into a heroin addiction. Tóth’s design for the library ends up earning so much praise that Van Buren tracks him down and hires him for a major new project … and that’s all before the intermission, before Erszébet and Zsófia make it to the United States, before the stresses of the project and the exacting (and conflicting) standards of the two men begin to clash.

The Brutalist is a biopic of a fictional character, much like 2022’s Tár, that feels so specific that it’s easy to forget that Lázsló Tóth never existed. Brody is as good as ever – and I’d argue he’s always good, even in small roles like in Grand Budapest Hotel or Midnight in Paris – as the complex, tortured genius, who has some of the expected art-over-commerce philosophy, but also carries the weight of the trauma of his time in Buchenwald, his long separation from his wife, and his flight to a culture that is deeply foreign to him and that faces him with both its xenophobia and its antisemitism. Even in some of the film’s least believable scenes, his portrayal never wavers in the least, and he carries huge portions of the overlong script by himself.

The padding in The Brutalist is all around the edges, rather than entire scenes that needed to go (although the first scene of the Tóths in bed after their reunion probably could have been left on the cutting room floor). There’s a brief shot of László and some workers carrying a model of the community center he’s building for Van Buren up a flight of stairs into the mansion, probably lasting ten or fifteen seconds; the scene adds nothing, and there are tiny moments like that throughout the film that add up to make the film feel too long. Corbet, who directed and co-wrote the film, has a pace-of-play problem. It’s like he hired James Murphy as his editor.

Jones is somewhat lost here in a bad haircut and overdone accent, although the real problem is that her character barely exists outside of László’s orbit until her very last scene, when she acquires a force and gravity we haven’t seen before, underscored by the character’s infirmity and Jones’s own petite stature. (She’s nearly a foot shorter than Brody.) The movie isn’t about her, of course, but her absence is a huge shadow cast over the first half of the film, with László grieving the possibility of her death and then finding out she’s alive but can’t emigrate legally to join him, making the incomplete development of her character in the second half more obvious.

That’s generally a problem with the plot as a whole: the first half is itself a whole movie, and the second half isn’t. It’s the shell of a movie, but tries to pack in too much while giving it a similar level of detail, and that makes for irregular pacing and some portions that were just outright boring. There are also two sexual assault scenes, one entirely implied, one on-screen but shot from a distance, and neither is handled well – the first one is just dropped entirely, and the second has absolutely nothing to foreshadow it, making it seem like either a clumsy attempt at metaphor or just a very cheap plot contrivance to set up the denouement. After thinking about it what broader points Corbet and his co-writer Mona Fastvold might have been trying to make, I’m leaning towards the metaphor argument: A huge theme in The Brutalist is how inhospitable Tóth finds the United States, a country that, then and now, has held great hostility towards people from just about any other country, and has a very long and shameful history of antisemitism that still exists today. The assault is an act of degradation and dehumanization, emphasized by his assailant’s taunts during the attack. I don’t think the scene fits in the least in the film, but that’s the best I’ve been able to make sense of it.

The Brutalist is a proper epic, an ambitious film that tries to do more than almost any film I’ve seen in the last few years; the closest parallel I could think of was 2018’s Never Look Away, another long film covering a huge portion of an artist’s life, although even that one doesn’t try to tackle the giant themes Corbet and Fastvold cover here. Brody’s performance is remarkable – and I didn’t even mention how great some of his suits are, which would be useful information for me if I weren’t half his size – and the film looks like it should have cost as much as a Marvel movie. I’m holding it to a higher standard primarily because it’s over 200 minutes long, and if you’re going to ask that of your audience, you need to earn their attention repeatedly. I’m not entirely sure The Brutalist does that; even so, it’s a film to laud in the hopes it inspires more big swings just like it.

The Brutalist earned ten nominations at this year’s Oscars and won three, for Brody as Best Actor, for Lol Crawley for Best Cinematography, and for Daniel Blumberg for Best Original Score, deserving of all three of them. (I’ll note that 1) Tim Grierson pointed out to me that Blumberg was briefly the lead singer & guitarist for a British band called Yuck, and 2) the strongest competitors for those last two awards weren’t nominated, Nickel Boys for Cinematography and Challengers for Original Score.) Pearce is strong as Van Buren and certainly has enough to do that he was worthy of a nomination for Best Supporting Actor, but Jones’s character isn’t that well-written and her performance within it is one of the film’s weak points; I would have much preferred to see her Best Supporting Actress nomination go to Julianne Moore for The Room Next Door. I have The Brutalist in my top ten for the year, with probably just one more worthy film to go (I’m Still Here), but I wouldn’t have picked it over Anora for Best Picture.

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→ April 3, 2025
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The Room Next Door.

Pedro Almodóvar waited until his 23rd feature film to make his first one in English, released the same month as the Spanish director turned 75. The Room Next Door, an adaptation of part of a Sigrid Nunez novel, is an intense movie about friendship and duty, driven by two outstanding performances by Tilda Swinton and Julianne Moore, a sort of women-centered parallel to his 2022 film Pain & Glory. (You can rent it on iTunes, Amazon, etc.)

Ingrid (Moore) is signing copes of her latest book when an old acquaintance reaches the table and informs her that their former colleague Martha (Swinton) has cervical cancer. Ingrid visits Martha, whom she hasn’t seen in many years, and the two begin spending more time together, as Ingrid realizes Martha is quite lonely, with only an estranged daughter remaining of her family. When a promising treatment turns out to be unsuccessful, Martha decides to end her life on her own terms and asks Ingrid to accompany her to a house in the country, so that Martha knows someone who cares about her is in the room next door as she dies. Ingrid ends up agreeing, and the remainder of the film follows the two women through the last few weeks of Martha’s life.

There are only three characters of any significance in The Room Next Door, with John Turturro appearing as Martha’s former husband and Ingrid’s former lover, putting all of the pressure on Swinton and Moore to carry the film – and, naturally, two of the greatest actors of their generation are up to the task. Swinton’s performance is the more surprising of the pair’s, as she’s largely understated throughout the film; she’s played big or weird or both so often in recent years that it’s a treat to see her dial it back like this. Martha’s insecure and maybe neurotic, but resigned to her death, in contrast to Ingrid, whose latest book is about her own crippling fear of dying, and Swinton gives the character the right combination of nervous energy with a touch of irascibility. Ingrid is the more straightforward character, although Moore’s challenge is navigating the wide range of emotions she faces across the film – it’s clear at the start that she and Martha were never that close, or at least Ingrid didn’t think they were, so she ends up growing fonder of Martha as Martha’s death becomes inevitable and the favors she asks become more significant.

(As an aside, I realized after watching this that I’d never seen Michael Clayton, the 2007 film for which Swinton won the Academy Award for Best Supporting Actress – still her only Oscar nomination – so I watched it. That performance is also quite understated, and also one of her best.)

The production itself is lavish, visually and metaphorically. Nearly every scene pops with strong, vivid colors, even more so when they head out of the city to a luxurious house in the woods, with gorgeous shots of the forest just beyond the house’s deck. Almodóvar has a long history of using red for its symbolic value; the door to Martha’s room is red, and she wears deep reds many times in the film, while the chaise longue where Ingrid usually reclines on the deck is also red, certainly an unusual color (and fabric) for outdoor furniture. (Martha lays on the green one.) There’s also a sense of wealth and even abundance throughout the film that cuts both ways –these are two privileged women who can afford to do this and, for Martha, face the potential consequences; yet the contrast between this lush setting and the inevitability of Martha’s death underscores that all the money in the world can’t change the fact that we’re mortal.

The estranged daughter does appear near the end of the film, providing a brief but somewhat telling coda that gives a little more insight into Martha’s character – and into Ingrid’s as well. We know Martha’s going to die before the end, but rather than concluding on the most morbid note, or with something clichéd like a funeral, the story ends with a conversation and a scene on the deck that connects to an earlier scene. Both scenes include passages from Joyce’s short story The Dead, while earlier Martha and Ingrid also watch John Huston’s 1987 film adaptation – laying it on a bit thick, I suppose, although it is considered one of the greatest short stories written in the English language. Almodóvar has settled into a mellower groove as he’s aged, dispensing with the sort of shocking elements that helped make his reputation as an avant-garde filmmaker while he focuses more on character development and dialogue. The Room Next Door is (at least) his third straight film in this vein, and I think it’s the best of the trio thanks to the two lead performances.

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→ April 1, 2025
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American Fiction.

American Fiction is the first film adaptation of any of Percival Everett’s thirty novels, although its resounding success means it won’t be the last – an adaptation of James is already in the works (good!) with Taika Waititi possibly directing (so very, very bad). Directed by Cord Jefferson, who won the Oscar for his screenplay, the film adheres quite closely to the novel, which was called Erasure, until the very end, when Jefferson takes some creative license that pokes a little fun at Everett’s own ending but doesn’t entirely stick its metafictional landing. (It’s streaming free on Amazon Prime or you can rent it on iTunes.)

Once again, we meet Thelonious “Monk” Ellison (Jeffrey Wright), a professor and author of arcane novels that don’t sell, here in a new scene where he lashes out at a performatively offended white student in one of his classes, leading his employers to put him on leave. He travels to New York to meet with his agent, and to visit his aging mother (Lesley Uggams) and his sister Lisa (Tracee Ellis Ross), a doctor who provides reproductive health services. His mother is showing early signs of dementia, while we learn that his relationship with Lisa and their brother Bill (Sterling K. Brown) has always been distant. While traveling, he comes across a bestselling novel, We’s Lives in Da Ghetto, by Black author Sintara Golden (Issa Rae), an Oberlin graduate who has written a book that Monk thinks panders to white guilt, engaging in gross and dated stereotypes about Black Americans. Lisa dies very early in the film, in one of the most significant alterations from Erasure, and when their mother clearly needs to enter assisted living, Monk suddenly has some significant financial issues. He sits down and writes a novel, My Pafology, that parodies Golden’s book and the benevolent racism of the publishing industry, intending (he says) to offend the editors who receive it. Instead, he gets a seven-figure bonus (25% higher than the figure in the book, which was written 25 years ago) and everyone wants to meet the fictitious author Stagg R. Leigh, whom Monk invents as he goes along. As his personal life becomes more difficult, the book becomes more successful, until he finds himself on the judging panel for the Literary Award … and his book is one of the leading candidates.

Jefferson does a fantastic job weaving the twin narratives of the book – the family subplot and the Pafology subplot – together in a way that feels fluid, since he lacks the natural transitions that come with chapter breaks, and the two only truly intersect a few times in the novel. He’s kept the bones of the plot and most of the details are the same, although he changes a few character names (including Adam Brody’s movie producer) and creates some overly dramatic scenes involving Monk’s mother. There are also more outright laughs here than in the source, and the relationships between Monk and his two siblings are softened, which allows some fantastic scenes between Wright and Brown later in the film.

Wright is spectacular here – this is a well-written, three-dimensional character, and Wright just is Monk. He inhabits this character in every way, and when Monk has to act as Stagg, Wright telegraphs not just his discomfort at playing “Black,” but that this character was raised to not speak or act a certain way, leaving him flummoxed when he has to become Stagg R. Leigh on the phone and once in person. He’s just as strong in the family scenes, showing how Monk struggles with his interpersonal relationships even with people he clearly cares about; he doesn’t lack empathy or feelings, but – forgive the hackneyed phrase – sometimes he can’t get out of his own way. Brown and Uggams are also excellent in their respective roles, with Brown, like Wright, earning an Oscar nomination for this performance; Uggams probably just doesn’t get enough screen time to say she was robbed of a Best Supporting Actress nod – I don’t think she passes the Judi Dench Barrier here – but she’s superb in the limited time she gets, as is Erika Alexander as Monk’s love interest, Coraline.

I wasn’t bothered by Jefferson sharpening some of the edges and inserting some extra drama; Brody’s movie producer character even says in the film at one point that a movie made from a novel can’t be the novel, because you just don’t have enough time, and I think that can also apply to character development. Even changing the manner of Lisa’s death makes sense, because what happens in the book is tied to something larger that the movie would simply not have time to address, at least not in a satisfying fashion.

The ending, however … I will concede the argument that the book ends in a way that would probably not work on film. The movie might not even get made. I liked the ending of Erasure, but it’s unconventional, and would have been even more so in a movie. Jefferson’s solution is creative, certainly, but I’m not sure it works. Metafictional twists like that one are hard to pull off, and if you start thinking about this one, you’ll probably end up with a headache. The final, final shot, though, is excellent, so maybe it’s best to just not ponder the climax too thoroughly. Adapting a book as rich and sardonic as Erasure could not have been easy, and Jefferson managed to get the tone right without having to make any significant changes to the meat of the novel.

I’ve seen nine of the ten movies that were nominated for Best Picture in this year, and I’d put American Fiction pretty comfortably in the middle of the group. The Zone of Interest, which I didn’t see until November of last year and never wrote up, would be my top choice, and I wouldn’t put this over Past Lives or Oppenheimer, but it’s in the next tier with Barbie and The Holdovers for me. Wright never had a chance to beat Cillian Murphy for Best Actor, but if this movie were going to win any award for anything, he would have been my pick.

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→ March 27, 2025
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Road House.

I don’t watch a lot of bad movies, by design. I’m not a professional critic, so I don’t have to watch any of them, and it’s only fun to pick a movie apart once in a blue moon. I’m not talking about when I watch an acclaimed movie and just don’t like it, but about a movie everyone kind of agrees is bad, one that shows the studio behind it thinks that audiences are dumb and will fork over cash for anything.

After seeing a few clips on TikTok from the movie Road House that made me laugh, I figured I’d give it a whirl, since it was free for me on Amazon Prime Video anyway. It’s a bad movie, and I thoroughly enjoyed it.

Dalton (Jake Gyllenhaal) is a former UFC fighter who now shows up at amateur fight nights as a ringer to make some cash; after one of those, he’s approached by Frankie (Jessica Williams), owner of a bar in the Florida Keys, who says she’s looking for a bouncer to deal with a group of thugs who are tearing up her bar night after night. Of course, he’s not interested, but after he tries to kill himself and bails at the last second, we see him arriving on a bus out in Frankie’s little town, where he’s greeted by a precocious teenager who runs a used book store with her dad, and then meets one uninteresting character after another before the fightin’ starts. Eventually, it turns out that the thugs aren’t just randomly harassing the Road House, but are doing so at the behest of an obnoxious nepo baby named Ben Brandt (Billy Magnussen), so Dalton’s in deeper than he thought.

There isn’t much plot here beyond that, and that’s fine; I’d argue that Road House would be worse if they made the story any more complicated. This is an action movie, and action movies need two things: action, and quips. Gyllenhaal turns out to be really good at delivering some funny soliloquies before beating the shit out of people; the screenwriters didn’t make him some sort of closet intellectual – when Frankie says that Hemingway once drank at the Road House, Dalton isn’t impressed and just says “good for you!” – but made him just smart and funny enough to make him an interesting character to watch. He’s got a back story, of course, and we get most but not all of the explanation, which is also fine because who cares? Not every character in every movie needs a tragic back story.

After Dalton dispatches the first wave of thugs, Brandt’s imprisoned father, irritated that his son can’t get the job done, hires a guy simply named Knox (Conor McGregor, who lost a civil rape case in November), who has several tattoos on him that read “Knox” in case he forgets who he is. He’s indestructible, extremely violent, and permanently smiling. He’s also got quips. Dalton can’t handle him the way he handled all of the Brandts’ other goons, so we’re heading for a final showdown between the two of them for the fate of the Road House.

Gyllenhaal is a blast in this movie; he looks like he’s having fun, and he’s got that brooding charm that’s a cliché across action films, but everything about the performance is restrained (other than the beatings, which involve a lot of mediocre CGI). There’s a natural cadence to his delivery that sounds even more authentic when he’s surrounded by people who either can’t act or were told to act like they couldn’t act; nearly everyone else in this film is just bad, even when delivering minor lines. There’s just enough depth to Dalton’s character to make him compelling, and to make you understand why he always seems to stop short of the critical hit in every fight.

I also regret to report that Conor McGregor is really quite good as Knox. The character is a psycho, and McGregor seems to have no problem whatsoever slipping into that archetype. I wonder why. His ridiculous swagger plays well in fight scenes and regular ones, and he’s pretty good at delivering the quips we expect from this sort of character. Even his gait is funny. The film’s a year old, so I don’t think this is a big spoiler any more, but Knox survives the film and I imagine he’s going to be in the reported sequel, but I hope they get someone other than McGregor to play him – or just make up a thinly-veiled version of him to be the new antagonist.

Everything else about the movie is kind of bad. The dialogue from any character other than Dalton is stilted and overexpository; nobody talks like these people and I’m not referring to their accents. There’s so much explaining how this particular hamlet is a small place and everyone knows everyone and things are different here that I assume the screenwriters (or whoever cleaned up the script) think the audience is even dumber than the usual one. Did you catch that the previous three bouncers Frankie used at the bar had names starting with A, B, and C, before capital-D Dalton? Or did you guess who the sheriff actually was before it was revealed? I was mildly grateful that they kept the obvious romantic pairing at a very superficial level – they chose to make Dalton fairly uninterested in the character, who I haven’t even mentioned because she is so boring, which would have just been a distraction from the main throughline anyway.

So yeah, Road House is a bad movie. But I was entertained the whole time. I didn’t even mention that there’s some great live music from bands playing at the Road House, often up there while there’s mayhem a few feet away, or that one of the thugs ends up part of a great running gag with Dalton. It’s the best bad movie I’ve seen in a while. (Oh, and I’ve never seen the original, if anyone’s curious.)

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