Discover and read the best of Twitter Threads about #nowwatching

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#TIFF21

#NowWatching: ALI & AVA, dir. Clio Barnard

(UK)

Review 🔜 @MoviesWeekends
Think I’ve just seen my favourite film of #TIFF21 so far. Ali & Ava is just fucking beautiful, the kind of film that notices the infinitesimal gestures and moments that make people - with all the messiness of their lives and weight of their pasts - fall in love.
Here’s a love story that starts with a lift home because it’s been pissing down, whose first kiss comes from chancing an arm on staying the night and getting lumped in a spare room, and which grows against all the baggage that makes us wonder whether we deserve happiness at all.
Read 7 tweets
#TIFF21

#NowWatching: YOU ARE NOT MY MOTHER, dir. Kate Dolan

(Ireland)

Review 🔜 @MoviesWeekends
@caatdolan’s You Are Not My Mother, a Samhain chiller nestled within the framework of a sympathetically crafted story about mothers, daughters, and the monstrousness of mental illness’ ravaging effect on both the afflicted and their loved ones really got under my skin.
Unlike some other recent genre fare, the film impressively never loses sight of the seriousness of its themes as it builds on its supernatural elements, meaning the horror and the harrowing nature of what we are witnessing builds with remarkable poise and conviction.
Read 5 tweets
#TIFF21

#NowWatching: SUNDOWN, dir. Michel Franco

(Mexico) Image
Sunkissed, serene, surreal, and shot through with an unnerving dosage of sociopathy, Franco’s Sundown is the sort of film you imagine Haneke would daydream on a beach someplace nice. More about us as viewers than any of the characters, this provokes with scant provocation.
Tim Roth is so unphased by everything happening around him it’s as if the camera doesn’t exist at all, and Franco’s scoreless, fuss-free method of filmmaking here has a surgical precision that - when juxtaposed with the warmly captured Acapulco clime - expertly unsettles.
Read 5 tweets
#TIFF21

#NowWatching: ENCOUNTERS, dir. Michael Pearce

(UK) Image
A classic case of “starts out as one thing, becomes another”, but whilst I was initially disappointed when I realised the film Encounter started as wouldn’t continue that way, I was gradually bowled over by the depths of the other thing it strove for. Riz Ahmed is typically class
and I was a big fan of the two child stars, old head on young shoulders Lucian-River Chauhan and energetic youngster Aditya Geddada. There was maybe a needledrop too many for my liking, especially given the cosmically tinted, haunting incidental music, and I still would like to
Read 4 tweets
#TIFF21

#NowWatching: THE STARLING, dir. Theodore Melfi

Ready to cry and probably not handle the subject matter but hey 🤷🏻‍♂️
Not sure how I felt overall about The Starling. Melissa McCarthy and Chris O’Dowd were both very good in it though, and I cried a lot, but I think that was more because of the subject matter and its closeness to losing my baby last year. It’s very twee, very film festival-y, and
there’s definitely moments where we are directly cued that “This is a good time to cry” and “This is a good time laugh-cry” and “This is a good time to happy-cry”. It still felt sincere enough though, and I didn’t feel manipulated, and amidst some of the more mawkish elements and
Read 9 tweets
#TIFF21

#NowWatching: THE GUILTY, dir. Antoine Fuqua

(USA)

Review 🔜 @MoviesWeekends
Jake Gyllenhaal is absolutely outstanding in THE GUILTY, Antoine Fuqua’s remake of Gustav Möller’s single-location thriller about a troubled police officer who finds himself in over his head when he receives a call from a woman who seems to have been abducted. The first two acts
see Fuqua demonstrate a mastery of form and technique as he ratchets up the tension and pressure on Gyllenhaal’s Joe Baylor, and the third sees logic take a leave of absence while the emotional weight of the film’s messages land powerfully. For some, The Guilty may take things a
Read 5 tweets
#TIFF21

#NowWatching: ALONERS, dir. Hong Sung-eun

(South Korea)
I really loved ALONERS. Hong Sung-eun’s gentle examination of the chosen isolation of a call centre worker, the comforts found in routine and the quiet pain of severance from the outside world, is carried out with boundless empathy and subtlety. Gong Seung-yeon is fantastic as
Ji-na, who is dealing with the death of her mother, tension with her father, tragedy next door, and an intern at work. From a starting point of eyes constantly transfixed by screens (phone, TV, computer), circumstance and necessity begin to ease open the door for her, letting the
Read 6 tweets
食後に珈琲が飲みたい... 淹れて(ハイ)
(聴きながら淹れます)
Read 25 tweets
#OTD 1956 – Bertolt Brecht, Aged 58, German poet, playwright, director. (b. 1898)

He moved to US to escape Nazis, wrote one Hollywood screenplay (Fritz Lang, Hangmen Also Die 1943), came under investigation by HUAC, testified, then left for East Germany, before being deported.
#OTD 1956 – Bertolt Brecht, 58, German poet, playwright. (b. 1898)

Life of Galileo * Mother Courage + Her Children * Good Person of Szechwan * Caucasian Chalk Circle * Mr Puntila + his Man Matti * Resistible Rise of Arturo Ui

(1929 based John Gay's Beggar's [Threepenny] Opera)
"Brecht’s testimony is legendary. Asked did he write “Forward We’ve Not Forgotten” (from his play Decision), read in English translation, he responds, “No, I wrote a German poem, but that is very different from this thing,” provoking laughter in audience."
Read 8 tweets
#nowwatching The Dirty Dozen (1967)

During World War II, a rebellious U.S. Army Major is assigned a dozen convicted murderers to train and lead them into a mass assassination mission of German officers.

imdb.com/title/tt006157…
"D-day began when the Dirty Dozen were done!"
Did not recognize him at first
Read 4 tweets
“You’re running out of time.”

#NowWatching “Minority Report”

Apparently I’m on an accidental Steven Spielberg binge.

This is my first time rewatching this in decades. I last saw it as a teenager, and I didn’t love it.

I thought it was too cynical. I was so young.
“Most of our scrambIes are fIash events. We rareIy see premeditation anymore.”
“PeopIe have gotten the message.”
“Uh-huh.”

It’s hard to believe, but “Minority Report” was written and shot before 9/11.

Which odd, because it feels like a quintessential War on Terror film.
It’s a film about state overreach and the erosion of civil liberties in the name of a more secure and seemingly stable society.

Naturally, “Minority Report” suggests that there’s something very cynical and horrific lurking beneath the surface.
Read 32 tweets
#NowWatching It’s Such A Beautiful Day
naw this fucking stick figure movie is gonna make me cry
😖😖😖
Read 5 tweets
#NowWatching Hello Dolly! Image
literally watching this cause the loml directed it.
help this movie was filmed 40 minutes away from where i live????
Read 4 tweets
They really had to start with como la flor like that? I'm already an emotional wreck #SelenaTheSeries
Yes Jon Seda was/is a better actor but the way they wrote Chris in the series is way better than he how he was written in the movie to me #SelenaTheSeries
Read 12 tweets
#NowWatching Rogue One
Literally from the first few shots, one is struck by the grandeur of the worlds and the ships. This is undoubtedly something that Rogue One does better than any of the other Disney films and restores that operatic grandeur that the OT and the prequel trilogy had.
One of the missed opportunities of the film is the character of Saw Guerera. He is a guerilla leader who raised Jyn. He should be a figure of rich pathos and nuance, yet he is played broadly and his raising of Jyn is largely skipped over with is somewhat disappointing.
Read 20 tweets
Yes, @RepRichardNeal. Funds for #PaidLeaveforAll and affordable #childcare are key investments. Thank you for listening to the real experts, working women. @WaysMeansCmte
Care is not partisan. Everyone will need to give or receive care.

"Increasing access to #childcare and #paidleave are smart pro-family, pro-growth policies..." - @RepKevinBrady
#ThisAmericanLife: High risk pregnancy, postpartum illness, and –
** No paid leave
** No #childcare

America's mothers deserve better. America is the only developed country without #PaidLeaveforAll.

Thanks Joy Spencer @MomsRising for sharing your story @WaysMeansCmte
Read 6 tweets
So this month's themed film viewing will be American films from 1930 -1934 as part of @FilmFan1971's #PreCodeApril initiative. Expect lots of gangsters, sex and scandal! Image
Born Reckless (1930, John Ford)
Part-Gangster, part-WW1 movie + a few musical numbers thrown in & all in 76 mins! A judge gives gangster Louis (Edmund Lowe) the choice of prison or war, chooses war. On his return he opens a nightclub & gets caught up in crime again. #PreCodeApril Image
The Doorway to Hell (1930, Archie Mayo)
Louie (Lew Ayres) a ruthless gangster tries to go straight after getting married but gets sucked back in. His right-hand-man Mileaway (James Cagney) tries to help. Cagney's charisma is electric, this was his 2nd screen role. #PreCodeApril ImageImage
Read 61 tweets
#PreCodeApril Thread.

Feels appropriate to start off with photographer A.L. “Whitey” Schafer’s wonderful Thou Shalt Not image, created in 1941 to satirise the Hays Code restrictions. More background here: ladailymirror.com/2013/11/04/mar… Image
Here’s my @letterboxd list of over 800 #PreCode films (I’m still adding to it). The top 50 are personal favourites / recommendations / Pre-Code must-sees. Also, everything from around 650 onwards is on the Pre-Code Movies YouTube channel. #PreCodeApril letterboxd.com/filmfan1971/li…
A big thank you again to @CookieNScreen and @filmstoriespod for helping me to spread the word about #PreCodeApril with this interview. filmstories.co.uk/news/old-movie…
Read 405 tweets
#NowWatching "Suicide Squad" (2016)

I have a reason, I promise.
"Floyd, step up to the door."

One of the most interesting things about "Suicide Squad" is the weird middle-ground that it occupies in terms of production.

It's a Marvel-style IP-driven project, but it was clearly designed as a Warner Bros. talent-drive production.
In that it's notable for re-teaming the talent that worked together on the quirky (and largely forgotten) con artist movie "Focus" from the previous year, Margot Robbie and Will Smith.

The idea is to put them both in a comic book movie, and hope that it'll work.
Read 32 tweets
#NowWatching Manikarnika

Honestly speaking,if it was some other actress in the leading role here,the movie would have been criticised by RW for minority appeasement and overt display of secularism 😁
Don't remember a last Bollywood movie which shows Muslims in such good light 🤷‍♂️
On similar lines, if there was any other leading actress, LW would have celebrated the movie for breaking the traditional (widow not going to Kashi), daughter in law not following diktat of mother in law, husband wearing Kangans, and such.

Woke gen would have celebrated it 🚀
Uff, and the movie, by virtue of a dialogue, reminded me of the Amir Khan - Mangal Pandey. I don't remember watching that movie in full, but have strong memories of hearing the different versions of Mangal Mangal on loop - guess one by Sukhwinder & one by Kailash Kher 🚩
Read 4 tweets
#NowWatching “Batman v. Superman.”

Which is a film I’ve always admired in its complete and unequivocal commitment to what it’s doing.
As with a lot of Snyder’s films, “Batman v. Superman” is surprisingly nuanced in its study of fragile and dangerous masculinity.

Notably, in Snyder’s movies, whenever men try to solve anything, it inevitably gets bloodier and messier than it needs to be.
Thomas Wayne gets a single line in “Batman v. Superman”, but consider how much Snyder tells us about Thomas and what happened.

A mugger tried to rob the Waynes. Instead of surrendering his money and valuables, Thomas stands his ground. He acts “like a man.”
Read 22 tweets
#NowWatching “Man of Steel”

Considering a Twitter Thread where I tick everybody off by neither loving nor hating it enough.
I have never really loved “Man of Steel”, even though I admire a lot of what it’s attempting.

I’d describe it as Snyder’s weakest film, but really I don’t want to get into the “Suckerpunch” discourse.
“We may only have a matter of weeks.”

The Krypton sequence is “Man of Steel” in a microcosm.

There’s a lot of really, really great stuff here. But there’s far too much happening in far too little space.

It could almost be a movie unto itself.
Read 54 tweets
It has been a very long year, in terms of “Star Wars” content.

So #NowWatching “The Last Jedi.”

Here I joke, and suggest it’s a real shame they haven’t made any “Star Wars” since, as there’s a real gap in the market.
“You did it, Poe. Now get your squad back here so we can get out of this place.”
“No, General... We can do this.”

I can’t imagine how this story about a hotshot arrogant roguish pilot who needs to learn to listen to women - a recurring motif in the film - could ruffle feathers.
What’s interesting about the Poe storythread in “The Last Jedi” is that it becomes fundamentally self-proving.

In that it’s about the sort of arrogance of these sorts narratively-favoured roguish protagonists, and how fans and narratives fetishise that.

(Which was very timely.)
Read 54 tweets

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