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HughesReviews: The Zone of Interest and Other Major Cinematic Works of 2023

| February 19th, 2024


I didn’t particularly care for Barbie or Oppenheimer; the former felt cloying and obvious, the latter bloated and often incoherent. But one cannot understate their cultural importance. These two films, and the brilliant, seemingly organic marketing campaign which conjoined them into Barbenheimer, were the Sosa and McGwire of the modern movie landscape. At the physical cinema’s darkest moment, they brought fans back to the ballpark, and they are the legacy of “Movies 2023.”

But aside from these two popular pictures, this was a year where great filmmakers made great films. Each of the films that comprise my top five of the year are by established masters, cinematic artists working at the height of their powers. They are films I look forward to revisiting and writing extensively about. But I’m not a professional movie critic. I don’t spend each week advising the moviegoing public where to spend their movie buck and I’m not interested in wasting energy on the films I don’t like. At the risk of sounding like, well, an asshole, my academic pursuit of cinema enables me to focus entirely on that which interests me. I can dismiss the crap films and never write a sentence about them. Thus, you will not be reading about Maestro below.

And apologies to Frederick Wiseman, whose Menus-Plaisirs – Les Troisgros is certainly another in a long line of master works, but I just couldn’t muster the four hours of energy required to sit in an uncomfortable Film Forum seat. Although these are my favorite films of 2023, my favorite cinematic experience of the year was seeing the 93-year-old Wiseman live at the Museum of the Moving Image in Astoria, Queens.

Note: I know that many of you have not seen most of the films below, so I’ll refrain from giving away too many plot details. But I am happy to discuss movies any time via email – just reach out. 


(10) BlackBerry. One of the great entertainments of 2023, this first major work from Canadian director Matt Johnson serves primarily as a grand showcase for Glenn Howerton, whose towering, menacing performance is a brilliant expansion of the darkness he has honed over decades as Dennis on It’s Always Sunny in Philadelphia.

(09) Bottoms. Is this a great movie? No. But it was the funniest film I saw in 2023 and we all need to encourage Hollywood to keep producing damn comedies.

(08) The Killer. David Fincher is a master of the neo-noir, having created moody classics like Se7en, Zodiac and Gone Girl. This film, a perfect addition to that corpus, deserved more attention (see my Netflix rant below), if only for Tilda Swinton’s tour-de-force cameo. The film’s deliberate pacing requires the patience of its subject, but the reward is palpable.

(07) Titanic: The Musical. I was underwhelmed by the Tony-winning Titanic when it ran on Broadway in 1997, opening just months before the film would take over the world. It had a brilliant cast (Michael Cerveris, Brian d’Arcy James, Vicky Clark, etc.) and some powerful Maury Yeston music, but the piece left me, pardon the pun, cold. (If you know me, you know I want no such pardoning. I relished writing that sentence.) This film, a documentation of a touring production in England, is brilliant example of what can be achieved on screen when a director does more than point a single camera at the stage. Directors Austin Shaw and Thom Southerland use the camera to amplify the play’s emotional character and in doing so provide a profound stage AND screen experience.

(06) The Taste of Things. Subtle and sublime, very few films are so willingly, and lovingly, about process. Dramatic encounters are suggested. Deaths occur between edits. But each moment of culinary preparation is displayed in painstaking detail. (I only saw this film Wednesday so still need time to digest the whole affair.) Side note: how did this become the American title? The French title was La Passion De Dodin Bouffant. How does that become The Taste of Things? What does The Taste of Things even mean? Does it mean ANYTHING? Can we get a documentary about the corporate conference room that produced this inane title?

(05) Showing Up. When you are a struggling artist, “showing up” is survival, and Kelly Reichardt’s film is the finest depiction of that struggle I can remember. The director, and her star, Michelle Williams, manage to create a character in pain without allowing the pain to be her definitive characteristic. Lizzy has no hot water. Her brother is psychologically at sea. Her father is being taken advantage of by two drifters. But she still manages to make herself emotionally available to everyone, even the pigeons. She shows up. And you’re foolish if you don’t show up every time you read the phrase “Directed by Kelly Reichardt.”

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Favored at Home Again: The Penultimate Game Preview of the 2023 Season

| December 29th, 2023


Why Do I Like the Chicago Bears this Week?

I.

Always.

Like.

THE.

Chicago.

Bears.


The Football Bit

I got nothing.

How many times can I write the same thing about Justin Fields?

How many times can I write the same thing about Matt Eberflus?

Sometimes a season just needs to end and that is definitively the case for the 2023 Chicago Bears. This season needs to end, and the organization needs to make their decisions at quarterback and coach. Nothing will change this coming Sunday. Nothing will change the Sunday after.

I hope the Bears beat the Falcons because winning is more fun than losing and they already are guaranteed a top two pick in the draft. That is the entirety of what’s at stake at Soldier Field, a potentially fun afternoon.


The Movie Bit

Jonathan Glazer’s The Zone of Interest is one of the most remarkable films I have ever seen.

First, a plot summary, in the briefest sense. The film is a domestic drama, but the domicile in question is the home of Auschwitz commandant Rudolf Höss, situated directly outside the high walls of the concentration and extermination camp in question. Throughout the film, we engage the Höss family as if they were any other German family, i.e. the stress of visiting in-laws, the drama of a work transfer, etc. We watch in detail as Rudolf, the family’s patriarch, locks the doors and turns out the lights each evening. We see birthday cakes and visits to the local creek for recreation.

We never see the atrocities of the camp. But throughout the film, we hear constant reminders of what is happening inside those walls. Gun shots. Screams. The most horrifying cinematic soundscape I can remember.

There will be time, years, to discuss this film further. Glazer might be the modern Kubrick; he’s made three other films (Sexy Beast, Birth, Under the Skin) and each is brilliant. But for now, I want to use this space to encourage you to find Zone of Interest and sit with it. It is a film that questions the very nature of how we construct narratives of history, and how those narratives are consumed. Glazer has said the film is “not a history lesson, it’s a warning.” That warning haunts me.

This is the film of the year.

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