I loved this movie. Don’t ask me to offer a detailed explanation as to why or to analyze it at length. It simply moved me and on more than one level: the contemplative protag, Paterson (Adam Driver), driving a city bus for a living—in Paterson NJ: Paterson in Paterson—and writing poetry à ses heures—his reference being William Carlos Williams, who wrote poems on Paterson—and his daily routine: walking his bulldog, named Marvin, in the evening, stopping at the local tavern for a beer, and with all the offbeat characters and dialogues one gets in a Jim Jarmusch film. And, above all, his couple relationship with his lovely wife, Laura, played by the sublime Golshifteh Farahani, who is beautiful, fabulous, wonderful, and you name it (I admittedly say this about her after every film I see her in, e.g. here and here). They have such a loving relationship. What a lucky guy to have a companion like her. And the pic has an impeccable, typically Jarmuschian ending. In short, this is Jarmusch’s best movie in a decade (since ‘Broken Flowers’). Reviews in the US and France are typically good. Trailer is here. C’est tout ce que j’ai à dire.
Every year since launching AWAV I have had a post on Woody Allen’s latest film, which goes up almost right after I see it. For some reason I didn’t get around to doing so this time, though I did see his latest, Café Society, shortly after it came out last May. Perhaps I didn’t say anything about it because I found it to be a generally good, entertaining pic, with a fine cast and nothing in particular to object to, though which I didn’t give a whole lot of thought to after leaving the cinoche. Usually when I see a Woody Allen film to which I give the thumps up, I’ll merely say I that I liked it and leave it at that, as with, e.g. Magic in the Moonlight, To Rome with Love, and Midnight in Paris. It’s when I strongly disliked the film that I go to town with the critique, e.g. Irrational Man and Blue Jasmine. This latest one goes with the first group. Voilà.
On the subject of directors followed by the cinephile set, I will mention, strictly for the record, the Coen brothers’ last film, Hail, Caesar!, which I saw when it came out in February. I had nothing whatever to say about it. On leaving the theater with my friend, I said “Je n’ai rien à dire sur ce film.” Walou. Nada. Rien du tout. Neither did my friend, so far as I recall, and she’s always bubbling with insights about movies. It’s not that I didn’t like it; it just left no impression on me. I thought nothing of it and gave it even less thought the next day. In view of the tepid audience critiques on Allociné, I was likely not alone. C’est tout ce que j’ai à dire.
BTW, during the summer I saw, with the same friend, a restored 20th anniversary print of the Coen bros’ Fargo, at a great new cinema in town that specializes in new prints of film classics. It was at least the fourth time I’ve seen it. A chef d’œuvre. A masterpiece. One of the greatest films in the history of cinema. Period.
Continuing with cinephile directors, there’s Richard Linklater’s Everybody Wants Some!!, which hit the salles here last spring. After seeing the great Boyhood in 2014 and catching up with the rest of Linklater’s œuvre, I wasn’t going to miss this one, particularly as it was said to be a “spiritual sequel” to his implicitly autobiographical 1993 high school coming-of-age movie, Dazed and Confused, which is set in precisely 1976. So this one takes place in August 1980, at a (fictitious) south Texas state university, as the students arrive on campus for fall semester and get set up before classes begin. This is my generation—the students being three or four years younger than I—so I could, in principle, personally relate to the film.
The pic is generally entertaining—it’s a comedy, of course (trailer is here)—and retains one’s attention, but won’t make my Top 10 list of the year (due out in a couple of days). Positive facets: it’s a nice depiction of the era, with impeccable attention to detail; the soundtrack is great; and the girls are pretty, bien entendu, and particularly the love interest (Zoey Deutch) of the protag (Blake Jenner). Negative facets: it’s a trivial, irrelevant film, a self-indulgent trip down memory lane of the director. Personal reaction: the college experience depicted certainly wasn’t mine—not that mine was at all representative (I know for a fact that it was several standard deviations from the norm)—and I did not hang out with a crowd like the one in the pic. In fact, I am dubious as to the accuracy of a lot of what one sees in it, notably the casualness of the sex. My college in the 1970s was as freewheeling a place as one could possibly find but it wasn’t like what one sees in the film on this score. Linklater is no doubt embellishing his memories.
One great scene is the guys in the car singing The Sugarhill Gang’s 1979 hit “Rappers Delight.” Now it is unlikely that a bunch of white jocks in Texas back then would have listened to such music, let alone been able to sing it in unison, but that’s okay. It’s just a movie.