Second viewing.
I was well overdue to revisit this one, being the underrated and under-appreciated gem it is. Jessica Rothe understands the assignment — I’m not exaggerating when I say her performance is one of my favourites in recent memory. Elsewhere, craft shines through to remind you that movies are allowed to be fun *and* artful. We can have our Death Day cake and eat it, too.
Nicely proves the point that horror comedy requires a deft and precise blend of elements to work by, well, not striking that balance. Still, Samara Weaving turned up for work and managed to be funny by being openly annoyed by the proceedings.
I loved everything about this, except that it ended. Here we have Lynch’s love for The Wizard of Oz rendered textually, and to touching effect. One cannot help but think of Raising Arizona, but why wouldn’t one want to think of Raising Arizona? Casts a spell and you smile as it does.
Third watch – one final spin in cinemas.
Rare is the film that I adore at first blush but which gets better with each repeated watch. A remarkable achievement built on nuance and detail. I will revisit it frequently for the rest of my life.
Sophie Thatcher is a tremendous physical actor. To modify an old Kevin Smith joke: I would watch her play the shark in Jaws.
The rest of the movie isn’t so good BUT it comes very close to examining the uselessness of demarcating where memories start and stop being “real”, and it’s a shame it doesn’t go all the way. Guess I’ll just have to watch Aftersun again.
Once I got past my fury over this not being called ‘2 Den 2 Thieves’, I could just sit back and enjoy Gerry Butler (who I unironically love). Movies of this ilk are car commercials pretending to tell a story. Don’t ask me to explain further.
I had the great pleasure of seeing the only 70mm print in Australia. We are constantly handcuffed to our expectations, and it’s an aspect of humanity I find ceaselessly compelling. I try to be above it but therein are expectations nonetheless. And so I feel alive.
This movie made me feel alive.
Every frame is compelling, and I melted at the needle drop from the Vertigo score. Margaret Qualley is a generational talent. I’m high on this movie’s supply.
Melodramas aren’t really my bag. They very often create “twists” by withholding information rather than attempting to use your expectations against you. However, this one stays interesting enough thanks to the performances (and rather stunning visuals).
Second viewing.
Still my favourite movie of 2024 so far, and I liked it better this time. Mikey Madison is a force and every movie should be written for her.