Gaslight (1944)

After her aunt/guardian is murdered in their London home, Paula relocates to Italy. Several years later, she meets and falls for the charming Gregory, who has always dreamed of living in London so, despite her trauma, they move back to her English home together. But Paula becomes forgetful and paranoid -- misplacing items, imagining things, and hearing noises in the closed-off floor above. Her husband is impatient and she's frightened.

Now that the term "gaslighting" has entered into common usage to mean psychological manipulation -- basically denying a person's sane observations -- one can easily guess what's going on here by the title. It's a cruel story that I would've doubted could ever actually work just 20 years ago, but having witnessed the way that so much of the population now simply trusts what Fox News, internet trolls, Trump, podcasts, etc tell them rather than hearing out sources beyond their own bubble, I now know just how accurate this method can be, which makes this even more scary now than it was in the 1940s. Yikes.

B

Seance on a Wet Afternoon (1964)

Myra makes her living as a medium, hosting weekly seances for a small group of regulars. Her husband Billy is clearly devoted to the care of his wife, but whether it's out of love or duty is hard to tell; we do learn that Myra was in a bad way for a while, possibly due to the stillbirth of their only son Arthur. We meet them just before they enact a plan to kidnap the young daughter of a rich family for ransom and to boost Myra's credibility as a medium.

The mood, pacing, acting, script -- just everything -- is pretty near perfect. There was tension, but it never came off as false or unnecessarily stretched-out. We feel Billy's hope that maybe he can somehow wriggle out of the plan, but understand that's just not who he is when he gives in to his wife's insistence. I was especially glad that the child herself was neither bratty nor docile. She, like everyone else, behaved just as one would expect in the very odd but also strangely believable circumstances. 

A-

Cape Fear (1962)

Lawyer Sam Bowden is enjoying a cushy life when a Max Cady, a nasty piece of work from his past, shows up in town. Max has spent the last 8 years in jail studying the law and planning revenge on Sam for his part in putting him there. He's a truly scary dude who knows just how far he can go without putting a toe over the legal line. Bowden is aware that the law won't help him until after there's an actual crime and is not OK with the wait & see approach when it's his family at risk.

The tension is so thick that I had to take a break in the middle of watching. Very well done, but Max is also just incredibly depraved making it difficult to be entertained. The script is smart enough to let our minds fill in blanks rather than to spell everything out, but I guess my mind can be a terrifying place. I mean, when a visibly traumatized prostitute couldn't even talk about what he did to her, it stopped being fun.

B-

There's Something Wrong with Aunt Diane (2011)

Diane was the responsible driver in a crash that killed 8 people in two vehicles. Though she had a blood alcohol level equivalent to 10 drinks in her system, those closest to her refuse to believe it. They instead insist that there's another explanation: testing contamination or an underlying physical explanation.

I fully understand this need to protect your loved one's memory from a truth that would completely ruin it, but I don't get why anyone thought that this particular example was the most interesting one about which to make a movie. I'm guessing that the four dead children is such a horrific outcome that it was mistaken for a fascinating one.

C

Waiting for the Barbarians (2020)

The colonial magistrate in a remote desert outpost is enjoying quiet days of harmony with the natives. The small group of soldiers that are there to guard the outpost are often napping as there is no threat posed by the population. But then a colonel arrives with orders to uncover details about an impending "barbarian" uprising and his interrogation techniques eventually reap "information."

Mark Rylance as the magistrate delivers a nuanced performance, but he's the whole show here. I'd have preferred to have some insight from the perspective of the soldiers whose change in behavior felt out of nowhere to me. They went from an easy relationship the locals and their magistrate to monstrously treating them all like actual barbarians. I wanted to see it happen -- feel what they felt as their allegiances shifted. Was it just as simple as "following orders"? Well then, how would that account for the jeering and casual cruelties? Show me or lose me.

The parallels between this story and the current political tactic of name-calling and straight-up fabrication to gain influence ("they're eating the dogs! they're eating the cats!") was not lost on me -- basically, I know this can happen because I've seen it in 2020s America, but this film provided no insight as to the why. Just like the magistrate, I'm confused about what is gained by creating enemies where none existed.

C

Sundown (2022)

Neil is on vacation at a luxury Acapulco resort with his sister and her kids when news is received that his mother has died. Rather than rush back with the others, he pretends to have misplaced his passport in order to stay behind. He tells the taxi driver to take him to a hotel and checks in without question, even though it's clearly low-rent establishment in a dangerous area. And then, he just coasts: spending his days on the beach drinking, eating and romancing what's put in front of him. Within a few days he's no longer responding to calls and texts from home.

Though we are kept deliberately in the dark about what's going on with this guy, I couldn't help but root for him and I'm not sure this would've been the case if Neil were played by anyone other than Tim Roth. With very little dialogue, we can tell that he's not an asshole despite the obvious interpretation of his behavior. His quiet coasting continues even through a short stint in jail after he is implicated in a violent crime. We do get a concrete reason for his actions by the end, but I think I would've liked this every bit as much if there had just been no reason at all.

B+

Remarkably Bright Creatures (2026)

Widowed Tova is a custodian for her tiny seaside town's aquarium. She enjoys the work and has a special bond with their octopus, who has become an escape artist. When she's injured, the new-to-town Cameron is brought on to cover. Both Tova and Cameron are carrying trauma and wind up bonding despite their initial friction.

I really liked the characters here and identified with Tova's impatience and chosen isolation. I also believe that animals -- even when less intelligent than an octopus -- can often sense what we need and help us heal. But I also felt manipulated by the coincidences, even though there'd be little story without them.

B-

Jack (1996)

Jack has a rare disorder that causes him to age at 4 times the average speed and has been sheltered his entire life to spare him the bullying this would invite. But he's 10 now and his parents have agreed to let him join his peers in the fifth grade. Problem is: there's literally nothing interesting about Jack other than his disorder. Also, why does he act like he's 5 rather than 10? Are we supposed to consider that part of the disorder? Or are we just supposed to read it as "homeschool kids are kind of inept"?

This entire script is so tone deaf and dumb. I get that it's a magical situation, but this leans more toward drama than comedy so it should at least make me feel something other than irritation and boredom. I hated this movie so much and I was embarrassed for everyone involved.

F

Babette's Feast (1987)

Two spinster sisters selflessly head a small religious community in a Danish seaside village, having long ago chosen to serve their pastor father rather than to leave him for families of their own. A former hopeful suitor writes to beg them to help a Frenchwoman who has lost her entire family to war and, though they cannot hire her, they do bring her into their home. She quickly takes over the cooking and household budget, improving the lives of her benefactors.

This is, simply put, a wonderful story. I just love the way the villagers' initial trepidation of the feast Babette promises slowly melts away with each course and sip. That the joy of the indulgent meal also melts away long-held pettiness was exceptionally believable to me -- this world was meant to be enjoyed and shared!

Lovely.

A

Becky (2020)

I saw the sequel to this film last summer, but if I'd seen this first I wouldn't have bothered.

Becky is still in grief mode after losing her mother to an illness. When Dad surprises her with an impromptu getaway to their vacation home, she's momentarily excited until she realizes that his new girlfriend and her son are joining them. But then some bad dudes, having just escaped from prison transport, show up looking for a key that was hidden on the property years back and it everything goes sideways.

Though the deaths are inventively gory, it gets really repetitive. I also couldn't silence my mental frustration at Becky for not simply going for help.

C

The Legend of Billie Jean (1985)

Seemingly to get stunner Billie Jean's attention, Hubie steals then trashes her little brother Binx's scooter. Reasonably, Billie Jean demands that Hubie pay the $608 it will take to get the bike fixed but instead gets nearly raped by his father who, in turn, gets accidentally shot by Binx, which forces the siblings to go on the lam, becoming folk heroes to all of the wronged youths along the way.

The acting is terrible and the story takes the path of most ridiculousness at almost every turn, yet I know for a fact that I would've been way into this if I'd seen it as a teen when it came out. I doubt I would've chopped my hair off, but I definitely would've bought a "Fair is Fair" bumper sticker.

C

Steel Magnolias (1989)

The opening moments contain so much manufactured chaos and attitude that it serves as a terrible introduction to most of the characters. But get through that and the first scene in Truvy's Salon -- which feels lifted straight from the stage play: YOU get a character moment and YOU get a monologue and WE find out what Shelby's deal is -- and you'll probably enjoy this tearjerking treat that showcases female friendships.

B-

An Honest Liar (2014)

Documentary about James Randi, aka "The Amazing Randi." He became very popular as an illusionist, escape artist and prognosticator, appearing on television for decades. He became a particular favorite of Johnny Carson, especially when, in his later career, he concentrated his efforts on exposing those using magic to perpetrate fraud on the public.

A really fascinating man who did so much good, but it goes on a bit long. The final scenes focus on legal troubles concerning his boyfriend's citizenship, which let the wind out somewhat.

B

The Remains of the Day (1993)

I was in my 20s when I first saw this and I liked it a lot then, but it hits even harder now that I've got some mileage on me.

Stevens, as butler to a large estate, is all about his work; he is there to serve, not to agree or disagree. When Miss Kenton joins the staff as housekeeper, he recognizes her as extremely capable ("I'd be lost without her") while also being able to speak her mind in a way that he refuses to, even in private conversation. And they fall deeply in love, though the emotions are so bottled up that you'd not notice them from the outside -- in fact, they don't even notice that their love is reciprocated by the other until decades after they've parted.

In addition to the tragically muted love story, we've got a political B story about the lead-up to the second World War and the rise of Hitler. It's a scary time for the world with people making honest yet terrible errors leading to huge consequences. Basically, it's life: the personal moments shake a few people as violently as the worldwide events shake millions.

A

Midnight Cowboy (1969)

Joe Buck travels from his small town in Texas all the way up to New York City with dreams of making easy money as a gigolo. Problem is, he has no idea how to make that happen and his unguarded nature makes him an easy mark for absolutely everyone. At his lowest, one of the guys who did him dirty takes pity on him and allows Joe to crash at his place and they become a sad little team together.

The story is good. Less good are the disorienting flashbacks and artsy flourishes -- the whole "more is MORE" vibe it's got going on. If this could've stuck to the small, intimate story of two men managing to form a real bond for the first time in their lives and nearly pulling themselves out of the mire, it could've been magnificent. Instead, it just feels gross.

As for the acting: Jon Voight was a heartbreaker here, especially in the final scene, while Hoffman's work came off as hilariously ridiculous.

C-

Purple Noon (1961)

A French telling of Highsmith's The Talented Mr. Ripley, in which the lower class Tom Ripley is tasked by Philippe's father to find him and bring him home. Instead, Tom decides to tag along with Philippe for as long as possible, enjoying the high life he so craves. Eventually, of course, his welcome wears out and he has to get creative to keep the fun going.

Without a clear rooting interest, even a decent thriller like this just can't really have much of a lasting effect. Tom is the villain, but the idle rich he's duping could never be called innocents or heroes, so who really cares?

C+

My Old School (2022)

Brandon Lee was immediately marked out as odd when he enrolled in school as a 16-year-old. He dressed oddly, could explain advanced concepts that his classmates hadn't grasped, and just looked older than everyone else. These differences were explained away by his upbringing: traveling the world with his mother the opera singer meant his education was a more worldly one. Or it could be that this was just his second time at bat.

It's definitely different from anything I've ever seen before: it's a documentary involving the actual classmates and teachers, a good portion is animated, and the main subject delivers his tale in his own words, but with actor Alan Cumming lip syncing them because "Brandon" doesn't want to show his own face. Although I give it props for its offbeat telling, I found the story just weird rather than captivating -- like listening to gossip about people I don't know. I honestly got a little bored.

C+

A Private Life (2025)

Though obviously a successful psychiatrist, Lillian seems to be annoyed with humanity in general and is living a solitary life. Her son (a new father) only gets her attention when she needs something from him, which is also the experience of her ex-husband. After a patient dies from suicide, she learns that the patient's husband holds Lillian responsible and soon becomes convinced that it wasn't suicide.

This plays very much like a thriller, but that's obviously because we're seeing everything through Lillian's eyes. She feels threatened -- paranoid -- and very stuck in the life she's curated for herself. As she investigates the death of this patient, she can't help but re-engage with the world outside of her work and home. When all is said and done, she's still herself, but she's also an upgraded version of that person, no longer stuck. I thought it was brilliant.

A-

The Commitments (1991)

Jimmy Rabbitte has ambition -- he's so sure he's going to hit it big, he often practices being interviewed about his success. And when he hears Deco drunkenly singing at a wedding, he knows he's found the lead singer for a working class soul band. To almost everyone's surprise, the band turns out to be pretty dang good, thanks in no small part to Jimmy "The Lips" Fagan, who claims to have traveled the states, playing with most of the big acts (including Elvis).

Gary and I saw this in the theater back in 1991 and we bought the CD soundtrack soon after, it's that good. As we lost Glen Hansard this week and this was his first role, we decided to rewatch. We were both happy to find that it holds up as a joyful tribute to the power of music as escape and inspiration.

B+

American Graffiti (1973)

Curt and Steve are scheduled to leave for college tomorrow, but tonight is all about cruising and hanging out one last time. We follow four storylines:

1. Steve and girlfriend Laurie, the very much in-love "it" couple, as they contemplate breaking up to avoid the whole long-distance thing
2. Curt, the promising young man who isn't sure he's ready to leave, despite the fact that he's got a scholarship
3. Terry, the awkward friend who's entrusted with Steve's car, making it actually possible he could score tonight
4. John, the cool guy with the fastest car in town, tricked into driving around all night with someone's kid sister

Mostly, this is all feel-good vibes tied together by a great soundtrack and Wolfman Jack's distinctive voice that can be heard from everyone's car radio.

B