The Lebanexican

“Anora” and “Conclave” are both movies that are technically flawless- they both tell riveting stories and are remarkably well-executed. Up until the last few minutes, I was impressed, but my heart wasn’t in it. But by the end, I was in tears. Entertaining, thought-provoking and evocative? Now that’s a good movie.

I still don’t know if “Conclave” hits different for Catholics and non-Catholics. I was raised Catholic and attended mass every Sunday. I know that black smoke indicates that the conclave hasn’t voted on a new pope yet but that white smoke means a new pope has been chosen. But I’d also say that “Conclave” is appealing as a political thriller, showing machinations for power behind closed doors. Surprise- it’s not all that different whether in D.C. or the Vatican. Votes are cast, sides are taken, then quickly realigned after old information is brought to light. Things happen quickly, and Edward Berger is careful with both his direction and script to not cast anyone as entirely hero or villain (Stanely Tucci also makes sure of this). Ralph Fiennes shines as the bishop leading the conclave. He also comes to embody a central theme of the film (a central theme to all theistic religions), which is doubt. He implores the cardinals to embrace uncertainty as they make their choice. And, at the end, a candidate is chosen who best embodies-literally- uncertainty and embrace of one’s calling. The final scene produced an audible gasp when I saw it in theaters.

Sean Baker is a filmmaker whose films feel almost like documentaries. “The Florida Project” was a brutal look at people living on the margins of DisneyWorld, the happiest place on Earth. And so “Anora” treads similar ground, showing Annie, a young woman hustling as an exotic dancer in the wealthiest place on Earth and returning home each morning to a bedroom in a small house she shares with her sister. The first half of the story shows the whirlwind romance of Annie and Vanya, the failson of a Russian oligarch who impulsively proposes, in a bid to gain U.S. citizenship.The second half of the film is where things get very interesting, as Vanya’s family sics their goons on him to annul the marriage- but first they have to find Vanya, who’s run away just as impulsively as he proposed. So it becomes a chase across Brighton Beach, the little Russia of Brooklyn. Baker films everything with the propulsiveness of a thriller- where will Vanya be found, and when, and by whom? At the heart of the story is the title character, brilliantly played by Mikey Madison. She has scenes where she gets to shout and play big emotions. But in the final scene, once the whirlwind of the last week has calmed down, we see her in a quiet moment of vulnerability. It’s gutting, and it’s why “Anora” is elevated from madcap chase film to greatness (due also to the subtle acting of Yura Borisov).

Sticking the landing is so important- it’s the difference between good movies and great ones. It’s what takes “Conclave” and “Anora” from good to great.

I’m glad to see I’m not alone in my very mixed reaction to Brady Corbet’s “The Brutalist”. Dana Stevens at Slate summarized my thoughts so well- admiring the ambition, the score, the sweeping stone architecture and green landscapes, and of course, Adrien Brody’s stunning performance. But, after nearly 4 hours, what does it all mean? Like a shipment of concrete early in the film, the movie really goes off the rails in the last hour. Especially the ending.

And I couldn’t help but compare “The Brutalist” to “A Real Pain”, which I found much more satisfying. They’re not in conversation with each other- one is an epic, take-me-seriously-as-an-artist film, and the other is a small, sweet movie about two people bonding on a trip together. And yet what connects them is the common theme of intergenerational trauma, namely among Jews in America. Dave and Benji are cousins who travel to Poland to honor their grandmother, a Holocaust survivor, and although they’re very different on the surface, they both inherit Grandma’s real pain in their own ways- Dave by being OCD and neurotic, and Benji by being a recent survivor of a suicide attempt. He’s not doing well. The movie ends as it begins, with Benji sitting in the airport, lost in thought. His jourey has just begun.

At the end of “The Brutalist”, the protagonist’s niece shares an aphorism of his, which to paraphrase, goes, “It’s about the destination, not the journey”. What is this final statement about? The niece emigrated to Israel. Are we to believe that Israel is the ultimate destination for Jews everywhere? Yes, Laszlo had a difficult time in America, dealing with alienation and anti-semitism. And from the look of the final scene of the film, a celebration of his career near the end of his life, he was the architect behind many structures in America. Was America the destination where he was able to fulfill his ambition? That blunt final statement, at the end of a long look at Laszlo’s new life in America, feels out of place after a movie of such lofty ambitions. And I won’t get into the film’s Italian interlude, which I found unnecessary and the beginning of the film’s undoing. It shows a lot, but what does it say? I’m not sure it knows.

When I walked out of the theater after seeing “Emilia Perez”, I thought, that was either fantastic or terrible. I knew I had seen SOMETHING. Zoe Saldaña’s acting was marvelous, and sometimes bad projects happen to good actors. After seeing clips of the film that highlight Ms. Gomez’s less-than-perfect Spanish, what I noticed was not just her rusty grasp of the language but the terrible script she was performing. Spanish is also my second language, and I’ve lived in Mexico. So to my ear, something was not quite right. And then I heard the film’s casting director say that there was no Mexican talent to play these Mexican roles (she has also spoken about how she worked around Ms. Gomez and Ms. Saldaña’s not being Mexican).

Similarly, Mexican cinematographer Rodrigo Prieto, Martin Scorcese’s DP on “Killers of the Flower Moon” and others, has criticized the lack of authenticity in the movie (see the interview selection above). Scorcese worked hard to ensure that KOTFM incorporated Osage voices. He knew the real story was important to them, and he wanted to get it right. Compare Scorcese’s approach to that of Jacques Audiard, who thought he could recreate Mexico in France, put the script through Google Translate, and tell a Mexican story with an important Mexican theme without consulting anyone from the country.

All this aside, as a story, as a musical, are the songs, the acting, anything else, good about “Emilia Perez”? The script is weak, the songs are forgettable, and the acting leaves much to be desired. Oh, and Manitas isn’t a name you’d ever hear in Mexico. Híjole.

This is only the 5th year I’ve been writing about the best in TV in addition to the best movies of the year. There is so much good television to write about- some series below have been featured before, and others are new (at least to me). Read about the best TV of 2020, 2021, 2022, and 2023.

The Bear: I finally got to watch all 3 seasons of The Bear, and if you think of it as a drama and not a comedy (category fraud be damned), it is indeed a very, very good show. Season 3 was released this year, and although critical consensus was mixed, I enjoyed it all. Season 2, however, has moments of transcendence, mainly in the episodes “Honeydew” and “Forks”. In “Honeydew”, we get to see Marcus, played by Lionel Boyce, discover a sense of purpose and discovery while training in Copenhagen. And in “Forks”, perpetual kid Richie, played by Ebon Moss-Bachrach, also finds a higher calling in the mundane, namely, polishing forks. If you’ve ever known anyone like Richie, it’s especially heartwarming. There’s hope for everyone. The Bear is a fundamentally optimistic show.

True Detective: Night Country: Each episode of this miniseries on HBO was chilling- pun intended. It was a mystery, a meditation on life at literal extremes, and an opportunity for acting powerhouses Jodie Foster and Kali Reis to show their stuff. The mystery is satisfyingly resolved in the end, and we actually come to miss the small, fictional town of Ennis, Alaska and its inhabitants.

Mr. and Mrs. Smith: Action, love, gorgeous locales and underlying suspense- will things unravel and how- made Mr. and Mrs. Smith an entertaining, well-acted take on the spy genre. I expected Donald Glover, AKA the young Lando Calrissian, to be great, but I was pleasantly surprised by Maya Erskine, who more than proved herself up to the task of playing spy/newlywed. If there is a second season, I’ll miss the original couple. But the concept definitely has legs.

Somebody Somewhere: The final season of this delightful little show made me alternately giggle and cry every week. Bridget Everett, in her hometown of Manhattan, Kansas, presents us with a sweet portrait of life lived in the margins- people who find happiness in middle age but just outside the norm (gay, divorced, unmarried). It’s an ode to friendship first and foremost.

A Man on the Inside: This one didn’t just make this list because the exteriors were shot at the gorgeous building pictured above, just a 20 minute walk from me. But I am partial to movies and TV shows set in beautiful San Francisco. In addition to the setting, A Man on the Inside gives beloved character actors like Stephen McKinley Henderson and Margaret Avery a chance to shine. But it all works because of the charm of Ted Danson as a retiree who’s happy to be useful again as a detective “on the inside” at a retirement home. It’s highly bingeable.

Dishonorable Mention: Disclaimer is a classic example of a show that was too showy for its own good. Prestigious director, prestigious star, and an overwrought script with excessive narration and overdone photography. Sometimes, bad movies happen to good actors. Sadly, this is an example that the same can happen in TV.

The close of the year is time to reflect on the best movies of 2024- the most original, most audacious, most thoroughly entertaining. Read on below for the best of the year, and catch up on previous years: the best movies of 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021, 2022, and 2023.

Dune 2: Seeing this epic sequel in a big, packed theater in March, with that soaring score by Hans Zimmer and stunning visuals (and getting the promotional glass seen above) was a thrill. It’s the rare movie that becomes an experience. Dune 2 immerses you in a world of intergalactic intrigue; it’s the rare sequel that may surpass the original. Not made to simply make the studio richer, it furthers the story of Paul Atreides and Arrakis. The 2+ hour run time? It flies by.

Thelma: Older people are rarely seen in the movies beyond supporting roles as loving grandparent. Thelma is that rarest thing, an edge-of-your-seat thriller with a nonagenarian protagonist played by June Squibb. Thelma is determined to seek revenge against a scammer. Like any well-told story about revenge-seeking good guys against bad guys, Thelma is ably supported by a ragtag band of friends, along with her loyal grandson. This one is entertaining and a breath of fresh air.

Hitman: Glen Powell plays multiple hitmen in this comedy/action movie/sex romp. In addition to the many hitmen he portrays in his work as a freelance law enforcement officer ensnaring wannabe criminals, Powell also plays the protagonist, an ordinary community college professor who relished playing the role of a dashing hitman. He looks like he’s having a lot of fun, and it shows.

Woman of the Hour: If Woman of the Hour looks and feels a lot like Zodiac, it’s because of the expert hand of first-time director Anna Kendrick. She also stars in this feminist take on the incredible true story of the serial killer who evaded authorities long enough to appear as a contestant on “The Dating Game”. Kendrick takes the fear women feel walking to their car late at night and amps it up for the duration of this terrific, well-acted thriller. I hope to see more movies directed by her.

The Substance: I had to watch this one at home, with all the lights on, because the term “body horror” creeped me out. I’m squeamish. But although The Substance is absolutely horrifying at times, it’s worth it. What a bold vision from Coralie Fargeat. Visually stunning (it really feels like a Benny Benassi music video), it’s a fierce statement about aging, youth, and the importance of both in Hollywood, but also to women everywhere. What would you do to regain lost youth? Demi Moore shows us to devastating effect.

Dishonorable mention to Gladiator II, which, unlike Dune: II, proves that some sequels only exist as cash grabs by the studios. If it has nothing to say, why make it? Denzel Washington was the only saving grace.

The year is almost over, and my list of the top 5 movies of 2023 is ready, representing a good mix of movies from the spring, summer and fall. My favorites from years past are a good window into what was happening then. Here they are too, the top movies from: 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021 and 2022.

Past Lives: Rewatching the trailer just now, I got tears in my eyes. AGAIN. That’s the genius of this movie. I like movies that feel sweeping and cinematic, that expertly weave music and visuals together with acting and plot to tell a story that could only be shown on film. And that’s what “Past Lives” does. Could it be as effective as a stage play? Or a novel, or album? No, the movie uses the language of cinema to show how people from our past shape who we are, and how they continue to reshape us moving forward. The directing, writing, and music stand out here, but so does the acting, especially Teo Yoo as the grown Hae Sung.

Killers of the Flower Moon: Hesitant to sit and watch a nearly 4 hour movie? Yeah, so was I. But I’m so glad I went to see “Killers of the Flower Moon” in the theater, because it was stunning. It’s remarkable that it was directed by an 80 year-old man, since it pulses with the verve and confidence of a vibrant, young filmmaker. But perhaps only Martin Scorcese could tell a story of pure evil that shows the confluence of greed and stupidity at the heart of the American story. The movie’s horror creeps up on you, and is largely told through the beautiful acting of Lily Gladstone. As an added bonus, Jason Isbell, Sturgill Simpson and Jack White are all in the cast, among other musicians.

The Holdovers: Alexander Payne’s latest has no bells, no whistles, no special effects or nifty narrative techniques. It just tells a simple story remarkably well, about three seemingly-different people thrown together by circumstance who ended up finding deep connection with each other. And, although it’s shot to evoke the 70’s in every way, what could be more contemporary than a story about lonely people coming together? Dominic Sessa in particular is a real standout.

The Killer: Push past the first 20 minutes of this movie, where Michael Fassbender’s protagonist speaks in voiceover about what it takes to be a hired gun. It’s slow and a bit pretentious. Are we really going to hear this guy’s dumb thoughts for the next 2 hours? No, David Fincher has another chilling action thriller in store. I love his style, his way with action scenes, and the Trent Reznor drumbeat pulsing in the background of all his films. It’s that element that made “The Killer” irresistible. That, and a juicy scene with Tilda Swinton.

Barbie: What can I say about “Barbie” that I didn’t already say in this post where I felt I had to defend my love of the movie from haters (mostly over a certain age) who were astonished that someone smart like me could actually like Barbie? My defense was twofold: 1) the movie is actually more incisive and clever than you realize, since it was written and directed by Greta Gerwig and 2) it’s just fun. That’s okay! A movie that has a lot to say and is a good time is a damn good movie to me. And I already can’t wait to see the musical performances from “Barbie” at the 2024 Oscars.

Special shout out to Mexican cinematographer Rodrigo Prieto, who left an unmistakeable mark on 2 of the films on this short list, “Killers of the Flower Moon” and “Barbie”. Without his eye, they wouldn’t have been as good. It’s that simple.

It’s time to review the very best television from 2023- the best, at least, in my humble opinion. This is a mix of shows lauded by many (*cough* HBO *cough*) and some hidden gems that were too good to miss. Below are my top 5 of the year:

Shrinking: I loved the relaxed, neighbors hanging out with neighbors vibe of “Cougar Town”, and “Shrinking” has that exact same feel- a disparate group of colleagues and neighbors forming a found family and supporting each other through major and minor ups and downs. The acting is superb, with funny turns from Harrison Ford, and an utterly delightful Jessica Williams, among so many others. I’m not sure where they can go in Season 2, but I know I want to spend more time in this lovely Pasadena community created by Bill Lawrence and Brett Goldstein.

Ghosts: I’m so glad I started watching this show on regular, old network TV. “Ghosts” is proof that “Abbott Elementary” isn’t the only good half-hour sitcom on network TV right now. It also manages to be funny and heartwarming with no laugh track. The characters are unique and well-drawn, with each episode focusing on a different ghost’s backstory, and how it connects to the present day. Don’t sleep on it- it’s totally charming.

The Last of Us: This show needs no support, not only because it has bears the HBO Sunday night mark of excellence, but also because it has a built-in audience of gamers who already knew and loved the characters and story. Well, I didn’t know the original, but I quickly fell in love with the bleak world of the show. Yes, there has been a lot of post-apocalyptic entertainment lately, like “Station Eleven” and “Leave the World Behind”, but this one isn’t as bleak as it seems. The world it portrays is cold and forbidding, but the father/daughter bond of Joel and Ellie at the heart of the show infuses the action with hope. At the center of this awful, new world are stories of love and human connection (and occasional bursts of action and zombies).

Daisy Jones and the Six: This show was a little uneven, a tad soapy at times, but when your story is all about musicians, the music better be good. And the music in “Daisy Jones and the Six” was very, very good. After I watched it, I played that soundtrack- the Aurora album whose creation is the heart of the story- on repeat. Besides catchy, Fleetwood Mac-inspired tunes, the show also charts the rise and fall of a pop rock group. It’s a story perfect for those of us who consider “Almost Famous” and its behind-the-scenes look at a ’70’s rock group’s tumultuous tour a favorite. Riley Keough was especially good.

Hijack: This show should come with a warning: do not watch if you have high blood pressure. Or, in my case, “Hijack” might have elevated my blood pressure to an alarming degree as I watched every agonizing new episode this summer. I wasn’t sure if I could continue. But the story was so taut and suspenseful, and Idris Elba so compelling, that I couldn’t resist. It all might be incredibly implausible, but who cares? It was like watching a great action movie every week.

Noteworthy:

Normal People: Wow. I binged this in three days, which I rarely do. What an achingly lovely portrayal of first love. It’ll put you through the ringer for its raw portrayal of abuse and suicide, but it also manages to be tender and real. And I finally get the Paul Mescal hype. I.Get.It.

If you had told me a year ago that I would go not once, but twice, to see Barbie in theaters, I wouldn’t have believed you. I’m not a girlie girl. I don’t love pink. But when friends proposed seeing the movie on opening weekend, I said yes. It just sounded like fun. Plus, Greta Gerwig was involved.

And fun is what I got. I knew Greta Gerwig would do something clever with “Barbie”, but I was totally delighted by what I saw. The first 20 minutes start off as a movie about a doll, but as the plot develops, things get more interesting. “Barbie” gets both funnier and deeper as it goes on- culminating in both a rock ballad sung by Ryan Gosling as Ken and a touching scene between Barbie and her creator where she ponders what it means to be a person. I loved it. I’ve now seen it twice.

It seems to me like the movie is resonating with younger views (sure, let’s call me and my 40-something friends young), whereas older women are more critical. Can they not allow themselves the pleasure of enjoying something frivolous? I am happy to let people know that this movie has unexpected depth. But I’m equally ready to defend its humor, too. It’s just fun. Allow yourself two hours to be swept away by a story that’s silly and sweet. Plus, it’s made by women, for women. Isn’t that enough?

During the summer, I diligently watched “The
Wire”, going at a rate of one episode per night. I stuck with it
during the not-so-great season 2 and made it through season 5 just to see how
it all ended. But season 1 and 3 were phenomenal. I’m reminded of a college
professor who said, about the movie “Traffic”, which had just come
out, that Steven Soderbergh could have written a thousand op-eds about the drug
war. Instead he created a 90 minute piece of art to illustrate it. David Simon
left journalism to tell a multi-faceted tale of Baltimore through the eyes of
its poorest citizens and the police officers who play cat and mouse. What they
all have in common? Drugs.

You can understand, on an intellectual level, that the drug war is a failure
and that it has devastated the inner city. But you don’t truly grasp the human
cost until you see it play out in this look at Baltimore. From local politics,
to the drug addicts of the projects, to the courts, to local police, to public
schools, and more, “The Wire” shows it all. A brilliant cast brings
the stories of this world to life- there is not a false note among any of them.
A particular standout is Michael K. Williams as Omar, the gay Robin Hood of the
‘hood who strikes fear into the heart of the criminals of East Baltimore.
Watching him on the show just made me miss him and all the great work he could
have done.

The show isn’t without its flaws. As I watched seasons 1 and 2, I kept
wondering, where are the women in this world? We have one police officer, and
an attorney. But this is largely a men’s world. This is just something to
accept as you watch. It’s a testosterone-driven world. Also, we spend a lot of
time with cops in this world. Is “The Wire” just copaganda, looking
at inner city crime and asking us to sympathize with law enforcement at every
turn? This might be true if all we ever saw was the law enforcement
perspective. But we see the drug trade from every aspect. “The Wire”
shows Baltimore and all its flaws from every angle, from the most powerful to
the least. I’m so glad I finally watched it.

Maybe next year I’ll finally watch The Sopranos?