One of the things about these delayed roundups is that it’s a chance to reflect, gain a sense of accomplishment. That can be good for avoiding those occasional downward spirals. It’s also an opportunity for readers to get reminded of things they either missed out on or what slipped by. With content flooding onto streaming services, it’s easy to lose track of certain releases, even the things that we want to watch. So, let’s catch up on a few things that have happened.
June began with a retrospective on a cult classic called Phantom of the Paradise. This is a rock opera from director Brian de Palma inspired by various works. Obviously, The Phantom of the Opera is in there but so is Goethe’s Faust, and allusions to Edgar Allan Poe as well as The Count of Monte Cristo. It’s a strange movie that shows the beginning of a director’s stylistic inclinations, cinematically and narratively. The visual choices that define de Palma’s career mesh with thematic elements which will flavor his many films. However, for all the potential on display, it failed miserably. Yet, there’s a beauty to this mess if one is willing to see it.
Phantom of the Paradise Sings of Glorious Failure | Film Obsessive
Phantom of the Paradise Sings of Glorious Failure | Film Obsessive
After that I got two movies to review which couldn’t have come at a worse time. In June one of my best friend’s passed away, so I didn’t exactly look forward to watching movies centered around death. Despite that, perhaps hoping the films might be therapeutic, I gave them an honest watch. The thing is, I agreed to see them before my buddy died, so it seemed wrong to hold their themes against the movies. Still, mood certainly has a powerful effect on the way we feel about art, and I put off watching these flicks for a tick or two because I didn’t want my crooked emotions ruining the odds of a fair evaluation. In that regard, I was very fortunate for the kindness of the PR people who sent me digital screeners when funeral demands meant I couldn’t attend the press viewings.
The first film is a kind of modern fairy tale about mortality called Tuesday. It was nice to see something based on an original idea if nothing else. The general premise is that Julia Louis-Dreyfus is mother to a dying teenager. Death arrives in the form of a mystical macaw. I think most people can guess the rest, but there is a strange catharsis provided by the movie. What helps is that the picture is never cheesy. It handles its material with seriousness and good humor rather than snark cynical sarcasm, and that honesty allows the movie to touch on the difficulty of letting go as well as the necessity of mortality. It isn’t an easy film to watch even if you haven’t just watched a friend die, but Tuesday tells a tale that needs retelling every so often.
Tuesday Makes Mortality Palatable | Film Obsessive
The first film is a kind of modern fairy tale about mortality called Tuesday. It was nice to see something based on an original idea if nothing else. The general premise is that Julia Louis-Dreyfus is mother to a dying teenager. Death arrives in the form of a mystical macaw. I think most people can guess the rest, but there is a strange catharsis provided by the movie. What helps is that the picture is never cheesy. It handles its material with seriousness and good humor rather than snark cynical sarcasm, and that honesty allows the movie to touch on the difficulty of letting go as well as the necessity of mortality. It isn’t an easy film to watch even if you haven’t just watched a friend die, but Tuesday tells a tale that needs retelling every so often.
Tuesday Makes Mortality Palatable | Film Obsessive
Still, as well put together as that movie was, the material weighed rather heavily. Anyone intending to watch that should line up a palate cleanser of some sort for afterward. My plan involved throwing in a kind of coming-of-age comedy called Queen Tut. Little did I know this would be about death as well.
That said, Queen Tut centers around moving on and how memories of loved ones can fuel us to rise above. The world is a grim place but there’s no need to drown in the darkness. The story follows a young person named Nabil who moves to Canada after their mother’s death. Adrift in a strange land, he encounters Malibu, a grand dame of the drag scene who has also recently lost a loved one. The two heal one another, especially as Nabil realizes the drag star shining inside. It’s a wonderful film full of charming comedy and moving moments.
Queen Tut Slays Beautifully | Film Obsessive
That said, Queen Tut centers around moving on and how memories of loved ones can fuel us to rise above. The world is a grim place but there’s no need to drown in the darkness. The story follows a young person named Nabil who moves to Canada after their mother’s death. Adrift in a strange land, he encounters Malibu, a grand dame of the drag scene who has also recently lost a loved one. The two heal one another, especially as Nabil realizes the drag star shining inside. It’s a wonderful film full of charming comedy and moving moments.
Queen Tut Slays Beautifully | Film Obsessive
Shortly after I received the screener for the directorial debut of Jennifer Esposito. Fresh Kills is about women trapped in the mafia life by unspoken rules imposed by society and criminality. It centers on the two daughters of a rising mob boss and the very different paths they take. Fresh Kills is a strong debut for writer-director Jennifer Esposito who also plays the young ladies’ mother. The movie may not be perfect. However, it does tell a familiar story from a fresh point of view. Furthermore, the performance by Emily Bader as Rose, the main daughter the film follows, is outstanding.
Fresh Kills Leaves the Heart Beating | Film Obsessive
Fresh Kills Leaves the Heart Beating | Film Obsessive
Literally the day of my friend’s burial, I had to go to a press screener for Ultraman: Rising. Rather than stick around for backyard beers with his brother and other buddies, I jumped downtown to catch this mediocre installment of a long running franchise. Though some tidbits shined, the overall story and presentation felt lacking. Ultraman: Rising offered nothing new or compelling, yet on the drive home I started overthinking whether or not I disliked the movie or if my mood might be affecting the appraisal.
Consequently, this review ended up taking way too long to write as I oscillated between degrees of displeasure. Eventually, though, I settled on calling the movie mediocre. My full review does a better job articulating the flaws as well as pointing out the flecks of gold.
Ultraman: Rising Doesn't Get Very High | Film Obsessive
Consequently, this review ended up taking way too long to write as I oscillated between degrees of displeasure. Eventually, though, I settled on calling the movie mediocre. My full review does a better job articulating the flaws as well as pointing out the flecks of gold.
Ultraman: Rising Doesn't Get Very High | Film Obsessive
After that, I somehow ended up with another movie about death. Apparently, it was the inescapable theme of June of 2024. That said, this was a comedy, so the lighthearted look at the grave hit a homerun.
From writer-director David Duchovny (The X-Files), based on his book “F*ck Bucky Dent”, comes a charming story called Reverse the Curse. The movie is basically about an estranged father and son reconciling as the old man dies. That may be a familiar plot, but the delight here are some blunt one liners about life. It’s a movie about admitting failure in order to find forgiveness. Meanwhile, an absurd plot about faking wins for the Boston Red Sox unfolds. Reverse the Curse really knows when to switch gears, only turning serious when the material needs it.
Reverse the Curse Hits A Double | Film Obsessive
From writer-director David Duchovny (The X-Files), based on his book “F*ck Bucky Dent”, comes a charming story called Reverse the Curse. The movie is basically about an estranged father and son reconciling as the old man dies. That may be a familiar plot, but the delight here are some blunt one liners about life. It’s a movie about admitting failure in order to find forgiveness. Meanwhile, an absurd plot about faking wins for the Boston Red Sox unfolds. Reverse the Curse really knows when to switch gears, only turning serious when the material needs it.
Reverse the Curse Hits A Double | Film Obsessive
The month closed out with a trip to the Alamo Drafthouse in Chicago. There to see a screener for Maxxxine. This final part of the trilogy that director Ty West started with X was something I looked forward to seeing. And it was one of those press screeners where they pulled out, if not all, a handful of stops. Signature Maxxxine cocktails on the house, free t-shirts, sparklers—they really wanted us to have a good time. Although I have yet to really understand the movie themed star-shaped sparklers. The packaging says something about how she’s gonna shine, but fuck-all if it made sense at a glance.
Personally, I think the film is fantastic. X, Pearl, and Maxxxine all feed together into one fantastic experience. While I have seen a few negative reviews, any criticism of Maxxxine tends to be from people whom I strongly doubt are familiar with the aesthetic not to mention the time period. That’s because nostalgia bait for the 1980s hasn’t focused on the grittier aspects of the decade. Maxxxine marvelously evokes not only the feel of 80s slasher cinema, neon-soaked VHS dripping blood, but it also reminds of the decade’s darker side. One critic complained Maxine showed no character growth between her appearance in X and this film which is utter horseshit. Maxxxine is one of the few horror films to show a marked difference in character behavior between sequels, that sharpened final girl more prevalent in modern fright flick follow ups.
For more on why I think the movie is fabulous check out the full review below. This is another one that ended up here, and I’m partly hoping that could become more regular. It all depends on how much PR companies acknowledge this site. I can’t blame them for thinking there’s no point in wasting a seat on someone without a lot of viewers. As such, I’m trying to get in the social media game a bit more.
REVIEW: MAXXXINE is Marvelous - Honesty Is Not Contagious
Personally, I think the film is fantastic. X, Pearl, and Maxxxine all feed together into one fantastic experience. While I have seen a few negative reviews, any criticism of Maxxxine tends to be from people whom I strongly doubt are familiar with the aesthetic not to mention the time period. That’s because nostalgia bait for the 1980s hasn’t focused on the grittier aspects of the decade. Maxxxine marvelously evokes not only the feel of 80s slasher cinema, neon-soaked VHS dripping blood, but it also reminds of the decade’s darker side. One critic complained Maxine showed no character growth between her appearance in X and this film which is utter horseshit. Maxxxine is one of the few horror films to show a marked difference in character behavior between sequels, that sharpened final girl more prevalent in modern fright flick follow ups.
For more on why I think the movie is fabulous check out the full review below. This is another one that ended up here, and I’m partly hoping that could become more regular. It all depends on how much PR companies acknowledge this site. I can’t blame them for thinking there’s no point in wasting a seat on someone without a lot of viewers. As such, I’m trying to get in the social media game a bit more.
REVIEW: MAXXXINE is Marvelous - Honesty Is Not Contagious
And that was June, for the most part. My personal life took a bad hit with the loss of my friend. Then for some reason every movie I reviewed tended to be about death, loss, mortality, and grief. I would’ve preferred more comedy in all regards. Whatever the case, June is in the past. Time to move forward.
Remember to stay safe, always test unfamiliar firearms before using them, and keep weird.
Cheers!
Remember to stay safe, always test unfamiliar firearms before using them, and keep weird.
Cheers!
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