Time for the movies

CREDIT: Wisconsin film Festival

CREDIT: Wisconsin film Festival

Yo dawg, I heard you liked reading my blather on this site, so I put some more of my blather in this blather so you can read blather about my blather. Specifically, Wisconsin Film Festival blather.

My 2017 Film Festival begins tonight with Kati Kati, on which I was sold as soon as I read in the festival guide that it had notes of LOST in it. Saves me the trouble of mentioning the similarity in my post-screening review tweet, an art form I have come to really enjoy turning out after each show.

With that in mind, here's a list of my previous 140-character reviews if you need Netflix-queue fodder. (And links to the original tweets in case you're, y'know, a filmmaker who wants to retweet or cite the source, nbd.)

2012

GRANITO: HOW TO NAIL A DICTATOR (2011, B-): Yates' passion & compassion subsume what could've been a tight, thrilling narrative. #wifilmfest

JIRO DREAMS OF SUSHI (2011, A): A film of passion & care that feels poured into your eyes. Amazing transitions, glorious score. #wifilmfest

KILL LIST (2011, C-): Plot defined by one line of dialogue: "You're well off-list, here, man." Why does this film exist? #wifilmfest

LAST DAY AT LAMBEAU (2011, B+): Like TITANIC (we all know what sinks) but with better dialogue, Roman Empire-era intrigue. (@FavreFilm)

RAIDERS OF THE LOST ARK: THE ADAPTATION (1989, A-): A commitment to faithful execution. And yes, that includes Marion's dress. #wifilmfest

2013

THE FINAL MEMBER (2012, A+): Yes, funny, but not THAT funny, or merely crass. If I called it a touching film, would you hold it against me?

MUCH ADO ABOUT NOTHING (2012, A-): Lively and well-staged. Bravura performances: 1) Shakespeare. 2) Amy Acker. 3) Joss Whedon’s house.

MUSSELS IN LOVE (2012, A-): Better translated as PASSION OF THE MUSSEL. A delicate, loving consideration, with 2 surprisingly dark moments.

ROOM 237 (2013, B+): Film psychoanalysis both boggles & illuminates. Freud might say sometimes a continuity error's just a continuity error.

STORIES WE TELL (2012/3, A): Tablecloth pulls and false doors. We are all our own unreliable narrator, and could not be ourselves otherwise.

2014

COHERENCE (2013, B+): Slightly Whedonesque. Some continuity confusion, if that’s not too meta. Fun, will stick with me for a while.

DOSTOEVSKY BEHIND BARS (2013, A-): I’m biased, yes, but this film should be seen, and will challenge preconceived notions of life in prison.

LE WEEK-END (2013, B): Almost too breezy? No couple-fight really sinks in for true catharsis, save perhaps the last. Brilliantly acted.

R100 (2013, C+): Hard to rate as one film. Each thread had merit — including some hinted at but unpulled — but by the end, a frayed knot.

VILLAGE AT THE END OF THE WORLD (2012, A+): I hesitate to give perfect scores, but this doc is gorgeous, funny, sweet, sad, somber, perfect.

2015

THE CONNECTION (2014, B): La French HEAT; engaging, pretty, overlong, muddy (ethically complex?) & you want leads together more. #wifilmfest

DINNER, DRINKS, & ENTERTAINMENT (2015, B): A Goldilocksian trio, respectively under-polished, WAY over-polished, and just right. #wifilmfest

GIRLHOOD (2014, B): Excellent 90 minutes of real girl-power followed by 30 that undermine and struggle to restore it. Touré: [star emoji, which apparently doesn't translate well here] #wifilmfest

MERU (2015, A): Awe-inspiring, irreconcilable with human self-preservation. The realest and most fucked up North Face ad ever. #wifilmfest

THE RUSSIAN WOODPECKER (2015, A): Like Fedor’s mounting central conspiracy theory, this film builds layer after unfailing layer. #wifilmfest

TU DORS NICOLE (2014, C+): Cute geyser-as-Chekhov’s Gun, but for flirting with sur-/un-reality, this film could be more fun. #wifilmfest

2016

THE BLACKCOAT’S DAUGHTER (2015, B-): A bit choppy, but good bones. ♫ And I’m never going back / To my old schoooool #wifilmfest

JUNE FALLING DOWN (2016, A): The homemade spirit of CLERKS shot through with LOVE’S LABOUR’S LOST. Amazing, to the final shot. #wifilmfest

THE LOVERS AND THE DESPOT (2016, B): A fascinating story in real life, hamstrung on film by odd pacing & a limited perspective. #wifilmfest

OPERATION AVALANCHE (2016, A-): This████unlikely period piece████████ libertarian███BLAIR WITCH PROJECT████overlong in spots█████#wifilmfest

SERGIO HERMAN: FUCKING PERFECT (2015, B+): Dutch homer bias, but “David Fincher does a food documentary” plays a bit joyless. #wifilmfest