The Friday (11/13/2020)

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Kate Winslet, Saoirse Ronan: Ammonite (NEON)

My review for the Scarecrow blog this week, and etc.

Ammonite. “Mucus drips from the tip of Charlotte’s cold nose as she excitedly muscles a large rock out of the mud; you could hardly have a better measure of her journey from corseted wife to elbow-deep partner in discovery.”

Join us for another online session of Scarecrow Academy’s “The Art in Horror: Horror and the Director,” this week focusing on Antonia Bird’s 1999 film Ravenous. We’ll convene at 2 p.m. Pacific Time on Saturday, November 14; check the link at the Scarecrow Academy page to register for the free class. Oh, and I introduce the movie below.

At Parallax View we wrap up the 2000 Eyes project; my contribution this week is a review of Terence Davies’ The House of Mirth.

At my other blog, What a Feeling!, behold five more reviews from the 1980s: of Sollace Mitchell’s Call Me, a neo-noir with Patricia Charbonneau; Glenn Jordan’s Mass Appeal, a cutesy-priest movie with Jack Lemmon; Don Shebib’s The Climb, a mountain-climbing picture; Ken Cameron’s The Good Wife, an Aussie drama of lust with Rachel Ward, Bryan Brown, and Sam Neill; and Ron Howard’s Gung Ho, a Michael Keaton comedy I was way too easy on.

Mortal Queen-Verse (This Week’s Movies)


Saoirse Ronan: Mary Queen of Scots (Liam Daniel/Focus Features)

Links to my reviews published this week in the Herald and Seattle Weekly.

Mary Queen of Scots. “As anything other than an actors’ showcase, this Mary has a tendency to plod along.”

Spider-Man: Into the Spider-Verse. “If somehow those jokes could have been squeezed into a 90-minute package instead of a 117-minute feature, maybe Spider-Verse would have more zip.”

Mortal Engines. “There’s a lot to look at here, but not much to think about. The story beats are so broad and the characters so bland that this movie wears you out well before the big finish, despite the quirky touches.”

For Scarecrow Video’s blog, I contribute a Seasoned Ticket entry that includes something on Clint Eastwood (alas, I haven’t seen The Mule yet, not screened locally for critics) and Sondra Locke. Read it here.