To be completely straightforward, I have been incredibly lazy this summer. I mean, I have had some very busy moments and have been working all summer, but I really didn't do anything outdoorsy or get to travel anywhere. On my off moments, I spent most of it indoors either working, reading, or watching movies; all of which I am a fan of, but it was still pretty lazy of me, and though I got some great experiences out of it, I can't endorse that kind of lifestyle for anyone generally interested in a great summer experience.
So (clap!), let's get down to it. What wasted my summer, you ask? Well, let's start with France, shall we? Few things took up my time this year like France managed to do, and whether it was a slew of movies I parked myself in front of, or the great experiences I had with some really wonderful comics, it was this stuff that unintentionally dominated my palate for the past few months. For the longest time I had always been more familiar with Japanese cinema than any other, and even in what I feel is a reasonable knowledge of some Hong Kong and European film, France, though my favorite of what I knew, still didn't occupy a very large room in the stupid warehouse in my brain that stores all the garbage I pick up on a regular basis. That isn't to say I didn't love French film (I still know more about their comics than anything else that country ever produced), I just didn't know all that much about it. Outside of a few directors I know particularly well, I still didn't explore their cinema as randomly as I do with Japanese film up until the past few years or so; this summer though, I got a little stuck and just wanted to see more.
I try my best, on this blog, to stay positive about the material I write about. For every article I write on something I love, there are at least ten more in my head written about stuff I generally didn't enjoy or thought was straight-up awful. Many of the films on this list, while not terrible, just didn't exactly warrant posts of their own; a few of them did, and there are some drafts of articles about them, and I really meant to finish them, but for some reason or another they fell out of focus, or the context of the original articles didn't apply anymore as time would go by and they sat in my drafts folder. Some of it might still see some life beyond this post (some revisited works did!), but some of these works have been shoved to another room in my brain full of shit I love but don't have time or the proper context to talk about (I'll post a diagram of this thing sometime, I promise).
Criminal Lovers, In The House, A Curtain Raiser, A Summer Dress, Under The Sand, Water Drops On Burning Rocks; I pretty much really really enjoyed all of these. I don't want to get into too much detail, as I plan on giving François Ozon his very own article, especially in anticipation of his newest film, Young & Beautiful (Jeune & Jolie), but suffice to say, he has become one of my favorite directors over this past season.
Read My Lips, by director, Jacques Audiard; I admit that I missed last year's Rust & Bone, but if Read My Lips is any indication of Audiard's work, I am pretty pleased with that and am willing to take my familiarity a step or two further and check out what else his modest-ish body of work has to offer. It stars Vincent Cassel and Emmanuelle Devos (the latter I am not too familiar with, though the former is a personal favorite) in a sort-of crime, sort-of maybe romantic film. It's all played out very well, with believable performances from both actors, and although the story was a little bit of a stretch, I still enjoyed it once I was in. Some of the problems were of a scripting nature, as I said before, it all felt well acted, but I would call it a solid B.
Little White Lies, Park Benches, The Players, and The Lookout; this is the part where we start getting into large casts or well known actor territory. Little White Lies, by Guillaume Canet, was pretty much both of those concepts; a summer movie in and of itself, Canet's third full-length directorial outing focused on a group all of friends, all played by currently famous French actors, still going on vacation after one of them gets in a very serious, drug and alcohol influenced auto accident that leaves him mostly paralyzed and disfigured in a hospital bed. This wasn't a bad movie at all, and for all of it's star power, something that generally doesn't do anything for me, the cast worked very well together, and I bought was the story was trying to sell me. Park Benches, on the other hand, bored the shit out of me. It wasn't terrible, but it dragged like a bag carrying all of the actors in that movie. There is a gag-laden, extended third (or fourth? I couldn't keep track) act in a hardware store that I thought was never going to end, and the payoff wasn't as such that I cared too terribly what happened. The Players, starring Jean Dujardin and Gilles Lellouche (reunited after Little White Lies) was an omnibus film from several of France's lofty directors pool, all focused on the concept of infidelity. Quite a few of these were funny, a couple were not, but as a whole experience, I would have preferred these were all individual shorts (and maybe they were somewhere) that I could have seen on a weekly, serialized basis, rather than all in one go. The Lookout was, meh, a movie. It starred Mathiew Kassovitz, who I am still pissed at for never making anything as good as La Haine ever again. It's a blockbuster, and it was okay as that, but it didn't stick with me; like Ultimate Heist, I really can't even remember what happened.
Anaïs Demoustier, did a pretty believable job as a chic, twenty-something, student prostitute, and I liked her performance more in Elles than I did in Sweet Evil, which was a much sillier movie, despite it's serious intent and general lack of humor. Q is something else, though. If I had to make one of those stupid this-movie-is-a-cross-between descriptions, this movie feels like a cross between Lila Says and a Tinto Brass film. Like Lila Says, the film explored troubled youth and sexuality, but it managed to be much more explicit, and even had unsimulated sex, which can usually go either way in a film. For the most part, I actually liked it, despite it's Cinemax-in-the-90s style plot description.