by Oscar O’Sullivan

It’s weeks like these that I begin to question this entire format. Ah well.

Monday – All That Jazz and Anger Management

Feverish and sweaty, the feature-length nightmare of a dying man who cannot stop even if he wants to. Sharply edited in a way that keeps the fragmented story understandable. So distinct and esoteric that the handful of straightforward narrative scenes actually let it down a little. Who would have thought the sheriff from Jaws could dance like this? 9/10.

One of Sandler’s most checked-out performances paired with Jack Nicholson visibly enjoying himself on an unmatched level. Almost sweet by the end. I do love when a movie has random singing. 6/10.

Tuesday – Midnight in Paris, A Very Jumbo Christmas and Another Very Jumbo Christmas

My first Woody Allen film. I like what this guy is doing. Extremely light, to the point that it feels like it could float away in the breeze, but clever and engaging enough to stay grounded. The cast are all quite natural in spite of the obviously crafted dialogue and absurd historical premise. Not much of a looker but there’s obviously a steady hand behind the camera. Corey Stoll as Ernest Hemingway goes hard, Adrien Brody as Dali is one of the stupidest historical performances ever put on screen. 7/10.

I didn’t watch Jumbo Christmas – I sat my white ass down and listened! 10/10.

Who knew that Oscar O’Sullivan was able to sing like this? If the first film was political, then the sequel is philosophical. The third film will be a spiritual journey. 10/10.

Wednesday – It’s A Wonderful Life

Hands up if you’ve always assumed the entire film was about George seeing the world where he didn’t exist. I blame every single pop culture parody doing that one part only. Of course, the reason that scene hits so hard is because we’ve spent so much time learning about this man and the community he lives in. Jimmy Stewart was streets ahead when it comes to selling big emotions on screen. A must-see Christmas classic. 9/10.

Thursday – I Now Pronounce You Chuck & Larry

Homophobic. Normally I’d defend this kind of thing as being “of it’s time” and encourage you to examine the intentions rather than the text but this is just undeniably offensive. A shame, because it’s quite well-made and otherwise very funny with two strong performances from Sandler and Kevin James. Ah well. 4/10.

Friday – Merry Christmas, Mr. Lawrence, Dodgeball: A True Underdog Story and The Wedding Singer

Barely even a Christmas movie, but we move. A strangely serene view of life in a POW camp, though of course that dissonance is all part o the film’s ethereal tone. David Bowie is magnetic as the inscrutable Celliers, a man whose soul cannot be contained, while Tom Conti is quietly brilliant as Mr. Lawrence himself. Special mention to Takeshi Kitano, who steals the show with a supporting turn that is at once comedic, uncomfortable and moving. 9/10.

No sports comedy will ever match the dizzying heights achieved by Happy Gilmore, but Dodgeball makes a strong case for being include din the conversation. It’s far from groundbreaking and occasionally quite dumb, but it’s almost the most important thing a comedy can be – exceptionally funny. 8/10.

One of the sweetest Adam Sandler rom-coms, a gentle and charming film that doesn’t hide behind crassness the way some of his lesser efforts do. The aeroplane scene alone puts this on the top shelf, but the rest of the film almost keeps pace. 9/10.

Saturday – Catch Me If You Can

I don’t really understand why or how this is Steven Spielberg’s most-watched film on Letterboxd. Above Jurassic Park and all the Indiana Joneses? Seriously? It’s damn well-made, if a little too lighthearted for how heavy the story elements get. There’s never a sense that Leo is seriously in danger, and while his family drama is touching, other Spielberg films have tackled his issues with more immediate and gut-wrenching weight. Even a lesser Spielberg is great entertainment. 8/10.

Sunday – The Holdovers and Crimes of the Future

A perfect drama. To call it timeless is cliche, but it feels appropriate. Make it your new Christmas tradition or hell, just watch it whenever. 10/10

A world where pain has all but disappeared, inspiring people to inflict physical pain as a form of self-expression and intimacy. I couldn’t imagine a more obvious metaphor for the perennial fascination with gore and body horror on screen, pain-free ways to vicariously experience the destruction of familiar forms. That is but one of the many ways this bizarre film can be read, and none of the ideas it inspires are necessarily contradictory. And all that aside, it’s just a vibe. 9/10.