I feel like I’ve lost a year somewhere along the way. After reviewing If Beale Street Could Talk last week I decided it was a good excuse to revisit Moonlight. In my head it was only last year that Barry Jenkins and his team went through the trauma of hearing the wrong film named Best Picture. Turns out 2018 happened at some point and that momentous occasion was 2 years ago. It’s weird because I loved so many films from last year that I don’t know why I can’t remember them. I guess it’s probably just old age and an awful reminder that I’m no longer the 16-year-old I continue to believe that I am. Really, I need to stop watching films like Moonlight and Boyhood because it is impossible not to feel all introspective. And we know that that’s a dodgy road to walk down. So, let’s get onto the reason we’re here. I never review Moonlight on this blog when it came out so it seems as though the time was right to rectify that.
Whenever anyone asked me what I thought of Vice in the last few weeks my go to answer would always be “it wasn’t as good as The Big Short“. It’s something I said because I truly thought it was my opinion. But when I looked back at my review of Adam McKay’s previous Oscar nominated film, I discovered that I’d been more scathing of it than my memory lead me to believe. I guess I do remember feeling a bit weird at the end of it because the people who gained from so much misery were being portrayed as heroic. Still, I decided it was important to rewatch The Big Short to really answer the question “is it better than Vice?” Or have I just been lying to everyone for ages? I don’t know why I’m pretending there’s any suspense here because you can see from my above rating that, yes, I preferred this film to Vice. But, why?
Just over 7 years ago, I posted my 5th review on this blog. It was the first film I’d reviewed that I was genuinely full of praise for and, as was my style at the time, my post was way too long and rambling. I’d like to think that over the last 7 years I’ve got quite a bit better at writing these things but who actually knows? At the very least, I hope I’ve become a little less hyperbolic and pretentious over time. There are bits of my review that feel a little cringey but it was only due to the fact that I really bloody loved this film. A fact that makes it all the weirder that I haven’t watched it again since. I think I’ve caught bits of it when it’s been on TV but I’ve never actually sat down and watched it from start to finish. And I think it’s because you really need to be invested in the viewing. It’s not as if you can watch it whilst doing something else or if you’re in danger of nodding off. I had to set aside some time today when I had nothing else to do so I could watch it with the focus it deserved. And by “it” I, of course, mean Jean Dujardin’s face.
Today was the end of my working week and I’m absolutely exhausted. I got home from work and just collapsed. So, my aim is to get through this review and get tucked up in bed at an obscenely early time. Especially as this was such an emotionally draining film so I can’t imagine that writing this is going to be the most fun I’ve ever had. I’d heard about this film before this week, obviously, but I’d never seen it. As I’ve made perfectly clear on this blog, I’m very wary of the way sexual assault is used in the entertainment industry. There are countless rants available that make my point very clear. It’s a difficult and important subject that needs to be handled correctly. When it isn’t it has the potential to damage so many people. So, going into this film I was already anxious about the key scene and how it would depict the event that is so key to the film’s narrative. But, given this is the film that won Jodie Foster an Oscar for Best Actress, I didn’t feel as though I could ignore it in this series.