I think my favorite part about the holidays (aside from eggnog, natch) is the plethora of promising movies released late in the year, their distributors no doubt hoping it will up their chances for snagging Oscars and Golden Globes. Judging by trailers of “Coming Attractions” at our local arthouse cinema, I’m pleased to see this year is looking especially auspicious. In fact, a few winners in my book have already been released.  Here’s what’s grabbed me (and failed to) in the past month…

HIGHLY RECOMMENDED:

The Holdovers (in theaters) – I’m sure we’ve all seen films where wounded misfits are thrown together and form an unlikely makeshift family that helps each other heal and grow stronger. The Holdovers is one that gets it right. Alexander Payne has gotten his groove back with this simultaneously cynical and hopeful film that will likely leave you in a better mood than when you entered the theater. In a world plagued by despair, that’s a gift unto itself. Great performances. Don’t miss it

The Persian Version (in theaters) – It’s not surprising this dramatic comedy won this year’s Audience Award at Sundance. It’s a fun ride centering around the contentious relationship between a young Iranian-American woman and her estranged mother who reach a new understanding after

an abundance of intersectional layers unfold in unexpected and pleasing ways. Though the storytelling isn’t always as tight as it might be, there’s something refreshing about its circuitous approach, and the male love interest is an especially unique and utter delight.

Straight Up (2019, Netflix): This charming and thought-provoking comedy defies labels. While it resembles a romantic-comedy, centering around both comedy and a quest for a soul mate, it transcends and simultaneously subverts the usual from-com tropes. A fluid, intellectual, funny and fun journey, the film draws you in with it’s likeable characters and witty banter, and keeps you thinking about long after the end credits roll with a “choose your own ending” final twist. Be sure to watch with other viewers. The post-film discussion will be half the fun.

May/December (in theaters): Todd Hayne’s latest film, like Straight Up, does not button down the ending, but provides ample material within the film’s body to draw one’s own conclusions about what’s not told, and more importantly why? More than a few disgruntled people walked out of our screening. And I’ll confess, when the credits first began to roll, I felt a mild dissatisfaction myself. But that was quickly remedied when after a moment’s thought it struck me, that was likely the point. Speaking with my partner afterwards, the more I pieced together the intricate puzzle Haynes had gifted us, the more I delighted in the discovery of how deftly I’d let the film manipulate me into becoming complicit with the very issue at hand. I’ll say no more except to pay attention, use your brain and enjoy the mental floss. Films that reward critical thinking are rare gifts.

HIGHLY DISAPPOINTING:

SALTBURN (in theaters): I was so hopeful about Saltburn, as I’ve thus been very impressed by Emerald Fennell  (A PROMISING YOUNG WOMAN) and the preview looked  intriguing —exuding a whiff of THE ORIGIN OF EVIL and the more pleasing aspects of TRIANGLE OF SADNESS. Alas, for me, it failed to deliver anything more than a few well executed moments of deadpan humor, witty dialogue and some pleasing eye candy. The plot was flimsy and the so-called twists and turns transparent recalling the ending of THE BLAIR WITCH in which we were told in the first half how the movie would end, only to have that very ending play out, leaving one to ask, why did I hang around just for that? Here’ hoping Fennell’s third film will fare better (She’s super talented, and I have every confidence it will.)

Happy, Healthy Holidays, Everyone!

Cheers,

Devi