Hereditary (2018)

Directed by: Ari Aster

Written by: Ari Aster

Starring: Toni Collette, Milly Shapiro, Gabriel Byrne

“All I do is worry and slave and defend you, and all I get back is that fucking face on your face!” – Toni Collette as Annie

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I haven’t written one of these in a while. In fact, I haven’t written much of anything in the past year. But Sunday night’s unbearable Academy Awards finale in which a Disney-fied look at racism took home Best Picture made me want to write out of rage. But instead of trashing “Green Book,” I want to focus on a film that actually dares to be different.

“Hereditary” wasn’t nominated for a single Oscar, but its unrelenting sense of uneasiness is unquestionably award-worthy. First-time viewers will question everything, from the opening scenes when you try to figure out how the horror will manifest, to the end credits that leave you wondering how you got there.

Do I completely understand the ending? Nope. But I was so frightened watching it that I honestly don’t care. There were extended periods of the film where I had my hands over my ears, preparing for something to jump into the frame and launch me out of my seat. But that (almost) never happened. The tension building to those moments is there, but the way the filmmakers adapt what could be stereotypical horror moments into something new and equally eerie has me so excited to watch this movie multiple times.

Toni Collette deserved an Oscar nomination. Not a hot take at all, but that needs to be said again. She was a force in “Hereditary,” but probably didn’t get the nom because of the anti-horror history of the Academy Awards. “Get Out” was a huge step for the genre, but I feel like Collette getting snubbed was a shift backwards.

I also want to give a shout out to the performance by Alex Wolff as the tortured teenage son. Everything that’s bad happens to this kid, and Wolff handles panic, apathy and despair so damn well. It’s a well-written character with a performance to match.

The best part about this movie is the scares aren’t cheap. It’s not a fun-but-predictable horror flick that you go see on the weekend with friends. “Hereditary” will challenge you and it will frighten you — just maybe not in the way that you expected.

Bonnie and Clyde (1967)


Directed by: Arthur Penn

Written by: David Newman and Robert Benton

Starring: Warren Beatty, Faye Dunaway, Michael J. Pollard

“Some day, they’ll go down together / They’ll bury them side by side / To a few, it’ll be grief / To the law, a relief / But it’s death for Bonnie and Clyde.” — Faye Dunaway as Bonnie Parker, reading her poem

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There are plenty of ways to analyze Bonnie and Clyde. We could talk about its lasting effect on cinema, and how the true crime drama made violence and sex more prevalent in Hollywood films. I could dig deep into the final sequence, which to that point was one of the bloodiest scenes in movie history. If I was interested, I might even discuss its impact on fashion in the late 1960s.

But there’s only one thing I want to talk about, and that’s how this movie won one of the least-deserved Academy Awards of all time.

Bonnie and Clyde is full of solid — but by no means legendary — acting performances. Warren Beatty shines as the devastatingly handsome Clyde, and Faye Dunaway expresses a remarkable inner conflict in her portrayal of Bonnie. Gene Hackman is solid if not necessarily memorable, and a surprising Gene Wilder appearance (his first film!) is absolutely delightful.

But there’s one character that doesn’t fit. One character that makes the scenes she’s in particularly unbearable. One character I would do anything to travel back in time and ask David Newman and Robert Benton to rewrite: Blanche.

Blanche is played by Estelle Parsons,  who somehow walked away with an Oscar for best supporting actress for this role. Parsons is an actress who went on to have a long and successful film, TV and Broadway career following this 1967 film. And I by no means want to rag on her for the rest of this blog — it’s not her fault that she was cast as one of the worst characters I’ve ever seen in film.

Blanche screams. That’s it. That’s what she does. Really, she shrieks, in an ear-shattering tone that over the course of nearly two hours can easily cause a migraine.

Storywise, Blanche is married to Gene Hackman’s Buck Barrow, the brother of Clyde. She gets pulled into the Barrow gang against her will, and is along for the ride as they go on their violent crime spree. And that could very well be an interesting character, but it seems the writers didn’t know how to craft a dissenting gang member without making her yell at the top of her lungs every single time a gun is fired (which in this movie, is quite often).

In real life, Blanche was one of the few members of the Barrow gang to survive. And the real Blanche wasn’t too happy with her portrayal in the film, saying: “That movie made me look like a screaming horse’s ass.”

It’s true. That’s exactly what Bonnie and Clyde does.

When I found out that Parsons won the Oscar, I couldn’t believe what I was reading. It’s not necessarily that Parsons is a bad actress, but there’s just not a lot of difficult acting being done with Blanche. Scream, run and cry. Scream, run and cry. That’s all there is to it. If that’s what it took to win an Academy Award in 1967, well, I’m sure glad the standards have changed since then.

That being said, anyone interested in the transformation of cinema in the second half of the 20th century should sit down and watch Bonnie and Clyde. Just have the volume control at the ready, or shrieking Blanche will blow out your eardrums.

So, what’s the deal with this blog anyway?

I’ve always loved going to the movies. It’s the perfect excuse to get a huge, overpriced Coke and some popcorn layered with a liquid that they tell us is butter, but we all know was most likely concocted in some underground laboratory out in the desert.

Growing up in the internet age, however, I’ve put off watching movies more and more. My attention span in college decreased so much so that I couldn’t even read entire news articles online or in print — and I was a journalism major.

But two years ago I decided to jump back into movies with a mission — to see all of the Best Picture nominees before the Academy Awards aired. If you’re not familiar, that’s not always an easy feat. The nominees are released in January, and the award show typically airs in late February. So basically you get a little over a month to see up to 10 movies. For someone who isn’t always up to the “time commitment” of watching a film, this is asking a lot.

But Oscar leadup has been one of the real joys in my life the past couple of years. I’d race from work to the theater to catch a late showing of The Revenant or Hidden Figures. Sometimes I’d try to fit in two or three films in a weekend, and talk about the strengths and weaknesses of all of them with my friends. It was a way to connect with people, and in those months I learned about wonderful filmmakers like Barry Jenkins (Moonlight), Tom McCarthy (Spotlight) and John Crowley (Brooklyn).

But even though I’m now familiarizing myself with the newer highlights of cinema, there are still so many films that I’ve missed. Some of them are blockbusters that any sane person should have seen as a child (E.T. … believe me, I know). While others are more recent movies that just slipped under my radar. Some of these I’ve wanted see for years but just never got around to making the time.

Well, now I’m making the time, damn it. I’m making my own constant film festival at Films I Should Have Seen By Now. And I invite any film buffs or casual movie fans to tag along.

I’m still not exactly sure precisely what this blog will contain, but I’m going to try not to make these strictly reviews. Each post will focus on one movie, and other than that I don’t really know what to promise. You’ll get some of my opinion, definitely, but I also want to show what I’ve learned from each movie.

So grab a seat, lather some butter goop on your popcorn and enjoy your day at the movies.