Geezer Cinema: Kimi (Steven Soderbergh, 2022). I found the choices at the local theater to be uninspiring, so I opted for an in-home Geezer movie this week. Kimi has the feel of a pandemic movie, for good reason ... it was made during the pandemic, and it takes place during the pandemic. The character played by Zoë Kravitz suffers from agoraphobia, and you get the feeling the quarantine, while making it easier for her to just stay at home, nonetheless didn't exactly help her condition. Kravitz is great in the role, emotionally stunted in some ways and yet she believable rises to the occasion in the climax. There are a lot of That Guys (Jaime Camil and Jacob Vargas, Rita Wilson, and Robin Givens, who even though I knew she was in it I forgot to notice her). As he often does, Soderbergh does his own cinematography and editing using pseudonyms. Soderbergh is the King of Geezer Cinema for some reason. We watched Contagion back when we first started staying at home during the pandemic, and since then we've seen Logan Lucky, Haywire, and No Sudden Move, so Kimi makes #5. I usually like his movies (he is #51 on my most recent list of top directors), and my wife seems to share my enjoyment ... she has picked three of the five Geezer movies we've watched.
Revisiting the 9s: Murderball (Henry Alex Rubin and Dana Adam Shapiro, 2005). [This is the ninth in a series that will probably be VERY intermittent, if I remember to post at all. I've long known that while I have given my share of 10-out-of-10 ratings for movies over the years, in almost every case, those movies are fairly old. So I got this idea to go back and revisit movies of relatively recent vintage that I gave a rating of 9, to see if time and perspective convinced me to bump that rating up to 10. Of course, it's always possible I'll drop the rating, but time will tell.]
When Murderball came out, I wrote:
The film makers don't always seem to trust their material (wheelchair rugby played by macho quadriplegics) ... the movie gives off a feeling of manufactured drama at times. But the stories of the athletes, and the (infrequent for a sports film) action-packed scenes of what is best described as bumper cars played by Mad Max refugees, tip the scales towards excellence. It's also interesting that real-life events conspire to prevent some of the more predictable drama ... I'm trying to avoid spoilers here ... perhaps that's why the film makers try to hype up other dramatic aspects of the narrative. But it works ... when things don't always turn out "right," the film feels far more "real" than when the hype takes over.
I don't have much to add after a second viewing 15 or so years after the fact. The main characters in the film capture our attention, and the film is engrossing to the extent that we care what happens to these people. But one thing about my reluctance to give the highest rating to more recent films is that this doesn't seem to hold for documentaries. If I am taken with a documentary, I'll go all the way with a rating (to cite a recent example, Summer of Soul). I think I may have rated Murderball a bit too highly at the time, and even then, I only handed out a 9/10. Now? I'm feeling an 8/10 coming up.