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I watched 6 movies last week.

• Your Name gets a little weird—it’s not difficult to imagine a Western version that simplifies the timeline a little and tries to provide an explanation for what’s happening—but it’s also often stunningly animated and a lovely story about connection.
• Cleopatra Jones is a little rough around the edges, and the movie can’t help but betray its ’70s sensibilities and budget. (It’s not great, for instance, that Shelley Winters’ character is often villainized specifically because she’s a lesbian.) But it’s also often a lot of fun, with engaging performances throughout.
• Basic Instinct, which I’d somehow managed to avoid watching until now, feels more than a little like sleazier Brian de Palma. (Which is saying something, considering that the last de Palma movie I watched was Body Double.) I don’t mean that as a dig at Paul Verhoeven, whose direction I think works here, even if he doesn’t really match de Palma for over-the-top set-pieces. But the film is tanked by its terrible script and its wrongheaded belief that its (as Roger Ebert put it in his review) “trimmed-down would-be hard-core” is actually sexy or erotic.

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• Footprints on the Moon is peculiar and hypnotic but also always intriguing.
• Bette Midler is often very good in The Rose, as are several of the extended musical numbers, even if the film itself maybe doesn’t have a whole lot to say.
• There are problems with the second two John Wick movies—not least the way they take a very simple, stylized actioner and layer it with increasing mythology—but John Wick: Chapter 4 might be the first time I was actually bored by the series. That boredom didn’t last through the movie’s nearly three-hour running time, and it really rallies with some fantastic set-pieces near the end that probably played even better on a big screen. But it was easily my least favorite of the four films, and I’m actually kind of disappointed that a fifth is in development.

I also re-watched both Born on the Fourth of July and Jaws over the long holiday weekend. I think they both easily hold up, but the former more for the intensity of Tom Cruise’s performance than anything else.

Here’s all my #nowplaying songs from last week:

I watched just three movies last week.

• I didn’t much enjoy Bones and All, to be honest, despite its being well shot with some good performances—particularly from a creepily odd Mark Rylance. The film is just too slow and meandering; I wasn’t very compelled by the tragic romance at its heart, nor did I think it was especially profound just because it told its story through the metaphor of grisly cannibalism.
• I liked Evil Dead Rise a lot better than the 2013 remake, but I didn’t like that one very much at all. This new film has several clever visual tricks up its sleeve, even if a few of them do occasionally seem a little borrowed. (Seriously, there’s no way to fill an elevator with a river of blood and not feel like a poor man’s rip-off of The Shining.) The film is definitely bloody and gnarly, but I’m not sure it does anything half as interesting with that added gore as Sam Raimi did in the first two films, and I think the opening sequence thoroughly undercuts the shock of the ending. Still, it has its scary moments.
• I was surprised by how much I enjoyed Renfield, and by how many of the movie’s jokes really landed for me. A lot of that is down to a talented cast—although Shohreh Aghdashloo feels just a little wasted—but it’s also a pretty clever script. It’s hardly a brilliant movie, but it is very silly and a lot of fun.

Here’s all my #nowplaying songs from last week:

I watched 8 movies last week. There was almost sort of a theme to them.

• Robin Hood—or, more properly speaking, Douglas Fairbanks in Robin Hood—doesn’t always have the finest quality print or score, depending on where you find it, but it’s nonetheless an impressively staged adventure for the silent movie era.
• Morning Glory is a little scattershot as a movie, but Katharine Hepburn is genuinely terrific in it. It’s not hard to see how, in just her third film role, she landed a Best Actress Oscar.
• Going My Way has some endearing performances, particularly by Barry Fitzgerald as the elderly priest, but it often feels incredibly padded.
• The Rose Tattoo isn’t exactly a great movie, but Anna Magnani gives a very nice performance.

• The racing montages in Grand Prix are kinetic and impressive, even on a small screen, some fifty years later. The problem is, the movie spends most of its (overly long) running time off of the track, and even the footage of speeding cars grows tiresome after a while.
• Some of the underwater scenes in The Deep are tense and exciting, but the movie itself feels like just another overblown ’70s potboiler.
• Tom Cruise and Bryan Brown are charming enough in Cocktail, but it’s otherwise a pretty lousy and boring concoction.
• Roger Ebert called All About My Mother “a struggle between real and fake heartbreak—between tragedy and soap opera,” and it’s a strange movie because of that struggle. And yet a lot of the heart and beauty in the film comes from that struggle, in trying to decide how we, much less the filmmakers, feel about these characters and their often unreal experiences.

I also re-watched I Never Sang for My Father, which doesn’t really fit the “theme,” but which does provide some familial symmetry to a week. I last saw this film as a teenager, when the Marist high school I attended for reasons I no longer remember showed it to my entire graduating class. (That another movie they showed us like this was Ordinary People leads me to think it was partly just because a lot of our teachers had been close to teenagers themselves when the movies first came out.)

Anyway, it’s still a really good movie, with great performances by both Gene Hackman and Melvyn Douglas, but it definitely hits a lot harder at 46 than at 16, when my own father and I are closer in age to the characters in the film.