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Here are all my #nowplaying songs from last week.

• The Cameraman has some very good, often isolated, scenes, but I don’t think it’s Buster Keaton at his best.
• The Last of Mrs. Cheyney is maybe a little too low-key, but it has some nice moments, and Joan Crawford’s rather good in the title role.
• Blood on the Moon has kind of lousy title, but everything else about it is top-notch—from strong direction by Wise to several very strong performances, particularly by Mitchum.

• Split Second probably has too many characters and is a little preposterous—only more so in today’s post-atomic age—but it has its fair share of tense ticking-clock moments.
• Dark of the Sun is far from perfect, but it tackles some difficult, complicated, even brutally violent issues, and it features a really solid performance by Rod Taylor.
• Boasting the thinnest of premises for the lousiest of jokes, The Fish That Saved Pittsburgh is remarkably tedious from its opening jump-shot to the ref’s final whistle.

• Even by mid-’80s Brian De Palma standards, Body Double is a bit much. The movie plays like both a fawning homage to, and a smriking pardoy of, Alfred Hitchcock. It’s almost worth watching for the ridiculousness of its filmmaking alone, but I would hesitate to call it a good movie.

Here are all my #nowplaying songs from last week.

I watched just four movies last week.

• I’m often on board for the darkly comic, surreal absurdity of Yorgos Lanthimos, but it seems a lot less purposeful in Dogtooth than in his more recent films. A.O. Scott wrote that the movie “at times seems as much an exercise in perversity as an examination of it,” and it’s sometimes honestly difficult to see the point of that.
• Jeopardy is more than a little contrived, but the film has its moments, usually thanks to Barbara Stanwyck, and often feeling like they’re from a differently, slightly more noir-ish film.
• Proof does some interesting things, and there’s a trio of intriguing character studies at its core, but I’m not sure it’s entirely successful.
• Sr. is a son’s loving tribute to his dying father. It’s maybe too personal to be deeply revealing or entirely cohesive, but it’s lovely and charming and honest nonetheless.

I also re-watched Raising Arizona and Avengers: Endgame. While I enjoyed both of them again a lot, I’m not altogether sure either film worked quite as well for me the second time around.

The Coens’ film is still a delightfully silly, live-action cartoon, but it felt like such a kinetic game-changer back when I first encountered it in college that it was hard not to be just a little disappointed with this re-watch.

Endgame, meanwhile, really benefits from having all of the preceding MCU films, particularly Infinity War, still fresh in your head, and this is the first time I’ve revisited a single one of them. Still, I retain enough connection to the characters that, even if the whole thing is kind of a whirlwind mess, it’s a deeply satisfying one.

Here are all the songs I posted as #nowplaying last week: