if it seems too good to be true: some films i've seen lately

Aside from The Sun Is Also A Star - which you should see - the best films listed below are the French ones (which S. and I watched in order to re-acclimatise to le French-speaking prior to a Parisian weekend break), particularly Lolo written by and starring by Julie Delpy. We did take one photo of a Lolo-style photo of "a view of the Eiffel Tower" from Montparnasse - i.e., barely a view of the Eiffel Tower - as well more conventionally touristic views of landmarks; we also photographed almost every artwork on the fifth floor of the Pompidou Centre (ways of seeing?) and visited Le Caveau de la Huchette jazz club. Nice!

Frankenstein Created Woman (1967, dir. Terence Fisher, starring Peter Cushing, Susan Denberg) - If it seems too good to be true, it probably is; don't go for a picnic in woodland with sexy Susan Denberg if you've a bad conscience.

(Trigger warnings: gender essentialism, outdated attitudes to disability, a trio of 'young blades' who resemble the Bullingdon Club and smash up restaurants in Old Tory style).

Harry, He’s Here To Help / With A Friend Like Harry / Harry, un ami qui vous veut du bien (2000, dir. Dominik Moll, starring Stephane Freiss, Anouk Grinberg, Agathe Dronne) –  Pleasingly amoral allegory: everyman character kills & (symbolically) eats/ incorporates murderous friend/antagonist/ shadow, unlocks own creativity, becomes own father (see: existentialism), wins spousal respect, acquires air-conditioned 4x4.  

The Village (2004, dir. M Night Shyamalan, starring Sigourney Weaver, William Hurt, Joaquin Phoenix) – This looks and feels a lot like his previous, ‘Signs’; loses by the comparison, though; feels underpowered; the ending (unfelt, unresolved) feels like a shrug, a retreat. 

Albert Camus (2010, dir. Laurent Jaoui, starring Stephane Freiss, Anouk Grinberg, Agathe Dronne) – Down these mean Algerian streets, a man must philosophise; then that wise-guy Sartre shows up, spills his guts about ‘Les Temps Modernes’ and some dame called Simone. 

The Woman In Black (2012, dir. James Watkins, screenplay by Jane Goldman from novel by Susan Hill; starring Daniel Radcliffe) – Couldn’t care sufficiently about glum, bereaved (insufficiently versatile) Daniel Radcliffe as protagonist; repeated shots of Victorian bric-a-brac (clockwork toys etc) felt de trop. Liked car/ quicksand business. 

Lolo (2015, dir. Julie Delpy, starring Julie Delpy, Dany Boon, Vincent Lacoste) – French writers are often wittier, more stylish about the sexual/ romantic marketplace (plus Oedipal and other family romances) than British/ American ones. Just observation, or cultural cringe? 

To All The Boys I’ve Loved Before (2018, dir. Susan Johnson, starring  Lana Condor, Noah Centineo, Janiel Parrish) - Y.A. romcom in which young lady’s letters designed not to be sent are sent, accidentally on purpose. A transparent plot-device; life, like art, is full of them. 

Wine Country (2019, dir. Amy Poehler, starring Amy Poehler, Rachel Dratch, Ana Gasteyer) - Forty- and fifty-something friends celebrate a significant birthday in this ensemble drama which comfortably passes the Bechdel test and contains hints of joy, tenderness, regret, millennial-baiting. 

The Sun Is Also A Star (2019, dir. Ry Russo-Young, screenplay by Tracy Oliver from novel by Nicola Yoon; starring Yara Shahidi, Anais Lee, Charles Melton) – This witty, beautifully photographed romcom showcases NY as third character (and, incidentally, educated me about the Korean-American stake in U.S. black hair care). Self, daughter, mum enjoyed.