Movies of the Week #40 #41 (2019)

Hail Satan ? (2018): To get things straight right out of the gate – this is most likely not the movie you think it is. You won’t get a bunch of people playing dress up and hailing an ungodly demon. Instead, HS proposes a debate about the role of anti-establishment movements (i.e. The Satanic Temple) and the importance of civilized and fair challenges to the status quo. Sure, it’s bombastic at times, while at other times you wonder if it’s not just all an elaborate prank, but it doesn’t even really matter, in the same way it doesn’t matter whether Borat is real. Because the world he/they choose to inhabit reacts with authenticity – and that’s a world in which “nontheistic religions” are a thing. How can that not be fascinating? 8/10

Anna (2019): The days of Luc Besson being relevant seem to be behind us. In Anna, a cliched action-spy-thriller, bogged down by timeline yo-yo-ing, there are few things worth remembering. Model-turned-actress Sasha Luss leads some proper actors (Cillian Murphy and Helen Mirren, to name the more notable ones), but isn’t the most convincing lead. Heck, I didn’t much like Atomic Blonde, and that one starred Charlize Theron, so it’s no surprise Anna didn’t grow on me. So unless this is your genre, stay away. 4/10

Beast (2017): Director Michael Pearce picked up a BAFTA on his debut picture – this one. Starting from a simple premise (shy, innocent, girl falls for dangerous man), it paints a beautiful role-reversal by slowly revealing the true nature of its characters. Unlike how a Korean movie might go about this, i.e. swashbucklingly, Beast is subtle and restrained for the most part. The experience is lessened by a lack of urgency in critical moments and the over-the-top ending Pearce goes for, but movie has merit. 7/10

Despre oameni și melci (2012): In a Romanian interpretation of The Full Monty, Of Snails and Men proposes an all-together familiar story: state-owned factory run by corrupt management is taken over by private investors and thousands of people lose their jobs. Said people try to work out a way to do something about it and come across a sperm donation scheme, paying 50 USD per scoop of semen. It doesn’t quite all come together, because, really, who wants to artificially inseminate the sperm of some factory worker with no higher education? In spite of the potential for powerful social commentary, Tudor Giurgiu’s movie feels slight and lacks both focus and subtlety. What it does do well, is capture “the times” and some of the people, but without creating truly interesting characters. Shame, really. 6/10

Tall Girl (2019): A Netflix production that’s about as bland and uninteresting as they come, while also going against rule nr. 1 of rom-coms – we need to root for the couple! In this tragic tale of a (gorgeous) tall girl being shunned in school for being different, we are supposed to believe that the sheer goodness of a geeky, friend-zoned dork wins the day and the girl. I’ll admit that there are times where it just looks like there might be more to this movie, a few scenes that click or a relevant piece of social commentary, but they fade into a puddle of boring irrelevance due to the unagreeable story put forth. The appalling ending was just too much to bear in the end, which is why I really can’t recommend TG. 4/10