Most of this batch is nearly two weeks old. I apologize.

* The Golden Compass was extremely pretty, and, I thought, very well-cast, but very cold. I didn’t connect with a lot of it emotionally, whereas the book was devastating in places. Things that were particularly awesome: Iorek Byrnison, Lee Scoresby, Pantalaimon. Things that did not bother me: where it ended in relation to where the book does. I still think that to end it at the same place as the book would have been really weird in terms of pacing, and that the way it did end felt right for the end-of-the-first-part-of-a-trilogy. So there. Not that there will be more of the trilogy, unless it does really well overseas.

* I’m Not There, while not perfect, was definitely the most interesting film I saw that weekend. Cate, of course, is marvelous, and I was surprised to be so taken with Richard Gere’s segment. The world-building there was made for me, though, the West and masquerade and religion. Christian Bale’s portion was terrible, and Ben Whishaw had potential but was poorly used. Totally worth watching, though.

* Sweeney Todd was one heck of a movie to see at 10:30am on a Sunday, I gotta say. Though I don’t know the show, I know the story, which put me ahead of a portion of the audience. I can’t even imagine going into that cold. Visually it was *stunning*. The opening credits are up online, and watching them last week made me want to see it again. I just wish that Burton had held back a little on the blood. Slightly less cartoonish would have been more effective, but I am still really grateful that Burton got it instead of Rob Marshall, as was rumored after Chicago.

* On the third try, I finally made it to a screening of Juno. I am so excited for all the well-deserved attention Ellen Page is getting now. Basically it is fantastic and everyone needs to see it. And then buy the soundtrack. But please do not freak out Kimya Dawson.

* Finally, tonight I saw The Diving Bell and the Butterfly. I had been a little hesitant about this, not because I didn’t think the movie would be good, but just because this has been a really long week, and it’s in French and about a fellow who is paralyzed and can only move his left eyelid. I thought I might have to be in a particular mood to see it. If that’s true, then I was. It was gorgeous, difficult, and utterly captivating. I’m really glad I went.

I might see as many as three movies this weekend (I’m eyeing The Golden Compass & I’m Not There, plus I have a pass for Sweeney Todd), so it’s high time I got caught up here. I saw these all in the seven days prior to Thanksgiving.

* A local cinema has been putting on an on-going classics/revival festival, but as yet I’ve only made it to one. It was an excellent choice, though, Days of Heaven, which I had never seen before. (Oh my gosh this is so awful. I was trying to figure out what specifically I remembered Brooke Adams from. The answer? The Baby-Sitters Club. I don’t even know what to say to that.) It occurs to me in reading about Malick that what I like about him is also what I like about Wong Kar-Wai. They both are all over the place in shooting, and only in editing does the film really emerge, visually stunning & meditative, and often with a dreamy sort of voice-over. Hmm. Anyway, Days of Heaven is amazing, and it was particularly interesting to see it shortly after The Assassination of Jesse James, which clearly borrows from Malick a lot visually.

* Since we saw it, Into the Wild won Best Feature at the Gotham Awards. Which is weird, because it’s not. It *was* precisely the movie I needed to see after the parade of cynicism that had been my other movies that month. And it was visually lush and tremendously moving & hopeful through the various people McCandless encounters. But best feature is pushing it.

* Coming closer to best feature, though, is Atonement, which I loved to heartbreaking little bits. I hadn’t read the book, but I now have it on order. I really hope that James MacAvoy finally gets some attention from this, as he’s been painfully underrated in the past, but is just fantastically good here. Also, the score is brilliant, something I don’t often pay attention to, but it draws on and develops incidental sound. Epic, beautiful, contender for sure. The Dunkirk scene alone is worth the price of admission.

* Finally, SIFF Cinema ran a Kino series recently, including a Wong Kar-Wai double feature. First up was Fallen Angels, which I’ve never seen, even though it is somewhat kind of sort of maybe related to one of my favorite films, Chungking Express. Because I am shallow, it is possible that Takeshi Kaneshiro was my favorite part of the movie. His character was fantastic, though. And at one point he wears a Tank Girl tshirt that reads “Mother Figure”. How awesome is that? Extremely awesome.

* The second film, and the main reason I bought my ticket for the pair six weeks in advance, was Happy Together. I love this movie a lot, not just a little because it managed, ten years ago, to do that thing no American film has managed — it’s a film about a gay relationship where it is not at all about being gay. It’s about these people together in this time. Astonishingly simple, really. I notice different things every time I see it, and this time I paid more attention to Chen Chang (who now I see I remembered from Three Times, where he was excellent, even though the film didn’t work for me). This film as a whole was still marvelous, of course, and a treat to see on the big screen.