July Film Roundup

Parade (1974): The scene: Jacques Tati is in movie jail after Playtime cost one gazillion francs, so he turns to sources of foreign funding. By this point—his final film—he’s reduced to doing his nightclub act for Swedish television. There is some astonishing juggling in this movie, and some more of Tati’s philosophy that we are all little kids playing dress-up and pretending through life. But as for the rest of it… “mime of sporting events” isn’t even a comedy category anymore, and for good reason. The Phoenician Scheme (2025): Love the graphic design as always. The madcap, sketchlike quest plot keeps things moving. But in classic “Leonard goes in imagining the movie he wishes he’d made” style, the trailer made me believe that the titular scheme was to unite the greater Middle East into a recreation of the ancient Phoenician civilization, a scheme that would naturally have great-power geopolitical implications and lead to a lot of violent pushback. But actually this film takes place in an alternate universe where the Middle East has already been conveniently unified into a single* country as of the 1960s, allowing Wes Anderson to make his usual goofy Wes Anderson film without it getting all heavy and topical. Ocean’s Eleven (2001): There is a Merry and Pippin in this movie. In fact, this movie’s almost beat-for-beat the same as Logan Lucky (2017) which I saw first and like better. It’s not bad by any means, just not as good as Logan Lucky . Superman (2025): I’ve remained aggressively normcore about superhero stuff even as it takes over more and more of pop culture. My takes are the most middling ones you can imagine. I liked Iron Man (2008) and then I thought the trend went out of control. I think Batman is goofy and that Batman stories should lean into the inherent goofiness. And when it comes to Superman, my tastes are simple: I want to see a powerful, well-intentioned person wrestling with the fact that enormous power and good intentions aren’t enough to solve every problem. Suffice to say that this movie delivered. Ruggles of Red Gap (1935): Definitely not a B picture. Charles Laughton mixes a feel-good American immigrant story with a helping of humorous British culture-clash snobbery. Ruggles is a great character, someone who can deeply believe both “All men are created equal” and “Blood will tell”. The book is on Project Gutenberg if you want more of that style of humor. Ragtag (2023): I have a fondness for films that are supercuts of clips from other films. Though it’s becoming really easy to put such films together without doing any substantive creative work, so as a viewer you gotta be careful. In The Afterlight (2021) the idea was to show the same kind of scene from many different movies. Here it’s more like stretching video out, playing it back and forth, turning cinema into something closer to an animated GIF. Also like The Afterlight , Ragtag was born of a director deciding to watch a ton of movies during lockdown. And presumably torrenting them all because how else are you going to get all that footage into Final Cut Pro? Hey, I’m not judging. Born Yesterday (1950): Continuing our Holliday holiday with this lighthearted tale of political corruption. I hypothesized this in an earlier review, but Holliday’s character in this one is a direct antecedent to Elle in Legally Blonde : a smart person who’s never had to be smart before. Really enjoyable.