MACKIE BROWN FA23

MY

Top Five Films

FEATURING...

THEATER CAMP & THE KILLER

+ READ ON FOR BEATLES RECS AND FINCHER FAVORITES

OF TRUTH

ABOUT

Mackie Brown is a movie review journal made by one self-proclaimed cinephile. A reference to Quentin Tarantino’s 1997 film Jackie Brown, this journal is inspired by the love I have for cinema and the power it holds to make life a little better. Each issue features my favorite films from the season, along with my personal and completely subjective opinion on what makes them so good. The movies I pick range from classics to new releases; it just has to be my first time watching them. From plot to production design, nothing is left undiscussed. I’m no professional film critic, but who needs one when you can read the ramblings of a professional popcorn-eating (yum), blanket-loving (comfy), theater-going (fun), twentysomething?

— Makana,“Mackie”

A HARD DAY’S NIGHT

Dir. by Richard Lester 1964

I really had no idea what to expect going into this movie. Was it going to be a documentary? Were The Beatles going to be acting? It seems that A Hard Day’s Night ended up being a little bit of both. Over the course of a quick 90 minutes, the audience follows along on a fictional day in the lives of Paul, John, George, and Ringo as they do what most would assume they’d spend their time doing: running away from hoards of screaming girls, avoiding the boring responsibilities of fame, and, of course, making timeless music together. Before seeing the film, I had basic knowledge of The Beatles and their discography. After seeing the film, however, I gained a new appreciation for the members individually as well as their dynamic as a group. And let me just say, The Beatles are funny! Like laugh-out-loud witty and surprisingly more comfortable with acting than I could’ve imagined. The movie does capture only a slightly heightened version of their real lives, so they didn’t have to reach too far for their roles, but the ease of the performances was visible. It truly felt like we were flies on the wall as the four Brits joked around in train compartments and dressing rooms. The direction seemed to be minimal, instead opting for the band members to run wild and showcase their dry but whimsical comedic talents in all their glory. Despite being released almost 60 years ago, the humor still holds up and makes for a cracking good time (*she said with a Liverpudlian accent*).

There were so many moments worthy of mentioning that I really adored. One was a scene where the band is getting hounded with questions by reporters. It’s an absolute

My

Top 5 Beatles Songs: — I Will – Something – Here Comes the Sun — Drive My Car — If I Fell

masterclass in one-liners. Another involves an escape from the studio to a nearby field. Soundtracked to “Can’t Buy Me Love,” Paul, John, George, and Ringo rip-roar around the greenery in an act of defiance as well as an expression of their shared chemistry. Speaking of the soundtrack, the film also introduced me to some of what have now become my top Beatles songs. I had obviously heard “Can’t Buy Me Love” and the titular “A Hard Day’s Night,” but songs like “And I Love Her” and “If I Fell” were blindspots for me (embarrassing, I know). While I was surprised by the acting abilities of the band, there were no surprises when it came to the musical performances. The band’s talent was on full display, leaving no question as to why they became so popular or why their appeal continues today. From the more intimate moments of them playing in front of friends to the times when they’re on a stage performing to raucous crowds, the band exuded a love for their craft and for each other. And although their eventual break up would come only a decade later, in this film, the magic of The Beatles was made eternal.

PRACTICAL MAGIC

Dir. by Griffin Dunne 1998

I want to preface this review by admitting that I know Practical Magic is objectively not worthy of five stars, but I loved it so much that I couldn’t give it anything but the highest marks. Sue me! When there’s gorgeous women with fantastic hair and outfits, the cozy feeling of a small New England town, and spooky vibes mixed in with a bit of romance, who could possibly resist? Not. Me. This film just might be the most perfect fall movie of all time. First off, the casting of Sandra Bullock and Nicole Kidman couldn’t have been better. They played off each other so well, portraying a sisterly bond with the stubbornness, playfulness, and love it requires. The dynamic between Bullock’s Sally and Kidman’s Gillian is the crutch of the film, and they do

a fantastic job of showing the difference in their personalities. This ties into another reason I love the film so much: it feels like such a celebration of womanhood and its many facets. The fact that the main cast is primarily made up of women means that we get to see such a variety. One woman yearns for love but is scared of the possible tragedy that comes with it. One woman is fearless and wild in the pursuit of what she wants. There are old women. There are young women. And all are shown for who they are beyond what a man desires for them to be. They get to be daring and hopeful and catty and driven. They get to fight, and they get to help each other in times of need. They get to do and be so many things! Who would’ve thought women could be so entertaining carrying a movie all on their own?

2 doses of perfect hair

+ 4 midnight margaritas

+ a sprinkle of witchcraft

= the best movie ever

THEATER CAMP

Theater Camp might be the feel good movie of the year for me. The jokes were consistent throughout, and despite not being a theater kid myself, I was fully onboard for every single one of the characters and their (somewhat obsessive) love of performing on stage. The stakes were low while watching but ironically extremely high for the campers and their teachers, which made for a perfect take on the mockumentary approach to a comedy. The characters aren’t trying to be funny; the ridiculousness comes from their sincerity. You believe that they are completely earnest in their efforts to become the best thespians they can be. That acting is their life. This couldn’t be truer for the characters of Rebecca-Diane (hilarious name by the way) and Amos, played by Molly Gordon and Ben Platt respectively. Their long history of friendship prior to this movie very much comes through in their chemistry on camera. The scene when they announce all of the camp’s productions for that summer is probably the best example of their electricity. I will also never forget two of the funniest lines of the film, both of which were said by Gordon and Platt. The first is “I’m not mad; I’m just furious.” Enough said there. The second is “Get off the stick,” which Gordon delivers perfectly to a kid who’s just been caught using a tear stick for an emotional scene. Gordon says it in a disappointed whisper with a snot bubble about to pop from her nose. Another key role is Troy, played by Jimmy Tatro, who is the bro-y outsider in this world of actors. He brings the confusion and ignorance that many audience members may possess about theater while also being an amusing presence in his own right. My favorite (and I really do mean my favorite)

scene in the film has to be when a kid auditions with the song “Better Now” by Post Malone, and Tatro is awakened out of his boredom and starts singing and dancing along. I don’t know why, but that killed me. Lastly, I can’t talk about this film without giving mention to the uber talented kids they casted. Not only were they cracking jokes along with the adults, but they also showcased their amazing voices! The ending number, “Camp Isn’t Home,” left me impressed with their vocal abilities and even a little teary-eyed. Get this performance to the Oscars, I say!

Dir. Molly Gordon & Nick Lieberman 2023

KILLERS OF THE FLOWER MOON

Where to even begin with this film? From the moment it got announced and those first images were released, Killers of the Flower Moon has been near the very top of my most anticipated films of the year. I mean, a new Martin Scorsese film filled with an all-star cast that brings Indigenous people to the forefront? How could one not be hype? With each trailer that dropped, I got more and more excited to see (unbelievably) my first Scorsese film in theaters. I was absolutely ready to strap in for a more than 3-hour epic.

The first thing I’ll say is that those 3 hours went by faster than I was expecting. I think the pacing smartly balanced the calm of that kind of life with the chaos happening behind the scenes. The slow rot—or rather the slow reveal of the rot that had already existed for so long—was endlessly engaging to me. Engaging and completely maddening. The events of the film were some of the most despicable, sickening stuff I’ve ever seen in a movie. Robert De Niro, an actor who’s had his fair share of not-so-innocent characters, transcends his history to another level of sinister with his role of King. While we see Leonardo

Dir. Martin Scorsese

DiCaprio’s Ernest actively do much of the organizing and plotting of multiple murders, it is King that really gets under your skin. This is because he poses himself as one of the Osage, someone who speaks their language, understands their culture, and values their community. In reality, he values their money, which he believes rightfully belongs to him and other powerful white men in the area. So, he uses the trust given to him and the

privilege he innately possesses to pull the strings of his family and those around him in order to get what he wants. The worst part is that he seems to think he is simply doing what is within his rights. Manifest destiny and all that crap. What more could one expect from an old white man?

I can’t discuss this film without bringing up the magnificence that is Lily Gladstone! Despite being the newcomer, she byno means showed it. Her performance held such reverence, strength, and pain. Even in her most vulnerable moments, she still felt impenetrable. The relationship her character Molly has with Ernest also holds nuance. I do think that, at one point,they cared for each other and did want to be happy together. I don’t know if there was really love involved though, at least not from Ernest’s side. Despite the movie’s (and Ernest’s) effort to frame the relationship as one of sincere feelings, I never really boughtit. No one does the things Ernest did to the person they love. Every time he came back home to Molly after having done horrible things to kill members of her family, it made me sick to my stomach. Scorsese has said that this story is one of love as well as a betrayal of trust, but I don’t think I can ever get behind the first part.

This brings me to the reason why, despite deeply enjoying the

movie, I only gave it a four out of five. I’m not sure if Scorsese was the best person to tell this story. I definitely want to acknowledge the effort he made to involve the Osage people in the making of the film and the dedication he had to shedding light on this historical atrocity. But I don’t think there’s any amount of effort that could equate to an actual indigenous person telling the story of their people. Scorsese did the best job he could (which is still fantastic by the way), but there’s a level of understanding missing that only occurs when the work is personal. This isn’t something he can control, I know, but it still has to be said. He’s not native and therefore the work wasn’t made from a native perspective. I can only imagine how much more amazing the film could’ve been if it had come from someone indigenous.

THE KILLER

Dir. David Fincher 2023

It is no secret that David Fincher is probably my all time favorite director. What can I say? The grimy but sleek nature of so many of his films just really appeals to my inner serial killer. I’m kidding. Sort of. The darkness that permeates a lot of his work is interesting to me though. So when it was announced he had a new movie coming out and that it was going to be called The Killer, you know I was excited. Fincher has definitely created a lane for himself when it comes to the subject matter of his work, and it seems that he’s finally become conscious enough of it that he really leans into it with this film. As I was watching it, one word kept coming to mind: calculated. Fincher as well as his for-hire assassin played by Michael Fassbender are extremely cold and precise. The film felt like it was aware of the fact it was a Fincher movie and acted accordingly. It follows an emotionless loner (check) through a journey of isolation (check) using clinical editing and camera movements (check and check). The character of the killer isn’t in possession of much humanity, and instead goes through life with an untrusting and cynical perspective. Even when we’re shown that there is someone who he cares about and is willing to enact revenge for, it doesn’t feel very on brand for who we’ve spent time with thus far. Maybe the film does this on purpose to show he’ll always live a sort of half life no matter if he lets a few people in. His work and the person he’s become (or maybe the person he’s always been) will stay with him forever.

This film is made up of some incredible scenes, and it would be criminal (wink wink) not to mention some of them. The fight

scene! The choreography and the way it was shot made you feel every single punch to the face and crash to the wall. The intimacy of it was perfect for the close proximity the audience has been in with the killer. I found myself both rooting for him to pull off another seamless kill and for his opponent to finally be the first person to not go down so easily. As slow as the opening is, I love the moment the tension breaks. We are made to listen to Fassbender drone on and on for 15 minutes through voice over until his own incessant inner monologue causes him to fuck up the job. He spends so long talking about his efficient methods of success, and then one split second decision unravels his entire life. It’s perfect. The next favorite isn’t so much one scene but a recurring motif, specifically a musical motif. The amount of needle drops from The Smiths couldn’t have been better. I’m not sure if they carry significance or if it was just funny to have this psycho constantly jamming to 80’s Britpop. Either way, hearing “Heaven Knows I’m Miserable Now” and “Please, Please, Please, Let Me Get What I Want” in a Fincher movie was something I didn’t know I needed.

My Top 3 Fincher Films: — Se7en

Girl With the Dragon Tattoo

The Social Network

FALL 2023