Triangle of Sadness (2022)

I saved this for one of my last viewings of Best Picture nominees from 2022 because, well, just look at the title. Only recently did I learn that it's partly comic. Netflix will stop streaming it soon, and I had 147 minutes to kill, so I obliged.

Few films have such an explicit three-act structure. First we get a few scenes involving models Carl (Harris Dickinson) and Yaya (Charlbi Dean), who are dating but prone to argumentation over financial matters. Part 2, on a luxury yacht in an unspecified waterway, splits the focus among many customers and staffers. Carl and Yaya get a little more central again when they are among eight castaways on an island, shaking up the social order. (The title is what someone in the modeling industry calls an area of the face, but it works on multiple levels.)

The Secret Agent (2025)

No, nothing to do with the Joseph Conrad novel by the same title, just similarly big on corruption and tragedy. It wasn't high among my priorities for watching before the Academy Awards, but it was the only Best Picture nominee showing at a convenient time and place last night.

Most of the scenes take place on or near Carnaval 1977 in the vicinity of Recife, Brazil. Yup, it's under that government. Armando, once a researcher, has adopted the alias of Marcelo because of his dissidence, and his allies help him get clerical work in an ID office. He tries to live as normally as possible, reconnecting with his young son, who has been living with the parents of Armando's dead wife. He also reluctantly accepts protection from a corrupt civil police chief, for what that's worth when a personal enemy hires a hit man.

Number 24 (2024)

I picked the first war epic I could find for Veterans Day. Not much has been written about it yet, because it's a Norwegian indie with limited screening, but it gets a warm reception among viewers.

In old age, Gunnar Sønsteby guest-lectures a class about his life from shortly before World War II to the end of it, during part of which he was Agent #24 of Britain's Special Operations Executive. In particular, he coordinated the Oslo Gang, which specialized in sabotaging German occupation projects, usually with explosives, but expanded to assassinations.

Tár (2022)

I was surprised to discover that this is not based on a true story or, indeed, any preexisting thing. It also is a primarily American production and attaches no importance to the protagonist's nationality. So why pick such an uninformative title that could easily confuse English speakers, especially if presented in a format that doesn't support an accent? That factor may have contributed to me waiting this long to check out the Best Picture nominee.

The story begins with Lydia Tár (Cate Blanchett) at the peak of success as chief conductor of the Berlin Philharmonic, citing Leonard Bernstein as inspiration. Alas, as a major concert approaches, one thing after another goes badly. Tensions rise between her and her wife (Nina Hoss), her secretary (Noémie Merlant), her assistant conductor (Allan Corduner), and pretty much everyone else except her daughter (Mila Bogojevic). On top of that, she develops physical and especially mental issues, including apparent hallucinations.

The Zone of Interest (2023)

To avoid my prior mistake, I watched this at the start of my flight home, when my attention wouldn't be flagging yet. I also had a strong feeling that I would need a palate cleanser afterward.

We might call this a slice of life, but that kind of implies an ordinary setting. The focus is on the large family of Rudolf Höss (Christian Friedel), commandant at Auschwitz, living very close to it. The most notable plot developments concern changes in his job, whether he likes them or not. His five kids seem not to know or care what he's up to.

One, Two, Three (1961)

It took me a while to understand the reason for this movie's title. The story is based pretty loosely on a Ferenc Molnár play by the same title in Hungarian. Both use the counting briefly in dialog to indicate a hurry, which befits a His Girl Friday-like pace. In light of that, I would have omitted the commas and possibly added a comedic exclamation point, but too late now.

In West Berlin shortly before the wall construction, "Mac" McNamara (James Cagney) leads business operations and hopes to get promoted further, which would explain why he agrees to host Scarlett (Pamela Tiffin), freewheeling 17-year-old daughter of his boss (Howard St. John), at his home for two weeks. Most of the plot takes place two months later, when Scarlett is still there -- and has just eloped with avid communist Otto (Horst Buchholz). Fearing a blacklisting when her father finds out in the near future, Mac tries to get Otto put away for the long haul. Then he learns that Scarlett is pregnant, so it would be better to give Otto a Pygmalion treatment in a matter of hours....

All Quiet on the Western Front (2022)

The 1930 adaptation of the Erich Maria Remarque novel was my favorite Academy Best Picture of the decade. How could a remake live up to it? Well, for one thing, the visual quality hasn't aged well. Also, its "Germans" make no attempt not to sound like Americans, whereas this version was German-made.

In 1917, four teenage friends, the most focal being Paul (Felix Kammerer), are moved to join the German army. They soon find themselves in a northern French trench with the more seasoned "Kat" (Albrecht Schuch), who helps steal food for them. About a year passes in total. As for the rest, all I really need to tell you is that the source material is antiwar....

The Tin Drum (1979)

I picked a war flick for Veterans Day, but it wasn't the best choice. The protagonist isn't a soldier, and the soldiers we see don't exactly look good to us. You'll understand why in a moment.

On his third birthday, Oskar (David Bennent, actual age 11 at the time) deliberately injures himself in a way that prevents him from growing physically anymore, which ensures that people never treat him as fully adult. That premise alone can be pretty disturbing, but it's also set in Nazi-occupied Poland. His own family sometimes supports the invaders, tho they learn better eventually.

Bedknobs and Broomsticks (1971)

I was only tentatively planning to see this someday and hadn't expected to right after another Disney movie about kids and non-evil witchcraft. But people have been bringing it up with the passing of Angela Lansbury, so I thought it a fitting way to honor her.

In World War II, Eglantine Price (Lansbury) is legally compelled to host three evacuated siblings in her rural English mansion, however unwillingly and temporarily (a scenario I hope never happens in the U.S.). She has been studing magic via mail-order instructions to help the war effort, but the course ends abruptly before she can learn a key spell. Since youngest child Paul (Roy Snart) has a habit of collecting random things and Miss Price wants to enchant a turnable object, he supplies a bedknob. From then on, he can make a certain large bed travel to any destination, which allows the party to hunt for the needed information.

The Book Thief (2013)

From the title, I was not at all surprised to learn that this is adapted from a book. More surprising to me is the mixed response: Less than half the critics on Rotten Tomatoes like it, yet the mainstream audiences mostly do. And this isn't some dopey entertainment fest.

In the '30s, at age 12, Liesel (Marie-Sophie Nélisse) gets transferred from her mother to foster parents Hans (Geoffrey Rush) and Rosa (Emily Watson) in a fictitious German town, for reasons she doesn't immediately understand. Having lost her kid brother to illness en route, she starts a habit of swiping fictitious books for comfort, despite being illiterate at first. That deficit and her habitual silence toward new acquaintances make it hard for her to make friends, and Rosa's cranky to begin with, tho at least neighbor Rudy (Nico Liersch) has a semi-requited crush on Liesel. But she gets a bit more practice with friendship when a nearly dead young Jewish man, Max (Ben Schnetzer), calls in a family favor for shelter from the Nazis.

Revanche (2008)

Despite the title, I don't recall hearing a word of French in the whole 122 minutes. It's set in Austria, so most of the dialogue is in German. Be warned: The first several lines do not get subtitles. I suspect they're in Ukrainian, given the recent immigration of one character.

Brothel bouncer Alex (Johannes Krisch) is so taken with prostitute Tamara (Irina Potapenko) that he robs a bank to pay off her debts. He's pretty cautious as solo robbers go, but his illegal parking draws the attention of policeman Robert (Andreas Lust). In the ensuing chaos, Alex escapes, but Robert accidentally kills Tamara (at least he doesn't try to hide his culpability), causing Alex's interest in revanche.

Spies (1928)

This was it: the last 1920s movie on my Netflix queue or list and thus probably the last silent. If it would become my last silent viewing ever, I was wise to choose one from a proven director, Fritz Lang.

Bank director Haghi (Rudolf Klein-Rogge) also leads a vast spy ring that meddles in international government affairs, seemingly just for the sake of wielding power. Knowing that one Agent 326 (Willy Fritsch, whose character name is never revealed) seeks to bring him down, he sends an agent of his own, Sonja (Gerda Maurus), to seduce and betray 326. The plan backfires when she falls for him for real. Of course, catching a mastermind still isn't easy....

Went the Day Well? (1942)

Yes, another oldie that concerns World War II already, but that's about where the similarity ends. This one's serious, British, produced during said war, and devoid of any names familiar to me except writer Graham Greene.

In the fictional backwater English village of Bramley End (which Netflix misnames Bramley Green), German paratroopers show up disguised as British soldiers. Locals are just beginning to suspect them when they drop the act and capture almost the entire population in the church on Whitsunday. They demand complete obedience to give the outside world no clues, lest they kill more than the resisting parties. For about 48 hours (incidentally the title of another adaptation of the Greene story), the villagers do what they can to stop the invasion from progressing.

A Bridge Too Far (1977)

As often happens, I felt obliged to watch a movie featuring someone who recently died, in this case Sean Connery. He's one of the actors I've watched most, so there weren't many promising titles left. This one's pretty popular but has a bunch of other big names and countless speaking roles, so I wasn't sure it would showcase him well.

Based on a book that's at least partly based on reality, it tells of Operation Market Garden: In 1944, British, American, and Polish forces plan to use paratroopers and tanks to capture numerous bridges in the occupied Netherlands. Many soldiers doubt the feasibility of the mission, as it involves considerable travel along narrow roads, there's fog to consider, and even if the Germans don't send their best, they won't be pushovers. If you know this chapter of history, you know the doubts are correct.

X-Men: Apocalypse (2016)

Just because I can't go to a theater doesn't mean I'm going to spend the whole summer without a typical summer movie! This one may have been the most popular superhero flick I hadn't seen yet, which, at this point, isn't saying much.

Most of the action takes place in 1983, a decade after most of the action in X-Men: Days of Future Past, which came out only two years earlier. The world at large has only recently discovered superpowered mutants, but it turns out that they predate civilization; they just became more common in the last century. One (Oscar Isaac) who would eventually go by "Apocalypse" had reigned as a god-king many times over, destroying nations when he saw fit, but an uprising in ancient Egypt resulted in him being buried and comatose for more than 5,000 years. It's not entirely clear what wakes him -- maybe a cosmic phenomenon or the mysticism of an inexplicable present cult -- but soon after, he decides the whole world is long overdue for a cleansing. No, he doesn't have halfway-noble reasons; he believes that the strong should rule. It doesn't take long for telepathic Professor Charles Xavier (James McAvoy) to notice something's off, but while his school's students and staff are powerful, they haven't been training in combat for some time. They can barely be called X-Men. And the ensuing struggle is nothing to phone in.

Watch on the Rhine (1943)

Having watched a movie about Lillian Hellman and Dashiell Hammett, I might as well watch a movie based on a play by Hellman and adapted by Hammett. OK, that wasn't my thought process when I picked it out. More likely I just wanted a vintage Academy Award nominee that wasn't unpopular these days. From the title, I had guessed a war flick, but while it is set during a war, there are no soldiers or battle scenes.

Sara (Bette Davis), an American, is married to Kurt (Paul Lukas), a German. In 1940, they and their three kids take a roundabout trip from Europe to the U.S., paying a visit to the ritzy D.C. home of Sara's mother, Fanny (Lucile Watson), and brother, David (Donald Woods). They confide to their hosts that Kurt has not worked as an engineer lately, because he's been too busy helping resistance against Nazism. Now they hope to find sanctuary, at least for the less politically active family members. But one "friend" of the family, Teck (George Couloris), is liable to find out and tell the wrong people if not given a selfish reason to keep mum.

Jojo Rabbit (2019)

In my rush to see more Academy nominees, I once again chose what was playing at a good time and was not a remake. I went in thinking, "Well, the title suggests a lighthearted comedy...but it's about Nazism? This isn't the Mel Brooks era." When I saw the name Taika Waititi, I understood. Turns out he wrote the screenplay back before What We Do in the Shadows.

In 1945 Germany, ten-year-old Johannes (Roman Griffin Davis) avidly joins the Hitler Youth, but his refusal to kill a rabbit at boot camp earns him the titular mocking nickname. In his attempt to make up for it with awesomeness, he wounds himself enough to be relegated to non-combat work near his urban home. One day, he discovers Jewish late teen Elsa (Thomasin McKenzie) hiding in a secret passage within his house, but he doesn't dare tell anyone, partly because his abetting mother, Rosie (Scarlet Johansson), would get in serious trouble. (I'm not sure why Elsa persuades him not to tell even Rosie.) For the sake of knowing the enemy better, "Jojo" demands that Elsa share information on Jews in general, to be put into an illustrated book. You can guess how his mind changes during research.

1917 (2019)

It was high time I saw one of the latest nominees for Best Picture. OK, I saw this the day before they were announced, but the hype suggested it would make the cut. I didn't let the name Sam Mendes put me off, partly because war movies tend to bring out another side of directors. And usually do well.

The plot is almost deceptively easy to summarize: In France, English lance corporals Tom Blake (Dean-Charles Chapman) and Will Schofield (George MacKay) are assigned to deliver orders from General Erinmore (Colin Firth) to Colonel Mackenzie (Benedict Cumberbatch) to call off a scheduled attack, because new intel indicates a trap. Unfortunately, thanks to severed phone lines, this delivery requires trekking through land that the Germans haven't entirely abandoned -- or left hospitable.

Europa (1991)

Not to be confused with the previous year's Europa Europa, this film went by Zentropa (the name of a fictitious railroad company) in the U.S. Director Lars von Trier must have been arrogant even back then, because he flipped off the Palme d'Or judges for not awarding it. Still, it is far more popular today than the winner, Wild at Heart. I decided to see why.

Leopold (Jean-Marc Barr), a young American of German descent, decides to show some mercy to Germany in the months after World War II by taking a job there as a sleeping car conductor for Zentropa, where his uncle (Ernst-Hugo Järegård) works. From the train windows, he sees that the nation is hardly in peacetime as the U.S. military clashes with the "Werewolf" resistance. It turns out that the inside of a train isn't much better for neutrality, as friendly folks, including a love interest (Barbara Sukowa), seek to involve him in their sordid plans with or without his knowledge or consent.

Top Secret! (1984)

In elementary school, I loved wacky nonstop comedies like The Naked Gun and Hot Shots. Today, I believe that Zucker, Abrahams, and Zucker never quite recaptured the magic of Airplane! and all lost their momentum for good by the mid-'90s. But what about halfway between AP and TNG?

I'm guessing TS is set in the early '60s, based on protagonist Nick Rivers (Val Kilmer's screen debut) resembling an Elvis Presley character but clearly mocking the Beach Boys for his opening number. It's also set mostly in an East Germany that looks more like the Third Reich. As a guest singer, Nick enjoys a privileged status but is strongly advised to keep his nose clean. He stops doing so when he falls for Hillary (Lucy Gutteridge), a wanted member of the curiously French Resistance. Together, they seek to free her father (Michael Gough, 11 years before reuniting with Kilmer for Batman Forever), a scientist forced to make weaponry for the government.