More often than not, I enjoy movies, television shows, books, and music dealing with addiction. When a show, a song, an autobiography, etc., effectively chronicles the compulsive and desperate realities of substance abuse, I will give it my undivided attention. When a character adeptly captures the euphoria of being drunk, high, or stoned, followed by the bleak and inpatient hopelessness that awaits when that high wears off, I am reminded of how prevalent, powerful, and relentless addiction is. Two critically limited series (Dopesick – 2022 and Painkiller – 2023) brought pharmaceutical pill addiction to the forefront in ways that film or television hadn’t before. The ability to tell an addiction story over 8-10 one-hour-long episodes allows a director more opportunity to delve into the depths of the disease while allowing for deep character examinations. That is not to say that a film that centers around addiction can’t be captivating. Numerous examples have shown this. Unfortunately, Zach Braff’s (Garden State, Wish I Was Here) well-intentioned A Good Person was not one of them.
All posts by bryanbuser
The Promised Land (2023)
Killers of the Flower Moon meets Braveheart with elements of The Patriot and The Revenant? I’m unsure where Nikolaj Arcel’s (A Royal Affair, The Dark Tower) The Promised Land falls when compared to these four powerhouse movies. It has elements of each of these films, yet still feels wholly unique. When Mads Mikkelsen (The Hunt, Another Round) is the lead actor, especially in independent movies, particularly those filmed in his native Danish language, it’s a near guarantee that the film will be great.
Once (2007)
I’ve watched John Carney’s (Begin Again, Sing Street) Once in its entirety three times. I saw it in 2007 during its theatrical run. I saw it another time between that and my 2024 rewatch. I have felt myself connecting with it less with each subsequent viewing, yet appreciating it more. What is ironic is that when I first saw the film, it felt like an original masterpiece, and that is something I don’t feel anymore. Perhaps that was because I needed to see more movies following the fairly generic formula. Or maybe it was because I’ve seen too many films that have followed that blueprint, resulting in Once feeling less original than I initially found. As I write this review, I try to balance that original perception against how I react to the film 14 years later.
The Zone of Interest (2023)
Often, I like to go into a movie as blind as possible. I do this even more for Oscar-contending films, which are traditionally more artsy, independent, symbolic, innovative, or daring. It can be hit or miss. When it hits, it’s unforgettable. When it misses, I spend my time glancing at the time on my phone, wondering when the borefest will finally end. I am glad I didn’t approach Jonathan Glazer’s (Under the Skin, Birth) fearless The Zone of Interest.
American Fiction (2023)
While 2023 has been an excellent year for films. Sadly, as has been the case in most recent years, the movies that receive nominations for the big awards, specifically the Oscars, haven’t been my favorite. This year continues the trend. At the time of this post, I have three of the predicted ten Best Picture nominated movies in my Top 10 movies of 2023, with that number more likely to go down than up as I revisit my thoughts. The same can said of the nominations in the other awards, specifically the other Big Five. It has felt as if the voters are more interested in rewarding actors who traditionally get nominated or are due for their first nomination, and the nomination is a longevity award rather than an outstanding performance that year.