![\"Jake's](\"https://cdn.uploads.micro.blog/219678/2025/jakes-drawing-book-1.jpg\" "\\"jake's")
It is a new year! and I, your movie-watchingest friend am here to remind you that you subscribed to the criterion channel and haven’t watched anything on there in awhile.
I always look at the leaving soon list. Every streaming service churns their releases in and out but only criterion does it with an actual letterboxd list. Starting with movies I’ve seen:
\nDaughters Of the Dust (Dash, Julie. 1991) — I saw this in college as part of a film class and I still sometimes think about the scenes where they make the indigo dye and talk about where souls are before they’re born. I’ve seen two of Dash’s films and you could probably write a pretty easy essay just on her use of sound as distancing effect, so like. Fair warning.
\nThe Big Sleep (Hawks, Howard. 1946) — On the subject of using the form to create a weird distancing effect between the audience and the work, The Big Sleep is one of those movies I love but damn if I know whats going on in it. This is becuase of the Hayes code! The book is very sensical, almost straightforward, but they had to jump through so many hoops to satisfy the manic whims of a perverse protestant the film is almost totally incoherent. Kinda the ultimate product of tiktok kids saying “unalived”. The Hayes Code: Technically Not State Censorship.
\nUnrest (Schäublin, Cyril. 2022) — I’m having a really hard time giving a blurb for this one without just doing a summary. So don’t read this blurb, just go watch it and come back. OK. Here’s best I got: Its a synecdoche about the importance of human labour in even the most seemingly mechanical of things, focusing mostly on one woman who makes the precise little spring that keeps a watch ticking by keeping it constantly off balance, as she is herself unbalanced by the suddenly enforced implementation of the newly developed assembly line and efficiency — made possible by her every movement being timed and optimised by some clark with a clipboard and one of her own damn watches. For an anarchist screed about the mechanisation of labour its beautifully framed and still and very quiet, letting you come to your own conclusions. Cannot recommend enough.
\nMovies I haven’t seen but intend to before the end of the month:
Maya Deren is one of my favourite film weirdos her style is so simple, technically, but effective. A true master of leading motions and the cut. This is why you’ve probably seen her Meshes of The Afternoon (1943) in a class or video essay on editing. But she did a lot of other stuff before being slowly poisoned and losing her mind, and her collected writings in the book by documentext is rival only to Eisenstein for per-page film theory (my favourite is still the first one I read; “Magic is New”, in which she tries to get a permit to shoot in central park). Rarely are her films collected and presented in any notable way so its really cool criterion is doing a “Maya Deren, Master Of the Avant Garde” collection and you can watch my favourite of hers, At Land, as well as the one about cats and even her unfinished (masterwork? white whale?) Divine Horsemen: The Living Gods of Haiti. These are the Kino Lorber scans so I think they’re just DVD quality but worse they have soundtracks. Turn off the soundtracks. a study of choreography for the camera doesn’t work with sound.
\n—Jacob
\n", "summary": "It is a new year! and I, your movie-watchingest friend am here to remind you that you subscribed to the criterion channel and haven’t watched anything on there in awhile.", "date_published": "2026-01-04T19:01:26-08:00", "url": "https://jacobdavidearl.com/2026/01/04/criterion-channel-jan.html", "tags": ["Article"] }, { "id": "http://jacobearl.micro.blog/2025/11/10/jakes-drawing-book.html", "title": "Jake’s Drawing Book", "content_html": "c. 2003
\n[pdf]
\n
Or: “My drawing book for snowy & sunny days !!!”
\nundated, c. 2002–2003
\n[pdf]
\n![\"My](\"https://cdn.uploads.micro.blog/219678/2025/my-drawing-book-for-snowy--sunny-days--1.jpg\" "\\"my")
undated, c. 2002
\n[pdf]
\n![\"Working](\"https://cdn.uploads.micro.blog/219678/2025/working-journal-1.jpg\" "\\"working")
for no particular reason revisiting don’t be a sucker (dod, 1945):\narchive.org/details/y…
\n![\"\"](\"https://cdn.uploads.micro.blog/219678/2025/image.png\")
\n",
"date_published": "2025-09-23T14:48:16-08:00",
"url": "https://jacobdavidearl.com/2025/09/23/for-no-particular-reason-revisiting.html"
},
{
"id": "http://jacobearl.micro.blog/2025/09/23/cosign-httpstextcastingorg.html",
"content_html": "cosign:\ntextcasting.org
\n", "date_published": "2025-09-23T14:42:38-08:00", "url": "https://jacobdavidearl.com/2025/09/23/cosign-httpstextcastingorg.html" }, { "id": "http://jacobearl.micro.blog/2025/09/07/my-first-diary-log.html", "title": "My First Diary / Log", "content_html": "13/oct/04 – 27/apr/05
\n\n![\"My+first+diary-log_Page_001](\"https://cdn.uploads.micro.blog/219678/2025/myfirstdiary-log-page-001-1.jpg\" "\\"my+first+diary-log_Page_001")
undated, c. 2006
\n\n![\"Invention](\"https://cdn.uploads.micro.blog/219678/2025/invention-book-page-01.jpg\" "\\"invention")
Excerpted and clarified from journal 2.
\n![\"\"](\"https://cdn.uploads.micro.blog/219678/2025/j2v2-16.jpg\" "\\"j2v2")
| place | \n\tarrive | \n\tleave | \n\tdate | \n\tcomment | \n
|---|---|---|---|---|
| anchorage | \n\t0900 | \n\t1258 | \n\t9–4–08 | \n\t\n |
| seattle | \n\t5:00 | \n\t6:07 | \n\t9–5–08 | \n\t\n |
| houston | \n\t1205 | \n\tafternoon | \n\t9–5–08 | \n\t\n |
| austin | \n\tfriday | \n\tafternoon | \n\t9–7–08 | \n\t\n |
| new brunsfield | \n\t3:21 | \n\t3:21 | \n\t9–7–08 | \n\t\n |
| Luling | \n\t4:22 | \n\t4:24 | \n\t9–7–08 | \n\t\n |
| houston | \n\t7:48 9–7–08 | \n\t9–11–08 | \n\t\n\t | \n |
| san antonio | \n\t9–11–08 | \n\t9–15–08 | \n\t\n\t | \n |
| Flatonia | \n\t8:08 9–15–08 | \n\t8:28 9–15–08 | \n\t\n\t | \n |
| Columbus TX | \n\t8:20 9–16–08 | \n\t12:07 9–16–08 | \n\t\n\t | \n |
| brookshire (houston) | \n\t9:30 9–16–08 | \n\t12:00 9–20–08 | \n\t\n\t | picked up flints | \n
| austin | \n\tnight 9–20–08 | \n\t6:10 9–23–08 | \n\t\n\t | \n |
| san marcos | \n\t9–23–08 | \n\t9–24–08 | \n\t\n\t | \n |
| san antonio | \n\t9–24–08 | \n\t9–27–08 | \n\t\n\t | we didnt lose a day we spent it travelling | \n
| lake charles LA | \n\t1:23 pm 9–28–08 | \n\t9–28–08 | \n\t\n\t | \n |
| la fayette | \n\t9–28–08 | \n\t9–30–08 | \n\t\n\t | \n |
| franklin | \n\t9–30–08 | \n\t10–1–08 | \n\t\n\t | \n |
| thibodaux | \n\t10–1–08 | \n\t10–2–08 | \n\t\n\t | \n |
| new orleans | \n\t10–2–08 | \n\t10–4–08 | \n\t\n\t | \n |
| pensacola florida | \n\t10–5–08 real early | \n\t10–5–08 | \n\t\n\t | \n |
| destin florida | \n\t10–5–08 | \n\t10–7–08 | \n\t\n\t | \n |
| tallahassee | \n\t10–7–08 | \n\t10–9–08 | \n\t\n\t | \n |
| clearwater | \n\t10–9–08 | \n\t10–11–08 | \n\t\n\t | \n |
| fort meyers beach | \n\t10–11–08 | \n\t10–17–08 | \n\t\n\t | \n |
| orlando | \n\t10–17–08 | \n\t10–25–08 | \n\t\n\t | \n |
| indian harbour beach | \n\t10–25–08 | \n\t10–26–08 | \n\t\n\t | \n |
![\"\"](\"https://cdn.uploads.micro.blog/219678/2025/j2v2-26.jpg\" "\\"j2v2")
| place | \n\tarrive | \n\tleave | \n
|---|---|---|
| sebastian inlet | \n\t10–26–08 | \n\t10–28–08 | \n
| fort pierce | \n\t10–28–08 | \n\t10–29–08 | \n
| orlando | \n\t10–29–08 | \n\t10–30–08 | \n
| cape canaveral | \n\t10–30–08 | \n\t10–31–08 | \n
| new smyrna beach | \n\t10–31–08 | \n\t11–1–08 | \n
| st augustine | \n\t11–1–08 | \n\t11–5–08 | \n
| fort lauderdale | \n\t11–5–08 | \n\t11–6–08 | \n
| fort meyers beach | \n\t11–6–08 | \n\t11–18–08 | \n
| orlando | \n\t11–18–08 | \n\t11–19–08 | \n
| fort pierce | \n\t11–19–08 | \n\t11–20–08 | \n
| the keys | \n\t11–20–08 | \n\t12–2–08 | \n
| melbourne | \n\t12–2–08 | \n\t12–3–08 | \n
| kissimee | \n\t12–3–08 | \n\t12–11–08 | \n
| melbourne | \n\t12–11–08 | \n\t12–12–08 | \n
| Jupiter | \n\t12–12–08 | \n\t12–15–08 | \n
| Clewiston | \n\t12–15–08 | \n\t12–17–08 | \n
| fort meyeres | \n\t12–17–08 | \n\t12–20–08 | \n
| bradenton (cortez) | \n\t12–20–08 | \n\t12–21–08 | \n
| titusville | \n\t12–21–08 | \n\t12–22–08 | \n
| st. augustine | \n\t12–22–08 | \n\t12–26–08 | \n
| kissimee | \n\t12–26–08 | \n\t12–27–08 | \n
| ft. meyers | \n\t12–27–08 | \n\t12–28–08 | \n
| sarasota | \n\t12–28–08 | \n\t12–30–08 | \n
| bradenton | \n\t12–30–08 | \n\t\n |
I look at a lot of stuff each week. Sometimes I collect the most interesting stuff into a long list to text my friends b/c being my friend is a sort of curse of being texted long videos and articles, and since I’ve been doing this blog I figured I’d work up a version for here. Are you looking for something to read? Well boy howdy do I have something for you:
\nPen drama:\nBluesky
\nFred Astaire Ollie follow-up\nDanny (aka Pre-Code.Com) (@pre-code.com)
\nDan Sheehan Cow joke\nDan Sheehan (@dansheehan.bsky.social)
\n”Im not corrupt, im chinese” follow up\nsarah jeong (@sarahjeong.bsky.social)
\nWe may have a new cervesa cristal[1] on our hands\nMike Ryan (@mikeryan.bsky.social)
\nThe past was not as monolithically racist as it can sometimes feel\nChris Person (@papapishu.bsky.social)
\n~sick~ little comic about ideas:\nNick Sousanis (@nsousanis.bsky.social)
\nTwo upsetting but good posts about chattell slavery:\nMikki Kendall (@karnythia.bsky.social)\nDr. Damien P. Williams Wants A Better Sociotechnical Paradigm (@wolvendamien.bsky.social)
\nThis cat’s a little confused, but he’s got the spirit: Gus, believes he is a trained support animal-he is not
\nOn a better future from art:\nThe Revolution Will Be Extra-Curricular
\nOn the lonely cinema of ozu:\nHow Ozu Created His Own Cinematic Language
\nBluesky banned, then unbanned, some trans people for being catty abt JKR:\nBluesky silenced trans voices over J.K. Rowling, here’s why
\nThey put some rogue in your lite so you can roguelite while you roguelike:\nI’ve been humbled by a surprisingly robust roguelite action RPG where you control two characters at once
\nOn cyberpunk the rpg’s life path:\nOn Cyberpunk 2020’s Lifepath Generator – a question of machines
\nIsn’t it neat we sent a camera to jupiter and it still works (with pictures):\nSay Goodbye to Juno, NASA’s Groundbreaking Mission to Jupiter
\nAn exciting new semiotics project:\ndescribe world – a question of machines
\nThe radical urbanism of cyberpunk 2077:\nWhat Cyberpunk 2077 Can Teach Real-World Cities
\nMoby dick larp experience:\nWith A Boat And Some Help, You Can Read Moby Dick In A Day
\nOn the empathy of lynch:\nFix Your Heart or Die: The Startling Empathy of David Lynch
\nCypto troublemaker J. Sun Tries to sue to keep his shit private[2]: \nAs he builds US power, Justin Sun fights to control his story
\nI 100%’d Cyberpunk 2077 and now I don’t know what to do with myself, feels like theres an essay percolating in there but I’m not sure what about yet. The blasphemous crucifixion subplot that effortlessly combines all the major themes of the game, while being apparently completely skippable? The airport that doesn’t make any sense?
\nThe guy who did journey has a new one out about surfing on a sword across the desert and it looks sick as hell. He recently did a great interview with the remap radio guys about, among other things, the burden of being “the guy who did journey”[3] and making games that are more about mechanic than plot: Remap Interviews – Summer Game Fest Interviews (Part 1)
\nHollow knight’s not my jam but the second one’s coming out after coming out soon for like 5 years: Hollow Knight: Silksong comes to Switch and Switch 2 on Sept. 4th, 2025 and my friends are all unbearably hyped—so I am too.
\nOuter Worlds is 100% my jam and I am very excited the next ones coming out, well, soonish[4]. If you haven’t, go play the first one. It’s by the people who made the only fallout people liked[5].
\nSubnautica is a really fun game about swimming around and collecting rocks and fighting off sea monsters and dismantling the capitalist system that got you stuck on this rock in the first place[6] and the drama around why the second one isn’t out yet is, well. worth reading:\n- Subnautica 2 Drama Gets Even Messier As Krafton Confirms Internal Document Leak Is Real\n- More Drama in the Murky World of Subnautica 2 as Official Delay Confirmation Comes Hot on the Heels of Damaging Report Into Now Unlikely $250M Bonus
\nVivian[7] destroys adam conover (TW mean girl energy)\nVivian Wilson Bullies Adam Conover for 74 Minutes
\nJ. Bouie Has himself a look at the art of the deal\nThe Art of the “Deal”
\nNicole Byer and Ben Schwarts Screwing around and goofing off on nbc’s dime\nBen Schwartz on Nicole Byer Crying Over Sonic, Meeting Stevie Wonder & The Art of Bra Fitting
\nMonica Lewinsky has a podcast and she’s great at it, here’s her interview with john oliver:\nJohn Oliver on The Ethics of Comedy, The Dalai Lama & Impacting Monica
\nmy god albert really went all the way to france to talk to the guys who make ~the~ french workwear jacket:\nAmerican vs French Workwear
\nstar wars cerveza cristal 1, Major Partagaz Enjoys Cerveza Cristal ↩
\nobviously unfamiliar with the streissand effect ↩
\nAlso check out their interview with “the guy who did stanely parable” along a similar theme but more in-depth: Remap Interview: Davey Wreden (The Stanley Parable) ↩
\nI need to internalise which months are which numbers I got myself all hyped up but misread the date ↩
\nHang on here I‘m noticing a theme in the games I like lol ↩
\nmusks trans daughter ↩
\n1/jul/24 – 09/jun/25
\n\n![\"cinema](\"https://cdn.uploads.micro.blog/219678/2025/cinema-10-1.jpg\" "\\"cinema")
| page | \ntitle | \n
|---|---|
| 1–3 | \nthe day after tomorrow | \n
| 3–5 | \nmission impossible: dead reckoning | \n
| 5–7 | \nmaxxxine | \n
| 8–10 | \nbad liuetenant port of call new orleans | \n
| 11–12 | \nannihilation | \n
| 13–14 | \nthe people’s joker | \n
| 14–15 | \nthe last of sheila | \n
| 16–17 | \ntenebrae | \n
| 17–19 | \nmonkey man | \n
| 19–21 | \nany number can win | \n
| 21–23 | \njaws | \n
| 23–25 | \nwe’re all going to the worlds fair | \n
| 25–26 | \nhearts of darkness: a filmmakers apocalypse | \n
| 26–31 | \nMegalopolis | \n
| 31–33 | \nriddle of fire | \n
| 33 | \nsolo | \n
| 34–35 | \nripley’s game | \n
| 35–38 | \ngame change: sarah palin | \n
| 38–40 | \nthe fog | \n
| 40–42 | \nhigh sierra | \n
| 42–43 | \nmiller’s crossing | \n
| 43–45 | \nnught of the hunter | \n
| 45–46 | \ntrue grit | \n
| 46–49 | \nthe substance | \n
| 50–51 | \nautumn sonata | \n
| 51–53 | \njanet planet | \n
| 54–55 | \nE.T. | \n
| 55–56 | \ngilda | \n
| 56–59 | \nseconds | \n
| 59–61 | \nklute | \n
| 61–62 | \nin bruges | \n
| 62–63 | \nseven psychopaths | \n
| 63–64 | \nhit man | \n
| 64–66 | \nthe sound of silence | \n
| 66–67 | \nhundreds of beavers | \n
| 67–69 | \nalien: romulus | \n
| 70–72 | \nNosferatu (1922) | \n
| 73–75 | \nrun lola run | \n
| 75–77 | \nthe fifth element | \n
| 77–78 | \nléon the professional | \n
| 78–79 | \nlittle miss sunshine | \n
| 80–81 | \nI like movies | \n
| 82–83 | \nthe name of the rose | \n
| 84–86 | \ni saw the tv glow | \n
| 86–88 | \nterminator | \n
| 89–90 | \ntemple of doom | \n
| 90 | \nterminator 2 | \n
| 91 | \ndrive | \n
| 92–93 | \nthe fall guy | \n
| 93–95 | \nnosferatu (eggers) | \n
| 96–97 | \njuror #2 | \n
| 97 | \nthe wild robot | \n
| 98–99 | \nla chimera | \n
| 100 | \na real pain | \n
| 101–103 | \nthe brutalist | \n
| 104–105 | \ndune 2 | \n
| 105–107 | \nthe girl with the needle | \n
| 1080–109 | \nmickey 17 | \n
| 110–111 | \ncowboy bebop (the movie) | \n
| 112–113 | \nthe order | \n
| 113–115 | \nspeed racer | \n
| 116–120 | \nrosemary’s baby | \n
| 120–121 | \nthe taking of pelham 123 | \n
| 122–123 | \nplatoon | \n
Leave your apartment and go left.\n
Notice how long the dry cleaner’s has been in business.
Do not notice the secret woodwind repair shop or the ledge in front of the hairdressers where you found a notebook one day, tried to get in touch with the owner via email, then left where you found it the day before it rained.
Cross the street because the luxury apartments have torn up the sidewalk.
While you wait for the light fantasise about fixing up, for either selfish means or good, the empty women’s center that’s been for lease for years.
Carefully read the graffiti on the for lease sign that says “Stop Moving to LA”.
At the store, get chips. Eat them while walking past two gyms.
Remember to look up at the paper planes outside Iman’s music shop.
From J30p77–78
\n", "summary": "Leave your apartment and go left. Notice how long the dry cleaner’s has been in business. J30p77-78", "date_published": "2025-08-17T13:11:13-08:00", "url": "https://jacobdavidearl.com/2025/08/17/a-poem-for-walking-down.html", "tags": ["Poems"] }, { "id": "http://jacobearl.micro.blog/2025/08/17/140308.html", "title": "Cinema 9", "content_html": "1/jun/24 – 1/jul/24
\n\n![\"\"](\"https://cdn.uploads.micro.blog/219678/2025/cinema9-1.jpg\")
| page | \ntitle | \n
|---|---|
| 1–3 | \nindependence day | \n
| 4–7 | \nsorcerer | \n
| 8–12 | \nmanhunter | \n
| 12–16 | \nanother round | \n
| 16–19 | \nmidnight run | \n
| 19–22 | \nrepo men | \n
| 23–27 | \nX | \n
| 28–30 | \npearl | \n
| 30–32 | \nwar dogs | \n
| 33–36 | \nrepo man | \n
| 37–40 | \nair doll | \n
| 41–57 | \nPCC film fest | \n
20/mar/24 – 01/jun/24
\n\n\n| page | \ntitle | \n
|---|---|
| 1–2 | \nemma. | \n
| 3–4 | \nreport on the party and the guests | \n
| 5–8 | \nnetwork | \n
| 8–11 | \nthe strangler | \n
| 11–19 | \nbeverly hills film festival | \n
| 20 | \ntremors (2018) | \n
| 21–24 | \ndon’t look now | \n
| 24–26 | \nsebastiame | \n
| 26–32 | \ndo not expect too much from the end of the world | \n
| 32–34 | \npower of myth | \n
| 34–37 | \npredator | \n
| 38–41 | \nAlien Vs. Predator | \n
| 41–44 | \nprey | \n
| 45–47 | \nthe thing (2011) | \n
| 47–50 | \nalien ressurection | \n
| 51–53 | \nishtar | \n
| 54–57 | \ngodzilla minus one | \n
21/dec/23 – 20/mar/24
\n\n\n| page | \ntitle | \n
|---|---|
| 1–3 | \nthe pirate | \n
| 4–6 | \nrope | \n
| 7–10 | \nthe match factory girl | \n
| 11–15 | \nget shorty | \n
| 18–19 | \ntrue stories | \n
| 20–22 | \nwonka | \n
| 22–27 | \nsans soleil | \n
| 28–32 | \nnews from home | \n
| 33 | \nwilly wonka and the chocolate factory | \n
| 33–36 | \ntrue love: making the creator | \n
| 36–41 | \npassages | \n
| 41 | \ntreasure planet | \n
| 42–44 | \njohn wick 4 | \n
| 45–50 | \nrotting in the sun | \n
| 51–52 | \npoor things | \n
| 53–57 | \nmurder on the orient express | \n
| 57–60 | \ndeath on the nile | \n
| 60–63 | \nglass onion (knives out 2) | \n
| 63–66 | \nfremont | \n
| 66–69 | \npaterson | \n
| 69–71 | \nold joy | \n
| 72–74 | \nhidalgo | \n
| 74–78 | \ntargets | \n
| 78–81 | \nthe criminal code | \n
| 81–85 | \nriki-oh the story of ricky | \n
| 85–86 | \ncane toads: an unnatural history | \n
| 86–91 | \nkillers of the flower moon | \n
| 92–95 | \nvice | \n
| 96–97 | \nlisa frankenstein | \n
| 98–101 | \nbeau travail | \n
| 101–106 | \nthe long good friday | \n
| 106–113 | \namanda | \n
| 113–118 | \nthis sporting life | \n
| 119–123 | \nanatomy of a fall | \n
| 124 | \ndear chantal | \n
| 124 | \nantoine/milena | \n
| 125–129 | \ncertain women | \n
| 130–131 | \nchristos valley curtain | \n
| 131–138 | \ninland empire | \n
| 138–141 | \nmagic mike | \n
| 141–147 | \noscar shorts, Animated: - our uniform - letter to a pig - pachyderme - 95 senses - war is over - wild summer - I’m hip | \n
| 147–153 | \nOscar shorts, Live Action: - the after - red white & blue - knight of fortune - invincible - henry sugar | \n
| 154–157 | \nteorama | \n
| 158–161 | \nblood of a poet | \n
| 161–167 | \nphantom thread | \n
| 167–171 | \nbeing john malkovich | \n
| 171–172 | \nthe cowboy & the frenchman | \n
| 173 | \nstarnge way of life | \n
| 174–177 | \nthe player | \n
| 178–181 | \nla confidential | \n
| 181–185 | \nyour name. | \n
| 185–191 | \nstarship troopers | \n
| 191–194 | \nthe silent partner | \n
| 195–198 | \nsnows of kilimanjaro | \n
| 198–201 | \nunrest | \n
| 202–206(supplemental) | \nperfect days | \n
15/nov/23 – 21/dec/23
\n\n\n| page | \ntitle | \n
|---|---|
| 1–3 | \nthe killer | \n
| 4 | \naphotic zone | \n
| 4–6 | \ngloria | \n
| 7–9 | \nthe protector | \n
| 10–12 | \ncarnival of souls | \n
| 13 | \ndefunctland epcot | \n
| 14–15 | \nthe boy and the heron | \n
| 16–20 | \neuropa | \n
| 20–22 | \nscott pilgrim vs. the world | \n
| 22–24 | \ncolumbus | \n
| 24–28 | \nmay december | \n
| 28–31 | \nmonster | \n
| 31–33 | \nminari | \n
| 33–35 | \nafter life | \n
| 35–36 | \nthe holdovers | \n
| 36–38 | \nfallen leaves | \n
| 38–41 | \nnaked lunch | \n
| 42–43 | \nnausicaa | \n
| 43–46 | \ndiary of a country priest | \n
29/oct/23 – 14/nov/23
\n\n\n| page | \ntitle | \n
|---|---|
| 1–3 | \nthe silence of the lambs | \n
| 4–6 | \nlost highway | \n
| 7–8 | \nthe creator | \n
| 9–11 | \npeggy sue got married | \n
| 12–14 | \nin the mirror of maya deren | \n
| 15 | \nthe road to el dorado | \n
| 15–16 | \narrival | \n
| 16–17 | \nthe hudsucker proxy | \n
| 17–20 | \njumanji: welcome to the jungle | \n
| 20–21 | \nkiss kiss bang bang | \n
| 21–22 | \nthe terminal | \n
| 22–26 | \namerican psycho | \n
| 27–31 | \ndonnie darko | \n
| 31–33 | \nin the mouth of madness | \n
| 34–36 | \ncronos | \n
| 36–38 | \nsneakers | \n
| 39–42 | \nsaltburn | \n
| 42–46 | \nsuspiria | \n
Hi, Jacob Earl inveterate movie talker here.\nDo you find yourself talking all the time and driving everyone around you nuts for your whole life, like your mouth is almost controlled by a totally different person?1 Leaning over to your friend saying “she’s the actress from this other movie” or “Oh no they’re brothers” destroying the experience for your closest friends and family?
\nI find that I get these thoughts and I cannot focus on the next thing that happens unless I express them. In college I started taking notes in movies and I found it much easier to focus on whats going on. My brain registers writing as a kind of talking, and instead of leaning over and pointing out how this bit mirrors this other bit I can write it down and let that thought keep until I return for it. I also find that I can remember things better for some reason.
\nThese are just guidelines but:
\nAnything that is happening in the movie, as it happens. movies are a sequential medium, things happen one after another, purposefully. Remembering that they got to the city, then got the phone call, might be important. This can be tricky for some people though b/c they get bogged down noting every little thing that happens. There’s a feel to it. Big surprises, stuff that feels like it setting something up for later (music cues) character introductions, deaths, betrayals. Stuff like that. Movies are a text and texts are written in language. How does this movie use the language of cinema?
\nTheres a long history of talking in movies and theres nothing inherently wrong with that. Read the room if you can. But I like to think that a whisper is momentary and a pen is eternal — you’re essentially displacing that whisper to later when you’re talking with your friend afterwards about the movie, (Or if you went alone, to your letterboxd review) And you look smart b/c you have it on paper. If you do have a discussion with friends afterwards I find people get a kick out of seeing the thing they just said on a piece of paper you took out of your pocket.
\nI’m bad at remembering character names so I usually write something like “Jane Lynch — The Mom “ so in my notes when I refer to The Mom I know I mean Jane Lynch and not her mom, who hadn’t been introduced at that point.
\nGet a watch with a face that lights up (not a digital watch but a regular watch), a ball point pen that doesn’t click, and a small notebook of unlined paper. Gel pens are better than regular ballpoint b/c the lines cleaner. A watch with a face that lights up when you depress the crown is basically the perfect balance b/t a book-light (too bright, even with diffusion, usually if they’re portable enough they’re flimsy and unreliable) and waiting for the movie to be bright enough to see the paper by (movies are really dark now). If you exclusively watch movies at the Alamo Drafthouse — First, lucky, but second the Alamo is designed to allow you to write during the movie b/c you have to place orders at the seat, on little cards. so every seat has a great little light and mini desk. go to your local Alamo and take home one of their order cards and try and get a notebook about that size. Everywhere else you have to plan ahead a little.\nAs the notebook you choose for this get bigger in size the easier it becomes to write in, but the more important it becomes for it to be hardback which is unsubtle and unwieldy.
\nSometimes you can get too involved in writing. This is more easily avoided by watching a movie in the dark, but if you’re watching it at home in a pleasant twilight you can spend more time looking at your notes than at the movie. Remember:
\nSince the initial draft of this in 2023 I have since been diagnosed with ADHD and take medicine for it that has really calmed the old thought-machine down. Your brain is not supposed to be trying to kill you with pointless noise! turns out! ↩︎
\nI’ll cover “pretentious” another day I hate the way people use claims of pretention to shut down self expression or the using of ones brain. ↩︎
\nOne of the perks of a premium letterboxd subscription is a fully featured Stats page that organises the data from your account in a series of increasingly granular ways, for example you can see your highest rated cinematographer of all time (Jean Rabier) or of a particular year (2016: Albert Maysles) or what film you’re a statistical outlier for, either rating much higher than the average user (Spy Kids 2, 5 Stars) or much lower (1900, .5 Star) or measure your progress against curated lists such as the Top 250 Women Directed Movies (11%) or Top 100 Animation (42%) or just below it, a thing called “Collections”, lists of movies usually in a series (Indiana Jones, 5/5) But sometimes the movies in the collection are connected not in literal series where the events of each movie happen directly before or after the previous (Evil Dead, 3/3), but are connected more thematically, maybe sharing some of the same characters but not logically following from the previous. It was two of these I decided to tackle b/c somehow I had missed the final entry in both series, The Road To and Mr. Hulot.
\nThe Road To movies are a loosely connected series of cheaply produced joke delivery vehicles for Bob Hope and Bing Crosby, and I had the 6 Movie Box Set growing up. My mom was suspicious of he sorts of movies and things for kids that were coming out when I was growing up, I think she thought they were alternately incredibly infantilising or way too “inappropriate” so saw a lot of the stuff she saw growing up, and anything sufficiently From The Past was fair game. I can’t really fault her for thinking “It’s Bob Hope and Bing Crosby Doing Jokes, That’s Probably Fine.” It probably would have been better to be a Marx Brothers Kid, but I somehow didn’t see a Marx Bros. movie until a scant few years ago, as an adult. The plot of every Road movie is exactly the same, Bob and Bing are two losers who suddenly have to get someplace exotic, to find buried treasure or put on a big show or whatever. The “Exotic Locale” is universally a soundstage dressed up two grades worse than Gilligan’s Island, but Reality isn’t the point the point is to hear Crosby and Hope talk to each other, trick each other, and do Vaudeville jokes at high speed, increasingly about the fact that they’re in a movie or the cheapness of the set or otherwise breaking the fourth wall, which is a kind of joke that really captivated me as a kid and that I still enjoy.
\nEventually a girl shows up, and usually it’s Dorothy Lamour. They go GaGa for her and fight and undermine each other, she tricks them sometimes but ultimately “ends up” with one or both of them ambiguously and usually without it really seeming like her choice, but they all do a number at the end and hold hands and smile. You may be thinking, “That sounds like The Road to El Dorado” that is because the road to el dorado is explicitly a joke about, (sorry, ~ an Homage To ~ ) these movies, and as such carry over a lot of the troubling stuff that you can imagine exists in a vaudeville format from 19401.
\nIt was a surprise to see the Road To movies listed under “Almost Complete” as I had them all on DVD and watched all when I was a kid, but they were all them deceived for there had been forged a seventh Road movie: The Road to Hong Kong, in 1962. A Spy picture with a rocket to the moon2 launched from an underwater secret base by a secret ~third~3 world power the same year as Dr. No but apparently conceived independently from the first Bond movie, a parody already of something I thought Bond originated but must both be pulling from some shared pulp gestalt. Now, none of that seems like it needs to be set in Hong Kong, other than I suppose Hong Kong’s unique place as both The Exotic East and, technically, Britain, so as not likely to trouble the vacuum-boiling Cold War by using it as a setting. There’s an explicit nod to the feelings of the Second World4 when the boys are introduced to the villains of this one, a secret society called The Third Echelon5.
\nAnyway. The girl in this one is a young Joan Collins which is cool, and Dorothy Lamour shows up for a second and they fully break character and are like “Hey remember all the movies we made” and she says “Yes and everyone else does too that’s why I’m hiding out here” which is pretty funny. The point of these is to hear little funny jokes like that all throughout but not only is this one embarrassed to commit to saying something goofy, not one line is spoken by someone who isn’t white (Peter Sellers shows up in Indian brown face as an incompetent doctor at one point) and while there are actual asian people in the street scenes and backgrounds (sometimes stuff like this all the locals are white people in brown face. I couldn’t spot one extra in brown face, actually, but I wouldn’t take that assessment to the bank and smoke it.) Hong Kong is just a setting for set pieces at the theatre and jokes about rice and fish. They’re so uninterested in the culture of the place they’re not even particularly mean about it, it’s almost impressively dismissive, truly a tourist picture — the world is here for me to dress up in the trappings of and ultimately take home in a picture frame.
\nWatch Instead: one of the other Road pictures, they’re usually just as bad culturally but at least they got jokes, or Monkey Business.
\nThe Monsieur Hulot movies don’t follow a sequential order so when I finished Playtime in 2018 I wasn’t like, “what happens next” b/c I knew what happens next, Hulot finally got to go back home because when he went to go get a job he accidentally destroyed the place. At least that’s my memory of what happened. Monsieur Hulot is I think most easily described as “French Mr. Bean” but that’s not the most accurate description. Yes Hulot is a muddling imposition on the world around him, but he is not an evil chaotic force the way Bean is. Hulot is Here To Help but he doesn’t really understand anything and is so at odds with modernity it’s a handicap. In the Hulot movie I hadn’t seen, Trafic Hulot is a designer of cars. There’s a big car show in Amsterdam, and they have to get a car from France to Amsterdam. This should be pretty easy, Belgium is in the way but it’s all pretty suburban and flat, but of course if you are in a Jacques Tati picture — silent film gags are gonna happen that’re gonna complicate stuff.
\nTati directed the picture and also played Hulot, who I seem to remember not talking at all but he does say little things that fade away, the beginning of something, a suggestion of a sentence. A silent film character whose silence is not out of a disability, but simply habit, pleasantly trying to help while accidentally causing a 12 car pileup on the highway everyone walks away from or quickly chasing another man also carrying an empty gas can down the hi-way because he probably knows which way to go and will lead you there. I relate to Hulot b/c most of the hijinks that give him the most trouble happen when none of his company are watching him, wandering into a brand-new situation alone. It seems cars break more frequently when he’s around, his essential nature rotting the gears like a spiritual acid bent on making rousseau proud. I don’t hold any great love for The Country but it is a part of me, and a part that feels fundamentally at odds with the idea of “driving on the hi-way” or “getting there on time”.
\nThe car Hulot designed for the big show is a camper car, and they carry it there in a big truck. One of their team, a Mod Girl, drives around in a yellow sportscar like Lupin6 and has a little dog and at least a few costume changes a scene. She easily drives there and back several times, circling around the truck when it breaks down like a bird around a tortoise. This is a film built on little gags and the camper car delivers, with hidden gates and modern conveniences like hidden seats in the bumper, a grill7 in the radiator, like that. A car so purpose built for one thing that it would be completely impossible to mass produce or repair at a service station. A car you could take camping, yes, but not really to the supermarket. The Hulot bit works on a system of ironic superimposition, a priest kneels in as if in prayer in front of his engine, a car supposedly for the outdoors has to be delicately transported by truck, a crowd of people still need to carry umbrellas to make the great trek across the vast parking lot to their cars in the rain. All told in really gently composed images in quiet colours. Nothing in this movie is screamed, or demanded. You can draw your own conclusions about whether or not cars are “necessary”, this movie seems to say, but they certainly are here to stay.
\nMr. Hulot, unfortunately, was not, as this is the last of these pictures. And it’s a shame more movies aren’t like this, because when I watch them I get, sure, bored a little, but mostly I feel the way I think you’re supposed to feel sitting in the park on a sunny day. And I really recommend that.
\nPair with: Good Morning
\nOriginally posted 02/jul/23 to substack.
\nI’m not sure you can do a Road movie without it coming out at least a little racist, and you certainly couldn’t do it ten minutes into the new millennium. ↩︎
\n7 years before Apollo 11 ↩︎
\nand they were all of them decieved for there had been forged a — oh wait I already did that joke ↩︎
\nThe wikipedia page about the different numbered “worlds” is a riot. It’s got nothing to do with economic acuity! It’s a sides thing! ↩︎
\na bunch of white people in jumpsuits with bullseye patches above the hearts, explicitly NOT Russia or America, but a third thing. The Third Echelon, a society of rich genius weirdos who’ve been secretly controlling things this whole time from hidden bases, hey wait a minute I gotta go ring the antisemitism bell oh dear it’s a gong in this one that plays the oriental riff somehow ↩︎
\nBy which I mean a barbeque grill ↩︎
\n27/aug/23 – 25/oct/23
\n\n\n| page | \ntitle | \n
|---|---|
| 1–2 | \nold boy | \n
| 2–4 | \nraising arizona | \n
| 5–6 | \nblood simple | \n
| 6–10 | \nmean streets | \n
| 10–14 | \ntomboy | \n
| 15–17 | \njohnny mnemonic | \n
| 18–20 | \nduel | \n
| 21–24 | \npaths of glory | \n
| 24–26 | \nwoman on the verge of a nervous breakdown | \n
| 27–28 | \nhenry sugar | \n
| 28–29 | \nthe swan | \n
| 29 | \nboggy | \n
| 30 | \nthe rat catcher | \n
| 30–31 | \npoison | \n
31 31-32 | \nrachel & ayo: - double date - ghosting | \n
| 32–37 | \ngimme shelter | \n
| 37–39 | \nstop making sense | \n
| 39–40 | \npirates of the carribean | \n
| 40–42 | \npirates of the carribean 2 | \n
| 42–43 | \npirates of the carrribean 3 | \n
| 43–44 | \nthe forgotten | \n
| 44–46 | \nthe faculty | \n
| 46 | \njoe pera special | \n
| 47 | \nthe mummy | \n
24/mar/2023 – 27/aug/23
\n\n\n| page | \ntitle | \n
|---|---|
| 1–2 | \njohn wick 4 | \n
| 3–5 | \ncrimson peaks | \n
| 5 | \nbig fish DNF | \n
| 5–6 | \nonly lovers left alive | \n
| 7 | \nd&d movie | \n
| 8 | \nrenfield | \n
| 8–9 | \njohn mulaney’s baby j | \n
| 10–11 | \nzombieland | \n
| 11–13 | \nbound | \n
| 13–14 | \nbeau is afraid | \n
| 14–17 | \ninside | \n
| 18–19 | \nshowing up | \n
| 19–20 | \nguardians of the galaxy 3 | \n
| 21 | \nspiderverse 2 | \n
| 22–23 | \nmission impossible 1 | \n
| 23 | \nmission impossible 2 | \n
| 23–24 | \nmission impossible 3 | \n
| 24–26 | \nlone wolf & cub 5 | \n
| 26–28 | \nlone wolf 6 | \n
| 29–30 | \nnight moves | \n
| 30–31 | \nmission impossible 4 | \n
| 31–32 | \nmission impossible 5 | \n
| 32–33 | \nmission impossible fallout | \n
| 33–34 | \neasy a | \n
| 34–35 | \nthe flavour of green tea of ricer | \n
| 36–37 | \ninside man | \n
| 37 | \nbottle rocket | \n
| 38–39 | \nlast night in soho | \n
| 40–42 | \nafter yang | \n
| 42–44 | \npast lives | \n
| 44–48 | \ngodland | \n
| 48–49 | \nasteroid city | \n
| 49–50 | \njennifer’s body | \n
| 50–52 | \nindiana jones 5 | \n
| 53–54 | \nthe road to hong kong | \n
| 55–56 | \ntraffic (hulot) | \n
| 56–57 | \nthe king of new york | \n
| 57–58 | \nbranded to kill | \n
| 59–61 | \nghost in the shell | \n
| 61–62 | \nchronicle | \n
| 63–64 | \nnimona | \n
| 64–67 | \nsafe | \n
| 67–69 | \ncalifornia split | \n
| 69 | \nsafe (2021) | \n
| 69–72 | \nalice doesn’t live here anymore | \n
| 73–75 | \nheat | \n
| 76–77 | \nle bonheur | \n
| 78–79 | \nchimes at midnight | \n
| 80–81 | \nair force one | \n
| 81 | \nrobin hood men in tights DNF | \n
| 82 | \nthe day after trinity | \n
| 83–86 | \na woman under the influence | \n
| 86–87 | \noppenheimer | \n
| 88–89 | \nbarbie | \n
| 89–90 | \nmiracle mile | \n
| 90–91 | \ningmar bergman makes a movie | \n
| 91 | \nwyrd sisters | \n
| 92–93 | \ndrunken angel | \n
| 93–95 | \nhigh & low | \n
| 96–97 | \nmiami blues | \n
| 97–99 | \ncaravaggio | \n
| 99–100 | \nmodern romance | \n
| 100–101 | \nmaking mr. right | \n
| 101–102 | \nthe fisher king | \n
| 103–106 | \na.i artificial intelligence | \n
| 106–107 | \ndog day afternoon | \n
| 107–108 | \nalien 3 | \n
| 108–110 | \nrocco & his brothers | \n
| 110–111 | \nmaniac cop | \n
| 112 | \n12 angry men | \n
| 112–113 | \nsanjuro | \n
| 114–115 | \nelectric dreams | \n
| 116–117 | \njewel robbery | \n
| 117–118 | \nshiva baby | \n
31/dec/21–6/mar/23
\n\n![\"\"](\"https://cdn.uploads.micro.blog/219678/2025/cinema4-1.jpg\")
| Page | \nTitle | \nyear | \n
|---|---|---|
| 1–3 | \nin the soup | \n1992 | \n
| 3–6 | \nencanto | \n2021 | \n
| 7 | \nfar from the tree | \n2021 | \n
| 7–10 | \nshang-chi | \n2021 | \n
| 11 | \nmeeting the man: james baldwin in paris | \n1970 | \n
| 11–15 | \nwhat do we see when we look at the sky | \n2021 | \n
| 15–17 | \nhamilton | \n2020 | \n
| 18–23 | \ndrive my car | \n2021 | \n
| 24–25 | \nlife is sweet | \n1990 | \n
| 26–28 | \nthe worst person in the world | \n2021 | \n
| 29–30 | \nCyrano | \n2021 | \n
| 31–36 | \nOscar shorts: live action - on my mind - please god - sukineka - the long goodbye - Ala kachuu | \n2021 | \n
| 37–42 | \nOscar shorts: Documentary - audible - when we were bullies - three songs for benazir - lead me home - the queen of basketball | \n2021 | \n
| 42–46 | \nOscar shorts: Animated - robin robin - box ballet - affairs of the art - bestia - the windshield wiper | \n2021 | \n
| 47 | \nLogorama | \n2009 | \n
| 47–48 | \nreturn to glennaus caul | \n1951 | \n
| 48–49 | \nthe cocoanuts | \n1929 | \n
| 49–52 | \nammonite | \n2020 | \n
| 53–54 | \nthe LEGO batman movie | \n2017 | \n
| 54–57 | \nthe batman | \n2022 | \n
| 57–58 | \nnine behind | \n2016 | \n
| 58 | \ngrandma’s house | \n2018 | \n
| 58 | \nthe london story | \n1986 | \n
| 59–63 | \nMr. Klein | \n1976 | \n
| 63–65 | \nthe burden of dreams | \n1982 | \n
| 65–68 | \nvagabond | \n1985 | \n
| 68–71 | \nthe asphalt jungle | \n1950 | \n
| 71–73 | \neverything everywhere all at once | \n2022 | \n
| 73–74 | \natlantis: the lost empire | \n2001 | \n
| 75 | \nbrothers (eggers) | \n2014 | \n
| 75 | \ninteresting ball | \n2014 | \n
| 76 | \nheroes journey | \n2017 | \n
| 77 | \nparadox bullets | \n2018 | \n
| 77–78 | \nfamily romance llc | \n2019 | \n
| 78–81 | \nthe brave little toaster | \n1987 | \n
| 81–83 | \nthe northman | \n2022 | \n
| 83–85 | \nhappy feet | \n2006 | \n
| ?(86) | \nPetit Maman | \n2021 | \n
| 86, 87, 127 | \ngone in 60 seconds | \n2000 | \n
| 88 | \nthe unbearable weight of massive talent | \n2022 | \n
| 88–89 | \nwolf of wall street | \n2013 | \n
| 90–93 | \nmemoria | \n2021 | \n
| 93–96 | \nthe evil dead | \n1981 | \n
| 97–100 | \nthe evil dead II | \n1987 | \n
| 100–101 | \nArmy of darkness | \n1992 | \n
| 102–105 | \nslacker | \n1990 | \n
| 105–107 | \nchip & dale | \n2022 | \n
| 107–110 | \nmoulin rouge | \n2001 | \n
| 110–113 | \nmorocco | \n1930 | \n
| 113–115 | \ndistant | \n2002 | \n
| 116 | \nSycorax | \n2021 | \n
| 116–117 | \nthe thing from the factory by the field | \n2022 | \n
| 117–118 | \nzero for conduite | \n1933 | \n
| 118–119 | \njewel’s darl | \n1987 | \n
| 119–120 | \nthe demons of dorothy | \n2021 | \n
| 121–123 | \nlightyear | \n2022 | \n
| 123–124 | \nnight of the coconut | \n2022 | \n
| 124–126 | \nbrian & charles | \n2022 | \n
| 126–127 | \ndoctor strange in the multiverse of madness | \n2022 | \n
| 128–133 | \nRRR | \n2022 | \n
| 133–135 | \nlight sleeper | \n1992 | \n
| 136–138 | \nthe third murder | \n2017 | \n
| 138–139 | \nwe’re going to the zoo | \n2006 | \n
| 139 | \nthe acquaintances of lonely john | \n2008 | \n
| 140 | \njohn’s gone | \n2010 | \n
| 141 | \nthe black balloon | \n2012 | \n
| 142–143 | \nmarcell the shell with shoes on | \n2021 | \n
| 143–144 | \nthor love and thunder | \n2022 | \n
| 145–146 | \nthe sea beast | \n2022 | \n
| 147–149 | \nstunt rock | \n1978 | \n
| 149–151 | \nwhere are you, joão gilberto | \n2018 | \n
| 151–154 | \nnope | \n2022 | \n
| 154–156 | \nthe quick and the dead | \n1995 | \n
| 157–160 | \nclockstoppers | \n2002 | \n
| 160–163 | \ndarkstar | \n1974 | \n
| 163–166 | \nmad god | \n2021 | \n
| 167 | \nLEGO star wars summer vacation | \n2022 | \n
| 168–170 | \nthe great escape | \n1963 | \n
| 170–171 | \nboy ant (myles wheeler) | \n2022 | \n
| 171–175 | \nvalley girl | \n1983 | \n
| 175–176 | \nthe sparks brothers | \n2021 | \n
| 176–179 | \nacross 110th street | \n1972 | \n
| 179–182 | \nblue collar | \n1978 | \n
| 182–184 | \nfunny pages | \n2022 | \n
| 184–186 | \nsee how they run | \n2022 | \n
| 187 | \nhow to take a bath | \n2009 | \n
| 187–191 | \nthe last action hero | \n1993 | \n
| 191–192 | \nhocus pocus 2 | \n2022 | \n
| 192–193 | \nwerewolf by night | \n2022 | \n
| 194–195 | \nhappy death day | \n2017 | \n
| 196–199 | \nthe hidden | \n1987 | \n
| 199–202 | \nprince of darkness | \n1987 | \n
| 202–204 | \nwendell & wild | \n2022 | \n
| 204–205 | \nfreaks | \n1932 | \n
| 206–207 | \nbanshees of inisherin | \n2022 | \n
| 208–210 | \njohn wick | \n2014 | \n
| 210–212 | \njohn wick 2 | \n2017 | \n
| 212 | \njohn wick 3 | \n2019 | \n
| 213–215 | \nweird, the al yankovic story | \n2022 | \n
| 215–216 | \nthis gun for hire | \n1942 | \n
| 217–218 | \nknives out 2 | \n2022 | \n
| 218–220 | \nthe fablemans | \n2022 | \n
| 220–221 | \ndeath on the nile | \n2022 | \n
| 221–223 | \npinocchio | \n2022 | \n
| 224–227 | \nriver of grass | \n1994 | \n
| 227–230 | \nwhite noise | \n2022 | \n
| 230–231 | \nmy year of dicks | \n2022 | \n
| 231–232 | \nwolf of snow hollow | \n2020 | \n
| 233–234 | \nthe long goodbye | \n1973 | \n
| 235–237 | \nmccabe & mrs miller | \n1971 | \n
| 237–238 | \naftersun | \n2022 | \n
| 239–241 | \nlone wolf & cub 1 | \n1972 | \n
| 241 | \ncrouching tiger hidden dragon | \n2000 | \n
| 241–243 | \nwing chun | \n1994 | \n
| 243–244 | \nman hunt | \n1941 | \n
19/sep/20–31/dec/21
\n\n\n| page | \ntitle | \nyear | \n
|---|---|---|
| 1–4 | \nart & craft | \n2014 | \n
| 4–7 | \nda 5 bloods | \n2020 | \n
| 7–13 | \nclosely watched trains | \n1966 | \n
| 13–16 | \nmifune: the last samurai | \n2015 | \n
| 16–17 | \nhaloweentown | \n1998 | \n
| 17–19 | \npractical magic | \n1998 | \n
| 19–22 | \nthe killers | \n1964 | \n
| 22–25 | \nthe witches of eastwick | \n1987 | \n
| 25–27 | \nhocus pocus | \n1993 | \n
| 27–28 | \nparanorman | \n2012 | \n
| 29–32 | \nthe little prince | \n1974 | \n
| 32–35 | \nonce a theif | \n1965 | \n
| 36–40 | \nelection | \n1999 | \n
| 41–43 | \nover the moon | \n2020 | \n
| 44–48 | \nColossal | \n2017 | \n
| 48–51 | \nCarol | \n2015 | \n
| 51–52 | \nMy Christmas Inn (DNF) | \n2018 | \n
| 52–55 | \nChantal Ackerman by Chantal Ackerman | \n1996 | \n
| 56–63 | \nSky Hopinka Shorts | \nVar. | \n
| 64–66 | \nThe spiriti of chrisatmas | \n2015 | \n
| 66–70 | \nstar trek the motion picture | \n1979 | \n
| 70 | \nByun, Objet Trove | \n2012 | \n
| 71–76 | \ninvasion of the body snatchers | \n1978 | \n
| 76–80 | \nwolfwalkers | \n2020 | \n
| 81 | \na recipie for seduction | \n2020 | \n
| 82–84 | \nhappiest season | \n2020 | \n
| 85–89 | \na knights tale | \n2001 | \n
| 90–93 | \nthe umbrellas of cherbourg | \n1963 | \n
| 94–95 | \nblack panthers | \n1968 | \n
| 95–98 | \nsoul | \n2020 | \n
| 98–99 | \nethnic notions | \n1986 | \n
| 100–103 | \nbarbarella | \n1968 | \n
| 104–107 | \nthe morning after | \n1986 | \n
| 107–110 | \nrecorder: the marlon stokes project | \n2019 | \n
| 110–114 | \nallen v. farrow | \n2021 | \n
| 114–120 | \nthe snyder cut | \n2021 | \n
| 120–124 | \nlolita | \n1962 | \n
| 125–128 | \newoks: caravan of courage | \n1984 | \n
| 129–131 | \newoks: battle for endor | \n1985 | \n
| 132–135 | \nthe thing | \n1982 | \n
| 135–136 | \nthe gentlemen | \n2019 | \n
| 137 | \nsea countrymen | \n1955 | \n
| 137–140 | \nbuck and the preacher | \n1972 | \n
| 144–146 | \nmystic pizza | \n1988 | \n
| 146–147 | \nalgiers | \n1938 | \n
| 147–151 | \nthe mitchells vs. the machines | \n2021 | \n
| 151–153 | \narmy of the dead | \n2021 | \n
| 154–156 | \nsmooth talk | \n1985 | \n
| 156–158 | \nanimal crackers | \n1930 | \n
| 158 | \nmonkey business | \n1930 | \n
| 159 | \nhorse feathers | \n1932 | \n
| 159–160 | \nduck soup | \n1933 | \n
| 161–162 | \na night at the opera | \n1935 | \n
| 162–164 | \ncruella | \n2021 | \n
| 164–166 | \na day at the races | \n1937 | \n
| 166–167 | \nroom service | \n1938 | \n
| 168–169 | \nat the circus | \n1939 | \n
| 170–171 | \ngo west | \n1940 | \n
| 171–173 | \nthe big store | \n1941 | \n
| 173–175 | \npolice story | \n1985 | \n
| 176–177 | \nluca | \n2021 | \n
| 178–179 | \nothello | \n1952 | \n
| 179–181 | \nthe celluloid closet | \n1995 | \n
| 181–183 | \ngirlfriends | \n1978 | \n
| 183–184 | \nbirds of prey | \n2020 | \n
| 184–186 | \nspace jam | \n1996 | \n
| 186–189 | \nspace jam: a new legacy | \n2021 | \n
| 189–190 | \njungle cruise | \n2021 | \n
| 191–193 | \njames gunn’s suicide squad | \n2021 | \n
| 194–195 | \nbrick | \n2005 | \n
| 196–197 | \nlos angeles plays itself | \n2003 | \n
| 198 | \ngigantic: a tale of 2 johns | \n2002 | \n
| 199–200 | \nthe straight story | \n1999 | \n
| 201–202 | \nkajillionaire | \n2020 | \n
| 203–204 | \nbraguino | \n2017 | \n
| 204–206 | \nthe black cauldron | \n1985 | \n
| 205–207 | \ncatch me if you can | \n2002 | \n
| 208–210 | \nthe perverts guide to ideology | \n2012 | \n
| 210–212 | \non the rocks | \n2020 | \n
| 212–215 | \ncorpus christi | \n2019 | \n
| 215–216 | \nblack widow | \n2021 | \n
| 216–219 | \ntheif | \n1981 | \n
| 220–221 | \nafter hours | \n1985 | \n
| 222–224 | \nmaleficent | \n2014 | \n
| 225–226 | \nla piscine | \n1969 | \n
| 226–227 | \nthe witches | \n1990 | \n
| 227–229 | \ncreature from the black lagoon | \n1954 | \n
| 229–231 | \nfinch | \n2021 | \n
| 231–232 | \nday of the jackal | \n1973 | \n
| 232 | \nthe courier | \n2020 | \n
| 232–233 | \nnightmare alley | \n1947 | \n
| 234–236 | \nthe talented mr. ripley | \n1999 | \n
| 236–238 | \nthe power of the dog | \n2021 | \n
| 239–241 | \nbarton fink | \n1991 | \n
| 241–243 | \ndie hard | \n1988 | \n
| 243–245 | \ndie hard 2 | \n1990 | \n
| 245–246 | \nhome alone | \n1990 | \n
| 246–248 | \nthe matrix: ressurections | \n2021 | \n
| 248–250 | \nspencer | \n2021 | \n
| 251–252 | \na spy movie | \n2021 | \n
27/apr/20–12/sep/20
\n\n![\"\"](\"https://cdn.uploads.micro.blog/219678/2025/cinema-2-1.jpg\")
vertical features remake 1—2
\nintervals 3
\nwindows 3
\nh is for house 3
\nthe lighthouse 4–7
\nun flic 8–11
\nhail ceaser 11–14
\nmy favourite shapes 14
\ngood morning 15–16
\nthe grand budapest hotel 17–18
\nrosencrants and gidenstern are dead 18–21
\nin search of the castaways 21–23
\nartemis fowl 24–26
\npepe le moko 26–29
\nhusbands 29–34
\nmy cousin vinny 35–36
\npalm springs 37–38
\nlogan lucky 39–43
\nlord of the rings #2 44–47
\nthe old guard 48–51
\nreturn of the king 52–56
\nfirst cow 57–59
\nbill & ted face the music 59–60
\npurple noon 60–64
\nlegend 64–65
\ncount of monte cristo 66–70
\nyojimbo 70–74
\nfistfull of dollars 74–78
\ni’m thinking of ending things 78–end
\n", "summary": "27/apr/20–12/sep/20", "date_published": "2025-08-15T20:00:34-08:00", "url": "https://jacobdavidearl.com/2025/08/15/210034.html", "tags": ["Notebooks","Screening Notes"] }, { "id": "http://jacobearl.micro.blog/2025/08/15/cinema.html", "title": "Cinema 1", "content_html": "20/feb/2020–25/apr/2020
\n\n![\"\"](\"https://cdn.uploads.micro.blog/219678/2025/cinema-1-1.jpg\")
The man who came to dinner 1–2
\nguess who’s coming to dinner 3–5
\nand you act like one too 5–6
\nheathers 6–8
\nleningrad cowboys go america 9–10
\na man escaped 10–12
\narmy of shadows 12–14
\nchristopher & me 14–15
\nthe adventures of prince achmed 15–16
\nthe piano 17–19
\ncookie 19–20
\nholy smoke 20–22
\nin the cut 22–24
\nyoung sherlock holmes 24–26
\ntwilight of the cockaroaches 26–29
\ntall girl 29–31
\ntremors 32–33
\ntremors 2 33–35
\nlocal hero 36–37
\ndecameron 38–42
\ncolt in my passport 42–44
\nmeeks cutoff 45–47
\nthe craft 47–50
\nshes gotta have it 50–52
\nonward 53–56
\nmiss fischer movie 56–57
\nbunny lake is missing 58–61
\nand then we danced 61–65
\nminority report 65–70
\nmr. mom 70–73
\ngung ho 73–76
\ncaptains courageous 76–81
\n", "summary": "20/feb/2020–25/apr/2020", "date_published": "2025-08-15T19:32:56-08:00", "url": "https://jacobdavidearl.com/2025/08/15/cinema.html", "tags": ["Notebooks","Screening Notes"] } ] }![\"\"](\"https://cdn.uploads.micro.blog/219678/2025/cinema8-1.jpg\")
\n![\"\"](\"https://cdn.uploads.micro.blog/219678/2025/cinema7-1.jpg\")
\n![\"\"](\"https://cdn.uploads.micro.blog/219678/2025/cinema6-3-1.jpg\")
\n![\"\"](\"https://cdn.uploads.micro.blog/219678/2025/cinema6-2-1.jpg\")
\n![\"\"](\"https://cdn.uploads.micro.blog/219678/2025/cinema6-1-1.jpg\")
\n![\"\"](\"https://cdn.uploads.micro.blog/219678/2025/cinema5-1.jpg\")
\n![\"\"](\"https://cdn.uploads.micro.blog/219678/2025/cinema-3-1.jpg\")
\n