Eric Schaeffer
1996

I mainly watched this because Sarah Jessica Parker was in it and I wanted to see if I felt my hating her before Sex & the City was valid.
Since she was the best part of this, way above the material, I guess it was unjustified, or perhaps justified in the fact that she picked shitty, total Gen-X romantic stereotyped material. Blah, they live in a loft, they go to Starbucks (HOW HIP IS THAT?), etc. etc. Her wardrobe is totally good though.
It tries to be all edgy by having a "Let's jump off the Brooklyn Bridge if we're not married by 30" pact instead of a "Let's get married" pact, but you never think either of them actually plans to kill themselves, which I guess is what is supposed to generate the suspense, so it really just exaggerates the usual classic Hollywood deadline plot by having a calendar painted on the wall of a key set.
It also brings the classic Hollywood "plot with a deadline" to new obviousness. Which would be clever if there was anything else interesting about this movie or if the jokes were actually funny.
Actually, Ben Stiller is hilarious ("I...art") but absolutely impossible to take seriously as a rival for the romantic hero (who is the director), so Sarah Jessica Parker's character loses crediblility (she's supposed to be smart) by not getting how over-the-top a joke this guy is.
Also, mini-Scarlett Johansson is in this! So weird.

Ronald Wilson
1994

I didn't really watch the whole thing of this, because I was flipping to something else, but I found myself alternately fascinated and repelled by its rigourous use of girl-coming-of-age clichés.
It was apparently produced for TV, which might explain a lot of how commonplace everything looked.
It was also apparently based on an Alice Munro novel, so it's possible that she made up the clichés.
Tanya Allen was quite good.

Gene Saks
1968

This was really weird for me to watch because I assistant stage managed a version of this in high school, which means I knew the play inside and out. It sort of messes with that whole suspension of disbelief deal. Also I kept saying "I like the way they played that line. Much subtler than we did."

Also, I don't like Neil Simon as much as I used to. Still love Jack Lemmon though.

(Am posting this retroactively because I just remembered I watched it and never posted it.)

Kevin Costner
2002

Boy, those cowboys sure do talk about their feelings a lot.
Really pretty though - it was shot near Calgary, in the foothills of the Rockies.

Merian C. Cooper & Ernest B. Schoedsack
1925

Still in the bullshit ethnography vein. This one was the least painful.
The film follows this huge Persian Nomadic tribe as it makes this insane journey across these mountains. I've gotten really cynical about this sort of thing, but they couldn't have staged most of this stuff and they shot it gorgeously.
And they actually went on the trip too.
Could have done without a lot of the cutesy intertitles though.

Edward S. Curtis
1914

(Original title: In the Land of the Headhunters)

I fell asleep during this. You can tell the director came from photography because there are some gorgeous compositions where you see landscape and whatever. Then there are really dull ones where everyone just sits and talks for endless intervals.
Bah.

Jim Jarmusch
1995

"Are you William Blake?"
"Yes I am. Do you know my poetry?"
POW.
So good.

Rainer Werner Fassbinder
1981

Weird.
I liked how von Bohm's eyes were always lit so they'd look extra-blue and twinkly.
Very odd. It wasn't really about her so much as about von Bohm. I don't know why they didn't just call it von Bohm.
Great art direction.
Really cynical happy ending.

F.W. Murnau
1922

That scene? Where he rises out of the coffin? With the long nails? It's pretty cool.
I don't know. It's very short and we watched it at a weird projection speed. (I think 24 f/s instead of the 18-20 that it would have been shot at.) But, it's a visually compelling Draculadaptation. (Dracula adaptation.)
It makes me want to see Shadow of the Vampire again. Which we are. In this class. I love my life.

Walter Lang
1957

One of the Hepburn-Tracy comedies I hadn't seen. Though Audrey was on my purse, I've always really aspired to be Katharine Hepburn when I grow up. In high school, I used to wear loafers and slacks all the time.
Not A+ material, but the two of them were excellent as always.
I love the scene where they're sitting up between the bookshelves, drunk on champagne at the Christmas party. Most of it's just done in a two-shot, but then when she's getting up to see her lame boyfriend, it cuts to this weird slightly high and off to the side angle and there's this perfect pause where you both know they sort of don't want to get up.
I still kind of want to be Katharine Hepburn when I grow up.