You Should Be Watching: November 15-21

Welcome to You Should Be Watching, my weekly opportunity to introduce you to a variety of great films, gems of the past and present, available for you to stream from Netflix, Amazon Prime, FilmStruck, and anywhere else streams are found.

Just a couple weeks of FilmStruck availability left, so watch while you still can. Thankfully, Kanopy also offers a couple of this week’s featured picks, so you can watch there as well.


8 1/2


Year: 1963

Director: Federico Fellini

Genre: Fantasy, Drama

Cast: Marcello Mastroianni, Claudia Cardinale, Anouk Aimée, Sandra Milo, Rossella Falk, Barbara Steele, Madeleine Lebeau, Caterina Boratto, Eddra Gale, Guido Alberti, Mario Conocchia, Bruno Agostini, Cesarino Miceli Picardi, Jean Rougeul, Mario Pisu, Yvonne Casadei, Ian Dallas, Mino Doro, Nadia Sanders

When the time came for Italian filmmaker Federico Fellini to follow up his 8th feature film, the highly acclaimed La Dolce Vita, he found himself with an extreme case of writer’s block. Rather than fight it, he embraced it and instead put it on film. The end result is one of the most fascinating, surreal, and frankly educational movies that blends reality with fantasy to immerse the viewer into the mind and creative process of a master artist. The main character of 8 ½ is Guido (Marcello Mastroianni), a famous filmmaker suffering from writer’s block, clearly a stand-in for Fellini himself.

The opening dream sequence makes it clear that this film will be nowhere near conventional. The man who is later revealed as Guido finds himself trapped in a car in the midst of a major traffic jam. Everyone else stares at him as he is being choked to death by gas pouring into his vehicle as he tries frantically to escape out the window. This representation of the emotions Guido is enduring are also mashed up into other aspects of the thought process–dreams, memories, hopes, fears, fantasies, regrets, and attempts to make sense of life. And as in a series of dreams, he jumps back and forth through the experiences and emotions of the past and present, from his Roman Catholic upbringing to the complicated feelings of puberty and struggles with lust as he visually and verbally attempts to process it all.

Secrets & Lies

Year: 1996

Director: Mike Leigh

Genre: Drama

Cast: Timothy Spall, Brenda Blethyn, Marianne Jean-Baptiste, Phyllis Logan, Claire Rushbrook, Lee Ross, Lesley Manville, Elizabeth Berrington, Michele Austin, Ron Cook, Trevor Laird, Brian Bovell, Emma Amos, Clare Perkins, Elias Perkins McCook, Jane Mitchell, Janice Acquah, Keylee Jade Flanders

Throughout this painful yet touching 1996 British family drama, director Mike Leigh demonstrates an understanding for what makes people tick. He gets their fears and foibles, their hurts and prejudices, their tendencies to hide uncomfortable truths from their loved ones, the struggles of both parents and children to connect, the way bottled up emotions can wreak havoc on a marriage. Quite simply, he gets people.

It doesn’t matter whether that person is an accomplished mixed race optometrist named Hortense Cumberbatch (Marianne Jean-Baptiste) who was adopted at birth and is now seeking her birth parents or whether that person is Hortense’s birth mother Cynthia Rose Purley (Brenda Blethyn), who is emotionally fragile and struggling to connect with the nearly 21-year-old Roxanne (Claire Rushbrook), the only daughter she’s ever known. Or then there’s Maurice, Cynthia’s brother, played by Timothy Spall, who finds himself trying to bear the weight of both Cynthia’s problems and his own frustrations and weariness with continually trying to care for his wife’s needs while simultaneously bear up under the emotional abuse he’s receiving from her due to her strained physical and emotional state. Everyone is going to great effort to keep uncomfortable truths hidden, with the effect that there is an ever present tension that is begging to be released.

The technical qualities of the filmmaking are brilliant, from the contrasts set up in the frame and between characters to the choreography of a tension-filled birthday dinner. And quite simply, it’s beautiful, thought-provoking storytelling and extremely relevant to anyone who might be tempted to go it alone.

Sansho the Bailiff


Year: 1954

Director: Kenji Mizoguchi

Genre: Drama

Cast: Kinuyo Tanaka, Yoshiaki Hanayagi, Kyôko Kagawa, Eitarô Shindô, Akitake Kôno, Masao Shimizu, Ken Mitsuda, Kazukimi Okuni, Yôko Kozono, Noriko Tachibana, Ichirô Sugai, Teruko Omi, Chieko Naniwa, Kikue Môri, Ryôsuke Kagawa, Kanji Koshiba, Shinobu Araki, Reiko Kongo, Shôzô Nanbu

Kenji Mizoguchi directs this dark, tragic tale revealing the harsh realities of life in feudal Japan and how often what is lost can never be regained. This story of a family separated and its children sold into slavery to the titular Sansho brings to mind the far more recent film 12 Years A Slave and the thought of how hopeless it must feel to find yourself a victim of betrayal and suddenly a slave with no advocate, no way to prove you are actually a free person. Through the continued enslavement of the children Zushiō and Anju into adulthood, we see how alone a victim of atrocity could have their humanity crushed until they are inhuman themselves.

Mizoguchi’s production design details the contrasts between the comforts and abundance of humanity surrounding the haves and the austerity of the have nots. He also makes dramatic use of the depth of his frame to show distance, background activity or to fill it with a variety of characters and interactions. The returning motif Mizoguchi uses of the mother’s call and song, a symbol of her ongoing lamentation and desperate hope to see her children again is haunting and heartbreaking.


LAST CHANCE (last date to watch)


November 15
Paddington (2014)

November 18
Girlhood (2014)

November 20
Gates of Heaven (1978)
The Thin Blue Line (1988)


November 15
Me Before You (2016)

November 19
It’s a Mad, Mad, Mad, Mad World (1963)
The Manchurian Candidate (1962)
Support Your Local Sheriff (1969)

November 20
1984 (1984)
Chitty Chitty Bang Bang (1968)
Dirty Rotten Scoundrels (1988)
Fiddler on the Roof (1971)
The Great Escape (1963)
Hotel Rwanda (2004)
House of Games (1987)
In the Heat of the Night (1967)
Lenny (1974)
The Magnificent Seven (1960)
Mississippi Burning (1988)
The Taking of Pelham One Two Three (1974)
Valkyrie (2008)

November 21
De Palma (2015)


November 16
The Asphalt Jungle (1950)
Let There Be Light (1946)
The Maltese Falcon (1941)
The Treasure of the Sierra Madre (1948)

November 29
Everything else


November 30
American Psycho (2000)
Escape from New York (1981)
Get Shorty (1995)
Ghost in the Shell (1995)
Primal Fear (1996)
The Terminator (1984)
They Came Together (2014)
What’s Eating Gilbert Grape (1993)



BuyBust (2018)
Green Room (2015)
Outlaw King (2018)


Bernie (2011)
The Bitter Tears of Petra von Kant (1972)
Fox and His Friends (1975)
The General (1926)
Henri Georges Clouzot’s Inferno (2009)
Journey’s End (2017)
Orchestra Rehearsal (1978)


The Ballad of Cable Hogue (1970)
Body Heat (1981)
Dangerous Liaisons (1988)
Dheepan (2015)
Pat Garrett & Billy the Kid (1973)
Ride the High Country (1962)
The Wild Bunch (1969)


Frances Ha (2012)
Sami Blood (2016)
The Wolfpack (2015)



November 15
May The Devil Take You– NETFLIX FILM (2018)
The Crew– NETFLIX FILM (2015)

November 16
Cam– NETFLIX FILM (2018)
The Ballad of Buster Scruggs– NETFLIX FILM (2018)
The Princess Switch– NETFLIX FILM (2018)

November 18
The Pixar Story (2007)


November 16
Coldplay: A Head Full of Dreams (2018)

November 17

November 21
Box of Moonlight (1996)


November 15
Cartel Land (2015)

November 18
Hero (2002)

November 21
Box of Moonlight (1996)

Jacob Neff is a film enthusiast living east of Sacramento. In addition to his contributions as an admin of the Feelin’ Film Facebook group and website, he is an active participant in the Letterboxd community, where his film reviews can be found. Follow him on Facebook and Twitter to keep up with his latest thoughts and shared content.

MOVIE REVIEW: Phantom Thread



Paul Thomas Anderson and Daniel Day-Lewis together again. In 2007, this pair of genius artists gifted the world with There Will Be Blood, one of the finest films of the 21st century, which resulted in Day-Lewis’ second Academy Award for Best Actor. Now, after a career of unrivaled success, Day-Lewis gives his final performance as a renowned dressmaker in 1950’s London who finds his muse, bringing love, creativity, and disruption to his methodical life. Paul Thomas Anderson serves as the film’s writer, director, and cinematographer – a rare feat that is no doubt within his ability. The film will almost certainly look and sound incredible, and in an Anderson script there are sure to be surprises along the way. With Anderson and Day-Lewis’ track record of excellence, it is impossible not to be giddy with excitement to discover the secrets Phantom Thread hides.

2 Hours and 10 Minutes Later.


Reynolds Woodcock. The name of Daniel Day-Lewis’ distinguished dressmaker should have tipped us off. It is a fine, strong name that sounds prestigious enough, but also one that provokes a little private chuckle on the side. And that is exactly what Phantom Thread turns out to be – part period romance melodrama, and part dark personal comedy. At times it felt almost wrong to be letting out an audible laugh when the characters are taking things oh so seriously. Come to find out, though, that is precisely what makes these wonderful moments so funny.

Phantom Thread turns out to be quite unpredictable. In addition to the humor, there is a psychosexual nature to the story that is both fascinating and uncomfortable. Alma (Vicky Krieps) and Reynolds’ relationship quickly becomes something unexpected. Woodcock puts dressmaking first, and Alma soon realizes that her existence is only noticed and appreciated within the routine he allows it to be. What he isn’t prepared for, though, is her push back and willingness to engage and challenge his status quo. Also vying for Reynolds’ attention (though in a much different manner) is Cyril (Lesley Manville), Reynolds’ sister, manager, and closest confidante. This triangle of relationships is always a little uneasy and how they ultimately resolve is the crux of the film.

Anderson’s work as the film’s uncredited cinematographer is incredible. His camera often focuses close-in on the actors’ faces, and much is said in a lingering stare or the slight turn of an upper lip. Though the dialogue is brilliant, so much is conveyed via body language. It speaks to the acting prowess of the entire cast, but also to PTA’s eye for knowing how to capture it perfectly in the frame. The atmosphere and set design of the film is mesmerizing, as well, combining with a beautiful violin and piano based score from Jonny Greenwood to cast a spell on viewers and immerse them in another time and place.

Day-Lewis’ portrayal of the obsessive, controlling Woodcock is pitch perfect. As expected, the method actor whose preparation is the stuff of legend, put in plenty of work to become the sought after dressmaker. For Phantom Thread, Day-Lewis actually learned how to sew, going so far as to hand-stitch a Balenciaga dress from scratch, while his wife (director Rebecca Miller) served as a model. Oh, and he also apprenticed for a year under costume director Marc Happel of the New York City Ballet, sewing 100 buttonholes as he learned the intricacies of the craft. All of this incredible effort leads to a performance that feels perfectly natural. Day-Lewis’ history is so fantastic that it might be easy to compare and call his work in Phantom Thread merely “very good”, but when measured against the rest of the acting field it really is one of the finest performances of the year.

However, it’s not even Day-Lewis that gives the best performance of the film. That honor must go to newcomer Vicky Krieps who is not just his equal, but is able to even outshine him at times. Her patient demeanor is both delicate and fiery, always giving the impression that at any moment she might crumble under Reynolds’ force or powerfully take control of a moment herself. Her acting is exquisite and the ability to emote so much without words makes her performance such a force. Not to be outdone is Lesley Manville, who also holds her own in every scene opposite Day-Lewis as the ever-steady rock of their strange sibling union. Combined these three stars are as good as any other ensemble cast you will see all year. They make every line sing and create characters you won’t easily forget.


Though PTA’s films had never commanded much of my attention before, Phantom Thread captivated me from the opening scene to the end credits and bewitched me unlike any other film experience in 2017. Thematically, it’s exploration of an unconventional romance between the obsessive man and his delicate muse goes in directions you never expect, and never ceases to hold your attention throughout. Cinematically, it is one of the most well-crafted, stunningly beautiful, perfectly scored, impeccably acted dramas I’ve seen in years. PTA’s meticulous attention to detail marries so well with Daniel Day-Lewis’ devotion to character immersion, and newcomer Vicky Krieps owns the screen in every scene. Like the notes left by Reynolds inside the seam of his dresses, Phantom Thread will embed itself in your memory and linger in your thoughts for long after your initial date is over.


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.