Skip to main content

Call Me By Your Name (2017)

Call Me By Your Name is about a young Italian boy who falls in love with his father's research assistant who is also Jewish.

Directorially the film has a few flaws, camera angles, positioning, lighting. This makes me worried about Luca Guadagnino doing the remake of Suspiria. There are dialogue direction problems that are textbook beginner problems, not that anyone will come out and criticizes this film, for fear of being called ignorant. He takes advantage of Italy's beautiful landscape to attempt gorgeous shots but anyone with an iPhone could recreate those shots with a passport.

Timothee Chalamet plays the young Elio. I recognized him from Interstellar for which his role was minor. This is really my first time seeing him as the main character. At first, I disliked his character and then I started to just dislike the writing of his character rather than his acting. Some of the actions his character does are just unrealistic for a character like his.

Armie Hammer plays a flawless character. There is little room for a character arch if the character is already perfect. Sure he's hesitant but I don't consider being cautious a flaw. Armie Hammer does a wonderful job playing the character he was written to have. It's not his fault the dialogue is all over the place. Most of his lines are above average though it's all the filler that's the problem.

You watch, wanting to know where the story is going but have to sit through scenes of just sitting, standing, or piano playing. Shots of the back of people's heads don't allow the actor to display any emotion. If patience is the theme of the movie it did it well because it's testing. The film isn't for everyone and without any real conflict the film doesn't have a story.

Result: C- (It has flaws and an ultimate display of pretentious filmmaking.)

Comments

Popular posts from this blog

The Housemaid (2025)

The Housemaid (2025) is directed by Paul Feig , best known for comedies like Bridesmaids and Freaks and Geeks , and the tonal clash is noticeable. Feig leans into slick presentation and surface-level tension, but the film never quite reconciles its thriller ambitions with its obvious messaging. As an adaptation, it feels safer and more predictable than it wants to be, especially given how clearly it telegraphs its twists. Sydney Sweeney , known for Euphoria and Anyone But You , plays a down-on-her-luck woman recently out on parole who is desperate for work. She does what she can with the role and brings some emotional weight early on, but the writing limits her range. Her character cycles through bashful and annoyed so often that it starts to feel repetitive rather than psychologically layered. Amanda Seyfried , recognizable from Mamma Mia! and Mean Girls , plays the wealthy woman whose life slowly unravels as the power dynamic flips. Seyfried is solid and more controlled than Sw...

Marty Supreme (2025)

Marty Supreme (2025) is written and directed by Josh Safdie , who previously directed Good Time and Uncut Gems . This film carries that same frantic Safdie energy, with constant motion and pressure that rarely lets the audience breathe. It is chaotic by design, sometimes to a fault, but the intensity feels intentional rather than sloppy. Even when the pacing threatens to overwhelm, the film remains compelling due to the strength of its performances. Timothée Chalamet , known for Dune and Call Me by Your Name , plays the title role and fits it perfectly. He fully commits to the character’s ambition and volatility, balancing confidence with insecurity in a way that feels natural for him at this stage of his career. This is not a transformative performance, but it is a highly effective one, and he clearly understands the rhythm and demands of a Safdie-style film. Odessa A’zion , who audiences may recognize from Grand Army and Hellraiser (2022) , is a standout as the love interest. S...

Anaconda (2025)

Anaconda (2025) is a reboot comedy of the 90s film, written and directed by Tom Gormican , who previously delivered the clever and self-aware The Unbearable Weight of Massive Talent . Unfortunately, that lightning does not strike twice. The core problem is simple. The jokes do not land. If horror films are judged by scares per minute, then comedies should be judged by laughs per minute, and this one delivers virtually none. Any humor that works was already burned in the trailer, leaving the film feeling empty and painfully drawn out. Jack Black , known for School of Rock and Jumanji , leans heavily into his loud, chaotic persona, but here it becomes grating rather than charming. His performance feels unchecked and repetitive, as if volume alone is meant to substitute for comedy. Instead of elevating scenes, he often drains them of momentum. Paul Rudd , who audiences know from Ant-Man and I Love You, Man , somehow comes off just as irritating. Rudd is usually likable even in weak m...