The title of this month's movies roundup comes from the fact that both The Invite and The Odyssey—2026 movies, mind you—were shot on film. Pretty cool trend I'd like to see continue.
The Nolanography
The Odyssey is an adaptation of the ancient myth by the same name, by Christopher Nolan. It is impressive in scale and execution. Imagine how clever I thought myself, already knowing about the sea peoples and the Bronze Age collapse, as I sat eating a big thing of stale popcorn at a lieMAX (so-called because it is advertised as an IMAX but not projected on 70mm). I mostly liked what Nolan did here, even if the story isn't bang-on for my interests. I think what I liked best was having a big cinema event to look forward to.
I rewatched Inception to share it with my teen. He was super interested in its mind-bending ideas, and the way they coalesced so perfectly with the story's themes and special effects, the same concoction that puts me under its spell. I loved connecting with him over that.
It's Jones all right!
Continuing from last month when my 10yo asked if we could rewatch Indiana Jones, we rescreened Temple of Doom and Last Crusade. When I need a nostalgia boost, or a fun family movie night, in the words of Walter Donovan "It's Jones all right!"
Classic Hollywood
Casablanca is astonishingly wrought. The first act especially is complex, patient, and ingeniously arranged. It was a treat to rewatch it.
Shanghai Express is a bit like “Casablanca but on a Train” but it preceded that film by a decade. Can a second chance at romance blossom, or will encroaching war snuff it out? I enjoyed this. Marlene Dietrich is irresistible in it.
Misc
I came to Shame expecting what I’ve found so far with Bergman; a drama built around a small group of close people, which, of course, it is. What I did not expect was how he could do that by tossing those characters about within a much larger conflict. I didn’t know Bergman did war. But I guess it’s not surprising how he would choose to frame it in terms of how it upends the private lives of ordinary people, who already have much to contend with within themselves and between each other. I also found the existential dread the film portrays to be one of Bergman’s themes, reflected in The Silence, for example.
The Invite is a comedy that legitimately made me laugh. I think that’s the highest praise I can give a comedy. Further, I thought it works with such well-observed material, namely the incongruities we find ourselves in our relationships, old or new, the trauma we spill into them and the wisdom we bring to them. Funny. Moving. One of my favorites of the year.
Xala is a 1975 satirical comedy about the corruption and impotence of post-independence African governments. This is a topic I’m not at all familiar with, so it’s interesting how clearly the comedy and satire come through.
TV
Black Clover is an anime show my kids and I watched many episodes of. Eventually we agreed that we weren't enjoying it and bailed. The writing is shallow and slow. There's just not much to it. We pivoted to Dr. Stone, which we're loving!
