Barbarella (1968)

Jane Fonda is magnificent as the sexually liberated titular character, based on Jean-Claude Forest's comic book of the same name. Her innocence may be equal parts naïvety, but her sincerity balances it out beautifully. Her introduction is an unforgettable slice of 60s cinema. We're then invited into a fur-lined cockpit wherein she cements her place in counterculture history.
The psychedelic FX are often badly scaled and at times plot is almost non-existent, but the playful self-awareness that both mocks and celebrates its own cheapness seduces the part of me that can fully embrace that sense of fun; somehow it makes it all the more lovable.
It seems inappropriate to judge Barbarella by conventional criteria because it plays by its own rules from beginning to end, but I guess I should try:

4 exaltation transference pellets out of 5

Spirits of the Dead (1968)

aka Histoires Extraordinaires

An anthology film comprised of three works based on the stories of Edgar Allan Poe. The three directors are Roger Vadim, Louis Malle, and Federico Fellini, respectively, with each film lasting for approx 40 minutes.

01. Vadim's Metzengerstein was my favourite. Jane Fonda plays a debauched Countess who dresses like an ancestor of Barbarella (also a Vadim film). A poetic v/o adds extra beauty, while a recurring musical theme generates unease. It's ridiculous but is the only one I'll choose to watch again.

02. Malle's William Wilson is a flashback story that starts out okay but slows to a deathly crawl wherein all impetus is lost. I generally like confessional narratives, but it was too tedious to recommend.

03. Fellini's Toby Dammit is typically arty, employing an unusual colour palette, but has very little discernible Poe. Terence Stamp is fantastic as the troubled actor, working from a script that's pretentious and infuriating. It's five mins of greatness diluted with thirty-five mins of self-indulgence.

3 torments out of 5

THIS IS WHERE I LEAVE YOU [2014]

Director Shawn Levy tones things down from his usual fare for the quiet dysfunctional family drama, This Is Where I Leave You.
After the death of their father, four big city siblings are forced to return to their suburban home to live with their mother for a week which reveals many things about their messy past, present and futures.  It saunters through overly familiar territory but with it's dynamic cast (not a weak link in the group), realistically written potty-mouthed script and amusing moments galore it still manages to capture the heart by the end.  As great as the cast is, there's just so damned many characters, some of the more interesting ones are never fully explored and you're left yearning for just a bit more.  In a way it's a delightful wasted opportunity that just narrowly missed the mark from becoming what it wants to be.

3 Jewish atheists out of 5

THE BUTLER [2013]

With it's huge cast of big names, politically historical subject material and more calculated dramatic moments you can shake your fist at, it seems Lee Daniels made The Butler to be scream "give me an Oscar".
Forest Whitaker turns in a well-rounded thoughtful performance as do all his co-stars but unfortunately the film itself seems to make all it's points with neon signs never really going for subtly or grace.  Uneven storytelling and predictability prevent it from becoming the timeless classic it wants to be.
It's not a bad film but after awhile you tire of it trying to be too good.

3 JFK neckties out of 5

9 to 5 (1980)

Three women from different backgrounds join together to combat the "sexist, egotistical, lying, hypocritical bigot" male boss who controls their office environment with an eager-for-beaver hand.
There's shenanigans and some awkward situations to overcome, but it's not as 'screwball' a comedy as some reviews would have you believe. It's safe, early 80s empowering fun that doesn't overstretch itself.

2½ angry hens out of 5