Movies to Watch When You’re Sick
What do you do when you’re home with the flu, or a nasty cold? I generally find that reading is too taxing for my brain when it’s dealing with fever/cold/congestion, so I watch movies in bed in between naps. Last time I was sick I watched North and South (I may or may not have watched the ending 4 or 5 times because the ending is so good that you have to watch it more than once). What are some of your favorite sick day movies?
When the privileged Margaret Hale’s father uproots the family to take work in the northern mill town of Milton, she is shocked by the dirt and gruffness of the people. But she reserves her highest contempt for the charismatic mill-owner John Thornton.
A washed-up ballplayer becomes coach to one of the All-American Girls Baseball league teams in 1943, and finds himself drawn back into the enthusiasm of the sport.
In early nineteenth-century England, a spirited young woman copes with the suit of a snobbish gentleman as well as the romantic entanglements of her four sisters.
Mr. and Mrs. Fox live a happy home life underground with their eccentric son Ash. Mr. Fox works as a journalist, but against the advice of Badger, his attorney, he moves his family into a larger and finer home inside a tree on a hill. The treehouse has an excellent view of the nearby farms of Boggis, Bunce, and Bean. Ash becomes hostile when his cousin, Kristofferson, joins the family for an extended stay. Mr. Fox decides to raid the farms, but this leads the farmers to stakeout the treehouse. The farmers try to dig the Fox family out, but they dig even faster. Mr. Fox organizes a tunneling project to burrow under all three farms and steal all the chickens, ducks, geese and turkeys.
Harrison Ford stars as Indiana Jones, an unconventional archaeologist, who is assigned by the U.S. Government to find the mystically empowered Ark of the Covenant before the Nazis can obtain it for their own evil use.
When an aging cowhand is deserted by his regular help, eleven greenhorn schoolboys help drive cattle 400 miles.
The transition from movies to talkies isn’t exactly an easy one when a silent movie star (Gene Kelly) who is supposed to be in love with his long time co-star falls for an aspiring actress (Debbie Reynolds) who’s providing her voice. Classic song-and-dance routines from a top-shelf cast make a delightful, must-see film.
Two researchers have come to San Francisco to compete for a research grant in music. One seems a bit distracted, and that was before he meets her. A strange woman seems to have devoted her life to confusing and embarrassing him. At the same time a woman has her jewels stolen and a government whistle blower arrives with his stolen top secret papers. All, of course have the same style and color overnight bag.
Elliot has always been the nice guy. However, he has never had luck in relationships until he met Caroline. Now, just two weeks before their wedding, her high school sweetheart shows up to win her back. For once, Elliot decides to put up a fight.
Anne, an eleven-year-old orphan, is sent by mistake to live with a lonely, middle-aged brother and sister on a Prince Edward Island farm and proceeds to make an indelible impression on everyone around her.
The story might be a little dense to try and describe, so I will quote directly from the film’s Sundance Film Festival program guide: “Kris is derailed from her life when she is drugged by a small-time thief. But something bigger is going on. She is unknowingly drawn into the life cycle of a presence that permeates the microscopic world, moving to nematodes, plant life, livestock, and back again. Along the way, she finds another being—a familiar, who is equally consumed by the larger force. The two search urgently for a place of safety within each other as they struggle to assemble the loose fragments of their wrecked lives.” It is science fiction, and body horror, but to an astonishingly controlled degree. It is a cerebral, emotional thriller, but with none of the flash-bang of recent mind-benders like Inception, District 9 or Looper. Those are all essentially intelligent action sci-fi films, with conventional adventure set pieces, archetypes and set pieces. Upstream Color has none of those. Its conflict is so internal, the battle in body and brain, that with editing we can assume what is happening, but have zero assurances.
That said, if you have the patience, this is a film to be experienced. It is a beauty to view, and amazingly was shot on a “consumer-grade” camera, a Panasonic Lumix GH2, with Voigtlander and Rokinon lenses. From The Hollywood Reporter, “the experience of watching the film… is highly visceral and sensuous; the images possess a crystalline clarity that is exquisite, and they’re dispersed in rapid rhythmic waves in a way that’s especially mesmerizing during this first section,” and ”Carruth’s is a cinema of impressions and technique, not overt meaning.” The sound design and score is equally as impressive, carefully edited and toned to balance and brand the images. As one character is composing music to the microscopic madness, we realize how bound is the brain to tone, timing and theory.
As Mark Olsen of the Los Angeles Times said, “Color is somehow at once emotionally direct, while narratively abstract.” It reminds of the intimacy of image of Terrence Malick, the internal horror of David Cronenberg and the philosophy of ‘reality’ of Béla Tarr. With a little time, a little devotion, a lot of concentration and discussion once the film has finished, Upstream Color could become one of those movies you never fully understand and ultimately never forget.
Reviewed by Matt
I liked this movie a lot. It's a quiet film about a Norwegian bachelor and a German mail-order bride who run into trouble in post-WWI Minnesota. When the local minister finds out Inge is German, he won't marry them. So, instead of settling into her new home with a new husband, Inge bunks with the neighbors, a large and rambunctious farm family. Of course, Inge and Olaf learn to love each other, making the task of gaining their community's acceptance more urgent, and when their friends are faced with a crisis they must decide whether to risk everything to stand up for what's right. It's surprisingly timely for a film about farm folks in 1920's America, and Salim somehow manages to keep it sweet and gentle without being cloying or silly. I would recommend.
Reviewed by Marilee
Reviewed by Art