- Monday “crackles with energy and stings with honesty” (to quote Screen Daily, with terrific performances by both Denise Gough and Sebastian Stan.
- Tuesday feels very strange and personal, but it’s also a deeply moving meditation on death and grief.
- Any Wednesday is surprisingly unpleasant. Audiences in 1966 could be forgiven for thinking its premise ought to be funny, but less so for thinking that it was funny. The movie is backward and dated in its gender politics, but it also feels weirdly miscast (particularly in Fonda’s role), and none of its characters are especially likable.
- A Thursday has a premise that’s interesting until you learn what the movie plans to do with it, until you notice the cheapness of the production, the overly melodramatic music and direction, and the didactic points the movie is trying to make. I could absolutely stand to watch more foregin films, Hindi films in particular—and I do think some of what didn’t work for me here was just my own cultural disconnect—but this didn’t seem like a great place to start.
- Next Friday lacks the heart and charm of the first movie, and it’s mostly crass, intentionally offensive, mildly racist, stoner half-jokes, but it has its amusing moments.
- Saturday Night and Sunday Morning is a remarkably frank kitchen sink drama, with a very compelling (if frequently unlikable) performance by a young Albert Finney.
I also rewatched The Fisher King, which feels very much of its time, but also still very much a fable outside of time.
