Updated RankingI wanted to track the progression of Joe Swanberg’s development, but many of his titles proved difficult to find, especially the early mumblecore films.
Alexander the Last (2009)
★ ★ I thought it was early in Swanberg’s career to see “Produced by Noah Baumbach” and was more surprised to see David Lowery helped write this one. Having only seen Hannah Takes the Stairs from before this, I think Swanberg was starting to experiment with cross-cutting scenes and playing around with narrative structure. It’s hard to follow at times and there’s too much emphasis on people performing to hide their true selves, but beneath all the filmmaker growing pains is some emotional honesty.
Drinking Buddies (2013)
★ ★ ★ - Good Swanberg’s style has developed into something really rich by this point. Reminding me of Eric Rohmer, a lot happens while very little is happening. I’m a fan of classic Hollywood and classic movie stars, but this shows the way forward where witty men and beautiful women can be human while maintaining the superficial qualities that place them above us mortals. Specifically, Olivia Wilde is a revelation here. A classic beauty has rarely been allowed to portray such a complicated, human. It’s an approachability that’s been co-star Anna Kendrick’s greatest tool. There’s a lengthy moving sequence towards the end where the dramatic beats are forced, but overall this is a groove I hope Swanberg stays in.
Digging for Fire (2015)
★ ★The creative success of Drinking Buddies attracts some surprising names. Sam Rockwell, Brie Larson, Sam Elliott and Orlando Bloom show up here, but the one thing that’s continuing to work for Swanberg is Jake Johnson as his on-screen muse. The story this time only ignites in brief moments and just as often events work against what we’ve come to know about the characters. Also the first time I’ve seen Swanberg not take advantage of having Anna Kendrick in his ensemble.
Win it All (2017)
★ ★ ★ - Okay It took some time, but Swanberg is shaping up to be the heir to John Cassavetes. This film is similar enough to stand up to comparison but different enough to not be in the shadow of the indie legend. (The most interesting similarity is Swanberg using a well-trod premise for exploring character while doing his best to keep his film from falling into a plot.) Teaming up with Jake Johnson has proved to be a creative leap forward for both of them. Swanberg has found his groove, and I hope he can pull in some of that early rawness instead of continuing to create comfortable hang out cinema.