Tag Archives: Drama

Darkest Hour-2017

Darkest Hour-2017

Director-Joe Wright

Starring-Gary Oldman, Kristin Scott Thomas

Scott’s Review #718

Reviewed January 24, 2018

Grade: A-

Darkest Hour is a British historical film that showcases an astounding portrayal of Winston Churchill that legendary actor Gary Oldman gives.

Certainly known for numerous other fine-acting performances in films such as the Harry Potter series, JFK, and Batman Begins, this performance easily transcends all of the others as he brings perfection to complex role-infusing humor, drama, and many idiosyncrasies of the storied historic figure.

Surely, Churchill is the best role of Oldman’s lengthy career.

Director, Joe Wright, famous for such classy European films as Pride and Prejudice (2005), Atonement (2007), and Anna Karenina (2012), traditionally offers rich, intelligent experiences with an upper-crust, often British theme, and fills his characters with wry humor and wit.

In the case of Darkest Hour, a film that belongs to Oldman by the way, Churchill is the master of gruff sarcasm and cantankerous charm.

During the tumultuous time of 1940,  with the barbaric grips of Nazi Germany settling upon both England and France (Allies in World War II), a disheveled England is frustrated with their current Prime Minister, Neville Chamberlain, for being weak. Chamberlain begrudgingly appoints Winston Churchill as his successor, amid limited support.

The film discusses Churchill’s early days in charge as the war and the Nazi presence loomed larger and larger- especially as the historic Dunkirk situation comes into fruition.

Darkest Hour as a film is of good quality- there exists a certain historic richness and the feeling of experiencing a film that is worthy and relevant. For those of us not in existence during the 1940s, the film will likely serve as an educational experience into the events of the day.

Certainly, hundreds of films have been made over time that has explored the events during World War II in fantastic detail, but this film is unique in that it not only provides a perspective of the Allied countries “back against the wall” situation but the ups and downs and pressures that Churchill, the man, faced.

Despite a few quick clips of Hitler and both very old black and white footage and newspaper headlines of the crazed leader, the focus is not on the enemy country no actor was used to play Hitler, rather, the focus is on Churchill and the decisions he made and the influences he was faced with.

Pressured to appease the militant German country and reach a “peaceful” deal, Churchill instead listened to the voices of the common, everyday, British people to reach his decision to fight the Germans and not back down.

Clever, and relevant in 2017 cinema, is the film’s spotlight on the famous Dunkirk situation, when British forces were trapped on the shores of Dunkirk, with German planes looming overhead.

Thanks in large part to Churchill and British and French civilian boats who aided in the rescue, many men were saved.

The 2017 film, aptly named Dunkirk, would make a wonderful companion piece to Darkest Hour in that the subject matters mirror one another.

Not surprisingly, both films received Academy Award nominations for Best Picture.

A great lesson I carried away from the film is with Churchill himself.

Sure, I knew that he was the Prime Minister of England during the 1940s and was instrumental in the events of the bloody war, but I knew little about the man himself.

Thanks to Wright and, of course, Oldman, the viewer will learn the good and bad characteristics of this man. A heavy drinker, commonly downing champagne with lunch and brandy the rest of the day, he was initially not well-liked, nor taken very seriously by British royalty.

With Churchill’s bubbling personality, Oldman is fantastic at filling the role with humor, frustration, and just the correct amount of empathy and concern.

Despite having a temper, we can tell that he has a love of country and pride for the people living there- that is why he is adamant about conquering the enemy. So we know he is a good man despite his temper tantrums.

Oldman also successfully embodies the mannerisms that this historical figure contained. Kristin Scott Thomas also gives a worthy performance, albeit in a small role, as the mature and graceful wife, who can both support and match wits with her husband.

Thanks to a brilliant acting performance by Gary Oldman, who takes on a difficult role that could easily be botched by lesser talent, he makes a film that could have been dull and flat, into a worthy watch to both learn something and be amazed at a truly great acting performance. Darkest Hour is a 2017 historical drama worth seeing.

Oscar Nominations: Best Picture, Best Actor-Gary Oldman (won), Best Production Design, Best Cinematography, Best Makeup and Hairstyling (won), Best Costume Design

The Post-2017

The Post-2017

Director-Steven Spielberg

Starring Meryl Streep, Tom Hanks

Scott’s Review #715

Reviewed January 15, 2018

Grade: A-

Amid the current political upheaval occurring during the year 2017 comes a fresh and quite timely film named The Post, created by esteemed director, Steven Spielberg, and starring two of today’s biggest Hollywood film stars- Tom Hanks and Meryl Streep.

The film is a political, historical thriller set during the tumultuous time of 1971, as the controversial Vietnam War raged on, and tells of the bravery of a female newspaper owner (Streep), who risked everything to publish the truth, along with her team of mostly male editors and staff.

The film is an intelligent piece of writing, with a crisp script and quick editing allowing for a believable foray into a different time, when newspapers were hot and rotary telephones, telephone booths, and polyester outfits were all the rage. Spielberg is brilliant at setting just the right mood and tone to transport the audience back to 1971- on the eve of the enormous Watergate scandal.

While all of the elements are in play, and the truthful story is important, the film is very good, but not quite brilliant- falling just shy of that bombastic one or two scenes that would land it over the top.

The Post begins in the jungles of Vietnam in 1965, as military analyst Daniel Ellsberg documents the progress of military activities among the soldiers during battle.

On the journey home, he briefs then-President Lyndon Johnson that the war is hopeless and should be stopped. As history unfortunately shows, the brutal war continued on with thousands of lives lost.

The film then continues on a journey of the uncovering of top-secret Pentagon papers documenting the White House’s knowledge of the useless nature of the war, but each administration chose to continue with the bleeding to avoid the United States being “humiliated”.

Streep gives her best performance in years as Katharine Graham, Washington Post newspaper heiress, a woman who struggles to be taken seriously in a man’s world- especially given the time period- many men were uncomfortable taking direction from a woman.

Streep infuses the perfect amount of emotion, insecurity, and charm into the role. Despite her wealth and her control, she is frequently overruled by the all-male board of directors, so much so that she often doubts her confidence.

Hanks, however, underwhelms as gruff editor in chief of the Post, Ben Bradlee. Given the enormous talents of the actor, I was expecting a meatier performance, which does not materialize. I also anticipated an equal balance of Hanks and Streep, but the film belongs to Streep.

Perhaps because Hanks (the ultimate nice guy) portrays Bradlee as a tough, yet family man, the performance does not quite work.

Also, the chemistry between Hanks and Streep is not the specialty of the film.

Evident is the correlation between 1971’s President Nixon and 2017’s President Trump- both administrations shrouded in controversy.

A neat trick Spielberg creates is to only show Nixon in shadows, wildly gesturing and threatening, similar to Trump’s mannerisms- this is no accident. The entire work of The Post seems a big call-out by Spielberg, a devout liberal, to the Trump administration.

This comparison of past and present makes The Post incredibly timely and topical for 2017.

Clever is the intriguing ending- as the Watergate scandal begins with a security guard catching intruders at the complex, Spielberg seems to be saying “watch out Trump!”

In 2017, the current state of the media versus the White House has never held more controversy, disdain, and even hatred as the “truth” is often tough to come by or even to distinguish.

“Fake news” is now a thing and Twitter rants are now a daily occurrence, making the “truth” a precious commodity.

For this reason alone, The Post must be a film to celebrate and model ourselves after- how timely indeed.

Oscar Nominations: Best Picture, Best Actress-Meryl Streep

Wonder Wheel-2017

Wonder Wheel-2017

Director-Woody Allen

Starring Kate Winslet, James Belushi

Scott’s Review #709

Reviewed December 31, 2017

Grade: B+

Woody Allen typically churns out a new film release each year and 2017’s project is a film called Wonder Wheel.

Set in 1950’s Coney Island, a seaside beach in Brooklyn, New York, the film is an authentic-looking period drama, with lovely costumes and legitimate New York accents from all principal actors.

The story itself is overall quite depressing, though, as a likable character is tough to find, but Wonder Wheel contains fantastic acting, mainly on the part of star Kate Winslet, whose troubled character is the film’s focal point.

Winslet portrays Ginny Rannell, a struggling forty-year-old woman living in the seaside neighborhood and working as a waitress at a dingy Clam House. She despises her life and longs for a way out of the doldrums- yearning for the life she had years ago as an aspiring actress.

Her husband, Humpty (Jim Belushi), a carousel operator, is an alcoholic. Together they raise Ginny’s son, Richie, a young boy who loves to start fires.

When Humpty’s estranged daughter, Carolina (Juno Temple), shows up on their doorstep, having provided information about her mobster husband, and subsequently “marked”, Ginny’s life slowly begins to unravel as she and Carolina pursue the same man, hunky lifeguard, Mickey (Justin Timberlake).

The New York setting of the film is an enormous plus and a standard of many Woody Allen films- the authenticity is clear. The summer mood of the beach, sand, and the sunny boardwalk and beach scenes make the viewer feel like they are transported in time.

The 1950’s period works as beachwear and the amusement park sets are used to their advantage. The New York accents of the actors and the language and sayings are appropriate for the times. The apartment that the Rannells rent is a great treat to the film- the set is used with a wonderful beach landscape that is featured during daytime scenes and nighttime scenes so that the change of mood can be noticed-these are all enticing elements to Wonder Wheel.

Enough cannot be said for the talents of Winslet, who makes the character of Ginny come to life. Undoubtedly a tough role for her to play, Winslet, who can make reading the phone book sound interesting, tackles the complex part and arguably gives one of the best performances of her career- my vote would still go to her portrayal of Hannah Schmitz from 2008’s The Reader.

Initially a sympathetic character, she longingly desires to return to the stage and perhaps find stardom as an actress and sees Mickey as her last chance. When events curtail her dreams, her character takes a sharp turn and does an unspeakable act.

I love the acting talents of Justin Timberlake and by 2017 he has successfully proven himself a major star in the film world as well as the music world. As the hunky, charismatic, yet studious and intelligent lifeguard, Mickey, he teeters between womanizer and earnest, love-stricken, young man.

Timberlake has taken on more interesting film roles beginning with the 2010s The Social Network and let’s hope there are more to come.

Juno Temple is just perfect as the naive Carolina. With an innocent, sweet, personality, all she yearns for is love and a fresh start. Temple, largely known for quirky independent film roles, fits perfectly in a Woody Allen creation.

Finally, legendary actor James Belushi fills his character of Humpty with dedication, loyalty, and alcoholic rage. He adores Ginny but sometimes takes her for granted.

What a treat for fans of The Sopranos to see a couple of familiar faces appear as (what else?) mobsters. Tony Sirico and Steve Schirripa make cameo appearances as Angelo and Nick, henchmen for the unseen husband of Carolina, who are intent on tracking down and killing her.

Despite very small parts, the actors seem to have a ball reprising similar roles that made them famous.

Wonder Wheel, certainly shot in a similar tone to a stage production, draws comparisons to A Streetcar Named Desire, both with four principal characters- two male and two female, Ginny, Carolina, Mickey, and Humpty, all with some similarities to and some differences with storied characters Blanche, Stella, Stanley, and Mitch.

But the comparisons can easily be studied and analyzed.

Woody Allen creates a film that can be appreciated mostly for its top-notch acting talent not surprising given the actor’s cast, and a compelling, never boring story.

The film is a downer, however, with no heroic characters to speak of. Thankfully, this is counterbalanced perfectly by a great New York setting, which is a high point of Wonder Wheel and cheers up the otherwise dour tone of the film.

Call Me By Your Name-2017

Call Me By Your Name-2017

Director-Luca Guadagnino

Starring-Timothée Chalamet, Armie Hammer

Scott’s Review #708

Reviewed December 27, 2017

Grade: A

Call Me by Your Name is a gorgeous film, simply beautiful in story-telling, cinematography, and acting.

A humanistic film that crafts a lovely tale of young love, friendship, and emotions, that is simply breathtaking to experience.

In fact, in the LGBT category, I would venture to proclaim that this film is groundbreaking- leaving behind any tried and true homophobic elements and instead, telling a good story that is fresh, sincere, and simply flawless.

The period in the summer of 1983 and the landscape is the beautiful Italian Riviera. Seventeen-year-old Italian-American, Elio,  (Timothée Chalamet) dreams the summer away living with his parents in a small village.  They are affluent and his world is rich with culture and learnings- his father (Michael Stuhlbarg) is a professor and his mother is a translator.

A brilliant student, Elio wiles away the days reading, playing music, and flirting with girlfriend  Marzia. When a handsome, twenty-four-year-old American student, Oliver, (Armie Hammer) arrives for a six-week stay assisting Elio’s father on a project, desire and first love blossoms between the young men, as they struggle with their burgeoning relationship.

Directed by Luca Guadagnino, has also directed the lovely 2009 film, I Am Love, is a man known for stories of desire in small Italian villages. Call Me By Your Name is the third in a trilogy- I Am Love and 2015’s A Bigger Splash being the others.

The setting is incredibly important to the story as both the summer heat and the world of the intellectual scholars are nestled into a grand shell of culture and the philosophical nature of the story is palpable- the film just oozes with smarts and sophistication.

By 2017, the LGBT genre has become populated with films in the romantic, drama, and comedy sub-genres, but many use the standard homophobic slant to elicit drama and conflict.

Not to diminish the importance of homophobic discussions to teach viewers, Call Me By Your Name stands alone in that homophobia is not an issue in this story.

Given the time of 1983, this may be surprising- at the very cusp of the AIDS epidemic, this topic is also not discussed- rather, the subject matter is simply a love story between two males and the coming of age story that their love expresses.

The film is quite moving and both Elio and Oliver are characters filled with texture and raw emotion. Oliver is confident, charismatic and a great catch for any lucky young lady in the village. Hammer fills the role with poise and humanity. Chalamet, a beautiful young man, gives the complex role his all as so much can be conveyed not by dialogue, but by expressions on the actor’s face.

As Oliver slow dances with a local girl, the wounded look that Chalamet reveals, his eyes welling up with tears, is heartbreaking. Seventeen is a tough age for most young men, but when coming to terms with one’s sexuality it can be excruciating.

The final scene is poignant as it features at least a five-minute-long scene gazing into the eyes of Chalamet as many emotions are expressed in this sequence.

Enough credit cannot be given to Stuhlbarg as Elio’s father as he gives one of the best speeches ever performed in film history. What a subtle and poignant performance the actor gives as the sympathetic and knowing father.

His speech of understanding and warmth is riveting and inspirational- to be cherished. Mr. Perlman is a role model to fathers everywhere and any gay son’s ideal parent.

One scene that could stir controversy is the sure-to-be-controversial “peach scene”. Involving an innocent peach used during a sex act, the scene is erotic and borders on “icky”, but is also important to foster the connection between Oliver and Elio.

Another potential risk to the film is the fact that Oliver is twenty-four and Elio is seventeen, meaning that Elio is underage. However, the film never plays Oliver as more the aggressor and the relationship remains tender and consensual.

Call Me By Your Name is not just a great LGBT film, but it is a film for the ages.  Beautifully crafted with gorgeous landscapes and nuanced, powerful acting, the sequences are subtle and carefully paced. The film is simply a treasure.

Oscar Nominations: Best Picture, Best Actor-Timothée Chalamet, Best Adapted Screenplay (won), Best Original Song-“Mystery of Love”

Independent Spirit Award Nominations: Best Feature, Best Director-Luca Guadagnino, Best Male Lead-Timothée Chalamet (won), Best Supporting Male-Armie Hammer, Best Cinematography (won), Best Editing

The Shape of Water-2017

The Shape of Water-2017

Director-Guillermo del Toro

Starring-Sally Hawkins, Richard Jenkins, Michael Shannon

Scott’s Review #705

Reviewed December 16, 2017

Grade: A

Director Guillermo del Toro creates a lovely Beauty and the Beast style film that is as gorgeous to look at as the story is intelligent and sweet to experience.

Thanks to a talented cast led by Sally Hawkins, the film is part drama, part science fiction, even part thriller, but touching to one’s heart and a lesson in true love regardless of outward appearances.

The story was co-written by Vanessa Taylor giving it a needed female perspective to perfectly balance the traditional male machinations.

The setting is Baltimore, Maryland during the early 1960s. Ongoing is the Cold War pitting the United States and the Soviet Union against each other- both mistrustful of the other side. Kindly and mute, Elisa Esposito (Hawkins) is a curious and whimsical young woman, who works as a cleaning lady at an Aerospace Research Center.

When she stumbles upon a mysterious “shape” being held prisoner for experimentation purposes, she slowly communicates with and befriends the creature, eventually falling madly in love with him.

The “asset” as the scientists like to call him is an amphibian/humanoid needing saltwater to survive. Elisa sees an opportunity to help her love escape captivity and off she goes.

Hawkins exudes warmth and fills Elisa with courage and a determination that is astounding. Not to utter a word is a tough feat for an actor to challenge, but instead of words, Hawkins successfully provides a vast array of emotions to reveal how Elisa feels.

Despite her “handicap” she is a strong woman and speaks her mind on more than one occasion using sign language to offer her frustration. Hawkins gives a fantastic and believable performance.

Cast in wonderful and important supporting roles are Richard Jenkins as Elisa’s friend and neighbor, Giles, a closeted gay man who works as a commercial artist. Jenkins fills this character with intelligence, heart, and empathy as he struggles with his issues of alcoholism and loneliness- unable to be accepted for who he is.

Octavia Spencer shines as witty and stubborn Zelda Fuller, Elisa’s best friend and co-worker. Zelda has her domestic problems but is forever there for her friend, and Spencer gives her character zest, humor, and energy.

Finally, Michael Shannon plays the dastardly and menacing Colonel Richard Strickland, the man who found the “asset” in the rivers of South America and has a nice family.

Each of these characters is written exceptionally well and each has its storyline rather than simply supporting Hawkins’s character.

The audience becomes involved in the private lives of Giles, Zelda, and Strickland and we get to know and care for them- or hate them as the case may be.

Giles, harboring a crush on a handsome pie-shop owner, is afraid to make his feelings known. Zelda, with a lazy husband, dutifully takes care of her man though she is as sassy as they come. And Strickland lives an all-American family life with a pretty wife and two kids, totally unaware of his shenanigans.

The film is a gorgeous and lovely experience and by this I mean the film has a magical element. The opening and closing sequences shot underwater, resound in beauty as objects float along in a dreamy way, the narrator (Jenkins) taking us on a journey to explain the events of the story.

At its core, The Shape of Water is a romantic love story, and my favorite scenes- those of Hawkins and the “asset” are to be treasured. Yes, the two do make love, which may be too much for some, but the scenes are tasteful and important to show the depth of the character’s love for one another.

Cherishing is the way that Elisa uses both music and hard-boiled eggs to communicate with the “asset”. When Elisa imagines the two characters dancing, the sequence is an enchanting experience reminiscent of Beauty and the Beast.

Other underwater scenes involving Elisa and the “asset” are tender, graceful, and filled with loveliness.

A key part of the film involves a story of intrigue between the Americans and the Soviets, and while both are portrayed negatively, the Americans are arguably written as more unsympathetic than the Soviets.

Thanks to Strickland- abusive and vicious, and his uncaring superior, General Holt, we do not root for the government officials at all, but rather, the ordinary folks like Elisa, Zelda, and Giles, who are outcasts.

Interestingly, Dmitri (Michael Stuhlbarg), a Soviet spy who is a scientist, is the only character working at the center who wants to keep the “asset” alive and is written sympathetically.

My overall assessment of The Shape of Water is that it is a film to be enjoyed on many levels and by particular varied tastes- the film will cater to those seeking an old-style romance, complete with some tasty French music.

Then again, the film can be lumped into a political espionage thriller, with a cat-and-mouse chase and other nail-biting efforts.

Overall, the film has heart and truth and will appeal to vast audiences seeking an excellent film.

Oscar Nominations: Best Picture (won), Best Director-Guillermo del Toro (won), Best Actress-Sally Hawkins, Best Supporting Actor-Richard Jenkins, Best Supporting Actress-Octavia Spencer, Best Original Screenplay, Best Original Score (won), Best Sound Editing, Best Sound Mixing, Best Production Design (won), Best Cinematography, Best Costume Design, Best Film Editing

Howards End-1992

Howards End-1992

Director James Ivory

Starring Anthony Hopkins, Emma Thompson, Helena Bonham Carter

Scott’s Review #702

Reviewed December 1, 2017

Grade: A-

Howards End is my favorite film in the collection of E.M. Forster’s adapted novels turned into films during the 1980s and 1990s (1985’s A Room with a View and 1987’s Maurice are the other two quality works).

The novels were written during the early 1900s and set during the same period, focusing on class relations in 20th-century England.

The film is lovely, and picturesque, and tells an interesting story about romance and drama between the haves and the have-nots during this period.

The film was a success and received heaps of Academy Award nominations in 1993.

Margaret Schlegel (Emma Thompson), an upper-middle-class intellectual, part of London’s bourgeoisie, befriends wealthy and sophisticated, yet shockingly conservative Ruth Wilcox (Vanessa Redgrave).

The two women strike up a powerful friendship, which results in her beloved country home being left to Margaret when an ailing Mrs. Wilcox dies.

To complicate matters, Margaret falls in love with a businessman (and husband of Ruth), Henry (Anthony Hopkins), while Margaret’s sister Helen, briefly becomes engaged to Paul Wilcox, Henry’s son.

The two families’ lives further intersect when they wind up as neighbors in London and the true owner of the beloved “Howards End” is questioned.

Added to the mix are several other characters of various social backgrounds, having connections to the families.

The writing in Howard’s End is rich and emotional as each character is perfectly fleshed out this includes the supporting as well as the lead characters.

Thompson and Hopkins, both sensational actors, have tremendous chemistry together, and unsurprising was Thompson’s win for Best Actress during this competitive year. She carries the film seamlessly with her upper-middle-class ideals- not conservatively rich, but far from working-class- she epitomizes poise grace, and empathy for those less fortunate than she.

Hopkins, on the other hand, is calculating and confident, yet charismatic and sexy as an old-school, controlling businessman.

Somehow, these two characters complement each other exceptionally well despite their varied backgrounds

The role of Helen may very well be Helena Bonham Carter’s finest. Not being an enormous fan of the actress-overrated and too brooding in my opinion enjoys portraying an interesting character in Helen.

Lovelorn and earnest, yet somewhat oblivious, she develops a delicious romance with the young clerk, Leonard Bast, my favorite character in the film. Living with Jacky, a woman of dubious origins, he is the ultimate nice guy and sadly winds up down on his luck after heeding terrible business advice.

Bast, thanks in large part to actor Samuel West, who instills an innocent, good guy quality in his character, deserves major props.

The cinematography featured in Howards End is beautiful with extravagant outdoor scenes- the lavish gardens of Howards End- just ravishing and wonderful.

Kudos too to the art direction, set design, and costume department for making the film look so enchanting.

There is something so appealing about the look of this film and director, James Ivory, undoubtedly deserves praise for pulling it all together into a suave picture. Whether the scene calls for sun or rain, tranquil or bustling, every scene looks great.

If I were to knock any points from this fine film it would be at two hours and twenty-two minutes, Howards End does drag ever so slightly, and many scenes involve the characters merely having chats with each other, without much action.

But this criticism is small potatoes when compared to the exceptional writing and well-nuanced character development displayed throughout the piece.

Admittedly, and perhaps shamefully, I have not read any of the Forster novels, but Howards End appears to be the film that is most successfully adapted, gleaming with textured finesse, grace, and style.

With the film’s finest actors along for the experience, and intricate, fine story-telling, Howards End (1992) is a film well worth watching.

Oscar Nominations: 3 wins-Best Picture, Best Director-James Ivory, Best Actress-Emma Thompson (won), Best Supporting Actress-Vanessa Redgrave, Best Screenplay Based on Material Previously Produced or Published (won), Best Original Score, Best Art Direction (won), Best Cinematography, Best Costume Design

Independent Spirit Award Nominations: Best International Film

Murder on the Orient Express-2017

Murder On The Orient Express-2017

Director-Kenneth Branagh

Starring-Kenneth Branagh, Johnny Depp, Michelle Pfeiffer

Scott’s Review #698

Reviewed November 25, 2017

Grade: B+

Kenneth Branagh leads an all-star cast as well as directs them in a 2017 remake of the 1974 thriller, Murder On The Orient Express.

The film was, of course, based on the famous 1934 Agatha Christie novel of the same name. With a ritzy cast including Judi Dench, Johnny Depp, Michelle Pfeiffer, Penelope Cruz, and Willem Defoe, top-notch acting is assured.

The cinematography is tremendous as the film looks gorgeous from start to finish and the story is an effective, good, old-fashioned whodunit that will satisfy audiences.

We meet our hero, Hercule Poirot (Branagh), in Jerusalem as he has recently solved a murder mystery and is anticipating a good rest. Poirot is invited by a friend to travel back to his homeland of London via the lavish Orient Express.

Amid a group of thirteen strangers, all inhabiting the luxurious first-class accommodations, one of them is savagely murdered in the middle of the night, as a blustery blizzard and subsequent avalanche, derails the train atop mountainous terrain. The strangers are trapped together with a murderer on the loose. Poirot must deduce who has committed the crime and why.

Murder On The Orient Express has all the trimmings for a good, solid murder mystery, and director Branagh sets all of these elements in motion with a good flow.

Paced quite nicely, each of the principal characters is introduced intriguingly, so much so that each contains a measure of juicy intrigue. The film gives a brief background of each character as he or she boards the grandiose train.

Judi Dench broods as rich and powerful Princess Dragomiroff oozing with jewels and a chip on her shoulder. Corrupt American businessman, Samuel Ratchett (Johnny Depp), is suave and shady as he seems destined to cause trouble. Finally, Penelope Cruz gives her character of repressed Pilar Estravados enough shame and guilt that we cannot think something may be off with her motivations.

The details of the characters are rich and compelling.

With actors such as Dench and Depp, the acting playing field is set very high, and all of the actors play their parts with gusto.

Wonderful to experience with Murder On The Orient Express is the true nature of an ensemble casteach character is relevant in his or her way, regardless of screen time, and the casting works well.

Evident is how the cast must have enjoyed working together on this nice project. Each character is written in a way that the individual actor can sink his or her teeth into the role and the wonderful reveal at the end of the film allows for each a chance to shine so that equal weight is given to each part.

After the actual murder is committed the story takes off as each character is interviewed by Poirot and given a glance of suspicion.

The first half of the film is just the buildup and, at times, the story slightly lags, but this is fixed when the film kicks into high gear midway through. Sometimes a climactic conclusion makes up for any slight lag time suffered in the first portion of the film and Murder On The Orient Express is a great example of this.

The standouts for me are Branagh himself as Poirot and Pfeiffer as the sexy Caroline Hubbard, an American man-crazed older woman.  How wonderful to see Pfeiffer back in the game in 2017- with wonderful roles in both Murder On The Orient Express and Mother!

She has the acting chops to pull off sex appeal, vulnerability, and toughness.  In the case of Branagh, the actor never disappoints in any film he appears in, but seeing him in a leading role is fantastic and he can carry a film with such a dynamic cast.

Branagh’s Poirot is classy, intelligent, and charismatic.

I adored the conclusion of the film and found the explanation and the reasoning of the murderer or murderers quite effective and believable. Through the use of black and white flashback scenes, the action aboard the grandiose, yet slightly claustrophobic train scenes, are a perfect balance.

Furthermore, the explanation and the motivations of the killer or killers make perfect sense and much sympathy is evoked. In this way, the story is moralistic and certainly not a black and white subject matter.

Murder On The Orient Express succeeds as a wonderfully shot and star-studded affair. The filming is grandiose and the production values are high as a caper film with a mystique and class.

The film may not be a true masterpiece or necessarily remembered ten years from now, but what it does it does well.

The original film from 1974 is a tad bit better, but as remakes go, the 2017 offering is quite good.

A rumored sequel, Death on the Nile, is planned.

A Room with a View-1986

A Room with a View-1986

Director James Ivory

Starring Helena Bonham Carter, Julian Sands

Scott’s Review #695

Reviewed November 3, 2017

Grade: B+

A Room with a View (1986) is one of four major films to be based on famed British author E.M. Forster’s novels- Howards End (1992) and A Passage to India (1986), and Maurice (1987) being the other three.

The foursome contains common elements such as the vast English countryside and class distinctions, leading to heartaches and passion.

In the case of A Room with a View, the film traverses from artistic Florence, Italy to a cozy village in England.

The film is a period drama mixed with lots of authentic, unforced, good humor and at its core is a solid romantic drama, though if compared with the aforementioned other films, is not quite on par, though is still an entertaining watch- given the dismal year of cinema circa 1986.

The film was considered one of the best releases that particular year and was awarded a handful of Oscar nominations- winning Costume Design, Adapted Screenplay, and Art Direction.

Cultured and oftentimes brooding, Lucy Honeychurch (Helena Bonham Carter), goes on holiday to Florence with her rigid and conventional older cousin Charlotte (Maggie Smith), who also serves as her chaperone.

While enjoying the artistry of the European city, Lucy meets and falls madly in love with free-spirited George Emerson (Julian Sands), who is also visiting Florence with his easy-going father, Mr. Emerson (Denholm Elliott).

The men seem oblivious to Lucy’s (and Charlotte’s) Victorian-era upbringing, which attracts Lucy and appalls Charlotte.

Months later, the would-be lovers reunite in England and spend time averting obstacles thwarting their love, while admitting to themselves that their love is blossoming.

As Lucy has become engaged to snobbish Cecil Vyse (Daniel Day-Lewis), a sophisticate deemed suitable by her family to marry Lucy, the pair lacks the romantic connection that she shares with George.

Day-Lewis, on the cusp of becoming a breakout star and brilliant talent, gives Cecil a somewhat comical, yet endearing persona, that makes him the main foil, but also breathes sympathy into the character. This is especially evident during the Lucy/Cecil break-up scene.

The standout performance in A Room with a View is the comic brilliance of Smith as the manipulative and witty, Charlotte Bartlett, and this is evident throughout.

Smith injects vigor and comic wit into her character, as Charlotte seemingly makes one blunder after the other in the self-deprecating way she manages to use to her advantage to humorously manipulate other characters into doing things her way.

A risqué and quite hysterical all-male frontal nudity scene occurs mid-way through the film and, while not advancing the plot in any way, steals the entire film in its homoerotic and free-spirited way.

As the Reverend, young George, and Lucy’s energetic brother, Freddy, walk along a beautiful path, they decide to skinny dip in a pond where they horseplay and wrestle with each other completely in the buff.

As they chase each other around the pond, grab each other, and lightly smack bottoms, one cannot help but wonder if this scene set the tone for 1987’s gay-themed period piece based on another E.M. Forster novel, called Maurice.

A coincidence? I think not. As the trio of rascals come upon the properly dressed girls on the path, hilarity takes over the scene.

The art direction and costumes are of major excellence to A Room with a View as the film “looks” like a 1910 period rather than seeming like it is 1986 with the actors donning early twentieth-century styles.

Every scene is a treat from this perspective as we wonder who will wear what attire in the next scene.

As with the other aforementioned E.M. Forster films, class distinctions, and expectations are a major element in A Room with a View and make Lucy and George all the more likable as a couple.

Still, from an overall standpoint, there is something slightly amiss in the story department.

I did not find Helena Bonham Carter, an actor I like, overall very compelling as Lucy, and I think this leads to the story being slightly less than it might have with another in the role.

We may root for Lucy and George, but if the pair do not wind up together it is more of a pity rather than a travesty.

To summarize A Room with a View, the story is good, not great, and other key components to the film are much better than the central love story of Lucy and George but are therefore secondary to the main action.

Given a Charlotte romance, the film’s best character, that would have catapulted this film to the exceptional grade. Imagine the possibilities.

Or more of the two Miss Alan’s and their gossipy nature, or even a story to the rugged nude horseplay among men.

Many of the aspects that could have made A Room with a View (1986) great, were too often on the sidelines.

Oscar Nominations: 3 wins-Best Picture, Best Director-James Ivory, Best Supporting Actor-Denholm Elliott, Best Supporting Actress-Maggie Smith, Best Screenplay Based on Material from Another Medium (won), Best Art Direction (won), Best Cinematography, Best Costume Design (won)

Battle of the Sexes-2017

Battle of the Sexes-2017

Director-Jonathan Dayton, Valerie Faris

Starring-Emma Stone, Steve Carell

Scott’s Review #691

Reviewed October 11, 2017

Grade: A

Battle of the Sexes is a film that achieves worth on many levels- equal parts sports film, drama, and biography, the film excels across all genres, with exceptional acting and crowd-pleasing storytelling.

To boot, the film is a true story based not only on the very famous pro tennis match of 1973, termed the “Battle of the Sexes”, but a story of the sexual identity conflict of one of the opponents, in a time where being ones true self was not easy, especially for a public figure.

Emma Stone might very well have given her best portrayal of her young career as Billie Jean King, the talented tennis pro featured in the film. She is kind and fair, but a fierce proponent of women’s rights in a time in the United States when feminism was beginning to first take shape and women, and their male supporters, demanded equal treatment.

At first uncertain whether Stone could pull the role off (not because of lack of talent, but the women seem so different), she truly shines as the tomboy athlete with shaggy, feathered locks, and a toothy grin.

Equally worthy of praise is Steve Carell, who bolsters his film credo by tackling the role of King’s opponent and foe in the big match, Bobby Riggs.

Portrayed as a certifiable “jerk” and a sexist pig, Carell somehow pours the perfect amount of sympathy and likability into the part. We witness scenes of Riggs’ playfulness with his young son and tender yet troubled relationship with his wife, Priscilla (Elisabeth Shue in a well-cast role), that never seems neither trite nor contrived, but rather quite genuine.

The acting in Battle of the Sexes is across the board good.

Sarah Silverman drips with confidence and humor as Gladys Heldman, founder of World Tennis magazine and leader of the troupe of female tennis players parades around southern California seeking the same respect and pays as their male counterparts.

Bill Pullman, makes the most of his one-dimensional role of Jack Kramer, a wealthy and male chauvinistic promoter, while the talented Andrea Riseborough is brilliant as Marilyn, the bisexual, closeted lover of Billie Jean- giving a blend of vulnerability and toughness to her role.

The romantic scenes between Stone and Riseborough smolder with tenderness and heart as they forge ahead with their forbidden romance.

The film makes clear that a same-sex romance in those days, while accepted by those around them, would be met with shame and rejection by a large part of King’s legions of fans- this is a heartbreaking reality.

One of the most tear-jerking scenes comes at the end of the film when a victorious King is unable to acknowledge Marilyn- her openly gay male dresser earnestly whispers to her that one day she will be free to love who she truly loves- the scene is poignant.

Directors Dayton and Faris carve a finale that is careful not to fall into the cliched territory. Given that Battle of the Sexes is a sports film, this is a real risk, as typically these genre films teeter into the “good guys beat bad guys” fairy tale land.

Rather, while the film does champion King in the end, the moment is laced with good humor, drama, and sentimentality that does not seem forced, but rather honest and real- I enjoyed the final act immensely.

As the film progressed I found myself drawing parallels to the ever-dramatic and historical 2016 Presidential election- sure to have films made in years ahead-and King in many ways mirrors Hillary Clinton while Riggs resembles Donald Trump in the sexist department. The political and sports “Battles of the Sexes” warrants an amount of analysis.

My point is a sad one and as much as I love the film, I was left with a cold feeling that forty-five years after the famous Billie Jean King versus Bobby Riggs match, male superiority and chauvinism is alive and well in the United States- we still have so much progress to make.

Battle of the Sexes is a film with fantastic acting, stellar casting, passion, excitement, and a telling of a historical, true story.

In short, the film contains all of the elements of a compelling cinematic experience.

Black Narcissus-1947

Black Narcissus-1947

Director Michael Powell, Emeric Pressburger

Starring Deborah Kerr

Scott’s Review #688

Reviewed October 5, 2017

Grade: A

A British film made in 1947 that is way ahead of its time, Black Narcissus is a brilliant foray into the mysterious entity of nuns and the bitterness, both from humanity and from the elements, a group of nuns must face as they attempt to establish a new school atop the hills of the Himalayas.

The look of the film is as fantastic as the story itself, with incredible cinematography, and a foreboding eerie quality to it.

Black Narcissus is one of the great treasures of classic cinema.

Based on the 1939 novel written by Rumer Godden, Black Narcissus tells the story of revolving jealousy, rage, lust, and tension, amid a convent of nuns living in isolation.

Deborah Kerr, wonderful in the lead role of Clodagh, Sister Superior, and leader of the group, faces the temptations and anger of men while dealing with an unbalanced nun, Sister Ruth, played terrifically by Kathleen Byron.

The cinematography and the art direction first and foremost must be praised as the lavish sets are just that- sets. However, the average viewer will be whisked away on a magical experience where it seems the sets are real locales- high atop the Himalayan mountains.

Scenes contain howling wind, mist, and fog that is believable- all of the sets are built and structured and Black Narcissus was filmed entirely on a set. This tidbit is unbelievable given the realism that is the result, especially since the film was made in 1947.

The lighting in the film is unique, specifically the vibrant colors of the pink flowers, and later, the closeups of Sister Ruth. A fantastic example of this is her descent into madness during the final act as her face, maniacal, yet lovely, is heavily featured. Her face appears bright and hypnotic.

The main event, though, belongs to the tales that the film tells, which are quite edgy for the year the film was made. The subject matter of religion is always risky, and the treatment of the nuns as real human beings with true emotions, even lustful ones, is brazen.

Specifically, Clodagh (Kerr),  is an interesting study as the character teeters on a romance with the charismatic, handsome, local British agent, Mr. Dean (David Farrar) while attempting to forget a failed romance during her youth in Ireland. Meanwhile, Sister Ruth spirals out of control leading to a dire climax involving an enormous church bell atop the restored structure.

A slight misstep the film makes is casting mostly white actors with heavy makeup in the Indian roles instead of actors with authentic ethnicity. This detail is glaring because the makeup used is not overly convincing and especially guilty is the casting of the gorgeous Jean Simmons as Kanchi, a lower-class dancing girl, who the Prince becomes infatuated with in a subplot.

Still, this pales in comparison to the fantastic story and look of the film.

Black Narcissus is a classic film that contains a bit of everything- drama, thrills, intrigue, gorgeous sets, lavish design, even a bit of forbidden passion- and executes all aspects of the film in brilliant fashion.

A film admired by critics and directors through the ages, specifically championed by Martin Scorsese, the film has the unique quality of getting better and better with each viewing.

Oscar Nominations: 2 wins-Best Art Direction-Set Direction, Color (won), Best Cinematography, Color (won)

The Red Shoes-1948

The Red Shoes-1948

Director Michael Powell, Emeric Pressburger

Starring Moira Shearer, Marius Goring

Scott’s Review #683

Reviewed September 19, 2017

Grade: A

Certainly, the best of the bunch in the collection of cinematic ballet films, 1948’s The Red Shoes is a highly artistic and influential film undoubtedly studied in film schools everywhere.

One cannot view The Red Shoes without amazement and the realization that this piece must have been dissected by legendary director Darren Aronofsky before he created his creepy 2010 psychological thriller, Black Swan, is evident.

The Red Shoes is a British film that gives it a clear element of grace, class, and sophistication, perfectly enveloping the themes of love, ambition, and jealousy- the Brits simply do it right and director, Michael Powell, later crafting the odd and controversial 1960 film, Peeping Tom, certain to have wholly ruined his career, brings his A-game to this 1948 work.

Decades later, Powell now is considered a genius director.

The film is laden with foreshadowing, at least a handful of times during its running time, as we meet our heroine, Vicky Page (Moira Shearer), a bright-eyed young woman with flowing red locks and aspirations of grandeur as she emerges as a fledgling ballerina in the Covent Garden area of London.

Partially due to her aristocratic upbringing and her assertive and snooty aunt, she lands an audition for the ballet company, led by sophisticated Boris Lermontov (Anton Walbrook).

He is immediately enamored by her yet gives her the cold shoulder, making her question her talent. The incorporation of trains in multiple sequences is the key here.

As Lermontov and Vicky’s lives begin to intertwine, a young music student named Julian (Marius Goring) is perturbed by the plagiarism of his music by his professor, having conducted Heart of Fire under the guise of it being his work. When Julian expresses his displeasure to Lermontov, he is hired to perform with the orchestra.

The addition of Julian to the plot kicks off a compelling triangle between the three characters- their lives overlapping in a mixture of young love, passion, and jealous rage.

The action takes off even further as the film moves to the gorgeous setting of Paris and Monte Carlo, a treat for any worldly or aspiring world traveler, as the photography and cinematic angles of the lush locales are simply breathtaking.

As former prima ballerina, Irina Boronskaya, decides to leave the company to be married, Lermontov decides to create a new ballet, The Red Shoes, starring Vicky, with music composed by Julian. This creates enormous pressure for all involved as the film then takes a dark turn.

Dashes of influence surrounding the exquisite performance of the famous Swan Lake dance number heavily influenced the 1950s classic, An American in Paris.

The long, colorful, and dramatic sequence is splendid, emitting lush, vivacious music and performance. This “time out” from the heavy drama encompassing the rest of the film is beautiful and peaceful and one of the sheer highlights of The Red Shoes.

The heart of the film belongs to the dynamic between the three principal characters as the performance of each actor is spot-on and rich with flare.

Especially profound are the performances by Shearer and Walbrook, as each actor gives their respective character a perfect amount of fury, ambition, and tension, but Goring as Julian is equally worthy of mention and kudos.

I adore witnessing Moira Shearer dance as her talent and tenacity are astounding. An internationally renowned British ballet dancer and actress, the role of Vicky is perfectly carved out for her as the character must have been close to her heart.

Who can forget the most famous scene of all as a determined and crazed Vicky finishes her stage performance, Powell firmly holding the camera on her makeup-stained face, her blue eyes wide and hair wild?

Her look of triumph and insanity, lost in the moment, is the grand and unforgettable image seen time and time again in cinema reference books.

Equal parts dramatic, romantic, eerie, lustful, and wise, The Red Shoes is a classic film made way ahead of its time, with startling visuals and treasured art and set designs, to say nothing of powerful acting and a story that compels.

No wonder this film easily influenced other masterpieces to come.

Oscar Nominations: 2 wins-Best Picture, Best Motion Picture Story, Best Scoring of a Dramatic or Comedy Picture (won), Best Art Direction-Set Decoration, Color (won), Best Film Editing

Chronic-2015

Chronic-2015

Director-Michel Franco

Starring-Tim Roth, Robin Bartlett

Scott’s Review #682

Reviewed September 18, 2017

Grade: A-

Chronic is a brave film, a character study, that offers an in-depth look at the life of a male nurse and his rich relationships with his patients.

What the film also does quite soundly is reflect on not just the obvious physical needs of the patients, but the deep effects that the main character dying patients have on himself as well.

The film is quite bleak with a quiet element and very long scenes containing little dialogue but is a treasure in bold storytelling and brazen reflection.

The film is a subdued work requiring attention and focus. Yes, some would deem Chronic to be slow, and certainly most would describe it as “a downer”, but to dismiss the film is a mistake as it offers rich writing and an in-depth look at a vocation and lifestyle misunderstood or confusing to most people.

Tim Roth, famous for his bad boy roles, especially in Quentin Tarantino films, does an about-face, delivering a superb, subdued performance as David Wilson, a lonely and depressed nurse living in the Los Angeles area. He is a quiet, kindly man whose internal pain registers on his face as he dutifully treats his mostly close to death patients, sometimes attending their funerals after they have expired.

Initially, we meet David as he treats a sickly young woman. Once beautiful, she is gaunt and haggard and I cringed when the woman’s nude, skeleton-like body, is on display as David washes her with a washcloth.

The filmmakers do not gloss over his tender attention to her private areas, which is shot gracefully and certainly not done garishly. Still, the long scene is frightening in its realism.

When the woman succumbs to AIDS, David reluctantly becomes involved in a celebratory drink with a newly engaged young couple after he goes to a bar to unwind. When he pretends the deceased woman was his wife, he receives sympathy, but the couple quickly becomes aloof when he reveals what she died of.

Does he do this purposely to push the couple away? Throughout the film, we realize that David thrives on being with his patients, and can do no other type of work. In contrast, he has difficulty with relations with “normal” people.

Perplexities abound in this film, which makes the viewer think and ponder throughout, and certainly after the story ends.

For example, David searches through a young girl’s Facebook account looking at her photos- he later finds the girl, revealed to be studying medicine, and they happily reunite. Is she his daughter or the daughter of a deceased patient?

Later, David is sued by an affluent family and subsequently fired, after he watches porn with an elderly man to lift his spirits. There is a glimmer of uncertainty where we are not sure what David’s sexual orientation is.

In the most heartbreaking sequence of all, David begins caring for a middle-aged woman with progressive cancer. Martha (Robin Bartlett) is strong-willed and no-nonsense and makes the painful decision not to continue with chemotherapy after suffering chronic nausea and later soiling herself.

It is apparent that her family only visits her out of obligation as she lies to them that her cancer is gone and she is in the clear. She then pleads with David to end her life with dignity using a heavy dose of morphine- the sequence is heartbreaking.

The final scene of the film will blow one away and I did not see this conclusion coming. The event left me questioning the entire sequence of the film, wondering how all the pieces fit together.

Surely, being overlooked for an Oscar nomination, Tim Roth proves he is a layered, complex, full-fledged actor, in a painful, yet necessary story.

Independent Spirit Award Nominations: Best Feature, Best Male Lead-Tim Roth

Latter Days-2003

Latter Days-2003

Director C. Jay Cox

Starring Steve Sandvoss, Wesley A. Ramsey

Scott’s Review #679

Reviewed September 7, 2017

Grade: B

In the now saturated genre of LGBT film, a novel little more than a decade ago, Latter Days, released in 2003, tells a story with an interesting religious spin and is the first LGBT film to my knowledge to depict a clash of religious values, which deserves kudos.

The film was popular among film festival goers, yet critically, received only mixed opinions.

There are both positives and negatives to this film.

When rigid Mormon innocence meets plastic Los Angeles playboy, anything is bound to happen as a surprisingly sweet romance develops between the two young men.

While the overall feeling of the film is rather “cute”- not exactly a rallying cry of cinematic excellence- Latter Days suffers mostly from some sophomoric acting and an odd combination of a soft-core porn film and a wholesome Hallmark channel television movie quality.

This, in turn, allows the film to achieve only slightly above mediocre as a final score.

Young Mormon missionary, Aaron Davis, just out of Idaho, is sent to Los Angeles with three fellow missionaries, to spread the word of faith. Soon, he meets an openly gay waiter, Christian, promiscuous, brazen, and proud of it.

After a silly bet with friends predicting how long it will take Christian to “deflower” Aaron, the young men become enamored with each other as Aaron’s secret desires for men are exposed.

This leads to a test of faith for Aaron, especially with his religious and rigid parents, waiting with fangs drawn as he is banished back to small-town Mormon territory.

The romance and chemistry between the lead actors are the best part of Latter Days. Though Aaron and Christian could not be more opposite, there is warm chemistry that actors Sandvoss and Ramsey successfully bring to the screen.

Sandvoss’s “aww shucks” handsome, innocent looks compliment Ramsey’s extroverted, pretty-boy confidence, and the film succeeds during scenes containing only the two actors.

Much is gained from a throwaway laundry scene as the young men chat and get to know one another’s backgrounds, as during the brilliant soft-porn scene as the nude men thrash around a hotel bed making love.

Though, admittedly, neither actor is the best in the acting department.

The nudity in the film is handled well- explicit, yes, but never filmed for cheap or trashy effect. While the nudity is sometimes sexual, the men also lounge around nude in bed while chatting about life and their various ideals.

Also positive is the casting of Jacqueline Bisset in the motherly role of Lila. Suffering from her drama (an unseen gravely ill romantic partner, and admittedly an unnecessary add-on to the story), she is the sensible, liberal-minded owner of Lila’s restaurant, where Christian and his friends work and socialize.

The film creates a “family unit” in this rather nice way. Bisset and her British sophistication add much to the film.

Contrasting Bisset’s character is the fine casting of Mary Kay Place as Gladys, the rigid mother of Aaron.

Hoping to “pray the gay away”, she and her husband banish Aaron to a garish rehabilitation facility to turn him straight after a suicide attempt. The character does show unconditional love for her son but simply refuses to accept his sexual preferences.

There is no question that director C. Jay Cox slants the film in one clear direction as the Mormon characters are portrayed as stodgy and bland.

Latter Days slips when the focus is on the other supporting characters. I tend to champion large casts and neat, small roles, but Christian’s friends are largely self-centered, bantering about either their sexual escapades or their career aspirations as they wait tables hoping to get a big break.

Worse yet, a silly side story is introduced focusing on a misunderstanding between Christian and his best friend Julie.

I could have done well without many of these secondary characters.

In the final act, the film goes the safe route with a brief red-herring about a character’s death only to then quickly wrap the film in a nice happy ending moment featuring a nice Thanksgiving dinner at Lila’s restaurant.

Latter Days (2003) contains a good romantic story between two males that does just fine without the added trimmings that occasionally bring the film down.

All in all a decent effort.

Reflections in a Golden Eye-1967

Reflections in a Golden Eye-1967

Director John Huston

Starring Marlon Brando, Elizabeth Taylor

Scott’s Review #678

Reviewed September 3, 2017

Grade: A

Reflections in a Golden Eye is a film made during the beginning of a rich and creative time in cinema history (the latter part of the 1960s and the beginning part of the 1970s), where films were “created” rather than produced.

Less studio influence meant more creative control for the director- in this case, John Huston, who cast the immeasurable talents of Elizabeth Taylor and Marlon Brando in the key roles.

Worth mentioning is that Montgomery Clift was the intended star, but died before the shooting began. Richard Burton had turned the role down.

The film is an edgy and taboo story of lust, jealousy, and sexual repression set amid a southern military base. In the novel 1967, repressed homosexuality is explored in full detail, as well as heterosexual repression and voyeurism.

Originally a flop at the box office, the film has since become an admired and cherished part of film history.

Reflections in a Golden Eye is based on the classic 1941 novel, written by Carson McCullers.

Major Weldon Penderton (Brando) resides with his spoiled wife Leonora (Taylor) at a US Army post somewhere in the south during the 1940s and 1950s era.

A neighboring couple, Lieutenant Colonel Morris Langdon (Brian Keith) and his depressed wife, Alison (Julie Harris) are also featured and the trials and tribulations of Army life are exposed. Playing key roles are Langdon’s effeminate houseboy, Anacleto, and a mysterious Private Williams, played by a young and dashing Robert Forster.

Weldon is a repressed homosexual, rigid, and very unhappy with himself and his life, despite being successful professionally. To make matters worse, he is repeatedly needled and tormented by Leonora, who is having an affair with Morris.

Leonora adores her prized horse Firebird, who becomes a major part of the story. When Weldon and Leonora spy Private Williams completely naked in the woods riding bareback, Weldon feigns disgust, but his secret desires for the young man are revealed.

The two men then begin a secret cat-and-mouse game of spying and following each other around until a tragedy occurs.

Reflections in a Golden Eye is not a happy film, but rather a depressing piece of troubled lives and emotions. Passions are unfulfilled and repeatedly repressed as each character can be dissected in a complex fashion.

I am intrigued most of all by the character of Private Williams. A bit of an oddity, he mainly watches the action from afar learning Weldon and Leonora’s secrets- they keep separate bedrooms and repeatedly squabble.

We wonder- is Williams obsessed with Weldon or Leonora? Or both? He sneaks into her room and rummages through her lingerie and perfume drawers. Would he, in a different time, consider himself to become transgender? Or merely intrigued by cross-dressing?

Weldon can also be carefully examined- he has fits of rage and violence frequently erupts. Poor Firebird suffers a violent beating at his hands to say nothing of the main character’s fate at the end of the film. Having a macho and masculine exterior, his job is that of a leader, but the perception of a homosexual male during that time- if it was thought of at all was more like the femininity portrayed by the Filipino male, Anacleto.

Huston wisely casts both males well in this department as the men, along with Williams, could not be more different and nuanced.

A wise and telling aspect of the film is how it was originally shot with a muted yet distinguishable golden haze- appropriate to the film’s title- and much of the action seems to be viewed from the viewpoint of the horses.

The color theme was reportedly changed because it confused audiences, but my copy has the intended golden haze and I find this tremendous and works brilliantly with capturing Huston’s original intentions.

The film is reminiscent of Who’s Afraid of Virginia Woolf or Cat on a Hot Tin Roof, the former made only one year earlier. Arguably Taylor’s character in that film is very similar to Leonora.

In ways, Reflections of a Golden Eye (1967) could have been a stage production. One thing is clear- the film explores deeply the human psyche. I look forward to repeated viewings and further digging into the feelings and motivations of every principal character in a groundbreaking film by Huston.

Beautiful Thing-1996

Beautiful Thing-1996

Director Hettie MacDonald

Starring Glen Berry, Scott Neal

Scott’s Review #675

Reviewed August 20, 2017

Grade: B

Based on the play of the same name, Beautiful Thing is a heartwarming 1996 British LGBT film written by Jonathan Harvey and directed by Hettie MacDonald.

Incorporating music from the Mamas and the Papas, and specifically Mama Cass, the film undoubtedly was groundbreaking upon release in the 1990s due to its taboo (at that time) gay romance, but in the year 2017, this film suffers a bit from both a dated feeling and a play it safe vibe.

The action, just like a play would, takes place almost entirely within a working-class London apartment building in the present times.

The lead character is Jamie (Glen Berry), a high school student, intrigued by his male classmate and neighbor, Ste (Scott Neal). He also must keep an eye on his flighty mother, Sandra, who changes boyfriends like the weather, and aspires to open her pub- she is currently dating neighbor and understanding hippie, Tony.

Ste is the other central character. Shyer than Jamie, he has a difficult upbringing, living next door to Jamie with an abusive father and brother. Ste and Jamie eventually bond and a secret love story begins as the young men conceal their relationship from everyone else.

In the mix is a vivacious black teenage neighbor girl, Leah, who is obsessed with Mama Cass’s records, which her grandmother owns and frequently plays. Leah and Sandra are engaged in a lightweight feud, in large part because Sandra believes Leah is a bad influence on Jamie.

Keeping in close mind when Beautiful Thing (1996) was made, the film deserves an enormous amount of praise for, at the time, simply existing when LGBT films were hardly the norm.

Watching in 2017, though, the film loses a bit when compared with subsequent LGBT releases that broke more barriers with their mainstream viewership and much darker themes (LGBT masterpieces like 2006’s Brokeback Mountain and 2016’s Moonlight immediately come to mind).

Beautiful Thing also contains a safer, lightweight touch than the aforementioned films, making it now seem too much like fluff.

Director, MacDonald, mixes in humor so that while the message of a same-sex relationship is important, it is softened a bit by the comedy.

Specifically, the sidekick character of Leah lightens the message. The supporting characters may get a bit too much screen time. Sandra’s giggle-worthy job interview attempting to do “respectable work” in an office environment, or her man-hungry escapades, take away from the main story.

I also never felt any real threats or danger to the same-sex relationship. Sure, there is some brief disapproval, and a quick mention of Jamie not liking football (a negative gay stereotype that is unnecessary) combined with Ste’s abuse at the hands of his family, but even that is not perceived as a major obstacle to their, at that time anyway, shocking relationship.

On the other hand, the chemistry between the two leads (Berry and Neal) is wonderful and the best aspect of the film. Both actors convey the emotions of the characters perfectly- both coming into their sexuality, Berry’s Jamie is the more confident one, asking Neal’s Ste, in a sweet scene, whether he has ever been kissed.

This leads to a sleepover that is innocent and tender rather than steamy or sexual. I completely buy the characters as young lovers, coming to terms with their own identities while supporting the needs of the other, and becoming a good team.

The final scene, naturally accompanied by a Cass Elliot song “Dream A Little Dream Of Me”, is a touching, wonderful scene. Jamie and Ste dance together in broad daylight, for their entire complex to see, and subsequently are circled by both supporters and the curious.

As their show of support, Sandra and Leah join the boys and end their dispute.

Beautiful Thing (1996) offers a heartwarming conclusion to a fine, yet lightweight by modern standards, LGBT romantic film.

Tanna-2016

Tanna-2016

Director-Bentley Dean, Martin Butler

Starring-Mungau Dain, Marie Wawa

Scott’s Review #673

Reviewed August 18, 2017

Grade: A

Tanna, named for the tiny South Pacific nation of Vanuatu close to Australia, is a small film made in 2016 and nominated for the Best Foreign Language Academy Award.

A marvelous work in every way, the crowning achievement is how this particular film was made.

Shot entirely on the island with a minimal budget and the use of nonactors, the result is a  romantic, yet tragic love story that will move its viewer to tears in its innocence and beauty.

Tanna is shot in the  Nauvhal and Nafe languages.

Film-makers reportedly spent seven months in the village of Yakel, immersing themselves in the culture and civilization of the tribe. The people are the last of their kind, rebuffing nearby colonial and Christian influences in favor of their traditional values and beliefs.

The story that the film tells is based on a true story of love inflicting two tribe members and played out by the villagers- each portraying a role very close to their own lives and hearts.

As the movie opens, we are immediately exposed to a tribal community going about their daily life- they wash, hunt, and wander through the jungles exploring their natural surroundings.

The men wear simple penis sheaths and the women are mostly topless. We sense a great community and a sense of togetherness.

When Dain and Wawa  (I am admittedly unsure if these are the “actors” names or the real-life people) lay eyes on one another from across the jungle, they instantly fall in love and begin to secretly spend time with one another in a tender and romantic courtship.

A traditional rule of the tribe is arranged marriage, which becomes a major problem for Dain and Wawa as their love blossoms. When a neighboring tribe attacks the Shaman over a dispute regarding bad crops, Dain wants revenge. When cooler heads prevail, the leaders of each tribe decide that Wawa will marry a member of the other tribe, which leaves her and Dain distraught and desperate- their love is then tested ultimately.

The individuals who play both “Dain” and “Wawa” offer authenticity and truth that astounds as reportedly, in addition to never having acted, neither had never seen a camera before, but both pour their souls into the characters they portray.

This also goes for the little sister of Wawa, who is a goldmine in her honest portrayal. All the performances are rich.

Visually, Tanna is just breathtaking. The exotic lushness of the green jungles mixed with the gorgeous running streams and waterfalls are one thing, but the oozing volcano that inhabits the island is both colorful and picturesque during the night scenes.

The entire film is shot outdoors and is captured incredibly well. In this way, the film immerses the audience wholly in the tribal world.

Comparisons to the William Shakespeare play, Romeo and Juliet must be made.

The film is a romantic tragedy of epic proportions and the doomed couple share everlasting love and a bond that can never be broken. The truth in this tale is genuine as the couple must agonize over a decision to either remain together or risk the threat of Dain’s life and Wawa’s freedom if they return to their native village.

The film is almost poetic, never more so than in the final act, which is set upon the glorious spitting volcano.

Sadly, films similar in both richness and honesty are rarely made in modern times, but that just makes Tanna stand out as a treasure in beauty and thought.

Interestingly, because of the real-life couple’s determination and strength, the age-old tradition of chosen marriages has since been lifted and true love encouraged.

Oscar Nominations: Best Foreign Language Film

Punish Me-2005

Punish Me-2005

Director Angelina Maccarone

Starring Maron Kroymann, Kostja Ullman

Scott’s Review #670

Reviewed August 9, 2017

Grade: A-

Punish Me (sometimes titled Hounded) is a provocative 2005 German-language film that pushes boundaries and titillates the viewer with its racy themes of masochism and pedophilia that will be way too much for your average viewer to marinate and digest.

Some may be completely turned off (rather than on) by this film. However, for the edgy thinker, the film is quite the find. Unique, extreme, and thoughtful, Punish Me is an experience to remember.

Shot entirely in black and white (rare for twenty-first-century cinema) the film appears bleak and harsh, cold almost- and that is no doubt an intentional measure.

The grizzled German landscape (the city is unidentified), gives the film interesting and effective cinematography, transforming the black and white colors exceptionally well, whether the scene is set in daylight or nighttime. Something about the black-and-white decision is genius.

Elsa Seifert (Maren Kroymann) is a fifty-year-old probation officer. Married and raising a teenage daughter, she appears to live a stable, middle-class existence. When one of her charges, Jan (Kostja Ullman), a sixteen-year-old, handsome young man, gives pursuit of her, their relationship turns into an obsessive, lustful situation for both.

Jan, you see, likes to be sexually beaten, and, at first, hesitant, Elsa slowly gets immersed in Jan’s world.   When other characters begin to catch wind of the situation between Jan and Elsa, the film becomes intense.

Astounding to me is the fact that Punish Me is directed by a woman, Angelina Maccarone. This both surprises and impresses me. Thought-provoking is the female perspective in the film.

Elsa is not an unhappy woman- though she nervously chain-smokes in almost every scene.

She initially has no intention of being sucked into Jan’s eccentricities. As she awkwardly spanks him in their first steamy, sexual encounter, she is gentle, yet she quickly intensifies.

Is she insecure with her middle-aged body? She gets carried away by Jan’s charms, putting both her career and her husband at risk.

Can she stop herself before it’s too late?

One wonders a few things- How would this film feel if it were directed by a man? Maccarone centers the perspective on Elsa more than she does Jan- or are we to assume that Jan, at sixteen, is merely experimenting with his sexuality and therefore not the more interesting character?

This was my determination. Elsa has way more to lose than Jan does. We are not sure why Jan is so troubled, to begin with, or why he likes to be beaten- was he abused by his parents? sexually or otherwise? What deep-rooted issues does Elsa have?

I imagined the complexities offered had the film gone something like this- Elsa is a male character. Would the man-on-boy be too much? Is female on boy safer?

One wonders, but if Elsa was a male and Jan a female, I do not think the film would be half as controversial or daring. It would seem more exploitative or dare I say, conventional.

Instead, Maccarone turns the film into a psychoanalytical feast as we wonder what makes both Elsa and Jan tick and why they enjoy the discipline scene. Perhaps there is no clearly defined answer.

The supporting characters are not explored very well, other than a fellow troubled girl that Jan beds, commenting that she is too fat (she is not), or Elsa’s husband is revealed to have once had an affair with another woman pronouncing “it was only sex, not love”.

From this, one concludes that Elsa and her husband will reunite and resume their middle-class life together, but what will become of Jan?

Thanks to effortless direction and good choices by Maccarone, she makes Punish Me (2005) an examine-worthy look at sexuality, desire, and emotions.

Many will loathe the film or not bother to give it the time of day based on the subject matter, but the film is a treat for the creative cinematic lover and lovers of analysis.

The Salesman-2016

The Salesman-2016

Director-Asghar Farhadi

Starring-Shahab Hosseini, Taraneh Alidoosti

Scott’s Review #668

Reviewed August 2, 2017

Grade: A

The Salesman is the latest film directed by Asghar Farhadi to win the coveted Best Foreign Language film Oscar-2011’s A Separation also won the crown and 2013’s The Past, nestled in between the other films, is nearly as good.

All contain mesmerizing and gripping plot elements that leave the audience in good discussion long after the film has concluded- that is what good storytelling is all about.

Rich with empathetic elements and good, crisp writing, Farhadi has quickly become one of my favorite international filmmakers as each of his pictures is as powerful in humanity as their counterparts.

Along with fellow contemporary Claude Chabrol (admittedly around a lot longer), similarities abound between the two creative maestros in the form of thrills, mystery, and differing character allegiances. I adore how both directors incorporate the same actors into their films.

Cleverly, Farhadi incorporates classic stage production, Death of a Salesman by Arthur Miller, into the story, and the play and the film contain similar themes- humiliation and secrets.

The young and good-looking couple, Emad (Shahab Hosseini) and Rana (Taraneh Alidoosti) are community theater actors living a happy existence in metropolitan Tehran, Iran.

They have a wonderful array of friends and companions and are popular with their close neighbors and theater buddies. Emad, a well-liked high school teacher, and Rana, a housewife, make a perfect couple, but their bond will soon be severely tested.

Forced to move from their crumbling apartment into temporary quarters owned by a theater friend, they are unaware that the former tenant worked as a prostitute and had a bevy of gentleman callers.

What they do know is that she carelessly left the unit, leaving behind all of her belongings for them to sift through. One night when Rana is home alone, she inadvertently allows a mystery person to enter, which leads to a terrible incident.

The film centers around determining what exactly happened between Rana and the intruder. Is she hiding the truth? Can she and Emad get past the implications of the events?

The audience is left with a powerful and intriguing mystery to absorb and unravel. Throughout most of the film, questions are brought to the surface to be thought through. Who was the intruder? Will Emad exact revenge? What happened?

The brilliance of The Salesman is that we, as the audience, never actually see the incident inside Emad and Rana’s apartment take place, so we are baffled by what has transpired. We merely witness the after-effects and the questions the characters (mainly Emad) have.

Is Rana being truthful? Did she know the man who entered the apartment? Was it even a man or perhaps the former female tenant? With Farhadi, anything is possible, but rest assured, a startling climax will ensue.

Compelling and the pure genius of the film is how the viewer’s loyalties will not only be divided by character but will also change within an actual scene.

In one tense sequence, a heroic character becomes the villain and slowly returns to being the hero again-talk about a topsy turvy experience! The Salesman is smothered with a roller coaster of emotions and feelings.

The way that more than one of the central characters changes their motivations is largely the film’s greatest success. Rana, Emad, and “the Man” are flawed, complex characters, and what a treat it must have been for these actors to sink their teeth into these roles.

A special mention must be given to the other actors involved in the film. The Salesman is fraught with great performances big and small. In addition to the leads (Hosseini and Alidoosti), the supporting cast exudes immeasurable talent. Farid Sajadhosseini as “the Man” is simply astounding in his performance and his family members, appearing largely in the conclusion of the film, deserve much praise.

These small characters appear in the most pivotal time of the film and give it the needed acting chops required to pull off the result.

Asghar Farhadi hits another one out of the park with The Salesman and how deserving is the Oscar win for this man- a director whose films are always sure to be compelling, thought-provoking treats.

I cannot wait for his next film.

Oscar Nominations: Best Foreign Language Film (won)

Closet Monster-2016

Closet Monster-2016

Director-Stephen Dunn

Starring-Connor Jessup, Aaron Abrams

Scott’s Review #665

Reviewed July 23, 2017

Grade: B

Closet Monster is a 2016 Canadian LGBT drama that had the honor of being featured at the Toronto International Film Festival, where it was crowned the Best Canadian Drama winner.

Upstart director, Stephen Dunn, directs the film and adds some interesting visual techniques as well as some images. The story is a compelling coming-of-age piece, but the film as a whole is uneven at times, mainly with some character underdevelopment.

Still, for the subject matter, a nice film for LGBT teenagers to be exposed to.

The film is set in Newfoundland, where eighteen-year-old Oscar Madly (Connor Jessup) is a closeted, creative, teenager, with aspirations of being accepted into a prestigious school in New York, designing special effects makeup.

Through the opening scenes, featuring Oscar as an eight-year-old child, we learn that his mother has left the family to begin a new life and that Oscar witnessed a vicious beating of a gay teen, leaving him terrified of his developing feelings towards the same sex.

Oscar has issues with both of his parents- his mother’s abandonment, and his father’s temper and homophobia. He frequently escapes into a private treehouse he and his father have built and daydreams of happier childhood times with his father.

Oscar’s best friend is Gemma, who his father mistakenly assumes is his girlfriend. When Oscar meets a suave co-worker, Wilder, he immediately becomes smitten with him.

Director, Dunn, creates a talking pet hamster for Oscar, voiced by actress Isabella Rossellini, a wonderful, creative add-on to the film. Buffy is a source of advice and wisdom throughout Oscar’s constant trials and tribulations and has been with him through the years.

In a clever revelation that goes over his head, Buffy reveals to Oscar that she, in reality, has been replaced several times by other hamsters over the years.

Closet Monster has its positives and negatives. Certainly, for teenagers, or any age group, struggling with either sexuality issues or for children of divorce, the film hits it out of the park and serves as a relatable film.

Dunn successfully makes Oscar an empathetic character, with wit and charm, and just the perfect amount of vulnerability. In many ways, Oscar is mature beyond his years.

For the most part a careful character, he is surrounded by a world of chaos and disorder and uses escapism (his fantasies and secluded tree-house) to get through life. In this way, Oscar is a very strong and well-written character.

Also, a hit is the love interest of Oscar’s- the sexy Wilder. More of a bad boy, and assumed to be straight, Wilder, while rebellious, also becomes a sweet and trusted friend to Oscar.

When he realizes Oscar’s sexual preference and that he is the object of Oscar’s affections, he does not freak out or dismisses Oscar. Rather, the young men become even closer. In a tender scene, Wilder offers to be Oscar’s first kiss, so that he can experience the monumental moment especially.

Still, the film would have been wise to develop Oscar’s parents better. At first, the father (Peter Madly), appears to be a decent man, dumped by his wife, and forced to raise his son alone.

Conversely, the mother (Brin), is written as abandoning her child to selfishly start a new life with a new family (Oscar even spits in her face!). Somewhere along the line, Peter becomes a reckless homophobic with severe anger issues, and Brin is painted as the sympathetic one who suddenly is “there for Oscar”.

Better development would be recommended for these characters as I found their motives either unclear or perplexing. Why did they split in the first place?

Dunn is great at making Closet Monster an atypical film. He does not pepper the story with predictability or tried and true story points when it comes to same-sex romance, which is a brave choice.

Rather he fills the film with non-cliche moments. Closet Monster is a worthy entry in the LGBT film category and a must-see for those struggling with identity issues- the film acts as a form of therapy.

In the Flesh-1998

In the Flesh-1998

Director Ben Taylor

Starring Dane Ritter, Ed Corbin

Scott’s Review #663

Reviewed July 10, 2017

Grade: B

In the Flesh is a steamy, pre-Brokeback Mountain, LGBT film from 1998. The budget for this film is very small and the acting is quite wooden.

My initial reaction was that In the Flesh is a terrible film, yet something sucked me in as a fan, whether the crime theme or the romance (or both).

The atmosphere is quite dreamlike and moody, which I find appealing and the addition of a whodunit murder mystery amid the romantic drama is highly appealing- therefore I hesitantly recommend this film for perhaps a late-night adult viewing.

But be prepared for endless plot holes and unnecessary subplots.

Oliver Beck (Dane Ritter) is a handsome college student who works as a hustler in a dive bar named The Blue Boy in Atlanta, Georgia. He has his share of loyal, older men who use his services and adore him, especially a lonely man named Mac- a barfly at the watering hole.

When closeted Detective Philip Kursch (Ed Corbin) begins an undercover assignment to bust a drug ring at The Blue Boy, their lives intersect, as Philip falls in love with Oliver and investigates his past.

As the drug investigation seems to be quickly forgotten, a murder mystery develops when Mac is murdered at the ATM- Oliver looks on, panics,  and speeds away. When Philip covers Oliver as an alibi, the plot thickens.

Other side stories like a flashback sequence involving Oliver’s past- while driving drunk he killed his best childhood friend, the introduction of his sometime boss and girlfriend, Chloe, and his caring for Lisa, his sister, addicted to heroin- are brought to the table, but really have little to do with the main story and only confuse the plot.

The most compelling element is the relationship between Oliver and Philip and their dysfunctional love story, but many questions abound. Is Philip secretly married or dating a female? We know nothing about his personal life.

Oliver, hustling and hating every minute of it, merely as a way to support Lisa’s habit is ridiculous- why not get her help?

Neither actor Ed Corbin nor Dane Ritter will ever be accused of being the world’s greatest actor, and can hardly act their way out of a paper bag. Both actor’s performances are wooden and unemotional, even when emotion is required in the scene.

Still, oddly this somewhat works in the film.

Regardless of In the Flesh being riddled with plot holes and sub-par acting, the film has some charm.

The moody Atlanta nights, rife with sex and secrets, are quite appealing. A murderer on the loose and disguised save for a green watch is intriguing.

The film also has a mysterious, almost haunting nature, and the muted camera work, whether intentional or the result of a poor DVD copy, works very well.

Since the time is 1998, a time when more and more LGBT films were beginning to be made, but not overly so, In the Flesh and its director, Ben Taylor, deserve credit for even being able to get this film produced and made.

The mainstream success of the LGBT juggernaut, Brokeback Mountain (2006), undoubtedly helped, albeit in a small way, by this film.

Though, strangely, I never noticed the two main characters ever kiss- too soon for 1998?

Not the finest acting nor the best-written screenplay, In the Flesh (1998), is a bare-bones film that will be enjoyed largely by an LGBT audience seeking a peek into a time when these types of films were not running aplenty and typically made in the independent film venue.

The Beguiled-2017

The Beguiled-2017

Director-Sofia Coppola

Starring-Nicole Kidman, Colin Farrell

Scott’s Review #659

Reviewed July 4, 2017

Grade: A-

A remake of the 1971 film (also adapted from an earlier novel) starring Clint Eastwood, The Beguiled is a 2017 release directed by Sofia Coppola (Lost in Translation), a director ready to burst onto the front lines.

Coppola carefully chooses her films, but each one is different from the others and The Beguiled is no different. A piece fraught with atmosphere and tension, Coppola does wonder from a directing standpoint.

The story has tons of unchartered potential and drags at times, but overall The Beguiled is a hit if nothing more than to look at in wonderment.

The film gets off to a moody start as we follow a young girl, eerily humming as she picks mushrooms, along a deserted southern road. It is Civil War times (1864), and the setting is a mostly deserted all-girls boarding school in southern Virginia.

The girl (Amy) is startled when she discovers an injured, handsome Union Army soldier, Corporal John McBurney (Farrell). Sympathetic, Amy helps the soldier back to the school, led by the headmistress, Martha Farnsworth (Kidman).

Slowly, the females in the school become enamored with John as they develop rivalries with each other to gain the upper hand for his affections.

There is something so sinister and wickedly foreboding about almost every scene as we shrink at the thought that something bad will happen at any moment- sometimes it does and sometimes it does not.

Almost like a horror film would, the camera angles are such that something or someone is bound to suddenly leap out and grab a character.

The colors are muted and almost pastel and there is commonly fog floating through the exterior scenes. Coppola does a fantastic job of portraying a deserted southern landscape. The lighting of the film is also intriguing as lit candles serve to enhance the dimness and the final dinner scene (poison mushrooms anyone?) is gloomy and Shakespearean.

Beyond the look of the film, The Beguiled is well-acted. With heavyweights like Farrell, Kidman, and frequent Coppola star, Kirsten Dunst, as the vulnerable and unhappy teacher, Miss Morrow, the acting is stellar and believable. The audience is unsure if John is manipulating the women for his gain or if he has developed feelings for any (or all) of them.

The lovesick teen, Alicia (Elle Fanning), with hormones raging, sets her sights on John almost from the beginning, sneaking out of musical lessons, to kiss an unconscious John goodnight.

The story, while compelling, is quite slow-moving and left with oodles of possibilities when the conclusion finally happens. Other than the tart, Alicia, the endless romantic potential could have been reached with both Miss Morrow and Miss Farnsworth.

I was left wondering throughout the film when a romance would develop between Martha and John, but only towards the end of the film was this ever addressed and barely skirted over, as they take charge and stoic Martha slowly began to let her guard down.

In this way, the film could have added some further romantic complications and beefed up the very short running time of ninety-three minutes.

As Nicole Kidman is one of my favorite film stars of all time (she can tell a story by facial expressions alone), she has wisely begun to choose fantastic supporting roles as she ages in Hollywood (2016’s Lion immediately comes to mind).

Dunst has aged gracefully into a middle-aged actress chomping at the bit for meaty roles, and Colin Farrell is as ruggedly handsome as ever sprouting a dark and bushy beard for most of the role. The acting in The Beguiled is fantastic.

The Beguiled is a film to watch if only to escape to the joys of great, atmospheric, film-making, and to appreciate the wonderful talents of one of the few prominent female director’s of today (hopefully the mega success of 2017’s female-directed Wonder Woman will begin to change this).

The story has a few issues, but overall The Beguiled is worth the money spent.

The Boys in the Band-1970

The Boys in the Band-1970

Director William Friedkin

Starring Kenneth Nelson, Frederick Combs

Top 100 Films #80

Scott’s Review #658

Reviewed July 4, 2017

Grade: A

An excellent counterpart to the equally brilliant, and equally unpleasant, Who’s Afraid of Virginia Woolf? (1966) The Boys in the Band is also a stage production made into a feature film.

As such, shot very much like a play and seemingly in one long take, the film is highly effective and delicious in wit and dark humor. With a macabre and bitter element, the characters snipe and ridicule each other during a birthday party.

The Boys in the Band is a groundbreaking film on many levels as it is one of the first LGBTQ+ films to feature gay characters in prominent roles. Furthermore, it has the dubious honor of being the first film to use the word “cunt”.

Regardless, the film is fantastic and a must-see for anyone intrigued by LGBTQ+ film history. All of the actors appeared in the stage production and reprised their roles for the film version.

The setting is the Upper East Side of Manhattan in the late 1960s.

Michael, a writer, is hosting a birthday party for his good friend, Harold. When Michael receives an urgent call from his straight and married college chum, Alan, he begrudgingly invites him over at the risk of having his lifestyle exposed.

One by one, the guests arrive for the party. Emory is quite effeminate and loud, Hank and Larry are masculine and a couple, but with monogamy issues and Hank’s marriage as obstacles.

Bernard, a black bookstore clerk is an amiable, nice guy.

“Cowboy”, a dim-witted hustler, and Harold, the sarcastic, bitter, guest of honor, round out the attendees.

As the night wears on, the party turns into a free form of insults, bad feelings, and vicious conversation. Alan and Emory get into a fistfight, and later a hurtful telephone game forces everyone to call the one person they truly love which results in anxiety and sadness for most of the guests.

The key aspect of The Boys in the Band is that it is shot like a play would be, with a highly effective result. In this way, especially mid-way through the film when the guests are all in the same closed room, the action becomes suffocating and stifling as the fangs are bared by a few of the guests.

Director, Friedkin, uses many close-ups of his characters to further portray their raw emotions.

My favorite characters are Alan and Hank as these characters are the most complex.

Both are married, and both hit it off famously, although Alan’s sexuality is never completely revealed. He is married but troubled, and the audience never learns why, although we could wager a guess that he is, indeed, conflicted by his sexuality.

What will become of him? Will he accept his sexuality or live a repressed existence?

Hank, during a divorce from his wife, lives with Larry as a couple. Hank is complex because he is transitioning from a straight life to a gay lifestyle and that must have been very difficult in the late 1960’s- for this reason, I find the character of Hank quite brave.

The film does not explore this angle as much as it could have, but a character such as Hank fleshes out the cast in a positive way. Alan and Hank are multi-dimensional characters whereas some of the others contain gay stereotypes.

I would have enjoyed a deeper dive into the personal lives of some of the characters, but the film is really about the emotions many of the characters possess and feelings of love, some unrequited, and there are too many characters for each to receive his due focus.

Plus, the main focus of the film is the back-and-forth banter between the characters.

Valley of the Dolls-1967

Valley of the Dolls-1967

Director Mark Robson

Starring Barbara Parkins, Patty Duke, Sharon Tate

Scott’s Review #657

Reviewed July 3, 2017

Grade: A-

Based on the best-selling novel written by Jacqueline Susann a year earlier, the film version of Valley of the Dolls has become rather a cult classic in the years following release- it has earned the dubious description of “it’s so bad it’s good”.

The film dives headfirst into the soapy and dramatic world of Hollywood and Broadway and the trials and tribulations that three young women encounter as they try to “make it” in the backstabbing business.

The film teeters on camp, but is a favorite of mine, as I love the theme of aspiring stars in La La land. The set design and groovy styles of the late 1960s are also noteworthy.

Bored with her life in sleepy New England, Anne Welles decides to move to the bright lights of Manhattan seeking fame, fortune, and excitement.

After she lands a secretarial job for an entertainment lawyer, who handles temperamental Broadway star Helen Lawson (Susan Hayward), Anne meets and befriends two other struggling young actresses.

Neely O’Hara (Patty Duke) is a vivacious, gifted singer, and Jennifer North (Sharon Tate) is a gorgeous blonde with limited talent but looks to die for.

The three women wrestle with the ups and downs of show business as they each achieve various levels of success and failure.

The film centers on both the love and the losses of each woman and at times the film is rather soap opera-like, especially the bitchy feud between Neely and Helen, but the film is a fun, entertaining experience.

Various men come in and out of the lives of the trio. The “dolls” referenced in the title are a nickname for pills that the girls readily pop and alcohol is also used in the film.

One interesting aspect of the film that I am fond of is that the three women are vastly different from one another.

Anne is the most sensible of the three and arguably the most intelligent. Neely is wild, reckless, and constantly battles drugs and alcohol, yet she is both the most successful and the most talented. Jennifer is gorgeous but lacks the talent or the vigor to succeed in Hollywood.

Two of the three women do not experience happy endings to their respective stories.

Some are admittedly a bit uneven, especially the performance of Duke as Neely. She plays the role wildly over the top, especially during her shrieking, drug-saddled tirades, but rather than find the performance irritating (some certainly might), I find the role loud, bombastic, yet sympathetic.

We root for Neely because she has talent despite her shortcomings and she is a likable character to me as I want her to find happiness.

Also playing up the camp is Hayward, as she fills Helen with fire, spite, and gusto, doing everything to make the audience view her as a queen bitch. Helen was scheduled to be played by illustrious star Judy Garland (she would have been perfect!) but was reportedly fired for showing up for work drunk.

An enjoyable aspect of Valley of the Dolls is the humor, though sadly the laughs are not always intentional. The finale involves a catfight between Neely and Helen in the classy ladies’ room of a famed theater.

With sheer delight, Neely yanks off Helen’s bright orange wig to reveal her natural head of hair. In campy fashion, Helen’s real hair is perfectly fine- more shocking would have been if she were bald or had thinning hair, but her hair is bleached blonde and full.

In melodramatic fashion, Helen waltzes out of the theater sans wig.

Valley of the Dolls is a late-night treat that can be enjoyed and not taken overly seriously- the film differs vastly from the actual novel and even the time (the 1960s versus the 1940s through the 1960s) is changed.

The film was followed by a much more campy and satirical film,  Beyond the Valley of the Dolls, made in 1970 and directed by Russ Meyer.

Oscar Nominations: Best Original Song Score or Adaptation Score

I Smile Back-2015

I Smile Back-2015

Director-Adam Salky

Starring-Sarah Silverman

Scott’s Review #654

Reviewed June 13, 2017

Grade: B+

As a fan of Sarah Silverman, the comedienne, I was anxious to see the 2015 film, I Smile Back, which garnered her a Screen Actors Guild Award nomination.

Silverman tackles a heavily dramatic role in a film that teeters on being a pure “downer”. Many fans expecting the actress’s comic wit to be featured need not see the film.

Rather, I embraced the performance and found the film to be an independent film treat, in large part thanks to Silverman’s powerful performance. She nails the part and carries the film to success.

I Smile Back is a very small film that I wished had garnered more viewers.

Laney Brooks (Silverman) appears to have it all. She lives an affluent existence in Westchester County, NY with her handsome husband, Bruce (Josh Charles), and their two young children.

With a gorgeous house, dinner parties, and friends, who could ask for anything more?  Bored and troubled by a tough childhood and “daddy issues”, Laney tends to drink too much, abuse drugs and prescription pills, carry on an affair with her best friend’s husband, all while managing to successfully run a household.

As she gradually begins to spiral down a darker path, Laney sees her perfect world slowly begin to crumble around her.

My question throughout the entire film was, “Are we supposed to root for Laney or dislike her?”

Certainly, director Adam Salky does not make it easy to like her. In addition to her substance abuse use (or over-use), Laney is rather selfish. From the small scenes when Laney drops off her kids from school and is annoyed when the crossing guard and a teacher refuse to give her special treatment, she mutters insults under her breathe as she grabs a cigarette and heads for her scandalous rendezvous.

But when she is put in great peril later in the film, following one of her benders, I could not help but feel deep sympathy for her. In this way, the film is a bit unclear of what the audience should feel.

This leads me to conclude without a doubt that the film belongs to Silverman. What impressed me most is how believable she is in most scenes. She packs creative lunches for her kids and plays fun birthday cake decorating games with them, but in the next breathe snorts cocaine and rails at a neighbor lady for not celebrating Thanksgiving. Thanks to Silverman, she plays these scenes with gusto.

Some critics have complained about the script, but I find no real fault in it. Not the strongest element, it is fine, nonetheless. I Smile Back is a low-budget indie drama that serves its purpose- it does not delve too deeply into the how’s and why’s of her addiction, and a nice scene with Laney’s father (Chris Sarandon) offers no concrete evidence of why this man drove her to drugs by his abandonment, but the film seems to be more about proving a good performance by Silverman than anything else.

Sarah Silverman commands great respect with her dark portrayal in I Smile Back.

This role, combined with her recent turn in Showtime’s Masters of Sex television series, portraying a pregnant lesbian in the 1960s, proves that she has what it takes to compete with the great dramatic actresses of today.

She is certainly much more than a stand-up comic. Here’s to hoping for more drama from this talented lady in the years ahead.

A Man Called Ove-2016

A Man Called Ove-2016

Director-Hannes Holm

Starring-Rolf Lassgard

Scott’s Review #653

Reviewed June 12, 2017

Grade: A

A Man Called Ove is a wonderful 2016 Swedish film, honored with a Best Foreign Language Film Oscar nomination, that is just a darling watch-in fact, the film is wonderful.

Equal parts whimsical, humorous, and heartbreaking, the film churns up emotions in me brought to the surface, and that is quite telling about the experience.

The film is magical in a sense.

The lovely scenery of Sweden also abounds, making A Man Called Ove an unexpected marvel and certainly worth checking out for good film lovers.

Ove (Rolf Lassgard) is a fifty-nine-year-old curmudgeon living in suburban Sweden. He is the keeper of law and order in his quaint, little community of bungalows, regularly ridiculing rule breakers and the oblivious with torrents of shouts and insults. He despises several of his neighbors including a beautiful cat that saunters around the complex as if she owns the place.

When an interracial family moves in next door to Ove, his life forever changes as he becomes acquainted with the husband, the wife, and their two young girls. In his newfound entertainment, Ove regularly visits his deceased wife’s gravestone, bringing her flowers, and plotting his suicide.

Through flashbacks, we are taken on a journey through the past as we learn all there is to know about Ove.

The film as a whole is a beautiful experience and, admittedly, I worried at first that A Man Called Ove would be too lighthearted and sentimental- just the type of foreign language film the Academy far too often recognizes in place of darker, more complex (and in my mind, deserving) films.

A Man Called Ove is not exactly dark, but certainly not trivial or fluff either. I found the film rich with great writing and character development.

Romance is also a major theme of the film, but not in a corny way. For a good portion of the running time, Ove’s deceased wife Sonja is a complete mystery. We only know that Ove misses her terribly and cannot wait to be with her in the afterlife. We only get brief glimpses of her photo on the table.

When finally introduced to the story, we see them both in their younger years, filled with hope and promise. I beamed with delight during these wonderful moments. The scenes of their innocent first dates and the connection they develop are heartwarming and innocent.

Later, when Sonja’s story is wholly explored, we come to a new appreciation for Ove and why he is the way he is in present times- we understand him better and the character develops.

Some of the paths that life takes Ove and Sonja are tear-inducing and emotional, largely due to the character and personality that Sonja possesses. On the heels of the Ove and Sonja back-story, we are treated to scenes of Ove and his father, in the past.

His mother dying way too young, the pair develop an unrelenting bond that is severed only by tragic circumstances.

Ove’s constant bungled attempts at suicide (he buys poor quality rope to hang himself, a visitor interrupts his attempt to breathe in toxic garage fumes, and he ends up saving a life when he intends to be hit by a train) are the comic turns that the film mixes perfectly with the heavy drama.

A perfect balance of drama, comedy, churning emotions, and heartbreaking honesty, A Man Called Ove is a pure treat in modern cinema and is highly recommended for those seeking a treasure with a full array of characteristics.

Oscar Nominations: Best Foreign Language Film