Tag Archives: Drama

1991 Films, Donald Sutherland, Drama, Ed Asner, Epic, Gary Oldman, Jack Lemmon, Joe Pesci, John Candy, Kevin Bacon, Kevin Costner, Laurie Metcalf, Martin Sheen, Oliver Stone, Political Drama, Political Thriller, Sally Kirkland, Sissy Spacek, Thriller, Tommy Lee Jones, Vincent D'Onofrio, Walter Matthau, Wayne Knight

JFK-1991

December 4, 2016 scottmet99 Leave a comment

JFK-1991

Director Oliver Stone

Starring Kevin Costner, Tommy Lee Jones

Scott’s Review #536

Reviewed December 4, 2016

Grade: B+

JFK (1991) is a very well-made film but must be taken with a grain of salt, as reportedly many liberties were taken by the director, Oliver Stone, and the film can be open to interpretation as to what is true and what is embellished.

At three hours and twenty-six minutes, the film is of epic proportions.

The film recounts the events leading up to the assassination of President John F. Kennedy through the eyes of a former District Attorney from New Orleans, James Garrison, played by Kevin Costner.

Garrison filed charges against New Orleans businessman, Clay Shaw (Tommy Lee Jones), and in his view, was in cahoots with Lee Harvey Oswald to kill the president.

Stone suggested that President Lyndon B. Johnson was involved in the coup, which led to much controversy indeed.

The plot is quite intricate and, at times, tough to follow, but the editing techniques alone are impressive. I loved the authentic, real-life, footage that Stone immerses throughout the film.

As we know, the assassination, in 1963, was tragic and fraught with controversy that still abounds today.

Stone was wise to make a film of this caliber despite the lack of clarity of what is true and not true. I guess we may never know.

Oscar Nominations: 2 wins-Best Picture, Best Director-Oliver Stone, Best Supporting Actor-Tommy Lee Jones, Best Screenplay Based on Material Previously Produced or Published, Best Original Score, Best Sound, Best Cinematography (won), Best Film Editing (won)

1969 Films, Drama, Federico Fellini, International, International Drama, Italian

Fellini Satyricon-1969

November 30, 2016 scottmet99 Leave a comment

Fellini Satyricon-1969

Director Federico Fellini

Starring Martin Potter, Hiram Keller

Scott’s Review #530

Reviewed November 30, 2016

Grade: A

Fellini Satyricon (1969) is a fascinating experience and is a great film, but only for the very broad-minded and patient viewer- it is more of an “experience” than watching a conventional start-to-finish type finish.

It is nothing of that nature.

I both loved the trip and was fascinated by the creativity and depth of it- dreamlike is a word that immediately springs to mind.

The story does not make perfect sense, nor does it need to. The fact that it is set some two thousand years ago is fantastic in itself as the sets are filled with decadent imagination.

The film is certainly not for everyone and is a fairy tale for adults.

It tells of a journey through Ancient Rome and is divided into nine chapters. A scholar (Encolpius) and his friend (Ascyltus) traverse the land in the hopes of winning the heart of a young boy (Giton).

They are both in love with him and the topics of bisexuality, public sex, slavery, and brothels are explored.

I love Fellini films because they are wild, dream-like, fantasy-like, with odd characters.

Is Fellini Satyricon strange? Absolutely. But that is to its credit- this film is highly imaginative, and wild, and will leave one pondering its beauty afterward.

Oscar Nominations: Best Director-Federico Fellini

2016 Films, Biography, Drama

Loving-2016

November 26, 2016 scottmet99 Leave a comment

Loving-2016

Director-Jeff Nichols

Starring-Joel Edgerton, Ruth Negga

Scott’s Review #527

Reviewed November 26, 2016

Grade: A

Loving is a quiet film.

Subdued and poignant, it is an important, historic story to tell, and jarring to be transported back to the 1950’s southern style, where interracial marriage was not only illegal but children of interracial couples were barely considered human beings, to say nothing of the views of their parents, specifically by law enforcement.

Sadly, circa 2016, we all should be aware that racism is still alive and well in the United States and this film is a reminder of how much further we need to go. The true story of the landmark1967 Loving vs. Virginia Supreme Court case is the basis for this film.

The time is 1958 Virginia, and a sweet, working-class couple-Richard and Mildred-are very much in love. Richard-white, and Mildred-black, are met with some sideways glances around town, but generally have a strong supportive family and friend structure, although both families are quite poor. They enjoy spending time with friends in bars and racing cars.

When Mildred becomes pregnant, Richard purchases a plot of land for them and asks Mildred to marry him. Despite the challenges this will create, they are wed in Washington D.C. Once they return to Virginia, they are arrested for violating anti-miscegenation laws, prohibiting interracial marriage.

The couple eventually sue the state of Virginia, leading to a unanimous Supreme Court ruling a decade later.

As a film, Loving is thoughtful and introspective.

The audience questions who are we to decide who someone loves? This can apply to same-sex couples as easily as interracial couples.

The film, led by director Jeff Nichols, creates many quiet scenes of thoughtfulness on the faces of leads Edgerton and Negga.

Furthermore, several scenes of peril encompass the film.

The Loving’s are in constant threat of being discovered as they secretly return to their forbidden home state to give birth to their son- only wanting Richard’s mother to perform the birth. The tense scene where Mildred is dropped off on a deserted back road is well shot- the camera constantly focusing on the road and the threat of a car coming by at any moment.

Edgerton, a fantastic actor, and director gives a tremendous performance as a quiet, stoic, blue-collar man, madly in love with his wife and seeing nothing wrong with it, simply because it is not the norm.

He is poorly educated, but Edgerton gives him underlying intelligence and a basic understanding of cherished love and more than once calmly uttering “but I love my wife.”

To him, it is that simple. Richard will also use any measures necessary to protect his family, as any man surely would. Edgerton’s squinting blue eyes portray suspicion, warmth, and love.

Negga is equally compelling as calm and loyal Mildred.

One might expect Mildred to finally explode with rage as she has to put up with obstacle after obstacle, raising three kids in an environment she does not want, yet she never does.

Negga embodies the character with sweetness wide-eyed passion and longing for a better life. Mildred tries not to get her hopes up with each impending court date, but Negga successfully portrays the character with many different emotions and complexities.

My favorite scenes of hers simply involve Mildred gazing at her husband- her eyes filled with love and pride.

Nichols wisely does not spend very much time in the courtroom and this is positive with the film. Sure, we do get the occasional scene of Richard and Mildred facing the court, but the film does not go a different route than necessary.

Despite a landmark decision coming from Loving’s marriage, the film is a love story between a good man and a good woman, who just happen to be of different races.

What a lesson every viewer can learn from this film.

Oscar Nominations: Best Actress-Ruth Negga

Independent Spirit Award Nominations: Best Director-Jeff Nichols, Best Female Lead-Ruth Negga

2015 Films, Art, Drama, International, International Drama

Embrace of the Serpent-2015

November 23, 2016 scottmet99 Leave a comment

Embrace of the Serpent-2015

Director-Ciro Guerra

Starring-Nilbio Torres, Antonio Bolivar

Scott’s Review #524

Reviewed November 23, 2016

Grade: B+

Embrace of the Serpent is a cerebral experience in the art of complex storytelling, weaving two parallel stories set forty years apart from each other.

It is an immensely creative film crafting a black and white cinematic expressionism into its lurid walls.

Admittedly I found the stories tough to follow at times, and the film contains an impressionistic quality, but I knew I was watching something creative and brave and that is worthy of a hefty thumbs up.

The setting of the film is the Amazon jungle, along the vast Amazon River, deep in the heart of South America. The periods are both 1909 and 1940, and both feature an Amazonian shaman who is the very last of his people and very resentful of white men. In 1909, he travels with a dying German scientist and in 1940, an American.

Both are looking for a sacred healing plant, which contains magical powers.

The parallel stories both feature a Spanish Catholic Mission by the side of an Amazon tributary. In 1909, the leading priest is sadistic and abusive towards the young boys in his charge. Years later, the young boys are now hardened and grizzled. Both stories also feature the revelation of the plant, though in different ways and with vastly different outcomes.

Worth mentioning as the best part of the film, much better than the storyline, is the effective use of black and white visuals. This gives the film a mysterious, old-world type of vibe that is tremendous, and makes it feel like a film made in the 1940s, if not earlier.

In this way, it makes Embrace of the Serpent a visual spectacle, especially as countless scenes occur along the Amazon- we see the characters float, via canoe, and are treated to the beauty of the water and the surrounding luscious mountains. It appears other-worldly, a part of the remote continent that few must-sees or appreciate.

This is my favorite aspect of the film.

The stories are, indeed, complex, sometimes not making complete sense, and I found myself a bit confused throughout, but this may have been due to the film’s clear art film persona, leading the film to be open to interpretation. Both white men have different experiences with the sought-after plant.

I was left with some questions that I still am not sure about even having read the synopsis of the film. One of the men has a dreamy, hallucinating experience with the magical plant, but what happens after this? The shaman is an interesting character as we see him as a young man and as an old man, throughout his life living as a lonely, resentful man.

Embrace of the Serpent is a perplexing, interpretative film, but contains a magical quality and, if the story is muddy, one can whisk away to a fantastic experience just watching and enjoying the cinematic treats being offered. A visual gem.

Oscar Nominations: Best Foreign Language Film

Independent Spirit Award Nominations: Best International Film

2016 Films, Drama

Lion-2016

November 19, 2016 scottmet99 Leave a comment

Lion-2016

Director-Garth Davis

Starring-Dev Patel, Nicole Kidman

Scott’s Review #521

Reviewed November 19, 2016

Grade: A-

Lion is an enthralling, humanistic, drama about family, lost loved ones, and the search to find them, as seen through the eyes of the same character as a child and as an adult.

It features fantastic acting- specifically from stars Dev Patel (Slumdog Millionaire) and Nicole Kidman and also features lavish cinematography of the Indian and Australian countryside.

The film is based on a non-fiction book named “A Long Way Home”.

Introduced to a poor neighborhood in India in 1986, we meet five-year-old Saroo, a wide-eyed boy, who idolizes his big brother. Their mother, a beautiful woman, carries rocks for a living and relies on the boys to watch their younger sister- the boys steal coal to help eliminate their mother’s hardships.

Their father is absent. When Saroo insists on accompanying his brother on a night job, he accidentally gets on an empty train and is transported thousands of miles away- losing his family in the process.

Twenty-five years later, and long since adopted by an Australian family, Saroo attempts to find his long-lost family, using new technology- Google Earth.

In a lesser film, this subject matter might have been a sappy affair, predictable, and contrived.

But Lion soars with humanistic, emotional flair, and heartfelt, without any manipulations.

The first third of the film is focused on the five-year-old Saroo. We witness the boy’s confusion, desperation, and scrapes with potential kidnappers, child molesters, and undesirables. We also see how resilient and intelligent the young boy is- wisely outmaneuvering foes and being savvy enough to avoid monstrous people.

As much as I enjoyed this segment of the film, it went on slightly too long and I was ready to see Saroo as an adult and the encompassing problems to come, but this is a very small gripe in an otherwise extraordinary film.

Lion takes off when Saroo, now all grown up, is played by Patel. Having been adopted by an Australian couple, John and Sue Brierley, he has lived a life of love, respect, and encouragement.

The Brierley’s are a selfless couple, who, in addition to Saroo, have adopted another Indian boy with deep emotional issues. This has caused hardship and issues in the household. Their reasoning for adopting is poignant; rather than bring their biological children into the world, why not save two children who need to be saved?

Patel and Kidman give emotional and raw performances. Patel is quite a find as he plays conflicted and haunted very well and is quite convincing in the lead role.

We witness his conflict as he struggles with not knowing what has become of his family in India- imagining their worry and the devastation of not knowing what has become of him. He also avoids telling Sue- his adoptive mother- who has her hands full with other emotional issues.

Kidman, who always delivers, is raw, emotional, and sympathetic. Her facial expressions as Sue struggles to be strong, are subtle and contained, yet dying inside with underlying pain, is exceptionally relayed by Kidman in an award-worthy portrayal.

Director, Garth Davis, cleverly adds several scenes of Saroo, longingly looking out into the ocean or simply gazing in the distance, imagining and self-reflective.

What makes these simple scenes great is through Saroo’s imagination, he imagines being with his real mother, she still young, he now as an adult. Similarly, he imagines being with his brother- his brother is still age ten, but Saroo is now an adult.

These are quiet, beautiful scenes that add layers to this film.

Lion is a wonderful experience in great storytelling, led by effective acting performances and a compelling screenplay that gives honesty in film-making to the true story that the film is based on. The film is heartwarming and can be enjoyed by anyone.

Oscar Nominations: Best Picture, Best Supporting Actor-Dev Patel, Best Supporting Actress-Nicole Kidman, Best Adapted Screenplay, Best Original Score, Best Cinematography

2015 Films, Best International Film Oscar Winners, Drama, International, International Drama

Son of Saul-2015

November 16, 2016 scottmet99 Leave a comment

Son of Saul-2015

Director-Laszlo Nemes

Starring-Geza Rohrig

Scott’s Review #520

Reviewed November 16, 2016

Grade: A

Son of Saul, arguably the deserving winner of the 2015 Best Foreign Language Film Oscar, is a grim yet refreshing and inventive look at a subject matter that has been covered in great length in cinema.

The topic is a heavy one and to describe the film as a downer is justified, but there is also something brave and even heartwarming about this film, and the central character’s desire to do something decent in the face of death and hatred.

The film is Hungarian and takes place in 1944, where Saul is a prisoner in a Nazi extermination camp. He is given various duties- considered a “glorified” prisoner- as he takes valuables from the belongings of those gassed, and scrubs the floors after the gassing has occurred. He later must dump the dead bodies into a pit to be incinerated.

One day, after a group of Jews, are gassed, a young boy is miraculously still breathing. Soon after being discovered, the boy is suffocated. Convinced the boy is his son, Saul is determined to bury the boy properly for religious purposes.

I was immediately struck by two aspects of Son of Saul that separate it from the pack; the camera work, and the coloring of the film.

The character of Saul is immediately shoved in our faces from scene one-allowing us to see things from his point of view. Extreme closeups of Hungarian actor Geza Rohrig overwhelm the viewer as the message of suffocation is apparent.

When close-ups are not used, we are treated to the camera following Saul around as he performs his duties without emotion- clearly having done them on multiple occasions. The point is we become Saul and experience activities solely as he sees or hears them. This is understated yet compelling.

Secondly, the film contains a rustic, beige color, mixed with sickly greens and yellows- muted almost, which is highly effective given the amount of death involved.

Certainly not glossy in the least, the color scheme portrays a sense of ruin and discourse without overwhelming or going for total bleakness. The style is a dusty, smoky variety, nauseating at times. I found this to separate Son of Saul from a myriad of others with the same subject matter, making it quite distinctive.

Not a happy film, neither is the piece a complete downer that will leave one entirely depressed. Saul’s intentions to give his son a decent burial (and it is unclear if the boy actually is Saul’s son or simply hoped to be) is admirable and a small glimmer of goodness in a world that contains evil. Other prisoners aid Saul in his efforts, telling us that their world is not entirely without hope.

Still, despite the goodness of some of the prisoners, a couple of scenes are tough to take. Early on, dozens of people are huddled-naked, into a small room. They are promised coffee and jobs and most importantly- hope.

Sadly, the viewer quickly realizes that the intention is to exterminate them, though the film wisely does not visually show this. A brilliant distinction to Son of Saul is the background sound and what is happening in the vicinity of Saul- we hear the gasping, the pleading, and the screaming of the victims, while the camera stays entirely on the character of Saul and his stoic reactions.

Sadly, we realize this is a typical day in his life.

Deserving of its accolades in a year of exceptional foreign language films, Son of Saul takes a familiar subject matter and gives new and unique elements to it. The film also departs on a bit of a cliffhanger involving a second young boy- a clever moment in an already superior film.

Oscar Nominations: Best Foreign Language Film (won)

Independent Spirit Award Nominations: Best International Film (won)

2010 Films, Australian, Ben Mendelsohn, Crime Drama, David Michôd, Drama, Guy Pearce, Independent, Independent Drama, International, International Drama, Jacki Weaver, Joel Edgerton, Mob

Animal Kingdom-2010

November 15, 2016 scottmet99 Leave a comment

Animal Kingdom-2010

Director David Michod

Starring Ben Mendelsohn, Joel Edgerton

Scott’s Review #519

Reviewed November 15, 2016

Grade: A-

Animal Kingdom (2010) is an excellent Australian crime drama movie that is in the same vein as Goodfellas (1990), The Godfather (1972), or a myriad of other mafia/mob-type films- only Aussie style, which in itself piques interest.

The film has an indie feel, is raw and not slickly produced, and is not over-dramatized with explosions, CGI effects, and various other bells and whistles, making it character-driven.

It is simply a well-made drama about a seventeen-year-old boy named Joshua, who is taken in by his extended family of criminals.

Starting like an innocent, he slowly becomes entangled in the family’s web of corruption. This is similar to Al Pacino’s Michael Corleone from The Godfather.

Making the plot even more compelling, is the arrival of a goodhearted detective (Guy Pearce) who tries to steer Joshua on the straight and narrow.

The acting is topnotch (Jacki Weaver in particular is amazing as the diabolical leader of the family), shocking events happen out of the blue, and operatic music mixed in with dramatic events is well done.

Animal Kingdom (2010) is a diamond in the rough.

Oscar Nominations: Best Supporting Actress-Jacki Weaver

2015 Films, Biography, Drama

Straight Outta Compton-2015

November 12, 2016 scottmet99 Leave a comment

Straight Outta Compton-2015

Director-F. Gary Gray

Starring-O’Shea Jackson Jr., Paul Giamatti

Scott’s Review #517

Reviewed November 12, 2016

Grade: B-

The rap group N.W.A. was a highly influential and controversial unit to emerge from Compton, California in the late 1980s and featured soon-to-be solo rap artists Ice Cube and Dr. Dre. Another member, Eazy-E, rounds out the trio that is featured in this film along with their manager Jerry, played by Paul Giamatti.

Straight Outta Compton tells their story.

Ice Cube and Dr. Dre produced the film along with Eazy-E’s widow, Tomica Woods-Wright, and Ice Cube’s real-life son, O’Shea Jackson, Jr. portrays Ice Cube.

The film is interesting as a way of learning about the rap group and their rise to and fall from stardom, but the film has a very slick and glossy style that detracts from the grittiness of the subject matter- it feels very Hollywood and overly produced.

Especially, since the language is atrocious- almost overly so as if the point was being shoved down the throat of the audience.

Additionally, the acting, except for Giamatti, is not too impressive.

Lastly, the violence portrayed and the gang stuff seemed a bit stereotypical for my tastes.

The film begins in 1986 and we meet a trio of friends. Determined to provide a raw, honest style of poetry to their music, they eventually meet their manager, Jerry, who takes them under his wing and leads them to their success.

Predictably, with success comes jealousy and contract disputes. The film delves into this subject matter as the partying and drug use, womanizing, and violence, all lead to the rap group’s constant struggles with the police force, especially since one of their top songs is anti-police.

Impressive is the real-life footage used of the 1991 beating of taxi driver Rodney King by the Los Angeles Police Department and the subsequent riots that occurred after the officers were found not guilty of any wrongdoing.

The racial tension that existed in this city at that time was interesting to revisit and palpable to the film’s subject matter.

The acting was noticeable to me and not in a good way. The young actor who played Dr. Dre (Corey Hawkins) was fine, but the others (Jackson) and Jason Mitchell as Eazy-E were average at best. In any of their dramatic scenes where they appear to be angry, it just does not work, and the scenes lack grizzle and intensity.

Conversely, any dramatic scene that held any gusto belonged to Giamatti, who was excellent in his part. In some ways he made the others seem better, but in other ways, their inexperience was evident as compared to his.

In any event, he only made the scenes he appeared in more genuine. Early in the film, when Jerry lashes out at police officers, it is a meaty scene and forceful.

The filmmakers certainly went for a message of violence and swearing in this film, but despite these qualities, Straight Outta Compton still seems safe and overly produced. This may have had to do with the bright, slick cameras used.

In this way, it had a studio, high-budget appearance that does not completely work. I wanted it to look grittier and dirtier and see more of the seedy side of the business instead of it merely being explained to me.

Women in this film are not treated very well and the characters who are the girlfriends are written sympathetically, but not given much substance to sink their teeth into.

Contrasting, Death Row Records CEO “Suge” Knight is portrayed as a maniacal, violent man.

Straight Outta Compton is a guy’s film.

I had difficulty relating to any of the central characters except perhaps Giamatti’s and it becomes unclear if Jerry had been ripping off the members of the rap group or if that is merely their perception. He seems to care about the members of the outfit, so that part is undefined.

Perhaps this film might hold more appeal for fans of N.W.A., which I never was, and rap is not my preferred style of music, but I can appreciate the biographical way the film explains the trio’s story, ups and downs, reunions, death, and violence, but this film could have been much better and is flawed by its over-stylized filming.

Oscar Nominations: Best Original Screenplay

2009 Films, Angeliki Papoulia, Drama, Greek, International, International Drama, Scott's Top 10 Most Disturbing Films, Yorgos Lanthimos

Dogtooth-2009

November 11, 2016 scottmet99 Leave a comment

Dogtooth-2009

Director Yorgos Lanthimos

Starring Christos Stergioglou, Michele Valley

Top 10 Disturbing Films #9

Scott’s Review #515

Reviewed November 11, 2016

Grade: A-

Dogtooth is a Greek drama nominated for the 2010 Best Foreign film academy award. The film is not for the weak at heart and is most bizarre and disturbing- troubling even.

But upon digestion afterward, I realized how much I appreciated its creativity.

It tells the story of three siblings who are homeschooled and shut out from the rest of the world by their overprotective parents. The teenage kids are curious, damaged, and sad.

They know no other world besides the one their parents created for them.

Certain words mean certain things to them- a language of their own. It challenges the art of parental control as the kid’s curiosity builds and builds.

The movie itself is very difficult to follow (non-linear) yet is mesmerizing and perverse.

Warning: Some subject matters can be hard to take for some (incest, cruelty to animals, full-frontal nudity).

I thought it was a fascinating and bravely made film.

Oscar Nominations: Best Foreign Language Film

2016 Films, Best Feature- Independent Spirit Award Winners, Best Film of the Year, Best Picture Oscar Winners, Drama, Independent, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films

Moonlight-2016

November 6, 2016 scottmet99 Leave a comment

Moonlight-2016

Director-Barry Jenkins

Starring-Trevante Rhodes, Andre Holland

Scott’s Review #512

Reviewed November 6, 2016

Grade: A

Moonlight is a wonderful film, rich with character and grit, that tells the story of one man’s life- from childhood to teenage years, to adulthood, sharing the bonds he forms, and the demons he wrestles.

The acting all around is fantastic and the story poignant and truthful.

The film is not preachy, but rather tells a story and leaves the audience to sit and observe- quietly formulating their own opinions. Moonlight is a mixture of beauty and heartbreak and is told very well.

The film is divided into three chapters- in chronological order of the central character’s life.

Chiron is a shy, docile, young boy of six or seven living in a drug-filled world of Miami, Florida in the 1980s. He is bullied for being “different” though he knows not why he is shunned. Chiron is introverted and distrusting.

A kind-hearted drug dealer named Juan (Mahersala Ali) takes a shine to Chiron, whose own mother becomes more and more absent and emotionally abusive to her son.

Naomie Harris plays Paula, mother to Chiron and herself a drug addict. Juan and his girlfriend Theresa (Janelle Monae) become surrogate parents to Chiron and share their home with him as needed.

Chapter two focuses on Chiron as a teenager- still bullied and coming to terms with his sexuality and feelings of insecurity. By this time his mother has spiraled out of control and his life is a sad one. He is filled with emotions such as rage, despair, and confusion. He has an experience with his best friend Kevin that changes the direction of his life. Kevin is his saving grace and a decent person amidst his troubled life.

In chapter three, we are re-introduced to Chiron as an adult- having completely reinvented himself and become a changed man, but is he changed for better or for worse? People from his past resurface at this time and Chiron must face various demons and emotions, and come to terms with himself and others surrounding him.

Does his story have a sad or a happy ending is the question we are left wondering.

The aspect that left me impressed the most is the storytelling and the ground that is broken with this film.

From an LGBT perspective, by this time (2016), we have experienced numerous offerings on the subject, but the fact that Moonlight is not only a character study, but a love story between two black men have not been done to this degree yet in cinema, or arguably at all, especially in mainstream fare.

Happily, Moonlight is receiving critical praise. The fact that Chiron lives in a macho, male-driven society, makes his self-acceptance all the more challenging for him.

The direction in Moonlight is impressive and director Barry Jenkins deserves much praise.

Quiet scenes of Chiron as a boy asking Juan and Theresa why the bullies call him a certain name are heartbreaking. Another scene, muted and in slow motion, reveals an abusive Paula calling Chiron a degrading name leaving him confused and hurt. Otherwise, tender scenes between Chiron and Kevin are sweet and passionate and told on such a humanistic level.

Moonlight delves into such territory as loneliness and self-identity and is an interesting film to view for anyone who has struggled with these issues or anyone who is empathetic to those who have.

Moonlight breaks stereotypes and molds a film that is subtle and low-key but speaks volumes.

Oscar Nominations: Best Picture (won), Best Director-Barry Jenkins, Best Supporting Actor-Mahershala Ali (won), Best Supporting Actress-Naomie Harris, Best Adapted Screenplay (won), Best Original Score, Best Cinematography, Best Film Editing

Independent Spirit Award Nominations: Best Feature (won), Best Director-Barry Jenkins (won), Best Screenplay (won), Best Cinematography (won), Best Editing (won), Robert Altman Award (won)

1987 Films, Charlie Sheen, Daryl Hannah, Drama, Hal Holbrook, James Spader, Martin Sheen, Michael Douglas, Oliver Stone, Sean Young, Sylvia Miles, Terence Stamp

Wall Street-1987

November 5, 2016 scottmet99 Leave a comment

Wall Street-1987

Director Oliver Stone

Starring Michael Douglas, Charlie Sheen, Daryl Hannah

Scott’s Review #511

Reviewed November 5, 2016

Grade: B+

Rather late in the game, but 2011 was my first time seeing the film Wall Street and it was a very good film.

Douglas and Sheen have great on-screen chemistry and the numerous scenes of New York City are pleasing- pre- 9/11 they capture a haunting feeling.

Despite being made in 1987 (not a great year for cinema), it does not feel dated except for the soundtrack.

Unfortunately, the circumstances in this movie still ring true today. There is a lot of dishonesty and greed in the financial world (check out the documentary Inside Job for proof of this).

The financial collapse of 2008 is a great indicator.

Michael Douglas is excellent in the role of Gordon Gekko, a power-hungry, greedy financial mogul.

He encompasses the role in every way and deservedly won the Best Actor statuette for this year.

Oscar Nominations: 1 win-Best Actor-Michael Douglas (won)

2010 Films, Anthony Mackie, Drama, Independent, Independent Drama, Kerry Washington, Tanya Hamilton, Wendell Pierce

Night Catches Us-2010

October 29, 2016 scottmet99 Leave a comment

Night Catches Us-2010

Director Tanya Hamilton

Starring Kerry Washington, Anthony Mackie

Scott’s Review #503

Reviewed October 29, 2016

Grade: B+

Night Catches Us (2010), as a film, has some very good qualities and is quite captivating and interesting to watch. Largely, it is set during the 1970s in Philadelphia and encompasses racial tensions during that time.

Kerry Washington and Anthony Mackie star and do a very nice job with the material given.

The film tells the story of a former 1960s Black Panther (Mackie) who returns home after a decade to start his life over, or so he hopes.

Night Catches Us is a combination of love stories and political/social commentary and is an important film to watch.

The leads, along with Wendell Pierce, are great and the real-life 1960s Black panther rally footage is interesting to see from a historical perspective.

My only criticism is I wanted a bit more.

Certain events seem plot-driven and forced- slightly clichéd in the romance department, but overall I enjoyed the film very much, especially for Mackie and Washington’s performances.

Great acting and a socially relevant story.

Independent Spirit Award Nominations: Best First Feature

2008 Films, Drama, International, International Drama, Irish, Kelly O'Neill, Lance Daly, Shane Curry

Kisses-2008

October 28, 2016 scottmet99 Leave a comment

Kisses-2008

Director Lance Daly

Starring Kelly O’Neill, Shane Curry

Scott’s Review #500

Reviewed October 28, 2016

Grade: B+

Kisses (2008) is an Irish film that tells the story of two pre-teenage kids (Dylan and Kylie), who run away to Dublin on Christmas to escape their dysfunctional families and their small town, morose life.

Instead, they become attracted to the “big city” and the hope of finding Dylan’s older brother, himself having run away to escape the oppressive environment.

At first, Dylan and Kylie barely know each other, neighbors, but far from close. Gradually they become best friends and form an unbreakable bond.

While in Dublin, they face terror and charming moments of wonderment as they traverse the city, mainly at nighttime.

Great acting and chemistry from the two leads, especially being untrained actors. Kylie- an extrovert and full of life, successfully brings out the best in Dylan, who is reserved and withdrawn, so the pair complement each other as they experience their adventures.

The cinematography in Kisses (2008) is fantastic as one gets to experience the hustle and bustle of Dublin, and the quiet countryside of a small Irish town, which is an immense threat, and a contradiction in lifestyles.

1957 Films, Art, Best Film of the Year, Bibi Andersson, Drama, Ingmar Bergman, International, International Drama, Max von Sydow, Swedish

The Seventh Seal-1957

October 23, 2016 scottmet99 Leave a comment

The Seventh Seal-1957

Director Ingmar Bergman

Starring Max von Sydow, Gunnar Bjornstrand

Scott’s Review #497

Reviewed October 23, 2016

Grade: A

The Seventh Seal is an Ingmar Bergman Swedish masterpiece that, after three mere viewings, I am just beginning to fully appreciate, and fall in love with.

It is not that I did not “get” the dark, artsy theme to begin with- I did, but The Seventh Seal is a savory dish meant for repeated offerings, and with each, I have loved it even more.

The subject matter of the plague and the Black Death is very heavy.

It is a quiet, yet powerful, dark, art film about death.

The film is shot in black and white, which does nothing but enhance the cold, stark concepts of the film. The color would have certainly made the film cheery or bright- if that can be said given the subject matter.

Instead, the filming is cold, yet illuminating, and the whites seem very white- the blacks- very dark, which is symbolic of the concepts of the film.

In the story, a disillusioned medieval knight-Antonius Block (Max von Sydow) returns home from war disenchanted with life. He fought in the Crusades and returned home to Sweden to find it plagued by the Black Death.

He begins to play a game of chess alone- and is visited by Death- a hideous pale creature shrouded in black. Antonius challenges Death to a game of chess- his fate is left up in the air so long as the game continues.

Throughout the film, Antonius is the only character who can see Death- the other characters cannot, making the film open to interpretations.

The other characters in the story are a troupe of actors that Antonius meets along the way to his castle and a young, fresh-faced girl who has been branded a witch and is fated to be burned at the stake is featured.

Since she is close to death, Antonius takes a particular fascination with her.

Throughout the film and the trials and tribulations of the characters, Death is continuously lurking around, watching these characters, which is a fascinating part of the film. They cannot see him, so we can only assume their time in this world is limited.

What makes The Seventh Seal so powerful is its honesty- harsh as it is. The knowledge that death is coming for these people is fascinating and many of the characters discuss god in length and pray, as religion is an enormous aspect of the film.

It almost contains a good vs. evil, god vs. devil component, and again, important to stress, is highly open to interpretation. Great art films are.

Numerous scenes reverberate and are major iconic moments in film history decades later. The scene of Antonius and Death playing chess on the beach is chilling and ghost-like. Death- his pale face and a black cloak would frighten anyone. This scene has been referenced numerous times over the years.

The inevitable final shot- my favorite- is a long shot of peasants being led to their fate by Death as they are pulled begrudgingly by a rope held by Death is reminiscent of the Pied Piper and is entitled “Dance of Death”.

The individuals are dressed in black and are atop a hill surrounded by the sky, making the morbid scene highly effective.

The Last Supper scene is also powerful as the last meal is enjoyed by the group- unsure of what fate has in store for them the next day.

I anticipate more viewings of this brilliant piece of filmmaking.

1998 Films, Comedy, Drama, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Romantic Comedy, Swedish

Show Me Love-1998

October 22, 2016 scottmet99 Leave a comment

Show Me Love-1998

Director Lukas Moodysson

Starring Alexandra Dahlstrom, Rebecca Liljeberg

Scott’s Review #496

Reviewed October 22, 2016

Grade: B

Throughout the latter part of the 1990s, films with more of an LGBT perspective (then simply referred to as the gay and lesbian genre) were being released more readily, though it was not until the 2000s when mainstream offerings on the subject (Monster-2003, Brokeback Mountain-2006) hit the big screen to wide acclaim.

Show Me Love (1998) is a Swedish coming-of-age story about two high school girls, opposites in social acceptance, who find love.

Interestingly, the film was directed by a male- Lukas Moodysson.

Show Me Love originally had a different title, a crude reference to the town the film is set in, in western Sweden, but when the film was considered for Academy Award contention (it did not cut), filmmakers were advised to modify the title for the film to have any shot.

The film contains a grainy look- using handheld cameras in parts and, of course, is in the Swedish language.

Agnes is sullen, introverted, and brooding. Known throughout the high school hallways as the angry, weird lesbian, she has few friends, and the ones who are kind to her, she shuns away.

Elin, by contrast, is popular, lively, and charming- everybody loves her. However, Elin is restless in the tiny Swedish town where she lives and yearns for excitement. When Agnes develops a crush on Elin, she confesses all to her computer, but nobody else.

The film is nicely put together and given the time of 1998, is quite brave. Today, many years have passed and progress within the LGBT community made, a film like Show Me Love is a more common occurrence.

Director, Moodysson, does not go for anything gratuitous or steamy but rather spins a sweet coming-of-age tale, not only of teen love and hormones but of outcasts and feelings of loneliness.

It’s a film that most can relate to in some way.

The actresses portraying the leads (Dahlstrom and Liljeberg) are fantastic in their roles and play the parts with conviction and believability. Despite being opposites, we buy their attraction and chemistry. Nothing is forced or dishonest.

My favorite scenes are the awkward 16th birthday party for Agnes, thrown by her well-meaning yet clueless parents. When nobody except a handicapped girl shows up, Agnes viciously insults her, causing her to leave.

The family sits in the living room eating the food that was planned for anticipated guests. It’s a poignant moment and rather sweet. Despite Agnes’s unpopularity at school, she has a very strong, loyal family unit- that is nice to see.

Later, Elin and her sister attend the party, but more as an excuse to avoid another one. Finally, Elin and Agnes share a kiss, but is it a mean dare or is it authentic?

A clever aspect of the film is how Moodysson distinguishes both Elin and Agnes’s sexuality. Agnes is gay, open, and out. Elin is very different and has boys interested in her.

The girls could not be more different and this adds a layer of complexity as each is in a different place in self-discovery. This feature also makes Show Me Love very honest in its storytelling.

The film is not a masterpiece and could have dared to venture into more controversial territory. Could they be harmed for being lesbians given the town they live in? Why is Agnes so sullen?

This is a stereotype (the brooding lesbian) that needs to be changed- though, given the time of the film, I will give it a slight pass. Why not make Agnes a happy, cheerful girl who is gay? How will Elin’s sister deal with Elin’s sexuality or is it merely a phase for her?

All sorts of darker issues might have been explored, but Show Me Love (1998) is tender, sweet, and lighter fare, but still an adventurous offering.

2015 Films, Drama, Sports

Creed-2015

October 16, 2016 scottmet99 Leave a comment

Creed-2015

Director-Ryan Coogler

Starring-Sylvester Stallone, Michael B. Jordan

Scott’s Review #495

Reviewed October 16, 2016

Grade: C+

Creed will certainly please die-hard fans (and there are legions) of the Rocky franchise, eager for a trip down memory lane to revisit with Sylvester Stallone’s “Rocky Balboa”.

For those yearning for a slice of nostalgia and a harkening back to 1976, when the first Rocky was released, Creed will be a crowd-pleaser. For others expecting something new or innovative to the story will not be as satisfied.

The film is predictable for sure, with all of the expected elements of a sports film.

Instead of Rocky Balboa being the main attraction- he is now a senior citizen and long since retired, now owning a modest Italian restaurant in Philadelphia, the action centers on a young fighter- the bastard child of Apollo Creed- Rocky’s nemesis turned friend from the first few installments.

Adonis Johnson Creed (played by up and coming star Michael B. Jordan) is his name and until rescued from a group home (he has a temper and fights a lot, naturally) by Apollo’s wife (Phylicia Rashad) he does not know fighting is truly in his blood.

Determined to make it big in the boxing world, he moves to Philadelphia and convinces Rocky Balboa to train him.

Along the way, he meets a love interest-Bianca (played by Tessa Thompson), a musician.

The main positives for me are the nods to history and a few sentimental moments throughout the film. How wonderful to see Rocky Balboa again- like catching up with an old friend we have not seen for years.

We learn that sadly, Paulie and Adrian (Rocky’s brother-in-law and wife) have long since died and a sweet moment shows Rocky visiting their side by side graves, pulling up a chair, and reading the newspaper to them. Rocky’s son has moved far away so Rocky is left a lonely man- and Apollo’s son revives a father figure element within Rocky.

Also nice are some flashback scenes to the earlier Rocky films and we see portions of Rocky’s and Apollo’s fights. The plethora of external Philadelphia scenes does bring authenticity and familiarity to the film and this is a wise decision, instead of too many interior scenes in a studio.

Otherwise, the film is largely a miss.

The formulaic, predictability must have been intentional to make Creed an ode to fans and a film that is easy to watch. We are served the many “inspirational” training scenes as Adonis trains and trains for the big match- with conveniently an arrogant, loud, Londoner, with an equally unlikable coach.

The “good vs. bad” mentality that the film develops is contrived and completely plot-driven- it makes Adonis that much more likable and gives him the rooting factor.

This occurs time and time again in sports films. Why not make both fighters nice guys?

But, of course, the film also gives Adonis a temper- to insure that he appeals to the testosterone-driven fans expecting such.

Phylicia Rashad and Tessa Thompson are stock characters- we get the standard reaction shots from both as they wince along with the blows that Adonis receives, and Rashad gets an unintentionally comic moment- when Adonis lands a flattening blow on his opponent, she proudly professes “that’s what I’m talkin’ about!”.

Interesting to note, however, is the clever decision to make Bianca suffer from progressive hearing loss. Having her handicapped gives her nice humanity, though once the fight scenes begin this is never mentioned again.

A standard boxing film with the expected elements- testosterone, brutal fighting, a bit of sentimentality for good measure, and dutiful female characters with little substance, Creed is a guys movie, basic and predictable, with a little edge and lots of machismo.

However, it does capitalize on the Rocky franchise and offers a nice little nod to the past. Otherwise, it is a rather forgettable film with a mediocre story.

Oscar Nominations: Best Supporting Actor-Sylvester Stallone

2015 Films, Drama, Independent, Independent Drama

Songs My Brother Taught Me-2015

October 14, 2016 scottmet99 Leave a comment

Songs My Brother Taught Me-2015

Director-Chloe Zhao

Starring-John Reddy, Jashaun St. John

Scott’s Review #494

Reviewed October 14, 2016

Grade: B+

Songs My Brother Taught me is quite an understated film experience, but despite the slow pace, I found the film of great interest.

The Native American population is largely ignored in cinema (and perhaps other avenues) so what a treat it was to see a film, albeit a small, quiet film, being made to represent this group of people.

The film is produced by Forest Whitaker- undoubtedly the funding necessary was responsible for allowing it to be made at all.

Living on an Indian reservation in remote South Dakota, the story focuses on Lakota Sioux brother and sister Johnny and Jashaun- aged 16 and 11, respectively. When their father dies in a house fire, they are forced to ponder their future within the Indian reservation, and also their desires to escape their lives and move to Los Angeles with Johnny’s girlfriend- also an inhabitant of the land.

The film is largely a slice of life on a reservation and the trials and tribulations of the members who live there. Johnny’s mother- a kindhearted yet boozy young woman, who has another son in prison. Jashaun’s mentor- a tattooed man who is creative and attends alcoholics anonymous meetings, only to be caught drunk by Jashaun. A rivalry between Johnny and some rival boys develops.

Finally, Johnny aspires to purchase a truck from an older gentleman. The film is laced with different facets of real-life situations- trivial to some, but an entrance into a culture most know so little about.

I found the film to be quite interesting and compelling in a very subdued way. A marvel is the frequent long views of the prairie land- sweeping winds and gorgeous scenery for miles. Many shots of both Johnny and Jashaun are featured- simply gazing into the crisp air in deep thought.

We see the conflict put upon both youngsters. Johnny, quite handsome and the object of affection by more than one young lady, yearns for a more exciting life. His girlfriend will be attending college in California- pretty and smart- she is sure to move on to success, but Johnny plans to go with her. Her brother inquires how Johnny will live with no job and no money- all valid points. Will Johnny age and remain on the reservation for the rest of his life or escape to a different world?

Jashaun- quite young-is filled with quiet energy and curiosity. She is more studious and wise beyond her years. What will become of her without a father and surrounded by some unsavory types that her family knows?

Certainly not an offering for those who are intent on seeing more action than thoughtfulness, but for the patient viewer, it is a fascinating introspective treat. Songs My Brother Taught Me is a lesson in good storytelling.

Independent Spirit Award Nominations: Best First Feature, Best Cinematography, Acura Someone to Watch Award

2010 Films, Biography, David Strathairn, Drama, James Franco, Jeff Daniels, Jeffrey Friedman, Jon Hamm, Mary-Louise Parker, Rob Epstein, Treat Williams

Howl-2010

October 9, 2016 scottmet99 Leave a comment

Howl-2010

Director Rob Epstein, Jeffrey Friedman

Starring James Franco

Scott’s Review #491

Reviewed October 9, 2016

Grade: B+

Howl (2010) is a compelling courtroom drama biopic starring James Franco who is wonderfully cast.

This role, despite being in a small film with little recognition, cements Franco’s talents as an edgy actor who is willing to tackle challenging work rather than sticking to mainstream safe fare.

Franco has become one of my favorite young actors. He is so diverse and believable in any role he takes on.

The story is about 1950s poet Allen Ginsberg and his trial to determine whether his poems were art or should be banned for being indecent.

Much of the action transpires inside the courtroom and the film wisely mixes animation (in scenes of Ginsberg reading his poetry) in between traditional scenes.

The film allows the viewer to get to know the characteristics of Ginsberg. He was troubled (his sexuality, delusions, stints in a mental hospital), for sure, but also had a true, authentic love of writing and poetry, which is inspiring in an age of digital technology.

Sometimes good old-fashioned words are the truest art.

Howl (2010) is an interesting little film.

1970 Films, Drama, Independent, Independent Drama, Joe Dallesandro, LGBTQ+ Drama, LGBTQ+ Films

Trash-1970

October 7, 2016 scottmet99 Leave a comment

Trash-1970

Director Paul Morrissey

Starring Joe Dallesandro, Holly Woodlawn

Scott’s Review #490

Reviewed October 7, 2016

Grade: B+

Trash (1970) is a very unique movie. It needs to be experienced firsthand to be believed.

Produced by icon Andy Warhol, it is both creative and raw, and certainly not for those seeking a basic film that can easily be digested and contained in a box.

Rather, the gritty and controversial aspects percolate into something edgy and creative. In essence, it is a day in the life of a junkie.

An indie drama with documentary aspects, made in 1970 and set in the Lower East Side of Manhattan, Trash tells the story of a young heroine junkie named Joe (Joe Dallesandro) along with his sidekick Holly, who wander throughout the city picking through trash in desperate need of their next heroin fix.

The film is hardcore and that is what I admired most about it. Not always compelling and certainly not always story-like, it is an experience.

Trash would likely not be made today, but, alas in the 1960s and 1970s films like this could be made.

Its rawness, explicit nudity (and I mean full-frontal folks) and blatant IV drug injections are not for the perky or conformists.

It reminds me quite a bit of a John Waters cult exploitation film but interestingly preceded John Waters.

Very well made and Id like to see it again sometime.

2015 Films, Drama, Romantic Drama

45 Years-2015

October 1, 2016 scottmet99 Leave a comment

45 Years-2015

Director-Andre Haigh

Starring Charlotte Rampling, Tom Courtenay

Scott’s Review #488

Reviewed October 1, 2016

Grade: B+

In the case of 45 Years, acting is the clear highlight of the film and the main reason to view it.

Seasoned veterans take center stage and give tremendous performances and lessons in the craft of acting.

Tom Courtenay and Charlotte Rampling carry the film.

The subject of 45 Years is an enduring marriage tested by an outside revelation that escalates in importance into conflict and mixed emotions.

The film moves at a very slow pace and can be a challenge to the most patient of viewers, but the slow pace is warranted as the longevity of the character’s marriage is the key to the film.

Geoff and Kate Mercer, a happy couple living in rural England, are excitedly planning their 45th wedding anniversary (the 40th having been canceled due to Geoff’s heart condition). They are a popular couple within their town, both kind and decent people, and the event will be attended by many.

One day Geoff receives a letter from authorities in Switzerland- a young woman (Katya) he was once involved with, and presumed dead in 1962, has been found. Having fallen into an icy glacier, her body is preserved and she looks the same as she did then.

Not knowing the extent of their relationship, Kate is riddled with multiple feelings including jealousy, curiosity, and guilt. Geoff and Kate’s marriage is tested.

45 Years is a mature film involving mature characters. Geoff and Kate are still in love after decades of relationship, but the introduction of Katya becomes an unwelcome conflict.

The film plays out gradually, but realistically, as marriage moves along slowly. Many scenes of Geoff and Kate’s day-to-day activities are shown- they walk their dog together, travel into town to shop, or simply relax and read the newspaper.

Like real people do.

This is an asset to the film. Real-life is sometimes mundane and dull, but these little tasks are also pleasurable and soothing.

Geoff and Kate’s marriage contrasts with the relationship Geoff and Katya briefly had all those years ago (excitement, risk, youth) and one can understand Kate’s point of view. As details reveal themselves, Kate feels inferior. She is not young anymore and she thinks of Geoff and Katya and the life they may have had together if the accident had not occurred. Despite being dead, Katya becomes an obstacle in Kate’s mind.

The film wisely does not write Kate as a jealous shrew or one-dimensional. She fights her jealousy every step of the way and tries to be strong and realistic.

Charlotte Rampling gives such a good, subtle, understated performance that it is easy to overlook how good she is. She does not have hysterical moments or a scene where she loses control. Rather, Rampling shows a series of complex emotions with her facial expressions.

Let’s not forget to mention Tom Courtenay. Imagine being in the golden years of your life and a long-lost lover (in spirit anyway) returns to the fold. Geoff cannot help but be transported to imagining a life with Katya had she remained alive. Kate asks Geoff if he would have married Katya- he cannot deny that he would have.

Several scenes show the couple engaging in “old people” issues- awkward lovemaking for example, which enhances the differences between when Geoff and Katya were in their prime. Geoff cannot help but be whisked back in time with thoughts and what-ifs.

A standout scene is when Kate and Geoff dance at their anniversary party. Having given a fantastic speech professing his enduring love for her, they causally dance. Kate is both touched and pained and as the scene goes along she unravels quietly. She explodes internally.

Sometimes perhaps a tad too slowly paced, I get the point of pacing 45 Years in this way. After all, nearly 50 years of marriage is a long time and a multitude of similar days will pass with few important moments. Thanks to superlative acting, I was able to overlook this and be astounded at the complexities both Rampling and Courtenay bring to the table.

Oscar Nominations: Best Actress-Charlotte Rampling

1967 Films, Art, Catherine Deneuve, Drama, International, International Drama, Luis Bunuel

Belle De Jour-1967

September 29, 2016 scottmet99 Leave a comment

Belle De Jour-1967

Director Luis Bunuel

Starring Catherine Deneuve, Jean Sorel

Scott’s Review #486

Reviewed September 29, 2016

Grade: A

Belle De Jour, the title translates to “lady of the day”, a French pun for “lady of the night”, a kind phrase for prostitution, is a fantastic art film.

Stylish, sophisticated, and open to interpretation (at least in my opinion), Belle De Jour is a late 1960’s journey into eroticism, social norms, and sexual freedom.

Gorgeous star Catherine Deneuve has never looked better and calmly does mental conflict.

The film is directed by Luis Bunuel.

Severine is a wealthy young newlywed, seemingly who has it all. She is showered with love and affection, not to mention material items, by her handsome hubby, Pierre, played by dashing Jean Sorel.

She wants for nothing as her husband is a doctor of great wealth. Yet she is unhappy and refuses to have physical relations with Pierre.

She begins a secret life as a prostitute in a posh home, only working in the afternoons, to avoid being found out. She has no regrets but is apprehensive about the clients she meets.

Throughout the film, Severine has secret fantasies about being kept in bondage and enduring various other sexual humiliations. All the while, the question asked is “Is this all Severine’s fantasy or reality”? Or perhaps merely a portion is.

The audience wonders.

Do we feel sorry for the character of Severine? Not. One could make the argument she is spoiled and selfish, but she is not evil, but rather confused. She is quite polite, and Deneuve fills her with kindness and even an angelic spirit.

One cannot despise her even though on the surface one might be tempted to. What right does this woman have to rebuff her husband in place of sleazy clients? One particularly volatile client becomes obsessed with Severine and stalks her, going so far as exacting violence against her husband.

But wait, is this Severine’s fantasy or reality? Is she imagining everything and merely obediently waiting at home for her husband to return each day or is she living this life?

Many shots of gorgeous Paris are used by Bunuel, including the famed Arc de Triomphe and many other interesting streets and sights, which is a treat for fans of culture. The use of these exteriors goes a long way to ensure that the film is clearly “French” from a visual perspective.

Certainly, in 1967, the sexual revolution was in full swing and Belle De Jour epitomized the revolution of the times. Yet, it does not feel dated or reduced to a film “of its time”.

I find it more a character study than a genre film as Severine is an interesting study.

Belle De Jour challenges the viewer with an intense yet subtle story of a woman conflicted with sexual desire and repression- a film open to much interpretation and discussion.

It does what an art film is supposed to do- makes us think and ponder.

2015 Films, Biography, Drama

Joy-2015

September 24, 2016 scottmet99 Leave a comment

Joy-2015

Director-David O. Russell

Starring- Jennifer Lawrence, Bradley Cooper, Robert DeNiro

Scott’s Review #485

Reviewed September 24, 2016

Grade: B-

Joy is a safe, mainstream, female-centered 2015 film, a biopic written for current star Jennifer Lawrence. She was nominated for a Best Actress Academy Award for her role and she carries the film.

Still, despite her very good performance, the film is nothing special and is written in a ho-hum manner.

It is simply not very compelling and the supporting characters are not utilized as they could have been. Despite being based on a true story, the writing is lazy and the plot far-fetched. I expected more.

The film is another collaboration between director, David O. Russell, and big stars of the time- Lawrence, Bradley Cooper, and Robert DeNiro- all used in previous Russell films.

Lawrence plays Joy- a struggling Long Island mother of two- divorced from her husband (who still lives in the basement of her house), with multiple family members living with her, forming a support unit. The sense is that Joy is the breadwinner of the family.

The story is narrated by Joy’s grandmother, who she calls Mimi (Diane Ladd). Mimi always had a feeling Joy would be a success and we see a few scenes of Joy as a child, surviving her dysfunctional family and her parent’s disputes.

DeNiro plays her womanizing father, divorced from her mother (Virginia Madsen), who lies around in bed all day watching soap operas. Cooper plays opportunist, QVC executive, Neil Walker, who takes a liking to Joy and helps her achieve her dream as a successful businesswoman after she patents an idea for a new, high-powered mop.

Enjoyable to me was the authenticity of the time- circa 1989- and through the 1990’s- as we see Joy working for Eastern Airlines, a company that would fold several years later. Also authentic were the automobiles of the time as well as the dress and hairstyles.

These points the film does very well. And how cute was it to see famous daytime television stars such as Susan Lucci, portraying soap opera stars, as Joy’s mother lives her life vicariously through their tangled and bizarre soap lives?

Several scenes occur on the television set as we get glimpses of the soap stories.

The film as a whole, though, feels too neat.

Predictably, Joy faces obstacles on her way to success. Already struggling financially, she takes out a second mortgage on her house. At first, she cannot give away mops, let alone sell them. On the brink of giving up, she finagles a meeting with execs who laugh at her product, but Walker is there to give her a break because she has a pretty face.

Predictably, things do not go well at first, and there is a rather dull subplot about a company in Texas trying to steal Joy’s idea. When she goes and threatens them they immediately back down and obediently give in to her every whim. This is both unrealistic and uninteresting.

I much rather would have seen a messy back and forth and/or some court scenes, but the Texas company is portrayed as nothing but the villain.

The writing has either plot holes or contains missed opportunities altogether and many questions abound. Despite many scenes of Joy’s past we end up knowing little.

Her entire family lives with her in a suburban Long Island house- why does Joy own the house and not her mother or grandmother? Why does Joy have a rivalry with her half-sister, Peggy? Why does Joy’s father own an auto garage and still need to stay with Joy, presumably always broke? Why is Joy’s mother mostly in bed?

Madsen as the mother is rather cartoonish and unnecessary to the plot as is Ladd- a dynamic actress given little of substance. I did not buy DeNiro as a cad nor as in love with his wealthy new girlfriend Trudy (though great seeing Isabella Rossellini in the part), conveniently there to be Joy’s financer.

Despite an enormously talented cast, which is fantastic to see, most of the supporting parts could have been played by any actors, as the roles are not all that challenging, and the film itself is for certain a vehicle to showcase Jennifer Lawrence, David O. Russell’s current “it” girl.

This is not a slight towards Jennifer Lawrence as she is the best part of the film. She successfully portrays Joy as a sympathetic, strong-willed, fair, decent human being, with enormous struggles, and a blue-collar sensibility.

Great performance, but I wish the writing and the other talents involved in the film were given better material.

Oscar Nominations: Best Actress-Jennifer Lawrence

1972 Films, Camp, Drama, Independent, Independent Drama, Joe Dallesandro, Pat Ast, Sexploitation, Sylvia Miles

Heat-1972

September 11, 2016 scottmet99 Leave a comment

Heat-1972

Director Paul Morrissey

Starring Joe Dallesandro, Sylvia Miles

Scott’s Review #479

Reviewed September 11, 2016

Grade: A-

Heat (1972) is a Paul Morrissey/Andy Warhol collaboration in 1970s sexploitation films.

The film is somewhat of a spoof of the classic film from 1950, Sunset Boulevard, and stars 1970s cult star, Joe Dallesandro.

He plays a hunky struggling actor, and former child star, who begins a relationship with a has-been actress (Sylvia Miles) and her lesbian daughter as they co-habitat in a seedy Los Angeles hotel run by plump landlady (Pat Ast).

He pays the landlady a reduced rent in exchange for sex.

Heat stars two of my favorite cult film actresses (Miles and Ast).

It is a fun, over-the-top, independent-style sex romp and pleasing experience for those in the mood for something left of center.

2012 Films, Adam Driver, Biography, Colman Domingo, Daniel Day-Lewis, David Oyelowo, David Strathairn, Drama, Gloria Reuben, Hal Holbrook, Jackie Earle Haley, James Spader, Joseph Gordon-Levitt, Lukas Haas, Michael Stuhlbarg, Period Drama, Political Drama, Sally Field, Steven Spielberg, Tommy Lee Jones

Lincoln-2012

September 10, 2016 scottmet99 Leave a comment

Lincoln-2012

Director Steven Spielberg

Starring Daniel Day-Lewis, Sally Field, Tommy Lee Jones

Scott’s Review #476

Reviewed September 10, 2016

Grade: A

Lincoln is a 2012 film, which received a slew of Academy Award nominations. There appear to be differing opinions about the film itself, however.

Lincoln has audiences divided over whether it’s a brilliant film or a snore-fest.

My opinion leans decisively toward the former.

I recognize that (especially the first half) the film is slow-moving, but I found it engrossing and well-made.

Even the subtle aspects (costumes, art direction, lighting) are masterfully done.

I found Daniel Day Lewis’s (Abraham Lincoln) lengthy stories intriguing, not dull and found it to be a wonderful history lesson.

Steven Spielberg does what he does best- he creates a Hollywood film done well. He also has done controversial, shocking, or experimental, but the mainstream fare is his forte.

This film is not for everyone, but if you can find the patience it will be an enlightening experience. If nothing else, a thing or two may be learned.

Oscar Nominations: 2 wins-Best Picture, Best Director-Steven Spielberg, Best Actor-Daniel Day-Lewis (won), Best Supporting Actor-Tommy Lee Jones, Best Supporting Actress-Sally Field, Best Adapted Screenplay, Best Original Score, Best Sound Mixing, Best Production Design (won), Best Cinematography, Best Costume Design, Best Film Editing

1995 Films, Children, Comedy, Drama, James Cromwell

Babe-1995

September 9, 2016 scottmet99 Leave a comment

Babe 1995

Director Chris Noonan

Starring James Cromwell

Scott’s Review #475

Reviewed September 9, 2016

Grade: B

Babe (1995) is a cute, charming family film about a pig who becomes a hero while living on a farm with a family of other animals and a farmer and his wife.

It is not a risky film from a story perspective- any doubts about a happy ending?- though here are props for some visual creativity.

And let’s face it- the film is sweet and heartwarming with not a mean bone in its body.

The film is an inspirational one, nice for kids no doubt, and the visual effects, i.e. how they edited the animal movements with voices successfully are well done and not tacky.

The film is predictable and harmless and I’m not sure I agree with the Best Picture or Best Supporting Actor (for James Cromwell) nominations it garnered, but it was enjoyable all the same.

Oscar Nominations: 1 win-Best Picture, Best Director-Chris Noonan, Best Supporting Actor-James Cromwell, Best Screenplay Based on Material Previously Produced or Published, Best Art Direction, Best Film Editing, Best Visual Effects (won)

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