Category Archives: Drama

Little Children-2006

Little Children-2006

Director Todd Field

Starring Kate Winslet, Patrick Wilson

Top 100 Films #52

Scott’s Review #334

70052692

Reviewed January 9, 2016

Grade: A

Little Children is a subtle, dark drama from 2006 that reminds me a great deal of The Ice Storm and American Beauty- both equally quiet masterpieces. All are similar films about dysfunctional, interpersonal relationships that are damaged.

The great film is one of my more modern all-time favorites.

On the surface, the small suburban Boston town in which the members of the film reside is whimsical, peaceful, and quiet. Spacious colonial and Victorian houses similarly line the sleepy streets.

The small town (unnamed) is affluent and, we learn very early on, is rife with scandal. A child-molester, Ronnie, (Jackie Earle Haley), who is also a resident of the town, living with his mother, has recently been let loose to resume his life, which makes the neighborhood tense and angry.

It is summertime, and the air is thick with heat and secrets.

Other than the child-molester story, the main drama involves Sarah Pierce (Kate Winslet), an intelligent, bored, stay-at-home housewife. She is angry and frustrated.

She cares for her three-year-old daughter Lucy, while her husband is addicted to porn and regularly sniffs panties that he purchases online, even risking his job to immerse himself in his addiction to porn.

They have a sex-less marriage.

Soon, Sarah embarks on a relationship with the resident hunk, Brad (Patrick Wilson), a stay-at-home Dad to four-year-old Aaron. His wife, Katherine (Jennifer Connelly), a “knockout”, produces documentaries and is the breadwinner of the family.

Thrown in the mix is crazed ex-cop, Larry, obsessed with protecting the neighborhood from Ronnie, and a trio of suburban house-wives, who are friendly with Sarah and secretly lust after Brad.

Little Children is a film about relationships, insecurities, and dreams remaining unfulfilled. How these relationships are damaged, filled with angst, or yearning for a resolution far out of reach, are explored and every character is sad in some way.

Each character is unfulfilled and in the middle of all of it is the torrid romance between Sarah and Brad. They while away the summer in romance that we just know will not last. They find some happy moments, but how will this continue?

Tragic is the situation with Ronnie- despite being a child molester he is portrayed as a sympathetic character. The entire town is against him- a sad scene involves the townspeople fleeing the community pool when Ronnie dares to go for a swim.

When he tearfully tells the police that he just wanted to cool down, there is such sadness in his eyes.

Despite being supporting characters in the film, my favorite performances are by Haley and Phyllis Somerville, as Ronnie’s feisty yet haggard mother, May.

Determined to ensure her son has a decent life, she lashes out at anyone who bullies her poor Ronnie. Somerville’s performance is heartbreaking and, in a perfect Hollywood world, she would have received an Oscar nomination.

Happily, Haley did, as injecting any sympathy in a character such as his is a difficult task, but Haley does so in spades.

The film is filled with narrative- in not dissimilar fashion to the classic Barry Lyndon (1975)- as the narrator explains the thoughts and inner turmoil of the characters in regular intervals. This adds layers and clarity to the film.

A masterful scene involves one centered around the dinner table, successfully done. Curious about husband Brad’s daytime life when she is away at work, Katherine invites Sarah and her daughter to join them for a cozy dinner.

As everyone eats and converses, the light bulb suddenly goes on in Katherine’s head and she pieces together events, realizing Brad and Sarah’s true relationship.

All of those days when she knew not where Brad was now came flowing back to her. A similar scene was played out in 2008’s The Kids Are Alright, working successfully in that film too.

The stories eventually intersect and I love this point of the film, especially being that it takes place in a smothering small town.

Character-driven, cynical, tragic, and dark. Little Children (2006) is a humanistic masterpiece that I never tire of watching- one of my favorites.

Oscar Nominations: Best Actress-Kate Winslet, Best Supporting Actor-Jackie Earle Haley, Best Adapted Screenplay

Traffic-2000

Traffic-2000

Director Steven Soderbergh

Starring Michael Douglas, Catherine Zeta-Jones, Benicio del Toro

Top 100 Films #78

Scott’s Review #333

60003243

Reviewed January 8, 2016

Grade: A

Simply put, I adore this film. I loved Traffic when it was first released in 2000 and I still love it in present times.

During an age where the overlapping stories with hefty casts were still in the infancy stage (Crash-2006, and Babel-2006, similar films, would not be released for several years), Traffic was groundbreaking, compelling, thought-provoking, and just a damned good drama!

With drug use still a continuing problem in the United States, the film remains both relevant and important.

Featuring three main, intersecting stories with a central theme of drug trafficking, each is told from various perspectives: users, political figures, law enforcement, and criminal traffickers.

Traffic also wisely shows how the drug problem knows no specific classes- affluent, middle-class, and poor are all represented in the film.

A strong political story is represented- led by conservative Ohio judge Robert Wakefield (Michael Douglas), who is appointed “drug czar” as the President’s Office of National Drug Policy leader, he vows to end all drug trafficking and is the moral center of the film.

However, his prep school daughter, Caroline, (played exceptionally well by Erika Christensen) and her equally affluent friends are dabbling in cocaine, heroin, and other drugs, so much so that their lives are slowly spiraling out of control.

The Mexico story involves the riveting tale of Mexican police office Javier Rodriguez (played convincingly by Benicio del Toro). He becomes heavily involved in a web of deceit, money, and drugs. His partner, Sanchez, makes a deal with the devil and his fate is thereby sealed. Javier has moral questions to ask himself and only wants to do right by some local, neighborhood boys.

Finally, San Diego is the setting for a story of corruption involving the DEA’s investigation of a drug lord, Carl Ayala. After being arrested, his wife Helena (Catherine Zeta-Jones) faces a moral dilemma- either carry on the illegal proceedings or come clean. She,  up until this point unaware of her husband’s business, faces enormous pressure, both financially and through the threat of violence.

My favorite aspect of Traffic is that all of the aforementioned stories are fascinating in their own right- and could make terrific films on their own, but as the film progresses they begin to intersect and keys to the puzzle slowly unlock themselves.

I love how many of the central characters (Helena, Javier, and Wakefield) begin as “good” people only to have their moral intentions challenged, and in some cases, threatened.

They are each conflicted in some way.

The film poses an interesting, crucial question of what can be done about the United States drug trafficking problem. The answer at the end of the film is a disappointing and perhaps even depressing realization.

Drugs will never stop being a problem and Traffic wisely explains how drugs show no barriers when it comes to either wealthy or more financially challenged individuals.

How wonderful to see a stellar cast, even in smaller roles (Dennis Quaid and Amy Irving immediately come to mind) with all of the characters having a purpose in a wonderful example of how a mainstream Hollywood film can achieve a true ensemble effort that works.

Great job Steven Soderbergh!

Oscar Nominations: 4 wins-Best Picture, Best Director-Steven Soderbergh (won), Best Supporting Actor-Benicio del Toro (won), Best Adapted Screenplay (won), Best Film Editing (won)

Far From Heaven-2002

Far From Heaven-2002

Director Todd Haynes

Starring Julianne Moore, Dennis Haysbert

Top 100 Films #53

Scott’s Review #332

60025011

Reviewed January 8, 2016

Grade: A

Far From Heaven (2002) is a gorgeous film, set in 1950’s upper-class and sophisticated Connecticut, that tackles not one, but two, separate social issues, in a wonderful story-telling fashion.

An interracial couple fraught with discrimination, and a homosexual husband hiding his secret lifestyle encompass this amazing film by acclaimed director Todd Haynes.

In years to follow, Haynes would also direct such masterpieces similar to the period (and story) of Carol (2015).

For starters, the cinematography and art direction are simply breathtaking- the beautiful and colorful small town in Connecticut, on the surface, prim and proper, is oozing with secrets and scandal just waiting to bubble to the surface.

An aerial view of the town allows the viewer to see this perfectly carved town in a sweeping motion.

Far From Heaven contains many similarities to All That Heaven Allows, made in 1955, and also focuses on a great scandal in a small, seemingly idyllic New England town.

Cathy Whitaker (Julianne Moore) seems to have everything perfectly styled and kept at home in affluent Connecticut, a successful husband named Frank (Dennis Quaid), who is an advertising executive, beauty, and a neighborhood filled with friends.

One night when Frank is working late, Cathy surprises him with dinner at the office, only to be surprised herself by catching Frank passionately kissing another man. In an awkward scene, Frank admits to Cathy that he needs conversion therapy, but instead turns to alcohol and continues to secretly see men.

Devastated, Cathy befriends her gardener, Raymond Deagan (Haysburt), a handsome black man, and slowly begins a relationship with him. Needless to say, this causes gossip and scandal amongst the townspeople.

Far From Heaven is fantastic story-telling, weaving, in essence, two main social stories together.

Frank questions his sexuality, afraid to admit he is gay and risking his reputation and career. Undoubtedly, he is a tormented individual and we see him slowly come to terms with his sexuality.

Haynes, fantastic at crafting a worthy story, carves a similar tale in 2015’s Carol, only she is a woman confident about her sexuality, but hiding it from society. Since the time in both films is the 1950s, the sexual revolution has not occurred, let alone anything gay-related.

The center story though belongs to Cathy and Julianne Moore portrays her to perfection. I would argue that Cathy is Moore’s best role- along with Amber Waves from Boogie Nights.

Hurt and betrayed by her husband, she suddenly is filled with new and dangerous emotions- falling in love with a black man in a not very open-minded time.

Moore and Haysbert have fantastic chemistry from their very first scene together.

I love how Haynes showcases the perfection of the town- the lawns are perfectly mowed, the flower beds flawless, and everyone appears cheerful and colorful. But when something in their little town becomes amiss (in this case Cathy going against the grain) the fangs come out and the animals bear their teeth.

A wonderful scene showcases Cathy and Raymond’s slow dancing in a solely black bar. They sway as one and Cathy is accepted by the black patrons. Raymond (and his daughter) are not treated the same way by the white folks of the town once they catch wind of the shenanigans going on between the interracial couple.

Far From Heaven (2002) is a beautiful film- from the way it looks and is shot, to the powerful acting performances all around. Moore may be the star and the central character of the film, but Quaid and Haysbert certainly deserve their due.

They each give layered performances as wounded and tortured men- and the conclusion of the film- perceived as open-ended- is also not a happily ever after climax.

Oscar Nominations: Best Actress-Julianne Moore, Best Original Screenplay, Best Original Score, Best Cinematography

Independent Spirit Award Nominations: 5 wins-Best Feature (won), Best Director-Todd Haynes (won), Best Female Lead-Julianne Moore (won), Best Supporting Male-Dennis Quaid (won), Best Cinematography (won)

Sunset Boulevard-1950

Sunset Boulevard-1950

Director Billy Wilder

Starring Gloria Swanson, William Holden

Top 100 Films #42

Scott’s Review #330

60010956

Reviewed January 8, 2016

Grade: A

I adore films about Hollywood (good ones, that is), and Sunset Boulevard is an absolute treasure.

Directed by classic film director, Billy Wilder, the film is a film noir about a legendary silent film star, Norma Desmond, unable to cope with modern films involving sound, and living a life of instability and mental illness, as her career has long ended.

Handsome Joe innocently stumbles upon her mansion and the two form an eerie relationship ending in tragedy.

Sunset Blvd. is a famous street that runs through Los Angeles and Beverly Hills, California, and is immediately featured in the film as Joe Gillis, played by William Holden, drives down the street, an unsuccessful screenwriter, whose car is about to be repossessed.

Joe narrates the film and we see a man lying dead in a vast swimming pool. Ironically, this is the end of the film, and Wilder interestingly then works backward so that the audience knows tragedy will eventually ensue.

To avoid men chasing him, Joe pulls into a driveway and hides his car in a garage near a vast yet run-down mansion. He is mistaken for a coffin salesman and meets the infamous and creepy Norma and her servant, Max.

The coffin is for Norma’s pet chimpanzee, who has died. Intrigued, and broke, Joe hatches a plot to re-write Norma’s terrible screenplay- and make some money from the aging Hollywood star. Norma needs companionship. The two, along with Max, embark on a weird relationship based on jealousy, passion, and rage.

The black-and-white style works extremely well in the film. The lighting gives off a mystique of intrigue and film noir.

Sunset Boulevard combines the noir with a rich character study of Norma and we feel her pain and isolation at being cast aside as a result of the times.

I love how Wilder focuses both on the gloomy nature of Norma’s vast mansion- especially when she throws a New Year’s Eve party- isolated with just she and Joe and a hired band- interspersed with a lively party in Hollywood- filled with young, energetic, up and coming talents.

The scenes mix perfectly and show the two different worlds and perspectives.

Sunset Boulevard is a brilliant depiction of old Hollywood at its best (and worst). A study in ambition, struggle, and high hopes (Joe), and of faded success and dreams shattered in reality, where delusion is the only defense (Norma).

Oscar Nominations: 3 wins-Best Motion Picture, Best Director-Billy Wilder, Best Actor-William Holden, Best Actress-Gloria Swanson, Best Supporting Actor-Erich von Stroheim, Best Supporting Actress-Nancy Olson, Best Story and Screenplay (won), Best Scoring of a Dramatic or Comedy Picture (won), Best Art Direction-Set Decoration, Black-and-White (won), Best Cinematography, Black-and-White, Best Film Editing

Far from the Madding Crowd-1967

Far from the Madding Crowd-1967

Director John Schlesinger

Starring Julie Christie, Terence Stamp, Alan Bates

Scott’s Review #315

70111488

Reviewed January 1, 2016

Grade: A-

A sweeping, gorgeous epic made in 1967, Far from the Madding Crowd is pure soap opera (this is not a negative), done very well, which features a woman with three male suitors and contains many similarities to another brilliant epic, Gone with the Wind.

The cinematography, score, and writing are excellent, and, at close to three hours, are a lengthy experience.

The film is based on the popular novel, written by Thomas Hardy.

The setting is lovely, rural England, the landscape green and lush- mostly farmland, where Bathsheba resides having recently inherited her Uncle’s enormous estate and is, frankly, overwhelmed with the heavy responsibility required to successfully run it.

Three men appear in one form or another to lend a hand and each falls madly in love with her- she had her choice of any of them. Throughout the film, each is given a chance to win her heart, and the trials and tribulations of each occur.

The wealthy neighbor, William Boldwood, is older and insecure. Frank Troy is a bad boy who is a cavalry sergeant, and Gabriel, a former farmer, has lost all of his sheep.

Having only seen this film twice (so far), I notice more and more the similarities to Gone with the Wind. Both are set around the same period (the 1860s) and both films feature very strong, independent, gorgeous female characters with multiple male suitors.

Unlike Gone with the Wind, though, Bathsheba is not self-centered, but wholesome and honest.

Julie Christie was certainly the “it” girl during the time in which the film was made, having recently starred in Darling, and Doctor Zhivago, among others, and Far from the Madding Crowd is a perfect film for her, focusing on her beauty and earnestness.

She is exceptionally cast.

What I enjoy most about the film is we do not know which of the men Bathsheba will wind up with…if any of them. Gabriel Alan Bates) is my personal favorite, but at the beginning of the film, she rebuffs his marriage proposal.

In a heartbreaking scene, one of his dogs goes mad and leads his entire flock of sheep to their death. He then is forced to work as her shepherd, a job beneath him. He is the most likable of the three men and it is fun to root for their ultimate union. But is he prone to bad luck?

Frank Troy is dashing- a clear lady’s man, yet I did not root for him. A character, which I found to have strange motivations, having impregnated, and almost married a young lady named Fanny, only to turn her away based on a misunderstanding, then ultimately change his mind about Bathsheba.

In one scene he manipulates his way into getting the townsmen drunk on brandy, which leads to a crisis. He is charismatic and used to getting his way.

Finally, Boldwood is wealthy and sophisticated and appealing to Bathsheba in a certain way (main stability), but there is also something I find “off” about the character throughout the film- unstable maybe, needy? I did not find his character likable either.

The overlap and the relationships between the men are also interesting aspects of Far from the Madding Crowd. Will they become friends? Would they kill each other for Bathsheba’s affection?

Many emotions run through all four characters, which makes the film rich in character development.

Grand, sweeping, and beautiful are words to describe Far from the Madding Crowd, a film that I enjoy exploring and evaluating upon each viewing.

Oscar Nominations: Best Original Music Score

Boogie Nights-1997

Boogie Nights-1997

Director Paul Thomas Anderson

Starring Mark Wahlberg, Burt Reynolds

Top 100 Films #21

Scott’s Review #312

1180077

Reviewed December 31, 2015

Grade: A

Boogie Nights (1997) is a fantastic film about the pornography industry (The Golden Age of Porn) of the 1970s and 1980s and does a wonderful job of portraying the characters as human beings with feelings and emotions, rather than as nymphomaniacs or perverts.

They bond with one another as a family- a group of misfits striving to survive. This and many other reasons are why Boogie Nights is one of my favorite films of all time.

Written, produced, and directed by Paul Thomas Anderson (Magnolia-1999, There Will Be Blood-2007, Inherent Vice-2014), he is a champion at exploring the underbelly of society and flawed and desperate characters.

Boogie Nights is no different.

The dysfunctional family is the common theme of the film. Most of his characters are not happy people, but they are survivors and desperately look for a piece of happiness.

Many in his cast of Boogie Nights also appear in Magnolia. Mark Wahlberg (Eddie/Dirk Diggler), Burt Reynolds (Jack Horner), Julianne Moore (Maggie), Don Cheadle (Buck), William H. Macy (Little Bill), John C. Reilly (Reed Rothchild), Heather Graham (Rollergirl), Philip Seymour Hoffman (Scotty), Malora Walters (Jessie), and Alfred Molina (Rahad Jackson), round out the large cast.

The setting of the film in Los Angeles and the period runs from 1977-1984. Though only seven years take place, much happens to most of the characters during this time and we experience their trials and tribulations.

The unique thing about Boogie Nights is that I care about every character, thanks to great writing and fantastic acting. They succeeded in obtaining my empathy for them. Boogie Nights is an extremely character-driven film, which is an enormous part of its brilliance.

The cast is an ensemble one, but the main character is Eddie Adams, a high school dropout, who we meet working as a dishwasher at a nightclub. He has an abusive mother who kicks him out of the house, leading him to audition for and move in with Jack Horner.

Jack is a patriarch type, who shares a house with Maggie, the matriarch of the household, and roller girl, a fellow high school dropout always wearing roller skates. Eddie’s talent is his large “manhood”.

We watch Eddie, at first shy and polite, rise to superstardom in the porn industry, becoming rich and living a lavish, drug-fueled, lifestyle, where his ego gets the best of him. He, like many of the characters, hit rough times as the early 1980’s shift to videotape was the death of many 1970’s porn actors careers.

The musical soundtrack is very important to the success of Boogie Nights. Many scenes contain songs that were hits of the time or prior, including “Sister Christian”, “Jessie’s Girl”, “God Only Knows”, “Got to Give it Up”, “Ain’t No Stoppin’ Us Now”, and countless others- so much so that the soundtrack is almost a character of the film and we look forward to hearing what song might be featured next.

At one point later in the film, circa 1983, as things begin to spiral out of control for many of the characters- the musical score turns ominous with low bass music, a nighttime setting, the lighting becomes darker, and several stories begin to intersect on one late L.A. night on the streets.

Jack, filming a scene in a limousine starring Rollergirl and a young college jock they pick up off the streets, Dirk-forced to prostitute himself for $10 to a young man in a pickup truck, and Buck-who innocently stops to buy doughnuts for his very pregnant wife Jessie.

Each of these stories ends in brutal violence and the tone is crucial to the success of the scenes. This lengthy scene reminds me quite a bit of a Quentin Tarantino scene in its macabre tone.

Particular favorite scenes include the heartbreaking scene when Maggie loses custody of her son, the New Year’s Eve party at Jack’s house, and the ill-fated drug sale at Rahad Jackson’s.

Each is heartbreaking, powerful, fraught with tension, or otherwise empathetic to the characters, which makes them each quite powerful in different ways.

Induced in the drug sale scene is some black comedy- Rahad’s presumed Chinese houseboy has a fetish for firecrackers, which startle Dirk, Reed, and Todd, as the fear of possible gunshots fills the air. Maggie’s sob scene elicits viewer emotion as we cry with her, and the New Year’s Eve turn of events involving Scotty and Little Bill is tragic.

Boogie Nights (1997) is one of my favorite films because it contains brilliant writing, characters who are fleshed out, damaged, and human, a killer soundtrack, and a dark, mysterious industry (porn) that is both misunderstood and categorized.

Thanks to director, Anderson, we see the people within this lifestyle as real people, with issues, but also with full hearts and kindness.

Oscar Nominations: Best Supporting Actor-Burt Reynolds, Best Supporting Actress-Julianne Moore, Best Screenplay Written Directly for the Screen

The Danish Girl-2015

The Danish Girl-2015

Director-Tom Hooper

Starring-Eddie Redmayne, Alicia Vikander

Scott’s Review #310

80058477

Reviewed December 29, 2015

Grade: A-

The Danish Girl tells the loosely based story of Danish painters and married couple Lili Ebe and Gerda Wegener and recounts Lili’s struggles as the first known recipient of sex reassignment surgery, unheard of at the time that it was (1930).

The film is a showcase in terrific acting (Eddie Redmayne and Alicia Vikander especially) and a journey of one person’s struggle with gender identity.

The subject matter is quite important and timely as the recent transgender movement has emerged at the forefront of social issues today.

A happy, young couple living in Copenhagen, and married for six years, Gerda and Einar are inseparable and madly in love. They are best friends and help each other with their art. In a pinch because of a female model’s tardiness, Gerda convinces Einar to stand in for the model, wearing female clothes.

This event triggers a lifelong identification as a female named Lili Elbe. Lili has emerged sporadically since childhood.

Through painful self-assessment and encouragement from progressive loved ones, Lili decides to go through with a highly experimental and risky sex change operation.

Gushing with sensitivity and tenderness and groundbreaking in a sense, though I bet even more so if made ten years ago, one feels for both lead characters as it is important to note that they both go through emotional turmoil.

It would be easy to lessen Gerda’s emotions and, perhaps with a lesser actress this might have happened, but Vikander (unknown to me before seeing this film) gives an emotional performance that is raw and exudes empathy.

One can imagine how they would feel if their spouse identified as the opposite sex. Confusion, blame, anger, sorrow, would all be common reactions. Gerda is strong, brave, and helpful, all the while crumbling beneath the surface. Vikander brings all of this to the screen flawlessly.

Similarly, Redmayne brings depth and empathy to his role.  Redmayne’s Einar is masculine, but there is something sensitive and slightly feminine to him from the start.

Was this purposely done to soften the blow? He also appears to be very slightly built. Redmayne lost a bit of weight to portray this role and have a softer appearance.

Actors can easily dress up in drag, but the emotional investment needs to be there and Redmayne makes the viewer care about Lili a great deal. One is teary-eyed along with Lili as she sees no other choice, but to undergo the risky operation. We see the desperation in Lili’s eyes and this is thanks to Redmayne’s acting skills.

I loved how supportive the characters are in the film. Granted, Einar/Lili and Gerda travel in liberal and progressive circles, but for 1930, this was wonderful to see.

Of course, Copenhagen and Paris are open-minded cities, but Lili’s childhood friend Hans, a sophisticated, macho guy, offers nothing but support. The same goes for the Doctor taking on Lili’s surgery.

These aspects lend to a delicate, peaceful film of encouragement.

To be clear, Lili is not gay, and this is made crystal clear during the film as she meets a gay man and the distinction between them is made. She does, however, identify and feel that she is a woman. She was simply born with the wrong parts.

The greatest aspect of The Danish Girl is its powerhouse acting and compelling subject matter. One’s gender is a given for most, but watching a riveting drama about someone who is at unrest with their gender is eye-opening and still rather taboo.

2015 was a year of progressive transgender films and The Danish Girl is towards the top in its class and graceful in dealing with the subject matter in a calm non-judgmental way.

Oscar Nominations: Best Actor-Eddie Redmayne, Best Supporting Actress-Alicia Vikander (won), Best Production Design, Best Costume Design

Carol-2015

Carol-2015

Director-Todd Haynes

Starring-Cate Blanchett, Rooney Mara

Top 100 Films-#90

Scott’s Review #308

80058700

Reviewed December 27, 2015

Grade: A

My comparison would be that this film is the female version of Brokeback Mountain if you will.

Carol is a story of hidden romance and secret lives in the early 1950s, a time in which it was very difficult to lead an alternative lifestyle openly (or even in hiding!).

The film is a marvel in its honest storytelling, exquisite class, and its gracefulness, with excellent cinematography and a nice, heartwarming tale.

Carol is directed by Todd Haynes, a director known for films about doomed romances faced with societal challenges. Carol is a wonderful piece of work.

The film contains two equal female lead roles- Carol Aird (Cate Blanchett) is a gorgeous, sophisticated socialite.  She exudes confidence and style in everything that she does.

Always perfectly dressed, well made up, perfect fingernails, her mannerisms relay confidence, and control. She is married to a wealthy businessman, Harge (Kyle Chandler), who is madly in love with her, yet they are divorcing because of her “problem”.

The fact that Carol is a lesbian is known to Harge and they share somewhat of an understanding…..and also a five-year-old daughter. The divorce they are going through is difficult.

Therese Belevit (Rooney Mara), on the other hand, is the polar opposite of Carol.  Young, naïve, she is a part-time shopgirl, who is fascinated by photography. She dates men and goes to parties, living out a typical young girl’s life.

When Carol and Therese meet at the store where Therese works, they are immediately enamored with one another and a friendship develops. Both seem to be caught off guard and the chemistry between the two actresses sizzles.

The focus of the film is the budding romance between Carol and Therese, but also the societal differences that they face, not to mention the age difference between the two women. I found the chemistry quite evident and this is thanks to Blanchett and Mara.

Worlds apart, the two women somehow find their way to each other and form a bond. Their relationship is tender, gentle, and carefully laid out for the audience. They are neither animalistic nor barbaric in a sexual way, but rather- sweet.

When Therese takes a spontaneous car trip from New York to Chicago, leaving her boyfriend, Richard, perplexed, she is conflicted. He wants them to run off to Paris- Therese wants to be with Carol. He breaks up with Therese and accuses her of having a crush on Carol.

Therese and Carol’s romance is finally consummated in a mid-western hotel. It is New Year’s Eve and Todd Haynes chooses to shoot this scene in a romantic, spontaneous way. They are celebrating the holiday, but both are blue and vulnerable. It makes perfect sense that they would turn to one another at this moment.

The film delves into many different emotions that Carol and Therese face- love, glee, anger, rage, confusion, rejection, and loneliness. These adjectives and the aforementioned examples of the tone of the film are why it succeeds.

From an acting perspective, both Blanchett and Mara are great, but I am more partial to Blanchett’s performance. She embodies this character. From the way she confidently orders a martini dry with one olive, to how she brazenly approaches Therese, she is a woman in control. But faced with family issues she becomes vulnerable and we see her as a human being.

Besides the interesting story of a love faced with many challenges, the look of the film is grand. The sets, hairstyles, clothes, and makeup are all graceful and rich. To summarize- everyone looks great and it portrays a perfect picture of the 1950s.

A progressive Hollywood tale did very well, Carol showcases glamour, great acting, and sends a powerful message of acceptance and struggle during a difficult time to be “different”, to fulfill one’s life.

Oscar Nominations: Best Actress-Cate Blanchett, Best Supporting Actress-Rooney Mara, Best Adapted Screenplay, Best Original Score, Best Cinematography, Best Costume Design

Independent Spirit Award Nominations: Best Feature, Best Director-Todd Haynes, Best Female Lead-Cate Blanchett, Rooney Mara, Best Screenplay, Best Cinematography (won)

Tangerine-2015

Tangerine-2015

Director-Sean Baker

Starring-Mya Taylor, Kitana Kiki Rodriguez

Scott’s Review #301

80037676

Reviewed December 17, 2015

Grade: A

On the very rare occasion that I am lucky and privileged enough to stumble upon a gem like Tangerine, it reaffirms my faith in the film and creative filmmakers in general.

Here is a universal lesson- it does not require oodles of money to make a great film. This film was shot with three smartphones!! It takes talent and creativity.

Tangerine is a groundbreaking film- the first (that I am aware of anyway) to feature transgender actresses at the forefront of the feature.

The film has been honored with multiple Independent Spirit Award nominations.

Shot documentary style, with grittiness and a frenetic pace, while mixing in unique styles of music (hip hop to classic) as the musical score (a child-like tune begins the film), Tangerine is unique from both a story perspective and a visual style.

The film’s first scene begins with two transgender sex workers- Sin-Dee Rella and Alexandra, having a conversation in a coffee shop. Sin-Dee has just been released from jail and learns that her boyfriend, and pimp, Chester, has been cheating on her.

It is Christmas Eve.

The crux of the film explores Sin-Dee’s rage and subsequent search all over Los Angeles for Chester, and the girl he has been with. She vows revenge on them both.  However, beyond this story point, the heart of the film is of loneliness and isolation that most of the characters (trans and otherwise), share, in one form or another.

Interspersed with the Sin-Dee story, are stories involving Alexandra’s feud with a “john”, and her pursuit of a singing career.

Another very interesting story is that of a straight male, Razmik, an Armenian cab driver who is infatuated with transgender sex workers.

This may sound bizarre or too out there for some, but Razmik’s story is quite tender and compelling. He has a wife and baby at home, along with various other relatives, and is the breadwinner. He is also very conflicted. He does not “use” the sex workers, but rather cares for them and admires them.

I found all three principal characters interesting in different ways- Sin-Dee and Alex are over-the-top, yet sensitive. While Sin-Dee is aggressive and vengeful, Alex is the kinder of the two and the more sensible and rational.

She is a sex worker but aspires to more out of life. Razmik is even more interesting- does he have a fetish? is he shameful for spending money on prostitutes while supporting a wife and child?

All of the characters are victimized in one form or another and all are dysfunctional- at the same time they are all weirdly likable. I witnessed moments of Quentin Tarantino’s film style coming across the screen- most notably in the coffee-shop scenes (the beginning and final scenes) as all hell breaks loose, and the characters delve into all sorts of crazy behavior, though Tangerine is a sweet tale about friendship too.

It is a memorable and powerful film experience.

In the end, all the characters are hurting, living such sad lives, especially since the time is present-day Christmas Eve, which I guess might make this film sound depressing, but it is not.

I found it almost uplifting in a way.

Tangerine is a completely original, groundbreaking film that I hope is remembered and appreciated 50 years from now.

Independent Spirit Award Nominations: Best Feature, Best Director-Sean Baker, Best Female Lead-Kitana Kiki Rodriguez, Best Supporting Female-Mya Taylor (won), Piaget Producers Award

Big Night-1996

Big Night-1996

Director Stanley Tucci, Campbell Scott

Starring Stanley Tucci, Tony Shalhoub

Scott’s Review #300

305300

Reviewed December 16, 2015

Grade: B+

Big Night (1996) is a sweet, whimsical little film that is a food lover’s dream come true since that is the focal point of the story with more than one dish being prepared on-screen giving it realism.

It centers on the restaurant business and, specifically, how two brothers struggle to keep their failing restaurant afloat through their love and passion for food.

The story tells of two Italian immigrant brothers, Primo and Secondo, played by Tony Shalhoub and Stanley Tucci, respectively.

The time is the 1950s and they reside in blue-collar New Jersey. Times are tough for them as they try to succeed in the difficult restaurant business- they specialize in Italian food of course.

Secondo is a playboy of sorts- suave and handsome, he dates Phyllis (Minnie Driver) while galavanting with a sophisticated older woman named Gabriela, the wife of a competitor.

Primo, on the other hand, is quiet, and serious, yet an all-star chef. The food he prepares is wonderful and his talent is evident.

But how can they market themselves to be successful?

At this point, their restaurant is dying and they risk being reduced to returning to Italy or eke out a meager existence working for someone else.

An idea is announced to have a celebrity singer (Louis Prima) perform for a one-night extravaganza at their restaurant, where they will make the meal of their lives and impress the town, thus achieving success.

The film is charming and my favorite parts are on the “big night”. As the duo prepared the liquor order and shopped for flowers and other decorations in preparation, the mood and spirit left me with a warm feeling.

What a sense of togetherness Primo and Secondo, along with friends, felt to achieve this challenging goal. Inevitably, there is tension between the brothers, and between Secondo and Phyllis, but truthfully, these are merely sub-plots, and the heart of the film is in the food.

The scenes that take place in the kitchen left my mouth watering. As Secondo prepares a baked pasta dish (Timpano), the meal oozes with love and tastiness. The entire story arc is grand and magnificent.

The group of diners revels in the dining room of the restaurant enjoying spirits and dancing the night away. By morning everyone is full and drunk, both with love and alcohol, but most are happy. They get merry as they eat the night away.

I could almost taste the main course!

A subplot that works for me is the burgeoning romance between reserved Primo and equally reserved flower shop owner, Ann. Both very timid, they finally muster the courage to admit their feelings for each other while enjoying (what else?) wine and food- what better way to begin a romance?

The tenderness and chemistry between these two are very innocent and captivated me while watching the film.

The final scene of the brothers making an omelet is also wonderful and a fitting way to stress togetherness and perseverance, which is what the small film is really about.

For lovers of food, Big Night (1996) is a shining moment.

Independent Spirit Award Nominations: 1 win-Best Male Lead-Tony Shalhoub, Stanley Tucci, Best First Screenplay (won), Best First Feature

She’s Lost Control-2014

She’s Lost Control-2014

Director-Anja Marquardt

Starring-Brooke Bloom

Scott’s Review #299

70305205

Reviewed December 14, 2015

Grade: B+

She’s Lost Control is a dark, independent drama, and the directorial debut of Anja Marquardt.

This film is one reason I proudly support independent film, as it is otherwise a film that most do not know about, and will never know about, if not for good word of mouth and award recognition- think indie spirit awards. Hopefully, Marquardt will one day be a household name.

The film is heavy yet intriguing and certainly a character study.

The film is a dark and dreary experience- some might argue depressing, centering on Ronah- a young, female, college student, aspiring towards her master’s degree in psychology, who works as a sexual surrogate in Manhattan.

The film explores her experiences with various clients, specifically, a disturbed, volatile man, who she takes on as a client. As she becomes better acquainted with Johnny, they forge a special bond, but will romantic feelings and jealousy get in the way of the therapy assigned to both parties involved?

How each of them explores their feelings is the focal point of the tale, and clearly, the feelings involved are not peaches and cream.

Ronah is not a prostitute and there is very little sex that goes on, albeit the implication is certainly there. She is nurturing and very emotionally invested and intends to become a psychiatrist one day. It is unclear whether her “boss”, a shady seeming character, is her pimp or simply employer. His role and motivations are a bit unclear.

The most interesting aspect of the film is the title and throughout my viewing of the film I wondered about the title more and more- are any of Ronah’s experiences in her mind? Is she stable or does she perhaps have some emotional or mental issues? She befriends a kind neighbor around her age and invites her for dinner- they bond. The neighbor invites her out dancing, but Ronah declines.

She also has an older female confidant- a former surrogate herself who gives Ronah tips and suggestions. Still, Ronah is lonely. Again we wonder if perhaps all is not what it seems? This is a fascinating aspect of the story. One must watch to determine the answers to questions such as these.

New York City can be a tough, unkind world and She’s Lost Control does not sugar coat an individual’s difficult existence when not blessed with family money, strings, or some other advantage. Ronah lives in a dump with holes in her shower and cramped quarters. In addition to her hardships where she lives, she is constantly kept abreast of problems concerning her brother and mother back home in upstate New York. Quite simply, Ronah is overwhelmed by her life. Might she be spinning out of control?

The dreary aspect of the film, to me, is not so much the sexual aspect. Ronah is a therapist and everything is with mutual consent.  Unfortunately, she is challenged by some of the people she encounters in her profession.

I admire She’s Lost Control (2014) quite a bit for its insight, thoughtfulness, and compelling story of a woman with a difficult life, trying to make ends meet, and aspiring to something worthwhile. She is brave, troubled, and interesting all rolled up in one fascinating lead character.

Independent Spirit Award Nominations: Best First Screenplay, Best First Feature

Brooklyn-2015

Brooklyn-2015

Director-Jon Crowley

Starring-Saoirse Ronan

Scott’s Review #298

80037688

Reviewed December 12, 2015

Grade: A

Brooklyn is a classic-style Hollywood film that I adored watching. It has a genuine innocence to it with wonderful, powerful acting and perfect cinematography/art direction.

The film is conventional and mainstream, but never sappy.

Based on Colm Toubin’s popular novel of the same name, Brooklyn takes place in the early 1950s and is set in both Ireland and New York City.

Eilis Lacey, played by Saoirse Ronan, is a young Irish girl with good morals and traditional values. She is faithful and Catholic, with a good upbringing. Not rich by any means, she is very intelligent and uses good sense, working hard on weekends in a grocery run by an unkind woman, to save money.

Thankfully, her older sister Rose, whom Eilis adores, has scrimped and saved enough for her to go to the United States and study, via a church program. Rose does not want Eilis to be trapped in the small Irish town in which they live an adequate, but not extraordinary life.

While in New York City, an event occurs that necessitates Eilis’s return to Ireland. While home she develops a romantic dilemma that causes her to ponder whether to return to her new life in New York City or stay in Ireland. Eilis is conflicted, which is the main focus of the story.

On paper one might assume that Brooklyn is sappy, “chick flick” or a trite romance with predictability for miles- it isn’t. Everything about the film is perfect and it is very detail-oriented.  All of the pieces somehow fit together- good direction, good camerawork, good acting, and good story-telling.

Throughout the film I found myself teetering in an emotional state.

When Eilis meets the young and charming Tony, a working-class Italian American, who becomes infatuated with her, I worried how their different backgrounds would be handled. Their courtship is sweet and tender and I found myself cheering for them as their slow romance builds.

From different worlds, she is taught to eat pasta correctly to impress his traditional parents. He walks her home every night. Tony and Eilis have a sweetness and purity that is tough not to fall in love with as an onlooker.

On the other hand, when dramatic events unfold, the excellent acting makes Brooklyn a delight and quite emotionally powerful. One might find themselves a flood of tears by the end of the film.

Thanks to Ronan, an impressive talent to me since my discovery of her work in 2007’s Atonement, she elicits in Eilis a strength and stoicism that is tested when she breaks down at one point in the film. Important to mention is the awe-inspiring performances by Fiona Glascott as Eilis’s sister Rose, and Jane Brennan as Eilis’s mother.

Unknown actresses (to me), both give highly dramatic and dynamic performances in their respective roles.

Always wonderful to see are veteran character actors Jim Broadbent and Julie Walters as Father Flood and Madge, respectively.

What a visual treat Brooklyn is! As the title reveals, most of the action does take place in this New York City borough, and the influx of Irish and Italian immigrants during this period of history is apparent with the clothing and the cinematography.

In Ireland, the lush green and the vast landscape make this simply divine to view.

A story of bravery, romance, and kindness, Brooklyn is a wholesome and feel-good film, yes, but, I was immersed in the story and the look of the film from the very first shot.

Oscar Nominations: Best Picture, Best Actress-Saoirse Ronan, Best Adapted Screenplay

Citizen Kane-1941

Citizen Kane-1941

Director Orson Welles

Starring Orson Welles

Top 100 Films #19

Scott’s Review #296

60000605

Reviewed December 12, 2015

Grade: A

Regarded as one of the greatest films ever made, Citizen Kane (1941) is a technically brilliant film that introduces fantastic new elements into film never before seen and replicated for decades to come. It is a timeless masterpiece still enjoyed and marveled at in modern times.

Forget what the story is about, as one can sit back, not having any idea of what the story means (it can be a bit difficult to follow), and look at the film from a cinematic perspective.

The various camera angles, shadows, and use of an actual ceiling (never seen in film before) are impossible not to appreciate for any film lover.

My favorite scenes occur when director (and star) Orson Welles uses snow falling outside as the cameras look through a window to observe the winter wonderland. This quality is simply astonishing in creative technicality.

I can view this scene over and over again.

The plot is a hybrid of drama and mystery. The life and legacy of newspaper legend Charles Foster Kane are examined.

The character, played by Welles himself, is loosely based on a real-life figure, William Randolph Hearst. The film is told mainly through narrated flashbacks, as a newsreel reporter attempts to solve the big mystery centered around the deceased celebrity- his dying word, uttered from his lavish Florida mansion, was “rosebud” and nobody seems to know who “rosebud” is or what the word represents.

As the story goes along we begin to learn more about the famous Kane. Jerry Thompson, the reporter, learns that Kane’s childhood in Colorado was one of poverty.

His mother, discovering a gold mine on her property, sent Kane away to be educated by a famous banker, thus securing his future. Thompson also interviews Kane’s business manager and Kane’s ex-wife, now a drunk who owns a night club, but neither of them can shed light on the mystery.

The mystery- never solved by Thompson nor anyone else- is revealed at the end of the film, to the viewer only, in fantastic form and Kane’s childhood is key to the entire puzzle. This angle is creative and imaginative and brilliant for the entire film.

Technically, one of the best, most creative film creations, Citizen Kane has lost none of its marvels over the years and can be watched, studied, and introduced to new generations of film lovers eager to learn what a true movie gem is all about.

Oscar Nominations: 1 win-Outstanding Motion Picture, Best Director-Orson Welles, Best Actor-Orson Welles, Best Original Screenplay (won), Best Scoring of a Dramatic Picture, Best Sound Recording, Best Art Direction-Interior Decoration, Black-and-White, Best Cinematography, Black-and-White, Best Film Editing

Spotlight-2015

Spotlight-2015

Director-Thomas McCarthy

Starring-Michael Keaton, Mark Ruffalo

Scott’s Review #294

80061341

Reviewed December 9, 2015

Grade: B+

Spotlight is a film with an important story to tell. A telling of true events that occurred within the Catholic Archdiocese for ages, Spotlight’s focus is specifically on the Boston scandals, as a team of reporters working for the Boston Globe uncover and expose a multitude of child molestation cases committed by priests, subsequently covered up, and leaving victims paid off to keep quiet. The number of proven cases in Boston alone is staggering.

Starring are a plethora of talents including Michael Keaton, Mark Ruffalo, and Rachel McAdams, who lead the pack.

They make up the “Spotlight” team at the newspaper,  an investigative unit that works on special stories as they arise.

Their new boss, Marty Baron (ironically a Jewish man), played compellingly by Liev Schrieber, takes over as head of the department, he quizzically asks why the story is not already a priority. Suddenly it is a hot-burner issue and the film delves into an investigation to uncover the facts.

Spotlight is a minimalist film done very well. There is nothing cinematically unique or razzle-dazzle about it, but somehow that is okay.

In some aspects, the film reminds me of the 1975 thriller All The Presidents Men, starring Dustin Hoffman.

For instance, the bleak, bare news rooms-sterile in their look, are similar- cubicle after cubicle,  harsh lighting, and generic conference rooms.

This is the filmmaker’s intent. Also, the fast, energetic pacing, successfully emitting the tight deadlines newspaper folks are faced with, transfers perfectly on film.

The sexual abuse scandal is a cold, harsh reality and the film introduces several victims, who, now as adults, are forever scarred. Some attend support groups, some take drugs, one is sadly not “all there”. Another, now a gay man, was singled out by a priest during a vulnerable period in the, then young boy’s, life. It is a heartbreaking reality that many victims in the film are based on real cases.

Let’s focus on Schrieber’s character for a minute.  He gives such an understated yet compelling performance that my fear is it will wind up being an overlooked one. He calmly, yet passionately initiates the case. It is not a showy performance, in fact rather subdued, but a compelling one if enough attention is paid to it. He is a standout.

Unfortunately, the film does not delve much into the defense (if any) of the Catholic church. Did they do anything but deny the allegations? Why were the victims paid off? Not much is noted from the church’s point of view.

In real life, the Catholic church did hide the abuse that transpired- for decades.

A slight negative is that the film does not delve into the characters’ personal lives very much.

Michael Keaton’s character, Robby Robinson, is arguably the lead character, spearheading the case,  though very little is known about him.

Is he married? happily? Yes, he is a workaholic, but what else?

Ruffalo’s Michael Rezendes is separated from his wife, but little is known as to the reasons.

Finally, McAdam’s Sacha is probably the most fleshed-out she is happily married and close with her religious grandmother, who is affected by the scandal. But we do not know her in-depth either.

I found myself wanting to know more about these people.

All in all, Spotlight is a very good film that is deserving of the recognition it is receiving. Intense, gritty, and filled with honesty, it is a story that needed to be told and has been told well.

Oscar Nominations: Best Picture (won), Best Director-Tom McCarthy, Best Supporting Actor-Mark Ruffalo, Best Supporting Actress-Rachel McAdams, Best Original Screenplay (won), Best Film Editing

Independent Spirit Award Nominations: Best Feature (won), Best Director-Tom McCarthy (won), Best Screenplay (won), Best Editing (won), Robert Altman Award (won)

The Immigrant-2013

The Immigrant-2013

Director James Gray

Starring Marion Cotillard, Joaquin Phoenix

Scott’s Review #293

70275521

Reviewed December 5, 2015

Grade: A-

The Immigrant (2013) is a lovely, classic, old-style Hollywood film set in early 1920’s New York City.

The film is a classic tale of a poor Polish immigrant who travels to America in hopes of a better life, only to be met with hardship, manipulation, and conflict.

However, The Immigrant is not a downer. Rather, a powerful and intriguing story of life and the clichéd pursuit of happiness with a compelling love story mixed in.

Nominated for Best Actress for Two Days, One Night, eligible the same year as The Immigrant, this is a good example of how the Academy got it wrong as Marion Cotillard should have been nominated for this performance instead of the other.

The actress was, however, recognized with an Independent Spirit Award nomination for Best Actress for this role. A true talent, she gives a wonderful performance.

Little is known about Ewa’s (Cotillard) life before she arrives on Ellis Island with her sister Magda in tow. We meet them as they disembark a ship and wait in line on the immigration line, weary from their escape from war-torn Poland.

They have escaped their native country in hopes of a better life in the United States.

Unfortunately, Magda is ill and cannot hide a cough and is sent to the infirmary most likely before being sent back to Poland. Ewa desperately needs money and is told that her Aunt and Uncle have not shown up to collect her as she had originally thought.

Ewa is now on her own and desperate in a land where she knows not a soul.

As the plot unfolds, Ewa encounters two men who enter her life- Bruno (Joaquin Phoenix) and Emil (Jeremy Renner)- brothers with a rivalry, both professionally and in regards to Ewa. They both fall in love with her- she is gorgeous and innocent after all.

But can the men be trusted? Are their feelings true? We begin to get to know the men better and all may not be exactly as it seems or originally appeared to be.

The Immigrant perfectly captures the 1920s era cinematically with gorgeous cinematography and camera work.

Directed by James Gray, a director with a tendency to direct films set in New York City and feature a romantic element (Two Lovers comes to mind- also starring Joaquin Phoenix as a Jew pursuing a blonde girl).

In The Immigrant, I felt like I was transported to the 1920s with Bruno’s dark coat and bowler and the character’s costumes in general.

The Lower East Side, from the automobiles to the theaters, seems like that’s how it was back then- charming, artistic, and yet combustible too.

Marion Cotillard gives a soft yet tough performance as the long-suffering, heart-of-gold Ewa. The character’s yearning to keep her traditional catholic values while transported into a new and dangerous world filled with corruption and the need to survive is heartbreaking and Cotillard wears her heart on her sleeve.

She is also tougher and more stubborn than we first think she is- she will not be taken advantage of and these aspects give the character complexity.

I did not see her as a victim.

Let’s not forget the men in the film and while it borders on turning into a “woman’s movie” towards the climax, and Cotillard is front and center, Phoenix and Renner are flawless.

Phoenix, with the larger role, is extremely complex and it takes the audience until the final scene to entirely figure Bruno out.

I wish The Immigrant (2013) would have found a wider audience, but for fans of a traditional, classic, romantic Hollywood experience, this film is a treat.

It will take you back to an earlier time in the world- in a completely authentic way.

Independent Spirit Award Nominations: Best Female Lead-Marion Cotillard

Les Biches (Bad Girls)-1968

Les Biches (Bad Girls)-1968

Director Claude Chabrol

Starring Stephane Audran, Jaqueline Sassard

Scott’s Review #292

60026766

Reviewed December 3, 2015

Grade: B+

Les Biches (translated to mean Bad Girls in English) is a French-Italian film from 1968 about a peculiar relationship between two women, one a wealthy, gorgeous, sophisticate named Frederique, and the other a poor, waif-like, struggling street artist named Why.

They embark on a tumultuous love affair marred by competition for handsome Paul Thomas, the local architect.

At its core, the film delves into the class struggle, lust, and violence.

The beginning of the film sets the tone as Frederique provides Why with a large sum of money as she stops to admire her art on the streets of Paris. She invites Why back to her lush villa in gorgeous Saint Tropez, where Frederique lets two outrageous gay men co-habitat with her.

The household is a circus of sorts as the men prance around wildly, but Frederique teaches Why about high society and good living.

Soon Paul is introduced to the story and takes a shine to Why. She calmly rejects him and Frederique then begins to fancy him, thereby emotionally rejecting Why and leaving her feeling out in the cold.

The film then takes a psychologically dramatic turn as the characters turn against one another.

I admire this film as it is an unorthodox story, especially for 1968. Same-sex stories are not the norm these days and the interesting key is that the classes are different.

Frederique has control and power over Why because she has money. Paul admires Why, but he cavorts with Frederique. Is he genuinely interested in her or does he value her money most of all?

The film never makes the distinction crystal clear, but one speculates it is the latter. Frederique uses her wealth (and beauty) to obtain what she wants- namely, Paul to spite Why.

Why is younger and fresher and has not been marred by the world…yet? The gay men are cartoon-like. It is not clear exactly who they are or why they live in the villa. Little background is known about any of the characters.

Foreign-language films, especially of the 1960s and 1970s are fascinating- filled with life and interesting facets and Les Biches is a prime example of interesting film-making.

A trip down the bi-sexuality lane with two gorgeous women at the forefront of the story, both struggling for power over the other, though one with a clear advantage.

Interesting to note that at the time of release is the film was touted as a lesbian skin-flick and humorously miss-thought to be entitled “Les Bitches” (perhaps to get audiences in the door), but is hardly a sex romp- quite the contrary as the psychological elements overtake everything else.

Les Biches (1968) is an odd little adventure, but one to be appreciated and traveled with an open mind if the mood is right. Stylish and interesting and certainly non-mainstream, it challenges the social norms of the day and provides certain Hitchcock-like elements, especially in the final chapter.

Suffragette-2015

Suffragette-2015

Director-Sarah Gavron

Starring-Carey Mulligan, Helena Bonham Carter

Scott’s Review #291

80046819

Reviewed December 1, 2015

Grade: A-

Led by an excellent performance by Carey Mulligan, Suffragette is a British film that tells the true story of the fight for women’s suffragette, as a team of women fought endlessly to obtain their right to vote, a vote that today most (men and women) take for granted.

Several of the characters are real-life portrayals, however, Mulligan’s central character of Maud Watts is fictional. She is assumed to be a hybrid of other real-life characters.

Perfectly shot and giving a fantastic impression of life in England in the year 1912, the film centers around a bevy of working-class women- many of whom work endless and thankless hours in a sewing factory, working for and forced to tolerate a vicious, unkind man.

Their lives are bleak.

A women’s movement has developed, led by the mysterious Emmeline Pankhurst (Meryl Streep) and Edith Ellyn (Helena Bonham Carter), both financially successful, but very passionate women, spearheading the “women’s movement”.

The main character is Maud. The film is told from her perspective.

She is a hard-working laundress in her early twenty’s, married to her husband, Sonny, and with a young son. Plain, yet pretty, the audience knows this is all her life will ever be.

She has worked at the same sewing shop since a young age and has been sexually abused by her boss for years. While delivering a package, she witnesses a co-worker smashing a window in protest of the women’s movement.

Initially reluctant to join the movement, Maud realizes the importance of it and loses her family and job in the process because of her devotion to the cause.

When women were finally granted the right to vote in England in 1928, sixteen years after the movement began,  this took a brave group of women who risked (and lost) their families, jobs, and was imprisoned, and in one heartbreaking scene, loss of one’s life, all in powerful devotion to what they felt was right and just, despite numerous powerful figures beating them down. How sad to think this happened.

The film accurately portrays the might and courage that the women possessed.

Two of the most powerful scenes in the film are as follows and one belongs to Mulligan- ostracized by her husband and community- and having been imprisoned more than once- Sonny decides to give their son away to an affluent couple. The boy is ripped from Maud’s arms and we realize she will likely never see the boy again.

It is tragic and painful to watch and Mulligan nails it from an acting standpoint. I have always admired Carey Mulligan- she chooses wonderful and challenging parts- never succumbing to mainstream mediocrity.

Think portrayals in Shame, Never Let Me Go, and An Education.

The second powerful scene comes at the end of the film. When a character sacrifices her life (a real-life person, mind you) at the Epsom Derby where King George V is present, simply so that the women’s movement can get major exposure by running onto the track and wielding a sign, she is brutally trampled to death.

Subsequently, a funeral parade results, finally leading the masses to take notice and realize how important an issue this was.

The filmmakers of Suffragette wisely dedicated real-life footage of the parade that took place in the time.

An important film with a powerful message, Suffragette is beautifully shot and led by bravura acting and a true, real-life historical story, to be appreciated for its honesty.

Sexy Beast-2001

Sexy Beast-2001

Director Jonathan Glazer

Starring Ray Winstone, Ben Kingsley

Scott’s Review #286

60020863

Reviewed November 13, 2015

Grade: B+

Sexy Beast is an interesting little indie gem that has garnered quite a cult following, deservedly so,  since the year of its release- 2001 and that I have recently viewed for the first time.

In large part, the film belongs to Ben Kingsley as he gives a bravura, and frightening,  performance as a crime lord attempting to convince a retired hitman, now sworn to the straight and narrow, to resurrect his career for one last heist.

The other principal characters are wonderful in their own right, as the film successfully mixes elements of Quentin Tarantino with Ocean’s Eleven- bank heist meets quirkiness, with smart and witty dialogue sprinkled in.

Gary Dove is happily retired and living a life of contentment with his ex-porn star wife, Deedee, and best friends Aitch and Jackie.  Having all been involved in “the biz”, they are long since removed from their respective careers. They now enjoy evening parties of wine and martinis, and days relaxing by the pool in their Spanish villas.

One day, a former criminal associate, Don Logan (Kingsley), who is also a sociopath, arrives to disrupt their peaceful lives and coordinate a bank heist in London, in hopes of luring Gary into the game once again.

As Gary and company nervously decide to decline Don Logan’s offer to participate in his sinister plan, a wonderful and important scene occurs early in the film. The quartet sits around the dinner table at a swanky Spanish restaurant anticipating a scrumptious meal.

Jackie reveals the news that Don has contacted her and the tone of the scene immediately changes to one of dread. All of them both fear and despise Logan.

They agonize over this sudden disruption to their lives and we, the audience, fear Don Logan before he ever appears on-screen. What fantastic story-telling.

Kingsley portrays a menacing character and brilliantly so. The character contains frightening brutality bubbling beneath his normally calm demeanor, which makes the viewer shudder when he appears on-screen.

Lest we forget, Ian McShane also gives a nuanced performance as Teddy Bass, Logan’s right-hand man, and wise businessman.

The cat and mouse scene towards the end as Teddy and Gary have an important discussion in a car is both chilling and important to the plot of the film. As Teddy slowly figured out certain events I was left intensely anticipating his reactions.

The film introduces an intriguing sub-plot involving Don’s long-ago fling with Jackie and subsequent love for her which adds layers to the plot and the dynamic and tension between Don and Gary.

Upon finishing the film, I loved the effect of foreshadowing that the film contains. I found myself rewinding the events in my mind, pleasurably so.  From the pool to the young Hispanic kid to the thunderous boulder- all of these elements were crucial to the conclusion and fit like a puzzle.

A dark comedy of sorts, I chuckled after the film as the final reveal involving a double-heart insignia and a pool that gives comeuppance to the villain and pleases the viewer.

Having alluded to viewing Sexy Beast (2001) over the years, I am glad that I finally found the time to witness a darkly comical gem that, admittedly, may take repeated viewings to absorb and therefore fully “get”, and I look forward to doing just that.

Oscar Nominations: Best Supporting Actor-Ben Kingsley

Independent Spirit Award Nominations: Best Foreign Film

This Gun For Hire-1942

This Gun For Hire-1942

Director Frank Tuttle

Starring Veronica Lake, Robert Preston

Scott’s Review #285

70000544

Reviewed November 3, 2015

Grade: B

This Gun for Hire (1942) is an early film noir that influenced later films of a similar genre. Starring marque headliners of their day, Alan Ladd and Veronica Lake, this film is a surprisingly violent experience for its period. Shot in black and white, the film is wonderfully lit, adding style as well as substance to it.

The film begins with a bang…literally, as hit-man Philip Raven (Ladd) murders a chemist and blackmailer in exchange for a hefty sum of loot.

His wealthy boss double-crosses him and reports him to the Los Angeles Police Department. Detective Michael Crane takes the case aided by his sexy girlfriend and nightclub singer Ellen Graham (Lake). Adding a wrench to the story is the tangled love affair that ensues between Ellen and Raven, who are the film’s main draw.

I love the black and white shooting of this film, as many were in 1942, and found this only enhances the tone of the picture given that it is of crime/hit-man variety.

The chemistry between Lake and Ladd smolders and Lake is great as a femme fatale with her long blonde locks and sultry pout.

She was the inspiration for the character conceived for L.A. Confidential as Kim Basinger portrays a Veronica Lake look-alike. Ladd is brooding in his intensity as the hit-man with the damaged childhood and ultimately sympathetic personality.

The setting of San Francisco and L.A. is wonderfully perfect and adds depth as the warm and sunny locales are mixed in with murder, corruption, and shenanigans. Who wouldn’t make comparisons to Chinatown (1974)??

A flaw I found in the film and which I found it difficult to buy into is the implausibility of Ellen falling in love with Raven as he tries to murder her-unsuccessfully so. This point seems plot-driven and a way to incorporate a mainstream love story amid the thrilling film noir.

Surely, she would find satisfaction in a romantic sense with her detective boyfriend and since the duo has no conspicuous problems, the love between her and Raven is all the more inexplicable. Still- sparks do indeed fly on-screen.

An action-packed crime affair, This Gun for Hire laid a crisp blueprint for film noir and hitmen, action types films for decades to come and I admire it for this reason.

It Felt Like Love-2013

It Felt Like Love-2013

Director Eliza Hittman

Starring Gina Piersanti

Scott’s Review #283

70268905

Reviewed October 17, 2015

Grade: B

It Felt Like Love is a small, independent film from 2013, that garnered two Independent Spirit awards for its efforts.

A coming of age story encompassing a vulnerable and naïve fourteen-year-old girl, aware of her budding sexuality and developing a crush on an older rebellious boy.

Quiet and subdued, the film tells an honest story of a young girl’s emotional struggles surrounding jealousy, loneliness, and fitting in.

Lila is a typical teenager living in New York City in what appears to be a blue-collar area of Brooklyn. Lila emulates her seemingly more mature (she is turning sixteen), and much more sexually experienced best friend, Chiara.

Never without a boyfriend, and very popular, Chiara gains the attention of almost every boy she is around.

One day on the beach, a handsome friend of Chiara’s, named Sammy, passes by, when Chiara describes him as “sleeping with anyone”, Lila becomes fixated on him. As she pursues him relentlessly, she puts herself in precarious situations and gets in way over her head.

Throughout this drama, Lila’s best male friend and neighbor, a child-like and innocent-looking kid contrasts perfectly with the rugged, older Sammy.

Lila has two “men” in her life, who could not be further opposites. The neighbor kid represents her youth, and Sammy, her adulthood, and she is stuck somewhere in the middle, wrestling between the two stages of her life.

The film is the debut of acclaimed director, Eliza Hittman, who weaves an interesting and true-to-life premise. The feelings and emotions of a fourteen-year-old girl are powerful and often involve risk-taking without any thoughts of repercussion.

Liza is extremely vulnerable as anyone her age is, especially since the film reveals that she has recently lost her mother to breast cancer. Her father is a caring yet no-nonsense type and is written well- as a typical blue-collar father would act-.

The standout to me is the actress who plays Lila, Gina Piersanti. What a marvel! The youngster brilliantly portrays a range of emotions- gloominess, insecurity, and annoyance.

She is insecure but intelligent and savvy for her age. Her obsession for Sammy, clearly from the wrong side of the tracks, is dangerous, as he smokes pot regularly, parties, and works in a pool hall.

He ultimately is not for her and I think Lila knows this deep down. But at her age, she is craving attention and sexually blooming.

All of the actors in the film are newcomers and do a fantastic job of relaying honesty. Lila’s motivations are not always clear, but then again, she is a teenager- moods and motivations change with the weather.

During one powerful scene, Lila hangs out at Sammy’s apartment (where she usually can be found and is perceived as a pest). Sammy and his two friends are smoking pot and watching basketball on television.

Somehow, the subject matter turns to oral sex. As Sammy’s friends eagerly accept Lila’s awkward offer to pleasure them, Sammy rebuffs her advances and says that his “privates” do not like her. This seems to bring acceptance to Lila to leave him alone.

The audience hopes she musters her self-esteem and goes on with her life. The showing of full-frontal male nudity was surprising to me- very seldom is this shown in American cinema.

Interestingly, we never actually see Lila engage in any sexual activity- the point of the film is that she wants to desperately, but we cringe as we fear for the worst in each dangerous sexual encounter she experiences.

Perhaps it could have been further developed or fleshed out, but, It Felt Like Love (2013) is a truthful, quiet film with powerful acting and writing from new talent sure to be around for years to come, with the wonderful skills they possess.

Independent Spirit Award Nominations: Best Cinematography

Force Majeure-2014

Force Majeure-2014

Director-Ruben Ostlund

Starring-Johannes Bah Kuhnke, Lisa Loven Kongsli

Scott’s Review #280

80007252

Reviewed October 4, 2015

Grade: A

As a huge fan of foreign language films, I was delighted to stumble upon this inventive and thought-provoking treat that is Force Majeure.

A Swedish film set in the alps of eastern France, the film is a family drama that is powerful, emotional, and especially psychological. The best films leave you absorbed in thoughtful conversation or introspection, and this film successfully did both for me.

Tomas and Ebba are an attractive couple in their mid-thirties vacationing with their two young children, Vera and Harry. Everyone is excited about the holiday as Tomas is away from work for a full week. They are a family of affluence and sophistication based on the luxurious mountain top hotel they stay in.

However, there is a subdued level of tension among them.

On the second day, they enjoy lunch at the hotel on an outdoor patio along the snowy mountainside. As a controlled avalanche begins to head their way there is suddenly panic as everyone flees for safety. The avalanche is feared out of control, but thankfully is mist and everyone safely returns to their lunch.

However, Tomas’s instinctual reaction to the terror sets off a wave of debate for the remainder of the film. The family experiences an enormous range of emotions and subsequently engages their friends in the conflict as they discuss and analyze the event.

The heart of the film is Ebba’s rage and Tomas’s guilt.

What I adore most about this film is its intelligence. It is smart and well written. From a pacing perspective, it is admittedly slow and this may turn some viewers off. Simple scenes feature the family brushing teeth or napping- scenes in which not much happens.

But the intense psychological aspect lying beneath the surface makes up for these uneventful scenes. Smart dialogue between characters is my favorites- Ebba sits in the lobby sipping a drink with her friend, a sophisticated, sexually promiscuous woman, who is vacationing alone to get a break from her husband and children.

She picks up men for fun and has no hang-ups about it. This particular scene is laced with interesting discussion. Ebba cannot understand her friend’s life choices and freedom and reveals that she is afraid of being left alone- she comes across as judgmental and insecure whereas the friend is confident and secure. It is a “coffee talk” moment but reveals so much about the characters.

Later, Tomas and Ebba have a chat with their friends Matts and Fanni, over wine. When the discussion turns to the avalanche experience, the situation is analyzed by Matts, leading to tension for all. Matts sides with Tomas, whereas Fanni sympathizes with Ebba.

The disagreement stays with Matts and Fanni throughout the night as they reveal their conflict and put themselves in the other couple’s shoes.

Towards the end of Force Majeure events become strange as Matts and Tomas embark on a relaxing guy’s day out on the ski slope. As they sip drinks and listen to music an attractive female flirtatiously tells Tomas that her friend thinks he is the sexiest man she has ever seen. Tomas feels like a million bucks and the audience is happy for him- however, the woman quickly returns and informs them that she was mistaken and her friend was referring to another man.

This escalates into a near fight and little dialogue is used throughout the scene. Rather, expressions are widely used. Later, a bizarre scene involves Tomas being accosted by frat boys and forced to guzzle beer- is this imagined or real?

We never find out.

Force Majeure is a spectacle. Scenes of the crisp, white, cascading snow are beautiful. The avalanche scene is amazing and creepy as the snow rapidly comes into view and gets closer and closer to the diners.

Will they be killed we wonder? The climactic bus scene as the departing vacationers travel by bus down a windy road is quite scary as the inept bus driver has difficulty navigating the bus. Will it crash killing everyone? Is he purposely driving recklessly on a suicide mission? The looming mountainside to the bottom is bot frightening and fascinating to look at.

Intellectual, curious, and bizarre, Force Majeure is a foreign language film worth checking out for a unique, cerebral experience.

Independent Spirit Award Nominations: Best International Film

Oliver Twist-1948

Oliver Twist-1948

Director David Lean

Starring Alec Guinness

Scott’s Review #279

822333

Reviewed October 3, 2015

Grade: A-

Oliver Twist, the 1948 film version, is vastly different from the 1968 version, which turned the classic Charles Dickens novel into a musical, albeit a dark one, with colorful sets and brilliant art direction.

This version, made in black and white, is a much closer telling of the novel and contains masterful direction and cinematography.

Given the enormous length of the novel, some characters and details are inevitably trimmed or modified to fit a one-hour and forty-eight-minute film.

The film is a gorgeous cinematic treat with glowing lighting and creative camera angles, thanks to the wonderful direction of legend David Lean (Lawrence of Arabia).

The film begins on a stormy night with the birth of poor little Oliver, his mother was frightened and dies in childbirth, leaving him to live a life of hardship in a workhouse. His mother possesses a beautiful locket, which is stolen by an old crone, who assists in the birth.

Now a young boy, Oliver draws the shortest straw, forcing him to utter the famous line “Please Sir, I want some more”, about desiring more bland gruel that the orphans are forced to eat.

From this point, Oliver is deemed troublesome and sold to an undertaker named Mr. Sowerberry. When this doesn’t work out, Oliver takes to the harsh streets of London to make his fortune among thieves such as Fagin, Bill Sykes, and The Artful Dodger, who become his friends, but also his enemies.

Since I have seen the musical version of Oliver so many times over, and have also read the novel, it is difficult to watch this film without comparing it to the others.

Oliver Twist is a more dark, gritty experience than Oliver! and specifically and closely resembles the novel, with details surfacing such as the back story of the locket that takes on a more central role when the old crone repents on her deathbed, revealing all to the equally crooked Mrs. Corney.

Another example is the casting of less polished, or average-looking actors than Oliver! had. Fagin, for example, played by Alec Guinness, is heavily disguised, with stringy hair and a prosthetic nose, a close comparison to the illustration drawing of Fagin in the novel.

Bill and Nancy have smaller, though crucial, roles to play, but are not as fleshed out as the other versions. The timing of particular events comes into play- Nancy does not meet Oliver until later in the story, for instance.

The film does have light-hearted moments, which balance the heavy drama perfectly. The comic shenanigans of beadle Mr. Bumble and matron Mrs. Corney, both sinister characters, but together a bickering, boorish couple who eventually marry each other, add humorous moments to the story as she becomes a domineering wife throughout their many fights and schemes.

The fact that the group of young thieves (boys) all live with Fagin in close quarters, the suggestion of child molestation is certainly implied, but not pursued quite as much as in the novel.

I do not think that filmmakers in 1948 would have dared to go there in a film that was arguably meant to have a wholesome feel to it in some way.

The certainty that Nancy is a prostitute and primarily sleeps in the streets is also addressed, though she is still rather glamorous and clean-looking. The class distinction is evident.

The bleakness of the workhouse and Fagin’s quarters counterbalances the rich and lush home of Oliver’s savior, Mr. Brownlow. I love his estate and housekeeper, the kindly and sweet Mrs.Bedwin.

A close retelling of the novel, Oliver Twist is a wonderful film that can be enjoyed by parents and children alike and can be appreciated through generations of families.

Black Mass-2015

Black Mass-2015

Director-Scott Cooper

Starring Johnny Depp, Joel Edgerton

Scott’s Review #278

Black_Mass_(film)_poster

Reviewed September 28, 2015

Grade: B+

A dark tale of crime, corruption and Irish mob ties encompass Black Mass, a crime drama based on the life and times of infamous Boston crime lord Whitey Bulger.

Set primarily in Boston, with a segue to sunny Miami during the 1970s and 1980s, the film primarily focuses on the intricate dealings between Bulger and childhood friend John Connelly, now FBI, as he uses Bulger as an “informant” to secretly bring down an Italian mafia figure, but slowly becomes more involved in Bulger’s sinister world.

Beginning in 1975, the film is authentic in its use of the styles, cars, and looks of the times in Boston during that period. Plausibility is apparent along with powerful acting from top to bottom.

The stellar cast of Black Mass, and it is a hefty cast, features an array of well-known and capable actors, which adds a level of realism to the film.

Led by Johnny Depp as Whitey himself, Depp gives an eerie, hypnotic performance as his bright blue eyes sparkle in a devious way.

Whitey is ruthless and will do whatever is needed to keep power and control. Joel Edgerton, like Connelly, is arguably the lead character in the film, though Depp gets top billing. Edgerton, in real life quite handsome, appears frumpy, and as a regular Joe type.

Supporting turns by Benedict Cumberbatch, as Whitey’s powerful Senator brother, is crafty and sleek, but corruption shrouds him. Kevin Bacon, Dakota Johnson, Peter Sarsgaard, and Julianne Nicholson portray smaller yet pivotal roles and all do a fine job.

The screenplay is intelligently written.

The story itself is quite dark and there is nary a laugh or a light moment throughout.

There are numerous deaths, the victims shot at point-blank range, but also two deaths in particular, where the victim’s suffering is prolonged and the scenes are cringe-worthy. Needless to say, the film is very violent and given the subject matter, is riddled with foul language.

One impressive aspect of Black Mass is it is a character-driven tale and the fact that it is based on a real-life person adds to this.

But not only was Bulger fleshed out, but John Connelly was written very well. Gradually becoming immersed in the crime world as opposed to the world of law, we see Connelly sink deeper and deeper into Bulger’s world, and not so unwillingly either.

He loses his wife Marianne (Nicholson) along the way as she tires of the danger and corruption surrounding her. A chilling scene occurs when Bulger confronts Marianne in her bedroom, after observing negative vibes from her, and warns her in a flirtatious way, never to cross him. As he caresses her face and slowly firms his grip, it is a rather frightening scene.

The dialogue is crisp. When Bulger is invited to a steak dinner at Connelly’s house, there is awkward tension at the dinner table. Jovial small talk over the preparation of the delicious marinated steak everyone is eating comes to the forefront as Bulger asks Connelly’s partner to reveal his family secret recipe for the favorite steak he has ever eaten.

When the partner eagerly confesses the recipe, he is subsequently berated and coldly quizzed as to whether he would give up Bulger’s secrets as easily.

This is one of the best scenes in the film.

Comparisons to Goodfellas are evident but without the fun. I thought of The Departed throughout the viewing as well.

I think director Scott Cooper goes for and successfully achieves, good straight-forward, dark story-telling. Take the number of killings. The organized crime world is a dirty, intense, unkind world and Black Mass portrays this well.

Black Mass is a success on many levels. The superior acting coupled with smart, detailed writing, and truthfulness creates a very good film. Just be sure to remember it is a heavy one.

Grandma-2015

Grandma-2015

Director-Paul Weitz

Starring-Lily Tomlin, Marcia Gay Harden

Scott’s Review #275

Grandma_Movie_Poster

Reviewed September 21, 2015

Grade: B+

Grandma is clearly and deservedly, a showcase for the talented and interesting legendary Hollywood actress Lily Tomlin.

Years (twenty-seven to be precise) since she has had a starring turn in a film, the role of Grandma is custom made for Tomlin, with the character’s sarcasm, wit, and downright bluntness emerging to the forefront.

The film is labeled a comedy/drama, which it is, but centers around a heavy topic in that of abortion, and runs the risk of offending pro-life individuals, as the film undoubtedly contains a pro-choice slant.

Ellie (Tomlin) is a poet and former college professor in her seventies living in California. She is a lesbian and is mourning the recent death of her long-time partner. She has recently been dating a lovely young woman named Olivia (played by Judy Greer), whom she unceremoniously, and cruelly dumps, referring to Olivia as little more than a footnote in her life. Afterward, Ellie breaks down in tears of guilt while showering.

One day her granddaughter, Sage, (her daughter Judy being the product of a one-night stand), appears on her doorstep asking for money for an abortion. Having just paid off all of her debts and destroyed her credit cards, Ellie is therefore broke.

The duo embarks on a quest for cash, and race against time to make the appointment in time for the scheduled procedure.

The film belongs to Tomlin but is enhanced by excellent supporting turns, specifically by Marcia Gay Harden as daughter Judy, and veteran actor Sam Elliot, as Ellie’s former flame Karl, to cite examples.

Judy and Ellie have experienced a tumultuous relationship their entire lives while Karl harbors resentment for Ellie for long-ago aborting their child. Harden is thrilling as a borderline, one-dimensional bitch character.

She is driven, angry, and self-centered, and it is mentioned that she has gone through numerous administrative assistants in her high-level corporate role.

I have not seen Harden in a role quite like this before. As unsympathetic as the character is, one cannot help wondering if Ellie’s mothering skills may have perhaps made Judy turn out this way. Karl on the other hand, I found to be sympathetic. He is still wounded from his ages ago relationship with Ellie and may still hold a flame for her, as unlikely a romance between them would be.

The film is darker than I expected and is not a syrupy, mainstream, family story one might expect from the fuzzy one-word title.

Still, Tomlin’s cantankerous, sarcasm kept me in stitches and perfectly balanced the tough subject matter displayed in Grandma.

The relationships between the main characters are complex and tough to watch as they argue, swear, and berate each other repeatedly.

There is love mixed in, to be sure, but complexities arise due to the controversial subject matter. The history of and, in many cases, painful memories are dredged up between characters.

Impressively, Grandma is not a film that debates the hot button issue of abortion as one might assume. Sage never really considers keeping her baby- the issue is more a matter of having the procedure done as quickly as possible- no fuss no muss style. Ellie and Judy never try to persuade Sage to keep the child nor does Sage seriously contemplate keeping the baby.

The only instance of a pro-life perspective is when two ridiculous characters- a young mother and her ten-year-old daughter- suggest Sage not kill her baby. When Ellie steps in the young girl punches her in the face. Is this intended as comic relief or to make these characters appear as buffoons?

These characters are certainly laughable.

The father of Sage’s baby is unsympathetic and a very minor blip on the radar. My theory is that the film chooses to go this route intentionally to avoid a debate over the abortion issue.

A debate is not the point of the film, but rather the relationships between the characters are.

The scenes involving Ellie becoming irritated and sarcastic are priceless and successfully utilize the talents of Tomlin to the hilt. As she hilariously goes from situation to situation in an attempt to earn the $600 for Sage she resorts to various means as diverse as selling books, giving a kiss, or collecting an old debt and this is the main draw of this witty little film.

Dear White People-2014

Dear White People-2014

Director-Justin Simien

Starring-Tyler James Williams, Tessa Thompson

Scott’s Review #274

70298948

Reviewed September 18, 2015

Grade: B+

Dear White People is a highly creative, independent satire that begs to be watched if for nothing else but its message of existing racism in present times, homophobia, and class distinction.

Set at an Ivy League college and written tongue and cheek, but also with a direct message from newly discovered director Justin Simien, it is a meaningful gem that challenges audiences to think as well as be entertained and emit an occasional chuckle at the wit and comical lines presented.

Set in present-day- assuming 2013 or 2014, and well beyond the Civil Rights era, the film features a hip, sharp look and a myriad of characters, all with differing perspectives, and all of whom are either Caucasian or black in racial identities.

All of the characters attend the affluent and sophisticated Winchester University, a mostly white, conservative school with a small community of black students, who curiously all seem to reside in the same dorm house.

In addition, the Dean is a black man (played by Dennis Haysbert).

Sam White is a rebellious female student, of mixed race, who runs a radio show entitled “Dear White People”, which challenges the current state of racism in America, and specifically at Winchester University.

Supporting characters include Lionel Higgins, a gay, bookish student with an enormous afro, who is excluded from almost all of the sub-groups. Lionel is intrigued by Sam’s radio show.

Other characters include Coco- an attractive black girl with typically “white” mannerisms and friends, who tried to fit in with the white culture. Troy, a very handsome black student (who tries to act “white”), dating a white girl (who tries to act “black”).

Finally, the film features Kirk, a white student whose father is the school president, who values an old-style way of thinking. Kirk, shockingly, hosts a blackface party, which leads to major controversy at the school and is the focus of much of the film’s drama.

The main theme of the film is race, but different characters have different viewpoints on the subject matter, and all are explored, which is what makes the film so unique and interesting.

Sam, for example, is a true advocate for racial equality and constantly challenges white people’s motivations and actions, blatantly so. Coco, on the other hand, is resistant to being stereotyped as a woman of color and, in one scene is incorrectly assumed to be from the hood by a reality television producer she is auditioning for.

She is envious of white people and the advantages they have, even going so far as having straight hair and blue contact lenses. Then we have Lionel, who is both gay and black, and considered an outcast. He fits in with no group and curiously seems okay with being his person.

What is unique and compelling about Dear White People is that it brings up a controversial issue, mixes it in satire, humorously so, but also presents compelling arguments against stereotypes, but also bringing those stereotypes center stage, which most films avoid like the plague.

One black character is frustrated that, in their mind, most black people are content watching dumb black comedies, thereby supporting a negative racial stereotype.

One interesting aspect regarding the score of the film is the use of lily-white classic film music- such as Barry Lyndon- the most lily-white of lily-white films (British and Irish).

Famous film director, Quentin Tarantino, is called out as being a racist director. What wonderful irony!

Dear White People is a witty, intelligent slice of inventive filmmaking that is worth seeing if only for its controversial subject of inequality and racism, which is too often forgotten in today’s day and age.

A non-formulaic indie treats for those inclined to think a little.

Independent Spirit Award Nominations: Best First Screenplay (won), Best First Feature