Picnic-1955

Picnic-1955

Director Joshua Logan

Starring William Holden, Kim Novak

Scott’s Review #550

Reviewed December 19, 2016

Grade: A-

Picnic is a dear, classic film, from 1955 that is just wonderful to watch over the Labor Day weekend holiday, or anytime throughout the humid summer season.

The film perfectly depicts summertime in a tiny town. Set in Kansas, it is a slice-of-life story that tells what life was like in middle America during the 1950s, trials, and tribulations notwithstanding.

William Holden stars as a “wrong side of the tracks” type of guy who arrives in a quiet Kansas town on Labor Day weekend, disrupting the town events and causing scandals for the townspeople.

He is a hunky former college football player and exudes sexuality.

He then falls in love with his best friend’s girlfriend, Madge Owens, played by Kim Novak. The chemistry between the two stars is readily apparent and the film’s main appeal.

The supporting cast makes this film special (Arthur O’Connell and Rosalind Russell star as townspeople, who are in a relationship of their own). Picnic also contains a gorgeous and lovely musical score, precisely “Theme from Picnic” and “Moonglow”.

Beautifully shot on location in Kansas, mostly in and around Hutchinson, and is considered classic summer enjoyment.

Based on the Pulitzer-award-winning play.

Oscar Nominations: 2 wins-Best Motion Picture, Best Director-Joshua Logan, Best Supporting Actor-Arthur O’Connell, Best Scoring of a Dramatic or Comedy Picture, Best Art Direction, Color (won), Best Film Editing (won)

The Band Wagon-1953

The Band Wagon-1953

Director Vincente Minnelli

Starring Fred Astaire, Cyd Charisse

Scott’s Review #549

Reviewed December 15, 2016

Grade: B

The Band Wagon, made in 1953, is a second-tier MGM (Metro-Goldwyn-Mayer) production- and by that I mean it is not as stellar as other musicals of its time.

It lacks the grandiose appeal of other similar musicals like An American in Paris and Singin’ in the Rain.

Directed by Vincente Minnelli- a legendary music director of the 1950s and starring Fred Astaire, The Band Wagon tells the story of a washed-up movie star trying to revive his career on Broadway.

He meets opposition from his co-star and prima ballerina, Gabrielle, played by Cyd Charisse, ironically, an actress who appeared in Singin’ in the Rain.

The Band Wagon is a fun movie, just not nearly on the level of the aforementioned movies, and rather a pale imitator. While other musicals of similar style can be watched numerous times, The Band Wagon is a one-and-done affair.

The story starts slowly but gets much better towards the end.

The film has a few memorable musical numbers, most notably “That’s Entertainment”.

Oscar Nominations: Best Story and Screenplay, Best Scoring of a Musical Picture, Best Costume Design, Color

The Bridesmaid-2004

The Bridesmaid-2004

Director Claude Chabrol

Starring Benoit Magimel, Laura Smet

Scott’s Review #548

Reviewed December 14, 2016

Grade: B+

A more modern offering by Claude Chabrol, (many of his films were made in the 1960s and 1970s), his 2004 film entitled, The Bridesmaid, continues the tradition of compelling, macabre, story-telling immersing the viewer in strange behavior by the central characters, as they obsess over each other in one way or another.

The film is in the French language.

The Bridesmaid contains two plots- one explored fully, the other not explored as much as might have been hoped- the latter being the more interesting of the two.

Philippe is the only son of his mother, Christine, and the only male in the household- his two other sisters live there as well. Christine is divorced and works as a hairdresser.

The family is a rather typical one save for a creepy incestuous bond between Philippe and Christine-very romantic in their conversations with each other, and Philippe’s penchant for carrying around a head statue carved to resemble his mother.

He regularly sleeps with the statue and kisses it on the lips.

As the youngest daughter is to be married, Philippe meets and bonds with one of the bridesmaids- Senta. The two embark on a torrid love affair and become inseparable. As their love flourishes, Senta becomes obsessive in her undying love for Philippe and asks him to kill a stranger as a way of proving his love for her.

This leads to confusion as Senta kills another character, thinking this is what Philippe wants. Philippe becomes both afraid and titillated by the young girl.

The main plot is very reminiscent of the Hitchcock classic, Strangers on a Train, as one party is bloodthirsty and the other a more innocent victim of the plot, yet in Chabrol’s film, the other party suffers from issues of their own in the emotional sense.

Senta is unbalanced, and a mysterious figure from her past- Rita- described as her stepmother, appears a few times, as she dances with her much younger partner.

A local girl mysteriously disappears early on in the film, which may be a red herring to the stories, or perhaps related to all the events of the film.

I was more intrigued by the mommy/son angle, but perhaps that is Chabrol’s way of confusing the audience. Oddly, the duo has simmering chemistry, yet each character never fesses up to being obsessed with the other- it is merely implied.

Philippe dislikes Christine’s beau, who figures prominently in the main story of Senta’s machinations, but I wanted more of Christine and Philippe.

Stylistically, The Bridesmaid is dreamy and builds at a slow momentum, similar to Chabrol’s earlier films- we are aware that the story will play out in a strange, interesting fashion, but we do not always know just what road Chabrol might take, nor what plot points may or may not be revealed.

Perhaps less developed than some of his fantastic earlier efforts, but a recommended watch for someone in the mood for a morbid, left of center, story to sink one’s teeth into.

Claude Chabrol is a director I admire greatly for his use of fascinating elements that keep the audience guessing as to what is coming next, and this is a joy in itself.

The Believers-1987

The Believers-1987

Director John Schlesinger

Starring Martin Sheen

Scott’s Review #547

Reviewed December 12, 2016

Grade: B

The Believers is a very obscure film that I had never heard of before viewing it. Combined with the fact that it was made in 1987 (not a great time for movies) I was skeptical about this one but was pleasantly surprised.

It has some edge to it, is mysterious, and is set in New York City- always a plus for me.

Martin Sheen- merely a youngster when this was made-plays a police psychologist, Cal Jamison, involved in a voodoo serial killer cult.

He moves from Minnesota to New York City following the death of his wife by electrocution, when her coffeemaker malfunctions.

Is this key to the case or a red herring?

The plot is a bit convoluted as when Cal’s son is targeted by the serial killer and when frazzled police officer, Tom Lopez (Jimmy Smits),  takes center stage.

I did not find Smits all too believable in this role, and the film has a striking 1980s feel to it.

The locales, since it was shot in New York, are fantastic, and the plot contains some scares, surprises, and spooky effects along the way.

I also was very impressed by the satisfying ending.

The Believers (1987) is a very good thriller/horror film.

The Fighter-2010

The Fighter-2010

Director David O. Russell

Starring Mark Wahlberg, Christian Bale

Scott’s Review #546

Reviewed December 11, 2016

Grade: A-

The Fighter (2010) is an excellent film. Being a sports film there are the inevitable cliches, which make the entire sports film genre rather predictable.

But this film is a very well-done story and based on real-life figures (the Ward brothers).

Tremendous acting by Wahlberg, Bale, and Melissa Leo, in the role of Mama Ward- a role of a lifetime.

The telling is a true story of Mickey Ward, a boxer from Massachusetts, and his battle to stardom, dealings with family members, and his love life.

The characters may be ever slightly overdone in the rugged, rough, Bostonian way, almost appearing New Jersey-Soprano-ish instead of New England, but the message is clear- they are in the boxing world and are tough guys (and gals).

This film is much more character-driven than many similar sports movies, thank goodness and the casting is spot-on. There are the inevitable final boxing match and the standard reaction shots, but again sports films are riddled with cliches.

The real win is with the character’s layered, complexities as they love and hate each other.

Bale and Leo deserved their Oscars for their respective roles in The Fighter (2010), specifically Bale for the shocking weight loss and spot-on character imitation.

Oscar Nominations: 2 wins-Best Picture, Best Director-David O. Russell, Best Supporting Actor-Christian Bale (won), Best Supporting Actress-Melissa Leo (won), Amy Adams, Best Original Screenplay, Best Film Editing

I Am Love-2009

I Am Love-2009

Director Luca Guadagnino

Starring Tilda Swinton

Scott’s Review #545

Reviewed December 11, 2016

Grade: A

Tilda Swinton shines in I Am Love,  an amazing Italian film from 2009 that I wish received wider recognition, but alas, some of the best films do not receive their due.

Swinton stars as a matriarch of a wealthy Italian family, who owns a successful business. To make this film very authentic, it was shot in and around Milan and contains a highly stylish and exquisite appearance.

It is a grand film with high-class set pieces and a great look. I do not hesitate to categorize it as an artistic, female version of The Godfather because it is that good.

It focuses on the family as a whole but more so on Swinton’s character, who is bored and unhappy with her life and yearns for passion and feeling.

One day she meets a friend of her sons and drama ensues.

The boy is only half her age, but they share a passion that awakens her from her doldrums. The conflict in the film is how the affair looks to society and affects the family business- not to mention detrimental to her marriage.

I Am Love (2009) is a great film that should be discovered by those looking for a gorgeous film with great drama.

Oscar Nominations: Best Costume Design

Fantasia-1940

Fantasia-1940

Director James Algar, Various

Starring Leopold Stokowski, Walt Disney

Scott’s Review #544

Reviewed December 11, 2016

Grade: B+

Before viewing this 1940 gem by Walt Disney, I was naive to knowing exactly what Fantasia was about- certainly, I had heard of it and knew it was an animated production but was also mystified by it. Now embarrassed, I realize what a creative treat I missed out on.

Better late than never.

I expected a Walt Disney animated story along the lines of Snow White or Pinocchio, but I was sorely mistaken by this assumption. While the film took me a bit to get into, it is a marvel and quite extravagant.

The mixing of classical pieces and the animated story is brilliant and visually amazing. There are eight pieces in total, all with stories to tell.

Animated films are not typically my genre of choice, but this one impressed me quite a bit if nothing more than the imagination involved.

A Fantasia reboot emerged in 2000.

Lovely, Still-2008

Lovely, Still-2008

Director Nik Fackler

Starring Ellen Burstyn, Martin Landau

Scott’s Review #543

Reviewed December 11, 2016

Grade: B+

Oh, how I wish this movie had gotten more attention! Lovely, Still (2008) is a small, independent venture, that is Christmas-themed, and set in Omaha, Nebraska.

It stars Martin Landau and Ellen Burstyn as an older couple who fall in love. Landau is Robert, a lonely older man interested in dating again. He meets and falls in love with Mary, the mother of his next-door neighbor.

Before you start thinking Lifetime television movie, the last thirty minutes of the film will shock and fascinate you. A guttural reveal takes this film to a completely different place during the climax, making it a heart-wrenching, and powerful experience.

Landau and Burstyn are wonderful actors who mesmerize scenes together. They have a sweet, innocence, and are in glee, like teenagers, experiencing first love.

My only criticism is the first half of Lovely, Still is a bit slow, but this can be forgotten as the film kicks into high gear.

Also, some wonderful camera shots from novice director Nik Fackler.

Manchester by the Sea-2016

Manchester by the Sea-2016

Director-Kenneth Lonergan

Starring-Casey Affleck, Michelle Williams

Scott’s Review #542

Reviewed December 11, 2016

Grade: A

Manchester by the Sea is a beautiful film.

Told from a slow build-up to a crescendo, and a big reveal mid-stream about one of the character’s pasts, it takes its time, and this is why it is so compelling.

The audience gets to slowly become familiar with the characters, making them rich with nuances- caring about them and their predicaments- just like good, solid story-telling should do.

The film is a slice of life, dark drama, but I did not find it to be a downer in the least bit. Rather, a film with rich writing and great characters. A good film makes you care for the characters as one would real people.

Casey Affleck is astoundingly good as the lead character, Lee Chandler, a janitor living a mundane life in Quincy, Massachusetts, and tending to a series of apartment buildings. He calmly goes about his work-dealing with indifferent, angry, or odd tenants.

Affleck portrays this man with quite a reserve and occasional outbursts of rage. His anger is confusing to us, but as the story unfolds we begin to understand what this man has been through and the reasoning behind his anger, even though he is a good person.

Lee receives a call one day with news that his brother, Joe, has died.

Through a myriad of flashbacks throughout the film, Joe is played by Kyle Chandler. Upon Joe’s death, Lee returns to Manchester (where he formerly resided) and is told he will be the guardian of his sixteen-year-old nephew, Patrick.

In the mix are the characters of Joe and Lee’s ex-wives- Elise and Randi (Michelle Williams), playing small, yet pivotal roles.

The film is dark, and many characters either suffer from emotional trauma, neurosis, or some other maladies, either physical or emotional. The slice of life analogy comes into play-everyone can relate to these characters in some way- most people have lived in towns like this, and/or have suffered crappy turns of events in life.

When Lee returns to Mansfield, he is a familiar face with a hint of mystery and lots of history. Mansfield is a small town- everyone knows each other’s business, and all of the characters are hardened, blue-collar, and tough individuals.

In addition to Affleck’s effective performance, Williams must be mentioned. She gives a tremendous, heart-wrenching performance as a good woman in pain, trying to carry on and do the right things, forging some sort of adequate existence, as is Lee.

Anyone who has gone through pain (which is everybody) can relate to these characters.

The supporting, and even the tiny characters, are perfectly cast and have hearty Boston-type accents that I loved. From Joe’s wife to Patrick’s girlfriend’s mother, to various other walk-on characters, each has a vulnerability mixed with toughness- as if life has been hard and they are wary of trust, yet they help each other and stick together.

The characters are a major positive to Manchester by the Sea.

Many reflective moments abound within the film- we often are given scenes of Lee driving down the highway- deep in thought. Or long shots of the vast Atlantic Ocean, where fishing is a large part of the character’s lives. Fishing boats and waves are monumental in the film.

These are not throwaway scenes, but rather interesting, compelling moments rich with meaning.

During the best sequence of the film, when a startling event occurs, the scenes are mixed with classical and operatic music, giving the scenes and the shocking revelations, power and meat.

It is heavy stuff, but also beautiful with an effective musical score.

Not to be drowned by the heavy drama, Manchester has some quirky, dry humor moments. When Joe is originally told about his heart condition, he and his father unintentionally call his female, Asian doctor by the wrong name.

When family friends host a party following awake, they awkwardly misunderstand each other when they attempt to fix Lee a plate of food. Finally, nobody can find the deceased Joe’s belongings at the hospital. These moments are awkward, but add some comic relief to the film.

I adore well-crafted, emotional, effective family dramas. Too often they are cliche-ridden and highly predictable.

In the case of Manchester by the Sea, the writing is brilliant, the acting top-notch, and the characters layered with intricate qualities.

This film has it all.

Oscar Nominations: Best Picture, Best Director-Kenneth Lonergan, Best Actor-Casey Affleck (won), Best Supporting Actor-Lucas Hedges, Best Supporting Actress-Michelle Williams, Best Original Screenplay (won)

Independent Spirit Award Nominations: Best Feature, Best Male Lead-Casey Affleck (won), Best Supporting Male-Lucas Hedges, Best Screenplay, Best Editing

Eraserhead-1977

Eraserhead-1977

Director David Lynch

Starring Jack Nance, Charlotte Stewart

Scott’s Review #541

Reviewed December 10, 2016

Grade: B+

Eraserhead is one of the oddest films that I have ever seen. The film is an early (1977) David Lynch film and is shot entirely in black and white.

It is a surrealist horror film.

Entrancing is the locale of the film- a bleak wasteland, of sorts, in an even bleaker town. The name is unknown.

Factory worker Henry Spencer (Nance) is garish in appearance/with spiky hair, and wild eyes, he is peculiar, to say the least.

He trods day after day, to and from his job, meeting interesting, yet grotesque characters. He has a child, who is inhuman with a snakelike face.

Henry meets an odd woman while carrying groceries home, and his apartment is filled with rotting vegetation.

While not one of Lynch’s best works, since the “plot” is incomprehensible to follow or make very much sense of, still, Eraserhead is a blueprint for his later works, with odd visuals, and even odder characters, and is to be revered for its imagination alone.

The film is fascinating in its weirdness, but I probably never need to see it again.

It’s a must-see for any David Lynch fan for the warped experience.

Star Wars: Episode VII: The Force Awakens-2015

Star Wars: Episode VII: The Force Awakens-2015

Director-J.J. Abrams

Starring-Harrison Ford, Carrie Fisher

Scott’s Review #540

Reviewed December 8, 2016

Grade: B

As a youngster who grew up exposed to the original three Star Wars films (admittedly, I cannot keep track nor care enough to learn the exact chronological order of the films in the franchise), the 2016 reincarnation is very nostalgic for me.

Star Wars, The Empire Strikes Back, and Return of the Jedi were magical films for a kid to enjoy and be bedazzled by.

Sadly, The Phantom Menace in 1999 was a rather forgettable endeavor and did nothing to draw new fans to the franchise- nor keep existing fans engaged.

Taking center stage in this installment are beloved stalwart characters Han Solo (Harrison Ford), Princess Leia (Carrie Fisher), and Luke Skywalker (Mark Hamill) in a nostalgic trip down memory lane.

A slight gripe is the shamefully under-use of one of these characters.

The visual effects are very impressive, the main villain is okay, and the action sequences adequate, but it is the ode to history that keeps the long-time viewer engaged the most.

In a way, Star Wars: The Force Awakens is aptly titled as it is a rebirth of sorts for the storied franchise.

Legendary actor Max von Sydow is shamefully under-utilized in a throwaway part in the film’s first sequence.

It’s ironic that he resembles deceased actor Alec Guinness, made famous all over again in the 1970s when he appeared in the first Star Wars. A coincidence?

It would seem that filmmakers are going for a modern reboot of Episode IV (the 1977 Star Wars).

The main character of Rey (Daisy Ridley) is meant to be the new Luke Skywalker, who is known as a Jedi hero in the land, and has been missing for years. Rey has special powers and is accompanied by her sidekick droid, BB-8, a similar character as R2-D2. The villain is Kylo-Ren, son of Han Solo and Princess (now General) Leia, and reminiscent of Darth Vader.

The film is a classic tale of good versus evil as the evil First Order battles the good Resistance.

I enjoyed the good storytelling most of all and prominent roles for Han Solo and Leia were good choices for the storied franchise. Newcomers Rey and her love interest, Finn, are appealing, as are fighter pilot, Poe, played by Oscar Isaac.

Reportedly, this film is the start of another trio of films so we will undoubtedly see more of these characters in the films ahead.

I could not help but notice the Nazi similarities of the First Order and their soldiers- the Stormtroopers. Possessing a red quality and a Nazi-like salute to their supreme leader, they even look German in appearance. Kylo-Ren, raven-haired, pale, and clad in a dark black cape, was derived from Darth Vader, especially when he appeared in mask attire.

He almost could have been his son.

Set thirty years since the original Star Wars, the plot is more or less similar, and I think this is a wise move in introducing the franchise to a new audience while staying true to the rich history of the central characters and their offspring.

Han Solo and Leia discuss their love affair, past adventures, and of course, their son, who has been hypnotized to the dark side. They struggle to concoct a way to rescue him and hope to persuade him that aligning with the Resistance is the only way to go.

Favorite scenes of mine include the ultimate showdown between Rey and Kylo-Ren. Set in a snowy, wintry forest, with their glistening and glowing lightsabers, the scene is gorgeous from a visual perspective, as are the many scenes in one battle station or another.

The re-appearance of comical C-3PO is darling.

As with the original Star Wars, humor is mixed in to lighten the mood. Han Solo and his dedicated side-kick Chewbacca, gently spar, and when Han Solo takes the group to a saloon filled with interesting creatures, the scene is light and fun. 

The real drawback for me is that the film is not all that compelling save for the nostalgia aspects. It is merely a classic battle of two wills, but otherwise, offers nothing very new and exciting. Sure there are a few new characters, but the plot is rather basic and what one would expect. 

I, personally, am not truly invested in the franchise, despite zillions of die-hard fans being fanatics of the films and their intricacies, so that is more of an opinion than a criticism of the merits of the film.

Star Wars: Episode VII: The Force Awakens will undoubtedly please fans and introduce new ones to a world of galaxies, and the indelible “force”. Still, a satisfying trip down memory lane.

Oscar Nominations: Best Original Score, Best Sound Editing, Best Sound Mixing, Best Film Editing, Best Visual Effects

A Wedding-1978

A Wedding-1978

Director Robert Altman

Starring Carol Burnett, Mia Farrow, Paul Dooley

Scott’s Review #539

Reviewed December 17, 2016

Grade: A

A Wedding (1978) is an obscure, brilliant gem penned and directed by Robert Altman- a film genius and one of my most adored directors.

I love most of his movies and A Wedding is no exception. The creative way that Altman weaves intersecting storylines and dialogue, thereby creating a real-life tone, gives immense realism to his films.

In A Wedding, he takes a basic life event and turns it into a well-nuanced, fascinating, comical, yet dramatic story.

He is known for having enormous casts (in A Wedding it is forty-eight principles), but every character serves a purpose.

The viewer will feel that they are a fly on the wall of a real wedding.

Altman’s actors primarily improvise the dialogue, speaking at the same time, bringing a realistic edge. I adore this quality.

The film is a satire- people either love or loathe attending weddings and Altman’s film caters to the latter. He creates a setting, from the ceremony to the reception, riddled with awkward moments, and social guffaws.

In pure satirical, soap opera fashion, two wealthy families gather at a lavish estate for the ceremony to commence. Hilarity ensues when the corpse of the matriarch of one family lies in her bed, nobody realizing she is dead.

Other hi-jinks, such as the revelation of a nude, life-size portrait of the bride, the caterer falling ill, and a tornado wreaking havoc.

Slowly, secrets are revealed by the families, as the alcohol flows and the characters become involved in the perilous situations.

Altman does it again as he creates a masterpiece based on real-life situations that most can relate to.

La La Land-2016

La La Land-2016

Director-Damien Chazelle

Starring Emma Stone, Ryan Gosling

Scott’s Review #538

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Reviewed December 6, 2016

Grade: A

La La Land breathes new life into the classic musical genre of the 1950s, with a fresh glimpse into the world of Hollywood.

The film explores the glitz and the glamour, the triumphs and heartbreaks, and the dreams both broken and fulfilled in a town laden with broken hearts.

The bright and colorful film stars two of today’s top young talented stars- Emma Stone and Ryan Gosling. The chemistry between the leads and the dynamic musical numbers is wonderful to experience.

A masterful nod to old Hollywood.

Mia (Stone) is an aspiring young actress, struggling to survive the Hollywood scene by serving lattes in a coffee shop on a studio lot. She auditions endlessly for film and television parts, without much luck. Her passion is acting, but she also writes a one-woman play that she plans to star in.

Sebastian, on the other hand, is a dedicated jazz musician, struggling to make ends meet by playing demoralizing gigs that ruin the essence of jazz, meeting many people who tell him that jazz is a dying genre. Sebastian’s dream is to one day open his nightclub.

Through circumstances, Mia and Sebastian meet and continue to run into each other, forging a wonderful friendship, eventually leading to romance.

The film is a gorgeous experience with bright sets, creative sequences, and numerous song and dance numbers to keep you humming along- Mia and Sebastian even tap-dance one beautiful night following a Hollywood party, under the moonlight with the Los Angeles skyline in view, as they begin to bond with one another. It is one of the best scenes in the film.

La La Land is seasonal and begins in the winter- though this is strictly an attempt to separate the chapters- Los Angeles is always warm, but the timing is Christmas- interesting in itself to see in a warm climate.

During the first scene, we are immediately treated to a musical number- stuck in stifling freeway traffic, the drivers of the cars all get out in unison, sing and dance, and then proceed to get back into their cars and continue their ho-hum day.

Director, Damien Chazelle cleverly balances the cheerful tone with the everyday redundant tasks and the struggles of artists hoping for a dream.

La La Land excels during the scenes of Sebastian and Mia as the chemistry is palpable. Gosling and Stone have something. Supporting players such as J.K. Simmons and Rosemarie Dewitt add pizzazz in their small, but meaningful parts.

I adore the odes to classic Hollywood films that director Chazelle incorporates into his film.

Classics such as Alfred Hitchcock’s Notorious are referenced and the legendary film, Casablanca is referenced twice.

Additionally, during a sweet moment, Sebastian takes Mia to see Rebel Without a Cause at an old-style theater, as he is shocked that she has never seen the film, and eagerly excited to introduce her to it-this continues as he shares his love for jazz music with her.

Later, the theater closes as the film takes a more dour tone as the struggles of both characters overwhelm them.

The film’s finale is amazing.

Suddenly, it is five years later and many events have happened. In a brilliant sequence, the lives of the characters are explained through a song as we see the period play out until we reach the point of the film where the song began- a treasure of an ode to the truth of the characters.

The sequence is emotional, heartbreaking, and choreographed without missing a beat,

Gosling and Stone sing all of their songs- not live as was the case with Les Miserables, but wisely on a sound stage- they are neither novices nor Grammy winners, but they are real and truthful and with heart.

How refreshing to see classic Hollywood told in such a riveting fashion, as seen through the eyes of the young. Films and styles of decades past are renewed through this wonderful piece of film.

I noted similarities to An American in Paris and countless other gems from years ago and stood proudly with the knowledge that a nostalgic piece of cinema is exactly what we need.

Oscar Nominations: Best Picture, Best Director-Damien Chazelle (won), Best Actor-Ryan Gosling, Best Actress-Emma Stone (won), Best Original Screenplay, Best Original Score (won), Best Original Song-“City of Stars” (won), “Audition (The Fools Who Dream)”, Best Sound Editing, Best Sound Mixing, Best Production Design (won), Best Cinematography (won), Best Costume Design, Best Film Editing

How to Train Your Dragon-2010

How to Train Your Dragon-2010

Director Dean DeBlois, Chris Chambers

Starring Gerard Butler, America Ferrera

Scott’s Review #537

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Reviewed December 5, 2016

Grade: B-

How to Train Your Dragon is a  decent, but less than spectacular, animated film from 2010.

Undoubtedly targeted toward youngsters, it contains G-rated elements and I may have enjoyed it more if I were nine years old.

The film is loosely based on the British book series of the same name.

A subsequent sequel has commenced in 2014.

From a story perspective, the film does tell a story with a nice message. Young Hiccup is a teenage Viking on the cusp of becoming a man. As a ritual, he is expected to kill a dragon to prove his worth as a warrior to his tribe.

When put to the test, Hiccup finds that instead of desiring to kill the dragon, he wants to befriend it. Of course, the traditional Vikings want no part of any unity between the tribe and dragons, who are long-time enemies.

Mixed in with the main story is the inevitable love story between Hiccup and Astrid, a tough Viking girl.

There are way too many endless aerial battles between the tamed and vicious dragons, that it begins to feel more like an effort to fill time rather than furthering the main plot in any way.

This film has a nice message of kindness and togetherness but is very predictable and does not take any risks. There is nothing wrong with it, and animated fans may look at it differently, but to me, How to Train Your Dragon (2010) is quite run-of-the-mill.

Oscar Nominations: Best Animated Feature Film, Best Original Score

JFK-1991

JFK-1991

Director Oliver Stone

Starring Kevin Costner, Tommy Lee Jones

Scott’s Review #536

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Reviewed December 4, 2016

Grade: B+

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

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

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

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

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

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

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

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

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

Fantasia 2000-2000

Fantasia 2000-2000

Director James Algar, Various

Starring Steve Martin, Bette Midler

Scott’s Review #535

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Reviewed December 4, 2016

Grade: B+

Fantasia 2000 is a visually stunning remake of the 1940 Disney film. The modern version was produced by Roy Disney, nephew of the famous Walt Disney.

There are nine segments in total, each set to a classical music piece. Masterpieces such as Symphony No. 5 by Beethoven and Rhapsody in Blue by Gershwin are featured.

The Rhapsody piece is a gorgeous story of four individuals who dream of a better life in 1930s New York City. The four do not know each other, but their lives intersect uniquely.

Each segment is introduced by a celebrity: Steve Martin, Angela Lansbury, Bette Midler, and Quincy Jones appear, adding helpful thought and interpretation.

The final piece, in particular, is both moving and breathtaking. Firebird Suite-1919 version- by Stravinsky tells of a sprite (an ethereal entity), awoken by her companion, an elk, as a volcanic spirit has erupted in the peaceful forest, burning it down. The sprite must work to rebuild the peaceful land.

It is an earnest, heartbreaking piece.

Being somewhat of a film traditionalist, I prefer the original slightly, but this version is great.

Fantasia 2000 is wonderful to look at.

Desperate Living-1977

Desperate Living-1977

Director John Waters

Starring Mink Stole, Liz Renay

Scott’s Review #534

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Reviewed December 4, 2016

Grade: B

Desperate Living (1977) will not be everyone’s cup of tea. It is a raunchy, late-night comedy, similar to other John Waters-directed cult classics.

This one, however, suffers from the absence of Waters staple, Divine, who did not appear due to scheduling conflicts.

For this glaring omission, Desperate Living is not the greatest of the Waters films, but it is a fun experience all the same.

The film has choruses of political satire, specifically fascism, and overthrowing the government.

Mink Stole (Peggy Gravel) takes on the lead role as a crazed, mentally unhinged, neurotic woman on the lam with her maid, Grizelda, after they accidentally cause the death of Peggy’s husband.

Peggy has been in and out of mental hospitals and is clearly off her rocker as she yells at neighbors about communism.

After an encounter with a lewd police officer, the duo is banished to Mortville, a town filled with outcasts and social deviants. They align with others in the town to overthrow the tyrannical Queen Carlotta, played by Waters fixture Edith Massey.

Carlotta plots to spread rabies throughout the community and is at war with her daughter, Princess Coo Coo.

The issue with Desperate Living is the absence of Divine, originally set to play Mole McHenry, a self-loathing female wrestler, determined to receive a sex change operation.

One imagines the Divine in this important role, which was played by Susan Lowe, a capable star, but no Divine. With Divine in the part, the hilarious possibilities are endless.

Mink Stole carries the movie well, but traditionally being a supporting player in Waters’s films, is not quite the star the film needs to be a true success.

This is not to say that the film is a dud- it is entertaining and will please most Waters fans. It contains gross-out moments and vulgarity from the very first scene- as the opening credits roll, we see a roasted rat, daintily displayed on good china, on an eloquent dinner table, presumably to be served.

Later, Carlotta meets her fate by being roasted, pig style, on a spit with an apple in her mouth. Another character is executed by being shot in the anus. The offensive moments never end!

There also exists a quite controversial scene that I am surprised made the final cut. Peggy, already in a frazzled state due to a neighbor boy accidentally shooting out her bedroom window, is shocked to find another boy playing “doctor” with a little girl in her downstairs basement.

Both children are completely naked, leaving not much to the imagination. This scene is tough to watch as one wonders what the child actors thought of all of this.

I have never viewed another scene quite like this in film.

Otherwise, Desperate Living is filled with cartoon-like characters, lots of sexually deviant leather men, grizzled men with facial hair, and other odd-looking characters, making up the community of Mortville.

Water’s set creations for the exterior scenes of the town are great using mainly cardboard and rubbish he found throughout Baltimore where the film was shot, the sets show a bleak yet colorful underworld.

Desperate Living (1977) is a raunchy good time with over-the-top acting, trash-filled moments, and laugh-out-loud fun.

The lack of any Divine makes it not the first offering to watch from the Waters collection. Pink Flamingos (1972) and Female Trouble (1974) would take that honor.

The Godfather: Part III-1990

The Godfather: Part III-1990

Director Francis Ford Coppola

Starring Al Pacino, Diane Keaton, Andy Garcia

Scott’s Review #533

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Reviewed December 3, 2016

Grade: B+

The Godfather: Part III, released in 1990, has traditionally been met with unwavering criticisms for not being as great as the two preceding epics.

Sofia Coppola, who plays Mary- daughter of Michael Corleone, in particular, has bared the brunt of the attacks.

No, The Godfather: Part III is not on the level of the others, but is pretty damned good based on its own merits and is a capable mob epic to conclude the franchise satisfyingly.

The central theme is Michael’s continued desire to leave the mafia and religion, and the Catholic Church are central themes of the film.

Some backstory to the making of the film; Coppola had a non-expiring offer to create a third installment to the saga ever since 1974 when Part II was released.

Having had a financial crisis, 1990 was the time Coppola agreed to do the follow-up.

The ever-crucial role of Mary (now a coming-of-age young lady) was to be played by Julia Roberts, who dropped out. Winona Ryder was then cast and bailed at the very last minute.

Out of necessity, Coppola’s daughter Sofia was cast and had little time to prepare or much acting experience (she would later become an acclaimed director, which better suited her talents).

In a similar fashion to the other epics, a big event launches the film, as Michael (Pacino) is named Commander of the Order of Saint Sebastian in a lavish ceremony at St. Patrick’s Old Cathedral.

It is revealed that Michael is approaching age sixty and semi-retired, leaving his business dealings mainly to Joey Zasa in New York, who has ravaged what the Corleone family had once built.

Many characters- Kay, Mary, Tony, and Connie, are re-introduced, and new characters such as Vincent Mancini (Andy Garcia) and Don Altobello (Eli Wallach) are introduced, in a flurry of new storylines.

It is like a big, grand, soap opera, with wonderful, rich, writing.

I was immediately impressed by the neat cinematography- the camera captures wind-swept leaves and an artistic introduction to the film, as well as either mentioned or appearing in cameo roles, small characters from the first two films- a great touch in continuity and history.

Coppola does a fantastic job of providing little updates on these characters during a party. For example, we learn that Vincent is the deceased, illegitimate son of Sonny, his mother being Lucy Mancini, who appears in a scene. (Clever viewers will remember Sonny and Lucy’s torrent affair in the bathroom during The Godfather-it is suggested that this produced Vincent).

It is mentioned that Tom Hagen (Robert Duvall) has died, though his wife and son appear, and Coppola treats us to a myriad of flashbacks (Apollonia, a young Michael, and Kaye).

These nuances make The Godfather: Part III filled with cool little aspects that fill the loyal viewer with warmth.

The main story- Michael takes Vincent under his wing- and strives to steer the family clear of criminal ties- is interesting, if not spectacular. Connie rises from a battered mafia wife, raising kids, to a major player in the family, just as women progressed from the 1940s to the 1980s when the story takes place.

She even feeds her godfather a poisoned cannoli!

Michael, Vincent, and Connie involve themselves with the Catholic Church, bailing them out (the real-life Papal banking scandal is linked to the story) and making a deal with them for major shares of a real estate company, Immobiliare.

In-fighting between the major crime mob bosses leads to several bloody massacres throughout the film, on the streets, in Atlantic City, and finally, in the Sicilian Opera house.

The pairing of cousins and lovers, Vincent and Mary, never really works, nor does Bridget Fonda’s one-two-scene appearance as Grace Hamilton, a brief dalliance for Vincent. Also, the exclusion of the character of loyal family attorney Tom is a glaring omission.

So the film does contain a few negatives.

In a nutshell, The Godfather: Part III (1990) is a very good, epic, crime drama even without the Godfather name. To measure up to the glory of Parts I and II are impossible.

With the bonus of having the rich Corleone family history and the intricate relationships between the characters, this makes for a treat for fans.

There has not been a Part IV, nor should there ever need to be as the conclusion of the film is a satisfying wrap-up to the saga.

Oscar Nominations: Best Picture, Best Director-Francis Ford Coppola, Best Supporting Actor-Andy Garcia, Best Original Song-“Promise Me You’ll Remember”, Best Art Direction, Best Cinematography, Best Film Editing

Saw V-2008

Saw V-2008

Director David Hackl

Starring Tobin Bell, Donnie Wahlberg

Scott’s Review #532

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Reviewed December 1, 2016

Grade: B

The Saw franchise films are fun, bloody, late-night flicks.

It is quite helpful if you see them close together, and in sequence, as they either continue or backtrack to previous films- past knowledge is very helpful.

Saw V (2008) is no exception, as we learn the hows and the whys of serial killer Jigsaw, an apprentice, and detective Mark Hoffman.

What would possess this man to follow in the footsteps of Jigsaw?

In their heyday, the Saw films were intriguing and more cerebral than the standard slice and dice ’em offerings.

I like these films because there is usually a plot twist or some other surprise connection to an earlier entry to look forward to.

Also, the victims are not merely innocent but are in the wrong place at the wrong time, nor are they killed for the sake of killing.

They typically have embezzled someone, maimed an innocent party, or caused someone pain in some fashion, so the audience does not feel sorry for them, making their various tortures tolerable to watch, if not satisfying.

In Saw V, as far as the kills go, we are treated to somebody being sliced in half, a decapitation, another blown to bits by a detonating bomb, bloodletting, a crushing to death, and various other forms of mutilation.

This is all well and good, but by Part V in a franchise, even the most clever of stories run out of gas, and by this point, the series is feeling a little tired, although still enjoyable for the puzzle of story connections.

Saw V (2008) is a very bloody film, so not intended for the squeamish.

Exit Through the Gift Shop-2010

Exit Through the Gift Shop-2010

Director Banksy

Starring Banksy

Scott’s Review #531

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Reviewed December 1, 2016

Grade: B-

Exit Through the Gift Shop is a documentary from 2010. I am a fan of documentaries if the subject matter interests me.

The topic of this documentary is street art, which is not especially appealing to me, but it is also nice to be open to new experiences and perhaps learn a thing or two.

Bansky, who both directed and stars in the documentary, is the main feature and his story is told. We meet a man from Los Angeles, who carries a camera with him wherever he goes.

Through his cousin in France, he decides to do a documentary on street artists.

He is fascinated by the mysterious and secretive, Bansky until he manages to one day meet him. He then begins to film Bansky’s street art activity.

So the documentary has some plot and is not the standard type of documentary.

Some claim that the film is staged and that a bit of a hoax has run rampant, but those allegations have not been proven.

I respect this feature as a nice, telling, documentary, but it drags a bit, which may be the result of my limited interest in the topic.

Great for anyone into street art.

Oscar Nominations: Best Documentary Feature

Independent Spirit Award Nominations: 1 win-Best Documentary (won)