2015 Films, Drama, Historical Drama

Bridge of Spies-2015

April 28, 2016 scottmet99 Leave a comment

Bridge of Spies-2015

Director-Steven Spielberg

Starring-Tom Hanks

Scott’s Review #399

Reviewed April 28, 2016

Grade: B+

Tom Hanks teams with Stephen Spielberg once again in another A-list Hollywood film.

Like Saving Private Ryan, Bridge of Spies is in the historical vein. This time the Cold War is featured- it is 1957 when the film begins.

The camera work, the artwork, and the set decorations are second to none as the film looks and feels authentic. As interesting as the overall film is, and it felt like I was watching a well-made film, there was also something missing, which did not make it truly riveting and that is why it receives a B+ rating.

Still, with Spielberg and Hanks on board, you know you will get a quality film.

Hanks portrays James B. Donovan, a Brooklyn attorney specializing in insurance law, but a wiz at negotiation and experienced with the Nuremberg trials.

He is assigned to defend suspected spy Rudolf Abel (Mark Rylance) in what is assumed to be an open and shut case-his guilt is considered a given. Abel has been arrested by the F.B.I and is thought a Russian spy. They are willing to release him on the condition that he reveal Soviet contacts, but he refuses.

Meanwhile, an American pilot, Frances Powers, is captured in Soviet territory and taken hostage. To make matters more complicated, an American graduate student, Pryor, is trapped behind the Berlin wall in East Germany and not allowed by the Germans to leave. The pressure is on Donovan to not only defend Abel in the United States but to make a deal to return the three men to their respective countries.

Hanks, a great actor, is his typical stoic, capable self, and his portrayal reminds me of his role in Captain Phillips- calm, well-mannered- a clear yet quiet leader.

The role is not flashy in comparison to other legendary Hanks roles (Forrest Gump, Philadelphia). Certainly, the film centers around Hanks and is catered to his acting style- his character is always in the forefront.

In my opinion, Hanks never gives a bad performance and I admire him in almost any he gives.

Let’s discuss the role and the portrayal by Mark Rylance in his Oscar-winning role. Giving a very subdued, nuanced performance, he is good and low-key in what could have been an energetic, over-the-top performance if written that way, but I am not sure I would have handed him the golden statuette over a few of the other nominees in the 2015 Supporting Actor category.

Not that this is a criticism, but I am unsure if there is as much meat in this performance as would warrant an Academy Award.

Bridge of Spies is very detail-oriented and every set piece- from late 1950’s cars, clothing, hairstyles, and home furnishings is spot on.

The film was expensive to produce and no expense seems to have been spared.

The film travels from Brooklyn to the Soviet Union, to Germany, and gives off a patriotic, Americana flare, which is very true to life in the given time. There was such a sense of country and community. Nothing makes this more apparent than the distasteful glares and downright coldness and hatred displayed by many characters towards Donovan.

To counteract this, when Donovan is ultimately more the hero, he is revered and celebrated.

As great as the film looks, there is something slightly disconnecting about it. I was left wanting a bit more from a story perspective and feeling slightly disengaged throughout parts of it. I was never riveted or blown away despite realizing that I was watching a well-made film. This can oftentimes happen as the story is less compelling than the way the film looks and this is the case with Bridge of Spies.

After I finished watching I was left with the feeling that I did not ever really need to see the film again, in contrast to truly great films where one can watch over and over again.

A slight mention is that Bridge of Spies is a “guy’s film”. Amy Ryan, a great actress, does all she can with the only real female role in the film in that of Donovan’s dutiful, supportive wife-a a role written one-dimensionally hundreds of times.

It is a shame her character is not more fleshed out instead of the typical worried scenes or fretting for her husband to return home to his family- purely reactionary and not furthering the plot in any way.

In this sense, the film deserves criticism for being a bit too traditional.

Bridge of Spies is a very good effort, but certainly not a tremendous film. It is the type of film that I liked, but not loved.

Plot-driven rather than character-driven. Perhaps, due to the names Spielberg and Hanks on the marquee, I expected a bit more.

Oscar Nominations: Best Picture, Best Supporting Actor-Mark Rylance (won), Best Original Screenplay, Best Original Score, Best Sound Mixing, Best Production Design

2015 Films, Drama, International, International Drama

Girlhood-2015

April 24, 2016 scottmet99 Leave a comment

Girlhood-2015

Director-Celine Sciamma

Starring-Karidja Toure

Scott’s Review #398

Reviewed April 24, 2016

Grade: B

Girlhood is a coming-of-age foreign language, French drama that tells the story of a sixteen-year-old French girl, living in a poor area (the projects) just outside of Paris.

She is faced with numerous conflicts and tough decisions on how to live her life. School, gangs, and romance are the main issues she tackles, as well as troubled home life.

Wisely, the film uses a female director, Celine Sciamma, which lends some authenticity to the largely female issues discussed in the film. For all its good intentions and some interesting nuances, the film suffers from a lack of grit and has a safe feel to it making it less compelling than it could have been.

I felt that I was watching a glossy film rather than any sort of harsh reality.

Still, a worthy effort.

Marieme is a tall, gorgeous teenager living in the projects near Paris. She struggles academically and is rejected from attending high school, instead of being sent on a vocational track to be able to find a job.

Her mother works long hours as an office cleaner, and Marieme’s abusive brother is in charge of the household. Marieme also has two younger sisters. Upset to learn she will not be attending high school, she is approached by a gang of girls, led by Lady, who asks her to go to the city with them.

She agrees to join their gang when she realizes that her brother’s best friend, Ismael, whom she has a crush on, is friendly with the other girls. Marieme and the girls begin to while away the days by stealing, fighting, and terrorizing anyone in their path.

Partying in hotels, they make the rounds. Marieme must ultimately decide if this is the life she wants.

What I found most interesting about the film is its use of an all-black cast and certainly, this was intentional. Sciamma (who ironically is white) felt that the female black population in Paris is underrepresented in French film.

This is accurate and scores points with me. I love the camaraderie among the girls. They always have each other’s backs and when Marieme fights a rival girl to defend the recently beaten Lady, there is a sense of sisterhood that is appealing and is at the heart of the film.

Friendship, loyalty, and bonding are explored.

Also worth noting is that most of the cast are either unknown actors or non-actors picked off the streets to appear in the film. To this effect, the acting is surprisingly good for most novice or non-actors.

The romance between Marieme and Ismael is another strong point of the film- they share an undeniable attraction for each other but are forced to only spend time together in secret. Marieme’s brother appears to run a gang of all boys and forbids anyone from being with his sister. The scenes shared between Marieme and Ismael are tender, sweet, and believable. They have a rooting factor.

The aforementioned positives are also the negatives to Girlhood. The film lacks any real grit or dirt and the friendship and romantic elements are also played safely.

Everything is glossy and bright.

For example, two fight scenes occur, one with Lady and a rival girl, one with Marieme and the rival girl. A group of spectators gathers in a circle egging the girls on. They are in a hot, deserted parking lot.

The scenes could have been brutal, bloody, and fierce. Instead, they are very short, lack any blood or bruising, and are very safe feeling. When Marieme pulls out a knife, it is intended to cut the rival girl’s bra, not to stab her. This seems unrealistic and not how things would play out in an urban gang situation.

And on a nitpicky level, why was the mother absent from the family life? Sure she had a night job, but the film presented her as being all but out of the picture entirely. She tried to help Marieme get a job working with her, so why so much turmoil due to her busy schedule?

Also, the silly scene of the girls playing miniature golf added nothing to the plot and should have been dropped.

Girlhood is a nice, albeit sweet, coming-of-age, female gang story, that might have been more intense, but the decision was to make a soft film rather than a harsh one.

An interesting, fine effort that mainly focuses on bonding, friendship, and life choices over the realistic brutality that it could have dealt with.

Independent Spirit Award Nominations: Best International Film

1969 Films, Claude Chabrol, French, International, International Thriller, Thriller

La Femme Infidele-1969

April 23, 2016 scottmet99 Leave a comment

La Femme Infidele-1969

Director Claude Chabrol

Starring Stephane Audran, Michel Bouquet

Scott’s Review #397

Reviewed April 23, 2016

Grade: A-

Another gem by French director Claude Chabrol, La Femme Infidel (The Unfaithful Wife) is a 1969 film later remade in the United States in 2002, directed then by Adrian Lynde.

Having seen the remake a few times before watching the original, I cannot help but compare the two films, which in itself is fun for me since both films are vastly different from one another, especially as I find myself further pondering each.

One is more conventional- the other more psychological.

Successful insurance executive Charles Desvallees lives in the suburbs of Paris with his beautiful wife Helene and their young son.

Life is seemingly idyllic, as they enjoy every luxury imaginable beautiful house with a beautiful landscape and a dutiful maid.

Charles has a sexy secretary, smokes, drinks, and enjoys life at work and Helene frequently goes to Paris for shopping sprees, beauty treatments, and to attend the cinema.

What could be missing from their lives? Helene is a bored housewife and has embarked on an affair with Victor Pegalla, a writer who lives in Paris.

When Charles grows suspicious of Helene, he hires a private investigator to track her activities and reveal the true story of how she spends her time.

Admittedly, I was highly influenced by Unfaithful, the 2002 remake starring Diane Lane and Richard Gere when I viewed La Femme Infidel.

The remake is set in New York instead of Paris and is more polished and less psychological- a Fatal Attraction-type slick thriller if you will.

The “other man” is much sexier and more passionate, and the connection is more primal than in the original. This changes the tone of the film from a sexual and lustful one to a more complex and psychological dynamic- La Femme Infidel is a more thinking man’s film.

Victor is handsome and well-groomed, but he is rather similar to Helene’s husband, so we wonder what the main appeal is- if she is seeking adventure.

Lane’s 2002 character’s choice is easy- her affair is based on the physical attractiveness of the man. 1969’s Helene is not having her affair for that reason-, the reasons, besides boredom, are unclear, making the film more complex.

When the main action (death) occurs at the midway point, the film goes in a different direction and becomes complicated. No longer is the main plot of Helene’s adultery, but rather what Charles has done and the repercussions bound to follow.

Do we see Charles as the villain and Helene as the victim? Who do we feel sorry for? Do we root for anyone? Certainly, the character of Victor is not explored in much depth. What are his motivations? Is he in love with Helene?

Helene is an interesting character. Is she meant to be sympathetic or hated? Or just complex? One can interpret her in different ways- the woman has it all beauty, a faithful husband, and a wonderful home life- why does she risk sacrificing it all for a fling?

Does she dare to want more out of her life and have some adulterous fun? It does not seem that Helene is in love with Victor or has any desire to run away with him or leave her husband.

Charles is also a character to be analyzed closely.

Throughout the film’s first portion, he is seen as a victim- his gorgeous wife has mysterious contempt for him and plays him for a fool. She spends his money and cheats on him, while he adores her and resists his young, flirtatious secretary, who has a thing for Charles and wears short skirts seemingly for his benefit.

She is much younger than Helene. Later, his character’s actions and motivations shift from victim to arguably brutish and primal. A momentary outburst changes his motivations and the texture becomes calculating.

In the end, Charles and Helene come together and resume normalcy in their lives, but will things ever be the same? Will the trust ever reappear in their lives? Is Helene now afraid of or intimidated by her husband or rather, does she now have a newfound desire for her alpha, take-charge husband?

The 1969 version of La Femme Infidel is layered, complex, interesting, and left me thinking about the film and that is a very good sign.

The remake, while very good, is more of a blockbuster, produced kind of film, while the original goes more for thought.

The lack of sex appeal in Victor is a negative of the film as are his motivations, but the character-driven nuances of the other characters make this a thought-provoking watch.

2015 Films, Documentary

The Look of Silence-2015

April 18, 2016 scottmet99 Leave a comment

The Look of Silence-2015

Director-Joshua Oppenheimer

Starring-Adi Rukun

Scott’s Review #396

Reviewed April 18, 2016

Grade: B+

An extremely grim and depressing 2015 documentary, The Look of Silence is a companion piece to 2013’s The Act of Killing.

Both focus on the brutal Indonesian genocide of 1965-1966, in which an estimated one million people were exterminated.

The documentary tells of the effects on one of the families who survived, who now must co-exist in the same village as the killers, who remain unpunished because of government corruption. They are still in power.

The documentary is cleverly put together as the central figure watches what appears to be outtakes of the related The Act of Killing on television, and the story is manipulated so that some of the killers do not realize they are being filmed for the purposes in which they are.

The main point of view of the film comes from a middle-aged Indonesian man, peacefully living with his wife and daughter, as well as tending to his very elderly parents, the father a torture victim and quite frail, who appears to suffer from dementia.

The father is rail-thin and the mother cares for him as much as she can. Their life is very tough. For protection, throughout the documentary, the middle-aged man is unidentified.

Through conversation with his mother, we learn that his brother (their son) was one of the “communists” or leftists, who were led to nearby Snake River, tortured, and eventually murdered and thrown into the river. The mother reveals that by some miracle, the middle-aged man was conceived shortly after his brother was killed, thereby saving the parents from suicide because of their grief.

The middle-aged man, under the guise of fitting patients with eyeglasses, goes from murderer to murderer (all still alive, very old, and living in the town) and politely quizzes them on their involvement in the Indonesian Massacre.

It is unknown whether the middle-aged man is, in fact, a Doctor, or if it is merely a ruse. Interspersed throughout, the interview clips of the murderers on television proudly describing their feats, are shown.

The Look of Silence is a true downer, but also shockingly realistic, sad, painful, and eye-opening.

Unlike many documentaries, we are not shown repeated clips of the events of the 1960’s- the story stays in the here and now.

The audience uses their imagination to create what they think happened- this is powerful stuff. In the videos of the killers, they describe in brutal detail how they killed their victims and it is quite sickening to watch.

Two men proudly reminisce of the chopping off of a woman’s breast, comparing the ruined flesh to an open coconut, or slicing off a man’s penis. Others tell of drinking the blood of the victims.

Painful to realize is that this is not some horror film, but a real-life event.

Quite dumbfounding to me was that little or no remorse was shown when the middle-aged man questioned the killers in the present time. Some shrugged their involvement off, some got hostile, some denied any involvement. Some, now quite feeble, were accompanied by younger family members unaware of their father’s or grandfather’s past doings. Some appeared quite upset.

The documentary is not filled with spliced together archives or flashy lights or graphics. It is slow-paced and plodding and some I fear may find it too slow.

The title, The Look of Silence is rather perplexing and makes little sense to the subject of the documentary so I am not sure why it has the title that it does. But that is merely an aside.

As much as citizens of the United States complain and stress about the political state of affairs or financial matters, we have it quite good, and viewing this painful documentary is a reminder of that.

The Look of Silence displays the evil and the ugliness of human beings in the very recent past who show no remorse. In a world filled with ISIS, the documentary is a scary reminder that something like this can easily happen again.

This is a sad and morbid reality and this film will stick with you for some time.

Oscar Nominations: Best Documentary-Feature

Independent Spirit Award Nominations: Best Documentary Feature (won)

2015 Films, Documentary

Cartel Land-2015

April 17, 2016 scottmet99 Leave a comment

Cartel Land-2015

Director-Matthew Heineman

Scott’s Review #395

Reviewed April 17, 2016

Grade: B

Cartel Land is a 2015 documentary film about the Mexican drug war, specifically focusing on vigilante groups in both Mexico and the United States.

These groups attempt to combat and thwart drug cartels by using their illegal efforts. Brutal and ugly, the documentary paints a dark picture of the very real drug trafficking problem and the hopelessness of the situation.

Interestingly, the hot button issue of illegal immigration is not explored as the issues are considered separate from each other.

The great thing about documentaries, in general, is their truthfulness and ability to open one’s eyes to a situation in the world in which one may not be aware of or have limited knowledge.

Most people know there is a drug problem in the United States, but Cartel Land successfully educates the viewer on the complexity of the issue.

Various perspectives are explored throughout the documentary: the Arizona Border Recon, led by militant figure, Tim “Nailer” Foley, and the Autodefansas, led by Dr. Jose Mireles, are the vigilante groups in the U.S. and Mexico, respectively.

A third perspective, in that of one of the cartel members, the particular gentleman featured, cooks and transports the crystal meth across the Mexican border.

Additionally, some individuals feel that the police and government are the ones responsible for solving the issues and the matter should be left in their hands.

The documentary does not side with one particular opinion over the other, but rather, paints a controversial picture of the reality of the situation and presents both sides objectively. However, the majority of the screen time does go to the Autodefansas story.

One of the most thought-provoking parts of the documentary, and what initially had me engaged in it, comes at the very beginning of the story.

Told from the perspective of one of the cartel members who is interviewed with the backdrop of a nighttime scene, where he cooks the meth he will then deliver, is poignant. Since the transports drugs, he is perceived as a monster.

He admits he causes people’s deaths, destruction, violence, etc. He then explains that the cartel members come from poverty- what else are they going to do to make this much money? Or make a living at all? It is an opportunity- who would give that up?

This made me think of how complex a problem drug smuggling is and it also laid the groundwork for the viewer to realize that the cartel members may not be the only ones who are bad or crooked. What is the definition of right and wrong? On whose terms?

Dr. Mireles and another member of the Autodefansas, named “Papa Smurf” are the primary members featured. They started Autodefansas as a way of combating the corrupt Mexican police and government that allows the drug cartel to exist, presumably for profit.

Their group of vigilantes brandishes militant guns to “protect their town” and the inhabitants. An assassination attempt occurs when someone tries to crash Mireles’s plane- he goes into hiding. But we also learn that Mireles is a womanizer, a cheat, and cannot be trusted. Is he making deals for profit on his own? Papa Smurf is in cahoots with the police. Is cash being exchanged?

The Arizona vigilante story is interesting to hear from Foley’s perspective. I observed the group to be uneducated, poor, angry and filled with racist hatred. This is scary to think that some Americans feel the way they do and it made me sympathize with them the least and the drug cartel a bit more.

One vigilante compared different races as being like two pit bulls in a cage- separated things are fine, but released from those cages the animals will kill each other. He had no concept of two races being able to live happily amongst each other.

Parts of Cartel Land are quite gruesome and descriptive. In one scene we see a teary mother from the town of Michoacán, who the Autodefansas protect, describe how an entire family of innocent farmworkers, including a newborn, were murdered by being hurled against rocks until they died.

They were the victims of a revenge scheme enacted against their boss. One pities her and we see the funeral for the newborn take place amid screams of despair from surviving family members. We also see decapitated heads and murdered individuals. It is chilling to think that this goes on in today’s world.

The cinematography is splendid and countless scenes of the Mexican and Arizona landscape are prominently featured. Miles and miles of spacious, mountainous areas are shown, and the use of night vision cameras allow for a feeling of being right there with the patrol groups.

The main takeaway from Cartel Land is the subject of corruption. Throughout each story the lines are blurry. Who is corrupt? Who should we sympathize with? Who are the good guys? Who are the bad guys? The facts are shaded in gray and we know that there are no good groups and bad groups.

This documentary teaches the audience that there is a major problem with the drug cartel across Mexico and the United States that has existed for years and will continue to exist for years to come.

A lesson learned.

Oscar Nominations: Best Documentary-Feature

1990 Films, Albert Finney, Coen Brothers, Crime Drama, Frances McDormand, Gabriel Byrne, John Turturro, Marcia Gay Harden, Mob, Sam Raimi, Steve Buscemi

Miller’s Crossing-1990

April 13, 2016 scottmet99 Leave a comment

Miller’s Crossing-1990

Director Joel Coen

Starring Ethan Coen, Gabriel Byrne

Scott’s Review #394

Reviewed April 13, 2016

Grade: B+

Containing a mixture of The Godfather Part III, Goodfellas, and The Grifters- ironically all released in 1990- Miller’s Crossing is an old-fashioned gangster film made fresh thanks to the direction of Joel Coen.

He brings a quirky edge to the film, throwing in a blend of film noir, black humor, and edgy characters, that make the film storyline feel fresh and alive in the present.

It has a definite late 1980’s era cinematic look (not a compliment).

I could immediately tell which decade it was made. Miller’s Crossing begins slowly, but during the second act gains steam and is the best part of the film.

The film is set somewhere in New York during the 1920s Prohibition period- it is assumed New York City, but this is never stated.

The general story involves Tom Reagan, a handsome Irish gangster, and right-hand man of Leo O’Bannon (Albert Finney), who becomes involved in conflict with Leo, his lover Verna (Marcia Gay Harden), and her brother Bernie (John Turturro), who is wanted dead by rival Italian mobster, Johnny Caspar.

Johnny’s right-hand man “Dane” comes into play, as does another gangster, Mink, played by Steve Buscemi. Tom changes allegiances and plays one mob boss against the other as a web of deceit, tested loyalty, and murder ensues.

As the first half concluded I was not completely sold on the film.

How many times have I seen a gangster film with all the stereotypical elements, the tough-guy shtick, and the contrivances?

I was afraid I was watching a retread of similar films.

I wondered what the point of the film was- the relationship between Tom and Leo’s struggle for power and control. A triangle between Tom, Verna, and Leo?

I noticed little chemistry among any of them and could not help but wonder if a female presence was required in the film, but not all that necessary. Regardless, I was quickly bored with the character of Verna.

But then the elements of the film started to come together and some rather left-of-center nuances presented themselves leaving me more engrossed.

A homosexual triangle (seldom seen in traditional, crime/mob films) took shape between Mink, Dane, and Bernie. All vicious killers had no stereotypes often seen in the film, which is refreshing.

Dane was arguably the most brutal of all the characters, and the bloodletting was plenty. I found this reveal completely refreshing not to mention unexpected.

However, the intricacies of the triangle were left unexplored. They simply bedded each other.

A pivotal scene set in the woods (Miller’s Crossing) is as gorgeous as it is character-driven. Tom must choose between killing Bernie and proving his loyalty to the mobsters awaiting, or secretly letting him live, fake his death, all in the name of his love for Verna.

But will his decision come back to haunt him? Is Tom, at his core, a good man or a bad man?

The calm of the forest mixed with the brutality of the film is perfect. I was reminded of the 1970 Italian masterpiece The Conformist as I viewed this beautiful scene. Tom’s conflict between good and evil and his earlier premonition of a tumbling hat comes into play.

His character conflict reminded me of Michael Corleone in The Godfather films.

Look quickly and you will see Frances McDormand, soon to be a fixture in Coen films, as a slinky, well-dressed secretary. We are reminded of great things to come by this then-unknown talent.

A nice thing that I always look forward to in Coen films are the quirky, weird, fun, minor characters, and Miller’s Crossing is no different- Johnny Caspar’s overweight wife and son- an Augustus Gloop from Willy Wonka and the Chocolate Factory lookalike- give comedy to the potentially too dark film.

From Bryan to Tic-Tac, to the fat lady with the purse, all give amusing and meaningful turns that give the film a richness with an unusual cast of characters.

Miller’s Crossing (1990) proves to be a nice little film once it picks up steam and the intertwining of stories, characters, and a bit of classic film noir mixed in, makes it a refreshing take on an age-old genre of film.

1970 Films, Horror, International Horror, Italian, Italian Horror, Mario Bava

Five Dolls For An August Moon-1970

April 9, 2016 scottmet99 Leave a comment

Five Dolls For An August Moon-1970

Director Mario Bava

Starring William Berger, Howard Ross

Scott’s Review #393

Reviewed April 9, 2016

Grade: B-

Five Dolls For An August Moon is a 1970 Italian horror film by horror maestro Mario Bava, a well-regarded director of the genre.

Being relatively a novice to his films, but knowing his name, I expected a bit more from the film than I was treated to.

From a critic’s consensus, Five Dolls For An August Moon is not considered to be one of his better films- not even close. I found some positive elements to the film, but ultimately it did not come together concisely or compellingly.

The dubbing from Italian to the English language is poor and I would have preferred more authenticity to watch in the native Italian language.

Containing a fascinating and mysterious premise, a group of gorgeous people gathers on a sunny, remote desert island- somewhere off the coast of the Mediterranean Sea.

Owned by wealthy industrialist George Stark, the weekend is intended to be one of socializing, fun, and relaxation.

It appears to be summer(hence the title) and the vacationers exude sexuality and a sense of good style. The beach house is lavish and sophisticated and it is suggested that all are brilliant, or at least, riding on the coattails of those who are.

One of the guests is famed chemist, Professor Gerry Farrell, who has recently created a revolutionary formula, and it is quickly revealed that all of the guests are industrialists with plans to buy the formula from him at any price.

Incensed, Farrell refuses to budge and, suddenly, one by one, the guests are killed off in typical gruesome horror fashion.

I am a sucker for a good whodunit, and Five Dolls For An August Moon appears to be in Agatha Christie’s- And Then There Were None style of intrigue, but this aspect of the film proves to be the most trivial and uninteresting as the plot moves along.

The character’s motives were unclear (yes, I get they all wanted the secret formula), but the real necessity of having it besides, presumably money, which they all appeared to already have plenty of, was dull.

The ending of the film and the “big reveal”, while clever, was also overly complicated for this type of film.

The film was for its time (1970), very provocative in look and style, and that impresses. Featuring a groovy, psychedelic soundtrack, bright, trendy clothing, and a sunset, the film challenges the tried and true horror elements, especially foreign horror (darkness, rain, fog, gloom) and this makes the film work from a cinematic perspective.

One cannot help but watch this film and think of director Russ Myer as a heavy influence. The casting of good-looking Italian actors, both male and female- the females busty and gorgeous- the men stylish and cool, reminiscent of Myer male actors, is noteworthy.

Interestingly, another glaring example of how other countries’ progressive sexual viewpoints contrast with the more conservative United States is that many of the couples on the island are involved sexually with other people on the island, including a lesbian romance, highly unusual to show in 1970.

These shenanigans give Five Dolls For An August Moon a more creative, suave, and sexual intrigue.

A highly effective, and creepy, aspect of the film is the keeping of the corpses in a freezer with plastic bags over the victim’s heads- meat locker style. Eyes bulging, with the clear bags giving a ghastly view, I immediately thought of the still-to-come masterpiece, Black Christmas, and how this film might have been influenced by a similar scene of a victim wrapped in plastic with a gruesome facial expression.

This is good horror stuff.

Five Dolls For An August Moon (1970) is not a great film, but it does have some edgy elements, a cool look, and thanks to great direction from Mario Bava, does some influencing films to come.

A decent horror flick and a worthwhile investment for fans of Italian horror- Bava is a heavy hitter and, next to Dario Argento, is the master in Italian horror films.

2003 Films, Bruce Dern, Clint Eastwood, Dennis Hopper, Documentary, Ellen Burstyn, Francis Ford Coppola, Jon Voight, Julie Christie, Martin Scorsese, Milos Forman, Pam Grier, Paul Schrader, Peter Bogdanovich, Robert Altman, Roy Scheider, Sissy Spacek, Sydney Pollack, William Friedkin

A Decade Under The Influence-2003

April 5, 2016 scottmet99 Leave a comment

A Decade Under the Influence-2003

Director Ted Demme, Richard LaGravenese

Starring Francis Ford Coppola, William Friedkin

Scott’s Review #392

Reviewed April 5, 2016

Grade: B+

Produced by the cable network Independent Film Channel (IFC), A Decade Under The Influence explores the decade of 1970s film, a decade that was arguably the most creative and liberating to filmmakers and audiences alike.

A period in film defined by the directors securing creative freedom instead of the studios, where artists instead of corporations finally ruled the roost. A Decade Under The Influence gives us an overview of the era.

Despite some conspicuous omissions, I enjoyed this informative piece a great deal.

The documentary is divided into numerous segments including sections on women in film, the transition into a different period in Hollywood, and the subsequent close of the decade.

The interviews are plentiful including a who’s who of stars: Martin Scorsese, Ellen Burstyn, Clint Eastwood, Robert Altman, Julie Christie, Francis Ford Coppola, and numerous other influential directors, actors, and filmmakers.

Each individual describes his or her perspective on 1970s cinema, and personal anecdotes of experiences or challenges are shared.

Ellen Burstyn, for example, describes how the success of The Exorcist afforded her a plethora of other film offers, but all of the roles were of prostitutes, dutiful wives, or women in peril.

She needed roles more stimulating than those so she chose to star in Alice Doesn’t Live Here Anymore, which was a much better-written role. What I found a bit sad is how there are still limited, layered roles for women in Hollywood to this day unless one goes the independent film route, which this documentary touts as a savior.

Francis Ford Coppola relays how The Godfather was never expected to be a success, but rather, how he was chosen to direct the film merely because he worked for cheap and was Italian-American.

How ironic that the film became such a monumental success and influential to film making as a whole for generations to come.

The documentary, at times, seems like an overview of the decade, with many clips of classic 1970s cinema interspersed with the talking points.

Despite being three hours in length, I still felt that there was so much more than the documentary could have explored. Not surprisingly, the stars granting interviews were granted heavy screen time for their films.

The documentary was fine, but could have delved much deeper- I could see a multiple-disc set totally of ten or more hours dedicated to the decade.

One conspicuous omission was Robert Altman’s Nashville, arguably, the best film of the decade. While it was briefly mentioned, and a still frame of a scene from it did appear, I felt that it warranted more dissection and discussion.

This was more surprising given that Altman was interviewed for the documentary.

Another miss was Halloween or any mention of John Carpenter films. Halloween influenced many horror films to come and The Exorcist received heaps of coverage, undoubtedly because star Burstyn and director William Friedkin appear at length throughout the production.

Additionally, in the horror genre, Black Christmas (a highly influential horror film) was not mentioned at all.

A celebration of my favorite decade of cinema, A Decade Under the Influence is a documentary that is a basic must-see for fans of 1970s cinema, or film students perhaps immersing themselves into the world of great film for the first time.

1955 Films, Drama, Film noir, Robert Aldrich

Kiss Me Deadly-1955

April 2, 2016 scottmet99 Leave a comment

Kiss Me Deadly-1955

Director Robert Aldrich

Starring Ralph Meeker

Scott’s Review #391

Reviewed April 2, 2016

Grade: A-

Kiss Me Deadly is a 1955 film noir drama that heavily influenced many films that followed it. On my “to see” list for years, I finally got around to viewing this influential gem and now realize the power of the film.

At times confusing and perplexing, and certainly requires additional watches, I rate it a grade of A-, however, can see its grade rising to a solid A upon subsequent viewings.

Still, Kiss Me Deadly has much respect from me as a lover and appreciator of a good film.

The mysterious plot goes something like this- Mike Hammer (played by Ralph Meeker) is a tough Los Angeles private eye. One evening, driving along a lonely country road, he picks up a hitchhiker named Christina (the film debut of Cloris Leachman) clad only in a trench coat.

He quickly realizes she has escaped from a mental institution but is compelled by her desperation. When thugs catch up to them, this sets off the crux of the film as Mike spends his days investigating the strange turn of events.

The plot twists and turns in innumerable ways and becomes quite complex, but always fascinates. A peculiar glowing box, which everybody seems to want, comes into play as the film progresses.

Wonderfully directed by Robert Aldrich, Kiss Me Deadly features unique and creative uses of lighting, camera angles, and moody shadows to great effect, and this is one of the first aspects that I noticed.

Shot in highly effective black and white, it allows Kiss Me Deadly a murky, suspicious look- as if danger and doom might be around every corner.

Meeker and Maxine Cooper as Velda, Mike’s secretary/lover make a nice pair, as they are good-looking, but a rather B-movie type couple, in contrast, to say, Cary Grant and Eva Marie Saint, two gorgeous upper echelon Hollywood stars of the day.

Casting those stars might have changed the tone of the film. Meeker and Cooper bring, perhaps, a blue-collar look to the film. Nevertheless, the chemistry works.

An interpretive film, Kiss Me Deadly undoubtedly influenced such later film noir classics as Chinatown, L.A. Confidential, and Pulp Fiction, not to mention science-fiction films and, arguably even Raiders of the Lost Ark.

The list could go on and on as Kiss Me Deadly crosses into numerous genres.

The ending of the film is highly complex, spooky, and downright weird. It is one of the craziest endings I have ever experienced.

Once the mysterious box is opened, the film transforms into a strange Twilight Zone episode, containing screeching sounds, and the explosion is open to complete interpretation and changes the dynamic of the film. I had the enormous good fortune to be able to view the alternate ending, not released in theaters.

Needless to say, Mike and Velda’s fates were vastly different from one end to another. My preference was the alternate ending. Sometimes the studios play things too safe.

What does it all mean? Nuclear weapons, the apocalypse, the Cold War, glowing boxes, detectives- so many elements in one film.

A conversation about Kiss Me Deadly could certainly be enjoyed and, in the end, that speaks volumes for the high quality of the film.

I look forward to seeing this revolutionary film again for further appreciation.

2016 Films, Independent, Independent Romantic Comedy, Romantic Comedy

Hello, My Name Is Doris-2016

April 1, 2016 scottmet99 Leave a comment

Hello, My Name Is Doris-2016

Director-Michael Showalter

Starring-Sally Field, Max Greenfield

Scott’s Review #390

Reviewed April 1, 2016

Grade: B

Sally Field shines in Hello, My Name Is Doris, a sweet-natured indie romantic comedy that tells of a lonely Staten Island woman, and her mostly fantasy-laden relationship with her colleague, a much younger, hunky man.

The film has a certain measure of predictability, but is sweet, honest, and works well. It hardly reinvents the wheel, but rather is a story of a woman’s reawakening from a dull life and is a nice character-oriented film- refreshing in a world of retreads and super-hero flicks. Hello, My Name Is Doris is humanistic.

Doris Miller meanders through life at her crappy data entry job at an Advertising Agency in mid-town Manhattan. Having worked in the same role for decades, she is overlooked and more or less invisible to colleagues.

She is the “weird old lady” or the “wallflower” who goes unnoticed. Her personal life is a dud- she lives with her mother who has recently died, is a hoarder, and is severely marginalized. She has no dating possibilities.

One day, on the elevator, heading to the office, a kind young man named John Fremont innocently pays attention to her and she becomes enamored with him. Later, she is stunned to realize that John is the new Art Director at her job.

Her crush escalates as she and John become friends, and a series of misunderstandings ensue, with the added conflict of her friends think she is living in a fantasy world, worried she will wind up hurt.

Sally Field carries this film in every way. It is nice to see her in a lead role again, which sadly, for a seventy-year-old actress, is a rarity these days.

She convincingly plays quirky, shy, awkward, and has one melt-down scene that is a powerful testament to her continued acting ability.

The character of Doris slowly blossoms and becomes rich with zest. We discover she is much more than meets the eye and these moments in the film are wonderful to experience and this is thanks to Field’s charisma.

My favorite scenes involve the nice bond between Doris and the thirteen-year-old granddaughter of her best pal, Roz, played by Tyne Daly.

Despite the age difference, the granddaughter views her as a peer, giving daring dating advice to the inept Doris. This leads to a nice portion of the plot and some funny moments.

One unique aspect of Hello, My Name Is Doris, is that it is not a film about a May-December romance between a man and a woman, at least I did not look at the film that way. Rather, it is about a woman who finally decides to live regardless of her age.

I felt her stifled and smothered by her brother and sister-in-law, who clearly did not understand that she hoarded “stuff” in her home to cope with her loneliness and to be surrounded by things that gave her comfort helped her deal.

Granted, Doris clinging to one broken wooden ski from the dark ages was amusing in its cuteness.

Worth a huge note is Tyne Daly, who, from an acting standpoint, can recite the phone book and I’d be happy with that. She is one of those natural, confident, interesting, real, actresses and her scenes with Fields glistened with raw talent and emotion.

Perhaps a female buddy movie with Field and Daly?

The remainder of the supporting characters is capable, but not spectacular. They are rather clichéd and one-note.

For example, Doris’s colleagues view her as invisible with the classic office jokes and especially the female boss has thrown into the film- possessing a hard-as-nails personality and coldness. I have seen these characters time after time in comedy films.

Supporting actors from Orange is the New Black and Mad Men are featured as a couple of the colleagues.

Indie, fun, and with a freshness made in large part by Sally Field, Hello, My Name Is Doris is an innocent comedy with a romantic edge and some nice laughs.

It is far from a masterpiece, but a good-natured escape, especially for the middle-aged or senior crowd craving a non-stereotypical female character- and that is refreshing in itself.

Independent Spirit Award Nominations: Piaget Producers Award (won)

1961 Films, Clark Gable, Drama, John Huston, Marilyn Monroe, Montgomery Clift

The Misfits-1961

March 27, 2016 scottmet99 Leave a comment

The Misfits-1961

Director John Huston

Starring Marilyn Monroe, Clark Gable, Montgomery Clift

Scott’s Review #389

Reviewed March 27, 2016

Grade: B+

A dark film about loneliness, insecurity, and the need for friendship, The Misfits (1961) stars several of the era’s great legends in a film that I found both sad and disturbing to watch.

Tragically, two of the stars would soon be gone from this world shortly after the film was made- Clark Gable and Marilyn Monroe. This was the final film for each.

The film, shot in black and white, has a bleak feel and represents the onset of darker decades in the film (the 1960s and 1970s). Mostly starring in light, feel-good films, The Misfits is a complete departure for Monroe, in particular.

The film is well-written and character-driven, which appeals to me, but cruelty to animals is a lot to take.

Set in Reno, Nevada, Roslyn has arrived from out of town for a quickie divorce. She is staying with Isabelle (Thelma Ritter), who frequently assists women needing divorces, lending as their witness in court.

After the divorce is final, they go to a local watering hole to celebrate life, where they meet an aging cowboy, Gay (Gable), and his tow-truck friend Guido. They all agree to go to Guido’s house in the desert to party. When they arrive, they learn that Guido’s wife has recently died.

From this point, Gay and Roslyn become a couple and grow vegetables at Guido’s house, attempting to begin a normal life. Later, the group decides to round up mustangs and take on a rodeo hand named Perce (Montgomery Clift) to help.

This leads to conflict as Gay’s intention is to sell the horses as dog food. A subplot of a love triangle between Gay, Roslyn, and Perce, emerges.

The Misfits is a difficult watch. It is cynical from a story perspective and sometimes heartbreaking. Each of the principal characters is severely damaged and pained.

We learn that Gay has two estranged children. When he runs into them at a bar, he excitedly wants to introduce them to Roslyn, but they have left before he can.

In a drunken stupor (and a sad scene), he pathetically calls out for them to return, causing a stir. Perce’s father has died and his mother left a changed woman- his stepfather selfishly takes their ranch for himself, despite Perce’s father wanting it to go to Perce.

Alcohol abuse is prevalent throughout the film- obviously, the characters drown their sorrows to escape or avoid the pain that they feel.

The opening credits are unique and feature puzzle pieces- this symbolizes the group’s isolation as individuals and desire to find each other and fit as one- they are all misfits and come together for some sense of companionship.

This is a unique aspect of the film and director John Huston deserves the credit for immediately setting the tone for clever viewers.

The acting in The Misfits is outstanding and I would argue that the performances of Monroe and Gable are the best in their respective careers. They both chartered very dark territory in the lonely and damaged characters that they portrayed.

Thelma Ritter adds sardonic humor but inexplicably vanishes from the film about halfway through- never to return or be mentioned again.

I would have liked to have seen much more from her and more depth to her character of Isabelle. Why was she a misfit? She mentions loving all cowboys so we might assume she has had her share of damaged relationships with men. More clarity might have been interesting.

The final portion of the film is difficult to sit through- an interminable scene involves Gay and Perce savagely rounding up the horses and roping them down overnight. The length of the scene combined with the horse’s struggles to escape will pull at one’s heartstrings.

Knowing that animals, until quite recently, were not treated well on film sets, leaves me twice as unsettled.

Dark stuff.

A film fraught with difficulties (Monroe and writer Arthur Miller’s marriage breakup, Monroe’s and Huston’s substance abuse issues), and a dark subject matter, make The Misfits an intriguing experience.

Having watched the film twice, I am appreciating it more and more with each viewing and think that it contains memorable qualities that are worth exploring.

As the years have passed The Misfits (1961) has become more appreciated, like a fine wine- I am realizing why.

1959 Films, Billy Wilder, Comedy, Jack Lemmon, Marilyn Monroe, Tony Curtis

Some Like It Hot-1959

March 26, 2016 scottmet99 Leave a comment

Some Like It Hot-1959

Director Billy Wilder

Starring Marilyn Monroe, Jack Lemmon, Tony Curtis

Scott’s Review #388

Reviewed March 26, 2016

Grade: A

Considered to be one of the best comedies ever made, Some Like It Hot is a funny, outlandish, yet controlled film, that never teeters too over the top or dives into outrageous camp, but rather is well written, well-acted, and contains great chemistry between the stars.

In a nutshell, it is a film where all of the elements simply come together just right. In film comedy, this is a very rare event to happen. Rather, typically we are treated to formulas or retreads of past successes.

Some Like It Hot feels refreshing and brilliant.

The film was also monumental in paving the way to the eventual elimination of the hated Hays Code, which put many restrictions on American films from 1930-1968.

Some Like It Hot pushed the envelope in important ways, leading to a spike in creativity and art within the film industry that lasted mainly throughout the 1960s and 1970s.

For that, it is a masterpiece.

Down on their luck, broke, and needing work, Jerry and Joe (Jack Lemmon and Tony Curtis) are struggling jazz musicians who seek out a meager existence in snowy Chicago. Having witnessed the St. Valentine’s Day massacre, they go on the run from the assailants, who have seen them, and pose as Josephine and Daphne, dressed in drag.

This leads to one humorous situation after another as they take the bus from Chicago to Miami with an all-girl musical band, a slumber party of sorts, led by boozy starlet Sugar Kane (played by Marilyn Monroe), who serves as the band’s vocalist and ukulele player.

Once arrived in sunny Miami “the girls” both find romantic entanglements, with Sugar and rich millionaire, Osgood Fielding III, with obvious comic antics ensuing. Josephine poses as a male Shell Oil Junior in an attempt to woo Sugar with his assumed riches in the oil business.

What makes Some Like It Hot work so well, for starters, is that it does not go too far over the edge to make it seem campy, nor does it play it too straight if you will. The balance is perfect and that makes the film rich with natural, fresh comedy.

Director Billy Wilder chose wisely to film in black and white, thereby avoiding Lemmon and Curtis looking ridiculous with colorful, bright makeup. This was toned down and muted so that it allowed for more believability.

Additionally, the subtle edginess of the film impresses me with each passing watch. Some Like It Hot got away with a lot in 1959, keeping in mind the restrictions of the day, and that knowledge gives it a groundbreaking quality.

There is an air of homosexuality throughout and the final line of the film is my favorite allowing for a thought-provoking interpretation.

When Daphne reaches her breaking point with Osgood’s romancing and yanks off his wig professing in a state of exasperation, “I am a man!!” only to hear Osgood’s startling reply of “Well, nobody’s perfect”, is clever dialogue.

Did Osgood know all along that Daphne was male? Will he marry ‘her’ anyway?

Who wouldn’t have blushed gazing at Monroe’s skin-colored and quite revealing outfit? It gave the impression that she was nude, and how funny is the physical comic timing of Lemmon and Curtis together.

Bumbling around in stockings, heels, and dresses, attempting to be feminine, but never really succeeding, but somehow making all of the other characters think that they truly were women is great.

Curtis was reportedly quite uncomfortable in drag and it shows on camera, but this works out well as it gives Josephine a natural awkwardness.

Lemmon went all out in his costumes and his energy comes across.

In my opinion not looking her best, slightly plump and tired looking, Marilyn Monroe still gives the film added life and charm, and who is not mesmerized viewing her on stage singing “I Wanna Be Loved By You”?

To think that Monroe died only three short years later is sad and an appreciation of her career in the final stages.

A risqué, laugh-out-loud, funny treat, Some Like It Hot resonates with me and did so with audiences upon release in 1959.

Comical, smart, and highly influential, the film is a must-see for fans of film comedy done honestly and free of standard cliché.

A blueprint for all smart comedies to follow.

Oscar Nominations: 1 win-Best Director-Billy Wilder, Best Actor-Jack Lemmon, Best Screenplay Based on Material from Another Medium, Best Art Direction, Black-and-White, Best Cinematography, Black-and-White, Best Costume Design, Black-and-White (won)

2014 Films, Comedy, Independent, Independent Comedy, Independent Romantic Comedy, Romantic Comedy

Obvious Child-2014

March 22, 2016 scottmet99 Leave a comment

Obvious Child-2014

Director-Gillian Robespierre

Starring-Jenny Slate

Scott’s Review #387

Reviewed March 22, 2016

Grade: C+

Obvious Child is a 2014 independent comedy nominated for a couple of independent spirit awards, that contains mixed results from me.

It works on some levels but has an irritating underbelly and some unneeded components that ultimately give it a thumbs down.

The major success is star Jenny Slate, a real-life Brooklyn stand-up comic with immeasurable comic timing, who will hopefully become a rising star.

Interesting to note is that Slate starred in a 2009 short film of the same name before said film graduated to a full-length feature.

Slate stars as a twenty-eight-year-old Brooklyn-ite, who moonlights as a stand-up comic in a dingy bar while working in a desolate bookstore that is soon closing.

Conversely, her parents are successful- her mother is a famed professor. When she is unceremoniously dumped by her steady, she takes up with a handsome young man for a one-night stand filled with fun.

Predictably, she winds up pregnant and forges ahead with a plan to abort their child.

The abortion story is quite interesting in that there is never a doubt what she will have done to the unborn child. Unlike films that make abortion the main focus of conflict, Obvious Child wisely does not- every character in the film supports, and even encourages her to have the procedure, including her mother and best friend.

Having been written and directed by women, this is intentional and a way of empowering women, which is one of the high points of the film. If one is on the fence about the topic of abortion or is the pro-life instance, this film may be very tough to watch as its slant is made crystal clear.

Slate is the other high point of the film. She exudes confidence and comic range. Jewish and slightly awkward looking, she is not the leading-lady type and this arguably makes her wit and sarcastic language all the more comical. She is a natural in the comedy department and I am hoping she will go far.

Two slight props for me worth mentioning are the wonderful mention of the classic film Gone with the Wind and the setting of Brooklyn. This was a great nod to film history and the setting gave Obvious Child an authentic New York City feel.

On the other hand, an utter annoyance about Obvious Child is the shameless and constant use of blatant and off-putting bathroom humor- not just once or twice, but numerous times.

How is this necessary to the plot? I really cannot say, but only can surmise that it was deemed necessary by the filmmakers to show that females can give as good as males can. Almost saying, “men can make poop jokes, why can’t women”? Why this is necessary for any film is beyond me and it gives Obvious Child a crass, ugly feel.

The film also has an unrealistic quality to it. Max is portrayed as prince charming. He can do no wrong, supports Donna in any decision she makes, is enamored by her sole being, and loves her unconditionally after only a one-night stand. This would not happen in real life.

The fact that Donna is Jewish and quirky and Max is Christian and straight-laced is not explored. What conflicts would they undoubtedly face? Why were his parents not featured?

Highly uneven, with a great premise and an interesting slant on a still-controversial social issue, Obvious Child succeeds in the story department but fails in its uncalled-for use of potty humor to elicit cheap laughs.

Independent Spirit Award Nominations: Best Female Lead-Jenny Slate, Best First Feature

2015 Films, Comedy

Spy-2015

March 20, 2016 scottmet99 Leave a comment

Spy-2015

Director-Paul Feig

Starring-Melissa McCarthy, Jason Statham

Scott’s Review #386

Reviewed March 20, 2016

Grade: C+

Spy is a 2015 comedy spy spoof starring funny-lady Melissa McCarthy as a loser desk CIA-analyst suddenly thrown into the field and assigned to rescue a missing agent whom she is also in love with.

Carrying the film in every way, McCarthy is very funny and adds a great deal to an otherwise formulaic, by the numbers, comedy.

As, admittedly, the “action-comedy” genre is not my favorite, I have seen much worse than Spy, and the premise is quite nice, but the second half of the film sinks into the ridiculous and is very loud and overly long.

McCarthy plays Susan Cooper, a frumpy forty-year-old woman with a decent job as a CIA analyst (she tracks the field agents cameras and warns them of impending peril), an important job, but she is deemed dispensable and a loser by the higher-ups at her job, with more important duties.

She is single, overweight, and lonely, pining after her sophisticated partner Bradley Fine (Jude Law), a field agent and stylish James Bond-type. After a mishap with Bradley thought dead, Susan goes undercover in France, Rome, and Budapest to solve the case since she will be unnoticed.

Spy is a film with a star that completely carries the film. Personally being a big fan of McCarthy’s and enjoying her performance in whatever she appears in (comedy or drama), this film needs her charisma and comic timing.

Spy contains a few laugh-out-loud moments, especially when McCarthy is forced to take on the persona of one loser after another- a divorcee with multiple cats and a wardrobe to cringe over-throw in a 1980’s perm and you’ve got a great SNL type moment.

The film itself reminds me of a long SNL skit. When McCarthy delivers her one-liners they connect and amuse.

An apparent homage to spy films and James Bond films, Spy seems closer to an Austin Powers film as it goes for more silliness, but not quite as over the top. Still, the European locales offered added elements of Bond films in a pleasant way. McCarthy as an apparent female James Bond is also kind of cute.

A noticeable negative is the unnecessary two-hour running time. With a genre of this nature, a ninety to one-hundred minute running time is all that is necessary, and any more than that and the jokes wane, become redundant, and usually teeter off into the ridiculous, which is exactly what happens with Spy.

Another problem with Spy is the supporting characters. A well-known cast including Rose Byrne, Allison Janney, Jason Statham, and Bobby Cannavale, each of these actors are cast in cartoon-like, one-note roles.

Cannavale and Byrne are the villains (Sergio and Rayna) in the plot and they play their roles in a one-dimensional way, as evil as possible, but perhaps also over-acting the parts.

This could be the fault of the director or simply what is accepted in the genre that this is. Janney- as the tough-as-nails CIA director and Statham as the dumb, temperamental, field agent also overplay their roles.

Why are all of these characters loud, unpleasant, insulting, or all of the above? The answer is it might allow better comedy to have caricatures instead of characters, but that is a debate for another time.

On the other hand, Miranda Hart as McCarthy’s sidekick Nancy, a very tall, awkward woman and Susan’s best friend is great and shares equally in the comic success that McCarthy brings.

Their chemistry is evident and a recommended second pairing would be worth exploring. Unlike the other characters, I felt myself rooting for her and wished her a love interest, though the 50 Cent romantic introduction was strange.

The plot is more or less trivial and rather unimportant in a film like this. Rationally speaking, almost everything that transpires in this film would never happen in real life, but alas, this is the movie, so one must suspend disbelief big time.

Spy is escapist fare to the max.

A hot mess if not for the wit and comic timing that McCarthy brings to the table, Spy has an interesting premise, but fails at delivering anything more than the silly formula that has existed for decades in the film comedy world. I finished the film with mixed emotions.

1954 Films, Marilyn Monroe, Otto Preminger, Robert Mitchum, Western

River of No Return-1954

March 15, 2016 scottmet99 Leave a comment

River of No Return-1954

Director Otto Preminger

Starring Robert Mitchum, Marilyn Monroe

Scott’s Review #385

Reviewed March 15, 2016

Grade: B-

A departure in genre and character from the iconic Marilyn Monroe, most notable for playing “bubble gum” roles, in the 1954 film River of No Return she plays a dance hall singer living in 1875 northwestern United States.

The film is of the Western genre with gorgeous scenery, some authentic and some staged, but the look of the film is a great selling point for me, as well as the performance and appeal of Monroe.

However, the story has major negatives, mainly that it is not very compelling nor is it interesting, not to mention existing plot holes throughout.

The crux of the story is as follows- A widower, Matt Calder (Robert Mitchum), arrives in a tent city in pursuit of his ten-year-old son, Mark, left in the care of Kay (Monroe), while the man who delivered the boy to the town has taken off for the hills.

What follows is a mishmash of the storyline involving Matt, Mark, and Kay being chased by Indians, a love triangle of sorts between Kay, Matt, and Kay’s fiancé Harry, and the father/son reconciliation between Matt and Mark.

The story is not the strong point of the film, nevertheless, it is certainly where the high drama exists. Despite it being characterized as a Western, a stark contrast to most Marilyn Monroe films, it appears a soft Western with a romantic slant.

There are some kills, to be sure, with vicious wild animals, guns, and knives prevalent, giving it an outdoorsy, naturalistic feel.

The film lacks a streamlined direction and does not seem to know where it’s headed. Is it intended to be an all-out Western, a romance, or some hybrid? Why does the story ultimately not work?

I sensed a snippet of chemistry between Mitchum and Monroe, though they were hardly Clark Gable and Vivian Leigh. One could argue that Matt does not treat Kay very well and it is surprising that Matt is portrayed as the hero in River of No Return.

Close to the middle of the film, while camping along the river, he attempts to rape Kay, where she struggles and ultimately submits. Then, almost as quickly, this fact is forgotten and the story forages forward as a love story. Huh?

At times the film almost seems spliced together from a story perspective and it is just not that compelling or memorable.

As an aside, and upon some research, River of No Return was riddled with problems and setbacks amid shooting, most notably drama existing with Monroe’s needed on-set acting coach who conflicted with director Otto Preminger, and star Robert Mitchum’s heavy drinking.

Then there was Monroe’s broken ankle and numerous weather issues. Publicly, Monroe later stated that River of No Return was her least favorite film that she appeared in. Let’s just say that the gods were not with this film.

River of No Return is certainly an uneven film with a lackluster story and odd chemistry among the characters but contains a marginal appeal to me, mainly due to the talents of Monroe, who carries the weight of an otherwise quite lackluster and forgettable film.

1953 Films, Comedy, Howard Hawks, Jane Russell, Marilyn Monroe, Musical, Romantic Comedy

Gentlemen Prefer Blondes-1953

March 13, 2016 scottmet99 Leave a comment

Gentlemen Prefer Blondes-1953

Director Howard Hawks

Starring Jane Russell, Marilyn Monroe

Scott’s Review #384

Reviewed March 13, 2016

Grade: B+

One of the iconic and legendary stars Marilyn Monroe’s better-known offerings from her brief career is Gentlemen Prefer Blondes (1953), a fun musical/romantic comedy.

She stars alongside Jane Russell, another popular Hollywood star from a golden era of film to create this wonderful gem.

Together they have great chemistry and an easy yin and yang relationship, which makes the film light and cheerful, but not meaningless or too fluffy.

It is just right for the genre that it is.

As mentioned before, the romantic comedy has changed in modern cinema and Gentlemen Prefer Blondes contains the innocence and charm that has since been lost. The 1950s were a perfect time for this genre of film.

Lorelei Lee (Monroe) and Dorothy Shaw (Russell) are American showgirls and best friends who perform a stage show together. Lorelei loves diamonds and rich men- she is dating Gus Esmond, an awkward yet lovable young man, who is wealthy but controlled by his father.

Dorothy is less interested in being showered in wealth but prefers handsome, in-shape men. When the girls head to Paris on a cruise ship, the adventures begin- Lorelei is observed and followed by a private investigator (Malone) hired by Gus’s father, while Dorothy is pursued by members of an Olympic swim team.

The film is entertaining and a must-see for all Monroe fans, as it was at the time when she was at her best- Gentlemen Prefer Blondes and Some Like it Hot are my personal favorites and she was in the prime of her tragically short film career- sure she plays the “dumb blonde” character with gusto, but there is something innocent and fun about her portrayal of Lorelei and we fall in love with her immediately.

Dorothy is the leader- the smart one- and she compliments Lorelei’s naivety. More worldly and sophisticated she watches out for her counterpart.

What makes the film work so well is the chemistry between Monroe and Russell. The audience buys them as best friends and the two actresses (who reportedly got along famously).

Monroe shines during the legendary number, “Diamonds are a Girls Best Friend”, a number that famously inspired the 1984 Madonna video “Material Girl” that will forever live on in music history.

My favorite scene takes place on the ship as Lorelei gets into trouble as she sneaks into the private investigator’s cabin to obtain incriminating evidence and winds up stuck in the tight cabin window.

The shot of Monroe sticking halfway out the window is funny. She then hilariously enlists a young, precocious child to help her avoid recognition and fool a man with a sub-par vision.

Vision also comes into play when Dorothy disguises herself as Lorelei in a silly fashion (she appears looking more like a drag queen) in a courtroom scene over hi-jinks involving a stolen tiara.

Interesting is the scene in which Dorothy is flocked by dancing Olympic gymnasts and is as provocative as could be in 1953.

Certainly unable to show any form of nudity whatsoever, the dancers are clad in nude-colored shorts, which certainly suggests elements of sexuality, an illusion of nudity, and fits the scene perfectly as Dorothy is in testosterone heaven. It is like a big, giant fantasy for her.

Gentlemen Prefer Blondes (1953) is a successful offering from another cinematic time- a time that is sorely missed. Cute, but not trivial, the film is worth dusting off for a watch every so often and to marvel at the iconic Marilyn Monroe.

1974 Films, Cloris Leachman, Cybill Shepherd, Drama, Eileen Brennan, Period Drama, Peter Bogdanovich, Romantic Drama

Daisy Miller-1974

March 6, 2016 scottmet99 Leave a comment

Daisy Miller-1974

Director Peter Bogdanovich

Starring Cybill Shepard, Cloris Leachman

Scott’s Review #383

Reviewed March 6, 2016

Grade: B

Daisy Miller is a largely forgotten 1974 film based on a Henry James novella of the same name, directed by Peter Bogdanovich and starring then-girlfriend Cybill Sheperd in the title role.

I admire the film in certain aspects, but ultimately rank the film as good, but not spectacular. I pondered the film afterward and had a feeling that something was missing from it.

The story, set in the late 1800s, tells of a wealthy upstate New York family, led by the naïve Daisy Miller (Sheperd), visiting Europe in the hopes of becoming more cultured and worldly, but instead, are largely met with defiance and snobbery from European sophisticates. Daisy attempts to find love with her numerous potential suitors.

The film is largely shot in Switzerland and Italy.

The romantic story between Daisy and upper-class Frederick Winterbourne is the focal point. Daisy, a chatterbox and flirtatious, captures Winterbourne’s fancy and he gradually woos her but is conflicted by social norms and her innocent involvement with other men, most notably dashing Italian Giovanelli.

This leads to conflict. I noticed some chemistry between Daisy and Winterbourne.

Bogdanovich, who only directed a handful of films, including the masterpiece The Last Picture Show (1971), uses several great actors in both films.

In addition to Sheperd, Cloris Leachman, and Eileen Brennan appear in supporting roles. Leachman as Daisy’s equally chatty and naïve mother, and Brennan as the vicious socialite Mrs. Parker.

Brennan, in particular, shines. Outstanding at playing snobs and unique character roles, this was right up Brennan’s alley and she almost steals the show.

I adored the cinematography and the costumes featured in the production and thought both were the film’s main strengths.

The clothing that the characters were dressed in is both gorgeous and believable for the period. The backdrop during the hotel garden scene is exquisite and picturesque as the lake, sky, and mountain are all in full view adding a unique viewing experience.

I also found the subject of cultural class distinctions quite interesting. The Millers are rich but uneducated and unlikable- they live in Schenectady and are considered far beneath the clever, intelligent figures of Europe.

They do not measure up and they lack the same breeding and class as many of the characters.

Adding to this is the fact that the Millers never really seemed all that interested in being in Europe, almost taking the opportunity for granted, so I was never completely captured by the Millers or found them particularly sympathetic as a group.

Given that she is the focus, I found the character of Daisy Miller a bit unlikable and this could be due to the casting of Sheperd. Daisy’s endless rants, largely about herself, teetered on annoying to say nothing of her irritant little brother.

Sure, Daisy is sweet and kindhearted, but there is something that did not compel me about her. She was a less charismatic, northern version of Scarlett O’Hara.

I kept wondering if other actresses might have brought more to the character and given her more muscle. Was this role a showcase for Sheperd because of her relationship with Bogdanovich?

The conclusion of the film surprised me and features a downcast ending that I did not expect given the sunny mood of the rest of the film, and this is to Bogdanovich’s credit.

He certainly did not make a mainstream film and I admire that.

Daisy Miller (1974) is a mixed bag for me. I give my admiration for some aspects, but the story and the casting could have used a bit of altering.

Oscar Nominations: Best Costume Design

2015 Films, Drama, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International

The New Girlfriend-2015

March 5, 2016 scottmet99 Leave a comment

The New Girlfriend-2015

Director-Francois Ozon

Starring-Romain Duris, Anais Demoustier

Scott’s Review #382

Reviewed March 5, 2016

Grade: B

The New Girlfriend is a French, and lighter, version of The Danish Girl, a similarly themed film also released in 2014-2015.

The story involves gender identification confusion among the central character, though the time in The Danish Girl is the 1920’s, The New Girl is set in present times.

The film begins with a brief montage of the lives of two best friends- Laura and Claire- sharing life and inseparable as children, young adults, and even as married women.

Sadly, we learn that Laura has recently died of a terminal illness and this is where the film begins. Claire embarks on a unique friendship with Laura’s husband David when she catches him wearing female clothing and acting as a “mommy” to his infant daughter.

They form a bond and Claire agrees to harbor David’s secret and even accompany him in public as he slowly takes on the persona of “Virginia”.

I found the film quite compelling throughout most of the running time as we see David’s burning desire to both dresses as a woman and feel like a woman.

We mostly see the bond develop between Claire and David, who sometimes is Virginia, other times David. Claire is happily married to her successful, handsome, husband Gilles and the three individuals are friends- sharing dinners, tennis matches, and evenings consuming wine.

Gilles is unaware of David’s secret and begins to fear an affair has ensued between his wife and his friend. Likewise, during moments, Claire imagines David and Gilles beginning a torrid affair.

Interestingly, the film does not go full steam ahead with the love triangle between Claire/Gilles/David (Virginia) and this is a wise choice. That would have made the film more typical and generic, and perhaps even one-note.

Rather, the point of the film is the struggles David goes through to feel right as a woman and how his friends support him. When he kisses Claire and snuggles with her, it is not sexual- it is to feel close to another woman.

This makes the film more character-driven.

As with many foreign-language films, The New Girlfriend is liberal with nudity, both male and female. When nudity is featured in American films, typically it is gratuitously or sexually.

This film being French, the nudity was tasteful and even beautiful. When Claire is topless it is more expressive as the mystique of the female body than in a showing of a buxom woman, which Claire is not.

The ending of the film slightly disappointed me. The idyllic, fairy tale way that the film wrapped was romanticized and unrealistic. I would have liked to have seen even more of David/Virginia’s struggles and how his in-laws might have wrestled with the idea of their granddaughter being raised by a single man dressing as a woman.

Another flaw was the lack of explanation as to whether David- as a male-desired and yearned to biologically become a woman or if he was satisfied to dress up and publicly look like a woman. The film chose not to go this route and it undoubtedly would have made the film darker, containing a much deeper story.

Instead, The New Girlfriend was light, fun, and wholesome in its overall story.

1953 Films, Betty Grable, Comedy, Lauren Bacall, Marilyn Monroe

How to Marry a Millionaire-1953

February 28, 2016 scottmet99 Leave a comment

How to Marry a Millionaire-1953

Director Jean Negulesco

Starring Lauren Bacall, Marilyn Monroe, Betty Grable

Scott’s Review #381

Reviewed February 28, 2016

Grade: B

How to Marry a Millionaire (1953) is a light-hearted, fun, romantic comedy from 1953 that features three leading ladies, famous at the time- Lauren Bacall, Betty Grable, and the legendary Marilyn Monroe.

The backdrop used in the film is New York City, in the 1950s, warm and sophisticated, and pleasing. This is an appropriate setting as all three women featured in the film are models searching for wealthy suitors.

Schatze (Bacall), Loco (Grable), and Pola (Monroe) are blatant gold-diggers, set on using their looks and charms to seduce rich men into marriage. They rent an enormous and lavish apartment (the owner is out of the country and avoiding the IRS) and slowly sell the furniture to pay the rent.

Each woman encounters potential beaus, both rich and poor, and must choose between true love and marriage for money. Or can they achieve both?

Very soon I noticed similarities to the 1980’s television sitcom The Golden Girls. As a whole, the ladies on the Golden Girls were constantly pursuing men- albeit not always rich men, but more specifically, Schatze resembles Dorothy in her directness, leadership skills, and height.

Loco has qualities attributed to Blanche- sexiness and a coquettish manner. Finally, Pola is dizzy and blonde, a close match for Rose. Unquestionably, How to Marry a Millionaire influenced the iconic television series.

How wonderful the setting is. Interspersed throughout the film are shots of Manhattan, not to mention the visible New York City skyline from the lady’s luxurious apartment where men come and go in attempts to pursue the eligible women.

The city skyline is set, however, other locales are not.

Numerous cinematic shots include the Empire State Building, Central Park, the Brooklyn Bridge, the lights of Times Square, Rockefeller Center, and the United Nations Building.

As a lover of New York City, it struck me as both fantastic and melancholy to think about how many people have come and gone throughout the iconic city, yet here it remains and always will. A slice of 1950’s Manhattan- another time entirely- was wonderful to see.

The film itself is arguably fluff- lightweight to be sure. But there is a 1950s innocence and a sense of fun to How to Marry a Millionaire that has become tainted and is missing in today’s romantic comedy genre- everything is now so crude and cynical, which is why this film works for me. There is a wholesomeness to it.

Sure, the women are manipulative (specifically Schatze), but they yearn for true love and are kind women. Their escapades are humorous. Pola- frightened of being seen by a man wearing her glasses- and blind as a bat without them- constantly bumps her way into walls and navigates rooms by feeling her way around.

More humorous still is when she mistakes a flight to Atlantic City for Kansas City, thereby changing the course of her life.

Loco (Grable), clearly the oldest of the three, and in fact, by this time Grable was looking flat out matronly, decides to go on a trip to Maine with her married beau, expecting to attend a convention filled with rich and eligible men.

Misunderstanding the situation, she then engages in hilarious hijinks with her beau and also meets dashing, but poor, Eban.

Light, fun, with bright colors and sets, How to Marry a Millionaire (1953), when watched now, brings me back to a more pure day, when films were innocent and fresh- filled with glamour and sophistication.

A trip down memory lane in the film is a nice thing.

Oscar Nominations: Best Costume Design, Color

2015 Films, Drama, Independent, Independent Drama

Beasts of No Nation-2015

February 21, 2016 scottmet99 Leave a comment

Beasts of No Nation-2015

Director-Cary Fukunaga

Starring-Idris Elba, Ama Abebrese

Scott’s Review #380

Reviewed February 21, 2016

Grade: B+

Having been made aware of this film following the healthy number of independent film award nominations heaped upon it in 2015, Beasts of No Nation is a war drama, set in an unnamed West Africa country, that tells of dire events from the perspective of a young boy, having lost his family.

He is forced into a life of brutality and death, taken under the wing of a charismatic commander.

Beasts of No Nation is sometimes raw, sometimes gorgeous, but at all times thoughtful and a powerful telling of the devastation of human life, in a world very few can comprehend.

We first meet Agu (approximately aged eight or nine), and wonderfully played by unknown child actor Abraham Attah, during happy times.

He plays with his childhood chums and adores his older brother who is attempting to woo a pretty girl. His father is a leader and the family lives in a small village protected by troops- they allow refugees in for care.

Their country is in the midst of a civil war, but the family happily survives and makes a life for themselves, sharing meals. Suddenly, the government has fallen and rebels seize the area. In no time, Agu’s family is gone, leaving him alone and scared.

His world turned upside down, he becomes involved with a militia commandant, played by Idris Elba, and a fellow child soldier named Strika, who takes him in.

The film belongs to two actors- Attah and Elba, though all actors perform their roles with precision. The relationship between the characters is interesting and complex- like a father/son mixed with mentor/protégé and is the most compelling part of the film.

The commander is certainly a father figure to Agu- he sees a warrior in him and takes him under his wing- feeds him, cares for him. He is never violent or abusive towards Agu and in one powerful scene, Agu is sodomized by Attah ( mostly off-screen yet very much implied) and Agu seeks comfort in best friend Strika, who has also met the same actions prior.

One cannot help but think sexual assaults like this are perceived and handled differently in Africa.

Rape is a subject that comes up numerous times in the film- mostly against women.

What I noticed throughout the film was the beauty of the cinematography as most scenes are set outside- the lush, green forests and the villages were tranquil and beautiful- contrasting starkly with the violence taking place.

Agu does some terrible things- in one brutal scene an innocent student is hacked to bits by Agu and Strika at the commander coaching as a sort of initiation. Agu sees the student as responsible for his family’s fates and goes berserk.

Later, Agu tearfully mistakes a village woman for his mother and angrily shoots her dead as she is being raped by his cohorts. The film is not soft and contains lots of violence. But again, this is a world unknown to most viewers.

At times we despise Agu and the violent rage he emits- but then we remember he is a young boy being turned into this warrior by savages.

He talks to God and his mother and knows what he does (and what is happening to his country) is wrong. I would have liked to have learned more background about Elba’s character. What makes him tick? Has he lost loved ones long ago as Agu has?

I surmised that the answer is yes. He is brutal, but a calm, calculating, thoughtful man- but still, one that is in control at all times.

As war rages on Agu and his fellow tribe question what they are doing. Such smarts for a young boy and the audience admires his views. He is intellectual and worldly way beyond his years.

That is what makes Beasts of No Nation a compelling character study. I more than once thought that I had seen this type of film before (Last King of Scotland comes to mind in recent times), but never to the extent of what a character-driven story it was, especially in the eyes of a child.

Beasts of No Nation takes the viewer to an unpleasant world of brutality and a world where there is no rule book. We are exposed to a once innocent child’s experiences and conflicted feelings in the face of danger and heartbreak, and hopefully, will learn its complications.

Independent Spirit Award Nominations: Best Feature, Best Director-Cary Joji Fukunaga, Best Male Lead-Abraham Attah (won), Best Supporting Male-Idris Elba (won), Best Cinematography

2015 Films, Adventure, Science Fiction

The Martian-2015

February 19, 2016 scottmet99 Leave a comment

The Martian-2015

Director-Ridley Scott

Starring Matt Damon, Jessica Chastain

Scott’s Review #379

Reviewed February 19, 2016

Grade: C-

The latest film from heralded director Ridley Scott (notable for classics Blade Runner and Alien), The Martian is a science-fiction/space adventure involving a believed dead astronaut (Matt Damon) trapped on Mars after being thought dead by his fellow team.

NASA and a crew of rescuers fervently attempt to save him as supplies run out. Extremely resourceful, Mark Watney cleverly avoids death by using his wits to survive and even prosper on the challenging planet.

Hot on the heels of several other modern science fictions, high profile offerings, such as Interstellar and Gravity, The Martian features a big Hollywood star in the lead role.

Much of the action is Watney on his own, attempting to grow to produce, ration food, and keep his sanity- think Tom Hanks in Castaway except on another planet, and with a “Hab”, an indoor operations station left by his abandoned crew.

The Martian has received lots of accolades- winning the Golden Globe for Best Musical or Comedy Film- though that is poor categorization in my opinion. The film has snippets of humor and a few songs in the background, but that is it. Unless some late 1970’s disco songs constitute a musical.

I found The Martian to be a Hollywood mainstream film in every sense- to some that may be a high compliment, but to me, I expect a bit more from a film.

It is not that The Martian is a bad film- it is not, but it is mediocre in my opinion and has all the elements of an average film. The film was going for an emotional experience that I did not experience- I had little doubt that the ending would be a sweet one, wrapped in a bow.

Mark Watney is the typical all-American character in a “guy film”. He hates disco and loves ketchup. The film makes him a guys guy, so therefore the average film-goer will relate to him. He is in good shape, cracks jokes, and is likable.

But that is also a problem with the character specifically and The Martian as a whole. He lacks substance. We know little about him except he has parents who never appear on-screen. The way that the film touts him as the hero and is cheered and praised, while in real-life would be warranted, in the film it just feels forced and contrived.

This is not a knock against Matt Damon, who does a decent job.

My beef is that the character is not fleshed out. The well-built Damon at the beginning of the film versus a scrawny Damon at the conclusion is completely a facade as clearly a body double was used in the later scenes. This lack of authenticity disappointed me.

I expected more from the supporting cast given the talent involved- Jessica Chastain, Jeff Daniels, Chiwetel Ejiofor, and Kristen Wiig all play one-note types that any actor could have played. Why were big stars cast at all?

Chastain as a mission commander, Daniels as Director of NASA, Ejiofor as NASA mission commander, and Wiig as a Public Relations specialist. The casting, in particular, of Wiig in the straight-laced, stale was mysterious to me, and it was not a particularly good portrayal….and I am a Wiig fan.

The humorous parts in The Martian border on contrived and not dissimilar to countless other films with the smart-ass remarks all containing a bland quality. Lines like “eat your heart out Neil Armstrong” seem silly and unnecessary. I expected more wit.

Let me be fair- the visual effects (it is space after all) are impressive, and it was fairly interesting to see what is supposed to be the planet of Mars, but really in this day and age of CGI effects the film is not that spectacular. I would much rather be given a compelling story than visual treats any day of the week.

My review of The Martian may seem a tad harsh, but that is only because I expected a great deal more from it than I was given.

With several Oscar nominations including for Best Picture, I anticipated a top-notch film, and The Martian did not come close. Mediocrity, straightforward, and predictable describe The Martian film. I have heard, however, that the novel is fantastic. I have added it to my reading list.

Oscar Nominations: Best Picture, Best Actor-Matt Damon, Best Adapted Screenplay, Best Sound Editing, Best Sound Mixing, Best Production Design, Best Visual Effects

1978 Films, Claude Chabrol, French, International, International Thriller, Isabelle Huppert, Thriller

Violette Noziere-1978

February 16, 2016 scottmet99 Leave a comment

Violette Noziere-1978

Director Claude Chabrol

Starring Isabelle Huppert

Scott’s Review #378

Reviewed February 16, 2016

Grade: B+

Another in the legion of thrilling and mysterious films by French director Claude Chabrol, Violette Noziere (1978) tells the true story of an eighteen-year-old Parisian girl, who plots her parent’s murder in 1930’s France.

The fact that the tale is true to life makes it even more horrific and mesmerizing.

It is beautifully shot, though the action largely takes place in interior settings.

This film is a cerebral experience.

The film is classy in every way- like French films typically are, and Isabelle Huppert (Violette) takes center stage. She is gorgeous and interesting-looking (reminiscent of a young Jennifer Jason Leigh) in the lead role.

Violette appears to be a typical French teen but harbors a dark secret and something always appears glum about the character. She works nights as a prostitute accosting wealthy men.

When she meets handsome but spendthrift, Jean Francois, a young man she fancies, she becomes his main source of income and slowly begins to plot the murder of her low-income, yet stable parents, in an attempt to inherit their apparent savings.

The story is somewhat murky as Violette’s version of events (mainly in the past and concerning her father) is accusatory. She insists that her father sexually abused her as a child, but is this in her fantasy world, or did this happen? One never knows.

Making the film compelling is that Violette’s parents are quite likable. Struggling to make ends meet and provide quality life, they prepare home-cooked meals, enjoy life, and appear to be decent people.

What is the reality?

Later, we witness a rivalry between Violette and her mother. In one scene we see Violette’s father bouncing his daughter on his knee while the mother looks on filled with hatred.

When she attempts to seduce her husband, unsuccessfully, Violette looks on amused. Is this solely in Violette’s mind?

Chabrol, an admirer of Alfred Hitchcock, keeps the suspense going throughout the film, but the heart of the film belongs to Huppert.

From the start of the film, amid meaningless banter with her more refined girlfriend, the audience can tell there is something amiss about Violette. She seems lonely, like a lost little girl yearning for some excitement as her eyes stare into the distance.

Her true colors are slowly exposed, yet Chabrol never makes her all-out crazy. Violette always has a cool, calm, demeanor and that is why the film succeeds.

For fans of Chabrol, or film fans eager for a foreign language treat, Violette Noziere is a rare find, a welcome addition to the growing number of his films I have watched with interest, and heartily enjoyed.

The mystique, the beauty of the artistry, and the twists and turns are top-notch.

2016 Films, Comedy, Satire

Hail, Caesar!-2016

February 16, 2016 scottmet99 Leave a comment

Hail, Caesar! -2016

Director-Ethan Coen, Joel Coen

Starring George Clooney, Channing Tatum

Scott’s Review #377

Reviewed February 16, 2016

Grade: B+

Hail, Caesar! is a quirky film created and directed by the Coen Brothers, known for such offbeat films as Fargo, No Country for Old Men, and Raising Arizona.

Hail, Caesar is a satirical comedy about the Hollywood film industry during the post-World War II period of the 1950s.

Including singing, dancing, and scandalous matters, the film includes a bevy of current Hollywood talent including George Clooney, Channing Tatum, Josh Brolin, and Scarlett Johannsen to name but a few.

All give fine performances and add humor and wit to the film.

The plot centers on the character of Eddie Mannix (Brolin), a celebrity “fixer” and real-life person, who works as an executive for Capitol Pictures, and whose main responsibility is to ensure that famous Hollywood stars remain out of trouble.

The period is 1951, a particularly scandalous time in pictures. One of the biggest stars of the time, Baird Whitlock (Clooney), is suddenly kidnapped and held for ransom while completing a big epic film for the studio. Mannix must race to keep the crisis out of the news and safely get Whitlock back.

Certainly, there are interesting subplots including handsome, yet talent-less Western actor Hobie Doyle, hired by the studio to appear in a sweeping period piece directed by suave Laurence Laurentz (Ralph Fiennes), and DeeAnna Moran (Johannsen), unmarried and with a “bun in the oven”, determined to keep herself out of the tabloids.

I loved the look of the film, as numerous films within the film occur. The 1950’s set pieces and set designs are exquisite to experience, particularly the period piece set, lavishly designed with classic doors, a staircase, flowers, and a cast dressed to the nines. It brings back an extravagant time.

The film is a satire, to be sure, but also contains the serious subject matter of communism (especially for that period), Russia, and Russian defectors, all involved in a plot to prove a valuable point.

Despite the film being a comedy, this is worth serious thought. Many writers in Hollywood make money for the studios and are rewarded with underwhelming salaries. The same holds in Hollywood today.

This point can spill over into other walks of life as well and the point of the “little man gets screwed” is explored. Communism is also explored throughout the film as the main message- a message that is important and resonates.

Another interesting tidbit that Hail, Caesar! mentions, though only on the surface, is the burgeoning onslaught of television programming.

Suddenly, more and more folks were purchasing TVs and staying away from the glamour of films opting instead for the comfort of their couch.

What a different time it was!

An intriguing, favorite character of mine belongs to Channing Tatum’s portrayal of Burt Gurney, a Gene Kelly-like character famous for singing and dancing numbers. A sizzling sailor dance gives edge and sexuality to the film.

A revealing scandal involving Burt and Laurence is fantastic and delicious.

My favorite scene belongs to Frances McDormand, shamefully only appearing in one scene- quite memorable. As film editor C.C. Calhoun, she diligently shows Mannix film dailies in the hopes of discovering a clue in the disappearance of Whitlock. When her scarf gets caught in the projector, both hilarity and grotesqueness ensue.

It is a classic Coen Brothers comedy.

Hail Caesar! succeeds as a witty, comical, throwback to a wonderful time in film history, with a political edge, that historians will appreciate and Coen Brothers fans will relish.

Perhaps not their most creative or memorable, but enjoyable all the same.

Oscar Nominations: Best Production Design

2015 Films, Best Documentary Feature Oscar Winners, Documentary

Amy-2015

February 8, 2016 scottmet99 Leave a comment

Amy-2015

Director-Asif Kapadia

Starring-Amy Winehouse

Scott’s Review #376

Reviewed February 8, 2016

Grade: B

Amy is an informative documentary that tells the story of immensely talented, yet troubled, pop singer, Amy Winehouse.

Her childhood, rise to fame, and ultimate downfall as a result of drug, alcohol, and weight battles, are all chronicled in her documentary.

Despite the information, however, I never got the sense that I knew the singer well and at the conclusion, she still seemed mysterious.

Possessing a unique jazz/soul-infused sound and a wonderful British accent to boot, Winehouse burst onto the pop scene like gangbusters in 2003 as a talented artist with many layers of genres in her music.

A diamond in the rough you might say, and a breath of fresh air in modern music.

The fact that she wrote her songs only added to the level of talent oozing from her.

The documentary wisely tells of her upbringing and her abandoned father, who later resurfaced in her life. Her mother, while decent, could not control Amy, who was full of life and energy.

The main crux of the film, however, is to show her difficulty with fame- a sad, tried and true story of celebrities near and dear, artist types, who do not do well with the attention and adoration thrown their way and Amy Winehouse is no different.

As her popularity grew, all she wanted was to be left alone, and, unfortunately, her life became very public, including her tumultuous relationship with her boyfriend who wound up in prison.

Sadly, Winehouse did not have the best support system and it has alluded to that, perhaps, her father was an opportunist. A tortured, pure artist that sadly wasted away due to outside circumstances.

Throughout most of the film, she seemed lost or overwhelmed with the success that came her way. In a cruel irony, her biggest hit “Rehab” became fodder for late-night television comics to poke fun at her.

The documentary itself, while informative, is also quite basic and I felt like I was given more of an overview of Winehouse’s life than a personal introspective. I did not feel like I received a true sense of her inner thoughts and dreams. Yes, she did not want to be famous and it bothered her, but I wanted to see more of the real Amy Winehouse.

Amy is an adequate documentary about the life and times of Amy Winehouse and I finished the piece knowing more about her, but not nearly as much about her as I wished I had learned. A decent effort, but more would have been nice.

Oscar Nominations: Best Documentary-Feature (won)

2002 Films, Art, French, International, International Thriller, Scott's Top 10 Most Disturbing Films, Thriller

Irreversible-2002

February 7, 2016 scottmet99 Leave a comment

Irreversible-2002

Director Gaspar Noe

Starring Monica Bellucci, Vincent Cassel

Top 10 Disturbing Films #4

Scott’s Review #375

Reviewed February 7, 2016

Grade: C+

As I ponder my review of Irreversible, a 2002 French thriller and “art film”, I am attempting (as I always do) to look at the film critically, from a story and a technical standpoint, as well as a myriad of other aspects that make up a film.

This is admittedly a toughie.

On the surface, I despised the film wholeheartedly (more on that later), but from a critical standpoint, I found characteristics to admire and give credit to. One thing is for certain- I never want to see this film again.

The story is told in a non-linear style, begins after the story, and works backward, which I credit the film for, giving it a unique storytelling experience, cleverly done.

Two Parisian friends, Marcus and Pierre, go on a rampage after Marcus’s girlfriend is brutally raped and beaten. In panic mode, they learn the name of the attacker (Le Tenia) and go to a gay BDSM club aptly named “The Rectum”, a place the attacker requests, where they fervently search for him all the while beating club-goers and cause havoc.

Since the story is told in reverse, the audience is initially in a state of confusion at the events transpiring, and the jagged, shaky camera work, a very creative technique, only adds to the chaos. We only know that two maniacs are running rampant, destroying everything in their path.

Slowly, we realize what their motivation is as we work backward.

We are introduced to Alex, a beautiful young woman- in the early stages of pregnancy, who is Marcus’s steady, but used to date, Pierre. They are all very good friends. We see the romance between Marcus and Alex, and, working even further backward, we see Alex sitting alone in a park, reading a novel, and enjoying a bright, pleasant day in the park.

This peaceful closing scene contrasts drastically with the rest of the dark film. The film then becomes a flashing, frenetic, black-and-white experience, which I do not understand.

The film is quite bizarre and intensely brutal. The rape of Alex in a dark, gloomy underpass is one of the most intense and disturbing scenes I have ever witnessed in the film, and at one point I needed to leave the room briefly.

The scene is ten minutes in length and Alex is anally raped and then beaten into a comatose state. It is a sickening scene and we witness her pain, misery, and humiliation.

When Pierre and Marcus avenge her rape on who they think is Le Tenia, the scene is also extremely brutal. After (supposed) Le Tenia is captured by them, he attempts to rape Marcus, and Pierre grabs a fire extinguisher and bashes the victim to death as the face is repeatedly destroyed in full detail. It is a tough scene to watch.

I question the motivations of the director wholeheartedly and wonder if he intended to story-tell, or simply make as gruesome and shocking a film as possible.

I have read that when the film was shown at the Cannes Film Festival, many people walked out of the auditorium in disgust- I can see why.

Irreversible is severely homophobic, with repeated gay slurs being used throughout the gay club scenes, and is also anti- Asian as evidenced by Pierre’s and Marcus’s racial slurs directed at a taxi driver.

The motivations of the character of Le Tenia make no sense to me as it is revealed he is a gay man. Why a gay man would brutally rape a female is unclear to me. This, combined with the extreme brutality, anti-gay, anti-minority, and anti-women, renders the film rather pointless from a story perspective.

My assumption after processing the film is that the director wants us to sympathize with nobody in the film, except Alex. Pierre, Marcus, and Le Tenia are all hateful characters.

It is interesting how, at first, since the beginning is the end, the motivations of the characters are unclear and confused.

My admiration of Irreversible (2002) comes solely from the unique camera work, the clever pacing of the film in the form of backward chapters, and the frenetic style of the opening work, however, the homophobia, racism, and brutality left me cold and I could not shake the feeling that this film is shocking for the sake of being shocking, and one that I ultimately cannot applaud.

Welcome to my blog! 1,400 + reviews posted so far! My name is Scott Segrell and I reside in Stamford, CT. My blog is a diverse site featuring tons of film reviews I have written since I launched my site in 2014. I hope you enjoy perusing the site for latest or greatest films or to search for your own favorites to see how we compare. Please take a look at my featured sections at the top of the page which change often! Utilize the tags and category links.