All posts by scottmet99

1981 Films, Billy Hufsey, Christopher George, E. Danny Murphy, E. J. Peaker, Herb Freed, Horror, Linnea Quigley, Michael Pataki, Patch Mackenzie, Slasher, Vanna White

Graduation Day-1981

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Graduation Day-1981

Director Herb Freed

Starring Christopher George, Patch Mackenzie

Scott’s Review #1,482

Reviewed June 7, 2025

Grade: B

Essentially borrowing from Halloween (1978), Friday the 13th (1980), and other slasher films of the genre’s original heyday, Graduation Day (1981) even adopts the gimmicky holiday/big event model (prom night, Mother’s Day, etc.) made popular.

A whodunit mystery, killer point of view camera work, and revenge motive come into play, making the film a standard entry in the slasher catalog.

Released in 1981, the film capitalizes on trends in the horror genre, much like many rock bands did during the grunge movement or the Los Angeles hair metal movement, for comparison.

There are red herring devices and comical, one-dimensional characters thrown in to soften the film. Making Graduation Day a second-tier slasher film, no more and no less.

Still, the film is fun, with the guessing of the killer’s identity being the most successful and compelling aspect. The murderer carefully marking a red X over each victim post murder is delightful.

A small role by aspiring actress Vanna White, who soon became a television game show legend on Wheel of Fortune, makes Graduation Day a fun relic from another time. Her acting isn’t good, so she lucked out with a continuing career in showbiz. The script does her no favors either.

A suburban high school track team is devastated when their star runner, Laura Ramstead, drops dead following a race, having been pressured relentlessly to win by aggressive coach George Michaels (Christopher George).

Months go by, and Laura’s older sister, Anne (Patch Mackenzie), a U.S. Navy Officer, returns home to attend graduation in Laura’s honor.

Conveniently, she leers at one of Laura’s fellow trackmates and has an identical grey tracksuit and black gloves to those of the killer. Later, we see that the coach does as well.

Has Anne returned to town to avenge her sister’s death? Or does the coach blame the other track members for Laura’s death? Is Laura’s devastated boyfriend Kevin (E. Danny Murphy) out for revenge?

Herb Freed, a director I’m not familiar with, co-wrote and co-produced the venture, which is a positive. This means he undoubtedly had more creative freedom to make the project his own.

Many scenes take place along a deserted walking path, reportedly on the way to campus. Intended victims traverse the trail while someone watches them from the sidelines. It’s either the killer or someone else. One character laughably states that she is looking for the auditorium (on a trail?) and can’t find her way.

The editing team deserves praise for the opening sequence, a slow-motion ode to Brian De Palma’s Carrie (1976), no doubt, as Laura crosses the finish line as adoring students and teachers chant her name and words of encouragement.

Later, a cool roller-skating scene is shown amid a performance by the new wave rock band, Felony.

The filler scenes between less critical characters, such as the principal (Michael Pataki) and the ditzy secretary, aptly named Blondie (E.J. Peaker), for example, play well.

What fans watching the film mostly want to see, though, are the kills, which are well done and clever. My favorite is when Tony (Billy Hufsey) is decapitated from behind while taking a leak.

Another track member attempts to pole vault, resulting in death when steel spikes have replaced the pads in the pole vault pit, and he is killed upon impact.

The screenplay is weak, and the killer’s motivations and reasons for the revenge are lightweight. The track members had no intention to or responsibility for Laura’s death, so the conclusion is unsatisfying.

Graduation Day (1981) is an ideal weekend movie, the kind of entertaining, low-budget horror film that will work best for audiences looking to unwind and have fun after a long, busy workweek.

That’s why I watched it, and it’s perfect for fans of the slasher genre who may not have heard of it.

1976 Films, Beatrice Straight, Comedy, Conchata Ferrell, Dark Comedy, Drama, Faye Dunaway, Ned Beatty, Peter Finch, Robert Duvall, Satire, Sidney Lumet, William Holden

Network-1976

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Network-1976

Director Sidney Lumet

Starring Faye Dunaway, Peter Finch, William Holden

Scott’s Review #1,481

Reviewed May 13, 2025

Grade: A

A conceptual film laden with intelligence and satire, Network (1976) is innovative, not easily digestible, but satisfying nonetheless. It pairs well with films like All the President’s Men (1976) or Spotlight (2015), with a focus on media frenzy, ratings, and the frustrating search for the truth amid chaos.

Or, does the truth even matter? It’s a sobering question the film explores.

The film received nine Oscar nominations and won three of the four acting awards. Decades later, it holds up tremendously well and is a stark reminder of the power of television and public perception, for better or worse.

Brilliant acting, rich writing, and impressive editing make Network a timeless treasure for many generations, not to mention Lumet’s creative and sometimes shocking direction.

Over narration, we meet veteran news anchorman Howard Beale (Peter Finch). He learns from his friend and news division president, Max Schumacher (William Holden), that he has just two more weeks on the air with the UBS network because of declining ratings.

After threatening to shoot himself on live television, instead, he launches into an angry televised rant, which turns out to be a huge ratings boost for the network, and he is kept on for entertainment purposes.

But what happens when the public grows tired of his antics and craves even more outrageous programming?

Ambitious producer Diana Christensen (Faye Dunaway), obsessed with her career and ratings, takes actions to dangerous new levels.

The poignancy that immediately caught my attention was how little the bottom line has changed in almost fifty years of television since Network was released. One could argue that things have gotten worse where ratings will make or break a television broadcast.

Depressing still is the knowledge in 2025 politics where liars, cheats, and felons callously hold the highest offices and wield the most power, newscasts are currently created based on the truths their target audiences believe, regardless of the truth.

Lumet, well-known for creating the groundbreaking Dog Day Afternoon (1975) just a year earlier, uses split screens to show four perspectives and adds frightening gun-toting rebels who are angry and looking to make political statements.

But Diana needs them for a significant ratings share.

Lumet’s sequences teeter between long soliloquies in which characters reveal their deepest motivations and emotions and rapid-fire editing involving shootings and bank robberies.

I loved seeing the 1970s-style corporate offices with retro telephones, notepads, pens, pencils, stylish carpets, and colorful elevators. The glamorous and polished interiors perfectly reflect the gorgeous Manhattan skyline seen in numerous sequences.

The lavish restaurants and strong cocktails provide a luminous texture to the time.

The screenplay, written by Paddy Chayefsky, was based on the idea of a live death as his film’s terminating focal point, to say later in an interview, “Television will do anything for a rating… anything!”

The statement hit home in frigid reality.

Dunaway and Finch are clear favorites and provide the deepest character structures. Dunaway’s Diana is frigid and opportunistic, providing no vulnerability or sympathy from the audience. In a way, she is not a human being, lacking emotional depth.

I half expected her to tear her face off and reveal herself as a fembot.

Finch steals the show as the tired and depressed veteran who feels dismissed and forgotten. Even when he reveals his intent to commit suicide on live TV, the news crew tunes out his monotone voice as they do nightly.

Finally, Beatrice Straight brilliantly delivers an acting 101 tutorial as the aging housewife being cheated on by her philandering husband.

One miss is Robert DuVall in a one-note performance we’ve already seen him deliver.

Network (1976) is a top-notch film from my favorite decade in cinema. The 1970s produced many meaningful and introspective gems, and Network is one of them.

Oscar Nominations: 4 wins-Best Picture, Best Director- Sidney Lumet, Best Actor- Peter Finch (won), William Holden, Best Actress- Faye Dunaway (won), Best Supporting Actor- Ned Beatty, Best Supporting Actress- Beatrice Straight (won), Best Original Screenplay (won), Best Cinematography, Best Film Editing

1981 Films, Bernadette Peters, Christopher Walken, Drama, Gloria LeRoy, Herbert Ross, Jessica Harper, Musical, Musical Drama, Romantic Drama, Steve Martin, Vernel Bagneris

Pennies from Heaven-1981

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Pennies from Heaven-1981

Director Herbert Ross

Starring Steve Martin, Bernadette Peters, Christopher Walken

Scott’s Review #1,480

Reviewed May 10, 2025

Grade: A

Pennies from Heaven (1981) may be Steve Martin’s best film role and Bernadette Peters’s most excellent cinematic performance. Audiences did not receive the film well upon release, but many of the best movies are not.

Critics, however, applauded the film, which earned writer Dennis Potter an Academy Award nomination for Best Adapted Screenplay.

Watching (for the first time) in 2025, the film doesn’t feel dated, as many 1980s films do. Furthermore, Pennies from Heaven doesn’t feel like a 1930s set film in the 1980s either.

The opening sequence features credits amid clouds, later dances on the tops of bars, and kids in a schoolhouse playing white pianos, which is fresh and authentic.

These aspects enhance the dazzling musical production numbers. The songs are lip-synced, which strangely works after a brief period of adjustment, given that they are popular songs of the 1920s–30s, such as ‘Let’s Misbehave,’ ‘Life Is Just a Bowl of Cherries,’ ‘Let’s Face the Music and Dance,’ and the terrific ‘Pennies from Heaven’.

Unconventional in film, sometimes the action in a scene suddenly stops, and a musical number begins. The songs reflect the times with an overpowering sadness.

The story follows Arthur Parker (Steve Martin), a Depression-era sheet-music salesman with dreams of becoming a big success. When Arthur faces relationship problems with his wife, Joan (Jessica Harper), he begins an affair with a shy and beautiful teacher, Eileen (Bernadette Peters).

Though Arthur and Eileen connect, societal and financial obstacles threaten their happiness.

The film is highly stylized and looks stunning. The darker lighting, especially during musical numbers, looks muted to reflect the bleak nature of the Depression period.

I was continually surprised by this film. Situations arose that threw me for a loop, especially Eileen’s pregnancy and subsequent journey into the world of prostitution. At first meek and virginal, she becomes a savvy and more demanding character as the film progresses.

Eileen is my favorite character.

Peters was robbed of an Oscar nomination, which is surprising because she is emotionally invested in the character. Although she expects to hate sleeping with men for money, she doesn’t find it so bad, and it’s an easy way to make money during a time when most had no resources.

I adore Peter’s facial expressions as she embarrassingly looks away or her eyes well with tears.

A shocking death devastated me towards the film’s end, even though the character was minor.

I wasn’t as enamored with Arthur’s character as with Martin’s performance. Arthur, horny and a bit of a cad, disappoints me when he is mean to troubled and struggling accordion player (played wonderfully by Vernal Bagneris). He also doesn’t treat his wife very well.

Nonetheless, his dramatic turn is refreshing compared with his typical slapstick roles, and he and Peters have great chemistry.

Christopher Walken, in a small role as Tom a stylish pimp, brings down the house with a wacky dance.

The rich and complex writing showcases an anti-hero with layers of complexities and supporting characters looking to survive. The 1930s setting is crucial as characters scramble like mice to find a bit of cheese and navigate a complex maze.

Pennies from Heaven (1981) is not a film for mainstream moviegoers. Instead, the film will be a surprising treat for those eager to peel back an onion and immerse themselves in good cinema.

Oscar Nominations: Best Adapted Screenplay

2024 Films, Amy Adams, Comedy, Dark Comedy, Jessica Harper, Marielle Heller, Satire, Scoot McNairy

Nightbitch-2024

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Nightbitch-2024

Director Marielle Heller

Starring Amy Adams, Scoot McNairy

Scott’s Review #1,479

Reviewed May 5, 2025

Grade: B+

A bizarre premise becomes a quality message as Amy Adams plays depressed and frumpy in Nitchbitch (2024), immersing the audience in her life and conflicting emotions about career and motherhood.

In 2024, the film jumped out of the gate with Oscar buzz but quickly and peculiarly fell by year’s end. It needed to be content with mere Golden Globe and Independent Spirit Award nominations.

Billed as a dark comedy/horror based on Rachel Yoder’s 2021 novel, it was undoubtedly too weird for many.

I didn’t recognize it as quite a horror film, but I appreciated the satirical and corny nature of the underlying message.

The standout is Adams, with Heller’s intelligent and witty script in second place.

Mother (Adams) is a woman who pauses her successful art career to be a stay-at-home mom seeking a new chapter in her life and encounters just that when her maternal routine takes a surreal turn.

Continually frustrated with stay-at-home life and the redundant story hour, she fantasizes about letting loose and speaking her mind. One day, she grows fur and a tail and experiences increased hearing. She also connects with wild dogs and other wildlife, causing her to believe she is turning into a dog.

When she begins to bark in public and eat without silverware, she begins to worry. But, is it all in her mind?

Adams, a legendary and terrific actor, goes full throttle in Nightbitch, appearing sans makeup, haggard, and plump. This is necessary for the role and, helped by close-ups, successfully makes the audience feel how exhausted and angry she is.

She never takes it out on her child, but her husband (Scoot McNairy) must tolerate her outbursts of frustration despite being well-intentioned. She tolerates three female acquaintances (also mothers) but desires something more stimulating.

Marielle Heller, who directs and writes the screenplay, challenges the norms of women expecting to have children and smiles while surviving two hours of sleep per night.

Sometimes, women with newborns or toddlers hate their lives and the world, and Heller/Adams proves this is okay.

When Mother finally gets a night out with her art colleagues she is aghast at their calousness having suddenly never realized what assholes they are.

She gleefully snarls and goes all rabid dog before realizing she has manners to follow. Still, the most fun is her fantasies.

Scoot McNairy is perfect as a husband, lovingly playing second fiddle to Adams. His character, blatantly named ‘husband’, tries to help but is usurped by his career and subconscious expectations that the mother does most of the childcare.

Sadly, most of the world still seems to agree.

Mother’s friends are comical but slightly one-note. They teeter between shock at Mother’s honesty and opening their eyes to what awaits them.

Conventionally, Nightbitch (2024) is an excellent watch for a mother/daughter outing for the progressive, thought-provoking crowd, though it’s not a mainstream film.

For others, it reflects societal norms, fantasies, and a metaphor of sacrificing one’s happiness for another.

While some may find it silly, the film dares to tell a unique story rarely told before. I didn’t take the plot literally and think Mother was turning into a dog.

I loved the satire, the one-two punch of Mother telling it like it is, and Adams looking deliciously homely.

Independent Spirit Award Nominations: Best Lead Performance, Amy Adams, Best Editing

2024 Films, Aunjanue Ellis-Taylor, Brandon Wilson, Drama, Ethan Cole Sharp, Historical Drama, RaMell Ross

Nickel Boys-2024

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Nickel Boys-2024

Director RaMell Ross

Starring Ethan Cole Sharp, Brandon Wilson, Aunjanue Ellis-Taylor

Scott’s Review #1,478

Reviewed April 25, 2025

Grade: A-

Nickel Boys (2024) is a film adaptation of a 2019 novel called The Nickel Boys, written by Colson Whitehead, which won him the Pulitzer Prize for Fiction award.

The film is a unique experience in cinematography. Using a jarring but immersive point of view effectively makes the audience feel the weight of the subject matter and the peril that the characters face.

Since most of the events are shot from a first-person perspective, it takes some time to get used to it, and I can understand how it might turn off some viewers.

However, I admire the unconventional approach very much and champion any cinema that pushes boundaries. RaMell Ross, a director new to the scene, obviously made a splash, scoring a Best Screenplay Oscar nomination as well as a Best Picture nod.

Elwood Curtis’s (Ethan Herisse) college dreams are shattered one sunny afternoon when he unwittingly accepts a ride with a drug dealer in the deep Jim Crow American South in 1962.

Despite his innocence, he is sentenced to Nickel Academy, a segregated and brutal reformatory where young black males frequently disappear without a trace.

As the 1960s continue and the Civil Rights Movement and Reverend Martin Luther King’s influence spread, Elwood and his best friend, Turner (Brandon Wilson), plot a daring escape.

Ross incorporates short sequences of present-day activity where Elwood (Daveed Diggs) is now a successful businessman in New York City. He lives with his girlfriend and eventually reconnects with a fellow inmate.

During the first of these scenes, I breathed a sigh of relief, assured that Elwood not only survives Nickel Academy but also gets as far away from the racist South as possible. Successful in life, this aspect also satisfies.

Shot in swampy Louisiana, doubling as Tallahassee, Florida, the ambiance is sticky, sweaty, and suffocating, which serves the film perfectly.

As the black youngsters arrive at the facility with white youngsters who are let out of the car first, the different experiences are immediately apparent.  The black kids’ barracks are smaller, darker, and fraught with racism.

I immediately sympathized with Elwood. On a bright path along with his caregiver and grandmother, Hattie, beautifully played by Aunjanue Ellis-Taylor, his incarceration is devastating and unfair.

Without a doubt, instances portrayed in the film happened in real life, and the number of lives ruined or lost is beyond comprehension.

Ellis-Taylor, whose Hattie does a lot of talking to the camera, either to Elwood or Turner, is rich with power, prowess, and guts, never losing hope amid dire circumstances.

The stylistic approach never detracts from the top-notch acting performances, especially by the teen actors playing Elwood and Turner (Ethan Cole Sharp and Wilson).

Nickel Boys (2024) doesn’t feel gimmicky; it’s instead a confirmation of what cinema can do, how it can speak to us, and how it can move us.

It serves as an argument for progressing and documenting fiction as something more than just a well-meaning film. My A-rating would have been a solid A, but it took a little while to fully capture it due to the film’s style, which I ultimately appreciate.

Oscar Nominations: Best Picture, Best Adapted Screenplay

Independent Spirit Awards Nominations: Best Feature, Best Cinematography

2024 Films, Clarence Maclin, Colman Domingo, Drama, Greg Kwedar, Independent, Independent Drama, Paul Raci

Sing Sing-2024

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Sing Sing-2024

Director Greg Kwedar

Starring Colman Domingo, Clarence Macrin

Scott’s Review #1,477

Reviewed April 22, 2025

Grade: B+

Based on the real-life Rehabilitation Through the Arts program at Sing Sing Maximum Security Prison in suburban New York, the film Sing Sing (2024) centers on a group of incarcerated men involved in creating theatrical stage shows through the program.

Inspiring, it successfully paints a positive picture of prison life instead of the tried-and-true prison dramas released over the years. The grit and violence are kept to a minimum, with rich character nuances added in their place.

If theater and prison sound like an unlikely pairing, the film works surprisingly well and provides a few emotional moments while just barely avoiding being labeled as wimpy.

Divine G, played by Colman Domingo, is imprisoned at Sing Sing for a crime he didn’t commit. He finds purpose by acting in a theatre group alongside other incarcerated men, including a wary newcomer named Clarence Maclin (self-portrayed).

While Domingo is the standout from an acting lens, the most impressive aspect of the film is the use of not only non-actors but an unforgettable ensemble cast of formerly incarcerated actors.

This provides authenticity and realism to a film that also feels watered down and safe.

Sure, it’s based on real-life events, and the results are uplifting, with teachable moments of resilience showcased, but it’s not exactly edgy material either.

Divine G is a character with humanity and kindness, and this is the message director Greg Kwedar wants to instill in the audience. He doesn’t go for knife fights, drug cartels, or anything overly conflicting other than the theater moments.

In only one scene, when Divine Eye threatens another prisoner with payback if the owed money is not paid, it feels thrown in as a way to remind the audience that the characters are tough guys.

Otherwise, the theater is the main attraction. And this is fine with me.

Nuggets of Shakespearean knowledge are shared with the prisoners and subsequently with the audience.  The theater fellows debate Hamlet and the idiosyncrasies of owning a scene, and compelling the audience to believe in what a character is saying are featured.

Domingo is excellent in the role, receiving his second Best Actor nomination but coming up empty-handed. The delicate nature of the film may have a lot to do with this, and I yearned for more grit from this fine actor.

He is getting roles that Denzel Washington would have gotten ten or fifteen years ago.

His best scene comes when he breaks down in anger at his false imprisonment. Angry yet contained, he powerfully reveals how a wrongly accused man can reach his breaking point.

In satisfying form, the film closes with real-life footage from the RTA program at Sing Sing, featuring the real actors who portrayed themselves in the film, performing in past productions when they were still inmates at the facility.

A lovely reunion between rivals Divine G and Diving Eye wraps up Sing Sing (2024) like a perfect little bow.

Refreshingly different from many prison films, I still wanted more muscle from this otherwise pleasant film.

Oscar Nominations: Best Actor- Colman Domingo, Best Adapted Screenplay, Best Original Song-“Like a Bird”

Independent Spirit Award Nominations: Best Feature, Best Lead Performance- Colman Domingo, Best Supporting Performance- Clarence Maclin

1981 Films, Horror, Kevin Brophy, Linda Blair, Peter Barton, Slasher, Suki Goodwin, Tom DeSimone, Vincent Van Patten

Hell Night-1981

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Hell Night-1981

Starring Linda Blair, Peter Barton, Vincent Van Patten

Director Tom DeSimone

Scott’s Review #1,476

Reviewed April 6, 2025

Grade: B

Hell Night (1981) is a slasher/horror film that provides fun late-night entertainment. A creepy deserted estate where a mass murder event happened amid a night of fraternity hazing offers the appropriate setting for a night of horror.

When four college pledges led by Marti (Linda Blair) are tasked with staying overnight after a costume party as a test of loyalty, what could go wrong?

Director Tom DeSimone knows what ingredients to pepper his film with for the most compelling and effectual result, essentially borrowing from other films. A dark overnight, attempted pranks, ghosts, screams, good-looking young people, and lots of booze and drug paraphernalia.

He incorporates the standard slasher backstory of a years-old event and a vicious killer still on the loose. This gimmick resembles Friday the 13th (1980) or Halloween (1978).

Folklore tells us that Garth Manor is an abandoned mansion once owned by Raymond Garth, who murdered his wife and three deformed children, Morris, Margaret, and Suzanne.

Garth then hanged himself. While he had a fourth deformed child, Andrew, his body was never found, nor was the body of Morris.

Folklore states that Morris and Andrew still lurk within the mansion, hungrily waiting for prey.

This immediately makes the pledges frightened and happy to get through the six-hour overnight alive. It also builds interest for the audience.

What makes Hell Night particularly unique is its subplot involving social classes. Marti is an intelligent girl from a blue-collar/working-class family who is obviously in university because of a scholarship. At the same time, her love interest, Jeff (Peter Barton), comes from an affluent family.

This makes the audience invest in these characters as they bond with each other. We root for them to find some romance before they are potentially chopped to bits by a maniac.

The other central characters are Denise (Suki Goodwin), a promiscuous party girl from England, and Seth (Vincent Van Patten), a surfer from Southern California. These characters are the film’s comic relief and, indeed, the ones that will ‘get it’.

Van Patten is nice to look at as he frequently parades shirtless while Denise often forgets his name.

Other stock characters are Peter, May, and Scott, who are responsible for ensuring the pledges don’t escape from the manor and scaring the wits out of them.

Naturally, the fun for the audience is the knowledge that most of the characters will be unceremoniously offed one by one, except for Marti, the film’s hero.

With pleasure, there is a decapitation, a body strung up on the roof, and a horrid scene where a character is hurled out the window.

Reminiscent of Black Christmas (1974), a film that heavily influenced 1980s slasher films, the police are ineffectual and dizzy, believing the pledges’ pleas for help are only part of a fraternity prank and nothing to investigate.

A macabre and terrific scene in which one of the pledges is arranged at a dining room table with the decaying corpses of the Garth family reminds me of Happy Birthday to Me (1981) or The Texas Chain Saw Massacre (1974).

Blair is effective as the ‘final girl’ because she’s smart, sensible, and relatable. With a girl-next-door veneer, she is easy to root for to conquer the fiendish killer (s).

I wanted more explanation about the motivations of the killers. Yes, they were assumed to be abused and mistreated, but why kill helpless college kids? I guess they’d kill anyone who entered the estate, but how would they survive and get food?

There’s also no nudity (male or female) or excessive blood, which gives a softer, tamer feel.

Borrowing heavily from other genre films, Hell Night (1981) is a worthy entry in the slasher genre, mostly because it incorporates an intelligent ‘final girl’ and a bit about social class.

1984 Films, Barbara Crampton, Brian De Palma, Craig Wasson, David Haskell, Deborah Shelton, Dennis Franz, Frankie Goes to Hollywood, Gregg Henry, Guy Boyd, Lane Davies, Melanie Griffith, Satire, Thriller

Body Double-1984

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Body Double-1984

Director Brian De Palma

Starring Craig Wasson, Gregg Henry, Melanie Griffith

Scott’s Review #1,475

Reviewed April 5, 2025

Grade: A-

Brian De Palma is one of my favorite directors. His stylistic body of work in the psychological thriller/horror genre is masterful, with treats such as Carrie (1976) and Dressed to Kill (1980) as my favorite films.

Body Double (1984) allowed De Palma much creative freedom because of the success of these films and the underwhelming but successful Scarface (1983).

It is a fly-under-the-radar type of film that pays direct homage to 1950s Alfred Hitchcock films, most notably Vertigo (1958) and Rear Window (1954).

I get triple pleasure from watching Body Double. I compare scenes to the above-mentioned Hitchcock films and scenes to De Palma’s own films, especially Dressed to Kill. Plus, it stars Melanie Griffith, daughter of Hitchcock star Tippi Hedren.

The setting is Los Angeles, with B-movie film sets, posh Hollywood mansions, and hilly views of the vast City of Angels landscape. I am fascinated by the city and its mixture of glitzy glamour and dark subtext, which is a perfect recipe for watching this film.

While not De Palma’s very best work it is pretty damned good and somehow isn’t as revered as other films.

Craig Wasson plays Jake Scully, a struggling actor who loses his acting role and his girlfriend, Carol (Barbara Crampton), on the same day. While taking a Method acting class, his friend Sam (Gregg Henry) offers him a gig house-sitting an ultra-modern home that overlooks mansions.

While peering through the beautiful home’s telescope one night, he spies a gorgeous blonde, Gloria (Deborah Shelton), dancing in her window. Becoming obsessed with her, it leads to a vicious crime and into the world of adult entertainment along with porn star Holly Body (Melanie Griffith).

Fans of De Palma will undoubtedly love Body Double because it feels like a De Palma film. At other times, he veered too far away from his brand for my tastes, but the sultry and glossy voyeurism is fully displayed.

Who won’t instantly think of the museum scene in Dressed to Kill during the mall scene in Body Double? It’s a titillating cat-and-mouse chase scene with Jake following Gloria through a parking garage, a Fredericks of Hollywood-type store, and ultimately watching her try on panties, which he steals.

The panties serve as a version of the glove in Dressed to Kill, while the final shower scene in Body Double made me think of the steamy shower scene in Dressed to Kill.

I often thought of Rear Window and Vertigo, but De Palma honors them instead of stealing from the treasures. Jake is obsessed with Gloria yet knows nothing of her. Is she who she appears to be? Is she in danger? Is Jake being set up like Scottie was in Vertigo?

The telescope that Jake peers through is a modern version of the one from Rear Window. In both films, a murder is attempted while the protagonist helplessly watches from afar.

Anyone who enjoys acting will be satisfied with a dose of a method acting class being showcased, as well as nifty low-budget sets and set pieces reminiscent of a Hammer Horror set.

Finally, the overarching theme of a ‘body double’ frequently used in films when the ‘star’ is replaced by a stand-in, usually for nude scenes, is cleverly referenced in the final scene when a girl with perfect breasts is used while filming a shower scene.

The trickery of filmmaking is celebrated.

The camera work and musical score are a large part of the appeal. The eroticism smolders while Jake and the audience watch Gloria and Holly dance amid moody, electronic 1980s dance beats. The camera captures the moment perfectly.

The glossy, sensual elements forever link De Palma with Hitchcock, 1980s style.

1980s films are often dismissed as cheesy or mainstream affairs, but Body Double’s look is 1980s in the best possible ways. The expensive cars, the big hair, the cocaine, and the L.A. porn world all mesh together fabulously. Incorporating the monster hit, ‘Relax’ and the band Frankie Goes to Hollywood is a significant win.

With Body Double (1984), De Palma provides slick entertainment and thrilling sensuality and helped launch the career of Melanie Griffith, a star of the 1980s and 1990s.

1980 Films, Comedy, Dennis Franz, Donald Moffat, Linda Hunt, Musical, Musical Comedy, Paul Dooley, Paul L. Smith, Ray Walston, Robert Altman, Roberta Maxwell, Robin Williams, Shelley Duvall

Popeye-1980

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Popeye-1980

Director Robert Altman

Starring Robin Williams, Shelley Duvall

Scott’s Review #1,474

Reviewed March 31, 2025

Grade: C+

As a loyal fan of the legendary director Robert Altman, I had never seen his 1980 effort, Popeye, which starred his muse, Shelley Duvall, and then rising movie star Robin Williams.

My favorite Altman films, Nashville (1975), Short Cuts (1993), and Gosford Park (2001), are masterpieces sprinkling overlapping dialogue with enormous casts.

Qualities that I adore.

I hoped Popeye would follow the same formula, but strangely and disappointingly, it doesn’t. The end product feels nothing like an Altman film and is a wacky, jagged attempted comedic affair that results in disappointment.

Desperately, it regains some semblance of control during the mid-section when sentimental and touching musical numbers surface, but this cannot save the film from mediocrity.

The entire affair seems rather pointless and overly messy.

When a muscled sailor named Popeye (Williams) journeys to the port town of Sweethaven, looking for the father (Ray Walston) who deserted him as a baby, he befriends an array of bumbling eccentrics.

He falls madly in love with dorky, sweet-natured Olive Oyl (Duvall).

Conflict erupts when it’s revealed that she already has a suitor, the jealous Bluto (Paul L. Smith). Popeye discovers an abandoned baby, Swee’Pea, whom he raises with Olive Oyl’s help, cementing their courtship. But when the spurned Bluto kidnaps Olive and the child, Popeye takes action with the help of his magic spinach.

Williams and Duvall are wonderfully cast and easily the best part of the otherwise ineffectual film.

The chemistry propels an investment in the couple despite the overreaching, zany dialogue. Williams dazzles with a cartoonish performance that befits who the funnyman would play best during his career despite turns towards more dramatic fare.

There is an infectious likeability factor that oozes from the screen. He’s also surprisingly cute.

Duvall nearly upstages Williams and everyone else with a maddingly frenetic and manic, excellent acting job. The actor was born to play Olive, even suffering from the nickname as a child.

Her constant and irritatingly grating ‘oohs’ are irresistible, and I mimicked her well before the credits rolled, much to my husband’s and my amusement.

The best moments occur midway through, with a combination of hits, such as ‘He Needs Me’ and ‘It’s Not Easy Being Me, which are performances by Duvall and Williams, respectively.

Both songs made me fall in love with the characters and made me thirst for more sentimentality over silliness.

You’d think I would have loved the film if for Williams and Duvall alone.

From the opening sequence, though, I found myself unamused and unenamored with the rest of the film.

Meant to be funny, the Taxman (Donald Moffat), Wimpy (Paul Dooley), and Bluto (Paul L. Smith) feel over-the-top and silly. They each lack any warmth or endearment and seem like caricatures of the cartoon.

The finale is meant to be edge-of-your-seat peril, with an octopus added to eat Olive Oyl and Swee’Pea, presumably. This is mixed with an uninspired performance by Ray Walston as Poopdeck Pappy (Popeye’s father).

Waiting for the spinach representation, but this comes too late in the game. Recognizing Popeye’s dislike for spinach, Bluto force-feeds it to him before throwing him into the water. The spinach revitalizes Popeye and boosts his strength, helping him defeat Bluto and Salty Sam.

Popeye celebrates his victory and his newfound appreciation of spinach.

If I made a list of Robert Altman films, I would rank Popeye (1980) toward the bottom. Reviled by critics at the time of release, the film has grown some appreciation over the years, but I’m not sure why.

2025 Films, Cate Blanchett, Drama, Gustaf Skarsgård, Marisa Abela, Michael Fassbender, Naomie Harris, Pierce Brosnan, Regé-Jean Page, Steven Soderbergh, Thriller, Tom Burke

Black Bag-2025

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Black Bag-2025

Director Steven Soderbergh

Starring Cate Blanchett, Michael Fassbender

Scott’s Review #1,473

Reviewed March 30, 2025

Grade: B+

Steven Soderbergh offers Black Bag (2025), a taut spy thriller that is very slick and fast-paced. Wasting no time to lag or drag, he gets right down to the action in a quick one hour and thirty-four minute running time.

Stars Cate Blanchett and Michael Fassbender play British intelligence officers and husband and wife, George and Kathryn. His superior, Meacham (Gustaf Skarsgård), gives George one week to investigate the leak of a top-secret software program code-named Severus.

One of the five suspects is Kathryn.

Viewers familiar with Soderbergh’s films will recognize the familiarity of the tense electronic musical score by David Holmes, a frequent collaborator of Soderbergh. He scored the Oceans trilogy (2001-2007), which Black Bag resembles.

Those films, hits at the time, now feel less impactful, but Black Bag takes a similar style and envelops a modern, sophisticated London backdrop.

The immediate draw is Fassbender and Blanchett, who play exceptionally well opposite each other. Both stars light up the screen electrically, offering cat-and-mouse scenes that cackle with dry wit and sensuality.

George can always sense untruths and despises liars. As much as he loves Kathryn, he doubts her when he finds a movie ticket receipt in the trash for a film she claims never to have seen. But is she being set up?

The supporting characters are impressive, with Marisa Abela and Tom Burke as sparring partners and Clarissa and Freddie getting the meatier roles.

The best sequence is the riveting dinner sequence when George invites the four other suspects, all colleagues, to dinner. When he drugs their food to lower their inhibitions, he has them play a warped game of ‘Resolutions’ in which they make a resolution for the person to their right.

Since the other couples are each dating, this leads to revelations, squabbles, and a jealous stabbing.

Even in mainstream pictures, Soderbergh loves incorporating corporate work sequences and independent cinema/arthouse qualities. Propelled by the musical score, sometimes frenetic, there is a thrilling vibe even in quiet scenes.

He also loves closeup shots, which are especially important for Fassbender, Blanchett, and the dinner guests.

Nearly putting style over substance, the story, written by David Koepp, is complicated to follow. We assume that one of the dinner guests or Kathyrn’s boss, Arthur (Pierce Brosnan), is the rat, serving up a film whodunit.

Kathryn has access to a Zurich bank account containing ₤7 million in misdirected and unexplained funds, and there is something to do with a Russian operative who Kathryn flies to Zurich to meet.

The rest of the plot is gray, and after the film, I needed to read a synopsis to gain some understanding.

Small wonders that may have had little to do with the story impressed me. A simple scene in a crowded movie theater where Kathryn and George munch popcorn and flinch at scary scenes enhances the importance and joy one gets from watching a film in the movie theater.

The couple’s duplex London loft is pure magic to look at. As George prepares simmering food and quality wine in the vast kitchen with modern trimmings, their upstairs bedroom is equally enthralling with cosmopolitan furniture colors and just the right polish.

The couple is obviously worldly.

Black Bag (2025) is an entertaining film. Do not struggle to follow every nuance or story point, or you will be frustrated. Instead, sit back and enjoy the experience of a spy thriller with incredible music, sets, and stars.

2017 Films, Drama, Independent, Independent Drama, John Carroll Lynch, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ Romance, Margot Bingham, Matt Bomer, Maura Tierney, Romantic Drama, Timothy McNeil

Anything-2017

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Anything-2017

Director Timothy McNeil

Starring John Carroll Lynch, Matt Bomer

Scott’s Review #1,472

Reviewed March 17, 2025

Grade: B

Anything (2017) is a sweet LGBTQ+ independent film written and directed by Timothy McNeil. It is based on a play that he performed in Los Angeles.

While it is nice to see longtime character actor John Carroll Lynch (Fargo, 1996, and Zodiac, 2007) in a starring role and Matt Bomer looking fabulous in drag, the film suffers from contrivances and treads lightly.

The stagey setups, cliched situations, and popcorn dialogue feel forced, and the ambiguous conclusion is unfulfilling.

However, McNeil and the cast deserve kudos for showcasing a story never told before and fraught with possibilities with a powerful ‘love is love’ message.

Deeply depressed after his wife’s death, Early Landry (Lynch) survives a suicide attempt and moves from a small town in Mississippi to flashy Los Angeles to live with his loving yet controlling sister, Laurette (Maura Tierney).

While there, he develops a complicated and tender relationship with a transgender sex worker named Freda (Matt Bomer). They bond over their shared loneliness and past traumas, sparking a friendship and gradually more.

Early immediately captured me. A hulking man, his kindness and gentleness ooze from him when he takes a run-down apartment in a shady section of L.A. Surrounded by drug addicts and questionable neighbors, he makes friends simply because he is lovely.

Because Lynch frequently plays villains, this was a nice change of pace to witness, and I suspect the actor also enjoyed it.

McNeil kindly writes the character as non-judgmental and savvy despite his Mississippi origins. Oftentimes, in cinema, a Deep South character is written as racist, stupid, or both.

Instead, Early is accepting of different lifestyles. Lynch effortlessly carries the film because he gives the character authenticity and sensitivity.

I wanted to be friends with him.

On the other hand, Freda’s character took most of the film to win me over. Her unpredictable, defensive, and cutting remarks imperfectly represent typical drag queen caricature behavior.

It also took me until the conclusion not to think of McNeil’s reason for casting Bomer as a vehicle to see the pretty actor in drag. Bomer is a great actor in anything he appears in and does his job effectively.

But when Freda callously insults Early when they first meet by nicknaming him ‘Havisham,’ a character from Charles Dicken’s novel Great Expectations, she seems cutting for the sake of being insulting.

I also wanted to know more about Freda. How did she wind up in Los Angeles as a streetwalker? What was her upbringing like? We can guess it wasn’t great, but not much is said.

My reaction improved to championing Freda after a fantastic, ill-fated dinner party scene. Early invites Laurette, her husband, and their son to his apartment for dinner to meet Freda. When Laurette quickly realizes Freda is transgender, she guzzles white wine and lets loose on Freda, fearing she is manipulating her brother.

Despite the story’s groundbreaking nature, the feeling is predictable. Of course, Laurette will object to the romance as much as Freda’s friends call her a dreamer for wanting a ‘9 to 5 life’.

Straight and narrow, Early shakes Freda’s drug dependency in only one night while enduring her venom, vomiting, and unbelievably quick recovery, almost in the snap of his fingers.

I wanted a more definitive conclusion and had questions left in my back pocket that were never answered. Will the couple move in together? What will Freda do for a living? Does Laurette even know Freda is a prostitute?

Unfortunately, Early and Freda never have a sex scene, so the sexual complexities of their assumed relationship feel swept under the rug.

Though sweet-natured and carefully plotted, Anything (2017) has so much more potential story to tell that the results feel lacking.

2025 Films, Adam Scott, Camp, Christian Convery, Colin O'Brien, Comedy, Dark Comedy, Elijah Wood, Horror, Horror-Camp, Horror-Comedy, James Wan, Oz Perkins, Rohan Campbell, Sarah Levy, Stephen King, Tatiana Maslany, Theo James

The Monkey-2025

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The Monkey-2025

Director Oz Perkins

Starring Theo James, Christian Convery

Scott’s Review #1,471

Reviewed March 14, 2025

Grade: B

The Monkey (2025) is a macabre horror/comedy film based on a 1980 Stephen King short story.

The film is directed by Oz Perkins, son of legendary actor Anthony Perkins, forever famous for portraying Norman Bates in Alfred Hitchcock’s Psycho (1960).

He also wrote the screenplay proving that horror runs in his Hollywood royalty tinged blood.

Partnering with James Wan, who co-created the lethal Saw (2004-present) franchise, which The Monkey mostly resembles, adds experience and credibility to the project.

Deadly set pieces and dangling machinery just waiting to slice and dice willing victims to bits make the film a fun experience.

When twin brothers (Christian Convery/Theo James) find a mysterious wind-up monkey, a series of outrageous deaths tear their family apart, leaving them to live with their kooky aunt and uncle and ultimately estranged.

Twenty-five years later, after lying dormant, the devious monkey begins a new killing spree, forcing the siblings to reunite and confront the cursed toy.

For horror fans, the best part of The Monkey is the gruesome death scenes. Wan, well versed in eye gouging, decapitations, and torn limbs, must have inspired Perkins during the final cut.

Wonderfully wicked kills include a gorgeous bikini-clad female pool goer blown to bits, a busload of cheery cheerleaders decapitated, a shop owner disemboweled with a harpoon gun, a bowling ball decapitating another victim, and an unlikable victim being killed by a swarm of wasps.

The uproarious deaths are applaud-worthy because most of the victims are annoying or unsympathetic in some way. The audience delights in witnessing their endings in such gory fashion.

As the adult Hal/Bill Shelburn, Theo James carries the film as the charismatic, bookworm, Hal and the egotistical Bill. James, ridiculously handsome, looks even more adorable in glasses and shy awkwardness.

Hal attempts to reconnect with his son, Petey (Colin O’Brien), with whom he only spends one week per year. Rather than being an absent father, he strives to protect him from the terrible monkey.

Many supporting characters are played over the top and wacky, making the film a goofy horror/comedy. Elijah Wood appears as Ted Hammerman, Hal’s ex-wife’s new husband, while Adam Scott plays Hal’s and Bill’s absent father, with whom the monkey originated after a trip abroad.

As gory delicious as the blood and guts are, the story isn’t much of a highlight. The brother Bill is written as so much of an asshole that one wonders why Hal is so tolerant towards him.

The ending is predictable, and there is not much closure with the monkey. A half-assed explanation of whomever turns the key in the monkey’s back is immune from being killed or some such explanation didn’t wow me.

The film could be a Twilight Zone or horror series episode over a full-length production, running out of gas towards the end.

Oz Perkins is a rising director who creates a cruelly delightful film that feels like an independent production. Choosing to propel viewers into a gore fest over a scary film, The Monkey (2025) is a modest success.

2024 Films, Bryan Woods, Chloe East, Horror, Hugh Grant, Independent, Independent Horror, Scott Beck, Sophie Thatcher, Topher Grace

Heretic-2024

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Heretic-2024

Director Scott Beck, Bryan Woods

Starring Hugh Grant, Sophie Thatcher, Chloe East

Scott’s Review #1,470

Reviewed March 13, 2025

Grade: B+

Heretic (2024) is a terrifying and thoroughly compelling horror film co-directed and written by Scott Beck and Bryan Woods. The pair most notably wrote the story for and co-wrote A Quiet Place (2018).

The premise of Heretic is rich in scariness, and the screenplay questions and challenges religion and the expected thought process of organized religion, targeting Mormons. It’s a thinking man’s horror film and hardly superfluous, like many genre films over the years.

I was pleasantly surprised at how much meaning the film had in addition to fantastic, traditional horror elements.

Two young missionaries, Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) are forced to prove their faith when they knock on the wrong door and are greeted by an initially kindly but ultimately diabolical Mr. Reed (Hugh Grant).

They become ensnared in his deadly game of cat-and-mouse.

Things get off to a perilous start when the pair embark on their bicycles for their next stop in a small town in the United States. They are mocked by a group of teenage girls while an impending snowstorm hovers in the sky.

What could go wrong when Mr. Reed offers the girls a warm living room and a wonderfully smelling blueberry pie his wife is baking in an unseen kitchen?

We, the audience, of course know that things will turn grim. It’s a question of when.

At first, Mr. Reed seems nice enough. Engaging the missionaries in innocent questions like their favorite fast food restaurants and stories of rock and roll makes the inquiries deeper and deeper, questioning their religious beliefs.

The most intriguing part of this process is that he makes good points. He educates the girls about the incarnation of the board game Monopoly and that religions are just recreations of other religions kept up to date.

Isn’t it all bullshit?

When he challenges them to choose between two luminous cellar doors things go batshit crazy.

I continue to be impressed when I see the ‘A24’ logo cross the screen. The independent production company specializes in high-caliber horror films with merit, and Heretic is no exception.

The winning formula is that the tension builds slowly and carefully. As the girls go deeper and deeper into the vast house, they have less chance to escape.

When Mr. Reed claims the locked front door cannot be unlocked until morning, the girls and the audience feel dread.

Once the poster boy for cute romantic comedies playing the hero, Hugh Grant has reached an age where he is willing to go full-throttle into character actor roles. His quick British charm and wit make Mr. Reed even more terrifying.

Playing against type, his cheery yet chilly demeanor is scarier than going for full-on crazy. His running tangents about theology scare, confuse, and challenge the girls.

Grant’s charm, gleaming blue eyes, and kind smile make him a creepy villain. He exudes trust, and we want to trust him, so seeing him play maniacal is a delight.

Thatcher and East are well cast as the Sisters, though I’m more partial to Thatcher’s character as she is the more non-believing and has more charisma than East. She’s also the stronger character more willing to stand up to Reed.

Like many horror films, the elements make the movie what it is. The first-hour setup is simply brilliant. The storm, the warm blueberry pie, and the intricately structured mouse maze-like house with creaks, dark stairways, and cellars all come into play.

Religious horror is creepy, and an attempted resurrection propels the story.

Like many horror films, the conclusion isn’t as good as the buildup. The logic involved in the more minor character’s motivations isn’t mainly explained or believable.

Beck and Woods, supported by A24, create a simple yet eccentric tale set in essentially one lonely house on one lonely night. They prove that a lavish budget or bells and whistles can’t replace a gripping, well-written story with intelligent dialogue.

Independent Spirit Award Nominations: Best Screenplay

1980 Films, Al Pacino, Crime Thriller, Don Scardino, Ed O'Neill, James Remar, Karen Allen, LGBTQ+ Films, Paul Sorvino, Powers Boothe, Richard Cox, Thriller, William Friedkin

Cruising-1980

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Cruising-1980

Director William Friedkin

Starring Al Pacino, Paul Sorvino, Karen Allen

Scott’s Review #1,469

Reviewed March 9, 2025

Grade: B+

Cruising is a 1980 effort that brought the LGBTQ+ community into mainstream cinema at least for a brief moment shortly before HIV/AIDS changed its image and trajectory.

The film was derided by critics and gay rights protesters who believed it stigmatized them.

Decades later, Cruising has become more accepted and even admired by some, especially in the LGBTQ+ community. It’s a film that most community members have heard of, allowing it to make its mark in cinema history.

William Friedkin, famous for directing The French Connection (1971) and The Exorcist (1973), writes and directs the film, loosely adapting it from a novel by The New York Times reporter Gerald Walker.

The story is about a serial killer targeting gay men, particularly the men associated with the leather scene in the late 1970s. A psychopath is scouring New York City gay clubs and viciously torturing and stabbing gay men to death.

Resembling the victims physically, Detective Steve Burns (Al Pacino) is asked to wear leather attire, and frequent the city’s hardcore clubs to lure the killer.

As Steve becomes immersed in club hopping, he begins to identify with the subculture more than expected. Meanwhile, he behaves distantly around his girlfriend, Nancy (Karen Allen), the police force’s homophobia becomes apparent and the killer remains at large throughout one hot summer.

Initially, Richard Gere was slated to star but Pacino ended up with the role.

Pacino, being Pacino, gives it his all in an uneven script and unclear character motivations. The ending is exceptionally muddled and peculiar, leaving an unsatisfying feeling, while I also somewhat admire its ambiguity.

Dusting off this relic was an absolute pleasure. It gave me a glimpse into the LGBTQ+ leather scene of long ago, with authentic New York City gay clubs and clubgoers.

Cruising also features a variety of exterior NYC locales, such as Columbia University, the Meat Packing district, and an opening view of the Manhattan skyline.

Though too young to remember the scene being showcased, I do remember traveling into Manhattan to go to work with my father as a very young boy and the dangerous city I was always warned about.

Friedkin and cinematographer James Contner exceptionally depict New York City in the late 1970s/early 1980s. The gritty and crime-ridden streets capture the time like similar films Taxi Driver (1976) and Gloria (1980) did.

I also adore seeing the clubs and bars from an LGBTQ+ perspective, though I’m unsure if non-LGBTQ community members would appreciate this aspect of the film.

Nonetheless, fans of Pacino should add this to their list. While not on par with his most tremendous role as Michael Corleone in The Godfather series (1972-1995), he was in his prime before he started overacting and taking on inferior roles.

It’s also a damned good crime thriller!

Cruising reminds me of a Dirty Harry (1971) film only set in NYC, particularly the killer. With a low and taunting voice, and a fondness for teasing his victims before killing them, the similarities are apparent and work well.

The killer’s motivation is weakly explained in a flashback with his father.

Since we more or less see the killer’s identity early on, the film is not so much a whodunit until the final scene when another character is found dead after the killer is apprehended.

Is the new killer Steve or the victim’s jealous boyfriend? Is Steve closeted? These questions are left unanswered.

The production is superior and the glowing park scenes with shadows and insect sounds only enhance the thrills and perils of the characters.

The film shows plenty of bare male asses unusual for this time in American cinema and dares to show plenty of simulated and apparent complete on sex. Forty minutes of X-rated male-on-male action footage needed to be cut, in which Pacino may or may not have participated.

While the screenplay has gaping holes and the conclusion less than satisfying, Cruising (1980) is a win in my book for showcasing an unrepresented group of people and taking me back to a fascinating time.

2024 Films, Adrien Brody, Alessandro Nivola, Brady Corbet, Drama, Emma Laird, Epic, Felicity Jones, Guy Pearce, Independent, Independent Drama, Isaach de Bankolé, Joe Alwyn, Raffey Cassidy, Stacy Martin

The Brutalist-2024

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The Brutalist-2024

Director Brady Corbet

Starring Adrien Brody, Guy Pearce, Felicity Jones

Scott’s Review #1,468

Reviewed March 1, 2025

Grade: A

The three-hour and thirty-five-minute film The Brutalist (2024) captivated me from the first sequence.

Adrien Brody’s character László Tóth, emerges from what is revealed as a ship. He emigrated to the United States after being sent to the Buchenwald concentration camp and forcibly separated from his wife, Erzsébet, and orphaned niece, Zsófia.

As his ship enters New York Harbor, he sees the Statue of Liberty.

The sequence follows László in the dark, and the audience is confused and unaware of what’s happening. His wife reads a Hungarian letter amid the scene explaining the events.

This is a top notch first scene.

The film is very long, so if you can’t watch it in a movie theater, we recommend watching it in miniseries style and digesting the segments slowly.

While The Brutalist initially feels like a studio blockbuster extravaganza, it’s shockingly an independent film made for relatively little money.

It’s brilliant but slow and methodic with rich moments of raw emotion, and graceful humanity. Parts are edgy and artistically creative with a quiet bombast.

Events occur between 1947 and 1958; the conclusion is set in 1980.

Having escaped post-war Europe, visionary architect László is well-respected and admired in his home country. He finds his way to Pennsylvania, where the wealthy and prominent industrialist Harrison Lee Van Buren (Guy Pearce) recognizes his talent for building.

The central theme of The Brutalist is László’s struggles to achieve the American Dream. While a wealthy client changes his life, it comes at a price. Do we trust Harrison?

An early scene showcases Harrison’s bad temper, and we know this will come into play again, but it does at the expense of László.

There are so many wonderful facets to The Brutalist; some slowly build and reach a dramatic crescendo, and others continue to bubble under the surface, ripe for discussion after the film has ended.

Though sometimes conventional with a heartwarming story of an immigrant’s struggle to succeed in 1950s USA, it is anything but a mainstream film when looked at closely.

Is there an attraction between Harrison and László? Harrison has no wife and seems uninterested in women. László visits a prostitute and cannot perform; he dances with a gorgeous woman and cannot be seduced. He cannot have sex with his wife.

A male/male rape scene is both gorgeously shot and filled with animalistic brutality. It’s the most unconventional rape scene I’ve ever seen in cinema.

László is also addicted to heroin and has bouts of rage. Is his relationship with Erzsébet more a friendship than a romance?

Brady Corbet’s direction is flawless, led by astounding cinematography of rural Pennsylvania. An early shot of a speeding bus with the opening credits shifting sideways brims with fresh style and creativity.

The sophisticated costumes and makeup perfectly fit the era, which is even more reason to give it kudos on such a small budget.

The acting by Brody, Pearce, and Jones is terrific.

We finally meet Erzsébet (Jones) halfway through the film when she makes her way to America. Crippled, due to osteoporosis, she is a brave and confident woman, finding career work as a writer for a newspaper.

Jones enfuses confidence into a role where she could be the victim. In a late scene, she tears down the house in a powerful performance, interrupting a family dinner.

Pearce electrifies in the best role of his career. His sexuality might explain his Jekyll and Hyde personality and bouts of rage. After all, this was the 1940s and 1950s. The actor plays ambiguity so well that knowing what Harrison feels is challenging.

Finally, Brody is brilliant. In a role arguably similar to his character in The Pianist (2002), he is a clever man forced as an immigrant to play the lousy cards he is dealt. With raw emotion, Brody makes every scene real and powerful.

Is he better off in Hungary or Israel?

Corbet, who also co-wrote the screenplay, delves into the experience of an immigrant. He showcases discrimination, preconceived notions, and the hopes and dreams of one man with the cards stacked against him.

The Brutalist (2024) is a beautiful film with much to say. It has soul and grit and perfectly pays tribute to an experience in the 1950s while sadly feeling relevant to the discrimination still facing immigrants in present times.

Oscar Nominations: 3 wins-Best Picture, Best Director-Brady Corbet, Best Actor-Adrien Brody (won), Best Supporting Actor-Guy Pearce, Best Supporting Actress-Felicity Jones, Best Original Screenplay, Best Original Score (won), Best Production Design, Best Cinematography (won), Best Film Editing

Independent Spirit Award Nominations: Best Director-Brady Corbet

2024 Films, Danielle Deadwyler, Drama, Emma Stone, Fred Durst, Horror, Independent, Independent Drama, Independent Horror, Jack Haven, Jane Schoenbrun, Justice Smith

I Saw the TV Glow-2024

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I Saw the TV Glow-2024

Director Jane Schoenbrun

Starring Justice Smith, Jack Haven

Scott’s Review #1,467

Reviewed February 17, 2025

Grade: A-

I Saw the TV Glow (2024) is a bizarre independent psychological drama/horror film co-produced by Emma Stone and her husband.

It was produced by their Fruit Tree production company and distributed by A24, a brilliant independent film distributor, immediately giving the film credibility and a broad audience.

Writer/director Jane Schoenbrun perfectly depicts teenage angst via a visually cerebral and creative avenue. They sprinkle pink lettering and a colorful, moody aesthetic that is impressive.

The film is more than mysterious; it is hypnotic, with a dark mood evoking the dark underbelly of life in the suburbs.

Delving deeper after my initial viewing, I realized the film is an allegory for being transgender, which I did not know. Having that knowledge makes perfect sense because the characters feel trapped in their skin and fear being buried alive.

Transgender people often feel like the “egg crack,” a term for the moment in a trans person’s life when they realize their identity does not correspond to their assigned gender.

The film depicts bleak life in the suburbs and transitions between 1996 and 2026 when the main character is a teenager and finally a middle-aged man.

Owen (Justice Smith) is trying to make it through life in the suburbs when his older classmate, Maddy (Jack Haven), introduces him to a mysterious late-night TV show, a vision of a supernatural world beneath their own.

Both are loners and immediately bond over the young adult television show The Pink Opaque, which follows teenagers Isabel and Tara as they use their psychic connection to fight supervillain Mr. Melancholy, who has the power to warp time and reality.

Enthralled, Owen’s view of reality begins to crack.

I Saw the TV Glow is an unusual experience, especially during the 2006 chapter when Maddy returns to town after years away. When she explains that she paid a man to bury her alive, mirroring the finale of The Pink Opaque, the sequence is frightening, macabre, and hard to follow.

I wondered if she was speaking literally or figuratively.

But Maddy is trapped inside her own body, in her case, the wrong gender, and yearns to break out of her coffin. She encourages Owen to do the same, though it’s not clear if he identifies as female, is gay, or is just trapped in suburbia in a dead-end job.

In 2026, we realize that Owen has remained in the small town, mainly at the same job cleaning a movie theater, with his mother and stepfather long dead.

Sadly, he is still trapped inside his own body, aching to come to the surface. He screams out that he is dying and needs help, but nobody ever seems to notice.

He mentions a family, but they are never seen. Are they imagined? Is he living the life of a gay man or a straight man? Owen is mixed race, so what other issues does he face?

I wanted more concrete answers.

Even though the story is focused on a transgender lifestyle, Schoenbrun is never blatant about it.

Growing up in the lonely suburbs, I can relate to the feeling of suffocation at being unable to get out. Many are trapped for decades with the sameness day after day. Young people face this dilemma constantly, so I Saw the TV GLow is an essential film for most.

Debatable is whether I Saw the TV Glow was not overtly marketed as a trans film or even an LGBTQ+ film purposely. At a time in United States history when the trans community is under attack, they need all the support they can get.

The myriad of awards notice and star power (Emma Stone) supporting this film is reaffirming and another reason I love A24 so much.

But I Saw the TV Glow (2024) is a film with many interpretations and meanings.

Independent Spirit Award Nominations: Best Feature, Best Director, Jane Schoenbrun, Best Screenplay, Best Lead Performance-Justice Smith, Best Supporting Performance-Jack Haven

1942 Films, Bette Davis, Claude Rains, Drama, Gladys Cooper, Irving Rapper, Janis Wilson, Paul Henreid

Now, Voyager-1942

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Now, Voyager-1942

Director Irving Rapper

Starring Bette Davis, Paul Henreide, Claude Raines

Scott’s Review #1,466

Reviewed February 16, 2025

Grade: B+

Now, Voyager (1942) showcases Bette Davis’s acting chops in a dramatic film with a feminist stance. It also promotes believing in yourself and developing confidence, which can inspire us all.

Davis, a star, is the star of the film, so all eyes are on her. It’s an early role and one of an ingenue, but she adds a flurry of wit and humor to the role.

As the famous 1981 hit by Kim Carnes says, ‘She’s got Bette Davis Eyes,’ and the star evokes so much emotion with those eyes.

Films of the 1940s are magical and take me away to a time long before I was born. My husband had a fantastic encounter with director Irving Rapper years ago, necessitating our viewing of one of his films.

Boston heiress Charlotte Vale (Bette Davis) is a neurotic mess, primarily because of her domineering mother (Gladys Cooper). Reduced to insecurities and her mother’s glorified servant, Charlotte rarely leaves home.

But after a stint in a sanatorium, where she receives the attention of wise Dr. Jasquith (Claude Rains), Charlotte comes out of her shell and elects to go on a cruise for inspiration. Aboard the ship, she meets Jerry (Paul Henreid) and falls in love despite his being unhappily married.

They enjoy a brief tryst in Rio before returning to the States, where Charlotte struggles to forget him and find happiness in ordinary life.

But will she encounter him once again in an unexpected way? Will the link to his young daughter, Tina (Janis Wilson), who is similar to Charlotte, bring them together or drive them apart?

The pleasure in Now, Voyager is watching Davis play mousy- nervous and clad in an unflattering dress and spectacles. She couldn’t be more different from the regal star that Davis was. She frets with insecurity and a lack of self-confidence.

But it’s equally pleasing to see Davis as a blooming Charlotte. Dressed in a ravishing dress with a stylish hat and jewelry, she exudes confidence when she returns home to gaping mouths.

Is this the same Charlotte, they wonder?

I yearned for one big blowup scene where Charlotte puts her mother in her place, but she treads lightly. After all, Charlotte will inherit everything if she is just patient.

Still, it would have been satisfying to see Charlotte insult the shit out of Mommie dearest.

Cooper is divine in a one-note role as the callous and cold mother. Unhappy to have had Charlotte at all after birthing three sons, she mistreats her daughter and revels in her repression.

She’s a fantastic bitch to be remembered in cinema history.

While Charlotte’s relationship with Tina is delightful, and the pair helps each other heal, the film’s ending is unsatisfying.

Tina and Charlotte live happily ever after when Jerry agrees to let Tina reside in the Vale household, but Charlotte and Jerry don’t get the Cinderella story I had hoped.

Will Charlotte end up a spinster after all?

For 1942, Now Voyager was way ahead of its time in terms of mental illness, not given much credence until the 1960s or beyond. Charlotte’s time in a sanitarium is celebrated and healing for her, and stereotypes of ‘crazy people’ are not showcased.

Her doctor is a lifesaver for her, proving that mental health treatment can be successful. It was important to delve into that so early on.

Rapper competently directs the film. My favorite set is the quiet Boston area estate. The grand house is showcased amid pouring rain through the plentiful windows. This exudes coziness and stuffiness. Charlotte is trapped inside the walls.

Later, the Rio de Janeiro sequences are grand. An exciting trip to the top of Sugarloaf Mountain is a sheer delight and the highlight of the Charlotte/Jerry dynamic.

Now, Voyager (1942) is a gift for cinephiles eager for a trip down memory lane to see Bette Davus the star and a celebration of the Golden Age of Hollywood.

Oscar Nominations: Best Actress-Bette Davis, Best Supporting Actress-Gladys Cooper, Best Scoring of a Dramatic or Comedy Picture (won)

2023 Films, Courtney Cox, Dermot Mulroney, Hayden Panettiere, Horror, Jack Champion, Jack Quaid, Jasmin Savoy Brown, Jenna Ortega, Liana Liberato, Mason Gooding, Matt Bettinelli-Olpin, Melissa Barrera, Skeet Ulrich, Slasher, Tyler Gillett

Scream VI-2023

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Scream VI-2023

Director Matt Bettinelli-Olpin and Tyler Gillett

Starring Melissa Barrera, Jenna Ortega, Courtney Cox

Scott’s Review #1,465

Reviewed February 14, 2025

Grade: B

When I spontaneously decided to watch Scream VI (2023) one cold winter night while traveling for work, I had forgotten which of the franchise’s previous installments I had seen.

I had seen Scream (2022) and knew enough to know that it was a sequel to that film containing many familiar characters.

It felt like dining on comfort food, which was the perfect fit. I suspect that’s why others will choose to see this film.

While it is not vital to have seen any or all of the previous chapters, it is helpful because Scream VI contains a hefty dose of historical references and character revisitation. This is a joy for fans craving continuity and past character tie-ins.

More than one character comes back from the dead.

The plot follows a new Ghostface killer who targets the survivors of the Woodsboro murders in New York City. Neve Campbell did not reprise her role as Sidney Prescott due to a pay dispute, making this the only Scream film not to feature her.

I was very impressed with the first and last sequences, as a trio of killers is unmasked in the bloody and wild conclusion. The writing is clever, crisp, and filled with twists and turns.

The mid-section has issues, though.

Fans of the franchise need no explanation, but new viewers should know that the revealed killer or killers always have a motivation based on revenge.

Usually, someone had an affair with someone else, resulting in death or the drive to create a slasher film based on real-life events surrounding the drama.

Other key elements are sinister telephone games, cat-and-mouse puzzles, and knowledge of horror films, which, with a right or wrong answer, could either keep one alive or seal their deadly fate.

The pleasure in watching Scream films is the whodunit, as the killer always wears the Ghostface costume when killing off characters and toying with them first.

Yes, a pattern is followed, but the nods to slasher films of the 1970s and 1980s made the 1996 Scream debut such a masterpiece that the 2023 Scream honors.

Two characters banter about which installment of Friday the 13th and Nightmare on Elm Street is the best and why.

Now, over twenty-five years later, Scream has its history to delve into, which it does. Our main character, Sam Carpenter (Melissa Barrera), is the illegitimate daughter of the original killer, Billy Loomis (Skeet Ulrich), who makes a cameo.

The killers’ hideout is filled with photos, masks, knives, and other memorabilia from previous films, which is beautifully captured and a pure delight for legacy fans.

As the 1996 film did so well, the incredible opening sequence features a film professor (Samara Weaving) of slasher films receiving a mysterious call and being lured into peril. In a neat twist, the killer is then killed by another Ghostface.

A terrific ladder scene in the middle portion of Scream VI is also superior, as a pleading victim attempts to cross from building to building before Ghostface catches them.

Filmmakers showcase not one but two LGBTQ+ couples (one male and one female) and enough diversity (Asian, black, Hispanic) to be noticed, so it feels pretty inclusive.

Otherwise, the intro and finale are the most notable high points.

The film is bogged down terribly by its over two-hour running time, which made me tune out now and then. The filler is unnecessary and makes the film feel too hefty as it veers off course in redundancy.

Suspension of disbelief is at max capacity, especially during a laughable scene when a character is stabbed on a busy subway, unbeknownst to other subway riders.

Scream VI (2023) is a pleasant vehicle that wins by incorporating more horror history than ever, increased blood and violence, and following a successful pattern that it knows well.

2024 Films, Biography, Drama, Fernanda Montenegro, Fernanda Torres, International, International Drama, Political Drama, Portuguese, Selton Mello, Walter Salles

I’m Still Here-2024

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I’m Still Here-2024

Director Walter Salles

Starring Fernanda Torres, Selton Mello, Fernanda Montenegro

Scott’s Review #1,464

Reviewed February 9, 2025

Grade: A-

A powerful political drama led by a riveting performance by Fernanda Torres gives a frightening view of government corruption. Her mother, Fernanda Montenegro, also plays a small yet pivotal role in a double dose of brilliant acting.

Ironically, twenty-five years after Montenegro, Torres was nominated for an Oscar for Salles’s film Central Station (1998). What lovely desserts!

Director Walter Salles showcases a loving family at the forefront that provides empathy for the audience. Events slowly build, so time is spent investing in the characters first so that we care about them before becoming immersed in their peril.

Though the setting is early 1970s Brazil, the stark reality is that corruption still exists in many countries, even the United States of America. While Brazil is now a democratic country, the US is teetering towards a villainous dictatorship. Brazil is also still threatened by the villainous right wing.

This adds a layer of fear that something that happened so long ago can quickly occur again.

The story is true.

Eunice Paiva (Torres/Montenegro) investigates her husband Rubens’ (Selton Mello) disappearance while trying to maintain family stability. Rubens is a former Congressman turned civil engineer opposed to military dictatorship. One night, he is taken away for questioning and never returns.

Most of the early events take place in Rio de Janeiro, Brazil. The Paiva family resides in a beachfront house and regularly celebrates with neighbors and friends. The kids play volleyball and enjoy life. One of the kids travels to London with family friends, joyfully exploring her obsession with the Beatles.

Salles perfectly exposes this forty-five minutes or so of celebration before turning to the darkness of the rest of the story.

There is a foreboding quality despite the parties, the drinking, the laughs, the many photographs, videos, and quiet moments between family members.

One of the daughters and her friends are stopped by military guards at a checkpoint and harassed. Eunice sees a tank drive by filled with military personnel. Ruben’s best friend needs to flee Brazil before something terrible happens to him.

Even the lighting turns darker once Rubens, Eunice, and her daughter are questioned at a military facility.

Dark sequences feature Eunice being kept in a dimly lit cell for days, dirty and disheveled.

Despite the compelling nature of 1970/1971, I breathed a sigh of relief when events moved to 1996 and, finally, 2014. The lighting became sunnier, the family had moved on, and their lives had a new meaning.

Enough raves cannot be given for Torres’s performance. Instead of giving Eunice a weepy, overly emotional quality, she plays her as strong and confident, always in control. Torres relays the woman’s pain, confusion, and heartbreak through her eyes and facial mannerisms, relaying her agonizing uncertainty.

Montenegro plays Eunice, an elderly older woman with late-stage Alzheimer’s disease, in a short but powerful scene.

Eunice knows her husband is involved in anti-military communications and supports him as a brilliant woman. She is not a simpering weak woman but an empowered, confident one.

Eunice returns to college and graduates law school at forty-eight, becoming an expert on Indigenous Rights.

So, the character and real-life figure inspire women and men to persevere under extreme circumstances. Both Eunice and Rubens are heroic.

As if there was ever doubt, Rubens Paiva’s true fate is revealed during the end credits, amid photographs of the real Paiva family.

Justice was never served.

The film portrays a biography of a man who wants to do the right thing and surrounds himself with allies and intellectuals who share his beliefs.

In the terrible state of United States politics in 2024, I’m Still Here (2024) resonates deeply on many levels. This compelling work teaches me a lesson in standing up for what’s right amid uncertainty and fear and connecting with like-minded people.

I may not need to see the film again, but the message was clear and hit home.

Oscar Nominations: 1 win-Best Picture, Best Actress-Fernanda Torres, Best International Film (won)

2024 Films, Bobby Cannavale, Elizabeth Debicki, Halsey, Horror, Kevin Bacon, Lily Collins, Mia Goth, Michelle Monaghan, Moses Sumney, Slasher, Sophie Thatcher, Ti West

MaXXXine-2024

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MaXXXine-2024

Director Ti West

Starring Mia Goth

Scott’s Review 1,463

Reviewed February 4, 2025

Grade: B+

MaXXXine (2024) is a slasher horror film lover’s dream. With its 1980s-style filming, peroxide hairdos, and video cassette recorders (remember them?), it’s a sheer delight for genre fans.

Adding tight-washed blue jeans, a 1985 musical soundtrack, and the sunny setting of Los Angeles, California, you’ve got a throwback 80’s film in the best ways.

It is the third installment in Ti West’s X film series and a direct sequel to X (2022). The first chapter was called Pearl (2022). Although seeing the others before seeing MaXXXine is unnecessary, it is also fun.

West writes, produces, directs, and edits the vehicle, so the project is his creation. His muse, Mia Goth, who has starred in all three films, makes a return appearance and is co-producing.

Rumor has it there may be a fourth.

In the film, Maxine sets out for fame and success in 1980s Hollywood and is targeted by a mysterious killer, who is assumed to be the aptly nicknamed real-life Night Stalker.

But is this a red herring? Maxine’s friends are systematically eliminated, leaving the poor girl and the detectives to wonder if she could be the next target.

Could it be someone from her past? Or is someone jealous of her impending film success?

The film gets off to an intriguing start when a videotape shows a young Maxine dancing for her father, who appears to be coaching her and determinedly telling her never to settle.

Adult Maxine brilliantly auditions for a new horror film called Puritan II despite her only credits being in adult films. She shows she has raw talent and emotion and is unafraid to prance around topless.

She speeds away in her sports car with vanity plates reading ‘MaXXXine’.

We quickly learn that Maxine is not to be messed with. When she is accosted at knifepoint, she channels her inner Aileen Wuornos and pulls a gun on her attacker, makes him strip, puts the gun in his mouth, and forces him to perform fellatio on it before stomping on and crushing his testicles with her boot.

She snickers and walks away.

West wants MaXXXine to be entertaining, and he largely succeeds. It’s a fun film not to be taken seriously, but the female-empowering message impressed me.

The Puritan II’s director, wonderfully played by Elizabeth Debicki (The Crown’s Princess Diana), warns Maxine of the sharks and predators in La La Land, and an early quote by legendary actress Bette Davis states, ‘You’re not a star until you’re viewed as a monster.’

In MaXXXine, one is allowed to be a badass bitch and take no prisoners.

The final act is uneven, with a hokey explanation for the killer’s motivations for wanting Maxine dead amid the palatial Hollywood hills. The showdown is a generic extravaganza where the killer’s circle of henchmen is taken down conveniently to let him and Maxine square off.

Earlier, there are real-life clips of Christian wackos accusing heavy metal artists of devil worship and protesters foolishly carrying around signs objecting to the Puritan II, which is a significant clue to the whodunit.

Bobby Cannavale and Michelle Monaghan play detectives who lack great dialogue and are the film’s comic relief, and Kevin Bacon goes over the top as a private investigator.

However, a delightful cameo by Lily Collins (TV’s Emily in Paris) is a big win.

I suppose one could approach MaXXXine (2024) as dissecting the artificiality of Hollywood or the overindulgence of the 1980s excess (cocaine use is prevalent in the film). Still, I took the film as celebrating 1980s horror magnificently.

And I was a happy participant.

2024 Films, Daniel Craig, Drama, Drew Starkey, Jason Schwartzman, Lesley Manville, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ Romance, Luca Guadagnino, Romantic Drama

Queer-2024

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Queer-2024

Director Luca Guadagnino

Starring Daniel Craig, Drew Starkey

Scott’s Review #1,462

Reviewed January 20, 2024

Grade: A

Daniel Craig sheds his James Bond (007) image for a more nuanced and challenging role in Luca Guadagnino’s film, Queer (2024). His layered and complex character must have been a dream role for the actor reportedly frustrated with the one-note Bond character.

Guadagnino, well-known for the similarly LGBTQ+-themed Call Me By Your Name (2017), trades Italy for Mexico and later Ecuador in his latest and darker project.

The film is a winning ticket and on an even keel with Call Me By Your Name, although I prefer the latter by a smidgeon. Queer is an exceptional film given the fabulous combination of elements like muted color tones, unrequited love, and the 1950s time period.

The sex scenes are pretty delicious and leave nothing to the imagination, providing titillation and appetite.

I was impressed by the unique incorporation of 1990s grunge band Nirvana in various sequences, including a beautiful rendition of ‘All Apologies’ by Sinead O’Connor as the film opens.

The funky, crisp blue/purple credits, which appear handwritten, are cool and modern, adding to the visual pleasures to come.

Events begin in 1950 when we meet William Lee (Craig), an American expatriate living in Mexico City, passing time by bar hopping and indulging in sexual activities with younger men.

One evening, he catches sight of Eugene Allerton (Drew Starkey), a young GI who is also an American expatriate. Lee becomes obsessed with Allerton and pursues him across various bars, hoping to gain his affection.

The men develop a relationship, but Eugene maintains an emotional distance from Lee. Despite Lee’s interest in a full-time connection, he is often seen with a mysterious red-haired woman.

As time marches on, Lee’s dependency on drugs and alcohol deepens, and the pair take an exotic and hallucinogenic trip to Ecuador to visit a wacky female doctor (Lesley Manville).

Will Lee and Eugene forge a dangerous same-sex relationship? Or will they go their separate ways as merely two ships passing at night?

The character of Lee is reportedly based on William S. Burroughs, a famous American author during the Beat Generation (a literary subculture of the 1950s).

His 1985 novella, Queer, is adapted.

Craig is dangerously good as Lee, invoking loneliness and hopefulness seemingly interchangeably in a given scene.

He’s relatively out of the closet, miraculous given that the gay rights movement would not happen for almost twenty years, but this begs the question of the progressive culture of Mexico City.

The audience realizes that Lee is yearning for a connection with another man and has repeatedly been unable to find it. Sure, he pays for the services of male prostitutes, but it’s not about the sex for him.

It’s a more profound desire.

As Lee embarrassingly admits his feelings for Eugene in a drunken confessional, Craig flawlessly reveals Lee’s pain. The actor rises way beyond the heights of James Bond in an acting extravaganza.

I adore the texture that Guadagnino films in. The gloomy streets and the fuzzy colors add the proper setting of emptiness and fulfillment.

Lee’s artist apartment is, in one way, calm and, in another way, bleak and shrouded with unhappy experiences. It’s littered with empty bottles and discarded drug paraphernalia.

The moments when Lee and Eugene are together in a movie theater or out to dinner when Lee imagines the pair embracing or stroking the young man’s face, are both tender and sad.

While the film doesn’t end happily, anyone familiar with Call Me By Your Name shouldn’t be surprised. Instead, Guadagnino showcases the reality and desperation of what being gay was like a long time ago.

It will not satisfy everyone, and the story teeters off course toward the end when the men get to South America, but the score and dazzling visuals make up for this.

Thanks to superior direction and a lead performance of excellence, Queer (2024) is a grand achievement in humanity and the complications that emerge when faced with emotions and desires that are not fulfilled.

2024 Films, Best Film of the Year, Coralie Fargeat, Demi Moore, Dennis Quaid, Horror, Independent, Independent Horror, Margaret Qualley, Satire

The Substance-2024

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The Substance-2024

Director Coralie Fargeat

Starring Demi Moore, Margaret Qualley, Dennis Quaid

Scott’s Review #1,461

Reviewed January 18, 2025

Grade: A

Demi Moore takes her languishing career by the reigns in a risky role, leaving any glitz and glamour by the wayside in the wacky horror film The Substance (2024).

She also sheds her mainstream blockbuster image for darker cinematic territory, propelling her into a fresh new image.

Respectability.

The film received widespread critical acclaim, a gaspy crowd reaction, and buzz during awards season, making it the most talked-about film of the season.

Moore portrays a fading celebrity, Elisabeth Sparkle, wired by her producer (Dennis Quaid) on her fiftieth birthday due to her age.

She decides to use a black-market drug that creates a much younger version of herself (Margaret Qualley) with unexpected side effects.

As she drives home after being fired, she is involved in a car accident. At the hospital, she meets a handsome young nurse who casually advertises a new product. He boldly tells her that it changed his life.

It creates a younger, more beautiful, more perfect you. The catch is that you share time, one week for one and one week for the other—an ideal balance of seven days each.

What could go wrong?

The film begins with a weird shot of a camera looking down at the creation of a famous star on Hollywood Boulevard, where anyone who’s anyone has their name in a star on the famous street.

The sequence reveals that Elisabeth was once a big star. Workers sand her name on the sidewalk amid the celebration, and people stop in awe of her name. As the years go by, people comment that she was in some movie they can’t remember, and then someone callously spills garbage on her name, thinking nothing of it.

The story has powerful meaning about the societal pressures on women’s bodies and aging, especially in the media spotlight.

But this isn’t simply about women. Anyone of any gender or humanity can reflect on the insecurities of aging, whether in the corporate world or being cast aside for a younger person in any way.

I found The Substance incredibly relatable.

Besides the story, Coralie Fargeat, a French director I’d like to see more of, directs The Substance very well.

She bravely incorporates snippets of Stanley Kubrick’s work, adding her funky weirdness and creating an insane experience for viewers.

Kubrick famously created long shots of hallways, which Fargeat brilliantly borrows. Elisabeth watches her producer and team rapidly walk towards her and reminds her that ‘pretty girls always smile,’ reinforcing ridiculous stereotypes attractive women are ‘supposed’ to follow.

Fargeat counterbalances the long shots with several close-ups, mainly of Moore staring at herself in the mirror. Seeing every wrinkle and blemish, she becomes increasingly obsessed with the younger version of herself.

The film does so much with very little dialogue, allowing Moore to deliver a performance of a lifetime.

As the film progresses, it becomes wackier and wackier in only the finest of ways as the older version becomes obsessed with her younger self. As she decays, she becomes a bald hunchback, unrecognizable.

At a diner, she runs into the older version of the young nurse, who admits that the process gets worse with each transformation.

The finale, set on New Year’s Eve, when Elisabeth is set to host events for millions to see, becomes horrific as her monster is set loose. A weird combination of human being and lumpy clay emerges on stage as Elisabeth begs the crowd to accept her.

The result is a moment that combines 1931’s Frankenstein with 1976’s Carrie as a horrific and quite bloody witch hunt ensues.

The film also reminds me of 2the 2000sRequiem for a Dream in style and addiction.

Fargeat, who directed, wrote, and produced the film, creates a feminist message that is awe-inspiring.

Combining unique camera angles that infuse a futuristic feel, astounding makeup work, and an exceptional performance by Moore makes The Substance (2024) the year’s surprise hit.

Oscar Nominations: 1 win-Best Picture, Best Director-Coralie Fargeat, Best Actress-Demi Moore, Best Original Screenplay, Best Makeup and Hairstyling (won)

Independent Spirit Award Nominations: Best Feature, Best Lead Performance, Demi Moore

1975 Films, Burgess Meredith, Donald Sutherland, Drama, Geraldine Page, Gloria LeRoy, Jackie Earle Haley, John Hillerman, John Schlesinger, Karen Black, Natalie Schafer, Richard Dysart, Satire, William Atherton

The Day of the Locust-1975

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The Day of the Locust-1975

Director John Schlesinger

Starring William Atherton, Karen Black, Donald Sutherland

Scott’s Review #1,460

Reviewed January 16, 2025

Grade: A

I love films set in Los Angeles, especially those dealing with Hollywood and/or the dark underbelly of the City of Angels. With its lights and allure, there is a murky side laden with drama, jealousy, and loneliness.

John Schlesinger’s dark period piece The Day of the Locust (1975) examines the bleak lives of several aspiring people in 1930s Hollywood, just before World War II.

The prominent themes are alienation and desperation, whose aspirations of success do not come true, emphasizing the sad saying, ‘The road to Hollywood is paved with broken dreams.’

It’s a brilliant adaptation by screenwriter Waldo Salt, based on Nathanael West’s 1939 novel of the same title. The film horrifically depicts the Hollywood film industry in all its artificial glitz and glamour.

In 1930s Los Angeles, sunny Hollywood shined like a beacon to helpless people across the city who were looking for fame, fortune, or a quick buck.

In one apartment block, blond bombshell Faye Greener (Black) aspires to be an actress, artist Tod Hackett (Atherton) seeks legitimacy, and a frightening child actor named Adore (Jackie Earle Haley) performs a grotesque homage to Mae West.

Introverted accountant Homer Simpson (Donald Sutherland) watches as society collapses under greed and ambition.

From a romantic standpoint, Homer and Tod vie for Faye’s affection in a tragic triangle fraught with jealousy and competition.

Schlesinger knows his way around dark, influential, intelligent films. He created stalwarts such as Midnight Cowboy (1969) and Sunday Bloody Sunday (1975), both unconventional and controversial, the former being the only film ever to win Best Picture and garnering an X rating.

The Day of the Locust is no different.

There is scarcely a likable character in the cast, but I ascertain that Tod is the most stable and trustworthy in the rogues gallery.

He appears grounded and the voice of reason, though he mocks Homer later on at a party, so he’s not exactly Prince Charming. He arrives to work as an art department production illustrator at a major film studio and rents an apartment in the same community as the other characters.

Gently, he places a lovely flower in a crack in the wall.

Tod is smitten with Faye, a callous vixen who beds not one, not two, not three, but four men and makes no bones about it. Not exactly a feminist, she is more concerned with rising to move star status at any cost.

We meet Faye as she works as an extra in a lavish production. She smacks gum and then snaps into character as a royal sophisticate, revealing a tacky and tawdry presence to the audience.

Later, during the grand finale, she tries to glimpse the big stars arriving in limos at a premiere event at Grauman’s Chinese Theatre, one in a crowd of thousands.

She’s a lost soul, filled with self-deluded importance, desperately wanting the spotlight in whatever form she can.

Her father is played by Burgess Meredith, who nearly steals the show as an elderly, washed-up ex-vaudevillian.

Despite the outstanding performances, the production design and cinematography are flawless and seamlessly portray what life was like in Hollywood in the early days.

My favorite sequences are in the movie sets filled with pizazz, glamour, and intricacies.

The most significant scene, though, occurs at the star-studded event, a premiere of The Buccaneer, when all hell breaks loose, and a tragic death occurs, leading to subsequent bloodshed and further death and destruction.

It’s a spectacle, supposed to be the movie event of the year, with champagne and the ultimate celebration of film, but the stark nature of one’s rage overtakes the beautiful moment.

During this pivotal scene, we see the darkness of humanity counterbalanced against the glitz and glamour of movie stars.

Schlesinger masterfully takes us through this journey of human depravity with flawless ease.

The Day of the Locust (1975) is a brilliant film.

Oscar Nominations: Best Supporting Actor-Burgess Meredith, Best Cinematography

2024 Films, Billie Lourd, Brenda Song, Dave Bautista, Drama, Gia Coppola, Independent, Independent Drama, Jamie Lee Curtis, Jason Schwartzman, Kiernan Shipka, Pamela Anderson

The Last Showgirl-2024

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The Last Showgirl-2024

Director Gia Coppola

Starring Pamela Anderson, Jamie Lee Curtis, Dave Bautista

Scott’s Review #1,459

Reviewed January 12, 2025

Grade: A

The Last Showgirl (2024) is a powerfully acted and beautifully written story about an aging Las Vegas showgirl who struggles to find relevance and retain her identity after her show closes.

Pamela Anderson’s career-highlighting performance leads the film, featuring stellar acting from Jamie Lee Curtis, Dave Bautista, Billie Lourd, and Kiernan Shipka in supporting roles.

The story showcases a disenfranchised and easily dismissed group of Vegas performers like Boogie Nights (1997) did for the adult film industry and The Wrestler (2008) for the professional wrestling community.

Gia Coppola, granddaughter of legendary director Frances Ford Coppola (The Godfather and The Godfather Part II, 1972-1974), has talent in her blood as she creates the proper mood and the setup to showcase outstanding performances and the underbelly of the Vegas glitz and glamor.

Coppola uses handheld cameras and mostly close-up shots, which could distract some but allow for the rawness and blatancy of seeing Anderson, mainly sans makeup.

The film is a poignant story of resilience that anyone troubled by the aging process regarding their career and livelihood can easily relate to.

Pamela Anderson is a revelation as Shelley, a showgirl who must plan for her future when her show abruptly closes after a thirty-year run. She is proud to be in Le Razzle Dazzle, a classic French-style revue at a casino on the Las Vegas Strip, and views the show as glamorous art rather than a nudie show.

Her co-stars in the show include several younger women, including Mary-Anne (Brenda Song) and Jodie (Kiernan Shipka), who view Shelly as a mother figure.

Shelly’s older best friend, Annette (Jamie Lee Curtis), is boozy and has a gambling addiction, yet maintains a close relationship with Shelly. Years ago, she was ousted from the show and now works as a cocktail waitress.

Anderson, for years known as a sexpot, blonde bombshell femme fatale type who dates rockstars and keeps in the headlines, gives a stunning acting performance.

I was floored.

With her baby voice and kindness, the character of Shelly allows Anderson to give a refreshingly raw and dramatic performance. Usually there for everyone else, she faces an uncertain future, leaving her exposed and vulnerable.

A side story involves Shelly’s estranged daughter, Hannah, played by Billie Lourd. Shelly’s attempt to reconnect with her is interesting but not as effective as the loss of her show and her struggle with identity.

Anderson’s best scene occurs at the beginning and end of the film when she is forced to audition for a modern and sexy stage show. Shelly is confident and insecure as she struts around the stage to a 1980s Pat Benatar song, clumsily revealing her time capsule world with her song choice.

Ridiculed and brutally given honest advice by the director, she nonetheless champions herself, boldly describing herself as ‘fifty-seven years old and beautiful.’

One can’t help but see Anderson stripping off her defenses and applying makeup for herself and her character, Shelly.

Curtis gets better and better with age and now accepts supporting roles with grit and mustard rather than genre roles that define her. Annette wears dated blue makeup and a hairstyle she has undoubtedly had since the 1980s but cannot be held back; she is proud of who she is.

Former professional wrestler Bautista is amazing as Eddie, the revue producer.  Having succeeded at wrestling, he has now brilliantly forged into acting with stellar results. He gives a heartwarming performance.

The Last Showgirl (2024) left me mesmerized, teary, and pondering life and the reality of getting older. It does what great films are supposed to do and left me thinking long after the credits rolled.

Thanks to several awards season nominations for Anderson and Curtis, the small film receives proper exposure and word-of-mouth credibility, encouraging many cinema fans to see it.

1988 Films, Action, Alan Rickman, Bonnie Bedelia, Bruce Willis, Christmas, John McTiernan, Paul Gleason, Reginald VelJohnson

Die Hard-1988

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Die Hard-1988

Director John McTiernan

Starring Bruce Willis, Alan Rickman, Bonnie Bedelia

Scott’s Review #1,458

Reviewed December 28, 2024

Grade: B+

Die Hard (1988) is one of the best action films of the late 1980s and 1990s. Because of its success and mainstream appeal, it spawned dozens of copycat films patterned after it.

It features hunky Hollywood star Bruce Willis in his breakout role, propelling him to a box-office stronghold that lasted for many years. He would later appear in more cerebral offerings like Pulp Fiction (1994) and The Sixth Sense (1999), but Die Hard put him on the map.

Is it a Christmas film, or is it not? It can be debated.

Depending on one’s socioeconomic leanings, Die Hard can be seen as a film that puts the working-class Joe in the driver’s seat and makes yuppies or corporate types look like incompetent fools.

The film, watched decades after its making, is guilty of stereotypes and clichés. It is riddled with nearly every action film standard one-liner intended to evoke laughter, which now seems silly and contrived.

Hokey? Yes, but it’s also fun and a chance to watch the muscular and sweaty Willis run barechested for most of the running time.

Like Friday the 13th (1980), the film produced several sequels, all subpar to the original.

New York City policeman John McClane (Willis) is visiting his estranged wife (Bonnie Bedelia) in Los Angeles on Christmas Eve. He joins her at a posh holiday party in the headquarters of the Japanese-owned business she works for.

The festivities are quickly interrupted by a group of terrorists led by the crazed but calm Hans Gruber (Alan Rickman), who take over the exclusive high-rise and everyone in it.

McClane realizes that he must save the day.

John McTiernan, who directs, knows his way around the action genre, and Die Hard is easily his best. Other notable works include Predator (1987) and The Hunt for Red October (1990), so he also knows how to create an action star.

The season, the setting, and the villain are other high points of Die Hard.

The perfect setup is a glossy high-rise in downtown Los Angeles at a glitzy corporate party on Christmas Eve. Drizzling with possibilities, McTiernan adds the German terrorists for good measure and a slice of necessary Americana, a fixture of the 1980s ‘USA good, Europe bad’ mentality.

Naturally, McClane is a good old-fashioned American boy. While he initially wants his successful wife, Holly (Bonnie Bedelia), to be a traditional homemaker, he realizes she’s good at being a corporate officer.

But, the traditional and conservative mindset still shines through.

In a stroke of genius and authenticity, the real Fox Plaza in Century City was used for the skyscraper rather than an ineffectual mock set. This adds a lot to the enjoyment, and glimpses of The Towering Inferno (1974) crossed my mind.

In standard fashion, the feds, detectives, television reporters, and police officers are primarily incompetent, except for McClane. This adds to the earlier notion that the working-class guy is the movie’s hero.

Actor Paul Gleason, well-known for a similar curmudgeonly role in 1985’s The Breakfast Club, bears much of the brunt. As he callously shouts at police officer Powell (Reginald VelJohnson), he also frets at the mayor’s reaction to the handling of the situation with repeated ‘the mayor will have my ass’ remarks.

Interestingly, Powell, who bonds over the radio with McClane, is the only character to receive a competence award. The relationship between the two male cops is warm, respectful, and a high point.

The other well-written character is the main villain, Hans. Played deliciously by Rickman, he’s a baddie for the ages, cold and calm, and his deadly tumble from the top of the enormous building is satisfying to patient fans.

Die Hard (1988) centers around the good hero cop besting the bad guys from Germany in a definitive pro-American theme popular for the times.

While the terrible 1980s hairstyles, clothes, and cheesy dialogue do not hold up well, the action is, and the film can surprisingly be watched repeatedly.

Oscar Nominations: Best Film Editing, Best Visual Effects, Best Sound Effects Editing, Best Sound