All posts by scottmet99

#207 Favorite Films, #29 Favorite Horror Film, 1982 Films, Favorite Film of the Year, Horror, Jason Voorhees, Slasher, Steve Miner, Top 250 Films, Top 40 Horror Films

Friday the 13th: Part III: 1982

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Friday the 13th: Part III: 1982

Director Steve Miner

Starring Dana Kimmell, Paul Kratka

Top 250 Films #207

Top 40 Horror Films #29

Scott’s Review #743

Reviewed April 17, 2018

Grade: A-

By 1982 the Friday the 13th installments were becoming an almost annual event, which would continue until the late 1980s.

Still popular and fresh at the time (the novelty would soon wear thin), Part III has the distinction of being released in 3-D, a highly novel concept and just perfect for a slasher film, including sharp weapons to shove at the camera at every turn.

Directed once again by Steve Miner, who also directed Part II,  the film charters familiar territory that will certainly please fans of the genre.

The horror gem still feels fresh to me decades after its original release.

The plot originally was intended to copy 1981’s successful Halloween II and capitalize on the return of one central character, Ginny (Amy Steel), and continue her night of terror as she is whisked away to a local hospital following her ordeal at Camp Crystal Lake.

While this plot seems laden with good, gruesome “kill” possibilities (think syringes, scalpels, and other neat medical objects), unfortunately, this was not to be after Steel balked at a return appearance.

Directly following the bloody events the night before, a new batch of teenagers- oblivious to the recent killings- except for tortured Chris (Dana Kimmell), who once was attacked by the crazed killer, travel to Camp Crystal Lake for a weekend of fun and partying.

As Chris teeters between imagining sounds and shadows, traumatized by her past, Jason lurks nearby waiting to pounce on unsuspecting victims. In this installment, Chris is most certainly the “final girl”, a fact that is obvious with the immediate backstory.

The other characters fall in line with traditional slasher stereotypes- the lovelorn couple, the prankster, and a stoner couple. Also, a rival biker gang is thrown in for added drama as they vow revenge on the group following an incident at a convenience store.

A few main differences between Part III and Parts I and II follow:  Part III incorporates fewer “point of view” camera shots from Jason’s perspective, and more from the viewpoint of the victims.

The result is neither better nor worse- just different.

This is the first installment in which Jason dons his trademark hockey mask giving the film a slicker feel, and more identity, than Part II did, where Jason mostly wore a burlap sack.

Cleverly, Jason steals the hockey mask from one of his victims.

Finally, as evidenced by the soundtrack, Part III adds a disco/techno beat to the famous “chi chi chi” sounds, giving the music a distinct 1980s feel that the two preceding installments do not have- those feel more like 1970s films.

Memorable slayings include a knife shoved through a victim’s chest while resting on a hammock, electrocution via a basement fuse box,  and death via a shooting spear gun.

The main draw to the kills and thus the film itself is the clever use of 3-D technology, which makes the audience feel like the center of the action.

What a treat to see the implements used in the killings coming right at me!

Credit must be given to the added diversity Friday the 13th: Part III incorporates. For the first time (a glorified black extra in Part II does not count) minority characters are featured.

Bikers Fox (Hispanic) and Ali (Black) as well as pretty Vera Sanchez are included giving the film more of an inclusive feel- though each of these characters is killed off.

Enjoyable also is the inclusion of a quick recap of Part II, similar to what Part II did with the original so that the climax of the preceding film gives the viewer a good glimpse of how the action left off.

The screenwriters add a few comical characters, admittedly offed rather quickly into the mix.

I would have loved to have seen a bit more junk food-eating Harold and his nagging wife Edna, for example, before they meet their maker.

Hardly high art, Friday the 13th: Part III (1982) is mostly remembered for some cool, innovative technology, a tiny bit of camp that does not overwhelm the straight-forward horror flavor, and for still seeming fresh before the franchise got old, stale, and tired.

Part III, along with I and II, make for a wonderful trio in one of horror’s finest franchises.

#208 Favorite Film, 1983 Films, Children, Christmas, Melinda Dillon, Peter Billingsley, Top 250 Films

A Christmas Story-1983

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A Christmas Story-1983

Director Bob Clark

Starring Peter Billingsley, Darren McGavin, Melinda Dillon

Top 250 Films #208

Scott’s Review #968

Reviewed December 16, 2019

Grade: B+

A festive holiday film sure to be watched during late December, A Christmas Story (1983) is a wholesome family treat with heart and a good slice of Americana. A clever gimmick of an adult narrating the story of his childhood holiday experience feels both fresh and nostalgic.

Some hairstyles, looks, and camera styles feel more like the 1980s than the 1940s and the subject matter of a gun becomes questionable with the passing years, but the film enchants and warms the soul with famous cult classic moments mixed in making the film memorable.

The central character is Ralphie Parker (played as a child by Peter Billingsley and voiced as an adult by Jean Shepard). Nine-years-old and clad in distinguished eye-glasses, he anticipates the approaching Christmas holiday with both excitement and trepidation.

He longs for his dream gift, a Red Ryder Carbine-Action 200-shot Range Model air rifle, which every adult he meets hazards “You’ll shoot your eye out.” Determined, he schemes to find a way to make his dreams come true and his parents to buy that gun, while avoiding the neighborhood bully.

The film has mass appeal in the casting department with each principal actor adding value, and the story just feels warm. With the lesser talent, the results may have been over-the-top, forced, or too melodramatic.

Accolades are especially deserved by Billingsley, who carries the film with his sincerity and giant blue eyes.

He is a natural and fantastic actor, especially during the more emotional scenes. Ralphie’s mother, father, and teacher are wonderful in their respective parts adding the right level of earnestness and pizzazz in support roles.

A Christmas Story gets props for avoiding any silly romantic story-line commonplace in “feel good” films of similar ilk. The plot is clearly defined and the antics of Ralphie make the film fun, but not too sentimental or corny.

Cringe-worthy is the thought of a little neighborhood girl that Ralphie might want to impress. The little boy’s somewhat infatuation with his teacher is innocent and whimsical and not to be taken too seriously.

The incorporation of now-legendary props and story points adds texture and comfort to the viewing experience, especially the lamp in the shape of a woman’s leg and a high-heeled shoe.

The garish prize Ralphie’s father wins after entering a contest becomes his pride and joy making his wife and the neighbors cringe. Assuming the piece is lavish art mistaking the word “fragile” for a fancy Italian word, the scene is humorous.

The final scene of the family being reduced to eating Christmas dinner in a Chinese restaurant after their turkey is ruined still provides a smile.

As the years pass the scene teeters on racist and has been changed during stage productions to avoid controversy. The Asian characters possess too many cliched stereotypes for my taste, but the intent is innocent and wraps the film nicely.

Peculiar and noticeable with each viewing experience, is the glaring locale of Hammond, Indiana when the film is shot in and around Cleveland, Ohio. The famous Higbee’s Department Store in downtown Cleveland is pivotal to the story and world-renowned, so the Indiana locale is perplexing and out of place.

Many may not realize the Cleveland surroundings, but eagle-eyed viewers will take notice. The exteriors look nothing like Indiana.

Known for having aired since 1997 on television stations TNT or TBS in a marathon titled “24 Hours of A Christmas Story”, the event has consisted of twelve consecutive airings of the film on both Christmas Eve and Christmas Day each year.

This has resulted in its being deemed one of the best Christmas movies ever made and exposed new generations to the work.

I’m not convinced it is “the best”, but nothing feels cozier on a cold holiday night snuggled by the fire than this cult classic. 

#209 Favorite Film, 1947 Films, British, David Farrar, Deborah Kerr, Drama, Emeric Pressburger, Favorite Film of the Year, Jean Simmons, Michael Powell, Top 250 Films

Black Narcissus-1947

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Black Narcissus-1947

Director Michael Powell, Emeric Pressburger

Starring Deborah Kerr

Top 250 Films #209

Scott’s Review #688

Reviewed October 5, 2017

Grade: A

A British film made in 1947 that is way ahead of its time, Black Narcissus is a brilliant foray into the mysterious entity of nuns and the bitterness, both from humanity and from the elements, that a group of nuns must face as they attempt to establish a new school atop the hills of the Himalayas.

The film’s look is as fantastic as its story, with incredible cinematography and a foreboding, eerie quality.

Black Narcissus is one of the great treasures of classic cinema.

Based on the 1939 novel by Rumer Godden, Black Narcissus tells the story of revolving jealousy, rage, lust, and tension amid a convent of nuns living in isolation.

Deborah Kerr, fantastic in the lead role of Clodagh, Sister Superior and leader of the group, faces the temptations and anger of men while dealing with an unbalanced nun, Sister Ruth, played terrifically by Kathleen Byron.

The cinematography and the art direction must be praised as the lavish sets are just that- sets. However, the average viewer will be whisked away on a magical experience where it seems the sets are real locales, high atop the Himalayan mountains.

Scenes depict howling wind, mist, and fog in a believable manner. All sets are built and structured, and Black Narcissus was filmed entirely on a set. This tidbit is unbelievable, given the realism, especially since the film was made in 1947.

The lighting in the film is unique, precisely the vibrant colors of the pink flowers and, later, the close-ups of Sister Ruth. A fantastic example of this is her descent into madness during the final act, as her face, maniacal yet lovely, is heavily featured. Her face appears bright and hypnotic.

The main event, though, is the tales the film tells, which are pretty edgy for the year the film was made. Religion is always risky, and the treatment of the nuns as real human beings with actual emotions, even lustful ones, is brazen.

Specifically, Clodagh (Kerr) is a fascinating study as the character teeters on a romance with the charismatic, handsome, local British agent, Mr. Dean (David Farrar), while attempting to forget a failed romance during her youth in Ireland.

Meanwhile, Sister Ruth spirals out of control, leading to a dire climax involving an enormous church bell atop the restored structure.

A slight misstep the film makes is mainly casting white actors with heavy makeup in the Indian roles instead of actors with authentic ethnicity.

This detail is glaring because the makeup used is not overly convincing, and the casting of the gorgeous Jean Simmons as Kanchi, a lower-class dancing girl whom the Prince becomes infatuated with in a subplot, is incredibly guilty.

Still, this pales in comparison to the fantastic story and look of the film.

Black Narcissus is a classic film that contains a bit of everything—drama, thrills, intrigue, gorgeous sets, lavish design, and even a bit of forbidden passion—and brilliantly executes all aspects of the film.

A film admired by critics and directors throughout the ages and explicitly championed by Martin Scorsese, it has the unique quality of getting better with each viewing.

Oscar Nominations: 2 wins-Best Art Direction-Set Direction, Color (won), Best Cinematography, Color (won)

#210 Favorite Film, 1968 Films, Beryl Reid, British, Coral Browne, Drama, LGBTQ+ Drama, LGBTQ+ Films, Robert Aldrich, Susannah York, Top 250 Films

The Killing of Sister George-1968

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The Killing of Sister George-1968

Director Robert Aldrich

Starring Beryl Reid, Susannah York

Top 250 Films #210

Scott’s Review #228

220px-Original_movie_poster_for_the_film_The_Killing_of_Sister_George

Reviewed March 13, 2015

Grade: A-

The Killing of Sister George is a British film drama, adapted from a 1964 stage production that was a risky subject matter to tackle for the times- lesbianism- in the late 1960s.

Directed by Robert Aldrich, well known for Whatever Happened to Baby Jane, The Killing of Sister George is a similarly dark tale of loneliness, desperation, and an actress who falls from former grace and success into despair, confusion, and anguish.

It also has some witty, crackling, comedic moments to avoid being a true downer.

Sister George is a successful, well-regarded actress on a popular soap opera named Applehurst. Her character is the wholesome presence in a town fraught with manipulation and drama. She is the moral focal point of the show.

In real life, however, George (interestingly called by her character’s name), is troubled.

She is bitter, angry, and a person with alcoholism, and she frequently berates and even abuses her partner, Childie, played by Susannah York. A third central character in the film is TV Producer Mercy Croft, who is powerful and confused about her sexuality.

When the soap opera powers-that-be decide to kill off the beloved Sister George, the real George’s life begins to spiral out of control.

As enjoyable a film as it is and certainly featuring the competent talents of Beryl Reid in the title role, I cannot help but ponder and fantasize how wonderful the casting of Bette Davis- reportedly considered for the role and inexplicably not cast- would have been.

Davis, famous for playing grizzled, mean, unsympathetic characters, would have knocked this role out of the park, and, sadly, she did not have the chance.

At its core, the film is a sad character study of one woman’s pain and anguish at being discarded. Presumably unable to be hired anywhere else, her soap opera character is her life.

She loves Childie but is not entirely fulfilled by her, either, and the vibrant, polished Mercy threatens that relationship.

This is an interesting triangle as George does not always treat Childie well, but loves her all the same. Childie is a simple character, childlike, and needs a strong mate to counter-balance the way she is- someone to take care of her.

Without a job or prospects, this would be difficult for George. Does Childie love George or want a meal ticket?

The film is understandably rated X for content, presumably for a very explicit sex scene between Mercy and Childie, and when a drunken George molests two nuns in the back seat of a London taxi cab.

These scenes are both cutting-edge and admirable in their risk-taking.

The scene set at the real-life London lesbian club (the Gateway Club) and featuring mostly real-life lesbians is excellent. It provides a real-life glimpse into the gay/lesbian world and lifestyle during the period.

A brave, groundbreaking, risk-taking film with bravura direction from Aldrich, The Killing of Sister George (1968) is a forgotten gem that needs to be rediscovered by film fans everywhere and is an early journey into gay and lesbian cinema.

#211 Favorite Film, 1997 Films, Bill Pullman, David Lynch, Gary Busey, Giovanni Ribisi, Marilyn Manson, Mink Stole, Patricia Arquette, Richard Pryor, Robert Blake, Thriller, Top 250 Films, Trent Reznor

Lost Highway-1997

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Lost Highway-1997

Director David Lynch

Starring Bill Pullman, Patricia Arquette

Top 250 Films #211

Scott’s Review #868

Reviewed February 17, 2019

Grade: A-

David Lynch, forever known for his odd and mind-boggling productions, released what might be his most bizarre offering, Lost Highway (1997).

Dreamlike and downright hallucinogenic, the film is impossible to dissect and is open to endless interpretation. Characters morph into younger or different versions of themselves or even into different characters entirely making the film best served as an experience not to be over-analyzed.

The most enjoyment comes from the fabulous atmospheric elements.

Lost Highway is set in Los Angeles as we meet saxophonist Fred Madison (Bill Pullman), a nightclub employee who resides with his glamorous wife Renee (Patricia Arquette) somewhere in the Hollywood hills.

The couple begins receiving envelopes containing VHS tapes of footage of their house followed by more invasive tapes of them being filmed while sleeping in their bedroom.

Spooked, they enlist the help of a pair of incompetent detectives.

The events begin to grow more complex with the introduction of a menacing mystery man (Robert Blake) and sequences involving a dismembered Renee, and Fred’s subsequent incarceration for her murder.

Fred suddenly morphs into a young auto mechanic named Pete Dayton (Balthazar Getty), who is released into his parent’s care while being followed by the two detectives.

Pete embarks on an affair with Alice Wakefield, a mirror image of Renee, who is the mistress of powerful Mr. Eddy (Robert Loggia). Pete and Alice plan to escape together leaving their troubled lives behind.

Any attempt to make more sense of the story than outlined above is fruitless as a torrent of questions could be raised. The obvious ones are why does Fred turn into Pete (looking completely different) and why does Renee turn into Alice (looking similar)?

What do random scenes of a burning desert cabin mean? What does the bizarre and hazy lesbian sequence with Marilyn Manson have to do with anything?

Discerning the logic and attempting to unravel the mystery will lead to frustration.

The best advice is to escape into the film and allow it to manifest in the viewer’s mind. The terms “dreamlike” and “hallucinating” are often used to describe films but are perfect adjectives to fit Lost Highway.

The stories do run parallel, so the challenge is not being able to follow each of them, but rather how they connect. The stories also merge circularly with a rhythmic effect and a satisfying ambiance that lured me immeasurably.

My favorite characters are Alice and Pete and this is in large part because of the actors who portray them. Not appearing until the second half Getty and Arquette infuse passion and energy into the roles.

I immediately rooted for them as a couple as their tender and smoldering chemistry was immediately felt. Arquette blazes as a sexy temptress and Getty as the handsome and earnest man submitting to her prowess.

Eagle-eyed viewers may notice comparisons to Russ Meyer’s devilish sexploitation film Supervixens (1975).

The most notable are the dual character representations, the auto mechanic occupation, the locales (more than a few Los Angeles roads seem identical), and various sequences featuring a weightlifter, a gas station drive-up, or other eerily similar scenes.

Whether or not there is a direct correlation between the films is unknown but fun to observe.

The musical score and soundtrack are high points adding both mystique and aggression with the hard rock songs featured. Marilyn Manson’s “I Put a Spell on You”, Rammstein’s “Heirate Mich”, and The Smashing Pumpkins “Eye” are used in important scenes.

The soundtrack release was a huge success on modern rock radio achieving Gold record sales status.

At the time of Lost Highway’s release, the film was not well regarded by critics and dismissed as not making much sense. In the decades following the film has garnered more acclaim and as with a fine wine has aged well. The beautiful cinematic tone, creative design, and images have become more revered over time.

For a perplexing and cerebral experience look no further than Lost Highway (1997), a delicious companion piece to the Lynch masterpiece, Mulholland Drive (2001).

#212 Favorite Film, 1969 Films, Barnard Hughes, Best Picture Oscar Winners, Brenda Vaccaro, Drama, Dustin Hoffman, Jennifer Salt, John McGiver, John Schlesinger, Jon Voight, M. Emmet Walsh, Ruth White, Sylvia Miles, Top 250 Films

Midnight Cowboy-1969

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Midnight Cowboy-1969

Director John Schlesinger

Starring Dustin Hoffman, Jon Voight

Top 250 Films #212

Scott’s Review #24

759322

Reviewed June 17, 2014

Grade: A

Midnight Cowboy is a masterpiece from 1969 that remains the only Best Picture Oscar winner to be rated “X” and, sadly, would probably not be made today.

It tells the tale of a friendly, trusting cowboy who moves from Texas to New York City and is challenged to survive the brutal streets any way he can.

Throughout the film, he meets several interesting, unsavory characters and experiences life in the bowels of NYC as drug use and prostitution are explored.

I did not find this to be as much of a downer as many others did, but rather a story of survival.

The grittiness of NYC is wonderfully portrayed, with many locales featured (Times Square).

Jon Voight and Dustin Hoffman are exceptionally cast and have great chemistry, though the film is by no means a “buddy movie”.

Sylvia Miles has a memorable one-scene feature.

It’s bleak, raw, and intense at times, and Midnight Cowboy (1969) is great filmmaking.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-John Schlesinger (won), Best Actor-Dustin Hoffman, Jon Voight, Best Supporting Actress-Sylvia Miles, Best Screenplay Based on Material from Another Medium (won), Best Film Editing

#213 Favorite Film, 1930 Films, Best Picture Oscar Winners, Drama, Favorite Film of the Year, George Abbott, Lew Ayres, Lewis Milestone, Top 250 Films, War

All Quiet on the Western Front-1930

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All Quiet on the Western Front-1930

Director Lewis Milestone

Starring Lew Ayres

Top 250 Films #213

Scott’s Review #820

Reviewed October 12, 2018

Grade: A

All Quiet on the Western Front (1930) is one of the oldest films I have seen. It is a masterpiece that resonates in present times just as much as it did nearly one hundred years ago.

The work of art presents an astounding Anti-war message that is a timeless lesson in humanity, idealism, and despair.

Based on the banned novel by Erich Maria Remarque, much of the action takes place on the front lines during World War I.

The cameras follow an anxious group of spirited young men as they sit in a classroom and listen to a passionate speech given by their professor.

He is pretty “pro-war,” instilling patriotism in the boys and emphasizing the importance of serving the Army and their country. At his urging, the group, led by Paul Baumer (Lew Ayres), joins the Second Company. Once enlisted, the youths are enlightened that war is not fun, and their romantic delusions are smashed.

Paul is the film’s hero, and events are told through his eyes, offering his perspective. Beginning as a young recruit, he ages quickly and sees friends and allies slaughtered senselessly.

One recruit, frightened to death, is blinded by shrapnel and hysterically runs into machine-gun fire, resulting in his death. Other scenes involving the soldiers forced to go without food only to finally be offered more food, simply because there are so many dead, are heart-wrenching.

Paul is portrayed as a good man, conflicted by how he is supposed to feel towards the enemy and how he sees people as human beings. At the young age of nineteen, he possesses an innocence toward the world.

When he returns home on leave, the townspeople do not acknowledge the ravages of war. When Paul recounts the brutal situations on the front line, he is derided as a coward.

In an excruciating scene, Paul is trapped overnight in a foxhole with a dying French soldier whom Paul has stabbed in a cemetery. He desperately tries to save the man’s life, but to no avail.

In this crucial scene, Paul sees the enemy soldier as a human being rather than someone to hate. He crumbles into tears for the dead soldier, begging him to speak. The scene is incredibly poignant and meaningful.

The final scene of All Quiet on the Western Front is lovely and memorable. It is the film’s most remembered scene and is firmly ensconced in cinematic history.

As a wounded Paul lies hiding from German soldiers, he spots a beautiful butterfly peacefully circling. Paul smiles, enamored with the pretty creature amid all the horror. He desperately tries to reach for the gorgeous insect.

What happens next is heartbreaking and fraught with the unfair ruining of life—the scene is of the utmost importance.

The film is both sad and poignant, as we are well into the twenty-first century, and wars continue.

Have we learned nothing?

Director Lewis Milestone brazenly and tragically paints a portrait of war’s foolishness and the senseless loss of life it results in. It is tough to think of an equivalent film that depicts this message more clearly.

Many European leaders and countries, including Germany’s Adolf Hitler, banned All Quiet on the Western Front throughout the 1930s and 1940s.

The film has remained controversial in its blatant depiction of war since its release.

All Quiet on the Western Front (1930) is a groundbreaking film that should remind us how precious life is.

The novel and film were both made after World War I—how profound to think that since this film was made, wars such as World War II, the Korean War, and the Vietnam War have occurred. Is war ever really the answer?

Anyone who watches this terrific film will find out.

Oscar Nominations: 2 wins-Best Picture (won), Best Director (won), Best Writing, Best Cinematography

#214 Favorite Film, #30 Favorite Horror Film, 1981 Films, Adrienne King, Amy Steel, Betsy Palmer, Horror, Jason Voorhees, Slasher, Steve Miner, Top 250 Films, Top 40 Horror Films

Friday the 13th: Part II: 1981

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Friday the 13th: Part II: 1981

Director Steve Miner

Starring Amy Steel, John Furey

Top 250 Films #214

Top 40 Horror Films #30

Scott’s Review #742

Reviewed April 15, 2018

Grade: A-

Hot on the heels of the surprising success of the low-budget slasher film, Friday the 13th, a sequel to the 1980 film was immediately ordered.

The film was released merely a year later and is nearly as good as its predecessor, but not quite to the level of that horror masterpiece.

Part II (1981) is a well above-average sequel with a fun style all its while wisely keeping facets that made the franchise adored by horror fans everywhere.

Gushing fans must have been chomping at the bit for a follow-up film with an opening sequence that is quite lengthy.

The heroine of the first Friday, Alice Hardy (Adrienne King), takes center stage, eliciting a clever twist that must have shocked fans as she is offed less than fifteen minutes into the film- think the sequence with Drew Barrymore in 1996’s Scream for comparison.

Regardless of the reasons King would not be the star of the film (money demands or a rumored stalker), the fact of the matter is this improves the overall film adding an immediate surprise.

After this compelling opening number, things become much more familiar and predictable as the viewer is enshrined in the antics of young and horny camp counselors rushing to sunny Camp Crystal Lake (or in this installment, a neighboring camp) to set up for the impending arrival of kids.

The young adults are all beautiful, fresh-faced, and ready to be sliced to ribbons or dismembered in some fashion as the case may be.

As any horror aficionado knows, this is a major part of the appeal of slasher films, and Friday the 13th: Part II follows a familiar formula.

Paul (John Furey) and Ginny (Amy Steel) are the lead counselors- a bit more adult and responsible than the others, thus they ignore the authority’s warnings not to re-open the camp since it has only been five years since the original massacres.

As the day turns into evening, Paul teases the group with the story of the legend of Jason and how he survived his drowning only to live in the woods fending for himself and avenging the death of his mother.

Little do they know that the legend is real and Jason is lurking among the trees ready to off the group individually.

Besides Paul and Ginny, the supporting characters include sexy Terry, known to wear skimpy attire, sly Scott, who has designs on Terry, wheelchair-bound Mark, sweet and innocent, Vickie, jokester Ted, and, finally, madly in love, Jeff and Sandra, who are curious about the history of Camp Crystal Lake.

Delightfully, the character of Crazy Ralph (Walt Gorney), the comic relief of the original film, makes a heralded return to warn the youths of impending doom and gloom.

Friday the 13th: Part II mixes pranks and flirtations among many of the characters, but the audience knows full well what’s in store for each of them- save for the honorable “final girl”.

With Ginny receiving this title the others meet their fates in bloody style with interesting kills such as a throat slit by a machete while in a rope trap, a duo impaled with a spear as they engage in sex, and bludgeoning with a kitchen knife.

The final twenty minutes are quite engaging as Ginny must flee from the camp while enduring repeated obstacles preventing her safety such as a run through the woods, tripping and falling, and a failed barricade in a cabin.

A wonderful touch within this sequence is the return of Betsy Palmer (Mrs. Voorhees) in a cameo appearance as Jason sees a vision of his mother. This move successfully creates a tie-in to the original that works quite nicely as coupled with the opening sequence.

The final “jump out of your seat” moment is highly effective as Jason thought to be bested, leaps through a window for one final attack.

Interesting to note is what appear to be identical camera angles through much of the film, as the camera uses the point of view of the killer numerous times to elicit scares, and the viewer serves as the killer- reminiscent of the first film.

Additionally, camera shots of the peaceful, sunny camp and lake during the daytime are used, in contrast to the violence occurring at night.  Even the approaching car the counselor drives (a truck) is shot the same way as we see them arriving at the camp in full anticipation of a fun time.

Friday the 13th: Part II (1981) is a fun follow-up to one of the most celebrated horror films of the slasher genre and is a perfect counterpart to the original.

A viewing tip is to watch both films in sequence on perhaps a late-night horror extravaganza.

Subsequently followed by a slew of not-so-great sequels as the franchise became dated by the late 1980s, Part 2 serves as an excellent follow-up to the original using a similar style that will please fans.

#215 Favorite Film, 1971 Films, Dustin Hoffman, Sam Peckinpah, Thriller, Top 250 Films

Straw Dogs-1971

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Straw Dogs-1971

Director Sam Peckinpah

Starring Dustin Hoffman, Susan George

Top 250 Films #215

Scott’s Review #733

Reviewed March 19, 2018

Grade: A

Straw Dogs (1971) is famed director Sam Peckinpah’s most startling and most controversial film.  Hardly an easy watch, it will conjure up both disturbing and uneasy reactions, but it is a work of art, teetering on the edge of being an all-out art film.

Viewers will cringe during intense scenes, but will also marvel at the film’s mastery of this classic, bringing on a whirlwind roller coaster ride as story elements spiral out of control to a frenetic and powerful climax.

Intellectual American mathematician, David Sumner (Dustin Hoffman), moves with his sexy British wife, Amy (Susan George), to a Cornish countryside- the town in which she grew up where they proceed to encounter problems, both within their marriage, and external factors, as an angry mob of blue-collar workmen, threaten their home life.

When non-violent David is pushed to the limit, questions of morality are brought to light, as Amy faces her demons and bouts with brutality and victimization.

The film, made in 1971, pushes the envelope significantly in its display of violence.

Several years earlier, 1967’s Bonnie and Clyde, and Peckinpah’s own The Wild Bunch (1969), really were the films that got the ball rolling. Still, Straw Dogs continues the trend of the brutal violence that overtook American cinema in those days.

While watching the film for the second time, I was struck hard by the feeling that I was watching something important.

Amy’s rape scene is the most brutal scene of all to watch for the sheer way in which it can be interpreted. Later, when Amy replays the scene in her mind, the audience is forced to endure the experience over again.

Not content to only include the rape scene, Peckinpah wants the viewer to dissect the scene- the fact that Amy is assaulted by not one, but two men, and reacts differently to each of them, is the key here.

The scene is complex in that Venner, the first assailant, is hunky and presumed to be a former beau, and she eventually relents to his advances, but does she enjoy the act? When Scutt enters the picture, however, things turn from tender and ambiguous to violent and dirty.

Undoubtedly, an influence on director Quentin Tarantino is the final sequence of the film- a scene fraught with tension, violence, and grit.

Now trapped in their house amid a mob of angry, drunk men, hell-bent on revenge, David and Amy must both bond with each other and match antics with the men.

I experienced visions of 2015’s The Hateful Eight through the claustrophobic, cabin-like setting, and the quick edits that Peckinpah successfully uses throughout the entire film.

A sad scene, and at least a portion of the reason for the townsfolk’s rage, is a scene reminiscent of Frankenstein when a hulking and mentally challenged man accidentally harms a young girl. Not knowing his strength and meaning to protect the girl instead of killing her, the menfolk of the town respond in a nightmarish and witch-hunt manner.

Suddenly, David becomes the defender and protector of this man.

David’s change in character is interesting, and the great Hoffman adds layer upon layer of complexity to the role. At first, a peaceful man, due to circumstances, he soon becomes the assailant, creating traps and weapons, intent on maiming his prey.

Hardly a violent man, this change of character is evidenced as we earlier see David nurse a wounded bird.

In addition to Hoffman’s traditionally outstanding acting performance, Susan George succeeds in providing the perfect mixture of bitchiness, spoiled brat tantrums, and, later, guilt-ridden angst and fear.

The villains are perfectly cast and believable as bored, simple-minded, and horny, small-town boys just itching for trouble.

Lush is the gorgeous United Kingdom countryside featured in Straw Dogs, as frequent exterior scenes are shot, revealing lavish and plush mountainous areas- the sweeping beauty of the landscape counterbalancing the brutality shown in other sections of the film.

Mixing super quick editing with a dark, compelling screenplay, with underlying themes of questioning one’s manhood, Straw Dogs is a provocative and edgy tale of violence and revenge in a small town, that gives new meaning to the fear of “home invasion” and feeling vulnerable.

Thanks to a great cast and lots of other facets, Straw Dogs (1971) is a timeless (and brutal) treasure.

Oscar Nominations: Best Original Dramatic Score

#216 Favorite Film, 2011 Films, Ben Falcone, Chris O'Dowd, Comedy, Favorite Film of the Year, Jill Clayburgh, Jon Hamm, Judd Apatow, Kristen Wiig, Maya Rudolph, Melissa McCarthy, Paul Feig, Rebel Wilson, Romantic Comedy, Rose Byrne, Terry Crews, Tim Heidecker, Top 250 Films

Bridesmaids-2011

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Bridesmaids-2011

Director Paul Feig

Starring Kristen Wiig, Maya Rudolph

Top 250 Films #216

Scott’s Review #784

Reviewed July 6, 2018

Grade: A

Despite the raunchy romantic comedy genre not being my favorite, and despite not being such a fan of Judd Apatow (famed producer of several of these types of films), Bridesmaids (2011) is easily the best of its kind.

Influential in a multitude of female empowerment-themed comedies that followed, this one is witty, genuine, and funny because of its star, Kristen Wiig, who also co-wrote the film.

It is one of the best comedies (if not the best) of the decade.

Apatow is known mainly for producing comedy films that mix in the standard potty humor for cheap laughs. He is responsible for This Is 40 (2012) and Trainwreck (2015), both of which I found moderately funny, but they are also needlessly gross-out and tired.

My point is that minus the talents of Wiig (both in front of and behind the camera), Bridesmaids would likely have been mediocre like these films. Instead, Bridesmaids is a wonderful, uproarious experience with a star who captures a moment.

My one gnawing gripe is that a woman shouldn’t direct a film about women.

Annie (Wiig) has been asked to serve as the maid of honor at her best friend, Lillian’s (Maya Rudolph), upcoming wedding. Rather than being thrilled, Annie is depressed due to an ongoing string of bad luck.

Her bakery business fails, she loses her unfulfilling job at a jewelry store, she is dating a jerk (Jon Hamm), and her car is about to die. She has difficult roommates and is on the verge of having to move back in with her mother at age thirty-five.

The story hilariously follows Annie’s rivalry with Helen (Rose Byrne), Lillian’s soon-to-be husband’s boss’s controlling wife. Helen is intent on taking over the handling of the wedding events, much to Annie’s chagrin.

The ladies compete to one-up each other throughout the film- Rose is the perfect princess for Annie’s grit and cynicism.

Annie struggles through her issues, unhappy with the state of her love life, when she meets police officer, Rhodes (Chris O’Dowd), and they begin a tender friendship. However, their attraction is put to the test because of Annie’s shenanigans.

Annie must then fly to Las Vegas with the other bridesmaids despite being terrified of flying.

Despite the story being nothing not seen dozens of times before in romantic comedy history (the setups), the film is a laugh-out-loud riot. In addition to Wiig, Rudolph, and Byrne, the remaining cast of ladies all have tremendous chemistry with each other.

Special kudos go to Melissa McCarthy in her fearless role of Megan, a tomboy misfit who somehow is part of the wedding party. With her “tell it like it is” attitude, the actress sinks her teeth into this fabulous role without taking it too far across the line into ridiculousness.

In rip-roaring fashion, multiple scenes are permanently etched in my mind.

After Annie suggests a Brazilian steak restaurant for lunch, followed by a fitting at a chic dress shop, the girls suffer from food poisoning. This results in torrents of diarrhea scenes and one unlucky character being reduced to going to the bathroom in the middle of the street.

The scene, while super raunchy, is hilarious and fraught with perfect comic timing.

Not to be outdone, the airplane scene is equally tremendous; however, the scene belongs to Wiig rather than the entire ensemble. Being forced to fly coach while everyone else is treated to first-class, Annie unwisely accepts a pill from Helen to calm her during the flight.

Instead, Annie becomes belligerent and wild when she mixes the sedative with alcohol.

As good as the supporting cast is, Wiig owns the film through and through. Every scene she is in and each line she utters is perfectly timed. The fact that Wiig did some improvisation (the scene in the jewelry store) is evident and only adds to the genuine feel of the film.

Subsequently, to Wiig’s credit, she has been careful to choose more complicated roles to avoid the risk of being typecast. And a sequel was wisely never made- this would have ruined the appeal.

Bridesmaids (2011) is an authentic story rich with hilarity and crisp dialogue. The film is enhanced in that it’s a female-centered film written by women (though the direction and producers, too, would have been better).

Because of the tremendous cast led by Wiig, the film is blazing with humor and led a firestorm of similar “girl power” films (mostly bad) well into the decade.

Oscar Nominations: Best Supporting Actress-Melissa McCarthy, Best Original Screenplay

#217 Favorite Film, #31 Favorite Horror Film, 1978 Films, Brooke Adams, Don Siegel, Donald Sutherland, Horror, Jeff Goldblum, Kevin McCarthy, Leonard Nimoy, Philip Kaufman, Robert Duvall, Science Fiction, Top 250 Films, Top 40 Horror Films, Veronica Cartwright

Invasion of the Body Snatchers-1978

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Invasion of the Body Snatchers-1978

Director Philip Kaufman

Starring Donald Sutherland, Brooke Adams, Veronica Cartwright

Top 250 Films #217

Top 40 Horror Films #31

Scott’s Review #1,434

Reviewed July 22, 2024

Grade: A-

Even though this film is a remake and remakes are usually not as good as the original, I am partial to the 1978 version of Invasion of the Body Snatchers versus the 1956 release.

This might even be one of the best remakes ever.

The 1950s version has a campy science fiction element popular in the decade, featuring frightening, otherworldly elements like The Day the Earth Stood Still (1951) or Invaders from Mars (1953), which were meant to promote the idea of invaders taking over the Earth.

This was enough to scare the bejesus out of middle America, USA, and their white picket fence-encased neighborhoods.

The 1970s version leaves behind any camp in favor of a straight-ahead sci-fi/horror hybrid. A glamorous and artistic approach oozes from the 1970s and various exterior sequences of San Francisco that make it superior to the original.

It’s a more polished and mainstream-ready product that works better for this film.

By far the best scene is the final scene between a perfectly cast Donald Sutherland and Veronica Cartwright, which left chills going up and down my spine.

I won’t spoil the fun, but suffice it to say that the actor’s facial expressions make the scene exceptional, mixed with the creepy sound effects.

Director Philip Kaufman also toys with his audience when he teeters ambiguously between his leading ladies. Is Cartright the ‘final girl’ or is it Brooke Adams? In parallel to Hitchcock’s Psycho (1960), the lead may not be who you assume it to be.

Matthew Bennell (Donald Sutherland) is a health inspector who assumes that when his friend and colleague Elizabeth (Brooke Adams) complains of her husband’s strange mood, it’s a cheating husband or an exaggerated concern.

He begins to worry, however, as more people report similar observations about their loved one’s strange behavior.

His concern is confirmed when writer Jack Bellicec (Jeff Goldblum) and his wife (Veronica Cartwright) discover a mutated corpse creating a city-wide epidemic where humans are replaced by alien doubles void of humanity or emotion.

The casting is first-rate, especially because Sutherland is front and center. The actor does wonders with his bulging blue eyes and a spacey demeanor. This works well in a film where we wonder whether his character is ‘one of them’.

He’s also a good actor and easily carries the film along with Adams and Cartright.

Kaufman peppers the film with eerie atmospheric elements like the mysterious parasitic alien race scurrying to harvest before their planet dies, and small seed pods amid hallucinogenic pink flowers.

The success is mainly because the audience is left uncertain about whether to hate the aliens or feel sorry for them. Since they are ambiguous, this leaves confusion and, therefore, a sense of empathy.

Speaking of the exterior sequences, a great one occurs on the streets of San Francisco when a hysterical man warns Elizabeth and Matthew of danger as a mob pursues him. He is then killed in a hit-and-run, surrounded by emotionless onlookers.

Eagle-eyed viewers will spot Kevin McCarthy, the leading man in the 1950s film, and director Don Siegel.

When this scene plays, it is eerie and cements the fact that the small group of friends must stick together against a mob of clones.

Wisely, Kaufman assures that the story does not play for laughs or appear over the top or silly. The gritty camera angles, superior makeup crew, and wonderfully practical sound effects confirm that he is making a film to be remembered.

Taking what the 1950s version created but only scratched the surface of the potential during a cinematically safe decade, the 1978 Invasion of the Body Snatchers has muscle and compels from start to finish.

Years later, it still holds up wonderfully well among similar stylistic and popular horror films like Jaws (1975), Carrie (1976), Dawn of the Dead (1978), and Halloween (1978).

On a larger level, it also confirms the 1970s as the greatest decade for horror films.

#218 Favorite Film, #32 Favorite Horror Film, 1972 Films, David Hess, Horror, Independent, Independent Horror, Steve Miner, Top 250 Films, Top 40 Horror Films, Wes Craven

The Last House on the Left-1972

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The Last House on the Left-1972

Director Wes Craven

Starring Sandra Cassel, Richard Towers, Eleanor Shaw

Top 250 Films #218

Top 40 Horror Films #32

Scott’s Review #1,387

Reviewed August 6, 2023

Grade: A

Heavily influenced by Ingmar Bergman’s 1960 masterpiece The Virgin Spring, The Last House on the Left (1972) is essentially the same story.

The time is modern and the locale is switched from Sweden to New York and the religious exploration is not there. But, rest assured, both films are brutal and not for the faint of heart.

It’s not violence for violence’s sake though and a powerful revenge tale surfaces amid unique camera styles and settings.

Wes Craven, who put the horror genre back on the map decades later in 1996 with Scream writes and directs the independent and raw The Last House on the Left.

He was accused of going too far in the film and exploiting pain and suffering, mostly by victimizing female characters, but the truth is the situation can and has occurred in real-life.

The film brings powerful realism to the terrifying actions of horrible people and if that’s too much for some they shouldn’t watch this film.

But, lovers of experimental cinema should.

Craven’s genius is mixing sunny, cheery sequences, poppy music, and comic relief with uncomfortable scenes of rape and torture so well that the audience’s reaction is guttural and rage infused. The dark scenes occur on a sunny afternoon in the woods with upbeat music on what would otherwise be a pleasant day.

Many horror sequences add darkness, thunderstorms, or other special effects to set the proper mood but Craven goes way left of center.

Perky teenagers Mari (Sandra Cassel) and Phyllis (Lucy Grantham) head into New York City for a concert where they look for some marijuana. They stumble upon a foursome (three men and one woman) of escaped convicts who force them to endure a night of rape and torture.

The following day the gang kills the girls in the woods, not realizing they’re near Mari’s house. When they pose as salesmen and are taken in by Mari’s mother (Eleanor Shaw) and father (Richard Towers), the parents quickly figure out their identities and plot revenge.

A side story involves two incompetent police officers who unsuccessfully try to pursue the escaped convicts.

I immediately was made aware of the very low-budget filmmaking with muted, grainy visuals. The cinematography is what makes The Last House on the Left work so well. With high caliber, glossy texture it would seem too polished.

The acting isn’t brilliant and the overall look and feel is reminiscent of a John Waters film. Again, this only enhances the bare bones, late-night viewing experience.

There are warnings galore. The pain and suffering endured by Mari and Phyllis are hard to watch and I felt their degradation in my bones. I won’t go into gory details but it isn’t fun.

However, there is some satisfaction to be had. When Mari’s parents cleverly set traps inside their house for the murderers to fall into there are cheer out loud moments of celebration for the audience.

One murderer even gets his penis bitten off.

Suspension of disbelief must be given to justify how this chain of events could occur. What are the chances the convicts would happen to bring the girls to Mari’s house in the middle of nowhere?

Wouldn’t the parents be in shock or having a meltdown over the realization of Mari’s death? Somehow they find the wherewithal to construct a stagey revenge plot on the fly.

The dumb cops will do no favors for police officers looking for some respect.

Still, the utter depravity and brutality of The Last House on the Left (1972) make it one of the most genuine feeling horror films of all time. Add the fact that the situation could happen and the result is a frightening one.

#219 Favorite Film, 1946 Films, Christmas, Donna Reed, Drama, Frank Capra, Gloria Grahame, Henry Travers, James Stewart, Lionel Barrymore, Thomas Mitchell, Top 250 Films

It’s a Wonderful Life-1946

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It’s a Wonderful Life-1946

Director Frank Capra

Starring James Stewart, Donna Reed

Top 250 Films #219

Scott’s Review #863

Reviewed February 5, 2019

Grade: A-

A popular holiday tradition in many households eager to cozy up in front of the fire with an enduring and entertaining classic, It’s a Wonderful Life (1946) serves an essential purpose. It is the ultimate annual festivity passed down through generations.

While not one of my standards, I recognize the influence and the endearment the film offers and cannot fault its power to bring people together with its humanistic and sweet message.

James Stewart is perfectly cast as the wholesome and likable George Bailey. He strives to help all those in his small community who need help, often at the expense of his own well-being.

Depressed by the failure of his bank on Christmas Eve in 1945, in the snowy locale of Bedford Falls, New York, George is visited by a guardian angel named Clarence (Henry Travers), who teaches him what life will be like if he chooses the dire path of ending his own life.

Along with Stewart, Donna Reed as the wife, Mary Hatch Bailey, is cast exceptionally well and is the perfect counterpart to George.

Together, the actors immerse themselves in their roles, holding their heads high as the leaders of the sleepy little town they reside in, and set an example for the other townspeople with their kindness and thoughtfulness.

A sound “king and queen of the prom,” the duo radiates and elicits tears from audience members living vicariously through the couple.

A perfect companion piece to A Christmas Carol, perhaps the version from 1951, for similar periods, both spirited and teaching life lessons, is recommended.

Both are thematically similar in the visitation by a heavenly spirit and offering glimpses into the past, present, and future; the comparisons are endless, to say nothing of the Christmastime elements both possess.

Arguably, It’s a Wonderful Life is the most uplifting, both in good and bad ways. The lesson constantly voiced is that if one is good to others, one will be rewarded or at least have peace of mind.

This is not a bad lesson, which is the main reason for the film’s lasting appeal. Bad luck and financial hardship will inevitably affect everyone, but kindness is forever enduring.

It’s also worth mentioning the timing of the creation and release of It’s a Wonderful Life. As the United States, to say nothing of many European nations, struggled to pick up the pieces after the devastation of World War II, the picture was opportune to immerse itself in the lives of many people who needed a strong and uplifting message.

No wonder the film was popular when it was first released as the feel-good film of 1946.

The black-and-white cinematography does wonders to portray the film’s magical atmosphere. The high points are the cold and snowy bridge scenes.

Controversial years later was the colorization, and some would say the ruination, a decision that was met with anger by star Stewart, who went as far as testifying in court to voice his displeasure.

At the risk of being raked across the coals and deemed a “Scrooge”, portions of It’s a Wonderful Life are saccharin and manufactured in the utmost goodness, sometimes too good.

Admittedly, the characters of George, Mary, and their children come across as somewhat trite at times, as they seem to radiate only benevolent characteristics, never engaging in improper or impure actions. In a fantasy film, the overly humanistic approach can sometimes be a tad silly.

The same can be said for the angel, Clarence.

Nonetheless, films such as It’s a Wonderful Life (1946) serve their purpose in cinema history.

With a robust and heart-warming message, the positive vibes cannot be denied, and the warmth and emotion the film possesses radiate even the coldest hearts and the harshest of critics, willing to accept and be enraptured by the film’s staying power.

Oscar Nominations: Best Motion Picture, Best Director-Frank Capra, Best Actor-James Stewart, Best Sound Recording, Best Film Editing

#220 Favorite Film, #33 Favorite Horror Film, 2006 Films, Eli Roth, Gore, Horror, Jay Hernandez, Quentin Tarantino, Top 250 Films, Top 40 Horror Films

Hostel-2006

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Hostel-2006

Director Eli Roth

Starring Jay Hernandez, Derek Richardson

Top 250 Films #220

Top 40 Horror Films #33

Scott’s Review #951

Reviewed October 24, 2019

Grade: A-

During the early 2000’s the traditional horror genre catapulted into a sub-genre commonly referred to as “torture porn” led by the Saw franchise, debuting in 2004.

Hostel (2006) takes note and creates a terrifying production that holds up arguably the best in the bunch.

With Quentin Tarantino serving as producer and Eli Roth (Cabin Fever-2002) as the writer and director chair, one knows something memorable is in store.

The film is hardly everyone’s cup of tea but a delight for horror fanatics.

American college students Paxton (Jay Hernandez) and Josh (Derek Richardson) travel across Europe seeking adventure and dalliances. They are advised to visit Slovakia, where they are told the women are beautiful, picking up a new Icelandic acquaintance, Oli, along the way.

They encounter a strange Dutch businessman, a pack of rebellious street kids, two Asian girls, and two gorgeous European women, Natalya and Svetlana, as they travel.

When Oli disappears, and Paxton and Josh are drugged by the girls, events turn gruesome as the young men find themselves in a horrific remote dungeon facility where tourists are accosted and sold to willing buyers who brutalize and experiment on the victims.

Paxton must figure out a way to escape his peril and try to save any of the others before it is too late.

Hostel portrays the loneliness and insecurity of traveling abroad successfully as confusion and disorientation are commonalities that anyone who has traveled to a foreign country can relate to. The country of Slovakia (as an aside the film was shot in the Czech Republic) looks eerie and desolate with a quiet and cold tone.

As the group is preyed upon by a mysterious organization that tortures and kills kidnapped tourists, the thought and realism this conjures up adds to the fright.

In a unique measure, Roth turns the traditional gender stereotypes upside down. Based on an unbalanced scale females are killed much more often in horror films than males are. A refreshing point is the three principles are males, not females and we wonder which ones will “get theirs” and how.

Similarities thereby abound with Halloween (1978) when the trio were females and audiences watched their daytime adventures while salivating at the thought of the antics that would transpire when darkness finally falls.

Hostel kicks into high gear during the final thirty minutes once the blood-letting begins to take place. The dark and dingy dungeon is laden with corpses, severed limbs, and blood.

A melancholy scene occurs when one character, alive yet pretending to be dead, is affixed in a position where he must stare into the dead eyes of his friend. In another scene, one character must cut off the dangling eyeball of another so that they can escape the dungeon.

The scenes have equal power in different ways.

A slight irritant to Hostel is the prevalence of homophobia throughout the film. When the guys get into a scuffle with a long-haired bar patron and use a homophobic slur or a scene in which Paxton states “that’s so gay” as a negative seems unnecessary.

Is this to make the main characters less sympathetic or for the viewer to hope that they suffer a horrible fate? Or is Roth just known for homophobia?

In 2006 the LGBT community was becoming prominent in the film, so the inclusion is off-putting and out of line.

Hostel (2006) remains a superlative horror film that is a shock-fest and is still one of the best of its decade. The gruesome scenes still resonate well and watching the film more than a decade later it feels as fresh as when released with only the homophobic slurs needing to be removed.

Influence by Tarantino is always a fine element and his stamp is all over the film.

Followed by two sub-par sequels that tread the same blueprint of European travels gone deadly.

#221 Favorite Film, 2010 Films, Barbara Hershey, Darren Aronofsky, Favorite Film of the Year, Mila Kunis, Natalie Portman, Sebastian Stan, Thriller, Top 250 Films, Vincent Cassel, Winona Ryder

Black Swan-2010

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Black Swan-2010

Director Darren Aronofsky

Starring Natalie Portman, Winona Ryder, Barbara Hershey

Top 250 Films #221

Scott’s Review #735

Reviewed March 22, 2018

Grade: A

Darren Aronofsky, the director famous for the psychological and bizarre, most notably 2000’s Requiem for a Dream, 20008’s The Wrestler, and 2017’s mother!, can easily add 2010’s Black Swan to this category as he weaves an unsettling tale involving the world of ballet centered around the Tchaikovsky work Swan Lake.

The film is dark, eerie, perverse, and utterly mind-blowing in its creativity- in short, Black Swan is a masterpiece.

The film reaped several Academy Award nominations, including a win for Natalie Portman as Best Actress.

In the competitive New York City ballet company, art director, Thomas Leroy (Vincent Cassel), is preparing to open the season with the compelling and complex, Swan Lake.

Deemed “too old”, star ballerina Beth McIntyre (Winona Ryder) is forced into retirement, much to her chagrin, allowing others to audition for the coveted lead role.

Aspiring talent, Nina Sayers (Portman) gives a flawless audition as the White Swan but lacks the depth to succeed as the Black Swan. Despite this point, Nina wins the role and slowly becomes psychotic as she begins to embody the Black Swan in her quest for perfection.

Center stage, Portman embodies her character with mystique as we never know if she is living her dual role or if someone is messing with her.

As strange events begin to occur, Nina is insecure and on edge throughout- as she desperately wants to give testament to White Swan/Black Swan she does not feel confident in the skin of Black Swan and she eventually teeters toward the edge of insanity.

Deserving the Oscar statuette she won, Portman delivers the best role of her career.

Black Swan would not have been the success that it was without the talents of the three most prominent supporting characters- Cassel, Mila Kunis (at the time unknown), as Lily/Black Swan, and legendary talent Barbara Hershey as Nina’s the supportive yet haggard mother, Erica.

Just as Nina grows both suspicious of and distrustful of each of these character’s motivations, so does the audience.

Is Lily a trusted friend? What does Nina know of her? Is Cassel’s Thomas manipulating Nina for a great performance or does he have sexual designs on her?

Is Erica a loyal confidante, a jealous bitch, vengeful about her stalled career?

The final scene of the film is a masterpiece in itself and perfectly wraps up the film in a perplexing, grotesque style. As the big night finally arrives and doubt is cast on whether or not Nina will perform successfully, the entire scene is a riveting, climactic experience.

One will never forget the final shot of Nina, gushing with blood, and a grimace caked in stage makeup, as she professes a perfect performance to her musical director and castmates.

With this scene, we are left wondering whether she will ever recover from this performance.

The fabulous musical score is haunting and effective and each piece is perfectly placed within the appropriate scene. The heavy use of violins gives the soundtrack a frightening, almost horrific screeching quality, and the Chemical Brothers’ electronic songs, importantly used during Nina and Lily’s wild night out clubbing, are tremendously effective.

The 1948 masterpiece The Red Shoes, directed by the controversial Michael Powell, must have been an influence on Aronofsky.

Both contain similar subject matters of ballet and dancing on the edge of sanity, I can hardly think of two better films to serve as companion pieces, watched in tandem, than these two timeless greats.

Darren Aronofsky, along with a perfectly cast company with stellar, bombastic actors, and a classical music score by the great Tchaikovsky, with electronic elements mixed in, delivers a piece that works in spades.

2010’s chilling Black Swan is a modern-day classic that will be discussed as much as it is remembered as an incredibly important film.

Oscar Nominations: 1 win-Best Picture, Best Director-Darren Aronofsky, Best Actress-Natalie Portman (won), Best Cinematography, Best Film Editing

Independent Spirit Award Nominations: 4 wins-Best Feature (won), Best Director-Darren Aronofsky (won), Best Female Lead-Natalie Portman (won), Best Cinematography (won)

#222 Favorite Film, #34 Favorite Horror Film, 2004 Films, Cary Elwes, Danny Glover, Gore, Horror, James Wan, Ken Leung, Kevin Greutert, Michael Emerson, Shawnee Smith, Tobin Bell, Top 250 Films, Top 40 Horror Films

Saw-2004

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Saw-2004

Director James Wan

Starring Cary Elwes, Leigh Whannell

Top 250 Films #222

Top 40 Horror Films #34

Scott’s Review #1,285

Reviewed August 4, 2022

Grade: A

One of the many reasons that I love the horror genre so much is how it changes and develops over time. Many classic horror films are influential to more modern ones and that’s all well and good.

But then sometimes a new idea or style comes along that throws everything topsy turvy and influences other films for years to come.

Saw (2004) is one of those films. It smacked everyone who thought they knew horror films upside the head with a relentless and pulsating gore-fest.

I was fortunate enough to see the film when it premiered and boy was it the ‘water cooler’ film of its day. The clever writing and intricate plot and set pieces were unheard of in a world of maniac-wielding knife setups and redundant endings.

It invented the grisly ‘torture porn’ moniker that became popular with films like Hostel (2005) and many more that would come after it.

The Saw franchise ultimately produced perhaps one too many sequels that left it feeling stale and exhausted, but what an influence the original Saw had, and continues to have.

I still remember the hold the film had over me and how much it resonated in nastiness, butchery, and enough creative killings to last a lifetime.

Needless to say, it’s not for the squeamish or faint of heart, and watching Saw now knowing the surprise twist doesn’t pack quite the same punch that it did in 2004, but I’ll never forget how I felt when first watching this film.

The twist ending is unforgettable.

Events get off to a kick-ass start when two men awake in peril. Photographer Adam Stanheight (Leigh Whannell) and oncologist Lawrence Gordon (Cary Elwes) who do not know one another, regain consciousness while chained to pipes at either end of a filthy bathroom.

As the confused men realize they’ve been trapped by a sadistic serial killer nicknamed “Jigsaw” and must complete his perverse puzzle to live, flashbacks unravel the mystery of other character connections.

Meanwhile, Dr. Gordon’s wife (Monica Potter) and young daughter (Makenzie Vega) are forced to watch his torture via closed-circuit video.

A massive clue to the puzzle that Saw presents is lying right there in the bathroom but of course, the unwitting audience knows none of this. The fun of the film is to sit back and let the filmmakers slowly unpeel the onion and reveal the who’s who of the backstory.

And let the blood drip.

Unlike legacy films like Halloween (1978) and Friday the 13th (1980) or even later efforts like Scream (1996) that brought thousands of rabid horror fans back to movie theaters, nobody is being chased with a knife in Saw.

It’s much more cerebral than that.

Who can ever forget the sound of Jigsaw’s grave voice pouring out of a tape recorder stating “I want to play a game” in a robotic tone? It is still as ominous a sound as one could imagine, and the big reveal still comes as a genuine shock.

Most of the characters have secrets to reveal and most of those secrets are dirty.

Director James Wan and writer Leigh Whannell who also stars in Saw, brilliantly craft a web of deceit amongst their players. The characters who suffer the most have committed a hateful act of deception or schemed their way to benefit based on someone else’s ruin.

In perfect form, all the victims almost deserve their fates like being caught in a shotgun trap, shot in the chest, or being forced to ‘saw’ off their foot to escape death.

The final reveal is downright freaky and will make the audience quickly rewind the events of the film in their heads. The character thought to be the main killer, and wonderfully played by creepy actor Michael Emerson (star of television’s Lost) is merely a pawn of someone more sinister.

Saw (2004) savagely hacked its way into viewers’ heads with a sophisticated, plot-driven experience with a film style enhanced by an independent look.

It’s had its day but it must never be forgotten for the influence left behind.

#223 Favorite Film, 2007 Films, Anthony Edwards, Brian Cox, Chloë Sevigny, Clea DuVall, Crime Thriller, David Fincher, Dermot Mulroney, Jake Gyllenhaal, John Carroll Lynch, June Diane Raphael, Mark Ruffalo, Philip Baker Hall, Robert Downey Jr., Thriller, Top 250 Films

Zodiac-2007

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Zodiac-2007

Director David Fincher

Starring Jake Gyllenhaal, Mark Ruffalo, Robert Downey Jr. 

Top 250 Films #223

Scott’s Review #1,134

Reviewed April 16, 2021

Grade: A

Zodiac (2007) is an excellent film in its own right. The attention to detail circa the 1960s and 1970s is spot on and adds to the flavor of the entire experience. The locale of San Francisco is moody and lurking with the antics of the self-professed Zodiac Killer.

With excellent acting, the sum of its parts adds up to a wonderful film experience.

The film is incredibly well-paced, character-driven, and layered in rich texture. What more can be asked of a cinematic production? It simply has it all and will engage any viewer craving mystery and intrigue.

David Fincher, as the director’s chair, creates a world unto itself with carefully crafted sets, artistic nuances, and of course a superb story. A lesson learned is that sometimes evil exists and cannot be caught despite best efforts and the ramifications are endless.

Painfully, the characters in Zodiac slowly realize this.

Zodiac is based on the best-selling non-fiction book by Robert Graysmith, a pivotal character in the film. The novel is very similar to James Elroy’s 1987 novel The Black Dahlia, another unsolved case set in California.

The film tells the story of the manhunt for the Zodiac Killer, a serial killer who terrorized the foggy San Francisco Bay Area during the late 1960s and early 1970s.

Investigators (Mark Ruffalo, Anthony Edwards) and reporters (Jake Gyllenhaal, Robert Downey Jr.) become obsessed with learning the killer’s identity and bringing him to justice.

Meanwhile, Zodiac claims victim after victim and taunts the authorities with endless and specifically graphic letters, bloodstained clothing, and cryptic messages shrouded in menacing phone calls.

The case remains one of the United States’ most infamous unsolved crimes.

Much of the acclaim must go to the three actors cast in the central roles and Gyllenhaal is top of his game in the leading role. As cartoonist Robert Graysmith he is the main hero and the person who spearheads the investigation, prompting disbelievers to listen to him.

Gyllenhaal is sensitive, sympathetic, and obsessed and at first, perceived to be a laughing stock, but audiences will immediately get behind the man and this is thanks to Gyllenhaal’s powerful acting.

The character-driven approach continues as Mark Ruffalo gives a wonderful portrayal of Inspector David Toschi. The tough-as-nails and no-nonsense approach led Toschi into obsession and fudging evidence.

Finally, Robert Downey Jr. provides energetic gusto as Paul Avery, a journalist who turns to drugs and alcohol because of the intensity and emotional investment in the case.

Plenty of red herrings make the film fun and the prime suspect of Arthur Leigh Allen, played by character actor John Carroll Lynch may or may not be the assailant.

It’s breathtaking watching all the twists and turns in this ferociously complex film.

Zodiac is based on real events and reportedly is extremely historically accurate. Fincher and others spent eighteen months conducting their investigation and research into the Zodiac murders.

So, authenticity is everywhere in this film.

Watching a film beginning in 1969 and ending in 1983 is a joy for someone who grew up in that era. Fincher drizzles the film with timely automobiles, clothes, and other sets so it appears to be walking into a time capsule.

I’m sure this only will add to the viewer’s enjoyment.

For fans of films based on the Zodiac Killers, the 1971 film Dirty Harry, starring Clint Eastwood delivers an exceptional experience based on the real-life case.

But Fincher’s Zodiac is just as good.

Despite the behemoth running time- two hours and thirty-seven minutes, Zodiac (2007) is an edge-of-your-seat thriller. The pulsating yet prowling pace is worth several viewings to appreciate the juiciness of all of the elements David Fincher offers.

A hefty round of applause is deserved.

#224 Favorite Film, 1982 Films, Children, Dee Wallace, Drew Barrymore, Fantasy, Science Fiction, Steven Spielberg, Top 250 Films

E.T. The Extra-Terrestrial-1982

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E.T. The Extra-Terrestrial-1982

Director Steven Spielberg

Starring Henry Thomas, Dee Wallace

Top 250 Films #224

Scott’s Review #756

Reviewed May 10, 2018

Grade: A

E.T. The Extra-Terrestrial (1982) is a wonderful, magical film that will succeed in melting the hearts of anyone with even a tad of cynicism. The film is otherworldly (quite literally) and contains a message of acceptance and appreciation of other beings.

Mixing many humorous moments with tender drama and tears, the film becomes part of a fantasy, science-fiction, and humanistic story. The film still feels fresh and relevant today with a bevy of forever-remembered scenes and references- a wonderful story of friendship.

The audience is immediately introduced to a pack of alien botanists, arriving in a California forest from their faraway planet to study plants one night. When government agents interrupt the peaceful moment, the “extraterrestrials” are forced to depart leaving one creature behind.

When ten-year-old Elliott (Henry Thomas) discovers and begins to communicate with what will come to be known as “E.T.”, the duo forge a wonderful, lasting friendship as they attempt to return E.T. to his homeland.

E.T. The Extra-Terrestrial is crowd-pleasing in every way offering a bit of everything for all of its lucky viewers.

Director Steven Spielberg reportedly made this film as a result of his desire to share a childhood imaginary friend with the world so the charm shines through in this very personal story.

The film contains an overall innocence that is pure benevolence- E.T. teaches Elliott as much as Elliott teaches E.T.

Who can ever forget the pair’s initial interaction as the use of Reese’s Pieces candy became a huge cultural phenomenon? The lovely quote “E.T. phone home!” is still as poignant and teary-eyed as it was in 1982.

Enjoyable and recognizable is E.T. himself becoming a cult figure. Odd-looking, wide-eyed, and yet of a lovable nature, even cute, the filmmakers were careful not to make him too frightening.

Using real actors and distorted voices E.T. became famous, appearing on lunch boxes, tee-shirts, notebooks, and binders throughout the early 1980s.

The film, released in the “modern age” of 1982, provides a genuine portrayal of suburban life at that time.

From the sunny sub-division style neighborhood that Elliott and his family live in, the absent father figure (so common in many 1980s films), the single-mom/divorced parents phenomenon takes hold and makes families like this commonplace.

If made in 1960 Elliott would have had two happy parents and a white picket fence.

Dee Wallace as Elliott’s mother Mary, received several mom roles throughout the decade, portraying them with a wholesome middle-America quality.

Henry Thomas, like Elliott, is crucial to the success of E.T. The Extra-Terrestrial and sadly the actor never did much beyond this great film. While tough to create chemistry with a creature from outer space, the young actor does just that as we see the two as connected friends.

The duo especially shines during the emotional “death” scene and the farewell scene finale.

The other supporting characters rounding out Elliott’s family are well cast and appropriate at relaying what a typical suburban family looks like.

Michael (Robert MacNaughton) is slightly surly yet protective as the older brother and Gertie, played by a very young Drew Barrymore (soon to experience superstardom throughout the 1980s and 1990s) is cute, bubbly, and teeters on stealing the show as the precocious five-year-old.

At its core what makes E.T., The Extra-Terrestrial so appealing is its heart- a sympathetic creature’s desire to return home and be with his loved ones is the main focus.

Only slightly reversed is a comparison to the 1939 masterpiece The Wizard of Oz. As Dorothy yearns to return to her home amid an exotic, unknown, and sometimes scary world, the same can be said for E.T. and this makes both films similar and equally appealing.

Rich with elegance, intelligence, and creativity, Spielberg creates a tale that is both primed for mass consumption and rife for mainstream appeal. Rather than weave a contrived or cliched story, he spins a magical and long-lasting, good story that will appeal to the kid in all of us.

E.T. The Extra-Terrestrial (1982) reaped many Oscar nominations but lost out on the big prize to the epic Gandhi that year.

Oscar Nominations: 4 wins-Best Picture, Best Director-Steven Spielberg, Best Screenplay Written Directly for the Screen, Best Original Score (won), Best Sound Effects Editing (won), Best Sound (won), Best Cinematography, Best Film Editing, Best Visual Effects (won)

#225 Favorite Film, 1977 Films, Camp, Comedy, Dark Comedy, Edith Massey, Independent, Independent Comedy, John Waters, Mink Stole, Top 250 Films

Desperate Living-1977

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Desperate Living-1977

Director John Waters

Starring Mink Stole, Liz Renay

Top 250 Films #225

Scott’s Review #534

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Reviewed December 4, 2016

Grade: B

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

#226 Favorite Film, 2023 Films, America Ferrera, Colin Firth, Comedy, Emerald Fennell, Fantasy, Favorite Film of the Year, Greta Gerwig, Issa Rae, John Cena, Kate McKinnon, Lucy Boynton, Margot Robbie, Marisa Abela, Michael Cera, Noah Baumbach, Rhea Perlman, Ryan Gosling, Satire, Top 250 Films, Will Ferrell

Barbie-2023

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Barbie-2023

Director Greta Gerwig

Starring Margot Robbie, Ryan Gosling, and America Ferrera

Top 250 Films #226

Scott’s Review #1,381

Reviewed July 23, 2023

Grade: A

Greta Gerwig is a tremendously talented director who is influencing Hollywood films. The gifted woman crafted Lady Bird in 2017 to critical acclaim and forged ahead with another feminist and progressive project.

In Barbie (2023), she takes a traditional and iconic ‘Barbie doll’ product by Mattel and explores the positives and negatives of the doll throughout its existence.

An incredible opening sequence harkening to Stanley Kubrick’s 1968 masterpiece 2001: A Space Odyssey explains the evolution of the doll.

Barbie incorporates gender balance, creativity, thought, satire, and slapstick comedy fraught with meaning. Not forgotten is heart and humanity, and a look at how much progress has been achieved for women over the years, and how much more is still needed.

As if that’s not enough, Barbie deserves praise for its direction, production design, costumes, music, and cast performances.

Well done.

The film stars Margot Robbie as Barbie and Ryan Gosling as Ken, who embark on a journey of self-discovery after Barbie faces an existential crisis. Deemed the ‘stereotypical’ Barbie, she begins having peculiar and ‘un-Barbie’ thoughts of death and analytics, and must return to the real world to find her doll’s owner.

She soon longs to return to Barbie Land, which is a perfect place. Unless you’re a Ken who exists merely to pine after Barbie, but do they secretly resent this?

There are numerous positives to explore regarding Barbie, but one slight drawback is its proximity to silly comedy and goofiness. The meaning of the film mostly offsets this, but I fear that some audiences may be overwhelmed by gag jokes and lose the overall point of the story.

Let’s take a deep dive. The production design and art direction are dazzling and immediately noticeable. Particularly, I’m referring to Barbie Land and its pink and pretty sets. Luxurious pools, streets, houses, and cars are rich with color and ooze a fun vibe.

I can’t imagine these teams being overlooked during the year-end awards season.

Robbie and Gosling, looking blonde, buff, and tanned, are wonderfully cast and not only look the part but quickly switch from physical comedy to heavy drama without looking foolish.

Robbie, for example, while the classic Barbie type has layers of emotion that she channels. And Gosling could have looked like a buffoon with over-the-top sequences if not for a startlingly good dramatic scene towards the film’s climax.

The supporting cast is brilliant and includes Kate McKinnon as ‘weird Barbie,’ a perfect role for her to unleash her comedic prowess. How lovely to see Rhea Perlman again in the small but powerful role of Ruth Handler, co-founder of Mattel and creator of the Barbie doll.

Finally, America Ferrera and Will Ferrell add both comedy and meaningful spirit to their roles. And how could the inclusion of British stalwart Helen Mirren as the narrator not create credibility?

The main attraction, though, is the writing. Isn’t it always the case when it’s done intelligently?

The dynamic duo of Gerwig and Noah Baumbach (famous for, among other works, the 2019 film Marriage Story) pair well, giving equality messages to both Barbie and Ken. While it is easy to dismiss Ken, his role is valued and respected within the overall context of showing that everyone deserves a seat at the table.

I was touched by the film in various moments more than I ever expected. Wonderful sentiments about being a mother are powerfully stated by Ruth and Gloria (Ferrera) during various scenes and messages, such as everyone deserves respect and serving a purpose, which are hard not to get choked up over.

Barbie wins points for diversity and inclusion with nearly every ethnic group represented and a transgender character, Dr. Barbie (Hari Nef), featured prominently.

Providing roaring entertainment, bubble gum sets and design, and a message that will break your heart while exuding intelligence, Barbie (2023) is a win.

It’s a story about the wills of plastic and humanity, making for a perfect, harmonious blend. Who would have thought a film about Barbie would be so important?

Oscar Nominations: 1 win-Best Picture, Best Supporting Actor-Ryan Gosling, Best Supporting Actress-America Ferrera, Best Adapted Screenplay, Best Costume Design, Best Production Design, Best Original Song-“I’m Just Ken”, “What Was I Made For?” (won)

#227 Favorite Film, #35 Favorite Horror Film, 2007 Films, Asia Argento, Dario Argento, Horror, Italian, Italian Horror, Top 250 Films, Top 40 Horror Films

Mother of Tears-2007

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Mother of Tears-2007

Director Dario Argento

Starring Asia Argento, Cristian Solimeno

Top 250 Films #227

Top 40 Horror Films #35

Scott’s Review #1,360

Reviewed May 13, 2023

Grade: B+

Mother of Tears (2007) is a film I have a great fondness for and I’ll never forget its debut in my life. It is the very first film my husband and I saw in a movie theater together. So, I’m pretty partial to the nostalgic feeling it emotes on a personal level.

Both fans of esteemed horror director Dario Argento, we cohabitated in the dusty art theater one rainy Saturday evening following a delicious Italian dinner on one of our first dates.

The atmosphere was nearly as perfect as an Argento film itself since he is known for operatic, visceral, and visual perfections.

The film is the concluding installment of Argento’s supernatural horror trilogy The Three Mothers, preceded by Suspiria (1977) and Inferno (1980), and depicts the confrontation with the final “Mother” witch, known as Mater Lachrymarum.

Grisly deaths await several unlucky Italian citizens after an American archaeology student named Sarah Mandy (Asia Argento) innocently releases a demonic witch from her ancient prison. A mysterious urn comes into her possession and when attempted to be restored at the Museum of Ancient Art in Rome, all hell breaks loose.

Sarah harbors a personal connection to the witch since her mother was once embroiled in a feud with her.

Making Mother of Tears a family affair and comfort for viewers of Argento’s work, daughter Asia plays the lead character while younger brother Claudio co-produces the picture along with Dario.

Religion is always a fun theme in horror, especially in the oft-targeted Roman Catholic church. Like The Exorcist did in 1973, and many other horror films followed over the years, the religion is mocked in the kindest of ways.

As an ode to previous works involving children, a child is massacred and more than one baby is sacrificed in the name of Mater Lachrymarum so be forewarned if this is a dealbreaker for some.

Who doesn’t enjoy a coven of witches flocking down on Rome screeching at passerby folks and wreaking havoc on the sacred city now overcrowded with demons?

For the bloodthirsty types who crave a healthy dose of bloodletting Mother of Tears lets the floodgates spill wide open. One poor woman is speared through her private area and upwards while another’s mouth and face are expanded until they pop. Several eyes are violently gouged.

You get the idea.

Recommended is to watch Suspiria and Inferno first for chronological ease but this is not a must and a stand-alone viewing will do just fine.

Nothing can match the sheer madness and visual mastery of 1977’s Suspiria and Mother of Tears is the weakest of the three films but this is not a gripe merely a comparison. They work well together and the final confrontation involving Sarah and Mater Lachrymarum’s fight over a red tunic is the highlight.

The dark texture of the filming mixed with glowing lights and red colors are easily noticeable. This aligns nicely with religious or occult characters like a monsignor, cardinal, and various witches.

The film, though American-made, feels Italian and is quite authentic. Further, it naturally sits well with films of Argento’s heyday, the 1970s, and 1980s. Most if not all actors appear to be Italian or European adding flavor and culture to the experience.

If one has traveled to Rome, many exterior shots of the ancient city appear adding to the enjoyment. Sarah ravages the streets and scurries through the vast train station in one powerful sequence. Since trains are the main mode of transportation in Italy viewers can transport themselves back to a previous trip.

To know Dario Argento is to love him. Mother of Tears (2007) may not measure up to his very best works but it is an entertaining and enthralling visit to the macabre world.

It may or may not win over new fans but it will satisfy existing fans of the director.

#228 Favorite Film, 1976 Films, Beatrice Straight, Comedy, Conchata Ferrell, Dark Comedy, Drama, Faye Dunaway, Ned Beatty, Peter Finch, Robert Duvall, Satire, Sidney Lumet, Top 250 Films, William Holden

Network-1976

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Network-1976

Director Sidney Lumet

Starring Faye Dunaway, Peter Finch, William Holden

Top 250 Films #228

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

#229 Favorite Film, 1969 Films, Drama, Federico Fellini, Hiram Keller, International, International Drama, Italian, Martin Potter, Top 250 Films

Fellini Satyricon-1969

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Fellini Satyricon-1969

Director Federico Fellini

Starring Martin Potter, Hiram Keller

Top 250 Films #229

Scott’s Review #530

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Reviewed November 30, 2016

Grade: A

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

It is nothing of that nature.

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

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

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

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

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

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

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

Oscar Nominations: Best Director-Federico Fellini

#230 Favorite Film, 1995 Films, Brad Pitt, Crime Thriller, David Fincher, Favorite Film of the Year, Gywneth Paltrow, Kevin Spacey, Morgan Freeman, Richard Roundtree, Thriller, Top 250 Films

Seven-1995

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Seven-1995

Director David Fincher

Starring Brad Pitt, Morgan Freeman

Top 250 Films #230

Scott’s Review #780

Reviewed June 29, 2018

Grade: A-

Many films containing a similar theme as Seven (1995) have come along over the years- some good, most mediocre. The mixture of homicidal detectives tracking crazed killers has been done ad nauseam and more often than not, done with either poor writing or a predictable outcome-or both.

Instead of being a run-of-the-mill film, Seven serves as a representative blueprint of the tautness and unpredictability that can be achieved by using a familiar yet compelling concept, provided there is good writing and good direction.

The film is incredibly brutal and riveting.

Respected director David Fincher gathers an all-star cast of Hollywood heavies including Brad Pitt, Morgan Freeman, Kevin Spacey, and Gwyneth Paltrow, all of whom add to the well-crafted script.

It also brings the talent level to respectability and, as great as the story is, with weaker actors, the stakes would not have been as high and the film may have even been ruined.

A serial killer is on the loose in Los Angeles- detective duo William Somerset (a very good Freeman) is set to retire and is tasked with finding the killer. He is partnered with David Mills (Pitt), a young, hot-tempered man who has just moved to the city with his wife Tracy (Paltrow).

Unbeknownst to David, Tracy is pregnant and unsure whether to keep the child- this point factors in heavily as events unfold.

The killer is using the seven deadly sins: greed, gluttony, sloth, lust, pride, envy, and wrath, as his motivation for the creative slayings.

In retrospect Seven is very similar to the still-to-come Fincher work, 2007’s Zodiac, so much so that both films could be watched in sequence- one being a true story, the other pure fiction.

Both focus on the serial killer element with a message, they each have marvelous psychological intrigue and purpose. There are cat-and-mouse scenes aplenty for fans to enjoy.

At the risk of this point being a total stretch, I’d also argue that 1971’s Dirty Harry influenced Zodiac, Seven, and The Silence of the Lambs (1991).

A heinous killer shrouded in intelligence, danger, and motivation is a commonality of all of the aforementioned films, and numerous studies of each of the killers could be dissected if time permits.

Each killer is calculating and manipulative.

On that note, Kevin Spacey gives a tremendous performance as the cold and villainous John Doe. Clever and inventive, his victims are intended to suffer and suffer greatly.

Some of the kills could be included in the best of the torture-horror franchise, Saw (2004), as they are very twisted and carved in brutality.

A supermodel is disfigured after being given a choice to call for help or overdose on pills, representing pride. A man is forced to consume food until his stomach ruptures, representing gluttony. Spacey portrays his role as calm, cool, and collected, eliciting a terrifying response from audiences, especially as he toys with the detectives.

Still coming into his own as an actor in 1995, Pitt proves he can almost measure up (though not quite) with big-boy acting talents Spacey and Freeman. Playing an ambitious man eager to prove himself in “the big city” with his pretty wife in tow, Pitt’s David is wholesome and family-oriented, yet has an edge.

All around the likable hero, Pitt is perfectly cast in the role and a large part of its success.

The frightening final sequence still resonates with me after all of these years since Seven was released. In a classic standoff between Doe and the detectives, as is typically the case in these types of films, the ultimate climax is twisted, psychological, and gruesome.

I did not see this shocker coming as it culminates in lives being forever changed. The expressions and actions of Freeman, Pitt, and Spacey are superlative.

Seven (1995) is a film basking in riches. On par with the best of the best in serial killer films, it is powerfully directed by Fincher. The film is fraught with grisly symbolism and its share of suspenseful sequences.

With powerful acting, it is a film relevant and watchable decades after the original release. Perhaps not quite on the level as Dirty Harry or The Silence of the Lambs, but pretty damned close and that is impressive in itself.

Oscar Nominations: Best Film Editing

#231 Favorite Film, 1951 Films, Drama, Elia Kazan, Karl Malden, Kim Hunter, Marlon Brando, Top 250 Films, Vivien Leigh

A Streetcar Named Desire-1951

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A Streetcar Named Desire-1951

Director Elia Kazan

Starring Marlon Brando, Vivien Leigh

Top 250 Films #231

Scott’s Review #872

Reviewed March 2, 2019

Grade: A

A Streetcar Named Desire (1951) is an adaptation of Tennessee Williams’s dark and dreary Broadway play. The stellar cast includes three of the four original members of the stage version who brought the film to the big screen.

Tremendous acting and a morbid southern setting will leave the viewer transfixed and wondering what chaos and drama will next unfold. The story is sad, pitiful, and quite heavy as each character suffers guilt, resentment, rage, or regret, but these elements make the film a pure classic.

Aging southern belle Blanche DuBois (Vivien Leigh) has lost her valuable southern plantation and flees her aristocratic livelihood to New Orleans to live with her working-class sister Stella (Kim Hunter) and brother-in-law Stanley Kowalski (Marlon Brando).

Unhappy, Blanche immediately begins acting snobbish compared to regular people and offends many with her prim and proper manners.

Stanley feels slighted by Blanche, who is convinced she is keeping Stella’s inheritance. This leads to conflict. Stanley meets Mitch (Karl Malden) and may have a shot at happiness.

Blanche is the most painful and well-dissected character. A fun fact is that Leigh is the only Actor among the principal four who did not appear in the original stage version, where Jessica Tandy played the role.

Leigh was undoubtedly cast because of her star power at the time. She dives full steam ahead into the role, delivering the perfect blend of pathos and courage while adding the most complexity.

Reduced to a life among the poor and struggling, the reality is harsh for the once-wealthy heiress who has lost all her money through no fault of her own, her estate taken by creditors after her husband’s tragic death, assumed to be suicide.

Almost as complicated is Stanley, played stunningly by Brando, an actor who, with this film, was beginning to embark on Hollywood success that would surround him throughout most of the 1950s.

The most prominent film cover art features a tee-shirt-clad Brando, his muscular arms and torso on display, and his smoldering bad-boy pose. The sexual tension between Stanley and Blanche is undeniable, as their love/hate relationship is filled with unbridled passion.

Their carnal attraction is mainly due to the brutish masculinity that Brando exudes on camera.

The combined supporting performances by Kim Hunter and Malden are almost as complex as the leads, and they are just as important to recognize.

Hunter portrays Stella as wounded and put-upon, yet not weak. She has strength but is unsure who to trust or whether to leave her husband. Malden plays Mitch as benevolent and trusting, enamored with Blanche until her secrets are finally revealed.

Heartbroken, even he, the kindest character in the group, is left unhappy. Malden excels at imbuing Mitch with an everyman and graceful quality.

Who can ever forget the poignant and melancholy wails of “Stella! Stella! Stella!” emitted by the tragic Stanley, a moment forever remembered in cinematic history? He longingly begs for Stella’s forgiveness as he looks towards the sky.

The suggested rape, although not shown, is a powerful tidbit and controversial in the film for 1951. The audience not seeing the action is arguably as intense as having seen it, as the imagination can often be more prominent.

The black-and-white cinematography adds emotional treasures. It captures the bleak life in New Orleans, and the characters’ struggles and hardships are wonderfully portrayed.

The run-down tenement where most of the film takes place is dour, suffocating, and dingy, perfectly enveloping the characters’ lives.

Hopelessness and depression are commonalities as director Elia Kazan creates a film that grasps his audience and never lets go.

A Streetcar Named Desire is about conflict, pain, and the human desire for love and feeling thwarted by realism and dire circumstances.

Each of the four characters can be dissected, sympathized with, and is worthy of discussion. This only proves the complexities of each.

I challenge a good comparison to Who’s Afraid of Virginia Woolf? (1966) and A Streetcar Named Desire have similar qualities.

The film set an Oscar record when it became the first film to win in three acting categories (a feat only since matched by Network in 1976).

It won awards for Actress in a Leading Role (Leigh), Actor in a Supporting Role (Malden), Actress in a Supporting Role (Hunter), and Art Direction.

A Streetcar Named Desire (1951) is not an easy watch, but it is assuredly a feast of excellent acting and heartbreaking, wounded characters.

Oscar Nominations: 4 wins-Best Motion Picture, Best Director-Elia Kazan, Best Actor-Marlon Brando, Best Actress-Vivien Leigh (won), Best Supporting Actor-Karl Malden (won), Best Supporting Actress-Kim Hunter (won), Best Screenplay, Best Scoring of a Dramatic or Comedy Picture, Best Sound Recording, Best Art Direction, Black-and-White (won), Best Cinematography, Black-and-White, Best Costume Design, Black-and-White