All posts by scottmet99

Dead Snow-2009

Dead Snow-2009

Director Tommy Wirkola

Starring Vegar Hoel, Stig Frode Henriksen

Scott’s Review #1,237

Reviewed March 12, 2022

Grade: B

First off, the cover art (pictured above) of the 2009 Norwegian horror-comedy film Dead Snow, is simply incredible. The creepy Nazi head embedded in the snow with a background chainsaw is perfect marketing and genuinely artistic.

It automatically makes the tired zombie horror genre feel fresh and alive with endless possibilities.

The film itself is a decent watch and tongue-in-cheek sensibilities are necessary to appreciate the movie. There is a hint of art film qualities peppered throughout and it’s not a run-of-the-mill mainstream horror film either but a sense of humor and embracing the ridiculousness is required.

In other words, one must be a fan of the genre to watch Dead Snow. Otherwise, it will not win people over with a great storyline or character enrichment.

It’s a slice-and-dice ’em affair and after a slow build goes into overdrive with the kills and thrills.

The familiar setup of a group of young people, this time intelligent medical students, heading off for a long weekend of booze and sex in a remote location gets Dead Snow off to an intriguing start.

A lonely cabin in the middle of the snowy mountains of Norway is the primary setting for the Arctic Easter bloodbath.

The eight of them plan to ski and relax during the time away. After one of their group disappears while on a solo cross-country hike, a mysterious resident (Bjørn Sundquist) provides the remaining visitors with a backstory.

In the last days of World War II, a battalion of Nazi soldiers disappeared into the nearby woods after the residents turned on them, and their zombified corpses remain on the prowl in the area looking for fresh meat.

Of course, the students hoot and snicker at the stranger’s proclamations but the audience knows full well the Nazi soldiers will emerge eventually. After all, in the very first scene, one of the students who never shows up to join the others is killed by an unidentifiable figure in the dark woods.

If nothing else, Dead Snow is prime-grade entertainment. I eagerly awaited who from the group would be butchered first and how it might happen. As all fans of the slasher horror genre know he or she who parties or has sex is not long for this world, and Dead Snow is no different.

What is different from a straight-ahead release is the dark humor that encompasses the film. When one student who is deathly afraid of blood must remove his arm with a chainsaw after being bitten, he does so with deep seriousness and precision.

The macabre scene nearly rivals some others like when a male member of the group is seduced for sex by a female member of the group while sitting on the toilet in the cold outhouse.

Enough splatters of blood exist to forget how silly the Nazi soldiers look. But the makeup and creative team do a superior job of making the zombies look horrific too. In particular, their leader, Colonel Herzog, is a combination of sexy and hideous.

The international quality and the Norwegian language require sub-titles but that is no problem for me. This brings sophistication and intelligence that I appreciate, rising the film above the mediocrity that it may have suffered from had it been an American release. The foreign lands add mystique.

Dead Snow at one hour and thirty minutes is short enough not to wear out its welcome which it starts to do in the final fifteen minutes or so.

A chase scene across the snowy mountains and motivation for some ancient gold coins are explained as the final character makes it to safety in an until then missing car.

Or does he or she?

Providing some fun without taking itself too seriously, Dead Snow (2009) contains no message nor any marquis stars. Making Nazis the evil ones is no stretch so there is immediately enough rooting value to forgive some of the students for their idiotic decisions.

It’s a bloody fun time but not much more.

No Time to Die-2021

No Time to Die-2021

Director-Cary Joji Fukunaga

Starring Daniel Craig, Léa Seydoux, Rami Malek

Scott’s Review #1,236

Reviewed March 6, 2022

Grade: A-

Celebrating the twenty-fifth in the iconic James Bond film franchise, No Time to Die (2021) is Daniel Craig’s fifth and final appearance as the British MI6 agent. As of this writing, it is yet to be determined who will next step into the shoes of the legendary character but Craig was able to make the character his own since his debut in Casino Royale (2006).

He retains his hunky and muscular portrayal with a sullen and serious tone.

No Time to Die is visually and stylistically similar to the recent handful of films to come before it with a slick and modern look and feel. The difference is that the film is about relationships and has a shocking conclusion that nearly rivals Mrs. James Bond’s, death in On Her Majesty’s Secret Service way back in 1969.

There are few quips or one-liners uttered by James Bond and we can agree that Craig does not play the character in the same way that Roger Moore did. But, there exists a dark and dreary tone throughout and more than one surprising death.

It’s a serious affair.

I love the parallels to On Her Majesty’s Secret Service that emerge mostly in the beginning and end of the film. The inclusion of the famous Louis Armstrong song ‘We Have All the Time in the World’ recalls both love and loss experienced by Bond and is played in full during the closing credits.

This is a special treat for fans of that film, myself included. I felt emotionally connected to No Time to Die which was a major score for it.

In a long opening sequence, a young girl named Madeleine witnesses the murder of her mother by terrorist Lyutsifer Safin in a failed attempt to murder her father Mr. White (appearing in Casino Royale). Madeleine shoots Safin (Rami Malek), but he survives and rescues her after she falls into a frozen lake. This connects them for life.

In the present, after the capture of villain Blofeld, Madeleine (Léa Seydoux) is vacationing in Southern Italy with Bond when Spectre’s assassins ambush him. He incorrectly assumes Madelaine has betrayed him and he ends their relationship after they escape death.

Depressed, Bond retires to Jamaica but returns to action after his friend Felix Leiter (Jeffrey Wright) from the CIA turns up asking for help. The mission to rescue a kidnapped scientist turns out to be far more treacherous than expected, leading Bond onto the trail of a mysterious villain armed with dangerous new technology.

With the emotional and relationship investments successfully sealed any worthy Bond film should have great action with interesting locales, stellar villains, and relevant Bond girls. In this regard, the film gets a solid B+ with the aforementioned bumping it up a notch.

The chase throughout southern Italy is fabulous with delicious scenery of the culturally lavish country getting the film off to a fast start. Other sequences in Chile and Cuba show the sophistication and investment in quality locales. Naturally, London is heavily featured and I adore the grand and frequent aerial views that allow prominent landmarks to be discovered.

As creepy as actor Malek can be in his roles and as dastardly a villain as he plays, I wasn’t completed satisfied with the character of Safin. Not appearing in an obvious fashion until midway through his screen time is limited and his motivations murky- I wanted more.

The casting is terrific but the character is underwhelming and not explored to his potential.

Christoph Waltz’s limited appearance as an imprisoned Blofeld is great, and double agent Logan Ash (Billy Magnussen), and scientist Obruchev (David Dencik) prove quality secondary villains. The storyline with Felix and the returns of Moneypenny, Q, and M (now played by Ralph Fiennes) is solid.

Main Bond girl Madelaine did not win me over at first but by the end, I was heavily invested, especially since she is a powerful female character and a true romantic partner to Bond. A new female 007, played by Lashana Lynch is a progressive inclusion that breathes new life into MI6.

May both appear in the future?

Time, and perhaps another viewing, will determine how No Time to Die (2021) ranks compared to other Bond films. At a hefty two hours and forty-three minutes, the film drags in the middle section, and some characters receive limited exploration.

The nods to history and the heavy emotional investment kept me glued to my seat.

Oscar Nominations: Best Original Song-“No Time to Die” (won), Best Sound, Best Visual Effects

I Love You Phillip Morris-2009

I Love You Phillip Morris-2009

Director John Requa, Glenn Ficarra

Starring Jim Carey, Ewan McGregor

Scott’s Review #1,235

Reviewed March 5, 2022

Grade: A-

Easily the most daring and arguably the best film role of Jim Carey’s career, I Love You Phillip Morris (2009) is a delightful romantic comedy featuring same-sex characters in the central roles.

At the risk of being too fluffy, there is a sardonic and wry wittiness that I fell in love with.

Those criticizing the film as ‘gay porn’ are silly since there is hardly a sex scene to be critical of or anything more than would appear in a traditional male/female romantic comedy.

Prudes wouldn’t see a film as I Love You Phillip Morris anyway.

It is based on the 1980s and 1990s real-life story of Texas con artist, impostor, and multiple prison fugitive Steven Jay Russell who was clever beyond belief and successful at outwitting his opponents.

I Love You, Phillip Morris, is the directorial debut by John Requa and Glenn Ficarra who received a nomination from the Writers Guild of America Award for Best Adapted Screenplay.

Steven Russell  (Carrey) becomes a cop, gets married, and starts a family, but after a terrible car accident, he vows to be true to himself. Thus far in his life, he has played by the rules and done what is expected of him and because of the crash, he pivots to an emotional bloodletting.

The key irony is that Steven is telling the audience his story from his deathbed so most of the activity is in the past. This is the hook because it made me wonder how and why he died. But is there a twist?

He comes out of the closet, moves to Florida, and finances a luxurious lifestyle with bad checks and credit cards. Arrested and now in prison, Steven meets Phillip (Ewan McGregor), a mild-mannered inmate who becomes the love of his life.

Determined to build a beautiful life with his partner, Steven embarks on another crime spree.

The film caters to the LGBTQ+ audience but has a crossover appeal so that all audiences can enjoy it. This is in large part thanks to the screenwriters and whoever had Carey and McGregor in mind for the film.

Too often films centering around gay characters are deemed second fiddle and not profitable but with bigger stars, the audiences will come.

I Love You Phillip Morris is an independent film that builds momentum when the message is that big stars are comfortable in gay roles, something Heath Ledger and Jake Gyllenhaal taught us a few years earlier in Brokeback Mountain (2005).

Jim Carey, fabulous in The Mask from 1994, and having his share of hits and misses over the years, is perfect in the role of Steven. It’s the most interesting role he has portrayed since he gets to provide his usual physical humor in a role that matters.

LGBTQ+ audiences see a character who makes them laugh without the typical gay stereotypes.

Straight audiences will see a character whose sexual identity doesn’t matter to them.

Props go to McGregor as well who makes a perfect counterpart for Carey as the calm, cool, and collected ‘straight man’. The film could not have worked without him.

He meshes so well with Carey that the audience instantly roots for Steven and Phillip to ride off into the sunset despite being criminals.

The stereotypes are limited but the subject matter of AIDS, especially given the time in which the film is set, is given notice. This is a win and Requa and Ficarra are very careful not to teeter too close to the edge of doom and gloom while respecting the disease.

At its core, I Love You Phillip Morris (2009) is a romantic comedy, and the trials and tribulations of Steven and Phillip are told. I immediately fell in love with them and viewers will too.

It’s a film that feels fresh and alive with the exploration of character richness that is not easy to come by.

Halloween-2007

Halloween-2007

Director Rob Zombie

Starring Malcolm McDowell, Scout Taylor-Compton, Tyler Mane

Scott’s Review #1,234

Reviewed February 27, 2022

Grade: B

I’ve seen director/musician/entertainer Rob Zombie tear down the house as the headlining second stage act at the metal festival Ozzfest in the 2000s. He’s a striking individual with ferocious energy and a creative persona.

He’s also quite brave to undertake such an undertaking as remaking the legendary slasher film Halloween from 1978.

The results of his 2007 effort simply titled Halloween is a mixed effort but props to him for having the balls to try.

Similar to other horror films he has directed, and his music, there is brutality and rawness mixed with nastiness and a grim outlook. He wisely focuses on the character of Michael Meyers but fulfills too much backstory for my liking.

Part of the appeal of the crazed killer is his mysteriousness.

Michael is played by both Daeg Faerch and Tyler Mane.

The story is a bit of a remake. The new aspect focuses on events that begin on Halloween when ten-year-old Michael inexplicably butchers a school bully, his sister, her boyfriend, and his abusive stepfather. He is sent to a mental hospital for the next fifteen years becoming despondent and fixated on making paper machete masks.

The second part is more familiar territory.

Nearly two decades later he breaks out, intent on returning to the town of Haddonfield, Illinois. He arrives in his hometown on Halloween to hunt down his younger sister, Laurie (Scout Taylor-Compton).

The only thing standing between Michael and a night of bloody carnage is psychologist Dr. Samuel Loomis (Malcolm McDowell).

I stress the point of the nearly impossible task that Zombie faced of remaking or even reviving a film as iconic as John Carpenter’s 1978 masterpiece. Without even pen to paper, there would immediately be those who would mock and trivialize any attempt.

Zombie both wrote and directed the film.

He immediately provides a reason for Michael’s dirty deeds. Close with his mother, played by Zombie’s real-life wife, Sheri Moon Zombie, who does a fantastic job, Deborah is a struggling stripper married to an abusive man. So Michael’s earlier butchery can be somewhat understood by audiences.

My preference is how Michael’s parents were portrayed in the original in their one brief scene. They appear to be an upstanding middle-class couple with a nice house and family. This makes Michael’s psychotic rampage all the more vague and confusing.

A fabulous scene at the mental hospital showcases an ominous moment. It’s Halloween Eve and Doctor Loomis visits the despondent Michael in the outdoor yard. The audience knows he will escape but not when or how things will erupt and who will be slashed, we just know the bloodletting will soon commence.

The rest of the film is standard fare and a letdown compared to the ambitious first half, though there is way more violence and gore than can be imagined. The film feels haunting and brutal with an uncompromising approach by Zombie to kick the killings up ten notches.

It’s like the original Halloween on steroids.

The casting highlights start and stops with the exceptional Malcolm McDowell as the tortured Loomis. The famous actor, forever known as Alex in A Clockwork Orange (1971) carries the film with his expression-filled crystal blue eyes and tremendous acting ability.

Another winning choice is Brad Dourif as Sheriff Lee Brackett. Classic film fans will remember the actor as a mental patient in One Flew Over the Cuckoo’s Nest in 1975 which he was Oscar-nominated.

Scout Taylor-Compton does a decent job as Laurie Strode but can anyone compare to Jamie Lee Curtis? I snicker at the thought. The rest of the actors portraying the teen friends are okay but not memorable.

Followed by Halloween II in 2009, Halloween (2007) received enough attention at the time to give fans a flurry of excitement but with the later recreation and reprisal by Jamie Lee Curtis and others from the original, the Zombie offerings won’t be remembered well.

It’s dirty, bloody, and raw but never terrifying. Zombie adds story points, some that work and some that don’t but I give the man much respect for dusting off a film as brilliant as Halloween (1978).

The Eyes of Tammy Faye-2021

The Eyes of Tammy Faye-2021

Director-Michael Showalter

Starring Jessica Chastain, Andrew Garfield

Scott’s Review #1,233

Reviewed February 26, 2022

Grade: A-

When thinking of the name Tammy Faye Baker, usually images of outlandish pancake makeup and ridiculous evangelical spewings are conjured up. Alongside her husband Jim Baker, the duo was prominent and highly visible throughout the 1970s and the 1980s as fixtures of Christian broadcasting.

Naturally, scandals ensued resulting in prison time for Jim and shame and career ruin for Tammy.

The Eyes of Tammy Faye (2021) delves into the thoughts and experiences of Tammy, hence the title. It’s sympathetic material and made me learn much more about the celebrity than I knew of. Other characters like husband Jim and sullen evangelists like Jerry Fallwell and Pat Robertson are explored but Tammy is the main draw.

I love the depiction of Tammy Faye Baker and hats off to a dynamite performance by Jessica Chastain, especially in the final act. Nearly unrecognizable, the actress unleashes a flurry of brilliant scenes and a depiction of a tacky woman winning over an audience.

It is Chastain’s best role yet.

Tammy’s LGBTQ+ community appreciation and thoughtfulness during the A.I.D.S crisis in the 1980s when very few others, especially in her inner circle, wanted anything to do with them is especially powerful and heart-wrenching.

She saw them as human beings when others saw them as lepers. She continued to support the LGBTQ+ community until she died in 2007.

The Eyes of Tammy Faye is an intimate look at the extraordinary rise, fall, and redemption of televangelist Tammy Faye Bakker. The film begins with her humble beginnings in frigid Minnesota and her closeness with her very religious mother, Rachel (Cherry Jones), and her kind stepfather who accepted her as his own.

An innocent college romance with Jim Baker (Garfield) results in marriage and the rise to success in creating the world’s largest religious broadcasting network and theme park, promoting a message of love whilst skimming from the top to enjoy their lavish lifestyle.

Tammy Faye was legendary for her indelible eyelashes, her idiosyncratic singing, and her eagerness to embrace people from all walks of life. However, it wasn’t long before financial improprieties and scandal toppled their carefully constructed empire.

This is the point where the film takes off.

Chastain had me at the very first scene when an extreme closeup of her face, now aging, is featured. Though wacky, she infuses a humanism and kindness into Tammy that immediately made me champion her.

Through trials and tribulations like nearly cheating on her husband to looking the other way amid the financial scandals surrounding her, she always keeps her head held high and fills any room she enters with love and sincerity.

The best scene by Chastain is at the end of the film when Tammy makes a triumphant yet humble return to the stage. As she nervously takes the stage at Oral Roberts University she imagines a stage filled with glamour and pomp rather than the meek one it is. It helps her get through and I wanted to give her a big hug.

All the awards attention has gone to Chastain but Andrew Garfield is nearly as flawless. Complex and struggling with Tammy’s brazen approach, his sexuality, and playing nice with the other major players, he gets his comeuppance but Garfield makes him sympathetic and a fine study.

Directed by Michael Showalter, I feel he could have gone much darker with this film. Sure, there is some sadness like when Tammy overhears a bunch of kids whispering that she is a freak or colleagues mocking her as a clown, but it’s soft touch. The woman battled cancer for years before dying from it but the film ends before any of that even happens.

The Eyes of Tammy Faye (2021) belongs to Chastain and Garfield. It’s a bit glossy and skates over some hard-punching attributes it could have showcased but it balances the camp with endearment and champions acceptance and compassion for one another.

Oscar Nominations: Best Actress-Jessica Chastain (won), Best Makeup and Hairstyling (won)

The Lost Daughter-2021

The Lost Daughter-2021

Director-Maggie Gyllenhaal

Starring-Olivia Colman, Dakota Johnson

Scott’s Review #1,232

Reviewed February 21, 2022

Grade: A

Throughout The Lost Daughter (2021), there is a constant feeling of dread that may result in viewer anxiety. We know that bad things are coming but we do not know how or when. This makes for good drama done exceptionally well by director Maggie Gyllenhaal in her astounding debut.

She has acted for years and has made the transition to writer/director.

Gyllenhaal adapts her film from a novel written by Italian author, Elena Ferrante. The experience is extremely female-centered and having a female pen both book and film makes it a rich and authentic project. The result is a brilliant depiction of motherhood and choices but everyone must see and appreciate this film.

However, the film is not for everyone nor will it please those seeking a conventional work about mother and daughter love and moments of happily skipping through the field of daisies. It has feel-good moments but is much, much darker than some would imagine.

For me, those aspects are what make The Lost Daughter so damned amazing.

We meet middle-aged Leda (Olivia Colman) when the woman embarks on a seaside vacation in Greece. She begins to observe a young mother, Nina, played by Dakota Johnson, and her daughter, Elena, on the beach and becomes obsessed with them. Leda unwisely butts heads with the mother’s menacing extended family who may be mafia related.

Leda begins to have memories of her early motherhood when she struggled to raise two young girls while balancing her career as a professor. When she spontaneously steals Elena’s doll she becomes increasingly more obsessive while battling moments of rage and emotion.

Colman is a perfect choice for the central character. From the first moment, she appears on the screen we know there is conflict surrounding her. She is angry and consumed with either guilt or tension. The actress is wonderful at portraying Leda’s complexities through her eyes and facial expressions. Many shots of Leda quietly observing events or sitting on the beach deep in thought are powerful.

Though a quiet film, The Lost Daughter never drags or lags as Gyllenhaal is perfect at providing a doom and gloom feeling. I was dying to know Leda’s secrets and the interspersing flashbacks to a young Leda, wonderfully played by Jessie Buckley, finally provide resolution.

But that’s just the beginning of the fun. Once Leda’s backstory is revealed, and Gyllenhaal makes us wait quite a while for the reveal, there are more places for the film to go, like what about the stolen doll?

The viewer will not only wonder why Leda stole the doll but why won’t she return it, especially when it’s known how desperately the family wants it back. Will they kill her when they find out she has it?

Beneath all the drama there is a lingering question that is asked of the viewers. Do I want to be a parent? The film is not only for women but men can certainly ask themselves the same question.

The inclusion of a male character played by Ed Harris is evidence of this. Older now, in his youth he struggled with being a father.

The film has a sense of purpose and meaning that many films lack. A film that poses questions and makes the viewer squirm a bit is top-notch for me. The basic story of a lone woman on vacation grows into intensity and psychological warfare among oneself and their feelings.

The Lost Daughter (2021) is a difficult watch but a lesson in great acting, directing, writing, and what atmosphere and mood can do to a story layered with intrigue. As shocking and unsettling as moments are I was left feeling satisfied that I had seen something of worth and merit.

I can’t wait to see what Gyllenhaal does next.

Oscar Nominations: Best Actress-Olivia Colman, Best Supporting Actress-Jessie Buckley, Best Adapted Screenplay

Independent Spirit Award Nominations: Best Feature (won), Best Director-Maggie Gyllenhaal (won), Best Screenplay (won), Best Supporting Female-Jessie Buckley

Splendor in the Grass-1961

Splendor in the Grass-1961

Director Elia Kazan

Starring Natalie Wood, Warren Beatty, Pat Hingle

Scott’s Review #1,231

Reviewed February 20, 2022

Grade: A-

Splendor in the Grass (1961) is mainly a film about teenage angst, but the angst spills over to the adults as pressures are heaved on many characters.

Fortunes are gained and lost following the Wall Street Crash of 1929, which handicapped some characters obsessed with money while the teenage characters battled emotions.

It offers poetic relics and references from English poet William Wordsworth about life and longing for love that can be thought about.

The film was written by William Inge, who also wrote 1955’s Picnic, and directed by Elia Kazan, famous for A Streetcar Named Desire (1951) and On The Waterfront (1954).

Splendor in the Grass is an uneasy watch but provides slices of the brilliance of those other films. Isn’t the point of a superior movie to make us think and ponder?

At the risk of feeling a tad dated some sixty years later, how powerful a film must have been in 1961, sending inevitable shock waves to audiences expecting a more wholesome show.

It’s also legendary Hollywood actor Warren Beatty’s debut, showcasing an emotionally superb performance by Natalie Wood.

Bud Stamper (Warren Beatty) and his high school sweetheart, Deanie Loomis (Natalie Wood), have an innocently blossoming relationship if only they could be left alone.

Their parents’ mutual oppressiveness weighs it down.

Bud’s father, Ace (a terrific Pat Hingle), is hell-bent on Bud attending Yale University in the fall. He is afraid Deanie will become pregnant, ruining the bright future he expects from the affluent young man.

Deanie’s mother (Audrey Christie) cautions her daughter from engaging in sexual relations and remaining a ‘good girl’ because she is frightened of Bud not marrying a girl with questionable morals.

Both parents’ meddling causes the teens emotional pressure and threatens to ruin their relationship and, perhaps, their futures. Bud’s mother is complacent, and Deanie’s father offers proper support to his daughter.

There is a lot of story going on in Splendor in the Grass, and all of it is juicy and relevant from the perspective of whoever the viewer takes. This is part of the beauty of the film- told through the eyes of Bud and Deanie and the fragile feelings teenagers possess, their parents can be dissected as well, and want the very best for their kids.

The romance is not just about Bud and Deanie. Other players and potential love interests are introduced, and we wonder if Bud and Deanie will ride off into the sunset together.

Inge and Kazan make us pose several questions. Do people who belong together make it? Do some people settle for different lives based on sacrifice? Can heartbreak lead to madness and a different perspective for some?

The terrific screenplay written by Inge is the film’s sweet spot. It’s complex and fraught with emotion and questions. The setting of remote Kansas in the late 1920s gave me a feeling of stifling predictability and one’s life already planned for them rather than encouragement to reach for the stars.

This is dangerous territory in itself.

Bud is expected to get an education but wants to live on a simple ranch and be a family man. Deanie is trained to be sweet and kind and to resist the pleasures of the flesh like her mother did, but is that enough for her?

Kazan, a master of brutal yet realistic films, brings excellent writing to life. Based on his other films, I knew I was not in for a cheery experience but rather a harsh reality. That sits well with me, as films that make one think are celebrated.

Splendor in the Grass (1961) resembles Rebel Without a Cause (1955) and stars Wood. The film teaches me that although generations come and go, the feelings and emotions young people feel in the moments when they are young never change.

Oscar Nominations: 1 win-Best Actress-Natalie Wood, Best Original Screenplay (won)

Wild at Heart-1990

Wild at Heart-1990

Director David Lynch

Starring Nicolas Cage, Laura Dern

Scott’s Review #1,230

Reviewed February 19, 2022

Grade: B+

David Lynch has created some weird films. Blue Velvet (1986) and Mulholland Drive (1992) are masterpieces that skew the odd and peculiar facets of human behavior. But Wild at Heart (1990) takes the cake as the strangest in the lot.

Fascinatingly unhinged, yet hard to understand, it’s got the Lynch handprint from start to finish, but only a warm-up act as stacked against those other films.

Somehow the film is classified as a comedy. It’s got to be one of the darkest of dark comedies. Anyone who is not a Lynch fan will not appreciate or get this film- I am a Lynch fan and I’m not sure I even got it. I do appreciate it though.

It’s also the best role of Diane Ladd’s career in which she plays a fiendish, witchy mama. The graceful actress belts a home run in her storied performance.

A situation occurs during the opening sequence that sets the tone for the rest of the film. Sailor Ripley (Nicolas Cage) serves prison time for a self-defense killing and reunites with his girlfriend Lula Fortune (Laura Dern) when he is released.

Lula’s mother, Marietta (Diane Ladd), is desperate to keep them apart and hires a hitman to kill Sailor. But those are only the start of his troubles when he and Bobby Peru, played by Willem Dafoe, an old buddy who’s also out to get Sailor, try to rob a store.

When Sailor lands in jail again, he may be destined never to reunite with Lula ever again.

Wild at Heart is a love story about Sailor and Lula and the many obstacles they must overcome to live happily ever after.

Cage and Dern are terrific though I fantasized while watching how nice it would have been to see Kyle MacLachlan in the role of Sailor. A Blue Velvet reunion would have been splendid since his chemistry with Dern in that film was top-notch. Nonetheless, I enjoyed watching Cage and Dern as the romantic leads.

The many references to The Wizard of Oz are delightful like when an image of Marietta flying through the air on a haggard broomstick appears just like the Wicked Witch of the West. When Lula desperately clicks her red heels three times to no avail we strangely wonder where the home she wants to return to is.

The film is one of those that is hard to take seriously or focus on the plot too much. This is evidenced by the inclusion of Twin Peaks (1990-1991; 2017) alumni Sheryl Lee, Sherilyn Fenn, and Grace Zabriskie. They play The Good Witch, Girl in Accident, and Juana Durango, respectively.

Each character is indescribable in their strangeness.

The nuttiness continues with bizarre turns from Crispin Glover and Harry Dean Stanton.

Interesting is how Wild at Heart was released the same year as Twin Peaks was. The inclusion of a seedy bar named One-Eyed Jacks which appears in both productions is about all that is comparable with each other. The main events in Wild at Heart are in Texas and Washington for Twin Peaks.

Forgetting the storylines, the best part about Wild at Heart is the cinematography. Enough dark and dusty highway sequences emerge using glowing and moody lighting and foreboding cracks and crevices in other visceral scenes. Cigarette smoking has never looked as sexy or dangerous as it does in this film.

Despite there being admirable and perfectly Lynch-y elements to Wild at Heart (1990) the film is just too far overboard for me to fall in love with.

I’ll pull out my copies of Blue Velvet and Mulholland Drive any day before Wild at Heart.

Oscar Nominations: Best Supporting Actress-Diane Ladd

Independent Spirit Award Nominations: 1 win-Best Supporting Male-Willem Dafoe, Best Cinematography (won)

Nightmare Alley-2021

Nightmare Alley-2021

Director-Guillermo del Toro

Starring-Bradley Cooper, Cate Blanchett, Rooney Mara

Scott’s Review #1,229

Reviewed February 13, 2022

Grade: B+

I have not seen the original Nightmare Alley made in 1947 so can make no comparisons to how the film noir remake in 2021 compares but I am a fan of respected filmmaker Guillermo del Toro. His knack for creating such dark treats containing fantastical elements like Pan’s Labyrinth (2006) and The Shape of Water (2017) have similar tones.

Set back in the 1930s and the 1940s when the United States of America suffered from the Depression and subsequently World War II, a midwestern carnival and then wintry Buffalo, New York are the chosen settings for his latest film.

Nightmare Alley feels like two different films and I prefer the first half by a small margin. del Toro is a major filmmaker and while he creates an experience that is gorgeously shot and simmering with effective elements it’s not one of his best films and certainly not on par with the above-mentioned gems.

The story stretches believability at times and feels like the film noir elements from the original might have been included just for the sake of making it fit a defined category. The twist at the end shocks and disturbs which cements the del Toro flavor.

To summarize, the look of the film is exceptional and the story is pretty good and the two halves, one in the midwest and the other in Buffalo, feel disjointed.

When handsome and very charismatic but down-on-his-luck Stanton Carlisle (Bradley Cooper) meets the clairvoyant Zeena (Toni Collette) and her aging mentalist husband Pete (David Strathairn) at a traveling carnival, he creates a powerful act utilizing his ability to manipulate townfolks.

He has fled from a dark past involving his father and fire but we don’t know the exact details.

Moving on to Buffalo, he enshrouds the wealthy elite of 1940s New York high society. With the virtuous Molly (Rooney Mara) by his side, Stanton plots to con a rich yet vulnerable tycoon (Richard Jenkins) with the aid of a mysterious and pouty psychiatrist (Cate Blanchett) who might have tricks up her sleeve.

Since I adore Blanchett I was eagerly awaiting her entrance which unfortunately doesn’t come until midway through the film. Nonetheless, she makes quite an impression as she smokes and drinks in stylish glamour befitting gorgeous women of the time. Moreover, her character of Lilith Ritter is cold and calculating as the audience knows she is toying with Stanton, we just don’t know how or why.

While not quite a romantic triangle, Cooper has good chemistry with Mara but tremendous chemistry with Blanchett. Both actresses reunite from their turn together in Carol (2015) but have very little screen time together.

Each of the three delivers a mighty performance with Cooper and Blanchett simply mesmerizing.

One can even forget the plot entirely and simply look at the film. It’s that good and polished. From the dusty and depressing midwestern ordinary towns to the architecturally fabulous Buffalo, del Toro and team construct a lavish production design. Each costume and set piece is perfectly staged.

I was more attuned to the strange and creepy carnival characters like the ‘geek’ and Cooper and Blanchett making on-screen magnificence than to care as much as I should have about the storyline plotholes or inconsistencies.

The unsatisfying reveal about the relationship between Stanton and his father or the backstory of the rich tycoon abusing young girls only gave me mild interest. The story as a whole becomes too complex and uncompelling for me to really care for a while.

The sweet spot of Nightmare Alley (2021) is the grand production design and the flawless acting. Besides an effective ‘oh, shit!’ moment at the conclusion which confirms Cooper as a great actor, the story mainly meanders.

It’s a very good effort but not one of del Toro’s best.

Oscar Nominations: Best Picture, Best Cinematography, Best Production Design, Best Costume Design

Heat-1995

Heat-1995

Director Michael Mann

Starring Al Pacino, Robert De Niro, Val Kilmer

Scott’s Review #1,228

Reviewed February 12, 2022

Grade: A-

Fans of the popular 1980s NBC television series, Miami Vice will recall that Michael Mann was the Executive Producer of the show during its run.  He has a distinctive crime thriller style that goes perfectly well with Heat, a sizzling 1995 offering starring two film greats-Al Pacino and Rober De Niro.

The fact that the pair do not appear too often on screen together can be forgiven because when they are the stars align and the power of quiet scenes cannot be outdone. I savored over the moment when they first appeared together. Quality over quantity.

De Niro plays Neil McCauley, a lifelong criminal who is trying to handle damage control caused by one of his men, while also planning one last big heist before retiring to parts unknown. He meets a lovely young Los Angeles-based artist played by Amy Brenneman in a diner and the two plan to relocate abroad.

Meanwhile, Lieutenant Hanna (Al Pacino) is a seasoned officer attempting to track down McCauley and his cohort while dealing with the chaos in his own life, including the infidelity of his wife (Diane Venora) and the unhinged mental health of his stepdaughter (Natalie Portman).

McCauley and Hanna discover mutual respect, even as they try to thwart each other’s plans. The two characters become doppelgangers of one another. The situation comes to a cat-and-mouse-based conclusion on the tarmac of LAX airport.

To say that Heat is a by-the-numbers 1990s thriller is a fair assessment although it’s way better than that classification and it’s of that genre.

For starters, the acting is superior, and obviously, De Niro and Pacino bring a level of professionalism to the film in the lead roles. My favorite scene is not the one you’d most expect me to say but rather a quiet and powerful chit-chat in a small coffee shop. They are rivals, having lived opposite lives, and yet have troubled lives that mirror each other.

Without a doubt, Hanna wants to bring McCauley to justice, and yet he admires him and sees parts of himself in the man. The feeling is mutual and the two actors relay this revelation without actually speaking the words. Viewers immerse themselves into the characters pivoting from this powerful scene.

There are a ton of characters in Heat but each one feels like he or she has much to offer. Juicy storylines are introduced but never forgotten even if not part of the main canvas. Hanna’s wife and stepdaughter play a central part in the final act even though they mainly appear during the first chapter.

In supporting roles, Val Kilmer and Ashley Judd share beautiful chemistry and a melancholy storyline as a damaged couple trying to survive surrounded by a life of crime.

At two hours and fifty-two minutes, there is plenty of time for each character to make their mark.

I love the rich character development that Heat offers but sometimes it’s admittedly tough to keep track of the motivations of the characters and how they tie into the main action.

Mann’s style is all over the place and even the musical score brought me back to the episodic song intervals that Miami Vice created. The moody and dark atmosphere of dingy and crime-infested Los Angeles is perfectly placed against glossy and glamorous high-rise and sprawling estate scenes. The bright and luminous city skyline is a feast for the eyes.

The cop/criminal dynamic is the main draw as Heat flexes its masculine muscles scene after scene. A bloody bank heist gone wrong at the beginning of the film cements what Mann is trying to create here. A guy’s film with enough juice to hook the introspective film viewer too.

Not remembered as well as it probably should be, Heat holds up surprisingly well when put up against similar but hokey 1990s action films like Lethal Weapon and the Die Hard films.

Though there’s not a whole lot that is new in Heat (1995), rich writing and powerful acting win out every time, and of course, Pacino and De Niro are worth the price of admission.

The Faculty-1998

The Faculty-1998

**Updated Review- Original Review in 2017**

Director Robert Rodriguez

Starring Josh Hartnett, Jordanna Brewster, Clea Duvall

Scott’s Review #1,227

Reviewed February 5, 2022

Grade: B

The Faculty (1998) was released during the late 1990s horror film renaissance. Wisely, it cast film veterans that improved its merit along with young rising stars bankable at the box office. The film was only a moderate success but has become a cult classic over the years.

With a teacher/student dynamic incorporating all the standard cliches that go along with that, it mixes classic horror with a direct ode to Invasion of the Body Snatchers and is enjoyable, though hardly worthy of regular viewings.

Instead, it can be part of a 1990s nostalgia night or taken out as an opening act for comparison film Scream (1996), a similar vehicle also released by Dimension Films. The sunny yet somber high school setting is nearly identical in both films.

The Faculty is a sheer delight for teenage audiences or even twenty-somethings who can relate to the idea of their teachers being otherworldly or some such alien beings.

Stars Josh Hartnett, who had just jumped into the horror circle by being in Halloween H2O: 20 Years Later (1998), along with attractive and similar-aged Jordanna Brewster and Elijah Wood, lead the pack.

Piper Laurie, Robert Patrick, and Bebe Neuwirth appear in supporting roles as part of the faculty.

The setting is midwestern Ohio, where the students at Harrington High find Principal Drake (Neuwirth) and her gang of teachers a bit odd. Wacky under the best of circumstances, suddenly they become controlled by a parasite and attempt to infect the students one by one.

Cheerleader Delilah (Jordana Brewster), football player Stan (Shawn Hatosy), drug dealer Zeke (Hartnett), and new girl Marybeth (Laura Harris) team up with some of their other classmates to fight back against the invaders.

But is one of the students the ringleader and controlling the faculty?

The horror standardized offing one by one is intelligently mixed up in The Faculty. Rather than a maniac brandishing a hatchet and chopping the students to bits, they are instead infected by more subtle means. The fun is finding out who will become an alien next and enjoying the weird behavior of the staff.

And who hasn’t imagined one of their teachers writhing around on a sports car coquettishly toying with the hunky high school football players?

Yes, there are some plot holes to contend with and some stale attempts at pairing the teens off romantically. Predictably, the standard jock, cheerleader, nerd, and outcast stereotypes abound as well as perceptions of what a school nurse, math teacher, and drama teacher look and sound like.

For good measure, one of the faculty (Salma Hayek) is ‘hot’.

There is much fun in the film and perhaps some truth and that’s what director Robert Rodriguez showcases throughout. He doesn’t take himself or his characters too seriously as inside high school jokes and role interplay make for a playful, light experience.

Rodriguez is the best friend and frequent collaborator of filmmaker Quentin Tarantino but The Faculty holds no Tarantino influence whatsoever.

My favorite line may be when Casey says to snooty Delilah Profitt, “You’re pretty cool when you’re not being a bitch”.

The film isn’t really about students versus teachers or the faculty getting their comeuppance. The target audience is the teen crowd and they will have a marvelous time experiencing The Faculty. Times may change but the same teenage angst is shared from generation to generation.

The film is a good outlet for that.

Any fan of Invasion of the Body Snatchers, either the 1950s version or the 1970s remake will notice some familiar territory. The pods become fish and the explanation of taking over planet Earth because another planet is dying is intentionally (hopefully!) silly with a science-fiction edge.

The film ends happily ever after which is satisfying for the level of seriousness one must take while watching.

Borrowing heavily from other horror films near and dear, The Faculty (1998) carves out enough originality in the science fiction area to warrant some props. It’s not a measured success but evenly distributes the pacing and the entertainment nicely.

And the big stars add a nice touch.

The Game-1997

The Game-1997

Director David Fincher

Starring Michael Douglas, Sean Penn

Scott’s Review #1,226

Reviewed February 5, 2022

Grade: A-

The Game (1997) is a fantastic cat and mouse ‘game’ created by director David Fincher who always gets some street credibility where I’m concerned. The thrills come a mile a minute reaching a crashing crescendo in the final act.

It’s a film that produces a roller coaster, edge-of-your-seat thrill-ride, or whatever metaphor serves you best. The result is the same- a fantastic and deliciously wicked experience.

Hollywood A-listers Michael Douglas and Sean Penn team up with chemistry and radiance as brothers with a rivalrous streak. But, who is the cat and who is the mouse is the question of the day as the puzzle pieces continue to mount.

Anyone who knows Fincher’s work, especially films like Seven (1995) and Zodiac (2007) realizes that atmosphere and storytelling are his sweet spot and The Game never disappoints.

It grasps the viewer by the neck and never let’s go.

The screenplay is intelligent and daring. Now, before anyone gets their knickers in a bit of a twist, I do not dare say that The Game is on the level of Zodiac or Seven-both masterpieces in my opinion. But The Game plays its cards well and measures up well if we are ranking Fincher films.

Nicholas Van Orton (Douglas) is a successful banker who keeps mostly to himself spending most nights alone in his luxurious home. When his estranged brother Conrad (Penn) returns to town on his birthday with an odd gift Nicholas’s suspicions are piqued.

The gift is a personalized, real-life game that he cannot resist accepting. Beginning slowly, the game grows increasingly personal, and Orton begins to fear for his life as he eludes agents from the mysterious game’s organizers.

With no one left to trust and his money all gone, Orton must find answers for himself before he goes off the rails into psychosis.

Let’s discuss everything but the story first. The look of The Game is stunning with perfect lighting and shadows exhibiting the mood. The editing, whether in rapid-fire motion or slow-motion is brilliantly effective.

Do we feel sorry for the characters? That would be a resounding no but that’s also the fun of The Game. As Orton spirals down a dark and mysterious path we are not too invested in the character so watching the ‘game’ is all the more enjoyable for the viewer.

The message delivered after The Game can either be loved or hated by viewers. I, for one, loved it. Chaos and uncertainty can be argued to be better than complacency but is it? Nicholas may argue his case when his life is turned topsy turvy.

The conclusion, while unsettling, is riveting and mind-blowing.

Penn has rarely been better being given a healthy dose of mystique and caginess matched up against a musical score that shines a ghostly light on his scenes. The actor does his best when playing a black sheep or estranged character type so Conrad is ripe for the picking with potential.

Sandwiched in release between Seven (1995) and Fight Club (1999), both much better remembered than The Game (1997), that is a bit of a shame.

The film deserves a good dusting off and fans of Fincher will undoubtedly enjoy piecing together a good, solid perplexity or at least attempting to.

Election-1999

Election-1999

Director Alexander Payne

Starring Reese Witherspoon, Matthew Broderick

Scott’s Review #1,225

Reviewed January 30, 2022

Grade: A

Election is a 1999 black comedy film directed by Alexander Payne. He co-wrote the screenplay with Jim Taylor, and it’s based on Tom Perrotta’s 1998 novel of the same name.

Anyone film fan who knows Payne’s work can attest that they are noted for their dark humor and satirical depictions of contemporary American society. His best is About Schmidt (2002), Sideways (2004), and Nebraska (2013).

And Election ranks among his finest works.

The subject matter at hand this time out is politics and education with the familiar Payne setting of Omaha, Nebraska. Right smack in the middle of the American Heartland.

Only his second film, Election stars Reese Witherspoon in her breakthrough role that built momentum toward her becoming a superstar. She is utterly fantastic and this would rank as one of her best roles, if not the best.

And, no, that is not a slight against her iconic portrayal of Elle Woods in Legally Blonde (2001), which I love, but Tracy Flick gets my vote.

The film itself is a masterpiece and has become a cult classic. Payne takes a subject matter, a rivalry between a teacher and student, still considered somewhat taboo. He takes into question authority and tomfoolery and then spins everything around.

Jim McAllister (Matthew Broderick), is a straight-and-narrow, well-liked high school government teacher who notices that successful student Tracy Flick (Witherspoon) uses unethical tactics and manipulation to get exactly what she wants.

Since Jim believes that Tracy has ruined his friend’s marriage he already despises the girl. Though, could he also be in love with her?

When Tracy decides to run for school president, Jim feels that she will be a horrible influence on the student body. He convinces Paul (Chris Klein), a dull but popular student-athlete, to run against Tracy.

When she becomes aware of Jim’s secret involvement in the race, a bitter feud develops between teacher and student as they try to outsmart the other.

The writing in Election is brilliant. The audience may see Jim or Tracy as the villain or perhaps both. They resort to drastic machinations to get their way. Tracy wants to win at all costs while Jim becomes obsessed with ensuring that Tracy does not win.

I love the high school setting and the normal goodie two-shoes Jim resorting to ballot cheating and affairs to best his rival. Tracy is no better as she manipulates and conspires to win the election.

I also worry that the viewers who should see this film either won’t or won’t get the message that Payne is sending.

The editing is flawless and the quick cuts that allow each character a chance to narrate and share their perspective is a major win. We see each motivation and understand what makes each character tick-especially Jim and Tracy.

The acting is wonderful and enough praise cannot be reaped upon Witherspoon and Broderick for their sick and twisted performances. They each radiate desperation and dark comedy and delightful is the perkiness and drive that Witherspoon gives Tracy.

When she bakes cupcakes in the hopes of bribing her classmates for votes, this counterbalances Broderick’s angry and grizzled Jim. He is at war with a student and goes for the jugular instead of being the role model a teacher should be.

It’s delightfully fun though many high school teachers may not appreciate the deviousness.

There’s also a cool LGBTQ+ inclusion which is a positive.

I’d venture to compare Election to American Beauty (1999), made the same year and with a similar tone. Cynical and witty, they both question morality and ethics, especially with the sugar coating of a high school or small-town Americana.

Satire never looked finer in both films.

Made in 1999, how dubious the realization is that Election continues to have relevance as time goes by.

In the current state of United States politics where lying, cheating, and a blatant refusal to accept election results unless one side is the victor is running rampant, and shockingly tolerated by some, Payne’s message has never been more powerful.

Oscar Nominations: Best Adapted Screenplay

Independent Spirit Award Nominations: 3 wins-Best Feature (won), Best Direction-Alexander Payne (won), Best Screenplay (won), Best Female Lead-Reese Witherspoon, Best Debut Performance-Jessica Campbell

Carlito’s Way-1993

Carlito’s Way-1993

Director Brian De Palma

Starring Al Pacino, Sean Penn, Penelope Ann Miller

Scott’s Review #1,224

Reviewed January 29, 2022

Grade: B

Brian De Palma would be firmly planted in my Top 10 favorite directors of all time- maybe even the Top 5. His daring and juicy Dressed to Kill (1980), and horrific Carrie (1976) are still visually mesmerizing to me.

Carlito’s Way (1993) takes De Palma into New York mobster territory similar in vein to his 1983 disappointment Scarface (1983). Both star Al Pacino.

The latter is set in Miami while the former offers many reminders of its New York City setting like street signs and other exterior trimmings of the Big Apple, especially in Spanish Harlem.

Sequences also occur on Long Island, New York, and Rikers Island.

The film is based on two novels written in the 1970s when the events in the film are supposed to be set. This doesn’t work as well as you might think but more about that later.

Carlito’s Way itself is a solid mobster film that borrows from many others including Scarface, The Godfather (1972), and Goodfellas (1990). If I were to take ten mobster films it might get lost somewhere in the middle.

But it’s still an above-average watch and sprinkles pleasant De Palma familiarities like slow-motion dreamlike sequences and a terrific chase through the subway and Grand Central Station that will bring a smile to Dressed to Kill fans.

It’s just not one of the best Brian De Palma films nor one of the best mobster films.

Released on a technicality after years in prison, Carlito Brigante (Pacino) swears to give up his criminal ways, but it’s not long before the ex-con is sucked back into the New York City underworld thanks to his shady lawyer and friend Dave Kleinfeld (Sean Penn).

All he wants to do is save enough money to leave town and retire in paradise.

Carlito reconnects with his aspiring actress/dancer girlfriend, Gail (Penelope Ann Miller) while young and dangerous gangster Benny Blanco (John Leguizamo) plots revenge on Carlito and Kleinfeld after being slighted.

Kleinfeld has also stolen money from a dangerous convict so that’s an added stressor for both him and Carlito.

The time is very odd. It’s supposed to be the 1970s as the musical score suggests as disco party music blasts during club scenes. The clothes and hairstyles somewhat align but there is a strange 1980s feel which is even stranger given the film was shot in the 1990s.

The chemistry between Pacino and Miller is okay but nothing terrific either although it grows during the film. At first, I wondered what they saw in one another but was slowly won over by the pair. By the end, I was rooting for them to ride off into paradise together.

The best part of Carlito’s Way is the final thirty minutes or so. On the run from the bad guys, Carlito and Gail decide to meet on a late-night train bound for Florida. There, they will forget their troubles and live happily ever after on the beach.

Oh, and by the way, Gail is now pregnant.

De Palma, as he usually does, creates a dazzling climax. I was mesmerized by the cat-and-mouse chase scenes and what Grand Central looked like in the early 1990s when the film was shot. And there’s also the terrific running from subway car to subway car chase scene just like in Dressed to Kill.

As an aside, Pacino who is Italian is playing a Puerto Rican character. One character comments that Carlito could almost pass for an Italian. Given Pacino’s heritage in the very Italian Godfather films, this is an anecdote that made me chuckle.

Penn and Pacino give it their all and craft unusual characters, especially Penn, and it’s a delight seeing great actors play off of one another.

Carlito’s Way (1993) has some hits and some misses and borrows heavily from similar films including De Palma’s films. This too often makes it become a comparison film rather than containing its own identity.

The Da Vinci Code-2006

The Da Vinci Code-2006

Director Ron Howard

Starring Tom Hanks, Audrey Tatou

Scott’s Review #1,223

Reviewed January 23, 2022

Grade: B+

Based on the best-selling 2003 novel written by Dan Brown, Ron Howard directs the film version of The Da Vinci Code (2006). Since I haven’t read the novel at this writing I cannot fully give a fair assessment from the perspective of comparison but my hunch is that the book is superior to the film.

Isn’t it usually?

The film is entertainment personified and Howard wisely casts a big name like Tom Hanks to draw audiences to the theaters.

It’s a slick and adventurous thrill-ride which is all well and good but it’s also a type of film that you can see once, enjoy for what it is, and then never need to see again.

The most fun is the controversy the film, like the book, encountered.

It was met with especially harsh criticism by the Catholic Church for the accusation that it is behind a two-thousand-year-old cover-up concerning what the Holy Grail is, the concept that Jesus Christ and Mary Magdalene were married, and that the union produced a daughter.

So, those who are sensitive or uptight about religion may want to skip the film and the novel.

But this is Hollywood, after all, and Howard and Hanks do what they do best. They create and produce a fun, solid, blockbuster flick.

When the curator of the Louvre is found murdered in the famed museum’s hallowed halls, Harvard professor Robert Langdon (Tom Hanks) and cryptographer Sophie Neveu (Audrey Tautou) must untangle a deadly web of deceit involving the works of Leonardo da Vinci.

The most enjoyable parts are the locales and the focus on art. The famous Louvre in Paris, France permitted to film relevant scenes at their premises but only a replica of the Mona Lisa was used during filming as the crew was not allowed to illuminate the original work with their lighting.

The Westminster Abbey scenes were instead filmed at Lincoln and Winchester cathedrals.

The Parisian nightlife is gorgeous and murky in its depiction and a plentiful helping of sequences are shot throughout the United Kingdom with Scotland and England receiving the most representation.

So, while strict limitations were harbored, there is an international flavor to The Da Vinci Code that works wonderfully, especially for those who have traveled to those locations.

For art lovers, particularly of da Vinci himself, there is satisfying respect for the art. I always attempt to improve my art knowledge so this film is helpful to me and the novice art fan to educate themselves and learn more about the subject.

Hanks, as usual, carries the film in his steady-Freddy approach.

While not as compelling as his roles in either Philadelphia (1993) or Forrest Gump (1994), the actor can convey his suspicious plight and the need and desire to solve the complex puzzle.

Audiences will follow suit.

The Da Vinci Code (2006) was riddled with bad reviews and jest mostly at its ridiculous plot and absurd story. While there is a grain of truth to this, I found the film enjoyable entertainment and that’s all I expected out of it.

The film pleases and satisfies if not taken too seriously.

Passing-2021

Passing-2021

Director-Rebecca Hall

Starring-Tessa Thompson, Ruth Negga

Scott’s Review #1,222

Reviewed January 22, 2022

Grade: A

Passing (2021) is a quiet film brimming with importance. It’s the feature directorial debut of Rebecca Hall and she hits a home run with a film pleasing both visually and from a storytelling perspective.

The title of the film equates, the word ‘passing’ refers to three different meanings as the viewer will need to wait until the end to figure it out.  I was not able to deduce the third meaning until I read the synopsis and was left in a state of shock.

The setting is 1920s New York City, a polished time when status and sophistication meant everything. Unfortunately, despite the liberal-leaning metropolis racism is still alive and kicking.

The first scene shows a pair of well-dressed ladies entering a store commenting how thankful they feel that their children have only met ‘colored’ people who are members of their staff. The message is laid clear that they feel anyone of dark skin are lepers.

Passing is a film about race but so much more.

Tessa Thompson plays Irene Redfield, a well to do light-skinned black woman who is married to a successful doctor, Brian (André Holland). They reside in Harlem in a largely black neighborhood. Irene is respected and is also able to walk amongst cultured white people and ‘pass’ for white. She is treated differently when she does.

One day Irene stops for a sandwich at a posh hotel. She runs into her childhood friend Clare (Ruth Negga) who is also of mixed race. Clare completely passes for white and is married to a successful and handsome banker, John Bellew (Alexander Skarsgård). He makes no secret of despising black people.

As Irene and Clare reconnect, Clare begins to immerse herself in the black culture and specifically in Irene’s life. She flirts with many black men and grows close to Brian much to Irene’s chagrin. Irene becomes both jealous and enamored with Clare.

They both risk their established lives as they soul search for their truths.

Passing is not conventional and that’s what I admire and love about it. While watching I never knew what direction the film was going in and I missed one subtle, yet important, detail- Irene’s fascination with Clare. The complex relationship is shaken to the core in a jarring final sequence during a winter party in a luxury apartment.

Hall makes the monumental good decision to film in black and white cinematography thus making the racial subject and tones all the more powerful.

Visually, this is never more evident than when Clare stands beside a darker-skinned black character. The contrast is astounding and made me believe how everyone would be fooled into thinking she is a white woman.

The story of two cultured black women dealing with life in the early twentieth century is juicy enough but the stuff peeking out from beneath the surface heightens the meaning of Passing and adds layers and layers of emotional vigor.

The film reminds me of the 2002 masterpiece Far from Heaven. Visually brilliant and both offering stories about race, they are both also tragic. Nobody ends up happy or fulfilled and a terminal sense of loss is palpable in each. A tortured, well-manicured central character exists in both films.

Negga has received the lion’s share of praise for playing Clare but Thompson is also flawless. Both actresses are brilliant playing characters who are very much alike. They strive for perfection but are nonetheless living in fantasy worlds whether they realize it or not. It’s tough to convey this to audiences but they do in measured calmness.

The film shows that we all pretend just a little bit and pass it off sometimes, don’t we?

It’s a scary realization.

My standard modus operandi when I review a film is to think whether it stays with me after the credits roll or if it is quickly dismissed from my train of thought.

Passing (2021) has powerfully remained in my mind and caused me to ruminate and peel back the onion more and more in this tremendous and stylistic effort.

Independent Spirit Award Nominations: Best Supporting Female-Ruth Negga (won), Best Cinematography (won)

The Cabin in the Woods-2011

The Cabin in the Woods-2011

Director Drew Goddard

Starring Kristen Connolly, Chris Hemsworth

Scott’s Review #1,221

Reviewed January 17, 2022

Grade: A-

The Cabin in the Woods (2011) is a very clever film with tremendous writing and acting. It takes a standard horror film premise and spins it into something new and inventive. I wouldn’t dare spoil the twist reveal at the end of the film but suffice it to say it’s a doozy.

It’s not your typical or expected slasher film.

Created by Drew Goddard (he wrote Cloverfield-2008) in his directorial debut he also co-wrote the screenplay with Joss Whedon. Besides horror, there is dark comedy and science fiction incorporated making it cross-genre entertainment and enjoyment.

When five college friends (Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, Jesse Williams) arrive at a remote forest cabin for relaxation and quiet, odd horrors await them. A group of backwoods zombies wreaks havoc on the group and they are systematically killed one by one in a gruesome fashion.

From an unknown location, two scientists (Richard Jenkins, and Bradley Whitford) are manipulating the events, but there are even more sinister machinations going on somewhere else.

The story on the surface is pretty basic and Goddard and Company delightfully add parodies of standard horror elements. Most who see The Cabin in the Woods will be fans of the horror genre.

Anytime five college kids head for a weekend alone in a secluded cabin it’s a recipe for disaster.

I immediately compared the film to Friday the 13th (1980) meets The Evil Dead (1981).

The group even has nicknames that coincide with traditional horror/slasher film character trademarks: ‘The Virgin’, ‘The Athlete’, ‘The Whore’, ‘The Fool’, and ‘The Scholar’.

This is a pure treat for fans.

Goddard, or the scientists manipulating the action, gleefully fills the students with intoxicants making their libidos flare and their curiosities piqued. A mysterious diary and other weird objects are found by the group in the cabin basement.

Ordinarily smart, the students are unable to provide rational thinking or proper reasoning. Naturally, they are unable to escape the remote area either.

The scientists cackle and make bets on which zombie will appear next. The audience enjoys this immensely because what horror film viewer doesn’t predict who gets killed when how and who will be the last one standing?

The Cabin in the Woods is incredibly enjoyable.

In joyous form, two of the group have animalistic sex outside and one is decapitated.

Then things get strange.

The audience knows of the scientists, but wait there’s more! When the scientists are called by a mysterious ‘director’ who tells them that Marty (Hemsworth) has not been killed and is attempting to rescue Dana (Connolly), something has gone amiss.

The reasoning and understanding of the big reveal are very implausible but shocking nonetheless. It’s scary because it’s unexpected and that’s why the film is so creative and successful.

The Cabin in the Woods (2011) turns the traditional horror formula upside down and is a pure delight for fans of the genre. Instead of mocking, it embraces the methods and offers intelligence and humor that I truly appreciate.

Don’t Look Up-2021

Don’t Look Up-2021

Director-Adam McKay

Starring-Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep

Scott’s Review #1,220

Reviewed January 16, 2022

Grade: A

In the times of the Covid pandemic, ‘water cooler’ films have ceased to exist. Once, employees would gather around the water cooler to discuss a current film or television show. These days, with many working from home this activity has waned.

Too bad, because Don’t Look Up (2021) is one of those films.

It was not on my radar until a flurry of scuttlebutt and controversy brought the film to the forefront of my mind and many others. Super topical and mired in irony, everyone should see it, but those who need to won’t.

It’s a brazen and in-your-face look at how science and facts are dismissed by some who can’t see the forest for the trees, or in this case, a giant comet speeding towards planet Earth. In the year 2021, with controversy over Covid preventing mask-wearing and preventative vaccinations, Don’t Look Up portrays those as simply stupid.

As they are.

Those viewers who are conspiracy theorists, Trump supporters, or I daresay even too self-absorbed to look past their own lives are the ones who should see the film the most. You will be mocked and used as fodder for the entertainment of the more intelligent species of human beings.

But, perhaps learn a thing or two?

Led by director Adam McKay, famous for satirical works such as 2015’s The Big Short, he satirizes the current state of worldly affairs masterfully, using political comparisons and the world-weary science versus non-science approach.

McKay also writes and produces.

He enlists an all-star cast who were chomping at the bit to be part of his relevant and brilliant project. Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep, Mark Ryland, and Cate Blanchett are just a handful of participating stars.

Kate Dibiasky (Jennifer Lawrence) is an astronomy graduate student who along with her professor Doctor Randall Mindy (Leonardo DiCaprio) makes a discovery of a comet on a collision course with Earth. It is expected to arrive within six months and destroy most of the planet.

They are shocked and dismayed when their attempts to get anyone to pay any attention are hijacked by the media and the President of the United States of America, President Orlean (Streep). Instead, folks in high power attempt to use the ‘story’ for either ratings or political gain.

With the help of Doctor Oglethorpe (Rob Morgan), Kate and Randall embark on a media tour that takes them to the airwaves of The Daily Rip, an upbeat morning show hosted by Brie (Cate Blanchett) and Jack (Tyler Perry). While Randall embarks on an affair with Brie, the scientists attempt to gain the attention of the social media-obsessed public before it’s too late.

As the title states, just look up?!

President Orlean and her psychopathic son and Chief of Staff, Jason (Jonah Hill), are patterned after former President Donald J. Trump and his son. Their nastiness and dismissive attitude, only thinking of personal gain are despicable.

Hysterically and satisfying, they each get their proper comeuppance.

Orlean’s demise at the end of the film is particularly satisfying. Stay post-credits for this treat.

Don’t Look Up is not a conventional film- it’s better than that. Its special sauce is its powerful message and reassurance for viewers to not take good old-fashioned common sense for granted. Despite the naysayers, the use of one’s brain is a valuable commodity.

The urgency of the matter is not meant to be taken for granted but there is enough comedy elements to classify it as such- a dark comedy.

DiCaprio is terrific in the lead role. Nervous and having difficulty expressing himself, his frustration is felt as he tries to warn the world of impending doom. The actor can play any character and it’s great seeing him add a sexy, middle-aged nerd to his repertoire.

Lawrence is a killer. Her character has no filter and is known to burst into rage making her lash-out scenes pleasing. Kate will call an idiot an idiot. Her outburst at the President is a particularly terrific scene.

Despite the laughter, Don’t Look Up (2021) sends a dire message. It mirrors the current times and what trouble we are in. The grim final sequence when Randall, Kate, and family sit around the dinner table enjoying a Thanksgiving-style meal is also a reminder to keep loved ones close and treasure every moment.

Oscar Nominations: Best Picture, Best Original Screenplay, Best Film Editing, Best Original Score

The Curse of the Werewolf-1961

The Curse of the Werewolf-1961

Director Terence Fisher

Starring Oliver Reed, Clifford Evans

Scott’s Review #1,219

Reviewed January 15, 2022

Grade: B

Oliver Reed, who was later famous for films like Oliver! (1968) and Women in Love (1969) made his first starring role in the low-budget Hammer Horror film The Curse of the Werewolf (1961). He carries the latter third of the film simply because his character doesn’t appear until then.

The film is divided into parts and is only slightly over one hour and thirty minutes long. The finale is the best chapter, and the others, while good, move too slowly, considering the brief running time.

This is the first werewolf film to be colorized and was heavily censored upon release.

Hammer Horror’s regular director, Terence Fisher, is at the helm, so the viewer feels soothed and secure. We know the quality will persevere, and I adored the setting of Spain, which has gothic steeples and a flavorful culture.

The Curse of the Werewolf is above average but not one of the best in the Hammer series.

Reed plays Leon Corledo, a man with brutal and macabre origins. He is adopted and raised in the home of a kind and respectable Don Alfredo Corledo (Clifford Evans). When he leaves Don Alfredo to find work, Leon discovers that he has increasingly violent urges.

Although Leon’s love for the beautiful Cristina (Catherine Feller) somewhat calms these fits, he regularly transforms into a werewolf and terrorizes the Spanish countryside.

Before the central part of the story, Leon’s mother is imprisoned and raped by a homeless beggar gone mad. Unfortunately, she gives birth on Christmas when the werewolf curse is started. She soon dies, and little Leon is taken in by Don and his motherly housekeeper, Teresa.

The middle sequence explains how Leon, as a little boy, escapes out his bedroom window to kill animals, thinking it’s all just a dream. Don and others try to hide Leon’s secret.

The curse doesn’t make a whole lot of sense. Why does the Christmas holiday make an unwanted newborn “unlucky” and a vicious werewolf? Why is Leon the only werewolf around? Indeed, others are born on Christmas day.

Reed is the main draw as the handsome Leon, and he makes a lovely mate for Cristina, though too few scenes of them exist. It’s not explained why they fall in love other than that both are beautiful and that Cristina’s current intended mate is boorish.

But, then again, The Curse of the Werewolf is not a love story, so we accept some details with a grain of salt.

Any fan of Hammer horror films wants blood and mayhem, and there is a good smattering of each. The dastardly Marquis Siniestro who humiliates the beggar and nearly rapes the servant girl (Leon’s mother) gets it in the back from her with a jagged mirror and the death is bloody and satisfying.

Later, a slutty girl with designs on Leon is ravaged to death by him after he turns into a werewolf on a night with a full moon.

The finale is bittersweet and almost tender when Don must make a horrible decision to kill his son with a silver bullet made with a crucifix to prevent the tortured Leon from killing anymore and suffering a life of misery and regret.

The Curse of the Werewolf (1961) is not as satisfying as the Hammer horror films featuring Dracula or containing Christopher Lee or Peter Cushing.

Nobody will ever usurp Lon Chainey Jr.’s frightening portrayal of the wolfman decades earlier, but it’s fun to see Reed take center stage in the film.

There’s also enough to keep Hammer fans entertained.

The Brides of Dracula-1960

The Brides of Dracula-1960

Director Terence Fisher

Starring Peter Cushing, Yvonne Monlaur

Scott’s Review #1,218

Reviewed January 9, 2022

Grade: B+

It’s always impressive to me what Hammer Film Productions do with such a limited budget, mainly from a set and art direction perspective. With small funds, they can create gloomy yet beautiful set structures that are highly creative and appear lavish.

To the savvy viewer, this tidbit can make each film a treasure trove of enjoyment if only to look beyond the central activity and notice the style.

The Brides of Dracula (1960) is no exception.

The film is a sequel to the 1958 film Dracula (also known as Horror of Dracula), though the character of Count Dracula does not appear and is instead mentioned only twice. Fans of these films know that Christopher Lee portrays Dracula. Instead, the vicious vampire at the film’s center is Baron Meinster, a disciple of Dracula, played by David Peel.

The villain even bites his mother, played by Martita Hunt, making her undead and terrifying to the residents of a Spanish village.

Van Helsing (Peter Cushing) is the hero and must drive a stake through the heart of the vampire baron before he deviously makes innocent Marianne (Yvonne Monlaur) his bride.

Cushing is a familiar figure in Hammer horror film lore. He leads the charge as the film’s hero. I love the character because he is heroic and unflinching, always calm, cool, and collected in the face of sheer horror.

The sets are gothic and brilliant, especially the gloomy castle owned by the Baroness and her son. When she invites Marianne to spend the night, a threatening servant named Greta treats her to a stylish room and a ravishing dinner.

The exteriors are as good as the interiors and portray the village within Transylvania as cozy and homespun. Outside, the prominent inn run by the locals is inviting as much as it feels forbidden and haunted.

When Marianne is abandoned in the village by her terrified coach driver, we know that secrets or living creatures are waiting to be unearthed.

These atmospheric additions will compel audiences to tune in and enjoy the horrific moments.

Speaking of horror, The Brides of Dracula feels enough like camp and not scary, and comic elements exist throughout. No better example of this is the bumbling and boozy Doctor Tobler, played by character actor Miles Malleson.

While many moments are over the top, especially when a vampire character bares their fangs in the best hammy way, the film never feels foolish or amateurish.

A considerable misstep is naming the film The Brides of Dracula when no Dracula is ever found. I incorrectly assumed the Baron was Dracula until after the final credits rolled. This is a sneaky way to capitalize on the name recognition of Dracula.

There are too many fun moments in the film to harbor much resentment. Of the brides, my favorite is Gina, played by Andree Melly, who looks the most frightening.

The Brides of Dracula (1960) is an entertaining and pleasing chapter in the Hammer horror catalog. The expected elements include a crucifix and a healthy dose of holy water.

Candyman-2021

Candyman-2021

Director-Nia DaCosta

Starring-Yahya Abdul-Mateen II, Teyonah Parris

Scott’s Review #1,217

Reviewed January 8, 2022

Grade: B

Not being such a fan of the original Candyman horror film from 1992 though admittedly not remembering it too well either I had mixed feelings when I heard that a reboot was in the works. I’ve learned that while most remakes, especially in the horror genre, are not masterpieces, there is some joy in seeing them resurface.

I was delighted when I realized that Jordan Peele, the magnificent modern director of gems like Get Out (2017) and Us (2019) had co-written the screenplay. Peele has a tendency of creating intelligent and well-written black characters, something that still needs more representation in film today.

I admire the creativity and visual aspects that the new Candyman (2021) offers and the characters, mostly black, are to be respected and emulated because they are the heroes of the film.

The social message is another win and Peele is not the only player deserving of credit. Newcomer director, Nia DaCosta treats the viewer to more than the story. An artsy and sophisticated downtown Chicago art gallery and the swanky apartment is the main setting.

With all these credos Candyman is not a complete win and is sometimes overcomplicated. The supernatural elements, paired with a socially relevant angle, are implausible and I yearned for a more direct and accountable approach rather than fantastical storytelling.

The film has a certain left-wing message which I champion but that others may not.

For as long as residents can remember, the urban housing projects of Chicago’s Cabrini-Green neighborhood have been terrorized by a word-of-mouth ghost story about a supernatural killer with a hook for a hand. He can easily be summoned by simply repeating his name five times into a mirror.

As a child, Anthony McCoy (Yahya Abdul-Mateen II) who was a resident of the towers, met a man assumed to be the killer who was then unnecessarily killed by police.

Decades later, the Cabrini towers are long gone and Anthony is a struggling visual artist. He and his girlfriend, gallery director Brianna Cartwright (Teyonah Parris), move into a luxury loft condo in Cabrini, now gentrified and inhabited by affluent millennials.

Anthony has a chance encounter with a former Cabrini-Green resident named Billy Burke (Colman Domingo). Anthony begins to explore these macabre details in his paintings, unknowingly unleashing a supernatural beast and risking his own sanity.

The sophisticated visual style and especially the wonderful drawings featured at the start and end of Candyman are highly impressive. They provide a heavy and realistic portrayal of African American culture and the generations of unfairness and mistreatment they have suffered.

This parlays to the point of the film and is nuanced with why the supernatural force with the hook rises up in the first place and takes his vengeance out on people who conjure him.

The final sequence cements this detail as a slaughter erupts between Anthony, Brianna, and the police. The police are portrayed as unkind and corrupt but I get the point of the film. Oftentimes the police are no friends of poor black people.

Despite the social element, Candyman doesn’t feel preachy.

The lead actors are attractive and appealing and even the original Candyman, actor Tony Todd, makes an appearance, though extremely brief. Other characters from the original also make appearances.

The kill scenes, a must for a horror film, are delightful, especially a sequence in which a troupe of gossipy schoolgirls meets their maker in a bloody girl’s bathroom scene. Besides being fun, the scene features a camera visual through a makeup compactor that is highly effective.

It’s just that when the credits rolled I didn’t feel enough satisfaction from what I had just seen. I was more perplexed with how the legend intersected (or did he become?) with present times and with Anthony specifically.

Candyman (2021) delivers an entertaining and relevant themed resurfacing of a thirty-year-old film that I’m glad I watched. It sometimes delivers but the realistic and important racial message is sometimes overshadowed by an otherworldly spirit.

Backdraft-1991

Backdraft-1991

Director Ron Howard

Starring Kurt Russell, William Baldwin

Scott’s Review #1,216

Reviewed January 2, 2022

Grade: B

Backdraft (1991) is a highly entertaining yet completely implausible action, thriller film directed by Ron Howard. If made today it would be on par with Chicago Fire or any other of the slew of similar procedural NBC television shows that currently exist.

The film is even set in Chicago just like the television series.

The story involves an arsonist on the loose and the subsequent investigation to catch them.

Howard is an influential and respectable director but his films frequently harbor the safe territory rarely veering too left of center. With Backdraft, I assumed I would get a by-the-numbers masculine film and that is exactly what I received.

The beefy cast includes Kurt Russell, Billy Baldwin (brother of Alec), and Robert De Niro with Jennifer Jason Leigh and Rebecca De Mornay serving as secondary female characters.

Chicago firefighting brothers Stephen (Russell) and Brian (Baldwin) have been rivals since childhood. Brian, struggling to prove himself as a worthy firefighter, transfers to the arson unit where he aids Inspector Don Rimgale (De Niro) in his current investigation. There is a rash of fires involving oxygen-induced infernos called backdrafts.

But when a conspiracy implicating a crooked politician and an arsonist leads Brian back to Stephen, he is forced to overcome his brotherly competitiveness to crack the case.

Anyone involved in their local fire department or who has a strong sense of loyalty or brotherhood in a blue-collar vein will love Backdraft for its message. The strong family unit that shrouds most firehouses or police stations is prevalent throughout the film which brings a united and community feeling.

It’s a nice feeling and sets the tone for the viewer to feel a part of things and root for the heroes to defeat whoever is responsible for the arsons. Could it be an unstable member of the fire community or an outsider harboring a grudge?

The story, despite being somewhat of a whodunit is not the strongest aspect of Backdraft nor much of a reason to tune in and follow. Too often the writing is lazy or languishes in television drama territory with obvious and melodramatic situational setups.

The realism is not there. The fire sequences are completely stagey and meant to perfectly parlay the story elements rather than have an identity of their own.

With all that said, the star of the film is the visuals that give Backdraft its adventure and edge-of-your-seat thrills. Even though I knew the fires and explosions were manipulated I felt like I was inside a burning room with the hissing and crackling sounds of the fire and wind enveloping me.

It’s all for dramatic purposes of course but the state-of-the-art special effects are cool to experience.

This is the key to the success of a film like Backdraft and enough for me to keep watching and become invested in the entire work.

Yes, many characters are types and despite the big A-list stars Russell and Baldwin are the only ones who have much of anything to do. Their brotherly relationship though fraught with friction is at the heart of the characters though sometimes the corny dialogue slips into soap opera territory.

Backdraft (1991) is a cinematic Hollywood mainstream film that works on many levels. Forget the lazy storylines and the predictability factors for a minute. It provides a blazing-hot inferno of sharp visuals that are to be commended and appreciated for their merits.

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

The Accidental Tourist-1988

The Accidental Tourist-1988

Director Lawrence Kasdan

Starring William Hurt, Kathleen Turner, Geena Davis

Scott’s Review #1,215

Reviewed January 1, 2022

Grade: B+

Reuniting stars William Hurt and Kathleen Turner from 1981’s smoldering Body Heat, director Lawrence Kasdan creates a triangle of sorts with the addition of Geena Davis in The Accidental Tourist (1988).

She brings a quirky character to the fold in a film about death, tragedy, and a disintegrating marriage.

Despite the subject matter, it’s not a downer at all but rather a romantic drama brimming with rich characters and relatable situations. There are laugh-out-loud moments and there are tender moments all about the human spirit and choices we must make.

It’s an above-average flick that received several Oscar nominations and feels patterned after a Woody Allen-style film. I didn’t necessarily relate to any of the characters nor need to see the film a second time but I respect that Kasdan creates a picture not needing car chases or gratuitous violence or nudity.

The Accidental Tourist is a quiet film about life. It is based on the 1985 novel of the same name written by Anne Tyler.

When their young son is suddenly murdered, the marriage between Macon (Hurt) and his wife Sarah (Turner) flounders, and she moves out. After an accident puts him on crutches, Macon goes to stay with his quirky siblings at the family home, where he meets the high-spirited Muriel (Geena Davis).

She is a dog trainer with a young son of her own. Macon develops a slow friendship with them that surprisingly blossoms into more with Muriel. When Sarah learns about the situation, she attempts a reconciliation with Macon who is forced to make a painful decision.

The intention feels like we, the audience, are supposed to root for Macon and Muriel to get together and not feel much sympathy for Sarah but I did. After all, she is the one ultimately ditched and there is nothing like a woman scorned.

I didn’t feel like there was even much of a triangle because the film is centered around Hurt’s character and the choices Macon must face. It’s about how he deals with change and the unexpected turns of events that life can throw at anybody. Sarah and Muriel must also deal with the same choices and life circumstances but the focus is more on Macon.

The viewer will likely immerse themselves in these characters as they think about their own life and the trials and tribulations that have occurred.

Though I never read the novel I suspect it is a tad better than the film which limits the amount of time to explore the characters. Novels always have more time to delve deeper.

With that said I got a fair share of backstory about Macon, Muriel, and Sarah but didn’t gravitate to any of them over the others.

Regarding the earlier note about The Accidental Tourist being like a Woody Allen film, it has an upbeat, quirky tone that masks much of the heartbreak Macon suffers from with some added comedy. When Muriel hops a flight to Paris to follow her heart and Macon it’s something a character in an Allen film would do.

Since Macon is a writer of travel guides the film contains rich flavor for culture and tourism which is pleasing. London and Paris are the central locales and Kadan does a great job at the international stuff.

A tad long and dragging at times The Accidental Tourist (1988) has enough juiciness to keep any viewer attracted to well-written screenplays about emotional characters and the ups and downs of life satisfied.

Oscar Nominations: 1 win-Best Picture, Best Supporting Actress-Geena Davis (won), Best Screenplay-Based on Material from Another Medium, Best Original Score

The 40-Year-Old Virgin-2005

The 40-Year-Old Virgin-2005

Director Judd Apatow

Starring Steve Carell, Catherine Keener, Paul Rudd

Scott’s Review #1,214

Reviewed December 31, 2021

Grade: B-

I am not a fan of director/producer Judd Apatow. His brand of silly comedy that includes objectification of women, homophobic language, and plain old unfunny attempts at slapstick comedy doesn’t go very far or sit particularly well with me.

His directorial debut is The 40-Year-Old Virgin (2005) which contains a fresh feeling and would ultimately lead to less worthy efforts like Knocked Up (2007) and This is 40 (2012).

Admittedly, the title alone had me and many others brimming with curiosity.

The freshness is mostly because of leading actor Steve Carell in a role that would propel him to film stardom and much better roles in the future.

So, I guess The 40-Year-Old Virgin deserves credit for that.

Typically, in Apatow’s films, the female characters are written as uptight, shrewish, and bitchy whereas the male characters are goofy and fun-loving. The audience is ‘supposed’ to root for the men and dislike the women.

The 40-Year-Old Virgin is no exception.

Still, the film does have a sweet-natured and innocent feeling amid the stereotypes, potty jokes, and obscenity that lie within. We root for the underdog to succeed in life and champion his plight despite it being a carnal and sexual one.

Andy Stitzer (Carell) is a tender yet socially inept man who works a lowly job at a big-box store. Single and living alone, 40-year-old Andy whiles away the days playing video games and admiring his action-figure collection. He is your classic, lovable nerd.

He harbors an embarrassing secret.

Despite his age, Andy has never engaged in sex, so his friends, including his closest friend David (Paul Rudd), encourage Andy to lose his virginity.

While attempting to get over his awkwardness around female customers, Andy meets a local shop owner Trish (Catherine Keener), and they begin an early romance.

With any Apatow film, the rest is highly predictable and the blueprint is formulaic and easy to figure out.

Andy will face humiliation due to his predicament and because of the bumbling yet good intentions of David and his other friend Cal, played by Seth Rogen.

He will inevitably have awkward encounters with a few other female characters, in this case, the aggressive Beth, played by Elizabeth Banks, before finding love with the ‘good girl’ Trish.

They will ride off into the sunset to live happily ever after. Spoiler alert- they have sex!

The best, and arguably only good part of The 40-Year-Old Virgin is Carell’s Andy. The character brings a warmth and a vulnerability that causes the audience to sympathize with his plight. While the majority of the viewers will not relate to being a virgin at his age they can at least relate to having an embarrassing issue to deal with.

I am glad that this film led to meatier roles for Carell. Foxcatcher (2014) and his storied role as Michael Scott in television’s The Office (2005-2013) immediately spring to mind.

Keener, mostly known for her dramatic rather than comedic roles is decent as the main love interest, Trish.

She, like Andy, is a rootable character though we don’t know too much about her. She is fond of Andy so, therefore, we like her and hope she takes Andy’s cherry.

The rest of The 40-Year-Old Virgin is riddled with standard comic setups and situations. When Andy slips and reveals his virginity by the next day his entire store knows his secret. From there, the insulting additions of a transvestite prostitute and a weird speed dating situation arise.

We know all along that Trish is the girl he will be with.

Apatow unwisely gives an interminable two-hour and thirteen-minute running time to his film which feels too long for a situation comedy.

One hour and thirty minutes would have been ideal and more desirable.

The 40-Year-Old Virgin (2005) is not the worst offender of the Apatow collection but it lacks any surprises or attempts at diversity.

It’s a perfect example of a tried and true adult sex romp with, thankfully, a likable central character.

Licorice Pizza-2021

Licorice Pizza-2021

Director-Paul Thomas Anderson

Starring-Alana Haim, Cooper Hoffman

Scott’s Review #1,213

Reviewed December 27, 2021

Grade: A

Licorice Pizza (2021) is a Los Angeles-based coming-of-age drama by director Paul Thomas Anderson.  Anderson is one of my favorite directors and the film is a must-see for fans of his. Most fans of his yearn to see everything he creates and this one will not disappoint.

One may initially yawn at the tired coming-of-age drama genre and I did too but once I heard that Anderson was directing my curiosity was piqued and I felt secure in the knowledge that the film would be different.

Indeed, Licorice Pizza is special and has a charm all its own.

The expected killer musical soundtrack, prevalent in many Anderson films is there and befitting of the time of 1973. A bit of quirky black humor and general weirdness is also there and so are cameos by A-list superstars like Sean Penn and Bradley Cooper.

Speaking of the soundtrack, they may not be the expected top hits of the time but more obscure gems like ‘Life On Mars?” by David Bowie, “Walk Away” by Joe Walsh, or “But You’re Mine” by Sonny & Cher. I enjoyed the under-the-radar approach as it fits the central characters.

Besides these and other juicy trimmings, the story is a wonderful romantic comedy featuring up-and-coming Hollywood stars, Alana Haim and Cooper Hoffman. They carry the film and emit tremendous chemistry from their very first scene. Haim is in a rock band and Hoffman is the son of actor and frequent Anderson star Phillip Seymore Hoffman. I bet dad would be proud of his son.

For a very recent comparison, Licorice Pizza is similar in setting and tone to Quentin Tarantino’s Once Upon a Time in Hollywood (2019) though the stories are quite dissimilar.

Alana Kane (Haim) and Gary Valentine (Hoffman) are twenty-five years old and fifteen years old, respectively.  They grow up, run around, and fall in love in California’s San Fernando Valley in the year of 1973. Gary is a child actor who also dabbles in his own public relations business while Alana is a struggling photographer’s assistant yearning to do something more important.

Immediately rebuffing the advances of a ‘child’ Alana slowly falls for Gary and the two forge an unbroken bond as they deal with successes, failures, heartbreaks, and longings.

The setting of sunny California in 1973 is pure genius as Anderson authentically takes us there with the cars, the clothing, and the hairstyles then considered trendy. The added pleasure of seeing stars of the day like Jack Holden (really William Holden), Lucy Doolittle (really Lucille Ball), and film producer John Peters is downright gleeful.

Not to be outdone, Sean Penn, Christine Ebersole, and Bradley Cooper portray these figures. Each actor is delightful in their respective roles with my favorite being Penn as the martini slugging Holden.

But the film is hardly about celebrity sightings in a long-ago era.

During the final act, Alana becomes enamored with a politician that she works for. Not a superfluous romantic entanglement, the figure is Joel Wachs, a real-life then closeted gay male who later would champion gay causes. The film showcases the pain of a closeted gay man and his secretive boyfriend as Alana helps them put up a front to avoid his career being ruined.

At the heart of Licorice Pizza though remains the romance of Gary and Alana. The fact that there is a ten-year age gap between them should be a big deal but somehow it’s not. Gary can be precocious and sometimes a little shit, and Alana is moody and temperamental but I fell in love with them anyway and other viewers will assuredly share my passion for the pair.

They try to get through their youth with some sort of plan or semblance of direction and the joy is to traverse along with them and enjoy the ride.

There is a freshness and honesty to Licorice Pizza (2021) that cannot be unshaken. Thanks in large part to Hoffman and Haim the film is one of those that exude magnificence and appeal that is hard to put into words. Viewers of any age will immediately be transported back to young adulthood and the feelings and inadequacies that come along with it.

I wish more films of this ilk were made.

Oscar Nominations: Best Picture, Best Director-Paul Thomas Anderson, Best Original Screenplay