All posts by scottmet99

1990 Films, Best Picture Oscar Winners, Epic, Western

Dances with Wolves-1990

December 14, 2020 scottmet99 Leave a comment

Dances with Wolves-1990

Director Kevin Costner

Starring Kevin Costner

Scott’s Review #1,091

Reviewed December 14, 2020

Grade: A

A western epic of grand proportions, Dances with Wolves (1990) is a quiet, yet bombastic story of one man’s yearning to understand and appreciate a different culture.

The liberal-leaning story is of great importance in American history, which is my main reason I love it. This project matters and is sincere and true.

The content and the gorgeous, sweeping cinematography make this a must-see on the big screen for full appreciation.

Sort of like Lawrence of Arabia (1962), in a Western style.

The lovely musical score is well-paced and simply gorgeous, only enhancing the experience and appreciation of the film.

The directorial debut of a then-inexperienced and up-and-coming star, Kevin Costner, catapulted him into the big leagues, earning him tremendous respect within the Hollywood community.

He also produced the film and used his own money when the budget ran over. The accolades were justified, leading to his becoming an A-list star.

He never achieved anything comparable to Dances with Wolves again.

The time is 1863, when the United States was embroiled in the Civil War. Union soldier John Dunbar (Kevin Costner), depressed and suicidal, is injured in battle and receives a hero’s praise. He requests a transfer to the western frontier, where he lives in solitude.

He slowly befriends the local Sioux tribe and eventually becomes an honorary member, falling in love with a white woman, Stands with a Fist (Mary McDonnell), who was raised by the tribe.

They named him Dances with Wolves.

Chaos erupts when the Union Army arrives to snatch the land at any cost.

Never the greatest actor in the world, but certainly competent, Costner has the role of a lifetime. That Dances with Wolves is Costner’s project is crucial. He had a vision and saw that vision to fulfillment.

To my knowledge, the studio didn’t interfere or seek control but gave Costner the freedom to do whatever he wanted. It shows in the final product.

The romance between Dances with Wolves and Stands with a Fist is tender, alive, and without standard obstacles. No misunderstandings or drama. Theirs doesn’t need any trimmings. The chemistry between Costner and McDonnell is strong.

At over three hours in length, the film has time to pace these brilliant moments carefully.

The film is a political vehicle to teach the audience the ravages and unfairness that Native Americans suffered at the hands of the White Man, and that is huge. Too often, the issue is skimmed over or diminished in school textbooks, so it’s nice to see the truth given its due.

Dances with Wolves serves as an educational tool, and it provides no happy ending. How great would it be if the film were shown in high schools and colleges around the United States?

I love how the film, a western, avoids the stereotypes that are always present in that genre. No good guys are wearing white or bad guys are wearing black, no shoot-em-ups at local saloons, and no cowboys to save the day.

Dances with Wolves offers a character study that explores the pivotal thoughts and motivations of the three central characters.

Graham Greene must be mentioned as an integral part of the supporting cast. His authenticity is illuminating.

Over the years, Dances with Wolves (1990) doesn’t hold up as well as other films- The Silence of the Lambs (1990) and Goodfellas (1991) are legendary contemporaries that everyone remembers better.

Dances may suffer from an “of its time” label, justifiably so, but the film is a masterpiece.

It’s recommended to dust this one off and give it a whirl, if only for old-time’s sake.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-Kevin Costner (won), Best Actor-Kevin Costner, Best Supporting Actor-Graham Greene, Best Supporting Actress-Mary McDonnell, Best Screenplay Based on Material from Another Medium (won), Best Original Score (won), Best Sound (won), Best Art Direction, Best Costume Design, Best Cinematography (won), Best Film Editing (won)

2003 Films, Comedy, Independent, Independent Comedy

Calendar Girls-2003

December 11, 2020 scottmet99 Leave a comment

Calendar Girls-2003

Director Nigel Cole

Starring Helen Mirren, Julie Walters

Scott’s Review #1,090

Reviewed December 11, 2020

Grade: B+

A clever female version of The Full Monty (1997), the middle-aged, bordering on senior-citizen characters, nudity comparisons notwithstanding, Calendar Girls (2003) has standard similarities.

The film is a light-hearted affair, charming and fun, with positive and inspiring messages about friendship and helping with cancer research.

How can a film like this not bring a smile to the viewer’s face? It did to mine.

That said, it’s hardly high drama or material that requires much thought or dissection. I’d wager to say you only need to see it once.

There lies a situational or clichéd theme as the women face the predictable, awkward moments, but the film entertains in style.

Calendar Girls is based on a true story, adding merit, appreciation, and an endearing quality. It’s a feel-good film if there ever was one, which is just fine in this case.

The film was a box-office smash, and why not? It’s a comically robust experience.

A likable group of “women of a certain age” conspires to launch a calendar that showcases their best assets for all to see.

Before this sounds too scandalous or corny, the ladies do it for a good cause and not for any titillating pleasure.

The women are British and, while attractive, are average-looking gals with womanly figures. These tidbits lead to humorous and embarrassing situations, as some of the women are more modest than others, especially in the conservative, crusty town they live in.

This causes shock among the prudish townspeople.

Chris (Helen Mirren) and Annie (Julie Walters) are best friends. When Annie’s husband dies of leukemia, they conjure up the idea of creating a nude calendar, where women pose while doing traditional duties like baking and knitting. The proceeds will go to research for the deadly disease.

Unexpectedly, Chris and Annie, along with others from the Women’s Institute, of which they are members, achieved worldwide success and were even invited to Los Angeles to appear on The Tonight Show Starring Jay Leno.

The women clash over their success and differing life paths before reconciling and deciding that their ordinary lives aren’t so bad. They happily resume their nice lives away from the spotlight.

The comparisons to The Full Monty (1997) must be mentioned because they are obvious. Whereas the men in The Full Monty strip on stage, the women prefer more modesty, nestled behind calendars for safety, but both groups hail from the English countryside and are regular folk.

Since nudity is the word of the day, both groups possess average bodies and champion worthy causes. Like it or not, this setup produces giggles.

The “calendar girls” are a relatable group that is a marketing genius, and allows the film to achieve much merit. Who would care if a bunch of supermodels posed nude while baking cookies?

No, the everywoman factor is sky-high, allowing the film to be appreciated and savored.

Because Mirren and Walters, two respected British actresses, appear in Calendar Girls, the film has added respectability.

After all, would either choose a project less than credible? The obvious answer is they make the film better than it might have been. Penelope Wilton does too.

There is a classiness the ladies bring that lets us sink into our theater seats and revel in the good-natured comedy, assuring ourselves we are seeing something of quality, too.

Calendar Girls (2003) is so like The Full Monty that they ought to be watched back to back. Perhaps a naughty night in, with a bottle of wine and some cheese, ready to embark on delights and jolly laughs.

1986 Films, Comedy

Back to School-1986

December 7, 2020 scottmet99 Leave a comment

Back to School-1986

Director Alan Metter

Starring Rodney Dangerfield, Sally Kellerman

Scott’s Review #1,089

Reviewed December 7, 2020

Grade: B

Back to School (1986) is a formulaic, mid-1980s comedy featuring obnoxiously loud funnyman, Rodney Dangerfield, the comedian you may love to hate.

On paper, this film might have been a train wreck, but some proper pacing and good casting save it from being classified as a drivel. Let’s be clear- it’s not great filmmaking, but it serves a purpose- to amuse and delight.

A vehicle for Dangerfield with a character mirroring his real personality, the film works. With a brisk one hour and thirty-six minutes, the film sticks to the script, not wasting time getting its point across, nor pretending to be some serious film with a clever message.

No, there is little special or inventive about the film, but it’s light, entertaining fun.

The premise, a middle-aged man who returns to college and tries to persevere, is a setup rife with standard situations and comedic moments.

Director Alan Metter, known for gag films, one of his most notable, and the big studio Orion, takes full advantage of the task at hand. They provide a mainstream summer popcorn-flick approach.

Presumably, the story was conjured up by a group tasked with crafting an appropriate story for Dangerfield, and they succeeded.

The film delivers what it sets out to.

This might be a nice, nostalgic watch for parents and soon-to-be college-bound kids to watch together.

Thornton Melon (Dangerfield) is a wealthy corporate tycoon who wants his son, Jason (Keith Gordon), to get the college education that Thornton was unable to receive.

While enrolled in college, Jason is unhappy and ready to quit. Thornton decides to enroll in the same college, determined to achieve his respect.

Jason tries to fit in with his peers, while Thornton falls in love with his literature professor, the sophisticated Dr. Diane Turner (Sally Kellerman), and feuds with the college dean, David Martin (Ned Beatty).

Predictably, Thornton is hardly the college type, so he pays others to write his papers for him, which is all the fuel that the dean needs to ruin him.

He also attends parties and raucous events, preferring these to study groups. Thornton is eventually found out and forced to pass an exam to prove himself.

A more straight-ahead approach would have been to make Thornton an unsuccessful man, thereby making his need to return to school more important and his son’s desire to obtain a college education more powerful, but this might have made Back to School too serious a film.

We can ponder why Thornton joining Jason in college will do anything but alienate the kid, and we can ask ourselves why Jason is bullied by the swim team. He is a nice, likable kid, and students aren’t typically bullied in college- this is more a junior high or high school torture.

There’s also little reason Diane would have a romantic interest in Thornton, and clichéd characters like the dean and Thornton’s bitchy ex-wife, Vanessa (Adrienne Barbeau), surface along the way.

But, Back to School isn’t a film to be overanalyzed either.

On the positive side, the chemistry between Dangerfield and Kellerman is a nice addition, not as forced as it might have been. They flow through their scenes with a light-hearted innocence.

The father-son relationship is a success. Gordon’s brooding nature counterbalances Dangerfield’s over-the-top nature, so they have different personalities.

I’m not sure Back to School (1986) has the legs to be remembered very well. Too similar to other successful comedies of the late 1970s and early 1980s, like Porky’s (1981) or Animal House (1978), it struggles to stand out and is for fans of Dangerfield only.

Perhaps served up as an opening act to the better and much funnier Caddyshack (1980), one of the best genre films of the decade.

2020 Films, Fantasy, Horror

Gretel & Hansel-2020

December 5, 2020 scottmet99 Leave a comment

Gretel & Hansel-2020

Director Oz Perkins

Starring Sophia Lillis, Alice Krige, Sammy Leakey

Scott’s Review #1,088

Reviewed December 5, 2020

Grade: B+

Gretel & Hansel (2020) is not a film with a plot that makes complete sense, but in this instance, that’s okay, making the experience creepier with the wonderful trimmings provided.

A horror film released in January has the cards stacked against it – most studios use the first quarter as a dumping ground for films with little box-office hope or much fanfare.

Predictably, the movie flopped, but it’s a diamond in the rough.

For fans of horror post-2010, this film immediately reminded me of The Witch, the 2015 independent film, and the directorial debut of Robert Eggers.

The slow pacing and assumed seventeenth-century remote village setting are an instant comparison. The dark sets and candle-lit scenes captivated me with their striking ambiance.

With exceptional cinematography, eerie lighting, and the prominent Brothers Grimm fairy tale theme, always a plus in horror, who cares if the t’s are all crossed. The elements supersede the story, though with a witch and two children at play, I was immediately hooked.

The follow-through is crooked and confusing, lacking a clear conclusion. Expect to be perplexed by the ending.

We are provided a quick story of a little girl wearing a pink dress who frightens the village with her special powers. Because she nearly died as a baby and was taken to an enchantress who saved her life, she has a unique history.

She makes her father commit suicide and causes other deaths, so she is taken to the middle of the forest to fend for herself or starve. She manages to find her way and makes the other children die.

Pay close attention because this story will tie into the end of the film.

In present times, we meet Gretel (Sophia Lillis) and Hansel (Sam Leakey). Gretel is sixteen years old, while Hansel is eight. Their mother goes mad, and they are forced to provide for themselves as they hit the road.

Gretel is both drawn to and fascinated by the story of the girl in the pink dress.

They eventually stumble upon a cabin with tons of lovely food, which they hungrily devour. A mysterious woman named Holda/The Witch (Alice Krige) takes them in, but is there a price the children must pay for the riches they enjoy?

Unclear is where the film is set. Is it Germany, where the folklore is derived? Is it supposed to be in the United States? The actors have American accents.

It was shot in Ireland, but this hardly matters. It’s a village and a forest in a land of anywhere, though I fantasized the setting was a northern country like Norway or Finland. Maybe the ambiguity is a good thing.

I like how Gretel & Hansel has a feminist vibe, and the perspective is from her point of view. That is why her character is older, hence the title. She is a coming-of-age teenager, so there is a more measured approach. Gretel even has a short pixie cut, almost boyish herself, giving the character a more modern look.

This serves the film well, adding an interesting take on the classic fairy tale.

There’s also a weird mommy theme played out in two different stories that end up connecting. Gretel and Hansel’s mothers are psychotic, while Holda is revealed to be a mother herself and harbors a deep secret about what she does with children who wander into her house.

Spoiler alert- it isn’t good.

The acting is outstanding, especially on the part of Sophia Lillis as Gretel and Alice Krige as Holda.

Lillis, an up-and-coming star after appearing in It (2017) and It: Chapter II (2019), is a talented commodity, while Krige gives Holda a ghastly and convincing persona. She is ambivalent, and we mostly don’t know what to make of her or what her intentions are. Lillis and Krige have delightful chemistry.

The cretins that the children meet along their journey to anywhere are worthy of any devilish story. A creepy gentleman who Gretel intends to cook and clean for to make money eyes her greedily and asks about her virginity. A bald, wailing monster chases Gretel & Hansel but is shot by a stranger.

Anyone with a hankering for a good, old-fashioned, ghostly, gothic horror film, Gretel & Hansel (2020) is a recommended watch.

The film boasts a hearty mix of horror elements, including eeriness, dark sets with illuminating lighting, and forbidding sequences in the forest, all set against a nice production design.

It may leave you scratching your head, but enjoy the ride.

1980 Films, Adventure, Airplanes, Comedy, Screwball Comedy

Airplane!-1980

December 2, 2020 scottmet99 Leave a comment

Airplane! -1980

Director Jim Abrahams, David Zucker, Jerry Zucker

Starring Robert Hays, Julie Hagerty

Scott’s Review #1,087

Reviewed December 2, 2020

Grade: A-

Airplane! (1980) is a landmark film in the spoof genre, leading the pack in the decade of silly (the 1980s), where films of this ilk and dumb comedies, in general, became a dime a dozen, oversaturating the market.

While the film is unabashedly brainless with gags for miles, the jokes work, and the tasteless brand of humor provides plenty of belly laughs.

Better yet, Airplane! never ages, holding up incredibly well long after its initial release. It’s just perfect for a Saturday late-night watch, or when one needs cheering.

It’s in my Top 10 comedies.

When it was originally released, the timing was perfect to spoof the aging world of disaster films. I refuse to believe that Jim Abraham and the Zucker brothers had malcontent on their minds since they created a friendly and benevolent yarn that’s well-timed.

Good comedy is tough to find, but this film gets it right. The monotone dialogue said with a straight face is what makes the hysterics genuine and palpable.

Not unfairly, it is to say that Airplane! is to disaster films what Mary Hartman, Mary Hartman was to daytime soap operas. A celebration and a clever wink to each, infusing much-needed light-hearted appreciation.

It’s fun to re-watch Airport (1970) and Airport ’75 with fresh eyes and a new perspective in parallel to this film.

Ted Striker (Robert Hays) is an ex-fighter pilot traumatized by the war, now working as a taxi driver. He is terrified of flying despite his previous occupation.

His girlfriend, Elaine (Julie Haggerty), conveniently a flight attendant, dumps him just before her flight from Los Angeles to Chicago.

Naturally, Ted throws caution to the wind and boards the flight in hopes of reconciling.

When several of the passengers and flight crew succumb to food poisoning, an inflatable named Otto must steer the plane toward Chicago.

The crew convinces Ted to muster up the courage to safely land the plane because Otto cannot do it, and subsequently conquer his fear of flying. A perilous yet comical landing ensues, and Ted and Elaine happily reunite.

The plot is a direct steal from Airport ’75 when poor Karen Black’s flight attendant character is famously instructed how to land the aircraft. Until, in a sexist fashion, the men arrive to take control, sending her back to serve coffee. This is intentional and spot-on to show the ridiculous nature of that plot point.

The gags are legendary, the “Surely you can’t be serious”, “I am serious…and don’t call me Shirley” exchange is the most famous one, always providing a laugh.

The effortless dialogue, as inane as it is, somehow works exceptionally well and combines brilliantly with the pacing and delivery.

It’s like a long and wonderful episode of television’s Saturday Night Live.

The chemistry between Ted and Elaine is very strong, making the audience root for their eventual reconciliation, though it’s obvious they will ride off into the proverbial sunset together.

Actors Hays and Hagerty deserve tremendous praise for aligning the characters so well. Also of note are the efforts of Leslie Nielsen and Peter Graves as Doctor Rumack and Captain Oveur, respectively.

Nielsen would subsequently become famous for spoof films, none of them as good as Airplane!

I’ll never profess to be a slapstick person, but Airplane! (1980) is one that I embrace, undoubtedly because of my love for disaster films and fondness for airplanes.

It is advisable to sit back, relax, and enjoy the zany ride that this satirical and very funny film offers.

2019 Films, Fantasy, Musical

Cats-2019

November 27, 2020 scottmet99 Leave a comment

Cats-2019

Director Tom Hooper

Starring Francesca Hayward, Jennifer Hudson

Scott’s Review #1,086

Reviewed November 27, 2020

Grade: C

Branded with the pesky “one of the worst films of all time” title, the 2019 rendition of Cats, made famous by the 1981 Broadway show, has also been met with “it’s so bad it’s bad” jokes and snickers at its mere mention.

While it’s not quite abysmal as a total package, the derision is justified mostly because the cat characters look beyond strange.

The studio scrambled the film into theaters just in the nick of time so it would receive Oscar consideration. It backfired, and the film received no nominations.

Unsurprisingly, Cats was a box-office disaster.

I’m going to defend Cats…..slightly. Sometimes a film with so much promise and possibility becomes like the poor kid on the school playground; bullied because somebody must be the outcast. It’s not fair, but that’s the way it is.

Having never seen the Broadway musical despite living just outside of New York City, my entire life, and the show running forever, the premise seems silly enough.

A band of singing felines spends one memorable night in a London junkyard belting out musical numbers as they look forward to an upcoming ball, and take a young, abandoned cat named Victoria (Francesca Hayward) under their wing.

Many characters (all cats) are introduced at various points through the song.

Old Deuteronomy (Judi Dench) and Asparagus (Ian McKellen) are the senior members, providing wisdom and stoicism. Idris Elba plays the mischievous Macavity, while Jennifer Hudson plays Grizabella, the outcast cat, once a legend at the theater, but now in tatters.

Finally, Rebel Wilson and James Corden provide comic relief as Jennyanydots and Bustopher Jones, respectively.

The unwieldy cast featuring more than a handful of respected Hollywood legends and A-list stars leads me to believe that the studio and filmmakers had high hopes for the project.

At a budget of 100 million, expectations were high, but things quickly went south.

Respected director, Tom Hooper, well-known for churning out the powerful The King’s Speech (2010) and Les Misérables (2012), was awarded the embarrassing Golden Raspberry awards for Worst Director and Worst Screenplay.

Yikes!

The art direction and set design are fantastic, and they are the film’s high point. Once I got past the plot, garish costumes, and weird choreography, I immersed myself in the look and the production values, thankful that someone had done their job correctly.

The colors are glossy and bright, giving a shimmering, lush tone that dazzled me. The London backdrop is magnificent, and many scenes provide glimpses of Big Ben, Tower Bridge, and other lovely landmarks.

The rundown theater set is a highlight, adding a murky and dusty atmosphere that is creatively done.

The songs start shaky but quickly escalate into respectability and even grandiose pizazz. Teetering too long in the first act with a seemingly never-ending “Overture” and “The Naming of Cats”, the film finally evens out with the best numbers in the production.

The gorgeous and powerful “Memory” introduces the wonderful “Beautiful Ghosts,” and fortunately, they are reprised later. Hudson nearly deserves a second Oscar for her haunting rendition of “Memory,” while Hayward does well with “Beautiful Ghosts”.

That’s where the positives end.

Stalwarts Dench, McKellen, Hudson, and newcomer Hayward perform their parts with dignity and refined professionalism, but it’s hard not to giggle anytime they are onscreen. Not that this is their fault, and hopefully, they were spared watching dailies or attending the film premiere.

At least they can console themselves with a hefty paycheck. Each looks ridiculous in their costumes, resembling a cross between a human being in bad attire and a strange creature from another planet.

This is what happens when things are half done. Any attempts to re-release the film with “improved effects” seem desperate and unprofessional.

The problem is not only that the actors look funny, but also that it distracts from any other real enjoyment, as a viewer will need to focus on the costumes above and beyond any other aspects.

Each character looks awkward and uncomfortable, with misused CGI and weird, creeping, crawling, and prancing around the stage — or in this case, the film set.

Besides the two incredible musical numbers, Cats feels watered down and not about anything specific, lacking any deeper meaning I picked up on. It’s merely about a bunch of cats singing songs, occasionally hissing or swatting at each other for effect.

Andrew Lloyd Webber’s beloved stage musical will take time to recover from the film version of Cats (2019).

It is advisable to watch the film once to experience and elicit a reaction, then put the film away in a secure box forever and pretend it never happened.

1997 Films, Action, Guy Films, Political Thriller, Thriller

Air Force One-1997

November 21, 2020 scottmet99 Leave a comment

Air Force One-1997

Director Wolfgang Petersen

Starring Harrison Ford

Scott’s Review #1,085

Reviewed November 21, 2020

Grade: B+

If ever a straight-ahead, summer blockbuster, popcorn flick existed, Air Force One (1997) is it.

Surprisingly, this is not a bad thing. It’s not cerebral, but it’s never dull.

The film has hooks and muscle and assembles a thrill ride, edge-of-your-seat action fest. Some would say this is just what the doctor ordered, and they’d be right, provided the mood is for a mind-escaping, meat-and-potatoes affair.

Air Force One is pure Americana.

With a patriotic musical score and a clear hero and villain, it’s easy to know who to root for. Suspension of disbelief is mandatory since some scenes are as implausible as Santa Claus shimmying down a chimney on Christmas Eve, but the film is entertaining.

The action is non-stop.

At the tail end of his prime action-star years (the 1980s and 1990s), Harrison Ford plays James Marshall, the president of the United States of America.

After making a bombastic speech in Moscow vowing never to negotiate with terrorists, a group of them led by the dastardly Ivan (Gary Oldman) hijacked Air Force One with the president and his family on board.

Marshall, a former soldier, hides in the cabin of the plane and races against time to save his family and those aboard the flight from the terrorists.

The plot is implausible and hokey, and it reeks of plot points meant to carry the story along, but surprisingly, the film works. There is no way a president would ever race around performing stunts aboard an airplane, conquering the villains like clockwork.

But Ford has the charisma to make us believe it could happen, and his character is a family man, a Vietnam veteran, and a Medal of Honor recipient.

Can this guy be any more perfect?

Oldman, always reliable as a villain, is perfectly cast. His character’s motivations are simplistic and nationalistic. Ivan believes that the collapse of the Soviet Union has ruined his country, and somehow it’s the fault of the United States.

The reasoning is silly, but it’s in keeping with the patriotic nature of Air Force One- the ‘us versus them’ mentality. The United States is good; Russia is bad.

It’s what middle America wants, and the target audience of this film is clear, back to the Cold War.

Wolfgang Petersen, who directs the film, knows his way around the action genre. After all, he crafted the memorable Das Boot (1981) and Outbreak (1995). The film has a Tom Clancy-Patriot Games meets Die Hard (1988) style.

Petersen meshes the score with the quick editing style to layer the film with more action than slowed-down conversational scenes. We know how it’s going to end, but enjoy the ride.

On closer inspection, the film is not just for the guys.

Glenn Close is cast as a female Vice President and a strong gender-twisting presence. Kathryn Bennett is a bold, careful woman, and the implication is that she is more than capable of taking over should anything happen to the president.

Her scenes mostly take place in the White House Situation Room and provide a nice calm as she is pressured by the Defense Secretary (Dean Stockwell) to declare the president incapable.

The scenes between Stockwell and Close are very strong.

Air Force One (1997) is a cliché-riddled and mainstream Hollywood creation to the max. Both the pacing and the pulsating style make the film a guilty pleasure and quite enjoyable.

When the mood strikes to kick back and relax with a fun, action-packed affair, this one is your choice. Just don’t dissect the details too much or expect real-life to mimic art.

Oscar Nominations: Best Sound, Best Film Editing

1973 Films, British, British Horror, Horror

Psychomania-1973

November 19, 2020 scottmet99 Leave a comment

Psychomania-1973

Director Don Sharp

Starring Nicky Henson, Mary Larkin, George Sanders

Scott’s Review #1,084

Reviewed November 19, 2020

Grade: B-

Psychomania (1973) is a film that has an intriguing premise, but it becomes messy and confusing because elements don’t come together.

A motorcycle gang wreaking havoc on their English small town decides to kill themselves and come back from the dead to live forever. They intend to do so with the aid of witchcraft and a sinister cult.

Unfortunately, neither the gang comes back to everlasting life nor does the premise provide an adequate payoff. The film meanders along without much intrigue or interest except for an above-average finale.

But even that is too little, too late.

Renowned film and television actor George Sanders, famous for powerful roles in classics like Rebecca (1940) and All About Eve (1950), in which he won an Academy Award, and numerous other roles, co-stars as a butler.

His role in Psychomania is barely more than a throwaway part since he does not have much to do. Hardly the crowning achievement of his long career, he committed suicide soon after the shooting wrapped.

Star, Nicky Henson joked that Sanders saw the finished film and overdosed on pills, realizing how far his career had descended. Hopefully, that’s an urban legend.

Beryl Reid, wonderfully bitchy in The Killing of Sister George (1968) as a lesbian soap opera star, is similarly downgraded, playing a glamorous matron who gets her kicks by holding seances for her neighbors.

She is the mother of the psychopathic leader of a violent teen gang.

Tom Latham (Henson) is the handsome leader of “The Living Dead,” a motorcycle gang that enjoys driving around town intimidating folks. He is joined by his pretty girlfriend, Abby (Mary Larkin), who is good-natured and less rebellious than the others.

Tom has time to flirt with other girls and uses his good looks to his advantage. He is in cahoots with his mother (Reid), and they have a penchant for frogs and black magic.

The gang decides, through Tom’s encouragement, to commit suicide, and if they believe in it, they will return as one of the “undead”.

Each follows suit, except for Abby, and engages in ritualistic activities at their hangout, “The Seven Witches”, which is a poor man’s Stonehenge. They decide to kill Abby because of her defiance.

The DVD quality (mine anyway) was atrocious and did the film no favors. My enjoyment would have increased if the luscious English landscape and its vibrant colors could have been capitalized on.

Mrs. Latham’s home, filled with creative antiques and oddities, would have been enhanced by higher-quality pieces.

The story never comes together. I like the main character, Tom, and find his sneering and posturing appealing in a light-hearted way. Henson is way too good-looking to be believable as a foreboding and crazy guy, but he sure is easy on the eyes.

No chemistry is to be found between him and Larkin, but they are cast well for this type of film- looks like overacting talent. Neither is terrible in the acting department nor great either.

The supporting characters look very British and of the 1970s, which is to be expected. This isn’t an annoyance as much as an astute observation. From the doctors who perform the autopsies to the constables, to the chief inspector, everyone looks their part.

Psychomania has a 1970s look and feel, so it ultimately feels dated because there is not much else to distinguish it from other films.

It’s adequate, but not much more.

On the positive, some of the music is chirpy and hip, which adds a bit of an upbeat, contemporary vibe. The numerous motorcycle scenes make me wonder whether a motorcycle company has a stake in the film, but surprisingly, it works.

The film, targeted as a horror film, is a strange one to categorize. The cult and witchcraft elements give off that vibe. The title of Psychomania (1973) creates a motorcycle/horror effect.

I’m not sure what to make of this film other than a sleazy, greasy, devil-worshipping mess. Poor Don Sharp, well-known for directing many Hammer horror films, seems not to know what to do with the silly script he is handed.

Is it a goofy comedy or straight-ahead horror?

1958 Films, British, British Horror, Horror

Horror of Dracula-1958

November 17, 2020 scottmet99 Leave a comment

Horror of Dracula-1958

Director Terence Fisher

Starring Peter Cushing, Christopher Lee

Scott’s Review #1,083

Reviewed November 17, 2020

Grade: B+

The first colorized retelling of the classic vampire film starring Bela Lugosi from 1931, Horror of Dracula (1958) infuses style and a modern feel into the production making it a formidable entry compared to the original.

The film launched the popular and delightful British Hammer Horror film series, which included eight Dracula sequels.

British horror films nearly always add macabre elements and a British sophistication that merges class with gothic. For maximum effect, they are perfect late-night watches during the Halloween season.

The atmospheric tone is key and will delight horror fans. The addition of horror stalwarts Peter Cushing and Christopher Lee enhances the pleasures.

On a gloomy night in 1885, a librarian named Jonathan Harker (John Van Eyssen) arrives at Count Dracula’s castle in Romania to begin his new assignment.

Secretly a vampire hunter, he is bitten by a desperate woman, really a vampire, begging for help. Jonathan manages to kill the woman but is then killed by Dracula (Lee). Doctor Van Helsing (Cushing) arrives at the castle to investigate, but Dracula already has designs on Jonathan’s fiancée, Lucy (Carol Marsh).

A battle of good versus evil ensues.

Lee brings sexuality to Dracula, which Lugosi lacks, though Lugosi is the creepier of the two. I love the close-up scenes where Dracula bears his enormous fangs and his eyes turn red in a good close-up style.

The casting of Lee is perfect as he becomes identifiable even in the first installment. I also love how Lee is tall, giving the character a menacing, foreboding, distinguished look.

Many might secretly welcome him nibbling on their necks!

Cushing, later to be cast as the villain, is terrific as the empathetic Van Helsing. Lee and Cushing play well against each other. Van Helsing is stoic and confident as he smoothly leads the charge against Dracula and guides Jonathan’s loved ones into unchartered and unimaginable territory. It’s almost as if he has been through this before.

A great scene occurs when Van Helsing arrives in town for a brandy and a drink at the local pub. Its inhabitants are suspicious and frightened, draping garlic over the entryway and hoping he will leave soon.

The best part of House of Dracula is the atmosphere we are treated to, and the color razzles dazzle. The story is good, but the texture powerfully shines through.

Careful not to be too showy, director Terence Fisher, soon to be a Hammer horror prominent fixture, uses his limited budget to his advantage in clever form.

Fisher realized his project was a colorized version and created a polished-looking, colorful stained glass window, which is prevalent in several scenes. Dracula’s castle, especially the bedroom where Jonathan stayed, is part cozy and homespun, part gothic and chilling. The cellar crypt is equally vast yet confining, as the open coffins reveal who lies in them.

The plethora of books elicits a cerebral feeling.

The finale is well done but not as spectacular as expected. Other parts are better. Van Helsing chases Dracula in a race against the sunrise, ripping curtains down to provide harsh light and turning Dracula to dust.

I was expecting a little more and more blood or a good stake through the heart. Fortunately, that entertainment was provided earlier in the film.

Having never read the 1897 Gothic horror novel by Bram Stroker (it’s on my list!), the film is pretty on target.

The film bestows creepy elements and sexuality with great color, lighting, and set design. The lesson learned is that a hefty budget and CGI can’t replicate the creative design and sound effects.

2019 Films, Drama, International, International Drama, Polish

Corpus Christi-2019

November 14, 2020 scottmet99 Leave a comment

Corpus Christi-2019

Director Jan Komasa

Starring Bartosz Bielenia

Scott’s Review #1,082

Reviewed November 14, 2020

Grade: A-

Questions of faith and redemption enshroud the powerful film, Corpus Christi (2019), directed by Jan Komasa, a Polish filmmaker.

Many viewers may not have the patience to endure the film’s slow pace, but I’ve seen enough of these quiet films to know that the payoff is usually worth the time invested.

I was right and there is a prize to be awarded at the end of the film while gradually sucking the viewer in along the way.

Komasa creates some beautiful camera work and shows what life is like in a small Polish village, but the culminating story and its afterthought are the main attraction.

I imagined myself living in this sleepy village where church and religion are the main highlights, while scandal and gossip seep below the surface. The church where some of the action takes place is stunningly beautiful.

Juvenile delinquent, Daniel (Bartosz Bielenia), resides in a Warsaw detention center, serving time for second-degree murder. He has bonded with the resident priest, Father Tomasz (Lukasz Simlat), and is spiritually awakened, determined to become a priest himself.

He is disappointed to learn that this is an impossibility due to his conviction.

Released and sent to work doing manual labor in a sawmill, Daniel stops in the village church to pray and pretends to be a priest. Assuming he is a real priest, the local priest asks him to fill in for him, which he eagerly does temporarily.

The main ingredient of the story is the plight of Daniel and his yearning for redemption, and this is wise on the part of the screenwriter (Mateusz Pacewicz).

In a more conventional story, Daniel might pretend to be a priest to avoid capture or a redundant existence at the sawmill. Instead, Daniel desires to be a priest, and he wants to do right by the parishioners who are warm to his overt and unconventional style.

He is seen as a leader and a moral compass, and Daniel adores and needs that.

Other side stories emerge to complement the main story and flesh out the happenings even more. This gives supporting characters more to do than merely support Daniel’s story.

This is a refreshing choice, making it more of an ensemble piece.

A recent car wreck has devastated the village, angering the inhabitants. The driver, reportedly a drunk, killed several teenagers and himself in the crash. His widow bears the rage of the villagers, receiving hate letters and nasty notes written on her house.

Marta (Eliza Rycembel), whose brother died in the accident, sympathizes with the widow and wants the driver to be buried alongside the other victims, but everyone else refuses.

Marta’s mother, a religious woman, is conflicted and devastated. The mayor supports the villagers in their anger, even going so far as to threaten Daniel. A fellow inmate spots Daniel and blackmails him. Marta and Daniel begin an affair.

There is so much going on with the different characters that the film could be turned into a miniseries.

Despite the slow pace, I became fully immersed in the lives of the villagers and began to care about the conflicts of other characters, not just Daniel’s.

Inevitably, questions will need to be answered. When will Daniel be found out? Who will rat him out, or who will harbor his secret? What will happen to him if he is discovered? How will Marta react to the news? These questions constantly went through my mind as the plot unfolded, which kept me wonderfully engaged.

Bielema is fantastic in the lead role. The complexities of Daniel are seen during intense sequences when he abuses drugs, has tawdry sex, and bludgeons a fellow inmate during a bloody fight. He is not always the peaceful young man befitting of a priest.

But that makes the character nuanced and complicated.

Corpus Christi is about conflict and characters wrestling with their demons. It’s a character study. Marta, her mother, the widow, the priest at the youth detention center, and Daniel’s prison buddy are all multi-dimensional.

Each of the central characters faces a demon: regret, sorrow, conflict. This is what makes the film so intriguing.

The events unfold at a slow but steady pace, sure to enrapture the thinking man’s viewer.

A similar American film would be Paul Schrader’s First Reformed (2017), starring Ethan Hawke.

Corpus Christi (2019) requires no explosions, CGI effects, bombs, or car chases to captivate the viewer and convey a truthful story grounded in honest emotion.

Oscar Nominations: Best International Film

1953 Films, Horror

House of Wax-1953

November 13, 2020 scottmet99 Leave a comment

House of Wax-1953

Director Andre De Toth

Starring Vincent Price, Phyllis Kirk

Scott’s Review #1,081

Reviewed November 13, 2020

Grade: B+

House of Wax (1953) is a classic horror film that should be seen by anyone who enjoys the genre. Its macabre elements make it a must-see.

Be sure to watch the 1953 version, not the mediocre 2005 remake that starred Paris Hilton with a severely changed storyline.

Interestingly, the 1950s version is a remake of the 1933 film Mystery of the Wax Museum, which I was unaware of until recently.

Pre-code 1930s horror is brilliant, so I cannot wait to watch this offering soon.

The production has the honor of being the first color 3-D film released by a major film studio, and the result is stylish and impressive for that early stage of cinema. If this isn’t enough, Vincent Price also stars.

With these riches, one could anticipate a masterpiece like Frankenstein (1931) or King Kong (1933). It’s not entirely on that level with a B-movie vibe that rises immensely in respectability with exquisite human art, a chilling premise, and a lesson about historical figures of long ago.

The film is a very short eighty-eight minutes.

The haunting and atmospheric opening titles immediately showcase the 3-D appearance in the first shot alongside a rainy and dreary New York City set in the early 1900s.

Director Andre De Toth confirms to his audience that it’s a 3-D film with the bold title leaping out of the screen within seconds. This sets the tone perfectly as the illustrious wax museum set is up next.

Wax creations like Marie Antoinette, John Wilkes Booth, and Joan of Arc pose in the vast gallery.

Henry Jarrod (Price) is a Professor who views his creations as his children, each unique and human-like to him. Marie is his ultimate masterpiece, and one wonders if she is his fantasy wife. His business partner, Burke (Roy Roberts), wants out of their partnership and takes drastic measures to gain insurance money. He sets fire to the museum, which burns to the ground, horribly disfiguring Henry.

The Professor goes off the deep end and rebuilds the museum using real human beings that he steals from the morgue! Frankenstein’s influence is evident.

Besides Price, the star is the wax museum, almost a character, but never upstages Price. Henry is sympathetic and menacing, and I felt sorry for the guy. Not only is his house of wax destroyed, but he has a disfigured face for life. His insurance policy benefit is of little comfort, nor is killing the man responsible for his misfortune.

We should root for the main couple, Sue Allen (Phyllis Kirk) and Scott Andrews (Paul Picerni), and attempt to understand why the wax figures look like dead people they know.

They are not the most substantial element of the film, though. Like other famous horror villains, Norman Bates and Hannibal Lecter, Henry is appealing, and we like him.

I would have liked to learn more about Henry before his ruination. Besides a brief tour of his museum, where he cleverly describes each work, we don’t know much about his life. He is creepy, but what else? Has he ever married? What are his parents like?

Charles Bronson and Carolyn Jones have minor roles as Henry’s mute assistant, Igor, and Burke’s gold-digging girlfriend, Cathy, respectively. This is fun since both went on to legendary careers in film and television.

A must-see for anyone studying cinematic technique or good horror trimmings, House of Wax (1953) contains state-of-the-art effects for the time, illuminating gas-lit streets of New York City, and a finale that includes a boiling hot vat of molten wax (what else!) that inspired a James Bond film.

These facets are lovely, but any horror film starring Vincent Price is worth the price of admission.

1972 Films, British, British Horror, Horror

The Nightcomers-1972

November 11, 2020 scottmet99 Leave a comment

The Nightcomers-1972

Director Michael Winner

Starring Marlon Brando, Stephanie Beacham

Scott’s Review #1,080

Reviewed November 11, 2020

Grade: B-

The Nightcomers (1972) is a disappointing prequel to Henry James’ 1898 novella The Turn of the Screw, which had already been adapted into the 1961 film The Innocents.

The dreadful title is neither catchy nor specific to the film. The lackluster and unmemorable result is jarring, given the masterpiece that is The Innocents.

It’s unclear whether the intention was to build on the film or to base it directly on the novella, forgetting The Innocents.

It’s not worth the effort to ruminate over the answer.

The most interesting comparison is that the film was released the same year as The Godfather (1972), in which the iconic role of Vito Corleone, the mafia head of household, and arguably the best role of Marlon Brando’s career, was created.

Mirrored against his role as a bizarre gardener named Peter Quint, with a broken Irish accent, one can guess why one role is memorable and why the other isn’t.

Flora (Verna Harvey) and Miles (Christopher Ellis) are recently orphaned children living in a vast English estate. Their absent guardian pays for the housekeeper, Mrs. Grose (Thora Hird), and governess, Miss Jessel (Stephanie Beacham), to keep things running smoothly.

Jessel and Peter embark on a torrid and sometimes abusive relationship that the children witness and emulate through play-acting. Flora and Miles suffer from isolation and must use their imaginations to make the best of their idle days.

Watching in sequence with The Innocents is not encouraged.

The Nightcomers is best served as a stand-alone product. The events and continuity are muddy and will confuse the most astute viewer.

Flora is much older than she is in The Innocents, even though the action takes place before those events. The characters being played by different actors doesn’t help.

Finally, The Nightcomers contains none of the ghostly mystique and spookiness that The Innocents does. So, it is advisable to put The Innocents out of mind.

Admittedly, events do come together in the final act, which is the best part of the film.

When two deaths occur simultaneously, they are both quite shocking and powerfully filmed. I felt more emotionally invested in the final ten-minute sequence than in the rest of the film.

Brando has one emotional scene worthy of his talents. Given the actor’s powerful chops, he can make any scene believable, but this is the cream of the crop material.

Stephanie Beacham is an okay casting choice, but I never felt the chemistry or connection between Jessel and Quint. Their relationship didn’t work for me.

Suspension of disbelief is required to get through a scene where a character drowns in what looks like two feet of water, making the scene lose some power.

Harvey and Ellis, as the children, are okay, but nothing spectacular. I am jaded, but I compare them again to The Innocents, and those actors are just better and more haunting, especially Miles.

The subject of mental illness and the distinction between reality and imagination is not explored in The Nightcomers.

The production is not a total dud, containing enough exterior elements of the plush and English landscape to please and make viewers feel they are in the country manor themselves.

The interior scenes are just as good. The children gallop through the enormous house to their heart’s delight, making the viewer feel like a kid along with them.

The sadomasochistic scenes between Peter and Miss Jessel are quite titillating and border on the X-rated. During the bedroom scenes, I nearly blushed from embarrassment. But, as erotic as they are, they also don’t do much to further the plot or add to the story.

They have a kinky sex life- so what?

There is also a weird suggestion of incest since Flora and Miles imitate what Quint and Jessel do; how far would they take it? The plot has good potential, but the film and direction aren’t executed well, and things don’t come together.

If you’ve never heard of The Innocents (1961), then The Nightcomers (1972) is recommended.

If viewing a cinematic masterpiece is desired, however, stick with the former and never look back.

1970 Films, Horror

House of Dark Shadows-1970

November 9, 2020 scottmet99 Leave a comment

House of Dark Shadows-1970

Director Dan Curtis

Starring Jonathan Frid, Grayson Hall

Scott’s Review #1,079

Reviewed November 9, 2020

Grade: B

House of Dark Shadows (1970) is undoubtedly intended primarily as a treat for fans of the popular gothic soap opera Dark Shadows, which aired on ABC from 1966 to 1971.

The soap was groundbreaking for its gloominess and its focus on the world of vampires, eliminating the tried-and-true apple-pie wholesomeness of serials like As the World Turns and The Guiding Light.

The film was an enormous hit with fans at the time of release, and while all can enjoy it, it screams of a specific target audience.

Released during the height of the television show’s popularity in 1970, it must have been enthralling to be the first feature film based on a daytime soap opera.

And how exciting for fans to see their favorites on the silver screen. I tried to keep this in mind as I was watching, and it helped me enjoy it more.

In later years, I watched bits of season one, so I have some knowledge.

If memory serves, some of the action happens in both the series and the film (like Barnabas rising from his coffin), but that doesn’t seem necessary and felt more like a recap to me.

The film is entertaining enough on its own merits, in a spooky, atmospheric way, though beyond more blood and chills, it follows the same formula as the series.

Our star, Barnabas Collins (Jonathan Frid), emerges from his coffin in the family mausoleum, much to the chagrin of the family handyman. He introduces himself to the Collins family as a distant cousin from England.

He has an uncanny resemblance to a figure in a portrait displayed at the estate, which is over a hundred years old.

A fancy ball is thrown to celebrate the family, where Barnabas bites Carolyn (Nancy Barrett), turning her into a vampire. He quickly becomes obsessed with governess Maggie (Kathryn Leigh Scott) while awakening the suspicions of psychologist Julia Hoffman (Grayson Hall).

The whole package is stylish and haunting, with plenty of essential goth attire, like coffins, capes, fangs, and blood-red lips. The production style is appealing and not the least bit cheesy or amateurish.

The famous Lyndhurst estate in Tarrytown, New York, was used during the shoot, and with good results. The interior is lavish, and the exterior is just as grand with lush grounds and a hidden driveway, which is helpful in the plot. The eerie attic, with its macabre and stifling trimmings, is vital in one scene.

This works much better than a studio set, and the overall production is superior to the series.

The final thirty minutes or so are the best part, with an astonishing Hammer horror likeness. When Julia gives Barnabas a powerful injection meant to cause him to age rapidly, all hell breaks loose.

You see, while Barnabas is obsessed with Maggie, Julia is secretly in love with Barnabas, so the dramatic soap opera necessities are intact.

The makeup during this sequence is highly effective and downright creepy.

Other characters are likable and respectable in the film, but the acting isn’t great, which reduces believability just a bit. Stalwarts like Joan Bennett as Elizabeth Collins Stoddard, Roger Davis as Jeff Clark, and David Henesy as little David Collins have prominent roles.

It’s an ensemble effort, as each character has a role to play in supporting the main story. This is a nice add-on and gives everyone time to shine.

Regardless of knowledge of the daytime drama series, one can enjoy the film on its own merits, though how exciting it must have been for fans to see their favorites on the silver screen in 1970.

I am not sure how many viewers will need to invest in the film, because it feels like a reward for series viewers and, in the present day, a retro, nostalgic experience.

The series was again celebrated in a film, the mediocre 2012 effort Dark Shadows, starring Johnny Depp.

House of Dark Shadows (1970) is a compelling watch around Halloween time, with nice autumnal, gothic elements that fit the season of the witch.

The ghastly (in a good way) makeup and bloody bites and pretty people turned vampires, suffering from stakes through the heart, is worth the watch.

1979 Films, Adventure, Airplanes, Disaster

The Concorde…Airport ’79-1979

November 7, 2020 scottmet99 Leave a comment

The Concorde…Airport ’79-1979

Director David Lowell Rich

Starring Alain Delon, Susan Blakely, Robert Wagner

Scott’s Review #1,078

Reviewed November 7, 2020

Grade: B

The fourth and final installment of the popular Airport film franchise, The Concorde…Airport ’79 (1979) has an appealing, sophisticated international flavor, mainly French, that may turn off some viewers seeking a more traditional, domestic offering.

The three previous installments contained a wholesome Americana quality that is lacking in this one. The rich culture is the high point for me in a film that by all accounts is not very good.

By the late 1970s, the disaster genre had all but crashed and burned, so the film was commercially unsuccessful, and the franchise was thus abandoned.

The plot is utterly ridiculous, even by disaster standards, and my hunch is that ideas for what could go wrong on an airplane were hard to come by. After all, it’s not easy to top an airliner crashing and sinking into the ocean, leaving most passengers unscathed.

This time, we experience an airplane flying upside down (more than once!), nose-diving (more than once!), and nearly doing backflips and somersaults (more than once!).

Disappointing is the limited amount of deaths that occur despite these treacheries, unless you count a shooting inside an apartment and a suicide that have little to do with the plane ride.

Back to my original point, the cultured and vibrant foreign presence, specifically Paris and its lustrous and historic offerings, is the high point of The Concorde…Airport ’79.

The City of Lights is prominently featured as a team of American Olympic athletes travels from Washington, D.C., to Moscow, with a layover at Charles de Gaulle Airport.

The heavenly site of the Eiffel Tower is an immediate identifier as French pilot, Captain Paul Metrand (Alain Delon), flies the state-of-the-art Concorde to the United States to transport its passengers to the games.

There is a strong French flavor to this film. During the Paris layover, George Kennedy’s Joe Patroni, now a pilot, befriends a gorgeous woman named Francine, with whom he bonds over dinner.

They and others embark on a fabulous French bistro experience and have the time of their lives. Who cares that she is later revealed to be a prostitute? The setting oozes with French goodness, food, and sexy accents.

One peculiarity is why the trip goes from Paris to Washington, D.C., back to Paris, and then on to Moscow. It’s a bit confusing and unnecessary.

Unintentionally funny is how the Concorde is attacked by a drone en route to Paris, and then a bomb is planted on the plane before takeoff to Moscow.

Trouble occurs in the same plane with the same passengers.

You would think anyone with half a brain would sit the second leg out, perhaps hopping on the nearest boat or train out of town.

The main story is secondary and quite superfluous. Robert Wagner plays Kevin Harrison, a corrupt arms dealer who plots the destruction of the Concorde because news reporter and girlfriend, Maggie Whelan (Susan Blakely) has evidence of his weapons sales to communists.

He plans to blow up the plane, killing all the passengers, instead of hiring an assassin to kill only Maggie when she lands and before she can tell authorities.

The plot is completely story-driven.

Several celebrity cameos are added mostly for comic relief and largely go nowhere.

Jimmie Walker as the pot-smoking, saxophone-playing Boise, and Martha Raye’s bathroom-crazed Loretta are ridiculous by any standards. Charo’s one scene as Margarita, a woman who sneaks her dog onto the plane and is subsequently kicked off the flight, is a waste of time.

I would have rather witnessed another scene of Loretta needing to use the restroom or Boise getting high.

And Susan Blakely overacts throughout the film.

Despite all these hard knocks, The Concorde…Airport ’79 (1979) is good entertaining fun, not to be taken seriously, and encouraged for fans of the genre.

There is much fun to be had with the guest stars, once A-list, now B or C-list, and the crash-landing finale over the snowy Alps is pretty cool.

Just know what you are getting yourself into.

2005 Films, Horror, Horror-Camp, Post-apocalyptic, Zombie

Land of the Dead-2005

November 6, 2020 scottmet99 Leave a comment

Land of the Dead-2005

Director George A. Romero

Starring Simon Baker, John Leguizamo

Scott’s Review #1,077

Reviewed November 6, 2020

Grade: C+

Land of the Dead (2005) is a post-apocalyptic horror film written and directed by George A. Romero, the fourth of Romero’s six Living Dead movies, preceded by Night of the Living Dead (1968), Dawn of the Dead (1978), and Day of the Dead (1985).

The result is a mediocre effort, with weak acting and too much silliness. The film’s goofy nature negates any sense of foreboding or dread, despite plenty of zombies.

The result is camp over horror, rather than a blended mix of both, which would have worked better.

Comparing Land of the Dead to Night or Dawn is a tough ask, since the former is so much better and makes political points.

There is nothing like that in Land of the Dead besides a weak side story about the class distinction that goes nowhere, and some jokes about the Bush regime.

That’s a shame because it would have made the film more relevant.

What we are served is a healthy dose of shoot ’em up or slice ’em up scenes where zombie heads or some other appendage are blown or sliced off.

This was fun for a while, but I wanted something more.

Wisely, and staying true to the other films, the events are set around Pittsburgh, Pennsylvania, which helps with continuity. The geographical reference to the famous “three rivers” immediately identifies the city used.

As events kick off, we learn that the zombie population has outnumbered the human population, forcing the humans to barricade themselves within a structured community for safety.

There exist the haves who live in a luxury high-rise and the have-nots who survive in squalor.

Dennis Hopper plays the rigid government figure, Paul Kaufman, and our good guy is the handsome Riley Denbo (Simon Baker), who helps those in need.

Conflict erupts when it’s discovered that the zombies exhibit superior intelligence. They storm the gates of the city in droves and wreak havoc on the people of the community.

Other characters along for the ride are Cholo (John Leguizamo), Slack (Asia Argento- yes, daughter of famous horror director Dario Argento), and Charlie (Robert Joy).

The rest of the film is a battle between good and evil (the zombies and greedy Paul) and not much else.

Why do zombies exhibit advanced intelligence? Are they cloning or are more humans becoming zombies? These questions are not answered.

Creatively, Land of the Dead looks good. It is stylistic, dark, and mysterious. Scenes where zombies parade around in misty and gloomy conditions are cool. The slicker, more commercial style gives a modern, fresh look and feel.

Reminiscent of Danny Boyle’s 28 Days Later (2002), that’s not a bad thing, though it’s tepid for Romero. 28 Days Later rejuvenated the zombie genre, so patterning after it doesn’t hurt Land of the Dead.

Another positive is the homoerotic nature of the relationship between Cholo and Mike (Shawn Roberts), a rookie. Both masculine and aggressive, there exists a hint of tenderness and closeness that feels romantic.

When Mike is bitten and commits suicide to avoid turning, Cholo is devastated, implying that they might have shared a close background.

Unfortunately, this is never explored after Mike’s death.

On that note, the characters are not particularly interesting or well-crafted. Paul is merely bad, while Riley is heroic. Cholo is angry and rebellious, while Slack is a prostitute. Charlie is the sidekick.

Everyone has their place, but little substance is given to their past lives, their hopes for the future, or anything beyond escaping the zombies. I get that’s the goal, but more personal stuff would have been better.

The rest is what you would expect from a zombie film and nothing more, which feels lazy of Romero, especially since he wrote the screenplay. He tends to deliver better products with some meaning or interpretation.

In Dawn of the Dead, for example, the zombies sought the mall because it was familiar to them. One could argue that a city and its lights offer more of the same, but this feels weak and has already been explored.

I guess I was expecting more of something that would grab me into the world of the film, and nothing ever did.

A forgettable affair, Land of the Dead (2005) does not require repeated viewings as its predecessors do. This film was one-and-done for me.

Some trimmings and entertainment are present, but I yearned for more substance than a standard Saturday late-night zombie fest. There are enough of those already.

1970 Films, Art, Czech, Fantasy, Horror, International, International Horror

Valerie and Her Week of Wonders-1970

October 30, 2020 scottmet99 Leave a comment

Valerie and Her Week of Wonders-1970

Director Jaromil Jireš

Starring Jaroslava Schallerová

Scott’s Review #1,076

Reviewed October 30, 2020

Grade: B+

One of the oddest films I’ve ever laid eyes on. The best way to view a film like Valerie and Her Week of Wonder (1970) is to absorb it and let it either pull you in or turn you off.

The cadence is to feel the film and then, later, search for any semblance of meaning or interpretation, or perhaps never.

The genre best to categorize the film is art cinema meets fantasy meets horror meets fairy tale. Is it ever a bizarre experience? If one is to take hallucinogens first, this film is a recommended watch.

The production is Czech and is translated to Valerie a týden divů in its native language.

The story involves a week in the life of Valerie (Jaroslava Schallerová), a girl on the cusp of womanhood, and the weird sexual thoughts and desires she encounters while blossoming. She encounters witchcraft, vampires, and a bizarre Constable, who wears a mask.

Valerie is raised by the strangest grandmother imaginable (Helena Anýžová), who morphs into other characters named Mother and Redhead. Valerie does not live a boring life.

One poster for the film is of a blooming flower with splotches of blood that can be interpreted as a girl losing her virginity.

To delve much further into the plot than a quick summary would is wasteful, because it doesn’t make much sense.

Such activities as Valerie’s grandmother making a pact with vampires to keep her young forever, Valerie lying in a coffin surrounded by rotten apples, being burned at the stake, and finally being followed and menaced by her priest are a few of the shenanigans the film presents.

This is shrouded by some of the loveliest photography and scenery you’ve ever seen.

The creativity and experimental nature of Valerie and Her Week of Wonders will allure an open-eyed viewer seeking something left-of-center… very left-of-center.

The story is secondary.

The medieval landscape is gothic and haunting, perfect for evil-doings and strangeness. Not to harp on this point, but the look of Valerie and Her Week of Wonders is the money shot. All else can be left by the sidelines.

The perspective is all Valerie’s, which is nice in an early 1970s feminist way. It feels like Valerie is changing from a girl to a woman and a strong one at that. She is coming into her own after facing and challenging demons. In the mix is a handsome man who titillates Valerie.

I felt like I was emerging into the girl’s subconscious and experiencing her fears and desires alongside her.

Critically speaking, I would have preferred a little more logic and wrap-up, but that’s just me.

Surely, not a realistic interpretation. Was the girl dreaming while asleep or merely delving into fantasy one day? The more I tried to follow the story and put the pieces together like a puzzle, the less it did me any favors.

I then decided to space out and indulge in the other lovelies included. I should have done this from the beginning.

I am unsure how many Czech films I have seen, if any, but Valerie and Her Week of Wonders (1970) is a clear example of what Czech filmmakers can do, and it’s wild what they can come up with.

The mystique is likely multiplied on American audiences, and a viewer used to more formulaic approaches to film. With a desire for more put-together stories and logic, I nonetheless admired this film for the magic and style it offered.

1974 Films, Comedy, Drama, Romantic Comedy, Romantic Drama

Alice Doesn’t Live Here Anymore-1974

October 27, 2020 scottmet99 Leave a comment

Alice Doesn’t Live Here Anymore-1974

Director Martin Scorsese

Starring Ellen Burstyn, Kris Kristofferson, Diane Ladd

Scott’s Review #1,075

Reviewed October 27, 2020

Grade: A-

Deserving of the Best Actress statuette she won for her role, Ellen Burstyn carries the film Alice Doesn’t Live Here Anymore (1974) from start to finish with drama and comedy.

I can’t watch any performance of Burstyn’s without smarting at how she lost the same award years later, after her frighteningly good performance in Requiem for a Dream, released in 2000.

She was defeated by Julia Roberts, who delivered an adequate, though unexceptional, performance in Erin Brockovich (2000).

But, I digress.

A character study, Alice Doesn’t Live Here Anymore, tells the powerful story of a woman (Burstyn) forced to begin a new life and forge her path after her husband is killed in a car accident.

She is thirty-five years old and wary of the approaching middle age as she pursues a singing career. She is joined by her young son, Tommy (Alfred Lutter), and faces fear and loneliness as the pair embarks on a journey throughout the southwestern United States.

She dates, fights, and does a soul search, finally landing a job as a waitress at a roadside diner.

On paper, this film could have been reduced to television movie status, as the premise sounds kind of corny and sentimental.

Shocking to me is that Martin Scorsese directed it. Best known for male-driven mobster pictures like Goodfellas (1993), Gangs of New York (2002), and The Irishman (2019), Martin Scorsese’s introspective female-journey film doesn’t seem like his thing.

A fun fact is that he agreed to direct at Burstyn’s urging, since she wouldn’t have starred otherwise. The actress surmised that the script needed more darkness and grit, which it contains without losing its heart.

A strange yet lovely photographed scene kicks off the picture and seems to be an homage to The Wizard of Oz (1939). With a dusty, golden backdrop, a young Alice looks like Dorothy with an idyllic life.

Suddenly, Alice’s mother bellows her to come home for dinner. She responds with salty language. The scene feels out of place based on the rest of the film, but it looks good.

Burstyn made me care about Alice from the first scene containing adult Alice. Alice is a good person. She is hard-working and strives to please her husband, hoping he will enjoy the delicious dinner she has prepared for him. He barely grunts at the meal and has a tumultuous relationship with Tommy, whom Alice spoils.

This plot point returns later in the film.

Alice is not a doormat; however, she provides humor and comic relief during tense moments. She also shares a warm friendship with her neighbor. We do not know what the husband’s demons are (depression?).

He and Alice share an emotional moment in bed one night before he dies the next day.

With her marriage behind her and limited financial means, Alice and Tommy take to the road. I adore the relationship between the two. Tommy is not always easy to parent, exhausting his mother with typical young adult nonsense.

It’s easy to forget that he has lost his father and has no direction. Their relationship is complicated, but there is much love.

The juiciness comes when Alice finally lands a singing gig at a seedy lounge bar and meets the maniacal Ben, played flawlessly by Harvey Keitel.

At first, he is charming and attentive, wooing her like she’s never been wooed before. When she learns he is married, he turns psycho, and she is forced to leave town.

The meat of the film comes when Alice begins working at the diner and meets her new friend, Flo (Diane Ladd), and her new love, David (Kris Kristofferson). After some trials and tribulations, Alice realizes her life is not so bad.

As much as there are dramatic elements, Alice Doesn’t Live Here Anymore is not a soap opera or overwrought. The scenes and situations bristle with energy and authenticity, thanks to the great acting and fluid direction.

My favorite scenes occur at the diner. With greasy blue-plate specials and dishes piled with ham, eggs, and hash browns, the working-class extras are perfectly positioned around the diner.

In the background, they lend a feeling of rush, chaos, and family traditions. The diner scenes are where Alice bonds the most with Flo and David, and they are delicious.

Alice Doesn’t Live Here Anymore (1974), a lighter, wholesome production, was turned into a popular television sitcom in the late 1970s, titled Alice. It’s a progressive story about a woman on her own, getting it done, and mustering the courage to face whatever life throws at her.

It’s an inspiring story for both women and men.

Oscar Nominations: 1 win-Best Actress-Ellen Burstyn (won), Best Supporting Actress-Diane Ladd, Best Original Screenplay

1986 Films, Horror, Slasher

Friday the 13th Part VI: Jason Lives-1986

October 26, 2020 scottmet99 Leave a comment

Friday the 13th Part VI: Jason Lives-1986

Director Tom McLoughlin

Starring Thom Mathews, Jennifer Cooke

Scott’s Review #1,074

Reviewed October 26, 2020

Grade: B-

Due to the fan outrage surrounding Friday the 13th: A New Beginning (1985), a film I thought was decent, the powers that be decided a return to form was in order, quickly resurrecting Jason in the corniest way.

Re-discovering the “real Jason” is not the worst idea in the world, but the execution is lacking, and I’m not crazy about introducing a “superhuman” Jason.

How is anyone supposed ever to kill him?

Adding comedy and children is okay with me, but both ideas largely fall flat when paired with poor acting and gimmicky sitcom situations that offer no character development.

No time is invested in getting to know any of the characters.

The heavy metal soundtrack, featuring Alice Cooper, is the best part.

A slicker 1980s visual look doesn’t help the film, though this does come with better production values. The result is not the greatest of all the Fridays.

The chapter gets off to a compelling start when Tommy (Thom Mathews) and his friend Allen Hawes (Ron Palillo- yes, Horshack from the Welcome Back Kotter television series) trudge through the rain and mud back to Camp Crystal Lake to finally bury Tommy’s demons.

Fans of the series will recall that Tommy did a stint in Pinehurst Halfway House, and a pretend Jason went on a killing spree to avenge his son’s death.

The friends dig up Jason’s grave. The murderer is struck by lightning and magically comes back to life, killing Allen. Tommy spends the rest of the film trying to warn the town that Jason is alive, well, and back on a deadly rampage.

The camp has been renamed to the more pleasant-sounding Forest Green to make people forget that numerous killings have ever taken place. This seems to have worked as a busload of kids flocked to the camp for a summer of fun, along with the usual batch of camp counselors in tow.

To the film’s credit, like with its predecessor, there is a black character, this time a counselor named Sissy Baker (Renee Jones), and some of the child characters offer different ethnicities.

The diversity and inclusiveness are to be admired, but unfortunately for Sissy, she is dragged through a window and savagely beheaded.

Jason kindly spares the kids.

I like how there is consistency in keeping the main character, Tommy Jarvis, albeit with a different actor. We’ll probably never know why it was decided to recast John Shepherd with Thom Mathews, but the actors look enough alike to avoid too much confusion.

Like Shepherd, Mathews possesses a wounded look, which makes the casting adequate.

There is a rooting quality to Tommy, especially as he faces adversity with the police department. Sheriff Garris and Deputy Rick are played purely as foils and are a roadblock to capturing Jason.

Any attempt at romantic chemistry between Tommy and Megan (Jennifer Cooke) falls flat because there isn’t any between the actors, try as they might.

Neither are they the best actors in the world (not a requirement for the horror genre), but they do have the right, fresh-faced look warranted for the role.

Megan is the only person who believes Tommy as they race to the camp to stop and kill Jason.

The rest of the film is more of the same and offers no surprises except for more humor. A coked-up pair having sex in a motorhome and a group of corporate types on a paintball outing are examples of this.

The four “suits” beheaded by a machete are the best part of the otherwise campy and obnoxious sequence.

The rest of the characters are systematically killed off, with nothing especially interesting to add to the film.

Writer and director Tom McLoughlin attempts to revitalize the aging series and genre with more special effects and techniques, and does little else to freshen his characters. It would have been nice to get to know some of them better.

By 1986, the slasher film needed rest, and Friday the 13th Part VI: Jason Lives is a dull entry in the series catalog.

There is nothing terrible about the film, nor is there anything memorable either.

2020 Films, Drama, LGBTQ+ Drama, LGBTQ+ Films

The Boys in the Band-2020

October 21, 2020 scottmet99 Leave a comment

The Boys in the Band-2020

Director Joe Mantello

Starring Jim Parsons, Zachary Quinto, Matt Bomer

Scott’s Review #1,073

Reviewed October 21, 2020

Grade: A-

One may ask oneself why bother checking out the 2020 version of the legendary (and dark!) 1970 stage turned cinematic rendition of the sniping and vicious gay drama The Boys in the Band?

Primarily because of the terrific cast, a cast featuring the troupe who starred in the recent 2018 stage revival. But more than that, the film feels surprisingly modern and relevant, providing a message of hope that the original did not contain.

Crucial and historical to point out is that every principal actor is openly gay, and their characters are gay or bisexual. My, how much progress has been made for actors when not too long ago an “out” actor risked both reputation and career for the price of his truth.

This is monumental.

The remake wisely keeps to the crucial period of 1968, and really, how could a modern setting work at all? Being gay in 1968 is nothing like being gay in 2020; I don’t care if it is the Upper East Side of Manhattan.

To bring this film to any other time would diminish its power and importance. If anything, it makes one proud of how far the LGBTQ+ community has come, though there are further advancements left to make.

Alas, the Vietnam era is safely intact, during a time when a strip of gay bars and a group of gay friends were the only things to keep a gay man from going crazy, regardless of how abusive they were.

This will hopefully teach young gay viewers, or anyone else, what being a gay male was like over 50 years ago. When the rest of the world was deemed “normal” and you were cast aside as either a sexual deviant or a head case, this is powerful.

Self-hatred, denial, or the closet were commonalities.

The Boys in the Band has no females save for a blink and you’ll miss it moment featuring a snooty neighbor.

Important to realize is that the film is a pre-A.I.D.S epidemic in a time of carefree love and endless hookups, where booze and drugs were a necessary escape and usual was to feel out of sorts regularly.

A few characters are effeminate. One is presumably bisexual and closeted, and one is masculine and recently divorced from a woman, now cohabiting with a male lover; one is black, and one is an escort. Each character comes from a different walk of life, yet they are bonded.

The running of the gamut of unique types and personalities is part of why I love this story.

The events commence one evening when Michael (Jim Parsons) throws a birthday party for friend Harold (Zachary Quinto) at his apartment. They are joined by other friends, Donald (Matt Bomer), Hank (Tuc Watkins), Larry (Andrew Rannells), Bernard (Michael Benjamin Washington), and Emory (Robin de Jesús).

Guests include Cowboy (Charlie Carver), a “birthday present” for Harold, and Alan (Brian Hutchison), a college friend of Michael’s.

As the booze flows, the talk gets vicious and the claws come out.

The men, prompted by a drunken Michael, play a daring game of “telephone”. Each guest is dared to call the one person he truly believes he has loved. With each call, past scars and present anxieties are revealed in a torturous fashion.

This is when the film gets interesting.

Bernard and Emory bear the brunt as their phone calls take a tremendous toll on each other.

Parsons and Quinto are the standouts. As the lead, the character of Michael seems stable at first. He is stylish, well-dressed, and lives in a reputable apartment. Though unemployed, he once traveled the world.

Parsons slowly unleashes the vicious fury contained within Michael, the more he drinks. He enjoys hurting others just as he has been injured.

The catalyst for his character is Alan. Are they in love? Is Michael in love with Alan? Alan takes a fancy to masculine Hank.

Quinto, as Harold the self-professed “ugly, pockmarked Jew fairy”, is becoming increasingly morose about losing his youthful looks and his ability to attract cute young men.

The catalyst to his character is Cowboy, who has those qualities that Harold lacks.

Strangely, Harold and Michael are best friends, both loving and hating each other. After brutalizing each other with words, Harold exits the apartment, announcing he will call Michael tomorrow. They’ve been through this before and probably will again.

No, The Boys in the Band circa 2020 is not quite on par with The Boys in the Band circa 1970, but this is merely because brilliance is a tough act to replicate.

The modern telling is an absolute joy and will hopefully recruit fresh audiences to the perils and brutality of being gay in another time.

Thanks to Ryan Murphy for adapting this project to Netflix as part of his United States $300 million deal with the streaming platform.

1977 Films, Adventure, Airplanes, Disaster

Airport ’77-1977

October 20, 2020 scottmet99 Leave a comment

Airport ’77-1977

Director Jerry Jameson

Starring Jack Lemmon, Lee Grant, Brenda Vaccaro

Scott’s Review #1,072

Reviewed October 20, 2020

Grade: B+

The word that springs to mind after a viewing of the disaster flick Airport ’77 (1977) is “entertaining”. Whether this is positive or negative depends on the viewer and what they want out of a film.

As a huge fan of the disaster genre, I was one satisfied customer, though there is little to distinguish the film from other efforts. It is a more cohesive and professional-feeling effort than its predecessor, Airport ’75.

The fun is watching the cast, the grandiose list of who’s who of Hollywood heavyweights gracing the opening credits.

We wonder who will survive and who will not.

The star is the airplane. Shown in both interior and exterior shots, the luxurious, privately owned Boeing 747-100 is a standout in the picture.

Owned by wealthy philanthropist Philip Stevens (James Stewart), the plane is packed with VIPs and priceless art traveling to his Florida estate for a party.

The wealthy travelers are drugged, and the aircraft is subsequently hijacked before crashing into the ocean in the Bermuda Triangle and sinking 100 feet, prompting the survivors to undertake a desperate struggle to live.

The airplane set is a feast for the eyes. A double-deck plane (naturally!), the plush green carpets, and the spiral staircase, complete with a robust bar stocked with every type of liquor imaginable, are wonderful trimmings.

It allows the viewer to forget all about the typical in-flight treats like their seat being kicked, a screaming baby, or a fat man snoring, and escape to the pleasures of champagne, caviar, and slippers.

Seriously, the sets are tremendous and worthy of their accolades.

Jerry Jameson, primarily a television director, sticks to a formulaic approach that makes the film look like a long television series. Think Murder, She Wrote, Dallas, or Dynasty at 30,000 feet.

I say this because the melodrama is sky-high (no pun intended), and situations arise between flight crew and passengers to create more tension than the crash itself.

The juiciest drama exists between husband and wife, Martin (Christopher Lee) and Karen Wallace (Lee Grant). He flirts with women at the bar, drinks too much, and gets jealous. They squabble. You get the idea.

What a joy it is to see some of the stars on-screen together, specifically Stewart, Olivia de Havilland, and Joseph Cotten. Nicholas Cotten is a romantic match for de Havilland’s Emily Livingston, and they appear to be old friends.

Fans of classic cinema will undoubtedly associate him with Shadow of a Doubt (1943) and her with Gone with the Wind (1939), and to see the legendary stars side by side is darling, nearly worth the price of admission.

Stewart is perfectly cast as the rich and distinguished man eager to see the impending arrival of his estranged daughter and her son, hopeful of a happy reunion.

These delights are why I love this genre.

The actors teeter back and forth between phoning in their lines and enthusiastically having a ball with their respective roles. Sometimes it’s hard to tell which is which. I’ll bet the set was tension-free as everyone was earning a bundle of cash.

And why not? The budget is plentiful and overabundant.

The plot is generally ludicrous, as is to be expected. The thought that anyone, let alone nearly everyone, could survive a crash into the ocean and remain unscathed as it sinks to the depths of the water is beyond silly.

Suddenly, when all passengers conveniently emerge from their drug-induced stupor simultaneously, hysterics erupt, which is quite humorous. As the water slowly seeps into the plane, a frenzied effort to find a way out begins.

The last portion of the film, involving a rescue crew arriving to save the passengers, is a disappointment, lacking much in the way of captivation.

Airport ’77 (1977) has all the elements its target audience expects. If the well-known cast were instead unknowns, the crash peril and its following adventure would not be danger personified, and the dramatic and romantic tensions left out, the film would be a disappointment.

The film is like sinking your teeth into a fattening, highly caloric Whopper from your favorite Burger King. It’s a guilty pleasure you wouldn’t necessarily tell your health-conscious friends about, one you get so much enjoyment from.

But it’s fun, so why not indulge from time to time?

Oscar Nominations: Best Art Direction, Best Costume Design

1985 Films, Comedy, Dark Comedy, Independent, Independent Comedy

After Hours-1985

October 9, 2020 scottmet99 Leave a comment

After Hours-1985

Director Martin Scorsese

Starring Griffin Dunne, Rosanna Arquette

Scott’s Review #1,069

Reviewed October 9, 2020

Grade: A-

After Hours (1985) is a gem of a film.

When thoughts of director Martin Scorsese are conjured, Taxi Driver (1976), Raging Bull (1980), and Goodfellas (1993) immediately spring to mind.

Scorsese’s decision to create a pared-down independent film was met with enormous success and accolades for the very first Best Feature indie film victory and Best Director honors.

The experience is a black comedy set in the gritty, unpredictable underbelly of Soho, New York City, in the 1980s.

Mixing comedy with satire, Scorsese leaps from the similar content of The King of Comedy (1983) to this film made only two years later.

Any fan of New York City will cheer with joy at the authenticity achieved by shooting the film on location there. The Big Apple in the 1980s was a notoriously violent cesspool, so the genuine setting and the use of dark streets and alleys are an immeasurable treat and add much zest to this unusual film.

A nice guy, Paul Hackett (Griffin Dunne), works hard as a computer data entry worker by day and shares an encounter with a quirky young woman named Marcy Franklin (Rosanna Arquette) in a Manhattan coffee shop.

After she gives him her number and leaves, he is unable to stop thinking about her and embarks on a late-night adventure to go and see her at her apartment.

The night does not end how he thinks it will, not by a long shot, as he spends the rest of the long night meeting various women and other strange characters as he traverses around the city attempting to get back home. He has lost his money and is broke.

The great aspects of After Hours are its bizarre characters and the cinematography that offers a tantalizing view of downtown Manhattan.

The film is atmospheric and zany in its gloomy, steamy side streets and odd locales, sprinkled with color.

A dingy bar, a sophisticated artist’s apartment, and a man sculpture that follows Paul everywhere are usurped by the film’s strangest and most interesting set, Club Berlin, an “after-hours” club inhabited by punks who want to shave Paul’s head into a mohawk.

I enjoyed this film as a sort of “A Day in the Life of Paul” adventure story, albeit a gothic one.

The film concludes wonderfully as the sun begins to rise, and thus Paul’s wild night finally ends.

I was chomping at the bit with the thought of what a new morning would bring and the possibilities of reuniting with any of the women he encountered the night before, either dead or alive.

Particularly charming to me while watching After Hours, the decade of decadence long past, are the relics that were once commonplace in everyday life. A phone booth, the traditional yellow cabs, and desktop personal computers are heavily featured.

These items, relevant when the film was made, now seem like throwback niceties that make the film endearing and like a glimpse into someone’s time capsule.

I did not pick up on much authentic romance between Paul or any of the female characters- Marcy, June, Gail (Catherine O’Hara), or Julie (Teri Garr), but maybe that’s the point. While one winds up dead, not one, but two of them pursue him, and not in a good way.

The film is mystical, weird, and energetic. The inclusion of Cheech & Chong only adds to the revelry.

Sadly, underappreciated and too often forgotten, After Hours (1985) is a Scorsese treat worth dusting off now and then. The birth of the Independent Spirit Awards owes a lot to this film for grabbing top honors, and the admiration works both ways.

For a glimpse at the creative genius that is Martin Scorsese, this film gets an enormous recommendation.

Independent Spirit Award Nominations: 2 wins-Best Feature (won), Best Director-Martin Scorsese (won), Best Female Lead-Rosanna Arquette, Best Screenplay, Best Cinematography

2019 Films, Drama, Independent, Independent Drama

Clemency-2019

October 7, 2020 scottmet99 Leave a comment

Clemency-2019

Director Chinonye Chukwu

Starring Alfre Woodard, Richard Schiff

Scott’s Review #1,068

Reviewed October 7, 2020

Grade: A-

I will be candid. Clemency (2019) is not a film that will appeal to everybody’s taste.

The topics of prison, execution, and psychological conflict among its characters are pretty heavy.

After a long day of work and the desire to snuggle on a comfy couch with a tall glass of wine, this film may not be recommended. But, for those seeking a thought-provoking experience about timely and serious social issues, with racial overtones, Clemency is a riveting and powerful story.

This film is written well, and it matters.

Haggard, prison warden Bernadine Williams (Alfre Woodard) trudges along day after day, managing the multitude of tasks that her job requires of her. She is committed to overseeing the prison executions and experiences her twelfth at the start of the film.

The procedure is botched, causing the prisoner excess pain, and an investigation is launched. Bernadine is conflicted and consumed by her job, causing her marriage to Jonathan (Wendell Pierce) to deteriorate and her visits to a local watering hole to increase.

When Bernadine takes interest in Anthony Woods (Aldis Hodge) a prisoner slated for execution in a case receiving national media attention and prison protests, her conflict escalates.

Anthony’s ex-girlfriend (Danielle Brooks) and attorney (Richard Schiff) play vital roles, especially when the convicted cop killer’s innocence is called into question.

Will he or won’t he receive a last-minute pardon from the governor sparing his life?

Chinonye Chukwu, a rookie director, is a black, Nigerian female with lots of interesting things to say and a bright future ahead of her. She also penned the screenplay and tackles a weighty issue of great controversy in the United States.

The age-old debate of whether capital punishment is inhumane or even deters crime is not the focus of the film’s narrative, but neither is it about that per se.

The fact that Chukwu and her characters, Bernadine and Anthony, are both black introduces an additional racial element.

In the time of “Black Lives Matter”, this is a powerful statement.

To say that Clemency is a downer is an understatement, though it leaves the viewer with some sense of hope amid an ambiguous ending. I won’t spoil the film, but we wonder what will become of Bernadine.

Has she had enough of the prison lifestyle and decided to fly off in a new direction, or does her work so consume her that she is trapped for life, too far gone for any growth?

The final sequence is brilliant.

An impending execution, emotional goodbyes are said, and a full minute or so of a close-up scene focused on Woodard’s face taps a range of emotions that include compassion, disgust, and unbridled sadness.

The gloomy and stark atmosphere that Chukwu presents fills the film with a bleakness that is eclipsed ever so slightly by the possibility of change.

A common theme, and not only with Bernadine, is the need to be heard and the frightening perception of being invisible. Jonathan, in a strong supporting role by Pierce, is the perfect husband. A teacher, he is responsible, loyal, and even prepares a surprise dinner on their anniversary.

He feels diminished by Bernadine and resides in a motel after he has had too much. Anthony’s attorney and a priest, both of whom plan to retire soon, feel their jobs are pointless, as they are not heard and their work is neither appreciated nor noticed.

Interesting that Chukwu does not reveal which state within the United States the twelve or thirteen executions take place in, though we can only guess it’s somewhere in the south.

Clemency (2019) is a bold offering fraught with debate, questions, and character conflict. A slow build, there is much to savor and mull over, and the story feels personal.

Woodard delivers a soaring performance, backed by exceptional work from all the supporting players.

I cannot wait to see what Chukwu comes up with next.

Independent Spirit Award Nominations: Best Feature, Best Female Lead- Alfre Woodard, Best Screenplay

1987 Films, Comedy

Adventures in Babysitting-1987

October 5, 2020 scottmet99 Leave a comment

Adventures in Babysitting-1987

Director Chris Columbus

Starring Elisabeth Shue

Scott’s Review #1,067

Reviewed October 5, 2020

Grade: B

Swimming in the myriad of teen comedies that were all the rage in the 1980s, a few good, most bad, Adventures in Babysitting (1987) is one of the “okay” ones.

It’s lightweight, yet fun.

I like the female-centered character who drives the story, likable, and personable, but also strong and bold, capable of handling tough situations without the saving hands of a man.

The antics throughout Chicago are also a major draw, as I loved seeing the city’s landscape and sights. The film is formulaic but works better than most.

The premise is quite far-fetched, bordering on the absurd, and masks no reality whatsoever.

The plot points are gimmicky, silly, predictable, and filled with urban, inner-city stereotypes, playing on the timely feeling of terror at the thought of being lost and in danger amid a major city.

The reality of this decade was of crime-ridden United States cities, and the idea is brilliant for a mostly suburban audience safely nestled in their homes away from any real trouble.

They can securely escape to the cinema where pretend danger awaits.

Elisabeth Shue, a near-novice fresh off her debut film role in The Karate Kid (1984), takes center stage as the cool, pretty girl who is everyone’s best friend, not the least bit snobby.

She plays Chris Parker, the fresh-faced, perky, seventeen-year-old high school senior, who is ditched by her boyfriend on their anniversary and is convinced by her mother to spend the evening babysitting the two Anderson kids, Brad (Keith Coogan) and Sara (Maia Brewton).

Naturally, trouble ensues, and a planned dull evening of popcorn and a movie goes awry.

The gags must not be taken seriously.

Beginning in the friendliness of Oak Park, Illinois, the action quickly spells out danger as a dirty, downtown bus station becomes the next set.

Teenagers and youngsters being left alone in a metropolis is most parents’ worst nightmare, and the film uses this angle to create one perilous situation after another.

The gang even dangles from a skyscraper!

Adventures in Babysitting is director Chris Columbus’s first film and a worthy debut. Soon to hit the big time with the Home Alone film and its sequel (1990-1992), it’s easy to see how those films are patterned after Adventures. The tone is similar, and the antics of a young adult are explored.

Columbus then moved to success with Mrs. Doubtfire (1993) before taking on the Harry Potter films. So, he adopts stories with a youthful or a young person’s point of view.

While watching Adventures in Babysitting, the viewer needs to suspend all disbelief and just go with the experience for the enjoyment.

I vividly recall seeing this film in a theater on a hot summer night with popcorn and soda in tow, eager for a nice, light-hearted experience.

This film delivered then and still does.

The best part is watching Chris and the gang drive a station wagon through downtown Chicago. Could this particular car be any more obvious a symbol of the ‘burbs? Does anyone in a city ever drive a station wagon? The image conjures up a boatload of kids, the shopping mall, and McDonald’s.

Chris is so out of place in the city and the situations so preposterous that we should be annoyed by the hijinks.

But, somehow, the film works!

Of course, the film is riddled with banalities like car thieves, gangs, a dirty blues club, and as many criminals as one can imagine.

For viewers aching for a carefree trip down memory lane, 1980s style, the typical bunch of offerings from John Hughes- the trio of Sixteen Candles (1984), The Breakfast Club (1985), and Pretty in Pink (1986) usually come to mind first.

But let’s not forget a fine and fun film, Adventures in Babysitting (1987), with a subtle message about a young woman taking charge and control, albeit with every other stereotype in the book glaringly on display.

Enjoy the ride.

2009 Films, Comedy, Independent, Independent Comedy

Adventureland-2009

October 1, 2020 scottmet99 Leave a comment

Adventureland-2009

Director Greg Mottola

Starring Jesse Eisenberg, Kristen Stewart

Scott’s Review #1,066

Reviewed October 1, 2020

Grade: B-

Adventureland (2009) is a cute film. That may seem like a compliment, but it’s not. There is nothing wrong with this film, but it’s a rather safe experience.

In a word, it is fine, nothing more, nothing less.

It plays like a romantic comedy and is mixed with a coming-of-age theme about two young adults merging from kid to adulthood. It’s a story that most of us can appreciate though it’s been done too many times in cinema for this film to do much more with.

The selling point is the excellent acting.

The theme park (aka Adventureland) and the nostalgic 1980s time is a nice touch though it feels like a 2009 film with the actors fitted into retro costumes and hairstyles.

Greg Mottola directed Superbad in 2007 so you can see the influence. He has a knack for directing films with a light comedic touch that will appeal to young adults going through some angst or young, blossoming feelings of love.

The stars of the film, Jesse Eisenberg and Kristen Stewart, terrific actors in their regard, have little chemistry together and that weakens the picture. They are helped immensely by a talented supporting cast, who pick up the slack and improve the film.

Bill Hader, Kristen Wiig, Wendie Malick, and Ryan Reynolds give a comic boost to the events. Unfortunately, despite positive trimmings, the film feels like your standard, every day, independent comedy with little left to separate it from other contemporaries.

It just has big stars.

Likable James Brennan (Eisenberg) anticipates a fabulous trip to Europe after graduating from Oberlin College, having earned it for his achievements.

Unfortunately, his parents Mr. and Mrs. Brennan (Jack Gilpin and Malick) break the bad news to him. They are in dire financial straits and can no longer support him. He must get a part-time job immediately.

The disappointing news disappointed me as well. I was savoring a nice adventure in London, Paris, and Rome.

Sadly, the rest of the film takes place in an amusement park in Pennsylvania.

Predictably, Mottola, who wrote the screenplay as well, offers banal and stereotypical characters such as Mike Connell (Reynolds), the resident mechanic, who is a rival for the affections of Em (Stewart), the love interest of James.

Thrown into the mix are various characters who are a bitch, a sarcastic college student, and a nerd. And, for good measure, James is a virgin. Naturally.

The film nosedives with some slapstick humor and misunderstandings worthy of American Pie (1999).

When Adventureland was made Eisenberg was on the brink of breaking out into a fantastic role in The Social Network (2010) that garnered him an Oscar nomination and credibility.

Stewart, meanwhile, was in the middle of her Twilight (2008-2012) years which made her a household name but was undoubtedly creatively very unfulfilling.

This film is a reminder that actors need to work and make the best of the material they are given.

Truth be told, the main attraction of watching Adventureland is to sit back and admire what was to become of Stewart and Eisenberg. Since the film’s release in 2009, they have traversed meatier and better projects.

Eisenberg has a Tom Hanks or James Stewart likeability. He is someone to whom the average young male can relate and the problems that James must face could easily be challenges the viewer might also have.

In the case of Stewart, what a star this girl is with the right roles. Since 2012 she has declined roles in big-budget films in favor of independent productions for the next few years. She took on a terrific supporting role in the drama Still Alice (2014) as a troubled daughter.

Still young, the future looks very bright for the talented actress.

But, back to Adventureland (2009). This film is only suggested for a glimpse at the early work of Eisenberg and Stewart. Two young stars who went on to enormous critical cinematic success.

1982 Films, British, Crime Drama, Drama

Agatha Christie’s Evil Under the Sun-1982

September 29, 2020 scottmet99 Leave a comment

Agatha Christie’s Evil Under the Sun-1982

Director Guy Hamilton

Starring Peter Ustinov

Scott’s Review #1,065

Reviewed September 29, 2020

Grade: B+

Following the success of Murder on the Orient Express (1974) and Death on the Nile (1978), Agatha Christie’s Evil Under the Sun (1982) is of a similar formula and is an entertaining yarn.

The experience is like savoring a favorite meal- we know what we will get, and we dive in with pleasure.

Director Guy Hamilton, famous for directing four James Bond films, takes the director’s chair and keeps the action moving quickly, crafting an enjoyable effort with a bit more humor than Christie’s novel, on which it is based.

Nearly on par with the two films, save for more predictability, this one is nonetheless a fine and joyous offering.

The setup remains the same, only the setting changed, as the affluent characters flock to a swanky resort area for fun and frolicking amid the Adriatic island with a saucer full of secrets and enough intrigue to last a lifetime.

Peter Ustinov returns as Detective Poirot in a very good effort. The man sleuths his way to a final revelation common in these films as the whodunit culminates in unmasking the murderer or murderers and bringing them to justice.

Spoiler alert- there are two killers. The juicy reveal takes place as all the suspects gather, nervously fretting about possible accusations.

I found it easy to figure out the culprits since they are portrayed as the most secretive, but it’s fun watching them unravel and hearing the explanation of their motivations. Also enjoyable is how each character has a specific ax to grind with the victim.

Agatha Christie’s Evil Under the Sun is a solid, classic whodunit done very well, with well-written characters and stellar acting.

The action starts mysteriously in the North York Moors when a hiker finds a strangled, female victim. Quickly, Hercule Poirot is asked to examine a diamond belonging to rich industrialist, Sir Horace Blatt (Colin Blakely).

The diamond is deemed a fake, and suspicion is cast upon Blatt’s mistress, the famous actress Arlena Stuart Marshall (Diana Rigg).

Events then shift to the resort island, leaving us to ponder what the dead woman at the beginning has to do with anything. In good time, the audience finds out, and this is ultimately satisfying.

As usual, a large principal cast is introduced along with well-known stars.

Daphne Castle (Maggie Smith) owns the lavish hotel and caters to Arlena’s put-upon husband, Kenneth (Denis Quilley), and stepdaughter, Linda (Emily Hone). At the same time, Arlena openly flirts with the yummy Patrick (Nicholas Clay), who has fun prancing and preening while wearing next to nothing.

Other characters are the husband-and-wife producers Odell and Myra Gardener (James Mason and Sylvia Miles), gay writer Rex Brewster (Roddy McDowell), and Patrick’s ailing wife, Christine (Jane Birkin).

Each has an issue with Arlena, who is the intended murder victim.

Like Murder on the Orient Express and Death on the Nile, the setting is the character itself. Though not a train or a boat, the sunny and sandy island is the perfect locale.

The water, a noon cannon, suntan lotion, and a watch are the items most important in the whodunit, but wait, there’s more!

A tennis match, the cliffs, and a by-the-minute timeline are of utmost importance to figure out the mystery. The point of a film like this, as with the treasured Agatha Christie books, is deducing the whys and hows of the murder.

Delicious are the scenes featuring Daphne and Arlena going toe-to-toe, and there are just not enough of them. Bitch versus bitch, as they trade barbs and snickering insults with glee, Smith and Rigg enjoy their roles, and the audience is treated as such.

Rigg is great as the bad girl, relishing in offending nearly everyone she encounters, and Smith speaks volumes with her eyes.

As for the male characters, Nicholas Clay gets my vote for the sexiest man of the year. With his lean, toned, bronzed chest and white shorts, which he confidently pulls up to reveal his bare butt cheeks as he struts near the pool, he can have any girl he wants (and possibly guys), and adds layers to the film.

The biggest riddle is what he has in common with his wife, Christine, who is saddled with health issues and is not fun to be around.

Staying largely true to the novel, Agatha Christie’s Evil Under the Sun (1982) will satisfy its intended audience.

A herculean author penning characters like Hercule Poirot and Miss Marple, everyman, and everywoman sleuths, this film was the last to be a big-screen affair.

Made-for-television movies would soon follow.

A lavish landscape, bitchy characters, scheming characters, murder, and mayhem are the recipe of the day for a good time.

Welcome to my blog!1,542 reviews posted so far! I'm Scott Segrell and I reside in Stamford, CT. My site features hundreds of film reviews I have written since I launched the site in 2014. I hope you enjoy reading my latest reviews or searching for your own favorites to see if we agree. Please see my featured films of the month, and don't forget to utilize the tags and category links.