All posts by scottmet99

2008 Films, Best Picture Oscar Winners, British, Danny Boyle, Dev Patel, Drama, Freida Pinto, Independent, Independent Drama, Irrfan Khan

Slumdog Millionaire-2008

July 11, 2018 scottmet99 Leave a comment

Slumdog Millionaire-2008

Director Danny Boyle

Starring Dev Patel, Freida Pinto

Scott’s Review #786

Reviewed July 11, 2018

Grade: A-

Winner of the 2008 Best Picture Oscar (as well as seven other Academy Awards), Slumdog Millionaire (2008) arguably was the “feel good” film of the year.

While I am not sure if all of those awards are ultimately deserved, the film is nonetheless very good, offering a mixture of good culture, a young man overcoming enormous odds, and a love story.

Fans of the universal game show hit, Who Wants to Be a Millionaire, will be pleased.

Young Dev Patel (critically acclaimed for 2016’s Lion) stars as a poor young Indian man, Jamal Malik. He is detained after being a contestant on Who Wants to Be a Millionaire after he comes one question away from winning a million dollars.

The producers go on a commercial break and Jamal is whisked away to custody as suspicions are aroused and the young man is accused of cheating. Since he is a “slumdog” and poorly educated, it is assumed there is no way possible he could know all the answers.

Jamal recounts, via flashbacks, through experience, how he came to know all of the correct answers.

Director, Danny Boyle does a fantastic job directing the film. Slumdog Millionaire is edited in a fast-paced fashion and the camera angles are quick and stylized, making for an excellent flow.

The soundtrack to the film is very effective and enhances the plot. For example, the music is extremely diverse and features genres such as traditional Indian classical music, European house music, and American-style hip hop.

This is an ingenious way for Boyle to incorporate multiple cultures and he, therefore, creates a rousing crowd-pleasing experience.

Another successful aspect of the film is its use of knowledge and intelligence to tell a story. As we experience Jamal’s difficult life beginning as a five-year-old orphan, the unlikely success story and his adventures on the streets are engulfed in both life lessons and education.

The audience is learning important details about the world while Jamal simultaneously is.

The romantic, love-story featured in Slumdog Millionaire is also a highlight and extremely well-crafted. Heartbreakingly, Jamal, his older brother Salim, and the lovely Latika (later played by the gorgeous Freida Pinto) are on the run when Latika vanishes.

Her disappearance and later reappearance are vital aspects to the heart of the film and Patel and Pinto make a handsome and highly likable couple. Their reconciliation is heartfelt and beautiful and gives the film a nice emotional investment.

The incorporation of a relevant and acclaimed game show into the story is wonderful, though hopefully as the years go by, the film does not suffer from a dated feel if and when Who Wants to Be a Millionaire is long forgotten, but alas this is a risk and only time will tell.

The glossy set and for American audiences, the Indian-style version of the game show is great fun as are the Indian locales, which visually dazzle.

A slight detraction of Slumdog Millionaire is the film is unquestionably uplifting and light feeling. Even though the characters face peril and dangerous experiences, the film just “feels” safe.

So much so that qualities such as slick and mainstream resound.

Don’t get me wrong, the film is genuine and has heart and soul, but just slightly too cheery. Of course, since the film is made well and the story and the acting great, this can easily be overlooked.

Slumdog Millionaire (2008) is a wonderful piece of work and is quite simply a film that lots of people will champion. All of the elements are perfectly in place, which is a main selling point and a prime reason for the film’s many accolades.

The romance and adventure pieces are the best parts- with a quick flow and lots of fun, educational tools utilized.

The film is a nice pleasure to experience.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-Danny Boyle (won), Best Adapted Screenplay (won), Best Original Score (won), Best Original Song-“Jai Ho”, “O Saya”, Best Sound Editing, Best Sound Mixing (won), Best Cinematography (won), Best Film Editing (won)

2011 Films, Drama, Ezra Miller, Independent, Independent Drama, John C. Reilly, Lynne Ramsay, Tilda Swinton

We Need to Talk About Kevin-2011

July 9, 2018 scottmet99 Leave a comment

We Need to Talk About Kevin-2011

Director Lynne Ramsay

Starring Tilda Swinton, Ezra Miller, John C. Reilly

Scott’s Review #785

Reviewed July 9, 2018

Grade: A

We Need to Talk About Kevin (2011) is a tremendously disturbing independent drama with eerie similarities to the infamous Columbine school shooting massacre.

The point of view of the film is from the perspective of Eva (Tilda Swinton), a haggard, troubled mother doubting her love for her violent teen son.

Swinton was shamefully overlooked for an Academy Award nomination despite her brilliant and breathtaking role. The overall film itself is equally astounding and powerful.

Adapted from a Lionel Shriver novel, the events of the film begin in present times after tragedy has occurred. Eva, once a successful, writer of affluent means, now lives alone in a rundown house near a prison where she frequently visits her son Kevin (Ezra Miller).

She is now reduced to working a mundane job in a travel agency while terrorized by neighbors who blame her for her son’s machinations. Chillingly, Eva ponders the warning signs Kevin exhibited throughout his childhood and tortures herself with thoughts of what she could have done differently to prevent the shootings and the death of her loved ones.

Uniquely, the film segues to before Kevin was even born. Eva and her husband Franklin (John C. Reilly), happily welcome their baby boy, but he is immediately “not right” and difficult and cold towards her.

This behavior continues over the years as Kevin is distant towards Eva, but warm and adoring towards his father, leading to mental games and the death of a pet. When Eva and Franklin have another child things get progressively worse leading to tragic events.

The film is a pure masterpiece with riveting acting performances all around (especially Swinton) and a slow, plodding pace. This is a perfect aspect of the film because there is a continuous gloomy and moody vibe.

Director, Lynne Ramsay, reveals all in the beginning moments of the film so we know how events will transpire, but the pure enjoyment is the development of the characters.

Dad, Franklin, and daughter, Celia, are around, but the film belongs to the characters of Eva and Kevin and their relationship with each other.

Many questions will be asked throughout the film (I know I asked myself these questions).

Should any blame be cast upon Eva or is she purely innocent? How about Franklin? Is Kevin just a “bad kid”? Was Eva wrong for breaking Kevin’s arm in anger, or justified? Should Eva have never had kids because of her earlier doubts? Should she have been more proactive in getting treatment for Kevin?

Swinton delivered her career-best performance and while she was recognized with a Golden Globe nomination, the ultimate gold statuette (Oscar) alluded to her. I find this to be troubling especially since she won for 2007’s Michael Clayton, a very good performance, but not on the same level as Eva.

Swinton is one of the great modern actresses and hopefully, great roles will continue to follow this treasured star.

Almost on par with Swinton is a young talent, Ezra Miller. A relative newcomer in 2011 he appeared in the indie gem The Perks of a Wallflower (2012) and in later years traversed into more mainstream fare like Trainwreck (2015) and Suicide Squad (2016).

We Need to Talk About Kevin remains his best and most challenging effort.

One of the best sequences occurs during the school massacre scene. Shot at night time (and in my adopted hometown of Stamford, Connecticut!) the sequence involves flashing police lights and chaos as Eva approaches the school in horror. With no dialogue, we see Kevin enter the school and render the doors useless as an escape route.

Terrified students are murdered as Kevin erupts with maniacal rage. The scene is downright chilling and incredibly effective.

2017’s The Killing of a Sacred Deer reminds me quite a bit of We Need to Talk About Kevin in tone and style, so much so that I wonder if the latter was watched and studied before the former.

Either way, the duo could be watched subsequently for a double-dose of teenage maniacs.

With a bleak and dark tone, We Need to Talk About Kevin (2011) offers a story that has a clear message. Never discussing the hot topic of gun control, guns are not used in the slaughter, a bow is, weapon restrictions will nevertheless be an obvious discussion point.

This film is one to be observed, savored, dissected, and thought about after the finale, and is one to be remembered as a great piece of cinema.

2011 Films, Ben Falcone, Chris O'Dowd, Comedy, Jill Clayburgh, Jon Hamm, Judd Apatow, Kristen Wiig, Maya Rudolph, Melissa McCarthy, Paul Feig, Rebel Wilson, Romantic Comedy, Rose Byrne, Terry Crews

Bridesmaids-2011

July 6, 2018 scottmet99 Leave a comment

Bridesmaids-2011

Director Paul Feig

Starring Kristen Wiig, Maya Rudolph

Scott’s Review #784

Reviewed July 6, 2018

Grade: A

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

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

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

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

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

My one gnawing gripe is that shouldn’t a film about women be directed by a woman?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2018 Films, Documentary

Won’t You Be My Neighbor?-2018

July 5, 2018 scottmet99 Leave a comment

Won’t You Be My Neighbor? -2018

Director-Morgan Neville

Starring-Fred Rogers

Scott’s Review #783

Reviewed July 5, 2018

Grade: A

As much as I enjoy the documentary genre, it has somehow never been close to the top of my favorites list. Many films of this ilk are very good, providing some relevant facts about a subject matter perhaps taboo to me, but sometimes they are somewhat interesting, few are great.

Along comes a documentary that is emotional, inspiring, and lovely. Won’t You Be My Neighbor (2018), based on the life of Fred Rogers is simply great.

Won’t You Be My Neighbor? chronicles the life and rise to popularity of a kindly, mild-mannered man from Pittsburgh, Pennsylvania with a simple message of kindness towards children.

Beginning as a local television personality, the show he created centered around children and producing positive messages for them.

Universally known as Mister Rogers, the documentary explains his determination, eventual fame, his ability to enrich lives, and his need to introduce heavy subject matters to children in order to expose them rather than shelter them from it.

In today’s tumultuous time’s boy is he missed!

Having fond memories of watching the PBS television show Mister Rogers’ Neighborhood as a child, the program offered a feast of creativity in every half hour.

Featuring the Neighborhood of Make-Believe, a magical trolley would transport the viewer to a world of puppets (voiced by Rogers). Other poignant moments occurred when Rogers would sing the catchy theme song at the top of every show. The episodes were filled with simple yet important messages of self-acceptance, diversity, and kindness towards others.

At the conclusion of each episode Rogers would sing the song “It’s Such a Good Feeling” in such a way that any child watching would feel secure, loved, and embraced.

Rogers sadly died in 2003- his wife, grown children, and various former cast members relay cherished memories and inspirational stories about the creative genius. Rumored to have had an insecure childhood, he was a champion at insuring children felt worthy and accepted for who they are.

The documentary also shows via news flashbacks how Rogers fought in court for necessary funding.

My emotional reaction surprised me quite frankly. I expected a nostalgic trip back to childhood with flashbacks from the show, some interviews and a jovial good time. Instead, I was utterly blown away by how touching and humanistic the documentary was in addition to the aforementioned expectations.

Sure, old clips (some black and white) brought a flood of memories as puppets Daniel Striped Tiger, Madame, and King Friday XIII, make appearances, but the flood of tears that accompanied the memories was unexpected.

Never at all preachy, the documentary holds the same level of genuine goodness as Rogers does. For audiences watching the film, the question of when someone will well up in tears is the wrong question- it’s how often?

Examples of the most touching scenes are when a young, gay actor is accepted by Rogers for who he is when his own family members do not. A handicapped child confined to a wheelchair sings a heart wrenching duet with Rogers.

Finally, as Rogers gives a commencement speech at a college university a teary graduate explains why he gave her a special preschool education.

Perhaps the most poignant moment occurs in the final moments of the documentary. When many of the film participants are asked to think for just a moment about someone who taught them kindness, whether they are alive or dead, the sequence is monumental in feeling.

A quick foray into the current political climate in the United States is only briefly skated around, carefully so as not to ruin the sweetness of the overall experience.

Director Morgan Neville perfectly paces his documentary so that it never drags.

At one hour and thirty-four minutes, the flow is perfectly structured. The first half is a bit lighter and more fun while the second half culminates with a more serious and introspective tone.

Won’t You Be My Neighbor? (2018) is a brilliant documentary film and one of the best I have ever seen.

Independent Spirit Award Nominations: Best Documentary Feature (won)

1993 Films, Ann Dowd, Antonio Banderas, Bradley Whitford, Charles Napier, Denzel Washington, Drama, Jason Robards, Joanne Woodward, Jonathan Demme, LGBTQ+ Drama, LGBTQ+ Films, Mary Steenburgen, Tom Hanks

Philadelphia-1993

July 3, 2018 scottmet99 Leave a comment

Philadelphia-1993

Director Jonathan Demme

Starring Tom Hanks, Denzel Washington

Scott’s Review #782

Reviewed July 3, 2018

Grade: A

Having the powerful distinction of being one of the first Hollywood LGBT films to deal with heavy issues such as HIV/AIDS and homophobia, Philadelphia (1993) is a film to champion.

The film does contain some less-than-positive stereotypes across the board, but was a tremendous box office success and more importantly introduced a large audience to a still (at that time) taboo subject.

Hopefully, this had a tremendous effect on creating an understanding of a vicious disease and its ramifications.

Tom Hanks deservedly won the Best Actor Oscar for his lead performance of an AIDS and discrimination victim as did the heartbreaking theme song “Streets of Philadelphia”, penned by Bruce Springsteen, win for Best Original Song.

Director Jonathan Demme creates a world quite realistic in portrayal at the corporate level. Hotshot attorney Andrew Beckett (Hanks) has a promising future at one of the country’s largest law firms in Philadelphia.

Assigned a high-profile case, it is noticed that Andrew has developed lesions across his body and is subsequently fired from the firm. After deciding to sue the firm and having no luck finding an attorney to represent him, he finally meets struggling black attorney, Joe Miller (Denzel Washington), who begrudgingly takes the case to gain exposure.

Philadelphia is a film that is a courtroom drama with a cause and is firmly ensconced in the “message movie” genre. A lesser version, and perhaps one made even a decade or so after 1993, might be reduced to the Hallmark television movie category.

Fortunately, the timing is perfect and Philadelphia can be remembered as a film championing LGBT rights.

Hanks’s performance is just dynamic- his character is meant to be empathetic, a victimized man unjustly suffering not only discrimination but a death sentence. The audience knows what is to come and as Andrew loses more weight and appears more sullen and haggard, the tale increases in sadness.

The final act of Andrew’s court victory is to be celebrated, but also is heartbreaking as a feeble and dying Andrew now lies close to death.

Hanks brilliantly infuses Andrew with courage, heart, and values, so much so that he becomes a hero to the audience even if their sexuality is different than his.

As much as the undying love for Hanks is deserved, the powerful supporting cast is a treasure. Washington is not as sympathetic a character as Andrew is, but learns a lesson and eventually leaves his machismo on the sidelines.

The heart-wrenching death scene culminating in the hospital room involves lover Miguel (Antonio Banderas), surrounded by Andrew’s family, all-embracing as one. There is beauty mixed with tragedy in this one scene alone.

Even Mary Steenburgen as the tough defense lawyer shows some heart. And who can say more about the dynamic Joanne Woodward as Andrew’s mother?

Unfortunately, there are a few stereotypes to endure, and sadly many early LGBT films (and some still do!) include these for emphasis- or perhaps ignorance? Nonetheless, these make the film seem slightly dated given the LGBT progress made in the decades since the film was released.

Joe Miller is portrayed as a macho guy afraid to be viewed as gay- he even jokes around about being a “man” with his wife. Joe also grimaces when he shakes hands with Andrew and suddenly realizes Andrew has AIDS.

Nearly all of Andrew and Miguel’s gay friends are effeminate- this hardly seems possible.

Such is a monumental achievement when a film breaks barriers by telling a story of critical importance. Philadelphia (1993) does just that by patiently asking its audience for tolerance, understanding, and heart.

In return, the film educates, floods with emotion, and breaks hearts. Other LGBT films would come along that were arguably even better, but Philadelphia is a groundbreaking experience sure to be remembered as the first of its kind.

Oscar Nominations: 2 wins-Best Actor-Tom Hanks (won), Best Original Screenplay, Best Original Song-“Streets of Philadelphia” (won), “Philadelphia”, Best Makeup

2017 Films, Adam Scott, Biography, Bryan Cranston, Comedy, J. J. Abrams, James Franco, Jason Mitchell, Keegan-Michael Key, Kristen Bell, Megan Mullally, Seth Rogen, Zoey Deutch

The Disaster Artist-2017

July 2, 2018 scottmet99 Leave a comment

The Disaster Artist-2017

Director-James Franco

Starring-James Franco, Dave Franco

Scott’s Review #781

Reviewed July 2, 2018

Grade: B

The Disaster Artist (2017) is a biography-comedy that I found to be middle of the road to mostly good if I’m judging in overall terms- most I liked with a little criticism.

Due to the many accolades, I confess to having anticipated a bit more from the finished product and hardly found it any sort of masterpiece.

Still, I was both impressed and unimpressed by the performance of James Franco in the lead role, awed at the emergence of the actor as a director, and the Los Angeles setting is great.

At times the film teeters almost into bad slapstick or shtick, and a bit silly, and as much as I respect his performance, this criticism is directed at Franco. Nobody can deny his acting talent if he chooses the right films.

His attempt at making his character peculiar is noticeable within seconds so it seems Franco also makes him a bit of a goof and I was not able to take the character seriously all of the time.

And the weird accent threw me.

This film is based on the non-fiction book called The Disaster Artist. The work chronicles the making of 2003’s The Room, not to be confused with the 2015 film, Room. The Room was considered amateurish and one of the worst movies to ever have been made.

Told repeatedly that his acting stinks, oddball Tommie Wiseau (James Franco), a European-American aspiring actor decide to screw Hollywood and produce, direct, and star in his own film.

Mysteriously, Wiseau has an endless amount of bank funds, which he uses towards the film. Roommate and friend, Greg Sestero (Dave Franco), stars in the film and thus gets his big break. The duo, and various others, pitch in to create the project, which suffers from a level of ineptness on the part of Wiseau.

The Los Angeles setting really resonates with me as did the recurring theme of struggle within the Hollywood scene. These are major pluses to the film as a whole.

Los Angeles can appear to be a sunny and glamorous town but always contains a gloomy dark underbelly beneath the shiny exterior.

The film realistically depicts struggle and success- from the central characters to the supporting players making the film resemble an ensemble.

Thousands struggle daily for a break with no respect or appreciation given and The Disaster Artist scores a win focusing on this.

When Tommie brazenly approaches a powerful producer in a restaurant, he is unceremoniously dismissed for having no talent and told he will never get anywhere. In addition to Tommie, several actors associated with the film struggle.

In a wonderful scene, an older actress states that being on a bad movie set beats any other job by miles. The message here is that people in Hollywood are there because they truly love it.

The sweet, empowering theme of friendship and empowerment are also to be celebrated, nice especially given the cut-throat backdrop. Tommie and Greg are best friends and have each other’s backs through thick and thin. Neither gives up on the other, even during the tortuous initial audience reaction to The Room premiere.

Could the film have been slightly darker? Yes, certainly, as very few scenes of drug destruction or the porn that many hopeful talents turn to are mentioned. But the film is not really about that, it’s an enchanting tale of hope and fun.

Interesting to note and not evident to me while watching the film is that brothers James and Dave Franco play opposite one another. While there is somewhat of a physical resemblance, the chemistry works between the two actors as best friends.

James delivers a worthy portrayal of an unusual character with a strange dialect and long, stringy brown hair, and seemingly cross-eyed. The role is comedic and perfectly suited for an unusual actor such as Franco- he must have had a ball with the part.

Movies about movie-making always fascinate me. What goes on behind the scenes?

The Disaster Artist (2017) provides enough good film meat to make it an overall good experience. Staying true to some fine Hollywood history- the famous James Dean is referenced and the spot where he died even visited- nice touch! Franco is both good and disappointing in the main role.

All-in-all, for those who enjoy film making, Hollywood, or L.A. set films, give this one a chance.

Oscar Nominations: Best Adapted Screenplay

Independent Spirit Award Nominations: Best Male Lead-James Franco

1995 Films, Best Film of the Year, Brad Pitt, Crime Thriller, David Fincher, Gywneth Paltrow, Kevin Spacey, Morgan Freeman, Richard Roundtree, Thriller

Seven-1995

June 29, 2018 scottmet99 Leave a comment

Seven-1995

Director David Fincher

Starring Brad Pitt, Morgan Freeman

Scott’s Review #780

Reviewed June 29, 2018

Grade: A-

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

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

The film is incredibly brutal and riveting.

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

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

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

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

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

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

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

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

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

Each killer is calculating and manipulative.

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

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

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

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

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

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

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

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

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

Oscar Nominations: Best Film Editing

1941 Films, Alan Mowbray, Alexander Korda, Drama, Gladys Cooper, Laurence Olivier, Romantic Drama, Vivien Leigh

That Hamilton Woman-1941

June 27, 2018 scottmet99 Leave a comment

That Hamilton Woman-1941

Director Alexander Korda

Starring Laurence Olivier, Vivien Leigh

Scott’s Review #779

Reviewed June 27, 2018

Grade: B+

That Hamilton Woman (1941) is an obscure, black, and white gem that stars legendary actors and real-life couple Vivien Leigh and Laurence Olivier.

Providing a story of an old-fashioned style romance, war battles, and dazzling cinematography, the film succeeds as a classic film that should be better remembered than it is.

The overall theme here is a tragic love story with a sad ending.

One of the best aspects of That Hamilton Woman is witnessing the super-couple team of Leigh and Olivier act opposite one another. The actor’s talents are reason enough, but it makes a fascinating viewing experience.

The curiosity of the pairing of big stars in their heyday is a delight and highly appealing, and both actors do not disappoint. One wonders whether they were acting or otherwise enjoying the experience.

Lady Hamilton begins with a jarring scene in which the title character, Emma Lady Hamilton (Vivien Leigh), is thrown into debtor’s prison after stealing booze in France.

The rest of the story is told via flashbacks as she regales her fellow prisoners with how she ended up in her current state. Her former life starkly contrasts Emma’s appearance as a young woman with hope, promise, and riches.

It is hard to imagine how her life turned out so severely, which gives the film quality of intense intrigue.

The film then has a “riches to rags” element as the story is reversed. Full of energy, British Emma moves with her mother to the Kingdom of Naples, where she marries the affluent (and much older) Sir William Hamilton (Alan Mowbray), presumably for his money.

When handsome Admiral Horatio Nelson (Olivier) appears on the scene, the pair fall madly in love. They face tremendous hurdles, however, as the war rages on and each is unfaithful to their respective spouses.

Since the film was made scarcely two years after the epic romance Gone with the Wind (1939), one cannot help but compare Leigh’s portrayal of Emma to Scarlett O’Hara.

Emma comes across as a British version of the southern lass, especially as she is clad in gorgeous gowns or romancing men.

However, as the film develops, she becomes a much more sympathetic character and certainly less of a vixen. Still, there are plenty of similarities for viewers to draw from.

The role of Lady Frances Nelson (Gladys Cooper) is completely one-note, so the rooting value is never doubted. The film intends for the audience to be in the corner of Emma and Horatio, and that said, Cooper does a fantastic job of making her character completely unlikeable. Her icy, vengeful spirit perfectly complements the sympathetic lead characters. The fact that Horatio and Emma are adulterers, especially for the year the film was made, is not fully explored.

To be critical, the video quality is not the greatest, presumably because the film is old. If the film had been in color, the gorgeous Italian landscapes and Leigh’s lovely costumes would have appeared even more lavish and picturesque.

However, due to the film’s age, not much can be done about it unless it is decided to repackage the disc or make it a Blu-ray offering.

Still, the film frequently features southern Italy’s luminous mountains and lush oceans, which is a real treat.

Purely a showcase for newlyweds Olivier and Leigh to dish their real-life romance for mainstream audiences, That Hamilton Woman (1941) must have been a big deal at the release.

While suffering from lackluster film quality, the story is quite hearty, featuring romantic scenes, loud, bombastic battle scenes, and a bit of British and Italian history.

Sadly, this film is largely forgotten, but it is a good watch for fans of the legendary stars.

Oscar Nominations: 1 win-Best Sound Recording (won), Best Art Direction-Interior Decoration, Black-and-White, Best Cinematography, Black-and-White, Best Special Effects

1998 Films, Andrew Scott, Bryan Cranston, Drama, Epic, Giovanni Ribisi, Matt Damon, Paul Giamatti, Steven Spielberg, Ted Danson, Tom Hanks, Tom Sizemore, Vin Diesel, War

Saving Private Ryan-1998

June 26, 2018 scottmet99 Leave a comment

Saving Private Ryan-1998

Director Steven Spielberg

Starring Tom Hanks, Tom Sizemore

Scott’s Review #778

Reviewed June 26, 2018

Grade: A

Famed director Steven Spielberg does not always get his due respect. This is usually because, for better or worse, he has become synonymous with the “blockbuster” film, drawing comparisons to either lightweight fare or films of “lesser” artistic merit.

His 1980’s works- Raiders of the Lost Ark (1981), E.T. the Extra-Terrestrial (1982), and Indiana Jones and the Temple of Doom (1984), were enormous commercial successes, though I enjoyed all of the films.

During the 1990s Spielberg continued to direct “popcorn flicks” such as Hook (1991) and Jurassic Park (1993), with large studio budgets, but with somewhat less critical acclaim.

Finally, he was able to change many opinions with 1993’s Schindler’s List and the war film to end all war films, Saving Private Ryan (1998), an epic, profound experience.

Both received numerous Oscar nominations and success at the box office.

The film is a tremendous treat for nothing other than the riveting opening sequence alone (more about that later). If that is not enough to impress, Saving Private Ryan is known for infusing a very graphic element into the war film- with no letting up from the brutality.

Spielberg does not water down this picture, instead shows the pain and angst of war. The film is helped tremendously by the casting of Hollywood superstar Tom Hanks, who leads an enormous cast of mainly young men.

Saving Private Ryan opens with a prologue- in present times a veteran brings his family to visit an American cemetery at Normandy. Flashbacks then take the audience back to the Omaha Beach debacle in 1944, where American troops faced deadly German artillery attacks in France.

After the horrific three-day D-Day, it is learned that three of the four Ryan sons have died in the events. Captain Miller (Hanks) is ordered to bring a team of men to Normandy and bring the fourth Ryan son (Matt Damon) to safety.

Spielberg’s opening D-day sequence is just astounding and propels the film to unforgettable status. With a running time of twenty-four minutes, the riveting and horrific slaughter of American soldiers is intensely brought to the screen.

Audiences undoubtedly sat open-mouthed (I know I did!) as bullets riddled the beach and left soldiers killed or with limbs torn off. The camera-work is brilliant as the use of a shaky technique, almost documentary style is used for effect.

Successful is this sequence at promoting an anti-war sentiment while not glorifying the combat at all. The scene will stay with its audience for years to come.

Saving Private Ryan can be compared to the decades later Dunkirk (2017) in that each film took the war genre and turned it upside down. The similarities between the films start with the obvious- the main events in both films are during World War II, the same week, and the French beach settings making the films perfect companion pieces.

Both films feature a gray, rainy setting with many horrific moments of death and suffering. The war film is a common genre that has historically teetered on predictability and over-saturation, but both films do something completely different and unexpected, yet mirror each other in style.

To counter-balance the violence in the opening sequence, a quiet scene is created and remains one of my favorites. The scene contains almost no dialogue throughout the seven-minute duration and is pivotal to the entire film.

As a typist realizes that three letters of death are to be delivered to the same family, a woman on a mid-west farm quietly washes dishes and is calmly horrified when she sees a government car approaching.

What else can this mean but that one of her sons is dead? The poor Mrs. Ryan will be told that she has lost not one, but three sons.

How utterly unimaginable and the scene is incredibly touching!

The best part of Saving Private Ryan is that Spielberg provides a deep level of sentimental vision combined with the terrible atrocities of war. He portrays not only the violent effects of the battles on the soldiers but also the surviving families.

This is not always done in war films, at least not to the level that Spielberg chooses to.

With such a film as the startling Saving Private Ryan, Spielberg turned the war film genre inside out. Breaking barriers with a no-holds gusto, Spielberg influenced war films for years to come- Black Hawk Down and Enemy at the Gates (2001) are prime examples, and received acclaim from fellow directors for his interesting techniques.

Saving Private Ryan (1998) was an enormous financial winner at the box office, proving that great films don’t have to be watered down to find an audience.

Oscar Nominations: 5 wins-Best Picture, Best Director-Steven Spielberg (won), Best Actor-Tom Hanks, Best Screenplay Written Directly for the Screen, Best Original Dramatic Score, Best Sound Effects Editing (won), Best Sound (won), Best Art Direction, Best Cinematography (won), Best Makeup, Best Film Editing (won)

1999 Films, Alfred Molina, Drama, Felicity Huffman, Independent, Independent Drama, Jason Robards, John C. Reilly, Julianne Moore, Luis Guzman, Melinda Dillon, Melora Walters, Patton Oswalt, Philip Baker Hall, Philip Seymour Hoffman, Tom Cruise, William H. Macy

Magnolia-1999

June 21, 2018 scottmet99 Leave a comment

Magnolia-1999

Director Paul Thomas Anderson

Starring Tom Cruise, Julianne Moore, John C. Reilly

Scott’s Review #777

Reviewed June 21, 2018

Grade: A

Paul Thomas Anderson is one of my favorite modern directors. His best film in my opinion is Boogie Nights (1997) but has also created other dark offerings such as Phantom Thread (2017) and Inherent Vice (2014).

Arguably, his most peculiar effort might be Magnolia (1999), a cerebral film with themes of forgiveness and the meaning of life.

An ambitious effort with a stellar ensemble cast makes the film a fantastic experience.

Set in San Fernando Valley (a mountainous area of Los Angeles), the film resembles David Lynch’s Mulholland Drive (2001) in area and oddness alone with unusual dialogue and offbeat characters.

A narrator explains three situations of extreme coincidence and surmises that chance may not be the only responsible party. Anderson then carves an intricate tale involving numerous characters, intersecting lives, and a riveting final climax during one rainy California day (an oddity in itself!).

The plot begins when we meet Jim Kurring (John C. Reilly), a police officer who is called to investigate a disturbance.

After finding a woman’s body in an apartment closet, events turn bizarre as a children’s game show host (Philip Baker Hall), his estranged daughter (Melora Walters), the show’s former producer, Earl (Jason Robards), who is dying from cancer, his drug-addicted wife Linda (Julianne Moore), Earl’s male caretaker (Philip Seymour Hoffman), a former game show champion (William H. Macy), and finally, an intense motivational speaker (Tom Cruise).

Quite a bevy of talented actors!

As the plot moves along mysteriously, the connections of each of the characters are not only revealed, but their peculiar motivations start to take shape.

For example, Linda, who married Earl for his money, seems to have an epiphany and demands her lawyer change Earl’s will. Later, a character may have a connection to Earl and Linda, but is it all as it seems?

In the case of Magnolia, the film is so wonderfully strange that it leaves the audience guessing throughout most of its running time.

Bizarre scenes are commonplace throughout the film. My favorite one is a marvelously creative scene. Suddenly, frogs begin to fall out of nowhere from the Los Angeles sky with numerous consequences for the characters.

The incident causes a ripple effect, of sorts, as many of the character’s fates are determined. Though one may not be able to make heads or tails of this scene or take complete logic from it, it’s enthralling all the same.

Magnolia has an overall quirky tone- sometimes upbeat-sometimes melancholy- that I adore. Films that are tough to figure out and that add an interesting musical score are so rich with flavor.

Aimee Mann is responsible for composing many of the songs on the musical soundtrack, so much so that she received a title credit on the soundtrack itself. Mann infuses richness into her music that is moody and diverse with ambient essentials.

Many actors make frequent appearances in Paul Thomas Anderson’s films. Magnolia alone seems almost like a Boogie Nights reunion with Moore, Walters, Macy, Baker Hall, and Philip Seymour-Hoffman to name just a handful.

The amazing aspect is that all of the aforementioned actors play vastly different, and arguably even more complex roles than they did in Boogie Nights.

Similar to Quentin Tarantino’s actors appearing in many of his films, what a creative treat this must be for them.

There is no doubt that Magnolia (1999) is a complex, dream-like, film. Open to interpretation and reflection, I find it to be a film that feels brilliant and that I would like to revisit and dive into even more and more with further viewings, for hopefully a better understanding and an even deeper appreciation.

Oscar Nominations: Best Supporting Actor-Tom Cruise, Best Screenplay Written Directly for the Screen, Best Original Song-“Save Me”

1976 Films, Albert Brooks, Cybill Shepherd, Harvey Keitel, Jodie Foster, Martin Scorsese, Robert De Niro, Thriller

Taxi Driver-1976

June 20, 2018 scottmet99 Leave a comment

Taxi Driver-1976

Director Martin Scorsese

Starring Robert De Niro, Cybill Shepherd, Jodie Foster

Scott’s Review #776

Reviewed June 20, 2018

Grade: A

It is incredibly tough to choose a favorite of all Martin Scorsese films since nearly all of them are incredibly well made.

Goodfellas (1990), Raging Bull (1980), and Taxi Driver (1976) immediately come to mind. Taxi Driver may be Scorsese’s darkest film of all.

The thriller is intense, dangerous, and ferocious led by a riveting performance by Robert De Niro- a regular in the director’s earlier films. The film is nail-biting and compelling and a great, character-driven watch.

Set in the bustling and (at that time) decrepit New York City shortly following the Vietnam War, Travis is a veteran suffering from some degree of post-traumatic stress disorder. Lonely and angry, he works as an overnight taxi driver who falls for a snooty presidential campaign worker, Betsy, (Cybill Shepherd).

He also forges a relationship of a protective nature with an underage prostitute, Iris, (Jodie Foster). As he gradually spirals out of control due to the unhappiness surrounding him, he plots to kill Betsy’s boss while protecting Iris from her pimp (Harvey Keitel).

One great aspect of Taxi Driver is the insanely good performance by De Niro. Along with the later role of Jake LaMotta in Raging Bull, that and his role of Travis Bickle are my two favorite roles of his. With Bickle, he is unpredictable, on edge, and angry, as De Niro infuses the character with those qualities in a seamless fashion.

As he teeters on the brink of insanity and is ready to snap at any given moment, the character is impossible not to watch with both fear and marvel. De Niro is that brilliant.

While not to be outdone by the aforementioned negative and dangerous qualities, Travis also possesses a few benevolent traits making the character complex. In large part, this comes into play with the protective nature he develops towards Iris.

Almost like a big brother/kid-sister dynamic, the deranged man treats her with kindness rather than taking advantage of her as he easily could have. The diner scene the two actors (De Niro and Foster) share is rich with interesting dialogue and bonds the characters together.

Travis also harbors love and hate emotions towards Betsy (Cybill Shepherd). As she is a political volunteer for a potential presidential candidate, Travis first encounters her by way of spying on her through large glass windows where she works.

Coaxing her to accept a date, they have coffee and eventually attend a film together. Betsy is offended since the film is pornographic and their date goes south fast. After a vicious showdown between the pair at the campaign office, Travis goes off the deep end and plots revenge.

The gritty atmospheric approach that Scorsese provides when filming Taxi Driver is an enormous highlight of the film. Dingy, dark, and dangerous, the director creates ample scenes showing just how seedy New York City was in the 1970s.

Working the night shift, sure to bring out the rancid and most decaying elements of the city, Travis experiences many cretins and undesirables in his work- and arguably is one of them! Many scenes feature the notorious 42nd Street and its accompanying porn theaters that made New York City famous (or infamous!) at the time.

In one of the film’s most frightening (and best) scenes, Travis can get his hands on a gun. He practices drawing his weapon in the mirror repeatedly uttering the famous line “You talkin’ to me?” as we wonder if he will pull the trigger.

The scene is fraught with cerebral tension and quite frightening. Later, when Travis shaves his head and brandishes a mohawk, his new look is downright terrifying.

Scorsese creates a dark world that is enriched by his incredible cinematography and astounding representation of interesting characters in dangerous and unstable times.

Taxi Driver (1976) is a treasure to watch closely and appreciate as a timeless piece of art. Instead of decaying in the vaults of cinema, the film gets better and better with age.

Oscar Nominations: Best Picture, Best Actor-Robert De Niro, Best Supporting Actress-Jodie Foster, Best Original Score

1993 Films, Ben Kingsley, Best Film of the Year, Best Picture Oscar Winners, Biography, Drama, Epic, Liam Neeson, Ralph Fiennes, Steven Spielberg, War

Schindler’s List-1993

June 19, 2018 scottmet99 Leave a comment

Schindler’s List-1993

Director Steven Spielberg

Starring Liam Neeson, Ben Kingsley, Ralph Fiennes

Scott’s Review #775

Reviewed June 19, 2018

Grade: A

Schindler’s List (1993) is a film that is arguably Steven Spielberg’s finest directorial work and Liam Neeson’s finest acting performance.

The film is as disturbing as it is awe-inspiring as many emotions will undoubtedly envelop any viewer- most of them dark and dire.

Spielberg’s most personal story centers on the devastating Holocaust of World War II that will grip and tear audiences to pieces.

The work deservedly secured the Oscar award for Best Picture and Best Director as well as numerous other accolades.

Oskar Schindler (Neeson) is a powerful German businessman who arrives in Krakow, Poland during the antics of World War II, presumably to make his fortune. Handsome and respected, he is charismatic and feared by the German army, who have forced most of the Polish Jews into the overcrowded ghettos where they await their fates.

Schindler himself is a Nazi, but becomes more humanistic than most and ultimately against the Holocaust killings. He establishes a factory and hires a Jewish accountant (Ben Kingsley) to assist.

As he is tremendously affected by the inhumanity he sees throughout the city, he makes arrangements to hire and thus save the lives of over a thousand Polish refugees.

He does so by allowing them to safely work and be productive in his factory. The story is reportedly true and was a rare instance of humanity in a cold and ugly chapter in world history.

To be clear, Schindler does not start as a hero and is admittedly rather an unlikely one. The man is a businessman, greedy, and undoubtedly flawed. He plans to use the Jews because they are cheap labor and can be used to his advantage.

Because of the very long running time of the film (over three hours), Spielberg slowly depicts Schindler’s complex character growth and eventual determination to save these poor people from the Auschwitz gas chambers.

Spielberg shoots Schindler’s List entirely in black and white with tremendous results. The camera work adds such ambiance and style to the 1990s film- so much so that throughout the film I felt as if I were watching a documentary from the 1940s.

The film is epic and choreographed with precision and timeliness- some of the best camera work in cinema history as far as successfully creating the perfect solemn and dreary mood.

Supporting turns by Ben Kingsley and Ralph Fiennes must be noted. In vastly different types of roles, both shine.

As the understandably nervous, Jewish accountant for Schindler’s factory, Itzhak Stern is most notable for creating the famous “list”. This contains the names of those who would be transferred to the factory and thus have their lives spared.

Kingsley, a brilliant actor, fills the character with empathy and heart.

Conversely, Fiennes plays a dastardly character in that of Amon Goth, a commander at the concentration camp. Evil and known for taking glee from killings, he is the man instrumental in deciding to exterminate all of the people in the ghetto.

A pivotal character, Goth is important because he is the man who makes Schindler realize how sickening and inhumane the treatment is.

Fiennes carves the character with so much hate that he is believable in the part.

One of the most beautiful scenes is aptly named “the girl in red” and is highly symbolic and worthy of analysis. Oskar watches as prisoners are escorted, presumably to their executions. He notices a three-year-old girl walking by herself- she is clad in a bright red coat.

The coat is Spielberg’s only use of color throughout the entire film.

The scene is incredibly important as the girl stands out, proving that all the Nazi commanders are accepting of her death. In tragic form, Oskar later sees her dead body draped in her red coat.

The scene is sad and powerfully distressing.

Schindler’s List (1993) is an outstanding film that elicits such raw emotion from anyone who views the masterpiece. By no means an easy watch and most assuredly “a heavy”, the film depicts the true struggles and catastrophic events occurring not all too long ago.

A film for the ages that simply must be seen by all to appreciate the terror and inhumanity that occurs throughout the world.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-Steven Spielberg (won), Best Actor-Liam Neeson, Best Supporting Actor-Ralph Fiennes, Best Adapted Screenplay (won), Best Original Score (won), Best Sound, Best Art Direction (won), Best Makeup, Best Costume Design, Best Cinematography (won), Best Film Editing (won)

2017 Films, Colin Farrell, Independent, Independent Thriller, Thriller, Yorgos Lanthimos

The Killing of a Sacred Deer-2017

June 15, 2018 scottmet99 Leave a comment

The Killing of a Sacred Deer-2017

Director-Yorgos Lanthimos

Starring-Colin Farrell, Nicole Kidman

Scott’s Review #774

Reviewed June 15, 2018

Grade: A

For fans of Greek director Yorgos Lanthimos, creator of such disturbing and bizarre films as 2009’s Dogtooth and 2015’s The Lobster, then The Killing of a Sacred Deer (2017) will be a treasure.

As with those films, the odd story and the peculiar acting styles are prevalent making the film quite the experience.

I relish the film and its unusual nature, offering a cinematic experience that is insightful, mesmerizing, extreme, and quite frankly, brilliant.

Steven Murphy (Farrell) is an esteemed cardiac surgeon who “befriends” a troubled teenage boy named Martin (Barry Keoghan) whose father had died years earlier as a result of Steven’s negligence.

When Martin slowly insinuates himself into Steven’s family life, they begin to fall ill. Martin threatens to kill the entire family unless Steven kills either his wife Anna (Nicole Kidman) or one of his two children- the victim can be of his choosing.

The creepy premise is enormously intriguing as the conclusion cannot be foreseen.

A basic yet deep storyline is wonderfully spun with many possible directions for the plot to go in. After forty-five minutes or so of the audience wondering why Steven and Martin meet secretly in diners, hospital corridors, or other remote areas, the teen boy’s true motivations come to the surface as he rapidly and calmly puts his cards on the table for Steven.

Surprisingly, none of the characters are particularly sympathetic.

One would assume that the Murphy family- wholesome, affluent, and astute, would garner audience support, but we slowly peel back the onion on each character.

With a gorgeous house in a quiet Cincinnati neighborhood, Steven and Anna (a doctor herself) are sometimes harsh and physical with their kids, while the kids (Bob and Kim) develop a strange fascination toward Martin.

In this way, each character is peculiar and has his or her own dire motivations as the plot unfolds.

Lanthimos is quietly becoming one of my favorite new directors as he slowly churns out one disturbing film after the next. Particularly in The Killing of a Sacred Deer, his clear Stanley Kubrick influences bubble to the surface.

With plodding then sudden bombastic classical music pieces, the score is crisp with uniqueness, eliciting emotions like surprise and terror from the audience.

From a visual perspective, fans of Kubrick will no doubt notice the long camera shots and slowly panning camera angles. The hospital’s long and foreboding hallways are prominently featured as we follow a character walking along the corridors. This is highly reminiscent of the Overlook hotel sequences in the 1980 Kubrick masterpiece, The Shining.

One particularly jarring nuance to the film is the speech patterns of most of the actors- clearly dictated by Lanthimos and also occurring in 2015’s The Lobster.

The character of Steven talks very quickly, but with monotone delivery and in a matter-of-fact style; Kim and Martin also speak this way. I didn’t notice the quality as much with Kidman’s Anna, but Farrell really went to town. I’m not sure this totally works throughout the entire film since the mannerisms give off almost a comical element.

To be sure, this uniqueness makes the film more quirky and decidedly non-mainstream, which is to be celebrated.

The climax of the film is brutal.

As Steven brandishes a loaded shotgun, the family gathers in their family room, Anna fussing over her new black dress. As the group dons pillowcases, Steven goes Russian roulette-style on the family, randomly firing a shot until one member is killed. When the remaining family members see Martin at the diner the next day, they provide him with icy, hateful looks.

The entire scene is done without dialog and is tremendously macabre.

Rest assured, I am eagerly awaiting Lanthimos’s next project (reportedly already in the works) and hope against hope he continues to use the superb Colin Farrell, the brilliant Nicole Kidman, and newcomer Barry Keoghan again.

Thanks to tremendous acting, a riveting score, and enough thrills and creeps to last a lifetime, The Killing of a Sacred Deer (2017) is at the top of its game.

Independent Spirit Award Nominations: Best Supporting Male-Barry Keoghan, Best Cinematography

2017 Films, Drama, LGBTQ+ Drama, LGBTQ+ Films

God’s Own Country-2017

June 13, 2018 scottmet99 Leave a comment

God’s Own Country-2017

Director-Francis Lee

Starring-Josh O’Connor, Alec Secareanu

Scott’s Review #773

Reviewed June 13, 2018

Grade: B+

God’s Own Country (2017) is a British, romantic, LGBT-themed drama directed by Francis Lee, making his directorial film debut.

The setting is farming land in the Yorkshire (northern England) territory making the film quite lovely to watch and the pace of the film, therefore, is slow. Lee does not rush the pace of the story either so it mirrors the slow life that farmers must endure.

The film is somewhat autobiographical to Lee’s own life.

The connection and chemistry between the two leads are palpable and the love story endearing, especially impressive to show two different cultures coming together and merging as one.

The film is a nice watch and an above-average story making it worthy for LGBT audiences worldwide. Those believing in true love and finding one’s soulmate will be deeply satisfied.

Twenty-something Johnny (Josh O’Connor) lives a dull existence on his father’s farm in remote Yorkshire, England. His grandmother (Gemma Jones) also lives there and due to his father’s recent stroke, the success of the farm is in question. Johnny is depressed; drinking regularly and engaging in sexual encounters with men.

Romanian migrant worker, Gheorghe (Alec Secareanu), is hired to help out and the two young men eventually fall in love. After some ups and downs in their relationship, they decide to live on the farm together and presumably live happily ever after.

God’s Own Country is a rich story of romance and the only real obstacles that Johnny and Gheorghe face are internal struggles.

In unique fashion for LGBT films, neither of the men are necessarily unhappy with their sexual identities nor do they face hurdles by other characters because of their sexuality. Gheorghe faces harassment because he is Romanian and deemed an “outsider”.

Besides Johnny’s grandmother and perhaps his father, no characters seem aware that the men are a couple.

The cinematography is gorgeous and a perfect backdrop for the love story. The farm is lush with spacious green rolling hills for miles and miles. The animals the family raise are lamb and cattle and more than one scene features a beautiful birth and the nuzzling of the parent to its newborn baby. Sadly one birth is also a breach, which is tough to watch.

The themes of life and birth perhaps mirror the feelings and emotions that Gheorghe and Johnny experience- new love.

Throughout God’s Own Country I frequently drew comparisons to arguably the most mainstream and revolutionary film in LGBT history- that of 2005’s Brokeback Mountain.

Certainly, similar elements of animals, farming, and the outdoors are featured in both films. Additionally, commonalities like loneliness and loss are heavily featured. Finally, the rough and tumble, machismo-fueled wrestling scenes that result in rough sex between the men are used in both Brokeback Mountain and God’s Own Country.

In fact, both films could be companion pieces.

The film does not delve too much into the back story of the main characters; at least I did not catch many mentions. Admittedly, viewing the film on DVD with no closed captioning or subtitle capability made capturing all of the dialogue very difficult.

Especially with English and cockney accents, this was made doubly challenging. Regardless, both men are lonely, even despondent, but why? What happened to Johnny’s mother? Where are Gheorghe’s parents or his family?

Upstart Francis Lee carves a quiet, thoughtful yet compelling story of unexpected love that develops between two lonely men in a remote area of the United Kingdom. God’s Own Country (2017) paints a nearly perfect experience, slow yes, but featuring exceptional acting from both leads, as well as the two supporting turns.

A film recommended for those seeking a poignant and fulfilling story of love.

2004 Films, Drama, Eileen Atkins, Gabriel Byrne, Jim Broadbent, Julian Fellowes, Period Drama, Reese Witherspoon, Rhys Ifans, Romantic Drama

Vanity Fair-2004

June 12, 2018 scottmet99 Leave a comment

Vanity Fair-2004

Director Mira Nair

Starring Reese Witherspoon, James Purefoy

Scott’s Review #772

Reviewed June 12, 2018

Grade: B

An adaptation of the classic 1848 novel written by William Makepeace Thackeray, Vanity Fair (2004) softens the traditionally unlikable and roguish character of Becky Thatcher quite a bit.

This proves not to be the smartest move as the character, now more of a heroine is watered down and forever changed, as is this film adaptation.

Reese Witherspoon (Becky) drew harsh criticism for her starring turn, but I do not think she is so bad, and the costumes and set designs are wonderful and quite the highlight of the resulting period piece.

In 1802 England, we meet Becky Sharp, a young woman who has just graduated from a School for Girls and been sent to work as a governess. Because her father, a talented painter, is impoverished, Becky is cast aside as lower class and deemed undesirable to anybody upper class- the men she is most interested in.

Despite her reputation as a tart, Becky aspires to marry rich and frequently gets into trouble with her shenanigans and smart tongue while romance blooms with the handsome Rawdon Crawley (Purefoy).

The story is supposed to encompass Becky’s life from approximately age eighteen through her mid-thirties (though Witherspoon never appears to age) and displays her trials and tribulations, her loves and losses through the years.

We follow her from rural England to London and Belgium, eventually residing in Germany, reduced to working in a casino, where the film concludes.

The film is a treat as the various countries as they appeared in the nineteenth century, and the wars and battles occurring during this period are featured making for an interesting history lesson.

The main appeal should be Becky Thatcher since the film revolves around her, and numerous criticisms were thrown around accusing the film of casting Reese Witherspoon in the important and demanding role based on her star power at the time.

In 2004 Witherspoon was experiencing enormous film success after 2001’s Legally Blonde and 2002’s Sweet Home Alabama- admittedly fluff films- but securing her box office power nonetheless. These films undoubtedly led to her being cast in the pivotal role, but I thought the star was perfectly adequate and gave Becky appropriate humor and zest.

Based on Witherspoon’s “girl next door” persona and the fact that she just looks like a good character- perplexing the decision to cast her if filmmakers wanted to be true to the character.

Witherspoon was delicious in 1999’s Election as villainous Tracy Flick, a role of a lifetime. But that is the exception and not the standard.

But I digress- the bottom line is that while she is a capable actress, she does not give the gritty performance that many were expecting to be true to the character in the novel.

The rest of Vanity Fair is just mediocre as far as the story goes.

While the antics of Becky are both humorous and dramatic, her rooting value in the romance department does not come across in the 2004 film offers- not enough chemistry exists between the leads to warrant much support.

Opinions abound that other incarnations of Vanity Fair are far more superior and compelling than this film is, but I have yet to see any.

Compliments must be reaped on the costume department and the art direction- both are superior. Such threats are the lavish and colorful costumes and gowns that mark the time. From the classic style hats and highfalutin dresses featured in ball after ball, this aspect is nearly enough to recommend a watch over the dull story and immeasurably the highlight of the entire film.

Vanity Fair (2004) is considered a messy travesty to those well-read enough to have turned the pages of the classic novel. Since I have not yet read the book, perhaps I enjoyed the film slightly more than I should have, but alas, I did not find the casting of Witherspoon as Becky nor the overall product to be drivel as many did.

I recommend the film for the gorgeous visual treats if nothing else.

2017 Films, Drama, Independent Drama

Gook-2017

June 11, 2018 scottmet99 Leave a comment

Gook-2017

Director-Justin Chon

Starring-Justin Chon, Simone Baker

Scott’s Review #771

Reviewed June 11, 2018

Grade: B+

Gook (2017) is an independent film drama starring and directed by the rising talent, Justin Chon.

The film is made on a very limited budget, nonetheless delivering a powerful story with a particularly jaw-dropping final sequence that I did not see coming.

In fact, if I am being an honest critic, the film drags at times and is not wholly attention-grabbing, but the wrap-up is exceptionally done. The use of black and white filming and a poor, ethnic, Los Angeles set is winning for the film and proof that Chon is becoming someone to keep an eye on in the years to come.

The time period is 1992 amid the soon-to-be ending Rodney King police brutality trial- news stations and radio programs are abuzz with developments.

The intensity and racial strife are in the air as the trial is reaching its controversial conclusion resulting in tumultuous riots across Los Angeles.

Two Korean American brothers, Eli (Chon) and Daniel (David So) attempt to keep their deceased father’s shoe store alive in a predominantly African American neighborhood.

The twenty-something men hold a unique bond with eleven-year-old Kamilla (Simone Baker), the younger sister of their nemesis, Keith (Curtiss Cook Jr).

Initially, I was immediately struck (and impressed!) by the clever use of black and white cinematography, which I was not expecting from a film with such a small budget. In addition to adding grittiness and texture to the spread-out city, this technique also enhanced the film’s beauty.

There exists something so lovely and peaceful, especially since the shoe store location is centered in a rather remote area, against the looming violence and brutality of some of the roughest scenes the film showcases.

The harshness of the obvious racial slur title that Chon chooses, Gook, is both shocking and brave, immediately grabbing one’s interest and piquing curiosity.

Wisely, this sets the tone for the entire film and viewers will certainly not mistake it for a feel-good affair. Sure there are some light moments of banter between Kamilla and the brothers, but the conclusion of the film brings a painful reminder of how precious life really is.

Yes, the film is admittedly uneven, but that should not be a surprise with a film that teeters around student filmmaking territory. This is hardly a slight, but merely a mention since Chon is so new at his craft.

For example, the pacing is very bizarre; at a sleepy, whimsical pace most of the way, the aforementioned final sequence comes in breakneck fashion. As a terrible, accidentally self-inflicted gunshot wound sends one character to the emergency room, the speed at which the scene occurs is strange in comparison to the rest of the film.

The highlight of Gook is a tremendous, humanistic element.

The earnest and endearing relationship between Eli and Kamilla really shine through the ugliness of other components. Since the young girl comes from a broken home led by tyrannical older brother Keith, she has no father figure to speak of. To compensate for what she lacks she spends a great deal of time with the brothers helping out at the store.

Naturally, she bonds closely with Eli, whose father (presumably murdered) is not on the scene either- so they really embrace each other. Eli serves as a big brother to Kamilla and their scenes are crisp with good dialogue and emotional pizzazz.

Another nice touch that Chon provides with his creation is an instance where the first scene is the same as the last scene- Kamilla doing a ceremonial dance amid the burning storefront.

The final scene is obviously more meaningful and powerful than the opening scene since by this time the audience knows Kamilla’s fate. Another shining example of the artistic talent that Chon has.

Props must be given to a talented up-and-comer in the cinematic scene. Justin Chon serves as an actor, director, creator, and all-around talented performer.

Gook (2017) is far from perfect and suffers from choppy story-telling and erratic elements, but is impressive in the good qualities it brings to the big screen.

Celebrating young filmmakers is fun, encouraging, and necessary to ensure that ambitious ideas are embraced.

Independent Spirit Award Nominations: Kiehl’s Someone to Watch (won)

1979 Films, Action, Bernard Lee, Desmond Llewelyn, James Bond, John Glen, Lewis Gilbert, Lois Chiles, Lois Maxwell, Richard Kiel, Roger Moore

Moonraker-1979

June 8, 2018 scottmet99 Leave a comment

Moonraker-1979

Director Lewis Gilbert

Starring Roger Moore, Lois Chiles

Scott’s Review #770

Reviewed June 8, 2018

Grade: A-

Moonraker (1979) is an installment of the James Bond film franchise not usually well regarded and rarely appearing on critic’s top ten lists.

Perhaps a reason for this is the timing of the film, hot on the heels of the late 1970’s Star Wars craze. Plans for a different Bond film were scrapped in favor of an outer space story.

Regardless, I adore most of Moonraker, save for the final thirty minutes when the plot gets way too far-fetched for anyone’s good.

The rest of the film is a superior entry and holds up quite well in the modern age of all things Bond.

Many of the familiar elements remain intact following the successful and lavish The Spy Who Loved Me (1975). An even heftier budget featuring gorgeous locales like Venice, Rio de Janeiro, and the Amazon rain forest is featured as well as a capable, intelligently written “Bond girl”.

The villains, compelling and suave, including the return appearance of Jaws (Richard Kiel), and handy, dandy gadgets make Moonraker a treat for fans.

Therefore, I find the non-love for the film rather mystifying.

The action starts when a jumbo airplane carrying a Drax Industries Moonraker space shuttle is hijacked in midair causing the plane to crash and the shuttle to disappear.

Since the space shuttle was on loan to the United Kingdom from the wealthy and powerful Hugo Drax (Michael Lonsdale), 007 (Roger Moore) is tasked with finding its whereabouts. He visits the grand shuttle-manufacturing plant in California where he learns that Drax and his bodyguard Chang are sinister and plotting global destruction.

Bond befriends the gorgeous and highly intelligent Dr. Holly Goodhead (Lois Chiles), an astronaut who works at the facility, and Corinne Dufour (Corinne Clery), the beautiful personal pilot of Drax.

As events roll along Jaws returns to the story seeking revenge on Bond and subsequently serving as Drax’s new bodyguard.

Of course, treasured favorites like M (Bernard Lee), Q (Desmond Llewelyn), and Miss Moneypenny (Lois Maxwell), return to the fold.

To explain the weakest portion of the film first, producers were attempting to capitalize on the tremendous success of 1977’s Star Wars by featuring a space exploration theme.

Only in the final half-hour does this come into play as Bond and Goodhead, and nearly all the cast, don bright yellow spacesuits. Drax’s evil plan is to eradicate all humankind and begin a new world with only beautiful people existing and reproducing.

The inevitable final battle scenes take place in a sprawling space station amid laser guns shooting bright beams- a direct rip-off from Star Wars.

The entire sequence is too long and quite reminiscent of my criticism of the tedious finale from the otherwise brilliant The Spy Who Loved Me, Moonraker’s predecessor.

Otherwise, the film is top-notch.

Fantastic sequences involve Bond’s mid-air fight with a bad guy and a dangerous struggle for a parachute, a fight scene high atop a Cable Car during Rio Carnival, vicious sparring in a Venice museum, and a female character chased and torn to bits by Drax’s carnivorous dogs, all make for great action sequences.

The highlight though may very well be Bond’s harrowing ordeal inside an out-of-control centrifuge chamber.

The return of Jaws is certainly a highlight to Moonraker especially as the popular villain turns “good” and finds a love interest! When he sees the cute blonde girl with pigtails and glasses, both character’s eyes light up in a “love at first sight” moment.

As Jaws realizes Drax’s plans for both of them to exterminate his alliances suddenly switch resulting in a touching scene between the two over champagne.

Moore and Chiles have tremendous chemistry as the MI-6 agent teams with the capable female CIA agent. Holly Goodhead is portrayed exceptionally well: female, intelligent, gorgeous, and savvy.

Impressive (and progressive) is how Goodhead takes charge as she and 007 make a harrowing journey back to planet Earth and then work nicely together to destroy Drax’s deadly missiles.

Sure the romance is there, but also the mutual respect between the two.

Fondly recalling childhood memories of watching this film numerous times, Moonraker (1979) holds good memories for me.

More importantly, it possesses wonderful Bond qualities that will enchant many Bond fans seeking fun and entertainment.

The film contains a ludicrous plot attempting to fit the times, but thanks to lavish sets and a competent main Bond girl, the film is quite memorable.

Oscar Nominations: Best Visual Effects

2017 Films, Animated

The Breadwinner-2017

June 7, 2018 scottmet99 Leave a comment

The Breadwinner-2017

Director-Nora Twomey

Voices-Saara Chaudry, Ali Rizvi Badshah

Scott’s Review #769

Reviewed June 7, 2018

Grade: B

Certainly, a timely and politically charged story, The Breadwinner (2017) provides relevance and a progressive women’s empowerment message.

This should be championed above all else and for that reason alone is recommended as a worthy watch.

The film itself is dark and not entirely a children’s movie nor necessarily family-friendly either, but rather a good lesson learned.

Dragging just a bit throughout, this is small potatoes compared to the importance of the overall story.

The animated feature is based on the best-selling novel by Deborah Ellis, which focuses on life in dangerous Afghanistan (circa 2001) under constant threat by Taliban rule.

Since women are not allowed to leave the house and any men daring to question the Taliban are either slaughtered, beaten, or arrested, the film is quite heavy compared to typical animated fare.

The Breadwinner’s main character is a likable eleven-year-old girl named Parvana, who lives in metropolitan Kabul, Afghanistan. Along with her father, she sells items on the city streets to support the rest of the family- wife, daughter, and male toddler.

Parvana’s older brother has died years ago. Parvana’s father, Nurullah, is a former teacher left crippled by an injury sustained during the war. When he is arrested, Parvana must disguise herself as a boy and work to support her family as she traverses the city with her best friend Shauzia in tow.

The animation is lovely and a definite high point of the film. All of the details look crisp and fresh- from the stark village houses to the vegetable stands and other more metropolitan aspects of the bustling cities, the film just looks very good and professional. The flawless art direction and visuals aid in the believable nature of the story.

Another high point to The Breadwinner is the substance that the story contains- it is not fluffed as commonly seen in modern animated films.

Throughout the film, I knew that I was watching something of meaning. Parvana faces true danger; if she is found out not to be a young boy but instead a young girl she could be beaten, raped, or worse.

Unwisely, early on in the film, she makes an enemy of a young, sadistic soldier, who continues to resurface and threaten Parvana throughout the film.

More than a handful of frightening scenes occur, evidence that director Nora Twomey’s intentions are not for a family-friendly affair.

Given the subject matter at hand, this is a wise move. Toning down the violence and treachery of the Taliban would make the film feel insincere and dishonest. Rather, because of the violence and deaths and beatings that occur throughout, the film feels genuine and the emotions of the characters real.

If I were to point out a shortcoming to the film, The Breadwinner suffers a bit from an erratic approach.

I adore the straightforward aspects of the main story and enjoyed not only the survival instincts and female empowerment but of her innocent friendship with Shauzia. However, a handful of times the film goes in a different direction as Parvana tells stories of a young man’s journey to retrieve seeds stolen from him.

Frankly, this slowed down the main plot and one has little to do with the other making them seem disjointed.

With a worthy and meaningful central storyline, how nice to feast one’s eyes on an artistic animated production so marvelously made.

The Breadwinner (2017) is a treat for those animated film fans yearning for something more intelligent than the standard “kid’s film”.

Perhaps not a perfect “A”, but something of quality nonetheless.

Oscar Nominations: Best Animated Feature Film

2017 Films, Documentary

Abacus: Small Enough to Jail-2017

June 6, 2018 scottmet99 Leave a comment

Abacus: Small Enough to Jail-2017

Director-Steve James

Scott’s Review #768

Reviewed June 6, 2018

Grade: B+

Abacus: Small Enough to Jail (2017) is a compelling documentary that received a fair amount of notice after earning an Academy Award nomination.

The straightforward story never dulls nor drags, but rather stays on point by telling a gripping courtroom-style legal thriller of a Chinese family’s struggle to keep their small banking business from criminal prosecution.

The documentary features the Sung family, led by patriarch Mr. Sung who brought the family from China to start a banking business decades ago.

Since then the family has set up roots in downtown New York City launching a community-style bank to help people living and working in the Chinatown section. The bank had come to be tremendously popular and culturally centered as a way to help struggling neighbors and their business has thrived.

The Abacus Federal Savings Bank became the only bank to face criminal charges following the mortgage crisis in 2009.

The documentary argues that this was because the larger banks were untouchable and prosecutors desired to make an example out of the bank because they were an easier target. The documentary wisely presents both sides featuring family interviews as well as the prosecutor’s arguments.

I found Abacus: Small Enough to Jail to move along quite smoothly and at a quick pace. The documentary mainly focuses on the Sung’s- all very driven people.

They reside in upscale Greenwich, Connecticut, and consist of the mother and father and three grown daughters in their twenties and thirties. The daughters are highly intelligent and the entire family is intensely loyal to each other and their business despite scenes showing them bicker over trial strategies and take out lunch.

The documentary mainly chronicles the prolonged five-year ordeal that the Sung’s endured involving a myriad of paperwork, trial dates, and other particulars. All the while the family continues to uphold their business with gusto, but the trial takes quite a toll on the individuals, particularly the elderly patriarch.

It is tough to imagine anyone rooting for a bank, but that is exactly the result.

Director Steve James is wonderful at portraying the Sung family sympathetically in his work. There is never a doubt that he feels they have been victimized and sought after because they are a relatively easy target compared to the big boys of the banking world- J.P. Morgan and Chase are deemed untouchable, which is a large source of the problem and the film’s main objective to show.

Heartbreaking is a scene containing footage of at least a dozen or so Chinese bank employees being led to processing all chained together- chain gang style. This scene, shown relatively early on in the documentary, cemented my support for the Sung’s.

I asked myself, even if they were guilty, why the inhuman and racist treatment? When questioned about the poor treatment of the indicted all the prosecution could muster was that it was “unfortunate”, hardly an apology.

The key element here and the main point of the story is that wrongdoing was committed, but the question asked is if the Sung’s had knowledge of a few of their employee’s shenanigans and I truly think not.

As the documentary explains, the jury had extreme difficulty reaching a concrete decision, which is why the trial dragged on and on. All the while I asked myself, “If the large banks were bailed out with no prosecutions whatsoever why should a mom and pop bank be targeted?”

Steve James creates an unexpectedly fast-paced piece, tough to do with dry financials, spreadsheets, and other banking type particulars, but that is just what he does.

Objectively presenting the facts on both sides and offering a multitude of interviews and courtroom drawings, Abacus: Small Enough to Jail (2017) is a treat to view and captures a terrible time in United States history and how the undertones of racism still exist.

Oscar Nominations: Best Documentary-Feature

2017 Films, Crime Drama, Drama, Independent, Independent Drama

Good Time-2017

June 5, 2018 scottmet99 Leave a comment

Good Time-2017

Director-Ben Safdie, Joshua Safdie

Starring-Robert Pattinson, Ben Safdie

Scott’s Review #767

Reviewed June 5, 2018

Grade: B+

Every so often an actor who is known for either doing mainstream films or for portraying a mediocre character risks being typecast.

Fortunately for actor Robert Pattinson, known mostly as the heartthrob from the trite Twilight films, he has been given the best role of his career. The actor hits the jackpot with a challenging and edgy performance in the fast-paced independent crime drama, Good Time (2017).

The film is a very good ride, and directors Ben and Joshua Safdie successfully provide excellent tension and compelling action scenes (Ben even gives a worthy supporting performance as a mentally challenged character). The overall tone of the film is that of an edge-of-your-seat experience.

As enjoyable and taut as the film is, a few minor criticisms must be mentioned below.

Good Time begins with Nick Nikas (Ben Safdie) being quizzed by a therapist. They are quickly interrupted by Nick’s brother Connie (Pattinson), who removes him from the facility so that he can assist with a bank heist.

When the attempt goes awry and Nick is arrested, Connie does his best to spring his brother from jail than from the hospital following an altercation with another inmate. All the while, Connie must also evade the police as he forms a strange connection with a sixteen-year-old girl, Crystal (Taliah Webster).

The fun part of Good Time is that the film is fast-paced and filled with twists and turns. Largely taking place over the course of one night, we are compelled by Connie’s journey and wonder if he will outrun the cops.

In a way a standard thriller, Good Time rises slightly above this ranking with its wonderful New York City setting with numerous exterior scenes- this is a major plus.

Also garnering props for the film is the look of it. With a slick yet gritty and grainy feel, the camera angles are quick and plentiful. This is a great tool to keep the action going at lightning speed and the editing deserves kudos too.

The intensity and tension run rampant throughout. A good example of this is the bank robbery scene- as the teller disappears into the vault to get the requested amount of money she takes what seems like an eternity to return, leaving the audience (and Connie) wondering if she has alerted the authorities.

Otherwise, the film is helped immensely by the acting performance of Pattinson who owns the film. Having not seen him in anything before I was surprised at how good he is.

Thinking of him as more a matinee idol versus a serious actor, I was proven wrong. Grizzled, temperamental, but being a decent guy at times, Pattinson’s Connie is loyal to a fault, putting his brother first and foremost.

Fans of Captain Phillips (2013) will be delighted to see Barkhad Abdi cast in a small yet pivotal role of an amusement park security guard.

Nominated for the Best Supporting Actor award for Captain Phillips, the Somali- American actor has been able to find steady work in film since his acclaimed debut performance. In his role in Good Time, the character is instrumental in kicking off the final act that leads to the downfall of at least one other character.

Worth mentioning are a few small but notable flaws (rather unnecessary) that Good Time contains.

Perplexing to me is the casting of Jennifer Jason Leigh in the role of Connie’s girlfriend Corey. Decades older than Connie, Corey is written pretty much as a nitwit- attempting to use her mother’s credit card to bail out Nick.

The film does not mention the age difference nor provides much meat to the role- Jason Leigh deserves better than a throwaway role like this.

Otherwise, none of the female characters are treated especially well. Connie frequently directs or shouts at either Corey or even Crystal eliciting a “man in charge” vibe that is slightly off-putting.

Also, a gay slur uttered by Connie is thrown into a scene for seemingly no reason, which in 2017 surprises me. Still, there is something that makes the audience root for Connie while we still want him to get his punishment.

Good Time (2017) provides quality entertainment in a specified genre with good acting all the way around.

With a weird Ocean’s Eleven style (only with one prominent character) the bank robbery theme will satisfy those in the mood for a good heist film. The title of the film is a mystery (is it irony?) and not sure it totally works, but overall the film is a very good watch.

Independent Spirit Award Nominations: Best Director-Safdie Brothers, Best Male Lead-Robert Pattinson, Best Supporting Male-Benny Safdie, Best Supporting Female-Taliah Lennie Webster, Best Editing

1969 Films, Alan Bates, Art, Drama, Glenda Jackson, Ken Russell, Oliver Reed, Romantic Drama

Women in Love-1969

June 2, 2018 scottmet99 Leave a comment

Women in Love-1969

UPDATED REVIEW

Director Ken Russell

Starring Glenda Jackson, Oliver Reed, Alan Bates

Scott’s Review #766

Reviewed June 2, 2018

Grade: A

Women in Love (1969) is a British romantic drama film that is truly one of a kind. The film is quite cerebral and requires a bit of thought which undoubtedly will lead to good conversation with film connoisseurs everywhere following a viewing.

The four central characters are complex and flawed and intersect in each other’s lives in a dramatic fashion making the film a “thinking man’s” feast.

The film is adapted from a popular D.H. Lawrence novel of the same name.

In 1920, set in the Midlands section of central England, sisters Ursula (Jennie Linden) and Gudrun (Glenda Jackson) attend the wedding of an acquaintance, Laura Crich. The Crich family is enormously rich and owns a good portion of the mining town.

During the ceremony, Gudrun and Ursula fantasize about Gerald Crich (Oliver Platt) and Rupert Birkin (Alan Bates), respectively. When the foursome cross paths again at Rupert’s pretentious girlfriend’s party, attraction and conflict arise.

The film is described as “character-driven” and does not begin to do it justice. Each of the four principal characters is richly written with intelligence and gusto. All of them are either flawed or insecure in some way, while the fact that Gerald and Rupert share a sexual attraction for each other is another nuance explored throughout the film.

Rupert is confident and outspoken about his bisexuality- extremely rare for a 1969 film. In this way, Women in Love is ahead of its time.

The major themes in Women in Love are commitment and love and how each character handles these sometimes either embracing them or running away from them.

Gudrun and Gerald are in love with each other, while Rupert and Ursula are too, but one couple is unsuccessful at reaching any sort of bliss. The characters possess a bevy of emotions making their happiness almost impossible and the characters feel doomed to failure from the onset.

This is an example of the tremendous writing on the part of Larry Kramer and bringing the characters to the big screen in a memorable way.

Jackson’s Gudrun and Bates’s Rupert are my favorite characters because they appear to have slightly more depth to them and feel like the standouts. Gudrun appears to have love/hate feelings toward Gerald and often is downright cruel to him.

As they vacation in the Swiss Alps, Gudrun purposely and inexplicably flirts with a gay artist leaving Gerald insanely jealous and resulting in tragedy.

Counter-balancing Gudrun’s anger, Rupert showers in fun and zest for life, happily bi-sexual and thinking nothing of it, enjoying his sexually charged affections for both men and women.

The supporting characters, specifically snobbish Hermione and mentally unstable Christianna Crich are examples of perfect casting. Eleanor Bron plays Hermione as mocking and teetering on unhinged. As she psychologically bullies poor Ursula when it’s clear Rupert prefers the more innocent woman, Hermione becomes frightened.

Actress Catherine Willmer takes Christianna to a new level in creepy. Already appearing psychotic, when her daughter tragically drowns the woman goes over the edge, unleashing vicious dogs on any visitors to her estate.

Both actresses give unforgettable performances.

Women in Love contains a scene that may very well be the most homo-erotic scene in film history. As Rupert and Gerald decide to partake in a Japanese-style wrestling match one evening, they strip completely naked and grapple in front of a roaring fire.

In this lengthy sequence, both front and rear nudity are provided, leaving nothing to the imagination. When Rupert suggests they swear eternal love for each other, Gerald cannot commit to the emotional union.

One wonders if this outstanding scene influenced 2007’s Eastern Promises.

1969’s Women in Love is an amazing film with terrific acting all around. Taking romantic drama to an entirely different level and setting a new standard for brilliant complexities in film, the work of art from director Ken Russell is peppered with nuances making it rich with great storytelling and character development.

The fact that one couple ends in bliss and the other in tragedy is sheer excellence.

Oscar Nominations: 1 win-Best Director-Ken Russell, Best Actress-Glenda Jackson (won), Best Screenplay Based on Material from Another Medium, Best Cinematography

1993 Films, Aaron Sorkin, Alec Baldwin, Anne Bancroft, Bebe Neuwirth, Bill Pullman, George C. Scott, Gywneth Paltrow, Nicole Kidman, Peter Gallagher, Thriller, Tobin Bell

Malice-1993

May 29, 2018 scottmet99 Leave a comment

Malice-1993

Director Harold Becker

Starring Alec Baldwin, Nicole Kidman, Bill Pullman

Scott’s Review #765

Reviewed May 29, 2018

Grade: B+

Malice (1993) is only one of a slew of husband and wife-themed thrillers to emerge from the early 1990’s- Unlawful Entry (1992), Sleeping with the Enemy (1991), and Deceived (1991) are other similar films that made lots of money during this time.

This genre of slick filmmaking was popular as the new decade emerged and more complex story-telling graced the screens.

The myriad of twists and turns are both a positive and a negative to this film. Keeping the audience guessing and on pins and needles is a key success, eliciting a fun sort of tone, as well as the tremendous star power of the casting (George C. Scott and Anne Bancroft are big-time heavies).

Then again a few of the plot points become red herrings and thereby meaningless and the overall plots, and endless subplots, become way too complex than they need to be.

In a plot that is dizzying to explain, Associate Dean Andy Safian (Bill Pullman) and his wife Tracy (Nicole Kidman) are embarking on a life together in Massachusetts as they purchase a grand Victorian house and plan to begin a family.

As a serial killer stalks the campus where Andy works and implausibly results in him being the prime suspect, Tracy experiences health turmoil and is operated on by cocky yet brilliant Dr. Jed Hill (Alec Baldwin).

When dire events occur the plot escalates and the motivations of the main characters are questioned as truths and deceptions unravel.

When I first saw Malice in 1993 (in fact I saw it twice the same year), I adored the multitude of plot points and devices. The film had the same effect as a speeding roller coaster ride- with endless twists and story revelations.

And to be fair the film holds up pretty well, never seeming dated or of its time like many mainstream films. The two startling reveals- Tracy and Jed being in cahoots and the mysterious eye witness living next door being blind, are clever bits of writing that immerse the audience on many levels.

The acting is top-notch- Kidman plays good and evil oh so well and Bancroft’s cameo as Tracy’s mother is Oscar-worthy. The chemistry between Pullman, Kidman, and Baldwin, and Pullman’s “nice guy” to Baldwin’s “jerk” work quite well as the overlapping relationships play out.

Small yet meaningful roles by Bebe Neuwirth, Peter Gallagher, and Gwyneth Paltrow add layers to the wonderful casting.

And who can forget the often parodied scene where arrogant Dr. Jed launches into a monologue where he claims to be infallible and that he is God? This scene received tons of publicity and is arguably the defining moment of the film.

However, Malice’s strengths also sometimes become its weaknesses. As events go along the plot becomes too confusing. The school serial killer plot soon becomes a red herring as we realize it has little to do with the central plot- the Tracy/Jed alliance- except only to raise parenting questions.

Therefore the big reveal of who the killer becomes for naught. It’s the creepy janitor named Earl(Tobin Bell) hardly a surprise.

Furthermore, after the film ends and the viewer plays events back to make them add up, he or she will likely give up in frustration.

Malice is an above-average entry in a popular genre- who doesn’t like a good, solid thriller? With a talented cast and enough good medical thrills to balance with a college campus whodunit, there is plenty to please everyone who views this film.

Yes, some of the writing is preposterous and tough to believe, but Malice (1993) is a movie meant to escape with, sit back, and enjoy.

2017 Films, Drama, Independent, Independent Drama

A Ghost Story-2017

May 27, 2018 scottmet99 Leave a comment

A Ghost Story-2017

Director-David Lowery

Starring-Casey Affleck, Rooney Mara

Scott’s Review #764

Reviewed May 27, 2018

Grade: A-

Marvelous is it to support independent film and I get most of my selections via the annual independent spirit award nominations announced every November.

Rich, creative films that ordinarily would be overlooked are recognized and sometimes treasured instead of forgotten entirely.

A Ghost Story (2017) is a small film fortunate to land big-name stars undoubtedly increasing its audience- I am unsure if this film even played in theaters anywhere.

Nonetheless, the film is a thought-provoking experience that left me both perplexed and fascinated but with the knowledge that I had seen something of worth. I may not have completely understood it, but I also adored it.

Writer and director David Lowery must be in good with Hollywood A-listers Casey Affleck and Rooney Mara, who star in A Ghost Story. The pair also appeared in Lowery’s first film, Ain’t Them Bodies Saints (2013) which received critical acclaim.

Somewhere outside of Dallas, Texas, a young married couple is known as “C” (Affleck) and “M” (Mara) moves into a small house. “C” is a musician with an unusual fondness for the small house that the couple rents.

While “M” desires to leave the house “C” wishes to stay, somehow drawn to it. After “C” is tragically killed in a car accident his spirit returns unable to let go of either his wife or his home eventually stuck in time to watch generations come and go.

A Ghost Story is a cerebral experience as we watch the events from the perspective of “C”. Adding an eerie quality is that “C” is in the form of a ghost- shrouded in a plain white bed sheet with dark circles for the eyes. While “C” does not speak we experience his perceptions and feelings through what he sees.

At first, following “M” around as she mourns his loss, eventually, she moves on and “C” is forced to watch others live in the house. Pitifully, he awaits the return of “M” as hundreds of years go by.

Lowery is so good at creating an ominous and haunting tone mostly through his classical musical score. The film is wonderfully original.

The audience feels the loss and loneliness of both “C” and “M”, but there is a scary quality too. Not in the horror genre way, but rather we do not know what will happen next. When “M” brings a man home “C” is furious and knocks books to the ground and turns the lights on and off. Later, a new family is terrorized when an unhappy “C” breaks all of their dishes in a fit of rage.

A scene that gave me the creeps is when “C”, in spirit form, gazes out the window of his house and notices another ghost looking out the window of the house next door. This ghost looks exactly like him except is female- we know this because her sheet has a flower pattern.

They can communicate without speaking and “C” learns that she has been waiting for someone to come home to her, but it’s been so long that she can’t remember who it is. This scene is sad and filled with despondence.

A forewarning is that the pacing of the film is very slow- perhaps too slow for most. After “M’s” landlord brings her a pie we watch her devour the pie in a very long five-minute scene after which she vomits the contents up.

Despite long this scene is powerful and important as the entire time we view her depression and longing for “C” to return absorbing some little comfort from the pie.

A Ghost Story reaches its creative climax towards the end as the film sort of comes full circle and we begin to understand the circumstances. A dynamic sequence of the passage of time occurs showing the demolition of the house and the development that becomes a thriving city over time. Depressed and desolate “C” jumps off of a high rise.

I was mystified, however, by the final scene and was unable to completely make A Ghost Story (2017) add up (was there a second ghost or a rebirth of “C”?), but that is also part of the intrigue of the film.

Regardless, the film is a worthy watch if only for a story that is cerebral and makes one think. Its central themes of loneliness and loss are depressing, but also fascinating concerning the good story that Lowery creates.

Independent Spirit Award Nominations: John Cassavetes Award

1996 Films, Adventure, Bill Paxton, Cary Elwes, Disaster, Helen Hunt, Jami Gertz, Lois Smith, Philip Seymour Hoffman, Scott Thomson, Todd Field

Twister-1996

May 25, 2018 scottmet99 Leave a comment

Twister-1996

Director Jan de Bont

Starring Bill Pullman, Helen Hunt

Scott’s Review #763

Reviewed May 25, 2018

Grade: B+

Twister (1996) is a film that contains amazing and groundbreaking special effects- that blew people away (pun intended!) when released to the masses over twenty years ago.

Moviegoers flocked to theaters everywhere to partake in the escapist summer feel-good hit starring popular movie stars of the time.

The film spawned amusement park rides and lots of other fun things during its run.

The visuals are what truly are to be enjoyed here and not the generic, tried, and true subplots of romance, childhood trauma, and corporate greed that are mixed in.

The film does not hold up well in present times as the dazzling effects now look rather dated when lined up against modern blockbusters. This results in Twister being reduced to “one of those 1990’s films”.

Bill Paxton and Helen Hunt star as American storm chasers, Bill and Jo, obsessed with their craft of tracking tornadoes throughout the United States mid-western region. Adding drama to the plot is that Bill and Jo are an estranged married couple amid a divorce.

Bill brings his new fiancee Melissa (Jami Gertz) along as numerous meteorologists converge to track storms using newly invented devices.

Predictably, a series of vicious storms commence while Bill, Jo, and Melissa play out a love triangle.

Twister gets off to a fantastic start as a wicked storm kills the five-year-old Jo’s father, prompting her to pursue her career of choice. Jo has never gotten over her father’s death becoming fascinated by deadly storms.

The effects of this initial storm are very well done as Jo’s father’s death scene is riveting- the poor man being sucked into the deadly cyclone is memorable. Regardless, this scene sets the tone for the ample effects to follow- most notably the terrifying sound of the swirling storm as farm tools and animals fly around onscreen.

After the initial introduction, the rest of the film is mainly of the group driving around and encountering storms, with Bill and Jo taking center stage.

As a child having spent many summers in the mid-west, sans tornadoes thankfully, I felt a sense of nostalgia watching the film.

Assumptions are being made that Twister was indeed filmed on location (with studio help), but the authenticity is apparent. From the vastness of the plains to the dusty roads, cornfields, and the small-town U.S.A. I enjoyed the down-home, slice-of-life feel.

The action and effects are lightning-quick and quite realistic. As mentioned the sound effects are as strong as the visual effects and I never doubted for a second that the twisters had a realism to them.

This successfully merges into the summer blockbuster that Twister’s producers undoubtedly were going for. Making a ton of money, the result was successful and inspired by Hollywood.

Despite the superlative special effects, though, this is the only reason to watch Twister, and seeing the film once is enough excitement.

The writers (Michael Crichton and Anne-Marie Martin) attempt to incorporate a romance into the story and this does nobody any good. This negative aspect is even more apparent since the chemistry between Paxton and Hunt is non-existent and Gertz’s Melissa is meant to be the odd woman out all along.

A large amount of suspension of disbelief is necessary to “buy” various scenes. Ludicrous are countless scenes where characters either outrun the monstrous twisters or somehow the storms encircle them, but miraculously never touch them.

When Jo, Bill, and Melissa’s truck are captured inside the funnel cloud the vehicle and its passengers somehow remain unharmed. Tornadoes do not simply come out of nowhere to attack without any indication on the radar.

But alas this is a disaster film and liberties must be taken.

The famous “cow scene”, notoriously used twice in the film seemed groundbreaking and cutting edge in 1996, but in 2018 now seems hokey and unnecessary.

Times sure do change in cinema, especially with technical effects and CGI growing each year.

Admittedly, the film does contain a good, all-American rockin’ summer tune by Van Halen named “Humans Being”, which always makes me think of summertime when I hear it. The entire Twister soundtrack was an enormous success with radio airplay given and led to further successes for the film.

Perhaps now watched as a blast from the past or a revisit to some sort of nostalgic time for folks, Twister (1996) is a great example of a once-popular popcorn movie falling into semi-obscurity. Given another twenty years, the film will undoubtedly fall all the way.

A nice film for the time it was, but not much more.

Oscar Nominations: Best Sound, Best Visual Effects

2016 Films, Andrew Neel, Ben Schnetzer, Drama, James Franco, Lowest Rated Films, Nick Jonas

Goat-2016

May 23, 2018 scottmet99 Leave a comment

Goat-2016

Director Andrew Neel

Starring Ben Schnetzer, Nick Jonas

Scott’s Review #762

Reviewed May 23, 2018

Grade: D

Goat (2016) is a film that made me angry for one hour and forty minutes. I deride it completely.

Incorporating outrageous and unnecessary scenes for no other reason than to offend, the film fails to achieve either a lesson learned or any central point.

I understand what the filmmakers were going for by portraying fraternities as evil and their members as monsters. Goat never provided logic, much character development, or any good intentions.

I was left disturbed by what I had just seen.

College student Brad Land (Ben Schnetzer) is viciously attacked by two peers following a party one summer night. As the police search for the assailants, Brad begins the fall semester at a college attended by his older brother Brett (Nick Jonas).

There, he decides to pledge a fraternity during “Hell week,” enduring one humiliation and degradation after another. When a fellow pledge dies following the fraternity’s abuse, someone rats the fraternity out, with Brad as the likely suspect.

Brad is an interesting study. The protagonist makes his first mistake by giving ominous-looking strangers a lift home. At this point, we feel sympathy for the character and should root for him throughout the film, but I didn’t.

As nasty as the fraternity brothers are, it is not until nearly the end that Brad ever stands up to any of them, and he oddly refuses to point the finger at his assailant despite being right in the police lineup.

I found the character all over the place and never knew his motivations.

Most other characters (including the victimized pledges) have little rooting value and are primarily one-dimensional “frat boys” written poorly.

The writers of the script do their best to make fraternity brothers look awful- they beat, berate, humiliate, and degrade not only the pledges, but they barely treat females or animals any better.

This isn’t comforting to witness since there is little point. The humiliation scenes continue as if we are watching the same scene repeatedly.

Ludicrous scenes of the guys drinking, acting belligerent, using anti-LGBT slurs, and taunting each other commenced almost from the get-go.

A ridiculous cameo by James Franco goes nowhere and makes little sense other than his character being a former frat boy the current members looked up to. If I had a nickel for every “bro,” “dude,” or “man” used in the film to show machismo, I’d be a rich man.

In the final segment, the film makes a feeble effort to humanize Brett, who is hot and cold towards his brother all along (this is never explained).

They also write a few of the frat boys as feeling sorry for the sudden heart attack suffered by one of the pledges, but this only fueled me with rage as unknown was whether they were genuine or wanted to save their asses (they caused his death!).

My vote goes for the latter.

The only prop I will give to Goat is that it is not a middling glossy Hollywood affair and goes for the jugular in its intensity and brutality.

But the point I thought the film was trying to make (that of a thought-provoking look at the problem of fraternities) only made me hate fraternities and develop a negative view of them.

From the despicable scenes where the frat feeds a poor goat chocolate laxatives and forces a blindfolded pledge to eat what’s thought to be excrement to the concussion they give a pledge before he succumbs to a heart attack, the film is not an easy watch.

Too many scenes feel overly hammered home and redundant, and the conclusion is unsatisfying. We are left with Brett and Brad gazing out at the spot where Brad was attacked, and this scene does nothing to wrap up the film.

From the onset, I squirmed uncomfortably during Goat and never felt connected to the film or any of the characters.

Perhaps Goat (2016) would have succeeded or appreciated more with more development and purpose, but the film failed me.

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