All posts by scottmet99

1955 Films, Frank Sinatra, Jean Simmons, Joseph L. Mankiewicz, Marlon Brando, Musical

Guys and Dolls-1955

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Guys and Dolls-1955

Director Joseph L. Mankiewicz

Starring Marlon Brando, Frank Sinatra

Scott’s Review #887

Reviewed April 19, 2019

Grade: B+

The interesting pairing of Marlon Brando and Frank Sinatra in the playful musical Guys and Dolls (1955) provides enough bombast and playboy inclinations to make the music lively and entertaining.

Though not one of my all-time favorites in the genre, the film keeps pace with a nice flow and hearty musical numbers, successfully transferring the Broadway show to the big screen with an endearing production.

Nathan Detroit (Sinatra) is a full-fledged gambler who lives and breathes the sport. Although he is commonly criticized for his deeds, the police are clamping down on the shenanigans around town. He is desperate to obtain a deposit for the use of a secret venue that allows gambling.

Spotting acquaintance and fellow gambler Sky Masterson (Brando) the duo embark on a ridiculous and hilarious bet involving Sky’s invitation to dinner in Havana, Cuba with Sarah Brown (Jean Simmons) a devout religious figure and non-gambler.

Predictably, events spiral out of control with romance, misunderstandings, and charming musical numbers.

The setup is plot-driven but forgivable, given the fun involved. We are sure Masterson will fall head-over-heels for missionary and seemingly unobtainable Sarah.

Will he get the girl? Will she forgive him when she realizes what Masterson and Nathan have hatched at her expense? Of course, the fun is in the revelations as the film goes along.

Naturally, Nathan has his antics. He must marry his years-long intended, Adelaide (Vivian Blaine), because he lost a different bet.

The premise, plot, and conclusion all feel rather frivolous and chauvinistic in the modern world, as do many 1950s productions.

The film clearly shows a naughty guy meeting a good girl. The guy pursues the girl, gets her, and then rides into the sunset. The overall production is not cutting-edge or particularly progressive but is okay because of the fun and good chemistry among the characters.

Brando and Sinatra possess as much chemistry together as Brando and Simmons do.

The conclusion is satisfying and wrapped neatly like a tidy Christmas bow. To no one’s surprise, both couples tie the knot in beautiful style as all the misfires and misunderstandings end with a double wedding in Times Square, with Sky marrying Sarah and Nathan marrying Adelaide.

A perfect climax and a way to show the bright and bustling New York City amid a romantic backdrop can forgive any other weaknesses the film may contain.

What makes the film rise above standard fare or mediocrity as an overall piece is the wonderfully adorable tunes and Sinatra and Brando as a duo. The actor-turned-singer Brando and the singer-turned-actor Sinatra crackle with harmony as they play off each other in style.

The clap-along “Sit Down You’re Rockin’ the Boat” never fails to get any audience on its feet, and the clever “Luck Be a Lady,” a classic Sinatra standard, still resonates today.

The art direction, cinematography, costumes, and music all wrap the film together nicely, allowing the film a tight and well-muscled extravagant feel with maturity and richness that is perfect for the decade the film was released.

Guys and Dolls sits beside other musicals with a style all its own. A handful of Oscar nominations followed though none were for the top honors of Picture of any acting nominations.

The 1960s brought a decidedly darker texture to cinema, leaving many 1950s films feeling dated or superfluous compared to more essential story directions.

While this is the case with Guys and Dolls (1955), there also exists an innocence in watching the pure and charming character relationships and the resulting fun and frolicking.

A lively musical score, the bright lights of New York City, and the unusual locale of Cuba make the film lovely entertainment.

Oscar Nominations: Best Scoring of a Musical Picture, Best Art Direction, Color, Best Cinematography, Color, Best Costume Design, Color

2017 Films, Adèle Haenel, Arnaud Valois, Drama, French, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Nahuel Pérez Biscayart, Robin Campillo

BPM (Beats Per Minute)- 2017

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BPM (Beats Per Minute)- 2017

Director Robin Campillo

Starring Nahuel Perez Biscayart, Arnaud Valois

Scott’s Review #884

Reviewed April 11, 2019

Grade: A-

BPM (Beats Per Minute) (2017) is an exhilarating and heartbreaking film. It elicits emotional reactions such as empathy and empowerment and channels a potential life-saving cause.

Of French language and shot documentary style, the film is not an easy watch as the viewer is transplanted back to the early 1990s when the AIDS epidemic was ravaging the world in general and the gay community specifically.

A mixture of a community-oriented movement and a love story makes this project worthwhile viewing.

The immediate focal point of the story is an impassioned and aggressive Paris-based chapter of ACT UP (AIDS Coalition to Unleash Power), a unified gay and lesbian organization intent on speeding up the French government’s response to the unwieldy AIDS epidemic.

The group resorts to extreme public protests consisting of fake bloodthrowing and invading prominent pharmaceutical company meetings. They intend to get them to release trial results immediately instead of waiting until the following year.

The various debates and infighting in the chapter are heavily featured.

As the film progresses, BPM (Beats Per Minute) slowly shifts its focus from the protests to the personal lives of the ACT UP members as a romance brews between nineteen-year-old HIV-positive Sean (Perez Biscayart), who already exhibits visible infections from the disease, and HIV negative Nathan (Valois), a newcomer to the group.

The pair quickly become inseparable as Sean’s body becomes ravaged by the disease, resulting in a poignant and dire conclusion sure to elicit tears.

Director Campillo and co-screenwriter Philippe Mangeot drew on their personal experiences with ACT UP in developing the story, enriching the authenticity of the experience.

Despite being shot in the present day, the film feels genuine, with a 1990s feel and flavor. Though gorgeous and picturesque, the gray Parisian locales also portray a hint of sadness and bleakness.

As Sean gazes outside, we sense his fear and anguish. Through this character, Campillo and Mangeot provide personal stories that represent the plight of many at that time.

A particularly racy scene erupts approximately halfway through the film as Sean and Nathan’s love story takes center stage.

Foreign-language films are not known for shying away from nudity or sexuality as many American films do. As the impassioned pair make love for the first time, little is left to the imagination.

Despite the gratuitous nudity and the overt sexual tones, the duo’s relationship is not solely physical, and the audience will undoubtedly come to care for both men the way that I did.

The two-fold story is a wise choice, and the overall message that BPM (Beats Per Minute) presents is inspiring and a good telling of the LGBT community’s struggles at notice and inclusion during the 1980s and 1990s.

This point is both positive and negative. The story beckons back to a day in the community’s history, dripping with pain and loneliness, which is evident in the film.

The film is hardly a happy experience and quite somewhat a downer.

The film’s main drawback is its length. The story and principle points become redundant at nearly two and a half hours, causing the overall message to lose some of its thunder.

The constant bickering and debate among the ACT UP group become tedious to watch as fight and clash after fight and clash resurface repeatedly.

Though painful to experience and not very uplifting, BPM (Beats Per Minute) (2017) is an important film to view, given how far the treatments of HIV have progressed over several decades.

Not taking things for granted, a trip down memory lane for those alive during the epidemic is recommended.

For those fortunate enough to have missed the 1980s and the 1990s, the film is a necessary reminder of how life once was for the unfortunate victim of a devastating epidemic.

Independent Spirit Award Nominations: Best International Film

1939 Films, Bette Davis, Drama, Edmund Goulding, George Brent, Miriam Hopkins

The Old Maid-1939

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The Old Maid-1939

Director Edmund Goulding

Starring Bette Davis, Miriam Hopkins

Scott’s Review #883

Reviewed April 3, 2019

Grade: B-

Not one to dare criticize the legendary Bette Davis (would there be much to criticize anyway?), her starring turn in The Old Maid (1939) is not one of her best-remembered films through no fault of her own.

With compelling characters and a nice flow to a short one-hour and thirty-five-minute experience, the films suffer from too much melodrama and soap opera style overacting to warrant a sturdy recommendation.

The overwrought drama may have been riveting at the time of release, but now feels dated and dusty.

Davis portrays Charlotte, a modestly attractive young woman living in Philadelphia during the Civil War era. When her cousin Delia (Miriam Hopkins) discards her beau Clem Spender (George Brent) in favor of marrying another well-to-do man, Charlotte and Clem begin an affair that results in the birth of baby Tina.

When Clem is killed in battle, Charlotte opens a home for orphans as a way of hiding Tina’s illegitimacy.

As the years go by, Delia’s scheming results in Tina not knowing her birth mother, and Charlotte suffers away like an old maid yearning to confess the truth to Tina before the young woman marries.

The film’s highlight naturally is Ms. Davis, as she makes her character’s plight emotional and sympathetic.

Especially in 1939, the character is written as a strong and intelligent female with a will of her own. Davis portrays all qualities with passion and gusto, only adding to the perplexing, wishy-washy indecisiveness of the character.

Why does Charlotte go year after year, living under the same roof with her daughter but under the constant guise of only being her aunt and allowing Delia the title of the mother?

Charlotte is supposed to ensure that Tina receives a proper, upper-middle-class, respectable upbringing while being a part of her life.

The film does wonders to portray the roles of aunt and mother as opposites. As a teenager, Tina praises Delia while considering Charlotte matronly and dull as dishwater due to her overbearing and militant respect for rigidity.

Regardless, many facets of the story seem like plot setups to create drama and story points leading to vendettas and reoccurring conflict between Delia and Charlotte.

The fact that Charlotte is so strong and stoic on the surface is also a detraction as the audience is left frustrated over and over at the cousin’s decision not to tell the truth to Tina until the final scene when she is marrying a rich boy and even then, the scene is a disappointment.

The decision for Delia to adopt Tina at the age of twenty to finally allow her respectability and her fiancee’s parents’ approval is weak and story-dictated. The filmmaker attempts never to enable Charlotte any happiness or satisfaction, which is depressing, especially given Davis’s brash personality.

Despite the story issues, The Old Maid has some positives, including a well-dressed set and gorgeous costumes, as wedding after wedding occurs over the film’s twenty-year run.

The aging of the characters is also successfully done, specifically with Davis, as she goes from an impressionable youngster to graying and haggard over the years with good lighting and camera angles.

The Old Maid (1939) is a film of moderate interest as it includes some well-developed characters and a subject matter that might have been daring for the time.

The film, decades later, has a conventional slant and too many story plot setups better served for daytime television. The overall result is a too soapy style for much enjoyment but is saved by the graceful and powerful acting of Bette Davis, easily the best thing about the film.

2019 Films, Elisabeth Moss, Horror, Jordan Peele, Lupita Nyong'o, Shahadi Wright Joseph, Tim Heidecker, Winston Duke, Yahya Abdul-Mateen II

Us-2019

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Us-2019

Director Jordan Peele

Starring Lupita Nyong’o, Winston Duke

Scott’s Review #882

Reviewed April 1, 2019

Grade: A

Hot on the heels of his critically acclaimed and shockingly Oscar-nominated horror film Get Out (2017), Jordan Peele does it again with an even more thought-provoking creation.

Us (2019) combines classic horror elements with macabre and insightful qualities, crafting an ambitious project that can be dissected and discussed at length following the climactic and psychologically perplexing ending.

One thing is for sure: Peele has earned his spot among the most influential and elite directors circling Hollywood.

The film begins in 1986 as an event entitled “Hands Across America,” a publicity campaign encouraging people to hold hands to create a human chain to fight hunger and poverty, gripped the United States.

Nine-year-old Adelaide Thomas goes on vacation to Santa Cruz, California, with her parents, only to wander off into a deserted house of mirrors.

When she meets her doppelganger, she is terrified beyond comprehension and requires therapy to resume an everyday life.

Events return to the present day as Adelaide (now played by Lupita Nyong’o) is married to Gabe Wilson (Winston Duke) with two young children, Zora and Jason. Coaxed into a weekend getaway to none other than Santa Cruz to visit their wealthy friends Josh and Kitty Tyler (Tim Heidecker and Elisabeth Moss), Adelaide is apprehensive about the trip with a dreading sensation that her doppelganger is returning to get her.

When a strange family dressed in red jumpsuits appears on Wilson’s driveway, the plot transforms in a bizarre direction, especially since the family looks precisely like the Wilsons.

Us is exceptionally layered and reminiscent of the expression “peeling back the onion” in analysis and discussion possibilities. For starters, a character thought to be one person is revealed to be another, causing the audience to spin into confusion and not know who they were rooting for or against all along.

The astounding questions are endless and, in Peele’s brilliant fashion, can be asked at different times during the film. Why do the doppelgangers exist? What do they want? What does Hands Across America have to do with anything? What do the rabbits symbolize?

One gruesome scene and a favorite is the barbaric scene when the Tylers are suddenly attacked by their doppelgangers, home invasion style.

Reminiscent of the infamous Charles Manson murders, the family is slain quickly and mercilessly as the audience is left agape at the brutal slaughter. So much happens in this scene, first and foremost is the realization that there are more doppelgangers than we initially thought.

To lighten the mood a bit, Peele adds morbid comic relief as the family’s voice-controlled Siri system misunderstands the dying victim’s plea to call for police and mistakenly plays “F#@$ the Police” by N.W.A. instead.

Nyong’o has the most opportunities to showcase her acting ability by tackling two very different types of roles. As Adelaide, she is kind, capable, and your typical suburban Mom, but as her doppelganger Red, she is grizzled and desperate with a dry, throaty voice filled with pain and defeat.

At first thought a villain, the audience eventually learns the complexities of Red’s story more clearly, and the Oscar winner delivers both parts with exceptional grace.

The supporting actors bring their characters to life with gusto, with special mention going to Duke and Moss. Duke’s character of Gabe contains inept humor, coming across as slightly incompetent and the typical goofball dad-type character.

Moss takes her one-note character of Kitty, a spoiled, never-made-it-as-an-actress whiner with a wealthy husband, and infuses naughty passion into her doppelganger.

As she playfully applies lipstick while coquettishly watching herself in the mirror, she soon gives the term “plastic surgery” a new definition as she curiously carves her face.

Peele delivers a treasure with Us (2019), and I salivate at the thought that the film is only the novice director’s second attempt. Not suffering from the dreaded sophomore slump, he is becoming a modern director whose works are more like events than mere film releases.

Quentin Tarantino is a director who has also achieved this status because his directorial style is vastly different from that of other directors. I cannot wait to feast on Peele’s next attempt.

2018 Films, Animated, Best Animated Feature Oscar Winners, Bob Persichetti, Brian Tyree Henry, Chris Pine, Hailee Steinfeld, Jake Johnson, Kathryn Hahn, Liev Schreiber, Lily Tomlin, Mahershala Ali, Nicolas Cage, Oscar Isaac, Peter Ramsey, Rodney Rothman, Shameik Moore, Super Hero, Zoë Kravitz

Spider-Man: Into the Spider-Verse-2018

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Spider-Man: Into the Spider-Verse-2018

Director Peter Ramsey, Rodney Rothman, Bob Persichetti

Voices Shameik Moore, Hailee Steinfeld, Lily Tomlin

Scott’s Review #881

Reviewed March 30, 2019

Grade: B+

There have been many film versions of Spider-Man.

To my recollection, the first series consisted of three installments, directed by Sam Raimi: Spider-Man (2002), Spider-Man 2 (2004), and Spider-Man 3 (2007), all starring Tobey Maguire in the title role.

These were the good old days.

Andrew Garfield took over in 2012 and 2014 to mixed reviews before the superhero was merged into Captain America and The Avengers films, as well as one or two additional solo outings. This is where I lose track.

Finally, through all the incarnations comes the very first computer-animated film based on the Marvel Comics character.

Spider-Man: Into the Spider-Verse (2018) was an enormous box-office success as well as a critical success, winning the coveted Best Animated Feature Oscar.

My choice would have been for the dark and sarcastic Isle of Dogs, but the former has impressive merits and grand animation that are astounding to the eyes.

Towards the climax, the film teeters into familiar and predictable territory from a story perspective, though admittedly, the superhero and animated genres are not my favorites.

Miles Morales is a Brooklyn teenager, bright, energetic, and likened to an average city kid. His father, Jefferson Davis, is a muscled policeman who is no fan of Spider-Man, the heroic masked man who prevents city crime, outshining the cops daily.

While close to his father, Miles is much more connected to his uncle, Aaron Davis, despite his father and uncle having a distant relationship.

When a hungry spider bites Miles, he immediately begins exhibiting Spider-Man-like abilities and stumbles upon others with similar stories.

The teen meets super-villain Wilson Frisk (a not-so-subtle Donald Trump parody if ever I saw one), who is intent on accessing a parallel universe to retrieve his deceased wife and son. Events involving a USB drive and the “real” Spider-Man, Peter Parker, also living in a parallel universe, come into play.

The overly complex story is not the best part of the experience, and I began to lose interest in the hows and whys, especially when compared to the escapist and marvelous, super-cool animations.

Spider-Man: Into the Spider-Verse deserves great praise for making the film’s central character ethnically mixed (Hispanic and Black), a first in the franchise’s history.

This diversity, evident in Black Panther (2018), is all the rage now in the superhero genre, along with gender equality, a slogan once deemed a “guy’s movie.”

This is a delight to witness, with hopefully even more of a slant towards richer diversity. Are Asian, gay, or physically impaired characters coming next?

The film looks fantastic, with creative and slick modern animation and graphics that never waver throughout the nearly two-hour running time, which is lengthy for an animated feature.

Styled and bright, the film’s most striking appeal lies in its colors, shapes, and sizes. The metropolitan New York City is a treat to witness, as the creators not only focus on Manhattan, but also on Queens and Brooklyn, boroughs that are often forgotten in favor of Manhattan’s glitz and bustle.

The clever re-titling of FedEx trucks to Red Ex is worthy of mention.

With its glitzy look, fast-paced action, and interesting villains, Spider-Man: Into the Spider-Verse (2018) is an impressive feat and a deep dive into the possibilities of combining the superhero and animated genres.

This is around the corner due to the critical, audience, and award notices that surround this film. If only the story contained more twists and turns and fewer standard genre-pleasing qualities, the possibilities would be endless.

Oscar Nominations: 1 win- Best Animated Feature Film (won)

2018 Films, Alex Wolff, Anton Yelchin, Anya Taylor-Joy, Comedy, Cory Finley, Dark Comedy, Independent, Independent Comedy, Olivia Cooke, Paul Sparks

Thoroughbreds-2018

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Thoroughbreds-2018

Director Cory Finley

Starring Olivia Cooke, Anya Taylor-Joy

Scott’s Review #880

Reviewed March 26, 2019

Grade: B

Thoroughbreds (2018) is an independent dark comedy with snippets of creative filmmaking and an intriguing premise that loses steam towards the conclusion, closely mirroring too many other similarly themed indies.

An enjoyable geographical setting, but the lackluster, monotone dialogue never allows the film to stand out on its own and is therefore deemed unmemorable.

The lead actors are fine, but the experience falls short of raising the bar, suffering from an odd title that has little to do with the story.

Lily (Anya Taylor-Joy) and Amanda (Olivia Cooke) are former childhood friends whose differing levels of popularity have strained their relationship over the years. When Amanda’s mother pays Lily to socialize with Amanda under the guise of tutoring, Amanda catches on to the plot and confronts Lily.

This event brings the girls closer and, in a macabre fashion, they begin to hatch a scheme to plan the death of Lily’s stepfather, wealthy Mark (Paul Sparks), whom she perceives as abusive.

It is revealed via flashback that Amanda euthanized her crippled horse to spare his suffering which resulted in animal cruelty charges.

The setting of affluent Fairfield County, Connecticut, and presumably wealthy Greenwich is a high point of the film and an immediate comparison to the 1997 masterpiece, The Ice Storm.

Bored rich kids who perceive themselves to shoulder all the world’s problems, while subsequently attending the best boarding school imaginable, is delicious and a perfect starting point for drama and intrigue.

Lily’s domineering stepfather and her passive and enabling mother are clever additions without making them seem like caricatures.

The dynamic between the girl characters is intelligently written and believable, especially as they crack witty dialogue with each other. Lily is academic and stoic, humorously said to suffer from an unnamed condition that prevents her from feeling or showing any emotion.

Amanda is the perfect counterbalance as she is sarcastic, witty, and serves up one analytical observation after another.

From a physical perspective, the statuesque Lily is believable as the more popular of the two and the perceived leader.

As the girls elicit the participation of local drug dealer Tim (Anton Yelchin) into their plans, at first voluntary and ultimately by blackmail, the plot takes a turn for the formulaic and the redundant.

The setup seems too much like a standard dramatic story arc and becomes clichéd as the once-willing participant is subsequently thrust into the scheme. There are no romantic entanglements between the three main characters, and subsequently, there are no characters to root for, one strike against the film.

Otherwise, the “been there, done that” monotone dialogue has become standard in dark comedies so that in 2018, the element seems dated and a ploy to develop offbeat characters.

Director Cory Finley borrows heavily from fellow director Wes Anderson (The Royal Tenenbaums, 2001, and The Moonrise Kingdom) in this regard, so that the freshness of the characters and story wears thin mid-stream.

The title of the film could be better, as a quick scene featuring Amanda and a horse at the beginning, and a brief mention of horses in a dream by one character, is all there is about the animals.

I expected more incorporation between animal and human, or at least a more poignant connection.  The privileged lives of Lily and Amanda seem a perfect correlation to bring horses into the central story in a robust way.

Finley is on the cinematic map, crafting an effort that proves he possesses some talent and an eye for a wicked and solid offering.

Thoroughbreds (2018) represents a film like many others in the same genre that rises to the top of the pack, but it is not without merits and sound vision. It will be interesting to see what this up-and-coming director chooses for his next project.

Independent Spirit Award Nominations: Best First Screenplay

1966 Films, Eleanor Parker, Janet Leigh, Robert Gist, Stuart Whitman, Thriller

An American Dream-1966

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An American Dream-1966

Director Robert Gist

Starring Stuart Whitman, Janet Leigh, Eleanor Parker

Scott’s Review #879

Reviewed March 19, 2019

Grade: C-

An American Dream (1966) is a film version of the Norman Mailer novel of the same name. Directed by Robert Gist, the cast includes Stuart Whitman, Janet Leigh, and Eleanor Parker, who do what they can with mediocre writing, uneven pacing, and an unsatisfying ending.

The roles suffer from miscasts and misfires. The film plays more like an episodic television detective show or a darker version of a television movie than a compelling feature.

Except for one terrific high-rise scene, the film is essentially a waste of time.

Stephen Rojack (Whitman) is a decorated war hero who returns to Los Angeles to become a journalist. He publicly criticizes the police for failing to accost a known crime lord named Ganucci (Joe De Santis), which angers the mobster.

Simultaneously, Rojack’s alcoholic wife, Deborah (Parker), flies into a drunken rage when he asks her for a divorce, resulting in her toppling from a swanky high-rise to her death. Riddled with guilt, Rojack resumes a relationship with his former girlfriend and Ganucci’s ex, Cherry (Leigh).

The best scene is the intense confrontation between Rojack and Deborah. The sweeping, expansive balcony and the open-air locale overlooking dazzling Los Angeles should be a significant clue that something dire will transpire, especially as Deborah is drunk beyond belief and filled with fury.

Her lavish apartment is adequately decorated in the latest 1960s style, giving the scene a plush sophistication. The vicious death scene is wonderfully done as the woman not only falls to her death but is subsequently run over by a car, adding insult to injury.

The scene is also the crux of the entire film.

Harboring the thrill of the climactic scene, however, is Parker’s jarring, overacting performance, making Deborah appear crazed and animal-like. The display is understood as making the character unlikable and unbalanced- the hunky gigolo in her bed also makes her unsympathetic-but the cartoon acting seems amateurish and beneath the fabulous actress.

Remember, this is the same woman who created the sophisticated and memorable character of the Baroness in The Sound of Music (1965).

The premise of the film is illogical and unbalanced as, to my eyes, it appears Deborah falls to her death accidentally, but the reasoning of the film portrays Rojack as riddled with guilt for causing her death.

He even admits his guilt to her father in one scene. His claim to the police that Deborah committed suicide is, of course, untrue, but the unnecessary guilt seems implausible and too much of a stretch at creating the main plot point.

The most significant negative aspect of An American Dream is Janet Leigh’s casting as Cherry. Wearing an unappealing and silly wig, the Hollywood star seems unbelievable and just wrong as a mob girlfriend.

Her soft features and petite frame do not fit the part, and her lip-syncing of the Oscar-nominated theme song “A Time For Love” does nothing to elicit credibility from either the character or the actress.

When An American Dream bombed at the box office, desperate distributors retitled the film See You in Hell, Darling, but to little avail. Reducing it to weekday airings on television did nothing to change the image of a low-budget, made-for-television style look or the episodic detective tint.

The intended perception of a horror film is a strikeout, as the experience is more like a tepid thriller.

For fans of Janet Leigh, An American Dream is not recommended.

The preferred suggestion is to skip this one and delve into other gems, such as the legendary Psycho (1960) or Touch of Evil (1958).

An American Dream (1966) doesn’t utilize the legendary actresses’ talents. It is a forgettable film that is best left in the bargain bin.

Oscar Nominations: Best Original Song-“A Time For Love”

1965 Films, Anna Massey, Carol Lynley, Keir Dullea, Laurence Olivier, Megs Jenkins, Otto Preminger, The Zombies, Thriller

Bunny Lake Is Missing-1965

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Bunny Lake Is Missing-1965

Director Otto Preminger

Starring Keir Dullea, Carol Lynley

Scott’s Review #877

Reviewed March 13, 2019

Grade: B+

Bunny Lake Is Missing (1965) is a taut psychological thriller that feels fresh and unpredictable, containing a mysterious, almost haunting quality throughout its running time.

The film focuses on one big question: Is the main character’s interpretation of events real or imagined? The uncertainty makes the film intriguing to watch. Glimpses of London locales also make for fun viewing, as the chaotic and creepy children’s school is the film’s primary location.

Though not remembered well, the film is still worthy of a watch.

Ann (Carol Lynley) is a single mother recently transplanted to London with her well-kept brother Stephen (Keir Dullea). When she hurriedly drops off her unseen daughter, Bunny, at her new preschool and instructs the school cook to watch her, the girl soon disappears.

When the police were called to investigate, they discovered nobody on staff had any eyes on the young girl. The plot thickens when it is revealed that all of Bunny’s belongings have been removed from Ann’s residence and that Ann had an imaginary childhood friend named Bunny.

Has Ann concocted the entire scheme herself for attention, or could she be harmful or psychotic?

The film offers several subtle nuances that either work or do not work. The opening credits are a lesson in cinematic creativity as the words present as slivers of paper torn down the middle.

Though the musical score during this sequence is not necessarily eerie, the complexity and ferocity present an ominous and certainly intriguing element.

This point is a wise move because it sets the tone for such a thriller as the film presents itself.

Otto Preminger’s black-and-white style is upbeat, enhancing the overall look of the picture. The muted tones evoke an effective ghost story style with an ambivalent chilling technique.

As the mystery is ultimately resolved, the introduction of new and peculiar characters offset the tangled plot as the look of the film remains constant.

As Horatio Wilson, Ann’s landlord, and Martita Hunt, the retired school headmistress, Noel Coward lives in the attic, which does wonders for adding creepy ch. Butters, but are they meant to be red herrings or keys to the big reveal?

A few gripes are that incorporating the English rock band The Zombies serves little purpose, and the addition is perplexing.  I’m not opposed to the band’s music, but the songs have nothing to do with the plot.

Seen on the television during a pub scene and later heard on a janitor’s radio during an escape scene, the odd placement seems little more than a marketing tool product placement.

Another miss is with the casting of Sir Laurence Olivier as Superintendent Newhouse. His talents are wasted mainly with little more than a throwaway role despite arguably being considered the lead.

As the straight man handling the investigation, his performance is adequate but limited, especially given his Shakespearean stage actor talents. His performance is both phoned in and beneath the historic actor.

The other roles are well-cast, especially Lindley and Dullea in key parts. For the film’s first portion, I assumed the pair were husband and wife until it was revealed otherwise, which is a lovely, unexpected nuance. Their chemistry is sweet and easy, and both perform their respective roles with poise and charisma.

1965, both were relatively novice young actors on the brink of stardom, though sadly short-lived. Their acting chops are firmly in place with this film, which is fun to witness.

For fans of psychological thrillers with an implied ghost story enveloped within its clutches, Bunny Lake Is Missing (1965) is worthy and mysterious entertainment with a surprise ending.

The film is not stellar, with some weaknesses, and is less than a pure classic, reminiscent of a good, solid Twilight Zone television episode.

1954 Films, Best Picture Oscar Winners, Crime Drama, Drama, Elia Kazan, Eva Marie Saint, Fred Gwynne, Karl Malden, Katherine MacGregor, Lee J. Cobb, Marlon Brando, Martin Balsam, Michael V. Gazzo, Pat Hingle, Rod Steiger

On the Waterfront-1954

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On the Waterfront-1954

Director Elia Kazan

Starring Marlon Brando, Eva Marie Saint

Scott’s Review #876

Reviewed March 9, 2019

Grade: A

Led by one of the best acting performances of all time, On the Waterfront (1954) was an essential and relevant film when made and is still influential in the modern era.

Director Elia Kazan and newly minted Hollywood star Marlon Brando collaborate on a film spectacle as much a character study as a tale of morality and social injustice.

The musical soundtrack score composed by Leonard Bernstein only enhances an already astounding picture that is deservedly referenced as a masterpiece.

Terry Malloy (Brando) is a washed-up former local boxer who now spends his days slaving away as a dockworker on the dingy waterfronts of Hoboken, New Jersey. Terry’s brother Charley (Rod Steiger) works for a vicious mob boss, Johnny Friendly (Lee J. Cobb), who controls the area.

The police are aware of the ongoing corruption but are limited by the lack of evidence and witnesses to regular crimes. When a fellow dockworker is killed, Terry falls for the victim’s sister, Edie (Eva Marie Saint), leading him to rethink his priorities.

The positive aspects of On the Waterfront are enumerable. Meritful cinematography and location sequences, enshrined in the rich story and flawless acting, give the film authenticity. The film was shot almost entirely on location in New York and New Jersey, using actual docks and outdoor sequences.

The dingy, water-soaked locales are riddled with secrets and dark violence, brought to new levels through realism and grittiness.

Never looking more masculine or more handsome, though his portrayal of Stanley in A Streetcar Named Desire (1951) is a close second, Marlon Brando achieves riches in the world of stellar acting.

He is rugged yet compassionate, macho yet tender, and pours his heart into the role of Terry. One cannot help wondering if the self-professed method actor became Terry during filming.

With both vulnerability and strength, Brando embodies the character so well that he has become my favorite of all the film roles he has undertaken.

The supporting players dutifully flesh out the resounding cast with gusto. Special mentions go to Karl Malden as Father Barry and Steiger as Charley. Like Barry, Malden brings warmth, patience, and benevolence in a world of crime and deceit. He attempts to console and mentor the folks in his world and is eventually beaten for his honesty and earnestness.

Charley is a different story, selling his soul to the devil and accepting the cards he has been handed, choosing to join with Friendly. At a crucial moment, he makes another devastating choice that changes his life forever.

Few films can proudly boast a scene or dialogue that remains timeless and imprinted on cinematic history, but On the Waterfront contains a scene of this caliber.

During a tremendously important moment in the film, Terry has a conversation with Charley and makes an impassioned statement-“I coulda’ been somebody. I coulda been a contender”, laments Terry to his brother, “Instead of a bum, which is what I am – let’s face it.”

This line is a historic piece of writing and is true to the character.

The film is more powerful and truthful because it represents Elia Kazan’s real-life plight. In the early 1950s, the director famously informed a government committee about suspected Communists, while many of his colleagues chose to go to prison rather than name names.

Many Hollywood actors, directors, and screenwriters were blacklisted for decades to come. On the Waterfront is frequently deemed an allegory to the director’s plight and is a personal story.

On the Waterfront (1954) is sometimes violent and all-times realistic, painting a portrait of one man’s struggle to overcome the lousy life given to him to do the right thing.

Thanks to gorgeous direction, an explosive lead performance by Brando, and all the pieces fitting perfectly in unison, the film is one of the greats and will remain one that generations will discover.

Oscar Nominations: 8 wins-Best Motion Picture (won), Best Director-Elia Kazan (won), Best Actor-Marlon Brando (won), Best Supporting Actor-Lee J. Cobb, Karl Malden, Rod Steiger, Best Supporting Actress-Eva Marie Saint (won), Best Story and Screenplay (won), Best Music Score of a Dramatic or Comedy Picture, Best Art Direction, Black-and-White (won), Best Cinematography, Black-and-White (won), Best Film Editing (won)

1952 Films, Comedy, Cyd Charisse, Debbie Reynolds, Donald O'Connor, Gene Kelly, Jean Hagen, Madge Blake, Musical, Musical Comedy, Rita Moreno, Romantic Comedy, Stanley Donen

Singin’ in the Rain-1952

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Singin’ in the Rain-1952

Director Stanley Donen, Gene Kelly

Starring Gene Kelly, Debbie Reynolds

Scott’s Review #874

Reviewed March 4, 2019

Grade: A-

Singin’ in the Rain (1952) is most closely associated with the entertainment industry in the oversaturated field of musicals released during the mid-twentieth century.

The battle between the transition of silent pictures to “talkies” is the basis of the story, giving the film an important, along with fun, subject matter.

Likable stars and sing-along tunes make the film memorable and decidedly All-American, though perhaps not the greatest in the crowded musical field.

During the late 1920s, Don Lockwood (Gene Kelly) was a famous and well-regarded silent film star. His co-star and studio-created romantic attachment is Lina Lamont (Jean Hagen), an annoying and shallow leading lady with a harsh singing voice.

As more successful “talkies” (films with sound) are produced, Don finds himself smitten with musical chorus girl Kathy Selden (Debbie Reynolds). The plot to dub Lina’s voice with Kathy’s leads to comical chaos and an idea to create a new musical amid a blossoming romance between Don and Kathy.

The fun and frolicking Singin’ in the Rain is lightweight but never silly nor superfluous, thanks to the overriding message of the change in Hollywood priorities.

Critically acclaimed from the get-go, this is unsurprising since Hollywood loves stories about Hollywood, especially since the film was made only slightly more than two decades since sound-laden films overtook the world.

Furthermore, in 1952, television was making its debut to legions of fans, and the accessibility presented a serious threat to the cinema, making the subject matter even more relevant.

Kelly and Reynolds make a nice enough pair, but I never thought they completely knocked it out of the park from a chemistry perspective.

One slight flaw is the lack of hurdles preventing the couple from an inevitable union. Lina is the transparent foil and ultimately played for laughs, so she is not a serious threat.

The plot-driven conflict involving Kathy’s initial dislike of Don because she values stage over film is cute, but ultimately revealed to be a sham since she has been a fan of his all along.

The musical is a comedy, but better hurdles might have made for a more interesting story.

Nonetheless, Singin’ in the Rain is a pleasure and a largely non-threatening experience. The hi-jinks involved as the characters strive and struggle to put on their production are comical, and Lina’s New York accent and shrill singing voice threaten to steal the show from the more grounded central characters.

The musical numbers are a dream, and I especially like favorites like “Make ‘Em Laugh,” “Good Morning,” and the epic title song.

Through no fault of the film’s title number, “Singin’ in the Rain” will forever not be associated with this film for me but rather with the dark and cerebral A Clockwork Orange (1971). As the villain beats and rapes his victim by cheerily singing this tune, the song will forever hold a much darker association for me.

The dramatic final act is the highlight as a lavish premiere of The Dancing Cavalier is unveiled to a live theater audience hungry for something good.

When the crowd chomps at the bit for Lina to perform live, the big reveal of Kathy being the truly talented singer is displayed as the wizard in The Wizard of Oz style as Don and Kathy kiss and ride off into the sunset together in a grand show biz fashion.

In the crowded genre of the 1950s and 1960s musical productions that ravaged American cinema at the time, I mainly chose to watch West Side Story (1961), Gypsy (1962), The Sound of Music (1965), and Oklahoma! (1955) for pleasure, but Singin’ in the Rain (1952), an earlier gem, is worthy of value, especially for the memorable musical soundtrack it offers.

The story is light but also relevant and, most importantly, highly entertaining.

Oscar Nominations: Best Supporting Actress-Jean Hagen, Best Scoring of a Musical Picture

1952 Films, David Miller, Film noir, Gloria Grahame, Jack Palance, Joan Crawford, Thriller

Sudden Fear-1952

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Sudden Fear-1952

Director David Miller

Starring Joan Crawford, Jack Palance, Gloria Graham

Scott’s Review #873

Reviewed March 3, 2019

Grade: B+

Sudden Fear (1952) is a gripping film noir thriller. The genre became commonplace in the early 1950s.

The film is raised to lofty acclaim due to the casting of legendary Hollywood star Joan Crawford in the lead role. Her performance led to an Oscar nomination and is the main draw.

Sudden Fear suffers from cliches but is otherwise a solid watch, although largely forgotten.

Crawford stars as Myra Hudson, a successful Broadway playwright who rejects the suave and handsome Lester Blaine (Jack Palance) after he auditions for the lead role in her play.

Later, they coincidentally meet on a train headed for San Francisco as Lester manages to sweep the mature woman off her feet. When Myra impulsively marries Lester, his true intentions to manipulate and then kill her to inherit her money are revealed.

The suave Myra uncovers the plot and instead plans to kill Lester and place the blame on his scheming former girlfriend, Irene (Gloria Grahame).

As a rabid fan of Ms. Crawford and her talents, I lean towards the film’s being exclusively hers. With her expressive eyes and mannerisms, the role is tailor-made for her and not too far from the role she would later play in What Ever Happened to Baby Jane? (1966).

As a strong yet beleaguered character, Myra has been unsuccessful in the romance department. After a glimmer of hope, she is devastated when she realizes she is being played for a fool.

Thanks to Crawford, her pain and humiliation are palpable, and her subsequent paranoia is believable without overacting too much for effect.

Palance and Grahame are okay in their respective supporting roles, but Crawford outshines them, or the script becomes banal.

Regardless, the roles are one-note and not the best of either actor’s career.

The characters have little rooting value; we know their motivations and shenanigans from the start.

The conclusion produces a satisfying demise for each one as their comeuppance is in perfect form.

From a plot and pacing perspective, the film is never dull and contains many twists and surprises, which will undoubtedly keep audiences engaged. The action moves in stellar form and never tires as the viewer anticipates an incredible ending.

The final chapter is fraught with chase scenes throughout the streets of San Francisco. A terrified Myra runs through the streets clad in a black coat and a white head shawl, wearing high heels naturally, while being chased by a crazed Lester.

Sudden Fear adds clever camera angles and cinematography, making it slightly left of center and creative looking with cool shadows throughout.

Elements of Hitchcock emerge as a shaky hallway scene featuring a lumbering Lester approaches the camera. Closeups of the actors and the illuminating black-and-white lighting give the film a glowing look.

Shots of a gun, a pendulum swinging representing a clock, or a bottle labeled “poison” add elements of tension.

For fans of the illustrious Joan Crawford, Sudden Fear (1952) is a recommended watch and will please those seeking a good helping of the star. She does not disappoint and is the main draw in an otherwise by-the-numbers genre film.

The film’s conclusion is the high point, and while I wish Palance and Grahame had provided more layers and character development, Crawford shines in an otherwise forgotten offering.

Oscar Nominations: Best Actress-Joan Crawford, Best Supporting Actor-Jack Palance, Best Cinematography, Black-and-White, Best Costume Design, Black-and-White

1951 Films, Alastair Sim, Brian Desmond Hurst, Christmas, Drama, Fantasy

A Christmas Carol-1951

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A Christmas Carol-1951

Director Brian Desmond Hurst

Starring Alastair Sim

Scott’s Review #871

Reviewed February 26, 2019

Grade: A

A Christmas Carol (1951), released under the American title Scrooge in Great Britain, is another film adaptation of Charles Dickens’s world-famous 1843 novel.

This version seems the popular favorite, historically shown on television around the holidays.

Alastair Sim is perfectly cast as the curmudgeonly Scrooge with the eventual endearing qualities in this earnest and incredible seasonal effort.

Set in bustling London, a fabulous setting for any Christmas film, the story gets off to a resounding start with Dickens’ words being narrated, subsequently presenting a faithful tribute to the book.

The brooding Ebenezer Scrooge (Sim) angrily leaves the London Exchange on Christmas Eve, eager for a quiet night at home. He begrudgingly gives his clerk, Bob Cratchit (Mervyn Johns), the day off to spend with his low-income family. He bemoans the holidays as humbug to fellow wealthy businesspeople he encounters.

Scrooge embarks on a strange journey at night when he is visited by his deceased business partner, Jacob Marley (Michael Hordern). Shackled in chains, he is doomed to walk the earth clad, representing his greed during his living years.

He warns Scrooge to repent or suffer the same fate as he is visited by three ghosts representing chapters of his life: The Spirit of Christmas Past, the Spirit of Christmas Present, and the Spirit of Christmas Yet to come.

The first two ghosts are more benevolent, and the third is mysterious and frightening. They take Scrooge on a dim journey through what will happen after he dies.

The centerpiece that makes A Christmas Carol work so well is its star, Alastair Sims. Hardly handsome, the actor is perfect in the role, offering relish with his irritated facial expressions and untamed white locks. As he dismisses a server at the realization that he will be charged extra for more bread, the penny-pinching Scrooge is in fine form, as only Sims can be.

Later, his cleaning lady assumes Scrooge has lost his marbles as he frolics about gleefully in his bedclothes, raising her salary beyond comprehension. He is a changed and jolly man.

Sims plays this range of emotions with relish and truthfulness.

The cinematographers work wonders, creating a magical London set drizzling with celebratory facets. With eons of pure white falling snow and streets filled with young Christmas carolers and city people, the film offers a great feel.

With the Cratchit household modest yet filled with holiday cheer, the film gives the audience the right blend of sentimentality and spirit, never turning into schmaltz.

The result is a richly produced film with a small budget, proving that a robust budget does not equal greatness.

Rated G, the film has a few dark moments but is tailor-made mainly for an all-ages audience. This undoubtedly is a testament to its success and staying power.

Neither a musical nor too heavy in the drama field, the pacing is perfect, and the story builds throughout the running time. After many decades, most viewers will be familiar with the conclusion, an enchanting character turn that is always wonderful to witness with joyful glee.

A Christmas Carol (1951) is a legendary film with crackle, spark, and a compelling atmosphere, leaving adoring fans looking forward to more each season.

For an interesting contrast, a suggested companion piece is the aptly titled Scrooge (1970) starring Albert Finney, a musical version of the same story.

Watched in tandem or even traded off, these two similar yet different creations offer interesting perspectives, both enchanting and celebrating the human spirit.

2018 Films, Amanda Seyfried, Cedric the Entertainer, Drama, Ethan Hawke, Independent, Independent Drama, Independent Thriller, Paul Schrader, Thriller, Van Hansis

First Reformed-2018

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First Reformed-2018

Director Paul Schrader

Starring Ethan Hawke, Amanda Seyfried

Scott’s Review #870

Reviewed February 22, 2019

Grade: B+

First Reformed (2018) is a dark, independent film that has received a great deal of buzz for the raw and daring risks it takes and the brave performance by its star, Ethan Hawke.

Directed by the same man who wrote the screenplay for Taxi Driver (1976), Paul Schrader, the film is a character study of one man’s efforts for benevolence and normalcy after experiencing insurmountable tragedy. He wrestles with his demons and questions his faith in the church.

The film is a heavy, raw drama, and not for those looking for a feel-good experience.

Reverend Ernst Toller (Hawke) is an alcoholic, residing in bleak and barren upstate New York, presumably near Buffalo. He serves as a Protestant minister at a historically significant yet sparsely populated church.

Another, more modern congregation takes over the establishment with a large following. Ernst has recently been dealt a significant blow with the death of his son in the Iraq War after encouraging him to enlist.

When Mary (Amanda Seyfried), a young pregnant woman, asks Ernst to guide her radical and troubled husband, Ernst’s life spirals out of control.

Ernst is determined to keep a journal for precisely one year and then subsequently burn it. He chronicles his feelings, thoughts, and doubts as narrated by Hawke. Schrader, who directed and wrote First Reformed, succeeds at making the film feel personal and conflicted.

He creates a quiet experience, masked by underlying turmoil and even a suffocating existence. Ernst’s angry protege is an environmentalist determined to change the minister’s views and succeeds in pointing out life’s hypocrisy.

The season is winter, and the elements are cold and depressing in First Reformed. From the crisp air and the clutching small-town grasp, Schrader makes the audience feel stifled, so we relate to Ernst, even though we may not share his views or beliefs.

He is a kind man, helpful, and even-keeled, but wrestles with constant demons.  Despite his role as a minister, what the film does well is resist carving a traditional tale of religious conflict or even questioning Ernst’s sexuality.

The film is set in a much darker context and doesn’t focus on a single theme.

Where Schrader loses me is with Ernst’s questionable actions, which sometimes come out of left field. The conclusion is both perplexing and unsatisfying.

As the character prepares for a desperate act of brutality, indeed a shock for the audience who has him figured out, he suddenly changes course due to the appearance of Mary. They embrace, and the film ends, but what are his intentions towards Mary? He is fond of her, but are his feelings pure friendship or something more emotional?

Sadly, we never find out, nor do we know, where he channels all of his feelings from.

Hawke’s dynamic portrayal of Ernst is never better. The supporting characters lack much appeal or interest. Mary is nice enough but is a tad clingy, and her numerous requests to talk or have Ernst come by to visit get tedious.

Seyfried does what she can with the role, but is the second banana.

Cedric the Entertainer as Pastor Joel Jeffers lacks appeal, and the dowdy character of Esther, meant to be a potential love interest for Ernst, is instead bothersome and portrayed as a pest.

First Reformed (2018) has shades of appeal, and the main character is well-substantiated and deep, but ultimately, the film does not come together as well as it might have.

The finale underwhelms, and after the significant buildup to the character’s changing thoughts and motivations, too much was left unclear. Schrader deserves props for attempting to create an edgy experience with a unique and daring character, but could have wrapped the film up in a tidier way.

This would have served the film better.

Oscar Nominations: Best Original Screenplay

Independent Spirit Award Nominations: Best Feature, Best Director-Paul Schrader, Best Male Lead-Ethan Hawke (won), Best Screenplay

2018 Films, Alison Snowden, Andrew Chesworth, Animated, Becky Neiman-Cobb, Bobby Pontillas, David Fine, Domee Shi, Louise Bagnall, Nuria González Blanco, Shorts, Trevor Jimenez

Oscar Nominated Animated Short Films-2018

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Oscar-Nominated Animated Short Films- 2018

Directors Alison Snowden, David Fine, Domee Shi, Becky Neiman, Louise Bagnall, Nuria Gonzalez Blanco, Andrew Chesworth, Bobby Pontillas, Trevor Jimenez

Scott’s Review #869

Animal BehaviourBaoLate AfternoonOne Small StepWeekends

Reviewed February 18, 2019

Grade: A

It was amazing to have the honor of viewing the five short films nominated for the 2018 Academy Award for Best Animated Short Film at my local art theater.

Far too often dismissed as irrelevant or completely flying under the radar of animated offerings, it is time to champion these fine little pieces of artistic achievement.

Each of the five offers a vastly different experience, on par with or even superseding the full-length animated features. Still, each offers inspired or hopeful messages or dark, devious, and edgy stories.

The commonality this year is that four of them feature parent-child relationships.

Below is a review of each of the shorts.

Animal Behaviour-2018 (Canada)

The weirdest in the group, Animal Behaviour, is also the most humorous and the best, but only by a narrow margin.

We witness a therapy session led by a prim and proper dog with his issues. In attendance are a blood-sucking leech, a praying mantis, a cat, a pig, and the newest attendee, a gorilla. All are happy to participate except the gorilla, who sees the session as a waste of time.

As eating jokes, butt jokes, and other adult humor encases the camaraderie each character develops a clear identity and the gorilla learns, in comedic fashion, that he does require therapy.

This short plays out like an intelligent television sitcom. Grade: A

Bao-2018 (USA) (Won)

The most mainstream of the contenders, Pixar’s creation Bao, is cute and heartwarming and an ode to motherhood.

A perfect Mother’s Day offering, the story tells the tale of a Chinese mother who imagines one of her delicious dumplings as her son. She takes him to soccer practice and rides the bus together, but they are inseparable.

As the dumpling matures, he wants to be alone, see friends, and eventually meets a young woman and proposes marriage. The mother is aghast and, in a state of panic, swallows the dumpling!

Depressed, she is awakened by her real son, and the two form a sweet bond made from respect and love. The story is blooming with colors and nuanced with kindness, so it is easily the crowd favorite. Grade: A-

Late Afternoon-2018 (Ireland)

Some will undoubtedly find Late Afternoon a bit of a downer, but I found its honesty uplifting and fraught with creativity. Each afternoon, a caring nurse visits an older woman suffering from Alzheimer’s disease. The nurse is kind, and her actions—serving a hot cup of tea or giving the woman a book to read—trigger memories of her youth with so much promise lying ahead of her.

Eventually, she can recognize that the nurse is her daughter.

The short is filled with compassion, and while melancholy, it is also inspiring, not to mention the creativity immersed in the colors and design. Grade: A

One Small Step-2018 (USA/China)

The most conventional in the lot, One Small Step, will be perceived as empowering to women and a story of both loss and courage.

A Chinese-American girl is raised by her patient and caring single father in California. She is taught to reach for the stars, and he kindly repairs a shoe of hers and secretly stores it away.

Over the years, she has been determined to become an astronaut. While she loves her father, she often takes him for granted. She is denied admission into a prestigious school and, depressed, gives up her dream.

When her father dies suddenly, the girl redoubles her efforts and finally becomes a successful astronaut in dedication to her father.

The short champions energy and a never-give-up attitude. Grade: A-

Weekends-2018 (USA)

Weekends is my second favorite of all the shorts, a bare runner-up to Animal Behaviour.

The most complex and confusing, the short also features the most interesting hand drawings and artwork with a surreal and beautiful touch.

A child of divorce spends his weekdays with his mother and weekends with his father. His mother is depressed and lets the house languish while his father lives a metropolitan bachelor-style life.

When the mother begins dating an abusive man, the boy is terrified, imagining birthday candles that turn into the frightful man. The mother wears a neck brace, which implies physical abuse.

The short is moving and hits home on a personal level. Grade: A

1948 Films, Drama, Enzo Staiola, International, International Drama, Italian, Lamberto Maggiorani, Vittorio De Sica

The Bicycle Thief-1948

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The Bicycle Thief-1948

Director Vittorio De Sica

Starring Lamberto Maggiorani, Enzo Staiola

Scott’s Review #867

Reviewed February 16, 2019

Grade: A

The Bicycle Thief (1948), modified to the English title from the original Italian Bicycle Thieves (Ladri di biciclette), is an essential and cherished film containing a powerful message enshrined in a compelling story.

The emotional film focuses on a robust relationship between a father and his son and their determination to retrieve what is rightfully theirs. Made after World War II, it has a socialist theme and a hallmark neorealist style centered around working-class people.

The film is an example of cinema being art and not merely entertainment.

The film deservedly was awarded a special Academy Award for “Most Outstanding Foreign Language Film” before the historic Best Foreign Language Film award existed.

This is a testament to the power and humanism the film envelopes as the sad and occasionally incredible story unfolds. Professional actors and non-actors make the film a strong and authentic watch in a quick one-hour and twenty-nine-minute running time.

In the late 1940s, Rome Antonio Ricci (Lamberto Maggiorani) struggles to find decent work to support himself and his family. When an opportunity presents itself but requires a bicycle, Antonio’s wife Maria (Lianella Carell) selflessly sells family heirlooms to acquire his pawned bicycle.

Things look great for the family as Antonio begins his new job. On his first day, a thief steals his bicycle. Antonio sits atop a ladder, helplessly witnessing the theft. Determined to track the thief down and retrieve his stolen bike, he and his son Bruno (Enzo Staiola) traverse the city in desperation.

The Bicycle Thief is a simple story that enraptures readers with many different emotions: anger at the thief, empathy for Antonio and Bruno, inspiration from the humanity of some characters, and rage at the actions of others.

Antonio strives to be a good role model for his son and a provider for Maria. By the end, he has become a more complicated character, resorting to dire means to solve his problems. Antonio is desperate, guilt-ridden, and ashamed, but he is also a highly inspirational character.

Fans of the gorgeous and historic European city of Rome are in for a treat. The Bicycle Thief is peppered with enchanting shots of the famous town and focuses on the events of everyday people as they go to work and spend their days on a mission.

Director Vittorio de Sica’s bright and sunny lighting portrays Rome as a hot and bustling epicenter. The atmosphere is foreboding, as we know something dire will soon occur amid the warm and cheery metropolis.

The acting is central to The Bicycle Thief’s success, with inspired performances by Maggiorani and Staiola as father and son.

Staiola is masterful as a young boy who needs a father figure and hangs on his father’s every move. In many scenes, his soulful and expressive eyes contain sadness and hope as he yearns and prays for his father to be happy again and for himself to feel safe.

In comparison, Maggiorani possesses an ability to portray strength and angst interchangeably. His finest scene is pivotal as he realizes he has become no better than the thief he despises early in the film and is buried in shame.

The Bicycle Thief (1948) is a film powerful and memorable because of its simplicity and humanistic sensibilities. The plot is basic and explores one man’s quest for justice and the right to live his life and care for his family.

His journey is complex and fraught with tense moments, making the film palpable and heart racing as his adventure unfolds before us.

Thanks to gorgeous cinematography and a dose of pathos, those who watch this film will be in store for a treasure of powerful cinematic storytelling.

Oscar Nominations: Best Screenplay

1941 Films, Bette Davis, Drama, Herbert Marshall, Patricia Collinge, Teresa Wright, William Wyler

The Little Foxes-1941

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The Little Foxes-1941

Director William Wyler

Starring Bette Davis, Herbert Marshall, Teresa Wright

Scott’s Review #866

Reviewed February 14, 2019

Grade: A-

Any film starring the ravishing and dynamic Bette Davis is worth watching. Still, The Little Foxes (1941) was released during the Hollywood legend’s heyday, and the actress elicits an intense character portrayal.

The film is a complex story of Southern scheming and contains enough intrigue to keep the viewer compelled after a slow start.

Filmed in black and white and due to its age, the film quality is not the best, the story nonetheless builds in suspense, especially during the final thirty minutes. This culminates in a frantic conclusion, with Davis deservedly taking center stage.

Southern matriarch Regina Hubbard Giddens (Davis) is sophisticated and angry. The female member of an affluent family is in a time when men rule the roost and her brothers control the family money, leaving her with little power.

Living nearby, Benjamin (Charles Dingle) and Oscar (Carl Benton Reid) flaunt their wealth while Regina struggles for every crumb she can get. After the family embarks on a deal to profit from a cotton mill merger, Regina schemes to score riches by any means necessary.

The southern setting with luxurious estates and more than its share of cultural and cuisine flavors serves The Little Foxes well with a palpable atmospheric style. With an antebellum, white dress, grits, and brandy featured, the goodness and girth of a proper way of living are featured.

Prominent black characters exist, primarily serving as the household help or various service roles to white folks, for 1941 this was considered progressive for studios to feature minorities so heavily and must be praised for the inclusiveness.

Throughout the run of the film, I felt a push/pull whether I sympathized with Regina or despised the character.

Comparisons to Gone With the Wind (1939) entered my mind, many having to do with Regina herself. Flirtatious when she wants to be coquettish to fit her needs, she is a cross between Scarlett and Melanie.

I even began to champion the character at one point and the plight of a female in the early 1900s who could not be taken seriously as a businesswoman.

The Little Foxes is brazen in that it champions a strong and determined female character. Regina will not merely stand behind any man but chooses to stand on her own two feet.

Cinema in the 1940s was known for portraying female characters as independent and self-sufficient, and this film is a prime example of this movement.

In the film’s final act, there can be no denying the true colors of Regina, and any sympathy or comparisons to the characters are ultimately dismissed diabolically. The character is faced with the choice to either do the right thing and save a life or cross the line and let a beloved character die.

The scene is pivotal and emotional when she chooses the latter. She has made an important decision that she can never reverse.

Director William Wyler shoots the astounding Davis in myriad ways central to the character’s motivations. Appearing determined and driven in some scenes and downright devious in others, Davis excels at doing so much with her enormous and expressionistic eyes.

The Little Foxes portrays her as a complex and unrelenting character tailor-made for Davis’s talents.

To say that Regina gets away with murder is an unfair statement. Wyler makes it clear that despite benefiting financially, the character is forever shrouded in suspicion by her brother and her daughter (Teresa Wright), who decidedly embarks on a new life in Chicago, never to see her mother again.

This leaves Regina fearful and lonely in her grand house.

The Little Foxes (1941) succeeds as a showcase for the emerging talents of stalwart Bette Davis, and it is a good, solid drama. Schemes, conspiracy, and backstabbing are prevalent themes, but the film also contains a melancholy subtext of loneliness and fear.

Appropriately, Ms. Davis is awarded the final shot, a close-up that reveals the star power she had begun to muster as her career was in full swing.

Oscar Nominations: Outstanding Motion Picture, Best Director-William Wyler, Best Actress-Bette Davis, Best Supporting Actress-Patricia Collinge, Teresa Wright, Best Screenplay, Best Scoring of a Dramatic Picture, Best Art Direction-Interior Decoration, Black-and-White, Best Film Editing

1948 Films, Bela Lugosi, Bud Abbott, Camp, Charles Barton, Comedy, Horror, Horror-Camp, Horror-Comedy, Lon Chaney Jr., Lou Costello, Vincent Price

Abbott & Costello Meet Frankenstein-1948

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Abbott & Costello Meet Frankenstein-1948

Director Charles Barton

Starring Bud Abbott, Lou Costello

Scott’s Review #865

Reviewed February 9, 2019

Grade: B+

Abbott & Costello Meet Frankenstein (1948) was the first film of several to capitalize on the comedy duo’s popularity and merge them with several horror characters in a hybrid of the horror and comedy genres.

The zany film was enormously popular with fans, leading to other subsequent pairings, but this is the best of the bunch. The ingenious idea works well, and the bumbling pair presents an entertaining film fresh with good ideas and a harmless comedy romp.

The villainous Dracula, the Wolf Man, and the title horror character make the riches even loftier.

Working as baggage clerks at a Florida train station, Chick Young (Bud Abbott) and Wilbur Grey (Lou Costello) border on incompetence. After damaging two crates at the station, they deliver them to a local wax museum. Little do the pair realize that the crates house Count Dracula (Bela Lugosi) and the Frankenstein monster (Glenn Strange).

Once Chick and Wilbur arrive at the wax museum, a comedy of errors occurs as the monsters reanimate and escape while the pair are arrested for supposed theft.

Ultimately, the film culminates with an exciting finale at a nearby island castle, where a devious doctor (Lenore Aubert) intends to remove Wilbur’s brain.

The film is wonderfully campy and over-the-top, which is a substantial part of its appeal. The setup is delicious, as the audience knows Chick and Wilbur will ultimately face the various creatures but does not know how this will happen.

The quick-witted comedy duo hardly needs coaching, but their banter and timing seem particularly palpable in this screen offering. This is impressive given the historical account of neither actor wanting to make the film and both being convinced the result would be a bomb teetering on career suicide.

Any accusations that their hearts were not in it can be dismissed.

A large part of the appeal is the three individual monsters with different motivations and offerings.

Dracula is the villain in cahoots with the mad scientist.

Frankenstein’s monster is the victim, while the Wolf Man is the suffering hero.

Returning to roles that made them famous was crucial to the success of the film, and Lon Chaney Jr. and Bela Lugosi (Wolf Man and Count Dracula, respectively) deliver their lines with gusto, careful not to make themselves too menacing nor too foolish, and both blur the horror and comedy lines with perfection.

The filmmakers must be credited for the progressive slant of casting the mad scientist as a female rather than the traditional male.

Actress Aubert as Dr. Sandra Mornay is delicious as she lustfully seduces Wilbur in comic form. She needs not his body but the brain of a simpleton to insert into the head of the monster.

The young man and the gorgeous woman make an odd comedic pairing because of their physical differences. However, their combination is just right for a physical, lightweight comedy.

The final scene is clever and leads to a potential follow-up for the film. As Chick and Wilbur sail away from the looming castle in relief of their adventure, coming to a satisfying conclusion, Chick ensures Wilbur that all the monsters are gone.

An uncredited voice appearance by Vincent Price and a dangling cigarette coming from no mouth introduce the next chapter of The Invisible Man.

Hardly a masterpiece or cinematic genius, Abbott & Costello Meet Frankenstein (1948) does entertain.

Each player is well-cast, resulting in a culmination of good comedy infused with atmospheric horror elements done with the perfect light touch. The comic timing of all members ensures that all the pieces come together in just the right mix of fun and frights with a tongue-in-cheek approach.

What better choice for the escapist fare on a lazy Saturday afternoon?

2018 Films, Chloë Grace Moretz, Dakota Johnson, Horror, Independent, Independent Horror, Jessica Harper, Luca Guadagnino, Mia Goth, Tilda Swinton

Suspiria-2018

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Suspiria-2018

Director Luca Guadagnino

Starring Dakota Johnson, Tilda Swinton

Scott’s Review #864

Reviewed February 7, 2019

Grade: B-

Dario Argento’s 1977 creative masterpiece is the original Suspiria, an orgy of style and visual spectacles carefully immersed within a standard slasher film appropriate for the times.

Some might deem it foolish to attempt a remake.

Argento’s film contains comprehensive and defined story elements, while the new Suspiria (2018) changes course with a brazen attempt to achieve the same mystique as the original. Instead, it offers a plodding and mundane story that is almost nonsensical and does not work.

Thankfully, a bloody and macabre finale brings the film above mediocrity.

Director Luca Guadagnino, fresh off the Italian and LGBT-themed Call Me by Your Name (2017), a bright film peppered with melancholy romance and lifestyle conflict, could not be more different from Suspiria.

The respected director parlays into the horror genre with two of Hollywood’s top talents, Tilda Swinton and Dakota Johnson, and a nice nod to the original film with a small appearance by leading lady Jessica Harper.

The premise of Suspiria remains intact, as the period is once again 1977, and the location remains Berlin, Germany. Susie Bannion (Johnson) is a gifted American dancer who joins the prestigious Tanz dance academy run by a coven of witches, where she unearths demonic tendencies.

Coinciding with her arrival is the disappearance of another student, Patricia Hingle, and the revelation that her psychotherapist Josef Klemperer (Swinton) has Patricia’s journals chronicling details of the dastardly coven.

From an acting perspective, Swinton impresses the most as she tackles three distinctive roles: an elderly and troubled psychotherapist, artistic director Madame Blanc, and Mother Marko, an aging witch.

Each character is vastly different, allowing the talented actress to immerse herself in the various characters. She is so convincing that I did not realize while watching the film that she played the psychotherapist or that a female played the character.

I admit to not being a fan of Dakota Johnson for perceptively using her Hollywood royalty to rise the ranks to film stardom or her lackluster film roles thus far—think Fifty Shades of Grey or the innumerable sequels—but she does not do much for me in the central role of Susie.

The miscast is more palpable compared to Harper’s rendition of the role decades earlier.

Johnson is predictably wooden and quite painful to watch, especially matched against a stalwart like Swinton in many scenes. Lithe and statuesque, the young actress does contain the physical qualities of a dancer, so there is that.

As a stand-alone film, my evaluation of Suspiria might be less harsh, but the original Suspiria is held at such lofty heights that this is impossible.

The problem is with the screenplay, as compelling writing is sparse. Much of the plot makes little sense and does nothing to engage the viewer at the moment. Slow-moving and meandering, lacking a spark or an abrupt plot breakthrough, I quickly lost interest in what was going on.

The interminable running time of over two and a half hours is unnecessary and unsuccessful.

Before I rake entirely Suspiria across the coals, my cumulative rating increases with the astounding and garish final sequence, which features a plethora of blood and dismemberment in a sickening witches’ sabbath.

As Klemperer lies incapacitated after being ambushed by the witches, one girl is disemboweled, followed by decapitation, as the bold use of red is blended into the lengthy sequence. As the withered and bloated Mother Markos relinquishes her title, an incarnation of Death is summoned, and heads explode.

The finale plays out like a horrible dance sequence.

To add to the above point, the visuals and cinematography are its highlights. By using mirrors and possessing a dream-like quality, the film looks great and harbors an eerie, stylistic, and deathly crimson hue. The resulting project is one of spectacle and intrigue rather than a sum of its parts.

Rather than approaching the film with an introspective or cerebral motif, it is recommended that you simply go with the flow and let it fester.

Guadagnino deserves credit for bravely attempting to undertake the creation of such a masterpiece and bringing it to audiences in 2018.

Suspiria (2018) lacks plot or pacing and is the second runner-up to the original. The story is not worth making heads or tails of since it is not interesting enough to warrant the effort.

Ultimately, skip this version and stick to the brilliance of the Argento effort, or better yet, do not compare the two films at all.

Independent Spirit Award Nominations: 2 wins- Best Cinematography (won), Robert Altman Award (won)

2018 Films, Alfonso Cuarón, Best International Film Oscar Winners, Drama, Historical Drama, International, International Drama, Jorge Antonio Guerrero, Marina de Tavira, Yalitza Aparicio

Roma-2018

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Roma-2018

Director Alfonso Cuarón

Starring Yalitza Aparicio, Marina de Tavira

Scott’s Review #862

Reviewed February 2, 2019

Grade: A

Roma (2018) is a film to be experienced rather than merely viewed.

A cinematic, black and white feast for the eyes, and direction to be amazed by is utterly impressive and a triumph in masterful filmmaking.

On par with geographically picturesque epics such as Lawrence of Arabia (1962), the piece is not easy to watch at first. Still, the audience will become enraptured and rewarded with each passing moment as the characters emerge to flawless perfection, reaching a crescendo of magnificent art.

Set during a politically tumultuous time in Mexico City during 1970 and 1971, the film follows a young maid working for a middle-class Mexican family and her perspective on her surroundings.

She serves as housekeeper, going about her numerous duties of mopping, cooking, and even cleaning up the family dog excrement that runs rampant, and she provides emotional support for the family members.

Cleo (Yalitza Aparicio) and her best friend, fellow maid Adela (Nancy Garcia), tend to four children of varying ages and their troubled parents. He is a doctor, and she is the family matriarch.

Antonio and Sofia (Marina de Tavira) have a troubled marriage as he supposedly goes to Quebec for business, and tensions mount among the family.

Through it all, Teresa, Antonio’s mother, resides with the family as Cleo learns she is pregnant, and her boyfriend Fermin flees after hearing the news.

Director Alfonso Cuarón, responsible for the writing, direction, cinematography, editing, and nearly every picture aspect, draws from his personal experience growing up in Mexico City.

Cuarón reportedly created the film as an artful love letter to his beloved family housekeeper, whom he adored. This approach creates a rich personality, intimacy, and a definite family angle.

The film centers mainly around Cleo’s trials and tribulations, but the entire family appears in numerous scenes, making it feel like an ensemble feature.

Cleo is a quiet and modest girl, happily going about her chores and serving the needs of everyone around her. She is treated well by the family and adored by the children, only occasionally enduring the wrath of Sofia’s temper and troubles, but she is loved and appreciated.

In love with Fermin and her only sexual experience, she winds up pregnant, which scares the aggressive and battle-minded young man.

The storyline takes place over a year, so we see Cleo’s entire pregnancy progress and experience her devastation as she gives birth to a stillborn girl.

My favorite aspects of Roma are the simplicity and the monumental touches that Cuarón includes.

The film begins with a lengthy shot of water being thrown on a cement garage and the puddles and circulation of the water. Seen from above is a slow-moving airplane, and numerous background shots of a slowly landing airplane subsequently appear throughout the film.

Is this to represent the slowness of life? Life, death, and near-death experiences are featured in Roma. Cleo’s pregnancy, the death of a baby, and the near-drowning of one of the children rescued by Cleo, despite the girl not being able to swim.

Gorgeous scenes of Cleo traversing through the streets of downtown Mexico City exude beauty. The scenes undoubtedly represent her journey through life and the pain and rewards that she experiences, but they also feature dozens of interesting characters if one pays close attention.

A man lighting a cigarette, a woman gazing, and other ordinary people doing things that look illuminating and like glimpses of the past are featured. The automobiles are representative of the 1970s, as a Ford Galaxy, the family car, is extensively featured.

The film’s cover art (pictured above) perfectly captures the theme of Roma and is highly symbolic. Huddled on the sand at the beach, the family encircles Cleo with expressions of panic, fear, and gratitude.

The black-and-white adds depth, as it could easily be a piece immersed in an art museum. The group of people appears unified and clings to Cleo for dear life, also in a show of support and appreciation.

The photo is endearing and beautiful to look at.

Roma (2018) received an impressive ten Academy Award nominations and numerous year-end accolades, an impressive achievement for a foreign language film.

Those who are patient enough to let the film and its components marinate will be rewarded with a fine appreciation for cinematic artistry.

The dreamlike quality with meticulous attention to detail makes this personal work a fascinating masterpiece.

Oscar Nominations: 3 wins- Best Picture, Best Director- Alfonso Cuarón (won), Best Actress- Yalitza Aparicio, Best Supporting Actress- Marina de Tavira, Best Original Screenplay, Best Foreign Language Film (won), Best Sound Editing, Best Sound Mixing, Best Production Design, Best Cinematography (won)

Independent Spirit Award Nominations: 1 win- Best International Film (won)

2018 Films, Drama, Historical Drama, International, International Drama, Joanna Kulig, Paweł Pawlikowski, Tomasz Kot

Cold War-2018

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Cold War-2018

Director Pawel Pawlikowski

Starring Joanna Kulig, Tomasz Kot

Scott’s Review #861

Reviewed January 29, 2019

Grade: A

Every once in a long while, a modern film set in a different time embodies that era with such authenticity and grace that we forget that it was not shot when the story is told.

Cold War (2018) is one such film that dares to whisk the viewer to another world with genuine timelessness emboldened by the torturous romantic entanglements of its main characters.

Reminiscent of an Ingmar Bergman film shot in black and white, the film is lovely, tragic, and fraught with historical references. One can dissect the character nuances and atmospheric qualities encompassing the entire experience.

The film is a sum of its parts, with a painful layer of veneer immersed in all the various tidbits. Cold War contains almost no humor but rather doom and gloom.

Amid the ruins of post-World War II Poland, repressed and self-destructive musicians Wiktor (Tomasz Kot) and Zula (Joanna Kulig) forge an obsessive love affair and cannot stay away from each other despite the European cities and countries that stand in their way.

Spanning over a decade, they battle alcohol abuse, rage, and imprisonment as they traverse Poland, France, Berlin, and Yugoslavia.

Zula does obtain some success with her musicianship, but at a steep cost. She is forced to marry a hated man she does not love, many miles away from Wiktor. Still, their romance perseveres over time until the duo makes a fateful decision that leads to a profound climax.

The conclusion of the film is powerful, macabre, and emotional.

To state that Cold War is a tragedy is almost an understatement, though viewers will probably not realize this before watching the film.

When Zula auditions at a Polish house for the musically gifted and Wiktor accompanies her on the piano, sparks fly between them as they meet for the first time.

Zula appears to be a simple farm girl and sings a mountain song in duet with another girl. Spirited, Zula flirts with men but is forever drawn to Wiktor, and their chemistry runs rampant.

The direction, art direction, and cinematography are superb, offering a magnificent look to the film. The use of black-and-white filming gives the piece an immeasurably timeless quality, especially as streets and avenues in Paris emerge from time to time.

They could easily be 1950s France. The lovely halls where the pair performs add ambiance and effect, and musical treasures such as the melancholy main song, performed in multiple languages and tones, sparkle with culture.

With a runtime of only eighty-nine brief minutes, Cold War never feels rushed and compartmentalizes all that it needs to tell in this time period.

The story runs from 1949 until the early 1960s, and the film’s title is no mere accident. The historical reference is plain and obvious. The film also has a bleak and frigid quality in both its surroundings and its characters.

One worth mentioning is a rigid government man who complains that one girl in the chorus is “too dark”; the connotation is one of nationalism.

Multiple comparisons can be drawn to Pawlikowski’s masterpiece Ida (2014), one of which is that Kulig stars in both films.

In addition to the black and white shooting, both films feature a central female character that is tortured, a Nazi occupation of Poland or the after-effects of such an occupation, and the effects of repression or otherwise obsessive behavior featured in both films.

Pawlikowski is superb at crafting these damaged and conflicted characters in his films.

Director Pawlikowski successfully achieves a second Polish film offering that challenges his audiences with remarkable storytelling, a dark mood, and a reminder of the terrible effects of the aftermath of World War II and those left in its wake.

Psychological scars can wound as much as physical scars, as Pawlikowski proves in the characters he draws from and their doomed lives.

Cold War (2018) is an achievement in many ways and makes for a thoughtful conversation after the credits roll.

Oscar Nominations: Best Director- Pawel Pawlikowski, Best Foreign Language Film, Best Cinematography

2018 Films, Awkwafina, Comedy, Constance Wu, Drama, Gemma Chan, Henry Golding, Jon M. Chu, Ken Jeong, Lisa Lu, Michelle Yeoh, Romantic Comedy, Romantic Drama

Crazy Rich Asians-2018

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Crazy Rich Asians-2018

Director Jon M. Hu

Starring Constance Wu, Henry Golding

Scott’s Review #860

Reviewed January 26, 2019

Grade: B+

Crazy Rich Asians (2018), the romantic comedy smash of 2018, is a fun romp that is memorable because it centers on the Asian population, which is shamefully underrepresented in mainstream American cinema.

For this point alone, the film is recommended and worthy of praise, but otherwise, it is a standard genre film with gimmicks, stock characters galore, and a predictable conclusion.

The numerous cultural tidbits included must be mentioned, which raise the film above mediocrity.

Rachel Chu (Constance Wu) and Nick Young (Henry Golding) are a happily dating New York City couple; she is a New York University college professor, and he is an entrepreneur.

They fly to Singapore to attend Nick’s best friend’s wedding, which results in antics and anguish. Rachel realizes that Nick comes from an extremely wealthy family and is Chinese royalty, owning a multitude of lavish hotels and real estate.

Most of Nick’s family, especially his traditional mother Eleanor (Michelle Yeoh), disapproves of the pairing, viewing Rachel as a typical American who prioritizes passion over family.

Nick is a sought-after commodity among the single women of Singapore, and Rachel is forced to endure harassment and mockery at every turn. Her allies are Nick’s kind sister Astrid (Gemma Chan), Rachel’s outrageous college pal Peik Lin (Awkwafina), and her equally garish family.

The plot thickens when Nick’s scheming mother does a background check on Rachel and discovers a family secret.

Crazy Rich Asians is a formulaic romantic comedy with the standard situations and characters expected of a genre film. The rivalry between the good girl and her boyfriend’s domineering mother, the comic relief of the gay sidekicks as Peik Lin and another friend of Rachel’s, provides.

The caricatures of Peik Lin’s wild family, her unattractive brother fond of taking secret photos of Rachel, and Eleanor’s snooty, judgmental circle of female friends are all well cast yet one-dimensional.

It is perplexing why the filmmakers decided to make Nick only half Chinese rather than authentically Asian. Sadly, this may have been a reassurance that the film would be more marketable to mass audiences.

The film is presented as an Asian film, but it is an American film.

The storyline justification is that Nick’s father (surprisingly never seen) is British and that he and Eleanor met in college, only she being Chinese. Nick and Astrid’s English accents gnawed at me throughout the film.

Despite the myriad of cliches and manipulations, Crazy Rich Asians has a nice flow and offers a fun two hours. The film is flavorful with bright colors and visual spectacles of stylish and sophisticated Singapore and its modern and sleek nuances.

I adored the locales featuring the skyline and a rich overview of the robust and relevant city/country.

Fantastic is how the filmmakers add spices of traditional Chinese culture throughout the film’s telling, quickly becoming more of an ode to the good history. Nick’s grandmother, Su-Yi (Lisa Lu), takes pride in her excellent and artistic flowers, and Rachel is introduced to the art of dumpling making.

Crazy Rich Asians introduces a history lesson for those unfamiliar with ancient Chinese customs.

Flavorful inclusions of Mandarin Chinese language versions of American pop hits are also lovely additions, so the film has some tidbits to revel in other than the story.

Most songs reference money, such as “Money Honey” by Lady Gaga and “Rich Girl” by Hall & Oates.

The pacing of the film is nice. There is never a dull or dragging moment, and a nice balance of comedy and drama. Humorous is when Peik Lin provides Rachel with a costume makeover, ensuring she looks dynamic for the grand wedding, as she convinces her to fight Eleanor with fire.

Drama ensues when someone casts a dead fish on Rachel’s bed, and Eleanor spits that Rachel will never be enough for her son.

The film’s conclusion is predictable, resulting in a marriage proposal aboard a jet heading from Singapore to New York City. With a movie like Crazy Rich Asians, it is guaranteed that the couple lives happily ever after, riding off into the sunset in great defiance of Nick’s roots.

Due to the film’s success, a sequel is a solid bet, though I am also not betting the follow-up will be any good. Are romantic comedy sequels ever decent?

Filled with cliches, but satisfying most mainstream film-goers, Crazy Rich Asians (2018) creates a film with enough shards of Asian culture to at least get the Asian population on the map with a Hollywood production.

Although the film has a polished look and some stereotypes, it breaks no new ground other than good inclusion, and that is a start.

1987 Films, Drama, French, International, International Drama

Au Revoir Les Enfants-1987

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Au Revoir Les Enfants-1987

Director Louis Malle

Starring Gaspard Manesse, Raphael Fejto

Scott’s Review #859

Reviewed January 21, 2019

Grade: A

Au Revoir Les Enfants (1987), the English translation Goodbye, Children is a powerful story of youth and friendship amid a French boarding school during the Nazi occupation of France.

As World War II rages on Director Louis Malle crafts a tragic and poignant film that resonates on many levels featuring both good and evil and the forever loss of childhood innocence.

The film is based on actual events that Malle experienced as a child when he attended a Roman Catholic boarding school. At age eleven he witnessed a Gestapo raid in which three Jewish children and a Jewish teacher were savagely rounded up and taken to Auschwitz concentration camps and presumably to their deaths.

What a powerful and tragic event he faced, and he brilliantly transplants this into his film.

We meet young Julien Quentin (Gaspard Manesse) as he bids his mother farewell and takes a train to his boarding school after a lengthy vacation. The headmaster introduces three new students one of which is Julien’s age. Jean Bonnet (Raphael Fejto) is socially awkward but excels at mathematics and piano.

The boys initially dislike one another but slowly forge a powerful bond when they are immersed in playing a game of treasure hunt together. Julien soon discovers that Bonnet is Jewish, and the school is protecting him from capture.

The film is divided into two main stories, the troubled relationship and subsequent friendship between Julien and Bonnet, the revelation that Bonnet is Jewish, and the benevolence of the school officials to the plight of Jews.

The latter gives Au Revoir Les Enfantes a socially relevant angle as the audience begins to care deeply about Bonnet and the other Jewish boys yearning for education and freedom.

Their innocence and confusion over being hated are effective and painful to watch.

The tyranny of the Gestapo is matched by the kindness and courage of the teachers who defy the anti-Semitic policies and admit Jewish students into the school under assumed names.

The teachers are the heroes of the story and largely unsung as they yearn to give children of any religion a good education and a chance at happiness and fulfillment.

I would love to see schools feature Au Revoir Les Enfantes to their students as a lesson in bravery.

Any viewer who has visited France will assimilate nicely with the good culture and sophistication of the country envelopes. Most scenes occur at the boarding school with lessons being learned and the growth of many of the students, but a favorite scene takes place at a gourmet restaurant.

As Julien and his mother lunch with Bonnet and others the meals, staff, and ambiance exude French style and goodness, but among these luxuries also lies the constant threat of the Nazis as they bombard the restaurant and attempt to kick a Jewish man out of the establishment.

Malle wisely affixes the camera closely on the faces of Manesse and Fejto with a glowing quality that is both beautiful and haunting. This results in many scenes featuring the expressions of the boys including wonderment, shock, intensity, and fear.

The young actors rise to the occasion and perform their roles flawlessly with a natural quality.

The boys learn a myriad of valuable lessons most notably that the world is unjust and filled with unfairness. Malle gives the finale more than enough power and angst to leave the viewer pondering the fates of the Jewish characters.

Their fates are undoubtedly sealed by the Nazis the hows and the whys are left ambiguous eliciting powerful emotions.

Au Revoir Les Enfantes (1987) is a superb and relevant offering depicting the pain and fear experienced by Jewish people in a tragic period of history. Told through the eyes of children the film hits home as innocence is discovered and then lost.

The film was nominated for the Best Foreign Language Film Oscar but was defeated by Babette’s Feast.

Oscar Nominations: Best Screenplay Written Directly for the Screen, Best Foreign Language Film

Independent Spirit Award Nominations: Best International Film

2017 Films, Action, Bill Skarsgård, Charlize Theron, David Leitch, James McAvoy, John Goodman, Thriller

Atomic Blonde-2017

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Atomic Blonde-2017

Director David Leitch

Starring Charlize Theron, James McAvoy

Scott’s Review #857

Reviewed January 19, 2019

Grade: B+

Atomic Blonde (2017) is a female-empowering action/spy film directed by David Leitch, a former stuntman. The film plays similarly to James Bond, but with the genders reversed.

The film is visually stylish, featuring dynamic music and cold, crisp location sequences of Europe.

The story is not the main appeal and cannot always be followed, but thanks to a great performance by Charlize Theron in the title role, the film is pleasant and recommended for fans of either the spy or action genres.

Based on the 2012 graphic novel The Coldest City, the film is set in Berlin in 1989, and its central theme is the collapse of the Berlin Wall amid a spy story and the Cold War backdrop.

A grizzled female MI6 agent, Lorraine Broughton (Charlize Theron), is quizzed about events that occurred during her recent time spent in the German city investigating the death of a fellow spy.

She recounts her mission via flashbacks and the whereabouts of a mysterious list that reveals the names of MI6 and KGB Russian agents. Lorraine deals frequently with David Percival (James McAvoy), an odd colleague who may or may not be trusted.

The plot and subsequent story are hardly the finer points of Atomic Blonde, and the title—a play on the words “atomic bomb”—is too cute to be taken seriously.

The novice director is a former stuntman, so one should not expect high art or exceptional writing material. The largest issue besides the plot holes and implausibility of the story is that it is not engaging. After thirty minutes of trying to ascertain who had “the list,” I gave up and tried not to follow too closely, instead enjoying the film’s other qualities.

Theron is well cast as bleached blonde vixen Lorraine—harsh as nails and badass. With icy eyes and a sneer that makes the most formidable opponents cringe, the actress has the charisma to make the role her own.

The tall and fit woman endures too many fight scenes to count, but her pizzazz and wherewithal make the character believable. Her toned physique is not dissimilar to that of her character in Mad Max: Fury Road (2015).

Bisexual, Lorraine has a brief romantic escapade with Delphine Lasalle (Sofia Boutella), a young French agent, until the woman is murdered.

Any advEuropean adventurer can be enamored for, logistically speaking, the exciting locales featured heartily in Atomic Blonde.

Sleek and modern, the photography and cinematography departments do a fantastic job of giving the film authenticity and audacity to reveal the terrific nooks and crannies the best cities offer.

Given the number of high-speed car chase scenes and a fantastic underwater sequence, London, Paris, and Berlin are all given their just due.

The feminist overview that Atomic Blonde possesses is worthy of praise. Able to tangle with the best of them, Lorraine takes no prisoners and is determined to battle until the end or until she is too bloody to fight back. She is tough yet sensitive and puts up with no nonsense.

Still, she has a heart, as evidenced by not only the violent death of her girlfriend and her subsequent reaction but also her calm despair at being unable to save a drowning man’s life. Lorraine’s calm and resilience, instead of over-dramatic emotional outrage, make her a character that has developed very well and is a role model for young women everywhere.

McAvoy is cute as a button as David adds comic relief and sly witticisms to many scenes. He often appears shirtless, exposing his lean and muscular physique. As a fan of sexual dalliances, he is both combative and flirtatious with Lorraine, though he never beds her.

A yin to her yang and sparring partners throughout, David is a nice addition to a cast containing mostly serious characters.

The 1980s-themed musical score features nostalgic songs peppered throughout the film, seemingly every few moments.

Atomic Blonde plays like a bold music video with intelligently penned songs, not disposable crap. The inclusion adds a genuine celebration of the decade of decadence crafted thoughtfully.

Treats such as the masterful “Voices Carry” by ‘Til Tuesday, “London Calling” by The Clash, and “Der Kommissar” by After the Fire is placed perfectly during relevant scenes.

With a ballsy lead character and enough action to envelope a nearly two-hour action thriller Atomic Blonde (2017) is a gift in the atmosphere and great ambiance. Forget bothering to deep-dive into the complex story too much- it isn’t worth it.

Admittedly, the coveting style over substance can be forgiven because the nice elements overshadow the negatives.

Atomic Blonde (2017) best serves as a kickback and enjoy the ride experience.

1945 Films, Billy Wilder, Drama, Jane Wyman, Phillip Terry, Ray Milland

The Lost Weekend-1945

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The Lost Weekend-1945

Director Billy Wilder

Starring Ray Milland, Jane Wyman

Scott’s Review #856

Reviewed January 10, 2019

Grade: A

Billy Wilder, considered one of the most influential directors of the Hollywood Golden Age of cinema (the 1940s), created a masterpiece that tackles a storyline about social issues that has never been explored.

The Lost Weekend (1945) tells a tale of alcoholism and the desperation and degradation of a person with an addiction. Wilder bravely goes where no film had dared to go with astounding results.

The film was awarded several Academy Awards, including Best Picture, Best Director, and Best Actor.

Don Birnam (Ray Milland) plays a New York writer left alone for one hot summer weekend. His brother Wick (Philip Terry) and girlfriend Helen (Jane Wyman) are aware of Don’s drinking problem but leave for the weekend anyway when Don goes on a bender.

He spends each subsequent day desperate for liquor and in need of cash to purchase it. He resorts to theft and selling personal items out of desperation and the need for booze.

The story features flashbacks of past events, such as when he first met Helen and an embarrassing attempt to meet her parents for lunch.

The film is adapted from Charles R. Jackson’s 1944 novel of the same name. Although it is a dark story that can be categorized as a downer, the film does not paint a glamorous picture of the pains an alcoholic experiences or the lengths he will go to out of desperation.

Before The Lost Weekend was made, drunkard characters in the film were primarily portrayed as either bumbling or as comic relief, so this character study is a welcome departure from tradition.

Milland is perfectly cast and effectively relays the troubled and desperate Don. Handsome, well-dressed, and professional, he is not the stereotypical image of a drunk. Dressed in a suit and tie by all measures, he does not fit the bill of a desperate man but slowly begins his descent and spirals out of control.

This makes Wilder’s message more potent as he shows that alcoholism can afflict anyone, even professional, intelligent men. Milland, who resembles actor Jimmy Stewart, is supposed to be liked by the audience, eliciting a rooting factor even when he mistreats Helen. We want him to face his problems and recover.

Many glimpses of Manhattan are shown, and exterior shots are used plentifully. Wilder shoots the scenes as largely bleak and lonely, which aligns with the film’s overall feel.

Third Avenue looks desolate and isolated as we watch a desperate Don wander around and attempt to sell his typewriter for booze money. He is grief-stricken when he realizes that it is Yom Kippur weekend and the pawnshops are closed.

The camera remains firmly fixed on Milland, showcasing a range of powerful emotions throughout the film.

The Lost Weekend (1945) was a groundbreaking film at its release. It is a serious and detailed tale of the life and times of an alcoholic. With a superb acting performance by Milland, Wilder can darkly and frighteningly portray the world of a person with an addiction.

Decades later, the film is still mentioned as inspirational to other filmmakers who are creating works about alcohol abuse.

Oscar Nominations: 3 wins– Best Motion Picture, Best Director-Billy Wilder (won), Best Actor-Ray Milland (won), Best Screenplay (won), Best Scoring of a Dramatic or Comedy Picture, Best Cinematography, Black-and-White, Best Film Editing

1940 Films, British, Carol Reed, Hugh Griffith, Margaret Lockwood, Paul Henreid, Rex Harrison, Thriller, War

Night Train to Munich-1940

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Night Train to Munich-1940

Director Carol Reed

Starring Margaret Lockwood, Rex Harrison

Scott’s Review #855

Reviewed January 9, 2019

Grade: B

Night Train to Munich (1940) is a taut war thriller unique in the subject matter of World War II made before the war became full-blown and all the horrors not known.

The film is related to The Lady Vanishes (1938) and Alfred Hitchcock’s projects, which feature familiar crossover characters. The film’s final thirty minutes are spectacular in excitement and chase scenes. Still, the overly complex plot takes too long to develop, leaving me underwhelmed and bored for most of the experience.

In March 1939 a Czechoslovakian scientist, Axel (James Harcourt) is wanted for questioning by the Germa  Gestapo. Residing in Britain, they accost his daughter Anna (Margaret Lockwood) and throw her in a concentration camp.

She meets fellow prisoners and assumed ally Karl Marsen (Paul Henreid), who escapes with her to the safety of London. He is revealed to be a Gestapo agent assigned to gain her trust and question her father.

Finally, Anna meets undercover British intelligence officer Dickie Randall (Rex Harrison), who poses as a Nazi officer to take Anna and her father to safety.

The first forty-five minutes to an hour of Night Train to Munich are slow-moving, with a complicated and rather uninteresting plot. However, I am all for slow-moving films, provided the setup is there and the elements align correctly.

I felt shame because the cover art and title of the film suggested a more robust experience. I continued to ask, “Where is the train?” and “Where is the mountainous terrain and ski lift?” as pictured. These elements finally do arrive, but the wait is longer than necessary.

The fact that Karl and Dickie are similar in physical appearance and are both undercovers makes the average viewer a bit confused. Plus, it takes a while to realize who is playing for whose team, and since the film is related to The Lady Vanishes, I expected a bit more of the suspense and intrigue commonplace with a Hitchcock telling.

The core of the film is mediocre.

Yet the above criticisms can be almost forgiven when events kick into high gear and Night Train to Munich becomes an entirely different film.

A riveting train ride brings enormous treats and intrigue as Dickie, Anna, and Axel attempt to outwit Karl and escape before their train arrives n Munich. The fun becomes the cat-and-mouse game between the group when a secret note is hidden under a doughnut as they sip tea together and feign pleasantries in one of the film’s best scenes.

The ravishing mountaintop finale is breathtaking when Dickie attempts to transport everyone via a ski lift from Germany to the safety of Switzerland over perilously high mountains. The suspense reaches a boiling point when Karl and the Gestapo are hot on his heels.

As a wild shootout commences, we do not know whether those on the lift will be saved. A potboiler reaches a shocking crescendo as the seconds tick by.

For 1940, the sets and effects were awe-inspiring and believable rather than silly or staged.

The final segment introduces humorous characters from another film, The Lady Vanishes. A late entry into the story, nonetheless they breathe life into the script making it as suspenseful as much s a yarn. British gentlemen Caldicott (Naunton Wayne) and Charters (Basil Radford) add humor and sophisticated wit to aid the group’s successful escape.

I wondered if the pair were gay since the men appeared in The Lady Vanishes, and the esteemed director is known for slyly adding discreet LGBTQ+ characters into his pictures.

Slightly above a middling affair, Night Train to Munich (1940) has impressive moments and a startlingly good ending worth the price of admission.

The central portion of the film feels tired and overlong, with insufficient gravy to keep viewers caring for very long.

An interesting double feature would be watching this film alongside The Lady Vanishes for similar concepts and themes.

Oscar Nominations: Best Original Story