All posts by scottmet99

1972 Films, Comedy, Dark Comedy, Divine, Edith Massey, Independent, Independent Comedy, John Waters, Mink Stole, Scott's Top 100 Films

Pink Flamingos-1972

January 9, 2016 scottmet99 Leave a comment

Pink Flamingos-1972

Director John Waters

Starring Divine, Edith Massey

Top 100 Films #96

Scott’s Review #359

Reviewed January 9, 2016

Grade: A

One of the true, and best, late-night gross-out films of all time, Pink Flamingos (1972) breaks down barriers I never thought possible to do in film and contains one of the most vomit-inducing scenes to ever grace the movies.

The film is certainly one of a kind and will only be appreciated by a certain type of film-goer. Pink Flamingos is raw, entertaining, and must be seen to be believed.

Outrageous in every way and shot documentary style, the film has weird close-ups and amateurish camera angles, only adding to the fun.

I love the film.

In what director John Waters famously dubbed the “Trash Trilogy”, along with similar films Desperate Living and Female Trouble, Pink Flamingos has the dubious honor of being the best of the three.

Waters stalwart, Divine, plays Babs Johnson, an underground criminal who lives a meager existence in a trailer along with her mentally challenged son Crackers, and her bizarre, egg-obsessed mother, Edie (Massey). They are joined by Babs’s companion, Cotton.

In an attempt to win the “Filthiest Person Alive” contest and usurp Babs from achieving this distinction. the Marbles (Mink Stole and David Lochary) set out to destroy her career.

Pink Flamingos is complete and utter over-the-top fare, but I have fallen in love with the film over the years.

Let’s just say it is a type of film that is an acquired taste, and one will eventually revel in the madness or be disgusted with its bad taste.

Waters, a truly creative, breaks new ground in filthy behavior. On a budget of no more than $10,000, it is more than impressive how he pulled this off successfully.

The antics that Babs and the Marbles engage in are downright crude, but the extreme nature of the fun is exactly what is to love about the film. Hysterical is the character of Babs’s mother Edie.

Confined to a crib and constantly inquiring about the Egg Man, she is obsessed with eggs and wants to eat nothing else. She eventually marries the Egg Man. The character is entertaining beyond belief.

The Marbles run a clinic in which they sell stolen babies to lesbian couples for cash. When they send Babs a box of human excrement and a card that says “fatso”, the war between the two sides is on.

The highlight of the film is the main sequence in which Babs holds a birthday party. A male contortionist flexes his anus in rhythm to the song “Surfin’ Bird”, which may be the only film featuring an anus.

How Waters got away with some of this stuff is mind-blowing.

The most disturbing scene occurs at the very end when Babs watches a dog do “its business” on the street and proceeds to pick up the excrement and eat it, revealing to the audience a toothy (and brown) smile.

Reportedly Divine did this act. As the film ends, Babs truly is “The Filthiest Person Alive”.

Thanks to the genius of John Waters and Divine and the superlative supporting cast, Pink Flamingos (1972) is a reminder that creativity and unique humor do not have to conform to a specific style or follow a road map.

Waters takes any film criteria and throws it right out the window, instead of creating a masterpiece in warped fun and disgust.

1985 Films, Best Film of the Year, Danny Glover, Drama, Laurence Fishburne, Margaret Avery, Oprah Winfrey, Steven Spielberg, Whoopi Goldberg

The Color Purple-1985

January 9, 2016 scottmet99 Leave a comment

The Color Purple-1985

Director Steven Spielberg

Starring Whoopi Goldberg, Oprah Winfrey

Scott’s Review #358

Reviewed January 9, 2016

Grade: A

Steven Spielberg, admittedly a director who focuses more on sentimentality, mixes heartbreak with the courage to blend a recipe that makes for a perfect, mainstream film from 1985.

It is a different direction for him- far extreme from the summer blockbusters he was known for until this time.

Exceptional acting and cinematography lend themselves to The Color Purple, a film based on the much darker novel by Alice Walker. Certainly, one of the best films of the 1980s.

A relative unknown when the film was made, Whoopi Goldberg gives an astounding performance in the lead role.

The film spans approximately forty years in the early twentieth century and is set in rural Georgia.

Celie Harris (Goldberg) is an oppressed black woman, her sister and best friend Nettie is sent away, leaving Celie a virtual prisoner with a man, Albert Johnson (Danny Glover), whom she is forced to marry and care for in addition to his children.

Raped and beaten, Celie is left with little self-worth until two women, rotund, feisty, Sophia (Oprah Winfrey), and Shug (Margaret Avery) inspire her to be something better.

The Color Purple is a very sentimental film filled with inspiration for anyone beaten down or otherwise abused by people or by society.

The depiction of southern life for blacks, especially black women is depicted well, though softened I have no doubt. Liberties must be taken for the sake of film as black men, in particular, are not portrayed well- surely there must have been some decent black men in this time?

But, despite Spielberg being a male, The Color Purple is told from a definite female perspective.

Her role of Celie is Goldberg’s finest and hers is a case of the Academy getting it all wrong; she should have won an Oscar for this performance instead of a conciliation win a few years later for her secondary (and unremarkable) role in Ghost.

Goldberg never achieved any roles as great as Celie.

Her expressions and mannerisms spoke volumes and her occasional wide, beaming smile would melt the coldest heart.

Winfrey, equally brilliant as Sophia (and also robbed at Oscar’s time), is a completely different character. Angry, abrasive, and outspoken, she fills Sophia with life and energy, which makes her big scene heartbreaking to watch.

Defying a white man she is beaten and arrested and reduced to living out her days as a limping maid to a white woman- who she swore she would never serve.

The cinematography and direction of The Color Purple are grand.

Spielberg does a believable job of depicting time accurately. The costumes worn by the cast and the lighting, in general, are bright and colorful, and I think this gives the film a flavor that is nice to watch.

Again, Walker’s novel and the real-life experience were undoubtedly much darker, but for the film’s sake, this adaptation (numerous stage versions preceded and followed) makes for a wonderful film.

Oscar Nominations: Best Picture, Best Actress-Whoopi Goldberg, Best Supporting Actress-Margaret Avery, Oprah Winfrey, Best Screenplay Based on Material from Another Medium, Best Original Score, Best Original Song-“Miss Celie’s Blues (Sister)”, Best Art Direction, Best Cinematography, Best Makeup, Best Costume Design

1974 Films, Best International Film Oscar Winners, Drama, Federico Fellini, International, International Drama, Italian, Scott's Top 100 Films

Amarcord-1974

January 9, 2016 scottmet99 Leave a comment

Amarcord-1974

Director Federico Fellini

Starring Bruno Zanin, Magali Noel

Top 100 Films #81

Scott’s Review #357

Reviewed January 9, 2016

Grade: A

Federico Fellini’s Amarcord, the winner of the Best Foreign Language Oscar and Golden Globe in 1974, is a semi-autobiographical film based on the childhood of the famed director himself.

Set in the small Italian village of Borgo San Giuliano, the film features quite an array of weird and eccentric characters inhabiting the village.

The plot centers around young Titta, and his coming-of-age development as he blossoms into a young man- his sexual desires and fantasies are heavily explored in this zany film.

Since the time is the 1930s and Fascism, led by the tyrannical Mussolini, was rearing its ugly head, Amarcord is not all light-hearted fun and games, despite how it appears on the surface- there is a serious undertone to the entire film.

Still, the film lacks any sort of story that can be dissected very well, which both pleases and frustrates- the film is simply to be “experienced”. It can either leave your head spinning, scratching your head, or disliking the film.

That is not to say that I take issue or offense with Amarcord I adore the film, but it is not an easy watch. Scenes meander about in a dream-like fashion as we follow Titta through his sexual blossoming.

In one memorable scene, Titta has a titillating experience with a buxom older female who lives in the village. Some of the other characters we meet are giddy with peculiarities: a blind accordion player and a female nymphomaniac to name but a couple.

Titta and his family are featured heavily as they eat together, fight together, and live together. When one day the family treks to visit their Uncle Teo, who is confined to an insane asylum, they take him out for a day in the country, where he climbs a tree and refuses to come down.

A dwarf nun and two orderlies finally arrive and coax him down- he obediently returns to the asylum. It is a bizarre sequence, but one that sums up Amarcord perfectly.

Amarcord contains one wacky scene after another, but many of the scenes are not just to showcase outlandish behavior nor are created as fluff. Fellini has a distinct message to the film and several scenes mock Christianity or Mussolini’s crazy political ideas.

The film is larger than life but also encrusted with the fear of 1930’s Fascism and the fear that the Italians felt during this time.

The film is also sweet and Fellini successfully adds a nostalgic feel to it- everyone feels cozy in a large sprawling town with unique characters, shenanigans, and a celebratory theme, but seriousness lurks beneath.

Amarcord is a zest for life throughout a tumultuous time and Fellini successfully creates a hybrid of the two creating one fantastic film in the process.

Oscar Nominations: 1 win-Best Foreign Language Film (won), Best Director-Federico Fellini

1997 Films, Bridget Fonda, Crime Drama, LisaGay Hamilton, Michael Keaton, Pam Grier, Quentin Tarantino, Robert De Niro, Robert Forster, Samuel L. Jackson, Scott's Top 100 Films, Tony Curtis

Jackie Brown-1997

January 9, 2016 scottmet99 Leave a comment

Jackie Brown-1997

Director Quentin Tarantino

Starring Pam Grier, Robert Forster

Top 100 Films #92

Scott’s Review #356

Reviewed January 9, 2016

Grade: A

Quentin Tarantino’s Jackie Brown (1997) is a fantastic film and one of the few to have a solely female lead (Kill Bill Volumes I and II are the others) and successfully re-launched star Pam Grier’s and Robert Forster’s careers after too many years on the sidelines.

The film is heavily influenced by Grier’s earlier films in the 1970s blaxploitation genre. Jackie Brown is one of the more obscure Tarantino films, but is brilliant nonetheless and filled with slow, plodding, yet tremendous scenes.

Grier plays the title character, Jackie Brown, a flight attendant for a small Mexican airline who smuggles money into the United States from Mexico to supplement her income. When she is caught and threatened by the Feds to aid them in catching a much larger fish, she plots to use both sides to her advantage and walk away with the money.

Jackie develops feelings and a sweet relationship ensues with Max Cherry, a bondsman played by Forster.

Mixed in with the plot is Tarantino staple, Samuel L. Jackson, as Ordell Robbie, a crooked drug smuggler, Robert De Niro as Louis, a former cellmate of Ordell’s, and Bridget Fonda as Melanie, a dizzy stoner girl.

As is always the case with Tarantino films, Jackie Brown contains a stellar cast just chomping at the bit to deliver the best performance they can with the help of rich and crackling dialogue written for them.

The writing is always fantastic in Tarantino films and the number of plot twists and turns in Jackie Brown is great.

My favorite scene by far is the scene involving the transfer of money that takes place in the local Mall. Rich with flavor and atmosphere it is a marvel. Jackie and Max engage in small talk at the food court before the transfer is to take place- Jackie then goes to a fitting room where the “switch” will occur.

Throughout this sequence, the tension is incredibly high and the film turns into a nail-biter.

Tarantino, not one to focus on a romantic storyline, gives Jackie Brown a uniqueness as the film features the respectful and delicious romance between Jackie and Max. This adds layers to the mainly bloody and crime-laden film. To counter this relationship is the volatile relationship between Louis and Melanie, which ends in tragedy.

I love how the film is set in Los Angeles. Sunny, bright, with a stuffy and superficial element to the action, mixing the beach and the hot weather with a crime story, manipulation, and double-crossing works so well.

Giving aging Hollywood stars a deserving comeback, Tarantino weaves a complex, but adventurous and well-paced, crime drama featuring veteran actors who deliver the goods, Jackie Brown is a treasure in a world of other Tarantino treasures and is a must-have for all of the director’s fans and fanatics.

Oscar Nominations: Best Supporting Actor-Robert Forster

1962 Films, Adventure, Alec Guinness, Andre de Toth, Anthony Quayle, Anthony Quinn, Arthur Kennedy, Best Picture Oscar Winners, Biography, Claude Rains, David Lean, Drama, Epic, Jack Hawkins, Omar Sharif, Peter O'Toole, Scott's Top 100 Films

Lawrence of Arabia-1962

January 9, 2016 scottmet99 Leave a comment

Lawrence of Arabia-1962

Director David Lean

Starring Peter O’Toole, Alec Guinness, Omar Sharif

Top 100 Films #82

Scott’s Review #355

Reviewed January 9, 2016

Grade: A

Lawrence of Arabia (1962) is quite a grand film that must be seen on a large screen. This will ensure full appreciation of the enormous scale of the production.

Numerous shots of objects in the distance are featured, and the small screen dulls the experience.

An excellent film from top to bottom and groundbreaking at the time by the scope and vast proportions of the production, Lawrence of Arabia achieves its place in the annals of cinema history.

It’s a treat to revisit from time to time.

The film is divided into two parts with an intermission, as with epics that last nearly four hours.

Peter O’Toole stars as T.E. Lawrence, a bored British Army Lieutenant who talks his way into a transfer to the Arabian desert.

As the film opens, it is 1935, and Lawrence has just been killed in a motorcycle accident. While this concept of revealing the ending and working backward is common in current films, it was novel in 1962 when the film was made.

While in Arabia, Lawrence successfully bonded bitter rival tribes to unite against Turkish oppression during World War I. He meets two young guides and other central characters there: Prince Faisal (Alec Guinness) and Sherif Ali (Omar Sharif).

Much of the film features the battles between the rival tribes and Lawrence’s struggle to achieve peace.

Many location sequences of Lawrence and company traveling miles and miles of hot desert are featured.

Some complain that Lawrence of Arabia is too slow-moving a film, but that is its selling point. I find the scenes of the group languishing across the desert incredibly lush and rich in meaning.

The intense heat and beating sun are fantastic in their cinematic grandeur. The film is meant to take its time—precisely what an experience in the Arabian desert would be like—and the mountainous dunes and swirling winds are brilliantly filmed.

David Lean is the king of the sprawling epic, and Lawrence of Arabia is his crown achievement.

Lawrence is a well-written, layered, and complex character. He is not easy to describe or understand, which is also to the film’s credit.

The sheer weight loss that O’Toole went through over the two years it took to film Lawrence of Arabia is impressive enough, but he is also a tortured soul emotionally.

An epic film, Lawrence of Arabia (1962), requires a half-day of dedicated viewing but is worth every minute.

For a reminder of what an actual, breathtaking film looks like sans the oversaturated CGI and quick edits, one should take a deep breath and appreciate this work of art for its majestic look.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-David Lean (won), Best Actor-Peter O’Toole, Best Supporting Actor-Omar Sharif, Best Screenplay Based on Material from Another Medium, Best Music Score-Substantially Original (won), Best Sound (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Film Editing (won)

1978 Films, Dody Goodman, Eve Arden, John Travolta, Musical, Olivia Newton-John, Romantic Comedy, Scott's Top 100 Films, Stockard Channing

Grease-1978

January 9, 2016 scottmet99 Leave a comment

Grease-1978

Director Randal Kleiser

Starring John Travolta, Olivia Newton-John

Top 100 Films #70

Scott’s Review #354

Reviewed January 9, 2016

Grade: A

Grease (1978) is the ultimate musical fantasy that comes to life and can be appreciated by anyone looking to re-live their high school days through song, or merely escape life’s stresses with a fun, bright, musical, that is very well made.

Is it realistic? Not, but sometimes escapism is just what the doctor ordered, and Grease is one of my favorite films that meet that criteria.

It is light-hearted and sweet, and above all contains wonderful legendary musical numbers.

The time is the 1950s, and we meet Danny and Sandy on a windswept beach with cascading waves and bright sunshine. It is summer break for the two high school students, who meet in California, she vacationing from Australia, and he is a local boy.

They say their goodbyes and return to normal lives, but cannot forget about each other.

Suddenly, Sandy arrives at Rydell High in Los Angeles, coincidentally where Danny goes to school. Her parents (whom we never see) decided to stay in California.

Danny is a “tough guy” in high school, much different from who he was on the beach with Sandy. He is the leader of the infamous T-birds, a group of boys who love their black leather jackets and cars.

Torn, he continues his tough image and he and Sandy find their way back to each other through classmates, songs, and dancing, intermingling fun supporting characters who encourage each of them to find true love.

Travolta and Newton-John have magical chemistry, which allows this film to work.

Grease has appeared on stage numerous times, but these actors are fine together. I bought them as teenagers in love, although both were well beyond their teen years.

The supporting cast is excellent- specifically Stockard Channing as the lead Pink Lady, Rizzo, and Sandy’s kind-hearted friend Frenchy.

Interestingly, no parents ever appear in the film as it is not about the adults.

However, Rydell’s female principal, Mrs. McGee (played by Eve Arden), and her dotty Vice Principal, Blanche (Dody Goodman), are simply marvelous as comic relief.

Rizzo is an interesting character and can be argued is the only one who threatens to steal the thunder from Danny and Sandy. Containing a tough exterior, she is also vulnerable as she fears she has become pregnant mid-way through the film.

Unwed and pregnant in the 1950s was quite the scandal and Channing gives layers of emotion during her solo number, “There Are Worse Things I Could Do”.

The wonderful high school dance scene is choreographed amazingly well. The excitement of the student body at being filmed for a special television show is apparent as dance numbers and dance contests, some raunchy, follow.

The musical numbers are intrinsically memorable from “Grease”, “Greased Lightning”, “Hopelessly Devoted To You”, and “Beauty School Dropout”, all of which are personal favorites of mine.

Grease (1978) is a film that is not meant to be analyzed but rather enjoyed for the fantastic chemistry and energy in which it has.

Sometimes in a film, all of the elements simply come together perfectly and Grease is an excellent example of this.

Oscar Nominations: Best Song-“Hopelessly Devoted to You”

1980 Films, Bill Murray, Chevy Chase, Comedy, Rodney Dangerfield

Caddyshack-1980

January 9, 2016 scottmet99 Leave a comment

Caddyshack-1980

Director Harold Ramis

Starring Chevy Chase, Rodney Dangerfield, Bill Murray

Scott’s Review #353

Reviewed January 9, 2016

Grade: A

Caddyshack is one of the funniest slapstick comedy films of the 1980s, arguably the decade of the “mindless comedy”.

Made in 1980, the cusp of the decade, it led the pack during a time when one after the other, comedy films were churned out out-cookie cutter style- based largely on the success of Caddyshack.

While not every aspect of the film works, the parts that do are hysterical and its influence in film history is unquestionable. More than merely a “dumb comedy”, Caddyshack features funnymen of the day (Bill Murray, Chevy Chase, and Rodney Dangerfield), and the talent and timing are well.

Clean-cut teenager Danny Noonan works as a caddy at a posh resort named Bushwood Country Club. An “underachiever”, he lacks direction in life while being pressured by his parents to attend college.

While spending the summer at work pondering his future, high jinks ensue as a rivalry develops between the club co-founder, Judge Smails (Ted Knight), and the outrageous Al Czervik (Rodney Dangerfield), who is a nouveau riche real estate developer.

Meanwhile, bordering on psychotic, Bill Murray as groundskeeper Carl Spackler is engrossed in his feud with a gopher running rampant on the golf course.

Mixed in with all of this are the standard teen romance themes, bathroom gags, and sexual jokes.

Caddyshack is not high art nor does it need to, or intend to be. It is simply pure juvenile fun. It is not even that well written, but it works. The portions that work so well do not even involve the caddies featured in the film- originally set to be the focal point.

Rather, the real scene-stealers are the two oldest members of the cast- Rodney Dangerfield and Ted Knight. The bickering and barbs traded between the two characters are delicious and downright funny.

When Al mocks Smail’s hat, or dances with his snobbish wife, or crashes into his new boat, each scene is rich with goofy comic timing.

Without a doubt, my favorite scene is the “doody” scene in the resort pool. It is laugh-out-loud raucous as a candy bar tossed into the water is thought to be something else.

The star of this scene is Lois Kibbee, who plays Judge Smail’s wife.

Her comic mannerisms and upper-crust looks make her a perfect choice for the role and she arguably steals the show in her limited appearances.

When Al jokes that she must have been something before electricity, her facial expressions perfectly emit comic horror.

There are points of the film that really are unnecessary and do not work well- I have never understood Bill Murray’s character of Carl. Bordering on silly, with a stuffed animal as the gopher, Murray himself is fantastic- improvising, but the role does not seem necessary to the rest of the film.

More scenes between the Judge and Al, or more from Chevy Chase’s character of Ty, and of the Judge’s wife would have been preferable.

Also, the attempted teen triangle between Danny, Maggie, and Lacey is dullsville- plain Maggie cannot compete with gorgeous and slutty Lacey.

These criticisms, however, are small gripes when compared to the hilarity and perfect timing of the rest of the film and that is why it ranks among one of my favorites.

Caddyshack, along with Animal House, paved the way for the plethora of slapstick comedies to follow- a few good, most bad, but must be recognized as the influence that it was, and a must-see for fans of golf, sports, and good, clean fun.

The elements of Caddyshack (1980) come together and work so well.

1988 Films, Barbara Hershey, Best Film of the Year, Bette Midler, Comedy, Drama, Garry Marshall, Hector Elizondo, John Heard, Lainie Kazan, Scott's Top 100 Films

Beaches-1988

January 9, 2016 scottmet99 Leave a comment

Beaches-1988

Director Garry Marshall

Starring Bette Midler, Barbara Hershey

Top 100 Films #93

Scott’s Review #352

Reviewed January 9, 2016

Grade: A

Beaches (1988) is a film that can easily be described as sentimental, sappy, and a chick flick- all in a derogatory fashion- but that regardless, is a treasure to me. I fall for this tearjerker every single time that I watch it.

It is not necessarily a great film, not high art, nor particularly edgy, but a good, old-fashioned, conventional film about friendship.

Bette Midler and Barbara Hershey give the film believability whereas other similar films would appear contrived.

C.C. Bloom (Midler) and Hillary Whitney (Hershey) are lifelong friends from opposite backgrounds. Besides, they could not have more opposite personalities. C.C. is blue-collar, outrageous, and brash, Hillary, is demure, rich, and sophisticated.

We meet our friends as young girls on the boardwalk of Atlantic City, C.C. hiding from her overbearing stage Mom, and Hillary lost and wandering the boardwalk.

The two become fast friends despite their vastly different upbringings and stay connected through ups and downs and life’s trials and tribulations, for over thirty years.

The chemistry between Midler and Hershey is great. I completely buy them as best friends through the years, despite having little in common.

Throughout their tender, emotional scenes, and the knock-down-drag-out fight they have at the mall (a fantastic scene!), there is never doubt about what they have.

They compete over a man, which ordinarily is a lame plot device, but in Beaches, it works because the two stars make it work.

Each actress puts her mark on the individual role. Midler’s C.C. is arrogant, feisty, and interesting as she begins a “have not” and becomes a “have”.

She becomes spoiled and pampered- all of the things she envies about Hillary. She does not handle wealth as well as Hillary because she lacks education. Hillary, an attorney, is classy and graceful.

These characteristics are why it is believable that the women would be at odds.

The last act is a weepy one as one of the women dies, leaving the other to pick up the pieces and move on- alone. This is a sad moment in the film, but the women’s devotion and loyalty are admirable.

Beaches (1988) may not be high art, but boy will it get you reaching for the tissues.

Oscar Nominations: Best Art Direction

1955 Films, Best Film of the Year, Charles Laughton, Lillian Gish, Peter Graves, Robert Mitchum, Scott's Top 100 Films, Shelley Winters, Thriller

The Night of the Hunter-1955

January 9, 2016 scottmet99 Leave a comment

The Night of the Hunter-1955

Director Charles Laughton

Starring Robert Mitchum, Shelley Winters

Top 100 Films #66

Scott’s Review #351

Reviewed January 9, 2016

Grade: A

The Night of the Hunter (1955) is a fairy tale for adults. Although it is categorized as a thriller, it certainly teeters on the edge of being a horror film. In addition to being well-written, it also contains breathtaking cinematography.

Made in the mid-1950s, it is shot in black and white and tells the tale of good versus evil in a small town. The film is a masterpiece and one of my all-time favorites.

The film is creepy but intelligent, and director Charles Laughton is responsible for its immeasurable success. Although it was not a success upon release, it has only finally received its due admiration as the years pass.

The film is way ahead of its time.

It is based on the 1953 novel by Davis Grubb.

The time is the 1930s, and the setting is rural West Virginia along the Ohio River. Ben Harper, a local family man, robs a bank and hides the stolen money inside his daughter’s doll.

His son and daughter (John and Pearl) are central characters in the story. Caught, Ben is out of the picture, leaving his wife, Wilma (Winters), vulnerable and alone.

A serial killer, Reverend Harry Powell (Mitchum), a misogynist, is on the loose disguised as a preacher. In prison with Ben, he knows the money is hidden and is determined to find out where. He has designs on wooing Wilma.

When dire events occur, John and Pearl are left along the river to seek refuge with a kindly older woman, Rachel Cooper (Lillian Gish).

The film is majestic, haunting, and artistic. Each scene seemingly glows as the dark black-and-white colors mix gorgeously with tranquility despite the dark tone of the subject matter.

The Night of the Hunter also has a dream-like visual quality. In one pivotal scene, we see a dead body submerged at the bottom of the river. The scene is horrific, with bulging eyes and bloating beginning to set in, but it is also creatively beautiful.

The flowing hair of the victim and the posture are mesmerizing scenes that stick with you for some time.

Poetic and a sense of good versus evil, clearly laid out as Powell has two words imprinted on the knuckles of each hand- “L-O-V-E” and “H-A-T-E.” These words create the basis of the film as both words can be applied to the characters.

My favorite scene is when John and Pearl travel along the Ohio River in flight from their rival. The shapes of the trees mirrored by the flowing river are incredible, and I can watch this scene again.

A thriller, written intelligently well, with creativity for miles, is a recipe for pure delight. Director Laughton directed only this one film and encouraged creative collaboration and participation from his actors, which is shown in the resulting masterpiece.

The Night of the Hunter (1955) has influenced countless directors.

2001 Films, Alan Bates, Clive Owen, Derek Jacobi, Drama, Eileen Atkins, Emily Watson, Helen Mirren, Julian Fellowes, Kelly Macdonald, Kristin Scott Thomas, Maggie Smith, Period Drama, Richard E. Grant, Robert Altman, Ryan Phillippe, Scott's Top 100 Films

Gosford Park-2001

January 9, 2016 scottmet99 Leave a comment

Gosford Park-2001

Director Robert Altman

Starring Maggie Smith, Helen Mirren, Ryan Phillippe

Top 100 Films #68

Scott’s Review #350

Reviewed January 9, 2016

Grade: A

Somewhere between the brilliant PBS series of the 1970s and the ultra-modern cool of Downton Abbey (also PBS) lies the masterpiece that is Robert Altman’s 2001 gem, Gosford Park.

Ironic is that the creator, writer, and executive producer of Downtown Abbey, Julian Fellowes, wrote the screenplay of Gosford Park.

No wonder, combined with Altman’s direction, they created genius.

The period is 1932 and the wealthy, along with their servants, flock to the magnificent estate of Gosford Park, a grand English country home. The guests include both Americans and Brits and everyone is gathered for a shooting weekend- foreshadowing if ever there was.

Following a dinner party, a murder occurs and the remainder of the film follows the subsequent police investigation, and the perspectives of the guests and the servants as a whodunit ensues.

Many of the character’s lives unravel as secrets are exposed.

Sir William, the murder victim, is a powerful industrialist. After he announces he will withdraw an investment, the ramifications affect many of the guests so that the set-up is spelled out for the audience.

At the risk of seemingly nothing more than a plot device- it is so much more than that.

During a pheasant shoot, Sir William receives a minor wound thanks to a stray birdshot- is this intentional or merely an accident? When Sir William meets his fate that evening, the potential suspects pile up.

If there are two compelling aspects to a great film, they are a good old-fashioned whodunit and an enormous cast, all potential suspects.

What makes Gosford Park exceptional is that every character is interesting in some way and all are written well.

Secrets abound for miles in this film and are revealed deliciously. Torrid affairs, sexuality secrets, and blackmail abound as revelations make their way to the surface and Altman knows exactly how to cast doubt or suspicion on many of his characters.

The compelling relationship between American film producer Morris Weissman and his valet, Henry Denton (Ryan Phillipe), along with the domineering head housekeeper, Mrs. Wilson (Helen Mirren) are my favorite characters and dynamics.

How clever that Maggie Smith would play similar roles as stuffy aristocrats in both Gosford Park and Downton Abbey.

Rich in texture is the balancing between the haves and the have-nots and how those characters mix (sometimes in secret rendezvous!)

Typical of Altman films, the character dialogue commonly overlaps, and the actors largely improvise the script. In addition to being an actor’s dream, this quality gives a dash of realism to his films and Gosford Park is no exception.

Since there are so many characters and so many plots and sub-plots going on at once, my recommendation is to watch the film at least twice to fully comprehend the layers of the goings-on.

Gosford Park (2001) will become more and more appreciated.

Oscar Nominations: 1 win-Best Picture, Best Director-Robert Altman, Best Supporting Actress-Helen Mirren, Maggie Smith, Best Screenplay Written Directly for the Screen/Original Screenplay (won), Best Art Direction, Best Costume Design

1990 Films, Best Film of the Year, Biography, Crime Drama, Joe Pesci, Kevin Corrigan, Lorraine Bracco, Martin Scorsese, Michael Imperioli, Mob, Paul Sorvino, Ray Liotta, Robert De Niro, Samuel L. Jackson, Scott's Top 100 Films, Tobin Bell

Goodfellas-1990

January 9, 2016 scottmet99 Leave a comment

Goodfellas-1990

Director Martin Scorsese

Starring Ray Liotta, Robert De Niro, Joe Pesci

Top 100 Films #89

Scott’s Review #349

Reviewed January 9, 2016

Grade: A

Director Martin Scorsese adapts Goodfellas, a crime-mob film, from Nicholas Pileggi’s 1986 nonfiction book. Pileggi helped Scorsese write the screenplay.

The film is more matter-of-fact telling than the purely dramatic The Godfather, with more wit and humor thrown in and great editing.

Featuring powerful acting by Ray Liotta, Robert De Niro, and Joe Pesci, it is a memorable classic mob film that can be enjoyed via repeated viewings.

Largely ad-libbed, the film is rich in good dialogue and contains one of the highest totals of curse words in film history.

The film is told from the first-person narrative of the lead character, Henry Hill.

Henry, now in the Witness Protection Program, recounts his years affiliated with the mob from 1955 to 1980.

We meet Henry as a youngster in Brooklyn, New York. He is half-Italian, half-Sicilian. He idolizes the “wise guys” on the streets and intends to one day join their ranks.

From there, the film describes the trials and tribulations of Henry’s group of miscreants. Henry meets and falls in love with Karen (Lorraine Bracco), and their tumultuous love story is explored through tender moments and affairs.

What I love most about Goodfellas is the love of the characters and the sense that you are part of the action. The film is a highly stylized family drama- gritty nonetheless, but the viewer feels like they are part of things and a family member- milestones are celebrated, and meals are shared.

We see Henry grow from a teenage gullible boy who idolizes the neighborhood men to being part of the group.

The other characters, such as vicious and volatile Tommy DeVito (Pesci) and Jimmy “The Gent” Conway (De Niro), are aged and mature.

Bracco’s character is interesting. Unlike most of the female characters in The Godfather films, she is not content to merely sit on the sidelines and look past her husband’s shenanigans and torrid affairs with floozies.

She is a more modern, determined woman, and Bracco plays her with intelligence and a calm demeanor. She wants to be Henry’s equal instead of just some trophy wife.

Pesci deservedly won the Best Supporting Actor Oscar for his role; he is brutal and filthy but a mesmerizing character.

During a memorable scene, his character Tommy jokingly teases Henry, but when Henry responds in a way that displeases Tommy, the scene grows tense, and Tommy becomes increasingly disturbing.

His famous line “What am I a clown- do I amuse you?” is both clever and haunting in its repercussions.

I adore the soundtrack that Scorsese chose for the film—spanning decades, he chooses songs true to the times, such as “Layla” (1970) or “Remember (Walking in the Sand)” (1964), which are just perfect.

Worth noting is that when a scene plays, sometimes the song is mixed in with the narrative so that it enhances the scene altogether—becoming a part of it rather than simply background music.

If one is looking for the perfect mob film, one that contains music, wit, charm, and fantastic writing, Goodfellas is among the best.

I prefer The Godfather and The Godfather II, but while Goodfellas has similarities to these films, it is also completely different and stands on its own merits.

Oscar Nominations: 1 win-Best Picture, Best Director-Martin Scorsese, Best Supporting Actor-Joe Pesci (won), Best Supporting Actress-Lorraine Bracco, Best Screenplay Based on Material from Another Medium, Best Film Editing

1986 Films, Camp, Comedy, Dark Comedy, Pat Ast, Scott's Top 100 Films, Sexploitation, Sybil Danning, Wendy O. Williams

Reform School Girls-1986

January 9, 2016 scottmet99 Leave a comment

Reform School Girls-1986

Director Tom DeSimone

Starring Linda Carol, Wendy O. Williams, Pat Ast

Top 100 Films-#100

Scott’s Review #348

Reviewed January 9, 2016

Grade: A

Let’s be honest here- Reform School Girls (1986) is neither a work of cinema art nor a particularly well-acted film.

From a critic’s perspective, it is riddled with stereotypes and objectifies women.

Still, it’s one of my favorite guilty pleasures and has an offbeat charm that makes me want to watch the film over and over again. I never tire of it. I also don’t think it should be reviled, but rather, revered.

There is a perverse magnificence to the film and some similarities to another cult gem- Russ Myers’s Faster Pussycat, Kill!… Kill! (1965)

Critics be damned- not every film needs to be high art!

One of my absolute favorite cult actresses, Pat Ast, famous for another cult gem, 1972’s Heat, stars in Reform School Girls as a vicious prison guard.

Alongside punk rocker turned actress, Wendy O. Williams, they make the film a guilty masterpiece as both women bring their share of odd energy and humor to the flick.

Sybil Danning co-stars as the corrupt Warden Sutter.

The plot of the film is pretty straightforward and it screams late-night fun.

A virginal teenage girl named Jenny is sent to a reform school run by the sinister warden and her sadistic and abusive henchwoman, Edna (Ast). While there, Jenny is intimidated by Charlie (Williams), who rules the roost via bullying and threats. Jenny is accompanied by several other terrified girls, who are stripped and degraded by Edna.

This leads to an attempted escape and protest scene by the girls and others as they try to remove themselves from their tormentors.

Reform School Girls is simply great fun.

The poor acting is actually a strength of the film as one scantily clad female after another prance around the reform school.

Wendy O. Williams regularly wears skimpy panties, bra, and heels, and is laughable playing a teenager since the actress was pushing forty years old.

The culmination of the film is fantastic as a chase ends up by an enormous tower on the grounds of the prison, resulting in the deaths of Charlie and Edna in a dramatic fashion.

Edna’s charred remains are met by an uproar of cheers by the inmates- I half expected them to burst into a chorus of “Ding Dong the Witch Is Dead”.

Reform School Girls (1986) is a perfect cult classic to enjoy on a late Saturday night.

2003 Films, Biography, Bruce Dern, Charlize Theron, Christina Ricci, Drama, LGBTQ+ Drama, LGBTQ+ Films, Patty Jenkins, Scott's Top 100 Films

Monster-2003

January 9, 2016 scottmet99 Leave a comment

Monster-2003

Director Patty Jenkins

Starring Charlize Theron, Christina Ricci

Top 100 Films #83

Scott’s Review #347

Reviewed January 9, 2016

Grade: A

Monster (2003) may feature one of the best acting performances of all time-Charlize Theron simply embodies the role of the notorious female serial killer, Aileen Wuornos, in a simply astounding triumph.

The mannerisms, the anger, and the charisma that Theron portrays are nothing short of brilliance.

This brazen acting is simply the best aspect of Monster and the main reason to witness the film.

Besides this, the film itself is also great.

The film immediately focuses on Theron- we meet the down-on-her-luck prostitute sitting in tatters underneath an overpass.

Suicidal and with five dollars to her name, she goes to a dive bar for one last beer- having blown someone for the five dollars she reasons that the money will go to waste if she does not spend it.

Her older confidante is Thomas, a grizzled man assumed to be an occasional client of hers, who is played by Bruce Dern. She goes to a gay bar and meets Selby Wall (Christina Ricci), a lesbian.

Aileen insists she is not gay but winds up spending the night with her in Selby’s family home. The two form a connection and bond immediately, spending more time together and becoming immersed in each other’s lives.

When Aileen is brutally raped and beaten by a client, she begins down a dark and murderous path, killing men she meets after she steals their money.

Selby eventually catches on to this and is conflicted over whether to turn her friend in or serve as an accomplice to her crimes as the police close in on the pair.

Enough cannot be said of Theron’s performance. She simply becomes Wournos- from her walk to her infamous manic mannerisms, and her hair flip.

Theron, a gorgeous woman, gained weight, used false teeth, and became simply unrecognizable in the role of a brutal, angry, and trashy-looking woman.

Ricci also deserves praise, but plays her role as a bit clueless or dimwitted, counterbalancing Theron’s manic, in-your-face role. It works well. Both characters are longing for love and companionship and both are misfits.

In a sweet scene, the pair go roller skating together, hand in hand, to the famous rock song, “Don’t Stop Believin”.

This is a great scene.

One can argue the fact that director, Patty Jenkins, softens the way that Wournos is written. Known as a hardened, mean woman, Jenkins writes her as much more sympathetic.

This can also be attributed to the fact that Theron emits some vulnerability to the character- the woman never knew love until she met and bonded with Selby.

Needless to say, Monster (2003) is a dynamic, energetic film, thanks in large part to the powerful performance of Charlize Theron- a role that awarded her the Best Actress Academy Award.

Oscar Nominations: 1 win-Best Actress-Charlize Theron (won)

Independent Spirit Award Nominations: 2 wins-Best First Feature (won), Best Female Lead-Charlize Theron (won), Best First Screenplay

1974 Films, Action, Bernard Lee, Britt Ekland, Christopher Lee, Desmond Llewelyn, Guy Hamilton, James Bond, Lois Maxwell, Maud Adams, Roger Moore, Scott's Top 100 Films

The Man with the Golden Gun-1974

January 9, 2016 scottmet99 Leave a comment

The Man with the Golden Gun-1974

Director Guy Hamilton

Starring Roger Moore, Christopher Lee, Britt Ekland

Top 100 Films #77

Scott’s Review #346

Reviewed January 9, 2016

Grade: A

Though not typically regarded as one of the more appealing of James Bond films, and the second chapter to feature Roger Moore, Sean Connery’s replacement, The Man with the Golden Gun (1974) is one of my favorites, firmly placed in my top 5 of 007 offerings.

This could be the result of the film being one of my first introductions to the world of 007 as a child.

Moore seems more comfortable in the role than he did in the uneven Live and Let Die, released in 1973.

Qualities that make The Man with the Golden Gun a success include the wonderful casting of Christopher Lee, a famed horror film icon, in the central role of Francisco Scaramanga, the title character, and nemesis of Bond.

Who cannot think of Count Dracula while watching Lee act- his dark, swarthy looks, angular face, and his deep baritone voice make for a perfect villain.

Known in large part for participation in Hammer Horror films opposite another legend, Peter Cushing, this is casting at its finest and a true high point of the film.

To summarize the story, MI6 receives a golden bullet with “007” sketched on the side, a clear threat to the life of James Bond. It is assumed to have been sent by the famed assassin, Scaramanga, whose trademark is a deadly golden gun.

Bond is ordered to remove himself from his current mission, but he pays no mind and sets out to find Scaramanga on his own, leading him into a mystery involving a stolen solar energy weapon feared to destroy the world.

The adventure takes Bond to a bevy of gorgeous locales such as Hong Kong, Thailand, Macau, and the South China Sea where our villain resides on a private island reached only by helicopter.

I found the main locale of the sunny deserted island and Scaramanga’s dwarf sidekick, Nick Nack, great aspects of the film. Majestic caves, sandy beaches, and a gorgeous array of water set the tone with gorgeous fantasy elements.

Servant Nick Nack is sinister, but with a sweet smile, one almost trusts him as he serves lunch or expensive champagne to guests sure to be killed afterward.

The secret maze of mirrors that Bond finds himself in is made perfect by Nick Nack’s taunting and cackling. And the flying car that Scaramanga and Nick Nack drive-in, though gimmicky, is a real hoot.

A demerit to The Man with the Golden Gun that I have always been able to look past since other factors usurp her importance is the miscasting of Britt Eklund as Bond’s assistant, Mary Goodnight.

The writer’s pen Goodnight as simpering, silly, and a big goof. An attempt at comic relief falls flat as the character epitomizes a blonde bubblehead- constantly screwing up everything.

Scaramanga’s girlfriend and co-Bond girl, Andrea Anders, played by Maud Adams is much better, though we do not get to know the character very well before she is offed.

Fortunately, Adams would return to star in Octopussy in 1983.

Perhaps middling at times and suffering from some negative characteristics, The Man with the Golden Gun (1974) is a love of mine, a trip down memory lane to a time as a child when I was first discovering my love and zest for James Bond films.

This offering cemented my love of Roger Moore in the central role and I still adore watching this film.

1940 Films, Alfred Hitchcock, Best Film of the Year, Best Picture Oscar Winners, George Sanders, Gladys Cooper, Joan Fontaine, Judith Anderson, Laurence Olivier, Leo G. Carroll, Nigel Bruce, Scott's Top 100 Films, Thriller

Rebecca-1940

January 9, 2016 scottmet99 Leave a comment

Rebecca-1940

Director Alfred Hitchcock

Starring Laurence Olivier, Joan Fontaine

Top 100 Films #63

Scott’s Review #345

Reviewed January 9, 2016

Grade: A

The only Alfred Hitchcock film to win the coveted Best Picture Oscar trophy, Rebecca is a very early offering in the famous director’s repertoire.

His heyday being well ahead of this film (the 1950s and 1960s saw his best works), Rebecca is a blueprint of fine things to come and, on its own merits, is a great film.

Shot in black and white, the film is a descent into mystery, intrigue, and madness with a gothic look.

Laurence Olivier stars as wealthy widower Maxim de Winter, whose first wife, title character Rebecca, died sometime before the story begins. In a clever twist, the character of Rebecca is never seen but takes on a life of her own through the tellings of the rest of the cast.

Joan Fontaine plays a nameless, naïve young woman who meets the sophisticated Maxim and marries him, becoming the new Mrs. de Winter.

This development is met with disdain by the servants who work in the Grand de Winter mansion, Manderley, a character in its own right.

The housekeeper, Mrs. Danvers (Judith Anderson), is cold and distant from Maxim’s new wife. She begins to reveal an obsession with the deceased Rebecca, which creates jealousy and intimidation for Fontaine’s character—so much so that she begins to doubt her sanity and decision-making capabilities.

Thanks to Hitchcock’s direction, Rebecca is a fantastic, old-style film with layers of mystery and wonderment. The mansion that is Manderley is central to the story, as is the creepy obsession that Mrs. Danvers has with Rebecca.

She keeps the dead woman’s bedroom neat, a sort of shrine to her memory, so much so that, despite the time the film is made, 1940, a lesbian element is crystal clear to attention-paying audiences.

This aspect may not have been noticed then, but it is apparent now.

The film is also a ghost story since the central character, Rebecca, is never seen.

Could she be haunting the mansion? Is she dead, or is this a red herring created to throw the audience off the track? Is the new Mrs. de Winter spiraling out of control? Is she imagining the servant’s menacing actions? Is Maxim in on the tormentor simply seeking a replacement wife for his steadfast love?

The pertinent questions are asked not only of the character but also of the audience as they watch with bated breaths.

The climax and finale of Rebecca (1940) are fantastic.

As the arguably haunted mansion is engulfed in flames and the sinister Mrs. Danvers can be seen lurking near the raging drapes, the truth comes to the surface, leaving a memorable haunting feeling to audiences watching.

Rebecca is a true classic.

Oscar Nominations: 2 wins-Outstanding Production (won), Best Director-Alfred Hitchcock, Best Actor-Laurence Olivier, Best Actress-Joan Fontaine, Best Supporting Actress-Judith Anderson, Best Screenplay, Best Original Score, Best Art Direction, Black and White, Best Cinematography, Black-and-White (won), Best Film Editing, Best Special Effects

1981 Films, Action, Adrienne Barbeau, Best Film of the Year, Donald Pleasance, Ernest Borgnine, Harry Dean Stanton, John Carpenter, Kurt Russell, Lee Van Cleef, Scott's Top 100 Films

Escape from New York-1981

January 9, 2016 scottmet99 Leave a comment

Escape from New York-1981

Director John Carpenter

Starring Kurt Russell, Adrienne Barbeau

Top 100 Films #76

Scott’s Review #344

Reviewed January 9, 2016

Grade: A

Escape from New York (1981) epitomizes a great action film to me.

Too often, action films are filled with run-of-the-mill characters, are plot-driven, and are mediocre stories that lack creativity. I adore Escape from New York, however.

The creativity and amazing direction by John Carpenter allows the film to soar high above what is typical for this genre.

The unique premise sets things off immediately as we follow the mission of ex-con Snake Plissken (Kurt Russell) to save an important figure in peril.

In futuristic 1997, we learn that due to skyrocketing crime throughout the United States, New York City has been fenced off and turned into a maximum-security prison.

All of the most hardened and demonic criminals have been isolated on Manhattan Island to fend for themselves- free to kill or be killed as they like.

The rest of the country is presumably crime-free- though we never see the rest of the country.

The President of the United States (Donald Pleasence) is taken hostage when Air Force One crashes on Manhattan Island. Snake is injected with a poison that will kill him in twenty-four hours unless he successfully rescues the president and returns him alive and well.

I love this film because it is strictly Carpenter’s vision.

Due to the success of 1978’s Halloween, he was given creative freedom and a big budget to film in St. Louis (doubling for New York).

The film contains eerie synthesizer music (reminiscent of Halloween and Halloween II) which sets the tone exceptionally well. The dark and abandoned sets are wonderful and capture a futuristic world oh so well.

The audience will undoubtedly become enraptured as Snake’s mission is to do or die- if he does not save the president he dies. As Snake arrives atop the World Trade Center via glider, now post 9/11, this scene takes on a haunting quality.

Snake then immerses himself into the gloomy world of Manhattan facing all sorts of dangers along the way. Punk rock-looking creatures scurry around the city- many insane, and Snake meets odd character after odd character in his quest to save the president.

His main ally is Cabbie, played by Ernest Borgnine.

The villain of the story is Duke, not well cast nor well developed, but this can be overlooked because of his super rad Cadillac and his two fascinating accomplices- Maggie (Barbeau) and Brain (Harry Dean Stanton).

The lavish sets include the New York Public Library and Grand Central Station- I love that there are so many iconic New York City locales featured- but the fact that they are not shot in the genuine areas does not bother me.

The art direction is done so well that I was fooled.

Escapism fare, but a unique entry in the action genre. Thanks to fantastic direction and a likable star, Escape from New York (1981) succeeds.

1986 Films, Angelo Badalamenti, Best Film of the Year, Brad Dourif, David Lynch, Dean Stockwell, Dennis Hopper, Hope Lange, Independent, Independent Thriller, Isabella Rossellini, Kyle MacLachlan, Laura Dern, Scott's Top 100 Films, Thriller

Blue Velvet-1986

January 9, 2016 scottmet99 Leave a comment

Blue Velvet-1986

Director David Lynch

Starring Kyle MacLachlan, Laura Dern

Top 100 Films #62

Scott’s Review #343

Reviewed January 9, 2016

Grade: A

Taken from a 1963 Bobby Vinton tune of the same name, Blue Velvet (1986) is an independent thriller noir film directed by the master of the weird and the unusual, David Lynch.

It is surreal in look and so mysterious- almost a pre-cursor to Lynch’s fantastic television series, Twin Peaks. I adore the film and find new facets to it with each passing viewing.

Though it’s not an easy or mainstream watch- the payoff can be big and you know you are watching a deep, layered, film.

The story can be tough to completely understand with only one show, but it goes something like this- Under the guise of a cheerful, suburban surface, evil is lurking somewhere. College student, Jeffrey (MacLachlan) discovers a severed human ear lying in an abandoned lot delivers it to police detective John Williams, and reconnects with the detective’s daughter, Sandy (Dern).

Sandy, being privy to secret information about the case, reveals that a mysterious woman, Dorothy Valens (Isabella Rossellini) resides in an apartment key to the case. Jeffrey and Sandy decide to investigate further and get themselves in over their heads as the mystery deepens.

The dreamlike quality of the film is very compelling and intriguing. Layers upon layers come to the forefront as the story unfolds and very few answers are ever provided- this adds to the mystery and is really the point of the film.

Many aspects are open to interpretation.

The relationship between Jeffrey and the much older Dorothy is fascinating, but what about his chemistry with the innocent Sandy? And who is the Yellowman? When the youngsters see Dorothy perform “Blue Velvet” at her nightclub, it is a great moment in the film.

The character of Frank Booth, played by Dennis Hopper, must be one of the strangest in film history as the man is maniacal and bizarre beyond measure. With his unusual sexual tastes- he enjoys inhaling gas, and sadomasochism, he is a unique character. He is also quite abusive to Dorothy.

The film is a throwback to classic film noir from the 1950s and a clear femme fatale in Dorothy is central to the film.

I find the film so compelling since its subject matter is secrets. Many secrets and dark corruption or various forms of left-of-center dealings reside in this small North Carolina town- it is the audience’s challenge to put all the pieces of this puzzle together.

Oscar Nominations: Best Director-David Lynch

Independent Spirit Award Nominations: 1 win-Best Feature, Best Director-David Lynch, Best Male Lead-Dennis Hopper, Best Female Lead-Isabella Rossellini (won), Laura Dern, Best Screenplay, Best Cinematography

1971 Films, Action, Best Picture Oscar Winners, Crime Thriller, Gene Hackman, Roy Scheider, Scott's Top 100 Films, Thriller, William Friedkin

The French Connection-1971

January 9, 2016 scottmet99 Leave a comment

The French Connection-1971

Director William Friedkin

Starring Gene Hackman, Roy Scheider

Top 100 Films #69

Scott’s Review #342

Reviewed January 9, 2016

Grade: A

The French Connection had the notable distinction of being the first R-rated film to win the coveted Best Picture Oscar back in 1971.

This praise, similar to The Silence of the Lambs being the first horror film to win Best Picture in 1991, is well worth pointing out and is quite honorary.

The film succeeds, both for myself and other critics, because of the unique style of the camerawork, shot documentary-style, and use of quick edits.

It is much more intricate in every way than the traditional crime thriller.

Gene Hackman stars as the feisty detective, Jimmy “Popeye” Doyle, who along with his partner, Buddy “Cloudy” Russo, (Scheider) are determined to crack the case of a huge heroin smuggling syndicate from France.

The narcotics are flowing into New York City and the duo is determined to get to the bottom of the drug ring, figuring out who is the mastermind and defeating their foe.

The primary culprit is a suave French drug lord named Alain Charnier, brilliantly played by Fernando Rey.

Throughout the film, the action is non-stop, traversing throughout Manhattan and Brooklyn, via subway, and car, as Popeye becomes more and more obsessed with the case.

Director William Friedkin, who also directed the legendary 1973 film, The Exorcist, deserves a heap of praise for creating a film of this caliber. The French Connection can be enjoyed by all and is well beyond the limitations of a “guy film”- it is much more than that.

The editing and frenetic pacing work wonders for the film, all the while not ruining the experience or overshadowing the good plot. Quite simply, the film is a chase across New York City.

Friedkin distinguishes the boroughs by making Manhattan seem sophisticated and stylish, and Brooklyn dirty, grizzled, and drug-laden.

The settings are perfect.

The best scene in the film is the well-known car chase throughout New York City. Popeye is determined not to lose his man, the man riding in a subway on an elevated platform. Popeye steals a car and proceeds to chase the subway narrowly missing pedestrians, including a woman with a baby carriage, as he recklessly weaves in and out of traffic at a high speed, to keep pace with the train.

This is a phenomenal scene as the excitement and tension continue to build.

The conclusion of the film and the final scene is cynical and also leaves the audience perplexed and unsure of what has transpired.

The French Connection is open to good discussion and even interpretation, a novel aspect of the action film.

Providing a tremendous glimpse into 1970s Manhattan and Brooklyn, The French Connection is an exciting film that oozes with thrills, car chases, and a good story.

The film is unique in style and still holds up incredibly well- one of my favorites in the action genre.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Richard Friedkin (won), Best Actor-Gene Hackman (won), Best Supporting Actor-Roy Scheider, Best Screenplay Based on Material from Another Medium (won), Best Sound, Best Cinematography, Best Film Editing (won)

1985 Films, Camp, Christopher Lloyd, Colleen Camp, Comedy, Dark Comedy, Eileen Brennan, Lesley Ann Warren, Madeline Khan, Martin Mull, Michael McKean, Scott's Top 100 Films, Tim Curry

Clue-1985

January 9, 2016 scottmet99 Leave a comment

Clue-1985

Director Jonathan Lynn

Starring Christopher Lloyd, Eileen Brennan, Madeline Kahn

Top 100 Films #61

Scott’s Review #341

Reviewed January 9, 2016

Grade: A

Clue is a harmless, 1985 comic yarn that is not a cinematic masterpiece, nor anything more than fluff.

But since I adored the classic board game growing up and reveled in the excitement of the different characters, rooms, and murder weapons, the film version holds a very special place in my heart and memory bank, having watched it time and time again as a youngster.

The plot is immediately filled with intrigue- a successful element and the best part of the film.

Six interesting characters- with provocative aliases such as Ms. Scarlet, Colonel Mustard, and Mrs. Peacock, are all summoned to a New England mansion named Hill House.

Naturally, it is a dark, stormy night and each receives a mysterious note written by a stranger.

Among the colorful characters working at the mansion are the plump cook, the scantily dressed maid, Yvette, and the butler, Wadsworth, who is running the show and greets the confused guests.

Slowly, it is revealed that all of the guests are being blackmailed and all of them either live or have ties to Washington D.C.

After each guest is given a weapon as a gift, the lights go out and a murder occurs, launching a fun whodunit. Each guest, and the staff, strive to figure out who has committed the murder, as subsequent murders begin to occur.

The comic hi-jinks are reminiscent of funny films like High Anxiety (1977) and even Young Frankenstein (1974).

The atmospheric qualities featured in Clue are what I love most about the film- the vast mansion, the many gorgeously decorated rooms, the secret passageways, and the driving rain all make for a great ambiance.

Clue is clever in that it features three different endings! Upon initial theatrical release, this was a unique premise- one could see the film multiple times and not know how it was to end or who the killer might be revealed to be.

Unfortunately, the film was not a commercial success so this ploy did not work.

The famed cast delivers their parts with comic gusto, and with lesser talents, the film would simply be dumb. It seems obvious that the cast had a good old time with this romp- Eileen Brennan, Christopher Lloyd, Lesley Ann Warren, and Madeline Khan, have a comic ball with their perfect delivery of the lines.

Clue is not a message movie, it does not inspire cinematic art, but what it does, it does incredibly well- it entertains.

The writing and the political and sexual innuendos are witty. One can become lost in the interesting characters and try to guess, or even make up, the whodunit and why they did it.

I can be entertained by Clue (1985) time and time again.

1999 Films, Chloe Sevigny, Drama, Hilary Swank, Independent, Independent Drama, Kimberly Peirce, Lecy Goranson, LGBTQ+ Drama, LGBTQ+ Films, Peter Sarsgaard, Scott's Top 10 Most Disturbing Films, Scott's Top 100 Films

Boys Don’t Cry-1999

January 9, 2016 scottmet99 Leave a comment

Boys Don’t Cry-1999

Director Kimberly Peirce

Starring Hilary Swank, Chloe Sevigny

Top 100 Films #73 Top 10 Disturbing Films #10

Scott’s Review #340

Reviewed January 9, 2016

Grade: A

Boys Don’t Cry (1999) is a fitting tribute to real-life figure Brandon Teena, a transgender man from Nebraska, who adopts a male identity and attempts to find love with Lana, played by Chloe Sevigny. Brandon is played by Hilary Swank.

Sadly, Brandon was brutally raped and murdered at the hands of some local men- a fact that the film does not gloss over.

Boys Don’t Cry is a heartbreaking and tragic film that will disturb some with its shocking and violent content- sadly it is a true story.

Swank deservedly walked away with the Best Actress Oscar statuette.

Set in working-class Nebraska and in the heartland, Brandon has the cards stacked against him from the start. Not exactly the most open-minded of areas, the film also sets a working-class environment for Brandon as most of his friends are poor factory or bar workers.

Born as Teena Brandon and female, Brandon (Swank) is a drifter and in trouble with the law for various unpaid tickets. He befriends ex-convicts John and Tom and becomes part of their crowd, falling in love with Lana- they are all unaware of Brandon being a female.

When Brandon’s secret is revealed, Lana is accepting and the pair decide to run away together, but Tom and John decide to murder Brandon.

Swank’s portrayal of Brandon is brilliant and believable and very few actresses could successfully pull this off. Swank has angular, androgynous features to begin with, but her drastic physical transformation is jaw-dropping.

Having closed-cropped hair and a male swagger, Swank immerses herself in the role, so much so, that as I watched the film I completely forgot that Brandon was not physically male.

Her physical transformation is not the sole reason for the fantastic performance though- Swank is emotionally there in the role and in a heartbreaking scene, after being beaten and raped, is treated poorly by a sheriff handling the accusations- just when Brandon could use an understanding ear.

What a cold world it can be for someone different from most others as Boys Don’t Cry reveals in a brutal, honest fashion.

Anyone who knows the true story of Brandon Teena knows he led a painful, tragic life, but was also filled with life and love- mainly for Lana.

Worth mentioning is Sevigny’s performance as Lana- in love with the person that was Brandon, not so much the gender. Sevigny portrays Lana as supportive, confused, and loving.

Director, Kimberly Peirce, became obsessed with the real-life case and does a fantastic job at tackling the film in a true, compelling way. To say nothing of the writing and the acting, Peirce also successfully uses a hand-held camera during Brandon’s strip scene and a surreal, muted light to portray the gloomy mid-west and the cold, hard lives that most of the characters lived.

Impressively, Peirce accomplished all of this on a shoe-string budget and took a wealth of inspiration from independent film legend John Cassavetes, who proved that gorgeous films can be made for very little money.

Many scenes take place in bars as Lana, a devoted karaoke singer, croons one tune after another, the highlight being Restless Heart’s 1988 country hit, “The Bluest Eyes In Texas”, which Lana sings in Brandon’s presence.

The use of somber songs gives the film a tragic soundtrack.

Famed film critic, Roger Ebert, described Boys Don’t Cry as “Romeo and Juliet set in a Nebraska trailer park”.

Boys Don’t Cry (1999) is an enormous victory in film for the LGBT community and, along with Brokeback Mountain (2006), is a perfect double-feature, as both are similar films, only one featuring males, the other females.

Both are tragic, bleak and all too real.

Oscar Nominations: 1 win-Best Actress-Hilary Swank (won), Best Supporting Actress-Chloe Sevigny

Independent Spirit Award Nominations: 2 wins-Best First Feature (Over $500,000), Best Female Lead-Hilary Swank (won), Best Supporting Female-Chloe Sevigny (won), Best First Screenplay, Producers Award

1977 Films, Alida Valli, Best Film of the Year, Dario Argento, Horror, International, International Horror, Joan Bennett, Scott's Top 100 Films, Scott's Top 20 Horror Films

Suspiria-1977

January 9, 2016 scottmet99 Leave a comment

Suspiria-1977

Director Dario Argento

Starring Jessica Harper, Joan Bennett, Alida Valli

Top 100 Films #54 Top 20 Horror Films #14

Scott’s Review #339

Reviewed January 9, 2016

Grade: A

Suspiria is a horror masterpiece, made in 1977, by my favorite Italian horror director, Dario Argento.

A combination of complex storytelling, glossy colors, and a unique art direction, makes this film a treasure and an influence in “the look” of a film attempting to achieve an interesting art direction choice.

The color red is highly prevalent throughout Suspiria, which makes sense due to the subject matter of witchcraft and demons. The musical score is brilliant and chilling.

This film is perfect and one of my favorites.

The film takes place in Germany and the opening sequence is fantastic. We meet our heroine, Suzy Bannion (Jessica Harper), an American ballet student, as she arrives in blustery Munich to attend a prestigious ballet school.

The shot of the driving wind and rain as she exits the airport is a great example of the ultimate style of this film.

Suzy meets a creepy taxi driver who drives her to the school, where she witnesses a frantic student, Pat Hingle, fleeing the school. Suzy is then denied access to the school by a mysterious voice over the intercom. The focus of the film then shifts briefly to Pat’s perspective as she meets a sinister fate when she stays with a friend.

One fantastic aspect of Suspiria is we know something is wrong with the ballet academy, we just do not know what or who it involves. With great creativity, Dario Argento builds a set that is modern, and sophisticated but laced with an underlying menace.

As we meet the supporting characters, Madame Blanc (Joan Bennett) and Miss Tanner (Alida Valli), we know something is not right with them either. Blanc is kindhearted; Tanner is a drill sergeant, but both seem to have something to hide and claim to know nothing of Pat’s terror.

There is also Daniel, the blind piano player, whose seeing-eye dog suddenly turns vicious.

The plot is complex and does not always make perfect sense, but the elements of Suspiria make it a masterpiece. Pat’s death scene is laced with greatness as she dangles from a high glass ceiling dripping blood. Her hysterical friend is sliced to bits by the falling glass.

This is the best double-death scene in horror film history.

When creepy maggots invade the school leaving the girls feeling for safety, the film goes all out. A later scene involving Suzy’s best friend and fellow student, Sarah, attempting to flee the school via the basement, only to struggle in a pit of razor wire is splendid.

Much of Suspiria is dubbed in English mainly due to the actors either speaking German or Italian, but Jessica Harper and Joan Bennett have distinguishable voices, which lend texture and richness to the dialogue.

Suspiria (1977) is a grand horror film, not solely for its mysterious story, but for all the added components that Argento throws into the mix- strange characters, weird sets, and the heavy dose of blood-red- pretty fitting.

2005 Films, Ang Lee, Anna Faris, Anne Hathaway, Best Feature- Independent Spirit Award Winners, Best Film of the Year, Bill Pohlad, Drama, Heath Ledger, Independent, Independent Drama, Independent Western, Jake Gyllenhaal, Kate Mara, LGBTQ+ Drama, LGBTQ+ Films, Linda Cardellini, Michelle Williams, Peter McRobbie, Randy Quaid, Romantic Drama, Scott's Top 100 Films, Western

Brokeback Mountain-2005

January 9, 2016 scottmet99 Leave a comment

Brokeback Mountain-2005

Director Ang Lee

Starring Heath Ledger, Jake Gyllenhaal

Top 100 Films #46

Scott’s Review #338

Reviewed January 9, 2016

Grade: A

Brokeback Mountain (2005) is a revolutionary film and one of the most important films to be released during the 2000s. Never before had an LGBT film been given as much exposure and widespread viewership as this film did.

Robbed of the 2005 Best Picture Academy Award (the great, but not as great, Crash won), Brokeback Mountain received other tremendous accolades and word-of-mouth buzz that helped it achieve great success.

A treasure that must always be remembered and appreciated.

Perfectly cast, Heath Ledger and Jake Gyllenhaal play two cowboys who fall madly in love with each other. The period of the film runs from 1963 until the early 1980s. Through the years we see their unbreakable bond tested by outside factors- namely being gay is forbidden at this time and location- Wyoming and Texas.

Jack Swift (Gyllenhaal) and Ennis Del Mar (Ledger) meet one summer in 1963 when they are both hired by grizzled Joe Aguirre (Randy Quaid) to herd sheep one summer on Brokeback Mountain in remote Wyoming.

They immediately form a friendship that turns physical one drunken night. From this point, the men are inseparable and share a passion insurmountable.

Due to the times, there is no possible way they can openly share life, so they arrange for periodic “fishing trips”, away from their wives and children so that they can spend time together in secret.

The chemistry is evident between Ledger and Gyllenhaal, which is extremely important to the success of the film.

The audience needs to truly buy their bond and director Ang Lee is successful at eliciting wonderful performances from each actor. This is especially crucial during the first forty-five minutes of the film as all the scenes are only the two actors together.

The famous “tent” scene, in which Jack’s and Ennis’s passion first erupts is perfectly choreographed- it is as much animalistic as it is passionate and this sets the tone for the rest of the film.

Eventually, other characters are introduced and Ennis and Jack live lives largely separate from each other. Michelle Williams plays Alma, a kind-hearted country girl, married to Ennis. She accidentally stumbles on Jack and Ennis’s secret and keeps this hidden throughout the years.

Williams is fantastic in the role- sweet, yet saddled with the pain of knowing her husband is in love with another man causes her to mistrust and eventually destroys their marriage.

Jack forges a life in Texas and marries well-to-do Lureen (Anne Hathaway), but the marriage is a sham, Lureen’s father hates Jack, and Jack cannot forget Ennis. Jack is the aggressor, the one more confident with his sexuality, and one would surmise, would be the one more likely to be “out” if circumstances were different.

He looks for other men, even going to Mexico to find some companionship.

The ending of the film is tragic and heartbreaking and we witness Ennis being a good father to his now grown-up kids. A wonderful scene is written between Ledger and Kate Mara, who plays his daughter. She asks the lonely Ennis to attend her wedding and the scene is sweet and tender.

Another scene involving Ennis meeting Jack’s parents is monumental- as important as what is said in this wonderful scene is what is left unsaid.

Brokeback Mountain (2005) is an honest, graceful, and brave film, that thanks to the talents and direction of Ang Lee, was able to be made.

The exceptional cast led by Ledger and Gyllenhaal is dynamic and enables the film to come together as one masterpiece, that will surely never be forgotten.

Oscar Nominations: 3 wins-Best Picture, Best Director-Ang Lee (won), Best Actor-Heath Ledger, Best Supporting Actor-Jake Gyllenhaal, Best Supporting Actress-Michelle Williams, Best Adapted Screenplay (won), Best Original Score (won), Best Cinematography

Independent Spirit Award Nominations: 2 wins-Best Feature (won), Best Director-Ang Lee (won), Best Male Lead-Heath Ledger, Best Supporting Female-Michelle Williams

1964 Films, Action, Bernard Lee, Best Film of the Year, Desmond Llewelyn, Gert Fröbe, Guy Hamilton, Harold Sakata, Honor Blackman, James Bond, Lois Maxwell, Scott's Top 100 Films, Sean Connery, Shirley Eaton, Tania Mallet

Goldfinger-1964

January 9, 2016 scottmet99 Leave a comment

Goldfinger-1964

Director Guy Hamilton

Starring Sean Connery, Gert Frobe

Top 100 Films #72

Scott’s Review #337

Reviewed January 9, 2016

Grade: A

By the time Goldfinger (1964) was released, the third in the James Bond franchise, the films were huge successes, and the budget was not to be spared a dime.

The lavish sets prove this, and Goldfinger is one of the best Bond films. It contains all the necessary elements for success: interesting villains, Bond girls, gadgets, and locales.

By 1964’s Goldfinger, Ian Fleming’s franchise had hit its stride and was achieving runaway success.

The intriguing premise immediately sets the tone- 007 is assigned to investigate a massive gold smuggling scheme. The conspirator is Auric Goldfinger (Gert Frobe), who hatches a plot to contaminate Fort Knox’s United States Bullion Depository.

His goal, naturally, is to control the world.!

The adventure takes Bond from the United Kingdom to Switzerland and finally to the United States in Kentucky and Florida.

The main Bond girl, a villain, is uniquely named Pussy Galore. The film implies that the character is bisexual and she is tough. James Bond becomes intrigued by and smitten with her.

Goldfinger has the honor of containing one of the greatest Bond villains of all time- the title character of Goldfinger. Big and burly, he is menacing-looking, and actor Frobe is perfectly cast.

We first meet the man cheating at gin rummy poolside at a lavish Miami Beach hotel, while Bond looks on from dozens of floors up, with the assistance of Goldfinger’s moll, Jill Masterson.

In one of the greatest scenes in Bond history, a knocked-out Bond awakens to find Jill dead—and completely covered in gold paint! This scene, which occurs early on, sets up the Bond/Goldfinger rivalry outstandingly.

Goldfinger’s henchman, Oddjob, is also a grand Bond villain. He is Asian, menacing, and wears a trademark steel-rimmed hat, which he uses to kill his victims. Jill’s sister, Tilly, seeks revenge on Goldfinger but finds herself a victim of Oddjob’s infamous bowler hat as she flees for her life.

Following 1962’s From Russia With Love, an exceptional Bond film with nary a flaw, Goldfinger excels slightly because it has all the right ingredients and is firing on all cylinders.

Everything flows with precision.

Unforgettable is the climax of Goldfinger at the legendary Fort Knox itself. Goldfinger’s private army, an atomic device, a countdown to destruction, and Oddjob all make for a satisfying and riveting conclusion to one exceptional Bond entry.

Oscar Nominations: 1 win-Best Sound Effects (won)

1973 Films, Action, Clint Eastwood, Hal Holbrook, Scott's Top 100 Films, Suzanne Somers

Magnum Force-1973

January 9, 2016 scottmet99 Leave a comment

Magnum Force-1973

Director Ted Post

Starring Clint Eastwood, Hal Holbrook

Top 100 Films #87

Scott’s Review #336

Reviewed January 9, 2016

Grade: A

The follow-up to the original action thriller to end all action thrillers, Dirty Harry, 1973’s Magnum Force is as good as the original in my opinion but flies under the radar as compared to the acclaimed Harry.

Both films are similar in style and grit, but Magnum Force holds sentimental memories for me, as I remember watching the film countless times on rainy Saturday afternoons as a kid.

The similarities abound between both films as the screenwriter and score are by the same writer and composer, respectively.

Admittedly, Magnum Force is more conventional and less dirty than its predecessor.

Playing not just the same role of Harry Callahan, the grizzled, hard-nosed Inspector from Dirty Harry, but Clint Eastwood also plays him in quite the same manner.

Not one to blow anyone away with his dazzling acting talent, Eastwood is smart to keep to the status quo. The character is tough, and no-nonsense, but has a take-prisoner vulnerability we love and admire.

In this chapter, a syndicate of vigilante cops is taking matters into their own hands by assassinating known criminals who have been let off the hook either by connections or some other form of loophole.

The pattern is for uniformed patrol officers to pull over a criminal for a mundane reason only to shoot and kill them on the side of the road at point-blank range. They deserve it, but are the cops justified in their actions?

The appeal and mystery of the film are that the police officers wear dark helmets that hide their identities from the audience adding a level of intrigue.

The film offers up a moral question- do the criminals get what they deserve, and do the policemen have the right to justify their actions?

Especially relevant is the final thirty minutes of the film, as Harry and the central “villain”, Lieutenant Briggs (Holbrook) have a standoff and discuss the topic.

Magnum Force is a shoot-’em-up action flick, so this debate is skirted over largely in favor of car chases and fight scenes. But the point can be thought about.

The best sequence of the film is the finale, as Callahan is lured to an abandoned garage and chased by three remaining cops. The big reveal is that Briggs is running the show and as he drives around in his early 1970’s Ford LTD, soon to become battered and weathered, it is a great scene, especially for those who enjoy car chases.

Magnum Force is a no-frills “guy” film, but one done very well and with an interesting, semi-controversial premise.

The film is the 1970s action genre at its very best.

Surprisingly, and to the film’s credit, one can discuss the film after watching it instead of it being a generic, forgettable flick.

1967 Films, Anne Bancroft, Comedy, Dustin Hoffman, Elizabeth Wilson, Katharine Ross, Mike Nichols, Richard Dreyfuss, Scott's Top 100 Films

The Graduate-1967

January 9, 2016 scottmet99 Leave a comment

The Graduate-1967

Director Mike Nichols

Starring Dustin Hoffman, Anne Bancroft

Top 100 Films #48

Scott’s Review #335

Reviewed January 9, 2016

Grade: A

The Graduate is an immeasurable success and highly influential comedy from 1967- a time when films were gaining creative freedoms and pushing the envelope in new, edgy ideas and risqué subject matters.

Almost scandalous at the time of release, the film holds up exceptionally well after all these years and remains fresh and cutting edge.

It is slick, sophisticated, and quite funny, though peppered with dark humor.

Thanks to Dustin Hoffman and Anne Bancroft, the film works and is among my favorites of all time.

Hoffman plays Benjamin Braddock, a nervous, insecure recent college graduate, who returns home to sunny California unsure of what his future will hold.

His overbearing parents throw a lavish celebration at their home where Benjamin is flocked by well-wishers, most of whom have a materialistic edge to them. His parents live in a very affluent community where wealth and items are of great importance.

All Benjamin wants to do is be by himself. At the party, Benjamin is pursued by the much older and glamorous Mrs. Robinson (Bancroft), who lives nearby and asks Benjamin for a ride home.

Her attempted seduction of him kicks off the meat of the film and how their relationship progresses, especially when Mrs. Robinson’s daughter, Elaine (Katharine Ross), enters the picture and steals Benjamin’s heart.

Director Mike Nichols successfully sets the right tone for the film and we see the style and the sophistication of wealthy California in the 1960s.

Fashion, style, and glamour are prevalent, but they go against what Benjamin and Elaine, stand for.

The film is also an exploration of generations. Benjamin’s parents and all of their friends are into material things cars, houses, and parties.

The triangle between Benjamin, Mrs. Robinson, and Elaine is the heart of the film. At first, we find ourselves rooting for Benjamin and Mrs. Robinson. There is a sweet nature to their romance. She is the aggressor- mature, in control, and confident whereas Benjamin is insecure and shy, yet enamored with Mrs. Robinson.

Their awkward exchange in the hotel bar and their liaison in the hotel room are fantastic scenes.

Slowly, once Elaine emerges, Mrs. Robinson becomes manipulative, more of a villain-type character, as the youngster’s love blooms and we begin to root for their happiness.

A fantastic aspect of The Graduate is its musical soundtrack- completely done by Simon and Garfunkel, a major musical duo of the late 1960s. From the opening chords of ‘The Sound of Silence’, to the appropriate ‘Mrs. Robinson’, music adds much life and energy to the film and was successful at attracting young viewers at the time.

The featured soundtrack was highly influential to other films released after The Graduate.

Still fresh today, The Graduate (1967) launched the very successful career of Dustin Hoffman and emerged as an inspirational film that, controversial in its day, seems tame now, but the writing is as crisp as it ever was.

A film to watch over and over again.

Oscar Nominations: 1 win– Best Picture, Best Director-Mike Nichols (won), Best Actor-Dustin Hoffman, Best Actress-Anne Bancroft, Best Supporting Actress-Katharine Ross, Best Screenplay Based on Material from Another Medium, Best Cinematography

Welcome to my blog! 1,450 + reviews posted! My name is Scott Segrell and I reside in Stamford, CT. My blog is a diverse site featuring tons of film reviews I have written since I launched my site in 2014. I hope you enjoy perusing the site for latest or greatest films or to search for your own favorites to see how we compare. Please take a look at my featured sections at the top of the page which change often! Utilize the tags and category links.