All posts by scottmet99

1970 Films, Drama, Independent, Independent Drama, Joe Dallesandro, LGBTQ+ Drama, LGBTQ+ Films

Trash-1970

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Trash-1970

Director Paul Morrissey

Starring Joe Dallesandro, Holly Woodlawn

Scott’s Review #490

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Reviewed October 7, 2016

Grade: B+

Trash (1970) is a very unique movie. It needs to be experienced firsthand to be believed.

Produced by icon Andy Warhol, it is both creative and raw, and certainly not for those seeking a basic film that can easily be digested and contained in a box.

Rather, the gritty and controversial aspects percolate into something edgy and creative. In essence, it is a day in the life of a junkie.

An indie drama with documentary aspects, made in 1970 and set in the Lower East Side of Manhattan, Trash tells the story of a young heroine junkie named Joe (Joe Dallesandro) along with his sidekick Holly, who wander throughout the city picking through trash in desperate need of their next heroin fix.

The film is hardcore and that is what I admired most about it. Not always compelling and certainly not always story-like, it is an experience.

Trash would likely not be made today, but, alas in the 1960s and 1970s films like this could be made.

Its rawness, explicit nudity (and I mean full-frontal folks) and blatant IV drug injections are not for the perky or conformists.

It reminds me quite a bit of a John Waters cult exploitation film but interestingly preceded John Waters.

Very well made and Id like to see it again sometime.

2010 Films, Ariel Schulman, Documentary, Henry Joost, Nev Schulman

Catfish-2010

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Catfish-2010

Director Henry Joost, Ariel Schulman

Starring Henry Joost

Scott’s Review #489

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Reviewed October 2, 2016

Grade: A-

I loved Catfish (2010) which is a hybrid movie/documentary.

I know some people were disappointed with the twist towards the end, but I thought it was interesting and made the film quite compelling- a surprise ending, if you will.

The shaky documentary-style filming adds to the intensity.

The plot revolves around a young photographer, Nev (Nev Schulman), who strikes up an online Facebook friendship with an eight-year-old artist- very risky, yes, but they discuss art and paintings.

They chat regularly.

Nev lives in New York City, while Abby lives in Michigan.

Nev’s brother Ariel is shooting a documentary and thinks it would be perfect for the pair to drive to Michigan and meet Abby.

Once they do, they are in for a surprise as the web of circumstances that follows makes the film creepy, eerie, and mysterious.

I do not want to give any more away, but Catfish (2010) is an interesting, well-thought-out story, which is a true case.

The presentation of the film is wonderful.

2015 Films, Andrew Haigh, Charlotte Rampling, Dolly Wells, Drama, Romantic Drama, Tom Courtenay

45 Years-2015

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45 Years-2015

Director Andre Haigh

Starring Charlotte Rampling, Tom Courtenay

Scott’s Review #488

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Reviewed October 1, 2016

Grade: B+

In the case of 45 Years (2015), acting is the clear highlight of the film and the main reason to view it.

Seasoned veterans take center stage and give tremendous performances and lessons in acting.

Tom Courtenay and Charlotte Rampling carry the film.

The subject of 45 Years is an enduring marriage tested by an outside revelation that escalates in importance into conflict and mixed emotions.

The film moves at a slow pace and can be challenging to the most patient of viewers, but the slow pace is warranted as the longevity of the character’s marriage is the key to the film.

Geoff and Kate Mercer, a happy couple living in rural England, are excitedly planning their 45th wedding anniversary (the 40th was canceled due to Geoff’s heart condition). They are a popular couple within their town, both kind and decent people, and the event will be attended by many.

One day Geoff receives a letter from authorities in Switzerland- a young woman (Katya) he was once involved with, and presumed dead in 1962, has been found. Having fallen into an icy glacier, her body is preserved and looks the same as she did then.

Not knowing the extent of their relationship, Kate is riddled with multiple feelings including jealousy, curiosity, and guilt. Geoff and Kate’s marriage is tested.

45 Years is a mature film involving mature characters. Geoff and Kate are still in love decades into their relationship, but the introduction of Katya becomes an unwelcome conflict.

The film plays out gradually, but realistically, as marriage moves along slowly. Many scenes of Geoff and Kate’s day-to-day activities are shown- they walk their dog together, travel into town to shop, relax, and read the newspaper.

Like real people do.

This is an asset to the film. Real life is sometimes mundane and dull, but these little tasks are pleasurable and soothing.

Geoff and Kate’s marriage contrasts with the relationship Geoff and Katya briefly had all those years ago (excitement, risk, youth) and one can understand Kate’s point of view.

As details reveal themselves, Kate feels inferior. She is not young anymore and thinks of Geoff and Katya and the life they may have had together if the accident had not occurred. Despite being dead, Katya becomes an obstacle in Kate’s mind.

The film wisely does not write Kate as a jealous shrew or one-dimensional. She fights her jealousy every step of the way and tries to be strong and realistic.

Charlotte Rampling gives such a good, subtle, understated performance that it is easy to overlook how good she is. She does not have hysterical moments or a scene where she loses control. Rather, Rampling shows a series of complex emotions with her facial expressions.

Let’s not forget to mention Tom Courtenay. Imagine being in the golden years of your life and a long-lost lover (in spirit anyway) returns to the fold. Geoff cannot help but imagine a life with Katya if she remained alive. Kate asks Geoff if he would have married Katya and he cannot deny that he would have.

Several scenes show the couple engaging in “old people” issues- awkward lovemaking for example, which enhances the differences between when Geoff and Katya were in their prime. Geoff cannot help but be whisked back in time with thoughts and what-ifs.

A standout scene is when Kate and Geoff dance at their anniversary party. Having professed his love during a speech they causally dance. Kate is both touched and pained and as the scene goes along unravels. She explodes internally.

Sometimes perhaps a tad too slowly paced, I get the point of pacing 45 Years this way. After all, nearly 50 years of marriage is a long time and similar days will pass with few important moments. Thanks to great acting, I overlooked this and was astounded at the complexities both Rampling and Courtenay bring to the table.

Oscar Nominations: Best Actress-Charlotte Rampling

2014 Films, André 3000, Biography, British, Hayley Atwell, Imogen Poots, Independent, John Ridley, Ruth Negga

Jimi: All Is By My Side-2014

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Jimi: All Is By My Side-2014

Director John Ridley

Starring André 3000

Scott’s Review #487

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Reviewed September 30, 2016

Grade: A-

Jimi: All Is By My Side (2014) was not quite the film I was expecting it to be. It was better!

I was not expecting poor work since the film received a Best Male Lead Independent Spirit Award nomination for André 3000 (rapper) in the title role.

I expected an overview of the rise and fall of famed rocker Jimi Hendrix. Instead, I was treated to a more introspective piece than I imagined.

The film is a British production.

Interestingly, the film denied any Jimi Hendrix songs familiar to audiences, but only songs were written in 1966 and 1967.

This surprisingly turns out to be positive for the film.

The awesome achievement of this film is its non-conformity and being an independent film, lots of freedoms were undoubtedly given.

This is a good thing.

Had this film been targeted for a showing at local theaters, it may have been a run-of-the-mill affair, focusing on the star and the star only.

It is also shot in a less-than-glossy way, giving it an almost grainy, gritty look that I found added something.

Impressively, the supporting characters, specifically three females whom Hendrix has relationships with throughout his initial rise to fame, are prominently featured, and the story shifts at times to their perspectives and feelings, not just Hendrix’s.

The film does not focus on Hendrix’s untimely death.

We meet Hendrix (compellingly played by André 3000) performing guitar in a sparsely attended bar in New York City. He is discovered by Linda, the girlfriend of Rolling Stones guitarist Keith Richards, as she becomes both smitten with Hendrix and recognizes his immense talents.

Slowly, he is discovered (mainly in London) and rises to fame.

However, the film is not only focused on his success but his personal life.

Besides Linda, Hendrix becomes involved with a volatile groupie and fixture in the 1960s London music scene, Kathy, and cultured American Ida. Instead of the female characters being written as one-dimensional and dizzy, all three are quite intelligent and layered.

While each has feelings for the star, they are forced to be reckoned with in their own right, and we grow to care about their characters as individuals.

A scene involving Jimi violently beating girlfriend Kathy with a telephone during an argument has been refuted by friends as being fictitious- Hendrix was known as a gentle, peaceful man.

A controversy has emerged surrounding the accuracy of this film in general, but I thought it quite introspective and fascinating.

Independent Spirit Award Nominations: Best Male Lead-André 3000

1967 Films, Art, Catherine Deneuve, Drama, French, International, International Drama, Jean Sorel, Luis Buñuel, Michel Piccoli, Pierre Clémenti

Belle De Jour-1967

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Belle De Jour-1967

Director Luis Buñuel

Starring Catherine Deneuve, Jean Sorel

Scott’s Review #486

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Reviewed September 29, 2016

Grade: A

Belle De Jour, the title translates to “lady of the day”, a French pun for “lady of the night”, a kind phrase for prostitution, is a fantastic art film.

Stylish, sophisticated, and open to interpretation (at least in my opinion), Belle De Jour is a late 1960s journey into eroticism, social norms, and sexual freedom.

Gorgeous star Catherine Deneuve has never looked better and calmly does mental conflict.

Luis Buñuel directs the film.

Severine is a wealthy, young, newlywed who seemingly has it all. She is showered with love and affection, not to mention material items, by her handsome hubby, Pierre, played by dashing Jean Sorel.

She wants for nothing as her husband is a doctor of great wealth. Yet she is unhappy and refuses to have physical relations with Pierre.

She begins a secret life as a prostitute in a posh home, only working in the afternoons, to avoid being found out. She has no regrets but is apprehensive about the clients she meets.

Throughout the film, Severine has secret fantasies about being kept in bondage and enduring various other sexual humiliations. All the while, the question is, “Is this all Severine’s fantasy or reality?”  Or perhaps merely a portion is.

The audience wonders.

Do we feel sorry for the character of Severine? Not. One could argue that she is spoiled and selfish, but she is not evil; she is somewhat confused. She is quite polite, and Deneuve fills her with kindness and even an angelic spirit.

One cannot despise her, even though on the surface one might be tempted to. What right does this woman have to rebuff her husband in place of sleazy clients? One particularly volatile client becomes obsessed with Severine and stalks her, going so far as to exact violence against her husband.

But wait, is this Severine’s fantasy or reality? Is she imagining everything and merely obediently waiting at home for her husband to return each day, or is she living this life?

Buñuel uses many shots of gorgeous Paris, including the famed Arc de Triomphe and other interesting streets and sights, which is a treat for culture fans. The use of these exteriors goes a long way to ensure that the film is clearly “French” from a visual perspective.

Indeed, in 1967, the sexual revolution was in full swing, and Belle De Jour epitomized the revolution of the times. Yet, it does not feel dated or reduced to a film “of its time”.

I find it more of a character study than a genre film, as Severine is an interesting study.

Belle De Jour challenges the viewer with an intense yet subtle story of a woman conflicted with sexual desire and repression- a film open to much interpretation and discussion.

It does what an art film is supposed to do- makes us think and ponder.

2015 Films, Biography, Bradley Cooper, Comedy, Dascha Polanco, David O. Russell, Diane Ladd, Donna Mills, Drama, Édgar Ramírez, Isabella Rossellini, Jennifer Lawrence, Melissa Rivers, Robert De Niro, Susan Lucci, Virginia Madsen

Joy-2015

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Joy-2015

Director David O. Russell

Starring Jennifer Lawrence, Bradley Cooper, Robert DeNiro

Scott’s Review #485

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Reviewed September 24, 2016

Grade: B-

Joy is a safe, mainstream, female-centered 2015 film, a biopic written for current star Jennifer Lawrence. She was nominated for a Best Actress Academy Award for her role and she carries the film.

Still, despite her performance, the film is nothing special and is written in a ho-hum manner.

It is simply not very compelling and the supporting characters are not utilized as they could have been. Despite being based on a true story, the writing is lazy and the plot far-fetched.

I expected more.

The film is another collaboration between director, David O. Russell, and big stars of the time- Lawrence, Bradley Cooper, and Robert DeNiro- all used in previous Russell films.

Lawrence plays Joy, a struggling Long Island mother of two, who is divorced from her husband (who still lives in the basement of her house), with multiple family members living with her, forming a support unit.

The sense is that Joy is the breadwinner of the family.

The story is narrated by Joy’s grandmother, who she calls Mimi (Diane Ladd). Mimi always knew Joy would be a success and we see a few scenes of Joy as a child, surviving her dysfunctional family and her parent’s disputes.

DeNiro plays her womanizing father, divorced from her mother (Virginia Madsen), who lies in bed all day watching soap operas. Cooper plays opportunist, QVC executive, Neil Walker, who takes a liking to Joy and helps her achieve her dream as a successful businesswoman after she patents an idea for a new, high-powered mop.

The authenticity of the time, 1989, and through the 1990s is apparent, as we see Joy working for Eastern Airlines, a company that would fold several years later. Also authentic were the automobiles of the time and the dresses and hairstyles.

These points the film does very well. And how cute was it to see famous daytime television stars such as Susan Lucci, portraying soap opera stars, as Joy’s mother lives her life vicariously through their tangled and bizarre soap lives?

Several scenes occur on the television set as we get glimpses of the soap stories.

The film as a whole, though, feels too neat.

Predictably, Joy faces obstacles on her way to success.  Already struggling financially, she takes out a second mortgage on her house. At first, she cannot give away mops, let alone sell them.

On the brink of giving up, she finishes a meeting with execs who laugh at her product, but Walker is there to give her a break because she has a pretty face.

Predictably, things do not go well and there is a rather dull subplot about a company in Texas trying to steal Joy’s idea. When she goes and threatens them they immediately back down and obediently give in to her every whim.

This is both unrealistic and uninteresting.

I would have liked to have seen a messy back-and-forth or some court scenes, but the Texas company is portrayed as nothing but the villain.

The writing has either plot holes or contains missed opportunities altogether and many questions abound. Despite many scenes of Joy’s past we end up knowing little.

Her entire family lives with her in a suburban Long Island house- why does Joy own the house and not her mother or grandmother? Why does Joy have a rivalry with her half-sister, Peggy? Why does Joy’s father own an auto garage and still need to stay with Joy? Why is Joy’s mother mostly in bed?

Madsen as the mother is rather cartoonish and unnecessary to the plot as is Ladd- a dynamic actress given little of substance.  I did not buy DeNiro as a cad nor in love with his wealthy new girlfriend Trudy (though seeing Isabella Rossellini in the part is a win), conveniently there to be Joy’s financer.

Despite an enormously talented cast, which is fantastic to see, most of the supporting parts could have been played by any actors, as the roles are not all that challenging, and the film itself is certainly a vehicle to showcase Jennifer Lawrence, David O. Russell’s current “it” girl.

This is not a slight towards Jennifer Lawrence since she is the best part.  She successfully portrays Joy as a sympathetic, strong-willed, fair, decent human being, with enormous struggles, and a blue-collar sensibility.

Great performance, but I wish the writing and the other talents involved in the film were given better material.

Oscar Nominations: Best Actress-Jennifer Lawrence

1990 Films, Anjelica Huston, Brenda Blethyn, Children, Comedy, Dark Comedy, Fantasy, Jim Carter, Mai Zetterling, Nicolas Roeg

The Witches-1990

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The Witches-1990

Director Nicolas Roeg

Starring Angelica Huston

Scott’s Review #483

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Reviewed September 20, 2016

Grade: B-

The Witches (1990) is a G-rated family film with a slightly dark tone that is done softly as the film is targeted at children. However, it is a film that adults may love too.

I found the film to be entertaining, with impressive special effects, and a dazzling comedic performance by Angelica Huston, but ultimately The Witches has a silly quality, though admittedly not trite, that does not completely make it a success in my book.

The film is based on a Roald Dahl children’s book – with predictably a child as the central character- similar to other Dahl novels that became films like James and the Giant Peach and Charlie and the Chocolate Factory.

I cannot help but wonder if my mediocre rating of The Witches has to do with the fact that I have not read the novel, as I have the other aforementioned novels in his collection.

Our hero in the story is Luke- a  kindly, innocent young boy living in Norway with his parents and grandmother- Helga. When his folks are tragically killed, his grandmother takes him to London to begin a new life for themselves.

When Helga falls ill, they stay at a seaside resort where they stumble upon a convention of witches disguised as the Royal Society for the Prevention of Cruelty to Children.

Luke and his plump friend Bruno become victims of the witch’s plot to turn children into mice. The witch group is led by the Grand High Witch (Huston), whom the other witches fawn over with grandiose praise.

Huston is fantastic as she overacts the part she plays- this is not a bad thing but makes the role quite fun and energetic.

When she transforms from a glamorous woman to a shriveled monster, the transformation is interesting to watch and an impressive part of the film.

Furthermore, the way that Luke and Bruno interact when they are mice is also cute and a positive to the film.

I enjoyed the aspect that, if watched closely, can be seen involving the reveal that numerous witches are men with female wigs on. This successfully gives the witches a grotesque, obviously mannish quality and emits a chuckle of pleasure at the same time.

Still, there is something slightly childish or juvenile about the offering- while the film appears dark on the surface. The subject is rather played for laughs instead of going full steam ahead as a dark film.

Undoubtedly this is due to the target audience that the film is going for. For instance, the hotel manager and his affair with a hotel maid seem slightly unnecessary.

The Witches (1990) is a decent offering due to respect for the creative aspects that it elicits- I just felt the story might have been done a bit more seriously.

Additionally, the ending feels slightly forced and abrupt- a Hollywood-intended ending perhaps?

2014 Films, Cameron Monaghan, Claire Foy, Comedy, Fantasy, Gabriel Byrne, Horror, Horror-Comedy, Lucy Fry, Mark Waters, Sarah Hyland, Zoey Deutch

Vampire Academy-2014

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Vampire Academy-2014

Director Mark Waters

Starring Zoey Deutch

Scott’s Review #482

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Reviewed September 18, 2016

Grade: C

Vampire Academy (2014) is a teenage intended mixture of Harry Potter meets Heathers meets Twilight. It is escapist fare and is quite light, but rather fun in an amateurish way.

I am certain the target audience is of the teenage, female persuasion, but when traveling one can be limited in film options.

Hence, on a chilly night in Norway, this film kept us occupied.

The story features a half-human-half vampire named Rose, a teenage girl, who aspires to be a guardian, and who is called back to a boarding school to uncover a hierarchical web of secrets, lies, and plots.

She is accompanied by her best friend Lissa.

Predictably, there is a romantic angle to the story as Rose has feelings for Dimitri, a fellow guardian.

The film itself is fine- it knows the demographic it is going for and young adults are sure to enjoy the compelling drama, likable leads, and attractive cast.

From a film critique standpoint, there is nothing wrong with the film, but it is a bit generic and slightly predictable- from the romantic perspective, though impressively the ending is a bit of a surprise and a whodunit.

Impressive also is Sarah Hyland (Modern Family), as nerdy classmate Natalie, who seems to be the brains and the keeper of gossip throughout the academy.

The role is against type for the young actress and she does very well.

It is tough not to compare this film to the Harry Potter series of films since many aspects of Vampire Academy mirror Harry Potter- only with a female in the driver’s seat. The mysterious teachers and characters are also reminiscent of the fantastical Harry elements.

Unfortunately, a planned sequel was scrapped due to a lack of interest, which surprised me. I would anticipate a film like this to be a hit and perhaps introduce a franchise, but not to be.

An adequate young adult film that borrows from other films and also harkens back to the days of teen-minded genres of the past, specifically the 1980’s.

2010 Films, Ari Graynor, Comedy, Common, Gal Gadot, James Franco, Jon Bernthal, Kristen Wiig, Lowest Rated Films, Mark Ruffalo, Mark Wahlberg, Mila Kunis, Nick Kroll, Ray Liotta, Romantic Comedy, Samantha Bee, Shawn Levy, Steve Carell, Taraji P. Henson, Tina Fey, William Fichtner

Date Night-2010

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Date Night-2010

Director Shawn Levy

Starring Steve Carell, Tina Fey, Mark Wahlberg

Scott’s Review #481

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Reviewed September 17, 2016

Grade: D+

Date Night is a perfect example of mediocrity in modern filmmaking.

We have two current comedic actors here- Steve Carrell and Tina Fey- circa 2010- at the top of their game.

The filmmaker’s idea is to pair these two and make an appealing romantic comedy appealing to the masses.

The main issue with this film is that the result is generic and quite an average offering.

And the entire film is incredibly plot-driven with no character development to speak of. If I am being too harsh, admittedly there is rather nice chemistry between the two leads, but it is wasted because of sloppy writing.

A couple from the New Jersey burbs, Carrell and Fey portray husband and wife, Phil and Claire Foster. Saddled with two kids and their romance reaching dullsville, Phil decides to take Claire to a ritzy Manhattan restaurant.

When they arrive, they cannot get a table but pretend to be another couple (the Tripplehorns) to obtain their table after the other couple’s no-shows. This leads to a tale of mistaken identity as the Tripplehorns possess a flash drive that a mobster (Ray Liotta) wants.

This then leads to a chase throughout Manhattan to outrun and outwit their pursuers. Wahlberg plays a hunky client of Claire’s, always shirtless, who is meant to threaten Phil and Claire’s marriage.

Several others of the current Hollywood elite- Kristen Wiig, James Franco, Mila Kunis, and Mark Ruffalo, make small and somewhat pointless appearances. Specifically, Franco and Kunis as a stoner-type bickering couple are silly and unnecessary to the story.

Carrell and Fey are quite funny as individuals and as a duo- Date Night, though, does not capitalize on nor showcase their respective talents. The film tries too hard to come up with scenario after scenario of the two on the run and encountering one problematic situation after another.

As the plot of Date Night wears on, I find myself noticing that each situation that occurs is a measure of convenience.

Conveniently, Claire has a client in town (Wahlberg), who is a security expert. They go to him for help and, predictably, his hunkiness bothers Phil and piques Claire’s interest- though of course, we know full well Phil and Claire will end up together- that is how these mainstream films go.

In another scene. Phil and Claire can break into an office building unnoticed, trigger the alarms, conveniently find a needed file, and escape, miraculously all before the police arrive minutes later.

Very plot-driven.

The lead actors in Date Night are appealing and even charming together, but the silly, inane plot makes it unappealing to watch and the slew of stars that somebody decided would be a great addition to a lukewarm film is odd.

The roles written have little bearing on the central plot so it was apparent why they were added.

Date Night (2010) is a film we have seen time and time again with other actors in similar roles.

2009 Films, Bong Joon-ho, International, International Thriller, Kim Hye-ja, South Korean, Thriller

Mother-2009

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Mother-2009

Director Bong Joon-ho

Starring Hye-Ja Kim

Scott’s Review #480

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Reviewed September 11, 2016

Grade: A

Mother (2009) is brilliant! I loved it and implored people to give the film a chance.

Years later, just desserts would be served. Director, Bong Joon-ho would win the Oscar for Parasite (2019).

It is a South Korean film- made in 2009 that almost nobody has heard of-let alone seen, but it is fantastic. It’s a shame that it did not get more notice, but sadly, some of the best films do not.

The plot revolves around a mysterious murder that occurs in a small South Korean village and a poor village woman’s mission to exonerate her mentally challenged son, who is convicted of the crime in a botched case.

The plot twists and turns and is compelling beyond belief. The real crux of the film is what lengths a mother will take to protect her son, a question many viewers can ask themselves.

Why Hye-Ja Kim, who plays the title character was not nominated for an Oscar for this role is beyond me and quite a shame. She is a goldmine and gives a terrific, memorable performance.

The movie is stylistic and has moments that resemble Hitchcock and David Lynch combined. One does not know what will transpire from scene to scene and that is the beauty of the film- besides the wonderful acting.

Once the film ends viewers will feel compelled to discuss, which is an accomplished feat.

I highly recommend it.

Independent Spirit Award Nominations: Best Foreign Film

1972 Films, Camp, Drama, Independent, Independent Drama, Joe Dallesandro, Pat Ast, Sexploitation, Sylvia Miles

Heat-1972

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Heat-1972

Director Paul Morrissey

Starring Joe Dallesandro, Sylvia Miles

Scott’s Review #479

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Reviewed September 11, 2016

Grade: A-

Heat (1972) is a Paul Morrissey/Andy Warhol collaboration in 1970s sexploitation films.

The film is somewhat of a spoof of the classic film from 1950, Sunset Boulevard, and stars 1970s cult star, Joe Dallesandro.

He plays a hunky struggling actor, and former child star, who begins a relationship with a has-been actress (Sylvia Miles) and her lesbian daughter as they co-habitat in a seedy Los Angeles hotel run by plump landlady (Pat Ast).

He pays the landlady a reduced rent in exchange for sex.

Heat stars two of my favorite cult film actresses (Miles and Ast).

It is a fun, over-the-top, independent-style sex romp and pleasing experience for those in the mood for something left of center.

2010 Films, Amanda Bynes, Comedy, Emma Stone, Fred Armisen, Lisa Kudrow, Malcolm McDowell, Patricia Clarkson, Romantic Comedy, Stanley Tucci, Thomas Haden Church, Will Gluck

Easy A-2010

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Easy A-2010

Director Will Gluck

Starring Emma Stone

Scott’s Review #478

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Reviewed September 10, 2016

Grade: B-

Easy A (2010) is an example of a film where some parts are good, and other parts are dumb. However, at the end of the day it is forgettable and who will remember a film like this in ten years?

The film is a teen comedy about a girl who makes up a rumor about herself to gain attention from her peers.

Emma Stone is great in this movie and shows the enormous potential of her budding film career. She reminds me a bit of Lindsay Lohan. She is likable and great at comedy and presents a fun persona.

Also deserving of credit is Lisa Kudrow who appears in the movie.

At times, the dialogue is intelligent and witty, other times it turns into a typical dumb comedy and that is sad because based on the star power involved, Easy A (2010) might have been a better film than it was.

2011 Films, Amanda Seyfried, Catherine Hardwicke, Gary Oldman, Julie Christie, Leonardo DiCaprio, Lukas Haas, Max Irons, Shiloh Fernandez, Thriller, Virginia Madsen

Red Riding Hood-2011

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Red Riding Hood-2011

Director Catherine Hardwicke

Starring Amanda Seyfried, Gary Oldman, Julie Christie

Scott’s Review #477

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Reviewed September 10, 2016

Grade: B-

I was hesitant to see Red Riding Hood (2011) in the theater because it seemed like more of a rental to me.

While it is far from high art, it is an above-mediocre thriller riding the current popularity of the vampire-lite genre.

It tells the tale of a teenage girl living in a medieval village that is being attacked by a mysterious wolf. The wolf, however, is human at times.

The fact that it stars young actors known in current American cinema, it is unsurprising that a love story is written.

I thought the movie was decent, but not great. The whodunit is good as we wonder who the wolf in disguise is, and the cinematography is excellent.

I bought the period’s authenticity.

Being treated to Julie Christie in a current film is always a treat, but at times the movie is quite sappy and Twilight-ish. It is directed by the same director Catherine Hardwicke so this is not surprising.

Overall, Red Riding Hood (2011) is not a bad watch.

2012 Films, Adam Driver, Bill Camp, Biography, Colman Domingo, Dane DeHaan, Daniel Day-Lewis, David Oyelowo, David Strathairn, David Warshofsky, Drama, Gloria Reuben, Hal Holbrook, Jackie Earle Haley, James Spader, Jeremy Strong, Joseph Cross, Joseph Gordon-Levitt, Lukas Haas, Michael Stuhlbarg, Period Drama, Peter McRobbie, Political Drama, Sally Field, Stephen McKinley Henderson, Steven Spielberg, Tommy Lee Jones, Walton Goggins, Wayne Duvall

Lincoln-2012

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Lincoln-2012

Director Steven Spielberg

Starring Daniel Day-Lewis, Sally Field, Tommy Lee Jones

Scott’s Review #476

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Reviewed September 10, 2016

Grade: A

Lincoln is a 2012 film, which received a slew of Academy Award nominations. There appear to be differing opinions about the film itself, however.

Lincoln has audiences divided over whether it’s a brilliant film or a snore-fest.

My opinion leans decisively toward the former.

I recognize that (especially the first half) the film is slow-moving, but I found it engrossing and well-made.

Even the subtle aspects (costumes, art direction, lighting) are masterfully done.

I found Daniel Day Lewis’s (Abraham Lincoln) lengthy stories intriguing, not dull and found it to be a wonderful history lesson.

Steven Spielberg does what he does best- he creates a Hollywood film done well. He also has done controversial, shocking, or experimental, but the mainstream fare is his forte.

This film is not for everyone, but if you can find the patience it will be an enlightening experience. If nothing else, a thing or two may be learned.

Oscar Nominations: 2 wins-Best Picture, Best Director-Steven Spielberg, Best Actor-Daniel Day-Lewis (won), Best Supporting Actor-Tommy Lee Jones, Best Supporting Actress-Sally Field, Best Adapted Screenplay, Best Original Score, Best Sound Mixing, Best Production Design (won), Best Cinematography, Best Costume Design, Best Film Editing

1995 Films, Children, Comedy, Drama, George Miller, Hugo Weaving, James Cromwell

Babe-1995

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Babe 1995

Director Chris Noonan

Starring James Cromwell

Scott’s Review #475

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Reviewed September 9, 2016

Grade: B

Babe (1995) is a cute, charming family film about a pig who becomes a hero while living on a farm with a family of other animals and a farmer and his wife.

It is not a risky film from a story perspective- any doubts about a happy ending?- though here are props for some visual creativity.

And let’s face it- the film is sweet and heartwarming with not a mean bone in its body.

The film is an inspirational one, nice for kids no doubt, and the visual effects, i.e. how they edited the animal movements with voices successfully are well done and not tacky.

The film is predictable and harmless and I’m not sure I agree with the Best Picture or Best Supporting Actor (for James Cromwell) nominations it garnered, but it was enjoyable all the same.

Oscar Nominations: 1 win-Best Picture, Best Director-Chris Noonan, Best Supporting Actor-James Cromwell, Best Screenplay Based on Material Previously Produced or Published, Best Art Direction, Best Film Editing, Best Visual Effects (won)

1969 Films, Al Lewis, Bonnie Bedelia, Bruce Dern, Cynthia Myers, Drama, Gig Young, Jane Fonda, Michael Conrad, Michael Sarrazin, Red Buttons, Susannah York, Sydney Pollack

They Shoot Horses, Don’t They?-1969

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They Shoot Horses, Don’t They? -1969

Director Sydney Pollack

Starring Jane Fonda, Michael Sarrazin, Susannah York

Scott’s Review #474

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Reviewed September 6, 2016

Grade: A-

They Shoot Horses, Don’t They? (1969) is a tragic, riveting film, set in the Depression-era 1930s, centering on a group of contestants entering a Dance-athon for an enormous cash prize.

Most of the film is set on and around the dance floor.

Contestants bring themselves to the brink of exhaustion to win the coveted money, and the desperation of the characters is horrific.

Jane Fonda leads the pack as a depressed, sarcastic, aspiring actress who desperately needs the cash prize.

The film’s dark nature is mesmerizing, though it is a difficult to watch. I found the film’s periodic parts that seemed to drag, as the contestants grew wearier with each hour.

It also felt like a precursor to the reality television craze that has swept the nation since the 1990s.

A tragedy, yes, but a practical and worthwhile film about depression and the struggle to survive. And a sad reminder of brutality as a form of entertainment.

Oscar Nominations: 1 win-Best Director-Sydney Pollack, Best Actress-Jane Fonda, Best Supporting Actor-Gig Young (won), Best Supporting Actress-Susannah York, Best Screenplay Based on Material from Another Medium, Best Score of a Musical Picture-Original or Adaptation, Best Costume Design, Best Art Direction, Best Film Editing

2012 Films, Albert Brooks, Bill Hader, Billie Joe Armstrong, Chris O'Dowd, Comedy, Graham Parker, Jason Segel, John Lithgow, Judd Apatow, Lena Dunham, Leslie Mann, Megan Fox, Melissa McCarthy, Paul Rudd, Romantic Comedy, Wyatt Russell

This Is 40-2012

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This Is 40-2012

Director Judd Apatow

Starring Paul Rudd, Leslie Mann

Scott’s Review #473

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Reviewed September 6, 2016

Grade: B

I must admit, I was not looking forward to seeing this movie, and my initial thought was “typical dumb comedy” that has been seen a million times before.

While This is 40 (2012) does contain those elements and is marketed toward a certain target audience, this movie is, surprisingly, smartly written and intelligent…overall.

I have not viewed Knocked Up (2007), but I understand it’s a somewhat follow-up to that film, as the two central characters are now married and traversing through a different time in their lives-adulthood.

I enjoyed Paul Rudd’s, Melissa McCarthy’s, and whoever played the oldest daughter’s, performances the most, though Rudd has become the latest actor to play the same role over and over again.

I enjoyed the rock n roll elements and the confrontation scenes as these were very cleverly written and nicely acted.

Sadly, at times the film relies on the standard bathroom humor done thousands of times before- a clear attempt at a laugh, and Jason Segal’s and Megan Fox’s characters are unnecessary to the main plot.

This Is 40 (2012) is a film that, at its heart, shows the trials and tribulations of generations of families, humorously, and done rather well.

2011 Films, Comedy, Dark Comedy, Independent, Independent Comedy, Jack Black, Matthew McConaughey, Richard Linklater, Shirley MacLaine

Bernie-2011

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Bernie-2011

Director Richard Linklater

Starring Jack Black, Shirley MacLaine, Matthew McConaughey

Scott’s Review #472

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Reviewed August 30, 2016

Grade: C-

Bernie (2011) is a film that, surprisingly, received critical acclaim, as well as Golden Globe and Independent Spirit Award nominations, but I was left quite disappointed with it.

Categorized as a dark comedy, it contains a morbid premise, which is not the issue, I just did not find it very good overall.

Despite being a true story of Bernie (Jack Black) marrying and murdering millionaire Marjorie Nugent (Shirley MacLaine) in Texas, the film is not compelling and is written too over the top.

Inexplicably, the townspeople refuse to believe Bernie’s obvious guilt.

To be fair, the film does contain a few funny and interesting moments and was based on factual events, but I didn’t feel connected to this movie as much as I expected and honestly found it a bit dull.

Jack Black is impressive as the title character but only because it is a departure from his usual slapstick film roles. I don’t get the accolades being heaped on him for his performance.

Shirley MacLaine and Matthew McConaughey are capable of the parts written for them, but one-note characters.

Meh.

Independent Spirit Award Nominations: Best Feature, Best Male Lead-Jack Black

2015 Films, Andrew Bujalski, Anthony Michael Hall, Cobie Smulders, Comedy, Giovanni Ribisi, Guy Pearce, Independent, Independent Romantic Comedy, Kevin Corrigan, Romantic Comedy

Results-2015

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Results-2015

Director Andrew Bujalski

Starring Guy Pearce, Kevin Corrigan

Scott’s Review #471

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Reviewed August 29, 2016

Grade: C-

Other than one fantastic supporting performance by Kevin Corrigan, who should have been the star of this film, Results (2015) is an independent romantic comedy that lacks any real identity.

The film has trouble deciding which couple the audience is meant to root for leaving me to root for none of them, and frankly, a bit bored with the overall script.

Still, Corrigan and to some degree, Guy Pearce make it a tolerable watch.

Corrigan plays Danny, a newly wealthy average Joe type, who joins a gym presumably to achieve a supportive network of friends, as he is new in town- Austin, Texas.

He meets Trevor (Pearce), who owns a local gym and is trained by the moody Kat (Cobie Smulders).

The three individuals’ lives intersect as a triangle of sorts develops.

Kevin Corrigan, who has appeared in numerous independent films over his decades-long career, and blockbusters such as Goodfellas (1990), completely steals the show and is the main reason to tune in.

His acting is effortless as he plays a lonely, rich man looking for human connections. He is troubled but has a comic wit that shines and gives him needed vulnerability. We want him to find happiness despite being unlikable.

Speaking of unlikeable, Smulders as Kat is a frigid iceberg with attitude for miles. Why anyone, let alone two men, would be interested in her is beyond me.

Pearce is appealing as the good-natured, aspiring-to-be successful businessman named Trevor, who is buff beyond belief- to enormous credit since Pearce is no spring chicken. Otherwise, we know little about his character.

He is not in love with Kat, but suddenly seems to be.

Kat warms to Danny but then is in love with Trevor. The entire romantic entanglement is silly and no chemistry exists among them.

The casting of Giovanni Ribisi as a stoner lawyer and Anthony Michael Hall (The Breakfast Club from the 1980s) as a fitness guru are pointless.

The fitness/gym angle is cool if one, as I am, is a fan of physical fitness. It is a nice little lesson as Kat teaches Danny basic core exercises. But after too many scenes of Kat drinking kale shakes and jogging incessantly, or Trevor eating egg white omelets and body strengthening, the message is overkill.

They are fitness buffs- we get it.

The biggest fail is how the film focuses on Danny and Kat as a potential romantic couple, then suddenly shifts gears, making Kat and Trevor the main couple, with Danny on the outside looking in.

It really makes little sense, and by that point, I was rather bored anyway and the film just petered out for me.

Results (2015) has shreds of potential with better-structured story-telling, but misses good potential in many areas- underdeveloped characters and a meandering plot are a couple of major problem points.

Independent Spirit Award Nominations: Best Supporting Male-Kevin Corrigan

2015 Films, Billy Crudup, Corey Stoll, Crime Drama, Drama, Elizabeth Rodriguez, Independent, Independent Drama, Katherine Waterston, Marin Ireland, Noah Buschel, Yul Vazquez

Glass Chin-2015

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Glass Chin-2015

Director Noah Buschel

Starring Corey Stoll, Marin Ireland

Scott’s Review #470

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Reviewed August 28, 2016

Grade: B-

Glass Chin, an independent drama film from 2015 contains some positive and negative qualities.

The film has two rather intriguing central characters, a working-class appeal, and some fun moments of Quentin Tarantino-style influence. The villains are unappealing and downright annoying so these elements detract from the main story.

Still, a solid effort.

The premise is straightforward and comfortable. Corey Stoll plays Bud Gordon, a former New York boxer with a level of one-time success.

He now lives in a small apartment in New Jersey with his girlfriend Ellen (Marin Ireland). Yearning to get back into the game, he aligns with crooked businessman, JJ Cook, played by Billy Crudup.

Along for the ride is JJ’s odd henchman, Robert.

Framed for murder so that he is now “owned” by JJ, Bud must struggle to escape the mess he has gotten himself into.

The interesting parts of Glass Chin belong to Stoll and Ireland as they make Bud and Gordon likable and genuine. They are a great team, once successful and now struggling to pay the rent.

They encompass blue-collar appeal.

They are nice people, happy to dine at cheap diners, and clip coupons, but want a comfortable life. When Ellen tries caviar for the first time at a fancy hotel, she dislikes it. She is a happy working-class girl, comfortable in her skin. Bud misses the boxing lifestyle, not for the glamour, but for a purpose.

Having owned a failed restaurant, he is now forced to take a job with a shady character to make ends meet.

I would have preferred to focus only on Bud and Ellen and their life struggles, perhaps with more emphasis on their aspirations, his feelings of failure, and more story involving his training as a young boxer, Kid Sunshine.

But sadly these aspects are secondary to the emergence of villains JJ and Robert.

I am not sure why the filmmakers decided to make both JJ and Robert so weird, and I assume they were going for a Quentin Tarantino influence, but this did not work and led the film to lose some continuity.

Both characters, especially Robert, meander with monologues of nonsense dialogue and downright crazy talk that is rather over the top.

It adds nothing to the story.

They are high-class thugs- the point comes across. The female characters, besides Ellen, are Tarantino-influenced in their left-of-center actions (the wedding dress outfit, the statuesque model who beds Bud), but we know almost nothing about them.

As a side note, I love the constant outdoor locales of New York City and New Jersey, which add authenticity to the film. When Bud drives around in his beat-up 1980s Country Squire station wagon in the snowy New York weather, it adds atmosphere.

More of Bud and Ellen would have been preferred and less of JJ and Robert would have helped Glass Chin be a better film.

Still, there is some appeal, but overall Glass Chin (2015) is quite uneven.

Independent Spirit Award Nominations: Best Supporting Female-Marin Ireland

2015 Films, Animated, Charlie Kaufman, Comedy, Dark Comedy, David Thewlis, Drama, Duke Johnson, Jennifer Jason Leigh, Tom Noonan

Anomalisa-2015

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Anomalisa-2015

Director Charlie Kaufman, Duke Johnson

Starring Tom Noonan, Jennifer Jason Leigh

Scott’s Review #469

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Reviewed August 27, 2016

Grade: A-

Anomalisa (2015) is one of the most creative offerings I have seen recently.

Animation is not my forte- typically I find them much too nice, and the old “family-friendly” tags make me cringe, Anomalisa has received heaps of buzz so I decided to check it out.

I am glad I did.

The stop-motion film is quite adult-themed, though not the slightest bit raunchy. Rather it is an intelligent tale about loneliness and human beings connecting through this loneliness.

It is a bit of a melancholy film too, based on a 2005 play.

The central character is Michael Stone, a depressed customer service expert, who travels to Cincinnati to deliver a seminar on his expertise. Michael is riddled with anxiety and his life is rather mundane though he checks into a stylish hotel that is presumably hosting his convention.

He is a bit of a big name within his industry. Oddly, every person he encounters looks and sounds the same- that of a white man- even his wife and son. He is haunted by the memory of an old flame, Bella, who it is revealed he jilted years ago and now lives in Cincinnati.

The story gets interesting when Michael hears a woman’s voice singing, up until now all voices are male, remember, and he is desperate to find the voice.

He meets Lisa (voiced by Jennifer Jason Leigh), an insecure, rather dowdy woman, with whom he becomes infatuated. A customer service representative at the hotel to witness Michael’s seminar, Lisa is instantly smitten, though wary of Michael’s intentions.

They bond and the film tells of their romance and insecurities.

The film is highly creative and unique. It is also mysterious. My first wonder was to figure out why all the characters, regardless of gender, share the same voice.

Michael is lonely and sees everyone else as monotonous or meaningless until he meets Lisa. The film is not clear what Michael sees in Lisa- perhaps her realness in a world of phoniness. She is an ordinary girl, but what is the point? I am still not sure of this.

I did not find the character Michael likable and not one to root for. He is dismissive of some characters and a bit condescending, but despite this, not a hated character either. He and Lisa as a duo are to root for.

Anomalisa has some humor too, albeit dark humor. When Michael mistakes an adult toy store for a traditional toy store and purchases a Japanese sex doll for his son, Michael’s wife hilariously wonders about some foreign substance around the doll’s mouth.

A nervous male passenger on Michael’s flight clutches Michael’s hand, even after landing safely.

The explicit sex scene between Michael and Lisa is as shocking as it is tender. I think showing this graphic edge in animation threw me for a loop since this rarely happens in animated films- perhaps incorrectly- assuming that they are for children only with their parents to endure.

Anomalisa is not true animation- felt puppets are used, giving a great, human-looking feel and making the characters more life-like.

Anomalisa (2015) is not a perfect ten but damn close for its left-of-center approach alone. A journey into the art of creativity and thought. A bit far out there for most, and perhaps the sarcasm may be lost on some, but a unique experience, nonetheless.

Oscar Nominations: Best Animated Feature Film

Independent Spirit Award Nominations: Best Feature, Best Director-Charlie Kaufman and Duke Johnson, Best Supporting Female-Jennifer Jason Leigh, Best Screenplay

1962 Films, Alice Ghostley, Brock Peters, Crime Drama, Drama, Gregory Peck, Mary Badham, Phillip Alford, Robert Duvall, Robert Mulligan, Ruth White

To Kill a Mockingbird-1962

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To Kill a Mockingbird-1962

Director Robert Mulligan

Starring Gregory Peck, Mary Badham, Robert Duvall

Scott’s Review #468

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Reviewed August 25, 2016

Grade: A

To Kill a Mockingbird is a 1962 film based on Harper Lee’s renowned novel. It was released only two years earlier, in 1960.

The novel was groundbreaking, and the film is equally so. Race and racism are front and center in the storyline. The film is still a marvel because it tells the story through the eyes of a child—in present-day terms, an adult—as she reflects on her experience.

The film is set in the 1930s in a small Alabama town.

We follow the lives of Atticus Finch, a respected lawyer and father, and his two young children- Scout and Jem.

Gregory Peck, as Atticus, is the moral center of the film. Scout (Mary Badham) narrates, and her innocence makes the story much more compelling and less like a preachy vehicle for a social topic.

The Finchs are a tight family unit as Atticus is widowed, leaving Jem and Scout motherless. A poor black man-Tom- is accused of raping and beating a white woman, also poor, coached into the accusations by her racist father.

We accept that the woman had designs on Tom and, when caught by her horrified father, was beaten, with Tom left to take the blame.

Much of the film, but not too much, takes place in the courtroom, as we hear testimony by the poor woman, her father, and Tom.

Not to be missed is that every juror is a white man- a sad reminder of the racism that existed and one argues still exists, though not as blatant in today’s modern world.

One cringe when the black attendees are forced to sit in the upper portion of the courthouse, an obvious way to demean and lessen them, and which speaks volumes for the town- we realize Tom does not have a chance, yet we hope against hope for his acquittal.

Wisely, I do not feel the point is the trial’s outcome—we know what will result. But the film teaches us a lesson about reality: life is often unfair and painful.

The after-effects of the trial are the most exciting part of To Kill a Mockingbird.

Gregory Peck was awarded the Best Actor Oscar in 1962 for his role as a liberal, progressive, and honorable man who can do no wrong and is an excellent example for his children.

A black maid, Calpurnia, works for him, and he treats her like family. I could not help but think she is the mother figure in Jem and Scout’s lives.

Atticus does the right thing, treating everyone fairly and living a moral life. He is an excellent example, and it is no wonder Peck won the trophy.

A subplot involves a mysterious neighbor, Boo Radley, feared by the town kids but turning out to be a protector and companion to Scout and Jem. This role was the first for acclaimed actor Robert Duvall- the actor has a tiny yet important role and does a great deal of expressive acting without uttering a line.

The title of the film is poignant and essential to the ending.

The film is really about Jem and Scout and their quick journey into the pains and unfairness endured by adults- once innocently enjoying the summer, playing games, and making friends with a visiting young boy, they are exposed to evil and a hate-filled racist town, which they slowly come to realize exists.

Filmed in black and white, this quality enhances the picture. The blowing leaves and dark shadows add much to the impressive cinematography and give the film a dark quality that color would have ruined.

The 1930s time period is very authentic.

To Kill a Mockingbird is a timeless film with an important message about the world. Children and adults of every generation should view it as a lesson in empathy and compassion.

The film is not ugly or raw but is truthful and still feels fresh. It will resonate with all audiences patient enough to give it a good watch.

Oscar Nominations: 3 wins-Best Picture, Best Director-Robert Mulligan, Best Actor-Gregory Peck (won), Best Supporting Actress-Mary Badham, Best Screenplay Based on Material from Another Medium (won), Best Music Score-Substantially Original, Best Art Direction, Black-and-White (won), Best Cinematography, Black-and-White

2015 Films, Dick Cavett, Documentary, Gore Vidal, John Lithgow, Kelsey Grammer, Morgan Neville, Robert Gordon, William F. Buckley Jr.

Best of Enemies-2015

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Best of Enemies-2015

Director Morgan Neville, Robert Gordon

Starring William F. Buckley Jr., Gore Vidal

Scott’s Review #467

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Reviewed August 19, 2016

Grade: B

Best of Enemies is a 2015 documentary that transports the viewer back to the 1960s, specifically to 1968, during the Republican and Democratic presidential primaries.

I found the documentary to be a nice little history lesson for me as 1968 was before my time and the timing of my viewing (2016) was perfect as at the time of this review we are in the midst of an intense presidential race.

This is an adequate slice of political debate and rivalry with differing ideologies among the central figures.

At that time, ABC Primetime News was a floundering network, that needed something to attract viewers and compete with competitors, the much higher-rated CBS and NBC.

This was a time when audiences had merely three networks of news offerings to choose from.

The documentary references this fact as the power of the medium of television in 1968 was quite intense and still new. I looked back fondly on the limited choices of networks then, compared to oodles of offerings now. Still, everyone watched the same programming, which elicited better conversations the next day it could be argued.

ABC concocted a scheme to bring together two bitter rivals, ultra-conservative, William F. Buckley, and ultra-liberal, Gore Vidal. The pair, obviously of differing opinions, reportedly despised each other, and the possibilities were electric.

I found the documentary very genuine. 1968 was before reality television and mock feuds to garner ratings ever existed.

Their heated debates are now legendary and there was an authenticity to them.

The documentary is told in a structured way. Buckley and Vidal faced off during ten primaries, five for the Republican primary in Florida, and five for the Democratic primary in Chicago.

Other than their blowups, the conversations crackled with intelligence, both men passionate, and well-educated in their views.

Best of Enemies also gives an overview of Vidal and Buckley and how they each had come to achieve their respective fame. Interviews with family members, colleagues, and friends are interspersed in the documentary among the constant barbs between the two as the debates ravaged on.

A moment during the final democratic debate that would cement the loathing between Vidal and Buckley for decades to come.

Continuing to debate with a snarky, condescending tone by both, tensions came to a head as Vidal referenced Buckley as a Nazi, and Buckley, in turn, called Vidal a queer and threatened to sock him in the mouth.

The hatred in the eyes of both men is legendary as their rivalry knew no boundaries. The fact that this all took place on live television (before tape delay censors) made it all the more shocking.

Strangely, the documentary uses narrated voices by Kelsey Grammar and John Lithgow for Buckley and Vidal, respectively, for a few segments. I found this rather unnecessary and even distracting. The voices surmised what each felt at the time and did not work.

This is a documentary showing the real birth of political pundits (now a dime a dozen) and the realism that television was at that time- still rather novel.

Today it is filled with outrageous people and those looking for their ten seconds of fame.

Best of Enemies (2015) shows us the authenticity of television in the early days and sadly, reminds us what it has now become.

Independent Spirit Award Nominations: Best Documentary Feature

2014 Films, Carmen Ejogo, Frank Grillo, James DeMonaco, LaKeith Stanfield, Thriller

The Purge: Anarchy-2014

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The Purge: Anarchy-2014

Director James DeMonaco

Starring Frank Grillo

Scott’s Review #466

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Reviewed August 16, 2016

Grade: B

As a fan of the original The Purge (2013), a creative, fresh modern horror film with a distinct message, I did not expect the sequel to match expectations nor to be as powerful as the original.

I was right on both counts.

As a stand-alone film, though, it is a decent flick, having almost nothing to do with the original, save for the same premise.

I hesitate to call The Purge: Anarchy a horror film as it contains little blood, gore, or true horror elements- it is much more of a thriller.

The premise is simple- the Government sanctioned holiday of March 21st has come around again, meaning twelve hours of sanctioned mayhem, where murder, rape, and assault are all allowed without punishment to the criminals, and no police or rescue teams are available.

The period is 2023, though I am unsure why this is relevant since nothing distinguishes the year from the current year, 2016, in the story.

Several protagonists fearfully hunker down for a night of safety in their dwellings, but circumstances force them onto the streets.

A mother and her teen daughter, a young couple, and a vigilante are the characters. The backstories of these folks are not all that important or relevant to the film. They form a group and bond with each other.

Whereas the original kept the audience in one house, The Purge: Anarchy does anything but. As the group commences, the streets of Los Angeles serve as the backdrop for the action as they endlessly traverse the dark and mainly deserted streets, hiding in garbage dumpsters, tunnels, and other sources of protection.

The vigilante, who is revealed to be an off-duty police officer, has the motivation, as his son was killed one year ago today, not as a result of the Purge, but by a drunk driver. The police officer seeks revenge via the freedom the annual Purge allows him.

The film is purely plot-driven and little character development exists, however, the group is mostly likable, especially the mother and daughter.

Interestingly, the filmmakers feature multiple races and ethnic groups, giving it a dose of diversity, which gets big kudos from me.

I could not help but draw comparisons to the popular television series The Walking Dead (2010-2022), at several points of the film, as the group, brandishing weapons, continuously encounters thugs and enemies of every kind as they wander the streets.

A creative twist to The Purge: Anarchy involves a group of Anti-Purgers, all black, who have a following of people supporting them against the government’s protocol of allowing an annual purging.

It is made clear that the main victims of the purge holiday are the poor and the sick.

Correlating with this, our group finds themselves kidnapped and taken to a lavish party where wealthy folks arrange a night of champagne and hunting as the victims are lured to their deaths as the onlookers cheer and feast in celebration.

Think of an Oscar party with gruesome results.

The Purge: Anarchy (2014) is a fun, Saturday night popcorn film worth pondering. Would society succumb to a fetish such as the annual purge if the government condoned it?

Undoubtedly the film must have been influenced by the popularity of The Hunger Games (2012-2023) in tone and theme.

It is a decent film, no more no less.

2015 Films, Christopher Abbott, Cynthia Nixon, Drama, Independent, Independent Drama, Josh Mond, Ron Livingston, Zazie Beetz

James White-2015

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James White-2015

Director Josh Mond

Starring Christopher Abbott, Cynthia Nixon

Scott’s Review #465

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Reviewed August 15, 2016

Grade: A

I am always struck with a warm feeling, and my faith in the film is reaffirmed when I can watch an interesting independent film (or mainstream studio film for that matter) that has the guts to tell a dark character-driven story and tell it very well of sympathetic characters written exceptionally well.

2015’s James White is an appreciative offering about life and death and how the main characters deal with the roadblocks of life and the effects of death.

This film is quite dark, however.

A fantastic young actor, Christopher Abbott, plays the title character of James White.

We meet James in a loud nightclub, wearing headphones, with soft music, mixing interestingly with the pounding beats of the club music.

The audience immediately can tell that James is wound up, aggressive, and troubled. His estranged father has just died and while he is not too upset by his father’s death, he cares deeply for his mother, Gail, and is worried about her.

No sooner than a service, hosted by the father’s new wife, is held, we learn that Gail is suffering from stage four cancer and will not live much longer.

The film is about how James deals with his problems, from his mother’s illness to finding a job, a rocky relationship with a teen girl, and his reflections on his life, all while filled with rage.

The film takes place over three months, culminating in the dead of winter, an obvious irony.

Abbott and Nixon give astounding performances as son and mother, the apple of each other’s eye, and how they each deal with Gail’s inevitable, impending death.

James is bottled up with anger throughout the film and frequently needs to escape before losing it.

In one amazing scene though, he does lose it during a drunken hotel bender with pals Nick and Jayne. The sheer emotion and desperation that Christopher Abbott gives during this scene are inspirational for any aspiring actor to emulate.

One wonders if director Josh Mond allowed his actors to improvise most scenes as the compelling, raw feeling of scenes is evident.

Nixon, since her fame in television’s Sex And The City, has chosen daring and complex roles and this is to her credit.

As Gail, we see her desperate, emotional, filled with rage, and at times delusional, as she wonders what will become of her son after she is gone and how her world has spiraled out of control.

We also see Nixon successfully play motherly as she coaches her son through his anger and pleads with him to take care of her. It is a powerful performance.

Two slight knocks to the film- James’s best friend Nick is gay (and black), but despite their different sexual orientations, they are the closest of friends. While this aspect reaps heaps of praise for being incorporated into the film, we know very little about Nick, his family, or his inner feelings.

James’s new girlfriend Jayne is also a mystery. She is significantly younger, and is dutiful, but what are her motivations?

Yet, given the very short run time of the film (one hour and twenty-seven minutes), I can see why the filmmakers chose to focus on the mother/son relationship.

A slight criticism.

A film such as James White (2015) is purely character-driven and must be enormously rewarding for actors to play these two raw characters.

Painful, for anyone dealing with a loved one suffering from cancer to watch, but a fantastic journey into the world of wonderful acting and dynamic screenwriting.

Independent Spirit Award Nominations: Best Male Lead-Christopher Abbott, Best Supporting Female-Cynthia Nixon, Best First Feature