All posts by scottmet99

1974 Films, Andrea Martin, Christmas, Horror, Independent, Independent Horror, John Saxon, Keir Dullea, Margot Kidder, Olivia Hussey, Scott's Top 100 Films, Scott's Top 20 Horror Films

Black Christmas-1974

December 29, 2015 scottmet99 Leave a comment

Black Christmas-1974

Director Bob Clark

Starring Olivia Hussey, Margot Kidder

Top 100 Films #36 Top 20 Horror Films #11

Scott’s Review #309

Reviewed December 29, 2015

Grade: A

Black Christmas (1974) is one of my favorite horror films of all time and, in my opinion, an under-appreciated classic. Somehow it is just not the first, second, or third film mentioned when most discuss the influential horror films of years past.

My hubby and I make sure to watch it every holiday season.

It largely influenced Halloween (another love of mine) from the killer’s point of view camera shots to the seasonal element.

It is quite horrifying in several key scenes, in fact, and I am proud to list it as one of my favorite films.

Black Christmas is a must-see for fans of the horror genre.

The setting (a cold and snowy Christmas) is perfect and the film is shot quite dark. There are Christmas lights and carolers for a great winter holiday effect. Most of the film takes place at night and the location is primarily inside a huge, rather creepy, sorority house. The ambiance is well thought out.

Several sorority girls, led by boozy Barb (Margot Kidder) and sweet-natured Jess (Olivia Hussey), prepare to depart for the holiday season by having a small farewell Christmas party. Recently, the girls have been harassed by a prank caller spouting nonsensical gibberish daily.

As in true horror fashion, the girls are systematically offed one by one as events turn dire. Two sub-plots that ultimately merge with the central plot include Jess’s pregnancy by suspicious boyfriend Peter and the search in the park for a missing young girl.

The best part of Black Christmas is that it is an honest, raw film, made on a small budget, that does not include gimmicks or contrivances.

It has authenticity.

A disturbing film for sure, one victim being posed in a rocking chair continuously rocking back and forth next to the attic window, while said victim is bound in plastic wrap, holding a doll, mouth, and eyes wide, is one of the most chilling in horror film history.

The nuances of the killer also scare and the brilliance of this is that his motivations are mysterious and unclear (in large part the success of Michael Meyers as well). We never fully see the killer except for his shape and eyes, and that is the brilliance of the film.

The one slight negative to the film is the decision to make the cops appear incompetent. The desk sergeant, in particular, is a complete dope- one wonders how he got his job- as a sexual joke by one of the girls goes over his head while the other detectives laugh like fools.

Why is this necessary? I suppose for comic relief, but isn’t that the purpose of Mrs. Mac, the overweight, boozy sorority mother? Her constant treasure hunt for hidden booze (the toilet, inside a book) is comical and fun.

Her posing and posturing in front of the mirror (she is a very frumpy, average woman) are a delight and balance the heavy drama.

The conclusion of Black Christmas is vague and fantastic and works very well. Due, once again, to the police errors, the final victim’s fate is left unclear as we see her in a vulnerable state, unaware that the killer is looming nearby.

We only hear a ringing phone and wonder what happens next.

My admiration for Black Christmas (1974) only grows upon each viewing as I am once again compelled, to notice more and more ingenious nuances in the film.

Can’t wait until next Christmas to watch it again.

2015 Films, Best Film of the Year, Cate Blanchett, Drama, Independent, Independent Drama, Jake Lacy, Kyle Chandler, LGBTQ+ Drama, LGBTQ+ Films, Romantic Drama, Rooney Mara, Sarah Paulson, Scott's Top 100 Films, Todd Haynes

Carol-2015

December 27, 2015 scottmet99 Leave a comment

Carol-2015

Director Todd Haynes

Starring Cate Blanchett, Rooney Mara

Top 100 Films #90

Scott’s Review #308

Reviewed December 27, 2015

Grade: A

My comparison would be that this film is the female version of Brokeback Mountain (2005).

Carol is a story of hidden romance and secret lives in the early 1950s when it was difficult to lead an alternative lifestyle openly (or even in hiding!).

The film is a marvel in its honest storytelling, exquisite class, and gracefulness with excellent cinematography and a nice, heartwarming tale.

Carol is directed by Todd Haynes, a director known for films about doomed romances faced with societal challenges. Carol is a wonderful piece of work.

The film contains two equal female lead roles- Carol Aird (Cate Blanchett) is a gorgeous, sophisticated socialite. She exudes confidence and style in everything that she does.

Always perfectly dressed, well made up, manicured fingernails, her mannerisms relay confidence, and control. She is married to a wealthy businessman, Harge (Kyle Chandler), who is madly in love with her, yet they are divorcing because of her “problem”.

The fact that Carol is a lesbian is known to Harge and they share somewhat of an understanding, and a five-year-old daughter. The divorce they are going through is difficult.

Therese Belevit (Rooney Mara), is the polar opposite of Carol. Young, and naïve, she is a part-time shopgirl, fascinated by photography. She dates men and goes to parties, living out a typical young girl’s life.

When Carol and Therese meet at the store where Therese works, they are immediately enamored with one another and a friendship develops. Both seem caught off guard and the chemistry between the two actresses sizzles.

The focus is the budding romance between Carol and Therese, and the societal differences that they face, not to mention the age difference between the two women. I found the chemistry quite evident thanks to Blanchett and Mara.

Worlds apart, the two women somehow find their way to each other and form a bond. Their relationship is tender, gentle, and carefully laid out for the audience. They are neither animalistic nor barbaric in a sexual way, but rather sweet.

When Therese takes a spontaneous car trip from New York to Chicago, leaving her boyfriend, Richard, conflict develops. He wants them to run off to Paris but Therese wants to be with Carol. He breaks up with Therese and accuses her of having a crush on Carol.

Therese and Carol’s romance is finally consummated in a mid-western hotel. It is New Year’s Eve and Todd Haynes chooses to shoot this scene in a romantic, spontaneous way. They are celebrating the holiday, but both are blue and vulnerable. It makes perfect sense that they would turn to one another.

The film delves into many different emotions that Carol and Therese face- love, glee, anger, rage, confusion, rejection, and loneliness. These adjectives and the tone of the film are why it succeeds.

From an acting perspective, both Blanchett and Mara are great, but I am more partial to Blanchett’s performance. She embodies this character. From when she orders a martini dry with one olive, to how she brazenly approaches Therese, she is a woman in control. But faced with family issues she becomes vulnerable and we see her as human.

Besides the interesting story of a love faced with many challenges, the look of the film is grand. The sets, hairstyles, clothes, and makeup are graceful and rich. To summarize- everyone looks great and it portrays a perfect picture of the 1950s.

A progressive Hollywood tale, Carol showcases glamour, and great acting, and sends a powerful message of acceptance and struggle during a difficult time to be “different”, to fulfill one’s life.

Oscar Nominations: Best Actress-Cate Blanchett, Best Supporting Actress-Rooney Mara, Best Adapted Screenplay, Best Original Score, Best Cinematography, Best Costume Design

Independent Spirit Award Nominations: 1 win-Best Feature, Best Director-Todd Haynes, Best Female Lead-Cate Blanchett, Rooney Mara, Best Screenplay, Best Cinematography (won)

2015 Films, Adventure, BD Wong, Bryce Dallas Howard, Chris Pratt, Colin Trevorrow, Jimmy Buffett, Jimmy Fallon, Judy Greer, Science Fiction, Vincent D'Onofrio

Jurassic World-2015

December 23, 2015 scottmet99 Leave a comment

Jurassic World-2015

Director Colin Trevorrow

Starring Chris Pratt, Bryce Dallas Howard

Scott’s Review #307

Reviewed December 23, 2015

Grade: C

Jurassic World (2015) is a film I expected to like much more than I did.

Sure, it is a summer, blockbuster, popcorn flick. Based on the success of the earlier franchise efforts, and, if memory serves, finding enjoyment in the 1993 original, Jurassic Park, I expected a fun ride.

Unfortunately, I was treated to a formulaic, escapade with uninteresting characters and mediocre writing.

The premise is standard. A behemoth of an amusement park exists in Central America, on Isla Nublar, where a dinosaur theme park has been running without incident for ten years.

A genetically modified dinosaur, created because a magnificent new attraction is needed, breaks loose and runs rampant.

A silly love story exists between the two leads Owen and Claire (Chris Pratt and Dallas Bryce Howard), as well as the inclusion of two young boys (Zach and Gray) sent by their divorcing parents to be with their Aunt Claire, who works as the Operations Manager at the park.

Owen is the dinosaur trainer. Predictably, there are “bad guys” who are greedy and desire to advance science at the risk of human life.

The special effects are fine, albeit completely CGI-laden, which is to be expected because the main stars are dinosaurs after all. I did anticipate better writing or, at least, more of a creative attempt at coming up with something a bit edgy.

The story was completely redundant. Where was the character development? There was none. We know very little about any of the principal characters.

One might argue that an adventure film does not necessitate this but it’s important. We know that Claire is a workaholic and has none time for her nephews- why? What makes her tick?

Here is a slight complaint. Why kill off only extremely minor characters or villains? I could see this (and the ending) a mile away. The whole film seems forced and sloppy.

Jurassic World is also filled with clichés. Owen and Claire initially dislike each other having had one unsuccessful first date back in the day. The film tries to push the love/hate, opposites attract element and it feels contrived.

How many times have we seen this in film history?

Also, Chris Pratt is perfect as the hunky, muscular “hero saves the day” type, and Dallas Bryce Howard running through the forest in a tight tank top is not unintentional.

This is not to say that the film is bad. It is a decent adventure film and the special effects are cool. I did enjoy the homage to the original 1993 version as the boys stumble upon the original visitor station complete with the 1992 jeep from the original Jurassic Park film.

I thought this was a neat little nod to history and I love that in a franchise film, but that is it for the positives.

Yes, this film was a blockbuster smash and made oodles of money. It, however, feels forced and clichéd and quite formulaic.

I was hoping for much more and deeper, stronger, material.

2014 Films, Daniel Zovatto, David Robert Mitchell, Horror, Independent, Independent Horror, Jake Weary, Maika Monroe

It Follows-2014

December 23, 2015 scottmet99 Leave a comment

It Follows-2014

Director David Robert Mitchell

Starring Maika Monroe, Debbie Williams

Scott’s Review #306

Reviewed December 23, 2015

Grade: A-

It Follows (2014) is a mysterious, unique, dreamlike (or shall I say nightmarish!) independent horror film that is a pleasant throwback to old-school horror films (my favorites!), with a supernatural twist thrown in.

The film is directed very well by newcomer David Robert Mitchell containing wonderful cinematography and creative camera angles.

This film is not glossy and has a raw, almost videotaped feel, which I found quite wonderful. The film was shot entirely in and around Detroit giving it a cold, industrial look.

The film begins on a dramatic note leaving the viewer immediately curious.

A young woman flees her suburban home and nervously stands on the street looking back at her house. A neighbor asks if she needs help. She returns, collects her things, and hurriedly drives to the beach. She suspects something or someone is watching her. She tearfully phones her father and tells him she loves him.

The next scene appears to be the following morning and the woman is lying murdered on the beach in a grotesque position- her leg strangely bent.

This is a fantastic way to begin the film.

From this point, the premise is quickly revealed. The main character is Jay (Maika Monroe), an attractive college-aged girl. She lives with her sister Kelly and is good friends with their next-door neighbors Paul and Yara. An additional neighbor and classmate, Greg, also figures into the plot.

Jay is on a date with Hugh and things are going well. They attend a classic film. They sneak into a deserted lot and have sex. Afterward, Hugh chloroforms Jay and the weirdness begins.

A strange woman appears and Hugh tells Jay she must pass on a curse. Otherwise, an entity in the form of another person that nobody else can see but the victim will get Jay and she will be doomed.

I love the throwback elements to 1970s and 1980s horror but it’s vague when the film is set- purposely so I imagine- as many cars are 1970s and 1980s models. Only one cell phone is used throughout, but mostly the time could be present or past.

Even the houses appear dated.

Story-wise, It Follows is tough to figure out and open to a certain level of interpretation. Is the film anti-sex? Is the story a metaphor for sexually transmitted diseases?

The victims become possessed by the entity after sex and then must pass it to another unwitting victim, sexually.

I notice some similarities to John Carpenter films- specifically the classic Halloween from 1978. Jay sits in a classroom (ironically in the back row next to the window ala Jamie Lee Curtis in Halloween) and sees a strange old woman slowly lumbering towards her, eyes fixed on her.

Later, the three principal girls casually walk around the neighborhood engaging in small talk similar to the characters of Laurie, Lynda, and Annie on Halloween.

The ending- a scene in the indoor community swimming pool where the kids try to catch the spirit is a bit hokey and unresolved. However, I did enjoy the final scene- a peaceful one in which I was unsure if the entity had been destroyed or remained.

A sequel perhaps?

I give It Follows (2014) major props for its styling, and creativity while giving classic horror fans a good old-fashioned treat without much CGI necessary.

Independent Spirit Award Nominations: Best Director-David Robert Mitchell, Best Cinematography, Best Editing

1966 Films, David Hemmings, Jane Birkin, John Castle, Michelangelo Antonioni, Sarah Miles, The Yardbirds, Thriller, Vanessa Redgrave, Veruschka von Lehndorff

Blow-Up-1966

December 21, 2015 scottmet99 Leave a comment

Blow-Up-1966

Director Michelangelo Antonioni

Starring David Hemmings, Vanessa Redgrave

Scott’s Review #305

Reviewed December 21, 2015

Grade: A

Blow-up is a mysterious and compelling 1966 (the spawn of more edgy films) thriller that undoubtedly influenced the yet-to-come 1974 masterpiece The Conversation, directed by Francis Ford Coppola, as both films are tense tales of intrigue focusing on technology as a tool to witness a murder.

This film is legendary director Michelangelo Antonioni’s first English-speaking film, and what a film it is.

Set in hip London in the 1960s, it certainly interestingly portrays the fashion world. The story is about a fashion photographer named Thomas, who is in high demand. He revels in bedding women so they may have their photos taken by this rock star photographer and is chased around London by gorgeous women.

One day, he aborts a photo shoot because he is bored. He is not the nicest guy in the world but an unlikable character.

But perhaps that is secondary or even intentional. One day, while walking in Maryon Park, he encounters a couple in the distance. They appear to be having a secret rendezvous and nervously kissing, so he begins photographing them.

The woman, Jane, (played by a very young Vanessa Redgrave) realizes they have been snapped and is furious- demanding the film.

This sets off the mystery and the meat of the film.

The film is a tremendous achievement in cinematic intrigue. It is pretty psychological and open to much interpretation, which is its genius. The main questions are: “What exactly transpired in the park, and who is responsible?”

We feel little sympathy for Thomas, which perhaps is intentional. and what about Jane?

Talk about mystery!

We know little about her besides that she has secrets, but is she responsible for the crime? Throughout the film, Thomas and Jane play a sort of cat-and-mouse game, seemingly trying to outwit and outmaneuver each other.

The unique aspect of the film is that the viewer will often ask questions- “Was there even a crime committed”? “Are the events all in Thomas’s imagination, or has he misinterpreted the series”? One will revel in the magnificence of these questions.

I immediately recognized similarities to The Conversation (1974). Both feature one of the senses as a means of solving or realizing the crime committed—in The Conversation, it is hearing; in Blow-Up, it is sight.

In both, the main character uses these senses for a living, and both are arguably not the most likable characters. Both films feature mimes. Both films are pretty cerebral, and both are cinema gems for the “thinking man.”

Blow-Up has weird, little intricate moments- a very tall female Russian model experiences an odd photoshoot with Thomas. Later, a giggling pair of young girls end up in a grappling match with Thomas after asking him to take their photos. A topless (from behind) Jane prancing around Thomas’s apartment is an unusual scene.

As a first-time viewer, I adored this film. It is a good example of a film that requires multiple viewings to appreciate fully, and I look forward to doing just that.

A fantastic creative achievement, Blow-Up (1966) is a masterpiece that can be dissected with each subsequent viewing.

Oscar Nominations: Best Director-Michelangelo Antonioni, Best Story, and Screenplay Written Directly for the Screen

2015 Films, Animated, Children, Francesca Capaldi, Noah Schnapp, Steve Martino

The Peanuts Movie-2015

December 20, 2015 scottmet99 Leave a comment

The Peanuts Movie-2015

Director Steve Martino

Starring Noah Schnapp, Francesca Capaldi

Scott’s Review #304

Reviewed December 20, 2015

Grade: B-

Having adored the Peanuts comic strips in the “funnies” papers every Sunday as a wee child, as well as the wonderful classic A Charlie Brown Christmas special (1965) that aired every holiday season, I was eager to see a full-length film released in theaters.

The Peanuts Movie commemorates the Fiftieth anniversary of the Christmas special. The Peanuts gang is so All-American and ingrained in our culture that I could not resist seeing it.

I expected “cute” and that is exactly what I received. The film is nice but quite safe and predictable.

The Peanuts gang is much more than just the antics of Charlie Brown and his faithful dog Snoopy, who take center stage in the film.

The entire beloved gang is featured. Woodstock, Peppermint Patty, Marcie, Linus, Lucy, Frieda, Pig-Pen, and others, albeit in supporting roles.

There are two main stories featured in the film. The long-suffering and (in his mind) friendless (despite actually being loved by the gang), Charlie Brown is enamored with his new neighbor, the Little Red-Haired Girl, well-known from the original comic strips as Charlie Brown’s schoolyard crush-yet never seen.

The other is Snoopy’s writing of a book about the Flying Ace, in which he saves his crush, Fifi, also a pilot, from the dangerous Red Baron and his army.

As usual, the film is really about Charlie Brown’s endless insecurities prompted by bad luck and always screwing things up no matter that his intentions are noble.

When the Little Red-Haired Girl moves in across the street from Charlie Brown, he is immediately smitten and does numerous things to impress and acquire her attention, with difficulties arising.

A talent show in which he plays a magician goes wrong. To his delight, he is partnered with the Little Red-Haired Girl on a book report, but when she is called out of town he is forced to write the report himself, thereby foiling his attempts at getting close to her.

As usual, all parents remain unseen and speak garbled as the story is about the kids.

An interesting element is, that while the Little Red-Haired Girl is seen and does indeed speak, most of this occurs towards the end. For most of the film, we see her only from behind allowing an element of mystery to surround her.

It would have been interesting to see some of the supporting characters explored more- is Peppermint Patty gay and is Marcie her love interest? How about a love interest or background for some of the others? A side story explored is a growing romance between Pig-Pen and Patti.

The film does a nice job of featuring the familiar settings of the original comic strip- Lucy’s psychiatrist’s booth, the wall, and the skating pond are prominently featured, which is a treat for long-time fans.

The Peanuts Movie (2015) is a nice film. I would have preferred a bit more of an edge or more creativity as original creator Charles Schultz had, but it is nice to be reminded of a simple time in life and this film is a good time.

1960 Films, Art, Bernadette Lafont, Claude Chabrol, French, International, International Thriller, Lucile Saint-Simon, Stéphane Audran, Thriller

Les Bonnes Femmes-1960

December 19, 2015 scottmet99 Leave a comment

Les Bonnes Femmes-1960

Director Claude Chabrol

Starring Bernadette Lafont

Scott’s Review #303

Reviewed December 19, 2015

Grade: A

Les Bonnes Femmes (1960) is a French film by Claude Chabrol, an excellent director whom I was shamefully unfamiliar with, save for the recently viewed Les Biches, made in 1968.

He has been labeled the French equivalent of Alfred Hitchcock, which is an accurate statement.

Les Bonnes Femmes is a brilliant film that came about during the experimental New Wave films of the 1960s and cannot be forgotten upon viewing it.

It has resonated with me, and I cannot stop thinking and analyzing it.

The film centers on four shopgirls living in Paris, all of whom happen to be young and beautiful and mysteriously look similar to one other. Their names are Jane, Jacqueline, Ginette, and Rita.

They are rather bored with their lives and meander aimlessly through life and the doldrums of their job by looking forward to social occasions, which mainly include men.

The girls party (some more than others), date, go to the zoo, swim, and enjoy typical young lady festivities.

So far, the film might sound like a typical, lighthearted, nice story- think a French Sex and the City. It is, by and large, this way on the surface, but throughout the film, there is a calm sense of dread- like something bad might be lurking in the shadows of coming around the bend.

One day, while the girls are at the zoo, a mysterious individual begins following them, though the viewer has no idea why or who it is.

The film contains more than a sense of dread. Instead, a sense of chilling violence is in the air. A brooding, cold, ugly feeling transpires due to superior direction and overall mood.

Paris, one of the world’s most gorgeous cities, appears bleak, dark, and gloomy throughout the film. The black-and-white cinematography undoubtedly adds to this, as greyness envelopes every shot.

Throughout Les Bonnes Femmes, there is plenty of foreshadowing as situations arise that give a sense of danger or that something terrible is imminent.

Early in the film, two girls are walking along the street when they are approached by two men in a car wanting to party with them. They accept, and the viewer wonders what a bad decision they may have made. The men wine and dine the women, who are looking for love.

One of the girls is quite a bit more reserved than the other and ends up spending the night with the men. Later, the shop owner tells a story about how she once acquired a serial killer’s bloody handkerchief after he was guillotined and has kept it for years.

Creepy? Yes.

The tigers snarling at the girls when they visit the zoo is laced with symbolism as is a, at first, fun game at the pool, as the men dunk the girl’s heads underwater until things escalate towards danger.

Jacqueline, the sweetest of the girls, meets a motorcycle man and spends time together. They are happy. The irony is that during these later scenes, in which an act of brutality occurs (one character is murdered), the tone is suddenly sunny, warm, and bright. A lovely afternoon in the woods quickly turns evil.

This was a shocking scene, as I was caught off guard. The ending of the film can be discussed in vast detail.

During the murder, it almost seems like the victim is welcoming death. Could this be? Additionally, is one of the shop girls his next intended victim, or is a new girl the killer’s next target?

In the final shot, we see him dancing with a girl, but it is unclear (at least to me) if it is one of the shopgirls.

Chabrol is not a happily-ever-after director. His films are known to be stormy, with dread looming. However,t they are also laced with style, sophistication, and a dark appeal.

I cannot wait to sink my teeth into more of his works.

1955 Films, Billy Wilder, Carolyn Jones, Comedy, Marilyn Monroe, Robert Strauss, Tom Ewell

The Seven Year Itch-1955

December 18, 2015 scottmet99 Leave a comment

The Seven Year Itch-1955

Director Billy Wilder

Starring Marilyn Monroe, Tom Ewell

Scott’s Review #302

Reviewed December 18, 2015

Grade: B

Following a string of successful hits by director Billy Wilder (primarily famous for films in the 1940s and 1950s), The Seven Year Itch features Marilyn Monroe in her prime and at her finest.

It is a cute film made charming by the likable legend. While not high art, it is a fun experience in classic romantic comedy cinema, and its innocence is undoubtedly lost in today’s genre.

Playing a familiar character to what she was known for (sexy, flirty, sweet blondes), it is arguably Monroe’s best role (though Some Like it Hot still wins out for me as her best film role).

Richard Sherman, a successful New York publisher, finds himself alone for the summer when his wife and son leave for a vacation in the country. Middle-aged and bored, he immediately is enamored with his gorgeous new upstairs neighbor, known as The Girl, played by Marilyn Monroe.

The Girl is a commercial actress and former model and is quite friendly and bubbly. She is conveniently staying in New York City while filming a new television ad for toothpaste. Richard finds himself awkwardly tempted by the curvaceous Girl in one situation after another.

The Seven Year Itch is pure innocence and fantasy. The Girl has no designs on Richard, and his flirtation with her is harmless and juvenile. Richard is nerdy and socially awkward, not to mention fearful of his wife’s stern nature if she discovers that he is even spending a moment with The Girl.

Much of the film includes scenes where Richard imagines conversations with his wife or imagines her with another man, justifying his attraction for The Girl. These scenes are done hilariously as he imagines conversations with his wife, and his thoughts are exaggerated.

Humorous scenes transpire, such as the “champagne scene,” in which The Girl and Richard attempt to open a champagne bottle while cooling off with Richard’s new state-of-the-art air conditioner. The Girl keeps her underpants in a freezer to cool off.

The Girl appearing in her toothpaste commercial, comically, is also a treat. And who can forget Marilyn Monroe’s famous scene in which she stands over a subway grate, clad in a sexy white dress and high heels, the wind from the subway blowing her dress in the air, is one of the most memorable in film history and priceless.

Some would argue that The Seven Year Itch (1955) is nothing but fluff, and they essentially are correct. Still, in an age of crude and obnoxious films disguised as romantic comedies, with cheesy jokes and canned humor, it is refreshing to look back to the 1950s culture, primarily an innocent era, and enjoy a fun film romp with one of cinema’s forever stars.

2015 Films, Drama, Independent, Independent Drama, James Ransone, Kitana Kiki Rodriguez, LGBTQ+ Drama, LGBTQ+ Films, Mya Taylor, Sean Baker

Tangerine-2015

December 17, 2015 scottmet99 Leave a comment

Tangerine-2015

Director Sean Baker

Starring Mya Taylor, Kitana Kiki Rodriguez, James Ransone

Scott’s Review #301

Reviewed December 17, 2015

Grade: A

On the rare occasion that I am lucky and privileged enough to stumble upon a gem like Tangerine (2015), it reaffirms my faith in film and creative filmmakers in general.

Here is a universal lesson- it does not require oodles of money to make a great film. This film was shot with three smartphones!!

It takes talent and creativity.

Tangerine is a groundbreaking film- the first (that I am aware of anyway) to feature transgender actresses at the forefront of the feature.

The film has been honored with multiple Independent Spirit Award nominations.

Shot documentary style, with grittiness and a frenetic pace, while mixing in unique styles of music (hip hop to classic) as the musical score (a child-like tune begins the film), Tangerine is unique from both a story perspective and a visual style.

The film’s first scene begins with two transgender sex workers- Sin-Dee Rella and Alexandra, having a conversation in a coffee shop. Sin-Dee has just been released from jail and learns that her boyfriend, and pimp, Chester (James Ransone), has been cheating on her.

It is Christmas Eve.

The film explores Sin-Dee’s rage and subsequent search all over Los Angeles for Chester, and the girl he has been with. She vows revenge on them both.

However, beyond this story point, the heart of the film is of loneliness and isolation that most of the characters (trans and otherwise), share, in one form or another.

Interspersed with the Sin-Dee story, are stories involving Alexandra’s feud with a “john”, and her pursuit of a singing career.

Another interesting story is that of a straight male, Razmik, an Armenian cab driver who is enamored with transgender sex workers.

This may sound bizarre or too out there for some, but Razmik’s story is quite tender and compelling. He has a wife, child, and other relatives and is the breadwinner. He is also very conflicted. He does not “use” the sex workers, but rather cares for them and admires them.

I found all three principal characters interesting in different ways- Sin-Dee and Alex are over-the-top, yet sensitive. While Sin-Dee is aggressive and vengeful, Alex is the kinder of the two and the more sensible and rational.

She is a sex worker but aspires for more out of life. Razmik is even more interesting- does he have a fetish? Is he shameful for spending money on prostitutes while supporting a wife and child?

All of the characters are victimized in one form or another and all are dysfunctional- at the same time, they are all weirdly likable.

I witnessed moments of Quentin Tarantino’s film style coming across the screen- most notably in the coffee-shop scenes (the beginning and final scenes) as all hell breaks loose, and the characters delve into all sorts of crazy behavior.

Tangerine is a sweet tale about friendship too.

It is a memorable and powerful film experience.

In the end, all the characters are hurting, living such sad lives, especially since the time is present-day Christmas Eve, which might make this film sound depressing, but it is not.

I found it almost uplifting in a way.

Tangerine (2015) is a completely original, groundbreaking film that I hope will be remembered and appreciated fifty years from now.

Independent Spirit Award Nominations: 1 win-Best Feature, Best Director-Sean Baker, Best Female Lead-Kitana Kiki Rodriguez, Best Supporting Female-Mya Taylor (won), Piaget Producers Award

1996 Films, Allison Janney, Campbell Scott, Comedy, Drama, Independent, Independent Drama, Isabella Rossellini, Liev Schreiber, Minnie Driver, Peter McRobbie, Stanley Tucci, Tony Shalhoub

Big Night-1996

December 16, 2015 scottmet99 Leave a comment

Big Night-1996

Director Stanley Tucci, Campbell Scott

Starring Stanley Tucci, Tony Shalhoub

Scott’s Review #300

Reviewed December 16, 2015

Grade: B+

Big Night (1996) is a sweet, whimsical little film that is a food lover’s dream come true since that is the focal point of the story with more than one dish being prepared on-screen giving it realism.

It centers on the restaurant business and, specifically, how two brothers struggle to keep their failing restaurant afloat through their love and passion for food.

The story tells of two Italian immigrant brothers, Primo and Secondo, played by Tony Shalhoub and Stanley Tucci, respectively.

The time is the 1950s and they reside in blue-collar New Jersey. Times are tough for them as they try to succeed in the difficult restaurant business- they specialize in Italian food of course.

Secondo is a playboy of sorts- suave and handsome, he dates Phyllis (Minnie Driver) while galavanting with a sophisticated older woman named Gabriela, the wife of a competitor.

Primo, on the other hand, is quiet, and serious, yet an all-star chef. The food he prepares is wonderful and his talent is evident.

But how can they market themselves to be successful?

At this point, their restaurant is dying and they risk being reduced to returning to Italy or eke out a meager existence working for someone else.

An idea is announced to have a celebrity singer (Louis Prima) perform for a one-night extravaganza at their restaurant, where they will make the meal of their lives and impress the town, thus achieving success.

The film is charming and my favorite parts are on the “big night”. As the duo prepared the liquor order and shopped for flowers and other decorations in preparation, the mood and spirit left me with a warm feeling.

What a sense of togetherness Primo and Secondo, along with friends, felt to achieve this challenging goal. Inevitably, there is tension between the brothers, and between Secondo and Phyllis, but truthfully, these are merely sub-plots, and the heart of the film is in the food.

The scenes that take place in the kitchen left my mouth watering. As Secondo prepares a baked pasta dish (Timpano), the meal oozes with love and tastiness. The entire story arc is grand and magnificent.

The group of diners revels in the dining room of the restaurant enjoying spirits and dancing the night away. By morning everyone is full and drunk, both with love and alcohol, but most are happy. They get merry as they eat the night away.

I could almost taste the main course!

A subplot that works for me is the burgeoning romance between reserved Primo and equally reserved flower shop owner, Ann. Both very timid, they finally muster the courage to admit their feelings for each other while enjoying (what else?) wine and food- what better way to begin a romance?

The tenderness and chemistry between these two are very innocent and captivated me while watching the film.

The final scene of the brothers making an omelet is also wonderful and a fitting way to stress togetherness and perseverance, which is what the small film is really about.

For lovers of food, Big Night (1996) is a shining moment.

Independent Spirit Award Nominations: 1 win-Best Male Lead-Tony Shalhoub, Stanley Tucci, Best First Screenplay (won), Best First Feature

2014 Films, Anja Marquardt, Brooke Bloom, Drama, Independent, Independent Drama, Marc Menchaca

She’s Lost Control-2014

December 14, 2015 scottmet99 Leave a comment

She’s Lost Control-2014

Director Anja Marquardt

Starring Brooke Bloom

Scott’s Review #299

Reviewed December 14, 2015

Grade: B+

She’s Lost Control (2015) is a dark, independent drama, and the directorial debut of Anja Marquardt.

This film is one reason I proudly support independent film, as it is otherwise a film that most would not know about, and will never know about, if not for good word of mouth and award recognition- think indie spirit awards.

Hopefully, Marquardt will one day be a household name.

The film is heavy yet intriguing and a character study.

It is a dark and dreary experience- some might argue depressing, centering on Ronah (Brooke Bloom)- a young, female, college student, aspiring towards her master’s degree in psychology, who works as a sexual surrogate in Manhattan.

The film explores her experiences with various clients, specifically, a disturbed, volatile man she takes on as a client. As she becomes better acquainted with Johnny, they forge a special bond, but will romantic feelings and jealousy get in the way of the therapy assigned to both parties?

How each of them explores their feelings is the focal point of the tale, and clearly, the feelings involved are not peaches and cream.

Ronah is not a prostitute and there is very little sex that goes on, albeit the implication is there. She is nurturing and emotionally invested and intends to become a psychiatrist one day.

It is unclear whether her “boss”, a shady seeming character, is her pimp or simply an employer. His role and motivations are unclear.

The most interesting aspect of the film is the title and throughout my viewing of the film I wondered about the title more and more- are any of Ronah’s experiences in her mind? Is she stable or does she have some emotional or mental issues?

She befriends a kind neighbor around her age and invites her for dinner- they bond. The neighbor invites her out to dance, but Ronah declines.

She also has an older female confidant- a former surrogate who gives Ronah tips and suggestions. Still, Ronah is lonely.

Again we wonder if perhaps all is not what it seems. This is a fascinating aspect of the story. One must watch to determine the answers to questions such as these.

New York City can be a tough, unkind world and She’s Lost Control does not sugar coat an individual’s difficult existence when not blessed with family money, strings, or some other advantage.

Ronah lives in a dump with holes in her shower and cramped quarters. In addition to the hardships, she is constantly kept abreast of problems concerning her brother and mother back home in upstate New York.

Quite simply, Ronah is overwhelmed by her life. Might she be spinning out of control?

The dreary aspect of the film is not so much the sexual aspect. Ronah is a therapist and everything is with mutual consent. Unfortunately, she is challenged by some of the people she encounters in her profession.

I admire She’s Lost Control (2014) quite a bit for its insight, thoughtfulness, and compelling story of a woman with a difficult life, trying to make ends meet, and aspiring to something worthwhile.

She is brave, troubled, and interesting all rolled up in one fascinating lead character.

Independent Spirit Award Nominations: Best First Screenplay, Best First Feature

2015 Films, Domhnall Gleeson, Drama, Emory Cohen, Fiona Glascott, Jane Brennan, Jim Broadbent, John Crowley, Julie Walters, Period Drama, Romantic Drama, Saoirse Ronan

Brooklyn-2015

December 12, 2015 scottmet99 Leave a comment

Brooklyn-2015

Director John Crowley

Starring Saoirse Ronan

Scott’s Review #298

Reviewed December 12, 2015

Grade: A

Brooklyn (2015) is a classic-style Hollywood film that I adored watching. It has a genuine innocence to it with wonderful, powerful acting and perfect cinematography/art direction.

The film is conventional and mainstream, but never sappy.

Based on Colm Toubin’s popular novel, Brooklyn takes place in the early 1950s and is set in Ireland and New York City.

Eilis Lacey, played by Saoirse Ronan, is a young Irish girl with good morals and traditional values. She is faithful and Catholic, with a good upbringing. Not rich by any means, she is intelligent and uses good sense, working hard on weekends in a grocery run by an unkind woman, to save money.

Thankfully, her older sister Rose, whom Eilis adores, has scrimped and saved enough for her to study in the United States, via a church program. Rose does not want Eilis to be trapped in the small Irish town.

While in New York City, an event occurs that necessitates Eilis’s return to Ireland. While home she develops a romantic dilemma that causes her to ponder whether to return to her new life in New York City or stay in Ireland.

Eilis is conflicted, which is the main focus of the story.

On paper, one might assume that Brooklyn is sappy, “chick flick” or a trite romance with predictability for miles- it isn’t. Everything about the film is perfect and is very detail-oriented. The pieces somehow fit together- good direction, good camerawork, good acting, and good story-telling.

Throughout the film, I found myself in an emotional state.

When Eilis meets the young and charming Tony, a working-class Italian American, who becomes infatuated with her, I worried how their different backgrounds will be handled. Their courtship is sweet and tender and I cheered for them as their slow romance builds.

She is taught to eat pasta correctly to impress his traditional parents. He walks her home every night. Tony and Eilis have a sweetness and purity that is tough not to fall in love with as an onlooker.

On the other hand, when dramatic events unfold, the excellent acting makes Brooklyn a delight and quite emotionally powerful. One might find themselves in a flood of tears by the end.

Thanks to Ronan, an impressive talent since my discovery of her work in 2007’s Atonement, she elicits in Eilis a strength and stoicism that is tested when she breaks down at one point in the film.

Important to mention is the awe-inspiring performances by Fiona Glascott as Eilis’s sister Rose, and Jane Brennan as Eilis’s mother.

Unknown actresses (to me), both give dramatic and dynamic performances in their respective roles.

Wonderful to see are veteran character actors Jim Broadbent and Julie Walters as Father Flood and Madge, respectively.

What a visual treat Brooklyn is! As the title reveals, most of the action does take place in this New York City borough, and the influx of Irish and Italian immigrants during this period of history is apparent in the clothing and the cinematography.

The lush green and vast landscape of Ireland makes this divine to view.

A story of bravery, romance, and kindness, Brooklyn (2015) is a wholesome and feel-good film, but, I was immersed in the story and the look of the film from the very first shot.

Oscar Nominations: Best Picture, Best Actress-Saoirse Ronan, Best Adapted Screenplay

2001 Films, Angelo Badalamenti, Ann Miller, Best Film of the Year, Billy Ray Cyrus, Chad Everett, David Lynch, Justin Theroux, Laura Harring, Lee Grant, Melissa George, Naomi Watts, Robert Forster, Scott's Top 100 Films, Thriller

Mulholland Dr.- 2001

December 12, 2015 scottmet99 Leave a comment

Mulholland Dr.- 2001

Director David Lynch

Starring Naomi Watts, Laura Harring, Justin Theroux

Top 100 Films #14

Scott’s Review #297

Reviewed December 12, 2015

Grade: A

Mulholland Dr. (2001) is my favorite David Lynch film and as far as I am concerned, a pure masterpiece in experimental filmmaking.

Championed by many; hated by others for its non-linear and very confusing storyline, to try and make sense of the mishmash of dreamlike plots is wasteful and undoubtedly headache-inducing, as the film simply must be felt and appreciated for its creativity.

My best analogy is Mulholland Dr. is to film what Pink Floyd is to music- it must be savored and experienced. It is a film to be interpreted and studied.

The main story, if one is attempting to summarize in a paragraph, goes something like this:

Part 1- aspiring actress Betty Elms (played by then-unknown Naomi Watts) arrives in sunny Los Angeles, as a perky, clean-cut girl, and stays in her aunt’s gorgeous suburban apartment while, she an actress, is away on location shooting a film.

Betty meets an amnesiac woman, the gorgeous Rita (Laura Harring), who is hiding in the apartment. Before meeting Betty, we learn that Rita was involved in a car accident on Mulholland Dr. and is carrying a large sum of cash, but she does not know who she is or even her name, making up the name “Rita” from a poster of Rita Hayworth she sees on the wall while showering.

Part 2: Betty (now named Diane) and Rita (now Camilla) are lovers and Betty, no longer aspiring, now has become a neurotic, struggling actress with no work, and is involved in a love triangle with Camilla and another man, who are both great successes and pity Diane.

Diane and Camilla go to a club named Club Silencio, where a gorgeous singer brings them to tears with her singing only to collapse and be revealed as a phony. The host warns that everything is an illusion.

Intersecting vignettes seemingly unrelated to the central part of the story- a young director forced to cast a woman after threats from the mafia, a terrified man who sees a demented man behind the dumpster of a burger joint, and a detective searching for the clues to the car accident involving Rita, all come together to relate to the main story.

Mixed in with all of these stories are recurring odd characters- the seemingly sweet elderly couple that Betty meets on the airplane, a strange cowboy who appears every so often, Coco, the landlord, played by legendary film actress Ann Miller, in her last film, Coco then doubles as a shrewish character in the alternate story, and finally, a mysterious blue key.

How do all these facets of story and character add up?

That is open to interpretation.

Some details support the theory that “Betty” is a figment of Diane’s imagination- she dreams of being fresh-faced and ready to take on L.A., and that the woman that Betty and Rita find dead is Diane.

When the plot changes direction, the cowboy utters the line “Hey, pretty girl. Time to wake up.”, which seems to support this theory, though, as mentioned before, Mulholland Dr. is meant to be enjoyed not stressed over if the puzzle does not always come together.

Mulholland Dr. (2001) is a masterpiece pure and simple. An odd masterpiece with plots that can be discussed and dissected for ages…..and not understanding the film is not a bad thing.

Oscar Nominations: Best Director-David Lynch

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

1941 Films, Agnes Moorehead, Alan Ladd, Arthur O'Connell, Best Film of the Year, Dorothy Comingore, Drama, Herman J. Mankiewicz, Joseph Cotten, Mark Robson, Orson Welles, Ruth Warrick, Scott's Top 100 Films

Citizen Kane-1941

December 12, 2015 scottmet99 Leave a comment

Citizen Kane-1941

Director Orson Welles

Starring Orson Welles

Top 100 Films #19

Scott’s Review #296

Reviewed December 12, 2015

Grade: A

Regarded as one of the greatest films ever made, Citizen Kane (1941) is a technically brilliant film that introduces fantastic new elements into a film that has not been seen before and has not been replicated for decades. It is a timeless masterpiece that is still enjoyed and marveled at in modern times.

One can forget what the story is about, as one can sit back, not having any idea of what the story means (it can be a bit difficult to follow), and look at the film from a cinematic perspective.

The various camera angles, shadows, and use of an actual ceiling (never seen in film before) are impossible not to appreciate for any film lover.

My favorite scenes occur when director (and star) Orson Welles uses snow falling outside as the cameras look through a window to observe the winter wonderland. This quality is simply astonishing in creative technicality.

I can view this scene over and over again.

The plot is a hybrid of drama and mystery. It examines the life and legacy of newspaper legend Charles Foster Kane.

The character, played by Welles himself, is loosely based on a real-life figure, William Randolph Hearst.

The film is told mainly through narrated flashbacks, as a newsreel reporter attempts to solve the big mystery centered around the deceased celebrity- his dying word, uttered from his lavish Florida mansion, was “rosebud,” and nobody seems to know who “rosebud” is or what the word represents.

As the story progresses, we learn more about the famous Kane. The reporter Jerry Thompson learns that Kane’s childhood in Colorado was one of poverty.

His mother, discovering a gold mine on her property, sent Kane away to be educated by a famous banker, thus securing his future. Thompson also interviews Kane’s business manager and Kane’s ex-wife, who is now a drunk and owns a nightclub, but neither can shed light on the mystery.

The mystery- never solved by Thompson nor anyone else- is revealed at the end of the film, to the viewer only, in fantastic form, and Kane’s childhood is key to the entire puzzle. This angle is creative and imaginative and brilliant for the whole film.

Technically, one of the best, most creative film creations, Citizen Kane, has lost none of its marvels over the years and can be watched, studied, and introduced to new generations of film lovers eager to learn what a true movie gem is all about.

Oscar Nominations: 1 win-Outstanding Motion Picture, Best Director-Orson Welles, Best Actor-Orson Welles, Best Original Screenplay (won), Best Scoring of a Dramatic Picture, Best Sound Recording, Best Art Direction-Interior Decoration, Black-and-White, Best Cinematography, Black-and-White, Best Film Editing

1971 Films, Best Film of the Year, Malcolm McDowell, Science Fiction, Scott's Top 10 Most Disturbing Films, Scott's Top 100 Films, Stanley Kubrick

A Clockwork Orange-1971

December 11, 2015 scottmet99 Leave a comment

A Clockwork Orange-1971

Director Stanley Kubrick

Starring Malcolm McDowell

Top 100 Films #9 Top 10 Disturbing Films #7

Scott’s Review #295

Reviewed December 11, 2015

Grade: A

A Clockwork Orange (1971) is a groundbreaking Stanley Kubrick film and my personal favorite in his collection, more than one of which appears on my Top 100 Favorite Films list.

Adapted from the 1962 Anthony Burgess novel and thought to be unable to make it into a film, it becomes a psychedelic, creative, and fascinating experience from start to finish.

Bizarre and extremely thought-provoking, Kubrick tells the story of a London sociopath delinquent living in futuristic London, and the strange behavior modifications performed on him after he is apprehended by the police, in an attempt to “reform” him and transition him to be a useful member of society.

The film delves into such social and insightful themes such as morality and psychology and questions these weighty topics.

Interspersed with classical music and wonderful, colorful sets, A Clockwork Orange is a masterpiece in bizarre artistic cinema.

Alex DeLarge loves classical music (specifically Beethoven), violence, and hanging out with friends. He constantly skips school, beats people up, and parties with his friends. His pet snake is his best friend, and his parents seem afraid of him.

Finally arrested after murdering an odd lady with dozens of cats, Alex is sent away to prison where he volunteers for an experimental “Ludovico” technique, which Alex assumes is a “get out of jail free” card.

What transpires next is a freakish and uncomfortable experience for Alex.

The film contains startling and disturbing scenes throughout- when Alex and his team of “droogs” become inebriated from a concoction of milk laced with drugs and embark on an evening of self-proclaimed ultra-violence, they drive to the country where they break into wealthy author F. Alexander’s house and beat him, crippling him for life.

They rape his wife while forcing him to watch, all the while Alex happily sings “Singin’ in the Rain” timing the beats of the song to acts of violence.

The brutality and creativity of this scene are mesmerizing and certainly unforgettable.

We the audience might despise a character like Alex, however, sympathy is felt for him as his “reformation” begins. A disturbing scene, which is forever embedded in my mind, involves the attaching of a contraption forcing Alex’s eyelids wide open while he watches violent scenes and is administered a drug to make him sick, thereby associating the violence with illness.

He becomes psychologically screwed up.

Alex (thanks to a wonderful portrayal by Malcolm McDowell) is charismatic and humorous and, in some warped way, quite likable to the audience, despite his devious ways.

A Clockwork Orange continues to disturb me after multiple viewings- who can forget the sinister grin that Alex wears and the creepy eyelash with mascara that he possesses?

The film sends an interesting message about human nature as Alex turns from predator to the hunted. We ask, “are human beings naturally prone to violence”?

The direction of the film is breathtaking- the weird colors, the (as traditional with Stanley Kubrick) long-shot camera angles, and the intense musical crescendos.

And the genre of classical music is a wonderful and ominous choice- almost adding a level of sophistication to Alex and the violence.

The weird supporting characters (Alex’s parents, the probation officer, and his parent’s roommate) and the suddenly fast-forwarded sex scenes were unheard of for their time.

Immensely creative and unconventional film making with a moral message and questions about society and mankind, A Clockwork Orange (1971) is a groundbreaking and fantastic, trippy experience.

A masterpiece from top to bottom.

Oscar Nominations: Best Picture, Best Director-Stanley Kubrick, Best Screenplay Based on Material from Another Medium, Best Film Editing

2015 Films, Best Feature- Independent Spirit Award Winners, Best Picture Oscar Winners, Billy Crudup, Biography, Brian d'Arcy James, Drama, Independent, Independent Drama, John Slattery, Liev Schreiber, Mark Ruffalo, Michael Keaton, Paul Guilfoyle, Rachel McAdams, Richard Jenkins, Stanley Tucci, Tom McCarthy

Spotlight-2015

December 9, 2015 scottmet99 Leave a comment

Spotlight-2015

Director Thomas McCarthy

Starring Michael Keaton, Mark Ruffalo, Rachel McAdams

Scott’s Review #294

Reviewed December 9, 2015

Grade: B+

Spotlight (2015) is a film with an important story to tell.

A telling of true events that occurred within the Catholic Archdiocese for ages, Spotlight’s focus is specifically on the Boston scandals, as a team of reporters working for the Boston Globe uncovered and exposed a multitude of child molestation cases committed by priests.

They were subsequently covered up, leaving victims paid off to keep quiet. The number of proven cases in Boston alone is staggering.

Starring are a plethora of talents including Michael Keaton, Mark Ruffalo, and Rachel McAdams, who lead the pack.

They make up the “Spotlight” team at the newspaper, an investigative unit that works on special stories as they arise.

Their new boss, Marty Baron (ironically a Jewish man), played compellingly by Liev Schrieber, takes over as head of the department. He quizzically asks why the story is not already a priority. Suddenly it is a hot-burner issue and the film delves into an investigation to uncover the facts.

Spotlight is a minimalist film. There is nothing cinematically unique or razzle-dazzle about it, but somehow that is okay.

In some aspects, the film reminds me of the 1975 thriller All The Presidents Men, starring Dustin Hoffman.

For instance, the bleak, bare news rooms-sterile in their look, are similar- cubicle after cubicle, harsh lighting, and generic conference rooms.

This is the filmmaker’s intent.

Also, the fast, energetic pacing, successfully emitting the tight deadlines newspaper folks face, transfers perfectly on film.

The sexual abuse scandal is a cold, harsh reality and the film introduces several victims, who, now as adults, are forever scarred. Some attend support groups, some take drugs, one is sadly not “all there”. Another, now a gay man, was singled out by a priest during a vulnerable period in the then-young boy’s, life.

It is a heartbreaking reality that many victims in the film are based on real cases.

Let’s focus on Schrieber’s character for a minute. He gives such an understated yet compelling performance there is a risk it will wind up being overlooked. He calmly, yet passionately initiates the case. It is not a showy performance and subdued but a compelling one if enough attention is paid to it. He is a standout.

Unfortunately, the film does not delve much into the defense (if any) of the Catholic church. Did they do anything but deny the allegations? Why were the victims paid off? Not much is noted from the church’s point of view.

In real life, the Catholic church did hide the abuse that transpired for decades.

A slight negative is that the film does not delve into the characters’ personal lives.

Michael Keaton’s character, Robby Robinson, is arguably the lead character, spearheading the case, though very little is known about him.

Is he married? happily? Yes, he is a workaholic, but what else?

Ruffalo’s Michael Rezendes is separated from his wife, but little is known to the reasons.

Finally, McAdam’s Sacha is probably the most fleshed-out. She is happily married, close with her religious grandmother, and hurt by the scandal. But we do not know her in-depth either.

I found myself wanting to know more about these people.

All in all, Spotlight (2015) is a superior film deserving of the recognition it is receiving. Intense, gritty, and filled with honesty, it is a story that needed to be told and has been told well.

Oscar Nominations: 2 wins-Best Picture (won), Best Director-Tom McCarthy, Best Supporting Actor-Mark Ruffalo, Best Supporting Actress-Rachel McAdams, Best Original Screenplay (won), Best Film Editing

Independent Spirit Award Nominations: 5 wins-Best Feature (won), Best Director-Tom McCarthy (won), Best Screenplay (won), Best Editing (won), Robert Altman Award (won)

2013 Films, Drama, James Gray, Jeremy Renner, Joaquin Phoenix, Marion Cotillard, Period Drama, Romantic Drama

The Immigrant-2013

December 5, 2015 scottmet99 Leave a comment

The Immigrant-2013

Director James Gray

Starring Marion Cotillard, Joaquin Phoenix

Scott’s Review #293

Reviewed December 5, 2015

Grade: A-

The Immigrant (2013) is a lovely, classic, old-style Hollywood film set in early 1920’s New York City.

The film is a classic tale of a poor Polish immigrant who travels to America in hopes of a better life, only to be met with hardship, manipulation, and conflict.

However, The Immigrant is not a downer. Rather, a powerful and intriguing story of life and the clichéd pursuit of happiness with a compelling love story mixed in.

Nominated for Best Actress for Two Days, One Night, eligible the same year as The Immigrant, this is a good example of how the Academy got it wrong as Marion Cotillard should have been nominated for this performance instead of the other.

The actress was, however, recognized with an Independent Spirit Award nomination for Best Actress for this role. A true talent, she gives a wonderful performance.

Little is known about Ewa’s (Cotillard) life before she arrives on Ellis Island with her sister Magda in tow. We meet them as they disembark a ship and wait in line on the immigration line, weary from their escape from war-torn Poland.

They have escaped their native country in hopes of a better life in the United States.

Unfortunately, Magda is ill and cannot hide a cough and is sent to the infirmary most likely before being sent back to Poland. Ewa desperately needs money and is told that her Aunt and Uncle have not shown up to collect her as she had originally thought.

Ewa is now on her own and desperate in a land where she knows not a soul.

As the plot unfolds, Ewa encounters two men who enter her life- Bruno (Joaquin Phoenix) and Emil (Jeremy Renner)- brothers with a rivalry, both professionally and in regards to Ewa. They both fall in love with her- she is gorgeous and innocent after all.

But can the men be trusted? Are their feelings true? We begin to get to know the men better and all may not be exactly as it seems or originally appeared to be.

The Immigrant perfectly captures the 1920s era cinematically with gorgeous cinematography and camera work.

Directed by James Gray, a director with a tendency to direct films set in New York City and feature a romantic element (Two Lovers comes to mind- also starring Joaquin Phoenix as a Jew pursuing a blonde girl).

In The Immigrant, I felt like I was transported to the 1920s with Bruno’s dark coat and bowler and the character’s costumes in general.

The Lower East Side, from the automobiles to the theaters, seems like that’s how it was back then- charming, artistic, and yet combustible too.

Marion Cotillard gives a soft yet tough performance as the long-suffering, heart-of-gold Ewa. The character’s yearning to keep her traditional catholic values while transported into a new and dangerous world filled with corruption and the need to survive is heartbreaking and Cotillard wears her heart on her sleeve.

She is also tougher and more stubborn than we first think she is- she will not be taken advantage of and these aspects give the character complexity.

I did not see her as a victim.

Let’s not forget the men in the film and while it borders on turning into a “woman’s movie” towards the climax, and Cotillard is front and center, Phoenix and Renner are flawless.

Phoenix, with the larger role, is extremely complex and it takes the audience until the final scene to entirely figure Bruno out.

I wish The Immigrant (2013) would have found a wider audience, but for fans of a traditional, classic, romantic Hollywood experience, this film is a treat.

It will take you back to an earlier time in the world- in a completely authentic way.

Independent Spirit Award Nominations: Best Female Lead-Marion Cotillard

1968 Films, Claude Chabrol, Drama, French, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Stéphane Audran

Les Biches (Bad Girls)-1968

December 3, 2015 scottmet99 Leave a comment

Les Biches (Bad Girls)-1968

Director Claude Chabrol

Starring Stephane Audran, Jaqueline Sassard

Scott’s Review #292

Reviewed December 3, 2015

Grade: B+

Les Biches (translated to mean Bad Girls in English) is a French-Italian film from 1968 about a peculiar relationship between two women, one a wealthy, gorgeous, sophisticate named Frederique, and the other a poor, waif-like, struggling street artist named Why.

They embark on a tumultuous love affair marred by competition for handsome Paul Thomas, the local architect.

At its core, the film delves into the class struggle, lust, and violence.

The beginning of the film sets the tone as Frederique provides Why with a large sum of money as she stops to admire her art on the streets of Paris. She invites Why back to her lush villa in gorgeous Saint Tropez, where Frederique lets two outrageous gay men co-habitat with her.

The household is a circus of sorts as the men prance around wildly, but Frederique teaches Why about high society and good living.

Soon Paul is introduced to the story and takes a shine to Why. She calmly rejects him and Frederique then begins to fancy him, thereby emotionally rejecting Why and leaving her feeling out in the cold.

The film then takes a psychologically dramatic turn as the characters turn against one another.

I admire this film as it is an unorthodox story, especially for 1968. Same-sex stories are not the norm these days and the interesting key is that the classes are different.

Frederique has control and power over Why because she has money. Paul admires Why, but he cavorts with Frederique. Is he genuinely interested in her or does he value her money most of all?

The film never makes the distinction crystal clear, but one speculates it is the latter. Frederique uses her wealth (and beauty) to obtain what she wants- namely, Paul to spite Why.

Why is younger and fresher and has not been marred by the world…yet? The gay men are cartoon-like. It is not clear exactly who they are or why they live in the villa. Little background is known about any of the characters.

Foreign-language films, especially of the 1960s and 1970s are fascinating- filled with life and interesting facets and Les Biches is a prime example of interesting film-making.

A trip down the bi-sexuality lane with two gorgeous women at the forefront of the story, both struggling for power over the other, though one with a clear advantage.

Interesting to note that at the time of release is the film was touted as a lesbian skin-flick and humorously miss-thought to be entitled “Les Bitches” (perhaps to get audiences in the door), but is hardly a sex romp- quite the contrary as the psychological elements overtake everything else.

Les Biches (1968) is an odd little adventure, but one to be appreciated and traveled with an open mind if the mood is right. Stylish and interesting and certainly non-mainstream, it challenges the social norms of the day and provides certain Hitchcock-like elements, especially in the final chapter.

2015 Films, Ben Whishaw, Brendan Gleeson, British, Carey Mulligan, Drama, Helena Bonham Carter, Meryl Streep, Sarah Gavron

Suffragette-2015

December 1, 2015 scottmet99 Leave a comment

Suffragette-2015

Director Sarah Gavron

Starring Carey Mulligan, Helena Bonham Carter

Scott’s Review #291

Reviewed December 1, 2015

Grade: A-

Led by an excellent performance by Carey Mulligan, Suffragette (2015) is a British film that tells the true story of the fight for women’s suffragette, as a team of women fought endlessly to obtain their right to vote, a vote that today most (men and women) take for granted.

Several characters are real-life portrayals, however, Mulligan’s central character Maud Watts is fictional. She is assumed to be a hybrid of other real-life characters.

Perfectly shot and giving a fantastic impression of life in England in 1912, the film centers around a bevy of working-class women- many of whom work endless and thankless hours in a sewing factory, working for and forced to tolerate a vicious, unkind man.

Their lives are bleak.

A women’s movement has developed, led by the mysterious Emmeline Pankhurst (Meryl Streep) and Edith Ellyn (Helena Bonham Carter), both financially successful, but very passionate women, spearheading the “women’s movement”.

The main character is Maud. The film is told from her perspective.

She is a hard-working laundress in her early twenties, married to her husband, Sonny, and with a young son. Plain, yet pretty, the audience knows this is all her life will ever be.

She has worked at the same sewing shop since a young age and has been sexually abused by her boss for years. While delivering a package, she witnesses a co-worker smashing a window protesting the women’s movement.

Initially reluctant to join the movement, Maud realizes the importance and loses her family and job because of her devotion to the cause.

When women were finally granted the right to vote in England in 1928, sixteen years after the movement began, this took a brave group of women who risked (and lost) their families, and jobs and were imprisoned, and in one heartbreaking scene, loss of one’s life, all in powerful devotion to what they felt was right and just, despite numerous powerful figures beating them down.

How sad to think this happened.

The film accurately portrays the might and courage that the women possessed.

One of two of the most powerful scenes in the film is as follows and belongs to Mulligan. Left by her husband and community and having been imprisoned more than once, Sonny decides to give their son away to an affluent couple. The boy is ripped from Maud’s arms and we realize she will likely never see the boy again.

It is tragic and painful to watch and Mulligan nails it from an acting standpoint. I have always admired Carey Mulligan, she chooses wonderful and challenging parts, never succumbing to mainstream mediocrity.

Think portrayals in Shame (2011), Never Let Me Go (2010), and An Education (2009).

The second powerful scene comes at the end of the film. When a character sacrifices her life (a real-life person, mind you) at the Epsom Derby where King George V is present, simply so that the women’s movement can get major exposure by running onto the track and wielding a sign, she is brutally trampled to death.

Subsequently, a funeral parade results, finally leading the masses to take notice and realize how important an issue this was.

The filmmakers of Suffragette wisely dedicated real-life footage of the parade that occurred at the time.

An important film with a message, Suffragette (2015) is beautifully shot and led by bravura acting and a true, real-life historical story, to be appreciated for its honesty.

2015 Films, Adam Rodriguez, Amber Heard, Andie MacDowell, Channing Tatum, Comedy, Drama, Elizabeth Banks, Gregory Jacobs, Jada Pinkett Smith, Joe Manganiello, Kevin Nash, Lowest Rated Films, Matt Bomer, Michael Strahan

Magic Mike XXL-2015

November 27, 2015 scottmet99 Leave a comment

Magic Mike XXL-2015

Director Gregory Jacobs

Starring Channing Tatum, Amber Heard

Scott’s Review #290

Reviewed November 27, 2015

Grade: F

Magic Mike XXL might be the worst film of 2015.

In the follow-up to 2012’s Magic Mike (a predictable yet decent flick), this version has neither novelty nor the basic storyline that the original contained.

Instead, audiences are treated to a lame mess of nonsense, lack of a story that makes sense or is realistic, plot holes galore, and, to nitpick a bit given the subject matter at hand, scarcely any skin!

A road trip kind of movie, I can’t quite decide if the film was targeting frat guys looking for a buddy movie or teen girls and soccer moms looking for escapism.

Even in a less-than-adequate film, I always try to find something positive to mention, whether the characters, the story, or the cinematic elements, I cannot find any redeeming value to Magic Mike XXL.

Fortunately, Matthew McConaughey had the good sense not to sign on to appear in this drivel. The same is not the case with Channing Tatum as he is the star of this installment.

Poor guy. I hope the paycheck was worth it.

The premise is as follows: Mike (Tatum), who is out of the stripper business and now runs a furniture business, receives a call that his former boss is “gone”. Mistaking this to mean he has died, Mike returns to Florida to see his old buddies, who convince him to join a stripper convention in Myrtle Beach, South Carolina, to end their careers on a high note.

While on the road en route to the convention, problems, secrets, and past faces resurface to add to the drama.

Mike’s love interest from the first film is barely mentioned and dismissed in a weak story-dictated explanation. This is an attempt for Mike to have a new love interest in the character of Zoe, a photographer headed to New York, played by Amber Heard.

The film is messy from start to finish, but here are highlights (or low-lights). The silliness in conflict over coming up with a new routine fails miserably.

The character of Richie (Joe Manganiello) slinks into a convenience store and razzle dazzles a brooding cashier, making her burst with delight because she thinks he is dancing for her.

This scene is completely juvenile, watered down, and unrealistic.

The stereotypes flow from Magic Mike XXL. En route to Myrtle Beach, the fellas make two stops that are the most ridiculous parts of the film and feature name actresses in silly roles.

When their van breaks down after an accident, a plot-driven way to allow the group to be sans vehicle, Mike looks up an ex named Rome (a severely miscast and unappealing Jada Pinkett Smith), who runs a weird male stripper house for bachelorette’s in the middle of nowhere.

After a lame strip scene (PG-rated at best) to impress Rome, the boys are on their way again.

What was the point of introducing Rome to the story at all? And there is zero chemistry between Tatum and Smith. It seems like complete filler and the dancing scene is endless.

As if the film wasn’t bad enough already, one of the dancers looks up his love interest and the group winds up at her mother’s house.

Andie MacDowell plays a boozy fifty-something, sophisticate who is the mother of Nancy. With her group of cougar friends in tow, they flirt with the boys conjuring up every negative female stereotype imaginable.

The women are misunderstood by their husbands and feel needy and desperate.

And of course, they are all horny and drooling over the guys.

And what is with the lack of nudity or much skin? Is Magic Mike XXL not a stripper film? Besides Manganiello’s bare bum in one brief pool scene, there is nothing else and barely any stripping going on.

This truly makes the film weak.

Magic Mike XXL is a complete dud and I hope against hope that there will not be a third installment. If the target audience is giggly teen girls, the horrific bad writing does not say much for society these days.

1978 Films, Comedy, Dario Argento, David Emge, Gaylen Ross, George A. Romero, Horror, Horror Zombie, Horror-Comedy, Ken Foree, Satire, Scott Reiniger, Tom Savini

Dawn of the Dead-1978

November 26, 2015 scottmet99 Leave a comment

Dawn of the Dead-1978

Director George A. Romero

Starring Ken Foree, Gaylen Ross

Scott’s Review #289

Reviewed November 26, 2015

Grade: B+

One of the better installments by the famed horror-comedy director, George A. Romero, though inferior to my favorite film of his, Night of the Living Dead (1968), Romero focuses slightly more on the comedy aspect with Dawn of the Dead (1978).

For horror fans, there is plenty of gore to satisfy bloodthirsty viewers.

This film is glossier and slicker than its predecessor was.

On a slightly larger budget than Night of the Living Dead, the events are in suburban Pennsylvania, at a local mall.

An unknown phenomenon has made non-buried humans change form into flesh-eating zombies that prey on other human beings.

A group of survivors hunker down in a suburban mall and begin a life of adequacy. They utilize the contents of the mall until events threaten their existence. They must form a militant operation to survive.

The four survivors are Stephen (David Emge) and Francine (Gaylen Ross), two staff members of a local television station, and Roger (Scott Reiniger) and Peter (Ken Foree), two SWAT team members whom they meet in the ensuing chaos.

The quartet steals a helicopter and travels a short distance to the mall.

Having viewed Dawn of the Dead many times, I am a fan of the film, but not an enormous fan, and it hovers below my Top Twenty Five Horror Films list (as of this review).

The main flaw is how it delves into the personal lives of Stephen and Francine midstream, a fact I find meaningless and stalls the plot.

Francine has realized that she is pregnant and I do not understand the point of slowing down the action for this purpose.

I am a huge fan of character development (even in the horror genre!), but this development does not work.

Still, the lengthy portion of the film of over two hours (highly unusual for horror), enamored me.

The scenes in the mall are fantastic and the action in the final act is thrilling.

Reminiscent of my youth and hours spent as a child, along with my mother and siblings, being paraded around the local mall, the look of the mall in Dawn of the Dead brings back a flood of memories.

From the fake green plants to the mannequins, the pool of water filled with coins, and the redundant, but lovely Muzak in the background.

Romero, as he did with Night of the Living Dead, provides a social element to the film.

The onset of materialism and consumerism captured the United States in the late 1970s and 1980s and Romero focuses on it. It’s taken me a couple of viewings to catch onto this point. The zombies stupidly walk around the mall in a numbing fashion mirroring how many people did during the day.

One character mentions that the zombies are drawn to the mall because it is familiar, much like people frequented the malls at that time frivolously spending away their time and money.

Some of the deaths, including one main character, are haunting. As the character suddenly “turns”, it is frightening to see them in this new light compared to how they once were.

And, comically, my favorite zombie character is the nurse. Wearing a uniform (white shoes, classic nurse cap, and white suit) she is creepy yet mesmerizing in her body and facial expressions as she lumbers around the mall.

It makes me smile each time I see her.

Dawn of the Dead (1978) is one of the better, more interesting zombie films. I just wish the relationship drama, mainly in the center, had been modified since it slows down the pace.

Still, a good, fun, late-night flick.

2015 Films, Aaron Sorkin, Biography, Danny Boyle, Drama, Jeff Daniels, Kate Winslet, Katherine Waterston, Michael Fassbender, Michael Stuhlbarg, Sarah Snook, Seth Rogen

Steve Jobs-2015

November 25, 2015 scottmet99 Leave a comment

Steve Jobs-2015

Director Danny Boyle

Starring Michael Fassbender, Kate Winslet

Scott’s Review #288

Reviewed November 25, 2015

Grade: B+

Steve Jobs is a name that almost everyone has heard of. Most associate him with Apple products or at least know that he is some technological genius who has influenced the modern world in some fashion.

His name is a household one.

The film Steve Jobs (2015) presents a slice of his life, mostly focusing on his professional leap to success, his damaged personal life, and his inability to stay close to people within his circle.

Michael Fassbender plays the title role. He looks nothing like Steve Jobs, but this did not bother me.

It is quickly revealed that Steve Jobs is a competitive, cut-throat, and sometimes unkind man. He is driven, ambitious, and willing to do what it takes to succeed in business. He is also complex and as the film rolls along we witness the complexities of this man, arguably deemed a “genius”.

But where he has flaws is in his personal life as the film makes abundantly clear.

Kate Winslet is excellent in the supporting role she plays. Joanna Hoffman, Jobs’s loyal marketing executive, stays in his corner through the years, enduring ups and downs, yet their relationship never goes beyond the platonic. They are colleagues and both are absorbed in their creations.

Her character is a bit under-explored as we never are exposed to much of her personal life. Winslet in a rare “dowdy” role, makes the most of Joanna as she is the type of woman who throws herself into her work at the expense of her private life.

The film is primarily set during the three important software launches and, predictably, all are filled with issues and stress.

The bulk of the first act occurs in 1984 when Jobs and Hoffman struggle and fret during an Apple Macintosh launch in front of an auditorium filled with industry types eager to see the new technology.

The scene is tense as the new computer will not say “hello” as advertised and Jobs demands lead engineer, Andy Hertzfeld, fix it. The scene escalates in its intensity.

We immediately bear witness to the fact that Steve Jobs is a shark. He is demanding and unlikable and the film is not afraid to stress that fact as the action continues.

We are next introduced to Jobs’s personal life. A beautiful young woman arrives at his office with a young girl. They are both on the brink of being destitute and thrown out of their home, yet Jobs refuses to help them and coldly calculates the probability that the young girl (Lisa) is biologically not his.

As the film chugs along Steve Jobs has a turbulent relationship with Lisa as the film spans the period from 1984-1998.

The film is a character study of sorts and we learn the complexities of Jobs. Fassbender gives a nuanced performance allowing the audience to absorb these character traits and ultimately feel emotional sympathy for him.

I admire this character study of Steve Jobs and feel that I know him quite a bit more, on a human level, than I once did.

Perhaps the supporting characters might have been fleshed out a bit more, but in large part, Michael Fassbender’s portrayal of a real-life person makes this film successful.

Oscar Nominations: Best Actor-Michael Fassbender, Best Supporting Actress-Kate Winslet

2015 Films, Action, Australian, Charlize Theron, George Miller, International, Riley Keough, Tom Hardy, Zoë Kravitz

Mad Max: Fury Road-2015

November 20, 2015 scottmet99 Leave a comment

Mad Max: Fury Road-2015

Director George Miller

Starring Tom Hardy, Charlize Theron

Scott’s Review #287

Reviewed November 20, 2015

Grade: C-

Having almost nothing to do with the original (and far superior) 1979 version of Mad Max, the 2015 Mad Max, sub-titled Fury Road (presumably for the endless car chases across the desert), looks great from a visual perspective.

The charisma of Tom Hardy and Charlize Theron is appealing, the story is non-existent and the film grows tedious after the initial admiration I first felt for the camera work and the dream-like vision the film possesses.

Initially, and admittedly, I was quite impressed with the film- a dreamlike, glossy look makes it a fantasy that one can escape into.

However, after some time, I began growing tired of the visuals, viewing it as a somewhat video game, instead of noticing the lack of story, which glared.

Sure, the thinly laid plot-line involved a rebel, Max Rockatansky (Tom Hardy), escaping the War Boys, where he has been kept as a blood donor against his will, joined by Furiosa (Charlize Theron) and a group of young, beautiful females escaping a life of breeding.

The group joins forces to allude, Immortan Joe, who chases them throughout the barren desert as they strive to reach safety in the beautiful “Green Place”, a land of prosperity that Furiosa remembers from childhood.

But this synopsis is similar to countless other action or adventure tales that have come and gone without distinction.

Again, compared to the original, I was expecting more from Mad Max: Fury Road and did not receive it.

The story fails because there is no rooting value. Since the film is a fantasy, per se, I did not find much investment in the characters getting to the “Green Place”.

The sweltering heat of the post-apocalyptic desert gives the film a roasting, tense look, and the action is almost non-stop.

Cartoon-like characters come and go, writhing on tops of cars or simply looking sinister with sneers and evil smirks, adding little to the story. Who are they? What is their purpose other than to look menacing?

I did admire the character of Furiosa. With a buzz-cut and a bad-ass swagger, the character is no-nonsense and in control throughout the film.

Certainly an inspirational female character, she adds zest to the film, which, on the surface, seems male-dominated. A female who can inspire and impress in this day and age is reasoning enough to mention.

Inexplicably, the reviews for Mad Max: Fury Road were positive and I do not get that. My overall perspective disagrees with these findings. I do not mean to imply that the film is “run of the mill” in an overall critique. It’s not.

There are fits and starts of creativity, as the glossy look of the film is admittedly a treat and a spectacle, but, alas, without a compelling story, this only goes so far before it begins to wear thin as an overall production.

Little chemistry or much dialogue between Hardy and Theron exists. Both are top-notch talents in their own right. Rather, grunts and facial expressions run rampant between the pair.

If the film was going for any sexual connection between the two, especially given the hot, steamy desert atmosphere, this intention fell flat as I noticed none.

To admire visually, the latest Mad Max (2015) may be worth a glimmer, but as a film that contains the entire package, this one is not worth its salt.

Oscar Nominations: 6 wins-Best Picture, Best Director-George Miller, Best Sound Editing (won), Best Sound Mixing (won), Best Production Design (won), Best Cinematography, Best Makeup and Hairstyling (won), Best Costume Design (won), Best Film Editing (won), Best Visual Effects

2001 Films, Ben Kingsley, British, Comedy, Crime Drama, Dark Comedy, Drama, Ian McShane, Independent, Jonathan Glazer, Mob, Ray Winstone

Sexy Beast-2001

November 13, 2015 scottmet99 Leave a comment

Sexy Beast-2001

Director Jonathan Glazer

Starring Ray Winstone, Ben Kingsley

Scott’s Review #286

Reviewed November 13, 2015

Grade: B+

Sexy Beast is an interesting little indie gem that has garnered quite a cult following, deservedly so, since the year of its release- 2001 and that I have recently viewed for the first time.

In large part, the film belongs to Ben Kingsley as he gives a bravura, and frightening, performance as a crime lord attempting to convince a retired hitman, now sworn to the straight and narrow, to resurrect his career for one last heist.

The other principal characters are wonderful in their own right, as the film successfully mixes elements of Quentin Tarantino with Ocean’s Eleven- bank heist meets quirkiness, with smart and witty dialogue sprinkled in.

Gary Dove is happily retired and living a life of contentment with his ex-porn star wife, Deedee, and best friends Aitch and Jackie. Having all been involved in “the biz”, they are long since removed from their respective careers. They now enjoy evening parties of wine and martinis, and days relaxing by the pool in their Spanish villas.

One day, a former criminal associate, Don Logan (Kingsley), who is also a sociopath, arrives to disrupt their peaceful lives and coordinate a bank heist in London, in hopes of luring Gary into the game once again.

As Gary and company nervously decide to decline Don Logan’s offer to participate in his sinister plan, a wonderful and important scene occurs early in the film. The quartet sits around the dinner table at a swanky Spanish restaurant anticipating a scrumptious meal.

Jackie reveals the news that Don has contacted her and the tone of the scene immediately changes to one of dread. All of them both fear and despise Logan.

They agonize over this sudden disruption to their lives and we, the audience, fear Don Logan before he ever appears on-screen. What fantastic story-telling.

Kingsley portrays a menacing character and brilliantly so. The character contains frightening brutality bubbling beneath his normally calm demeanor, which makes the viewer shudder when he appears on-screen.

Lest we forget, Ian McShane also gives a nuanced performance as Teddy Bass, Logan’s right-hand man, and wise businessman.

The cat and mouse scene towards the end as Teddy and Gary have an important discussion in a car is both chilling and important to the plot of the film. As Teddy slowly figured out certain events I was left intensely anticipating his reactions.

The film introduces an intriguing sub-plot involving Don’s long-ago fling with Jackie and subsequent love for her which adds layers to the plot and the dynamic and tension between Don and Gary.

Upon finishing the film, I loved the effect of foreshadowing that the film contains. I found myself rewinding the events in my mind, pleasurably so. From the pool to the young Hispanic kid to the thunderous boulder- all of these elements were crucial to the conclusion and fit like a puzzle.

A dark comedy of sorts, I chuckled after the film as the final reveal involving a double-heart insignia and a pool that gives comeuppance to the villain and pleases the viewer.

Having alluded to viewing Sexy Beast (2001) over the years, I am glad that I finally found the time to witness a darkly comical gem that, admittedly, may take repeated viewings to absorb and therefore fully “get”, and I look forward to doing just that.

Oscar Nominations: Best Supporting Actor-Ben Kingsley

Independent Spirit Award Nominations: Best Foreign Film

1942 Films, Alan Ladd, Crime Drama, Drama, Film noir, Frank Tuttle, Robert Preston, Veronica Lake

This Gun For Hire-1942

November 3, 2015 scottmet99 Leave a comment

This Gun For Hire-1942

Director Frank Tuttle

Starring Veronica Lake, Robert Preston, Alan Ladd

Scott’s Review #285

Reviewed November 3, 2015

Grade: B

This Gun for Hire (1942) is an early film noir that influenced later films of a similar genre. Starring marque headliners of their day, Alan Ladd and Veronica Lake, this film is a surprisingly violent experience for its period.

Shot in black and white, the film is wonderfully lit, adding style and substance.

The film begins with a bang, as hitman Philip Raven (Ladd) murders a chemist and blackmailer in exchange for a hefty amount of loot.

His wealthy boss double-crosses him and reports him to the Los Angeles Police Department. Detective Michael Crane, aided by his sexy girlfriend and nightclub singer Ellen Graham (Lake), takes the case.

The tangled love affair between Ellen and Raven, the film’s main draw, adds a wrench to the story.

I love this film’s black-and-white shooting, as many were in 1942. This enhances the tone because it is of the crime/hitman variety.

The chemistry between Lake and Ladd smolders, and Lake is great as a femme fatale with long blonde locks and a sultry pout.

She inspires the character conceived for L.A. Confidential in 1997, as Kim Basinger portrays a Veronica Lake look-alike. Ladd is doubly brooding as the hitman with a damaged childhood and ultimately sympathetic personality.

The setting of San Francisco and L.A. is wonderfully perfect and adds depth as the warm and sunny locales are mixed in with murder, corruption, and shenanigans. Who wouldn’t make comparisons to Chinatown (1974)??

A flaw I found in the film and which I found it difficult to buy into is the implausibility of Ellen falling in love with Raven as he tries to murder her-unsuccessfully so. This point seems plot-driven and a way to incorporate a mainstream love story amid the thrilling film noir.

Indeed, she would find satisfaction in a romantic sense with her detective boyfriend since the duo has no conspicuous problems. The love between her and Raven is all the more inexplicable. Still- sparks do indeed fly on-screen.

An action-packed crime affair, This Gun for Hire (1942) laid a crisp blueprint for film noir, hitmen, and action-type films for decades to come, and I admire it for this reason.

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.