All posts by scottmet99

2015 Films, Animated, Comedy, Dark Comedy, Drama

Anomalisa-2015

Leave a comment

Anomalisa-2015

Directors Charlie Kaufman, Duke Johnson

Starring David Thewlis

Scott’s Review #469

80080269

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. Instead, it is an intelligent tale about loneliness and how people connect through it.

It’s also a bit melancholy, 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, whom he jilted years ago, and who 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 question was 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 unclear about 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 didn’t find Michael likable or someone I’d root for. He is dismissive of some characters and a bit condescending, but he’s not a hated 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 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, Black & White, Courtroom, Crime Drama, Drama, Social Issues

To Kill a Mockingbird-1962

Leave a comment

To Kill a Mockingbird-1962

Director Robert Mulligan

Starring Gregory Peck

Scott’s Review #468

1051852

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, and as 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 Finches 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, 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 cringes 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 (1962) 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

Golden Globe Nominations: 3 wins-Best Motion Picture-Drama, Best Director-Motion Picture-Robert Mulligan, Best Performance by an Actor in a Motion Picture-Drama-Gregory Peck (won), Best Original Score (won), Promoting International Understanding (won)

2015 Films, Documentary, Political Documentary

Best of Enemies-2015

Leave a comment

Best of Enemies-2015

Directors Morgan Neville, Robert Gordon

Starring William F. Buckley Jr., Gore Vidal

Scott’s Review #467

80038199

Reviewed August 19, 2016

Grade: B

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

I found the documentary to be a nice little history lesson for me, since 1968 was before my time, and my viewing date (2016) was perfect, as we were 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 notes that television’s power in 1968 was intense and still new. I look back fondly on the limited network choices then, compared to the oodles of offerings now.

Still, everyone watched the same programming, which, it could be argued, led to better conversations the next day.

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. In 1968, reality television and mock feuds to garner ratings didn’t exist.

Their heated debates are now legendary, and they felt authentic.

The documentary is told in a structured way.

Buckley and Vidal faced off during ten primaries: five in the Republican primary in Florida and five in the Democratic primary in Chicago.

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

Best of Enemies also gives an overview of Vidal and Buckley and how they each came to achieve their respective fame.

The documentary intersperses interviews with family members, colleagues, and friends among the constant barbs as the debates rage 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 both men’s eyes 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 Grammer 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 it didn’t work.

This documentary shows the real birth of political pundits (now a dime a dozen) and the realism of television at the 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 television’s authenticity in its early days and, sadly, reminds us what it has become.

Independent Spirit Award Nominations: Best Documentary Feature

2014 Films, Action, Horror, Thriller

The Purge: Anarchy-2014

Leave a comment

The Purge: Anarchy-2014

Director James DeMonaco

Starring Frank Grillo

Scott’s Review #466

70299747

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 didn’t expect the sequel to match the original or be as powerful.

I was right on both counts.

As a stand-alone film, though, it is a decent flick, with almost nothing to do with the original except 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 for 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. Their backstories aren’t very 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 begins, the streets of Los Angeles serve as the backdrop for the action as they traverse the area, mostly deserted streets, hiding in garbage dumpsters, tunnels, and other places of refuge.

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 has little character development; 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 couldn’t help but compare it to the popular television series The Walking Dead (2010-2022) at several points, as the group, brandishing weapons, keeps running into thugs and enemies of every kind as they wander the streets.

A creative twist on The Purge: Anarchy follows a group of Anti-Purgers, all Black, who have a following of people supporting them against the government’s protocol of allowing an annual purge.

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, Drama, Independent, Independent Drama

James White-2015

Leave a comment

James White-2015

Director Josh Mond

Starring Christopher Abbott

Scott’s Review #465

80039413

Reviewed August 15, 2016

Grade: A

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

2015’s James White is an appreciative look at life and death, and how the main characters deal with life’s roadblocks 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 has a service, hosted by the father’s new wife, been held than we learn that Gail is suffering from stage four cancer and will not live much longer.

The film follows James as he 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 spans 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 show 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 Christopher Abbott brings to 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 the scenes is evident.

Since her fame on television’s Sex And The City, Nixon has chosen daring, 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, coaching her son through his anger and pleading 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 earns heaps of praise, 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 dutiful, but what motivates her?

Yet, given the film’s very short runtime (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

2015 Films, Comedy, Romantic Comedy, Screwball Comedy

Trainwreck-2015

Leave a comment

Trainwreck-2015

Director Judd Apatow

Starring Amy Schumer

Scott’s Review #463

80036402

Reviewed August 13, 2016

Grade: B

Trainwreck is a raunchy 2015 comedy/romantic comedy that owes much of its success to its star.

Amy Schumer makes this film as good as it can be (after all, she wrote it), and despite the raunchy girl power themes that are currently the popular trend in films of this genre, Trainwreck has some laughs and good times thrown in, thanks to Schumer.

Judd Apatow directs, who has successfully made a gazillion of these types of films in modern times.

The film teeters into predictability toward the conclusion. It has its moments of fun and is not boring.

Unapologetic, sexually promiscuous, and boozy, Schumer plays a successful magazine writer (Amy) given an assignment she despises- to interview a sports medicine doctor named Aaron (played by SNL alum Bill Hader).

Amy hates sports and knows nothing about them; she also goes from man to man, nothing serious, and is currently dating a sexy bodybuilder named Steven (John Cena), who she thinks may be gay.

Predictably, Amy and Aaron fall in love.

In typical fashion, Trainwreck contains stereotypical characters or characters who are merely there to bounce off the main action.

SNL alum Vanessa Bayer and Tilda Swinton are the most obvious examples, as the loyal best friend and rigid, type-A boss, respectively.

Brie Larson and Colin Quinn co-star as Amy’s family members. Both give one-note performances that are fine but unspectacular, and one surmises that Brie Larson agreed to this role before her Oscar-winning turn in Room (2015).

Despite the comedy clichés, I had some good fun with Trainwreck.

Schumer is likable as an ordinary girl; think of her as the new Melissa McCarthy, someone many people can relate to.

I am not sure Schumer and Hader had the best chemistry, but the point was that she found love with a “regular” guy, a tad dull, to counter-balance her big, loud personality.

And they do make a charming pair.

Some scenes work. When Amy encourages a naked Steven to “talk dirty to her” in the bedroom, and he attributes everything to bodybuilding, the scene is funny.

When Amy and Steven banter with an angry couple at the movie theater, it falls flat.

Certainly not high art, but for the raunchy comedy genre, Trainwreck is a treat and entertaining to watch, largely thanks to Amy Schumer’s comedic talent.

More often than not, when the masses rave about a current comedy as being “great”, I am usually disappointed.

Trainwreck (2015) isn’t great, but it’s good, with some laughs.

Otherwise, it is a rather by-the-numbers film.

2016 Films, Comedy, Drama, Romantic Comedy, Romantic Drama

Café Society-2016

Leave a comment

Café Society-2016

Director Woody Allen

Starring Jesse Eisenberg, Steve Carell

Scott’s Review #462

80106775

Reviewed August 11, 2016

Grade: B+

Having received sub-par reviews but wanting to see this film for myself, as it is a Woody Allen film, and I have yet to see an Allen film I did not like, I traversed to my local theater to see this flick.

I was not disappointed, though others did not share my opinion.

To love Woody Allen films is to love quirky characters who are either neurotic, damaged, or, more often than not, both.

Also notable to Café Society (2016) is the stellar cast of who’s who, many in minor cameo roles, another trademark of Woody Allen films.

Marisa Tomei, Daniel Radcliffe, and television stars Anna Camp (True Blood) have tiny roles, as do stars such as Sheryl Lee (Twin Peaks) and Tony Sirico (The Sopranos).

Additionally, Woody Allen himself narrates the film- a highlight.

The main stars of Café Society are Jesse Eisenberg and Kristen Stewart, both ideally cast.

The setting (which I adored) is 1930s Hollywood, and the action traverses between California and New York City, another common bond in Allen’s films.

Eisenberg plays Bobby Dorfman, a Jewish son of a working-class jeweler who has many siblings. Tired of New York, he flies to Los Angeles to obtain work with his hotshot Uncle Phil, played by Steve Carrell, who knows every celebrity.

There, he meets Vonnie (Stewart), and they fall in love, Bobby unaware of her on-and-off love affair with Phil.

The set and costume designs are to die for, and as a fan of this glamorous period in history, I find it an extraordinary visual treat.

Café Society is a prime example of a film that feels authentic to its time rather than appearing staged with actors merely dressed up in appropriate attire. This is tougher to achieve than one might imagine.

Despite contrary opinions, I enjoyed how most characters were wishy-washy and unsure of their motivations or feelings toward others.

Vonnie loves Phil, and then she warms to Bobby, who has been in love with her since their first meeting. She innocently shows him around Hollywood’s palatial mansions.

She is honest with Bobby but then makes a decision and becomes everything she once despised about Hollywood: a shallow, trophy wife.

Ironically, Bobby becomes involved with a stunning new woman named the same as his ex back in New York. This coincidence is crucial to the film’s point. He transfers his feelings to another woman, but is he pleased?

It did not bother me, though perhaps it should have, that several characters were introduced for a scene or two and then mysteriously dropped.

For instance, the novice hooker, Candy, having tried to make it as an actress and failed, has a heart of gold. However, after her awkward attempt at a tryst with Bobby, the character is never seen again.

Another characteristic of the film that I enjoyed is the natural, overlapping dialogue between the characters. It makes them more genuine and evokes my fondness for Robert Altman films, which used a similar technique with their actors.

The point of Café Society is that nobody ever gets what they want, and the film makes a point that nobody knows what they want.

Containing elements common to other Woody Allen films, Café Society (2016) is intended for fans of his lengthy work.

1999 Films, Biography, Chick Flicks, Drama

Girl, Interrupted-1999

Leave a comment

Girl, Interrupted-1999

Director James Mangold

Starring Winona Ryder

Scott’s Review #461

60000428

Reviewed August 8, 2016

Grade: B+

Girl, Interrupted is a film I viewed twice when it came out (1999) and again in 2013.

The film is a star-making performance for Angelina Jolie (then unknown) and warrants a watch for that alone. Jolie completely steals the show as she portrays a damaged mental patient during the 1960s.

The film itself is interesting as its intended star is Winona Ryder, at this point in her heyday, but completely usurped by Jolie- glaringly so.

Ryder was in prime form as the “it” girl in the 1990s. Sadly, her star has since faded.

Besides the “who is the real star of Girl, Interrupted” debate, the film itself is very good, though it has a glossy, happily-ever-after Hollywood vibe.

It is not as gritty as it could have been.

Throughout, the film has a very safe feel- even in moments of peril, as when one girl commits suicide, or another suffers from burns, it feels light.

I did not buy Whoopi Goldberg as the kindhearted nurse. Her performance was okay, but it didn’t stand out.

Ryder and Jolie are tops.

Despite the subject matter, the film suffers from a chick-flick, cliché-ridden, happy-ending sort of style, but I still immensely enjoy it.

Oscar Nominations: 1 win-Best Supporting Actress-Angelina Jolie (won)

2016 Films, Horror

Holidays-2016

Leave a comment

Holidays-2016

Director Anthony Scott Burns, Miscellaneous

Starring Jocelin Donohue, Sophie Traub, Seth Green

Scott’s Review #460

80096585

Reviewed August 7, 2016

Grade: A-

While perusing my Netflix streaming new release options, I stumbled upon an intriguing choice with an interesting premise.

Eight horror vignettes are all set in a holiday theme named Holidays (2016). The description of the stories harkens back to the days of the beloved Showtime Masters of Horrors series (2005-2007) that featured macabre horror shorts.

Not all eight offerings are spectacular, but the ones that stand out are dynamic, if not creepy.

Set in chronological order, Holidays begins with a story centered on Valentine’s Day- a clear homage to the horror classic Carrie (1976).

A taunted female teenager nicknamed “Maxi-Pad” by her cruel nemesis is encouraged to dive into the high school pool by her male coach to retrieve a brick, presumably to conquer her fear of swimming or water.

The coach, who Maxi is in love with, requires a heart transplant, so Maxi goes to morbid lengths to assist him and exact revenge on her tormentor.

In Father’s Day, a young female teacher receives a mysterious cassette tape from her long-estranged father, leading her on an adventure in an abandoned area to locate her father, wonderfully voiced by actor Michael Gross.

The audiotape’s voice tones and static sound add to the intrigue and suspense of the story.

Along with the Valentine’s Day story, the Christmas and New Year’s Eve segments are my favorites, as each is exceptional and creative.

On Christmas Eve, a young father (Seth Green) attempts to buy his son the last virtual reality device, but when he leaves a stranger to die to obtain it, he becomes haunted by the device.

On New Year’s Eve, a male serial killer looks for his next victim, a lonely woman desperate for an online date, but once they return to her house for sex, who becomes the hunter, and who becomes the victim?

Other holidays featured in stories that are either too bizarre to make perfect sense or less compelling but still worth mentioning are St. Patrick’s Day, Easter, Mother’s Day, and Halloween.

I adore this film’s clever holiday theme. I wonder which holiday will come next and how it will be incorporated into the story. It is terrific fun.

Specifically, the Christmas story reminds me of a classic Twilight Zone episode in which the main character betrays an unknown stranger for personal gain, which leads to guilt and conflict.

A few of the stories focus on the traditions of the featured holidays, like the legendary snakes of St. Patrick’s Day or the resurrection of Jesus on Easter Sunday, as a frightened young girl becomes terrified of the folklore involved.

This is incorporated with the legend of the Easter bunny delivering candy, as the confused girl cannot separate fairy tales from reality. This makes me wonder if the director’s point was to question the silliness of religion if one dissects it enough.

Other themes are revenge, as in the Halloween and Valentine’s Day episodes.  Both feature bullying in one way or another, each getting their due in the end.

I wish more anthologies like Holidays (2016) were made, as watching this feature was a fascinating, late-night joy.

2015 Films, Arabic, Drama, International, International Drama, International Thriller, Thriller

Theeb-2015

Leave a comment

Theeb-2015

Director Naji Abu Nowar

Starring Jacir Eid

Scott’s Review #459

80017216

Reviewed August 4, 2016

Grade: B+

An Arabic-spoken foreign language film that received a 2015 nomination for Best Foreign Language Film, Theeb is an old-world film set in 1916 during the Ottoman Empire.

The event is  World War I, as an Englishman battles Arabs and nobody can be trusted.

The film is largely shot in the smoldering Arabian desert (in Jordan) and told from the perspective of a child named Theeb.

Despite the slow pace, the action moments are even more important. It has a grainy quality that makes it feel like a bizarre Arabian western.

Theeb lives in a small village run by his father and older brother, Hussein. One night, a mysterious Arab man and an Englishman arrive seeking a guide to a Roman well near the Ottoman railway.

The mission is feared a dangerous one, as the trail they must take is riddled with bandits; not to mention, the Englishman carries a box of gold, making him a vulnerable target.

Theeb, left behind because he is so young, follows and joins them, much to the group’s chagrin. Predictably, trouble ensues, and Theeb must fend for himself.

What I enjoyed about this film is how unpredictable it is after the group faces danger. Sure, when the foursome sets out on a trail led by camels, we know bad stuff will happen.

But, finally left to his own devices, I was intrigued to see how Theeb would face his new challenges, having been protected by his family up until now.

In ways, Theeb reminded me of another adventure film, Life of Pi (2012), though Theeb is much darker. Both feature a young, non-American male of Indian or Middle Eastern background, forced to survive largely alone.

The John Boorman classic Deliverance (1972) also came to mind during one dark scene, as Theeb and Hussein cower in rocky caves while their devilish pursuers taunt and whistle at them from below.

The hunter-vs.-victim dynamic is front and center, and it is kill or be killed.

Later, an interesting bond develops between Theeb and one of the raiders (Hassan), even as they mistrust each other. Will they forge the bond or will one betray the other?

The answer emerges in the final moments, and the buildup is compelling. I became aware of the father-and-son dynamic mixed in with the friend-and-enemy dynamic.

When Theeb treats Hassan’s wounds, there is tenderness on the exterior, but is Theeb fully kind to Hassan?

A slight negative for me was that I didn’t buy that the period was the early Twentieth century; everyone looked and acted so modern, as if they were merely dressed up for their parts… as they were.

Perhaps it had to do with the hairstyles or mannerisms.

Shot entirely in Wadi Rum, Jordan, a gorgeous part of the world, the desert and big sky lend much to the ambiance. It felt almost like the Old West, an ode to old Western films, only set in the Arabic world.

The entire cast, save for the Englishman, are non-actors, an amazing achievement, and a measure that creates an obvious level of realism that rehearsed actors cannot always bring to the table.

Originally meant to be a short film only, Theeb emerged as a full-length feature, and I am glad it did, as it has enough meat to warrant a longer duration.

The film is a cinematic wonder with a psychological edge.

Oscar Nominations: Best Foreign Language Film

2015 Films, Comedy

Sisters-2015

Leave a comment

Sisters-2015

Director Jason Moore

Starring Tina Fey, Amy Poehler

Scott’s Review #458

80063604

Reviewed July 31, 2016

Grade: B-

Slapstick comedy is admittedly not my genre of choice, though I will watch some for light entertainment or to see just how bad (or good) current offerings are.

Nonetheless, I have tried to put myself in a mindset of low expectations for these films that are usually fluff and plot-driven.

In the case of Sisters (2015), the film is pretty much as one would expect: vulgar, crass and raunchy. Yet, due to the chemistry between the leads (Amy Poehler and Tina Fey) and a few heartfelt romantic moments, something does work. It is not as mean as one might think.

This is not to say that Sisters is a great film. Hardly. But not as bad as I feared.

Poehler and Fey play Maura and Kate Ellis, respectively, two late thirties sisters, living in other areas of the country, who return home to Orlando, Florida, when their parents (James Brolin and Dianne Wiest) sell their childhood home.

Maura and Kate have been tasked with cleaning their bedrooms in time for the sale.

The sisters have an idea to throw one final bash and invite their high school classmates, who all conveniently still live in the same town. Events go awry and the party gets way out of hand.

Mixed in with the main plot are sub-plots consisting of a romantic interest for Maura, and a rival for Kate, played by Maya Rudolph.

The best part is the chemistry between Poehler and Fey. They “have it” whether it is a Saturday Night Live sketch, hosting the Golden Globe awards, or starring in Sisters. The banter and the jokes work well because the two comics work well together and it shows on-screen.

They are believable as sisters despite looking nothing alike.

Otherwise, Sisters is a traditional vulgar comedy. One irksome recent trend (now more female-driven than in years past) is the leading ladies being classless. This must be an attempt at female empowerment or the assumption that since adult comedies were once a man’s world, female characters should be written like men.

Do we need Kate and Maura swearing like sailors, making poop jokes, and being so raunchy? Behaving like ladies would now be the exception, not the norm (Bridesmaids, 2011, set this precedent).

Not surprisingly, the supporting characters are all caricatures as is typically the case in films of this genre. The parents are a bit clueless and have kinky sex much to the girl’s chagrin.

Brinda, bitchy, judgmental, yet insecure, the Korean (big stereotype) nail technician who cannot properly pronounce English words, the new owners of the house are snobbish, uptight, and clueless, and finally, James, the guy next door, who are Mr. Fix-it and the straight man in the high-jinks. He is sugar-sweet and the male hero.

The romantic scenes between Maura and James are sweet and sentimental, nicely balancing the vulgarity and raunchiness that the rest of the film encompasses. They are a nice couple and have a rich rooting value.

Most of the action takes place at Kate and Maura’s childhood home where posters of such 1980s films as E.T. and Out of Africa, and a poster of heartthrob Tom Cruise, hang on the walls.

This, and many other references that Generation X will delight from in this film are pointed out, so that is a treat and a positive of the film.

As the party gets off to a slow start, the thirty and forty-somethings appear dull and either talk about their kids or their various maladies and suddenly, after being fed drugs, are back to their college party days, are both dumb and cute at the same time.

Sisters (2015) (hopefully) knows what it is. It is a late Saturday night, raunchy comedy affair, meant as fluff and escapist fun. It is not a masterpiece nor does it intend to be one.

Rather, a full-length SNL sketch including many alumni. It is harmless fun.

2012 Films, Horror, Thriller

The Tall Man-2012

Leave a comment

The Tall Man-2012

Director Pascal Laugier

Starring Jessica Biel

Scott’s Review #457

70242985

Reviewed July 30, 2016

Grade: B-

The Tall Man (2012) is a horror/thriller/message movie that stars Jessica Biel as Julia Denning, a nurse living in rural Washington.

The town’s children begin disappearing and are abducted by a mysterious creature named “The Tall Man”.

Is he a legend or a reality? When Julia’s son is the next victim, she sets out to solve the mystery.

The aging mining town of Cold Rock is the setting for the film, and it is perfect, with all the necessary elements: a remote, secluded location and creepy townspeople.

Additionally, The Tall Man has an interesting premise, and the ending is somewhat of a surprise, though rushed, so it’s an interesting experience.

The plot is so far-fetched and convoluted at times that it is tough to follow and take seriously.

I am not a fan of Jessica Biel, and I find her acting subpar, but she is adequate in her starring role and delivers a compelling performance as a haggard mom.

Given the actress’s good looks, I didn’t buy her as a blue-collar, small-town type.

Throughout the film, I felt something was missing, but I couldn’t put my finger on it.

A decent thriller, but nothing more.

2015 Films, Danish, Drama, International, International Drama, War

A War-2015

Leave a comment

A War-2015

Director Tobias Lindholm

Starring Pilou Asbæk, Tuva Novotny

Scott’s Review #456

80057926

Reviewed July 29, 2016

Grade: B+

A War, a 2015 film, made in Denmark, is a thought-provoking story that one might think is a standard “war film” on the surface, but as the film moves along, it turns into something much deeper and rather cerebral.

A slow mover, but necessary to the nature of the film’s message,  the viewer questions what he or she might do in a similar predicament as the main character faces a moral dilemma.

The action begins in Afghanistan as we meet a company of Danish soldiers assigned to protect civilians from the evil Taliban. They are young, good-looking, and of varying ethnic groups (a nice touch in the film).

One female soldier seems to be thrown in for good measure, though we never see her in combat.

Their leader is Commander Claus Pedersen, a good, decent man, well-liked by his troop. They have all seen death and destruction, and Pedersen frequents the middle of the action on the front lines.

He is one of the guys.

When one of his men is wounded during an attack, Pedersen makes a controversial decision, resulting in the deaths of civilians, and some children.

Pedersen is then charged with a war crime and sent home to Denmark to be tried. His wife and three small children are happy he is home, but distraught and opinionated on how he should testify.

One interesting aspect of A War is how the film shifts gears around the mid-way point.  The camaraderie between the soldiers in the field and their bond with Afghan civilians are mixed with dangerous threats from the Taliban.

I kept waiting for an attack to occur and in these ways, the film is a standard war film.

Mixed in are snippets of “home life” involving Pedersen’s wife. She appears a typical military wife, struggling to raise her three kids, one of whom has recently developed behavioral problems.

They miss Pedersen.

The latter half of the film is set inside a courtroom. Pedersen is interrogated by a female prosecutor and while she sympathizes with his anguish, she is determined to convict.

After all, children were killed because of his actions.

The filmmakers are on Pedersen’s side, but the conflict makes for great analysis. Should he be held accountable for deaths in a war zone? The viewer will ask him or herself- “would I lie to stay out of jail and with my family who needs me”?

Interesting stuff to ponder.

A War, ironic to the title, is calm and subdued, very impressive to me.  To compare, a film of this nature, targeted as a “blockbuster” would likely have technical enhancers, dramatic music undoubtedly would play to cue action in the war zone.

When Pedersen’s verdict is read aloud in the courtroom, it would normally contain some jarring camera shots or an intense musical score.

A War has none of those and that brings a certain reality- this could be everyday life. A decision is made and life quietly goes on.

Some complaints about A War being a tad boring. I see their point, but it is an atypical war film. It is understated and character-driven, rather than a shoot ’em up, overwrought with testosterone action, or laced with artillery or explosions.

A War (2015) is not a mainstream film- much to its credit. Rather it is methodical and fraught with interesting thinking points.

Oscar Nominations: Best Foreign Language Film

2012 Films, Animated, Comedy, Disney, Horror, Horror-Comedy

Frankenweenie-2012

Leave a comment

Frankenweenie-2012

Director Tim Burton

Starring Charlie Tahan 

Scott’s Review #454

70219496

Reviewed July 23, 2016

Grade: B

Frankenweenie is a very creative Tim Burton-made, stop-motion film that received a nomination for Best Animated Feature at the 2012 Oscars.

On the dark side, it is a pleasure to watch for the thought-invoked and left-of-center approach as compared to many safe modern animated features.

The story revolves around a lonely young man who experiments on his recently deceased dog to bring him back to life.

It is a black and white film, has nice horror references (Frankenstein, Bride of Frankenstein) and interesting characters.

It is also heartwarming as the child’s love for the dog is evident.

The movie is easy to compare to 2012’s ParaNorman in multiple ways (lonely male teen, both dark films).

As much as I give major props to this film for the creativity involved, somehow it did not completely connect with me (I liked ParaNorman better) and I’m not sure why, but I have great respect for the creative achievements it encompasses.

Oscar Nominations: Best Animated Feature Film

2012 Films, Animated, Comedy, Horror, Horror-Comedy, Independent, Independent Comedy, Independent Horror

ParaNorman-2012

Leave a comment

ParaNorman-2012

Directors Chris Butler, Sam Fell

Starring Kodi Smit-McPhee, Anna Kendrick

Scott’s Review #453

70217914

Reviewed July 23, 2016

Grade: B+

ParaNorman (2012) is a highly imaginative and very enjoyable animated film that I admired a great deal.

Creative colors and images are key, and the film is stop-motion.

Despite being animated, it is not a kid’s movie but rather geared toward the teenage or older demographic.

It is among the strongest of the five films nominated for Best Animated Feature in 2012, along with Frankenweenie, a similar type of film.

ParaNorman is so similar to Frankenweenie that they could almost be simultaneously reviewed or watched on the same day.

Both center around an isolated young male coping with his surroundings, and both contain a light horror feel.

In ParaNorman, an army of zombies invades a small, suburban town, and our hero, Norman, a strange young man who can communicate with the dead, must save the day.

The film features sympathetic peers, but the adults present various obstacles.

I have gone on record as being not much of an animated film fan, but I do view the best of each year, and this one impressed me immensely.

Oscar Nominations: Best Animated Feature Film

2012 Films, Arabic, Documentary, International, International Documentary

5 Broken Cameras-2012

Leave a comment

5 Broken Cameras-2012

Directors Emad Burnat, Guy Davida

Starring Emad Burnat

Scott’s Review #452

70229917

Reviewed July 22, 2016

Grade: B-

5 Broken Cameras is a 2012 documentary spoken in the Arabic language, which received critical acclaim upon release and heaps of award nominations.

A documentary about a Palestinian farmer, Emad Burnat, who recounts Israeli soldiers overtaking his land for several years; it became a Best Documentary Oscar nominee.

Non-political in his life, Emad is threatened as the Israelis build a wall through his land, which he refuses to part with.

As important as the subject matter is, it never really captured my attention, and I found it to drag a bit, which pains me to say because I was hoping to be really into it, given the topic.

This is just my opinion, since it is a critically acclaimed piece.

I would have voted for the far superior Invisible War, from the same year, for Oscar glory.

Oscar Nominations: Best Documentary-Feature

2012 Films, Best Documentary Feature Oscar Winners, Documentary

Searching for Sugar Man-2012

Leave a comment

Searching for Sugar Man-2012

Director Malik Bendjelloul

Starring Sixto Rodriguez

Scott’s Review #451

Reviewed July 17, 2016

Grade: B

Searching for Sugar Man (2012) is a heartwarming documentary that tells the true story of a forgotten rising Detroit rock singer (Sixto Rodriguez) from the early 1970s.

South African DJs rediscover him, and he becomes a surprising legend today.

The documentary’s main talking point is how an icon can be idolized in one country while living in utter poverty in another.

Thought to be the next great thing in the 1970s, his two released albums bombed, and he faded into oblivion until South African DJs, curious about his whereabouts, tracked him down.

Searching for Sugar Man (2012) is an inspiring documentary for any musician or music fan, since Rodriguez is a true artist.

He isn’t in it for the money or obsessed with attention or fame; he finally gets some recognition for his talent.

He is a free spirit, reminiscent of Bob Dylan, a poet, whose story is a courageous one.

Thankfully, this inspiring documentary has brought Rodriguez some notice.

Oscar Nominations: 1 win-Best Documentary-Feature (won)

2011 Films, Comedy, Crime Thriller, Dark Comedy, Independent, Independent Thriller, Satire, Thriller

Killer Joe-2011

Leave a comment

Killer Joe-2011

Director William Friedkin

Starring Matthew McConaughey

Scott’s Review #450

70209632

Reviewed July 14, 2016

Grade: A-

Killer Joe (2011) is a must-see for any fan of director Quentin Tarantino because this small, independent gem of a feature is worth checking out.

Tarantino’s films influence the film in style, characters, and violence. The mix of violence, humor, wit, and strong writing is stamped on the film.

Surprisingly, despite the influence of another director, William Friedkin directs Killer Joe, and he’s a highly acclaimed filmmaker in his own right.

This talent created classics such as The Exorcist (1973) and The French Connection (1971).

Matthew McConaughey stars in Killer Joe, and he has thankfully graduated from silly, fluffy romantic comedies to smart, delicious roles in independent films of late.

He has become a respected Hollywood actor, and his lengthy nude scene is daring for such an A-list actor.

The film is satirical, without being too campy, and the setting of a suffocating, trailer-trash Texas town is extremely well done.

I loved the violent, gruesome fried chicken dinner table scene most.

I especially liked the overall food references throughout the film, which add even more macabre comedy to this dark (on the surface) film.

Independent Spirit Award Nominations: Best Male Lead-Matthew McConaughey

2015 Films, Biography, Drama

Trumbo-2015

Leave a comment

Trumbo-2015

Director Jay Roach

Starring Bryan Cranston, Diane Lane

Scott’s Review #449

80057100

Reviewed July 11, 2016

Grade: B+

Trumbo, starring Bryan Cranston, who is suddenly in everything these days, is a 2015 biography drama about Dalton Trumbo, a famed, talented Hollywood screenwriter blacklisted in the 1950s.

Cranston is center stage in the film, and very good.

The film has a crisp, glossy look and excited me with its ode to old Hollywood and its mixture of real-life interspersed newsreels.

Great stuff for a classic film buff!

The sets, costumes, and art direction travel back to the 1940s and 1950s, but throughout I had a constant feeling of a modern film dressed to resemble an older one and never felt true authenticity.

Still, good effort and a well above-average Hollywood film.

A treat for cinema lovers or even those folks interested in seeing some classic black-and-white footage- a young Ronald Reagan is seen testifying, presumably against those feared to be communists.

Following World War II there was panic throughout the United States, including liberal Hollywood, to oust anyone with thinking deemed “un-American”.

If this sounds like a dated way of thinking now, the United States was not always as diverse as in 2016.

The infamous “Hollywood 10”, included ten screenwriters who were Communists, or at least had communist beliefs and sympathies. The story in Trumbo focuses on Dalton Trumbo, a quirky screenwriter, always with a classy cigarette, and holder, in hand.

His story is told and the audience sees his passion for fairness in the United States. He sees nothing wrong with being a communist.

The supporting characters are excellent. John Goodman, in the role of Frank King, B movie director, who gives Trumbo a chance to write under a pseudonym, and Helen Mirren and David James Elliott, as villainous Hedda Hopper and John Wayne, respectively.

Diane Lane could have been given more to do as the loyal wife of Trumbo, but sadly, Hollywood is not a woman’s world.

If I were to have any criticism of this film it is that Trumbo is mainstream fare and not high on the edgy factor, which is only a mild complaint.

There is nothing wrong with that, but the film screams Hollywood branded.

For instance, throughout Trumbo’s two-year prison sentence, he faces no real threats, no beatings, no abuse, nothing. He emerges from prison with a few gray hairs and life goes on. When Trumbo’s friend battles, and finally succumbs to lung cancer, there are no long-suffering scenes, making the film on the soft side.

Again, an observation of the type of film Trumbo is more than a complaint.

The scenes of Trumbo with his three children as the film periodically ages the children with older actors are touching, especially scenes with his oldest daughter, Nikola, are sweet. She grows up to be just like her father.

Trumbo earnestly explains to young Nikola, why he is a communist and asks what she would do if someone else was without food- her response is to share- a simplistic and sweet scene.

Ah, through the eyes of a child, the world is so innocent.

Trumbo goes back to the Hollywood of old- clean, glamorous, and extravagant, both in the film and the retro use of old footage.

It is a nonthreatening film that explains the story of Dalton Trumbo in a safe, thorough way.

I enjoyed it tremendously.

Oscar Nominations: Best Actor-Bryan Cranston

2011 Films, Drama, Independent, Independent Romantic Comedy, Romantic Comedy, Romantic Drama

Your Sister’s Sister-2011

Leave a comment

Your Sister’s Sister-2011

Director Lynn Shelton

Starring Emily Blunt, Rosemarie DeWitt

Scott’s Review #448

70211043

Reviewed July 9, 2016

Grade: C+

Your Sister’s Sister is a small 2011 independent film with a central cast of only three characters: the two sisters mentioned in the title and a young man (Mark Duplass) who is a rival for their affections.

The story tells of a love triangle, of sorts, between two sisters and one man.

I admire the improvisational method that is used in the dialogue, à la Robert Altman style, where the characters merely have conversations and discuss issues rather than a structured dialogue.

This works well in the film.

The standout is Rosemarie DeWitt (“Mad Men”). I also enjoy the remote cabin setting, which creates a claustrophobic experience.

Emily Blunt’s performance, though, feels bland to me, and I didn’t find her character very relatable.

The ending of the film leaves everything up in the air, and no clear conclusions are drawn, something I could see coming from miles away.

I admired the style of Your Sister’s Sister (2011) but was unsatisfied with the outcome.

Independent Spirit Award Nominations: Best Supporting Female-Rosemarie DeWitt

2012 Films, Action, Crime Drama, Drama, Los Angeles, Thriller

End of Watch-2012

Leave a comment

End of Watch-2012

Director David Ayer

Starring Jake Gyllenhaal

Scott’s Review #447

70235384

Reviewed July 8, 2016

Grade: B+

End of Watch (2012) impressed me much more than I was expecting. I expected a safe, by-the-numbers buddy/action movie, since the previews promoted it as such.

It was worlds better than that and threw me for a loop, in a good way.

The film stars Jake Gyllenhaal and Michael Peña as two detectives patrolling the streets of grizzled central Los Angeles, which are riddled with drug and gang violence.

The viewer is brought along for the ride as we see a day in the life, if you will, of their cop beat.

The one knock I’ll give the film is the implausibility factor of a cop videotaping everything. This seems silly and unrealistic.

Wouldn’t he be incredibly distracted? That said, some of the filmings were amazing, including the opening sequence.

The film has a realistic grittiness, and the Los Angeles locale is very effective.

End of Watch (2012) feels painstakingly real, isn’t always happy, and the dynamic between Jake Gyllenhaal and Michael Peña is evident; their friendship feels real.

The movie feels like a day in the life of an LA cop, sparing no edgy detail, and it doesn’t gloss over the lifestyle as many cop films do.

Independent Spirit Award Nominations: Best Supporting Male-Michael Peña, Best Cinematography

2016 Films, Horror, Independent, Independent Horror

The Witch-2016

Leave a comment

The Witch-2016

Director Robert Eggers

Starring Anya Taylor Joy, Ralph Ineson, Kate Dickie

Scott’s Review #446

80037280

Reviewed July 7, 2016

Grade: B+

The Witch is a slow-build 2016 horror film that plods with sinister wickedness and leaves viewers thinking well beyond the credits.

Is it a message movie?

Good versus evil, with a definite religious umbrella encompassing the entire film, is God against the devil. Guess which one wins out?

To be transparent, this film will undoubtedly offend the staunch religious.

Set in 1600s New England and entitled “The Witch—A New England Folktale,” the story follows a Puritan family banished from the village they inhabit.

They are forced to begin a life on their own and build a farm, struggling to survive by secretly selling family heirlooms. William and Katherine are the parents, followed by a teenage daughter, Thomasin (Anya Taylor-Joy), a son, Caleb, and youngsters, Mercy and Jonas.

Their recent addition to the family, Samuel, is snatched by a mysterious creature in the shape of a witch. We only see her draped in red as she sneaks into the woods holding the infant.

From the family’s perspective, they do not know who (or what) has taken Samuel) and tell themselves that it was a wolf, but soon they are not so convinced, and Thomasin is assumed to be a witch.

I adore the fact that this film is not set in modern times, which undoubtedly turns off some viewers. The thick English dialect is almost Shakespearean at times and challenging to follow at others, but it is also rich in culture.

The period and the absolute purity of the family are unsettling. Is it too good to be true? Unlike many horror films, much of the film is shot in the daytime, which adds to the tension.

It is combined with the creepy musical score- strings are used.

At one hour and thirty-two minutes, the very short film feels longer- it truly does move at a snail’s pace, but the final act makes up for this as something told me it would.

It has a creepy feel, and nightmarish events occur at the film’s finale.

Some of The Witch is open to interpretation. Sometimes, I suspected one family member or another of perhaps evil, but the film is not that straightforward, and some complexities arise.

For instance, do spirits possess animals? When Thomasin milks a goat and blood runs out, is this supposed to represent female menstruation?

A thinking man’s horror film, which is refreshing within the horror genre or any other genre for that matter, The Witch (2016) is unorthodox and thought-provoking, which makes it a winner in my book.

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

2011 Films, Drama, International, International Drama, Turkish

Once Upon a Time in Anatolia-2011

Leave a comment

Once Upon a Time in Anatolia-2011

Director Nuri Bilge Ceylan

Starring Muhammet Uzuner

Scott’s Review #445

Reviewed July 4, 2016

Grade: B+

Once Upon a Time in Anatolia is a Turkish film that, circa 2011, received notice and recognition during awards season.

The film is very slow-moving and requires some patience, but it is worth the effort, and I found myself savoring the experience by the end.

It is a cerebral, thoughtful experience about life and human nature, with a philosophical message. The main characters reflect on their lives while searching for a mysterious dead body in the plains of Turkey in the middle of the night.

The cinematography is wonderful, and some of the camerawork is amazing.

It’s quite a unique film.

The only drawback is its extremely slow pace, but upon its conclusion, it will leave you pondering for some time.

No bombs and no car chases are involved, just honest, truthful dialogue.

Independent Spirit Award Nominations: Best International Film

2005 Films, Horror, San Francisco, Supernatural Horror

The Fog-2005

Leave a comment

The Fog-2005

Director Rupert Wainwright

Starring Tom Welling, Maggie Grace

Scott’s Review #444

70038804

Reviewed July 4, 2016

Grade: D

The Fog is a 2005 remake of the 1980 film The Fog, and overall, it is not very good.

It sucks.

Why the original creators, John Carpenter and Debra Hill, had anything to do with it is completely beyond me, unless they needed some fast cash.

It is so modernized that it loses the mystique that the original had.

The credit it does deserve is for a few good scares and for keeping with the same characters as the original. Otherwise, it is largely a disaster.

For starters, the ending is completely different from the original and includes some ridiculous, silly fantasy elements that don’t work at all.

An interesting actress in the television series Lost (2004-2010), Maggie Grace, attempting to embark on a film career, is wooden and one-dimensional.

There is no good acting in the entire movie. Not that I expect great acting in a horror film, but it just adds to the mess of storytelling and writing.

A big fail.

2012 Films, Comedy, Fantasy, Independent, Independent Romantic Comedy, Romantic Comedy

Ruby Sparks-2012

Leave a comment

Ruby Sparks-2012

Directors Jonathan Dayton, Valerie Faris

Starring Paul Dano

Scott’s Review #442

70213510

Reviewed July 4, 2016

Grade: B

Ruby Sparks is a smart, creative, indie film released in 2012.

The film explores fantasy versus reality, as the main character is a troubled writer who imagines a character he created as real.

Is she real or isn’t she?

The film centers around a writer (Paul Dano) with writer’s block who creates an imaginary dream girl (Zoe Kazan), who magically comes to life one day.

This is an interesting premise, and the film has some big-name actors (Annette Bening, Eliot Gould, Antonio Banderas) in small roles, which is a delight to see.

The chemistry between the two leads is lacking, and the film leans too heavily into a typical romantic comedy.

Additionally, the film never explains whether it aims for seriousness or is purely the writer’s imagination, but I admire its creativity and thoughtful premise.

Independent Spirit Award Nominations: Best Screenplay