All posts by scottmet99

2014 Films, Adventure, Biography, Drama

Wild-2014

June 21, 2015 scottmet99 Leave a comment

Wild-2014

Director Jean-Marc Vallee

Starring Reese Witherspoon

Scott’s Review #249

Reviewed June 21, 2015

Grade: B+

Wild (2014) is a personal story of a young woman’s 1995 challenge to hike the 2,650-mile Pacific Crest Trail as a form of therapy for her divorce and her recovery from drug addiction.

The film stars Reese Witherspoon in a thoughtful biography of a real-life figure, Cheryl Strayed, and is adapted from a novel entitled Wild: From Lost to Found on the Pacific Trail.

The film depicts Cheryl’s struggles to survive in remote northern California through harsh weather and her encounters with strangers.

The film is a showcase for Witherspoon as she takes center stage, appearing in almost every frame of the film.

Her producing the project undoubtedly contributes to this. Regardless, it is a winning turn for Witherspoon as she is excellent.

She portrays the role with vigor, emotional rawness, and vulnerability, which comes across on-screen.

She deserved her Oscar nomination for this part.

What sets her apart from other actresses who may have played this role is that Witherspoon is a small, which makes her physical struggle to navigate trails and wilderness while hauling a large backpack of necessities believable.

Through flashbacks of Cheryl’s life before the enormous hike, we are introduced to her and the challenges she faced. We know that she is a recovering addict, but we do not know what led to these events.

Living in Minneapolis, she is very close to her mother, Bobbi, played by Laura Dern, who tragically dies.

This leads Cheryl down a path of destructive behavior and ultimately to her divorce from her husband, Paul, who periodically sends her care packages along the way.

Cheryl’s bond with her mother, a struggling woman herself, is deep. Bobbi struggles to raise a family and improve her education and life, which the flashback scenes featuring Cheryl as a teenager explore.

I love the encounters Cheryl faces along the trail, and I feel they add depth to the film.

Few and far between are these gems of interchange since she is mostly alone with nature, and the characters are interesting. Alone in the dark and desperate for a meal, she flags down a farmer named Frank.

At first, Frank seems dangerous and wields a gun, so Cheryl is wary as she goes home with him for dinner. Happily, Frank is married to a kindhearted woman named Annette, and the three of them enjoy a lovely feast.

Later, she encounters a young boy whose mother has died. They bond as the boy sings a song his mother used to sing to him, and when he leaves, Cheryl sobs with emotion for her mother.

These small snippets of real-life conversations and togetherness make the film feel happy, and we root for Cheryl to accomplish her enormous feat.

Thanks to a bravura performance by Witherspoon, Wild (2014) is much more than a woman surviving on her own in the wilderness. It is encased in quiet emotion and understated supporting performances that give layers to a human story.

Oscar Nominations: Best Actress-Reese Witherspoon, Best Supporting Actress-Laura Dern

2014 Films, Drama, Historical Drama, Independent, Independent Drama

Selma-2014

June 19, 2015 scottmet99 Leave a comment

Selma-2014

Director Ava DuVernay

Starring David Oyelowo

Scott’s Review #248

Reviewed June 19, 2015

Grade: A-

An Oscar-nominated factual feast, set in the mid-1960s during the Civil Rights movement, Selma (2014) is a retelling of the life and times of Martin Luther King Jr. and the struggles that black Americans endured during a tumultuous period in history.

The film includes dealings with then-President Lyndon B. Johnson and the famous and important 1965 Selma to Montgomery voting rights march, which led to the signing of the pivotal Voting Rights Act of 1965.

This film reminded me quite a bit of 2013’s The Butler in subject matter and style-ironic since Lee Daniels was slated to direct and instead signed on for The Butler.

Both feature a charismatic, intelligent Black man struggling with racial issues.

Despite being an independent undertaking, it is glossy, polished, and reflective of the time. Both The Butler and Selma boast a huge casts and feature historical political figures in a tumultuous era.

Selma features a bevy of real-life figures from George Wallis to President Johnson to the obvious leader of the Civil Rights movement, Martin Luther King Jr., and his wife, Coretta Scott King, and the casting is very well thought out.

Tim Roth, David Oyelowo, Tom Wilkinson, and Carmen Ejogo portray their roles professionally and passionately. None of the above received Oscar nominations, and I am okay with that.

I didn’t feel any were definite standouts from a crowded field of talent, though Ejogo could have been in the running with her understated but compelling performance.

I don’t share the drama surrounding the lack of expected Oscar nominations. The truth is, the film was included in the Best Picture category and won Best Song.

While an emotional and compelling film, it is neither a masterpiece nor will it change the art of cinema, though I must stress it is good.

I find Selma to be an important film- a look back on history and the shame and humiliation placed on blacks who attempted to obtain voting rights.

A heartbreaking scene depicts a determined woman (played by Oprah Winfrey) being denied this right by a cold and racist authority figure as she is asked impossible and tricky questions to prove her patriotism, which, of course, she cannot possibly answer correctly.

Yes, the film is directed by a Black woman (Ava DuVernay), and yes, one might argue that it has a Black point of view. However, the film successfully sympathetically portrays several white characters and avoids the assumption that all white people were racist in this period.

Let’s face it- racism still exists, especially in the South, and in the 1960s even more so. I did not find the message in black people vs. white people’s terms, but rather as a humanistic struggle for rights.

And the struggles continue, as the film makes abundantly clear.

While King was a life changer to the black people of the United States, his life was abruptly cut short in his prime. One wonders how much more good this man could have achieved.

The song “Glory” is an emotional, powerful number, especially during the marching and subsequent slaughter scenes, which are highly emotional and effective.

And who will not become teary-eyed as the innocent marchers are beaten and treated like cattle, simply for taking a stand? One will gasp at the senseless bombing scene that rocks a building and takes four innocent little girls’ lives away with it.

Selma transported me to a time before my time and helped me appreciate and understand the positive and negative experiences of a race of people not long ago.

This film inspires and moves me, and it teaches me about a movement that occurred in 1965.

Oscar Nominations: 1 win-Best Picture, Best Original Song-“Glory” (won)

Independent Spirit Award Nominations: Best Feature, Best Director-Ava DuVernay, Best Male Lead-David Oyelowo, Best Supporting Female-Carmen Ejogo, Best Cinematography

2014 Films, Australian, Horror, Psychological Horror

The Babadook-2014

June 14, 2015 scottmet99 Leave a comment

The Babadook-2014

Director Jennifer Kent

Starring Essie Davis

Scott’s Review #247

Reviewed June 14, 2015

Grade: B

The Babadook (2014) is an Australian (English-language) psychological horror film about a mysterious, haunted book that torments its owner or owners.

Touted as one of the scariest films of 2014, I kindly beg to differ, though admittedly the film does contain some genuine frights and jumps.

What happened to the horror genre, where frightening films haven’t been made since the 1970s?

Exceptions like The Conjuring (2008) deserve mention.

The Babadook tries to be scary without CGI or extravagant effects, but it has a classic feel.

Amelia, the mother in the story, has tragically lost her husband, Oskar, in a terrible car crash on the way to the hospital to give birth to her son Samuel.

Now six years old, Samuel begins to exhibit signs of psychological problems as he becomes terrified of an imaginary monster.

After a children’s book, Mr. Babadook mysteriously appears in their home, and Amelia reads it to Samuel; even stranger events occur throughout their house.

The film has remnants of The Sixth Sense (1999)- a loner, bullied kid is haunted, and a disbelieving single mom follows along as a ghost story, and questions of who is alive or dead are explored.

The father, Oskar, is instrumental in the storytelling. Because of this, the viewer is often confused throughout, but that is not necessarily a knock on The Babadook.

It is not exactly clear to me if Amelia is the central character or if that honor belongs to Samuel- the interesting part of the film is the relationship between mother and son.

The Babadook is a scary story. Can a book come to life and haunt? So says the film and that is worth thinking about.

In horror, there can be some ridiculous premise that is so unrealistic it cannot even be fathomed.

Where the film suffers in my view is that it is not that scary. Having something jump out at you or some other surprise is nice, but where is the terror? The exact motivations of the book also remain unclear.

I admire The Babadook for attempting to bring back old-school horror to modern audiences and telling a solid, haunting story.

However, the film did not quite measure up to the hype surrounding it.

The great film reviews are a bit much as I do not believe The Babadook (2014) is quite on the level of one of the scariest films ever made.

2014 Films, Comedy, Drama, Independent, Independent Comedy, Independent Drama, New York City

St. Vincent-2014

June 5, 2015 scottmet99 Leave a comment

St. Vincent-2014

Director Theodore Melfi

Starring Bill Murray

Scott’s Review #246

Reviewed June 5, 2015

Grade: B-

St. Vincent (2014) succeeds only because of the charming, funny appeal of its star, Bill Murray, who fronts this cute, mainstream comedy.

Set in blue-collar Brooklyn, New York, it follows a curmudgeonly old man (the title character, Vincent) who befriends a lonely young boy named Oliver, new to the neighborhood.

The cast also includes Oliver’s struggling mother, Maggie (Melissa McCarthy), and Vincent’s pregnant stripper girlfriend, Daka (Naomi Watts).

I found it intriguing that we meet Vincent first, then watch him evolve from a grumpy, cutting older man into a begrudging babysitter for the neighbor boy, while clashing with Maggie and fighting with Daka.

Murray returns to comic wit, using his now-legendary flawless dry, sarcastic humor and perfect timing, and he shows much of that in St. Vincent.

Throughout all of this, Vincent remains brutally honest with his snarky remarks (mainly aimed at Maggie), yet heartwarming, and I love this aspect of the film.

Thanks to Murray, Vincent is lovable, making the film, which with lesser talent, would be overly sentimental

As th.e film progresses, we see Vincent’s struggles- his wife suffers frhas Alzheimer’ss indebted to bookies (primarily Terence Howard- in a bit of a throwaway role).

The film staggers with some predictability issues and is formulaic, with an easy-to-predict warm finale.

Of course, in true form, Vincent is a Vietnam vet who drinks, gambles, and is angry at the world, but he has a heart of gold; so despite being temperamental, the audience falls in love with him (patriotism helps).

The character contains every cliché in the book. A mean older man who rises to new heights and becomes a nice grandfather figure to a bullied boy is what this film is going for.

The bullying of Oliver is also contrived- during one scene, Oliver, after being picked on once again by the prominent bully, flies into a seething rage and breaks the bully’s nose.

The audience is supposed to buy that the waif-ish, shy kid triumphs over the bully. If only life were that simple.

Inevitably, after both serve after-school detention, they bond over bathroom cleaning and become best friends.

Who did not see that coming?

In addition, most of the characters are one-note.

Naomi Watts is a sexy, aging Russian (not sure I bought that accent) stripper with a soft spot- she comes across as uptight but is caring- another cliché.

Melissa McCarthy is a hard-working, soon-to-be divorcee, trying to raise her kid right- one-dimensional. Even Vincent is seemingly tough as nails, but of course, has a soft spot for the neighbor kid.

The casting of Watts, McCarthy, and Howard is okay, and I surmise the film was going for casting “name” actors, but these parts might have been played by unknowns and had the same effect.

The gem is Murray.

Murray effortlessly breathes life into a character who otherwise would have been as dull as dishwater. I found the writing the film’s weakest point.

A major incident brings the cast together united as one (yawn). The film closes with the family all happily eating dinner together. I don’t see this as a spoiler, since this ending can be seen a mile away.

Despite the film’s flaws and sentimentality, it is admittedly sweet and humorous at times, and it sends a nice message to the audience: be kind to one another and help each other get through life.

Without Bill Murray, this film would have been completely bland and unlikeable.

St. Vincent (2014) is a feel-good film that is perhaps too feel-good.

2014 Films, Disney, Fantasy, Musical

Into the Woods-2014

May 8, 2015 scottmet99 Leave a comment

Into the Woods-2014

Director Rob Marshall

Starring Emily Blunt, Meryl Streep

Scott’s Review #241

Reviewed May 8, 2015

Grade: B

Based on the stage production of the same name, Into the Woods (2014) is a feature-length Disney film that incorporates several different fairy tales into the main story.

The film is a fantasy musical with numerous songs performed by the cast and features a large ensemble of seasoned actors.

The classic fairy tales are modern versions of Little Red Riding Hood, Rapunzel, Jack and the Beanstalk, and Cinderella.

The action mainly revolves around a baker and his wife (James Corden and Emily Blunt), who are sad and lonely because they cannot conceive a child due to a long-ago curse a witch played by Meryl Streep placed on the baker’s family.

Circumstances surrounding the baker’s father caused the once beautiful witch to be turned ugly.

The witch offers the baker and his wife a bargain: if they bring her four items (a white cow, a red cape, yellow hair, and a gold slipper) for a special potion, she will lift the curse, enabling them to conceive a child and live happily ever after.

This prompts the couple into the dark forest to obtain the requested items.

From this point, the couple intersects with other fairy-tale characters as they question various aspects of their lives.

The witch is Rapunzel’s adoptive mother and keeps her locked in a tower to protect her from the world.

Cinderella (Anna Kendrick) escapes her taunting stepsisters and attends a ball only to flee when noticed by the handsome prince (Chris Pine).

Jack tries to sell beans to provide food for his mother, and Little Red Riding Hood brings sweets to her Grandmother, but is confronted by the Big Bad Wolf (Johnny Depp) and a strange woman, a giant stomping through the forest searching for Jack.

All these stories revolve around the baker and his wife’s efforts to retrieve the witch’s requests.

The production and art direction are great. I love the dark, gloomy forest, which translates so well on screen and gives the magical effect of a mysterious, secret forest.

I enjoyed the songs quite a bit- especially the catchy “Into the Woods”. However, some of the songs are one-dimensional, bland, and hard to distinguish from each other, let alone remember.

The duet of the Princes, “Agony,” is silly and useless to the plot, with gyrations and dance moves.

Meryl Streep- dynamic in anything she appears in again steals the show as the vile witch turns beautiful at the end. She has a fantastic mid-story solo number, “Stay with Me.”

One drawback I found is that, at times, the film drags a bit, and I wasn’t sold on casting Anna Kendrick as Cinderella. Something about her performance felt lacking; perhaps she wasn’t as sympathetic or convincing as another actress might have been.

Also, I would have enjoyed seeing Johnny Depp as the Wolf more prominently featured and the Woman Giant given a larger role. As integral as she is to the plot, it was tough to get a clear glimpse of her face, let alone anything more substantial.

An entertaining feast of fairy tales in one film, Into the Woods (2014) has some compelling moments but misses opportunities that keep it far from the reaches of a masterpiece status.

A solid film, but not a great film.

Oscar Nominations: Best Supporting Actress-Meryl Streep, Best Production Design, Best Costume Design

1952 Films, Drama

Carrie-1952

May 3, 2015 scottmet99 Leave a comment

Carrie-1952

Director William Wyler

Starring Jennifer Jones, Laurence Olivier

Scott’s Review #240

Reviewed May 3, 2015

Grade: B

Carrie, not to be confused with the 1976 horror classic Brian DePalma, is a 1952 drama starring Laurence Olivier and Jennifer Jones—two big Hollywood stars of the time.

Shot in black and white, the film tells the story of a self-titled ingénue (Jones) from a Midwest upbringing who travels to Chicago to make her fortune.

Attempting to launch her career, Carrie becomes immersed in a love triangle with Olivier, who is unhappily married and runs a restaurant with salesman Charles Drouet, played by Eddie Albert.

Directed by William Wyler, the film has a melancholy tone as one of the characters sinks into a world of despair.

The highlight of this film is Laurence Olivier’s excellent performance as George Hurstwood, who goes from being a successful restaurant manager with an affluent existence to a poverty-stricken, lonely, and broken older man.

Olivier is so effortless and believable in his performance, as he always was.

However, I felt that Jennifer Jones was miscast. While attractive, yes, I did not think that every man would lust after her on sight alone, as was needed for the character of Carrie. Her acting, while okay, is not on the level of either Albert or especially Olivier, with whom she shares much screen time.

Perhaps Vivian Leigh, Teresa Wright, or Kim Novak might have been wiser choices.

The story itself is compelling and engaging. Here we have a woman- at the turn of the twentieth century- forging ahead to make it on her own- almost unthinkable for a woman, taking menial jobs as a sewing worker in a factory to scrape by.

Carrie resists the urge to become a rich husband-seeking gal and believes in marriage and true love. That is why she is devastated when she learns that George is married.

Will true love win out for them? This seems to be the central aspect of the film.

Behind-the-scenes issues may have contributed to the problems that appear onscreen. Wyler reportedly did not want to cast Jones, Olivier did not like Jones, Olivier was injured during much of the filming, and the film’s ending was changed to provide a “happier” ending.

Initially, George was to commit suicide, which might have successfully made the film more shocking and heartbreaking.

Containing beautiful costumes and interesting cinematography, Carrie has positives but might have been much better than the final product ended up being, but for poor casting and real-life dramas that hurt the film.

Oscar Nominations: Best Art Direction, Black-and-White, Best Costume Design, Black-and-White

2014 Films, Crime Drama, Drama, Independent, Independent Drama, Mob, New York City

A Most Violent Year-2014

May 1, 2015 scottmet99 Leave a comment

A Most Violent Year-2014

Director J.C. Chandor

Starring Oscar Isaac

Scott’s Review #239

Reviewed May 1, 2015

Grade: B

Set in New York City during a brutally violent 1981, and influenced, at least in part, by The Godfather (1972), A Most Violent Year (2014) shares a similar tone and feel with The Sopranos (1999-2007).

A Most Violent Year attempts to weave a tale of a “good guy” mixed up with the mafia, trying to stay upstanding amid the adversity and corruption he encounters.

Oscar Isaac and Jessica Chastain portray Abel and Anna Morales, who own Standard Oil, an upstart business they are trying to launch.

Due to the violent nature of the times, several trucks are hijacked, resulting in robberies and severe beatings.

In desperate need of funds to expand their business and stay ahead of competitors, Abel and Anna are forced to take out loans, leading them into a world where crime and violence run rampant.

The Assistant District Attorney investigates them for apparent price-fixing and tax evasion.

The main theme is the conflict and guilt that Abel feels towards violence and the constant temptation to join the ranks of the crime world to protect his business ventures.

Abel faces pressure from Anna, who has mob ties (her father is an influential mafia boss known around town) and wants to fight fire with fire. Abel refuses and is determined to lead a straight and narrow life.

When circumstances spin out of control, his morals come into question.

A Most Violent Year is an interesting film, but I think I expected a bit more than I got.

For starters, it is not in the same league as the mafia works of art. It is hard to put my finger on what’s missing, but something is missing from the film, leaving it without a compelling edge.

The plot moves slowly, but the film succeeds as the character study it is; still, I left wanting more depth in the characters and a broader vision for the film.

I didn’t find myself truly invested in either Abel or Anna.

Chastain received praise for her performance, which I found adequate, but hardly a marvel. Nominated for several awards, but deemed “snubbed” for not receiving an Oscar nomination, I find this untrue.

Her performance is not brilliant, and Oscar Isaac’s is superior.

This isn’t to say I didn’t enjoy the film overall. It takes some risks, has a rich character complexity, is shot very well, and looks great. It has a smooth look, and I completely bought the 1981 time period, rather than feeling like it was dressed up for the era.

There is an authenticity to it.

A mob film not on the level of The Godfather or Goodfellas (1990), A Most Violent Year is a decent contribution to the crime-thriller era. It just doesn’t live up to the critical acclaim it received.

Independent Spirit Award Nominations: Best Supporting Female-Jessica Chastain, Best Screenplay, Best Editing

2014 Films, Best International Film Oscar Winners, Black & White, Drama, International, International Drama, Polish

Ida-2014

April 24, 2015 scottmet99 Leave a comment

Ida-2014

Director Pawel Pawlikowsi

Starring Agata Trzebuchowska

Scott’s Review #238

Reviewed April 24, 2015

Grade: A

Ida (2014), the winner of several Best Foreign Language statuettes, including the first-ever Best Foreign Language Oscar for Poland, is a black-and-white film containing beautiful cinematography.

It offers a fascinating story that is moving, sad, and character-driven, centered on two compelling characters.

The ravages and after-effects of war have been explored in film before, but Ida brings a fresh spin to the subject matter.

The film takes place sometime in the 1960s, years after the cruelties of World War II and the brutality of the holocaust occurred, and explores the long-lasting pain and sadness that this incredible time in history left on the survivors, both mentally and physically.

The focus is on Anna (Agata Trzebuchowska), a young nun about to take her coveted vows and begin a life serving the Lord. Quite beautiful, she was left as a toddler at a convent.

Before she takes her vows, she is instructed to spend time with her only known relative, Aunt Wanda (Agata Kulesza).

Wanda is a former judge who battles depression and alcoholism. Her brother, Anna’s father, was murdered along with Wanda’s young son, so she is a tortured soul.

As Anna (real name Ida and Jewish) and Wanda begin a road trip to find the whereabouts of their deceased family’s bodies, they both face personal demons.

What struck me most about Ida is the cinematography; the black-and-white is lovely, especially when Ida and Wanda travel across the Polish countryside, which is exquisite.

The farms, land, and roads are so crisp and perfectly lit that it is easy to fall in love with them.

Many scenes resemble paintings, giving the film an artistic quality. Ida is simply elegant and peaceful in style.

Ida’s story is wonderful. Ida, the title character, is a torn nun. She knows no life but the church that saved her. But she is a gorgeous young woman filled with desires.

She sees her promiscuous aunt flaunt men and dress to the nines in flashy outfits and makeup.

Ida, almost always dressed in her nun’s garb, secretly wears Wanda’s dresses and makeup, transforming herself. When she meets a handsome saxophone player, her desires begin to brim over, and her conflict increases, especially as the truth about her heritage unfolds.

As interesting a character study as Ida is, the character of Wanda is equally, if not more so, interesting. Damaged, hurt, and depressed, she needs men to feel good about herself.

An alcoholic, she has not gotten over the death of her young son and has become a bitter woman.

Ida is about loss.

Visually and creatively enticing, Ida is as good as they get. It deserves the many awards it received.

Oscar Nominations: 1 win-Best Foreign Language Film (won), Best Cinematography

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

2014 Films, Drama, Fantasy, Gothic, Independent, Independent Drama, Romantic Drama, Vampire

Only Lovers Left Alive-2014

April 24, 2015 scottmet99 Leave a comment

Only Lovers Left Alive-2014

Director Jim Jarmusch

Starring Tilda Swinton, Tom Hiddleston

Scott’s Review #237

Reviewed April 24, 2015

Grade: B

Only Lovers Left Alive (2014) is a bizarre trip into the strange and unusual world of vampires.

The film moves slowly but becomes hypnotic, drawing me into the plot, though the plot itself seems almost secondary to the film’s gothic mood and dark ambiance.

Thanks to the wonderful Tilda Swinton, who I find mesmerizing in every film role she appears in, the methodical film never completely bored me and, at times, even fascinated me.

Set in the present, Swinton and Tom Hiddleston play vampires named Adam and Eve, lovers separated by distance. Adam is a musician living in a vast Victorian house in Detroit, and Eve resides in Tangier.

Realizing that Adam is lonely and suicidal, Eve makes the international trek to the United States to be with her love.

As they settle into a quiet existence immersed in music and thought, Eve’s rebellious sister, Ava (Mia Wasikowska), from Los Angeles wreaks havoc on their lives.

Also in the film is John Hurt, who plays Marlowe, an ancient vampire who assists Adam and Eve, who succumbs to sickness from tainted blood.

The film is a creative, atmospheric offering from edgy independent film director Jim Jarmusch, known for left-of-center fare like Broken Flowers (2005) and Coffee and Cigarettes (2003), both visual and visceral achievements.

While I didn’t completely love this film, I felt the story is its weakest point; the magical, beautiful arrangements almost make up for it.

Set entirely at night (when vampires are awake) and featuring several shots of Adam and Eve posed naked or almost naked in lovely, artistic angles, I think the film aims as much for a “look” as for storytelling and doesn’t fully center on the plot.

It is also a lovely romantic film, though not in the typical sense of silly misunderstandings and comical moments, but rather in romantic artistry, as Adam and Eve connect spiritually.

Married hundreds of years ago, Adam and Eve have been inexplicably separated by thousands of miles and coasts, though the reason is not explained.

Why are they the few remaining vampires alive? Does the human race know they are vampires or think they are odd-looking people?

They both have money to burn and pay a high cost for being vampires, as they either pay a contact to steal blood from hospitals to survive or obtain the blood elsewhere.

They are tempted to bite humans but resist those urges.

The film doesn’t explain why they are two of the few vampires left in the world, or answer other questions. Adam, supposedly a famous musician, is wealthy beyond words and lives in a haunted-looking mansion surrounded by music and musical instruments.

The plot holes, of course, are secondary to me. None of them matter.

The film has beautiful moments; it is musically centered, and Adam and Eve share tender dances on more than one occasion. The film is a pure love story, but a very left-of-center one.

I admire the film’s creativity and its willingness to go where most filmmakers dare not. Jarmusch dares to be different and deserves much praise.

My main critique is the pacing; the story barely matters, as the film feels more like an art experience than a “mainstream” film with a strong plot and focus.

Only Lovers Left Alive (2014) is a different type of film and one worth admiring.

Independent Spirit Award Nominations: Best Female Lead-Tilda Swinton, Best Screenplay

1938 Films, Drama, Favorite Film of the Year

Jezebel-1938

April 18, 2015 scottmet99 Leave a comment

Jezebel-1938

Director William Wyler

Starring Bette Davis

Scott’s Review #236

Reviewed April 18, 2015

Grade: B+

An excellent showcase for the young and lovely Bette Davis, Jezebel (1938) is a very early film role for Davis. It is similar to Gone with the Wind, a film Davis reportedly lost to Vivian Leigh.

One wonders how she would have made the character of Scarlett O’Hara her own, and Jezebel is on a journey exploring that possibility.

Acclaimed director William Wyler directed Jezebel, set in New Orleans in 1852 (pre-Civil War). Davis plays spoiled southern belle Julie Marsden, who is engaged to wealthy banker Preston Dillard, played by Henry Fonda.

After a dispute in which Julie selfishly feels her needs are unmet, she shockingly wears a red dress to a sophisticated ball where unmarried women are expected to wear white. This causes a scandal that results in Preston dumping Julie and leaving town.

Cocky Julie expects Preston to return to town and grovel for her forgiveness, but when he does return with a life-changing twist, the drama unfolds. Circumstances include a savage duel, longing for love, and atonement.

Fans of Davis will love Jezebel for the sheer excellence that she brings to the screen. Mesmerizing with those soulful, big eyes and excellent mannerisms, she exudes confidence and sophistication. Admittedly, this is my earliest Davis experience, and she shimmers on-screen.

Bette Davis is perfectly cast. Interesting to note are the innocent qualities early Davis possessed. Later afflicted with a hoarse, deep voice and ravaged beauty after years of alcohol and cigarette abuse, Davis in Jezebel is virginal and debutante-looking.

I find Julie’s wardrobe choices interesting. Her horseback riding outfit, the vixen-like red dress, the virginal white dress, and the dark raven cape at the climax of the film, as well as the various lighting techniques Wyler used to showcase Davis’s face, almost look like candlelight.

The film is similar to Gone with the Wind (preceded by a year). Julie, like Scarlett, is a rich, selfish girl who likes to manipulate men. Both films feature a love triangle prevalent in the story and broken hearts. The enslaved people in both films resemble each other, though they are a bit more glamorous in Jezebel.

The introduction of the yellow fever storyline and the sick and weak lying around in droves is similar to the wounded and dying soldier scene in Gone with the Wind, where the ill and dying lie in pain. The periods, triangle, and southern charms all heavily play in both. It is impossible not to compare the two films.

Melodrama did very well; Jezebel (1938) is to be admired as it is a film featuring a strong female character, something lacking in the film then (1938) and shamefully still lacking in cinema today! Jezebel is an actual “ambitious woman’s movie.”

Oscar Nominations: 2 wins- Outstanding Production, Best Actress-Bette Davis (won), Best Supporting Actress-Fay Bainter (won), Best Scoring, Best Cinematography

2014 Films, Thriller

The Captive-2014

April 18, 2015 scottmet99 Leave a comment

The Captive-2014

Director Atom Egoyan

Starring Ryan Reynolds

Scott’s Review #235

Reviewed April 18, 2015

Grade: C-

The Captive is a 2014 thriller that reminds me quite a bit of a 2013 thriller, Prisoners, which must have been an influence.

A similar plot involving a blue-collar, working-class family attempting to track down a missing child as the father takes matters into his own hands and is also considered a prime suspect in the crime by detectives is used.

Set in snowy upstate New York, the film follows Matthew (Ryan Reynolds) and Tina Lane (Mireille Enos), a struggling young couple whose nine-year-old daughter, Cassandra, is snatched from Matthew’s truck while he runs into a store to buy her a pie.

Told through flashbacks, the story picks up years later as the defeated couple is periodically taunted by Cassandra’s abductors, who leave clues suggesting she may still be alive.

Via video cameras, the abductors watch the parents’ emotional reactions to the clues and sell this “entertainment” to subscribers.

As the film moves along, we learn of a major crime syndicate involved in the kidnapping of Cassandra and other similarly aged girls.

At times, The Captive’s plot is compelling, with a few nice twists and surprises; other times, it moves slowly and drags.

The film sets the story in a cold, wintry season, emitting a tone of darkness, loss, and harshness. The cinematography is beautiful and deserves major recognition for the mood it creates.

The film’s major problem, though, is its extreme plot holes and ludicrous story; I still don’t understand the pivotal childhood ice-skating message at the end.

As the film progresses, the plot becomes hard to follow, and it raises many questions. Who is paying to watch parents emotionally tortured? How can Cassandra seemingly come and go as she pleases and remain a prisoner? Why, years later, is Matthew still a suspect?

These points feel too plot-driven for my taste and seem designed to move the plot along.

The main villain, Mika, is a weird guy, but what is his motivation? Why is he part of the kidnapping syndicate? What motivates anyone besides Matthew and Tina trying to get their daughter back?

This is not explained.

Some casting is problematic; I had difficulty buying Enos as a maid in a small town; she is way too glamorous a woman for that to be believable.

Similarly, casting Rosario Dawson and Scott Speedman as the central detectives seems unrealistic. The film is pure fantasy- these actors are too good-looking to be believable as upstate New York, small-town detectives.

While very handsome, Ryan Reynolds is the only actor I bought as a grizzled, broken father with a glimmer of hope that his daughter is still alive.

Despite some interesting turns, The Captive (2014) is too unrealistic and convoluted to follow closely, and it’s a bit of a mess.

For this type of film (kidnapping thriller?), I would recommend Prisoners (2013), though it has plot holes too.

1968 Films, Art, Drama, International, International Drama, Italian

Teorema-1968

April 10, 2015 scottmet99 Leave a comment

Teorema-1968

Director Pier Paolo Pasolini

Starring Terence Stamp, Silvana Mangano

Scott’s Review #234

Reviewed April 10, 2015

Grade: A-

Teorema is a 1968 Italian art film directed by Pier Paolo Pasolini, who later went on to direct the dark and disturbing 1975 masterpiece, Salò- 120 Days of Sodom.

If one is looking for a concise, mainstream plot with a fixed, to-the-point beginning and ending, one will be disappointed. Rather, Teorema is an exhibition in artistic style and interpretation, and it succeeds in mesmerizing this viewer with thought and contemplation.

A mysterious stranger, known as “the visitor”, suddenly arrives to stay with an affluent Italian family in their sprawling estate. The family consists of a father, mother, son, daughter, and maid, all of whom experience loneliness, boredom, fear, rage, or repression.

The handsome stranger successfully beds all the family members, and just as suddenly as he arrives, he disappears from the household, leaving the family members with different thoughts, feelings, and actions upon his departure.

The film is highly interpretive, and every character can be analyzed.

The stranger seduces all the characters, and the family’s wealth is examined. Is Teorema (which translates to the theorem in Italian) a commentary on the bourgeois society? The father, Paolo, owns a factory and appears to be in turmoil- is he a repressed homosexual?

The father’s story concludes with him turning his factory over to the workers, stripping naked, and roaring with anger and frustration.

Is the mother simply a wealthy, bored housewife or much more than that? This character might have been explored more thoroughly.

The maid, devoutly religious, becomes suicidal after her tryst with the stranger. The others confide in the stranger about how they feel about themselves, and at times, the film feels like a therapy session as each character delves deeper into their personal feelings.

Only the maid is a bit different from the others, but could this be because she is working-class, while the others are affluent?

The daughter, Odessa, approximately sixteen years old, becomes depressed after her liaison. The frightened, weak son appears to have a crisis and is consoled by the stranger in a loving, tender fashion.

Interestingly, the film at the time was resoundingly denounced by the Vatican, which took offense at the controversial tone of the film and its focus on “obscenity”.

Could this be because of some people’s interpretation of “the visitor” as being a Christ-like figure? One must argue for the distinction between “obscenity” and “art” after viewing this groundbreaking, visionary film. I found Teorema to be a thought-provoking film and did not feel the movie was going for shock value.

The film is lightweight in this regard compared to the hauntingly brutal Salo (1975), which followed years later.

Teorema (1968) delves into the psychological abyss and portrays an Italian family as more than wealthy- they are people with emotions, fears, desires, and complexities.

Not for mainstream audiences, but meant for lovers of interpretive film, it can be debated and discussed for ages to come.

1974 Films, British, British Horror, Horror, Horror-Camp

Madhouse-1974

April 3, 2015 scottmet99 Leave a comment

Madhouse-1974

Director Jim Clark

Starring Vincent Price, Peter Cushing, Adrienne Corri

Scott’s Review #233

Reviewed April 3, 2015

Grade: B-

Madhouse, a 1974 British horror film, stars horror icon Vincent Price, who portrays a sympathetic Hollywood actor who is unsure of his sanity after the grisly murder of his trophy fiancée, whom he may or may not have been responsible for murdering.

Mainly set in London, Madhouse also stars famed British actors in the latter stages of their careers, such as Peter Cushing, and is a treat for classic British horror fans.

The look of the film is stylistic and effective in the mood- the story, while silly, is also fun.

Paul Toombes (Price) is a renowned actor best known for his portrayal of Dr. Death in a successful film franchise. He seemingly has it all and is the envy of his contemporaries- wealth, notoriety, and a glamorous blonde fiancée named Ellen.

After Ellen is murdered by someone dressed as Dr. Death, Paul is unable to remember the circumstances or his whereabouts during the murder.

After spending years in a mental institution in a confused state, he is summoned to London to mount an acting comeback of sorts, reprising his Dr. Death alter-ego.

As the bodies begin to pile up, a whodunit commences- is Paul Toombes the killer, or is someone impersonating him?

The film itself is quite pleasing to a horror fan like me. The deaths, while silly, are fun and campy.

Mostly all female victims, a comical aspect is how the victims, when cornered by the killer, simply scream and stand there waiting to be sliced.

Wouldn’t they fight back in real life?

This film is certainly not realism at its finest, but it is a fun horror film. It is a bit exaggerated and over-the-top in a campy way, but it is also true to the 1970s style, with point-of-view scenes from the killer’s perspective.

A wonderful aspect of this film is the inclusion of real clips from old Vincent Price films (The Raven, The Pit and the Pendulum, and House of Usher), to name a few, featuring the deceased horror god Boris Karloff and Basil Rathbone.

Since the plot features Price as a former horror actor, this is a wonderful opportunity to showcase classic horror films from long ago, and it works perfectly.

I enjoyed the television scenes within the film plot as Paul revives his career and shoots a series for the BBC. The film chooses interesting, haunting sets, and Cushing’s character, Herbert Flay, and his zany wife reside in a spooky, vast mansion with eerie spiders that the wife is obsessed with.

The set pieces are great and very Halloween-like. And the spider-eating-flesh scene is excellent!

The tag team of Price and Cushing is fun to watch- both horror stalwarts connect well, and both actors play off of each other successfully.

They had a ball while making this film.

Towards the end of the film, the plot becomes confusing, and the big reveal of the killer’s identity and the surrounding motivations is a disappointment.

The conclusion to the film is silly and makes little sense, although that is secondary to a film of this genre that borders on camp.

Madhouse (1974) is an enjoyable midnight flick starring two of the classic horror genre’s top icons.

2014 Films, Action, Adventure, Blockbuster, Science Fiction

Dawn of the Planet of the Apes-2014

March 29, 2015 scottmet99 Leave a comment

Dawn of the Planet of the Apes-2014

Director Matt Reeves

Starring Andy Serkis

Scott’s Review #232

Reviewed March 29, 2015

Grade: C+

Dawn of the Planet of the Apes (2014) is a summer blockbuster hit that knocks it out of the park visually; it is magnificent to look at, with creative sets and realistic images, but the story is mediocre and predictable.

I think the filmmaker’s true intent was to focus on the look of this film, and succeeds. The film is a slightly better-than-average big-screen adventure with more style than substance.

Set in San Francisco, or what was once San Francisco, the film takes place in a futuristic world. Apes have forged a new civilization after a deadly virus has eliminated 90% of the human population.

The apes are highly intelligent and manage a happy, unified existence. Then, one day, a human is encountered and, scared, shoots an ape.

This leads to a peaceful resolution between Caesar, the leader of the apes, and the humans: they each stay in their respective territories.

However, humans need access to a dam in the apes’ area to generate electricity. Mutual distrust leads to tension, but the civilized apes and humans reach a truce.

Naturally, conflict escalates as sinister humans and apes vow revenge on each other. This leads to a war while the peaceful apes and humans strive to work things out.

A further angle of the story is the hunger for power within the ranks of the Apes, reminiscent of Lord of the Flies.

The human protagonists, Malcolm and Ellie, played by Jason Clarke and Keri Russell, are a wholesome, decent couple.

Dawn of the Planet of the Apes pales in comparison to the original 1968 masterpiece, Planet of the Apes, starring Charlton Heston. Comparing the two is unfair, since, sadly, this one has nothing to do with the original.

It is simply the same franchise tag.

However, Dawn of the Planet of the Apes is weaker than its predecessor, Rise of the Planet of the Apes (2010). We had a charismatic star, James Franco, and an interesting story.

The apes are experimented on, and their intelligence is a strong angle.

The sequel is rather one-note and leans on a machismo, us-against-them angle that isn’t unique.

The main drawback of this film is its limited scope. The characters are portrayed as a) the good and sympathetic humans, b) the evil and destructive humans, c) the good and heroic apes, or d) the evil, bad apes.

The film defines everyone for the audience, with no ambiguity or complexity in the characters. This is a bit limiting. The evil ape Koba is purely bad, and the drunken, gun-happy humans are bad.

This is not to say that Dawn of the Planet of the Apes is not enjoyable; it is. It’s a fun, entertaining flick. For what it is, the film has a message: there is a way to find peace and love between different species and types of people.

Hopefully, the audience gets that message.

Dawn of the Planet of the Apes (2014) is a summer blockbuster action/sci-fi flick many will enjoy; however, it is a plot-driven extravaganza that could have been better with more layers to the story and more shape to some of the characters.

It is worth seeing as a visual cinema treat, but scarcely more than that.

Oscar Nominations: Best Visual Effects

2014 Films, Comedy, Drama, Kids, Musical, Musical Comedy, Musical Drama, New York City

Annie-2014

March 25, 2015 scottmet99 Leave a comment

Annie-2014

Director Will Gluck

Starring Quvenzhane Wallis

Scott’s Review #231

Reviewed March 25, 2015

Grade: D-

The latest remake of the film version of Annie, the last film production in 1982, though at least one television variation exists, and all based on the Broadway hit of the same name, is a saccharine-laden mess of a film.

Annie stars Quvenzhane Wallis, Jamie Foxx, and Cameron Diaz as Annie, William Sparks (changed from Daddy Warbucks), and Miss Hannigan, respectively, and features Rose Byrne and Bobby Cannavale in supporting roles.

Let me start with the film’s one redeeming quality, though admittedly a bit of a stretch. I found the musical numbers okay, not great, but far from the worst parts of the film.

The numbers are remixed into hip-hop-type songs with a trendy approach, presumably to add a modern element. While not great, some songs are catchy and not dreadful, especially “It’s A Hard Knock Life” over the closing credits.

Whether the actors sing their songs is another question I might not want to answer.

The rest of Annie is terrible.

The casting is poor. Wallis, very believable in Beasts of the Southern Wild (2012), portrays Annie as an intelligent, social-climbing child, and I sensed awkwardness in the part. Regardless, it did not work.

I did not buy her in the role, and how she was awarded a Golden Globe nomination for Best Actress in a Musical Comedy speaks volumes about the limited choices in 2014.

Jamie Foxx completely phoned in his performance as Cell-phone technical mogul and mayoral candidate William Sparks.

Why the film changed the character from Daddy Warbucks is a mystery. He is unbelievable as a germaphobe, an aggressive yet sensitive, powerful man who amazingly develops a soft spot for Annie.

Cameron Diaz completely overacts and turns Miss Hannigan into an obnoxious, hysterical shrew who, towards the end of the movie, somehow “turns good,” with no real motivation for doing so.

Rose Byrne and Bobby Cannavale give uninteresting, one-note performances as Sparks’s assistant, love interest, and right-hand man.

The film changes so many aspects of the original stage version of Annie that it is barely recognizable.

It takes place in present times rather than the Depression-era 1930s; Annie is no longer an orphan but is in foster care.

Miss Hannigan’s first name is changed to Colleen instead of Agatha, and she is now a former pop performer whose career subsequently died.

Hannigan’s brother Rooster and his girlfriend Lily don’t appear at all.

The story has zero interest and zero believability.

But the worst part of the film is its corniness. It is so overwrought with contrived scenes that it is hard to take seriously.

At a Mayoral function, Annie (an untrained singer) suddenly leaps onstage and belts out a perfectly sung, choreographed number melting the hearts of the wealthy powerhouses in attendance.

The film is pure fantasy with no realism to speak of.

Miss Hannigan fosters an apartment full of children that she hates, to collect $150 a week, but her apartment is pretty spacious and beautiful by Manhattan standards.

The film is full of inconsistencies and is a horrendous modern take on a long-loved treasure; the 2014 version of Annie should be seen once, snarled at, and put back on the shelf, then forgotten for good.

1973 Films, British, British Horror, Horror, Horror-Camp, Horror-Comedy

Theatre of Blood-1973

March 23, 2015 scottmet99 Leave a comment

Theatre of Blood-1973

Director Douglas Hickox

Starring Vincent Price, Diana Rigg, Ian Hendry

Scott’s Review #230

Reviewed March 23, 2015

Grade: B

Theatre of Blood (1973) stars Vincent Price, a long-time fixture in the classic/campy horror scene, as a demented Shakespearean theatre actor who enacts revenge on critics who fail to recognize him for a coveted award he cherishes.

Price, as always, frighteningly good, delivers a campy, but not ridiculous, turn as the crazed actor.

Price’s appearance alone- tall, wiry, with sinister facial expressions- poises him perfectly to believability in any dastardly role he portrayed in his heyday, and the performance he gives as Edward Lionheart is no exception.

Not solely a campy, melodramatic horror film, Theatre of Blood rises above that categorization with humorous tributes to Shakespeare and a unique chronicle of the Shakespearean works used to systematically take out the critics one by one, about the Shakespearean story, quite frankly, in a comical and witty way.

Price eerily dresses in many different elaborate costumes to commit the murders- a wine-tasting expert, a television host, among other interesting characters, and oftentimes, taunts his victims before permanently dispensing them.

The film is quite British in tone and humor, and is done in a tongue-in-cheek manner, so that the murders are not to be taken at all too seriously.

The critics themselves- seven or eight of them- are deliciously fun. One is a loud, boisterous, fat man who always has his beloved poodles at his side.

What happens to him and the dogs is better left unsaid.

Another is an uptight, sophisticated woman (played by Price’s real-life wife Coral Browne). Several of the critics are depicted as comic villains, so their demises are not particularly devastating for the audience, as they are, to begin with, rather unlikable.

I found myself rooting for Lionheart and looking forward to the next murder!

One criticism involves Diana Rigg, who plays Price’s daughter Edwina, accomplice to his dirty deeds. Well known for her starring role in On Her Majesty’s Secret Service and the 1960s Avengers series, Rigg has little substance to do in Theatre of Blood.

Perhaps by 1973, her film career was on the decline, and she was no longer winning the coveted roles. I would have loved to see her sink her teeth into a meatier role.

A sidekick, Edwina, could have done much more.

The film belongs to Price, and the unique storytelling of Shakespeare’s works was made possible only by this great actor.

Not overly serious and played for some laughs, Theatre of Blood (1973) is successful in its telling of an interesting British horror story.

It’s a nice late-night treat for fans of the British horror genre, especially.

2014 Films, Comedy, Screwball Comedy

Neighbors-2014

March 15, 2015 scottmet99 Leave a comment

Neighbors-2014

Director Nicholas Stoller

Starring Zac Efron, Seth Rogen

Scott’s Review #229

Reviewed March 15, 2015

Grade: F

By far one of the worst movies I have seen, Neighbors (2014) is a silly, redundant, nonsensical, plain-old bad film. Whoever thought this film was a good idea and green-lit it should be examined.

Successful comedies, even raunchy, slapstick comedy, have perfect comic timing, likable characters the audience roots for, and at least a shred of creativity and originality.

Neighbors has none of these qualities.

Bridesmaids (2011) is a modern raunchy comedy that works and is hysterical; sadly, Neighbors is a far cry from Bridesmaids.

Neighbors stars Seth Rogen, a familiar face in the slapstick comedy genre, and Rose Byrne as Mac and Kelly Radner, a married couple in their thirties with a newborn baby named Stella.

Former college party animals, the two live in a college town and try to raise their daughter.

One day, Delta Psi Beta, a fraternity known as one of the rowdiest frats, moves into the house next door to the Radners and begins causing chaos with their never-ending parties.

Teddy (Zac Efron) leads the frat.

Initially, the Radners and Teddy strike up mutual respect, but a misunderstanding involving the police being called one night ruins their relationship.

The rest of the film focuses on Mac and Kelly’s attempts to get the fraternity out of their house by sabotaging parties and pitting frat brothers against each other, causing hijinks and war between parents and college kids.

If Neighbors is an attempt to harken back to the days of delicious college comedies such as Animal House (1978) or American Pie (1999), the film fails on every level.

It is simply not funny.

By this point, the plot is so unoriginal, and the jokes are so worn out in similar films (bathroom humor, frat jokes, drug jokes, male and female anatomy jokes) that if you have seen one Seth Rogen film, you have seen them all.

He is a one-trick pony and has become what Adam Sandler became- tired and dull.

Rose Byrne’s annoying character made me think she was using a poor Australian accent, only to realize she’s Australian. This is not a testament to Ms. Byrne’s acting ability.

The protagonists are quite irritating and not likable. What is the rooting value? Mac and Kelly are irresponsible parents.

They presumably leave Stella at home to visit the frat house and wind up getting drunk and high, staying out late, and waking up early the next day.

Kelly attempts to feed Stella using tainted breast milk, which leads us to an unfunny scene between Mac and Kelly focusing on Kelly’s vein-popping breasts, which makes no sense anyway.

Other suspensions of disbelief and logic pop up left and right.

Why would the police reveal to the fraternity the names of those who had called to complain about them and, after catching the Radners in a lie, tell them never to call the police again?

How unrealistic.

Mac and Kelly live in a college town, and the risk of a fraternity or sorority being close never occurred to them. They acted surprised that college students existed.

The wonderful Lisa Kudrow is cast in a ridiculous role as the college Dean, but it’s completely wasted on a hysterical, bubble-headed, dumb character.

If I had to give Neighbors (2014) a positive, it would be that Zac Efron does a halfway decent job portraying his character, Teddy, and he does have a good deal of acting talent (think The Paperboy from 2012).

I am being quite generous and looking for a bright side to a train wreck.

The film is poor.

1970 Films, Fantasy, French, International, International Musical, Musical

Peau d’Ane (Donkey Skin)-1970

March 11, 2015 scottmet99 Leave a comment

Peau d’Ane (Donkey Skin)-1970

Director Jacques Demy

Starring Catherine Deneuve, Jacques Perrin

Scott’s Review #227

Reviewed March 11, 2015

Grade: B

Peau d’Ane (English: Donkey Skin) is a 1970 French musical film that is a fairy tale for adults- seemingly happy, but very dark beneath the surface.

To say this film is bizarre would be an understatement. The film is a strange retelling of the classic Cinderella story.

The film is set in a peculiar medieval world and centers on a dying Queen (Catherine Deneuve), her husband, the King (Jean Marais), and the heroine, the beautiful Princess (also Catherine Deneuve).

The Queen is dying. Her last wish is for the King to marry the most beautiful woman in the land. Coincidentally, that is their daughter, The Princess! Eager to produce an heir to the throne, he is determined to marry and reproduce with his daughter.

The Princess, wanting none of it, turns herself into an ugly creature by wearing the skin of a donkey and moves to a neighboring kingdom to exist in a life of exclusion and revulsion, farming pigs and being berated by those around her.

A handsome Prince decides to pursue the woman who has baked him a delicious cake, but knows not who she is. Ironically enough, it is the Princess.

I found the film to be quite interesting, albeit in a warped way. Unusual and challenging to analyze, one must watch with an open mind.

Certainly, Donkey Skin delves headfirst into the icky world of incest. It makes no apologies for its controversial nature, all the while interspersing the film with cheery tunes, singing roses, and hatching chicks.

The donkey skin that the Princess wears is fake and unbelievably laughable, and how nobody is aware that there is a beautiful Princess underneath is silly.

And yet the film somehow works. I was transported into a magical world where nothing is normal, and one surprise after another ensues.

A couple of oddities worth mentioning: some of the film’s music a contemporary and upbeat. Also, strangely, the final scene involves a helicopter, which is completely implausible given the period.

I get the sense that this film is going for absurd and unique and succeeds on both counts.

Visually, the film is gorgeous- bright and cheerful with loads of colors. The film has awe-inspiring art direction, with the castle’s set pieces odd, engaging, and colorful. I especially enjoyed the Prince’s bedroom set.

As eccentric and seemingly dark as the film is, often a character will burst into a cheerful song, as evidenced by the Princess singing a happy tune while making a meal, all the while dressed in her donkey skin, almost like a scene out of Mary Poppins (1964) or My Fair Lady (1964) or any other wholesome musical.

To be sure, a unique film, Donkey Skin (1970) is eccentric, lively, and interestingly perverse with a French flair—fantasy for adults and a journey into the weird.

1961 Films, Adventure, Animated, Comedy, Disney, Kids

101 Dalmatians-1961

March 8, 2015 scottmet99 Leave a comment

101 Dalmatians-1961

Directors Wolfgang Reitherman, Hamilton Luske, Clyde Geronimi

Voices Rod Taylor

Scott’s Review #226

Reviewed March 8, 2015

Grade: A-

101 Dalmatians (1961) is a darling Walt Disney film that encompasses wholesomeness, love, and devotion.

Set in London, which adds a level of sophistication to the film, it tells the story of a lonely songwriter named Roger Radcliffe, who lives in a flat with his faithful and devoted Dalmatian, Pongo. Theirs is a happy existence, but something is missing.

Pongo, voiced by Rod Taylor (of The Birds-1963, fame), is determined to find a mate for himself and Roger and sets about to do just that by watching ladies and their dogs walk the streets in front of their homes.

He finds the perfect match for both (Anita for Roger and Perdita for him). The four of them look forward to years of happiness together until a sinister friend of Anita’s, Cruella De Vil, enters the story.

Cruella sees profit in the Dalmatians and attempts to steal and destroy them.

Cruella De Vil is a delicious villain and certainly one of the most entertaining in animated film history, but more than that, she is comically devious. Her maniacal laugh and witty language make her a perfect foil for a wholesome couple and wonderful, cute little pups.

The audience does not root for her, but there is something wicked and fun about her over-the-top character.

The 1961 film has an incredible artistic direction that animation today lacks —the scenes look like beautiful drawings.

There is a Mad Men quality to the design.

The “look” differs from current animation in that it is sleek and constructed skillfully, not loud, fast, and bombastic.

I love that the film is told from the perspective of the Dalmatian Pongo and Perdita, not from the perspective of human beings. The central characters, Pongo and Perdita, tell the story about their dogs, which adds to their empathy for the animals. We see their attempts to rescue all of the stolen dogs.

Also outstanding is how all of London’s dogs (and various other species of animals) band together in rescue. They work as a team to save and protect their own, who are being mistreated and sent to slaughter.

An enjoyable scene involves the climactic car chase between Cruella’s gaudy luxury car and a furniture van. As the pups use the van to escape, a cat-and-mouse game ensues, providing comedy and dramatic flair.

The scene is among the most suspenseful in the film, as the vehicles weave along dirt and back roads toward London.

In addition to this riveting scene are others involving the dogs tiptoeing past their captives as we cross our fingers they will not be heard and subsequently caught, and an adorable scene showcasing the dogs’ cleverness at covering their spots with soot to escape.

A heartwarming, inspirational film for the entire family to enjoy many times over, 101 Dalmatians (1961) will leave you smiling and humming.

It is a truthful, fantastic film about love for animals.

2014 Films, Crime Thriller, Independent, Independent Thriller, Los Angeles, Satire, Thriller

Nightcrawler-2014

March 1, 2015 scottmet99 Leave a comment

Nightcrawler-2014

Director Dan Gilroy

Starring Jake Gyllenhaal

Scott’s Review #225

Reviewed March 1, 2015

Grade: B+

Nightcrawler (2014) is an intense crime thriller set in Los Angeles, featuring a wonderful performance by Jake Gyllenhaal as an unstable thief named Lou.

He cons and manipulates his way to success, videotaping accident scenes and selling them to news stations.

The film is the directorial debut of Dan Gilroy, who could become a household name.

Nightcrawler was deservedly awarded the Best Screenplay and the Best First Feature Independent Spirit awards.

The film is set mainly at night as Lou courses the city in search of accidents, crimes, and violence- the bloodier the better.

Later, Nina Romina, played by Rene Russo, tells him that violent crimes in affluent neighborhoods are best because they get the highest ratings.

Lou sells the footage to the highest bidder, and Nina becomes his main customer. Lou is eventually helped by Rick Carey, a desperate accomplice who needs money, played by Riz Ahmed.

Nightcrawler’s interesting elements are its moody setting and dim lighting. It reminds me of the 2004 film Collateral, starring Jamie Foxx and Tom Cruise, also set in Los Angeles.

Mostly set at night and heavily set on the streets of L.A., I found this mood excellent and a compelling aspect of the film.

It makes Nightcrawler look great.

Gyllenhaal deserves praise for his role as Lou and is largely responsible for the success. He was a co-producer.

As an actor, he is excellent and reminiscent of the frightening performance Robert De Niro gave in Taxi Driver (1976). With an angular face and eyes that never seem to blink, he is intense and driven on every level.

He is a sociopath.

When he quietly threatens Nina and Rick on separate occasions, one can tell he means business. Why Lou has become a thief desperate for money is never explained- does he have a family? Is he a convict?

He seems highly educated, but is he? How did he land in this predicament and resort to the life that he does?

As Lou becomes more manipulative and adjusts crime scenes to make them shocking, he seems to teeter over the edge of sanity.

In one scene, he sneaks into a victim’s home and videotapes photos of the victims from their refrigerator to promote an empathetic angle and therefore make more money from them.

This is a brilliant performance by Gyllenhaal.

Another fascinating performance I admired is Rene Russo’s, absent from films for what seems like years; Nightcrawler is a nice return for her.

Her character also has a little backstory.

We know she is a driven newswoman who struggles to maintain success at individual news stations and moves around a lot. Nina is a cutthroat news director who craves violent stories and is determined to keep her job.

She also becomes begrudgingly fascinated by Lou.

Does she like bad boys or does she admire his talent?

The third major character is Riz Ahmed’s Rick. Rick comes across as a sweet, yet gullible guy strapped for cash. Like Lou, we do not know why he is broke, but it is hinted that he may do or have done some male prostitution- he is desperate.

As the film goes along the character develops tough skin and realizes he is attracted to this new lifestyle and excitement, but will not be bullied by Lou.

On a social level, the film presents an interesting, albeit disturbing take on the relationship between the media and the viewers. What will news channels do for a good story? How bloodthirsty are news audiences? How often is a positive news story presented? It makes the audience reflect and ponder.

Nightcrawler is a dark thriller, which deservedly garnered an Oscar nomination for Best Screenplay and a slew of Independent Spirit Awards.

Intense, rich, and visually appealing, it is one of the success stories of 2014 cinema.

Oscar Nominations: Best Original Screenplay

Independent Spirit Award Nominations: 2 wins-Best Male Lead-Jake Gyllenhaal, Best Supporting Male-Riz Ahmed, Best Screenplay (won), Best First Feature (won), Best Editing

2014 Films, Drama, Tearjerkers

Still Alice-2014

February 26, 2015 scottmet99 Leave a comment

Still Alice-2014

Directors Richard Glatzer, Wash Westmoreland

Starring Julianne Moore

Scott’s Review #224

Reviewed February 26, 2015

Grade: B+

Still Alice (2014) tells the story of a highly educated college professor who, at the young age of fifty, is afflicted with early-onset Alzheimer’s disease.

She wrestles with not only the gloomy diagnosis but also the emotional effects of the disease and what effects it will have on her husband and three grown children.

The film also explores the hereditary aspects of the illness and its effects on the afflicted person’s offspring.

The film has a calm demeanor but is heartbreaking and a downer.

Alice Howland has always succeeded; she is a linguistics professor at the esteemed Columbia University in Manhattan and leads a seemingly idyllic life. She lives an affluent lifestyle and has three grown, well-adjusted children.

Alec Baldwin plays John Howland, and Kristen Stewart plays the most prominent daughter, Lydia.

These points of perfection make the story and her gradual decline all the more tragic to watch. We root for Alice because she is an ideal character- kind, loving, and the perfect mother and wife.

How could a thing like this happen to her? When she goes for a jog near her campus and suddenly doesn’t recognize her surroundings or where she is, the audience shares Alice’s confusion.

The main reason to watch the film is Julianne Moore’s astounding performance as Alice.

The film borders on a good Lifetime television movie, albeit much better than that and arguably in the same vein.

The acting sets this one above the mediocre, largely due to Moore; with a lesser actress, I wonder how the film would have succeeded.

The tender scenes are wonderful. When Alice wets her pants, the audience feels her humiliation, too. When she breaks down in fear and anxiety, we do the same with her.

The supporting cast also deserves praise, specifically Baldwin and Stewart. While not fully fleshed out, their support for their wife and mother, respectively, makes them sympathetic and likable.

An important scene in an ice-cream parlor late in the film, when John asks Alice if she “really wants to be here,” is misunderstood by Alice, making what he is asking even more profound.

A scene where a coherent Alice, early in her diagnosis, leaves instructions for herself via video to be seen when she is further along in her illness is suspenseful and left me rooting for one outcome, which could be interpreted as drastic, and left me conflicted.

Masterfully done.

My only criticism is that despite the subject matter of Alzheimer’s disease, which is devastating and life-altering not only for the victim but for the family, the film has a safe feel to it.

I would have liked darker, grittier moments throughout the film to make it even more effective.

Not a happily-ever-after story, bleaker moments might have prevailed. And, centered on Moore, it might also have been interesting to explore more of the effects the family has, and will go through, especially on Baldwin’s John.

The film could have explored his character and Lydia more deeply instead of merely supporting and comforting Alice.

Still Alice (2014) is worth seeing, if only for Julianne Moore’s performance, a talented actress doing a brilliant job in the title role.

Oscar Nominations: 1 win-Best Actress-Julianne Moore (won)

Independent Spirit Award Nominations: 1 win-Best Female Lead-Julianne Moore (won)

2014 Films, Biography, Drama, Iraq War, War

American Sniper-2014

February 22, 2015 scottmet99 Leave a comment

American Sniper-2014

Director Clint Eastwood

Starring Bradley Cooper

Scott’s Review #223

Reviewed February 22, 2015

Grade: A-

American Sniper (2014), directed by Clint Eastwood, is a war film told from the viewpoint of a soldier- or a sniper.

A character study, if you will.

Starring Bradley Cooper as Chris Kyle, deemed the deadliest marksman in U.S. military history, he has 255 kills.

The film begins pre-9/11 as Kyle views coverage of the 1998 U.S. Embassy attacks and enlists in a grueling training program to become a Navy SEAL sniper.

Flashbacks show Kyle as a child, taught by his demanding father to hunt deer and shoot a rifle. He is eventually sent to Iraq following the 9/11 terror attacks, and the film continues to showcase Kyle’s military career and multiple tours of duty, ending years later.

Sienna Miller plays his wife, Taya.

I am not sure the controversy American Sniper has stirred is warranted. I see the film simply as a very good mainstream action movie.

Yes, it has overdone Americana machismo and Texas swagger, but it is an Eastwood film! This masculinity is at the heart of many of his films.

I do not view the film as politically charged.

The film leans neither Republican nor Democratic and seems to take a middle-of-the-road viewpoint.

It is a tale of a war hero, but it questions the wars fought and the casualties involved, both American and otherwise. Sure, Kyle is a good ol’ red-blooded American, but as he and Taya watch the 9/11 attacks on television, they are watching CNN, not Fox News.

His close military buddy asks, “Why are we here?” referring to Afghanistan, and Eastwood implies a question about what this is all about.

I hope audiences keep this in mind.

One concern I do face as I ponder the film is whether American Sniper will send some audience members back to a time when the world was fearful of Muslims and at risk of the recent ISIS terror situations; I hope that people are smart enough to realize that NOT all Muslims are terrorists.

Only a minuscule portion is evil-inspired.

The major terrorist in American Sniper, known simply as The Butcher, is despicable, but plenty of other Muslims are innocent and victims of The Butcher’s brutality.

I love how deep the film is.

Cooper is as resilient as the troubled sniper. He is portrayed as human, a nice, all-American guy. He wrestles with the choice of shooting a woman and a young boy who died at the risk of them carrying a bomb and killing members of his squad- he does not want to kill them, but rather is excellent at his job.

He is a perfect shot.

In the heat of the moment, under extreme pressure, he must ask himself, “Should I pull the trigger and end their lives”? “What if they are innocent pedestrians?”

He becomes, in a sense, addicted to his duty of going overseas to Iraq and Afghanistan and justifies his service as “protecting Americans”.

This leads to a troubled personal life as Taya grows frustrated with his frequent tours of duty, which he readily accepts. He has Post-Traumatic Stress Disorder but refuses to acknowledge this.

He almost kills the family dog in a fit of uncontrolled rage; he temporarily confuses sounds from an auto shop as military warfare.

My admiration for Bradley Cooper’s acting grows with each role I see him in. He is a marvel.

From recent dynamic performances in American Hustle (2013) and The Place Beyond the Pines (2012) to this role, I am convinced he can play any part successfully and convincingly.

He has sure come a long way from The Hangover (2009).

American Sniper (2014) is an enormously creative and commercial success and deserves to be. Layered and character-driven, it is worlds above the typical male-driven action film.

Oscar Nominations: 1 win-Best Picture, Best Actor-Bradley Cooper, Best Adapted Screenplay, Best Sound Editing (won), Best Sound Mixing, Best Film Editing

1974 Films, Comedy, Dark Comedy, Mexican, Western

Bring Me the Head of Alfredo Garcia-1974

February 20, 2015 scottmet99 Leave a comment

Bring Me the Head of Alfredo Garcia-1974

Director Sam Peckinpah

Starring Warren Oates, Isela Vega

Scott’s Review #222

Reviewed February 20, 2015

Grade: B+

Bring Me the Head of Alfredo Garcia is a 1974 Mexican cult action film directed by Sam Peckinpah that influenced famed modern movie director Quentin Tarantino in multiple ways.

The film itself is violent, bloody, and traditionally Peckinpah in tone and look, similar to his other films (Straw Dogs from 1971 and The Wild Bunch from 1967).

The premise of the film is intriguing- a powerful man known simply as “The Boss” turns furious and places a bounty on the head of the man who impregnated his daughter, whom he, by the way, tortures to garner this information out of.

He offers the enormous sum of 1 million dollars to the person who can “bring him the head of Alfredo Garcia”.

From this point, the action centers mostly on Bennie, a retired military officer intrigued by the bounty on offer.

Bennie, along with his prostitute girlfriend, Elita, traverses the lands of Mexico in search of Alfredo Garcia, whether he is already dead or still alive, which is a mysterious and fun element of the film.

I have a tough time taking the film too seriously as much as I enjoyed it- it seems an action farce and, without giving too much away, the scenes involving the carrying of a severed head, arguably the lead character, are as much comical as ghastly.

The illustrious lighting is a major focal point, especially during the outdoor scenes and specifically the nighttime desert scenes, when two bikers almost rape Elita. The moonlight radiates onscreen.

Elita’s character is a fascinating to me. On the one hand, she is an aging prostitute madly in love with Bennie and intrigued by a life with him, living off their spoils. However, she almost enjoys the sexual experience with one of the bikers, played wonderfully by Kris Kristofferson, despite being roughed up by him.

The scene, while certainly violent, is, in a way, almost tender as the biker and Elita realize their attraction for one another. It’s a surreal scene and has almost a sense of clarity for both characters. Are they in lust?

Peckinpah women are traditionally not treated well, but Elita is an exception.

The Tarantino influence is undeniable- the mixture of humor amid violence- a severed head being treated as a comical prop, is immeasurable in comparison to later Tarantino films such as the Kill Bill chapters.

Daring and pure genius, the film has a dark tone but does not take itself too seriously, avoiding melodrama or overwroughtness.

It is only a film and has fun with that fact. It tries to be nothing more and embraces being bizarre.

Tarantino films are like Peckinpah films, just made 20-30 years apart.

Bring Me the Head of Alfredo Garcia has evolved into a cult classic after flopping commercially and critically in 1974.

How wonderful when a gem is rediscovered and laden with influence, in this case as much stylistically as otherwise.

2014 Films, Comedy, Independent, Independent Comedy, Thriller

The One I Love-2014

February 18, 2015 scottmet99 Leave a comment

The One I Love-2014

Director Charlie McDowell

Starring Mark Duplass, Elisabeth Moss

Scott’s Review #221

Reviewed February 18, 2015

Grade: C+

Reminiscent of a modern-day Twilight Zone episode, The One I Love (2014) follows a young married couple (Ethan and Sophie), played by Mark Duplass and Elisabeth Moss, who seek help from a therapist (Ted Danson).

The therapist realizes the couple is out of sync and recommends a weekend away. The therapist has an excellent reputation for rekindling faltering marriages and turning them into successful ones.

He sends them to a sunny, beachfront house with a guest house, pool, and various trails along the water. It is simply a paradise.

I admire the screenplay’s creativity.

The couple meets their ideal, perfect versions of each other while basking at the vacation house. Ethan’s alter ego is suave, athletic, and sensitive to Sophie’s needs, while Sophie’s is sexy, flirtatious, and invested in Ethan’s life.

The real versions are bored, lazy, and a bit disheveled.

The flaws they once saw in each other are replaced with the perfect spouses. It is fantasy-like.

As one half of the couple slowly falls in love with the fantasy version, the other half grows jealous, and the film dives into a tale of who ends up with whom.

But is it a fantasy? Are the perfect versions real people or something reminiscent of Invasion of the Body Snatchers?

It is tough to know the film’s intentions.

A weakness I felt the film has is that it plods too much. At a brief ninety minutes, the film somehow has a sleepy, slow-moving undertone and could have easily been a short film or wrapped up within forty-five or fifty minutes.

I did not feel the chemistry between Duplass and Moss as strongly as I would have liked. Individually, they were fine actors, but the spark didn’t ignite for me.

I wish Ted Danson had a larger role. The young couple was the focal point, but the mystery surrounding paradise was never really explained, and Danson’s character could have been the key to the story.

Did he contrive the entire situation? Was it fantasy? His brief part left many plot holes unexplained.

The One I Love (2014) is a creative effort with an imaginative angle, but I wanted more clarity than I got.

The film is mysterious, yes, but also confusing, slightly dull, and uneven.

Independent Spirit Award Nominations: Best First Screenplay

2014 Films, Action, Independent, Independent Thriller, Thriller

The Guest-2014

February 7, 2015 scottmet99 Leave a comment

The Guest-2014

Director Adam Wingard

Starring Dan Stevens, Maika Monroe

Scott’s Review #220

Reviewed February 7, 2015

Grade: C-

The Guest is a 2014 thriller that can perhaps be classified under the adage “it’s so bad that it’s good,” though as I pondered writing this review, that might be a bit of a stretch.

As poor as the film is, I still enjoyed something about it.

The premise is simple. A Midwestern family, the Petersons, is suddenly visited by a veteran soldier named David, who claims to be a friend of the parents’ deceased son, Caleb.

David easily insinuates himself into their lives, and the Petersons invite him to stay a few days to rehash details about Caleb.

The family is middle-class yet struggling financially, and it consists of a mother and father, a college-aged daughter named Anna, an actress eerily resembling a young Gwen Stefani, and a bullied, timid, high school-aged son named Luke.

From the get-go, something feels off about David, but his motives remain unclear to the audience.

The film has plenty of issues.

For starters, the acting is rather poor. The most notable actors are Dan Stevens (Downton Abbey), Sheila Kelley (L.A. Law), and a collection of unknowns.

Stevens and Kelley give better performances, and I found Stevens particularly believable in a role opposite his Downton Abbey alter ego.

The rest of the cast is wooden and uncompelling.

The weakest parts of The Guest are the inane plot points and the 1980s-style soundtrack. Were the filmmakers going for a retro throwback? The film is set in present times, so this aspect remains a mystery.

The story starts interestingly. Is it a Fatal Attraction (1987) type of film? What is David’s motive? What was his relationship with the deceased Caleb? Does he intend to help or harm the family?

The reveal towards the end of the film is implausible, ridiculous, and disappointing. Without giving too much away, the government plays a major role in the film, but it does little to provoke sympathy for any of the characters, only eliciting more confusion.

The attempted (and botched) love story between David and Anna does not work. They have little chemistry, and the rooting value is not there, especially as he picks up her drunken best friend at a party.

Is the audience supposed to root for David and Anna, or is it merely a weak sub-plot to the thrill aspect of the film? I suspect the latter.

Despite all these negatives, I didn’t despise the film as it trucked along; rather, I found it more of a mess than anything else.

It is not a good film, but there is something slightly appealing about it. Some of the death scenes are well done, and the budding friendship between David and the bullied son is rather sweet.

The son is enamored with the strong, masculine David, and David, in turn, serves as a protector, humiliating the bullies who gave the kid a black eye.

The film doesn’t delve into a sexual angle, but it is a bond that is cheerful to see. It has a nice, warm element.

Another impressive point of The Guest is that it ends with a surprise that leaves room for a sequel. However, because the film didn’t achieve success, I doubt a sequel will ever see the light of day.

A poorly written, weakly acted film, The Guest (2014) has moments of interest but fails miserably as a viewing experience.

By the end, I still had no idea what the main character was motivated by, which is a huge problem.

Confusing and convoluted are the adjectives best to describe this film.

Independent Spirit Award Nominations: Best Editing

Welcome to my blog!1,555 reviews posted so far! I'm Scott Segrell and I reside in Stamford, CT. My site features hundreds of film reviews I have written since I launched the site in 2014. I hope you enjoy reading my latest reviews or searching for your own favorites to see if we agree. Please see my Recent Posts section, and don't forget to utilize the tags and category links.