Category Archives: Frances McDormand

#66 Favorite Film, 1996 Films, Best Feature- Independent Spirit Award Winners, Coen Brothers, Comedy, Dark Comedy, Drama, Favorite Film of the Year, Frances McDormand, Independent, Independent Drama, John Carroll Lynch, Peter Stormare, Steve Buscemi, Top 100 Films, Top 250 Films, William H. Macy

Fargo-1996

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Fargo-1996

Director Joel Coen and Ethan Coen

Starring Frances McDormand, William H. Macy

Top 250 Films #66

Scott’s Review #366

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Reviewed January 9, 2016

Grade: A

Fargo (1996) is a treasure as far as I’m concerned, and the role that deservedly propelled Frances McDormand to the forefront of the film audience’s minds, not to mention a gold statue for Best Actress.

The film epitomizes dark humor and zany freshness during a time in cinema when originality was emerging and independent films were growing in popularity.

Fargo led the pack.

The film suffers from some derision by locals in and around the upper Midwest U.S.A. for its depiction of accents —perhaps overdone, but hysterical all the same.

Set against the snowy and icy locales, the film effectively conveys a harsh and small-town atmosphere.

The introduction of a crime, initially done innocently, escalates out of control.

Fargo is a part caper, part thriller, and part adventure, and is a layered, cool film.

The fact that the time is 1987 is excellent. The cars, the Oldsmobile dealership, all work particularly.

McDormand plays a local Police Chief- Marge Gunderson, very pregnant, who stumbles upon the crime and slowly unravels the mystery.

All the while, the character keeps her cool, cracks jokes, and emits witty one-liner after another, presenting a slightly dim-witted image, but brilliantly deducing the aspects of the crime.

William H. Macy, in 1996 largely unknown, is perfectly cast as a car salesman, Jerry Lundegaard. Nervous, and shaky, yet with down-home respectability, he hatches a plot to have his wife kidnapped, the ransom to be paid by her wealthy father, enabling Jerry to pay off an enormous embezzling debt, and splitting the money with the kidnappers.

Predictably, things go awry and spiral out of control.

I love how the film crosses genres and is tough to label- is it a crime drama, a thriller, or a comedy? A bit of each which is the brilliance of it.

Fargo (1996) is an odd, little piece of art, and is remembered as one of the best films of the 1990s, making a star out of Frances McDormand.

Oscar Nominations: 2 wins-Best Picture, Best Director-Joel Coen, Best Actress-Frances McDormand (won), Best Supporting Actor-William H. Macy, Best Screenplay Written Directly for the Screen (won), Best Cinematography, Best Film Editing

Independent Spirit Award Nominations: 6 wins-Best Feature (won), Best Director-Joel Coen (won), Best Male Lead-William H. Macy (won), Best Female Lead-Frances McDormand (won), Best Screenplay (won), Best Cinematography (won)

#123 Favorite Film, 1993 Films, Andie MacDowell, Anne Archer, Best Feature- Independent Spirit Award Winners, Buck Henry, Drama, Favorite Film of the Year, Frances McDormand, Fred Ward, Independent, Independent Drama, Jack Lemmon, Jeff Goldblum, Jennifer Jason Leigh, Julianne Moore, Lili Taylor, Lily Tomlin, Lyle Lovett, Madeleine Stowe, Matthew Modine, Michael Beach, Robert Altman, Robert Downey Jr., Tim Robbins, Top 250 Films

Short Cuts-1993

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Short Cuts-1993

Director Robert Altman

Starring Tim Robbins, Julianne Moore, Lily Tomlin

Top 250 Films #123

Scott’s Review #1,400

Reviewed September 20, 2023

Grade: A

I am such a fan of acclaimed director Robert Altman because he typically features an enormous cast with richly composed characters all serving a story purpose. Frequently, with much character development and investment.

Short Cuts (1993) is a latter-day Altman offering set in Los Angeles, California, the City of Angels that is nearly as good as my all-time favorite of his, Nashville made in 1975.

Similarities burst to the screen with twenty-two principal characters to Nashville’s twenty-four. Their lives frequently intersect and the fun is peeling back the layers of their lives and discovering who is connected to whom.

Comparisons to 1992’s The Player (also Altman) and 1999’s Magnolia, directed by Paul Thomas Anderson can also be made for obvious Los Angeles setting reasons.

But, Magnolia is much weirder than Short Cuts.

The irony is that most characters are anything but angels as they suffer from insecurities, deaths, infidelity, and various shenanigans as they attempt to get through California life amid an earthquake and a fleet of helicopters spraying for medflies.

Altman based the film on the nine short stories and a poem by Raymond Carver.

Some of the tales include a waitress Doreen (Lily) who is married to an alcoholic limo driver (Tom Waits) who accidentally runs into a boy with her car. Soon after walking away, the child lapses into a coma. While at the hospital, the boy’s grandfather (Jack Lemmon) tells his son, Howard (Bruce Davison), about his past affairs.

Meanwhile, a baker (Lyle Lovett) starts harassing the family when they fail to pick up the boy’s birthday cake.

Dr. Ralph Wyman (Matthew Modine) and his wife, Marian (Moore), meet Stuart Kane (Fred Ward), an unemployed salesman, and Claire Kane (Anne Archer), a party clown, at a cello concert.

They impulsively decide to have a Sunday dinner date. seemingly having nothing in common.

Meanwhile, Marian’s sister, Sherri (Madeleine Stowe), is married to a cheating cop named Gene (Tim Robbins), who is having an affair with Betty Weathers (Frances McDormand), while Betty is divorcing one of the helicopter pilots, Stormy (Peter Gallagher).

There are other stories and connections to round out the fabulous cast.

The juicy and dramatic storylines play out like a terrific story arc on Days of Our Lives or As the World Turns with some needed comedic elements to balance things out.

Anyone who knows Altman will salivate with the name recognition among the cast most notably Tomlin and Robbins. Actors frequently chomped at the bit to appear knowing that he was an actor’s director.

This means he allowed his cast open range to create dialogue appropriate for their characters.

There’s no better example than when Jack Lemmon tells a story in the film. His improv and free dialogue are a dream to watch and a lesson in good and natural acting.

Despite the enormous cast everyone has something of quality to do. Nobody is languishing on the back burner with throwaway scenes or unimportant activities. All characters connect to others in some way.

Fans who fancy Los Angeles both in film and in real life with its bursting sunshine and cheery perception will revel in the down and dirty sub texture of Short Cuts.

The fun is getting there.

Some characters are wealthy but most struggle with day-to-day routine so the film contains a harsh realism. They try to find some shreds of happiness wherever they can get them.

Like real life which is part of the mastery of Short Cuts. The audience can relate to the characters because we all know people like them which makes the film a beautiful and treasured experience.

Or some may even be like us. The writing is brilliant and the characters are true to form.

One day I’ll create a list of my Top Ten Robert Altman films and I bet Short Cuts (1993) lands in the Top Five.

Oscar Nominations: Best Director-Robert Altman

Independent Spirit Award Nominations: 3 wins-Best Feature (won), Best Director-Robert Altman (won), Best Screenplay (won), Best Supporting Actress-Julianne Moore

2022 Films, Ben Whishaw, Brad Pitt, Claire Foy, Drama, Frances McDormand, Independent, Independent Drama, Jessie Buckley, Judith Ivey, Rooney Mara, Sarah Polley

Women Talking-2022

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Women Talking-2022

Director Sarah Polley

Starring Rooney Mara, Claire Foy, Jessie Buckley

Scott’s Review #1,341

Reviewed February 7, 2023

Grade: B+

Women Talking (2022) is a quiet film faithful to its title because it is about a group of women, well, talking. But, instead of idle gossip, these women have something powerful to say. They debate and discuss their fates throughout the film’s one hour and forty-four-minute running time.

It is written and directed by Sarah Polley, a former actress, and adapted from the recent 2018 novel of the same name written by Miriam Toews.

Shockingly, the film is inspired by actual events that took place in the ultraconservative Manitoba colony in Bolivia.

For years, the women of a rural colony have been drugged and raped nightly by demons punishing them for their sins. They have, until recently, acquiesced.

But when the women discover that these “demons” are the men of their community, they boldly decide to take a vote to determine what action to take.

The year is 2010, but the woman’s dress makes it seem like it’s the 1800s. I wasn’t sure of the year going in, save for a 1960s pop tune bursting from the speakers of a pushup truck, so the viewer can easily be misled or unclear.

A male rapist is caught and imprisoned, which leads the men to conveniently be out of town while the women have two days to make a decision. They will either stay and do nothing, stay and fight, or leave.

One male remains with the females; the kind teacher, August, played by Ben Whishaw. There also exists a transgender man who has been raped by men and no longer speaks to adults.

While the film is a slow one, it has something intelligent and interesting to offer. Despite the women being repressed and abused a feminist overtone is readily apparent which uplifts the dire tone.

Hollywood heavyweights like Frances McDormand and Brad Pitt executive-produced and produced, respectively, so Women Talking has big-time backing, deservedly so.

Comparisons to a female version of the classic play, Twelve Angry Men, cannot be overlooked by the astute viewer. The women are divided and not in agreement or harmony…..at first. The lone juror would be most similar to Ona (Rooney Mara), a sensible woman who reasons and weighs the pros and cons.

McDormand also appears in a small role as the grizzled and beaten-down ‘Scarface’ Janz, who has accepted her lot in life.

Mara, Claire Foy, and Jessie Buckley are the standouts; the latter two characters are fueled with anger at the revelations and mistrust of the men.

Liberties must be taken.

It’s mentioned that the women are not taught to read or write, but the characters are wise, cagey, and well-spoken. The ambiguity of what’s to become of the women slightly let me down. A decision has been reached, but what’s next?

Polley has directed a gem and garnered considerable notice for her project, and the kudos can’t come loudly enough. I thought it wise that, besides August, the male characters are either not seen or seen only from a long distance. Some are blurred entirely.

This adds to the mystique and grotesqueness of their actions.

An accurate ensemble picture that could easily be shaped into a stage play, Women Talking (2022), led by Polley and backers, produces a compelling narrative.

The point is well-intentioned and well-received that repression and victimization are alive and well.

Oscar Nominations: 1 win-Best Picture, Best Adapted Screenplay (won)

Independent Spirit Award Nominations: 1 win-Best Feature, Best Director-Sarah Polley, Best Screenplay, Robert Altman Award (won)

1987 Films, Coen Brothers, Comedy, Dark Comedy, Frances McDormand, Holly Hunter, John Goodman, M. Emmet Walsh, Nicolas Cage

Raising Arizona-1987

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Raising Arizona-1987

Director Joel Coen

Starring Nicholas Cage, Holly Hunter

Scott’s Review #1,286

Reviewed August 5, 2022

Grade: B+

Raising Arizona (1987) is the second film to be created by the Coen brothers (Joel and Ethan) with the independent offering, Blood Simple (1984) being the first.

The siblings would later become household names and trailblazers in the world of cinema.

It’s rough around the edges storytelling with the severe desire to create something different. Maybe too different since sometimes Raising Arizona works and sometimes it doesn’t.

The film is to be championed mostly for its creativity though it’s not on par at all with the Coen brothers’ best films, Fargo (1996) and No Country for Old Men (2007). However, it does serve as a blueprint for films to come, if one is to look at it in hindsight.

I’m not the biggest Nicholas Cage fan of all time so it doesn’t help that he stars in Raising Arizona. The actor was achieving enormous recognition the same year for his appearance in Moonstruck (1987) which won Cher the Best Actress Oscar.

The film mostly gets props for its original writing and quirkiness in the sets and visual effects, but the comedy is way out in the left field and difficult to make sense of.

As with many Coen Brothers films, the plot centers on a crime and people on the run desperately trying to evade capture.

Hi McDunnough (Cage) is a convenience store robber who meets and falls in love with an ex-cop named Edwina “Ed” (Holly Hunter) during a stint in prison. After they move to a mobile home in the middle of the desert they decide to kidnap a baby since they cannot have one of their own.

While keeping their secret, friends, co-workers, and a bounty hunter look to use the child for their purposes.

The setting works quite well and is an important part of the film like other Coen offerings. The blazing hot desert is a familiar sight and pivotal to the story events with sizzling highways and roadside dives a focal point throughout. Hi and Ed’s tacky mobile home is dusty and cracked which enhances the extreme heat.

Cage and Hunter have tremendous chemistry which kept me invested in their characters. Both quirky-looking, they act well against each other and invoke sympathy from the audience- at least I did. Despite being kidnappers, they have the best of intentions of keeping their stolen baby safe and cared for.

Delightful to see is actress Frances McDormand in an early role as Dot. She would become a frequent star and collaborator in later Coen Brothers films.

Forgetting the uneven storytelling for a minute, Raising Arizona’s finest moment comes at the very end. Through a series of prophetic dreams about the future, the fates of all the characters are determined.

It’s a trippy and magnificent sequence and quite well-known to fans.

A clever offering that at times spins out of control with ridiculousness, Raising Arizona (1987) is nonetheless recommended to view and absorb the zany characters that the Coen Brothers are famous for creating.

2020 Films, Best Feature- Independent Spirit Award Winners, Best Picture Oscar Winners, Chloé Zhao, David Strathairn, Drama, Frances McDormand, Independent, Independent Drama

Nomadland-2020

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Nomadland-2020

Director Chloé Zhao

Starring Frances McDormand, David Strathairn, Swankie

Scott’s Review #1,116

Reviewed February 24, 2021

Grade: A

Frances McDormand, a fantastic actor in anything she is in, absolutely kills it in Nomadland (2020), an emotional film with startling realism and respect for strength and truth.

Mostly a documentary lookalike, the drama has heart while wisely incorporating real-life people versus actors in a story with enough weepy moments to go well with the dynamic cinematography.

It’s a character study in the highest regard and a lesson in what compassion is.

Chloé Zhao, who directs, also directed Songs My Brother Taught Me (2015) and was nominated for a couple of Independent Spirit Awards, which nobody saw.

Zhao has such zest and flavor for the Western American landscape, which can be both isolating and beautiful. She incorporates plenty of sunrises, sunsets, and wide shots that go well with the theme of the story she tells.

She’s well on her way to much-deserved stardom.

Following her husband’s death by cancer and her rural Nevada company town decimated, Fern (McDormand) packs up her van and starts driving, having no idea where she’s headed.

Becoming a modern-day nomad, she scrounges for work doing odd jobs and experiencing adventure along the way as she travels across the West. She meets interesting individuals, mostly nomads who try to survive, facing hardships.

McDormand may have delivered her best performance with Nomadland. Forever associated as Marge Gunderson in Fargo (1996), she is unafraid to get down and dirty in her role.

As for Fern, she has a nude scene and a scene sitting on the toilet. She also has various close-up scenes appearing tired, worried, or otherwise bleak. She wears no makeup. It’s a testament to McDormand’s craft and artistic ability to appear this way.

I admire her tremendously.

While McDormand carries the film, others must be mentioned for their terrific work. David Strathairn, who has been around forever, is one of those character actors who consistently deliver great work.

As a potential love interest for Fern, he is patient and admiring, even offering to have her move in with him and his family. A gorgeous house awaits her, but she prefers to be on the road and alone.

The non-actors make the film as rich and lovely as can be with their tales of truth, struggle, and desire. Swankie is a seventy-five-year-old woman dying of cancer.

She wants nothing to do with hospitals or treatment, but wants to live her remaining months in peace and tranquility among the wildlife in Alaska. She does just that, leaving the world on her terms.

When Fern learns that Swankie has died, she and the other nomads pay tribute to her life.

The greatness of Nomadland lies in its portrayal of a sense of community and family amongst a group of people who are otherwise dismissed or forgotten. It’s reminiscent of what the exceptional Boogie Nights (1997) did with the porn industry. It humanizes them when many dehumanize them, and it’s lovely to watch.

In a teary scene, Fern opens up to Bob, a nomad leader, about her loving relationship with her late husband, and Bob shares the story of his adult son’s recent suicide.

Bob espouses the view that goodbyes are not final in the nomad community, as its members always promise to see each other again down the road.

What a poignant statement.

Nomadland (2021) inspires those who want to do their own thing and be independent spirits. The film says that it’s okay to be your person, and I take that to heart. Be true to yourself, and good things will come. Well, at least you’ll have self-dignity and a soul.

The film contains exceptional acting, directing, editing, and cinematography. Some could perceive it as a downer, but I found it quite uplifting and inspirational.

I always say a great film will leave you thinking about it, and I’m still thinking about Nomadland.

Oscar Nominations: 4 wins-Best Picture (won), Best Director-Chloé Zhao (won), Best Actress-Frances McDormand (won), Best Adapted Screenplay, Best Cinematography (won), Best Film Editing

Independent Spirit Award Nominations: 4 wins-Best Feature (won), Best Director-Chloé Zhao (won), Best Female Lead-Frances McDormand, Best Cinematography (won), Best Editing (won)

2018 Films, Animated, Anjelica Huston, Bill Murray, Bryan Cranston, Comedy, Courtney B. Vance, Drama, Edward Norton, F. Murray Abraham, Fisher Stevens, Frances McDormand, Greta Gerwig, Harvey Keitel, Isabelle Huppert, Jake Ryan, Jason Schwartzman, Jeff Goldblum, Ken Watanabe, Koyu Rankin, Kunichi Nomura, Liev Schreiber, Scarlett Johansson, Tilda Swinton, Wes Anderson, Yoko Ono

Isle of Dogs-2018

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Isle of Dogs-2018

Director Wes Anderson

Voices: Bryan Cranston, Edward Norton

Scott’s Review #831

Reviewed November 15, 2018

Grade: B+

Anybody familiar with a Wes Anderson production knows what they are in store for, and Isle of Dogs (2018) is par for the course.

With zany narratives and fantastic art direction, the film has a familiar stamp. Most resembling his other notable stop-motion film, Fantastic Mr. Fox (2009), Isle of Dogs offers what is to be expected- an intelligent and odd project by a visionary creative mind.

Anderson provides the film with a timely, corrupt government-type message that strongly resonates in 2018. In this way, Isle of Dogs, while animated, is so much more than a cookie-cutter story or a wholesome film for kids.

The director shows bravery in focusing on the corruption prevalent in today’s world and the fight for justice by ordinary people living under authoritarian control.

Set in dystopian Japan, a recent outbreak of canine flu causes corrupt Mayor Kobayashi to banish all dogs from society to the vast wasteland of Trash Island, where they will live out their days with other ostracized canines.

A brave twelve-year-old boy named Atari, who happens to be the mayor’s nephew, steals a plane and crash-lands on the island to rescue his beloved dog, Spots.

With help from a pack of dogs led by a former stray named Chief, the group sets out to find Spots and ultimately expose the government conspiracy. Obstacles abound as the mayor has sent a robot dog to return Atari and make mincemeat of any dog in its path.

Meanwhile, a professor, Tracy Walker, is on the cusp of discovering a serum as an outspoken American exchange student investigating the conspiracy.

Isle of Dogs is incredibly original and offers bravura visuals. From the lush and bright Japanese culture to the tired and haggard look of many dogs living on the island, the film is a treat for the eyes. The shimmering richness of the city is elegant and feels alive and powerful.

What I admire most about the film is its creativity and the blast of left-of-center storytelling, which blows away most animated offerings of today.

Many contain a robust helping of “cute”, which can turn off a mature viewer. With a target audience of the tween age, what is in it for adults? To sit there with a youngster and pretend to be jovial?

Isle of Dogs is not a crowd-pleaser; it is better than that. Anderson crafts a serious and timely message that begs to be absorbed by the careful viewer.

Assuredly, Anderson cannot escape providing a subtle allegory on an evil leader stirring the pot against the most helpless in our society. This point is timely and well thought out, especially in the tumultuous United States.
Could this be why an American character (Tracy) was added?

As dynamic as Anderson’s creativity is, the story in Isle of Dogs does not always embrace the viewer, and the jarring dialogue is tough to follow.

Standard in his films, the pacing is strange, the conversations between characters are odd, and the film lacks a truly welcoming or warm quality.

Therefore, the film is not an easy watch. And the dogs all speaking English rather than Japanese, with American accents, must be overlooked.

Critics and detractors of Wes Anderson need not see Isle of Dogs (2018) as they will be in store for typical Anderson fare. In addition, those seeking a standard mainstream animated feature will be disappointed.

Those with a more open-minded approach to cinema will revel in the film’s stunning look and the powerful message bubbling under the surface.

Oscar Nominations: Best Animated Feature Film, Best Original Score

2017 Films, Abbie Cornish, Caleb Landry Jones, Clarke Peters, Comedy, Crime Drama, Dark Comedy, Drama, Frances McDormand, Independent, Independent Comedy, Independent Drama, John Hawkes, Lucas Hedges, Martin McDonagh, Peter Dinklage, Samara Weaving, Woody Harrelson

Three Billboards Outside Ebbing, Missouri-2017

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Three Billboards Outside Ebbing, Missouri-2017

Director Martin McDonagh

Starring Frances McDormand, Woody Harrelson, Sam Rockwell

Scott’s Review #703

Reviewed December 4, 2017

Grade: A

Frances McDormand takes control of Three Billboards Outside Ebbing, Missouri, and never lets go. In the Martin McDonagh-directed 2017 vehicle, she rivetingly portrays an angry Midwestern woman seeking justice.

The up-and-coming director has also created such films as  2008’s In Bruges and 2012’s Seven Psychopaths.

Similar to these films, Three Billboards Outside Ebbing, Missouri, is peppered with dark comedic moments and vile, bitter characters. The film is a measured success because it is not your standard Hollywood production and is quite left-of-center.

The action begins as we meet McDormand’s Mildred Hayes, sitting alone in her beat-up station wagon, brooding by the side of the road, gazing at three tattered billboards.

She is both pissed off and thoughtful as she formulates a plan to purchase a year’s worth of billboards, questioning the local police’s ineptitude in finding her daughter’s rapist and killer.

Woody Harrelson portrays the Ebbing police chief, Sheriff Bill Willoughby, and Sam Rockwell plays the racist and dim-whited officer Jason Dixon, both displeased with Mildred’s activities.

Other casting decisions in small yet essential roles are Lucas Hedges as Mildred’s adolescent and depressed son, Robbie, and John Hawke as her ex-husband, Charlie, who is dating an eighteen-year-old ditz.

Peter Dinklage is well-cast as James, a local car salesman who is an earnest dwarf with a crush on Mildred.

Supporting roles are prevalent throughout the film, and small-town locales like Jason’s mother and Red, the owner of the advertising agency who rents the billboards to Mildred, shape the experience.

The casting in Three Billboards Outside of Ebbing, Missouri, is a strong point of the film.

The town of Ebbing is portrayed as dreary, blue-collar, and racist, which is just perfect for setting the tone of the film.

I suspect residents of the Midwest or the southern United States of America may have some issues with character representations. Jason is written as both racist and not too smart, and he encompasses numerous characters in the film.

Enough cannot be said for Rockwell’s performance, transforming from a hated character during the film’s first two-thirds to suddenly almost becoming the hero towards the end.

Props are also deserved by Harrelson’s Chief Willoughby- bordering on hick and racist, he also has a heart and cares about Mildred’s predicament- when a shocking event occurs, he becomes an even richer character.

It is worth pointing out and impressive to me as a viewer that the three prominent black characters—Willoughby’s replacement, Abercrombie, Mildred’s best friend and co-worker, Denise, and a kindly billboard painter—are each written as intelligent and sensitive, a fact I found to perfectly balance the other less sympathetic characters.

In this way, a nasty film becomes more satisfying.

Three Billboards Outside of Ebbing, Missouri, though, belongs to McDormand. She is successful at portraying a myriad of different emotions. From her sly eye-winking as she crafts a good verbal assault on whoever crosses her path, to an emotional breakdown scene towards the end of the film, McDormand embodies the character with depth.

In a gorgeous scene, she has a sweet conversation with a peaceful deer grazing nearby, and for a second, she imagines it could be her dead daughter reincarnated. The scene richly counterbalances other violent and brutal scenes.

McDormand manages to look downright homely in some scenes and beautiful in others.

A film will indeed divide viewers. Some will champion the film’s crisp writing and witty dialogue. Still, others will undoubtedly be turned off by some of the character’s foul language and nasty nature.

I found Three Billboards Outside Ebbing, Missouri (2017), sarcastic, gritty, and well-told. It is a versatile affair rich with layers and brimming with enjoyment.

Oscar Nominations: 2 wins-Best Picture, Best Actress-Frances McDormand (won), Best Supporting Actor-Sam Rockwell (won), Woody Harrelson, Best Original Screenplay, Best Original Score, Best Film Editing

Independent Spirit Award Nominations: 2 wins-Best Female Lead-Frances McDormand (won), Best Supporting Make-Sam Rockwell (won), Best Screenplay

1990 Films, Albert Finney, Coen Brothers, Crime Drama, Frances McDormand, Gabriel Byrne, Gregory Jacobs, John Turturro, Marcia Gay Harden, Mob, Sam Raimi, Steve Buscemi

Miller’s Crossing-1990

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Miller’s Crossing-1990

Director Joel Coen

Starring Ethan Coen, Gabriel Byrne

Scott’s Review #394

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Reviewed April 13, 2016

Grade: B+

Containing a mixture of The Godfather Part III, Goodfellas, and The Grifters- ironically all released in 1990- Miller’s Crossing is an old-fashioned gangster film made fresh thanks to the direction of Joel Coen.

He brings a quirky edge to the film, throwing in a blend of film noir, black humor, and edgy characters, that make the film storyline feel fresh and alive in the present.

It has a definite late 1980’s era cinematic look (not a compliment).

I could immediately tell which decade it was made. Miller’s Crossing begins slowly, but during the second act gains steam and is the best part of the film.

The film is set somewhere in New York during the 1920s Prohibition period- it is assumed New York City, but this is never stated.

The general story involves Tom Reagan, a handsome Irish gangster, and right-hand man of Leo O’Bannon (Albert Finney), who becomes involved in conflict with Leo, his lover Verna (Marcia Gay Harden), and her brother Bernie (John Turturro), who is wanted dead by rival Italian mobster, Johnny Caspar.

Johnny’s right-hand man “Dane” comes into play, as does another gangster, Mink, played by Steve Buscemi. Tom changes allegiances and plays one mob boss against the other as a web of deceit, tested loyalty, and murder ensues.

As the first half concluded I was not completely sold on the film.

How many times have I seen a gangster film with all the stereotypical elements, the tough-guy shtick, and the contrivances?

I was afraid I was watching a retread of similar films.

I wondered what the point of the film was- the relationship between Tom and Leo’s struggle for power and control. A triangle between Tom, Verna, and Leo?

I noticed little chemistry among any of them and could not help but wonder if a female presence was required in the film, but not all that necessary. Regardless, I was quickly bored with the character of Verna.

But then the elements of the film started to come together and some rather left-of-center nuances presented themselves leaving me more engrossed.

A homosexual triangle (seldom seen in traditional, crime/mob films) took shape between Mink, Dane, and Bernie. All vicious killers had no stereotypes often seen in the film, which is refreshing.

Dane was arguably the most brutal of all the characters, and the bloodletting was plenty. I found this reveal completely refreshing not to mention unexpected.

However, the intricacies of the triangle were left unexplored. They simply bedded each other.

A pivotal scene set in the woods (Miller’s Crossing) is as gorgeous as it is character-driven. Tom must choose between killing Bernie and proving his loyalty to the mobsters awaiting, or secretly letting him live, fake his death, all in the name of his love for Verna.

But will his decision come back to haunt him?  Is Tom, at his core, a good man or a bad man?

The calm of the forest mixed with the brutality of the film is perfect. I was reminded of the 1970 Italian masterpiece The Conformist as I viewed this beautiful scene. Tom’s conflict between good and evil and his earlier premonition of a tumbling hat comes into play.

His character conflict reminded me of Michael Corleone in The Godfather films.

Look quickly and you will see Frances McDormand, soon to be a fixture in Coen films, as a slinky, well-dressed secretary. We are reminded of great things to come by this then-unknown talent.

A nice thing that I always look forward to in Coen films are the quirky, weird, fun, minor characters, and Miller’s Crossing is no different- Johnny Caspar’s overweight wife and son- an Augustus Gloop from Willy Wonka and the Chocolate Factory lookalike- give comedy to the potentially too dark film.

From Bryan to Tic-Tac, to the fat lady with the purse, all give amusing and meaningful turns that give the film a richness with an unusual cast of characters.

Miller’s Crossing (1990) proves to be a nice little film once it picks up steam and the intertwining of stories, characters, and a bit of classic film noir mixed in, makes it a refreshing take on an age-old genre of film.

2016 Films, Alden Ehrenreich, Alison Pill, Channing Tatum, Clancy Brown, Coen Brothers, Comedy, Dark Comedy, Dolph Lundgren, Emily Beecham, Fisher Stevens, Frances McDormand, George Clooney, Jonah Hill, Josh Brolin, Ralph Fiennes, Satire, Scarlett Johansson, Tilda Swinton, Wayne Knight

Hail, Caesar!-2016

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Hail, Caesar! -2016

Director Ethan Coen, Joel Coen

Starring George Clooney, Channing Tatum

Scott’s Review #377

80074084

Reviewed February 16, 2016

Grade: B+

Hail, Caesar! (2016) is a quirky film created and directed by the Coen Brothers, who are known for offbeat films such as Fargo (1996), No Country for Old Men (2007), and Raising Arizona (1987).

Hail, Caesar is a satirical comedy about the Hollywood film industry during the post-World War II period of the 1950s.

The film features a bevy of current Hollywood talent, including George Clooney, Channing Tatum, Josh Brolin, and Scarlett Johannsen, including singing, dancing, and scandalous matters.

All give fine performances and add humor and wit to the film.

The plot centers on the character of Eddie Mannix (Brolin), a celebrity “fixer” and real-life person who works as an executive for Capitol Pictures and whose primary responsibility is to ensure that famous Hollywood stars remain out of trouble.

The period is 1951, a particularly scandalous time in pictures. One of the biggest stars of the time, Baird Whitlock (Clooney), is suddenly kidnapped and held for ransom while completing a big epic film for the studio.

Mannix must race to keep the crisis out of the news and safely get Whitlock back.

Indeed, there are interesting subplots, including handsome yet talent-less Western actor Hobie Doyle, hired by the studio to appear in a sweeping period piece directed by suave Laurence Laurentz (Ralph Fiennes), and DeeAnna Moran (Johannsen), unmarried and with a “bun in the oven,” determined to keep herself out of the tabloids.

I loved the look of the film, as numerous films occur within it. The 1950s set pieces and designs are exquisite, particularly the period piece set, lavishly designed with classic doors, a staircase, flowers, and a cast dressed to the nines.

It brings back an extravagant time.

The film is a satire, to be sure. Still, it also addresses the serious subject of communism (especially for that period), Russia, and Russian defectors, all involved in a plot to prove a valuable point.

Despite the film being a comedy, this is worth serious consideration. Many Hollywood writers make money for the studios and are rewarded with underwhelming salaries.

The same holds true in Hollywood today.

This point can spill over into other walks of life as well, and the point of the “little man gets screwed” is explored. Communism is also explored throughout the film as the central message- an important message that resonates.

Another interesting tidbit that Hail, Caesar!Mentionss, though only on the surface, is the burgeoning onslaught of television programming.

Suddenly, an increasing number of people were purchasing TVs and avoiding the glamour of films, opting instead for the comfort of their couches.

What a different time it was!

An intriguing, favorite character of mine belongs to Channing Tatum’s portrayal of Burt Gurney, a Gene Kelly-like character famous for singing and dancing numbers. A sizzling sailor dance gives edge and sexuality to the film.

A revealing scandal involving Burt and Laurence is fantastic and delicious.

My favorite scene belongs to Frances McDormand, who shamefully only appears in one scene- quite memorable. As film editor C.C. Calhoun, she diligently shows Mannix film dailies in the hopes of discovering a clue in the disappearance of Whitlock. When her scarf gets caught in the projector, hilarity and grotesqueness ensue.

It is a classic Coen Brothers comedy.

Hail Caesar! (2016) succeeds as a witty, comical throwback to a wonderful time in film history, with a political edge that historians will appreciate and Coen Brothers fans will relish.

Perhaps not their most creative or memorable, but enjoyable all the same.

Oscar Nominations: Best Production Design