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The Godfather: Part II-1974

August 1, 2025 scottmet99 Leave a comment

The Godfather: Part II-1974

Director Frances Ford Coppola

Starring Al Pacino, Robert DeNiro

Top 250 Films #2

Scott’s Review #197

Reviewed: November 25, 2014

Grade: A

Frances Ford Coppola’s sequel (and, technically, a prequel) to the highly regarded and successful The Godfather (1972) is one of the rare sequels to equal, if not surpass, the original in greatness, creativity, and structure.

The Godfather Part II (1974) feels more profound, more complex, and ultimately richer than The Godfather- and that film itself is a masterpiece. Part II is much darker in tone. Francis Ford Coppola had complete freedom to write and direct as he saw fit, with no studio interference.

The results are immeasurable in creating a film masterpiece.

The film is sectioned into two parts, which is an exciting and practical decision.

The story alternates between the early twentieth century, following Don Corleone’s life, now played by Robert DeNiro, as his story is explained- left without a family and on the run from a crime lord, Don escapes to the United States as a young boy and struggles to survive in the Little Italy neighborhood of New York City.

He obtains a modest job as a grocery stockboy and finally celebrates his eventual rise to power in the mafia.

The other part of the film is set in 1958, as Michael Corleone faces a crumbling empire, with both rivals and the FBI investigating him and holding Senate committee hearings in Washington, D.C., and a failing marriage to Kay (Diane Keaton).

Betrayal is a common theme of the film, as Michael’s wife, brother, and mobster allies are revealed to be cagey enemies. Michael becomes increasingly uncertain and mistrustful of almost everyone around him. Is Kay a friend or foe? Is Fredo plotting against him? He even begins lashing out at Tom Hagen on occasion.

What makes The Godfather Part II so brilliant, and in my opinion richer than The Godfather, is that it is tougher to watch- and that is to its credit. Now, instead of being a warm, respected member of a powerful family, Michael is questioned, analyzed, and betrayed.

New, interesting characters are introduced, including Hyman Roth, played by Lee Strasberg, a former ally of Don’s, and Frankie Pentangeli, played by Michael V. Gazzo. These characters are intriguing, and their allegiances remain unknown throughout most of the film: are they loyal to the Corleones or deadly enemies?

The character of Michael evolves from conflicted to all-out revenge-minded, including seeking revenge against members of his own family. Michael is now a dark, angry character- gone is the nice, decorated war hero with his whole life ahead of him.

He is much older and has changed.

Similar to the original Godfather, the opening scene is a large celebration- this time, Anthony Corleone’s first communion celebration.

Additionally, the film’s finale features the deaths of several significant characters, one after another.

Unique to this film are the multiple-location scenes, featuring New York, Nevada, Italy, Florida, and Cuba, which make for an enjoyable segue throughout and a more substantial budget.

The blow-up confrontation between Michael and Kay reaches a devastating, shocking climax. When Michael punches Kay in a sudden rage, the audience feels punched as well.

The incredible scene at the end of the film, with the entire family gathered around for Don’s fiftieth birthday in 1942, is a special treat for viewers; familiar faces make cameo appearances.

I love these aspects of the film.

The rich history of Don is the most significant aspect of The Godfather Part II, known as “Godfather” and patriarch of the family. His life as a boy and a young father is explained, showing how he became one of the most powerful men in the crime world.

I love how he remains a decent man and helps people experiencing poverty and the victims of the ruthless Don Fanucci, his predecessor. He loves his wife and children, but also loves his neighbors and helps them, believing in the principle of fairness.

Ultimately, the characters of Don and Michael are worlds apart.

The Godfather Part II (1974) is one of the most complex and well-written films in movie history- studied in film school, discussed, imitated, and championed.

It remains vital and should be viewed and analyzed repeatedly.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Francis Ford Coppola, Best Actor-Al Pacino, Best Supporting Actor-Robert De Niro (won), Michael V. Gazzo, Lee Strasberg, Best Supporting Actress-Talia Shire, Best Screenplay Adapted from Other Material (won), Best Original Dramatic Score (won), Best Costume Design, Best Art Direction (won)

1972 Films, Best Picture Oscar Winners, Drama, Epic, Favorite Film of the Year, Guy Films, Mob, Top 10 Films, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

The Godfather-1972

August 1, 2025 scottmet99 Leave a comment

The Godfather-1972

Director Frances Ford Coppola

Starring Marlon Brando, Al Pacino, James Caan

Top 250 Films #4

Scott’s Review #196

Reviewed November 24, 2014

Grade: A

The Godfather (1972) is one of the most identifiable and brilliant film masterpieces of all time. It is so ingrained in pop culture and film history that it was a blueprint for 1970s cinema, and its legend deserves to live on.

The film has not aged poorly nor been soured by over-exposure. It is as much a marvel today as it must have been when it was initially released in theaters.

The film revolves around the Corleone family- a mob family living in New York. They are high-powered, wealthy, and influential with politicians and law enforcement alike. They are the cream of organized crime families.

The patriarch of the family is known as “The Godfather”; his real name is Don Corleone, played by Marlon Brando.

The eldest son, hot-headed Sonny, is played by James Caan. Middle son Fredo, played by John Cazale, is dim-witted and immature, serving as the family’s weak link.

Finally, the youngest son is the central character in the film. Michael, played by a very youthful Al Pacino, has just returned home from World War II, a decorated and Ivy League-educated hero.

Throughout the film, Michael wrestles with steering the Corleone family business toward the straight and narrow or continuing the death, bloodshed, and corruption that currently plague the family.

Rounding out the Corleone family is Tom Hagen, an Irish surrogate son of sorts, who serves as the family attorney. Connie, the temperamental and emotional sister, and Mama Corleone, the passive wife of Don, complete the prominent family.

The supporting characters are numerous, ranging from family friends and relatives to corrupt mobsters and those introduced while Michael lives in Italy.

The brilliance of The Godfather lies in the richness of its numerous characters, as well as its structure and pacing.

Even minor characters are vital to the film, and every scene is essential and effortlessly paced, so that they neither seem rushed nor dragged out; the film is immeasurably character-driven.

My favorite character is Michael Corleone, as he is the most troubled and complex of all. Pacino plays him to the hilt as, initially, a nice guy trying to do the right thing, going against the grain, and non-traditional- he proposes to a WASP woman who has no Italian heritage.

When events unfold in a particular way, Michael suddenly becomes the family’s leader, despite being the youngest son, and the character’s complexities deepen from this point.

Specifically, the revenge-killing sequence is brilliant, keeping the viewer on the edge of their seat through a car ride, a meal at a restaurant, and a men’s room scene, until all hell finally breaks loose, all the while Michael is conflicted, unsure, and intense.

Has he veered too far from being a nice guy? Can he salvage the family business without being ruthless? Michael faces a battle of good vs. evil.

The scenes are brilliantly structured- the grand opening scene alone is beautiful as the audience is introduced to the entire family- cheerfully dancing and frolicking during a bright and sunny outdoor wedding (Connie’s) at the Corleone estate, while inside a dark interior study, a man begs Don Corleone to help avenge his raped and beaten daughter by having her attackers killed.

Several scenes in The Godfather are my personal favorites —the aforementioned restaurant scene, where Michael is faced with a dilemma involving a corrupt policeman and a high-powered figure. One can feel the tension in this extended scene.

The scene in a Hollywood mansion where poor, innocent, horse Khartoum meets his fate in the most gruesome way imaginable.

Later, Michael’s beautiful Italian wife, Apollonia, has an explosive send-off.

Towards the end of the film, there is an improvised scene set in a tomato garden, with an elderly Don Corleone playing with his young grandson.

Finally, the brutal scene at the toll booth involving Corleone’s son, Sonny, is mesmerizing, murderous, and flawlessly executed.

The lack of any strong female characters and how women are treated (either beaten or passively following their husbands) is bothersome.

Unfortunately, this was still the case circa the 1940s.

One could argue that Kay Adams, played by Diane Keaton, is the strongest female character because she questions the Corleone family’s motives and tries to keep Michael honest and trustworthy. She has little in common with the other female characters.

Lines such as “I’m gonna make him an offer he can’t refuse” and “Don’t forget the cannolis” are unforgettable and quote-worthy.

The film’s finale is breathtaking—a combination of bloody killings and a peaceful scene in which Michael accepts the honor of becoming his nephew’s godfather. As he pledges his devotion to God and denounces Satan, the murders he orchestrated are simultaneously being executed.

The character, while complex, suddenly becomes a hypocrite.

Some view Michael as strictly a hero whose choices should not be questioned or analyzed; others see him as a complex, tortured, and flawed character rather than a hero.

One must watch The Godfather and The Godfather Part II (1974) as companion pieces, as Part I is slightly more straightforward and easier to follow than the more complex and layered sequel.

The Godfather (1972) is storytelling and filmmaking at its absolute best and continues to influence films to this day.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-Francis Ford Coppola, Best Actor- Marlon Brando (won), Best Supporting Actor- James Caan, Robert Duvall, Al Pacino, Best Screenplay Based on Material from Another Medium (won), Best Costume Design, Best Sound, Best Film Editing

1990 Films, Biography, Crime Drama, Drama, Favorite Film of the Year, Guy Films, Mob, Top 100 Films, Top 250 Films, Top 50 Films

Goodfellas-1990

August 1, 2025 scottmet99 Leave a comment

Goodfellas-1990

Director Martin Scorsese

Starring Ray Liotta, Robert De Niro, Joe Pesci

Top 250 Films #46

Scott’s Review #349

Reviewed January 9, 2016

Grade: A

Director Martin Scorsese adapts Goodfellas, a crime-mob film, from Nicholas Pileggi’s 1986 nonfiction book. Pileggi helped Scorsese write the screenplay.

The film is more matter-of-fact in its telling than the purely dramatic The Godfather, with added wit and humor, and excellent editing.

Featuring powerful acting by Ray Liotta, Robert De Niro, and Joe Pesci, it is a memorable classic mob film that can be enjoyed via repeated viewings.

Largely ad-libbed, the film is rich in good dialogue and contains one of the highest totals of curse words in film history.

The film is told from the first-person narrative of the lead character, Henry Hill.

Henry, now in the Witness Protection Program, recounts his years affiliated with the mob from 1955 to 1980.

We meet Henry as a youngster in Brooklyn, New York. He is half-Italian, half-Sicilian. He idolizes the “wise guys” on the streets and intends to join their ranks one day.

From there, the film describes the trials and tribulations of Henry’s group of miscreants. Henry meets and falls in love with Karen (Lorraine Bracco), and their tumultuous love story is explored through tender moments and affairs.

What I love most about Goodfellas is the characters’ love and the sense that you are part of the action.

The film is a highly stylized family drama- gritty nonetheless, but the viewer feels like they are part of things and a family member- milestones are celebrated, and meals are shared.

We see Henry grow from a gullible teenage boy who idolizes the neighborhood men to a member of the group.

The other characters, such as the vicious and volatile Tommy DeVito (Pesci) and Jimmy “The Gent” Conway (De Niro), are older and more mature.

Bracco’s character is interesting. Unlike most of the female characters in The Godfather films, she is not content to merely sit on the sidelines and look past her husband’s shenanigans and torrid affairs with floozies.

She is a more modern, determined woman, and Bracco plays her with intelligence and a calm demeanor. She wants to be Henry’s equal, not just some trophy wife.

Pesci deservedly won the Best Supporting Actor Oscar for his role; he is brutal and filthy, but a mesmerizing character.

During a memorable scene, his character, Tommy, jokingly teases Henry, but when Henry responds in a way that displeases him, the scene grows tense, and Tommy becomes increasingly disturbing.

His famous line “What am I, a clown- do I amuse you?” is both clever and haunting in its repercussions.

I adore the soundtrack Scorsese chose for the film—spanning decades, he selects songs true to their times, such as “Layla” (1970) and “Remember (Walking in the Sand)” (1964), which are just perfect.

Worth noting is that when a scene plays, the song is sometimes mixed into the narrative to enhance the scene altogether—becoming a part of it rather than simply background music.

If one is looking for the perfect mob film, one that contains music, wit, charm, and fantastic writing, Goodfellas is among the best.

I prefer The Godfather and The Godfather II, but while Goodfellas has similarities to these films, it is also completely different and stands on its own merits.

Oscar Nominations: 1 win-Best Picture, Best Director-Martin Scorsese, Best Supporting Actor-Joe Pesci (won), Best Supporting Actress-Lorraine Bracco, Best Screenplay Based on Material from Another Medium, Best Film Editing

1972 Films, Crime Thriller, Guy Films, Heist, Summer, Thriller, Top 100 Films, Top 250 Films

The Getaway-1972

August 1, 2025 scottmet99 Leave a comment

The Getaway-1972

Director Sam Peckinpah

Starring Steve McQueen, Ali MacGraw

Top 250 Films #58

Scott’s Review #439

Reviewed July 3, 2016

Grade: A-

The Getaway (1972) is a classic action film directed by Sam Peckinpah, known for films such as Straw Dogs and The Wild Bunch.

His films are known as “guy films” and are a rather violent experience. The Getaway is no exception, though it is not immensely brutal either. Still, there is more than one macabre scene and one dastardly villain.

For fans of Peckinpah, The Getaway is a must-see.

The film features Steve McQueen and Ali MacGraw, who are perfectly cast as lovers Doc and Carol McCoy. Inescapable was their chemistry, and art mirrored life: the two were embroiled in a torrid love affair during the shooting, and later they married.

We meet Doc in a Texas prison, where his parole has just been denied. Doc and Carol decide to make a deal with corrupt businessman Jack Benyon to ensure Doc’s release. One stipulation is for Doc to participate in a bank heist with two of Jack’s men (Rudy and Frank).

The heist goes off, but things go awry, and Doc and Carol head for El Paso with a large sum of money, being pursued by Rudy and a double-cross attempt by Jack.

Rudy kidnaps veterinarian Harold and his young wife Fran (Sally Struthers) to aid him with his injuries, taking them along as he pursues Doc and Carol.

Amid the already complicated plot, a con man attempts to steal Doc and Carol’s money.

Doc and Carol are clearly the heroes of the film and are meant to be rooted for, and the characters work very well together. Yes, they are criminals, but they are portrayed as lovely and as not hurting anyone who does not deserve it. Doc does spare Rudy’s life at one point, and I think this only reinforces Doc’s appeal as an antihero.

The love story is also a significant aspect of the filmmaking, making Doc and Carol likable. A few sweet, tender scenes of their romance are mixed in, adding a nice balance to the otherwise testosterone-fueled events.

The Getaway features spectacular editing, particularly at the beginning of the film, where we watch Doc in prison, going through his day-to-day rituals, which are seamlessly interwoven with other stories in the movie.

The musical score matches perfectly with the editing, adding a provocative element of intrigue. These components add the necessary elements to a film like this- edge-of-your-seat!

I love the Texas setting.

Characters are constantly traveling to get somewhere- either by train, by car, or on foot- so we see much of the Texas countryside, almost giving The Getaway a Western flavor.

It is certainly a hot, humid environment, though McQueen always wears a sophisticated suit, and MacGraw looks stylish and put together.

And from a prop perspective, I never tire of seeing those early 1970s sedans driving at high speeds.

Unfortunately, as with most of Peckinpah’s films, women are not portrayed in a positive light, though Carol is one of the strongest of his female characters. Yet, in one tough scene, she is smacked around by Doc after he realizes she slept with Jack to ensure his release from prison.

The most confusing and weak character is Fran. In a strange bit of writing, she inexplicably falls madly in love with her kidnapper, Rudy, even as he abuses and humiliates her, while her husband is around. This is odd and tough to watch, and not the best part of The Getaway.

Her character is not developed well, and it is head-shaking that she feels any passion for Rudy.

The heart of the film belongs to Doc and Carol as they are on the lam for much of the time, and this is a successful part of The Getaway- hence the title. Will they get caught? Will they escape?

The characters remind me of Bonnie and Clyde, so we wonder if Doc and Carol will meet the same fate, but of course, we like them, so we do not want that.

The Getaway is a fast-paced, down-home, red-blooded sort of action film. It is stylized, gritty, and sometimes violent. The chicken wing scene between Rudy, Fran, and Harold starts light and then turns ugly, adding to the film’s unpredictable nature.

A supreme offering by Peckinpah.

1984 Films, Crime Drama, Drama, Epic, Favorite Film of the Year, Guy Films, Mob, New York City, Top 100 Films, Top 250 Films

Once Upon a Time in America-1984

August 1, 2025 scottmet99 Leave a comment

Once Upon a Time in America-1984

Director Sergio Leone

Starring Robert De Niro

Top 250 Films #85

Scott’s Review #218

Reviewed January 19, 2015

Grade: A

An epic film, the extended director’s cut of 1984’s Once Upon a Time in America is more than four hours in length and a directed by Sergio Leone, who also directed the 1968 masterpiece Once Upon a Time in the West and numerous other westerns starring Clint Eastwood.

This particular film is in a different vein and not to be confused as any sequel or related to the aforementioned film- this time Leone explores the crime drama genre rather than the western, and does so in remarkable fashion.

The film tells the story of a group of Jewish friends who became involved in organized crime in New York City during the 1920s.

The main story is told via flashbacks as the central character, Noodles, played by Robert De Niro, returns to Brooklyn thirty years later to reunite with his former mobster friends.

In this way, the film is sectioned- the group of youngsters and kids, and the same characters as adults.

Once Upon a Time in America has been met with considerable controversy since its release. At the time of its release, the film was butchered, with over an hour of footage cut by the studio heads, leaving it largely uneven.

Fortunately, the restored version, over three hours long, is available for viewing. Furthermore, the director’s cut clocks in at well over four hours and is the best version to watch. Due to so many cuts, other versions appear shoddy and out of order, making the viewing experience difficult.

Once Upon a Time in America is largely underappreciated, except among die-hard cinema lovers, most of whom are patient with the film, and it deserves mention as an excellent crime epic drama.

The film shares many similarities with The Godfather and The Godfather Part II, and the role De Niro plays is not too different from that of Vito Corleone in Part II.

However, the greatest contrast is that Once Upon a Time in America is more visually artistic than The Godfather films.

The film centers on Noodle’s perspective as he enjoys his youth in the Lower East Side of Manhattan, where he meets his lifelong friends.

The focal point is his friendship with Max, the adult character played by James Woods, and his undying love for Deborah, played by Elizabeth McGovern as an adult.

As kids, they are worry-free but gradually fall in with a group of older mobsters, first doing their dirty work, then venturing out on their own.

The film’s themes are loyalty, childhood friendship, betrayal, and greed, as all the characters change (or die) over the course of the film.

When a mysterious letter forces Noodles to resurface in Brooklyn, we begin to understand the backstory and the history between the friends as layers are slowly peeled back.

The film drags slightly in the middle section, but the first and last parts are very well made and absorbing.

Leone has a way of pacing the film that works- it is methodical and nuanced, with wonderful set pieces and each period explored- 1920s, 1930s, and 1960s seem equally as authentic as the next one does.

I especially enjoyed the 1920s art direction- it revealed such a state of genuineness and felt like truly being there in that period.

The relationship between Noodles and Deborah is an interesting one worth mentioning. Falling in love as youngsters (when a very young Jennifer Connelly played Deborah), they had an innocent puppy-love relationship.

As adults, they are ruined by a violent, disgraceful act, and one might argue that one of the characters becomes quite unsympathetic.

Once Upon a Time in America (1984) is a sprawling epic film sure to be enjoyed by intelligent fans of the crime epic drama genre and specifically Sergio Leone fans- an underappreciated gem.

1968 Films, Epic, Guy Films, Spaghetti Western, Top 250 Films, Western

Once Upon a Time in the West-1968

August 1, 2025 scottmet99 Leave a comment

Once Upon a Time in the West-1968

Director Sergio Leone

Starring Henry Fonda, Claudia Cardinale

Top 250 Films #187

Scott’s Review #886

Reviewed April 17, 2019

Grade: A

At one time dismissed as either frivolous or cartoon-like, the derogatory genre classification “spaghetti western” was originally played for laughs or featured a comical slant, often with bad lip-syncing.

Many of these films have aged tremendously well, though, and are now more widely appreciated and have become a part of the cinematic canon.

Once Upon a Time in the West (1968) is a lesson in camp art that marinates like a fine steak, drizzling with texture and a good atmosphere across a sprawling two-hour-and-forty-six-minute landscape.

In a great sequence, the film begins with a mysterious harmonica-playing gunman (Charles Bronson), dubbed “Harmonica” for reasons eventually revealed, shooting three men sent to kill him.

Meanwhile, to get his hands on prized railroad land in Sweetwater, disabled railroad baron Morton (Gabriele Ferzetti) hires killers, led by blue-eyed baddie Frank (Henry Fonda), who murders property owner Brett McBain (Frank Wolff) and his family.

The film immediately exudes intensity, with a severe revenge theme.

The story develops further, with romance mixed in a Western style, as McBain’s newly arrived bride, Jill (Claudia Cardinale), inherits the land instead.

Jill is a former prostitute who catches the eye of most of the men she encounters. Both outlaws, Cheyenne (Jason Robards) and Harmonica, take it upon themselves to look after Jill and thwart Frank’s plans to seize her land.

With standard Western flair, they are both attracted to Jill and yearn for her affection while also feeling protective of her.

Not professing to be enamored with the Western genre- the stereotypical Cowboys and Indians and token damsel in distress have their limitations- Once Upon a Time in the West is a feast for the eyes and the ears with cinematography on par with Lawrence of Arabia (1963) and a killer musical score.

While the story may have a traditional backbone, the nuances are astounding. The sweeping mountains of the western United States are heavily featured, and the tension-infused music sets up every thrilling scene with gusto and foreboding.

Hot on the heels of another similarly themed masterpiece, The Good, The Bad, and The Ugly (1966), Leone delivers the goods at every turn, most notably setting up each scene with sizzling elements that emit a clear sense of danger.

The audience knows trouble is about to transpire, but not exactly when the shit will hit the fan. The family death scene is paced astoundingly well as the family merrily goes about preparing a delicious summer meal, unaware that destruction is around the corner.

Sure, the cast is a mix of American and Italian actors with varying degrees of accents, not exactly mirroring the Wild West.

Yes, Jill wears heavy mascara and a hairstyle straight out of the 1960s, and one character has brightly dyed red hair, but these intricacies give the film character rather than turn the production into a disheveled mess.

Forever known for heroic or everyman roles, Fonda plays against type, cast as the central, sadistic villain, and the result is superlative.

Leone’s ability to cast a legendary star in a production with little expectation is quite a feat, and Fonda seems to revel in role-playing him both dangerously and straight.

With his piercing blue eyes and a gaze sure to make children run away in terror, his brutal villainy is fully realized only at the film’s conclusion.

Dozens of iconic comparisons to Quentin Tarantino’s modern directing style can be drawn. The director undoubtedly watched and studied this film repeatedly, as numerous qualities of it mirror his own movies.

Viewers will delight in drawing these comparisons, including a harmonica reference, a revenge story, and the climactic reveal at the end of the film, presented as a flashback that pulls all the pieces together.

Once Upon a Time in the West (1968) is a quality film that has finally gotten its due. Tremendous and compelling storytelling is combined with flavorful qualities and a dusty atmosphere.

The film is the sum of its parts, and while it was initially underappreciated, it has finally risen to the rank of a high-quality masterpiece.

Influencing many great directors, including Martin Scorsese, George Lucas, and Tarantino, is quite a testament to its staying power.

1988 Films, Action, Christmas, Guy Films, Los Angeles

Die Hard-1988

December 27, 2024 scottmet99 Leave a comment

Die Hard-1988

Director John McTiernan

Starring Bruce Willis

Scott’s Review #1,458

Reviewed December 28, 2024

Grade: B+

Die Hard (1988) is one of the best action films of the late 1980s and 1990s. Because of its success and mainstream appeal, it spawned dozens of copycat films.

It features hunky Hollywood star Bruce Willis in his breakout role, propelling him to a box-office stronghold that lasted for many years.

He would later appear in more cerebral offerings like Pulp Fiction (1994) and The Sixth Sense (1999), but Die Hard put him on the map.

Is it a Christmas film, or is it not? It can be debated.

Depending on one’s socioeconomic leanings, Die Hard can be seen as a film that puts the working-class Joe in the driver’s seat and makes yuppies or corporate types look like incompetent fools.

The film, watched decades after its making, is guilty of stereotypes and clichés. It is riddled with nearly every action film standard one-liner intended to evoke laughter, which now seems silly and contrived.

Hokey? Yes, but it’s also fun and a chance to watch the muscular, sweaty Willis run bare-chested for most of the run.

Like Friday the 13th (1980), the film produced several sequels, all subpar to the original.

New York City policeman John McClane (Willis) is visiting his estranged wife (Bonnie Bedelia) in Los Angeles on Christmas Eve. He joins her at a posh holiday party in the headquarters of the Japanese-owned business she works for.

The festivities are quickly interrupted by a group of terrorists led by the crazed but calm Hans Gruber (Alan Rickman), who take over the exclusive high-rise and everyone in it.

McClane realizes that he must save the day.

John McTiernan, who directs, knows his way around the action genre, and Die Hard is easily his best. Other notable works include Predator (1987) and The Hunt for Red October (1990), so he also knows how to create an action star.

The season, the setting, and the villain are other high points of Die Hard.

The perfect setup is a glossy high-rise in downtown Los Angeles at a glitzy corporate party on Christmas Eve. Drizzling with possibilities, McTiernan adds the German terrorists for good measure and a slice of necessary Americana, a fixture of the 1980s ‘USA good, Europe bad’ mentality.

Naturally, McClane is a good old-fashioned American boy. While he initially wants his successful wife, Holly (Bonnie Bedelia), to be a traditional homemaker, he realizes she’s good at her job as a corporate officer.

But the traditional and conservative mindset still shines through.

In a stroke of genius and authenticity, the real Fox Plaza in Century City was used for the skyscraper rather than an ineffectual mock set. This adds a lot to the enjoyment, and glimpses of The Towering Inferno (1974) crossed my mind.

In standard fashion, the feds, detectives, television reporters, and police officers are primarily incompetent, except for McClane. This adds to the earlier notion that the working-class guy is the movie’s hero.

Actor Paul Gleason, well-known for a similar curmudgeonly role in 1985’s The Breakfast Club, bears much of the brunt. As he callously shouts at police officer Powell (Reginald VelJohnson), he also frets at the mayor’s reaction to the handling of the situation with repeated ‘the mayor will have my ass’ remarks.

Interestingly, Powell, who bonds over the radio with McClane, is the only character to receive a competence award. The relationship between the two male cops is warm, respectful, and a high point.

The other well-written character is the main villain, Hans. Played deliciously by Rickman, he’s a baddie for the ages, cold and calm, and his deadly tumble from the top of the enormous building is satisfying to patient fans.

Die Hard (1988) centers on a good hero cop besting the bad guys from Germany, with a definitive pro-American theme popular at the time.

While the terrible 1980s hairstyles, clothes, and cheesy dialogue do not hold up well, the action is, and the film can surprisingly be watched repeatedly.

Oscar Nominations: Best Film Editing, Best Visual Effects, Best Sound Effects Editing, Best Sound

1987 Films, Action, Guy Films, Thriller

Death Wish 4: The Crackdown-1987

November 29, 2022 scottmet99 Leave a comment

Death Wish 4: The Crackdown-1987

Director J. Lee Thompson

Starring Charles Bronson

Scott’s Review #1,319

Reviewed November 29, 2022

Grade: C+

I have an interesting relationship with the Death Wish films. Besides the first and maybe its follow-up, they pretty much suck, and that’s being kind.

They possess a machismo and right-wing, pro-National Rifle Association stance that’s not my cup of tea.

To make matters worse, poor acting, stagey action sequences, an explosive overuse of smoke ammunition, and endless clichés riddle the screen in nearly every scene.

Sure, there’s usually some heartwarming romantic moment or a justification for the killings, but the series is solidly amateurish.

With my nose to the grindstone, I somehow, someway, plodded through all five of the Charles Bronson film series installments and lived to tell.

I refuse to see the tepidly reviewed, unrelated 2018 incarnation starring Bruce Willis.

But the funny thing is, with all the cinematic negatives, the Death Wish films are fun in a campy, silly way. Hardly high art, they instead provide the viewer with fluff and a quick ninety-minute experience in shoot ’em-up revenge-seeking bloodletting.

With Death Wish 4: The Crackdown (1987) the filmmakers cleverly leverage the 1980s excess with a witty subtitle channeling the crack epidemic of the day set against the backdrop of lusty Los Angeles and the drug carnage seeping over the United States border from neighboring countries.

Some thirty-five years later, the premise is dated to say nothing of being riddled with stereotypes, but at the time, the plot must have seemed downright modern.

Paul Kersey (Bronson), who is no stranger to vigilante justice, is pulled back into the underworld of gritty Los Angeles when the daughter of his new girlfriend, Karen (Kay Lenz), dies after an overdose of crack cocaine.

Intent on dishing out a healthy dose of vigilante justice, he goes after the drug lord who ultimately supplied the crack, apparently forgetting to focus on the social issue of why the young girl was taking drugs in the first place.

The First Lady Nancy Reagan’s famous anti-drug slogan, ‘Just say no,’ fell on deaf ears.

As he hunts down the kingpin’s henchmen, Paul starts taking out a large part of the city’s drug-dealing population on a violent killing spree while posing as a dimwitted bartender.

The acting is laughably bad from Bronson on down to the bit players.

My favorite bad scene is when an interracial couple squabbles on their way out to dinner from the luxurious high-rise apartment they inhabit.

As she sits in the limo, brooding and cursing her mate who forgot something from the apartment, he is suddenly hurled from his penthouse onto the limo as she shrieks with anguish, after wishing him dead only seconds prior.

Director J. Lee Thompson, well past his prime in the late 1980s, forgot to tell his actors to add a bit of humor to the horrendous line delivery.

Or, he might have just phoned the whole thing in himself.

The film is by-the-numbers, and one attempt at a twist toward the end is an inspired effort. A pivotal character is shockingly killed, and it ain’t Paul who meets his maker either.

I didn’t see this surprise coming.

Nonetheless, despite the myriad of bad qualities contained within Death Wish 4: The Crackdown, the bad guys do get their just desserts, which are delightful to witness.

Death Wish 4: The Crackdown (1987) is best served up on a rainy afternoon when the viewer can munch on popcorn and lazily escape the day away with solid cinema trash.

2002 Films, Action, Crime Thriller, Guy Films, Science Fiction, Thriller

Minority Report-2002

November 27, 2022 scottmet99 Leave a comment

Minority Report-2002

Director Steven Spielberg

Starring Tom Cruise

Scott’s Review #1,318

Reviewed November 27, 2022

Grade: B+

If you study his body of film work, the fascinating thing about acclaimed director Steven Spielberg is the growth and groundbreaking cross-genre categorization of many of his films.

Traversing blockbuster popcorn films like Close Encounters of the Third Kind (1977) and E.T. the Extra-terrestrial (1982) to heavy drama with the 1993 masterpiece Schindler’s List, the man can do it all.

With 2002’s Minority Report, he bravely delves into science-fiction territory with a crime thriller and action tint.

The film is tough to follow and mostly reminds me of Inception (2010), a Christopher Nolan film influenced by it.

Despite its cerebral tone, Minority Report is a fascinating study of futuristic crime-fighting styles with enough twists and turns to keep you engaged.

It turned out well, though I confess that at times I had no real idea what was going on plot-wise.

The casting of Tom Cruise is a major win. Who better to carry a film like this, except maybe Bruce Willis, though Cruise is a better actor. Nonetheless, he is believable as a crime chief with a slick edge and a wicked smile.

Unsure whether to trust him, he remains at the heart of the film’s success.

Based on a story by science fiction writer Philip K. Dick, ‘Minority Report’ contains a perfect premise to bring to the big screen.

Set in Washington, D.C. in 2054, police are now intelligent enough to utilize psychic technology to arrest and convict murderers before they commit their crimes.

The setup is fabulous and rife with possibilities.

Cruise plays Chief John Anderton, the head of this Precrime unit, and is himself accused of the future murder of a man he hasn’t even met.

Following an audit, it is predicted that in thirty-six hours, Anderton will kill a man who is a stranger to Anderton. Anderton flees, prompting a search led by a searcher (Colin Farrell).

It is revealed that Anderton joined the Precrime program after his son was kidnapped and never found. He is depressed, withdrawn, and addicted to hard drugs, and his wife Lara (Kathryn Morris) has since left him.

But is this all a setup, and are others involved in the conspiracy?

The plot goes way off the rails in terms of explanation or logic, but the fun is in trying to put the never-ending puzzle pieces together. Truthfully, after a while, I simply gave up and enjoyed the visual eye candy and terrific futuristic style.

I rarely am a proponent of visuals over storytelling, but the intelligence of the sequences and the thrilling nature of the acting assured me there was something there.

I just wasn’t completely getting it.

Since Spielberg directs it, I was confident that the complexities I was being served were not shit. I was comforted by this knowledge, and my enjoyment escalated.

Enough props can’t be given for Cruise’s dynamic performance, heightened by the coldness and harshness of the film’s overall tone.

Many of Spielberg’s films are heartwarming, but that was not the case in Minority Report (2002), and I liked it even more for that reason.

Spielberg gets another win by suckering me into a cinematic world that he can magically create. This time with perplexities and perhaps even some influence from the Matrix (1999) movies.

Oscar Nominations: Best Sound Editing

2009 Films, Bromance, Comedy, Guy Films, Screwball Comedy

I Love You, Man-2009

October 24, 2022 scottmet99 Leave a comment

I Love You, Man-2009

Director John Hamburg

Starring Paul Rudd, Jason Segal

Scott’s Review #1,311

Reviewed October 24, 2022

Grade: B

I Love You, Man (2009) is another one of these ‘feel-good’ types of ‘bromance’ comedies to grace the silver screen in the 2000s.

It takes a familiar storyline of two male friends bonding, usually involving a female in the mix to complicate matters, with hilariously awkward moments thrown in.

It’s nothing groundbreaking or overly severe, but rather a mildly satisfying ‘guy film’ that a female audience can also enjoy because there exists a romance and a happily ever after.

I’m simplifying the specific gender tastes quite a bit, but what I mean is the film is light, and there can be something for everyone to enjoy.

While there are some innocent homoerotic playful moments between the men, for laughs, of course, the genre avoids anything LGBTQ+ related other than a gay supporting character who cleverly teaches the straight male how to ‘meet’ men.

Director John Hamburg is involved in similarly themed projects like Meet the Parents (2000) and Along Came Polly (2004), so he knows the common premise required for a film like I Love You, Man, as well as what the audience wants.

As his wedding day approaches, nerdy Peter Klaven (Paul Rudd) realizes he has no one to serve as his best man.

Through a series of “man-dates,” he finds abrasive Sydney Fife (Jason Segel), and the pair become instant friends.

But as Peter’s “bromance” with Sydney grows stronger, it threatens his relationship with his intended, Zooey (Rashida Jones), forcing Peter to make a choice.

It’s not a bad effort and Rudd and Segal have good chemistry as polar opposite characters. The differences are a big part of the laughs, but Jones is somewhat unnecessary to the plot other than the required female component to satisfy the formula.

She dutifully plays her role as the straight woman immersed between two goofballs but has very little to do other than get in the way and be a roadblock to the guys’ fun.

It’s not a great role for her and the chemistry is lacking between her and Rudd, but maybe that’s just the point. I’m not too sure, but I found the humorous moments entirely left to the boys to provide.

My favorite section of the film is one that many may dismiss or deem secondary. The legendary progressive rock band Rush makes an appearance as a way that Peter and Sydney ultimately bond.

Any fan of music, especially a thinking man’s band like Rush, can attest to the genuine bond that can be created between followers of a specific group.

Rush is legendary for just that, and it makes I Love You, Man feel fresher than it otherwise would have. Besides, other than Led Zeppelin, is there a better example of a ‘guy’s band’?

Otherwise, the film is particularly run-of-the-mill. There are familiar arguments, misunderstandings, breakups, and makeups to be endured.

Events start with a marriage proposal and unsurprisingly end with a wedding ceremony, so anything in between is rather superfluous since we can see the outcome a mile away.

Naturally, as much as Zooey wants Peter to have more male friends, she becomes suspicious and otherwise threatened by the new blood, feeling left out.

There is a hint that Sydney may be trying to manipulate and pull the wool over Peter’s eyes over a financial loan, but things work themselves out just fine.

As predictable as I Love You, Man (2009) is, there is a sentimental, even heartwarming sensation to be left with, and a few good chuckles along the way.

1995 Films, Action, Crime Thriller, Guy Films, Thriller

Heat-1995

February 12, 2022 scottmet99 Leave a comment

Heat-1995

Director Michael Mann

Starring Al Pacino, Robert De Niro

Scott’s Review #1,228

Reviewed February 12, 2022

Grade: A-

Fans of the popular 1980s NBC television series, Miami Vice, will recall that Michael Mann was the Executive Producer of the show during its run.

He has a distinctive crime-thriller style that pairs perfectly with Heat, a sizzling 1995 offering starring two film greats, Al Pacino and Robert De Niro.

The fact that the pair do not appear together on screen too often can be forgiven because, when they do, the stars align, and the power of quiet scenes cannot be outdone. I savored the moment when they first appeared together.

Quality over quantity.

De Niro plays Neil McCauley, a lifelong criminal who is trying to handle the damage caused by one of his men while also planning one last big heist before retiring to parts unknown.

He meets a lovely young Los Angeles-based artist, played by Amy Brenneman, in a diner, and the two plan to relocate abroad.

Meanwhile, Lieutenant Hanna (Al Pacino) is a seasoned officer attempting to track down McCauley and his cohort while dealing with the chaos in his own life, including his wife’s (Diane Venora) infidelity and his stepdaughter’s (Natalie Portman) unhinged mental health.

McCauley and Hanna discover mutual respect, even as they try to thwart each other’s plans. The two characters become doppelgangers of one another.

The situation culminates in a cat-and-mouse chase on the tarmac at LAX airport.

To say that Heat is a by-the-numbers 1990s thriller is a fair assessment, although it’s way better than that classification, and it’s of that genre.

For starters, the acting is superior, and obviously, De Niro and Pacino bring a level of professionalism to the film in the lead roles.

My favorite scene is not the one you’d most expect me to say, but rather a quiet and powerful chit-chat in a small coffee shop. They are rivals, having lived opposite lives, yet their troubled lives mirror each other.

Without a doubt, Hanna wants to bring McCauley to justice, yet he admires him and sees parts of himself in him. The feeling is mutual, and the two actors relay this revelation without actually speaking the words.

Viewers immerse themselves in the characters, pivoting from this powerful scene.

There are a ton of characters in Heat, but each one feels like they have much to offer.

Juicy storylines are introduced but never forgotten, even if not part of the main canvas. Hanna’s wife and stepdaughter play a central role in the final act, even though they appear only in the first chapter.

In supporting roles, Val Kilmer and Ashley Judd share beautiful chemistry and a melancholy storyline as a damaged couple trying to survive surrounded by a life of crime.

At two hours and fifty-two minutes, there is plenty of time for each character to make their mark.

I love the rich character development that Heat offers, but sometimes it’s admittedly tough to keep track of the characters’ motivations and how they tie into the main action.

Mann’s style is all over the place, and even the musical score brought me back to the episodic song intervals that Miami Vice created.

The moody, dark atmosphere of dingy, crime-infested Los Angeles is perfectly set against glossy, glamorous high-rise and sprawling estate scenes. The bright and luminous city skyline is a feast for the eyes.

The cop/criminal dynamic is the main draw as Heat flexes its masculine muscles scene after scene. A bloody bank heist gone wrong at the beginning of the film cements what Mann is trying to create here.

A guy’s film with enough juice to hook the introspective film viewer, too.

Not remembered as well as it probably should be, Heat holds up surprisingly well when compared to similar but hokey 1990s action films like Lethal Weapon and the Die Hard films.

Though there’s not a whole lot new in Heat (1995), rich writing and powerful acting win out every time, and, of course, Pacino and De Niro are worth the price of admission.

2004 Films, Action, Comedy, Guy Films, Heist, Vegas

Ocean’s Twelve-2004

June 30, 2021 scottmet99 Leave a comment

Ocean’s Twelve-2004

Director Steven Soderbergh

Starring George Clooney

Scott’s Review #1,157

Reviewed June 30, 2021

Grade: B-

The casino heist gang is back together again for more action and adventure in a film that was only made because of the success of its predecessor, Ocean’s Eleven (2001).

The uninspiring title of the film, Ocean’s Twelve (2004), is a letdown compared to the fantastic and enthralling 2001 film.

What felt like a purely original idea, even though it was a remake, now feels like stale bread that was fresh only yesterday.

Thankfully, Steven Soderbergh returns to the fold, adding some style and solid direction.

The story is slow to kick off and provides an implausible and unconventional ending that doesn’t work, nearly negating most of the previous activity.

There is something a bit irritating about watching a film knowing it was made for only one reason, and that the plot seems rushed and poorly thought out.

But that’s Hollywood.

Undoubtedly, George Clooney, Brad Pitt, Matt Damon, Julia Roberts, Catherine Zeta-Jones, and other top talent enjoyed hefty paychecks.

This is also concerning, as the performances come across as ho-hum and seem to be driven by the big bucks being deposited into big bank accounts for services rendered.

The inauthenticity all around is evident in lazy acting and writing.

The foil and mark, Terry Benedict, once again played by Andy Garcia, realizes that the gang has robbed him of millions and demands the money back with interest.

Unfortunately, much of it has already been spent.

Unable to come up with the cash, the crew must come together to pull off another series of heists, this time in Europe.

Presumably, they are not well known there.

Being “forced” to do what the career criminals love to do is far-fetched.

Danny (George Clooney) and the gang hatch a plan to swap a Fabergé Imperial Coronation Egg for a holographic recreation. Linus (Damon) comes up with a second plan involving Danny’s wife, Tess (Julia Roberts), posing as a pregnant woman to get close to the Egg and swap it.

They are foiled by Lahiri (Catherine Zeta-Jones), and coincidentally, Bruce Willis, and the rest of the group is captured.

While it’s slightly clever having Willis and Roberts appear as themselves, especially when Julia Roberts plays another character in the film, it doesn’t work as well as it sounds on paper.

The story is way too convoluted, and Ocean’s Twelve quickly turns into the sort of film you tune out of, enjoying the non-story points more than the written word. In this case, that’s not a positive aspect.

The film’s successes, mainly the return of the A-list cast, are also negative.

While it’s fun to reconnect with familiar characters like Danny Ocean, Rusty (Pitt), and Linus, we know the characters too well, and they become caricatures. Meaning they behave exactly as one would expect.

Still, it is admittedly juicy and exciting to witness so many A-listers on one big screen, especially when there is trickery, scheming, and just a hint of romance to be had.

I’ll also take part in just about any film that goes on location in Paris, Rome, Monte Carlo, and Amsterdam. It’s an orgy of European history and goodness, adding cultural trimmings to a sub-par storyline.

Particularly inviting are the villa scenes set in the lush Lake Como.

Ocean’s Twelve (2004) will please only those who are obsessed enough with the franchise to enjoy what is a retread of the 2001 film, set in various parts of Europe rather than Las Vegas.

It isn’t nearly enough for me, as most cleverness and bright, crisp writing are gone.

2000 Films, Guy Films, Thriller, War

U-571-2000

March 25, 2021 scottmet99 Leave a comment

U-571-2000

Director Jonathan Mostow

Starring Matthew McConaughey

Scott’s Review #1,126

Reviewed March 25, 2021

Grade: B-

U-571 (2000) is a entertaining film. It’s got excellent cinematography, some thrills, and a clear good-guys vs.-bad-guys mentality with machismo for days.

It’s an American film if there ever was one, and will please American audiences seeking cookie-cutter material with loud noise and a satisfying ending.

It’s also got some scenes of guy peril that will please a certain type of audience demographic- think blue-collar males.

The modus operandi is that all the Americans are good and the Germans are bad. It is World War II after all. It wasn’t that simple, folks, but according to the film, it’s pretty cut-and-dried.

But that’s entertainment and a box-office hit.

It’s not a bad film at all, but a beer-and-pizza-style film, not a martini-and-avocado-dip film.

For those seeking something more authentic versus formulaic and riddled with cliches, U-571 will disappoint. It’s also shamefully inaccurate and severely muddies the waters.

The film does not portray a historical event, so it gets away with a lot.

But it’s a fictional film meant to entertain, so my suggestion is to sit back, grab some popcorn (or beer and pizza), and enjoy it for what it is. Please don’t look for any rationale beyond the studio wanting to make a lot of money.

And there is the exceptional cinematography and cool locales to keep us marginally happy. The story is inane, but the trimmings work.

When a German U-571 submarine (hence the title of the film!) with a sophisticated encryption machine onboard is presumed lost and buried during a World War II battle at sea, the Allies send an American Navy force led by Lieutenant Andrew Tyler (Matthew McConaughey) to retrieve it for study.

Boarding the German ship, the Americans’ cover as a rescue force is quickly blown. Forced to take the crew hostage, the Americans lay their explosives and prepare to destroy the German vessel before the Nazis can send naval backup.

It’s a race-against-time routine frequently seen in masculine thrillers.

About those historical inaccuracies.

The American portrayal is skewed and slanted to be pro-American, and this point offended many of the British military and public. Even Prime Minister Tony Blair got involved.

The Allies captured Enigma-related codebooks and machines about fifteen times during the War; all but two of these by British forces.

Watching the film, one would think the Americans did everything and the British were incompetent.

Let’s ponder for a moment why filmmakers, especially screenwriter David Ayer and director Jonathan Mostow, would embrace such inconsistencies. My hunch is that they were attempting to target their film to male American moviegoers.

The tactic worked, and the film was a hit.

A cool tidbit is the casting of rock star Jon Bon Jovi in the supporting role of Lieutenant Pete Emmett. At this time, launching an acting career that included a role on television’s Ally McBeal, it’s impressive to see him on the big screen and not playing himself.

I’m not sure he pulls it off, but as a fan of the 1980s hitmaker, I enjoyed this aspect.

McConaughey carries the film well and is his usual dashing and charismatic self. Before the actor started doing more quality, character-driven films nearly a decade later, he would later state that he disliked several roles he took on and did them solely for the cash payday.

One wonders if U-571 is one of those films.

Bill Paxton and Harvey Keitel have little more to do than act tense and play second fiddle to McConaughey.

From an inclusive perspective, and I kid because there is nary a strong female to be found, there are no strong female characters. It’s a shame that, given the year 2000, Mostow should have known better.

Couldn’t one of the high-ranking majors or lieutenants have been a woman? If nothing else, it could have added some sexual tension—or perhaps a same-sex relationship.

The film does nothing for diversity.

It’s a very intense and exciting war film that accomplishes what it sets out to do. It’s well-executed and a crowd-pleaser, U-571 (2000) doesn’t contain much more than that and will be remembered as a slick, entertaining thriller with a big movie star.

Oscar Nominations: 1 win-Best Sound Editing, Best Sound (won)

2001 Films, Action, Comedy, Guy Films, Heist, Vegas

Ocean’s Eleven-2001

January 28, 2021 scottmet99 Leave a comment

Ocean’s Eleven-2001

Director Steven Soderbergh

Starring George Clooney

Scott’s Review #1,105

Reviewed January 28, 2021

Grade: A-

Steven Soderbergh was awarded the Best Director Academy Award for his exceptional direction in Traffic (2000), one of my all-time favorite films.

He follows up that gem with a slick, commercial film that is stylish and looks cool.

It’s fast-paced, with quick editing, and is set in the dangerously appealing world of casinos, as a group of sophisticated thieves attempts to steal $160 million from a casino owner with whom they have a vendetta.

I expected a film of this type to be generic and by-the-numbers, but instead it’s unpredictable and unexpected.

Ocean’s Eleven (2001) is the first (and best) installment of the popular Ocean’s franchise and a remake of the 1960 Rat Pack film of the same name.

George Clooney was in his film prime and led the pack of A-list stars like Brad Pitt, Julia Roberts, and Matt Damon in a packed and brimming two-hour entertainment fest.

A nice touch is inviting two stars from the original, Henry Silva and Angie Dickinson, to appear as themselves.

Clooney leads the charge and embraces his status as a leading man with charm, polish, and style. He plays a handsome Danny Ocean, a man with a plan.

Less than one day into his parole from a New Jersey penitentiary, the thief is already traveling to California to plot his next move with his partner in crime, Rusty (Brad Pitt).

It’s tinged with revenge.

They abide by three rules: Don’t hurt anybody, don’t steal from anyone who doesn’t deserve it, and play the game like you’ve got nothing to lose.

Danny orchestrates his charges to pull off the most sophisticated, elaborate casino heist in history. And it will take place in glitzy Las Vegas on the night of a boxing match.

Providing the rules makes me think fondly of a similar proclamation in David Fincher’s 1999 film Fight Club, where Danny and the gang immediately feel sympathetic to me.

After all, they don’t intend to hurt anyone, and the money stolen will be from folks who are dastardly and might even deserve to be penniless.

Didn’t Jigsaw from the Saw films only kill those who harmed other people? Suddenly, their motives are clear and justified, making them the good guys.

As a bonus, the “victim” of the heist is the unlikable Terry Benedict (Andy Garcia), who owns three casinos and is worth billions.

Making the bad guys the heroes and Benedict the bad guy is clever and situates the players properly, so the audience knows who to root for.

As if the film doesn’t have enough treats, some drama is thrown in. Danny’s ex-wife, Tess (Julia Roberts), is Benedict’s girlfriend. Is she loyal to Danny or Benedict, or might she be playing both sides?

Loyalties are tested and questioned, and the intricate bank heist sequence is titillating and an edge-of-your-seat thrill ride.

The Las Vegas backdrop, with the casino’s bright lights, bells, and other elements, cements Ocean’s Eleven as one of the best in its genre.

It’s also tough not to root for Clooney, Pitt, and Damon in or out of character.

Ted Griffin writes the screenplay and adds some nice characters, more than one-note bank robbers or thieves.

Along with Soderbergh’s direction, which adds the nice atmospheric trimmings like the razzle-dazzle casino scenes, they make a great pair.

I love how Danny and Rusty recruit a team with specialized skills like mechanics, pickpockets, and an electronics and surveillance specialist. There’s even an acrobat!

This seems like an ode to the 1960s television series Mission: Impossible, as the team is carefully selected for their skills.

A highly entertaining popcorn film just perfect for a summer night, Ocean’s Eleven (2001) is sure to satisfy. The intention is to sit back and enjoy what is offered, and all the elements come together perfectly.

The culminating main event boxing match and subsequent twist catapult the film from pure entertainment to something more nuanced and exciting.

The film was a success at the box office and with critics, leading to two Soderbergh-directed sequels and a spin-off with an all-female lead cast, released in 2018.

1997 Films, Action, Guy Films, Political Thriller, Thriller

Air Force One-1997

November 21, 2020 scottmet99 Leave a comment

Air Force One-1997

Director Wolfgang Petersen

Starring Harrison Ford

Scott’s Review #1,085

Reviewed November 21, 2020

Grade: B+

If ever a straight-ahead, summer blockbuster, popcorn flick existed, Air Force One (1997) is it.

Surprisingly, this is not a bad thing. It’s not cerebral, but it’s never dull.

The film has hooks and muscle and assembles a thrill ride, edge-of-your-seat action fest. Some would say this is just what the doctor ordered, and they’d be right, provided the mood is for a mind-escaping, meat-and-potatoes affair.

Air Force One is pure Americana.

With a patriotic musical score and a clear hero and villain, it’s easy to know who to root for. Suspension of disbelief is mandatory since some scenes are as implausible as Santa Claus shimmying down a chimney on Christmas Eve, but the film is entertaining.

The action is non-stop.

At the tail end of his prime action-star years (the 1980s and 1990s), Harrison Ford plays James Marshall, the president of the United States of America.

After making a bombastic speech in Moscow vowing never to negotiate with terrorists, a group of them led by the dastardly Ivan (Gary Oldman) hijacked Air Force One with the president and his family on board.

Marshall, a former soldier, hides in the cabin of the plane and races against time to save his family and those aboard the flight from the terrorists.

The plot is implausible and hokey, and it reeks of plot points meant to carry the story along, but surprisingly, the film works. There is no way a president would ever race around performing stunts aboard an airplane, conquering the villains like clockwork.

But Ford has the charisma to make us believe it could happen, and his character is a family man, a Vietnam veteran, and a Medal of Honor recipient.

Can this guy be any more perfect?

Oldman, always reliable as a villain, is perfectly cast. His character’s motivations are simplistic and nationalistic. Ivan believes that the collapse of the Soviet Union has ruined his country, and somehow it’s the fault of the United States.

The reasoning is silly, but it’s in keeping with the patriotic nature of Air Force One- the ‘us versus them’ mentality. The United States is good; Russia is bad.

It’s what middle America wants, and the target audience of this film is clear, back to the Cold War.

Wolfgang Petersen, who directs the film, knows his way around the action genre. After all, he crafted the memorable Das Boot (1981) and Outbreak (1995). The film has a Tom Clancy-Patriot Games meets Die Hard (1988) style.

Petersen meshes the score with the quick editing style to layer the film with more action than slowed-down conversational scenes. We know how it’s going to end, but enjoy the ride.

On closer inspection, the film is not just for the guys.

Glenn Close is cast as a female Vice President and a strong gender-twisting presence. Kathryn Bennett is a bold, careful woman, and the implication is that she is more than capable of taking over should anything happen to the president.

Her scenes mostly take place in the White House Situation Room and provide a nice calm as she is pressured by the Defense Secretary (Dean Stockwell) to declare the president incapable.

The scenes between Stockwell and Close are very strong.

Air Force One (1997) is a cliché-riddled and mainstream Hollywood creation to the max. Both the pacing and the pulsating style make the film a guilty pleasure and quite enjoyable.

When the mood strikes to kick back and relax with a fun, action-packed affair, this one is your choice. Just don’t dissect the details too much or expect real-life to mimic art.

Oscar Nominations: Best Sound, Best Film Editing

2008 Films, Action, Adventure, Guy Films

10,000 B.C.- 2008

February 11, 2020 scottmet99 Leave a comment

10,000 B.C.- 2008

Director Roland Emmerich

Starring Steven Strait, Camilla Belle

Scott’s Review #988

Reviewed February 11, 2020

Grade: F

10,000 B.C. (2008) is a by-the-numbers adventure/action hybrid film that attempts to be slick and modern with catchy visual elements, but instead bottoms out, resulting in a terrible example of filmmaking.

The CGI usurps all other qualities, offering no historical accuracy and a ridiculous 2008 feel rather than the time at hand.

Those involved had only the film’s box-office returns in mind when the film was created.

An irritating formulaic quality and poor acting across the board leave this one dead on arrival.

Fierce, masculine mammoth hunter D’Leh (Steven Strait) sets out on an impossible journey to rescue the woman he loves, Evolet (Camilla Belle), from an evil warlord and save the people of his village.

While venturing into the unknown and frightening territories, D’Leh and his fellow warriors discover an amazing civilization rife with possibilities.

Predictably, the warriors are attacked and slaughtered, leaving the young man to protect the remaining group while winning the heart of a princess, well above his station in life.

The story is complete schmaltz and easy to predict from nearly the very beginning of the film.

Powerful invaders force the hunters of D’Leh’s tribe into slavery and accost the princess in such a fashion that the setup is all put neatly in place for the viewer, providing nothing out of the ordinary.

When the young and naive boy has an epiphany and realizes he is the only one who can save his tribe from extinction, it is all too much.

The film is riddled with cliché after cliché after cliché.

A tough ask to lead a film with summer blockbuster written all over it, newcomers Strait and Belle do their best, which only enhances how poor their acting is.

Cast for their good looks, they can offer little else. For audience delight, Strait is costumed with a bad wig, dripping sweat, and bulging muscles.

Belle is also victimized as she pouts and sulks while wearing skimpy clothing.

The result is a standard boy-meets-girl story: the boy loses the girl, and the boy becomes a man to clean up the girl’s mess. Inexplicable is how they meet and fall in love before ever speaking or getting to know each other.

If only the bad acting were the only negative, the film might be fair to middling, but nothing good is ever offered. All the hunters and tribe members look like modern people dressed to look like people from a different period.

The endless battle scenes borrow from the legion of action and adventure films that have come before it. The animals prance across the screen in obviously timed moments, providing little in the way of authenticity.

Director, Roland Emmerich, known for films such as Independence Day (1996) and The Day After Tomorrow (2004) has a knack for creating large epic adventures to please mainstream audiences.

There is nothing wrong with a conventional film if it manages to teach the viewer something or offer something of merit. With a target audience of pubescent boys and girls yearning to learn, Emmerich misses a golden opportunity to present an imaginative prehistoric moment and provide a lesson.

Complete with a bad story and bad acting, the drivel conjured up is nearly too much.

The over-stylish visuals cannot save 10,000 B.C. (2008) because they are so phony that one cannot even fathom any credibility.

The good-looking main stars look straight out of a glossy magazine and hardly from the prehistoric era presented.

With a little attempt at giving audiences anything of substance, this film is an epic fail to be missed.

2007 Films, Action, Drama, Epic, Fantasy, Guy Films, Historical Drama

300-2007

January 7, 2020 scottmet99 Leave a comment

300-2007

Director Zack Snyder

Starring Gerard Butler

Scott’s Review #977

Reviewed January 7, 2020

Grade: D

On paper, 300 (2007) could have been a good or even a great film under different circumstances, if a historical realism or a message of some kind had existed.

Unfortunately, what sounds like an interesting premise is met with a cartoon quality, overacting, and cheesy testosterone-laden bombast.

Little more than drivel, the film is saved slightly by a charismatic lead, male flesh, and potent homo-eroticism, but this is no Magic Mike (2012), and the content fails because it is intended to be taken seriously.

The result is a silly affair, with predictability and stereotypes for miles.

The story is based on a 1998 comic series of the same name, a fictionalized retelling of a battle in the Persian War.

The flimsy plot revolves around King Leonidas (Gerard Butler), who leads 300 Spartans into battle against the Persian “God-King” Xerxes (Rodrigo Santoro) and his invading army of more than 300,000 soldiers (hence the title).

As the battle rages on, Queen Gorgo (Lena Headey) attempts to rally support in Sparta for her husband (Leonidas) and conquer the army.

Butler is the only slight positive worth mentioning as he preens and prances in little more than a loincloth with chiseled abs during the battle scenes, ferociously bellowing at his enemy.

A fine-looking man, he is unarguably charismatic and poised, so the audience is strongly encouraged to root for him, and naturally for the Spartans.

Leonidas makes for a powerful leader and is great to look at, but that is where any positives to this film end.

The scantily clad gimmick is not intended to draw female viewers to the film, or at least the intent doesn’t seem to be there unless the marketing is botched.

There is enough male nudity to go around, and the beefcake and machismo are clear in most of the characters.

Laughable that the Spartans all have washboard abs and appear freshly waxed. Did they have access to state-of-the-art fitness centers in 479 BC?

The Persians are mostly face-pierced and sneering, the clear enemy, which does nothing to diminish racist overtones. Spartan-good, Persian-bad.

Zack Snyder’s (Dawn of the Dead, 2004) motivation seems to be to market this film to pubescent teenage males or the low-IQ crowd, so the stereotypes are not the best thing to witness, nor will they leave anyone feeling very liberated or united.

The characters are either cookie-cutter or grizzled and violent, which is in tune with most of the film- bloody, but without reason, substance, or merit.

One-note character after one-note character appears through each scene.

Most bothersome is the intent to stir a pro-war stance, not helpful given the target audience.

300 was filmed mostly using a superimposition chroma key technique to replicate the imagery of the original comic book, which only makes the film look like a high-energy video game.

The product is quite stylized, with gloomy battleground scenes and a dire, bleak tone, and adopts a graphic novel or comic book approach, but lacks any subtle qualities or pretty much anything else interesting from a cinematography perspective.

The battle scene finale is by the numbers and should come as no surprise who the inevitable victor is.

The film requires little thought or attention span, and one can immerse oneself on a cushion and absorb the nonsense, couch-potato-style.

Battle after battle erupts with cliched earnestness and a bevy of blood-spurting wounds and kills. This would be okay if there existed any point or good plot twist.

Any character development is missing.

300 (2007) is a weak offering and decidedly boring, a surprise since much of the action takes place on the battleground, where the pace is a mile a minute.

The experience is forgettable, and a legion of other action-fueled films exist with more meat and potatoes on their plate.

The sinister and stereotypical aspects make the resulting film less than fun, and the big, loud, dumb product is only marginally cinematic.

We can do better.

1998 Films, Drama, Epic, Guy Films, War, World War II

Saving Private Ryan-1998

June 26, 2018 scottmet99 Leave a comment

Saving Private Ryan-1998

Director Steven Spielberg

Starring Tom Hanks

Scott’s Review #778

Reviewed June 26, 2018

Grade: A

Famed director Steven Spielberg does not always get the respect he deserves. This is usually because, for better or worse, he has become synonymous with the “blockbuster” film, drawing comparisons to either lightweight fare or films of “lesser” artistic merit.

His 1980’s works- Raiders of the Lost Ark (1981), E.T. the Extra-Terrestrial (1982), and Indiana Jones and the Temple of Doom (1984)- were enormous commercial successes, though I enjoyed all of the films.

During the 1990s, Spielberg continued to direct “popcorn flicks” such as Hook (1991) and Jurassic Park (1993) with large studio budgets but somewhat less critical acclaim.

Finally, he was able to change many opinions with 1993’s Schindler’s List and the war film to end all war films, Saving Private Ryan (1998), an epic, profound experience.

Both received numerous Oscar nominations and achieved box-office success.

The film is a tremendous treat, thanks to the riveting opening sequence alone (more on that later).

If that is not enough to impress, Saving Private Ryan is known for infusing a very graphic element into the war film, with no let-up from the brutality. Spielberg does not water down this picture; instead shows the pain and angst of war.

The film is helped tremendously by the casting of Hollywood superstar Tom Hanks, who leads an enormous cast of mainly young men.

Saving Private Ryan opens with a prologue: in the present, a veteran brings his family to visit an American cemetery in Normandy.

Flashbacks then take the audience back to the Omaha Beach debacle in 1944, where American troops faced deadly German artillery attacks in France.

After the horrific three-day D-Day, it is learned that three of the four Ryan sons have died in the events. Captain Miller (Hanks) is ordered to bring a team of men to Normandy and bring the fourth Ryan son (Matt Damon) to safety.

Spielberg’s opening D-Day sequence is just astounding and propels the film to unforgettable status. With a running time of twenty-four minutes, the riveting and horrific slaughter of American soldiers is intensely brought to the screen.

Audiences undoubtedly sat open-mouthed (I know I did!) as bullets riddled the beach and left soldiers killed or with limbs torn off. The camera work is brilliant, as the use of a shaky technique, almost a documentary style, is used for effect.

This sequence successfully promotes anti-war sentiment without glorifying combat at all. The scene will stay with its audience for years to come.

Saving Private Ryan can be compared to the decades-later Dunkirk (2017) in that each film took the war genre and turned it on its head.

The similarities between the films start with the obvious: the main events in both films occur during World War II, in the same week, and in the French beach settings, making the films perfect companion pieces.

Both films feature a gray, rainy setting with many horrific moments of death and suffering. The war film is a common genre that has historically teetered on the brink of predictability and oversaturation. Still, both films do something completely different and unexpected, yet mirror each other in style.

To counter-balance the violence in the opening sequence, a quiet scene is created and remains one of my favorites. The scene contains almost no dialogue throughout the seven-minute duration and is pivotal to the entire film.

As a typist realizes that three letters of death are to be delivered to the same family, a woman on a mid-west farm quietly washes dishes and is calmly horrified when she sees a government car approaching.

What else can this mean but that one of her sons is dead? The poor Mrs. Ryan will be told that she has lost not one, but three sons.

How utterly unimaginable, and the scene is incredibly touching!

The best part of Saving Private Ryan is that Spielberg combines a deeply sentimental vision with the terrible atrocities of war. He portrays not only the violent effects of the battles on the soldiers but also on the surviving families.

This is not always done in war films, at least not to the level that Spielberg chooses to.

With a film as startling as Saving Private Ryan, Spielberg turned the war film genre inside out. Breaking barriers with a no-holds-barred gusto, Spielberg influenced war films for years to come- Black Hawk Down and Enemy at the Gates (2001) are prime examples, and received acclaim from fellow directors for his interesting techniques.

Saving Private Ryan (1998) was an enormous financial winner at the box office, proving that great films don’t have to be watered down to find an audience.

Oscar Nominations: 5 wins-Best Picture, Best Director-Steven Spielberg (won), Best Actor-Tom Hanks, Best Screenplay Written Directly for the Screen, Best Original Dramatic Score, Best Sound Effects Editing (won), Best Sound (won), Best Art Direction, Best Cinematography (won), Best Makeup, Best Film Editing (won)

2009 Films, Blockbuster, Bromance, Comedy, Guy Films, Screwball Comedy, Vegas

The Hangover-2009

January 7, 2017 scottmet99 Leave a comment

The Hangover-2009

Director Todd Phillips

Starring Bradley Cooper, Ed Helms, Zach Galifianakis

Scott’s Review #590

Reviewed January 7, 2017

Grade: B+

It was not my idea to see this particular film- the raunchy, mindless “guy” films have always seemed lackluster and cheesy to me. Still, I confess to finding The Hangover (2009) a novel and entertaining summer blockbuster film.

I did not expect much from this film but instead found it comical and fun.

It has the “dumb frat boy/jock” shenanigans, and not much thought is needed, but it is good old boy entertainment.

Similar to the American Pie films of the 1990s, in which a group of guys finds themselves mixed up in amusing, and sometimes humiliating, situations after a night of boozing, The Hangover has a likable cast led by then-up-and-coming star Bradley Cooper.

What sets The Hangover apart is the great chemistry among the cast (Ed Helms and Zach Galifianakis, specifically) that other flaws or generic writing can be overlooked or forgotten altogether.

The group goes from one hysterical situation to another.

Set in Las Vegas (a great decision), three men awake to find the groom missing after a night of debauchery- they are there to celebrate via a wild bachelor party.

In their hotel room are a tiger and a six-month-old baby, and they have no idea how either has gotten there.

From this point, the film goes back to the arrival of the gang and the events that transpired leading up to the hotel room acquisitions.

This is fun and keeps the audience engaged in the hijinks.

The Hangover (2009) was followed by the inevitable two sequels, neither of which was as good or as successful at the box office, to the surprise of nobody except maybe movie studio executives.

2010 Films, Action, Fantasy, Guy Films

Clash of the Titans-2010

December 27, 2016 scottmet99 Leave a comment

Clash of the Titans-2010

Director Louis Leterrier

Starring Sam Worthington, Liam Neeson

Scott’s Review #566

Reviewed December 27, 2016

Grade: B

Though I went to the theater begrudgingly to see Clash of the Titans-2010, (fantasy blockbusters are not typically my cup of tea), I have to confess to being moderately impressed by this film.

I had no real expectations other than it is a tale loosely based on the Greek myth of Perseus.

I have heard some people compare it to the original in an unfavorable way, but I have not seen the original- released in 1981 so any comparisons are a moot point.

At one hour and fifty minutes, the film is a perfect length and does not drag.

The plot is basic and focused. Perseus (Sam Worthington) must save the life of the beautiful Princess Andromeda, as he leads a team of warriors into battle against vicious enemies.

Some of the creatures they meet along the way are fascinating.

Clash of the Titans (2010) is not fine cinema, and the acting is not spectacular, but the effects are worth mentioning and the look of the film is impressive.

My only real criticisms are the way Medusa is portrayed (said to be ugly, she really is a beautiful woman with snakes on her head) and the 3-D, which was pretty much unnecessary- this is probably an attempt by the studios to capitalize for profit.

1990 Films, Epic, Guy Films, Mob

The Godfather: Part III-1990

December 3, 2016 scottmet99 Leave a comment

The Godfather: Part III-1990

Director Francis Ford Coppola

Starring Al Pacino, Diane Keaton, Andy Garcia

Scott’s Review #533

Reviewed December 3, 2016

Grade: B+

The Godfather: Part III, released in 1990, has traditionally been met with unwavering criticisms for not being as great as the two preceding epics.

Sofia Coppola, who plays Mary, the daughter of Michael Corleone, in particular, has borne the brunt of the attacks.

No, The Godfather: Part III is not on the level of the others, but it is pretty damned good on its own merits and is a capable mob epic that concludes the franchise satisfyingly.

The central themes of the film are Michael’s continued desire to leave the mafia and religion, and the Catholic Church is a central theme.

Some backstory to the making of the film: Coppola had a non-expiring offer to create a third installment to the saga ever since 1974, when Part II was released.

After a financial crisis, Coppola agreed to do the follow-up in 1990.

The ever-crucial role of Mary (now a coming-of-age young lady) was to be played by Julia Roberts, who dropped out. Winona Ryder was then cast and bailed at the very last minute.

Out of necessity, Coppola’s daughter, Sofia, was cast and had little time to prepare or much acting experience (she would later become an acclaimed director, which better suited her talents).

In a similar fashion to the other epics, a major event launches the film: Michael (Pacino) is named Commander of the Order of Saint Sebastian in a lavish ceremony at St. Patrick’s Old Cathedral.

It is revealed that Michael is approaching age sixty and semi-retired, leaving his business dealings mainly to Joey Zasa in New York, who has ravaged what the Corleone family had once built.

Many characters- Kay, Mary, Tony, and Connie- are reintroduced, and new characters such as Vincent Mancini (Andy Garcia) and Don Altobello (Eli Wallach) are introduced, in a flurry of new storylines.

It is like a big, grand soap opera, with wonderful, rich writing.

I was immediately impressed by the neat cinematography- the camera captures wind-swept leaves and an artistic introduction to the film, as well as characters from the first two films, either appearing in cameo roles or appearing in cameo roles, small characters from the first two films- a great touch in continuity and history.

Coppola does a fantastic job of providing little updates on these characters during a party.

For example, we learn that Vincent is the deceased, illegitimate son of Sonny, his mother being Lucy Mancini, who appears in a scene. (Clever viewers will remember Sonny and Lucy’s torrential affair in the bathroom during The Godfather (1972)-it is suggested that this produced Vincent).

It is mentioned that Tom Hagen (Robert Duvall) has died, though his wife and son appear, and Coppola treats us to a myriad of flashbacks (Apollonia, a young Michael, and Kaye).

These nuances make The Godfather: Part III a film filled with cool little aspects that warm the loyal viewer.

The main story- Michael takes Vincent under his wing- and strives to steer the family clear of criminal ties- is interesting, if not spectacular.

Connie rises from a battered mafia wife, raising kids, to a major player in the family, just as women progressed from the 1940s to the 1980s when the story takes place.

She even feeds her godfather a poisoned cannoli!

Michael, Vincent, and Connie involve themselves with the Catholic Church, bailing it out (the real-life Papal banking scandal is linked to the story) and striking a deal with it for a major stake in the real estate company Immobiliare.

In-fighting between the major crime mob bosses leads to several bloody massacres throughout the film, on the streets, in Atlantic City, and finally, in the Sicilian Opera house.

The pairing of cousins and lovers, Vincent and Mary, never really works, nor does Bridget Fonda’s one-two-scene appearance as Grace Hamilton, a brief dalliance for Vincent.

Also, the exclusion of the loyal family attorney, Tom, is a glaring omission.

So the film does contain a few negatives.

In a nutshell, The Godfather: Part III (1990) is a very good, epic crime drama even without the Godfather name. To measure up to the glory of Parts I and II is impossible.

With the bonus of having the rich Corleone family history and the intricate relationships between the characters, this makes for a treat for fans.

There has not been a Part IV, nor should there ever need to be, as the conclusion of the film is a satisfying wrap-up to the saga.

Oscar Nominations: Best Picture, Best Director-Francis Ford Coppola, Best Supporting Actor-Andy Garcia, Best Original Song-“Promise Me You’ll Remember”, Best Art Direction, Best Cinematography, Best Film Editing

Welcome to my blog!1,543 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 featured films of the month, and don't forget to utilize the tags and category links.