Category Archives: New York City

1961 Films, Best Picture Oscar Winners, Best Picture-Comedy or Musical Golden Globe Winners, Drama, Favorite Film of the Year, Musical, New York City, Romantic Drama, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

West Side Story-1961

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West Side Story-1961

Director Robert Wise, Jerome Robbins

Starring Richard Beymer, Natalie Wood

Top 250 Films #12

Scott’s Review #188

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Reviewed November 3, 2014

Grade: A

West Side Story is a 1961 musical (based on the Broadway stage production from the 1950s), during a period in Hollywood when every other film released seemed to be a version of an enchanting musical.

This particular film version is much darker than most of its contemporaries within this genre.

The dreary ending, fantastic and compelling in its dramatic elements, does not detract from the rest of the musical and its hum-along tunes.

West Side Story was crowned the 1961 Academy Award winner for Best Picture.

West Side Story is undoubtedly based on the Shakespearean tragedy of Romeo and Juliet- the Capulets and Montagues becoming rival teen street gangs of the Puerto Rican “Sharks” and the Polish”Jets,” with the lovesick teens Tony and Maria serving as Romeo and Juliet.

And yes, spoiler alert, the story does not end happily ever after.

Loads of suspension of disbelief must be taken- how many gangs sing and dance to each other, snapping their fingers in unison to perfectly choreographed beats?

Additionally, some gang characters do not look authentic, with clearly dyed hair, bronzed skin, or some other phony-looking get-up.

The film is a cherished friend, and these can be overlooked for my enjoyment of the film.

The story, set in 1950s New York City, pits the Sharks (a gang led by Bernardo) against the Jets (led by Riff), who have been bitter rivals for the turf of the rough streets of Manhattan’s west side for many years.

The gang’s girlfriends and one female, “Anybodys,” are in tow. She longs for the day when she can join the Jets and fight alongside the boys.

The other supporting characters primarily include various policemen (Lieutenant Schrank and Officer Krupke) who attempt to keep the gangs apart.

They also include a local shopkeeper, Doc, who is the story’s moral compass. Doc encourages the gangs to get along and questions the logic of gang fights.

After a scuffle, the gangs decide to fight after an upcoming dance, and the Jets elect Tony to face Bernardo.

The story is surprisingly dark, especially in the inevitable final act. Amid all this darkness, however, lies a musical with cheery, catchy numbers (I Feel Pretty, Jet Song) and love-struck tunes (Maria and Somewhere).

A musical about diversity and rivalry, the story centers on lovesick Maria and Tony, a la Romeo and Juliet, and their struggle to be together despite adversity from their friends and family due to their significantly different backgrounds.

Throughout the film, we get to know other characters well- Anita, the girlfriend of Bernardo, for example, played by Rita Moreno, is the stubborn yet likable best friend of Maria, who thinks that Maria and Tony are wrong for each other and that things just are not supposed to be that way when you mix cultural diversity.

The film moves along quickly, featuring standoffs, fights, and plots to eliminate the other gang, a failed attempt at a dance to bring the two groups together, and Tony and Maria sneaking off to meet.

The lack of chemistry between Natalie Wood (Maria) and Richard Beymer (Tony) is noticeable, primarily upon multiple viewings. Still, decades later, it is also challenging to imagine anyone else in either role—so ingrained is the duo in film culture.

The cultural diversity of much of the cast (Rita Moreno was the only Puerto Rican) is fascinating, as is the fact that most of the singing was dubbed by other singers.

Yet, the film still manages to work very well.

Oscar Nominations: 10 wins-Best Motion Picture (won), Best Director-Robert Wise and Jerome Robbins (won), Best Supporting Actor-George Chakiris (won), Best Supporting Actress-Rita Moreno (won), Best Screenplay Based on Material from Another Medium, Best Scoring of a Musical Picture (won), Best Sound (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Costume Design, Color (won), Best Film Editing (won)

Golden Globe Nominations: 3 wins-Best Picture-Musical (won), Best Director-Motion Picture-Robert Wise, Best Performance by an Actor in a Motion Picture-Musical or Comedy-Richard Beymer, Best Performance by an Actor in a Supporting Role in any Motion Picture-George Chakiris (won), Best Performance by an Actress in a Supporting Role in any Motion Picture-Rita Moreno (won), New Star of the Year-Actor-George Chakiris, Richard Beymer

1954 Films, Favorite Film of the Year, New York City, Summer, Thriller, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

Rear Window-1954

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Rear Window-1954

Director Alfred Hitchcock

Starring James Stewart, Grace Kelly

Top 250 Films #19

Scott’s Review #317

Reviewed January 2, 2016

Grade: A

I dearly love several Alfred Hitchcock films, and Rear Window (1954) is at the top of that list.

The film is a unique experience in that much of it is shot from the point of view of the main character, L.B. Jeffries, played with conviction by James Stewart, a fixture in several of Hitchcock’s great films.

Wheelchair-bound and confined to his Manhattan apartment, he has nothing more to do than spy on an entire apartment of neighbors across the street.

He witnesses a crime, and a cat-and-mouse game ensues.

What is great about this film is that the viewer gets to know the series of neighbors L.B. watches and glimpses into their lives, some of which are happy and some sad.

Rear Window is shot like a play. The chemistry between Stewart and Grace Kelly is nice, but secondary to the main story’s tremendous impact.

Rear Window (1954) can be watched repeatedly and enjoyed with each subsequent viewing.

Oscar Nominations: Best Director, Alfred Hitchcock, Best Screenplay, Best Sound Recording, Best Cinematography, Color

1980 Films, Action, Crime Thriller, Mob, New York City, Summer, Thriller, Top 100 Films, Top 250 Films, Top 50 Films

Gloria-1980

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Gloria-1980

Director John Cassavetes

Starring Gena Rowlands

Top 250 Films #32

Scott’s Review #166

Reviewed September 9, 2014

Grade: A

Gloria (1980) is an action/thriller film that features the standard action-crime thriller elements, including shoot-em-ups, guns blazing, and clichéd fare.

It also contains an interesting and appealing leading character, a gritty atmosphere, and witty dialogue.

It is a significantly better film than most indistinguishable action films.

Directed and written by independent film master, John Cassavetes, who wanted to make a more conventional, mainstream film than was typical for him- think the very left of center, brilliant A Woman Under the Influence, also starring Gena Rowlands.

Gloria was the perfect film for him to create with Rowlands as the focal point.

Made in 1980, Gloria perfectly captures New York City of that era.

New York City was gritty, dirty, rough, crime-infested, violent, and chaotic, and the film frequently travels throughout Manhattan, the Bronx, and New Jersey, with many scenes shot directly on the streets of New York.

Several other scenes are set in dingy apartments, hotels, seedy bars, and rundown streets, and are highly effective in portraying a gloomy atmosphere.

The cinematography in the film is perfect.

The heart of the film lies with Rowlands (Cassavetes’s wife), who gives a mesmerizing performance as a former mob girlfriend who, by circumstance, must protect a young Hispanic boy from execution by the mob because of an informant’s book he clings to for dear life.

No other actress could have played this role of a tough-talking, brash New Yorker as well as Rowlands does.

The boy’s father, played by Buck Henry, is a scared accountant with ties to a company fronted by the mob.

He fears his entire family will be murdered and hands his kid over to Gloria. Julie Carmen gives a brief but effective performance as Phil’s frazzled mother.

I wish Henry and Carmen had been given more screen time and fleshed-out characters because both had huge potential.

The film belongs to Rowlands- she is no-nonsense, tough, and so convincing in the part.

I also enjoyed the casting of John Adames as the kid, Phil. Many critics inexplicably panned his performance, and I’m not sure why.

I also love the unique opening credits, as intense folk/jazz music plays over watercolor portraits that turn into the skyline of New York City, with a melancholy, eerie quality.

Amid the violence, a sweet bond develops between Gloria and Phil that is neither too sentimental nor cheesy.

A great, compelling late 1970s/early 1980s film with definite Godfather and Dirty Harry influences in its texture and characters, especially in some of the mobster roles.

The appeal of the film is that it has a heart without ever delving into schlock. Surprisingly rated only PG, it is gritty, but not lewd or harsh, and seems dirtier than it is, with barely any filthy language.

The chemistry and heartfelt connection between Gloria and Phil are darling without being too sappy or safe.

Gloria (1980) is a fast-paced, action gem that is both appealing and tough.

Oscar Nominations: Best Actress-Gena Rowlands

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

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Once Upon a Time in America-1984

Director Sergio Leone

Starring Robert De Niro

Top 250 Films #85

Scott’s Review #218

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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.

1970 Films, Comedy, Dark Comedy, Independent, Independent Comedy, New York City, Satire, Top 100 Films, Top 250 Films

Diary of a Mad Housewife-1970

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Diary of a Mad Housewife-1970

Director Frank Perry

Starring Carrie Snodgress, Richard Benjamin

Top 250 Films #86

Scott’s Review #189

Reviewed November 5, 2014

Grade: A

The film version of Diary of a Mad Housewife (1970), based on the best-selling novel by Sue Kaufman, is a tremendous, unique story of one woman’s frustration with her irritating life.

A superb Carrie Snodgress stars as Tina Balser, a haggard, insecure, yet affluent housewife living in New York City with an unpleasant family.

The family is led by Tina’s verbally abusive and neurotic husband, Jonathan- a successful attorney, played flawlessly and comedically by Richard Benjamin- and her two brattish daughters, Sylvie and Liz.

Bored, Tina decides to embark on an affair with crude artist George Prager, wonderfully played by Frank Langella.

She teeters on the edge of an emotional breakdown throughout the film and trudges through life depressed and disappointed with all aspects of her life except for her affair with George.

George, however, is a womanizer and openly has other conquests besides Tina.

The film’s brilliant idea is to tell the story strictly from Tina’s point of view. All the action centers on her, which makes the film so enjoyable.

On the surface, one might argue she has everything- she is intelligent, well-educated, and affluent.

A stay-at-home mother, she is treated like a servant by her husband, Jonathan, as he constantly berates her appearance and criticizes her activities- she is always doing something incorrectly.

The film, though, is not a downer. It is a dry, satirical comedy that reminds me very much of a Woody Allen film.

Tina is depressed, yes, but she goes through life with a realistic, almost chin-up outlook. Her marriage to Jonathan is loveless, yet why doesn’t she leave him?

Her affair with George is sexually satisfying, but she has no intention of pursuing anything further with him, nor does he want to. Tina dotes on her husband- planning dinner parties, sending Christmas cards, and various other wife duties.

I’m not sure that the film’s true intent is to show Tina as either a strictly sympathetic character or as completely downtrodden- the film is not a moral tale, nor is it a schmaltzy woman victimized and will rise against the world’s generic drama- it is witty and filled with black humor.

Despite her unkind husband, I found myself, in a way, envying Tina’s life, and I think the film expects that of the viewer. I never got the impression that Tina was suicidal in any way.

It’s not that type of film.

Instead, she has wealth, and she goes to fancy restaurants, but she also has a very needy husband- he does not abuse her in a physical sense, nor is she reduced to tears by his outbursts.

She gets annoyed, accepts that this is life, and gets by with an occasional swig of alcohol while doing dishes or preparing dinner, or when the dog has an “accident” on the living room rug, and Tina’s kids cannot wait to tattle on her.

She is a sophisticated woman, trapped in an unhappy yet financially secure relationship.

Diary of a Mad Housewife is an interesting character study for all women to view and perhaps even slyly wink at. Many women would champion Tina.

She is a likable, sarcastic, fabulous chick. Audiences will find themselves drawn to her and even falling in love with her before long- I know I did.

Without the talents of Carrie Snodgress, who completely carries this film, it would not be the wonder it is. An excellent satire, the film is not as wry or satirical as the novel, but how many films are?

The novel delves deeper into the role of the Belsers’ maid, who is barely mentioned in the film, yet plays a larger role in the Kaufman novel.

I loved the portrayal of Jonathan by Richard Benjamin, who must receive some honor for being the most annoying character ever in the film when he repeatedly screams for his wife by bellowing “teeeenaaaaa!” or initiates sex by asking “would you like a little roll in dee hay?”

One wants to choke him.

The way Tina’s daughters whine “mudder” instead of “mother” is comically brilliant, and her simmering hatred of all of them is dark hysteria.

Diary of a Mad Housewife is a genius and should not be forgotten.

Oscar Nominations: Best Actress- Carrie Snodgress

Golden Globe Nominations: 2 wins-Best Comedy or Musical, Best Actor-Comedy or Musical-Richard Benjamin, Best Actress-Comedy or Musical- Carrie Snodgress (won), New Star of the Year-Actor-Frank Langella, New Star of the Year- Actress- Carrie Snodgress (won)

1999 Films, Cerebral, New York City, Psychological Thriller, Thriller, Top 250 Films

Eyes Wide Shut-1999

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Eyes Wide Shut-1999

Director Stanley Kubrick

Starring Tom Cruise, Nicole Kidman

Top 250 Films #125

Scott’s Review #464

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Reviewed August 14, 2016

Grade: A

Eyes Wide Shut is a film that I saw in theaters upon its release in 1999 and found fascinating, to say the least.

I have watched the film twice more in the years following, and it is even more fascinating today- it gets better and more nuanced with each viewing.

It is not an easy film to follow or explain, but it is rich in mystery and psychologically challenging.

A huge Stanley Kubrick fan, I found this film an eerie, plodding, cerebral psychological/sexual thriller.

The creepy piano score is very effective, and Tom Cruise and Nicole Kidman are both excellent as affluent, yet restless, thirtysomethings living in New York City.

Cruise plays Bill, a successful doctor, and Kidman his gorgeous wife, both sexually restless and escaping into fantasy and otherwise real dalliances with other partners as they bicker about fidelity and jealousy as they lounge in their underwear and smoke pot.

It’s a film about relationships, temptation, and desire, and does not always make perfect sense, but boy, will it leave you thinking.

The supporting characters are some of the most interesting I’ve ever seen, as they compel and mystify, and one wonders how they fit with the main characters.

The naughty Long Island orgy is as bizarre and surreal as one can imagine.

The movie reminds me somewhat of The Ice Storm (1997), Magnolia (1999), and Mulholland Drive (1992), which is the ultimate compliment as the aforementioned are film masterpieces.

1989 Films, Drama, Favorite Film of the Year, LGBTQ+ Drama, LGBTQ+ Films, New York City, Top 250 Films

Last Exit to Brooklyn-1989

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Last Exit to Brooklyn-1989

Director Uli Edel

Starring Stephen Lang, Jennifer Jason Leigh

Top 250 Films #176

Scott’s Review #152

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Reviewed August 13, 2014

Grade: A-

Last Exit to Brooklyn (1989) is a slice-of-life film set in lower-class Brooklyn, NY, in the early 1950s.

It tells the story of a group of struggling neighborhood people- sex workers, union members, drag queens, etc., whose lives intersect. Also in the neighborhood is a military base where soldiers come and go on their way to war-torn Korea.

The central characters, though there are several with small yet interesting stories, are Harry, played by Stephen Lang, a sexually conflicted union worker with a wife and newborn child.

He is in love with a selfish drag queen, and Marilyn Monroe lookalike, Tralala, played superbly by Jennifer Jason Leigh, a prostitute whose best days are behind her, and who will do anything for attention.

The sets and cinematography in the film are very well done- the feeling of despair and hopelessness is accomplished by the dowdy streets, homes, and bars that the cast frequents.

Some of the characters are sympathetic- the aforementioned plus Tralala’s love interest, the Diner boy madly in love with Tralala, and the virginal seeming (but not really) Donna, portrayed by a young Rikki Lake.

Other characters are abhorrent in their violence and hatred.

Last Exit to Brooklyn is quite a dark film and sometimes tough to watch, but it captures a dreary time and atmosphere. The Brooklyn set is excellent in its dreariness.

Jennifer Jason Leigh is the standout as the tough-talking, boozy prostitute who is losing her luster, and the final scene of the film is truly a heartbreaker.

The topics of union, strike, bisexuality, gangs, and drag queens are covered, and unique characters and conflict/loneliness are presented.

This film is an overlooked gem from 1989.

1975 Films, Biography, Crime Drama, Drama, LGBTQ+ Drama, LGBTQ+ Films, New York City, Summer, Top 250 Films

Dog Day Afternoon-1975

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Dog Day Afternoon-1975

Director Sidney Lumet

Starring Al Pacino

Top 250 Films #203

Scott’s Review #185

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Reviewed October 13, 2014

Grade: A-

Director Sidney Lumet successfully sets the smoldering hot summer afternoon in New York City for his 1975 film Dog Day Afternoon.

Al Pacino plays Sonny, an unemployed, desperate man who, while married with two kids, has a gay lover, Leon (brilliantly played by Chris Sarandon), whom he is attempting to help finance a sex change operation.

Based on a true story, Sonny, along with his dimwitted friend Sal- played by John Cazale- decides to rob First Brooklyn Savings Bank.

Predictably, their plans go awry when Sonny burns a ledger during the robbery attempt, and a pedestrian sees the smoke and alerts the police.

As the police learn of the attempted heist, a standoff ensues between Sonny and the cops, led by Detective Moretti (Charles Durning), and the robbery draws media coverage.

Most of the action is set inside the stifling-hot bank and directly outside on the street, and the supporting characters gradually come into play.

The hostages, Sonny’s mother, wife, and lover all make contact with Sonny in some way or another, and his motivations become clearer to the audience.

Dog Day Afternoon is an anti-establishment movie, in this case anti-police, questioning the government and the financial establishment (Lumet also directed Network, challenging the establishment).

This is evident when, after a standoff with police, the crowd sides with Sonny as he chants “Attica!” Attica!, which is a direct reference to a recent prison riot.

Sonny speaks for the working class- the poor, struggling, underpaid workers who cannot afford to feed or adequately take care of their families.

The heat and humidity mirror the pressure most middle-class people still feel today, leaving the viewer contemplating their life.

Sonny relates to the bank tellers who do not earn much. Sonny also connects with the audience in another way.

Leon, recently hospitalized at Bellevue Hospital, is emotionally dependent on Sonny. He would be lost without him.

They share a lengthy and heartfelt phone conversation that is the heart of the film- gay romance had not been explored this way by 1975 in cinema, and the romance was neither shoved down the audience’s throat nor was it looked past entirely.

Their relationship is tender and deep, yet still somewhat ambiguous.

Would they stay together? What would become of Sonny’s wife and two children? Would he leave them for Leon in a world that was not ready to accept two homosexual men together? Is that the reason for Leon’s desire for a sex change operation?

Chris Sarandon, in too small a part, is wonderful as the gay lover, struggling with a sexual identity crisis. Al Pacino gives, per usual, a brilliant portrayal as he takes on a complex character who is far from one-dimensional.

Perhaps not a masterpiece, Dog Day Afternoon is a very good film, but neither is it strictly a gay-themed movie nor an action/thriller- it’s more complex than that.

Ironically, Sonny is portrayed as the hero of the film, as it is not a standard good police versus bad bank robber type of film- quite the contrary. It is much, much more than that.

Oscar Nominations: 1 win-Best Picture, Best Director-Sidney Lumet, Best Actor-Al Pacino, Best Supporting Actor-Chris Sarandon, Best Original Screenplay (won), Best Film Editing

Golden Globe Nominations: Best Picture- Drama, Best Director-Sidney Lumet, Best Actor-Drama, Best Supporting Actor-John Cazale, Charles Durning, Best Screenplay, New Star of the Year-Male-Chris Sarandon

1969 Films, Best Picture Oscar Winners, Drama, New York City, Top 250 Films

Midnight Cowboy-1969

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Midnight Cowboy-1969

Director John Schlesinger

Starring Dustin Hoffman, Jon Voight

Top 250 Films #212

Scott’s Review #24

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Reviewed June 17, 2014

Grade: A

Midnight Cowboy is a masterpiece from 1969 that remains the only Best Picture Oscar winner to be rated “X” and, sadly, would probably not be made today.

It tells the tale of a friendly, trusting cowboy who moves from Texas to New York City and is challenged to survive the brutal streets any way he can.

Throughout the film, he meets several interesting, unsavory characters and experiences life in the bowels of NYC as drug use and prostitution are explored.

I didn’t find this as much of a downer as many others did, but rather a story of survival.

The grittiness of NYC is wonderfully portrayed, with many locales featured (Times Square).

Jon Voight and Dustin Hoffman are exceptionally cast and have great chemistry, though the film is by no means a “buddy movie”.

Sylvia Miles has a memorable one-scene feature.

It’s bleak, raw, and intense at times, and Midnight Cowboy (1969) is great filmmaking.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-John Schlesinger (won), Best Actor-Dustin Hoffman, Jon Voight, Best Supporting Actress-Sylvia Miles, Best Screenplay Based on Material from Another Medium (won), Best Film Editing

Golden Globe Nominations: 1 win- Best Picture- Drama, Best Director-John Schlesinger, Best Actor-Drama-Dustin Hoffman, Jon Voight, Best Supporting Actress-Brenda Vaccaro, Best Screenplay, New Star of the Year-Actor-Jon Voight (won)

1956 Films, Drama, Film noir, New York City, Top 250 Films

The Wrong Man-1956

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The Wrong Man-1956

Director Alfred Hitchcock

Starring Henry Fonda, Vera Miles

Top 250 Films #233

Scott’s Review #902

Reviewed May 24, 2019

Grade: A-

The Wrong Man (1956) is not an Alfred Hitchcock film typically mentioned when lists of the greatest of all the director’s works are in conversation.

Although it flies completely under the radar and is absent from most “Best of” collections, the film is a lovely gem ready to be dusted off and appreciated for its worth.

It features the legendary Henry Fonda, perfectly cast in a story point frequently used in Hitchcock films: that of the wrongly accused man.

Set in New York City, Manny Balestrero (Fonda) is a struggling musician who requires three hundred dollars for dental work that his wife Rose (Vera Miles) needs. Determined not to let his wife suffer, he decides to obtain the money by borrowing against her insurance policy.

The life insurance employees mistake Manny for another man who recently held them up. He is arrested and forced to perform a test for the police, which he fails, leading them to assume he is their man.

Attorney Frank O’Connor (Anthony Quayle) sets out to prove that Manny is not guilty since he has perfect alibis for the nights of both holdups. However, complications erupt during his trial as proper witnesses either cannot be found or have died, leaving Manny in dire straits.

Meanwhile, Rose teeters towards the brink of insanity as she suffers from severe depression.

The Wrong Man differs from many Hitchcock films in that its story is based on a real-life quandary one man faced. As such, viewers can relate to the story immensely and imagine themselves in Manny’s shoes.

I often wonder, “What would I do if this were me?” as one could find the story implausible, one could just as easily find it plausible. Mistaken identity can happen, and proving one’s innocence may not be as easy as it may seem.

Mainly set on location is another tidbit unique to many Hitchcock productions as the man cringed at the thought of any scene that studio luxuries could not manipulate. The New York City locales are splendid and provide an artistic and genuine element.

Many scenes were filmed in Jackson Heights, where Manny lived when he was accused. Most of the prison scenes were filmed among the convicts in a New York City prison in Queens. The courthouse was at the corner of Catalpa Avenue and 64th Street in Ridgewood.

Careful not to be too dissimilar to standard Hitchcock fare, the use of every man being falsely accused is every day in some of his films.

Other films like North by Northwest (1958) and The 39 Steps (1935) delivered the same elements with a man being mistakenly accused of murder. While the others were more of “chase stories” involving flight, The Wrong Man stays firmly planted in one city.

The film has some jazz elements, representing Fonda’s appearance as a musician in the nightclub scenes. These elements add sophistication to the film’s overall tone, especially as we see Manny as worldly yet kind.

He is a performer but comes home to his wife and adores her, doing anything he needs to for her comfort. The music and the black-and-white cinematography exude harshness and coldness but also good style.

Fans of either the police force or the justice system may be in for a challenging ride watching The Wrong Man, as neither group is written very sympathetically. The police are the worst offenders as they go to unethical methods to accuse a man of a crime and seem not to care who is convicted, only that someone is.

The one detraction to The Wrong Man is the chemistry between Fonda and Miles. The passion is underwhelming but not terrible, either. Instead, the main point is the false accusations instead of the romance. A bit more of the latter might have made the film more unique.

With suspenseful and dramatic elements and a charismatic leading man, The Wrong Man (1956) perhaps lacks the flair of other well-known Hitchcock films. Still, it is a solid achievement that deserves more acclaim than traditionally given.

Yes, it’s sullen, but it’s also poignant, frightening, and a terrific effort. Henry Fonda carries the film and provides compassion and realism.

1971 Films, New York City, Psychological Thriller, Thriller, Top 250 Films

Klute-1971

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Klute-1971

Director Alan J. Pakula

Starring Jane Fonda, Donald Sutherland

Top 250 Films #234

Scott’s Review #1,351

Reviewed March 12, 2023

Grade: A-

I’ll gladly watch any film Jane Fonda appears in, especially early treats like They Shoot Horses, Don’t They (1969), Coming Home (1978), and On Golden Pond (1981), but Klute (1971) trumps them all.

Fonda plays a prostitute, one with intelligence, manipulation skills, and deep introspective thought.

Teamed with Donald Sutherland, who is quite extraordinary, the duo sink their teeth into a taut psychological thriller chasing a serial killer.

The inventive part is that the film is hardly a whodunit, yet it uses long sequences of calm dialogue and few editing breaks, making it stand out with great style and substance.

Bree Daniel (Fonda) is a New York City call girl who becomes absorbed in an investigation into the disappearance of a business executive.

Detective John Klute (Sutherland) is hired to follow Bree and eventually begins a romance with her.

Klute is not the only one on Bree’s trail. A killer is on the loose, having killed two prostitutes with whom Bree is friendly. They must figure out the deadly puzzle before it’s too late.

Fonda plays Bree wonderfully. Gorgeous and well-dressed, Bree is aching to leave the business and launch an acting or modeling career, but she keeps striking out on both fronts.

Fonda assures the audience that Bree is brilliant and uses her smarts to get the best of the men she beds.

Across several scenes where she chats with her shrink, we learn a great deal about Bree and how her mind works. While she cringes at a dull life of being married and darning socks, she also craves stability and self-worth.

She aptly embraces her lifestyle, but on her terms. When briefly jaded by a pimp played by Roy Scheider, I cringed because Bree is better than that.

I only wanted to learn a bit more about Bree’s childhood and how she wound up as a call girl, but at the same time, the mystique works well. The ambiguity only makes Bree more complex.

Preconceived notions or subpar writing might have had the character dubbed the overdone ‘hooker with the heart of gold’ title, but there are no clichés to be found.

Written by Andy and Dave Lewis and directed by Alan J. Pakula, they craft a complex film that gives equal focus to the intriguing serial-killer pursuit and the workings of its lead female character.

Surprisingly, the men achieve both goals. In later years, a woman might have written the screenplay, but it’s impressive how boldly they write Bree.

Klute is also well written. Similarly shrouded in mystery, we know that the investigator is the strong, silent type and falls for Bree hook, line, and sinker. Has he been married? Does he have kids? Why the fascination with Bree?

He only mirrors the audience as we become equally smitten with her. The fact that he knows the killer is icing on the cake, adding rich texture to the storytelling.

The other facets of Klute are strong from a technical and location perspective.

The interior sequences, mostly in Bree’s apartment building, are superior, with dull lighting and an eerie musical score that sets the proper mood. After downsizing from Park Avenue, Bree has a decent Manhattan apartment, but it has dated appliances and unflattering lighting.

The exterior New York City location shots are fun to look at and help a native tri-state area resident identify various neighborhoods.

Early 1970s New York City was not a pretty sight, and the Wall Street area and garment district, where the riveting action culminates, are terrific.

The scene with Jean Stapleton as a no-nonsense secretary is delightful. Forever remembered as Edith Bunker on the television series All in the Family, it’s great fun to see her in Klute and remember that she appeared in films before her television success.

Klute (1971) is a taut, superior thriller that sometimes is a bit too complex, but it scores a winning run with its marriage of a character study and intelligent writing.

Thanks to Fonda and Sutherland, and a screenplay that bravely goes left of center when it easily could have gone straightforward, Klute is a memorable piece of cinema.

Oscar Nominations: 1 win-Best Actress-Jane Fonda (won), Best Original Screenplay

Golden Globe Nominations: 1 win-Best Actress-Drama-Jane Fonda (won), Best Screenplay

2024 Films, Best Feature- Independent Spirit Award Winners, Best Picture Oscar Winners, Comedy, Drama, Independent, Independent Comedy, Independent Drama, New York City, Romantic Comedy, Romantic Drama, Top 250 Films

Anora-2024

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Anora-2024

Director Sean Baker

Starring Mikey Madison, Mark Eidelstein, Yura Borisov

Top 250 Films #243

Scott’s Review #1,450

Reviewed November 3, 2024

Grade: A

Anora (2024) is one of the boldest films I’ve seen in some time and is my favorite Sean Baker film so far. Tangerine (2015) and The Florida Project (2017) are also great works.

Those planning to see the film should do homework and learn what Baker films are about. He frequently directs independent feature films about the lives of marginalized people, especially immigrants and sex workers.

Baker’s films are dirty, dark, and outrageous.

Because Anora has received awards buzz and is classified as a romantic comedy, the audience at my showing seemed slightly overwhelmed by its raw nature. While there are comedic moments, they are shrouded in darkness, and I don’t think my audience quite knew how to respond.

Some cover art captured the main couple, played by Mickey Madison and Mark Eidelstein, happily dancing and depicted them with the caption ‘a modern day Cinderella story’. This is misleading to the gritty nature of the story.

Madison plays Ani (Anora), an exotic dancer and part-time sex worker at a swanky Manhattan strip club. She lives in a Russian section of Brooklyn. Her life takes an unexpected turn when she meets and impulsively marries Vanya (Mark Eidelstein), the childlike son of a Russian billionaire.

When Vanya’s godfather and parents catch wind of the union, they send their henchmen to annul the marriage, setting off a wild chase through the streets of New York. Vanya flees the scene, and the others must find him.

Madison is brilliant. Known for a small role as Susan Atkins in Quentin Tarantino’s Once Upon a Time in Hollywood (2019) and a role in one version of Scream (2022), the young actress comes on as gangbusters.

Her character is tricky. We only know she lives with her older sister, and their mother lives in Florida with her boyfriend. Presumably, her father is absent, and she has had to find work to support herself. She is brassy, savvy, and intelligent. Most importantly, the audience roots for her.

Madison has an aura surrounding her, and she believably plays loving and hysterical with ease. Ani wants love but is also intelligent enough to know love doesn’t come easy and has a price. Madison channels each emotion with seeming ease.

Baker has become a favorite director of mine. He also writes, produces, and edits most of his projects. Although his films are not easy to watch, that’s what I like about them.

His films take marginalized or dismissed groups and provide representation.

Another standout is Russian actor Yura Borisov. Since Ani is the only character worth rooting for, Borisov’s character, Igor, slowly becomes a fan favorite. Assumed to be a henchman, he begins to care for Ani and strive to do the right thing amid chaos.

Borisov provides Igor with warmth and kindness in a world of chaos. I yearned to know more about the character. How did he get to be where he is? Did he need to escape Russia any way he could?

It’s hard to like the other characters, and I wouldn’t say I enjoyed quite a few, especially the wealthier ones. I yearned to leap across the aisles and smack Vanya, his mother, and one stripper who is Ani’s rival.

This caused me to react viscerally to the film and think about my emotions after it ended. Anyone who appreciates good cinema knows that the longer you think about it, the better it is.

Towards the end, Baker incorporates satisfying moments of Ani standing up for herself, especially against Vanya and his mother. This only reaffirmed the passion of her character. Even in despair, Ani remains tough and refuses to be mistreated by anyone.

My favorite sequence is at the end, during a January snowstorm in Brooklyn. A tender moment occurs between Ani and Igor where the writing, cinematography, and camera angles are beautiful.

Anora (2024) is recommended for fans of Baker’s work. He successfully and carefully weaves an emotional and raw tale of adventure, romance, desperation, and the haves versus the have-nots.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Sean Baker (won), Best Actress-Mikey Madison (won), Best Supporting Actor-Yura Borisov, Best Original Screenplay (won), Best Film Editing (won)

Independent Spirit Award Nominations: 3 wins-Best Feature-(won), Best Director-Sean Baker-(won), Best Lead Performance-Mikey Madison-(won), Best Supporting Performance-Yura Borisov, Karren Karagulian

1971 Films, Comedy, Dark Comedy, New York City, Satire

The Hospital-1971

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The Hospital-1971

Director Arthur Hiller

Starring George C. Scott

Scott’s Review #1,369

Reviewed June 11, 2023

Grade: A

An example of the freedom to craft one’s vision in cinematic works during the first half of the 1970s, The Hospital (1971) is a testament to creativity and exceptional writing, and to what can happen when studios and producers leave the creatives alone to make the film they want to make.

One can dismiss any preconceived notions of the classic medical dramas that flooded television networks during the 1970s and 1980s. The Hospital is not formulaic or contrived.

No, The Hospital is a dark work dripping with satirical examples of the politics and shenanigans within the medical community. Oftentimes, secondary activities come at the cost of reasonable care and quality medicines.

Before you imagine a doctor and nurse cavorting in a janitor’s closet, it’s a deeper film than it appears on the surface, despite the inclusion of witty comedy.

Lax patient care, staff deaths, and the dismissal of nearby residents because of a new drug rehabilitation project are explored in this fascinating film.

At a rundown Manhattan teaching hospital, chief of staff Herb Bock (George C. Scott) is riddled with multiple personal and professional problems after two doctors and one nurse are found dead almost simultaneously.

He assumes the rash of deaths is due to dimwitted staff who are overworked amid the chaos.

Suicidal, he meets the intelligent daughter of a patient who knocks him off his feet with her studious personality and reflections on the world. Diana Rigg plays Barbara Drummond.

The immediately noticeable, clever, well-paced screenplay is by Paddy Chayefsky, who won the Oscar for writing the film.

The chaos of a city hospital is exposed immediately, but not in a clichéd way like a series like ER or Grey’s Anatomy might show.

Nobody is going into cardiac arrest on the operating table or having convulsions in the waiting room amid lame dramatic music.

The Hospital is more cerebral than that.

Unknown patients and little-known hospital staff go about their everyday business like clockwork until confusion with daily tasks causes events to go awry.

Like real-life.

The brilliance is how director Arthur Hiller casts regular-looking actors in almost all the roles.

They look and act like everyday hospital staff, setting the proper tone. This is even before we meet and get to know Herb and Barbara. They answer phones, walk around with charts, and hustle after emergencies.

Chayefsky and Hiller mirror director Robert Altman in many ways, mostly in their dialogue and in how seemingly unimportant scenes can mean a whole lot.

In robust soliloquy-style scenes between Herb and Barbara, the audience ‘gets them’. They are both desperate, wounded, and unhappy, yet possess the sophistication and awareness to realize how similar they are.

They immediately connect, fall in love, and nearly run off together. It’s that simple. They are willing to flee their lives after meeting for five minutes. But will they ultimately take that plunge?

A key character is revealed to be Barbara’s father, and a whodunit begins when it becomes clear the deaths are not accidents. Who is responsible and what their motivation is is the key to the story.

Scott does terrific work with his character, rivaling his excellent performance a year earlier in Patton (1970). Herb is more introspective with the world on his shoulders.

The Hospital has more than one daring scene. Herb, though impotent, basically throws Barbara down on the table and rapes her. The shocker is that she makes light of it the next day and almost seems to have enjoyed it.

Barbara and Herb are both complex characters that the audience needs to ruminate over.

My favorite part of The Hospital (1971) is the setting. Hiller’s decision to put you inside what a real urban hospital was like in 1971 is brilliant.

The satire comes through in the writing, which questions decision-making and incompetence within the hospital walls.

The result is a scathing look at hospital practices that will resonate with anyone terrified of entering a hospital, only never to come out again.

Oscar Nominations: 1 win-Best Actor-George C. Scott, Best Original Screenplay (won)

Golden Globe Nominations: 1 win-Best Actor-Drama-George C. Scott, Best Supporting Actress-Diana Rigg, Best Screenplay (won)

2002 Films, Crime Drama, Drama, Epic, Historical Drama, New York City

Gangs of New York-2002

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Gangs of New York-2002

Director Martin Scorsese

Starring Leonardo DiCaprio, Daniel Day-Lewis, Cameron Diaz

Scott’s Review #1,327

Reviewed December 26, 2022

Grade: A-

Gangs of New York (2002) is an extremely violent and bloody epic by director Martin Scorsese,s an exquisite piece of filmmaking, nearly flawless in every way except maybe its length and story.

On the one hand, it’s a beautifully choreographed and filmed crime drama with perfect costumes, art direction, and cinematography.

Still, it’s tedious and lengthy, especially during the final hour, with choppy storytelling and a seemingly one-long continuous battle.

Scorsese, being Scorsese and knowing his way around crafting an excellent film or two, left me ruminating on cinema and pondering whether I’d ever need to see it again.

Usually, I’m all in when it comes to repeated viewings of his films, especially Raging Bull (1980) or Goodfellas (1990), but with Gangs of New York, the sobering almost-three-hour running time and the nonstop bloodshed give me pause.

It’s not a mafia film, but it is an Irish-centered crime drama set in the mid-1800s, so there are historical lessons to be learned.

Familiar with most of his films, there are good guys, bad guys, and a criminal, feuding overtone, and lots of grit and grime to plow through.

I can’t say it’s one of Scorsese’s top 10, but it’s a grandiose, epic-length behemoth that features a host of top-name talent; there are, nonetheless, aspects that leave it slightly beneath his most famous works.

But that’s nearly akin to comparing the works of Beethoven, Rembrandt, or other geniuses of one art form or another. Anyone who respects Scorsese or appreciates good cinema should see Gangs of New York.

Amsterdam Vallon (Leonardo DiCaprio) is a young Irish immigrant released from prison. He returns to the Five Points seeking revenge against his father’s killer, William Cutting (Daniel Day-Lewis), also known as ‘The Butcher’, a brutal and powerful anti-immigrant gang leader.

He knows that revenge can only be attained by infiltrating Cutting’s inner circle. Amsterdam’s journey became a fight for personal survival and to find a place for the Irish people in 1860s New York.

The most delicious part of the film is the rivalry between Amsterdam and ‘The Butcher’. DiCaprio and Day-Lewis make powerful sparring partners, and as much as Amsterdam’s motivations are admirable, it’s Day-Lewis who has the more interesting character.

To no one’s surprise, the actor channels his inner dictator as he method-acts throughout the film. To no one’s additional surprise, he steals the show away from other tremendous actors like DiCaprio, Jim Broadbent, and John C. Reilly in supporting roles.

However, could you explain why Day-Lewis was selected for the Lead Actor Oscar category when he is a supporting actor?

Worthy of mention is Cameron Diaz, who, for once, plays the dramatic role of a pickpocket. Typically cast in comedic roles, she shows she has acting chops.

The story gets a bit wayward about halfway through, and I stopped giving the story much credence about three-quarters of the way through. It’s as if Scorsese had frenetic, schizophrenic moments with tons of good ideas, but none of them formed a cohesive plot.

The New York City setting is a favorite of mine, especially pre-Civil War and well before modern-day NYC even existed. The prevalence of Canal Street and various others makes this northeasterner heavily invested in geography.

Finally, to bring it all full circle, Gangs of New York powerfully reminds the audience of the age-old topic of immigration and how those who have citizenship too often oppose those who seek to enter a country they once entered themselves.

‘The Butcher’s’ brutal opposition is a sad reminder of how the United States of America was never united, and the senseless violence towards immigrants is never-ending.

Gangs of New York (2002) may not be Scorsese’s best work, but even on his worst day, he creates a film worth watching.

By mixing toxic masculinity and revenge with a crazy story, he succeeds where other directors might fail, delivering compelling filmmaking with all the fixings.

Just don’t get too hung up on the story points.

Oscar Nominations: Best Picture, Best Director-Martin Scorsese, Best Actor-Daniel Day-Lewis, Best Original Screenplay, Best Art Direction, Best Cinematography, Best Costume Design, Best Film Editing, Best Original Song-“The Hands That Built America”, Best Sound

2006 Films, Drama, Independent, Independent Drama, New York City

Half Nelson-2006

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Half Nelson-2006

Director Ryan Fleck

Starring Ryan Gosling

Scott’s Review #1,184

Reviewed October 8, 2021

Grade: B+

Half Nelson (2006) is an independent drama that showcases Ryan Gosling’s acting talent and forays into meatier, more mature roles.

He was only twenty-five years old when he made the film, but was growing into a mature actor, which is part of the fun of watching it.

The New York City setting conveys a gritty, seedy essence appropriate to the subject matter.

Speaking of, the seriousness and potential creep factor may turn some viewers off, but true cinema fans and admirers of good stories will appreciate the film.

The taboo dynamic of a thirteen-year-old student and her drug-addicted teacher is not for everyone, and many will not even dare to go there.

But the payoff is worth the initial squirming.

Especially forewarned are those seeking a romantic or action film from Gosling, as they will surely be disappointed. This is a more cerebral and artful effort.

The film earned Gosling his first Academy Award nomination—a well-deserved one.

Dan Dunne (Gosling) is a young history teacher at a school in Brooklyn, New York. Though he is highly regarded and well-liked by his students and colleagues, he secretly spends his evenings hopping from bar to bar and getting high.

He lives a double life.

One night a shy female student named Drey (Shareeka Epps) catches him in a drug-induced haze after a basketball game and the two strike up an unlikely friendship.

As Dan struggles with his addiction, he tries to act as a mentor to the girl, whose brother is serving time for dealing drugs.

It’s easy to dismiss a film like Half Nelson because of the uneasy premise. But below that resides a sweet and kind story about two human beings bonding over their lives in crisis.

There is too much negativity among teachers these days, so it is reassuring to see a film where the student and teacher bond under the most unlikely circumstances.

Gosling and Epps are both spectacular. They give their all as an unlikely pair, he an idealist, and she a girl trapped in ghetto life. The connection between the characters is palpable, especially given the role reversal.

They slowly become forever bonded, and the reaction is fresh, layered with genuine emotion. And who’s the teacher and who’s the student?

As terrific as they are together, they each have their own story. I loved learning more about Dan’s wrecked love life, but I still wanted to know why he escaped to drugs in the first place.

Drey faces enormous challenges of her own and is pressured to go down the same rabbit hole that many in similar circumstances have. She is savvy enough to know that if she does it, it will lead to an unhappy life, but will she go through with it anyway?

Even if a viewer never sets foot in an undesirable area, they can nonetheless place themselves there for the duration of the film.

I love the ending of the film.

Anna Boden and Ryan Fleck, a filmmaking duo best known for independent features, churn out terrific, subdued work.

Half Nelson feels authentic, with grainy, shaky filmmaking that makes the viewer feel as if they are an observer in the lives of Dan and Drey and part of their world.

A serene but not simple film, Half Nelson (2006) teaches many valuable lessons. With perseverance and unlikely friendships, mixed with two separate character studies, the film has a lot going on, but never overcomplicates itself.

I longed for more about Dan’s descent into drug use, but the rest of the experience is fantastic.

Oscar Nominations: Best Actor-Ryan Gosling

Independent Spirit Award Nominations: 2 wins-Best Feature, Best Director-Ryan Fleck, Best Male Lead-Ryan Gosling (won), Best Female Lead-Shareeka Epps (won), Best First Screenplay

2002 Films, Comedy, Coming-of-Age, Independent, Independent Comedy, Independent Romantic Comedy, New York City, Romantic Comedy, Thanksgiving

Tadpole-2002

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Tadpole-2002

Director Gary Winick

Starring Aaron Stanford

Scott’s Review #1,125

Reviewed March 23, 2021

Grade: B

Tadpole (2002) is an enjoyable coming-of-age effort that carefully, or too carefully, toes the line between being cute and exploring some morally questionable material.

The film gets away with the naughty subject matter because there exists a wholesomeness that lands somewhere between fresh and a commodity.

It’s a fun romp, but nothing memorable either, borrowing from better films.

Aaron Stanford, the lead actor, makes the film better than it might have been and seamlessly matches wits and comic timing with heavyweight actors like Sigourney Weaver, John Ritter, and Bebe Neuwirth.

He is charming, just like his character, and carries the film.

Oscar Grubman (what a name!) is compassionate and sophisticated, reciting Voltaire and speaking fluent French.

When he arrives home for Thanksgiving weekend, it is revealed that he has a major crush on his stepmother, Eve (Weaver).

She and Oscar’s father, Stanley (Ritter) share a ritzy Manhattan apartment and entertain a girl they think would be perfect for Oscar but he only has eyes for Eve and rebuffs the poor girl.

Despondent at not having a chance with his stepmom but desiring her, Oscar visits a local bar and runs into Eve’s best friend, Diane (Neuwirth).

He gets drunk, and she takes him home, winding up in bed together! Oscar is filled with remorse.

Oscar’s and Diane’s tryst is the caveat for the rest of the antics of the film. Oscar is terrified that Diane will tell his father and Eve, especially as she is on the guest list for dinner the next night!

An amusing game of footsie under the table ensues between Oscar and Diane.

Diane is a Mrs. Robinson-type character to Oscar’s Benjamin if we want to draw comparisons to The Graduate (1967), and how could we not? Eve is like Elaine, Mrs. Robinson’s daughter.

Unsuspecting and slightly naive. It’s fun to reminisce about the classic film that director Gary Winick borrows from.

Speaking of Winick, he has a knack for creating coming-of-age stories featuring teenage characters with light angst, and he commonly releases independent films.

My hunch is that if Tadpole were a big-budget mainstream affair, even more concessions might have been made for the brewing May/December romance.

The “dinner scene” is the best part of Tadpole, providing strong physical comedy and a hilarious setup. It’s a stretch in plausibility and borrows from many slapstick comedies, but somehow the scene works well and stands out.

The subject matter of a woman three times the age of Oscar is not as harsh as it sounds and is largely played for laughs and misunderstandings. This is where the film misses the mark and stays firmly in the safe lane.

Imagine the juicy possibilities that would occur if Eve reciprocated Oscar’s advances. Now that is an interesting concept!

I shudder to think that if Oscar were a fifteen-year-old girl and Eve a forty-something-year-old man, this film would never have been made.

The double standard gnawed at me.

The ending is wholesome and predictable, making the film satisfying for the character yet limiting for the viewer. Oscar more or less “snaps out of it” and realizes that girls his age are okay after all.

I half-wondered whether the film would be revealed to have been all Oscar’s dream.

The cougar-esque subject matter provides light entertainment, never daring to go as far as it could have, or should have.

In the end, we understand a young, pubescent boy’s dreams and desires and may fondly recall when we were his age and all the troublesome sexual feelings that bubbled under the surface.

Tadpole (2002) is a watchable independent comedy with enough to digest, thanks to its worthy cast.

2007 Films, Christmas, Horror, New York City, Psychological Horror, Slasher, Thriller, Winter

P2-2007

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P2-2007

Director Franck Khalfoun

Starring Rachel Nichols, Wes Bentley

Scott’s Review #1,106 

Reviewed January 29, 2021

Grade: B

Franck Khalfoun, a French filmmaker known for the horror genre, makes his directorial debut with P2 (2007).

As a horror buff, I thought the film had a great premise, which made me immediately want to see it. Unfortunately, while the film has its moments of intrigue and plenty of gore, the climax ultimately disappoints, and it turns run-of-the-mill.

Like many of its modern horror brethren, there is little that separates it from other similar films.

It’s fine Saturday night viewing fare, but quite predictable.

Films set during the Christmas holiday, especially in festive New York City, always enrapture me, so P2 gets a leg up.

The film doesn’t utilize the holiday very well, save for a smattering of decorations within an office building, some snow, and one creepy holiday song.

Set on Christmas Eve, the plot follows a young businesswoman named Angela (Rachel Nichols) who becomes trapped in an underground parking garage in midtown Manhattan.

She is pursued by a psychopathic, unhinged security guard (Wes Bentley), who is obsessed with her.

Bentley, known for his terrific role in American Beauty (1999), is the main reason to see this film. He plays creepy and obsessed very well and is a great villain.

His piercing blue eyes are intense and frightening, and his obsession with Elvis Presley and his dog is revealed. He is disturbed, though, for no apparent reason, which is not positive to any character development.

Why is he crazy?

When Thomas plays Elvis Presley’s “Blue Christmas” over the intercom, it’s a festive and delightfully morbid highlight.

I desired to know what makes Thomas tick and why he hunts Angela. Has he been watching her for months, or does he see an opportunity on this particular night and go for the gusto?

The plot reveals a bit of both, which is unsatisfying because there is no payoff.

Does he knock out and kidnap Angela because she rebuffs his advances, or would he have done this anyway if she had agreed to dinner?

He is in love with her, but why? It’s not that she isn’t a catch. She is pretty and a successful businesswoman with a good head on her shoulders. Does she reject him because she gets a bad vibe or because he’s a security guard?

I wanted more backstory for both main characters, but once she is chained to a table, it hardly matters. He’s gone too far off the deep, especially after it’s revealed he has killed others. Thomas’s motivations are not satisfying.

Nichols, a novice actress, is very good at her role. She carries the film and is in a state of peril most of the time. But she neither overacts nor plays the victim.

There is a nice balance between the terror and the task of figuring out what steps to take to save her life and flee the madman.

P2 has a female-empowerment vibe, but Angela does appear in skimpy clothing, thus reflecting the standard state of undress required of their female stars, a formula many horror films stick to.

Angela is smart, quick-thinking, and strong. She tries to outsmart her capturer, and more often than not, she does, and she is victorious in the end.

Surprise!

I noticed multiple nods to the Saw (2004-present) franchise since this series introduced and embraced the torture-horror genre.

Many horror films use this technique to shock and startle viewers rather than offering clever writing or stories. The use of videotape appears in P2, which borrows heavily from Saw.

P2 (2007) is a fine effort and will satisfy horror fans. It may tread into familiar territory and back itself into a corner with limited story possibilities.

Still, I did look over my shoulder a couple of times after viewing the film when I was in my building’s parking garage.

Ironically, I was on level P2.

Maybe the film did leave an impression after all?

2012 Films, Independent, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films, New York City, Romantic Drama

Keep the Lights On-2012

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Keep The Lights On-2012

Director Ira Sachs

Starring Thure Lindhardt, Zachary Booth

Scott’s Review #1,100

Reviewed January 16, 2021

Grade: A

With such a healthy dose of LGBTQ+ films released during the 2010s, enough independent productions exist to please nearly everyone striving for good diversity in film.

Over the years, it was tough to find specific genre films without having to hunt for subtle clues filmmakers incorporated.

LGBTQ+ films are now a dime a dozen, which is good but makes some films fall under the radar.

Keep the Lights On (2012) is a romantic drama, rather mysterious, about two men and the nine-year-long love affair they share. It’s not a happy watch because drug addiction is a large part of the story.

It portrays the men as human beings with passion and feelings, experiencing joys and pains, rather than as caricatures or comic relief.

This is progress, and worthy of much praise.

The only issue with the film is that by 2012, and the decade as a whole, so many similar films were being made that it’s hard to distinguish it from other high-profile works.

The LGBTQ bar was set very high with Brokeback Mountain in 2006, and recent offerings like Carol (2015) and Moonlight (2016) thrust the LGBTQ+ community into the spotlight.

Keep the Lights On has many positives, especially cinematically, but it risks getting lost in the shuffle against other genre films.

It’s worth checking out this gem.

It’s best compared to the exceptional same-sex love story Call Me by Your Name (2017). Both are character-driven and are both happy and tragic.

Keep the Lights On is technically an American film. It feels like an international film, though, because it centers around a Danish filmmaker who lives in New York City.

Erik (Thure Lindhardt) is a troubled, creative soul who struggles to complete a documentary about an artist named Avery Willard.

He meets and enters into a loving but complicated long-term relationship with Paul (Zachary Booth), a lawyer in the publishing industry who struggles with drug addiction.

That’s what makes their relationship so complicated. They are bonded but plagued with outside challenges. It began in 1998 and ended in 2006.

They meet via a phone sex chatline, which adds to the sexual mystique. Erik is gay and happily out, but Paul indulges in both men and women and is sexually conflicted.

He gets Erik high. Will he lead Erik down a dark path? Will Paul clean up his act or die? Erik and Paul bed numerous other men throughout the story. This is an intriguing addition to the complicated events.

Since the film is about a filmmaker, it should include cool, inventive camera angles and editing, and it does. Ira Sachs, an American director, delivers lush shots of New York City and looks through the lens of a true creative spirit, which justifies Erik’s character.

The story builds slowly, and plenty of times I waited for something exciting to happen. But real life is made up of many small moments, and I loved how the film is, instead of adding big, momentous scenes for effect.

The audience is meant to root for Erik and Paul to trot into happily-ever-after territory. This may or may not happen.

Keep the Lights On has a vague ending open to interpretation.

Erik and Paul look similar, which I found very interesting. They say that many same-sex couples are attracted to individuals who look like themselves. I’m not sure how true this is, but I wondered if Sachs had a point to make.

Can a person have multiple sides that they see in other people? Keep the Lights On is told more from Erik’s perspective, and he sees in Paul the dark side of himself.

The honesty that exudes from Keep the Lights On comes from Sach’s relationship with a publisher he met and fell in love with. The truthfulness comes across on screen, which is the main appeal of the overall experience.

I love the title, which can be interpreted in a few different ways, especially once the conclusion arrives.

I admire that Keep the Lights On (2012) was made, and the characters convey a longing and yearning that feels quite humanistic. It feels like it was created based on fact rather than a studio idea conjured up around a boardroom table.

Ira Sachs creates an excellent, quiet film about two men and the love story they share. Their troubles come and go, but their passion and bond never waver.

Independent Spirit Award Nominations: Best Feature, Best Director-Ira Sachs, Best Male Lead-Thure Lindhardt, Best Screenplay

2002 Films, Comedy, Drama, Independent, Independent Comedy, Independent Drama, Los Angeles, New York City

Adaptation-2002

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Adaptation-2002

Director Spike Jonze

Starring Nicolas Cage, Meryl Streep, Chris Cooper

Scott’s Review #1,064

Reviewed September 24, 2020

Grade: B+

Adaptation (2002) is a kooky film recommended for all writers or lovers of the written word, especially those who have ever suffered from writer’s block.

The film is wonderful for people who are either curious about or obsessed with (me!) how a novel is turned into a screenplay.

With an A-list cast featuring Nicolas Cage and Meryl Streep, the offering is credible and not just a bumbling indie experiment on a shoestring budget.

Stars must get paid, which allows the film a mainstream audience, and awards.

The film will be too weird for some.

There is a measure of conceit and self-indulgence (it’s set in Los Angeles after all!) that is sometimes off-putting, but I adored the premise too much and chomped at the bit at what I was offered.

It’s quite non-linear, and the characters sometimes do things that are weird or out of turn.

Adaptation is different (in a good way) and is recommended for its oddness, as I cannot think of another film like it, though Being John Malkovich (1999) would be close.

Director Spike Jonze would later create Her (2013) and, of course, directed Malkovich too.

Charlie Kaufman wrote the screenplay, and the central character is Charlie Kaufman, played by Cage, who also plays Kaufman’s brother Donald, a mooch. Charlie is self-loathing and disheveled but somehow likable.

He struggles mightily to bring words into his head as he nervously sits at his typewriter day after day when he is tasked to adapt the novel, The Orchid Thief, into a film.

The novel’s author, Susan Orlean, played by Meryl Streep, intimidates Charlie, who decides to pay her a visit to New York City.

This film features the best work of Cage’s career. An actor who is “not for everybody”, the performance rivals that of Leaving Las Vegas (1995), in which he won an Academy Award.

A dual role is tough to play, but the actor does so with bombast and confidence, making the characters very different from each other and making me forget they were Cage.

Too often sinking to inferior action films like Face/Off (1997) or Con Air (1997), the actor wisely had an epiphany or something and made a wise decision. Cage does best when he goes for wacky- Raising Arizona (1987) is proof of that.

The supporting players, specifically Streep and Cooper, are fantastic. Streep could fart through a film and still give a great performance, and you can tell she enjoys the part of Susan, which allows her to let loose.

Her character loves sex and drugs and is not above devious shenanigans to get her way.

Cooper, who won the Oscar, is delicious as John Laroche, a theatrical character with missing front teeth who is Susan’s secret lover.

Both provide great entertainment.

Adaptation simply feels good for a thought-provoking writer providing oodles of “writer things” to ponder and discuss with friends after the credits roll.

Many scenes are rich with layered dialogue and rife with originality, making the words sparkle with pizzazz.

And there are enough twists and turns to keep viewers guessing.

One of the most original and kooky films you will ever see, Adaptation (2002) pairs well with Being John Malkovich (1999) for an evening of the odd and absurd, but also films not altogether hard to follow.

The satirical Hollywood theme will both please and annoy, but it’s all good fun and a lesson in creative art cinema.

Oscar Nominations: 1 win-Best Actor-Nicholas Cage, Best Supporting Actor-Chris Cooper (won), Best Supporting Actress-Meryl Streep, Best Adapted Screenplay

2019 Films, Crime Drama, Drama, Independent, Independent Drama, New York City

Hustlers-2019

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Hustlers-2019

Director Lorene Scafaria

Starring Constance Wu, Jennifer Lopez

Scott’s Review #942

Reviewed October 3, 2019

Grade: B+

Hustlers (2019) is a film that I had no intention of seeing. It was not on my radar, and I did not know much about the movie except that it was promoted as a story about a group of strippers who bamboozle Wall Street men.

Yawn!

The experience was better than expected, thanks to the critically lauded performance by Jennifer Lopez. She astounds in a role perfectly written for her as the true story champions female empowerment, and why shouldn’t it?

The result is a feminist film with humor.

Constance Wu, famous for putting Asian actors on the map with Crazy Rich Asians (2018), does a complete one-eighty as the lead character in Hustlers.

Unrecognizable, she plays a New York City stripper named Destiny, who works at a trendy Wall Street club named Moves, in 2007. She supports her grandmother and barely gets by on meager tips, possessing the looks but not quite the style.

When she witnesses fellow dancer Ramona Vega (Lopez) perform a simmering routine, the women bond and become fast friends.

Destiny enjoys newfound wealth and a close friendship with Ramona. A year later, the financial crisis strikes, and both women find themselves struggling for cash, having squandered their fortunes.

Destiny becomes pregnant.

Her boyfriend leaves her shortly after their daughter’s birth, and she is unable to find a new job. Destiny and Ramona, along with other girls, hatch a plot to manipulate the business people they have grown to know out of desperation.

The story is based on actual events.

Had the elements not wholly come together in this film, the result would have been dreary or at best mediocre.

A current trend in modern cinema is to have a group of female characters team up in some form of heist or crime-fighting adventure- think Ocean’s Eight (2018), the Ghostbusters (2016) remake, or Widows (2018).

Some results are better than others, but hardly memorable, as the girl-buddy genre hardly has any depth.

Two critical factors stand out to me as rising Hustlers way above a mediocre or standard fare film experience. Jennifer Lopez deserves all the praise she has been showered with for her role as Ramona.

From the moment Lopez, who is listed as Executive Producer, appears on screen, she is electrifying and impossible not to be mesmerized by.

As she shakes her booty (and many other parts of her anatomy) and writhes on stage to Fiona Apple’s “Criminal,” the men in the club throw money at her.

The scene oozes sexuality, and from this moment on, Lopez owns the film.

Lopez, besides Selena (1997), has primarily chosen mainstream and fluff material like The Wedding Planner (2001) and Maid in Manhattan (2002) over the years.

She may not be the Meryl Streep of her time, but it is always nice when an actor charts challenging and dangerous waters. May she continue to choose wisely. She powers through Hustlers with gusto and is the central draw.

Not to limit Hustlers to a conventional woman using sex appeal to lure men, the film is sure to get its message across to viewers in a more sobering way.

By 2008, the United States was in a financial landslide, with Wall Street being hit particularly hard. The point is made that not a single person went to jail for causing the collapse or for causing tens of thousands of people to lose their homes, jobs, or life savings.

This makes the audience realize that what the women did pales in comparison to Wall Street types (their victims), and many of their lures got what they deserved.

The subject matter at hand, being one of the worlds of strippers, may turn off some of the prudish, but delving into the emotions and aspirations of those who exist in the industry is eye-opening and quite enjoyable.

Hustlers (2019) successfully garnered empathy from its audience and champions a female empowerment movement, resulting in the surprise hit of the season.

Independent Spirit Award Nominations: Best Director-Lorene Scafaria, Best Supporting Female-Jennifer Lopez, Best Cinematography

1957 Films, Black & White, Courtroom, Crime Drama, Drama, New York City

12 Angry Men-1957

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12 Angry Men-1957

Director Sidney Lumet

Starring Henry Fonda

Scott’s Review #910

Reviewed June 14, 2019

Grade: A

A fond memory of Junior High School was reading the play and then being treated to a viewing of the film version of 12 Angry Men (1957), a bristling and suffocating film that infuses progressive thought and thinking for oneself in animosity.

A valuable lesson for a teenager to learn, or anyone else, the film is essential, providing life lessons and tremendous drama, holding up well, and still brimming with texture.

The film begins by introducing the audience to twelve men deliberating on a defendant’s conviction or acquittal based on reasonable doubt.

The defendant is an eighteen-year-old Puerto Rican male living in a poor neighborhood, accused of fatally stabbing his father.

The witnesses are an older man and a lady who lives across the street. The jurors’ instructions are clear: if there is any reasonable doubt, they must return a verdict of not guilty. If found guilty, the accused will receive a death sentence.

Henry Fonda plays Juror # Eight, who initially is the only juror to vote “not guilty” when the others assuredly vote “guilty.”

He adamantly questions how reliable the two witnesses are and disagrees with the argument that the knife used in the death is an obscure brand, as he produces an identical knife of his own.

Juror # Eight can convince one juror to change his vote, allowing discussions and analysis to reconvene, much to the chagrin of a few men, especially Juror # 3 (Lee J. Cobb), the main antagonist.

Director Sidney Lumet provides a dynamic atmosphere in his debut film with astounding results.

The black-and-white cinematography is brilliantly mixed with the humidity of a scorching New York summer day, as the one set used is claustrophobic, drawing the audience into the action and suffocating along with the men.

As tensions mount and one juror attempts to kill another juror out of rage, a thunderstorm erupts outside, breaking the heat and changing the momentum in the jury room as the tide slowly turns in a different direction.

The story is wonderfully written, as each juror’s backstory is slowly revealed, providing insight into why each man may think the way he does or may have preconceived notions about the accused, rather than giving him a fair shake.

Juror #3 is a bully estranged from his son, while Juror # 7 mistrusts “foreigners.” Some of the others “go with the flow,” intimidated by conflicts, and afraid to ruffle feathers.

12 Angry Men teaches the utmost importance of the power of change against all odds. By standing by his convictions, Juror #8 influenced the other jurors to see what they were either unable or unwilling to see.

He forces them to question their morals and values.

By the time the film concludes, the audience is smacked across the face with tremendous impact, perhaps prompting them to question their views.

This is an example of the power of cinema.

Like the stage version, the plot requires the audience to think and determine, along with the characters, the power of reason and the intensity of the dialogue.

The fact that all the jurors are white males is never lost on me, but neither does it detract from my enjoyment. This is how things were done decades ago.

Fonda is charismatic and brilliant in the lead role.

12 Angry Men (1957) is a timeless story, wonderfully told and retold on the live stage. Lumet powerfully and effectively brings the production to the big screen by using cinematic elements to elicit the proper emotions in his audience.

The film holds up very well, as sadly, many of the stereotypes and beliefs the jurors hold are still shared by many Americans.

On the more positive side, people with strong, empathetic wills, like Juror #8, also exist and unquestionably influence more than they lose.

Oscar Nominations: Best Motion Picture, Best Director-Sidney Lumet, Best Screenplay Based on Material from Another Medium

Golden Globe Nominations: Best Motion Picture-Drama, Best Director-Motion Picture-Sidney Lumet, Best Performance by an Actor in a Motion Picture-Actor-Henry Fonda, Best Performance by an Actor in a Supporting Role in any Motion Picture-Lee J. Cobb

2003 Films, Christmas, Comedy, Kids, New York City, Screwball Comedy, Winter

Elf-2003

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Elf-2003

Director Jon Favreau

Starring Will Ferrell

Scott’s Review #846

Reviewed December 20, 2018

Grade: B-

Elf (2003) is one of the few lasting Christmas hits of recent memory, or at least one that many fans make a regular part of their holiday viewing each season.

The film is light and unarguably a safe, feel-good experience, mixing a hopeful Christmas message with comic gags and romance.

The key to its success is Will Ferrell, who possesses wonderful comic timing.

More wholesome than my tastes and lacking plausibility, the film does succeed as a family-friendly, ready-made, fun experience.

The story revolves around one of Santa’s elves (Ferrell) named Buddy, who learns he is human and was orphaned as an infant.

Revealed that his biological father Walter (James Caan) resides in New York City, Buddy embarks on a trip to find the man and spread Christmas cheer in a world filled with grizzled and cynical human beings.

In predictable comic form, Buddy has trouble adjusting to the human world and its fast-paced lifestyle, with misunderstandings recurring.

Buddy eventually wins over his father and family, finding love with downtrodden Jovie (Zooey Deschanel).

Hot on the heels of his Saturday Night Live stint ending in 2002, Ferrell was primed to embark on a successful film career. Elf is a great role for him as it capitalizes on his comic timing and energy, and the setup works.

At 6’3″, who better to play an elf for laughs than a hulking middle-aged man?

Due to his talents, Ferrell makes the role of Buddy fun, appealing, and the highlight of the film. With a lesser talent, the character would have been too annoying (as it is, there are too many hug jokes), and the overall film would have suffered.

Aside from Ferrell, the supporting roles are nothing memorable, except for Caan’s part.

The once-dashing star of films such as The Godfather (1972), Caan still has the charm and charisma to appeal, though his balding and dyed hair do nothing for him.

A small role by television star Bob Newhart as Papa Elf is fine, but Deschanel’s role and Mary Steenburgen’s role as Emily, Walter’s wife, could have been played by many actresses, and nothing is distinguishable about either part.

Lesser roles like Walter’s secretary, Walter’s boss, and Gimble’s store manager are stock parts with no character development.

A major highlight is the New York City setting, and the exterior scenes are plentiful.

Filmed in 2002 and released in 2003, the location shots were completed not long after 9/11, and showcasing a city with such recent decimation adds to the film’s appeal.

Scenes in Rockefeller Center, Central Park, and the Empire State Building are prominently featured, making the film festive and merry.

What greater city is there at Christmastime than New York?

Elf remains an entertaining experience with enough shiny ornaments and fun moments in the department store and Walter’s office to hold interest. The luster wears thin at the conclusion as all the traditional elements come together.

Jovie leads a chorus of strangers in “Santa Claus Is Coming to Town”, Walter quits his job without concern for paying bills, and everyone happily rides off into a sparkling winter wonderland.

This may satisfy some, but I wanted more conflict than a troupe of Central Park Rangers chasing Santa through the park.

A film that might be paired nicely with holiday favorites of similar ilk, such as National Lampoon’s Christmas Vacation (1989) or Christmas with the Kranks (2004), Elf is an energetic affair with a charismatic lead actor.

Containing silly moments but a spirited and worthwhile message nestled nicely within, the film is worth a watch if you’re in the mood for slapstick.

More thought-provoking holiday films with deeper merriment and stronger flair exist, but for a chuckle or two, Elf (2003) works well.

2005 Films, Drama, Independent, Independent Drama, New York City, Psychological Drama

Sorry, Haters-2005

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Sorry, Haters-2005

Director Jeff Stanzler

Starring Robin Wright

Scott’s Review #787

Reviewed July 12, 2018

Grade: A

Sorry, Haters (2005) is a small indie film that was not well received by audiences or, at least not by many, by film critics, but that I am a champion of.

The film is a little-known gem and a showcase piece for star Robin Wright, who has become quite the indie queen over the years.

Thankfully, the film did receive some recognition via two independent film nominations, which is how I heard of it.

Regardless, Wright gives a fantastic performance as a troubled television executive who becomes involved with a Muslim taxi driver in New York City, panic-stricken post 9/11.

Ashade (Abdel Kechiche) struggles with driving a cab and the myriad of family issues he faces, including legal troubles.

When an upscale, white woman, Phoebe (Wright), enters his cab one night, she insists on forging a friendship, but what is her motivation?

She immediately seems slightly unbalanced and tense.

Reluctant but in need of her help, Ashade’s life becomes entangled with hers as Phoebe offers her assistance. But when her true motivations are revealed, the audience will never see the terrific and terrifying conclusion coming.

The film is very dark in tone and is hardly a feel-good film.

The best aspect of Sorry, Haters is the complicated relationship between Phoebe and Ashade and how it plays out in the story.

More accurate is the complex dynamic of Phoebe herself as her motivations are slowly revealed.

As great as Kechiche is, the standout is Wright, but both play well opposite each other. Her role is more developed and the centerpiece as the audience slowly becomes aware of her dark secrets and disturbing behaviors.

Phoebe immediately claims to be going through a divorce and hires Ashade to drive her to nearby New Jersey to observe her ex-husband.

She talks his ear off, recounting how she has lost her family. This scene becomes the first clue that Phoebe may be unbalanced.

As the film progresses, this becomes more obvious. As Phoebe dines with colleagues, she engages in reluctant conversation while violently cutting her leg with a fork beneath the table for relief.

Wright can do no wrong as an actress, appearing in numerous films over the years. She is not a “box office” type of actress, and this is to her credit. She chooses independent films that let her sink her teeth into meaty, complex female roles.

The role of Phoebe is of that ilk. The character is unstable, bordering on madness, with rage bubbling under the surface.

Wright portrays these emotions successfully.

Let’s not forget the other leading actor- Kechiche is purely dynamic in the male leading role. The audience will undoubtedly sympathize with this man and his character right away.

Since the period is so close to the events of 9/11, and the character is Muslim (some big clues to the climactic conclusion here), the man is a prime target for discrimination.

Since his brother is imprisoned and needs a legal team, Ashade is quite vulnerable and ultimately at Phoebe’s mercy.

The interesting dynamic between Phoebe and Ashade is that they do not share a romantic relationship at all. Developing a friendship based on need, there is something not right about the situation, and director Jeff Stanzler establishes the appropriate mood with many scenes set either at night or in the confines of Ashade’s taxi.

Dialogue frequently seems awkward between the two.

Despite not being an easy film to watch, Sorry, Haters (2005) is a film with a powerful message and great scenery of one of the world’s most vibrant cities.

The film is dark, even dour, but above all, it contains a powerful message with a timely subject matter. Rich in character development between the leads and the maniacal motivations of some.

I found the film to be topical, riveting, and disturbing.

Independent Spirit Award Nominations: Best Female Lead-Robin Wright Penn, Best Screenplay

1989 Films, Drama, Independent, Independent Drama, New York City

Do the Right Thing-1989

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Do the Right Thing-1989

Director Spike Lee

Starring Spike Lee

Scott’s Review #746

Reviewed April 21, 2018

Grade: A

Do the Right Thing is one of the few great films to come out of 1989, not remembered as a fantastic year in cinema when most mainstream films were as glossy as tin foil- and barren of quality substance.

Here we have a small, independent gem that sparked discussions about current race relations in the United States and became a monumental, influential film.

Filmmaker (and star) Spike Lee carves a controversial story of racial tensions in a Brooklyn neighborhood on a hot summer day.

Beginning rather light and comedic, then turning violent and dark, the action is set in a largely black neighborhood, Bedford-Stuyvesant, Brooklyn, where twenty-five-year-old Mookie (Spike Lee) works delivering pizzas at an Italian pizzeria owned by Sal (Danny Aiello).

With a toddler at home and a nagging girlfriend, Tina (Rosie Perez) always in his face, Mookie is unmotivated yet still a decent guy and loyal friend.

Sal has two sons who work at the pizza place- Pino (John Turturro), who is angry and racist, and nice guy Vito, who is a friend of Mookie’s.

When conflicts erupt over whether Sal’s restaurant should celebrate black celebrities and white celebrities on a wall in the dining room, tensions reach their breaking point as the intense heatwave makes matters much worse.

What makes Do the Right Thing a marvel is both the film’s overall tone and the atmosphere Spike Lee conveys, who does an incredible job of writing, producing, and starring in it.

The elements having little to do with the actual story immediately impress with big, bright colors in comic-book style, screaming at the big screen, eliciting both a warm, inviting feeling and an angry, contemptuous vibe.

The loud rap and hip-hop beats are instrumental in conveying a specific feeling and emotion in the film.

Made independently and on a small budget, the film feels raw and intense from the get-go.

Brooklyn and New York City, in particular, are the perfect settings, as Sal and his family are white folks living in a predominantly black neighborhood, so, in turn, the minorities in the story are the ones in the minority.

Additionally, the viewer sees the friendly neighborhood and feels a sense of belonging regardless of race- the humorous drunk, the kindly, grandmotherly type people-watching from her stoop, and the boombox music kid all form a sense of community and togetherness.

This point is tremendously important to the film’s overall plot.

The relationship between Mookie and Sal and his sons is very important and the centerpiece of the entire film, which I found quite interesting as a character study.

Open-minded, Sal is a decent man and fine with the diversity in his neighborhood- yet still true to his Italian roots. Aiello does a fantastic job of portraying this complex, conflicted character.

His two sons could not be more different from each other- Vito, who is a close friend of Mookie’s, is sympathetic and sweet, with nary a racist bone in his body.

Pino, on the other hand, is angry and resentful of the black community taking over what he feels is his territory.

Finally, while lazy, Mookie is also a sympathetic character, as he is conflicted when the tension reaches its boiling point.

These diverse characters make the film so dynamic.

Revered director Spike Lee carves out a story and brings it to the big screen, telling an important topic that is as vital in modern times as it was when Do the Right Thing was released in 1989.

The film is intelligent and timely without being condescending to either black or white races, nor preachy- instead of telling a poignant story that is angry and sometimes painful to watch, but more importantly, is empathetic and real.

Oscar Nominations: Best Supporting Actor-Danny Aiello, Best Screenplay Written Directly for the Screen

2010 Films, Comedy, Coming-of-Age, Drama, Independent, Independent Comedy, Independent Drama, LGBTQ+ Comedy, LGBTQ+ Films, New York City

BearCity-2010

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BearCity-2010

Director Doug Langway

Starring Joe Conti

Scott’s Review #626

Reviewed March 19, 2017

Grade: B

BearCity is a small, independent, LGBT, coming-of-age film that tells of a young man living in New York City and his exploration of a sub-culture within the LGBT community and the subsequent romance that follows.

The film is a comedy and has a “Sex in the City” or “Queer as Folk” approach to its storytelling- a group of close-knit friends and raunchy and gratuitous, to be sure.

The budget is very small, and some aspects are rather amateurish, but the film is enjoyable, especially for those exposed to the LGBT lifestyle.

The film is not heavy nor are any of the characters dealing with “coming out” issues, but rather it is a fun sex comedy romp.

Our central character, Tyler (Joe Conti), is a young man in his twenties, an aspiring actor, who moves to New York City to pursue his career, with a mind for casual dating.

His roommates encourage him to date Abercrombie and Fitch types, but Tyler comes to realize he prefers “bear” types- mature, hairy men.

On the sly, he begins to pursue this subculture and makes many friends. The apple of his eye, handsome Roger (Gerald McCullough), is a popular mature man, distinguished in the bear circle, and risks his reputation with “the bears” by falling in love with Tyler.

The two men spend the greater part of the film conquering their respective fears and finding their way into each other’s arms in a predictable ending.

BearCity is a fun farce and nothing very heavy, and the feature of a strong circle of friends is a nice, positive portrayal. All of the friends connect well and stick by each other through thick and thin.

Comical sub-plots abound, such as one couple (Brent and Fred) awkwardly parlay into the world of threesomes with unsuccessful results.

Another bear who is unemployed and grossly obese decides to undergo weight loss surgery, much to the chagrin of his hunky boyfriend.

The main story, though, belongs to Tyler and Roger, and their inevitable reunion can be seen miles away.

The film throws various hurdles in their ways, such as a third-person briefly dating Roger, or Roger’s commitment issues, but the climax of the film will be no surprise to anyone.

Tyler and Roger make a nice couple as a whole, but perplexing is how the film makes Roger the undisputed leader of the bear group when he is a lean, muscular man- not a “bear” at all!

This is odd to me, but BearCity is so light-hearted that I suppose I can let this detail slide in favor of a good romance.

Critically, the film is nice but quite amateurish, and super low-budget. The acting, especially by some of the supporting characters (the pre-surgery guy’s boyfriend is the most glaring example), is not great.

I half-expected him to look at the camera accidentally.

Additionally, the film has a low-budget look and feel, which on one level is fine, but combined with the not-so-stellar acting, enhances the inexperience of the cast and crew.

The film is tough to take seriously, if that is even the filmmakers’ intention.

The film is a logistical treat for anyone privy to popular gay hangouts in New York City- specifically The Eagle and The Ramrod; both locales are featured prominently, and the use of many real-life people who hang out at those establishments is used throughout the production.

BearCity (2010) is not a bad experience, and a film that is light and comical within the LGBT community seems rather fresh compared to the myriad of dramatic and heavy films that exist.

At the same time, the film teeters too much towards goofy, with more than one silly, sex-crazed, stereotypical gay man, so it almost gives a bad impression, and the film has mixed results for me.