Category Archives: John Lithgow

1976 Films, Brian De Palma, Cliff Robertson, Geneviève Bujold, John Lithgow, Thriller

Obsession-1976

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Obsession-1976

Director Brian De Palma

Starring Cliff Robertson, Geneviève Bujold, John Lithgow

Scott’s Review #1,503

Reviewed November 25, 2025

Grade: B+

Brian De Palma’s Obsession was made in 1976, the same year as his iconic horror film Carrie, which made him a household name. This kicked off a period of other great De Palma films, like Dressed to Kill (1980) and Blow Out (1981).

The marginally successful film gained respectability because the director acknowledged that Alfred Hitchcock’s 1958 masterpiece Vertigo heavily influenced Obsession, which undoubtedly drew many to sit up and take notice.

Since Vertigo is a film I am ‘obsessed’ with, I can easily see the blueprint that it is on many levels.

Film composer and Hitchcock stalwart Bernard Herrmann beautifully scores both movies, so the similarities are undeniable on both a musical and a plot level. I immediately recognized the orchestral and mysterious notes that fill Vertigo with intrigue and sophistication.

A case of doppelgangers and an obsession with a presumed-dead character or the ghost of someone from the past are common elements in both, as a tangled web is spun.

The heroic male character struggles with this obsession while spiraling out of control and making rash or poor decisions.

The story begins in 1959 and centers on a prominent New Orleans businessman, Michael Courtland (Cliff Robertson), who is riddled with guilt following the death of his wife, Elizabeth (Geneviève Bujold), and daughter during a kidnapping-rescue attempt gone wrong.

Fast forward to 1975, and Brian, while traveling to Florence, Italy, meets and falls in love with a young woman who is the exact look-alike of his long-dead wife. He must do anything to have her and imagines she actually is his wife.

While Obsession is a compelling film with an appropriate, suspenseful buildup and a startling twist during the final act, Vertigo’s influence also makes it a weakness for Obsession on its own merits.

Since I knew it was patterned after such greatness, I also found myself constantly comparing it. While Obsession is good, it’s also more of an opening act to Vertigo’s headliner status.

Some standard De Palma particulars are incorporated, which is what I waited for throughout, and some are not.

The slow-motion sequence appears at the conclusion of the film, in a long shot of an airport terminal, as one character runs to another. The fact that one character weilds a hidden gun makes the perilous situation even more daring.

The dreamlike quality is apparent, including a puzzling romance scene in which Michael imagines a marriage and a steamy bedroom sequence with Elizabeth. He also imagines the kidnapping events happening again.

Is this real or imagined?

The split screen, so potent in Sisters and Dressed to Kill, is abandoned altogether.

De Palma also treads lightly on the subject matter of incest that could have made Obsession daring and cutting edge, but instead is softened considerably. This irritated me slightly, since I assumed there would be pushback from studio executives.

Robertson and Bujold have adequate chemistry, and it’s a treat to see John Lithgow in what would be the first of several De Palma films.

Obsession (1976) is worth a watch for De Palma fans because, like Sisters (1973), it offers a glimpse of the greatness he was about to achieve with grander, more fleshed-out efforts.

Some early tools from the director’s arsenal are featured, making the watch enjoyable and a treat for anyone with a fondness for what air travel was like in the mid-1970s, well before terrorism and 9/11 changed the world forever.

#159 Favorite Film, 2006 Films, Beyoncé, Bill Condon, Danny Glover, Drama, Eddie Murphy, Jamie Foxx, Jennifer Hudson, John Krasinski, John Lithgow, Musical, Musical Drama, Top 250 Films

Dreamgirls-2006

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Dreamgirls-2006

Director Bill Condon

Starring Beyonce, Jennifer Hudson, Eddie Murphy

Top 250 Films #159

Scott’s Film Review #792

Reviewed July 20, 2018

Grade: A

Dreamgirls (2006) is a glossy show business-style drama with plenty of glitz and glamour. Adapted from the Broadway production of the same name, the story is loosely based on the trials and tribulations of The Supremes, a popular all-girl group from the 1960s.

Despite the film being heavily focused on the drama and tension between the characters, it boasts a wonderful soundtrack and fantastic acting- most notably newcomer Jennifer Hudson, who garnered a surprising Best Supporting Actress Oscar win for her role.

The film tells the story of the evolution of American R&B music during the 1960s and the 1970s- the action mainly taking place in Detroit, Michigan, where the genre began.

Taking center stage is the incarnation of a girl group called The Dreams, who are controlled by their manipulative record label executive.

A womanizer and creep, Curtis Taylor (Jamie Foxx), guides the girls to stardom, but beds both the beautiful Deena (Beyonce) and the talented yet overweight Effie White (Jennifer Hudson). This leads to conflict as Curtis decides that less talented Deena is more marketable and thus should be the central figure of the band.

With a stellar cast in tow, Dreamgirls contains a plethora of talent and a good history lesson to boot. The main draw in the acting department is the revelation of the talented Jennifer Hudson.

Winner of the talent show American Idol, many pooh pooed her film direction, apparently assuming she was a flash in the pan and a “reality television” star. The challenging role of Effie is perfectly suited for Hudson- brazen, pipes for days, and plenty of attitude.

Her acting aside, Hudson scorches through an unforgettable rendition of “And I Am Telling You I’m Not Going”, which is assuredly what won her the Oscar.

Otherwise, the supporting cast is worthwhile and impressive is Beyonce in a pivotal role. Surely, the singer/actress faced her share of detractors, along with Hudson, but their chemistry is amazing and she nails all of her songs.

Eddie Murphy is a gem in the role mirrored after James Brown, James “Thunder” Early.  The role is perfect for Murphy- a far cry from his standard comedic roles that have grown stale over the years.

This role rejuvenates the actor’s credibility.

Dreamgirls does at times falter a bit with the drama, almost soap opera-like situations. A triangle develops between Effie, Curtis, and Deena, which leads to tension, bad blood, cattiness, and melodrama.

If the film were a standard drama this would undoubtedly make the film suffer from a tired script or generic writing.

But the musical numbers are so riveting that these flaws can be overlooked completely. The ritzy glamour and sparkles that erupt during “Dreamgirls” and “One Night Only” are wonderful fun and the songs are memorable leaving audiences humming along as they dance in the aisles.

The story has been told many times before. A dream of rising to musical stardom and the many trials and tribulations that go along with these hopes and desires.

Comparisons can be made to Chicago (2002), Valley of the Dolls (1967), or even Gypsy (1962), but the mostly black cast and the 1960s Motown theme is interesting, particularly as the Civil Rights movement of the time was upon us.

The film does not invest much time in politics, sticking mainly with drama and music, which may be a wise move to avoid too much of a message theme.

As the film concludes in 1975, Effie is reaffirmed as a meaningful member of The Dreams after her career has tanked and she has wound up on welfare.

A paternity twist is also thrown in for good measure, but the film has a clear “happily after ever” vibe to it which softens the film and keeps it more on the PG-13 level instead of going for darker themes.

Dreamgirls (2006) is a musical that is highly memorable for me because it made Jennifer Hudson a household name and confirms the talent and glory that she is rightfully due.

In subsequent years the star lost weight, softened her image a bit, and became, well, more generic. But thankfully we have a gorgeous performance to always appreciate her for.

Oscar Nominations: 2 wins-Best Supporting Actor-Eddie Murphy, Best Supporting Actress-Jennifer Hudson (won), Best Original Song-“Listen”, “Love You I Do”, “Patience”, Best Sound Mixing (won), Best Art Direction, Best Costume Design

#202 Favorite Films, 1981 Films, Brian De Palma, Dennis Franz, John Lithgow, John Travolta, Nancy Allen, Thriller, Top 250 Films

Blow Out-1981

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Blow Out-1981

Director Brian De Palma

Starring John Travolta, Nancy Allen

Top 250 Films #202

Scott’s Review #574

Reviewed December 31, 2016

Grade: A-

The follow-up to the 1980 masterpiece that was Dressed to Kill, Brian De Palma carves a web of intrigue and mystery with Blow Out, a film starring some of the same cast members from Dressed to Kill (1980) and from 1976’s Carrie.

Comparisons can be drawn to the trio as they are all in the psychological thriller/horror vein- notwithstanding, the predecessors are the superior films.

Blow Out is not quite on the level with those masterpieces but is still a worthy effort and a must-see for fans of De Palma’s work.

John Travolta and Nancy Allen are the stars of the film-recreating their chemistry from Carrie. In that film, the pair are the clear villains, but in Blow Out they are the heroes and have a rooting value.

Dennis Franz appears as a shady thug and John Lithgow is superb as the dastardly  Burke, hired to commit a crime, and enjoying it all too much.

Travolta plays Jack Terry, a sound effects technician, working and living in Philadelphia, Pennsylvania. He works on low-budget horror films and is highly respected for his craft. Alone in a remote park, recording sound, and video, he records a car careening off a bridge into a creek.

He saves Sally (Allen) from the sinking car and this is the point in the film where the intrigue takes off. The driver of the car is a governor and he has died- Sally was having an affair with the governor and his aides are intent on covering this up.

To make matters more complicated, Jack has detected a gunshot on his recording-just before the crash, leading to obvious foul play.

I adore the beginning sequence of the film- my favorite. The film begins as a slasher film, unbeknownst to the audience. A collection of dizzy college girls dance, drink, and shower, as the cameras are placed outside of the dorms.

We see all of the action through the glass windows, then the steady cam is used from the killer’s point of view. This is a highly effective scene and rather humorous too. Inevitably, a creepy killer appears in the shower to butcher one of the college girls until the real beginning of the film starts.

This aspect is clever on the part of  De Palma. Why not trick the audience early and keep them guessing?

Also compelling is the villain of the film- Lithgow. Typically playing sweet-natured characters, it was interesting to see him as a maniacal killer- and reminiscent of the crazed killer from Dirty Harry, in his harried, grotesque facial features.

One particularly chilling scene involves the murder of a prostitute at the train station. I like this scene because the audience gets to know her a bit before she meets her fate- adding a level of empathy for the victim.

Enjoyable are the location sequences of Philadelphia, which give authenticity to the film. Specifically, the train station. Grizzled, dirty, and bustling, the locales set the tone of the film.

The chemistry between Travolta and Allen is decent, though I found more chemistry between them in Carrie. I did not care for Allen’s use of an accent- intended to be a Philadelphia accent, it seemed a New Jersey one to me and simply does not work at all in the film.

This distraction is the only weak point of the film.

All in all, Blow Out is a very good film. It combines mystery, political intrigue, and the famed De Palma stamp- which in itself is worthwhile enough to watch.

Blow Out (1981) contains a dream-like element- as Carrie and Dressed to Kill before it did, which only enhances the mystique. The not so happily-ever-after ending is superb.

2024 Films, Edward Berger, Isabella Rossellini, John Lithgow, Lucian Msamati, Ralph Fiennes, Sergio Castellitto, Stanley Tucci, Thriller

Conclave-2024

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Conclave-2024

Director Edward Berger

Starring Ralph Fiennes, Stanley Tucci, John Lithgow

Scott’s Review #1,447

Reviewed October 17, 2024

Grade: A

I was fortunate to see the Conclave (2024) premiere at our local art theater before most public audiences had. I anticipate those who talk about the ‘twist’ at the end will be stunned. Initially, I was told there was a ‘twist,’ but I did not know what it was, so I wondered.

I’ll say nothing more about the ‘twist’.

Admittedly, the premise didn’t wow me, and I only saw Conclave because of the acclaim and awards season buzz surrounding it.

Heavyweight actors like Ralph Fiennes, Stanley Tucci, John Lithgow, and Isabella Rossellini didn’t hurt.

The end product is well-written, well-acted, and well-produced. Its tinge of push-pull between liberalism and conservativism feels timely and relevant.

It’s based on a 2016 novel written by Robert Harris.

The story is fictional and follows one of the world’s most secretive and ancient events: selecting the new Pope. Fiennes expertly plays Cardinal Lawrence, who manages this complex process after the unexpected death of the beloved current Pope.

Once the Catholic Church’s most powerful leaders, most eager to be elected the next Pope, have gathered from around the world, Lawrence uncovers a trail of secrets involving the dead Pope, secrets that could shake the foundations of the Church.

They are locked in the Vatican, protected from the outside world until the majority chooses the new Pope.

Edward Berger did a phenomenal job bringing the 1930 epic All Quiet on the Western Front (2022) to legions of audiences and a slew of Oscar nominations. All bets are that he does it again with Conclave.

The screenplay is written by Peter Straughan, primarily a British playwright. The action immediately begins with the Pope’s death, and the rest of the film is a slow buildup, sometimes even a crawl.

Halfway through, I wondered why Conclave was receiving so much notice. After the conclusion, I could not stop thinking about it for days.

Berger and Straughan play their cards close to their pockets throughout the play, toying with audiences who expect a traditional, mainstream affair before the rug is yanked from beneath them.

Dramas or thrillers with a religious theme, mainly centering around questioning the Catholic Church, usually risk dismissal or ridicule. I’m anxious to see how this plays out with Conclave.

In hindsight, more than the obvious, make Conclave worth talking about after the upside-down ride that results.

Lawrence is character-driven. He questions his faith and devotion and doesn’t want to be the new Pope. We’re not exactly sure why he wants to leave the Church. Is he involved in a secret scandal? Could he be in a relationship?

One intelligent scene mentions that a Pope should not be sure of his faith and should question it. Traditions can be tweaked for the times. A conservative leader mocks the Pope for ruining the Catholic Church with whimsical decisions, embracing the current times. Another liberal leader doesn’t think he went far enough.

It’s easy to see that Berger/Straughan/Harris have Pope Francis, who was elected in 2013, in mind. Having strongly brought more progressive thought to the Catholic Church, it’s easy to see the representation.

Fiennes gives a powerful performance as a decent man who tries to do the right thing without favoritism or conflict. He is subdued but strong-willed, and the performance is understated. He gives so much to a role that could be mistaken for too little.

Volker Bertelmann composes the score, which is reminiscent of All Quiet on the Western Front. It has a soft tone, is not bombastic, and slowly increases intensity during scenes. The buildup is tense and magnificent.

Conclave (2024) is a human story about humanity and imperfection. It’s also about human complexities, mistakes, and kindness. It magnifies the scope of the Catholic Church and reminds audiences that those shrouded within its wall are not without imperfections.

It also reminds us that even the Catholic Church has corruption.

Oscar Nominations: 1 win-Best Picture, Best Actor-Ralph Fiennes, Best Supporting Actress-Isabella Rossellini, Best Adapted Screenplay (won), Best Film Editing, Best Production Design, Best Costume Design, Best Original Score

2023 Films, Brendan Fraser, Crime Drama, Drama, Epic, Jesse Plemons, John Lithgow, Leonardo DiCaprio, Lily Gladstone, Martin Scorsese, Robert De Niro, Western

Killers of the Flower Moon-2023

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Killers of the Flower Moon-2023

Director Martin Scorsese

Starring Leonardo DiCaprio, Robert De Niro, Lily Gladstone

Scott’s Review #1,406

Reviewed October 22, 2023

Grade: A

One great thing about legendary director Martin Scorsese, and there are plenty I could mention, is that he continues to challenge his audience with his films well into his eighties.

Any aspiring filmmaker, or any cinephile, should study his films.

Before I knew too much about his new picture, Killers of the Flower Moon (2023) I knew I wanted to see it because I trust Scorsese as a director.

His most recent films, The Wolf of Wall Street (2013) and The Irishman (2019) are not easy watches but the payoff is tremendous.

Scorsese is not the kind of filmmaker to create feel-good fluff but leaves the audience pondering what they’ve seen long after leaving the theater.

Leonardo DiCaprio and Robert De Niro, two frequent Scorsese collaborators and great actors appear in Killers of the Flower Moon assuring something of quality.

Be forewarned that at an enormous running time of three hours and twenty-six minutes, the film is long! Like a fine wine, it took me about an hour or so to immerse myself in the texture and storytelling but this only defends the richness of the experience.

Based on David Grann’s broadly lauded best-selling book, “Killers of the Flower Moon” is set in 1920s Oklahoma and depicts the serial murder of members of the oil-wealthy Osage Nation, a string of brutal crimes that came to be known as the Reign of Terror.

In 1918, Ernest Burkhart (DiCaprio) returns from World War I to his uncle, rancher William “King” Hale (De Niro), who lives with Ernest’s brother Byron (Scott Sheperd) on the reservation. Hale pretends to be a friendly supporter of the Osage people, but he secretly schemes to murder them and steal their wealth.

Lily Gladstone who has starred mainly in independent films makes her breakthrough performance as Mollie Burkhart, a wealthy Native American woman who is the love interest of Ernest.

The cast is unwieldy and features stalwarts like Brendan Fraser and John Lithgow in small roles but the notable mentions are DiCaprio, De Niro, and Gladstone.

Each scene between the three crackles with phenomenal acting and attention to their craft. Gladstone quietly yet expressively emotes her character’s feelings and emotions. Mollie is a proud woman but not gullible as she presents a strong feminist quality.

Her scenes with DiCaprio resonate the most. His character of Ernest is complicated and possesses good and bad qualities. As Mollie professes early on he is handsome but not too smart.

Her statement comes further into play at the end of the film.

Amid the schemes and murders Killers of the Flower Moon embraces a sweet romantic story between Ernest and Mollie. They love each other and he adores her and their children but is it ultimately enough?

Any aspiring actors should hone in on scenes between DiCaprio and De Niro for inspiration. Each scene and line within the scene is delivered with naturalness. Carefully yet authentically executed their conversations are mesmerizing.

De Niro reportedly and unsurprisingly modeled his character after the callous and dastardly reality star turned-politician Donald Trump.  Pretending to be well-intentioned but instead bullying and scheming his way to fortune by bamboozling the weak, De Niro channels his inner asshole with precision.

I immediately recognized what the actor was going for concerning the hateful politician.

In what only enhances the film, Scorsese appears at the beginning and end with impassioned moments about the importance of telling this story.

Filmed in Oklahoma, many sequences of open land, fields, streams, and other natural elements appear. Scorsese often uses the same film crews which enhances the authenticity.

The cinematography is filled with early 1900s facets and real Native American people are featured. The colors and tribal outfits offer culture and a glimpse into their way of life.

Killers of the Flower Moon (2023) is an important film because it teaches and reminds the audience that oppression and tragedy have existed in the United States and still do today.

The telling of one group of people is sound and a stark reminder of how many more stories exist each needing the help of a great filmmaker to bring exposure.

Scorsese does it again.

Oscar Nominations: Best Picture, Best Director-Martin Scorsese, Best Actress-Lily Gladstone, Best Supporting Actor-Robert De Niro, Best Film Editing, Best Cinematography, Best Costume Design, Best Production Design, Best Original Score, Best Original Song-“Wahzhazhe (A Song For My People)

2019 Films, Allison Janney, Amy Landecker, Ashley Greene, Biography, Brian d'Arcy James, Charlize Theron, Connie Britton, Drama, Holland Taylor, Jack Haven, Jay Roach, John Lithgow, Kate McKinnon, Malcolm McDowell, Margot Robbie, Mark Duplass, Mark Moses, Nicole Kidman, P. J. Byrne, Richard Kind, Stephen Root

Bombshell-2019

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Bombshell-2019

Director Jay Roach

Starring Charlize Theron, Margot Robbie, Nicole Kidman

Scott’s Review #972

Reviewed December 26, 2019

Grade: B+

Bombshell (2019) is the type of film that, depending on your political affiliation, you will either refuse to see or see and have a love/hate reaction to.

As a non-lover of the “news” network Fox News, I am firmly ensconced in the latter camp, so my opinion of the film is mixed.

The importance of releasing the film during a time of political turmoil in 2019 is crucial and intentional, which is why I commend the film.

Still, the subject matter of sexual harassment against women is complex to watch and a sobering reminder that this behavior continues to occur.

The performances of the principal players — Charlize Theron, Nicole Kidman, Margot Robbie, Kate McKinnon, and John Lithgow — are outstanding and key to the film’s success. Theron and Lithgow receive the lion’s share of makeup and prosthetic work, making them look identical to their real-life counterparts.

Beneficial is a myriad of Fox News political figure portrayals (Sean Hannity, Jeanine Pirro, and Bill O’Reilly) with frighteningly good accuracy, creating a surreal effect.

The film centers on female Fox News personnel in Manhattan and their sexual harassment allegations against founder Roger Ailes (Lithgow).

The central figure- Megyn Kelly (Theron) is conflicted over the risks to both her career and her financial stability if she comes forward and admits her harassment by Ailes years ago, after Gretchen Carlson sues the network.

Margot Robbie plays Kayla, a young Fox employee whom Ailes also harasses.

McKinnon plays a closeted lesbian and confidante to Kayla, who works for the network despite being liberal and a massive admirer of Hillary Clinton.

The plot is fast-paced and unfolds like a quick page-turner, with some sections narrated by Kelly. Bombshell feels timely and has a distinct “ripped from the headlines” makeup.

The fact that the real-life events occurred as recently as 2016 is a striking aspect that will captivate the viewer, especially those who follow United States politics or current events.

The story is fresh and vibrant, with a sense of familiarity, rather than a tale from an event decades ago that many viewers have forgotten or were too young to remember.

I had difficulty feeling much sympathy for most of the characters, which detracts from the film’s overall impact.

The standard definition that the term “Fox News” usually conjures is one of male chauvinism and the good old boys club, with old-fashioned machismo ruling the roost.

Why would any woman choose to work for them or align themselves with the Conservative party, which is not a fan of women or women’s rights?

With this fact in mind, it was difficult for me to watch the film.

To build on this, CEO Roger Ailes is written as the clear villain with no redeeming value. During one scene, he salivates over Kayla when she visits him in his office and instructs her to lift her skirt higher and twirl for him. The scene is sickening, and we feel Kayla’s embarrassment and humiliation.

In a cheer-out-loud moment at the end of the film, she quits, unable to remain in such a corrupt corporation.

One of the only likable characters is Jess Carr (McKinnon), probably fictitious. Hardly fitting the mold of the female staff, not perky or showing leg, she goes out for drinks with Kayla and admits to being gay; the two end up having a one-night stand.

The character is unique, and McKinnon makes wise acting choices.

Worth mentioning is Ailes’s long-time secretary Faye (Holland Taylor). Surely, she knows the antics that go on in her boss’s office, but she almost serves as an accomplice. Why?

Sad to realize that, as recently as 2016, women were still having to face discrimination in the workplace. Industries with powerful men still can be toxic and poisonous to women attempting to climb the ranks.

If the women harassed at Fox News were not top anchors, there is no way the accusations would have even been heard. What about the receptionists, cleaning staff, or administrators who are harassed?

Would anyone listen to them? This message crossed my mind while watching Bombshell.

With fantastic acting and incredible makeup, time will tell if Bombshell (2019) remains a relevant film. Leaving the viewer with an unsatisfying ending rather than a hopeful one, it isn’t easy to sympathize with most of the characters, even when they are supposed to be sympathetic.

Bombshell would make a perfect companion piece to Vice (2018), a similar political, yet superior film.

Oscar Nominations: 1 win-Best Actress-Charlize Theron, Best Supporting Actress-Margot Robbie, Best Makeup and Hairstyling (won)

2019 Films, Amy Seimetz, Dennis Widmyer, Horror, Jason Clarke, John Lithgow, Kevin Kölsch, Stephen King

Pet Sematary-2019

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Pet Sematary-2019

Director Kevin Kolsch, Dennis Widmyer

Starring Jason Clarke, John Lithgow

Scott’s Review #923

Reviewed July 26, 2019

Grade: B

In the age of movie remakes, especially within the horror genre, it was only a matter of time before Pet Sematary, first released in 1989, would resurface with its fangs bared.

Paramount Pictures presents Pet Sematary (2019), a by-the-numbers affair that’s perfect for viewing on a late Saturday night.

It is an improvement over the disappointing ’89 version, but hardly recreates the genre, feeling more like a remake than offering much in the way of new storytelling or frightening effects.

The conclusion is somewhat disappointing, offering a hybrid of slasher and zombie genres.

To compare either film to the chilling and suspenseful page-turner written by esteemed novelist Stephen King would be ridiculous. The book is a quick read that will leave its reader breathless and scared, perhaps even fearing their pets, so the bar is set way too high for a cinematic offering to match up with.

The book delves much more into the feelings and emotions of all the principal characters, something that is severely limited in the film.

The Creed family, consisting of Louis (Jason Clarke), Rachel (Amy Seimetz), and their children, Ellie and Gage, relocates from bustling Boston, Massachusetts, to rural Maine, allowing Louis the opportunity to practice medicine at a university hospital.

Their friendly neighbor Jud Crandall (John Lithgow) befriends Ellie after she stumbles across a funeral procession of children taking a deceased dog to a cemetery called Pet Sematary.

He warns her and Rachel that the woods are dangerous. When tragedy strikes the family, the cemetery unleashes a supernatural force contained in an ancient burial ground that sits beside it.

The first half of the film is superior to the second as the buildup offers more perilous moments than when all hell breaks loose. Mysterious is when an accident victim in Louis’s care dies and begins to show up in his visions, warning him of something sinister.

The victim is mangled and bloody, and quite frightening are these foreboding scenes. When a curious Ellie traipses throughout the woods with curious wondermen, the audience is nervous about what (or who) she might stumble upon.

The film also earns praise for the suspenseful birthday party scene, which culminates in a grisly death. The scene begins cheerfully with lively party music and festive balloons amid a warm summer afternoon in Maine.

In a clear example of foreshadowing, earlier in the film, Louis curses the truck drivers who drive recklessly past his house at high speed. Excitedly running after their cat named Church, Ellie and Gage pay no attention to the looming truck with the texting driver until it is too late.

The scene drips with good terror.

After the speeding tractor-trailer, the predictability of the surface strikes down one family member. Jud has already warned Louis that “sometimes dead is better”, but we know Louis will surrender to temptation out of desperation and tempt the evil spirits.

When the once-dead character returns with a droopy eye and calm, devious demeanor, the film becomes a standard slasher film and is no longer as compelling.

The final thirty minutes feel very rushed, as if the careful pacing of the buildup is all for naught.

As in most horror films, now deemed a cliché, the last sequence often allows for a sequel if box-office profits are substantial enough. I do not recall a similar ending in the chilling novel or any reference to the family living out their days as a family of the undead.

The apparent attempt at a zombie reference was unsatisfying and much different from what I expected.

From a casting point of view, Jason Clarke (usually cast in supporting roles) gives a strong performance as the main character. He is a good father figure and provides charisma to the film. Well-mannered but also somewhat outdoorsy and a “regular joe,” he is intelligent and humorous with the kids.

The child actors are fine, but hardly the main attraction, and Seimetz as the mother, Rachel, is not the best casting choice.

She plays the challenging role much too brooding and angry for my taste, especially given that she is written as the most sympathetic of all the characters.

Pet Sematary (2019) is a satisfactory horror offering with a solid first half that teeters into difficult-to-believe territory rather quickly.

A stalwart veteran like Lithgow helps immensely, lending the film some respectability, and a child actor cast in a pivotal role is enough to avoid ruining the experience.

There is little reason to see the film a second time, but it is recommended to snuggle with the King novel for some good scares.

2017 Films, Amy Landecker, Chloë Sevigny, Comedy, Connie Britton, Dark Comedy, David Warshofsky, Drama, Independent, Independent Comedy, Independent Drama, Jay Duplass, John Lithgow, Miguel Arteta, Salma Hayek

Beatriz at Dinner-2017

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Beatriz at Dinner-2017

Director Miguel Arteta

Starring Salma Hayek, John Lithgow, Connie Britton

Scott’s Review #844

Reviewed December 18, 2018

Grade: B+

Thanks to a well-written screenplay and a thought-provoking idea, Beatriz at Dinner (2017) spins an interesting concept about politics and class systems discussed over dinner.

Salma Hayek and John Lithgow give tremendous performances as characters with opposing viewpoints, helping the film succeed, though a flawed ending and cookie-cutter supporting characters detract from the overall enjoyment.

Set in southern California, presumably around Los Angeles, Beatriz (Hayek) is a holistic health practitioner. Moonlighting as a massage therapist, she becomes stranded at the wealthy home of one of her clients, Kathy (Connie Britton), whom she views as a friend.

Kathy invites Beatriz to stay for dinner, where she encounters real-estate mogul Doug Strutt (Lithgow). The two gradually develop a feud based on their differing politics and viewpoints.

The setup and flow of Beatriz at Dinner are commendable and pace the film nicely. The film is sort of a day in Beatriz’s life. It begins as the character awakens to her pet dogs and goat noisily beginning their day and culminates late at night when the dinner party concludes, and the last glass of wine is consumed.

This way, the film has a nice packaged feel that keeps the story confined and structured.

Being an independent film, the budget is small, and most scenes are shot in a spacious modern house overlooking the Pacific Ocean, which works well. Gorgeous and vast, many rooms are used as conversations among the characters occur, many overlapping each other.

Beatriz at Dinner could have been a play, which helps with the good flow.

Hayek and Lithgow are the main draws as their initial guarded pleasantries progress to venom and violence, albeit primarily imagined.

Initially thinking that Beatriz is the household help, Doug is inquisitive about her entry into the United States and makes numerous insulting gestures, mispronouncing her Mexican hometown and mocking her profession.

Beatriz calmly endures his racism and begins discussions about how his business harms animals and people as emotions escalate. The actors play off each other wonderfully and share chemistry.

With each glass of wine, Beatriz becomes brazen and shares how people in her village lost their land to real estate development. She shares a humanistic viewpoint, while Doug sees life as to be lived while you can.

Despite their dislike for each other’s lifestyles, the film shows Beatriz and Doug at least listening to each other and attempting to understand the other’s opinions, which is more than can be said for the supporting players’ motivations or lack thereof.

Besides Kathy, while sympathetic to Beatriz’s calm demeanor and life-rich philosophies, she also realizes that Doug is her family’s meal ticket.

The other party attendees are written as polite yet uninteresting twits with nothing to talk about except a reality star’s nude photos, dinner, or a handful of other nothing topics.

Chloë Sevigny, Jay Duplass, Amy Landecker, and David Warshofsky have little to do other than stand around and react to the meatier written material that Hayek and Lithgow get to play.

Beatriz at Dinner had me in its corner until the film took a jarring turn during the final act. As Beatriz leaves the party and sets about on her way home, she hastily decides to grab a letter opener and bludgeon Doug to death as the dinner guests hysterically realize what is happening.

Instead of leaving things be, the film chooses to make this only Beatriz’s fantasy and then have her go to the ocean and walk into the waves. Does this mean she commits suicide, or is this another fantasy? This final sequence is unclear and unsatisfying.

I am not sure why Beatriz at Dinner is considered a comedy. Perhaps a mild dark comedy, I argue that the film is a straight-ahead drama and lacks the witty humor that made dinner party-themed films such as Who’s Afraid of Virginia Woolf? (1966) and The Boys in the Band (1970) masterpieces.

Beatriz at Dinner (2017) is a valiant attempt at offering social commentary at a time when discussions like these are needed in films, and the project largely succeeds.

Hayek’s impassioned yet subdued performance deservedly earned her a Female Lead Independent Film nomination. The film’s rich writing garnered a Best Screenplay nomination, too, but a big whiff at the end lowers the overall experience a notch.

Independent Spirit Award Nominations: Best Female Lead-Salma Hayek, Best Screenplay

2012 Films, Albert Brooks, Bill Hader, Billie Joe Armstrong, Chris O'Dowd, Comedy, Graham Parker, Jason Segel, John Lithgow, Judd Apatow, Lena Dunham, Leslie Mann, Megan Fox, Melissa McCarthy, Paul Rudd, Romantic Comedy, Wyatt Russell

This Is 40-2012

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This Is 40-2012

Director Judd Apatow

Starring Paul Rudd, Leslie Mann

Scott’s Review #473

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Reviewed September 6, 2016

Grade: B

I must admit, I was not looking forward to seeing this movie, and my initial thought was “typical dumb comedy” that has been seen a million times before.

While This is 40 (2012) does contain those elements and is marketed toward a certain target audience, this movie is, surprisingly, smartly written and intelligent…overall.

I have not viewed Knocked Up (2007), but I understand it’s a somewhat follow-up to that film, as the two central characters are now married and traversing through a different time in their lives-adulthood.

I enjoyed Paul Rudd’s, Melissa McCarthy’s, and whoever played the oldest daughter’s, performances the most, though Rudd has become the latest actor to play the same role over and over again.

I enjoyed the rock n roll elements and the confrontation scenes as these were very cleverly written and nicely acted.

Sadly, at times the film relies on the standard bathroom humor done thousands of times before- a clear attempt at a laugh, and Jason Segal’s and Megan Fox’s characters are unnecessary to the main plot.

This Is 40 (2012) is a film that, at its heart, shows the trials and tribulations of generations of families, humorously, and done rather well.

2015 Films, Dick Cavett, Documentary, Gore Vidal, John Lithgow, Kelsey Grammer, Morgan Neville, Robert Gordon, William F. Buckley Jr.

Best of Enemies-2015

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Best of Enemies-2015

Director Morgan Neville, Robert Gordon

Starring William F. Buckley Jr., Gore Vidal

Scott’s Review #467

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Reviewed August 19, 2016

Grade: B

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

I found the documentary to be a nice little history lesson for me as 1968 was before my time and the timing of my viewing (2016) was perfect as at the time of this review we are in the midst of an intense presidential race.

This is an adequate slice of political debate and rivalry with differing ideologies among the central figures.

At that time, ABC Primetime News was a floundering network, that needed something to attract viewers and compete with competitors, the much higher-rated CBS and NBC.

This was a time when audiences had merely three networks of news offerings to choose from.

The documentary references this fact as the power of the medium of television in 1968 was quite intense and still new. I looked back fondly on the limited choices of networks then, compared to oodles of offerings now. Still, everyone watched the same programming, which elicited better conversations the next day it could be argued.

ABC concocted a scheme to bring together two bitter rivals, ultra-conservative, William F. Buckley, and ultra-liberal, Gore Vidal. The pair, obviously of differing opinions, reportedly despised each other, and the possibilities were electric.

I found the documentary very genuine. 1968 was before reality television and mock feuds to garner ratings ever existed.

Their heated debates are now legendary and there was an authenticity to them.

The documentary is told in a structured way. Buckley and Vidal faced off during ten primaries, five for the Republican primary in Florida, and five for the Democratic primary in Chicago.

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

Best of Enemies also gives an overview of Vidal and Buckley and how they each had come to achieve their respective fame. Interviews with family members, colleagues, and friends are interspersed in the documentary among the constant barbs between the two as the debates ravaged on.

A moment during the final democratic debate that would cement the loathing between Vidal and Buckley for decades to come.

Continuing to debate with a snarky, condescending tone by both, tensions came to a head as Vidal referenced Buckley as a Nazi, and Buckley, in turn, called Vidal a queer and threatened to sock him in the mouth.

The hatred in the eyes of both men is legendary as their rivalry knew no boundaries. The fact that this all took place on live television (before tape delay censors) made it all the more shocking.

Strangely, the documentary uses narrated voices by Kelsey Grammar and John Lithgow for Buckley and Vidal, respectively, for a few segments. I found this rather unnecessary and even distracting. The voices surmised what each felt at the time and did not work.

This is a documentary showing the real birth of political pundits (now a dime a dozen) and the realism that television was at that time- still rather novel.

Today it is filled with outrageous people and those looking for their ten seconds of fame.

Best of Enemies (2015) shows us the authenticity of television in the early days and sadly, reminds us what it has now become.

Independent Spirit Award Nominations: Best Documentary Feature

2014 Films, Anne Hathaway, Bill Irwin, Casey Affleck, Christopher Nolan, David Oyelowo, Ellen Burstyn, Epic, Jessica Chastain, John Lithgow, Matt Damon, Matthew McConaughey, Michael Caine, Science Fiction, Timothée Chalamet, Topher Grace, Wes Bentley, William Devane

Interstellar-2014

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Interstellar-2014

Director Christopher Nolan

Starring Matthew McConaughey, Jessica Chastain

Scott’s Review #277

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Reviewed September 25, 2015

Grade: B-

Interstellar (2014) is an interesting film to review.

Science-fiction/futuristic epic with a run time of nearly three hours and is complex and intricate. It is the latest offering by director Christopher Nolan.

I cannot say I loved the film, however, I did appreciate and marvel at the visual and technical aspects of it, which completely usurps the convoluted plot, made difficult to follow due to changing worlds and galaxies.

The film reminds me of Inception (2010) with an obvious homage to 2001: A Space Odyssey (1968), the former directed by Nolan, but not quite as compelling from a story point of view as Inception was.

The complexities of different entities, worlds, and layers of worlds are featured and admittedly, mind-blowing, which is the weak part of the film.

Making the film arguably too intelligent, it loses the audience’s attention.

By too intelligent, I mean too complex. As I review the film, I see two halves-the story side and the visual side. In Interstellar, both are essential components and one fails and one marvels.

The story goes something like this. Matthew McConaughey plays Cooper, a widowed, former space expert stuck in a small town in the mid-west, where he begrudgingly runs a farm, living out an unsatisfying existence.

The Earth’s food and crops are slowly running out and the planet is dying. His two children, daughter Murphy and son Tom face a bleak world.

One day, a dust pattern with coordinates leads Cooper and Murphy to a secret NASA team intent on finding other worlds and attempting to save Earth. The team is led by Dr. Brand, a college professor, and science wizard, played by Michael Caine.

Cooper, naturally, is chosen to lead the venture, which could take him away from his family for years. He accepts much to Murphy’s chagrin. Once in outer space- assisted by Amelia Brand (Dr. Brand’s daughter), the team embarks on an endless mission leading them to different planets and one strange encounter with a rebel astronaut (played wastefully by Matt Damon).

Years later (on earth anyway) Murphy and Tom (now grown and played by Jessica Chastain and Casey Affleck) assume their father Cooper is dead.

Critically, the story is way too much to comprehend. I let go of the story instead of focusing on the visual spectacle I was treated to.

The plot eventually meanders off track as the team traverses through a space wormhole created by an alien intelligence and travels fifty years without aging. Life has gone on over planet Earth. Some characters age, others do not.

To summarize, the story is convoluted and impossible to follow.

Speaking of the story side of Interstellar, the writing contains an irritating wholesomeness, especially in the early stages- pre-outer space.

McConaughey was given this tough, machismo side to him that screams of Hollywood traditionalism- almost like “I am a man- I save the family”. Haven’t we seen this too many times in film?

I also found the relationship between Cooper and his young daughter Murphy incredibly saccharine and screamed of Hollywood schmaltz.

McConaughey was given and succeeded in delivering, one great crying scene.

The visual aspect of Interstellar is a spectacle and much, much better than the story, especially during the final third of the film. The sheer grandeur is astounding. When the crew lands on Miller’s planet, an ocean world, a great tidal wave topples their space ship killing one of the team.

The massive look of the tidal wave is monumental in size and ferocity. Later, when the crew lands on an icy planet, the immense coldness and shape of the planet work perfectly and one feels like they are in outer space.

How inventive and creative is the scene where Cooper attempts to contact a character through a bookshelf. The scene is set up like a maze with different periods, colors, and shapes, seemingly blending is very impressive and artistic.

Visually speaking, Interstellar has some similarities to the 1968 epic 2001: A Space Odyssey. Grandiose, artistic, experimental, and epic along with the obvious space theme allow the two films to be compared.

However, where 2001: A Space Odyssey was about life and contains a clear and powerful message, I did not find the same with Interstellar. Instead, I did not find a message, only a confusing story, mixed with spectacular visuals.

Oscar Nominations: 1 win-Best Original Score, Best Sound Editing, Best Sound Mixing, Best Production Design, Best Visual Effects (won)

2014 Films, Alfred Molina, Christina Kirk, Drama, Independent, Independent Drama, Ira Sachs, John Lithgow, LGBTQ+ Drama, LGBTQ+ Films, Marisa Tomei, Romantic Drama

Love Is Strange-2014

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Love Is Strange-2014

Director Ira Sachs

Starring John Lithgow, Alfred Molina

Scott’s Review #174

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Reviewed September 24, 2014

Grade: B

Love Is Strange (2014) is sweet, though not nauseatingly sentimental, looking at many different types of relationships, at the forefront is the same-sex couple, Ben and George, played by John Lithgow and Alfred Molina respectively.

They are a successful New York City couple of a certain age, together for nearly thirty years, and finally legally wed in a low-key ceremony surrounded by friends and family.

George teaches music at a strict Catholic high school where the students and staff know and love him and his new husband. The bishop is not supportive of his marriage and he is unceremoniously fired.

This causes Ben and George to become homeless and rely on family and friends for a roof over their heads.

The film features several secondary character relationships.

Ben’s nephew and wife balance busy careers with a temperamental, rebellious, confused son; Ben’s niece from Poughkeepsie seems neurotic.

Neighbors who are gay police couples have loud parties seemingly every night. Marisa Tomei, who plays Ben’s niece by marriage, Kate, and Charlie Tahan as Joey, Ben’s great-nephew are probably the most prominently featured in the supporting cast.

While well-meaning and accommodating, Kate bottles her anger and comforts herself with nightly consumption of red wine. Joey lashes out at his great Uncle in frustration criticizing his artwork and scolding him for using his teen friend in a portrait, a friend whose sexuality is unclear.

Most other characters are not fleshed out well and are there to move the plot along. This is slightly disappointing. I would have preferred a bit more backstory regarding the rest of the cast.

Throughout the film, a few clues are dropped surrounding Joey and his friend’s sexuality, but not pursued further than on the surface.

I was curious about the cop’s back story. How long have they been together? Do they face conflict at work? Numerous scenes show both cops in uniform while running errands or visiting the hospital, which seems to be the film’s desire to emphasize that cops can be masculine and gay- a fact I love, yet the characters are only one-dimensional.

Why is Ben’s niece neurotic? This is also not pursued at all.

The film belongs to Lithgow and Molina. The two have such effortless, natural chemistry that the audience instantly believes they have been together for decades. The fact that Lithgow and Molina are lifelong friends in real life surely adds to the realism and naturalness.

Ben is the yin to George’s yang. The performances of Lithgow and Molina are so understated and calming that one might overlook how excellent they are since they are both low-key characters.

Love Is Strange (2014) is a film about strength, courage, loyalty, and perseverance through life’s challenges.

It is a sensitive and lovely film.

Independent Spirit Award Nominations: Best Feature, Best Male Lead-John Lithgow, Best Supporting Male-Alfred Molina, Best Screenplay