Category Archives: John Lithgow

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)

2006 Films, Beyonce, Bill Condon, Danny Glover, Drama, Eddie Murphy, Jamie Foxx, Jennifer Hudson, John Krasinski, John Lithgow, Musical, Musical Drama

Dreamgirls-2006

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Dreamgirls-2006

Director Bill Condon

Starring Beyonce, Jennifer Hudson, Eddie Murphy

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

1981 Films, Brian De Palma, Dennis Franz, John Lithgow, John Travolta, Nancy Allen, Thriller

Blow Out-1981

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Blow Out-1981

Director Brian De Palma

Starring John Travolta, Nancy Allen

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.

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

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.