Category Archives: Bill Pullman

1988 Films, Bill Pullman, David Ogden Stiers, Drama, Ed Begley Jr., Geena Davis, Kathleen Turner, Lawrence Kasdan, Romantic Drama, William Hurt

The Accidental Tourist-1988

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The Accidental Tourist-1988

Director Lawrence Kasdan

Starring William Hurt, Kathleen Turner, Geena Davis

Scott’s Review #1,215

Reviewed January 1, 2022

Grade: B+

Reuniting stars William Hurt and Kathleen Turner from 1981’s smoldering Body Heat, director Lawrence Kasdan creates a triangle of sorts with the addition of Geena Davis in The Accidental Tourist (1988).

She brings a quirky character to the fold in a film about death, tragedy, and a disintegrating marriage.

Despite the subject matter, it’s not a downer at all but rather a romantic drama brimming with rich characters and relatable situations. There are laugh-out-loud moments and there are tender moments all about the human spirit and choices we must make.

It’s an above-average flick that received several Oscar nominations and feels patterned after a Woody Allen-style film. I didn’t necessarily relate to any of the characters nor need to see the film a second time but I respect that Kasdan creates a picture not needing car chases or gratuitous violence or nudity.

The Accidental Tourist is a quiet film about life. It is based on the 1985 novel of the same name written by Anne Tyler.

When their young son is suddenly murdered, the marriage between Macon (Hurt) and his wife Sarah (Turner) flounders, and she moves out. After an accident puts him on crutches, Macon goes to stay with his quirky siblings at the family home, where he meets the high-spirited Muriel (Geena Davis).

She is a dog trainer with a young son of her own. Macon develops a slow friendship with them that surprisingly blossoms into more with Muriel. When Sarah learns about the situation, she attempts a reconciliation with Macon who is forced to make a painful decision.

The intention feels like we, the audience, are supposed to root for Macon and Muriel to get together and not feel much sympathy for Sarah but I did. After all, she is the one ultimately ditched and there is nothing like a woman scorned.

I didn’t feel like there was even much of a triangle because the film is centered around Hurt’s character and the choices Macon must face. It’s about how he deals with change and the unexpected turns of events that life can throw at anybody. Sarah and Muriel must also deal with the same choices and life circumstances but the focus is more on Macon.

The viewer will likely immerse themselves in these characters as they think about their own life and the trials and tribulations that have occurred.

Though I never read the novel I suspect it is a tad better than the film which limits the amount of time to explore the characters. Novels always have more time to delve deeper.

With that said I got a fair share of backstory about Macon, Muriel, and Sarah but didn’t gravitate to any of them over the others.

Regarding the earlier note about The Accidental Tourist being like a Woody Allen film, it has an upbeat, quirky tone that masks much of the heartbreak Macon suffers from with some added comedy. When Muriel hops a flight to Paris to follow her heart and Macon it’s something a character in an Allen film would do.

Since Macon is a writer of travel guides the film contains rich flavor for culture and tourism which is pleasing. London and Paris are the central locales and Kadan does a great job at the international stuff.

A tad long and dragging at times The Accidental Tourist (1988) has enough juiciness to keep any viewer attracted to well-written screenplays about emotional characters and the ups and downs of life satisfied.

Oscar Nominations: 1 win-Best Picture, Best Supporting Actress-Geena Davis (won), Best Screenplay-Based on Material from Another Medium, Best Original Score

1992 Films, Bill Pullman, Comedy, David Strathairn, Geena Davis, Madonna, Penny Marshall, Rosie O'Donnell, Sports, Téa Leoni, Tom Hanks

A League of Their Own-1992

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A League of Their Own-1992

Director Penny Marshall

Starring Geena Davis, Tom Hanks

Scott’s Review #970

Reviewed December 18, 2019

Grade: B

Sports films are too often predictable affairs with fairy tale endings. They are also typically male-driven.

A League of Their Own (1992) is warm and sentimental, and while director Penny Marshall plays it way too sweet and safe for my tastes, there is a measure of feminism that is admirable and a bit different.

The cast is well-known and provides professionalism and energy, but the film is little more than mediocre and strikes out towards the end with a far too pretty ending, doing exactly what these genre films normally do. It’s as if Marshall has a great idea but then decides not to teeter too far left of center.

Beginning in 1988 (present times), elderly Dottie Hinson attends an opening of the new All-American Girls Professional Baseball League exhibit at the Baseball Hall of Fame. She reunites with several of her former teammates and friends, prompting a flashback to 1943 when the main story takes place.

With many young men off fighting World War II, the Major League Baseball franchise is at risk. A women’s league is bankrolled which prompts the recruitment of several players, forming the Peaches and the Belles. They face off in the World Series to dramatic effect.

To be fair, the film is nice and welcoming, providing a haven for filmgoers seeking a solid story and a heartwarming sensibility. The lead actors, Tom Hanks and Geena Davis, respectively the team manager and star player, provide strength and do the best they can with the roles given.

During the early 1990s, both were big stars and while their characters are not romantically linked, their chemistry is zesty. Hanks as Jimmy is a bit predictable and gruff, at first being little more than a male chauvinist, but eventually coming around to respect the women.

For fans of the sport of baseball, the film will be delightful. With enough action scenes on the outdoor diamond to please those fans, one might forget that the teams are made up of women. The demographic sought after is female, but the sunny settings and standard hot dogs, peanuts, and popcorn result in the film drawing a wholesomeness that should also please men.

The supporting characters are too one-dimensional and cliched. The biggest offenders are the characters of “All the Way” Mae Morabito (Madonna) and Doris Murphy (Rosie O’Donnell).

The pop star, a horrid actress, in my opinion, is written way too corny, cracking gum and talking tough, while O’Donnell is intended to be her sidekick. The duo is street-smart and grizzled New Yorkers, but the casting never really works, and the action feels very formulaic, losing its luster very early on.

While Marshall incorporates brief moments of tragedy, one minor character’s husband is killed in action during the war, and all the action is safely in the United States, the war serving as more of a backdrop than a major player.

More common are syrupy scenes between characters who at first have a miscommunication or misunderstanding, but then forge their way to a close bond. And do we ever really believe Jimmy will not become the women’s biggest fan?

A League of Their Own (1992) is a decent watch and marginally enjoyable in a fluff way. It provides little edginess and could have provided darker story points than it does.

Instead, it shows a slice of Americana and Apple Pie approach that while not all bad, is not all good either, feeling limited by its sentimentality.

The film could be much worse and possesses characters that the viewer can root for and cheer along with a home run or a safe slide into third base. This is mainly a result of the stellar cast that Marshall presents.

2017 Films, Bill Pullman, Biography, Drama, Historical Drama, Jeffrey Donovan, Jennifer Jason Leigh, Kim Allen, Michael Stahl-David, Political Drama, Richard Jenkins, Rob Reiner, Woody Harrelson

LBJ-2017

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LBJ-2017

Director Rob Reiner

Starring Woody Harrelson, Jennifer Jason Leigh

Scott’s Review #890

Reviewed April 27, 2019

Grade: B-

LBJ (2017) provides small glimpses of historical interest with a biography about a United States president who is perhaps underrepresented in cinema history compared to other presidents.

The production never catches fire and falls flat with an overproduced film lacking a bombast.

The film can easily be viewed once, never to be thought of again, nor providing the need for analysis or discussion.

Director Rob Reiner creates a glossy, mainstream Hollywood production with questionable casting choices and a muddled feel.

To its credit, the film introduces the fateful day of November 22, 1963, into the story.

As then-Vice President Johnson (LBJ), played by Woody Harrelson, and their wife, Lady Bird (Jennifer Jason Leigh), deplane and embark on a motorcade procession through downtown Dallas, Texas, dire events will follow.

As the violent assassination of President John F. Kennedy (Jeffrey Donovan) soon arrives, the film portrays the initial foreshadowing well, then backtracks to 1960 when the Democratic nominee was up for grabs with both JFK and Johnson in contention.

The film traverses back and forth from pre to post-JFK assassination as LBJ took over the presidency amid the controversial Civil Rights Bill and a still shocked United States public.

A character study develops as the gruff and grizzled man takes center stage to lead the country into the future. The attempt is to show LBJ, the man, at his best and worst, personally and professionally, facing pressure from his cabinet.

Reiner portrays LBJ as complex, brooding, and vulgar but also as a person whose heart is ultimately in the right place. A man we love to hate? Or hate to love?

The film fails from a historical drama perspective and a genre with many in the cinematic chambers.

A powerful political drama is supposed to be compelling, but LBJ feels dull, run-of-the-mill, and highly forgettable.

Some examples of exceptional political film projects are Lincoln (2012), JFK (1991), and Vice (2018). Each has flare, flavor, and a twist or otherwise unusual story construction that LBJ glaringly lacks.

Simply put, the experience feels plain and unimpressive.

Having regrettably not seen the HBO film version entitled All the Way starring Bryan Cranston as LBJ, I cannot compare the two other than from word of mouth that Cranston gives the superior portrayal.

Based on the trailers, I agree with the overall assessment. Harrelson’s version of LBJ is adequate, if not sensational. His mannerisms as President may be effective, but he does not resemble the man too well.

With a waxy, heavily made-up face, Harrelson the actor is unrecognizable and feels staged rather than authentic.

Jennifer Jason Leigh suffers the same fate as Harrelson in the critical role of First Lady Lady Bird Johnson. The actress successfully emulates the appropriate characteristics, specifically facially, but she also appears to be made up, like a wax figure in a museum springing to life.

As Harrelson and Jason Leigh daftly teeter from scene to scene, the result is marginally comical, but LBJ, the film is not a comedy nor a satire, played instead for the heavy drama.

LBJ (2017) is of mild interest but limited as a successful film adaptation of an important figure in United States history. Glimpses of political education for those not alive to experience the tumultuous 1960s are good, but much more was expected from this film than was provided.

Better studies will hopefully be created in the future than what adds up to little more than a snore-fest.

1997 Films, Bill Pullman, David Lynch, Gary Busey, Giovanni Ribisi, Marilyn Manson, Mink Stole, Patricia Arquette, Richard Pryor, Robert Blake, Thriller, Trent Reznor

Lost Highway-1997

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Lost Highway-1997

Director David Lynch

Starring Bill Pullman, Patricia Arquette

Scott’s Review #868

Reviewed February 17, 2019

Grade: A-

David Lynch, forever known for his odd and mind-boggling productions, released what might be his most bizarre offering, Lost Highway (1997).

Dreamlike and downright hallucinogenic, the film is impossible to dissect and is open to endless interpretation. Characters morph into younger or different versions of themselves or even into different characters entirely making the film best served as an experience not to be over-analyzed.

The most enjoyment comes from the fabulous atmospheric elements.

Lost Highway is set in Los Angeles as we meet saxophonist Fred Madison (Bill Pullman), a nightclub employee who resides with his glamorous wife Renee (Patricia Arquette) somewhere in the Hollywood hills.

The couple begins receiving envelopes containing VHS tapes of footage of their house followed by more invasive tapes of them being filmed while sleeping in their bedroom.

Spooked, they enlist the help of a pair of incompetent detectives.

The events begin to grow more complex with the introduction of a menacing mystery man (Robert Blake) and sequences involving a dismembered Renee, and Fred’s subsequent incarceration for her murder.

Fred suddenly morphs into a young auto mechanic named Pete Dayton (Balthazar Getty), who is released into his parent’s care while being followed by the two detectives.

Pete embarks on an affair with Alice Wakefield, a mirror image of Renee, who is the mistress of powerful Mr. Eddy (Robert Loggia). Pete and Alice plan to escape together leaving their troubled lives behind.

Any attempt to make more sense of the story than outlined above is fruitless as a torrent of questions could be raised. The obvious ones are why does Fred turn into Pete (looking completely different) and why does Renee turn into Alice (looking similar)?

What do random scenes of a burning desert cabin mean? What does the bizarre and hazy lesbian sequence with Marilyn Manson have to do with anything?

Discerning the logic and attempting to unravel the mystery will lead to frustration.

The best advice is to escape into the film and allow it to manifest in the viewer’s mind. The terms “dreamlike” and “hallucinating” are often used to describe films but are perfect adjectives to fit Lost Highway.

The stories do run parallel, so the challenge is not being able to follow each of them, but rather how they connect. The stories also merge circularly with a rhythmic effect and a satisfying ambiance that lured me immeasurably.

My favorite characters are Alice and Pete and this is in large part because of the actors who portray them. Not appearing until the second half Getty and Arquette infuse passion and energy into the roles.

I immediately rooted for them as a couple as their tender and smoldering chemistry was immediately felt. Arquette blazes as a sexy temptress and Getty as the handsome and earnest man submitting to her prowess.

Eagle-eyed viewers may notice comparisons to Russ Meyer’s devilish sexploitation film Supervixens (1975).

The most notable are the dual character representations, the auto mechanic occupation, the locales (more than a few Los Angeles roads seem identical), and various sequences featuring a weightlifter, a gas station drive-up, or other eerily similar scenes.

Whether or not there is a direct correlation between the films is unknown but fun to observe.

The musical score and soundtrack are high points adding both mystique and aggression with the hard rock songs featured. Marilyn Manson’s “I Put a Spell on You”, Rammstein’s “Heirate Mich”, and The Smashing Pumpkins “Eye” are used in important scenes.

The soundtrack release was a huge success on modern rock radio achieving Gold record sales status.

At the time of Lost Highway’s release, the film was not well regarded by critics and dismissed as not making much sense. In the decades following the film has garnered more acclaim and as with a fine wine has aged well. The beautiful cinematic tone, creative design, and images have become more revered over time.

For a perplexing and cerebral experience look no further than Lost Highway (1997), a delicious companion piece to the Lynch masterpiece, Mulholland Drive (2001).

1993 Films, Aaron Sorkin, Alec Baldwin, Anne Bancroft, Bebe Neuwirth, Bill Pullman, George C. Scott, Gywneth Paltrow, Nicole Kidman, Peter Gallagher, Thriller, Tobin Bell

Malice-1993

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Malice-1993

Director Harold Becker

Starring Alec Baldwin, Nicole Kidman, Bill Pullman

Scott’s Review #765

Reviewed May 29, 2018

Grade: B+

Malice (1993) is only one of a slew of husband and wife-themed thrillers to emerge from the early 1990’s- Unlawful Entry (1992), Sleeping with the Enemy (1991), and Deceived (1991) are other similar films that made lots of money during this time.

This genre of slick filmmaking was popular as the new decade emerged and more complex story-telling graced the screens.

The myriad of twists and turns are both a positive and a negative to this film.  Keeping the audience guessing and on pins and needles is a key success, eliciting a fun sort of tone, as well as the tremendous star power of the casting (George C. Scott and Anne Bancroft are big-time heavies).

Then again a few of the plot points become red herrings and thereby meaningless and the overall plots, and endless subplots, become way too complex than they need to be.

In a plot that is dizzying to explain, Associate Dean Andy Safian (Bill Pullman) and his wife Tracy (Nicole Kidman) are embarking on a life together in Massachusetts as they purchase a grand Victorian house and plan to begin a family.

As a serial killer stalks the campus where Andy works and implausibly results in him being the prime suspect, Tracy experiences health turmoil and is operated on by cocky yet brilliant Dr. Jed Hill (Alec Baldwin).

When dire events occur the plot escalates and the motivations of the main characters are questioned as truths and deceptions unravel.

When I first saw Malice in 1993 (in fact I saw it twice the same year), I adored the multitude of plot points and devices. The film had the same effect as a speeding roller coaster ride- with endless twists and story revelations.

And to be fair the film holds up pretty well, never seeming dated or of its time like many mainstream films. The two startling reveals- Tracy and Jed being in cahoots and the mysterious eye witness living next door being blind, are clever bits of writing that immerse the audience on many levels.

The acting is top-notch- Kidman plays good and evil oh so well and Bancroft’s cameo as Tracy’s mother is Oscar-worthy. The chemistry between Pullman, Kidman, and Baldwin, and Pullman’s “nice guy” to Baldwin’s “jerk” work quite well as the overlapping relationships play out.

Small yet meaningful roles by Bebe Neuwirth, Peter Gallagher, and Gwyneth Paltrow add layers to the wonderful casting.

And who can forget the often parodied scene where arrogant Dr. Jed launches into a monologue where he claims to be infallible and that he is God? This scene received tons of publicity and is arguably the defining moment of the film.

However, Malice’s strengths also sometimes become its weaknesses. As events go along the plot becomes too confusing. The school serial killer plot soon becomes a red herring as we realize it has little to do with the central plot- the Tracy/Jed alliance- except only to raise parenting questions.

Therefore the big reveal of who the killer becomes for naught. It’s the creepy janitor named Earl(Tobin Bell) hardly a surprise.

Furthermore, after the film ends and the viewer plays events back to make them add up, he or she will likely give up in frustration.

Malice is an above-average entry in a popular genre- who doesn’t like a good, solid thriller? With a talented cast and enough good medical thrills to balance with a college campus whodunit, there is plenty to please everyone who views this film.

Yes, some of the writing is preposterous and tough to believe, but Malice (1993) is a movie meant to escape with, sit back, and enjoy.

2017 Films, Alan Cumming, Andrea Riseborough, Bill Pullman, Biography, Comedy, Danny Boyle, Drama, Elisabeth Shue, Emma Stone, Fred Armisen, Jamey Sheridan, Jonathan Dayton, Sarah Silverman, Sports, Steve Carell, Valerie Faris

Battle of the Sexes-2017

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Battle of the Sexes-2017

Director Jonathan Dayton, Valerie Faris

Starring Emma Stone, Steve Carell

Scott’s Review #691

Reviewed October 11, 2017

Grade: A

Battle of the Sexes (2017) is a film worth watching on many levels. Equal parts sports film, drama, and biography, it excels across all genres with exceptional acting and crowd-pleasing storytelling.

To boot, the film is a true story based not only on the very famous pro tennis match of 1973, termed the “Battle of the Sexes,” but also a story of the sexual identity conflict of one of the opponents in a time where being ones true self was not easy, especially for a public figure.

Emma Stone might have given her best portrayal of her young career as Billie Jean King, the talented tennis pro featured in the film.

She was kind and fair but a fierce proponent of women’s rights in the United States when feminism began taking shape and women and their male supporters demanded equal treatment.

Although initially uncertain whether Stone could pull the role off (not because of a lack of talent, but because the women seem so different), she truly shines as the tomboy athlete with shaggy, feathered locks and a toothy grin.

Equally worthy of praise is Steve Carell, who bolsters his film credo by tackling the role of King’s opponent and foe in the big match, Bobby Riggs.

Portrayed as a certifiable “jerk” and a sexist pig, Carell somehow pours the perfect amount of sympathy and likability into the part.

We witness scenes of Riggs’ playfulness with his young son and tender yet troubled relationship with his wife, Priscilla (Elisabeth Shue in a well-cast role), that never seem trite or contrived but rather quite genuine.

The acting in Battle of the Sexes is, across the board, good.

Sarah Silverman drips with confidence and humor as Gladys Heldman, founder of World Tennis magazine and leader of the troupe of female tennis players who parade around southern California seeking the same respect and pay as their male counterparts.

Bill Pullman makes the most of his one-dimensional role as Jack Kramer, a wealthy and male chauvinistic promoter, while the talented Andrea Riseborough is brilliant as Marilyn, Billie Jean’s bisexual, closeted lover—giving her role a blend of vulnerability and toughness.

The romantic scenes between Stone and Riseborough smolder with tenderness and heart as they forge ahead with their forbidden romance.

The film makes clear that a same-sex romance in those days, while accepted by those around them, would be met with shame and rejection by a large part of King’s legions of fans- this is a heartbreaking reality.

One of the most tear-jerking scenes comes at the end of the film when a victorious King is unable to acknowledge Marilyn. Her openly gay male dresser earnestly whispers to her that one day, she will be free to love who she truly loves.

The scene is poignant.

Directors Dayton and Faris carve a finale that is careful not to fall into the cliched territory. Given that Battle of the Sexes is a sports film, this is a real risk, as typically, these genre films teeter into the “good guys beat bad guys” fairy tale land.

While the film does champion King in the end, the moment is laced with good humor, drama, and sentimentality that does not seem forced but rather honest and real—I enjoyed the final act immensely.

As the film progressed, I found myself drawing parallels to the ever-dramatic and historic 2016 Presidential election—sure to have films made in years ahead- and King, in many ways, mirrors Hillary Clinton, while Riggs resembles Donald Trump in the sexist department.

The political and sports “Battles of the Sexes” warrants much analysis.

My point is a sad one. As much as I love the film, I was left with a cold feeling that forty-five years after the famous Billie Jean King versus Bobby Riggs match, male superiority, and chauvinism are alive and well in the United States—we still have so much progress to make.

Battle of the Sexes (2017) is a film with fantastic acting, stellar casting, passion, excitement, and a telling of a historical, true story.

The film contains all the elements of a compelling cinematic experience.