Category Archives: Dark Comedy

2015 Films, Animated, Charlie Kaufman, Comedy, Dark Comedy, David Thewlis, Drama, Duke Johnson, Jennifer Jason Leigh, Tom Noonan

Anomalisa-2015

August 27, 2016 scottmet99 Leave a comment

Anomalisa-2015

Director Charlie Kaufman, Duke Johnson

Starring Tom Noonan, Jennifer Jason Leigh

Scott’s Review #469

Reviewed August 27, 2016

Grade: A-

Anomalisa (2015) is one of the most creative offerings I have seen recently.

Animation is not my forte- typically I find them much too nice, and the old “family-friendly” tags make me cringe, Anomalisa has received heaps of buzz so I decided to check it out.

I am glad I did.

The stop-motion film is quite adult-themed, though not the slightest bit raunchy. Rather it is an intelligent tale about loneliness and human beings connecting through this loneliness.

It is a bit of a melancholy film too, based on a 2005 play.

The central character is Michael Stone, a depressed customer service expert, who travels to Cincinnati to deliver a seminar on his expertise. Michael is riddled with anxiety and his life is rather mundane though he checks into a stylish hotel that is presumably hosting his convention.

He is a bit of a big name within his industry. Oddly, every person he encounters looks and sounds the same- that of a white man- even his wife and son. He is haunted by the memory of an old flame, Bella, who it is revealed he jilted years ago and now lives in Cincinnati.

The story gets interesting when Michael hears a woman’s voice singing, up until now all voices are male, remember, and he is desperate to find the voice.

He meets Lisa (voiced by Jennifer Jason Leigh), an insecure, rather dowdy woman, with whom he becomes infatuated. A customer service representative at the hotel to witness Michael’s seminar, Lisa is instantly smitten, though wary of Michael’s intentions.

They bond and the film tells of their romance and insecurities.

The film is highly creative and unique. It is also mysterious. My first wonder was to figure out why all the characters, regardless of gender, share the same voice.

Michael is lonely and sees everyone else as monotonous or meaningless until he meets Lisa. The film is not clear what Michael sees in Lisa- perhaps her realness in a world of phoniness. She is an ordinary girl, but what is the point? I am still not sure of this.

I did not find the character Michael likable and not one to root for. He is dismissive of some characters and a bit condescending, but despite this, not a hated character either. He and Lisa as a duo are to root for.

Anomalisa has some humor too, albeit dark humor. When Michael mistakes an adult toy store for a traditional toy store and purchases a Japanese sex doll for his son, Michael’s wife hilariously wonders about some foreign substance around the doll’s mouth.

A nervous male passenger on Michael’s flight clutches Michael’s hand, even after landing safely.

The explicit sex scene between Michael and Lisa is as shocking as it is tender. I think showing this graphic edge in animation threw me for a loop since this rarely happens in animated films- perhaps incorrectly- assuming that they are for children only with their parents to endure.

Anomalisa is not true animation- felt puppets are used, giving a great, human-looking feel and making the characters more life-like.

Anomalisa (2015) is not a perfect ten but damn close for its left-of-center approach alone. A journey into the art of creativity and thought. A bit far out there for most, and perhaps the sarcasm may be lost on some, but a unique experience, nonetheless.

Oscar Nominations: Best Animated Feature Film

Independent Spirit Award Nominations: Best Feature, Best Director-Charlie Kaufman and Duke Johnson, Best Supporting Female-Jennifer Jason Leigh, Best Screenplay

2012 Films, Adam Sandler, Alan Thicke, Andy Samberg, Colin Quinn, Comedy, Dan Patrick, Dark Comedy, Dennis Dugan, Ian Ziering, James Caan, Lowest Rated Films, Rex Ryan, Sean Anders, Susan Sarandon, Todd Bridges, Vanilla Ice, Will Forte

That’s My Boy-2012

June 19, 2016 scottmet99 Leave a comment

That’s My Boy-2012

Director Sean Anders

Starring Adam Sandler, Andy Samberg

Scott’s Review #423

Reviewed June 19, 2016

Grade: D

That’s My Boy (2012) is such an incredibly bad film yet there is something that strangely kept my attention.

With oodles of stereotypes and either sexist, homophobic, or racist jokes throughout the film, it should have made me angry, but somehow it did not.

This movie was so completely over the top that it could not possibly be taken too seriously.

One laughable aspect that I did enjoy was the, albeit odd, cameos by Vanilla Ice and Todd Bridges who seem to have no problem degrading themselves, and the references to the 1980s.

Otherwise, That’s My Boy is pretty rock bottom for filmmaking.

This is not a knock on the dumb comedy genre as other recent similar types of films are well written (like This is 40-2011).

But, alas, That’s My Boy (2012) is not one of those films and will not go down in history as such.

True to form, the ending was predictable and uninteresting.

2012 Films, Christopher Walken, Colin Farrell, Comedy, Crime Drama, Dark Comedy, Drama, Gabourey Sidibe, Harry Dean Stanton, Independent, Independent Comedy, Independent Drama, Kevin Corrigan, Martin McDonagh, Michael Stuhlbarg, Sam Rockwell, Satire, Tom Waits, Woody Harrelson

Seven Psychopaths-2012

June 19, 2016 scottmet99 Leave a comment

Seven Psychopaths-2012

Director Martin McDonagh

Starring Colin Farrell, Sam Rockwell

Scott’s Review #422

Reviewed June 19, 2016

Grade: B-

Seven Psychopaths (2012) is a film that I truly wanted to like more than I did.

It started well with a Quentin Tarantino style that was appealing and the film does contain an interesting premise.

Colin Farrell plays the straight man in a cast of offbeat, quirky characters and is attempting to complete a screenplay entitled “Seven Psychopaths” based on these characters.

Sounds great, but halfway through the movie stopped delivering. I found myself slightly bored.

The film has a unique concept, to be sure, but fizzles during the second act, so much so that it stopped making much sense and lost my interest.

I did admire the creativity, though, and the chemistry among the cast is great, but the overall story in Seven Psychopaths (2012) disappointed me.

Independent Spirit Award Nominations: Best Supporting Male-Sam Rockwell, Best Screenplay

2015 Films, Adam McKay, Anthony Bourdain, Billy Magnussen, Biography, Brad Pitt, Christian Bale, Comedy, Dark Comedy, Finn Wittrock, Jeremy Strong, Margot Robbie, Marisa Tomei, Melissa Leo, Ryan Gosling, Selena Gomez, Steve Carell, Tracy Letts

The Big Short-2015

January 10, 2016 scottmet99 Leave a comment

The Big Short-2015

Director Adam McKay

Starring Christian Bale, Steve Carell

Scott’s Review #369

Reviewed January 10, 2016

Grade: A-

The Big Short (2015) is a confusing film and is its intention and also its genius.

Throughout some of the film, I was uncertain how much I liked it (or got it) and found many of the characters unlikeable, but at the conclusion, I realized that is exactly what the filmmakers intended is a clever tactic and makes The Big Short a success.

On the surface, the film has some humor but a very dark story at its core and left me a bit depressed and terrified at the conclusion.

I am happy that the film is receiving accolades and is the “thinking man’s” hit movie of the season.

To attempt to summarize the film, the film begins in 2005, approximately two years before the financial crisis of 2007-2008.

Eccentric hedge fund manager Michael Burry (Christian Bale), realizes the U.S. housing market is unstable and predicts a crash.

He attempts to profit by betting against the market, a move laughable to all around him, especially the banks who anticipate a windfall at Michael’s expense. Trader and fellow market managers, Jared Vennett and Mark Baum (played by Ryan Gosling and Steve Carrell) catch wind of Michael’s theory and try to get in on the action.

There is a sub-plot involving two younger investors also attempting to profit through the guidance of a retired banker (played by Brad Pitt).

The financial collapse is a tender subject and certainly no laughing matter, especially since it is so recent and affects many people.

The Big Short is touted as a comedy, which is strange. I found the audience didn’t know exactly what to laugh at or when. The film’s “laughs” were cynical, witty, and sometimes wicked. Many people do not get this type of humor.

In real life, people were kicked out of their homes and lost their jobs, pensions, etc. and it was all the result of greed, which The Big Short hammers home.

Several scenes include frat-boy investor/trader types getting rich by enabling almost anyone to afford a new house. Little did these people realize that there was a catch.

The film paints a jaded picture of Wall Street. The rich get richer at the expense of the middle class and the poor. It is an age-old sad tale.

Performance-wise, Carrell and Bale are the standouts. They both play characters who are damaged. Bale’s Michael is socially awkward, and has a false eye, but is also a genius. Carrell’s Mark is angry, grizzled, and is in therapy as a result of his brother’s suicide.

Both actors are great and have developed into worthy, credible acting talents. Worth mentioning, are small, but meaningful roles by Melissa Leo and Marisa Tomei.

The Big Short is shot interestingly, and highly unusual. From time to time, the action will stop and a famed celebrity (Selena Gomez, a world-renowned chef, or a model in a bubble bath) will explain the events, thus far, or give some review.

Also, more than once the actors will turn to the camera and speak directly to the audience. A personal touch that I found effective.

In the end, not much in life has changed, which is the message, and a frightening one. As one character brilliantly puts it “people will go back to blaming the poor and the immigrants”, which is a sad message.

After millions lost everything, not much has changed in the world and The Big Short makes that very clear. The people responsible have gotten away with crime, the banks bailed out, and a new scheme is undoubtedly in place.

It’s a sad world.

The Big Short (2015) is a gritty, harsh look at reality and a terrific film.

Oscar Nominations: 1 win-Best Picture, Best Director-Adam McKay, Best Supporting Actor-Christian Bale, Best Adapted Screenplay (won), Best Film Editing

1996 Films, Best Feature- Independent Spirit Award Winners, Best Film of the Year, Coen Brothers, Comedy, Dark Comedy, Drama, Frances McDormand, Independent, Independent Drama, John Carroll Lynch, Peter Stormare, Scott's Top 100 Films, Steve Buscemi, William H. Macy

Fargo-1996

January 9, 2016 scottmet99 Leave a comment

Fargo-1996

Director Joel Coen and Ethan Coen

Starring Frances McDormand, William H. Macy

Top 100 Films #79

Scott’s Review #366

Reviewed January 9, 2016

Grade: A

Fargo (1996) is a treasure as far as I’m concerned and the role that deservedly propelled Frances McDormand to the forefront of the film audience’s minds- not to mention a gold statue for Best Actress.

The film epitomizes dark humor, and zany freshness, during a time in cinema when originality was emerging, and independent films were growing in popularity.

Fargo led the pack.

The film suffers from some derision by locals in and around the upper mid-west U.S.A. for its depiction of accents- perhaps overdone, but hysterical all the same.

Mixed with the snowy and icy locales, the film perfectly presents a harsh and small-town feeling.

The introduction of a crime- initially done innocently, escalates out of control.

Fargo is a part caper, part thriller, and part adventure and is a layered, cool film.

The fact that the time is 1987 is great. The cars, the Oldsmobile dealership, all work particularly.

McDormand plays a local Police Chief- Marge Gunderson, very pregnant, who stumbles upon the crime and slowly unravels the mystery.

All the while, the character keeps her cool, cracks jokes, and emits witty one-liner after another, presenting a slightly dim-witted image, but brilliantly deducing the aspects of the crime.

William H. Macy, in 1996 largely unknown, is perfectly cast as a car salesman, Jerry Lundegaard. Nervous, and shaky, yet with down-home respectability, he hatches a plot to have his wife kidnapped, the ransom to be paid by her wealthy father, enabling Jerry to pay off an enormous embezzling debt, and splitting the money with the kidnappers.

Predictably, things go awry and spiral out of control.

I love how the film crosses genres and is tough to label- is it a crime drama, a thriller, or a comedy? A bit of each which is the brilliance of it.

Fargo (1996) is an odd, little piece of art, and is remembered as one of the best films of the 1990s, making a star out of Frances McDormand.

Oscar Nominations: 2 wins-Best Picture, Best Director-Joel Coen, Best Actress-Frances McDormand (won), Best Supporting Actor-William H. Macy, Best Screenplay Written Directly for the Screen (won), Best Cinematography, Best Film Editing

Independent Spirit Award Nominations: 6 wins-Best Feature (won), Best Director-Joel Coen (won), Best Male Lead-William H. Macy (won), Best Female Lead-Frances McDormand (won), Best Screenplay (won), Best Cinematography (won)

1972 Films, Comedy, Dark Comedy, Divine, Edith Massey, Independent, Independent Comedy, John Waters, Mink Stole, Scott's Top 100 Films

Pink Flamingos-1972

January 9, 2016 scottmet99 Leave a comment

Pink Flamingos-1972

Director John Waters

Starring Divine, Edith Massey

Top 100 Films #96

Scott’s Review #359

Reviewed January 9, 2016

Grade: A

One of the true, and best, late-night gross-out films of all time, Pink Flamingos (1972) breaks down barriers I never thought possible to do in film and contains one of the most vomit-inducing scenes to ever grace the movies.

The film is certainly one of a kind and will only be appreciated by a certain type of film-goer. Pink Flamingos is raw, entertaining, and must be seen to be believed.

Outrageous in every way and shot documentary style, the film has weird close-ups and amateurish camera angles, only adding to the fun.

I love the film.

In what director John Waters famously dubbed the “Trash Trilogy”, along with similar films Desperate Living and Female Trouble, Pink Flamingos has the dubious honor of being the best of the three.

Waters stalwart, Divine, plays Babs Johnson, an underground criminal who lives a meager existence in a trailer along with her mentally challenged son Crackers, and her bizarre, egg-obsessed mother, Edie (Massey). They are joined by Babs’s companion, Cotton.

In an attempt to win the “Filthiest Person Alive” contest and usurp Babs from achieving this distinction. the Marbles (Mink Stole and David Lochary) set out to destroy her career.

Pink Flamingos is complete and utter over-the-top fare, but I have fallen in love with the film over the years.

Let’s just say it is a type of film that is an acquired taste, and one will eventually revel in the madness or be disgusted with its bad taste.

Waters, a truly creative, breaks new ground in filthy behavior. On a budget of no more than $10,000, it is more than impressive how he pulled this off successfully.

The antics that Babs and the Marbles engage in are downright crude, but the extreme nature of the fun is exactly what is to love about the film. Hysterical is the character of Babs’s mother Edie.

Confined to a crib and constantly inquiring about the Egg Man, she is obsessed with eggs and wants to eat nothing else. She eventually marries the Egg Man. The character is entertaining beyond belief.

The Marbles run a clinic in which they sell stolen babies to lesbian couples for cash. When they send Babs a box of human excrement and a card that says “fatso”, the war between the two sides is on.

The highlight of the film is the main sequence in which Babs holds a birthday party. A male contortionist flexes his anus in rhythm to the song “Surfin’ Bird”, which may be the only film featuring an anus.

How Waters got away with some of this stuff is mind-blowing.

The most disturbing scene occurs at the very end when Babs watches a dog do “its business” on the street and proceeds to pick up the excrement and eat it, revealing to the audience a toothy (and brown) smile.

Reportedly Divine did this act. As the film ends, Babs truly is “The Filthiest Person Alive”.

Thanks to the genius of John Waters and Divine and the superlative supporting cast, Pink Flamingos (1972) is a reminder that creativity and unique humor do not have to conform to a specific style or follow a road map.

Waters takes any film criteria and throws it right out the window, instead of creating a masterpiece in warped fun and disgust.

1986 Films, Camp, Comedy, Dark Comedy, Pat Ast, Scott's Top 100 Films, Sexploitation, Sybil Danning, Wendy O. Williams

Reform School Girls-1986

January 9, 2016 scottmet99 Leave a comment

Reform School Girls-1986

Director Tom DeSimone

Starring Linda Carol, Wendy O. Williams, Pat Ast

Top 100 Films-#100

Scott’s Review #348

Reviewed January 9, 2016

Grade: A

Let’s be honest here- Reform School Girls (1986) is neither a work of cinema art nor a particularly well-acted film.

From a critic’s perspective, it is riddled with stereotypes and objectifies women.

Still, it’s one of my favorite guilty pleasures and has an offbeat charm that makes me want to watch the film over and over again. I never tire of it. I also don’t think it should be reviled, but rather, revered.

There is a perverse magnificence to the film and some similarities to another cult gem- Russ Myers’s Faster Pussycat, Kill!… Kill! (1965)

Critics be damned- not every film needs to be high art!

One of my absolute favorite cult actresses, Pat Ast, famous for another cult gem, 1972’s Heat, stars in Reform School Girls as a vicious prison guard.

Alongside punk rocker turned actress, Wendy O. Williams, they make the film a guilty masterpiece as both women bring their share of odd energy and humor to the flick.

Sybil Danning co-stars as the corrupt Warden Sutter.

The plot of the film is pretty straightforward and it screams late-night fun.

A virginal teenage girl named Jenny is sent to a reform school run by the sinister warden and her sadistic and abusive henchwoman, Edna (Ast). While there, Jenny is intimidated by Charlie (Williams), who rules the roost via bullying and threats. Jenny is accompanied by several other terrified girls, who are stripped and degraded by Edna.

This leads to an attempted escape and protest scene by the girls and others as they try to remove themselves from their tormentors.

Reform School Girls is simply great fun.

The poor acting is actually a strength of the film as one scantily clad female after another prance around the reform school.

Wendy O. Williams regularly wears skimpy panties, bra, and heels, and is laughable playing a teenager since the actress was pushing forty years old.

The culmination of the film is fantastic as a chase ends up by an enormous tower on the grounds of the prison, resulting in the deaths of Charlie and Edna in a dramatic fashion.

Edna’s charred remains are met by an uproar of cheers by the inmates- I half expected them to burst into a chorus of “Ding Dong the Witch Is Dead”.

Reform School Girls (1986) is a perfect cult classic to enjoy on a late Saturday night.

1985 Films, Camp, Christopher Lloyd, Colleen Camp, Comedy, Dark Comedy, Eileen Brennan, Lesley Ann Warren, Madeline Khan, Martin Mull, Michael McKean, Scott's Top 100 Films, Tim Curry

Clue-1985

January 9, 2016 scottmet99 Leave a comment

Clue-1985

Director Jonathan Lynn

Starring Christopher Lloyd, Eileen Brennan, Madeline Kahn

Top 100 Films #61

Scott’s Review #341

Reviewed January 9, 2016

Grade: A

Clue is a harmless, 1985 comic yarn that is not a cinematic masterpiece, nor anything more than fluff.

But since I adored the classic board game growing up and reveled in the excitement of the different characters, rooms, and murder weapons, the film version holds a very special place in my heart and memory bank, having watched it time and time again as a youngster.

The plot is immediately filled with intrigue- a successful element and the best part of the film.

Six interesting characters- with provocative aliases such as Ms. Scarlet, Colonel Mustard, and Mrs. Peacock, are all summoned to a New England mansion named Hill House.

Naturally, it is a dark, stormy night and each receives a mysterious note written by a stranger.

Among the colorful characters working at the mansion are the plump cook, the scantily dressed maid, Yvette, and the butler, Wadsworth, who is running the show and greets the confused guests.

Slowly, it is revealed that all of the guests are being blackmailed and all of them either live or have ties to Washington D.C.

After each guest is given a weapon as a gift, the lights go out and a murder occurs, launching a fun whodunit. Each guest, and the staff, strive to figure out who has committed the murder, as subsequent murders begin to occur.

The comic hi-jinks are reminiscent of funny films like High Anxiety (1977) and even Young Frankenstein (1974).

The atmospheric qualities featured in Clue are what I love most about the film- the vast mansion, the many gorgeously decorated rooms, the secret passageways, and the driving rain all make for a great ambiance.

Clue is clever in that it features three different endings! Upon initial theatrical release, this was a unique premise- one could see the film multiple times and not know how it was to end or who the killer might be revealed to be.

Unfortunately, the film was not a commercial success so this ploy did not work.

The famed cast delivers their parts with comic gusto, and with lesser talents, the film would simply be dumb. It seems obvious that the cast had a good old time with this romp- Eileen Brennan, Christopher Lloyd, Lesley Ann Warren, and Madeline Khan, have a comic ball with their perfect delivery of the lines.

Clue is not a message movie, it does not inspire cinematic art, but what it does, it does incredibly well- it entertains.

The writing and the political and sexual innuendos are witty. One can become lost in the interesting characters and try to guess, or even make up, the whodunit and why they did it.

I can be entertained by Clue (1985) time and time again.

2001 Films, Ben Kingsley, British, Comedy, Crime Drama, Dark Comedy, Drama, Ian McShane, Independent, Jonathan Glazer, Mob, Ray Winstone

Sexy Beast-2001

November 13, 2015 scottmet99 Leave a comment

Sexy Beast-2001

Director Jonathan Glazer

Starring Ray Winstone, Ben Kingsley

Scott’s Review #286

Reviewed November 13, 2015

Grade: B+

Sexy Beast is an interesting little indie gem that has garnered quite a cult following, deservedly so, since the year of its release- 2001 and that I have recently viewed for the first time.

In large part, the film belongs to Ben Kingsley as he gives a bravura, and frightening, performance as a crime lord attempting to convince a retired hitman, now sworn to the straight and narrow, to resurrect his career for one last heist.

The other principal characters are wonderful in their own right, as the film successfully mixes elements of Quentin Tarantino with Ocean’s Eleven- bank heist meets quirkiness, with smart and witty dialogue sprinkled in.

Gary Dove is happily retired and living a life of contentment with his ex-porn star wife, Deedee, and best friends Aitch and Jackie. Having all been involved in “the biz”, they are long since removed from their respective careers. They now enjoy evening parties of wine and martinis, and days relaxing by the pool in their Spanish villas.

One day, a former criminal associate, Don Logan (Kingsley), who is also a sociopath, arrives to disrupt their peaceful lives and coordinate a bank heist in London, in hopes of luring Gary into the game once again.

As Gary and company nervously decide to decline Don Logan’s offer to participate in his sinister plan, a wonderful and important scene occurs early in the film. The quartet sits around the dinner table at a swanky Spanish restaurant anticipating a scrumptious meal.

Jackie reveals the news that Don has contacted her and the tone of the scene immediately changes to one of dread. All of them both fear and despise Logan.

They agonize over this sudden disruption to their lives and we, the audience, fear Don Logan before he ever appears on-screen. What fantastic story-telling.

Kingsley portrays a menacing character and brilliantly so. The character contains frightening brutality bubbling beneath his normally calm demeanor, which makes the viewer shudder when he appears on-screen.

Lest we forget, Ian McShane also gives a nuanced performance as Teddy Bass, Logan’s right-hand man, and wise businessman.

The cat and mouse scene towards the end as Teddy and Gary have an important discussion in a car is both chilling and important to the plot of the film. As Teddy slowly figured out certain events I was left intensely anticipating his reactions.

The film introduces an intriguing sub-plot involving Don’s long-ago fling with Jackie and subsequent love for her which adds layers to the plot and the dynamic and tension between Don and Gary.

Upon finishing the film, I loved the effect of foreshadowing that the film contains. I found myself rewinding the events in my mind, pleasurably so. From the pool to the young Hispanic kid to the thunderous boulder- all of these elements were crucial to the conclusion and fit like a puzzle.

A dark comedy of sorts, I chuckled after the film as the final reveal involving a double-heart insignia and a pool that gives comeuppance to the villain and pleases the viewer.

Having alluded to viewing Sexy Beast (2001) over the years, I am glad that I finally found the time to witness a darkly comical gem that, admittedly, may take repeated viewings to absorb and therefore fully “get”, and I look forward to doing just that.

Oscar Nominations: Best Supporting Actor-Ben Kingsley

Independent Spirit Award Nominations: Best Foreign Film

2015 Films, Comedy, Dark Comedy, Deanna Dunagan, Ed Oxenbould, Horror, Kathryn Hahn, M. Night Shyamalan, Olivia DeJonge, Peter McRobbie, Thriller

The Visit-2015

September 24, 2015 scottmet99 Leave a comment

The Visit-2015

Director M. Night Shyamalan

Starring Olivia DeJonge, Ed Oxenbould, Kathryn Hahn

Scott’s Review #276

Reviewed September 24, 2015

Grade: B

A modern-day thriller/horror/comedy hybrid (admittedly it is tough to classify this film as exclusive horror with the dreaded and watered-down PG-13 rating) directed by M. Night Shyamalan, The Visit (2015) has its moments of genuine scary frights and surprises.

It contains a wonderful twist at the end but suffers from some clichés, one severely unlikeable character, and suspensions of disbelief.

Bringing grandparents to the forefront of the film is a clever idea, albeit, stereotypically, The Visit is a decent watch, but laden with a few misfires.

Paula (Kathryn Hahn), a single mother on the outs with her parents for some years, but recently reunited, sends her two children- Rebecca and Tyler, for a week, to stay at their grandparent’s farmhouse, whom they have never met.

At the kids prompting, Paula decides to go on a romantic vacation with her new boyfriend.

Naturally, when the kids arrive at Grandma and Grandpa’s strange events happen. The children are warned never to go into the basement, not to leave their bedrooms after nine-thirty pm, plus the grandparents have a creepy, weird, look to them.

Rebecca and Tyler, in true modern horror fashion, arguably contrived at this point, record all the events (think Paranormal Activity from 2007) and begin to realize there is something rotten in the state of Denmark.

The Visit contains positives and negatives.

The mother and the two kids live in New Jersey and the grandparents in Pennsylvania. That is one state away, yet Rebecca and Tyler have never met, seen photographs, spoken to their grandparents on the phone, not even to discuss the impending visit.

The kids constantly use Skype to communicate with Mom throughout their visit, but doesn’t occur to anyone to chat with the grandparents before embarking on a week-long visit to introduce themselves.

This is a convenient plot manipulation.

Another negative is the film contains one of the most annoying characters in recent memory, Tyler. I am baffled as to whether this was intentional or unintentional.

The kid is about twelve years old and is written as dumb as possible. There are at least three to four endless scenes of him rapping, mostly to the video camera, that I found to be an utter waste of valuable screen time and lends nothing to the plot.

Filler and for a ninety-minute movie, unnecessary.

In the end, though, I got the last laugh, as the character, a germophobe, has his face smeared with human excrement.

The third negative I observed is the constant “old people jokes”, which bordered on the offensive after a while. The grandparent’s unusual behavior was blamed numerous times on their age as if all elderly people were scatterbrained, daffy, or just downright strange.

Many seniors are intelligent, useful, and lively so there was a feeling of disrespect towards the elderly that I could not shake. The film could have portrayed the grandparents with more dignity than it chose to.

Now for some positives, the compelling twist at the end of the film I did not see coming and I loved that about The Visit.

Rarely is the audience surprised anymore, especially in the horror genre, and I was. Having replayed the film in my mind the plot makes perfect sense, but is a positive in the heart of the climax.

On the subject of the conclusion, The Visit has a unique slow-motion/dreamlike feel and an odd, classical-type musical score playing throughout the ending that adds much depth to the typical thriller-type music heard in most genre films.

The oven scene inevitably viewed by all during early trailers for The Visit is excellent. When Grandma convinces Rebecca to crawl completely inside her oven to clean it we know this will not end well.

Additionally, the look and texture of the setting, an old deserted farmhouse in a small, rural town in the middle of nowhere has a feeling of being trapped.

This successfully provides a scary backdrop for the film and all the elements scream horror.

The Visit (2015) has genuine scares and will make the viewer jump, and perhaps even shriek. That is what good horror does yet I am still unsure if this film is more horror or comedy.

Unintentionally so, perhaps.

2014 Films, Comedy, Dark Comedy, Dennis Haysbert, Drama, Independent, Independent Drama, Justin Simien, Satire, Tessa Thompson, Tyler James Williams

Dear White People-2014

September 18, 2015 scottmet99 Leave a comment

Dear White People-2014

Director Justin Simien

Starring Tyler James Williams, Tessa Thompson

Scott’s Review #274

Reviewed September 18, 2015

Grade: B+

Dear White People (2014) is a highly creative, independent satire that begs to be watched for no reason other than for its message of existing racism in present times, homophobia, and class distinction.

Set at an Ivy League college and written tongue and cheek, but also with a direct message from newly discovered director Justin Simien, it is a meaningful gem that challenges audiences to think and be entertained and emit an occasional chuckle at the wit and comical lines presented.

Set in the present day- assuming 2013 or 2014, and well beyond the Civil Rights era, the film features a hip, sharp look and a myriad of characters, all with differing perspectives, all Caucasian or black in racial identities.

All the characters attend the affluent and sophisticated Winchester University, a mostly white, conservative school with a small community of black students, who curiously all seem to reside in the same dorm house.

In addition, the Dean is a black man (played by Dennis Haysbert).

Sam White is a rebellious female student, of mixed race, who runs a radio show entitled “Dear White People”, which challenges the current state of racism in America, specifically at Winchester University.

Supporting characters include Lionel Higgins, a gay, bookish student with an enormous afro, excluded from almost all the sub-groups. Lionel is intrigued by Sam’s radio show.

Other characters include Coco- an attractive black girl with typically “white” mannerisms and friends, who try to fit in with the white culture. Troy, a very handsome black student (who tries to act “white”), dates a white girl (who tries to act “black”).

Finally, the film features Kirk, a white student whose father is the school president, who values an old-style way of thinking. Kirk, shockingly, hosts a blackface party, which leads to major controversy at the school and is the focus of much of the film’s drama.

The main theme is race, but different characters have different viewpoints on the subject matter, and all are explored, which makes the film unique and interesting.

Sam, for example, is a true advocate for racial equality and constantly challenges white people’s motivations and actions, blatantly so.

Coco, on the other hand, is resistant to being stereotyped as a woman of color and, in one scene is incorrectly assumed to be from the hood by a reality television producer she is auditioning for.

She is envious of white people and the advantages they have, even going so far as having straight hair and blue contact lenses. Then we have Lionel, who is both gay and black, and considered an outcast. He fits in with no group and curiously seems okay with being his own person.

What is unique and compelling about Dear White People is that it brings up a controversial issue, mixes it in satire, humorously, but presents compelling arguments against stereotypes, also bringing those stereotypes center stage, which most films avoid like the plague.

One black character is frustrated that, in their mind, most black people are content watching dumb black comedies, thereby supporting a negative racial stereotype.

One interesting aspect regarding the score is the use of lily-white classic film music- such as Barry Lyndon (1975)- the most lily-white of lily-white films (British and Irish).

Famous film director, Quentin Tarantino, is called out as being a racist director. What wonderful irony!

Dear White People (2014) is a witty, intelligent slice of inventive filmmaking that is worth seeing if only for its controversial subject of inequality and racism, which is too often forgotten.

An indie treat for those inclined to think a little.

Independent Spirit Award Nominations: 1 win-Best First Screenplay (won), Best First Feature

2014 Films, Benicio del Toro, Comedy, Crime Drama, Dark Comedy, Drama, Eric Roberts, Film noir, Hong Chau, Joaquin Phoenix, Josh Brolin, Katherine Waterston, Martin Short, Maya Rudolph, Owen Wilson, Paul Thomas Anderson, Peter McRobbie, Reese Witherspoon

Inherent Vice-2014

July 7, 2015 scottmet99 Leave a comment

Inherent Vice-2014

Director Paul Thomas Anderson

Starring Joaquin Phoenix, Josh Brolin

Scott’s Review #255

Reviewed July 7, 2015

Grade: A-

Inherent Vice (2014) is a bizarre detective film noir-type experience, set in 1970 Los Angeles.

Directed by the superb Paul Thomas Anderson (Boogie Nights-1997 and Magnolia-1999), the film has weirdness and incoherence that is a marvel to experience.

Fans of a straightforward plot will not be thrilled with this film, but for fans of Anderson, this will not disappoint. It has a complex plot, but the payoff is grand and a thinking man’s film.

The protagonist is Larry “Doc” Sportello (Joaquin Phoenix), a stoner private detective, contacted by his mysterious ex-girlfriend Shasta. She is worried about attempts by her boyfriend’s ex-wife and new lover to kidnap him and have him committed.

Mickey, Shasta’s boyfriend, is a wealthy real-estate developer.

Doc is also hired by two other people- one a former heroin addict looking for her missing husband, and the other a former convict looking for a prison mate who owes him money and is a former henchman of Mickey’s.

All of the stories intersect and such oddities as a peculiar massage parlor and a ship named the Golden Fang come into play throughout.

The intersecting stories lead to the revelation of a drug ring. I had little idea what was happening but was still enthralled by it.

There is an unpredictability surrounding Inherent Vice that is so pleasing and captivating. Joaquin Phoenix is compelling as Doc, a damaged character whose past is unclear.

When Doc is, by all accounts, framed for the murder of a convict and interrogated by the police, we wonder what history he has with them and what led him to branch out on his own as a private investigator.

Detective “Bigfoot” Bjornsen, wonderfully played by Josh Brolin, is a rival of Doc’s, though it is unclear why. “Bigfoot” is frequently seen with chocolate-covered phallic objects in his mouth and is married to a severe, overbearing woman.

Most characters are peculiar and have strange nuances, yet are never fully fleshed out, instead of remaining curious and thought-provoking.

Reese Witherspoon, Benicio Del Torro, and Owen Wilson appear in small yet pivotal roles.

Quite reminiscent of Roman Polanski’s Chinatown (1974) and Robert Altman’s The Long Goodbye (1973), in both the California setting and the plodding, slow-paced, magnificent storytelling, Inherent Vice is a confusing gem, but by all means a gem worth seeing and reveling among the intrigue.

Just don’t try to make too much sense of it all.

Oscar Nominations: Best Adapted Screenplay, Best Costume Design

Independent Spirit Award Nominations: 1 win-Robert Altman Award (won)

1994 Films, Amanda Plummer, Best Feature- Independent Spirit Award Winners, Best Film of the Year, Bruce Willis, Christopher Walken, Comedy, Crime Drama, Dark Comedy, Drama, Eric Stoltz, Harvey Keitel, Independent, John Travolta, Kathy Griffin, Quentin Tarantino, Rosanna Arquette, Samuel L. Jackson, Scott's Top 100 Films, Steve Buscemi, Tim Roth, Uma Thurman, Ving Rhames

Pulp Fiction-1994

May 12, 2015 scottmet99 Leave a comment

Pulp Fiction-1994

Director Quentin Tarantino

Starring John Travolta, Samuel L. Jackson, Uma Thurman

Top 100 Films #22

Scott’s Review #242

Reviewed May 12, 2015

Grade: A

Pulp Fiction (1994) is one of the most influential films of the 1990s and single-handedly kicked the film industry in the ass. It led an entire generation of filmmakers, who were starved and determined to make more creative work after the largely dull decade of the 1980s.

The success of the film, both creatively and critically, helped ensure that edgier and more meaningful artistic expression would continue to occur.

The leader of the charge, of course, was director, Quentin Tarantino.

With Pulp Fiction, a black comedy crime film, Tarantino mixes violence, witty dialogue, and a 1970’s cartoonish feel to achieve a filmmaking masterpiece.

The plot is non-linear and the story contains three main focuses that intersect- a new style of filmmaking that has become commonplace in commonplace in modern cinema, but at the time was a novel adventure.

Set in Los Angeles, Samuel L. Jackson and John Travolta portray hitmen named Jules and Vincent, who work for a powerful gangster, Marsellus Wallace, played by Ving Rhames. We get to know them as they interrogate four college-aged youths who double-crossed Marsellus, all the while discussing fast-food hamburgers and adventures in Europe.

On another front, Butch (Bruce Willis) is hired by Marsellus to lose a fight to another boxer. Later, Marcellus instructs Vincent to take his wife Mia (Uma Thurmon), a former unsuccessful television actress, out for dinner and a night on the town.

Finally, we meet Pumpkin and Honey Bunny (Tim Roth and Amanda Plumber), two small-town robbers plotting a heist at a local diner. As the film develops these plots relate to each other in unique ways.

The film is quite stylistic, resembling a 1970s film production in the way it looks, and the use of 1970s style sets- the diner, in particular, looks very of that time, and an automobile where a death occurs, is a 1970s, Chevy Nova.

The film, however, is set in present times.

The dialogue throughout Pulp Fiction is immensely impressive to me. Long dialogues occur between characters, usually sitting over a meal, discussing the meaning of life, religion, fast-food burgers, and other wonderfully real conversations.

I love the many food references- from Butch’s girlfriend salivating over an impending meal of blueberry pancakes to the French version of the Big Mac being discussed, to the price of a shake, these make the conversations between the characters rich and unique and oh so creative.

My favorite sequence is the one between Vincent and Mia, mostly taking place at a trendy 1950s-themed diner named Jack Rabbit Slim’s, where the staff dresses up in costume impersonating their favorite stars of the day, such as Marilyn Monroe.

After winning a dance contest (and a possible homage to Saturday Night Fever) the two go back to Mia’s place where she accidentally overdoses on heroin thought to be cocaine.

The song “Girl, You’ll Be a Woman Soon” by Neil Diamond, is both integral and haunting to the scene.

An intense and shocking scene of male gay rape is extremely violent and the hillbillies involved could be straight out of Deliverance from 1972 despite being in Los Angeles.

This scene is disturbing yet mesmerizing at the same time, and might I say even comedic in a dark way?

Pulp Fiction is not a mainstream affair and has its share of detractors and plain old non-fans, but for film-goers seeking a fun, entertaining, cleverly delicious work of art, influential to Hollywood and Independent filmmakers alike, Pulp Fiction (1994) is a film to watch over and over again and admire its style and creativity.

Oscar Nominations: 1 win-Best Picture, Best Director-Quentin Tarantino, Best Actor-John Travolta, Best Supporting Actor-Samuel L. Jackson, Best Supporting Actress-Uma Thurman, Best Screenplay Written Directly for the Screen (won), Best Film Editing

Independent Spirit Award Nominations: 4 wins-Best Feature (won), Best Director-Quentin Tarantino (won), Best Male Lead-Samuel L. Jackson (won), Best Supporting Male-Eric Stoltz, Best Screenplay (won)

1974 Films, Action, Comedy, Dark Comedy, Kris Kristofferson, Mexican, Sam Peckinpah

Bring Me the Head of Alfredo Garcia-1974

February 20, 2015 scottmet99 Leave a comment

Bring Me the Head of Alfredo Garcia-1974

Director Sam Peckinpah

Starring Warren Oates

Scott’s Review #222

Reviewed February 20, 2015

Grade: B+

Bring Me the Head of Alfredo Garcia is a Mexican, cult-action film from 1974, directed by Sam Peckinpah, that influenced famed modern movie director Quentin Tarantino in multiple ways.

The film itself is violent, bloody, and traditionally Peckinpah in tone and look, similar to his other films (Straw Dogs from 1971 and The Wild Bunch from 1967).

The premise of the film is intriguing- a powerful man known simply as “The Boss”, turns furious and places a bounty on the head of the man who impregnated his daughter, whom he, by the way, tortures to garner this information out of.

He offers the enormous sum of 1 million dollars to the person who can “bring him the head of Alfredo Garcia”.

From this point, the action centers mostly on Bennie, a retired military officer who is intrigued by the bounty up for grabs.

Bennie, along with his prostitute girlfriend, Elita, traverses the lands of Mexico in search of Alfredo Garcia, whether he already be dead or still alive, which is a mysterious and fun element of the film.

I have a tough time taking the film too seriously as much as I enjoyed it- it seems an action farce and, without giving too much away, the scenes involving the carrying of a severed head, arguably the lead character, are as much comical as ghastly.

The illustrious lighting is a major focal point, especially during the outdoor scenes and specifically the nighttime desert scenes when Elita is almost raped by two bikers. The moonlight radiates onscreen.

The character of Elita is a fascinating one for me. On the one hand, she is an aging prostitute madly in love with Bennie and intrigued by a life with him living off their spoils. However, she almost enjoys the sexual experience with one of the bikers, played wonderfully by Kris Kristofferson, despite being roughed up by him.

The scene, while certainly violent, is in a way, almost tender as the biker and Elita realize their attraction for one another. It’s a surreal scene and has almost a sense of clarity for both characters. Are they in lust?

Peckinpah women are traditionally not treated well, but Elita borders on the exception.

The Tarantino influence is undeniable- the mixture of humor amid violence- a severed head being treated as a comical prop, is immeasurable in its comparison to later Tarantino films such as the Kill Bill chapters.

Daring and pure genius, the film contains a dark tone but does not take itself too seriously by going for any sort of melodrama or being overwrought.

It is only a film and has fun with that fact. It tries to be nothing more and embraces being bizarre.

Tarantino films are like Peckinpah films just made 20-30 years apart.

Bring Me the Head of Alfredo Garcia has evolved into a cult classic after having flopped commercially and critically in 1974.

How wonderful when a gem is rediscovered and laden with influence, in this case as much stylistically as otherwise.

1971 Films, Bud Cort, Comedy, Cyril Cusack, Dark Comedy, Hal Ashby, Ruth Gordon, Scott's Top 100 Films

Harold and Maude-1971

December 30, 2014 scottmet99 Leave a comment

Harold and Maude-1971

Director Hal Ashby

Starring Bud Cort, Ruth Gordon

Top 100 Films #59

Scott’s Review #208

Reviewed December 30, 2014

Grade: A

Harold and Maude (1971) is the bravest and most left-of-center film that I have ever had the pleasure of viewing. A subject matter so taboo that it had never before been explored in cinema and, to my knowledge, has not since.

The film challenges so many mainstream views of aging, sex, and relationships.

Ruth Gordon and Bud Cort give performances of a lifetime.

The film tells the story of an unhappy, wealthy teenager named Harold (Cort) whose mother- hilariously played by Vivian Pickles- is a cold socialite attempting to reform Harold of his rebellious adolescent behavior.

Harold frequently plays suicide pranks on her and the numerous females she tries to set him up with, reducing them to tearful exits from the family mansion in frightened hysterics.

Obsessed with attending funerals for fun, one day Harold meets Maude (Gordon), an elderly woman, at a funeral, and it turns out that both share the same fascination, but for vastly different reasons as the story shows.

They embark on a tender romance despite their age difference of over sixty years.

In many ways, Maude is the real adolescent of the film, which I love. It is a role reversal of sorts. On the cusp of age eighty, she has a pure zest for life, living each minute as if it was her last, unconcerned with the consequences of her actions- she is a true free spirit.

She gleefully steals cars that happen to be parked on the street and her erratic driving is comically brilliant.

Harold becomes the more responsible one despite being the tender age of only nineteen. He cares for Maude and her shocking revelation towards the end of the film floors Harold.

It will also shock the audience.

Harold and Maude deal with death but the film is not a downer. It is hilarious at times, brilliantly written, and Maude, a Nazi prison camp survivor, does not fear death- she has seen her share of it and almost embraces it.

Harold is just beginning his life and the contrast of the characters and their growing bond is what works best in this film.

The aforementioned Vivian Pickles knocks it out of the park with her portrayal of Harold’s mother- her comic wit and timing are excellent- she callously hosts a dinner party and boasts of her travels to France to the guests while Harold sits ignored, bored, and depressed, staring at his mother in disbelief.

He wants nothing to do with her or her trivial lifestyle. She makes an unimportant phone call while Harold dangles from the ceiling in a faux suicide attempt- clearly a cry for attention from his mother.

This is a total black comedy.

The implied intimacy between Harold and Maude was too much for many viewers in 1971. I find it sweet and quite tastefully done. They simply fall in love and it feels wonderful for both of them.

I would be remiss for not mentioning the wonderful, lively soundtrack by Cat Stevens.

Edgy, laugh out loud, unusual, and witty are words to describe Harold and Maude (1971)- one of the most intelligent comedies in film history.

1989 Films, Christian Slater, Comedy, Dark Comedy, Independent, Independent Comedy, Satire, Shannen Doherty, Winona Ryder

Heathers-1989

December 25, 2014 scottmet99 Leave a comment

Heathers-1989

Director Michael Lehman

Starring Winona Ryder, Christian Slater

Scott’s Review #207

Reviewed December 25, 2014

Grade: B

My gut tells me that Heathers was quite controversial and influential upon release in 1989 and has sustained a cult following that continues to this day- 2014.

Having seen the film for only the first time, in 2014, the film is good, but now suffers from a slightly dated look and feel. Still, it is a brave and unique expression of creativity.

It is a film that sends the message that the popular kids are bad and that the meek shall inherit the earth. The uncool kids will rise.

To summarize the plot, Heathers is told from the perspective of high school student Veronica Sawyer, played by a young Winona Ryder. She is a second-tier popular girl- she is lieutenant to the generals if you will.

The school is run by three popular girls named Heather. As popular as they are, they are also despised and feared by the other students but carry great influence. They enjoy playing cruel jokes on other students and ridiculing anyone beneath them.

A rebellious male student, J.D., played by Christian Slater, befriends Veronica and they hatch a plan to destroy the popular clique, including another pair of popular jocks.

Shannon Doherty plays second in command Heather.

The tone of Heather’s is surreal and dream-like. For example, in the opening scene all three Heathers- along with Veronica- are on a perfectly manicured lawn in the suburbs playing croquet.

The hierarchy is established as Veronica seems to be buried up to her neck and is the target of the croquet balls making her, without question, the lowest of the four girls. Whether or not this is a dream or real is unclear.

The film is well-written and edgy. It reminds me at times of The Ice Storm and American Beauty, which Heathers preceded, and are superior in my opinion.

Heathers is a teen angst film and quite dark at times- the various deaths are committed viciously (drain cleaner poisoning, concocting a setup for the jocks to appear to be having a love affair with each other and then passionately shooting each other), but with sly wit and humor.

Veronica is, at heart, a good girl, albeit misguided and heavily influenced by J.D., but her intentions of having a fair, just school society are noble. The character is likable.

All the parents are hilariously portrayed as buffoons and have no idea of the darkness that exists in their kid’s lives- Veronica’s parents in particular.

Fearing that Veronica has committed or soon will attempt suicide, they fret that it is their fault stemming from childhood negligence, however, their concern has more to do with themselves than with Veronica’s well-being.

Small gripes about the film are the 1980s style outfits and hairstyles, which, since made in the 1980s is not a particular fault of the films- though it does contain a slightly dated feel to it while watching in present times.

Also, Christian Slater mimicking Jack Nicholson’s voice is odd- was this a decision by the film or by the actor himself? Either way, the imitation is both distracting and confusing. What is the point?

The ending of the film is a happy and satisfying conclusion- however, different from the dark tone of the rest of the movie- rumor has it the studio had some influence in toning down the original ending.

1989 was not a stellar year for film so Heathers deserves major props for thinking outside the box and doing something dark and creative.

Brave, inventive, and unique, Heathers is a cult classic worth a look.

Independent Spirit Award Nominees: 1 win-Best Female Lead-Winona Ryder, Best Screenplay, Best First Feature (won)

2014 Films, Alejandro G. Iñárritu, Amy Ryan, Andrea Riseborough, Art, Best Feature- Independent Spirit Award Winners, Best Film of the Year, Best Picture Oscar Winners, Dark Comedy, Drama, Edward Norton, Emma Stone, Independent, Independent Drama, Michael Keaton, Naomi Watts, Zach Galifianakis

Birdman-2014

November 6, 2014 scottmet99 Leave a comment

Birdman-2014

Director Alejandro G. Iñárritu

Starring Michael Keaton, Edward Norton, Emma Stone

Scott’s Review #190

Reviewed November 6, 2014

Grade: A

Birdman (2014) is a unique art film that, happily, has garnered major exposure and publicity because a movie like this runs the risk of receiving praise and notice only from the art-house crowd itself.

The film’s star, Michael Keaton, portrays Riggan Thomson, a former action hero superstar from the 1990s, who was made famous for the “Birdman” character he created.

Having made sequels to the film, his career has since dried up and he hopes to establish credibility and prove himself a real actor by writing, directing, and starring in his play.

The film is set in and around the Broadway theater in New York City.

As opening night approaches, he struggles to pull everything together and emit a successful production while faced with an injured terrible actor, a difficult actor, his insecurities, and a miserable theatre critic destined to ruin his big chance.

To make matters worse, his daughter Sam, played by Emma Stone is a recovering drug addict who hangs around the theatre distracting actors with her charm and good looks.

Naomi Watts and Edward Norton play Leslie and Mike, other cast members in the production. Watts is sympathetic as the emotional actress with a heart of gold who finally has her dream of performing on Broadway realized.

Norton, outstanding as Mike, is blunt yet socially awkward and can only perform truthfully on stage.

Keaton is simply a marvel as he plays a dark and vulnerable man. He hates and wishes to shed his ridiculous movie persona of yesteryear and secretly cringes when recognized by fans. He uses it with a voice inside his head when he played “Birdman” years earlier.

The uniqueness of the film is the use of what seems like one long take as the action rarely stops and is ongoing. The film belongs to Keaton, who wonderfully relays vulnerability, pain, and fear within with an outward persona of bravery and masculinity.

Throughout the film I wondered, is Riggan suicidal? What is real and what is imagined? Are certain scenes foreshadowing later events?

The film has much depth.

One marvels at how art imitates life, is Keaton portraying himself? He was the original Batman in the successful superhero franchise beginning in 1989 and his career tanked shortly after.

Birdman is a comeback film for him and he is devastatingly good.

Norton’s character Mike impressed me. He is blunt flawed, scared, and addicted to the stage.

Stone has one particularly brilliant scene as she lambasts her father and with regret, later on, tells him that the world has moved on without him and that he is irrelevant just like everyone else. It is a powerful scene.

In another, Riggan is locked outside the theater during the performance, clad only in his underwear. How on earth will he return to the stage and complete the show? The quick slights at current Hollywood superstars playing superheroes, specifically Robert Downey Jr. are deliciously naughty.

It is impossible to predict what will come next and the film is very New York theater style. Keaton’s run-in with a theater critic in a cocktail bar is the best scene in the film as the critic’s vicious critique of “You’re a celebrity, not an actor” resonates with both pain and tremendous anger for Riggan.

Riggan is a sensitive, struggling man and Keaton so wonderfully shows his vulnerability in every scene.

Oscar Nominations: 4 wins-Best Picture (won), Best Director-Alejandro G. Iñárritu (won), Best Actor-Michael Keaton, Best Supporting Actor-Edward Norton, Best Supporting Actress-Emma Stone, Best Original Screenplay (won), Best Sound Editing, Best Sound Mixing, Best Cinematography (won)

Independent Spirit Award Nominations: 3 wins-Best Feature (won), Best Director-Alejandro G. Inarritu, Best Male Lead-Michael Keaton (won), Best Supporting Male-Edward Norton, Best Supporting Female-Emma Stone, Best Cinematography (won)

1970 Films, Carrie Snodgress, Comedy, Dark Comedy, Frank Langella, Independent, Independent Comedy, Satire

Diary of a Mad Housewife-1970

November 5, 2014 scottmet99 Leave a comment

Diary of a Mad Housewife-1970

Director Frank Perry

Starring Carrie Snodgress, Frank Langella

Scott’s Review #189

Reviewed November 5, 2014

Grade: A

The film version of Diary of a Mad Housewife, 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 Snodgrass stars as a haggard, insecure, yet affluent housewife named Tina Balser, who lives in New York City, surrounded by an unpleasant family.

The family is led by Tina’s verbally abusive and neurotic husband Jonathan- a successful attorney, played flawlessly and rather 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 brilliant idea of the film is that the story is told strictly from Tina’s point of view. All of the action centers on her character, which makes the film so interesting.

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 over 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 envying Tina’s life, in a way, 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 and merely accepts that this is the way life is and gets by with the assistance of 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, cool 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 Snodgrass, who completely carries this film, it would not be the wonder that it is. A wonderful satire, the film is not as wry or satirical as the novel, but how many films are?

The novel delves more into detail and the role of the Balser’s maid 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 the most annoying character ever in the film when he repeatedly screams for his wife by bellowing “teeeenaaaaa!”, or initiating 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

2014 Films, Bill Hader, Boyd Holbrook, Comedy, Craig Johnson, Dark Comedy, Independent, Independent Comedy, Joanna Gleason, Kristen Wiig, Luke Wilson, Ty Burrell

The Skeleton Twins-2014

October 2, 2014 scottmet99 Leave a comment

The Skeleton Twins-2014

Director Craig Johnson

Starring Bill Hader, Kristen Wiig

Scott’s Review #179

Reviewed October 2, 2014

Grade: A-

The Skeleton Twins (2014) is a tremendous, character-driven, family drama that focuses on character development rather than standard plot devices.

The film stars Bill Hader and Kristen Wiig from Saturday Night Live, but do not be fooled based on the actors involved that The Skeleton Twins is a light comedy- it is not.

There are laugh-out-loud scenes throughout, but this is a serious story about depression, suicide, and anger, and at times, very dark.

Wiig plays Maggie, a woman in her thirties who seemingly has it all. Lance, her handsome, loyal husband, played by Luke Wilson, adores her. She has a stable job as a dental hygienist and lives a quiet, quaint life in upstate New York- seemingly enjoying a happy middle-class existence.

Hader plays Milo, Maggie’s estranged twin brother, who lives in Los Angeles and is a struggling actor with no agent, reduced to waiting tables in a lousy restaurant. Presumably, just out of a relationship, Milo attempts suicide by slitting his wrists.

Maggie flies to Los Angeles to visit Milo in the hospital and invites him to recuperate with Maggie and Lance in New York.

Having grown up as best friends, they reconnect once Milo moves in.

The Skeleton Twins is so jam-packed with interesting stories, both current and back story, that it becomes effortless to fall in love with Maggie and Milo.

When the twins were aged fourteen, their father committed suicide by jumping off a bridge, a father they were very connected to.

Their mother, played by Joanna Gleason, was a horrible mother growing up and, in present times, is a hippie involved in an interracial marriage. She awkwardly visits Maggie and Milo and attempts to heal them through meditation.

Other character history is revealed.

Milo, who is gay, was molested by his teacher when he was fifteen years old, a teacher he is still in love with, and is wonderfully played against type by Ty Burrell.

Maggie has carried on affairs with various men throughout her marriage to Lance and is secretly using birth control pills to avoid becoming pregnant. Lance happily thinks they are trying to conceive.

The characters of Milo and Maggie are incredibly layered and well-written. They are both damaged from a difficult childhood, suffer from depression, and now only have each other.

Scenes in The Skeleton Twins range from hysterical- a scene in a dentist’s office involving laughing gas rolling on the floor funny and a lip-synching scene to the hit “Nothing’s Gonna Stop Us Now”, are both wonderful.

Dramatic and shocking scenes where Milo and Maggie go at each other with gusto, dredging up childhood wounds, are brilliantly acted by Wiig and Hader.

The chemistry between Wiig and Hader is incredible and both actors are very successful at playing hysterical comedy versus dark drama, which impressed me.

Luke Wilson is great in support as the straight-laced, nice guy married to Maggie.

A slight criticism- the character of Milo is written as stereotypically gay- man-hungry and hardly a man’s man. He has trouble clearing brush because presumably, he is too girly to handle the task.

I wish more films would steer away from these stereotypes.

Ty Burrell’s character of Rich is so complex that I wish he would have been explored a bit more- being gay how can things work with his girlfriend while harboring many secrets? Is he still in love with Milo despite repeatedly pushing him away? I would have loved more depth to this complex character.

After the film, I felt the filmmakers did not go as dark as they could have, and audiences will know what I mean following the final scene.

There is no fairy tale ending ether.

Milo and Maggie are damaged goods who only have each other making for a dynamic character-rich film.

1974 Films, Camp, Comedy, Dark Comedy, Divine, Edith Massey, Independent, Independent Comedy, John Waters, Mink Stole

Female Trouble-1974

August 4, 2014 scottmet99 Leave a comment

Female Trouble-1974

Director John Waters

Starring Divine

Scott’s Review #146

Reviewed August 4, 2014

Grade: A

Female Trouble (1974) is a deliciously naughty treat by famous Independent film legend, John Waters.

Not exactly family-friendly, it is a gem for those desiring more left-of-center fare with depravity and gross-out fun mixed in for good measure.

Water’s theme of the film is “crime is beauty” and the film is dedicated to Manson family member, Charles “Tex” Watson.

Meant for adult, late-night viewing, the film tells the story of female delinquent Dawn Davenport, who angrily leaves home one Christmas morning after not receiving her desired cha-cha heels as a Christmas present.

Her parents, religious freaks, disown her and she is left to fend for herself on the streets of Baltimore.

The film then tells of her life story of giving birth and subsequently falling into a life of crime in the 1960s. Her friends Chicklet and Concetta are in tow as they work various jobs and embark on a career of theft.

Female Trouble stars Waters regulars Divine, Mink Stole, Edith Massey, Cookie Mueller, and others.

Interestingly, Divine plays a dual role- Dawn Davenport (in drag, of course) and also the father of her bratty child- Earl Peterson. Dawn and Earl have a less-than-romantic interlude on a dirty mattress on the side of the road when he picks her up hitchhiking, which results in the birth of Taffy.

Also featured is the hilarious feud between Dawn and her love interest’s (Gator) Aunt Ida, as the women engage in tactics such as acid throwing and chopping off of limbs as they constantly exact revenge on each other.

Favorite scenes include Dawn’s maniacal nightclub act in which she does her rendition of acrobatics and then begins firing a gun into the crowd. Another is of Dawn’s dinner party with Donald and Donna Dasher- serving a meal consisting of spaghetti and chips, Taffy’s tirade hilariously ruins the evening.

This film is not for the prudish, squeamish, or uptight crowd, but a ball for all open-minded, dirty fun-seekers. The film contains one over-the-top, hilarious scene after another.

The line “just cuz you got them big udders don’t make you somethin’ special” is a Waters classic.

Female Trouble is one of a series of outrageous, cult-classics featuring the legendary camp star, Divine.

Not meant to be overanalyzed or some might say, analyzed at all, Female Trouble (1974) is unabashedly trashy and makes no apologies for its outrageousness.

1981 Films, Comedy, Dark Comedy, Horror, Horror-Camp, Sam Raimi

The Evil Dead-1981

July 31, 2014 scottmet99 Leave a comment

The Evil Dead-1981

Director Sam Raimi

Starring Bruce Campbell

Scott’s Review #144

Reviewed July 31, 2014

Grade: B+

For its time The Evil Dead was a unique, creative, visually impressive horror classic and far different from the wave of mediocre slasher films from this time (1981).

In the story, five teenagers head to a remote cabin in Tennessee for spring break.

From the beginning of the trip, there is trouble- they are almost killed in a head-on collision, their car almost falls into a rickety bridge, and finally, at the cabin, they stumble upon a haunted book.

From this point, even stranger events begin to develop and the haunting, crazy action begins.

Director Sam Raimi does an excellent job from a visual standpoint- the camera racing through the woods from the demon’s point of view is very effective and scary.

The ambiance is creepy- fog, mist, smoke, and the lighting are great.

The film has all the elements- darkness, remote cabin, and woods coming alive for a genuinely scary horror flick.

Yes, the film seems a bit campy to watch now, but at the time the special effects were brilliant.

My personal favorite is the long shot of the twitching dismembered body and the various, hysterically funny chattering and gibberish among the demons.

The ending of the film is very well done.

1950 Films, Anne Baxter, Best Picture Oscar Winners, Bette Davis, Celeste Holm, Comedy, Dark Comedy, Drama, Gary Merrill, George Sanders, Joseph L. Mankiewicz, Marilyn Monroe, Scott's Top 100 Films, Thelma Ritter

All About Eve-1950

June 27, 2014 scottmet99 Leave a comment

All About Eve-1950

Director Joe Mankiewicz

Starring Bette Davis, Anne Baxter

Top 100 Films #84

Scott’s Review #73

Reviewed June 27, 2014

Grade: A

All About Eve is a cynical masterpiece from 1950 set in the competitive world of the New York theater.

Insecure Margo Channing, played to perfection by Bette Davis, is an aging actress whose career is declining. She meets naïve Eve Harrington, played by Anne Baxter, who insinuates herself into Margo’s life and career.

One interesting aspect of this film is the opening scene of Eve’s acceptance speech. The look of anger and disdain on the front table indicates what is to come.

The film backtracks from the first time the two women meet, and the story begins.

It is undoubtedly a dark film, and jealousy and back-stabbing are common themes throughout, as had never been done before, set in the world of theater.

One by one, each of Margo’s friends catches on to Eve’s plot, but at what cost?

This is Bette Davis’s comeback performance as a talented Broadway star, and she makes the most of the opportunity as she deliciously utters her famous revenge-minded line, “Fasten your seat belts. It’s going to be a bumpy night”.

Marilyn Monroe has a cameo role as a debutante in her first film role.

The film deservedly won the 1950 Best Picture Oscar.

Oscar Nominations: 7 wins-Best Motion Picture (won), Best Director-Joseph L. Mankiewicz (won), Best Actress-Anne Baxter, Bette Davis, Best Supporting Actor-George Sanders (won), Best Supporting Actress-Celeste Holm, Thelma Ritter, Best Screenplay (won), Best Scoring of a Dramatic or Comedy Picture, Best Sound Recording (won), Best Art Direction-Set Decoration, Black-and-White (won), Best Cinematography, Black-and-White, Best Costume Design, Black-and-White (won), Best Film Editing

1999 Films, Allison Janney, Annette Bening, Best Picture Oscar Winners, Chris Cooper, Comedy, Dark Comedy, Kevin Spacey, Mena Suvari, Peter Gallagher, Sam Mendes, Scott Bakula, Scott's Top 100 Films, Thora Birch, Wes Bentley

American Beauty-1999

June 25, 2014 scottmet99 Leave a comment

American Beauty-1999

Director Sam Mendes

Starring Kevin Spacey, Annette Bening

Top 100 Films #65

Scott’s Review #70

Reviewed June 25, 2014

Grade: A

American Beauty is a film that holds up magnificently well and packs the same punch as it did when I originally saw it premiered in 1999.

The film won the Best Picture Oscar in 1999, surprisingly so, as it is not a mainstream film and is edgy, artistic, and poetic.

The film is a thought-provoking story of the American Dream gone wrong and how most people live ordinary, humdrum, on the surface, happy lives, but ultimately are unhappy, damaged, or otherwise unfulfilled.

It is a truthful film and reminds me quite a bit of The Ice Storm, a film from 1997.

American Beauty is not a downer but rather is witty, dark-humored, and filled with dry sarcasm.

Kevin Spacey is tremendous as the central character going through a mid-life crisis and Annette Bening is frighteningly good as his neurotic, controlling wife.

Their daughter, played by Thora Birch, has her teenage angst and falls in love with a neighborhood misfit. Every character, even small and supporting, is troubled in some way.

American Beauty (1999) is a film that was loved or hated at the time of its release; some did not get it or did not want to invest in the thought it requires, but, to me, it’s a work of art, which has achieved a timeless quality.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Sam Mendes (won), Best Actor-Kevin Spacey (won), Best Actress-Annette Bening, Best Screenplay Written Directly for the Screen (won), Best Original Score, Best Cinematography (won), Best Film Editing

1968 Films, Bette Davis, British, Camp, Comedy, Dark Comedy

The Anniversary-1968

June 21, 2014 scottmet99 Leave a comment

The Anniversary-1968

Director Roy Ward Baker

Starring Bette Davis

Scott’s Review #52

Reviewed June 21, 2014

Grade: B+

The Anniversary (1968) is a British film based on a play of the same name.

The story centers on the Taggert family reunion celebrating the anniversary of the matriarch (Bette Davis) and the deceased patriarch.

The film is set like a play and most of the action takes place inside the Taggert family mansion.

The film is all Davis and she gives a deliciously over-the-top performance as a vicious mother intent on controlling her son’s lives and terrorizing their wives or significant others with cutting remarks and insults.

Davis must have had fun with this role as her storied career was clearly on the downturn and this role allowed her to let loose. One must wonder if Davis chewed up the actors in the cast as much as the characters- rumor has it she was quite intimidating to her fellow actors and a terror to work with which adds to the macabre enjoyment.

Her physical appearance of an eye patch, wig, cigarette, and bright red lipstick all work in her favor. Her maniacal laugh is incredibly campy and wonderful to watch.

Bette Davis is one of the greats and this late-career romp is fun to watch.

1970 Films, Alan Arkin, Comedy, Dark Comedy, Martin Sheen, Mike Nichols, Satire

Catch-22-1970

June 18, 2014 scottmet99 Leave a comment

Catch-22-1970

Director Mike Nichols

Starring Alan Arkin, Martin Sheen

Scott’s Review #41

Reviewed June 18, 2014

Grade: B

Catch-22 (1970) is a satirical film similar in subject matter to Robert Altman’s M*A*S*H, released the same year though admittedly I have not seen that film yet.

It does remind me of Dr. Strangelove, and Slaughterhouse-Five in their anti-war theme.

This film is well-made and certainly effectively portrays the outrageousness and lunacy of war.

Most of the characters are presented as crazy, albeit in a dark-humored, over-the-top way.

Alan Arkin is wonderful as the protagonist trying to find a way out of the island of Italy where he and his fellow pilots are stationed.

At times the film feels disjointed and tough to follow, which I understand the novel is too (I have not read the entire book), but the message of the movie comes across loud and clear.

Welcome to my blog! 1,450 + reviews posted! My name is Scott Segrell and I reside in Stamford, CT. My blog is a diverse site featuring tons of film reviews I have written since I launched my site in 2014. I hope you enjoy perusing the site for latest or greatest films or to search for your own favorites to see how we compare. Please take a look at my featured sections at the top of the page which change often! Utilize the tags and category links.