Category Archives: Gywneth Paltrow

1999 Films, Cate Blanchett, Crime Thriller, Gywneth Paltrow, Jude Law, Matt Damon, Philip Baker Hall, Philip Seymour Hoffman, Thriller

The Talented Mr. Ripley-1999

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The Talented Mr. Ripley-1999

Director Anthony Minghella

Starring Matt Damon, Jude Law, Gwyneth Paltrow

Scott’s Review #1,259

Reviewed May 27, 2022

Grade: A

The Talented Mr. Ripley (1999) is a psychological thriller that is Hitchcockian and would make the famous director, the esteemed Alfred Hitchcock, damned proud.

The film contains suspense, thrills, mystique, and great writing, and is an exceptional adaptation of the 1955 Patricia Highsmith novel of the same name.

A fun fact is that Highsmith also wrote the novel on which Hitchcock’s 1951 film Strangers on a Train was based.

In my opinion, the title role is the best of Matt Damon’s lengthy career, rivaling that of his debut in Good Will Hunting (1998), also a tremendous effort. His riveting portrayal showcases that he plays several layers simultaneously: calculating, sinister, vulnerable, jealous, and unhinged.

Sometimes all at once.

He shockingly was omitted from the Best Actor Oscar list which is unforgivable considering his great work. Instead, he was nominated in later years for lesser films like Invictus (2010) and The Martian (2016).

With his blonde clean-cut hairstyle, short and parted on the side, and big, studious glasses, he is half wholesome and half creepy.

The fact that the character is gay is icing on the cake and delicious for a film set in the 1950s when having an alternative lifestyle was strictly forbidden.

The setting is mainly lavish and sunny coastal Italy in the late 1950s. Tom Ripley (Damon) craves a lifestyle of luxury and manipulates his way into the life of wealthy playboy Dickie Greenleaf (Jude Law).

When Dickie’s father asks Tom to bring his errant son back home to America, Dickie, and his beautiful expatriate girlfriend, Marge Sherwood (Gwyneth Paltrow), never suspect the dangerous extremes to which Ripley will go to make their lifestyle his own.

The best part of The Talented Mr. Ripley is the compelling suspense and the twists and turns that result. It’s astounding how many layers of the plot exist without the experience being confusing or paced poorly.

Speaking of the pacing, this is another achievement of the film. Director Anthony Minghella wisely quickens the action from the snail’s pace of his earlier film The English Patient (1996) which I loved.

We immediately know much about Tom and how he makes his living by charming people and forging signatures to make ends meet. His innocent deceit soon turns fatal as he spirals downward and becomes a pathological liar and sociopath in addition to a cold-blooded murderer.

Law is tremendous as Dickie and the bold character is ambiguous in his sexuality while Tom’s is clearer. I love this about Law’s character. He is handsome and a lady’s man which would make him ripe for the picking for a closeted gay man in the 1950s to become enamored.

The key to ponder is whether the feeling is mutual or not. This remains ambiguous.

The acting, superior in every way, is made all the richer because the film is a character study, and the relationship between Tom and Dickie is cleverly dissected.

The best scene occurs on a small boat as tensions reach a crescendo between the two men. This results in dire activity.

Besides the action starting in New York, the rest of the story takes place in Italy and is mostly shot on location. This only enhances my enjoyment of the film because it showcases the Mediterranean and southern Italy more than the more familiar cities.

Not to disappoint, astounding sequences in Rome and Venice do occur.

Because of the cinematography and locales, the film has a glossy and polished look which is terrifically counterbalanced to the darkness of the story. Think American Psycho (2000) but more subdued with a larger budget.

The Talented Mr. Ripley (1999) is one of the best to emerge from a decade in cinema that was terrific. It is not as well-remembered as some others but I strongly encourage a watch to uncover a series of riches led by bold storytelling.

Oscar Nominations: Best Actor in a Supporting Role-Jude Law, Best Screenplay Based on Material Previously Produced or Published, Best Art Direction, Best Costume Design, Best Original Score

1995 Films, Best Film of the Year, Brad Pitt, Crime Thriller, David Fincher, Gywneth Paltrow, Kevin Spacey, Morgan Freeman, Richard Roundtree, Thriller

Seven-1995

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Seven-1995

Director David Fincher

Starring Brad Pitt, Morgan Freeman

Scott’s Review #780

Reviewed June 29, 2018

Grade: A-

Many films containing a similar theme as Seven (1995) have come along over the years- some good, most mediocre. The mixture of homicidal detectives tracking crazed killers has been done ad nauseam and more often than not, done with either poor writing or a predictable outcome-or both.

Instead of being a run-of-the-mill film, Seven serves as a representative blueprint of the tautness and unpredictability that can be achieved by using a familiar yet compelling concept, provided there is good writing and good direction.

The film is incredibly brutal and riveting.

Respected director David Fincher gathers an all-star cast of Hollywood heavies including Brad Pitt, Morgan Freeman, Kevin Spacey, and Gwyneth Paltrow, all of whom add to the well-crafted script.

It also brings the talent level to respectability and, as great as the story is, with weaker actors, the stakes would not have been as high and the film may have even been ruined.

A serial killer is on the loose in Los Angeles- detective duo William Somerset (a very good Freeman) is set to retire and is tasked with finding the killer. He is partnered with David Mills (Pitt), a young, hot-tempered man who has just moved to the city with his wife Tracy (Paltrow).

Unbeknownst to David, Tracy is pregnant and unsure whether to keep the child- this point factors in heavily as events unfold.

The killer is using the seven deadly sins: greed, gluttony, sloth, lust, pride, envy, and wrath, as his motivation for the creative slayings.

In retrospect Seven is very similar to the still-to-come Fincher work, 2007’s Zodiac, so much so that both films could be watched in sequence- one being a true story, the other pure fiction.

Both focus on the serial killer element with a message, they each have marvelous psychological intrigue and purpose. There are cat-and-mouse scenes aplenty for fans to enjoy.

At the risk of this point being a total stretch, I’d also argue that 1971’s Dirty Harry influenced Zodiac, Seven, and The Silence of the Lambs (1991).

A heinous killer shrouded in intelligence, danger, and motivation is a commonality of all of the aforementioned films, and numerous studies of each of the killers could be dissected if time permits.

Each killer is calculating and manipulative.

On that note, Kevin Spacey gives a tremendous performance as the cold and villainous John Doe. Clever and inventive, his victims are intended to suffer and suffer greatly.

Some of the kills could be included in the best of the torture-horror franchise, Saw (2004), as they are very twisted and carved in brutality.

A supermodel is disfigured after being given a choice to call for help or overdose on pills, representing pride. A man is forced to consume food until his stomach ruptures, representing gluttony. Spacey portrays his role as calm, cool, and collected, eliciting a terrifying response from audiences, especially as he toys with the detectives.

Still coming into his own as an actor in 1995, Pitt proves he can almost measure up (though not quite) with big-boy acting talents Spacey and Freeman. Playing an ambitious man eager to prove himself in “the big city” with his pretty wife in tow, Pitt’s David is wholesome and family-oriented, yet has an edge.

All around the likable hero, Pitt is perfectly cast in the role and a large part of its success.

The frightening final sequence still resonates with me after all of these years since Seven was released. In a classic standoff between Doe and the detectives, as is typically the case in these types of films, the ultimate climax is twisted, psychological, and gruesome.

I did not see this shocker coming as it culminates in lives being forever changed. The expressions and actions of Freeman, Pitt, and Spacey are superlative.

Seven (1995) is a film basking in riches. On par with the best of the best in serial killer films, it is powerfully directed by Fincher. The film is fraught with grisly symbolism and its share of suspenseful sequences.

With powerful acting, it is a film relevant and watchable decades after the original release. Perhaps not quite on the level as Dirty Harry or The Silence of the Lambs, but pretty damned close and that is impressive in itself.

Oscar Nominations: Best Film Editing

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.