Category Archives: Drama

2018 Films, Drama, Period Drama, Saoirse Ronan

Mary Queen of Scots-2018

January 2, 2019 scottmet99 Leave a comment

Mary Queen of Scots-2018

Director-Josie Rourke

Starring-Saoirse Ronan, Margot Robbie

Scott’s Review #851

Reviewed January 2, 2019

Grade: B+

A period piece that has all the trimmings for brilliance (on paper anyway) Mary Queen of Scots (2018) is a very good film but misses the mark in the pacing department preventing it from being a truly great film.

Fantastic acting and wonderful photography are the high points of an otherwise uneven experience even if most of the components are intact. This is not so much a total knock as much as a light critique as the film is ultimately quite good and just missing the big oomph to take it over the top.

Saoirse Ronan stars as Mary Stuart, the likable Queen of France, who has returned to her native Scotland to reclaim the throne after her husband dies. Only eighteen years of age she initially refuses pressure to remarry, but conflict ultimately ensues with Queen Elizabeth I (Margot Robbie), who rules neighboring England and Ireland.

The women admire each other from afar but develop a rivalry in power and love. To complicate matters, religious conflict, scandals, and deceit are enveloped within the story.

The feminist theme is inspiring and makes the film better than merely a soap opera of two rival females sparring over men.

In the mid-sixteenth century women in control were hardly commonplace and quite resented by the men forced to serve the “whims of women” as one male character puts it.

Constantly showcased are males’ attempts at wooing the women in hopes of gaining power and ultimately the throne.

Still, director Josie Rourke (a woman) keeps the power firmly among the women showing they can be as tough as they are sympathetic.

Furthermore, Mary Queen of Scots continues its progressive agenda with a startling LGBT sub-plot, which largely enriches the image of Mary. One young androgynous male friend, presumably a bodyguard, frolics with Mary and other maids and confesses that he feels more like a sister than a brother to her. She accepts him wholeheartedly with an added message of “being your true nature”.

Later, the character suffers a terrible fate that devastates Mary. Regardless of the accuracy, what a nice addition to include with an inspiring message.

The acting, particularly among leads Ronan and Robbie are fantastic. Both young “it” women in Hollywood, the roles of Mary and Elizabeth showcase their acting talents and chops for handling period piece roles.

Ronan, with flawless pale skin and authentic red locks, is beyond believable as Mary exudes strength yet kindness in the role she tackles. She can be stubborn, but also fun and light and Ronan has no trouble making the role her own.

Robbie, hot on the heels of playing the trailer trash character of Tonya Harding in I, Tonya (2017) hits it out of the park and does a one-eighty with the role of Elizabeth. Insecure and barren, afflicted with a skin disorder and a balding head of hair, the actress infuses the character with sensitivity and composure.

As she wears bawdy wigs and pancake makeup to hide her affliction, Robbie portrays her insecurity and yearning for unconditional love.

A mistake that Rourke makes is not including more scenes of Ronan and Robbie together save for one treasured scene at the very end of the film. This makes for a wasted opportunity as the treasured actresses could have played off of each other’s talents in innumerable ways.

A knock-down, drag-out fight scene would have been a treasure to view.

The male characters do not leave much impact other than perhaps Lord Darnley (Jack Lowden), Mary’s bisexual second husband. As he betrays her on her wedding night with another man, Mary sees little use for him other than to produce a child.

The handsome blonde actor adds some pizzazz but is ultimately unlikable as are the other similarly written men. Mary’s half-brother and Elizabeth’s advisor (Guy Pearce) are fine but ultimately underdeveloped.

Mary Queen of Scots (2018) is an effort to be commended for the female-driven and pro-LGBT stances its features. Perhaps unrealistic given the period and questions of historical accuracy looming over the entire film, problems with the production do exist.

The film ebbs and flows will some high moments and some looming blandness, but overall is to be respected and thereby recommended.

Oscar Nominations: Best Makeup and Hairstyling, Best Costume Design

1997 Films, Allison Janney, Ang Lee, Christina Ricci, Drama, Elijah Wood, Independent, Independent Drama, Joan Allen, Jonathan Freeman, Katie Holmes, Kevin Kline, Sigourney Weaver, Tobey Maguire

The Ice Storm-1997

January 1, 2019 scottmet99 Leave a comment

The Ice Storm-1997

Director Ang Lee

Starring Kevin Kline, Joan Allen, Sigourney Weaver

Scott’s Review #850

Reviewed January 1, 2019

Grade: A

The Ice Storm (1997) is a brilliant film directed by Ang Lee of Crouching Tiger, Hidden Dragon (2000), and Brokeback Mountain (2005) fame.

The film is based on a 1994 novel of the same name, written by Rick Moody.

The brilliance lies in the rich way the characters are written with coldness, repression, and loneliness being central themes. The film is astonishingly genuine and fresh with an authenticity rarely felt so wholly in adult family dramas.

The period is 1973 and the events take place in New Canaan, Connecticut, a wealthy suburban town.

Two dysfunctional families, the Hoods and the Carvers co-exist during the Thanksgiving weekend as each deals with repression and escapism amid alcohol and sexual experimentation.

Both the adults and the children’s lives are prominently featured in the story. Ben and Elena Hood (Kevin Kline and Joan Allen) and Jim and Janey Carver (Jamey Sheridan and Sigourney Weaver) head the families.

While Ben and Janey carry on a secret affair, Elena lives an unfulfilled existence, craving more from life but not knowing how to get more and reduced to consulting self-help books for support.

Wendy Hood (Christina Ricci) enjoys sexual escapades with multiple boys while Paul Hood (Tobey Maguire), home from boarding school, takes the train into New York City to see a rich classmate Libbets Casey (Katie Holmes).

The most wonderful aspect of the film is that the story is a slice of life but with clever nuances. Since the families are rich why should the viewer feel sympathy for any of the characters let alone root for them?

Ben and Janey lounge in bed after sex, he is chatty about nonsense, and she is bored and depressed. During a holiday neighborhood gathering a kinky “key party” develops, where participants swap spouses for the night, resulting in titillation and excitement.

The bold and controversial writing is exactly why The Ice Storm scores so many points. The characters are cold and frozen, unlikable and selfish, but might that be the point? All seem unhappy and tired of their dull, small-town existence and craving what little excitement they can muster.

Written similarly to American Beauty (1999) the films could be watched in tandem for evenings of Gothic and macabre story-telling.

My favorite character is Elena as she has the most sensibility. She is lonely and ignored by her husband dutifully going about her day with little emotion. She feels temporarily excited when she develops a romantic crush on a neighbor only to quickly realize the most she can ever hope for with this man is a fling.

Her character is fleshed out as she yearns for more than she has. The other characters are largely selfish and pampered.

The film’s conclusion, however, is monumental as it changes the perceptions of some characters and softens them. A tragic death brings characters together in a powerful way.

Again, the writing in The Ice Storm is the most interesting and compelling appeal. The acting among the entire cast is professional, heartfelt, and brazen, but the written dialogue and interesting situations make this film rise above others of a similar genre.

Lee’s direction is brilliant as the blustery winter atmosphere is central to the story- in more ways than we might originally think. The frozen power lines and slick windy country roads elicit a cozy feeling nestled between harboring family secrets and scandals.

The bitter yet beautiful ambiance is a soothing and compelling aspect of the entire film and Lee portrays these elements with precision.

Of the independent drama genre, The Ice Storm has a low budget and big-name stars. The film could easily be performed as a play, but the cinematic elements and fantastic writing make it a memorable and storied piece of film-making.

Ang Lee frequently incorporates astounding character development in his works and The Ice Storm (1997) has all the qualities to be considered a masterpiece.

2018 Films, Amy Adams, Biography, Drama, Jesse Plemons, Political Drama, Will Ferrell

Vice-2018

December 31, 2018 scottmet99 Leave a comment

Vice-2018

Director-Adam McKay

Starring-Christian Bale, Amy Adams, Steve Carell

Scott’s Review #849

Reviewed December 31, 2018

Grade: A

On the heels of 2015’s The Big Short, Adam McKay once again creates an intelligently written, thought-provoking political film based on facts and historical accounts.

With Vice (2018) he focuses on former Vice President Dick Cheney and his rise through the political ranks to second in command. Brilliant and wise in every way the film is fair-minded in its approach, but predictably, in this era of “fake news” will be embraced by liberals but shunned by conservatives.

In the first seconds of Vice, a disclaimer appears stating that Cheney was a private man with secrets, but the filmmakers did the very best they could to relay accurate information. The salty language in this clip will likely elicit chuckles, but McKay stays the course with his statement.

Immediately, the film flashes to the September 11 attacks with Cheney sitting in crisis mode about to make an important decision.

Vice then retreats to 1963 Wyoming as a drunken college-aged Dick Cheney (Christian Bale) is pulled over for erratic driving after a barroom brawl. He is nearly dumped by his girlfriend and future wife Lynne Cheney (Amy Adams), who threatens to find another man if Dick does not straighten out.

He manages an internship and an admiration for Donald Rumsfeld (Steve Carell) a staunch Republican and White House Chief of Staff and begins his political climb.

In the clever form, the film is narrated by a character named Kurt (Jesse Plemons), who we know not the connection to Cheney until the end of the film. In this way, there is an added measure of intrigue to the overall film as we know a secret will be revealed.

Vice is also unique in the direction, with constant back and forth timeline scenes and quirky humor throughout. Are the Cheney’s portrayed as ridiculous? No, but there is sardonic humor directed at them as their ambitions and power-hungry motivations are completely exposed.

What the film does so well is taking the viewer through the political state of when Cheney was in office- roughly the early 1970s until 2008 when Obama took office. The Clinton years are completely skipped, but that is more to do with Cheney being in the private sector rather than an intentional slight.

The Nixon years and the George W. Bush years are given hefty screen time and the latter is portrayed as nearly a buffoon as Rockwell portrays him as a boozy, dumb frat boy.

Bale is startlingly good as Cheney and deservedly steals the show. In addition to the forty-pound weight gain the actor endured and the facial and hair treatments (props to the makeup department!), he becomes the man.

His body movements, smile, and speech patterns are daringly good. With a sneer and a calculating grin, we see the wheels spinning in Cheney’s head numerous times and Bale is incredible at portraying these thoughts to the audience.

The film contains a slew of well-known actors in important supporting roles worth noting. The depictions of the following are examples of wonderful casting with spot-on representations: Tyler Perry as Colin Powell, LisaGay Hamilton as Condoleeza Rice, Sam Rockwell as George W. Bush, Alison Pill as Mary Cheney, and Lily Robe as Liz Cheney.

All portrayals are wonderful to watch especially for viewers who remember the real-life people involved.

Some will undoubtedly complain the film gives a “liberal slant” and portrays Cheney as power-hungry and self-serving. While a valid point and McKay make left-leaning choices, the director bravely carves the film into an experience that goes both ways.

More than a few scenes (including the final scene) justify Cheney’s actions, in his mind anyway. Claiming to do for the good of the people and be a true American, his actions and yearning for power can be understood to some degree….or perhaps understood by some people.

Controversial and undoubtedly divisive, but that is not surprising given the current state of American politics, Vice (2018) tells an inspiring and rich story of an elusive politician’s life and policies daring to be forgotten that still resonate across the United States.

The more I ponder this film’s importance the greater it becomes, but make sure to stay past the credits for arguably the best moment in the film and of monumental importance in 2018.

Oscar Nominations: Best Picture, Best Director-Adam McKay, Best Actor-Christian Bale, Best Supporting Actor-Sam Rockwell, Best Supporting Actress-Amy Adams, Best Original Screenplay, Best Makeup and Hairstyling (won), Best Film Editing

1944 Films, Barbara Stanwyck, Billy Wilder, Crime Drama, Drama, Edward G. Robinson, Film noir, Fred MacMurray

Double Indemnity-1944

December 26, 2018 scottmet99 Leave a comment

Double Indemnity-1944

Director Billy Wilder

Starring Fred MacMurray, Barbara Stanwyck

Scott’s Review #847

Reviewed December 26, 2018

Grade: A

Double Indemnity (1944) perfectly epitomizes the classic film noir genre. It contains all the necessary elements, from intrigue, suspense, and unpredictable thrills to schemes and dastardly deeds by the major players.

The on-screen chemistry between leads MacMurray and Stanwyck provides enough romantic flair and provocative moments to entertain all as developments progress when a smitten man meets a femme fatale and a devious plot is hatched.

Director Billy Wilder was one of the most influential directors of his day. This picture was his first effort, and it received fabulous critical acclaim.

The accolades put him firmly on the map for years to come, culminating in an Oscar win in 1960 for The Apartment. Wilder uses a clever insurance “double indemnity” clause as its title, making it one of the best and most influential crime dramas of the 1940s, staking ground for other similarly themed films.

The story is told via flashbacks as a wounded Walter Neff (Fred MacMurray) scrambles to record a confession to his colleague and best friend, Barton Keyes (Edward G. Robinson).

The action rewinds to an ordinary day when Neff makes a routine stop to sell insurance and meets flirtatious Phyllis Dietrichson (Barbara Stanwyck). She brazenly inquires how she ought to take out an insurance policy on her husband’s life without his knowledge.

When Neff deduces Phyllis’s intention to kill her husband, he declines any further help but cannot forget the ravishing beauty and her charms. He ultimately succumbs to her whims and aids her in a wicked crime.

The adventure the audience is taking on is the most fun aspect of the film. We already deduce that Neff is involved in shenanigans, but most of the fun occurs after the murder has been committed and Phyllis and Neff’s scheme begins to unravel.

The added component of Neff’s colleague and close friend, Keyes, being involved as he starts to suspect foul play is equally compelling.

Will he finally realize that Neff is involved in the plot? If discovered, will Keyes cover for Neff? Will Phyllis’s history catch up with her and twist events?

These questions make the film a great picture.

A debate among viewers can ensue whether Neff is sympathetic as this point continues to cross my mind with each viewing. One can safely say that he is seduced by the charms of an eager and aggressive woman, but if he is to blame for the crimes, is she not even more to blame?

As events unfold, sides can be drawn, and characters can be more focused, particularly after Double Indemnity’s startling conclusion.

Neff is not a strong, heroic character. She is relatively weak and easily manipulated by the cagey Phyllis. It is interesting how little time it takes for Neff to succumb to her plot and willingly commit the crime.

In the final act, Neff does show some muscle needed, but this is only because his “goose is cooked,” and he finally realizes the dire nature of Phyllis’s character. However, shouldn’t he have discovered this sooner?

MacMurray and Stanwyck have smoldering chemistry and are a significant film success, keeping the audience invested in the plot. The added measure of the murder victim being relatively unknown to the audience adds a macabre rooting value to the pair.

Wilder never presents the plot as a romantic triangle, and Neff and Phyllis have no other romantic entanglements. The only roadblock is the insurance company and its suspicions about Phyllis.

Wilder adapted the screenplay from James M. Cain’s novella of the same name and spins a potent film noir from these pages. Double Indemnity (1944) is intelligent, sexy, and mysterious, mixing in as much sultry poise as witty dialogue.

The film is a measured success and a highly influential cinematic story thanks to the allure of fine actors and a stunning train adventure.

Oscar Nominations: Best Motion Picture, Best Director-Billy Wilder, Best Actress-Barbara Stanwyck, Best Screenplay, Best Scoring of a Dramatic or Comedy Picture, Best Sound Recording, Best Cinematography, Black-and-White

2018 Films, Comedy, Dark Comedy, Drama, Emma Stone, Independent, Independent Comedy, Independent Drama, LGBTQ+ Comedy, LGBTQ+ Drama, LGBTQ+ Films, Olivia Colman, Period Drama, Rachel Weisz, Yorgos Lanthimos

The Favourite-2018

December 17, 2018 scottmet99 Leave a comment

The Favourite-2018

Director-Yorgos Lanthimos

Starring-Olivia Colman, Emma Stone, Rachel Weisz

Scott’s Review #843

Reviewed December 17, 2018

Grade: A

The Favourite (2018) is a deliciously wicked comedy about greed, jealousy, and rage during early eighteenth-century England.

The primary rivalry consists of two feuding cousins, each jockeying for position and “favor” with the Queen, both resorting to dire methods to achieve these goals.

With splendid acting and grand designs, director Yorgos Lanthimos adds to his growing collection of odd and compelling works with the dark comedy offering.

The film takes place amid the British and French war of 1708 as a physically and mentally ill Queen Anne (Olivia Colman) rules the country by way of her confidante and secret lover, Sarah, Duchess of Marlborough (Rachel Weisz).

Though deals and modifications must be made with the ruling Parliament Anne has the final say in all decisions including doubling the state tax to pay for the war.

When Abigail (Emma Stone), a distant cousin of the Duchess, and former royalty herself, arrives seeking work as a servant, she quickly plots her way to the bedside of the Queen at all costs.

Lanthimos, known for such bizarre treats like Dogtooth (2009), The Lobster (2015), and The Killing of a Sacred Deer (2017), is not afraid to get down and dirty and wrestle with the macabre subject matter.

The Favourite is the director’s most mainstream affair yet and is quickly becoming one of my favorite modern-day filmmakers. As he now charters into royal territory the possibilities are endless in a world of politics and scheming.

Some morose highlights include an abused bunny, naked tomato throwing, and pheasant shooting.

The film is not kind to animals.

Despite being a mainstream affair in the world of Lanthimos, The Favourite is a bizarre and brazen experience. The heaps of award nominations are quite remarkable given the film will not be enjoyed by all audiences.

Despite being categorized as a comedy (see more below) the film is not an easy watch and none of the characters are likable. Abigail is sympathetic at first and quite humorous but as the plot develops her true colors and motivations are exposed.

Conversely, Anne and Sarah are initially despicable, but garner support as the story evolves.

The comic elements are the best elements and clever lines come at a deliciously rapid pace. The best dialogue is the sparring between Sarah and Abigail as the women realize they are bitter enemies and each attempt to one-up the other in a chess game for Anne’s attention.

Anne, known for fits of emotion, stuffing her face with cake and vomiting, and berating the servants, offers her comic wit. The language is salty bordering on vulgar, but that is what makes the experience so stellar and morosely enjoyable.

The musical score adds muscle and the diabolical string arrangements give The Favourite a gruesome, morbid atmosphere.

The feeling of dread is prevalent and downright haunting at times as the audience, knowing that some sort of shenanigans will soon occur, does not know when or how.

This quality enhances the overall product and gives ambiance to an already superior piece.

Finally, the acting in The Favourite is brilliant and worth the price of admission. With heavyweights like Colman, Stone, and Weisz this is unsurprising, but the gravy is in the individual moments.

The chemistry the women share is what works best as every scene sparkles with exceptional delivery and a sly sense of humor. When the three women appear together-these are the best scenes.

Deserving of all the accolades lauded upon it The Favourite (2018) is an experience that contains all elements of a fine film though one that is quite the unconventional work.

With glistening art direction, set pieces that shine with authenticity, and costumes that would make Scarlett O’Hara drool with envy, The Favourite takes all of its parts and spins a crafty tale that encompasses the entire film.

Oscar Nominations: Best Picture, Best Director-Yorgos Lanthimos, Best Actress-Olivia Colman (won), Best Supporting Actress-Emma Stone, Rachel Weisz, Best Original Screenplay, Best Production Design, Best Cinematography, Best Costume Design, Best Film Editing

Independent Spirit Award Nominations: Best International Film

2017 Films, Drama, Rolf Lassgård, Science Fiction

Downsizing-2017

December 14, 2018 scottmet99 Leave a comment

Downsizing-2017

Director-Alexander Payne

Starring Matt Damon, Hong Chau

Scott’s Review #842

Reviewed December 14, 2018

Grade: B

Downsizing (2017) is a film that appeared on many critics’ top ten lists for the year, but that to the average viewers did not resonate well. Part of this discrepancy could have been the way the film was marketed.

Despite having Kristen Wiig among its cast, the film is NOT a comedy but rather a social commentary with some science-fiction and dramatic elements mixed in.

Downsizing contains a wonderful and thought-provoking premise but ultimately does not piece together all parts in a completely satisfying way leaving an erratic and disjointed result.

The elements are all there- a charismatic lead actor (Damon), an inventive, socially relevant premise, and a humanistic and beautiful message. Within the film are some gorgeous cinematic treats of picturesque Norway that will make one melt if watched on the big screen.

The film has enough positives to recommend without it being truly great.

The story begins as a Norwegian scientist discovers a way to solve the world overpopulation state and global warming problems with a discovery that shrinks people causing them to use few resources.

Paul and Audrey Safranek (Damon and Wiig) decide to undergo the procedure and begin a new life in a gorgeous community designed for small people. When Audrey bails at the last-minute leaving Paul on his own, he must forge ahead with a lonely life anyway, unable to be transformed from small to large.

He meets Ngoc Lan (Chau), a Vietnamese activist who changes his life forever due to her selflessness. Paul realizes he does have a purpose after all.

The positives of the film are mostly in the individual components. How true that the modern world suffers from overpopulation and director Alexander Payne paints a dire picture of the eventual result. This gives the film a left-leaning environmental opinion that I relish.

I was immediately engaged in the humanistic approach Payne relays and the possibilities of a new world with no suffering and riches for all. Of course, this is not sustainable nor realistic as the film shows.

The romantic dynamic is also a major win. The first half features Paul and Audrey as the romantic couple; a likable pair who struggles with bills and cares for planet earth.

Suddenly, this changes, and Audrey is discounted from the equation in favor of Paul and Ngoc Lan. An unexpected item, their romance is a slow build, seemingly opposite types of people. He is laid back and thoughtful, she brash and outspoken, yet they work wonderfully as a couple.

As a viewer, I became wholly invested in them by the closing credits.

Newcomer Huang Chau (Ngoc Lan) is the standout and nearly upstages Damon. The young actress garnered a Golden Globe nomination for this role and deservedly so. Far too few good roles for Asian actors Chau hits the jackpot with this part. Her character is sympathetic yet tough, once an outspoken advocate, she has endured prison only to lose a leg and be reduced to a house cleaner in her new world.

Payne makes the point that a new society does not equate to joy, and this is the crux of the film. At first, the community is lavish with luxurious homes and idyllic surroundings, but when Paul meets Ngoc Lan and sees her world of pain, starvation, and neglect he is dumbfounded.

This is a sad reality and leads him to make rash decisions about himself and his future.

Where Downsizing misses the boat is with the execution. As strong as the premise is, the story meanders. From Paul and Audrey’s mundane life in Nebraska to the new society to the slums to the introduction of the world ceasing to exist and finally, another world is created, there is too much going on.

The dots never connect leaving the overall experience of Downsizing erratic.

Christoph Walz deserves a better role than Dusan, an aging Serbian party boy. The character is annoying and a weak attempt at portraying spoiled white men having all the advantages. His character is unnecessary and does not work.

Downsizing (2017) is quite the brave effort holding an ingenious premise and a worthwhile message. I recommend the film for these reasons as Payne attempts to tell a story never told before and that is to be championed.

The elements do not add up and the film is missing a solid structure, but as a whole, the film is to be admired for what it intends to do.

1942 Films, Best Picture Oscar Winners, Dame May Whitty, Drama, Greer Garson, Henry Travers, Peter Lawford, Romantic Drama, Teresa Wright, Walter Pidgeon, War, William Wyler

Mrs. Miniver-1942

December 13, 2018 scottmet99 Leave a comment

Mrs. Miniver-1942

Director William Wyler

Starring Greer Garson, Walter Pidgeon

Scott’s Review #841

Reviewed December 13, 2018

Grade: A-

Released in 1942 amid the horrific World War II, Mrs. Miniver (1942) was a smash hit, winning over audiences concerned with the troubled and uncertain times.

Decades later, the film does not age as well as other similarly themed films, but still entertains and tells a good story with an important theme.

The film is nestled in the war drama genre with romance. The film won numerous Oscars the year of its release, including Best Picture and star Greer Garson won for Best Actress.

The story is told from the perspective of an affluent British family and the struggles they face to keep things together during growing peril. The focus primarily remains on an unassuming housewife, Kay Miniver (Garson).

The supporting players do much to flesh out the film with fantastic performances by Walter Pidgeon, Teresa Wright, and Henry Travers as Clem Miniver, Carol Beldon, and Mr. Ballard, respectively.

The direction by William Wyler is astounding and adds to the perfectly crafted ambiance and homey details.

The family lives a comfortable life in a whimsical village outside of London. Quite idealized, they own a large garden and a motorboat on the River Thames.

Along with Kay and Clem, their three children of varying ages and their housekeeper and cook reside with them. Besides the parents, the central couple is son Vin (Richard Ney) and the prominent Carol (Wright); the pair initially disagree on politics but finally fall madly in love.

As the soap opera-style family situations continue, the war grows closer and closer to their house.

As Mrs. Miniver progresses, Vin enlists in the army to assist with war efforts, a German Nazi breaks into the Miniver house, a central character dies, and bombs and planes crash.

Through it all, Kay remains stoic and takes the family through challenging situations, adding melodrama to the film. The woman’s journey and resolve to keep everything and everyone intact is at the core.

The film is mainly a family drama with the Minivers and the townspeople experiencing trials and tribulations. In this way, Mrs. Miniver risks being a one-trick pony, albeit an emotional and teary-eyed one.

The film’s rich characteristics and polished nature make it more than it ought to be, and the superlative cast, production values, and timely release undoubtedly made it what it was in 1942.

In present times, however, Mrs. Miniver seems diminished in importance and relevance with a sappy and overly sentimental feel, World War II in the distant past, and several other wars come and gone.

Wyler carefully packaged the film to hit every emotion, from the bombastic musical score to the proper English characters to the comic relief housekeeper.

The film is a giant Hollywood production, but perhaps a bit too perfect to age with any zest or reason to watch more than once.

The film might be better remembered for its strong female lead. Told from Kay’s perspective, it was unusual in 1942 for a movie (especially with a war theme) not to have the story from the male point of view. Still refreshing in 2018, this quality was downright groundbreaking at the time.

Kay stays strong and proud through the ravages of war that are closing in on her family with unbridled boldness and nary a simpering quality. Wright’s Carol is an early champion for strong, female-driven characters, and, in a more minor way, she is also a muscled female role model.

Mrs. Miniver (1942) is a well-crafted film of its time that displays lavish production values and strong characters worthy of admiration.

The film is a significant win for a glimpse of the 1940s, especially for fans of good, solid drama. There are no significant flaws to harp on, but the overall piece has not aged exceptionally well, and other similar films (Casablanca, 1942) are more memorable.

Oscar Nominations: 6 wins-Outstanding Motion Picture (won), Best Director-William Wyler (won), Best Actor-Walter Pidgeon, Best Actress-Greer Garson (won), Best Supporting Actor-Henry Travers, Best Supporting Actress-Teresa Wright (won), Dame May Whitty, Best Screenplay (won), Best Sound Recording, Best Cinematography, Black-and-White (won), Best Film Editing, Best Special Effects

2017 Films, Drama, Jamie Bell, Romantic Drama

Film Stars Don’t Die in Liverpool-2017

December 11, 2018 scottmet99 Leave a comment

Film Stars Don’t Die in Liverpool-2017

Director-Paul McGuigan

Starring-Annette Bening, Jamie Bell

Scott’s Review #840

Reviewed December 11, 2018

Grade: B+

Film Stars Don’t Die in Liverpool (2017) showcases a compelling performance by stalwart actress Annette Bening as she plays faded, insecure Hollywood glamour girl, Gloria Grahame.

The film focuses only on Grahame’s final two years of life as she battles breast cancer and begins a relationship with a much younger man, Peter Turner (Jamie Bell).

The film is a sad yet poignant dedication to the star featuring enough performance gusto from its actors to make up for a limited period and too much back and forth within the timeline that complicated the film too much.

As a result, Film Stars Don’t Die in Liverpool is endearing but does not hit it out of the park.

The entire film takes place between 1979 and 1981 as actress Gloria Grahame, her best days behind her, resides in a rented Liverpool room. In 1979 she has found a bit of success in local theater and befriends her much younger male neighbor.

The pair become romantic partners and experience trials and tribulations as the film teeters back and forth between Grahame’s ailing final days in 1981 to happier times in Los Angeles and New York. Gloria also befriends and finally lives with Peter’s parents, who care for her unflinchingly.

The story is enveloped in sadness but is not a downer either.

The film begins towards the end of Gloria’s illness though the audience is not aware yet of the seriousness of her disease. Insisting she just has painful gas, the tender relationship between the actress and Peter is explored.

The story then parlays back to 1979 when Peter and Gloria first meet- he is an aspiring actor unaware of who she is until a bartender makes the connection.

In this way, the film makes it clear this is not a story about a young man seeking the fortunes of a presumably wealthy woman. I like this point as the story is about romance not money-grubbing.

Film Stars Don’t Die in Liverpool belongs to Bening.

The supporting roles are well cast taking nothing away from either Bell’s performance or a nice turn by Julie Walters as Peter’s mum.

Bening, however, does wonders emulating the mannerisms of Grahame with an innocent, damsel in distress nature (mirroring the roles she made famously).

Bening was amazing at revealing the actress’s insecurities and fear of aging and an older appearance. During a fight, Peter cruelly refers to her as an “old lady” and we see the comment strike a deadly blow the same as if she had been physically slapped. Bening is so good at portraying a myriad of emotions throughout the film.

Another high point comes towards the end of the film. I love the way the film connects an earlier argument (and breakup) between Gloria and Peter with a later sequence.

As Peter assumes she was carrying on with another man when he learns she lied about her whereabouts, the haunting reality is later revealed, changing the audience’s entire perception of the turn of events.

This is good writing by the screenwriters.

To counter the above point, the constant back and forth from 1981 to 1979 and everywhere in between detracts from the enjoyment of the overall film for me.

Spanning only two years the film spends way too much time in multiple locations without enough explanation. Suddenly Gloria and Peter are in Los Angeles having dinner with her mother and sister at Gloria’s modest house, then they are in New York City in her lavish Park Avenue apartment.

The film would have been better suited with a straightforward approach chronicling events from 1979 to 1981 in sequence.

Another negative is the omission of any scenes before 1979.

The actress’s career thrived during the 1940s and 1950’s so it would have been interesting to capture those earlier days. If the fear was that Bening was too old to pass for a younger Grahame, another actress could have been used for those scenes.

While a clip of the real Grahame winning the Oscar and a few clips of her starring in films are nice, way more time could have been spent on more stories.

Thanks to a brilliant performance by Bening and an emotional story that in large part succeeds, Film Stars Don’t Die in Liverpool (2017) is a win.

Not recognized during awards season as originally anticipated, this could have been due to the overly complex timeline and thus the limiting feeling the film produced. The production and writing are very good, but lack greatness.

2018 Films, Best Picture Oscar Winners, Drama, Mahershala Ali, P. J. Byrne, Peter Farrelly, Viggo Mortensen

Green Book-2018

December 10, 2018 scottmet99 Leave a comment

Green Book-2018

Director-Peter Farrelly

Starring-Viggo Mortensen, Mahershala Ali

Scott’s Review #839

Reviewed December 10, 2018

Grade: A

To be candid, it was not originally on my radar to see Green Book (2018) despite the high regard and the bevy of award nominations reaped upon the film.

From the trailers, and admittedly my assumptions, the production looked somewhat of a Driving Miss Daisy (1989) role reversal with the standard over-saturation and glossy view of racism.

I confess to being wrong in my initial assessment as Green Book is a wonderful film with a multitude of worthy efforts, successfully crossing the drama and comedy barriers delivering an astounding message of compassion and benevolence.

Viggo Mortensen and Mahershali Ali show tremendous flair and exhibit fine chemistry as an Italian blue-collar driver and an astute African-American classical pianist, respectively.

The men travel together in the Deep South circa 1962 on a concert tour requested by the renowned musician despite the dangers of southern racism and prejudice.

Mortensen’s Tony Lip is a struggling New York City bouncer who needs any gig for two months while the club he works for is closed for renovations. Ali plays a sophisticated musician who needs a driver with a measure of toughness, and Tony comes highly recommended.

The two men initially are strangers but form a close-knit bond and a deep understanding of each other as they become better acquainted during their journey.

The first half of the film focuses on Tony.

As viewers, we experience his Italian lifestyle. He possesses a strong family unit, a dedicated wife, Dolores, (Linda Cardellini), and loves to eat, winning a hot dog eating contest for $50 to pay the rent. He thinks nothing of beating an unsavory character to a bloody pulp if they are out of line and has more than one link to the mafia.

Still, he is a decent man, with a salt-of-the-earth mentality, and loves his family.

“Doc” Don Shirley (Ali) is the opposite of Tony. Raised as a highly gifted musical prodigy, he surrounds himself with high culture, well-versed in many languages, and of affluent means. Nonetheless, he is a wounded soul and drinks himself into oblivion each night, frequently deep in thought pondering life and its problems.

Despite being black he knows nothing about black culture.

Don is highly uncomfortable in his skin while Tony is happy with who he is, a major point that the film hits home on as the men have conflict. Don feels Tony can do so much better to educate himself while Tony sees nothing wrong with being who he is. The men forge a middle ground as they come to respect each other.

Ferrelli does a wonderful job in showing Tony as Don’s protector as he is accosted by rednecks or is caught with another man at the YMCA.

In turn, Don helps Tony write warm love letters to Dolores.

Green Book is a film about friendship and how different backgrounds can result in closeness and respect.

The film is humanistic in its approach to an overall message and is the feel-good film of 2018 without the slightest thread of sappiness or any contrived situations. The film is best about two real-life men who remained friends until their deaths.

Director, Peter Farrelly, known mostly for silly films such as Dumb and Dumber (1994) finds breakthrough success with Green Book.

The film is mainstream material, but of a sort that can be appreciated for the good it exudes. Don exhibits racism on more than one occasion- Birmingham and Mississippi specifically- but also experiences kindness from other folks.

Worth noting is that Don experiences discrimination and abuse not only from whites but also from blacks. Farrelly avoids the usual stereotypes or elicits humor from them as in the scene where Tony teaches Don to enjoy fried chicken, a food theretofore foreign to Don.

A key point to the film occurs early on when Dolores graciously invites two black workers to repair thinking nothing of treating the men to a refreshing lemonade.

Tony, witnessing the empty glasses in the sink throws them in the trash not wanting to drink from the same glasses. Is Tony along with his family, racist or uncomfortable with blacks? Regardless of the answer, after the film, they think very differently which is monumental.

The final sequence of Green Book is teary, heartfelt, and provides a feeling of incredible warmth.

In the tumultuous times of current American history, Green Book (2018) is sentimental and inspirational in a day where racism has once again reared its ugly head thanks to the chaotic political environment.

The film is a lesson learned in how far we have come as a society, but also how things have not changed so much and how much further we need to go creating equality for all. Farrelly creates a timely and wonderful film that everyone can appreciate.

Oscar Nominations: Best Picture (won), Best Actor-Viggo Mortensen, Best Supporting Actor-Mahershala Ali (won), Best Original Screenplay (won), Best Film Editing

1943 Films, Claude Rains, Drama, Humphrey Bogart, Ingrid Bergman, Michael Curtiz, Paul Henreid, Peter Lorre, Romantic Drama, Sydney Greenstreet

Casablanca-1943

December 7, 2018 scottmet99 Leave a comment

Casablanca-1943

Director Michael Curtiz

Starring Humphrey Bogart, Ingrid Bergman

Scott’s Review #838

Reviewed December 7, 2018

Grade: A

Casablanca (1943) is a classic style Hollywood film made during a decade when big studio productions were all the rage. The film may very well be in the top ten creations of its day and a movie that nearly everyone has either seen or is aware of.

A grand romantic World War II drama released at the perfect time, the film contains legendary stars Humphrey Bogart and Ingrid Bergman. It is flawless in nearly every way, as a lavish production should be.

Bogart stars as Rick Blaine, an expatriate who owns a lavish nightclub in Casablanca, Morocco. The film takes place in December 1941, before the United States entered the vicious World War II.

His clientele ranges from French and German officials to refugees attempting to flee the country, fearful of being stuck in a foreign land. Mixed in with the melee of varied characters is Ilsa (Bergman), a former flame of Rick’s, who appears with a new husband, Victor, a Czech leader.

Ilsa begs Rick for help escaping the country, and their romance begins to blossom again.

Through scenes, we see Rick and Ilsa living perfectly in pre-war Paris. They happily co-exist, sharing a happy life, unaware of the conflict and secrets that will emerge in Casablanca two years later.

Victor is initially presumed dead, which leads to Ilsa’s initial freedom and romance with Rick.

Back in Casablanca, Rick has essential letters that will allow the holder to escape the city and be bound for safety in another country. While Ilsa is desperate for these letters, she is also madly in love with Rick, and vice versa, adding a strong romantic element to the film.

Supporting characters are mixed into the plot as desperation and impending doom interplay.

Casablanca is a film with things happening simultaneously, which is a significant part of its draw. From the apparent romance of Rick and Ilsa- the focal point of the story part of the draw are the sub-plots weaved within.

The nasty Nazi Major Heinrich Strasser encompasses the future Third Reich and the devastation this group would ultimately cause. A multitude of supporting characters and extras perfectly flesh out both the cast and the look and feel of the film.

The most interesting character is Rick.

Once idealistic and moral, he has changed, becoming cynical and broken. In this way, the film nearly becomes a character study. The audience sees the change in Rick and slowly realizes he has given the war the culprit.

The final sequence reveals Rick and Ilsa’s fate. Their doomed romance is assuredly no surprise, true to the message. An “unhappily ever after” result was rare in a big studio production and is a testament to the well-written story.

The featured piano number and Casablanca’s “theme song” is the lovely yet melancholy “As Time Goes By.” Beautifully played by Sam (Dooley Wilson), the house pianist and close friend of Rick, the number is instrumental to the plot and specifically to Rick and Ilsa’s romance.

The song is a painful memory of the once-idyllic life the pair shared.

The film’s timing, made in 1941 and released in 1943, is the key to its unrelenting success. American audiences undoubtedly found it identifiable, and the uncertainties of the impending war threatened their current freedoms.

Casablanca was wonderfully marketed in this way, and its compelling nature resonated. Audiences shared Rick’s conflict and “for the greater good” perspective.

Casablanca (1943) is a film that educates, entertains, and romances without exhibiting a shred of pretension. The crisp black-and-white filming and the unique use of light and shadows to reflect the characters’ thoughts make the film lovely and has a lofty budget.

Immersed in the richness are sadness and a timely message about a changed man, a failed romance, and the ravages of war that still resonate decades later.

Oscar Nominations: 3 wins-Outstanding Motion Picture (won), Best Director-Michael Curtiz (won), Best Actor-Humphrey Bogart, Best Supporting Actor-Claude Rains, Best Screenplay (won), Best Scoring of a Dramatic or Comedy Picture, Best Cinematography, Black-and-White, Best Film Editing

2018 Films, Biography, Drama, Mike Myers

Bohemian Rhapsody-2018

December 3, 2018 scottmet99 Leave a comment

Bohemian Rhapsody-2018

Director-Dexter Fletcher, Bryan Singer

Starring-Rami Malek

Scott’s Review #836

Reviewed December 3, 2018

Grade: A-

Crafting a biography of a performer with the personality the size of Freddie Mercury is a tough feat to accomplish- successfully anyway.

The filmmakers of Bohemian Rhapsody (2018) opt to go in a decidedly mainstream direction and this proves a wise choice as the film becomes an enthralling foot-stomping crowd-pleaser.

That nitpicking about accurate timelines and rigid facts may be disappointing, but others content to sit back and enjoy a heartfelt biopic will certainly love the film.

Rami Malek gives a flawless performance as Mercury, the legendary singer of the British rock band, Queen. I will go out on a limb and state that this could be the young actor’s crowning achievement and his “role of a lifetime”.

The film wisely chronicles the singer’s initial struggles finding his band-mates and the band’s subsequent rise to fame and fortune during the 1970s and the 1980’s.

Predictably, as with many rock bands, in-fighting, drug use, and jealousies reared their ugly heads.

Other points of interest featured are Mercury’s personal life and his HIV diagnosis culminating in his ultimate death in 1991 at the tender age of forty-five.

Less so a biography of the band, Mercury takes center stage as the point of the film. With his four-octave vocal range and his operatic sensibilities, the star was a force to be reckoned with, nobody who would back down from either studio executives or pesky reporters eager for a scoop about his personal life and preference for male companions.

Malek sinks his teeth into an enormous role undoubtedly intimidating for most actors and an unbelievable challenge for the casting department. With boldness and charisma for miles what actor could ever fill this challenging role?

Malek completely shines as he dons dentures to emulate Mercury’s famous overbite, a fact that the film nearly over exaggerates.

With wounded eyes and clever dialogue Malek delivers witty one-liners and comical comebacks with a smirk, a hand wave, or a retort of “my dear”. The actor is careful though to perfect the dramatic and emotional scenes flawlessly and portray the singer as a lonely and isolated being.

To the delight of most classic rock fans, Bohemian Rhapsody features many songs in the Queen catalog. “Killer Queen”, “Hammer to Fall”, “Another One Bites the Dust”, “We Will Rock You/We Are the Champions”, and the game-changing “Bohemian Rhapsody” complete with the histories and stories behind many of these legendary hits are featured.

Perhaps the loveliest tune “Love of My Life”, which Mercury wrote for his fiance Mary Austin, is prominently featured.

The film concludes with the band’s fantastic performance at Wembley Stadium in London for the Live Aid event in 1985. A breathtaking finale, this final sequence is jaw-dropping with emotion, heart, and entertainment and is the film’s finest moment.

As the story reaches its climax at this point with Mercury’s HIV diagnosis (a death sentence for gay men in the 1980’s) and revelation to his bandmates, the lengthy scene will not leave a dry eye in the house.

A weakening Mercury powered through his illness to deliver a dynamic performance.

The numerous historical inaccuracies of Bohemian Rhapsody (2018) as well as the incorrect timeline of the events have been called into question.

Also, the fact that two members of Queen (Brian May and Roger Taylor) had a staggering amount of creative control is cause for alarm.

Additionally, in further reading, the characters of Mary and Mercury’s manager Paul may have not been as good or bad as they were respectively written. These points may be valid, but as a source of good entertainment, the film is a major champion.

Oscar Nominations: Best Picture, Best Actor-Rami Malek (won), Best Sound Editing (won), Best Sound Mixing (won), Best Film Editing (won)

2018 Films, Drama, Timothée Chalamet

Beautiful Boy-2018

November 23, 2018 scottmet99 Leave a comment

Beautiful Boy-2018

Director-Felix Van Groeningen

Starring-Steve Carrell, Timothee Chalamet

Scott’s Review #835

Reviewed November 23, 2018

Grade: A-

Beautiful Boy (2018) tells a humanistic and important story about the ravages of drug addiction and how the issue affects not only the addict but the entire family unit. Nestled within the powerful writing is a lovely father/son relationship and the trials and tribulations the duo faces over the years.

The film feels pure and honest with rich story-telling and a plethora of good acting performances.

Beginning in present times, David Sheff (Steve Carell) realizes that his son Nic (Timothee Chalamet) has been missing for two days. When Nic finally shows up at the Sheff household he is strung out and sick.

David suspects Nic has been abusing drugs and all parties agree that Nic needs professional help and a stint in a rehab facility. However, nobody realizes the depths of Nic’s addiction.

When Nic checks out early and goes on a bender the film begins to segue back and forth between periods of Nic’s recovery and his many relapses, also presenting scenes of David and Nic’s relationship during childhood years.

The best parts are the conversations and moments between father and son and the enduring love they share. In the mix are David’s second wife Karen (Maura Tierney) and Nic’s mother Vicki (Amy Ryan).

The screenplay is based on memoirs written by David and Nic Sheff. The chronicles of their journey include triumph and heartbreak over many years as recovery and relapse become frequent parts of their lives threatening to tear them apart or result in Nic’s ultimate death.

The road to recovery is not an easy path.

The primary characters David and Nic are wonderfully portrayed by Carell and Chalamet. The fact that the actors do not resemble each other is quickly forgotten as their dynamic is emotional and palpable, sharing easy chemistry. Carell is a strong actor, capable of infusing his character with strength and calm while slowly falling apart at the seams.

He loves his son and wants him to recover, but finally accepts that he needs to let his son go. This moving realization is Carell’s best scene.

Chalamet, boyish and innocent-looking is perfectly cast. With kind blue eyes and a mop of raven hair the actor could easily pass for twelve years old, this only enhances the tragedy of youth ravaged by drug abuse.

These qualities are mirrored by those of his girlfriend Lauren (Kaitlyn Dever). She also possesses a fresh-faced, clean look, which strengthens the message.

Mention must be made of Ryan’s and Tierney’s performances in what could easily be throwaway “wife roles”.

For a while, I thought Tierney was in a marginal role until she finally has a wonderful scene where her frustration reaches a boiling point. Fuming with rage she attempts a car chase with Nic only to finally crumble into tears, realizing how the mess has changed her as a person.

Ryan also sinks her teeth into a teary role almost blaming herself for Nic’s problems.

The film wisely presents statistics to further hit home, mainly the low percentage recovery rate of most crystal meth users. A single-digit success rate on this note is frightening, the user requiring more and more substance just to feel anything close to the first high they experienced.

A pivotal scene occurs at the end of the film as we see David and Karen attend a support group. As they tearfully listen to a woman’s story of the recent death of her addict sister we are left to wonder if Nick has also died. Kudos to a powerful cameo performance by actress Lisa Gay Hamilton.

The sunny California setting is a benefit to the film and starkly contrasts the darkness of New York City where Nic attends school. With multiple exterior shots of San Francisco and Los Angeles, the metropolitan scope is vast and cruel for drug users.

Easily accessible to anyone with the motivation to obtain drugs, the streets of San Francisco are portrayed as hard and drug-infused, especially when David drives around desperately looking for Nic.

Featuring a story told before but rarely from the family perspective, Beautiful Boy (2018) does what it sets out to do and does it splendidly.

Careful not to soften the challenges and sufferings of the addict, the devastation they bring to their loved ones is also showcased. The sound and emotional father/son relationship may be the best part of the film.

2018 Films, Biography, Drama, Flea, Joel Edgerton, LGBTQ+ Drama, LGBTQ+ Films

Boy Erased-2018

November 22, 2018 scottmet99 Leave a comment

Boy Erased-2018

Director-Joel Edgerton

Starring-Lucas Hedges, Nicole Kidman, Russell Crowe

Scott’s Review #834

Reviewed November 22, 2018

Grade: A

Before I ventured to the movie theater to view Boy Erased (2018) I heard from more than a few folks who decided not to see the film due to the difficult subject matter.

While parts of the film are admittedly tough to watch and the true story stifling, the overall message is poignant and hopeful, the central character one to be championed.

In other words, while a serious matter, director Joel Edgerton (who also co-stars) is careful not to make the overall experience dour or wholly downtrodden.

Based on Garrard Conley’s 2016 memoir of the same name and taking place as frighteningly recent as 2004, the setting is rural Arkansas.

Our main character is a handsome, popular young man, renamed Jared (Lucas Hedges) for the film. Interspersed with numerous flashbacks then back to present times, we see Jared as a high school kid and blossoming as a freshman college student, interested in writing.

He is expected to follow the word of god since his father, Marshall (Russell Crowe), is a respected preacher at their local church, and his mother, Nancy (Nicole Kidman), is a housewife.

Jared’s college experiences are both good and bad. He befriends fellow runner Henry, who ultimately rapes him, and embarks on an enlightening friendship with Xavier, who challenges Jared’s belief in god.

These scenes are preceded by the point of the film, in which Jared admits his thoughts about men to his parents and is sent to a Love In Action gay conversion therapy program. His experiences there are chronicled.

Many scenes involve the treatment the school provides the students (or rather makes the students endure) and Jared’s realization that he is gay and cannot change.

He ultimately questions and challenges the school. The chief therapist, Victor Sykes (Joel Edgerton), teaches that God will not love anyone who is homosexual. In a bit of rich irony, the film later reveals that Victor finally denounced his teachings and married a man.

Fellow students’ lives are featured, one suffers a terrible fate as he cannot come to terms with his sexuality nor can he change.

A comparison to the popular film Love, Simon (2018) is fun to draw.

Both were released during the same year and both feature a young, popular coming-of-age character who struggles with the repercussions of revealing their sexual preference.

Boy Erased is the heavier of the two as Love, Simon has many comic elements, but worth noting is that both are mainstream films garnering large audiences- a win for the LGBT community.

The acting in Boy Erased is flawless and perfectly cast all around.

With Hedges, Kidman, and Crowe in the mix, we know the performances will be outstanding, and all three characters possess their share of empathy.

Jared is the most to be concerned with and Marshall and Nancy are support players, but the film does not portray either as bad people, which is interesting. They are nurturing towards Jared and want him to be happy.

While Nancy is more instrumental in rescuing Jared, Marshall does also come around in the end as his son’s sexuality is tougher for him to accept.

The main song used in the film is appropriately named “Revelation” by Troye Sivan. The singer also appears in the film as Gary, a student made to be “cleansed” of his sexuality. The tune is sentimental, smoky, and acoustic, perfect for the southern setting.

Heartfelt and fraught with meaning, it encompasses Jared’s struggles and strong will to question the school’s motivations, powering through the toxic approach the school has.

As with many recent biographical films telling stories of real-life people, Boy Erased features a young Jared in homemade video clips as the film begins. This immediately triggers a rooting value for the character as we see the child, cute, happy, and full of life, without a care in the world.

Additionally, the conclusion shows the real adult Jared, Marshall, and Nancy.

Boy Erased (2018) is an important film firmly nestled in a time-period crucial for the LGBT community. As LGBT awareness is now commonplace in cinema, this film does not necessarily go the route of sharing a gay character’s “coming out” story but rather depicts a brilliant story of how perilous and repressive being gay can still be for some people.

Jared is the main character who will undoubtedly be a hero to many young people wrestling with their identity.

2018 Films, Biography, Drama, Marielle Heller

Can You Ever Forgive Me?-2018

November 13, 2018 scottmet99 Leave a comment

Can You Ever Forgive Me? -2018

Director-Marielle Heller

Starring-Melissa McCarthy, Richard E. Grant

Scott’s Review #829

Reviewed November 13, 2018

Grade: A

Can You Ever Forgive Me? (2018) is a biographical drama that excels at successfully providing its audience with sly writing and fruitful chemistry among the lead actors.

A rare dramatic turn for star Melissa McCarthy, she proves that she has the chops as she immerses herself in a role that showcases her acting talent when she is provided a good script. Grizzled, angry, and sometimes depressed, she infuses a character we should hate with gusts of humor and sarcasm, so much so that we fall in love with her.

That is a testament to a great performance.

The film begins in 1990’s Manhattan as we meet a once successful, but now down on her luck author, Lee Israel (McCarthy). Famous for works now deemed dated, she is angry, boozy, and brazen, certainly not afraid to tell someone off for not holding the door for her or prank-calling a vicious bookstore owner.

We quickly learn that Lee is three months behind on her rent and cannot afford to take her sick, elderly cat to the vet. She fights with her publisher, Marjorie (Jane Curtin), who refuses to advance her $10,000.

As she sits in a bar contemplating her future, she reconnects with an acquaintance, Jack Hock (Richard E. Grant), a flamboyant gay man who once caused a stir at a party for urinating on rich women’s furs.

Lee and Jack are in stitches over the past incident and immediately form a deep bond, though Jack’s unreliability and dishonesty challenge Lee’s patience.

When Lee concocts a scheme to forge letters supposedly written by famous deceased literary people, Jack quickly becomes her accomplice as the two begin to profit.

The film belongs to McCarthy in a challenging role. By all accounts we should dislike Lee- she attends Marjorie’s parties for the free booze and steals a new jacket from the coat check on the way out.

She distances herself from relationship commitments and alienates most people. But despite these flaws, we adore her and root for her.

When she embarks on a cautious date with quiet bookstore owner Anna (Dolly Wells), she manages to get through her meal with trepidation, unsure whether to open herself up to another potential suitor.

In McCarthy’s best and most emotionally raw scene, we see her raw collapse in tears when she finds her beloved cat under the couch, dead.

Viewing the feline as her only true friend, she is devastated beyond belief and McCarthy will pull at the heartstrings in this poignant scene.

Grant is equally as impressive as McCarthy in the main support role. An aging party-boy in a city that can embrace the young and discard the old, he still dazzles with his dashing smile, but his best years are behind him as he still lives a young man’s life.

He flirts with a handsome waiter and still has charm and humor that has aided him through the past few decades, but he is also ravaged from decades of abuse and his luster has become tarnished. A health secret revealed at the end of the film adds further layers to the character’s complexity and richness.

Beyond the great acting performances, the screenplay, written by Nicole Holofcener and Jeff Whitty, crackles with rich dialogue and fantastic aplomb.

The writers write with confidence and smarts and provide the goods in spades. The proof is in the proverbial pudding as Lee cackles with glee as she types her latest Dorothy Parker forgery in the words of the deceased satirist, writing what she imagines the famous author would write.

These added touches of intelligence and quick-witted dialogue make the film fantastic to view.

Can You Ever Forgive Me? (2018) is a fabulous undertaking made spectacular by two actors with bold chemistry. Combined with intelligent writing, a grand yet gritty New York City setting, and an authenticity unrivaled, the film succeeds on all levels.

With heart, drama, compelling situations, and most of all dark sardonic humor, the elements are all there for a dynamic film.

Oscar Nominations: Best Actress-Melissa McCarthy, Best Supporting Actor-Richard E. Grant, Best Adapted Screenplay

Independent Spirit Award Nominations: Best Supporting Male-Richard E. Grant (won), Best Screenplay (won)

1940 Films, Charley Grapewin, Drama, Henry Fonda, Jane Darwell, John Carradine, John Ford, John Steinbeck

The Grapes of Wrath-1940

November 8, 2018 scottmet99 Leave a comment

The Grapes of Wrath-1940

Director John Ford

Starring Henry Fonda, Jane Darwell

Scott’s Review #828

Reviewed November 8, 2018

Grade: A

Based on the famous novel written by John Steinbeck and released only one year before the film, The Grapes of Wrath (1940) is a superlative offering by director John Ford, known chiefly for Westerns.

The work accurately depicts life for the struggling American family during the Great Depression of the 1930s.

With gorgeous cinematography and a sad yet poignant story, the film is a must-see and a timeless depiction of the perils of life for working-class people in the United States.

Set on the vast plains of Oklahoma, the Joad family has run a successful farm and lived as a thriving family unit for decades- an extended group enjoying their lives.

When the United States suffers from Depression, the Joads’ lives are turned upside down, and they are forced to sell their farm. They decide to traverse the countryside in hopes of the promise of profitable jobs and wealth in faraway California. The Grapes of Wrath depicts the family’s journey as hardship and deaths occur.

When the film was released in 1940, many studios were not interested in bringing the story to the big screen, as some aspects were deemed too left-leaning for conservatives.

The social issues the film delves into are still incredibly relevant today, and Ford wisely dissects not only the poverty that the Joad family suffers but also the psychological trauma and ruination they must endure. What a devastating effect this must have had on families.

The casting is spot-on. A young Henry Fonda was merely an upstart actor in 1940 and successfully exuded a rich, passionate performance as Tom.

Plenty of close-up shots reveal the young man’s quiet pain and desperation and the humiliation of having lost his livelihood. Fonda shares poignant chemistry with the preacher character, Jim Casy (John Carradine), who once was filled with glory but has now lost his spirit and belief in goodness.

Jane Darwell, a famous character-actress, gives a treasured performance as the family matriarch, Ma Joad. The actress won the Academy Award for Best Supporting Actress, deservedly so, as she relays a haggard woman wanting only the best for her family and attempting to hold them together.

Her determined final speech at the film’s conclusion is teary and meaningful. She says, “We’re the people… We’ll go on forever.” Speaking of Oscars, Ford also won Best Director.

The film sees no age but endures as a timeless journey alongside the Joad family. Although it stays very close to Steinbeck’s novel, the story is modified significantly. Perhaps to please studio financiers or provide a more hopeful message, the Joads are left with a positive future thanks to a government-run camp where they finally live.

In the novel, they reside at the camp first but are later reduced to starvation wages.

A monumental scene is when the family drives their battered vehicle to a squatter’s camp for needed shelter. The scene is shot documentary style, with the camera focusing both on the Joads and on the faces of the occupants of the run-down and filthy shacks that they are forced to live in.

We wonder with sadness what the lives of these unfortunate people were like before the Depression.

The Grapes of Wrath (1940) was a humanistic cinematic masterpiece. As a terrible war and otherworldly problems plagued the new decade, the film reminisced about a previous decade fraught with different issues.

The film is one for the ages and should be appreciated by all.

Oscar Nominations: 2 wins-Outstanding Production, Best Director-John Ford (won), Best Actor-Henry Ford, Best Supporting Actress-Jane Darwell (won), Best Screenplay, Best Sound Recording, Best Film Editing

1937 Films, Allan Dwan, Children, Drama, Jean Hersholt, Mary Nash, Musical, Musical Drama, Shirley Temple

Heidi-1937

November 2, 2018 scottmet99 Leave a comment

Heidi-1937

Director Allan Dwan

Starring Shirley Temple, Jean Hersholt

Scott’s Review #826

Reviewed November 2, 2018

Grade: A-

During the 1930s and 1940s, Shirley Temple was the most prominent and profitable child star around, starring in dozens of films deemed “wholesome” and “cute.”

Heidi (1937) is one of her most popular and best-regarded treasures of earnest and sentimental riches.

The film is forever known in pop culture as the ruination of the 1968 Super Bowl when the Oakland Raiders and New York Jets game was interrupted at a crucial moment due to the film’s scheduled airing.

An interesting side note is that, amazingly, Temple relinquished her Hollywood title with dignity and without scars. She left the scene entirely and became a successful world diplomat.

In an era in American cinema when child stars were treated as property and sometimes like cattle, her relatively healthy exit was a remarkable feat.

The story of Heidi is based on the 1880 Swiss story of the same name. In the title role, Temple plays an orphan living in the cold mountains with her grizzled grandfather, Adolf (Jean Hersholt). At first bitter for being saddled with raising a child, Adolf finally accepts the girl, and he and Heidi become fast friends, exhibiting a warm and tender bond.

Heidi’s self-absorbed aunt ruins the dynamic and whisks the child away to live with a wealthy family. The little girl will be a companion for their disabled daughter, Klara, as Heidi and Adolf are determined to find each other.

Adding drama to the story is Klara’s evil housekeeper and her jealousy of Heidi, leading to attempts to sell Heidi off to gypsies for profit.

By 1937, Temple was beginning to be deemed “too old” for cute roles, but Heidi is one of her best-remembered films, and the actress is in top form.

As one might expect from any Shirley Temple film, musical numbers are included- a dream sequence in Holland culminates with Temple belting out the charming “In My Little Wooden Shoes.”

There are millions of Shirley Temple fans worldwide, but there are also her detractors. Some feel her films are completely dated and that the young star was not as talented as they thought she was.

Admittedly, watching her films approaching the one-hundred-year mark can be peculiar. On the surface, they seem a bit hammy and overly sentimental, but my personal experience elicits a return to childhood days.

Despite being decades before my existence, Shirley Temple films were commonplace in my childhood household.

Heidi is not a groundbreaking cinematic experience or all that deep. What the film does provide, though, is comfort. The audience assuredly must know a film like Heidi has a happy ending, as the child provides warmth and spirit to every person she meets, making their lives better.

Even during peril, the girl has an “awe-shucks” manner of being and makes the best of her lousy situation.

The strongest appeal of Heidi comes from her friendship with Klara, a disabled woman. Klara is kind and naive, unaware of her servant’s jealousy and rage. Helpless, she comes to depend on Heidi, and we root for Heidi to rescue Klara and bring her to a better life.

The film has sappily written all over it but somehow works simultaneously.

Films such as Heidi, the best of all the Temple films, can be watched and enjoyed as an ode to days gone by or a tribute to someone’s grandmother’s favorite film.

Despite being irrelevant and too sappy in today’s modern world, they undoubtedly provide comfort and support to some, which cannot be such a bad thing.

Heidi (1937) can easily be enjoyed because of the film’s popularity and its warm message.

1930 Films, Best Film of the Year, Best Picture Oscar Winners, Drama, George Abbott, Lew Ayres, Lewis Milestone, War

All Quiet on the Western Front-1930

October 12, 2018 scottmet99 Leave a comment

All Quiet on the Western Front-1930

Director Lewis Milestone

Starring Lew Ayres

Scott’s Review #820

Reviewed October 12, 2018

Grade: A

All Quiet on the Western Front (1930) is one of the oldest films I have seen. It is a masterpiece that resonates in present times just as much as it did nearly one hundred years ago.

The work of art presents an astounding Anti-war message that is a timeless lesson in humanity, idealism, and despair.

Based on the banned novel by Erich Maria Remarque, much of the action takes place on the front lines during World War I.

The cameras follow an anxious group of spirited young men as they sit in a classroom and listen to a passionate speech given by their professor.

He is pretty “pro-war,” filling the boys with patriotism and the importance of serving the Army and their country. At his urging, the group, led by Paul Baumer (Lew Ayres), joins the Second Company. Once enlisted, the youths are enlightened that war is not fun, and their romantic delusions are smashed.

Paul is the film’s hero, and events are told through his eyes, offering his perspective. Beginning as a young recruit, he ages quickly and sees friends and allies slaughtered senselessly.

One recruit, frightened to death, is blinded by shrapnel and hysterically runs into machine-gun fire, resulting in his death. Other scenes involving the soldiers forced to go without food only to finally be offered more food simply because there are so many dead are heart-wrenching.

Paul is portrayed as a good man- conflicted by how he is supposed to feel towards the enemy and how he sees people as human beings. At the young age of nineteen, he possesses an innocence toward the world.

When he returns home on leave, the townspeople do not incline the ravages of war. When Paul recounts the brutal situations on the front line, he is derided as a coward.

In an excruciating scene, Paul is trapped overnight in a foxhole with a dying French soldier whom Paul has stabbed in a cemetery. He desperately tries to save the man’s life but to no avail.

In this crucial scene, Paul sees the enemy soldier as a human being rather than someone to hate. He crumbles into tears for the dead soldier, begging him to speak. The scene is incredibly poignant and meaningful.

The final scene of All Quiet on the Western Front is lovely and memorable. It is the film’s most remembered scene and is firmly ensconced in cinematic history.

As a wounded Paul lies hiding from German soldiers, he spots a beautiful butterfly peacefully circling. Paul smiles, enamored with the pretty creature amid all the horror. He desperately tries to reach for the gorgeous insect.

What happens next is heartbreaking and fraught with the unfair ruining of life—the scene is of the utmost importance.

The film is both sad and poignant, as we are well into the twenty-first century, and wars continue.

Have we learned nothing?

Director Lewis Milestone brazenly and tragically paints a portrait of war’s foolishness and the senseless loss of life it results in. It is tough to think of an equivalent film that depicts this message more clearly.

Many European leaders and countries, including Germany’s Adolf Hitler, included, banned All Quiet on the Western Front throughout the 1930s and 1940s.

The film has remained controversial in its blatant depiction of war since it was made.

All Quiet on the Western Front (1930) is a groundbreaking film that should remind us how precious life is.

The novel and film were both made after World War I—how profound to think that since this film was made, wars such as World War II, the Korean War, and the Vietnam War have occurred. Is war ever really the answer?

Anyone who watches this terrific film will find out.

Oscar Nominations: 2 wins-Best Picture (won), Best Director (won), Best Writing, Best Cinematography

2018 Films, Bradley Cooper, Drama, Musical, Musical Drama, Sam Elliott

A Star Is Born-2018

October 10, 2018 scottmet99 Leave a comment

A Star Is Born-2018

Director-Bradley Cooper

Starring Bradley Cooper, Lady Gaga

Scott’s Review #819

Reviewed October 10, 2018

Grade: A

On paper, by the time a film reaches its fourth remake (think- superhero franchises), there is a risk of either utter redundancy or a lack of interest (or both!).

Months before A Star Is Born was released to theaters a tremendous buzz emerged, particularly about the stars (Bradley Cooper and Lady Gaga). Considering the latter had never starred in a film before, the word of mouth was surprising.

The hype can be believed as the film is a tremendous effort with something to offer everyone.

The story begins as a boozy country crooner, Jackson Maine (Bradley Cooper), performs a sold-out show. He needs the aid of pills to take the stage and suffers from gradual hearing loss but is nonetheless a famous and popular star.

Following the concert, Jackson meets Ally (Lady Gaga), a waitress who moonlights singing French songs at a drag bar. They immediately bond as he encourages her to celebrate her talent despite her insecurities.

As events unfold the pair dive into a passionate romance as her career skyrockets while he deteriorates from drug and alcohol abuse.

On the surface, a film such as A Star Is Born runs the risk of being hokey, formulaic, or otherwise generic. The premise dictates as such- successful star meets insecure up and comer, romance ensues, and they face obstacles and internal conflict on the road to success.

Sounds like material custom-made for a Hallmark television movie or something lightweight, especially given the remake of a remake factor.

Instead, every element of A Star Is Born works perfectly. Of enormous praise is how Bradley Cooper both directs this film and has the central male role. He, as a director, incorporates some interesting camera shots, including a long shot of Ally walking down an alley, rehearsing a song for a performance.

Also, the numerous concert scenes are very well done. Impressive since this is Cooper’s directorial debut.

An enormous win for the film is the chemistry between Cooper and Gaga which is evident in the very first moments the two appear on screen together. Their chemistry is purely electric- almost magical as they rapidly bond and connect.

Their connection is not only physical but over their love of music and the artistry associated with creating good music. This bond is slowly tested as Ally’s career takes off and her manager steers her in a more pop-oriented direction, which infuriates Jackson.

Even through turmoil, the chemistry between the two actors is palpable in every scene.

My two favorite scenes include the scene in which Jackson and Ally first meet in the drag bar. The lovely French tune (Edit Piaf’s “La Vie en rose”) that she performs is cultural and rife with talent. As Jackson gazes at her from the bar there is amazement and pride in his gleaming eyes. He is immediately smitten with her talent and poise and this scene sets the tone for the film.

The second comes at the film’s conclusion, as Ally belts out the heartfelt “I’ll Never Love Again”. Performing to a subdued audience, the song is performed as a close-up of Ally to the tremendous visual effect.

The musical numbers are heartfelt and emotional without being sappy. From treasures such as “Shallow”, and “Maybe It’s Time” to the thunderous “Black Eyes” and pop-driven “Why Did You Do That?”, the soundtrack contains something for everyone.

Cooper, already an acting champ, astounds as he is so good, while Lady Gaga, a novice to film acting, looks like a pro. We believe her struggles, doubting her star potential as she is deemed “too ugly” to make it in the music business.

Gaga successfully showcases her pain, doubt, and eventual bombast at her sudden success.

Mention must be given to Sam Elliott, the veteran actor who gives a dynamic supporting turn as Bobby Maine, older brother, and manager of Jackson. Elliott does not have a showy role or a big emotional scene- he doesn’t need to. In the actor’s quiet way, he infuses the character with pent-up anger but with unconditional love and affection for his brother mixed in.

Harboring rage and turmoil for each other, the best scene between Elliott and Cooper comes towards the end of the film when Jackson admits his love for Bobby. The emotion is raw on the face of Elliott in this important scene.

A Star Is Born (2018) is a superlative remake and one for the ages. I can easily see this film, already a fan favorite, going down in the record books.

With a memorable musical soundtrack, wonderful acting and directing, and characters audiences can relate to, a classic in the making is not too difficult to imagine.

Oscar Nominations: Best Picture, Best Actor-Bradley Cooper, Best Actress-Lady Gaga, Best Supporting Actor-Sam Elliott, Best Adapted Screenplay, Best Original Song-“Shallow” (won), Best Sound Mixing, Best Cinematography

2017 Films, Drama, International, International Drama

The Insult-2017

October 1, 2018 scottmet99 Leave a comment

The Insult-2017

Director-Ziad Doueiri

Starring-Adel Karam, Kamel El Basha

Scott’s Review #815

Reviewed October 1, 2018

Grade: B

A Lebanese film nominated for the Best Foreign Language Film Academy award, The Insult (2017) offers its audience what I would categorize as a message film.

A battle of cultures and religions leads to chaos and controversy culminating with an embattled court case as we get to know supporting characters as well.

While the film is above average it is also too glossy and at times plays out more like a television series- with dramatic effects and plot developments for miles.

Still, the film is a worthy watch.

In a small Lebanese village, the main character Tony Hanna (Adel Karam) lives with his pregnant wife Shirine. Working as an automobile mechanic, Tony is a proud member of the Christian community, attending rallies and events.

His village employs Palestinian refugees to perform maintenance repairs, which irritates Tony. When a verbal altercation with middle-aged refugee Yasser (Kamel El Basha) occurs over a broken gutter, a failed apology results in physical violence as the situation rapidly escalates.

The courtroom drama, while compelling, seems a very familiar story.

Other recent foreign-language films such as A Separation (2011), and Gett: The Trial of Vivian Amsalem (2014) use similar plot devices of family conflict that wind up in the courtroom.

Those films are better written and feel more authentic and raw than The Insult does. Throughout the film, I kept telling myself I was not watching a middle-eastern version of Law & Order, but that is what it felt like.

Personally, I felt little sympathy for Tony and I was not completely sure if we were supposed to feel anything for him. With his brooding nature, and populist attitude he is written as downright unlikeable at first.

I assume the intent was to soften the character over the length of the film when he briefly comes to Yasser’s aid and helps start the man’s car. However, Tony soon reverts to his original stubborn nature.

Yasser is a much more likable fellow, albeit with a temper. Hurling curse words at Tony is the reason the tension between the two men begins in the first place and attempted apologies only lead to miscommunications between everyone.

But Yasser gets my vote for the most compassionate character.

In the supporting roles, an interesting (though perhaps not completely necessary) side story exists as the embattled lawyers are revealed to be father and daughter.

The major problem with The Insult is that the entire story seems plot-driven and each step is created to come up with a way to build or add tension.

For example, a speeding motorcycle angrily side-swipes Tony and his wife. The partners are then in peril because their daughter is born prematurely due to stress.

Situations and tensions could have easily been wrapped up or smoothed over under different circumstances, therefore the tone of the films feels less than authentic and manipulative despite some good drama.

Still, what the writing team does is introduce the audience to the turbulent world of Middle Eastern politics in a way that undoubtedly results in thought-provoking views and exposures to opposing ideas.

The film also provides a distinct hopeful slant at the conclusion so as not to send a dour message. The direction is that people can come together as one peaceful group, but that it will not be easy.

The Insult (2017) is not a bad watch and, in fact, compels the viewer to witness an interesting story of differing cultures and warring religious beliefs churning two men inside out when faced with conflict.

The film also does a fine job of emitting a peaceful message of coming together as human beings.

An overall rating of “B” is a nice score but given the dozens of potential Best Foreign Language finalists, I am not sure the film quite “cuts the mustard” for me- surely there were superior entries.

But then this Oscar category’s nominating process has always been a mystery.

Oscar Nominations: Best Foreign Language Film

2017 Films, Drama, International, International Drama

The Square-2017

September 28, 2018 scottmet99 Leave a comment

The Square-2017

Director-Ruben Oslund

Starring-Claes Bang, Elisabeth Moss

Scott’s Review #814

Reviewed September 28, 2018

Grade: B+

The Square (2017) is an eccentric Swedish language film that is highly interpretive and does not always make perfect sense the way a more mainstream film would.

This is both a positive and a negative as the ultimate message of the film is admirable, though some parts are both perplexing and downright bizarre.

The film was bestowed an Oscar nomination, undoubtedly for its bravery and cutting-edge approach, for the Best Foreign Language Film- subsequently, it lost to A Fantastic Woman (2017).

The X-Royal art museum in Stockholm, Sweden is the primary setting of the film. The action centers mostly around the museum’s creative director Christian (Claes Bang), who is new to the job and attempting to introduce a new installation called “The Square”.

A misunderstanding with a youthful public relations firm hired to make the exhibit as accessible as possible leads to controversy.

The film also interjects various sub-plots that are by and large interesting in themselves, but do not always make logical sense.

Bang is quite compelling in the lead role and the best part of the film for me. He is charismatic, a good father to his two daughters, and helps the homeless- even going so far as to help a young woman when nobody else will, only to find his wallet stolen- an unfortunate victim of a scam.

Furthermore, Christian’s desire to create “The Square” is quite humane and admirable- a safe zone for trust and compassion. The character is a good guy, but also concerned with his status.

Common themes of satire and human beings’ natural hypocritical nature abound. For example, in one scene Christian, proud to drive his flashy Tesla car and give money to the homeless, is then afraid to be seen in a run-down apartment house.

Later, a man with Tourettes syndrome disrupts an interview at the museum and is looked down on by “open-minded people” as a result. The latter scene is admittedly quite amusing as the man erupts with various expletives at the most inopportune times.

My favorite sequence by far occurs approximately mid-way through the film. As bizarre as the scene is, it is also riveting in its momentum and bravery.

When a group of well-dressed museum members gather for a lavish dinner and to watch a human art show, a bare-chested man who only grunts emerges and slowly begins to antagonize certain guests.

He begins pulling the hair of one woman while chasing one angry man from the hall. Shocking, intense, and thought-provoking are words to describe this scene.

But perplexing is what does the scene mean?

A treat for me was being able to view the frequent interior and exterior scenes of the famous Stockholm museum- of which I was privy to have visited in 2016.

So fresh was this experience that it brought back wonderful memories of not only the museum but of the gorgeous city of Stockholm itself.

The chemistry between Christian (who is Swedish) and an American reporter, Anne (Elisabeth Moss), does nothing for the film. In fact, it feels completely disjointed and unnecessary and there is little connection between the two characters.

Engaging in a one-night stand, the duo has a dispute about a used condom. Does Christian think that Anne is desperate enough to use his sperm and impregnate herself? The resulting spat between the two seems meaningless.

The Square (2017) is a very tough film to review.

Oftentimes disjointed and impossible to make heads or tails of, one would be wise to simply “experience” the film on its own merits. I am not sure I particularly need to view it again and try to figure out the plot because I am uncertain if that was the intent of director Ruben Oslund.

Having directed the wonderful Force Majeure (2014), a more straightforward and superior film, in my opinion, The Square is worth a watch in its own right.

Oscar Nominations: Best Foreign Language Film

2018 Films, Drama

The Wife-2018

September 8, 2018 scottmet99 Leave a comment

The Wife-2018

Director-Bjorn Runge

Starring-Glenn Close, Jonathan Pryce

Scott’s Review #809

Reviewed September 8, 2018

Grade: A

Swedish director Bjorn Runge crafts a nearly flawless film in The Wife (2018) that elicits a perfect performance from its star Glenn Close.

The film may be a standard drama, but the performances are the star attraction here. Along with Close, Jonathan Pryce deserves his share of kudos along with many of the supporting players.

But the film unquestionably belongs to Close as she plays an overlooked wife with subtle intelligence and enough simmering fury and resentment to astound compelled audiences.

Professor Joe Castleman (Pryce) and his wife Joan (Close) live a charming existence in upscale Connecticut. Joe is an acclaimed author and has just been notified that he will soon be awarded the Nobel Prize in Literature.

As Joe and Joan excitedly jump up and down on the bed in celebration, there is something not altogether joyous about Joan.

Parties are thrown and Joe and Joan, along with their son David (Max Irons), an aspiring author himself, fly to Stockholm, Sweden, for the coveted ceremony. Joe is flocked with attention while Joan is cast on the sidelines- secrets eventually bubbling to the surface by way of a nosy reporter, Nathaniel Bone (Christian Slater), who digs into Joe and Joan’s past.

The prime setting of Stockholm is a great plus, adding both a cultural and cold vibe to the story. The snowy and blustery Scandinavian locale, with some characters of European descent, brings richness to the film.

The scenes of characters sipping brandy or other warming spirits while a bristling fireplace erupts in the background add good texture.

Close is one of the finest actresses of our time and portrays Joan with refined restraint at every turn. Yes, we know that something is bothering Joan, but we know not what that is. Close is one of those talents whose face tells so much while she can utter so little, and through a good one-third of the film, this is all we have.

What is wrong with her? Why does she act happy for her husband and go about her tasks seamlessly, but harbors rage bubbling beneath the surface?

Slowly, with the help of numerous flashback scenes we learn how Joe and Joan met- he a young professor in the early 1960s, and she a naive student with delusions of grandeur of becoming a female novelist. She quickly learns how difficult this will be to achieve as she babysits Joe’s young kids- slowly falling in love with the married man.

From flashbacks, we learn more about the emotions, aspirations, and limitations of both Joe and Joan. We also learn that Joe has always had a wandering eye for other women- after all, wasn’t Joan “the other woman”?

Back to present times, a restless Joan needs a day to herself in the bustling city before she explodes at Joe. Before she can head out, she is talked into a drink by Nathaniel, who cagily reveals much of what he knows to Joan.

The scenes between Close and Slater crackle with passion Is he flirting with her or attempting to get her to buckle under from compliments and booze? Close is purely in control of Joan’s emotions here, but so much is written on the actress’s face.

She is just mesmerizing to watch as her calm demeanor borders on cold and calculating in her responses to Nathaniel’s questions.

Joe and Joan’s son David plays a key role in all of this. As with Joan, he harbors his resentments towards his father, but his rage is more blatant. He yearns for his father’s approval on a newly written story, also is angry with every comment his father makes. Is he simply experiencing jealousy over his father’s talents?

When David learns a secret, events get good, culminating in a wonderful blowup scene between the three characters in a hotel room, at simply the worst possible time.

Pryce must be given props as he plays Joe with much complexity. Partially sympathetic and partially unforgivable, he elicited a mixed reaction from me. Not one to treat Joan badly, he sings her praises from one toast to another.

A cad, he is also a narcissist, yet he does adore and think the world of Joan- so they share a complex love.

The Wife (2018) is a wonderful film that appreciates the talents of its cast. With stalwarts such as Pryce, Slater, and newcomer Max Irons fleshing out the supporting roles, this only enhances Queen Bee Close’s bravura performance.

I have always thought there would never be any way Close could rival her breathtaking portrayal of dastardly Alex in Fatal Attraction (1987), but she sure comes damned close in The Wife.

Oscar Nominations: Best Actress-Glenn Close

Independent Spirit Award Nominations: Best Female Lead-Glenn Close (won)

2002 Films, Allison Janney, Claire Danes, Drama, Ed Harris, Eileen Atkins, Jeff Daniels, John C. Reilly, Julianne Moore, LGBTQ+ Drama, LGBTQ+ Films, Margo Martindale, Meryl Streep, Miranda Richardson, Nicole Kidman, Stephen Daldry, Toni Collette

The Hours-2002

August 17, 2018 scottmet99 Leave a comment

The Hours-2002

Director Stephen Daldry

Starring Nicole Kidman, Julianne Moore, Meryl Streep

Scott’s Review #803

Reviewed August 17, 2018

Grade: A

The Hours (2002) is a film containing the ultimate in acting riches. With names like Nicole Kidman, Meryl Streep, and Julianne Moore associated with the film this is not surprising.

Not solely belonging to the ladies, however, Ed Harris, in particular, is dynamic in his role as are all the other males who appear in the film.

Told in three different sections in chronological order, but going back and forth, the stories all share connections via the novel Mrs. Dalloway, written by Virginia Woolf.

One of the best films of the decade!

Each segment of the film takes place within a single day, but decades apart. Wisely, director Stephen Daldry switches between the stories frequently leaving sort of a cliffhanger, making the drama more compelling and spicy.

In 1923, a depressed Virginia Woolf is portrayed by an unrecognizable Nicole Kidman in a role that won her the Best Actress Oscar.

Woolf resides outside of London and struggles to complete her novel amid nervous breakdowns and the watchful eye of her husband, who is aware of her mental pain.

In 1951, Laura Brown (Julianne Moore) seemingly has it all, living the “American Dream”. Residing in a nice neighborhood with a loving husband, she is pregnant with her second child, spending the days at home raising her young son, Richie, whom she is very close to yet does not understand.

After a fleeting lesbian dalliance with a neighbor, Laura goes off to a hotel with bottles of pills, intending to kill herself. She changes her mind after reading Woolf’s novel and dozing off, deciding instead to make a different decision.

Finally, in 2001, Clarissa (Meryl Streep), is bisexual and in a same-sex relationship. She lives with Richard (Harris), whom she dated in college, now the best of friends. He is gay, stricken with the AIDS virus, and close to committing suicide as he plans to jump out of a window.

This story (present times) is crucial to the film because it involves two characters from the 1951 story. These characters intersect with others in a touching and heart-wrenching way.

The greatest parts of The Hours are the brilliant acting and the richly written storytelling. Arguably, Kidman, Streep, and Moore all could have won Oscars for their performances, and I must mention that as brilliant as Kidman is (she is the sole Oscar recipient), and Streep is just universally good, I would have given the Oscar to Moore- the standout in my opinion.

Glamorous and intelligent, warm to her son, she makes a monumental and controversial decision. The character should not be sympathetic- yet she is. This is a testament to Moore’s infusing the character with confidence, reasonable thoughts, and even some empathy. We finally understand why she does what she does.

May I boast for a moment about Harris’s performance? Richard, once known as Richie as a kid (this will give something away), has lived a difficult life.

Abandoned, wounded, and suffering much loss, he is a tragic figure, pained beyond belief. His suffering is so monumental that we almost welcome his demise, and Harris offers so much of himself in this difficult role. He is both physically and emotionally hurt and Harris portrays this in spades.

Uniquely, all three stories work independently of each other. Yes, characters from one appear in another, but they are like well-crafted vignettes. Similarly, they each begin with breakfast, then involve the planning of a party or celebration of some sort, and culminate in sadness.

Yet, the film does not feel like a downer or preachy in any way, but rather, good, solid, humanistic story-telling, which I adore.

Sure, the film is considered a drama, but it also contains multiple gay or bisexual characters and therefore must be included in the chambers of LGBT filmmaking.

With an A-list cast, the film helps lead the charge (successfully so) to bring more rich LGBT films to center stage and garner mainstream audiences.

The great aspect of The Hours is that it is a mainstream film- a good solid drama.

Based on a Pulitzer Prize-winning novel by Michael Cunningham, The Hours (2002) does not try to draw parallels with each story or necessarily connect them in an obvious fashion.

Rather, the film version provokes thought both with LGBT and feminist approaches. Each female central character lives in a world run by men, as Woolf argues in her novel.

The film brilliantly adapts the novel and brings it to large audiences in a fantastic, riveting fashion.

Oscar Nominations: 1 win-Best Picture, Best Director-Stephen Daldry, Best Actress-Nicole Kidman (won), Best Supporting Actor-Ed Harris, Best Supporting Actress-Julianne Moore, Best Adapted Screenplay, Best Original Score, Best Costume Design, Best Film Editing

2018 Films, Adam Driver, Best Film of the Year, Biography, Corey Hawkins, Crime Drama, Drama

BlacKkKlansman-2018

August 14, 2018 scottmet99 Leave a comment

BlacKkKlansman-2018

Director-Spike Lee

Starring-John David Washington, Adam Driver

Scott’s Review #802

Reviewed August 14, 2018

Grade: A

Spike Lee’s latest offering, BlacKkKlansman (2018) is a brilliant effort and oh so timely in the tumultuous political climate in the United States circa 2018.

Despite the film being set in the early 1970s, the racial issues and tensions that Lee examines are sadly still an enormous problem in present times. Lee infuses some humor and even romance into the drama so the film is not too preachy or heavy.

A grand and relevant effort that should be watched by all.

As the film commences, we are treated to a clip from the 1939 classic film Gone With the Wind and BlacKkKlansman concludes with prominent clips of racial tensions circa 2017.

The timeline is extremely important and powerful as the point of the film is made abundantly clear that racism is still alive and well.

Lee, a known liberal, puts a clear left spin on his work- BlacKkKlansman will likely not be seen by conservative filmgoers and this is sad as valuable lessons learned can be achieved by viewing this piece.

The story is based on a true story memoir written by Ron Stallworth, the first black police officer to be hired by the Colorado Springs police department. He successfully infiltrates the local chapter of the Ku Klux Klan with startling results.

The film begins with a speech by a doctor (Alec Baldwin) offering a “scientific explanation” of white superiority in 1957. Fast-forward to the early 1970s where the rest of the film takes place.

Ron is initially hired by the police force as a progressive initiative for diversity, but quickly moves into a detective role as he manages to pose as a KKK member via telephone while another detective, Flip Zimmerman (Adam Driver) goes to meetings in person.

Lee’s focus is clearly on the overall content and message of the film and therefore little character development is achieved. I admittedly did yearn to know the “how’s” and the “why’s” of many of the characters, but the film is not really about the characters individually and I am okay with this.

Why did Ron desire so much to become a police officer? What was his childhood like? How did Patrice become President of the black student union? What was her childhood like? What upbringings did some of the KKK members have?

Certainly, enough time would not have been allowed to answer all of these questions. Small gripe.

Lead actor John David Washington, son of Denzel Washington, unknown to me before watching this film, is tremendous in his role. As is Driver in his supporting role of Zimmerman, but again these are not character-driven roles.

Washington has tremendous chemistry with his love interest, played by Laura Harrier. Ron and Patrice discuss politics and dance the night away, but she is an activist and a cop making their chances of happily ever after tough to imagine. Their romance is atypical of most films as it is based on intelligence and not silly, melodramatic aspects.

On the acting front, Topher Grace as the racist David Duke is tremendous. With a kindly demeanor mixed with a bubbling under the hatred of blacks and Jewish people, Lee makes certain he is the foil.

A delicious scene towards the end of the film when Duke gets his comeuppance of sorts is well done and received a thunderous roar from the theater audience.

Lee is careful to make sure the bad guys all get their just due and are all portrayed as complete fools. With a false sense of nationalism, many hate minorities simply because they feel they are taking over their beloved country.

Not to harp on this, but BlacKkKlansman will attract those who already agree with Lee’s beliefs and politics. If only those who disagree would give the film a chance. Unlikely.

The final five minutes of BlacKkKlansman arguably is the most pivotal experience of the entire film but has nothing to do with the actual story portrayed in the rest of the production.

Lee concludes the 1970’s portion of the film in a satisfying fashion, then fast forwards to the horrific events that took place in Charlottesville, Virginia in 2017 when protesters clashed with a racist group resulting in an innocent woman’s death.

The controversial remarks of President Trump- refusing to cast blame on the racist group are shown. Sitting in a crowded movie theater, these clips had the biggest reaction from the audience with some flipping Trump the finger, while others sobbed in anguish and disbelief that we have achieved so little as a nation.

Rarely ever a more pertinent or meaningful film for the current political climate the United States is experiencing, BlacKkKlansman (2018) brilliantly ties racism spanning one hundred and fifty years and shows how it still exists.

Amid this message, however, lies a great drama containing humor and importance.

Oscar Nominations: Best Picture, Best Director-Spike Lee, Best Supporting Actor-Adam Driver, Best Adapted Screenplay (won), Best Original Score, Best Film Editing

2003 Films, Brian Helgeland, Clint Eastwood, Crime Drama, Drama, Eli Wallach, Emmy Rossum, Kevin Bacon, Laura Linney, Laurence Fishburne, Marcia Gay Harden, Sean Penn, Tim Robbins

Mystic River-2003

August 10, 2018 scottmet99 Leave a comment

Mystic River-2003

Director Clint Eastwood

Starring Sean Penn, Tim Robbins

Scott’s Review #801

Reviewed August 10, 2018

Grade: A

Mystic River (2003) is a film that I consider to be the second-best offering directed by Clint Eastwood.

Along with Million Dollar Baby (2004), Eastwood successfully creates two compelling back-to-back dramas, not too dissimilar from each other.

He was unquestionably the “it” director of the early 2000s, and with Mystic River, helms a gritty, mystery drama with a stellar cast, nuts-and-bolts storytelling, and enough twists and turns to keep the audience guessing and ultimately shocked.

All of these pieces result in a memorable experience.

The film is based on the novel of the same name, written by Dennis Lehane. A tremendous element is a locale of Boston, and an Irish, blue-collar/working-class theme, prevalent throughout the story.

Thanks to the cinematography, illuminating a grey and stormy look, enhances the rest of the film. I adore films shot in and around Boston as so much culture and flavor are provided.

Eastwood hardly misses a beat with some cold and grizzled touches that play into the hardships and struggles of the character’s everyday lives.

The story itself begins as we meet the central characters (Jimmy, Dave, and Sean) as young boys, a three musketeers-type scenario where they are like blood brothers. After an incident occurs where Dave is accosted by men and sexually abused, he is ultimately rescued after four torturous days, but his life is never the same.

Fast forward twenty-five years and the boys are now men, still living in a working-class Boston neighborhood. Each is now married, their lives have moved on, drifted away from each other, and contain vastly different personality types.

They reunite after a tragedy occurs.

For starters, a major win by Eastwood is the casting of each of the male characters. Sean Penn plays Jimmy, the volatile ex-con, who runs a small store, while Sean, played by Kevin Bacon, has become a Massachusetts State Police officer, putting him directly at odds with Jimmy.

Sadly, Dave (Tim Robbins), now lives a quiet life, still harboring trauma, shame, and guilt from his childhood experience. When Jimmy’s daughter (Emmy Rossum) is brutally murdered, the three friends’ lives are intertwined as they search for the killer taking the viewers down a dark path filled with secrets, some from the past.

Laura Linney and Marcia Gay Harden give tremendous performances as Jimmy’s and Dave’s wives, respectively.

Mystic River is a film where all of the great elements come together perfectly. From the acting to the components of the story to the whodunit involved, to the exciting twist and conclusion to the overall film are truly exceptional.

But what sets it apart from a standard drama or thriller are the characterizations and relationships among these characters.

Childhood memories can last a lifetime in their monumental importance and this is evidenced many times between Jimmy, Dave, and Sean. Blood brothers, yes, but when tragedy strikes, old wounds and fresh wounds together run deep.

The themes of violence and revenge are firm staples of this film, and these are commonalities for many Eastwood films. Viewers may also find themselves conflicted with whom to sympathize with or where their allegiances should lie.

Jimmy, the anti-hero, will garner sympathy for the vicious loss of his daughter- pain that can never be fully healed.

Did Dave, the obvious prime suspect, kill the girl? If so, was it on purpose or by accident? Are others, specifically his wife, involved in a cover-up? Eastwood carves the setup spectacularly, but is it a simple red herring? These events make the film unbelievably compelling.

Fabulous is the performances all around, but especially by Penn and Robbins, both awarded with Oscar wins for Best Actor and Best Supporting Actor, respectively.

Penn never delivers poor performance, but Jimmy is one of his best characters yet. As for Robbins, he fills the character of Dave with empathy- a wounded bird left damaged through no fault of his own, suffering a terrible fate due to circumstances, misunderstandings, and ultimately tragedy.

Mystic River (2003) watched alongside Million Dollar Baby (2004) would make for an excellent Saturday night for fans of Clint Eastwood’s directorial talents. These two are the best of the best with great character development and rich writing.

The direction, however, enhances the spectacular elements and takes it a bit further providing appropriate texture and a wonderful atmosphere.

Oscar Nominations: 2 wins-Best Picture, Best Director-Clint Eastwood, Best Actor-Sean Penn (won), Best Supporting Actor-Tim Robbins (won), Best Supporting Actress-Marcia Gay Harden, Best Adapted Screenplay

2005 Films, Best Picture Oscar Winners, Brendan Fraser, Daniel Dae Kim, Don Cheadle, Drama, Independent, Independent Drama, Ludacris, Matt Dillon, Michael Pena, Paul Haggis, Ryan Phillippe, Sandra Bullock, Terrence Howard, Thandie Newton, Tony Danza, William Fichtner

Crash-2005

August 3, 2018 scottmet99 Leave a comment

Crash-2005

Director Paul Haggis

Starring Matt Dillon, Thandie Newton, Don Cheadle

Scott’s Review #799

Reviewed August 3, 2018

Grade: A-

A superior film that has unfortunately suffered greatly after controversy, Crash (2005) is a story of intersecting vignettes all interrelated.

The controversy stems from the film’s very surprising Oscar win over the heavily favored Brokeback Mountain. Many thought the latter was a shoo-in, poised to set the LGBT genre ahead of the game.

Sadly, now when Crash is discussed by film lovers, it’s usually in tandem with Brokeback, and usually on the heels of its having stolen the Oscar crown.

On its own merits, the film excels as a social story exploring the many facets of race, racism, and bigotry.

The events in Crash take place within one thirty-six-hour day in metropolitan Los Angeles. Featuring a slew of characters that would even impress Robert Altman, the audience witnesses situations involving many races and backgrounds.

We meet Rick and Jean Cabot (Brendan Fraser and Sandra Bullock), a white affluent couple who are carjacked when driving home from dinner. The black men who carjack the couple then strike a Korean man and bring him to the hospital.

A racist police officer, John Ryan (Matt Dillon), cares for his troubled father who cannot afford insurance. A Persian father and daughter wish to buy a gun for protection, and a Hispanic father (Michael Pena) worries about a rash of drive-by shootings.

The stories go on and on as a myriad of the characters come into situations involving other characters.

The interconnecting stories all cascade into overlapping situations of interest. The point of Haggis’s film is racism but with a creative twist.

The director points out and shows that those who are racist have good qualities too and those who are discriminated against in turn discriminate against others themselves.

The most interesting character is Dillon’s, John Ryan. On the surface a racist, wise-ass, who in one scene embarrasses an affluent light-skinned black woman (Thandie Newton), simply because he carries a gun, then ends up saving her life in a horrific car accident.

But is he redeemed? Does he see the world as black people getting ahead and he is left behind? What about the Persian man, discriminated against, but then vowing revenge on a Hispanic man after a misunderstanding?

The black men who carjack the white couple then release a group of immigrants who will surely be sold, perhaps even for sex trafficking. Does this act make the men good?

The point that Haggis makes is that each character is neither all good nor all bad, but rather complicated and nuanced with emotions based on past experiences and discrimination themselves.

Crash is highly similar to Traffic (2000) and Babel (2006) in terms of pace, style, and the way the stories align. The film is different, however, in that the location is strictly confined to Los Angeles, making the setting of monumental importance.

How would events be different in a setting like Middle America? Or in a different country? These possibilities are worth contemplating based on the perception that Los Angeles is one of the most diverse cities in the United States. If racism occurs there it can occur anywhere.

Now more about that pesky Oscar controversy! In later years critics would largely agree that the inferior film had won that year and Brokeback Mountain lost due to a level of homophobia on the part of the voting academy.

Since the academy is filled with Hollywood liberals, albeit of an older generation, an alternative way of thinking is that perhaps Crash won because it was the “safer” film.

Everyone seems to have forgotten the other three nominated films that year. Alas, Crash is permanently marred for winning Best Picture. It would undoubtedly have more supporters had it lost.

Ranked as one of the lowest-scoring Best Picture winners, I still believe Crash has some worth- though I agree that it should not have won over Brokeback Mountain.

Taken on its own merits the film is quite good. A message film with great atmosphere, it succeeds in making the viewer think and ponder perhaps their discrimination, whether conscious or subconscious.

The ensemble acting and character representations are all very good and worthy of a second watch.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-Paul Haggis, Best Supporting Actor-Matt Dillon, Best Original Screenplay (won), Best Original Song-“In the Deep”, Best Film Editing (won)

Independent Spirit Award Nominations: 2 wins-Best Supporting Male-Matt Dillon (won), Best First Feature (won)

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