Category Archives: Drama

2016 Films, Best Feature- Independent Spirit Award Winners, Best Film of the Year, Best Picture Oscar Winners, Drama, Independent, Independent Drama, Janelle Monáe, LGBTQ+ Drama, LGBTQ+ Films, Mahershala Ali

Moonlight-2016

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Moonlight-2016

Director-Barry Jenkins

Starring-Trevante Rhodes, Andre Holland

Scott’s Review #512

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Reviewed November 6, 2016

Grade: A

Moonlight is a wonderful film, rich with character and grit, that tells the story of one man’s life- from childhood to teenage years, to adulthood, sharing the bonds he forms, and the demons he wrestles.

The acting all around is fantastic and the story poignant and truthful.

The film is not preachy, but rather tells a story and leaves the audience to sit and observe- quietly formulating their own opinions. Moonlight is a mixture of beauty and heartbreak and is told very well.

The film is divided into three chapters- in chronological order of the central character’s life.

Chiron is a shy, docile, young boy of six or seven living in a drug-filled world of Miami, Florida in the 1980s. He is bullied for being “different” though he knows not why he is shunned. Chiron is introverted and distrusting.

A kind-hearted drug dealer named Juan (Mahersala Ali) takes a shine to Chiron, whose own mother becomes more and more absent and emotionally abusive to her son.

Naomie Harris plays Paula, mother to Chiron and herself a drug addict. Juan and his girlfriend Theresa (Janelle Monae) become surrogate parents to Chiron and share their home with him as needed.

Chapter two focuses on Chiron as a teenager- still bullied and coming to terms with his sexuality and feelings of insecurity. By this time his mother has spiraled out of control and his life is a sad one. He is filled with emotions such as rage, despair, and confusion. He has an experience with his best friend Kevin that changes the direction of his life. Kevin is his saving grace and a decent person amidst his troubled life.

In chapter three, we are re-introduced to Chiron as an adult- having completely reinvented himself and become a changed man, but is he changed for better or for worse? People from his past resurface at this time and Chiron must face various demons and emotions, and come to terms with himself and others surrounding him.

Does his story have a sad or a happy ending is the question we are left wondering.

The aspect that left me impressed the most is the storytelling and the ground that is broken with this film.

From an LGBT perspective, by this time (2016), we have experienced numerous offerings on the subject, but the fact that Moonlight is not only a character study, but a love story between two black men have not been done to this degree yet in cinema, or arguably at all, especially in mainstream fare.

Happily, Moonlight is receiving critical praise. The fact that Chiron lives in a macho, male-driven society, makes his self-acceptance all the more challenging for him.

The direction in Moonlight is impressive and director Barry Jenkins deserves much praise.

Quiet scenes of Chiron as a boy asking Juan and Theresa why the bullies call him a certain name are heartbreaking. Another scene, muted and in slow motion, reveals an abusive Paula calling Chiron a degrading name leaving him confused and hurt. Otherwise, tender scenes between Chiron and Kevin are sweet and passionate and told on such a humanistic level.

Moonlight delves into such territory as loneliness and self-identity and is an interesting film to view for anyone who has struggled with these issues or anyone who is empathetic to those who have.

Moonlight breaks stereotypes and molds a film that is subtle and low-key but speaks volumes.

Oscar Nominations: Best Picture (won), Best Director-Barry Jenkins, Best Supporting Actor-Mahershala Ali (won), Best Supporting Actress-Naomie Harris, Best Adapted Screenplay (won), Best Original Score, Best Cinematography, Best Film Editing

Independent Spirit Award Nominations: Best Feature (won), Best Director-Barry Jenkins (won), Best Screenplay (won), Best Cinematography (won), Best Editing (won), Robert Altman Award (won)

1987 Films, Charlie Sheen, Daryl Hannah, Drama, Hal Holbrook, James Spader, Martin Sheen, Michael Douglas, Oliver Stone, Paul Guilfoyle, Sean Young, Sylvia Miles, Terence Stamp

Wall Street-1987

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Wall Street-1987

Director Oliver Stone

Starring Michael Douglas, Charlie Sheen, Daryl Hannah

Scott’s Review #511

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Reviewed November 5, 2016

Grade: B+

Rather late in the game, but 2011 was my first time seeing the film Wall Street and it was a very good film.

Douglas and Sheen have great on-screen chemistry and the numerous scenes of New York City are pleasing- pre- 9/11 they capture a haunting feeling.

Despite being made in 1987 (not a great year for cinema), it does not feel dated except for the soundtrack.

Unfortunately, the circumstances in this movie still ring true today. There is a lot of dishonesty and greed in the financial world (check out the documentary Inside Job for proof of this).

The financial collapse of 2008 is a great indicator.

Michael Douglas is excellent in the role of Gordon Gekko, a power-hungry, greedy financial mogul.

He encompasses the role in every way and deservedly won the Best Actor statuette for this year.

Oscar Nominations: 1 win-Best Actor-Michael Douglas (won)

2010 Films, Anthony Mackie, Drama, Independent, Independent Drama, Kerry Washington, Tanya Hamilton, Wendell Pierce

Night Catches Us-2010

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Night Catches Us-2010

Director Tanya Hamilton

Starring Kerry Washington, Anthony Mackie

Scott’s Review #503

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Reviewed October 29, 2016

Grade: B+

Night Catches Us (2010), as a film, has some very good qualities and is quite captivating and interesting to watch. Largely, it is set during the 1970s in Philadelphia and encompasses racial tensions during that time.

Kerry Washington and Anthony Mackie star and do a very nice job with the material given.

The film tells the story of a former 1960s Black Panther (Mackie) who returns home after a decade to start his life over, or so he hopes.

Night Catches Us is a combination of love stories and political/social commentary and is an important film to watch.

The leads, along with Wendell Pierce, are great and the real-life 1960s Black panther rally footage is interesting to see from a historical perspective.

My only criticism is I wanted a bit more.

Certain events seem plot-driven and forced- slightly clichéd in the romance department, but overall I enjoyed the film very much, especially for Mackie and Washington’s performances.

Great acting and a socially relevant story.

Independent Spirit Award Nominations: Best First Feature

2008 Films, Drama, International, International Drama, Irish, Kelly O'Neill, Lance Daly, Shane Curry

Kisses-2008

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Kisses-2008

Director Lance Daly

Starring Kelly O’Neill, Shane Curry

Scott’s Review #500

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Reviewed October 28, 2016

Grade: B+

Kisses (2008) is an Irish film that tells the story of two pre-teenage kids (Dylan and Kylie), who run away to Dublin on Christmas to escape their dysfunctional families and their small town, morose life.

Instead, they become attracted to the “big city” and the hope of finding Dylan’s older brother, himself having run away to escape the oppressive environment.

At first, Dylan and Kylie barely know each other, neighbors, but far from close. Gradually they become best friends and form an unbreakable bond.

While in Dublin, they face terror and charming moments of wonderment as they traverse the city, mainly at nighttime.

Great acting and chemistry from the two leads, especially being untrained actors. Kylie- an extrovert and full of life, successfully brings out the best in Dylan, who is reserved and withdrawn, so the pair complement each other as they experience their adventures.

The cinematography in Kisses (2008) is fantastic as one gets to experience the hustle and bustle of Dublin, and the quiet countryside of a small Irish town, which is an immense threat, and a contradiction in lifestyles.

1957 Films, Art, Bengt Ekerot, Best Film of the Year, Bibi Andersson, Drama, Gunnar Björnstrand, Gunnel Lindblom, Ingmar Bergman, International, International Drama, Max von Sydow, Swedish

The Seventh Seal-1957

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The Seventh Seal-1957

Director Ingmar Bergman

Starring Max von Sydow, Gunnar Bjornstrand

Scott’s Review #497

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Reviewed October 23, 2016

Grade: A

The Seventh Seal (1957) is an Ingmar Bergman Swedish masterpiece that, after three mere viewings, I am just beginning to appreciate and fall in love with.

It is not that I did not “get” the dark, artsy theme to begin with- I did, but The Seventh Seal is a savory dish meant for repeated offerings, and with each, I have loved it even more.

The subject matter of the plague and the Black Death is heavy.

It is a quiet yet powerful, dark art film about death.

The film is shot in black and white, which does nothing but enhance the cold, stark concepts of the film. The color would have certainly made the film cheery or bright- if that can be said, given the subject matter.

Instead, the filming is cold yet illuminating, and the whites seem very white, while the blacks seem very dark, which symbolizes the film’s concepts.

In the story, a disillusioned medieval knight, Antonius Block (Max von Sydow), returns home from war, disenchanted with life. He fought in the Crusades and returned home to Sweden to find it plagued by the Black Death.

He begins to play a game of chess alone- and is visited by Death- a hideous pale creature shrouded in black. Antonius challenges Death to chess- his fate is left so long as the game continues.

Throughout the film, Antonius is the only character who can see Death- the other characters cannot, making the film open to interpretations.

The other characters in the story are a troupe of actors that Antonius meets along the way to his castle, and a young, fresh-faced girl who has been branded a witch and is fated to be burned at the stake is featured.

Since she is close to death, Antonius takes a particular fascination with her.

Throughout the film, as well as the trials and tribulations of the characters, Death continuously lurks around, watching these characters, which is a fascinating part of the film. They cannot see him, so we can only assume their time in this world is limited.

What makes The Seventh Seal so powerful is its honesty—harsh as it is. The knowledge that death is coming for these people is fascinating. Many characters discuss God in length and pray, as religion is an enormous aspect of the film.

It almost contains a good vs. evil, God vs. devil component, and again, important to stress, highly open to interpretation. Great art films are.

Numerous scenes reverberate and are significant iconic moments in film history decades later. The scene of Antonius and Death playing chess on the beach is chilling and ghost-like. Death- his pale face and a black cloak would frighten anyone. This scene has been referenced numerous times over the years.

My favorite is the inevitable final shot of peasants being led to their fate by Death. They are pulled begrudgingly by a rope reminiscent of the Pied Piper titled “Dance of Death.”

The individuals are dressed in black and are atop a hill surrounded by the sky, making the morbid scene highly effective.

The Last Supper scene is powerful, and the group enjoys the final meal, unsure of what fate has in store for them the next day.

I anticipate more viewings of this brilliant piece of filmmaking.

1998 Films, Comedy, Drama, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Romantic Comedy, Swedish

Show Me Love-1998

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Show Me Love-1998

Director Lukas Moodysson

Starring Alexandra Dahlstrom, Rebecca Liljeberg

Scott’s Review #496

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Reviewed October 22, 2016

Grade: B

Throughout the latter part of the 1990s, films with more of an LGBT perspective (then simply referred to as the gay and lesbian genre) were being released more readily, though it was not until the 2000s when mainstream offerings on the subject (Monster-2003, Brokeback Mountain-2006) hit the big screen to wide acclaim.

Show Me Love (1998) is a Swedish coming-of-age story about two high school girls, opposites in social acceptance, who find love.

Interestingly, the film was directed by a male- Lukas Moodysson.

Show Me Love originally had a different title, a crude reference to the town the film is set in, in western Sweden, but when the film was considered for Academy Award contention (it did not cut), filmmakers were advised to modify the title for the film to have any shot.

The film contains a grainy look- using handheld cameras in parts and, of course, is in the Swedish language.

Agnes is sullen, introverted, and brooding. Known throughout the high school hallways as the angry, weird lesbian, she has few friends, and the ones who are kind to her, she shuns away.

Elin, by contrast, is popular, lively, and charming- everybody loves her. However, Elin is restless in the tiny Swedish town where she lives and yearns for excitement. When Agnes develops a crush on Elin, she confesses all to her computer, but nobody else.

The film is nicely put together and given the time of 1998, is quite brave. Today, many years have passed and progress within the LGBT community made, a film like Show Me Love is a more common occurrence.

Director, Moodysson, does not go for anything gratuitous or steamy but rather spins a sweet coming-of-age tale, not only of teen love and hormones but of outcasts and feelings of loneliness.

It’s a film that most can relate to in some way.

The actresses portraying the leads (Dahlstrom and Liljeberg) are fantastic in their roles and play the parts with conviction and believability. Despite being opposites, we buy their attraction and chemistry. Nothing is forced or dishonest.

My favorite scenes are the awkward 16th birthday party for Agnes, thrown by her well-meaning yet clueless parents. When nobody except a handicapped girl shows up, Agnes viciously insults her, causing her to leave.

The family sits in the living room eating the food that was planned for anticipated guests. It’s a poignant moment and rather sweet. Despite Agnes’s unpopularity at school, she has a very strong, loyal family unit- that is nice to see.

Later, Elin and her sister attend the party, but more as an excuse to avoid another one. Finally, Elin and Agnes share a kiss, but is it a mean dare or is it authentic?

A clever aspect of the film is how Moodysson distinguishes both Elin and Agnes’s sexuality. Agnes is gay, open, and out. Elin is very different and has boys interested in her.

The girls could not be more different and this adds a layer of complexity as each is in a different place in self-discovery. This feature also makes Show Me Love very honest in its storytelling.

The film is not a masterpiece and could have dared to venture into more controversial territory. Could they be harmed for being lesbians given the town they live in? Why is Agnes so sullen?

This is a stereotype (the brooding lesbian) that needs to be changed- though, given the time of the film, I will give it a slight pass. Why not make Agnes a happy, cheerful girl who is gay? How will Elin’s sister deal with Elin’s sexuality or is it merely a phase for her?

All sorts of darker issues might have been explored, but Show Me Love (1998) is tender, sweet, and lighter fare, but still an adventurous offering.

2015 Films, Drama, Liev Schreiber, Michael B. Jordan, Phylicia Rashad, Ryan Coogler, Sports, Sylvester Stallone, Tessa Thompson

Creed-2015

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Creed-2015

Director Ryan Coogler

Starring Sylvester Stallone, Michael B. Jordan

Scott’s Review #495

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Reviewed October 16, 2016

Grade: C+

Creed (2015) will please die-hard fans (and there are legions) of the Rocky (1976) franchise, eager for a trip down memory lane to revisit Sylvester Stallone’s “Rocky Balboa”.

For those yearning for a slice of nostalgia and a harkening back to when the first Rocky was released, Creed will be a crowd-pleaser. For others expecting something new or innovative the story will not be as satisfying.

The film is predictable with all of the expected elements of a sports film.

Instead of Rocky Balboa being the main attraction, he is now a senior citizen and long since retired, now owning a modest Italian restaurant in Philadelphia, the action centers on a young fighter, the bastard child of Apollo Creed, Rocky’s nemesis turned friend from the first few installments.

Adonis Johnson Creed (played by up-and-coming star Michael B. Jordan) is his name and before being rescued from a group home (he has a temper and fights a lot, naturally) by Apollo’s wife (Phylicia Rashad) he does not know fighting is truly in his blood.

Determined to make it big in the boxing world, he moves to Philadelphia and convinces Rocky Balboa to train him.

Along the way, he meets a love interest, Bianca (played by Tessa Thompson), a musician.

The main positives are the nods to history and a few sentimental moments throughout the film. How wonderful to see Rocky Balboa again. It’s like catching up with an old friend we have not seen for years.

We learn that sadly, Paulie and Adrian (Rocky’s brother-in-law and wife) have long since died and a sweet moment shows Rocky visiting their side-by-side graves, pulling up a chair, and reading the newspaper to them.

Rocky’s son has moved far away so Rocky is left a lonely man, and Apollo’s son revives a father figure element within Rocky.

Also nice are some flashback scenes to the earlier Rocky films and we see portions of Rocky’s and Apollo’s fights. The plethora of external Philadelphia scenes does bring authenticity and familiarity to the film and this is a wise decision, instead of too many interior scenes in a studio.

Otherwise, the film is largely a miss.

The formulaic, predictability must have been intentional to make Creed an ode to fans and a film that is easy to watch.  We are served the many “inspirational” training scenes as Adonis trains and trains for the big match, with an arrogant, loud, Londoner, with an equally unlikable coach.

The “good vs. bad” mentality that the film develops is contrived and completely plot-driven. It makes Adonis that much more likable and gives him the rooting factor.

This occurs time and time again in sports films. Why not make both fighters nice guys?

But, of course, the film also gives Adonis a temper to ensure that he appeals to the testosterone-driven fans expecting such.

Phylicia Rashad and Tessa Thompson are stock characters. We get the standard reaction shots from both as they wince along with the blows that Adonis receives, and Rashad gets an unintentionally comic moment. When Adonis lands a flattening blow on his opponent, she proudly professes “That’s what I’m talkin’ about!”.

Interesting to note, however, is the clever decision to make Bianca suffer from progressive hearing loss. Having her handicapped gives her nice humanity, though once the fight scenes begin this is never mentioned again.

A standard boxing film with the expected elements- testosterone, brutal fighting, sentimentality for good measure, and dutiful female characters with little substance, Creed (2015) is a guy’s movie, basic and predictable, with a little edge and lots of machismo.

However, it does capitalize on the Rocky franchise and offers a nice little nod to the past. Otherwise, it is a rather forgettable film with a mediocre story.

Oscar Nominations: Best Supporting Actor-Sylvester Stallone

2015 Films, Chloé Zhao, Drama, Forest Whitaker, Independent, Independent Drama, Jashaun St. John, John Reddy

Songs My Brother Taught Me-2015

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Songs My Brother Taught Me-2015

Director Chloé Zhao

Starring John Reddy, Jashaun St. John

Scott’s Review #494

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Reviewed October 14, 2016

Grade: B+

Songs My Brother Taught Me (2015) is quite an understated film experience, but despite the slow pace, I found the film of great interest.

The Native American population is largely ignored in cinema (and perhaps other avenues) so what a treat it was to see a film, albeit a small, quiet film, being made to represent this group of people.

Forest Whitaker produces the film.

Undoubtedly the funding was responsible for allowing it to be made at all.

Living on an Indian reservation in remote South Dakota, the story focuses on Lakota Sioux brother and sister Johnny and Jashaun- aged sixteen and eleven, respectively.

When their father dies in a house fire, they are forced to ponder their future within the Indian reservation, and also their desires to escape their lives and move to Los Angeles with Johnny’s girlfriend- also an inhabitant of the land.

The film is largely a slice of life on a reservation and the trials and tribulations of the members who live there. Johnny’s mother is a kindhearted yet boozy young woman with another son in prison.

Jashaun’s mentor, a tattooed man who is creative and attends alcoholics anonymous meetings, only to be caught drunk by Jashaun. A rivalry between Johnny and some rival boys develops.

Finally, Johnny aspires to purchase a truck from an older gentleman. The film is laced with different facets of real-life situations- trivial to some, but an entrance into a culture most know so little about.

I found the film quite interesting and compelling in a very subdued way. A marvel is the frequent long views of the prairie land- sweeping winds and gorgeous scenery for miles. Many shots of Johnny and Jashaun are featured- simply gazing into the crisp air in deep thought.

We see the conflict put upon both youngsters. Johnny, quite handsome and the object of affection by more than one young lady, yearns for a more exciting life. His girlfriend will be attending college in California. Pretty and smart- she is sure to move on to success, but Johnny plans to go with her.

Her brother inquires how Johnny will live with no job and no money- all valid points. Will Johnny age and remain on the reservation for the rest of his life or escape to a different world?

Jashaun, quite young, is filled with quiet energy and curiosity. She is educated and wise beyond her years. What will become of her without a father and surrounded by some unsavory types that her family knows?

Not an offering for those intent on seeing more action than thoughtfulness, but for the patient viewer, it is a fascinating introspective treat.

Songs My Brother Taught Me (2015) taught me a lesson in good storytelling.

Independent Spirit Award Nominations: Best First Feature, Best Cinematography, Acura Someone to Watch Award

2010 Films, Biography, David Strathairn, Drama, James Franco, Jeff Daniels, Jeffrey Friedman, Jon Hamm, Mary-Louise Parker, Rob Epstein, Treat Williams

Howl-2010

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Howl-2010

Director Rob Epstein, Jeffrey Friedman

Starring James Franco

Scott’s Review #491

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Reviewed October 9, 2016

Grade: B+

Howl (2010) is a compelling courtroom drama biopic starring James Franco who is wonderfully cast.

This role, despite being in a small film with little recognition, cements Franco’s talents as an edgy actor who is willing to tackle challenging work rather than sticking to mainstream safe fare.

Franco has become one of my favorite young actors. He is so diverse and believable in any role he takes on.

The story is about 1950s poet Allen Ginsberg and his trial to determine whether his poems were art or should be banned for being indecent.

Much of the action transpires inside the courtroom and the film wisely mixes animation (in scenes of Ginsberg reading his poetry) in between traditional scenes.

The film allows the viewer to get to know the characteristics of Ginsberg. He was troubled (his sexuality, delusions, stints in a mental hospital), for sure, but also had a true, authentic love of writing and poetry, which is inspiring in an age of digital technology.

Sometimes good old-fashioned words are the truest art.

Howl (2010) is an interesting little film.

1970 Films, Drama, Independent, Independent Drama, Joe Dallesandro, LGBTQ+ Drama, LGBTQ+ Films

Trash-1970

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Trash-1970

Director Paul Morrissey

Starring Joe Dallesandro, Holly Woodlawn

Scott’s Review #490

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Reviewed October 7, 2016

Grade: B+

Trash (1970) is a very unique movie. It needs to be experienced firsthand to be believed.

Produced by icon Andy Warhol, it is both creative and raw, and certainly not for those seeking a basic film that can easily be digested and contained in a box.

Rather, the gritty and controversial aspects percolate into something edgy and creative. In essence, it is a day in the life of a junkie.

An indie drama with documentary aspects, made in 1970 and set in the Lower East Side of Manhattan, Trash tells the story of a young heroine junkie named Joe (Joe Dallesandro) along with his sidekick Holly, who wander throughout the city picking through trash in desperate need of their next heroin fix.

The film is hardcore and that is what I admired most about it. Not always compelling and certainly not always story-like, it is an experience.

Trash would likely not be made today, but, alas in the 1960s and 1970s films like this could be made.

Its rawness, explicit nudity (and I mean full-frontal folks) and blatant IV drug injections are not for the perky or conformists.

It reminds me quite a bit of a John Waters cult exploitation film but interestingly preceded John Waters.

Very well made and Id like to see it again sometime.

2015 Films, Andrew Haigh, Charlotte Rampling, Drama, Romantic Drama, Tom Courtenay

45 Years-2015

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45 Years-2015

Director Andre Haigh

Starring Charlotte Rampling, Tom Courtenay

Scott’s Review #488

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Reviewed October 1, 2016

Grade: B+

In the case of 45 Years (2015), acting is the clear highlight of the film and the main reason to view it.

Seasoned veterans take center stage and give tremendous performances and lessons in acting.

Tom Courtenay and Charlotte Rampling carry the film.

The subject of 45 Years is an enduring marriage tested by an outside revelation that escalates in importance into conflict and mixed emotions.

The film moves at a slow pace and can be challenging to the most patient of viewers, but the slow pace is warranted as the longevity of the character’s marriage is the key to the film.

Geoff and Kate Mercer, a happy couple living in rural England, are excitedly planning their 45th wedding anniversary (the 40th was canceled due to Geoff’s heart condition). They are a popular couple within their town, both kind and decent people, and the event will be attended by many.

One day Geoff receives a letter from authorities in Switzerland- a young woman (Katya) he was once involved with, and presumed dead in 1962, has been found. Having fallen into an icy glacier, her body is preserved and looks the same as she did then.

Not knowing the extent of their relationship, Kate is riddled with multiple feelings including jealousy, curiosity, and guilt. Geoff and Kate’s marriage is tested.

45 Years is a mature film involving mature characters. Geoff and Kate are still in love decades into their relationship, but the introduction of Katya becomes an unwelcome conflict.

The film plays out gradually, but realistically, as marriage moves along slowly. Many scenes of Geoff and Kate’s day-to-day activities are shown- they walk their dog together, travel into town to shop, relax, and read the newspaper.

Like real people do.

This is an asset to the film. Real life is sometimes mundane and dull, but these little tasks are pleasurable and soothing.

Geoff and Kate’s marriage contrasts with the relationship Geoff and Katya briefly had all those years ago (excitement, risk, youth) and one can understand Kate’s point of view.

As details reveal themselves, Kate feels inferior. She is not young anymore and thinks of Geoff and Katya and the life they may have had together if the accident had not occurred. Despite being dead, Katya becomes an obstacle in Kate’s mind.

The film wisely does not write Kate as a jealous shrew or one-dimensional. She fights her jealousy every step of the way and tries to be strong and realistic.

Charlotte Rampling gives such a good, subtle, understated performance that it is easy to overlook how good she is. She does not have hysterical moments or a scene where she loses control. Rather, Rampling shows a series of complex emotions with her facial expressions.

Let’s not forget to mention Tom Courtenay. Imagine being in the golden years of your life and a long-lost lover (in spirit anyway) returns to the fold. Geoff cannot help but imagine a life with Katya if she remained alive. Kate asks Geoff if he would have married Katya and he cannot deny that he would have.

Several scenes show the couple engaging in “old people” issues- awkward lovemaking for example, which enhances the differences between when Geoff and Katya were in their prime. Geoff cannot help but be whisked back in time with thoughts and what-ifs.

A standout scene is when Kate and Geoff dance at their anniversary party. Having professed his love during a speech they causally dance. Kate is both touched and pained and as the scene goes along unravels. She explodes internally.

Sometimes perhaps a tad too slowly paced, I get the point of pacing 45 Years this way. After all, nearly 50 years of marriage is a long time and similar days will pass with few important moments. Thanks to great acting, I overlooked this and was astounded at the complexities both Rampling and Courtenay bring to the table.

Oscar Nominations: Best Actress-Charlotte Rampling

1967 Films, Art, Catherine Deneuve, Drama, International, International Drama, Luis Bunuel

Belle De Jour-1967

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Belle De Jour-1967

Director Luis Bunuel

Starring Catherine Deneuve, Jean Sorel

Scott’s Review #486

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Reviewed September 29, 2016

Grade: A

Belle De Jour, the title translates to “lady of the day”, a French pun for “lady of the night”, a kind phrase for prostitution, is a fantastic art film.

Stylish, sophisticated, and open to interpretation (at least in my opinion), Belle De Jour is a late 1960’s journey into eroticism, social norms, and sexual freedom.

Gorgeous star Catherine Deneuve has never looked better and calmly does mental conflict.

The film is directed by Luis Bunuel.

Severine is a wealthy young newlywed, seemingly who has it all. She is showered with love and affection, not to mention material items, by her handsome hubby, Pierre, played by dashing Jean Sorel.

She wants for nothing as her husband is a doctor of great wealth. Yet she is unhappy and refuses to have physical relations with Pierre.

She begins a secret life as a prostitute in a posh home, only working in the afternoons, to avoid being found out. She has no regrets but is apprehensive about the clients she meets.

Throughout the film, Severine has secret fantasies about being kept in bondage and enduring various other sexual humiliations. All the while, the question asked is “Is this all Severine’s fantasy or reality”?  Or perhaps merely a portion is.

The audience wonders.

Do we feel sorry for the character of Severine? Not. One could make the argument she is spoiled and selfish, but she is not evil, but rather confused. She is quite polite, and Deneuve fills her with kindness and even an angelic spirit.

One cannot despise her even though on the surface one might be tempted to. What right does this woman have to rebuff her husband in place of sleazy clients? One particularly volatile client becomes obsessed with Severine and stalks her, going so far as exacting violence against her husband.

But wait, is this Severine’s fantasy or reality? Is she imagining everything and merely obediently waiting at home for her husband to return each day or is she living this life?

Many shots of gorgeous Paris are used by Bunuel, including the famed Arc de Triomphe and many other interesting streets and sights, which is a treat for fans of culture. The use of these exteriors goes a long way to ensure that the film is clearly “French” from a visual perspective.

Certainly, in 1967, the sexual revolution was in full swing and Belle De Jour epitomized the revolution of the times. Yet, it does not feel dated or reduced to a film “of its time”.

I find it more a character study than a genre film as Severine is an interesting study.

Belle De Jour challenges the viewer with an intense yet subtle story of a woman conflicted with sexual desire and repression- a film open to much interpretation and discussion.

It does what an art film is supposed to do- makes us think and ponder.

2015 Films, Biography, Bradley Cooper, Comedy, Dascha Polanco, David O. Russell, Diane Ladd, Donna Mills, Drama, Édgar Ramírez, Isabella Rossellini, Jennifer Lawrence, Melissa Rivers, Robert De Niro, Susan Lucci, Virginia Madsen

Joy-2015

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Joy-2015

Director David O. Russell

Starring Jennifer Lawrence, Bradley Cooper, Robert DeNiro

Scott’s Review #485

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Reviewed September 24, 2016

Grade: B-

Joy is a safe, mainstream, female-centered 2015 film, a biopic written for current star Jennifer Lawrence. She was nominated for a Best Actress Academy Award for her role and she carries the film.

Still, despite her performance, the film is nothing special and is written in a ho-hum manner.

It is simply not very compelling and the supporting characters are not utilized as they could have been. Despite being based on a true story, the writing is lazy and the plot far-fetched.

I expected more.

The film is another collaboration between director, David O. Russell, and big stars of the time- Lawrence, Bradley Cooper, and Robert DeNiro- all used in previous Russell films.

Lawrence plays Joy, a struggling Long Island mother of two, who is divorced from her husband (who still lives in the basement of her house), with multiple family members living with her, forming a support unit.

The sense is that Joy is the breadwinner of the family.

The story is narrated by Joy’s grandmother, who she calls Mimi (Diane Ladd). Mimi always knew Joy would be a success and we see a few scenes of Joy as a child, surviving her dysfunctional family and her parent’s disputes.

DeNiro plays her womanizing father, divorced from her mother (Virginia Madsen), who lies in bed all day watching soap operas. Cooper plays opportunist, QVC executive, Neil Walker, who takes a liking to Joy and helps her achieve her dream as a successful businesswoman after she patents an idea for a new, high-powered mop.

The authenticity of the time, 1989, and through the 1990s is apparent, as we see Joy working for Eastern Airlines, a company that would fold several years later. Also authentic were the automobiles of the time and the dresses and hairstyles.

These points the film does very well. And how cute was it to see famous daytime television stars such as Susan Lucci, portraying soap opera stars, as Joy’s mother lives her life vicariously through their tangled and bizarre soap lives?

Several scenes occur on the television set as we get glimpses of the soap stories.

The film as a whole, though, feels too neat.

Predictably, Joy faces obstacles on her way to success.  Already struggling financially, she takes out a second mortgage on her house. At first, she cannot give away mops, let alone sell them.

On the brink of giving up, she finishes a meeting with execs who laugh at her product, but Walker is there to give her a break because she has a pretty face.

Predictably, things do not go well and there is a rather dull subplot about a company in Texas trying to steal Joy’s idea. When she goes and threatens them they immediately back down and obediently give in to her every whim.

This is both unrealistic and uninteresting.

I would have liked to have seen a messy back-and-forth or some court scenes, but the Texas company is portrayed as nothing but the villain.

The writing has either plot holes or contains missed opportunities altogether and many questions abound. Despite many scenes of Joy’s past we end up knowing little.

Her entire family lives with her in a suburban Long Island house- why does Joy own the house and not her mother or grandmother? Why does Joy have a rivalry with her half-sister, Peggy? Why does Joy’s father own an auto garage and still need to stay with Joy? Why is Joy’s mother mostly in bed?

Madsen as the mother is rather cartoonish and unnecessary to the plot as is Ladd- a dynamic actress given little of substance.  I did not buy DeNiro as a cad nor in love with his wealthy new girlfriend Trudy (though seeing Isabella Rossellini in the part is a win), conveniently there to be Joy’s financer.

Despite an enormously talented cast, which is fantastic to see, most of the supporting parts could have been played by any actors, as the roles are not all that challenging, and the film itself is certainly a vehicle to showcase Jennifer Lawrence, David O. Russell’s current “it” girl.

This is not a slight towards Jennifer Lawrence since she is the best part.  She successfully portrays Joy as a sympathetic, strong-willed, fair, decent human being, with enormous struggles, and a blue-collar sensibility.

Great performance, but I wish the writing and the other talents involved in the film were given better material.

Oscar Nominations: Best Actress-Jennifer Lawrence

1972 Films, Camp, Drama, Independent, Independent Drama, Joe Dallesandro, Pat Ast, Sexploitation, Sylvia Miles

Heat-1972

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Heat-1972

Director Paul Morrissey

Starring Joe Dallesandro, Sylvia Miles

Scott’s Review #479

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Reviewed September 11, 2016

Grade: A-

Heat (1972) is a Paul Morrissey/Andy Warhol collaboration in 1970s sexploitation films.

The film is somewhat of a spoof of the classic film from 1950, Sunset Boulevard, and stars 1970s cult star, Joe Dallesandro.

He plays a hunky struggling actor, and former child star, who begins a relationship with a has-been actress (Sylvia Miles) and her lesbian daughter as they co-habitat in a seedy Los Angeles hotel run by plump landlady (Pat Ast).

He pays the landlady a reduced rent in exchange for sex.

Heat stars two of my favorite cult film actresses (Miles and Ast).

It is a fun, over-the-top, independent-style sex romp and pleasing experience for those in the mood for something left of center.

2012 Films, Adam Driver, Biography, Colman Domingo, Dane DeHaan, Daniel Day-Lewis, David Oyelowo, David Strathairn, Drama, Gloria Reuben, Hal Holbrook, Jackie Earle Haley, James Spader, Jeremy Strong, Joseph Gordon-Levitt, Lukas Haas, Michael Stuhlbarg, Period Drama, Peter McRobbie, Political Drama, Sally Field, Stephen McKinley Henderson, Steven Spielberg, Tommy Lee Jones, Walton Goggins

Lincoln-2012

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Lincoln-2012

Director Steven Spielberg

Starring Daniel Day-Lewis, Sally Field, Tommy Lee Jones

Scott’s Review #476

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Reviewed September 10, 2016

Grade: A

Lincoln is a 2012 film, which received a slew of Academy Award nominations. There appear to be differing opinions about the film itself, however.

Lincoln has audiences divided over whether it’s a brilliant film or a snore-fest.

My opinion leans decisively toward the former.

I recognize that (especially the first half) the film is slow-moving, but I found it engrossing and well-made.

Even the subtle aspects (costumes, art direction, lighting) are masterfully done.

I found Daniel Day Lewis’s (Abraham Lincoln) lengthy stories intriguing, not dull and found it to be a wonderful history lesson.

Steven Spielberg does what he does best- he creates a Hollywood film done well. He also has done controversial, shocking, or experimental, but the mainstream fare is his forte.

This film is not for everyone, but if you can find the patience it will be an enlightening experience. If nothing else, a thing or two may be learned.

Oscar Nominations: 2 wins-Best Picture, Best Director-Steven Spielberg, Best Actor-Daniel Day-Lewis (won), Best Supporting Actor-Tommy Lee Jones, Best Supporting Actress-Sally Field, Best Adapted Screenplay, Best Original Score, Best Sound Mixing, Best Production Design (won), Best Cinematography, Best Costume Design, Best Film Editing

1995 Films, Children, Comedy, Drama, George Miller, Hugo Weaving, James Cromwell

Babe-1995

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Babe 1995

Director Chris Noonan

Starring James Cromwell

Scott’s Review #475

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Reviewed September 9, 2016

Grade: B

Babe (1995) is a cute, charming family film about a pig who becomes a hero while living on a farm with a family of other animals and a farmer and his wife.

It is not a risky film from a story perspective- any doubts about a happy ending?- though here are props for some visual creativity.

And let’s face it- the film is sweet and heartwarming with not a mean bone in its body.

The film is an inspirational one, nice for kids no doubt, and the visual effects, i.e. how they edited the animal movements with voices successfully are well done and not tacky.

The film is predictable and harmless and I’m not sure I agree with the Best Picture or Best Supporting Actor (for James Cromwell) nominations it garnered, but it was enjoyable all the same.

Oscar Nominations: 1 win-Best Picture, Best Director-Chris Noonan, Best Supporting Actor-James Cromwell, Best Screenplay Based on Material Previously Produced or Published, Best Art Direction, Best Film Editing, Best Visual Effects (won)

1969 Films, Bonnie Bedelia, Drama, Gig Young, Jane Fonda, Susannah York, Sydney Pollack

They Shoot Horses, Don’t They?-1969

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They Shoot Horses, Don’t They? -1969

Director Sydney Pollack

Starring Jane Fonda

Scott’s Review #474

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Reviewed September 6, 2016

Grade: A-

They Shoot Horses, Don’t They? (1969) is a tragic, riveting film, set in the Depression-era 1930s centering on a group of contestants entering a Dance-athon for an enormous cash prize.

Most of the film is set in and around the dance floor itself.

Contestants bring themselves to the brink of exhaustion to win the coveted money and the desperation of the characters is horrific.

Jane Fonda leads the pack as a depressed, sarcastic, aspiring actress, who desperately needs the cash prize.

The dark nature of the film is mesmerizing, though it is a difficult film to watch. I found the periodic parts of the film that seemed to drag, effective, as the contestants grew wearier as each hour dragged on.

It also felt like a precursor to the reality television craze that has swept the nation since the 1990s.

A tragedy, yes, but an effective and worthwhile film about depression and the struggle to survive. And a sad reminder of brutality as a form of entertainment.

Oscar Nominations: 1 win-Best Director-Sydney Pollack, Best Actress-Jane Fonda, Best Supporting Actor-Gig Young (won), Best Supporting Actress-Susannah York, Best Screenplay Based on Material from Another Medium, Best Score of a Musical Picture-Original or Adaptation, Best Costume Design, Best Art Direction, Best Film Editing

2015 Films, Billy Crudup, Corey Stoll, Crime Drama, Drama, Elizabeth Rodriguez, Independent, Independent Drama, Katherine Waterston, Marin Ireland, Noah Buschel, Yul Vazquez

Glass Chin-2015

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Glass Chin-2015

Director Noah Buschel

Starring Corey Stoll, Marin Ireland

Scott’s Review #470

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Reviewed August 28, 2016

Grade: B-

Glass Chin, an independent drama film from 2015 contains some positive and negative qualities.

The film has two rather intriguing central characters, a working-class appeal, and some fun moments of Quentin Tarantino-style influence. The villains are unappealing and downright annoying so these elements detract from the main story.

Still, a solid effort.

The premise is straightforward and comfortable. Corey Stoll plays Bud Gordon, a former New York boxer with a level of one-time success.

He now lives in a small apartment in New Jersey with his girlfriend Ellen (Marin Ireland). Yearning to get back into the game, he aligns with crooked businessman, JJ Cook, played by Billy Crudup.

Along for the ride is JJ’s odd henchman, Robert.

Framed for murder so that he is now “owned” by JJ, Bud must struggle to escape the mess he has gotten himself into.

The interesting parts of Glass Chin belong to Stoll and Ireland as they make Bud and Gordon likable and genuine. They are a great team, once successful and now struggling to pay the rent.

They encompass blue-collar appeal.

They are nice people, happy to dine at cheap diners, and clip coupons, but want a comfortable life. When Ellen tries caviar for the first time at a fancy hotel, she dislikes it. She is a happy working-class girl, comfortable in her skin. Bud misses the boxing lifestyle, not for the glamour, but for a purpose.

Having owned a failed restaurant, he is now forced to take a job with a shady character to make ends meet.

I would have preferred to focus only on Bud and Ellen and their life struggles, perhaps with more emphasis on their aspirations, his feelings of failure, and more story involving his training as a young boxer, Kid Sunshine.

But sadly these aspects are secondary to the emergence of villains JJ and Robert.

I am not sure why the filmmakers decided to make both JJ and Robert so weird, and I assume they were going for a Quentin Tarantino influence, but this did not work and led the film to lose some continuity.

Both characters, especially Robert, meander with monologues of nonsense dialogue and downright crazy talk that is rather over the top.

It adds nothing to the story.

They are high-class thugs- the point comes across. The female characters, besides Ellen, are Tarantino-influenced in their left-of-center actions (the wedding dress outfit, the statuesque model who beds Bud), but we know almost nothing about them.

As a side note, I love the constant outdoor locales of New York City and New Jersey, which add authenticity to the film. When Bud drives around in his beat-up 1980s Country Squire station wagon in the snowy New York weather, it adds atmosphere.

More of Bud and Ellen would have been preferred and less of JJ and Robert would have helped Glass Chin be a better film.

Still, there is some appeal, but overall Glass Chin (2015) is quite uneven.

Independent Spirit Award Nominations: Best Supporting Female-Marin Ireland

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

Anomalisa-2015

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Anomalisa-2015

Director Charlie Kaufman, Duke Johnson

Starring Tom Noonan, Jennifer Jason Leigh

Scott’s Review #469

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Reviewed August 27, 2016

Grade: A-

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

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

I am glad I did.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Oscar Nominations: Best Animated Feature Film

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

1962 Films, Brock Peters, Crime Drama, Drama, Gregory Peck, Mary Badham, Phillip Alford, Robert Duvall, Robert Mulligan

To Kill a Mockingbird-1962

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To Kill a Mockingbird-1962

Director Robert Mulligan

Starring Gregory Peck, Mary Badham, Robert Duvall

Scott’s Review #468

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Reviewed August 25, 2016

Grade: A

To Kill a Mockingbird is a 1962 film based on Harper Lee’s renowned novel. It was released only two years earlier, in 1960.

The novel was groundbreaking, and the film is equally so. Race and racism are front and center in the storyline. The film is still a marvel because it tells the story through the eyes of a child—in present-day terms, an adult—as she reflects on her experience.

The film is set in the 1930s in a small Alabama town.

We follow the lives of Atticus Finch, a respected lawyer and father, and his two young children- Scout and Jem.

Gregory Peck, as Atticus, is the moral center of the film. Scout (Mary Badham) narrates, and her innocence makes the story much more compelling and less like a preachy vehicle for a social topic.

The Finchs are a tight family unit as Atticus is widowed, leaving Jem and Scout motherless. A poor black man-Tom- is accused of raping and beating a white woman, also poor, coached into the accusations by her racist father.

We accept that the woman had designs on Tom and, when caught by her horrified father, was beaten, with Tom left to take the blame.

Much of the film, but not too much, takes place in the courtroom, as we hear testimony by the poor woman, her father, and Tom.

Not to be missed is that every juror is a white man- a sad reminder of the racism that existed and one argues still exists, though not as blatant in today’s modern world.

One cringe when the black attendees are forced to sit in the upper portion of the courthouse, an obvious way to demean and lessen them, and which speaks volumes for the town- we realize Tom does not have a chance, yet we hope against hope for his acquittal.

Wisely, I do not feel the point is the trial’s outcome—we know what will result. But the film teaches us a lesson about reality: life is often unfair and painful.

The after-effects of the trial are the most exciting part of To Kill a Mockingbird.

Gregory Peck was awarded the Best Actor Oscar in 1962 for his role as a liberal, progressive, and honorable man who can do no wrong and is an excellent example for his children.

A black maid, Calpurnia, works for him, and he treats her like family. I could not help but think she is the mother figure in Jem and Scout’s lives.

Atticus does the right thing, treating everyone fairly and living a moral life. He is an excellent example, and it is no wonder Peck won the trophy.

A subplot involves a mysterious neighbor, Boo Radley, feared by the town kids but turning out to be a protector and companion to Scout and Jem. This role was the first for acclaimed actor Robert Duvall- the actor has a tiny yet important role and does a great deal of expressive acting without uttering a line.

The title of the film is poignant and essential to the ending.

The film is really about Jem and Scout and their quick journey into the pains and unfairness endured by adults- once innocently enjoying the summer, playing games, and making friends with a visiting young boy, they are exposed to evil and a hate-filled racist town, which they slowly come to realize exists.

Filmed in black and white, this quality enhances the picture. The blowing leaves and dark shadows add much to the impressive cinematography and give the film a dark quality that color would have ruined.

The 1930s time period is very authentic.

To Kill a Mockingbird is a timeless film with an important message about the world. Children and adults of every generation should view it as a lesson in empathy and compassion.

The film is not ugly or raw but is truthful and still feels fresh. It will resonate with all audiences patient enough to give it a good watch.

Oscar Nominations: 3 wins-Best Picture, Best Director-Robert Mulligan, Best Actor-Gregory Peck (won), Best Supporting Actress-Mary Badham, Best Screenplay Based on Material from Another Medium (won), Best Music Score-Substantially Original, Best Art Direction, Black-and-White (won), Best Cinematography, Black-and-White

2015 Films, Christopher Abbott, Cynthia Nixon, Drama, Independent, Independent Drama, Josh Mond, Ron Livingston

James White-2015

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James White-2015

Director Josh Mond

Starring Christopher Abbott, Cynthia Nixon

Scott’s Review #465

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Reviewed August 15, 2016

Grade: A

I am always struck with a warm feeling, and my faith in the film is reaffirmed when I can watch an interesting independent film (or mainstream studio film for that matter) that has the guts to tell a dark character-driven story and tell it very well of sympathetic characters written exceptionally well.

2015’s James White is an appreciative offering about life and death and how the main characters deal with the roadblocks of life and the effects of death.

This film is quite dark, however.

A fantastic young actor, Christopher Abbott, plays the title character of James White.

We meet James in a loud nightclub, wearing headphones, with soft music, mixing interestingly with the pounding beats of the club music.

The audience immediately can tell that James is wound up, aggressive, and troubled. His estranged father has just died and while he is not too upset by his father’s death, he cares deeply for his mother, Gail, and is worried about her.

No sooner than a service, hosted by the father’s new wife, is held, we learn that Gail is suffering from stage four cancer and will not live much longer.

The film is about how James deals with his problems, from his mother’s illness to finding a job, a rocky relationship with a teen girl, and his reflections on his life, all while filled with rage.

The film takes place over three months, culminating in the dead of winter, an obvious irony.

Abbott and Nixon give astounding performances as son and mother, the apple of each other’s eye, and how they each deal with Gail’s inevitable, impending death.

James is bottled up with anger throughout the film and frequently needs to escape before losing it.

In one amazing scene though, he does lose it during a drunken hotel bender with pals Nick and Jayne. The sheer emotion and desperation that Christopher Abbott gives during this scene are inspirational for any aspiring actor to emulate.

One wonders if director Josh Mond allowed his actors to improvise most scenes as the compelling, raw feeling of scenes is evident.

Nixon, since her fame in television’s Sex And The City, has chosen daring and complex roles and this is to her credit.

As Gail, we see her desperate, emotional, filled with rage, and at times delusional, as she wonders what will become of her son after she is gone and how her world has spiraled out of control.

We also see Nixon successfully play motherly as she coaches her son through his anger and pleads with him to take care of her. It is a powerful performance.

Two slight knocks to the film- James’s best friend Nick is gay (and black), but despite their different sexual orientations, they are the closest of friends. While this aspect reaps heaps of praise for being incorporated into the film, we know very little about Nick, his family, or his inner feelings.

James’s new girlfriend Jayne is also a mystery. She is significantly younger, and is dutiful, but what are her motivations?

Yet, given the very short run time of the film (one hour and twenty-seven minutes), I can see why the filmmakers chose to focus on the mother/son relationship.

A slight criticism.

A film such as James White (2015) is purely character-driven and must be enormously rewarding for actors to play these two raw characters.

Painful, for anyone dealing with a loved one suffering from cancer to watch, but a fantastic journey into the world of wonderful acting and dynamic screenwriting.

Independent Spirit Award Nominations: Best Male Lead-Christopher Abbott, Best Supporting Female-Cynthia Nixon, Best First Feature

1999 Films, Angela Bettis, Angelina Jolie, Brittany Murphy, Clea DuVall, Drama, Elisabeth Moss, James Mangold, Jared Leto, Jeffrey Tambor, Vanessa Redgrave, Whoopi Goldberg, Winona Ryder

Girl, Interrupted-1999

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Girl, Interrupted-1999

Director James Mangold

Starring Winona Ryder, Angelina Jolie

Scott’s Review #461

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Reviewed August 8, 2016

Grade: B+

Girl, Interrupted is a film that I had viewed twice when it came out (1999) and recently viewed again in 2013.

The film is a star-making performance for Angelina Jolie (unknown before this) and warrants a watch just for that alone. Jolie completely steals the show as she portrays a damaged mental patient during the 1960s.

The film itself is interesting as its intended star is Winona Ryder, at this point in her heyday, but completely usurped by Jolie- glaringly so.

Ryder was in prime form when she was the “it” girl during the 1990s. Sadly, her star has since faded.

Besides the “who is the real star of Girl, Interrupted” saga, the film itself is very good, though it has a glossy, happily ever after, Hollywood, vibe to it.

It is not as gritty as it could have been.

Throughout, the film has a very safe feel- even in moments of peril, as when one girl commits suicide, or another suffers from burns, it feels light.

I did not buy Whoopi Goldberg as the kindhearted nurse. Her performance was okay, but nothing special.

Ryder and Jolie are tops.

Despite the subject matter, the film suffers from a chick-flick, cliché, happy ending sort of style, but despite all of this, I still immensely enjoy the film.

Oscar Nominations: 1 win-Best Supporting Actress-Angelina Jolie (won)

2015 Films, Arabic, Drama, International, International Drama, International Thriller, Jacir Eid Al-Hwietat, Naji Abu Nowar, Thriller

Theeb-2015

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Theeb-2015

Director Naji Abu Nowar

Starring Jacir Eid

Scott’s Review #459

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Reviewed August 4, 2016

Grade: B+

An Arabic-spoken foreign language film that received a 2015 nomination for Best Foreign Language Film, Theeb is an old-world film set in 1916 during the Ottoman Empire.

The event is  World War I as an Englishman battles Arabs and nobody can be trusted.

The film is largely shot in the smoldering Arabian desert (in Jordan) and told from the perspective of a child named Theeb.

Despite the slow pace, the moments of action are even more important. It has a grainy quality to it that makes it somewhat of a bizarre Arabian western.

Theeb lives in a small village run by his father and older brother, Hussein. One night a mysterious Arab man and an Englishman arrive seeking a guide to take them to a Roman well, close to the Ottoman railway.

The mission is feared a dangerous one, as the trail they must take is riddled with bandits, not to mention, the Englishman owns a box containing gold, making him a vulnerable target.

Theeb, left behind because he is so young, follows and joins them, much to the group’s chagrin. Predictably, trouble ensues and Theeb must fend for himself.

What I enjoyed about this film is its unpredictability in what happens after the group faces danger. Sure, when the foursome sets out on a trail led by camels, we know bad stuff will happen.

But, finally left to his own devices, I was intrigued as to how Theeb would face his new challenges, having up until now been protected by his family.

In ways, Theeb reminded me of another adventure film, Life Of Pi (2012), though Theeb is much darker. Both feature a young, non-American male of Indian or Middle Eastern background, forced to survive largely alone.

The John Boorman classic, Deliverance (1972), also came to mind during one dark scene, as Theeb and Hussein cower amongst rocky caves while their devilish pursuers taunt and whistle at them mockingly from below.

The hunter vs. victim component is front and center and it is killed or be killed.

Later, an interesting bond develops between Theeb and one of the raiders (Hassan) as both mistrust each other. Will they forge the bond or will one betray the other?

The answer to this question emerges during the final moments and the buildup is compelling. I became aware of the father and son dynamic mixed in with the friend and enemy.

When Theeb treats Hassan’s wounds there is tenderness on the exterior, but is Theeb fully kind to Hassan?

A slight negative for me existed in that I did not buy that the period was the early Twentieth century, but rather, everyone looked and acted so modern as if they were merely dressed up for their parts….as they were. Perhaps it had to do with the hairstyles or mannerisms.

Shot entirely in Wadi Rum, Jordan, a gorgeous part of the world, the desert and big sky lend much to the ambiance this creates. It was almost like being in the old, wild west and an ode to old Western films, only set in the Arabic world.

The entire cast, save for the Englishman, are non-actors, an amazing achievement, and a measure that creates an obvious level of realism that rehearsed actors cannot always bring to the table.

Originally meant to be a short film only, Theeb emerged as a full-length feature and I am glad it did, as it has enough meat to warrant a longer duration.

The film is a cinematic wonder with a psychological edge.

Oscar Nominations: Best Foreign Language Film

2015 Films, Danish, Drama, International, International Drama, Pilou Asbæk, Tobias Lindholm, Tuva Novotny, War

A War-2015

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A War-2015

Director Tobias Lindholm

Starring Pilou Asbæk, Tuva Novotny

Scott’s Review #456

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Reviewed July 29, 2016

Grade: B+

A War, a 2015 film, made in Denmark, is a thought-provoking story that one might think is a standard “war film” on the surface, but as the film moves along, it turns into something much deeper and rather cerebral.

A slow mover, but necessary to the nature of the film’s message,  the viewer questions what he or she might do in a similar predicament as the main character faces a moral dilemma.

The action begins in Afghanistan as we meet a company of Danish soldiers assigned to protect civilians from the evil Taliban. They are young, good-looking, and of varying ethnic groups (a nice touch in the film).

One female soldier seems to be thrown in for good measure, though we never see her in combat.

Their leader is Commander Claus Pedersen, a good, decent man, well-liked by his troop. They have all seen death and destruction, and Pedersen frequents the middle of the action on the front lines.

He is one of the guys.

When one of his men is wounded during an attack, Pedersen makes a controversial decision, resulting in the deaths of civilians, and some children.

Pedersen is then charged with a war crime and sent home to Denmark to be tried. His wife and three small children are happy he is home, but distraught and opinionated on how he should testify.

One interesting aspect of A War is how the film shifts gears around the mid-way point.  The camaraderie between the soldiers in the field and their bond with Afghan civilians are mixed with dangerous threats from the Taliban.

I kept waiting for an attack to occur and in these ways, the film is a standard war film.

Mixed in are snippets of “home life” involving Pedersen’s wife. She appears a typical military wife, struggling to raise her three kids, one of whom has recently developed behavioral problems.

They miss Pedersen.

The latter half of the film is set inside a courtroom. Pedersen is interrogated by a female prosecutor and while she sympathizes with his anguish, she is determined to convict.

After all, children were killed because of his actions.

The filmmakers are on Pedersen’s side, but the conflict makes for great analysis. Should he be held accountable for deaths in a war zone? The viewer will ask him or herself- “would I lie to stay out of jail and with my family who needs me”?

Interesting stuff to ponder.

A War, ironic to the title, is calm and subdued, very impressive to me.  To compare, a film of this nature, targeted as a “blockbuster” would likely have technical enhancers, dramatic music undoubtedly would play to cue action in the war zone.

When Pedersen’s verdict is read aloud in the courtroom, it would normally contain some jarring camera shots or an intense musical score.

A War has none of those and that brings a certain reality- this could be everyday life. A decision is made and life quietly goes on.

Some complaints about A War being a tad boring. I see their point, but it is an atypical war film. It is understated and character-driven, rather than a shoot ’em up, overwrought with testosterone action, or laced with artillery or explosions.

A War (2015) is not a mainstream film- much to its credit. Rather it is methodical and fraught with interesting thinking points.

Oscar Nominations: Best Foreign Language Film

2015 Films, Biography, Bryan Cranston, Diane Lane, Drama, Elle Fanning, Helen Mirren, Jay Roach, John Goodman, Louis C.K., Michael Stuhlbarg

Trumbo-2015

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Trumbo-2015

Director Jay Roach

Starring Bryan Cranston, Diane Lane

Scott’s Review #449

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Reviewed July 11, 2016

Grade: B+

Trumbo, starring Bryan Cranston, who is suddenly in everything these days, is a 2015 biography drama about Dalton Trumbo, a famed, talented Hollywood screenwriter blacklisted in the 1950s.

Cranston is center stage in the film, and very good.

The film has a crisp, glossy look and excited me with its ode to old Hollywood and its mixture of real-life interspersed newsreels.

Great stuff for a classic film buff!

The sets, costumes, and art direction travel back to the 1940s and 1950s, but throughout I had a constant feeling of a modern film dressed to resemble an older one and never felt true authenticity.

Still, good effort and a well above-average Hollywood film.

A treat for cinema lovers or even those folks interested in seeing some classic black-and-white footage- a young Ronald Reagan is seen testifying, presumably against those feared to be communists.

Following World War II there was panic throughout the United States, including liberal Hollywood, to oust anyone with thinking deemed “un-American”.

If this sounds like a dated way of thinking now, the United States was not always as diverse as in 2016.

The infamous “Hollywood 10”, included ten screenwriters who were Communists, or at least had communist beliefs and sympathies. The story in Trumbo focuses on Dalton Trumbo, a quirky screenwriter, always with a classy cigarette, and holder, in hand.

His story is told and the audience sees his passion for fairness in the United States. He sees nothing wrong with being a communist.

The supporting characters are excellent. John Goodman, in the role of Frank King, B movie director, who gives Trumbo a chance to write under a pseudonym, and Helen Mirren and David James Elliott, as villainous Hedda Hopper and John Wayne, respectively.

Diane Lane could have been given more to do as the loyal wife of Trumbo, but sadly, Hollywood is not a woman’s world.

If I were to have any criticism of this film it is that Trumbo is mainstream fare and not high on the edgy factor, which is only a mild complaint.

There is nothing wrong with that, but the film screams Hollywood branded.

For instance, throughout Trumbo’s two-year prison sentence, he faces no real threats, no beatings, no abuse, nothing. He emerges from prison with a few gray hairs and life goes on. When Trumbo’s friend battles, and finally succumbs to lung cancer, there are no long-suffering scenes, making the film on the soft side.

Again, an observation of the type of film Trumbo is more than a complaint.

The scenes of Trumbo with his three children as the film periodically ages the children with older actors are touching, especially scenes with his oldest daughter, Nikola, are sweet. She grows up to be just like her father.

Trumbo earnestly explains to young Nikola, why he is a communist and asks what she would do if someone else was without food- her response is to share- a simplistic and sweet scene.

Ah, through the eyes of a child, the world is so innocent.

Trumbo goes back to the Hollywood of old- clean, glamorous, and extravagant, both in the film and the retro use of old footage.

It is a nonthreatening film that explains the story of Dalton Trumbo in a safe, thorough way.

I enjoyed it tremendously.

Oscar Nominations: Best Actor-Bryan Cranston