Category Archives: Drama

1954 Films, Brock Peters, Diahann Carroll, Dorothy Dandridge, Drama, Harry Belafonte, Herbert Ross, Musical, Musical Drama, Otto Preminger

Carmen Jones-1954

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Carmen Jones-1954

Director Otto Preminger

Starring Dorothy Dandridge, Harry Belafonte

Scott’s Review #736

Reviewed April 3, 2018

Grade: B+

It was pretty taboo at the time of release (1954) because it featured an all-black cast with no white members. Carmen Jones is to be celebrated for contribution to film history for this groundbreaking feat alone.

Directed by Otto Preminger (who ironically is Caucasian),  the film features legendary actress Dorothy Dandridge in a Marilyn Monroe-style performance worthy of the talents of the stars.

The film is a musical with an inevitable tragedy at the conclusion.

The 1954 feature is based on a 1943 stage production of the same name, based on the music of the famous 1875 Georges Bizet production of Carmen. These facets add to the richness of the film as it is layered with good history, and the well-known tragic elements make the conclusion unsurprising.

Brazen and beautiful, Carmen is a seductress who works in a parachute factory in North Carolina during World War II. After trading fists with a co-worker, Carmen is jailed and assigned handsome Corporal Joe (Harry Belafonte) to escort her to the authorities.

While Carmen is not shy about pursuing the young man, his fiancee, virginal Cindy Lou, fumes and schemes to keep her man.

The result is a triangle. Carmen and Joe eventually fall madly in love, leaving poor Cindy Lou behind, but their love faces hurdles.

The somewhat lighthearted first portion of the film, with coquettish humor mixed in, is offset by a much darker path the film takes. As Carmen and Joe finally profess their love and share a night of passion, she leaves him in the middle of the night, unable to endure prison time.

This results in Joe being imprisoned as the couple ultimately cannot stay away from one another despite repeated obstacles to their happiness. An additional character, a boxer named Husky, with designs on Carmen, is introduced, complicating matters.

In sad form, much like the opera Carmen, the final scene is devastating and startling as Joe treads down a dark and gloomy path of destruction. The character of Joe is nuanced- at first, a “nice guy”; the character is an example of complexity and what a man will do for love.

The viewer wonders what will become of Joe and how he could risk his life performing an act in the heat of passion.

In 1954, what a profound and fantastic role for a female, let alone a black female. Typically cast in roles such as maids, servers, or even less glamorous parts, how wonderful for Dandridge to capture a challenging role of this caliber.

She is a vixen as she sinks her teeth into the meaty and flirtatious Carmen. Dandridge’s pizzazz, flare, and singing and dancing performances made her a star, and she is forever known as a groundbreaking talent.

There cannot be enough said about the importance of casting all-black actors in Carmen Jones. Monumental, of course, given the time. The result is a film of significance to black culture, showing that they no longer needed to appear in “white films” as supporting players but could carry a movie on their own.

How profound and remarkable this was!

My only criticism of the film is undoubtedly related to the progress made for black actors and characters, though there is still plenty more work.

At times, the filming feels a shade dated (presently, there are more great roles for black actors) and has a slightly grainy look.

Some of the supporting characters’ acting is also not the strongest, but as Carmen Jones is a historical film, liberties must be taken.

Thanks to the genius and the funding of Preminger, who needed to produce the film independently due to lack of interest, the result is a film that has gone down in history as worthy, edgy, and open-minded.

Wisely casting talented stars with great pipes, the film is a solid success.

Oscar Nominations: Best Actress-Dorothy Dandridge, Best Scoring of a Musical Picture

2011 Films, Asghar Farhadi, Best International Film Oscar Winners, Drama, International, International Drama, Leila Hatami, Persian, Peyman Moaadi, Shahab Hosseini

A Separation-2011

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A Separation-2011

Director Asghar Farhadi

Starring Leila Hatami, Peyman Moaadi

Scott’s Review #734

Reviewed March 21, 2018

Grade: A

A Separation is a 2011 Iranian film that was awarded the Best Foreign Language Film Academy Award statuette, the first Iranian film to achieve the honor.

The film is a wonderfully complex family drama and weaves typical family issues (divorce and school issues) with more complicated and cultural leanings, and keeps going and going with story nuances.

A Separation is directed by the acclaimed Asghar Farhadi, who is also responsible for the brilliant screenplay- this is a top-notch film.

Presumably set in Tehran, or a more progressive (by Iranian standards) city in Iran, husband and wife Nader and Simin reside with their teenage daughter, Termeh, and Nader’s elderly father, who suffers from Alzheimer’s disease.

Frustrated by her husband’s refusal to leave the country for a better life, Simin files for divorce, but her wish is rejected by male judges. When she leaves her family anyway, Nader is forced to hire a pregnant caregiver, Razieh, to tend to his ailing father.

After a controversial tragedy ensues, causing Razieh to suffer a miscarriage, the film shifts directions and adds an entirely new layer to the already fascinating story.

Farhadi is very keen on his delivery of a good story- he traditionally mixes themes of culture and social class in an interesting way as his future, 2017, work, The Salesman, would also do.

Thanks to Farhadi’s innovative storytelling, more notice is taken of Iran and Iranian culture, thereby humanizing its citizens more within the craft of film.

We see Iranian people just like ourselves and not the radical or dangerous individuals we are programmed to see.

With A Separation, there are no clear-cut protagonists or antagonists, and the viewer’s allegiances may shift throughout the run of the film.

Do we champion Simin for desiring a better life for herself and Termeh or scold her for refusing to live with her family? A progressive woman for sure, she is a layered character in her ambitions and her autonomy.

Nader is also a complex character- heroic for desiring the best of care for his father, but he is also fraught with danger and bad temperament, which is the main reason for the second half of the film, and leads to Razieh’s predicament.

Viewers will not be certain whether Nader is a good man or a villain, or perhaps a hybrid of the two. Subsequently, this is the meat of the entire story and makes for an enthralling experience in character development.

As if the brilliant screenplay was not enough to demand a good watch, the acting across the board is wonderful. A cast including seasoned Iranian actors, Leila Hatami and Peyman Moaadi as Simin and Nader, these are my favorites and are quite adept at carrying along with the nail-biting tension in masterful form.

Shades of Alfred Hitchcock are evident throughout the film as the tension unfolds to a crescendo and the action builds and builds and builds in layers upon layers of good stuff.

The quick editing and unique camera angles mirror some classic works of the famous director.

The success of A Separation is the film’s fast-paced, nicely edited construction, in a way that, at over two hours in length, the film speeds along rather quickly, and causes those who experience it to ponder, wonder, think, and ascertain.

Asghar Farhadi has quickly become a prominent director, met with obstacles from his native country, and yet surpassing these hurdles to construct a great film.

I look forward to many more of his works.

Oscar Nominations: 1 win-Best Original Screenplay, Best Foreign Language Film (won)

Independent Spirit Award Nominations: 1 win-Best International Film (won)

2017 Films, Bria Vinaite, Brooklynn Prince, Caleb Landry Jones, Drama, Independent, Independent Drama, Sean Baker, Willem Dafoe

The Florida Project-2017

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The Florida Project-2017

Director Sean Baker

Starring Willem Dafoe, Brooklynn Prince

Scott’s Review #730

Reviewed February 28, 2017

Grade: A

Incorporating a realism and authenticity rarely found in mainstream films, the 2017 independent drama film The Florida Project offers the viewer a glimpse into the underbelly of society, largely from a child’s perspective.

We meet a group of poverty-stricken folks residing in a crummy hotel outside of Disney World.

Shot almost entirely on location, the film is humorous, dramatic, pathetic, and compelling—a must-see. The balance between a child’s carefree outlook and the real-life adult reality is key.

Director Sean Baker, famous for the ground-breaking and brilliant transgender-themed indie from 2015, does it again with a gritty flavored location shot feast of a story involving the welfare-stricken, prostitute-laden Floridians holing up at a cheap motel.

The plot follows six-year-old Moonee, played by Brooklynn Prince, as she and her problem-prone mother, Halley (Bria Vinaite), attempt to avoid trouble and the police.

They while away the hot summer months, pandering and stealing from tourists as Halley dabbles in prostitution after failing to get a job at a nearby Waffle House.

In addition to Moonee and Halley, other prominent characters rounding out the hotel community are Bobby Hicks (Willem Dafoe), who manages the Magic Castle Motel, and is the father figure and voice of reason to the others, Ashley, Halley’s friend, Jancey, and Scooty, friends of Moonee’s.

The group holds a special bond since they are all barely existing on limited funds in a world laden with drugs, violence, and various unsavory characters.

With initial thoughts of an R-rated Little Rascals, the early scenes involve only the children as they create juvenile pranks including car spitting, bed jumping, and more serious mischief like setting fire to abandoned condos.

All non-actors, the child scenes are genuinely brilliant, and enough praise cannot go to little Brooklynn Prince, the sweet yet precocious six-year-old central child character.

The film’s final scene involving this treasured little girl is heart-wrenching and poignant, as the scene is fraught with raw emotion on the part of Prince.

Dafoe is brilliant in the role of Bobby and the actor chooses a character he does not often play. Frequently playing villains, he shines as a good man attempting to keep things together in an evil world.

On the lookout for child predators and the police, he watches out for the kids, as he sadly knows their lives will only get worse as they grow into teenagers and adults, sure to experience misery or tragic lives.

The most successful and riveting component of The Florida Project is the honest portrayal of the characters and the gritty, realism the viewer experiences.

The fact that Baker shot the film entirely on location is immeasurable and key to the story.

In a slice-of-life way, we are brought into this world for the duration of the film and learn the inner workings of the hotel, the streets, and the hotel parking lots. We live the characters’ lives and feel their struggles and small triumphs.

Most importantly, we empathize with their hopelessness—they are basically stuck, with little hope of finding a better life.

To avoid a complete downer of a film, Baker incorporates a few humorous moments, mainly the light and fun scenes between Halley and Moonee. As they dance around in their hotel room or outside on the hotel lawn as an unexpected downpour erupts, the close bond between mother and child is apparent.

The boisterous trio of kids also breaks up the monotonous adult tension of the other characters as they frolic and play without a care in the world.

The adults versus kids outlook is apparent.

Surely one of the best films of 2017, The Florida Project examines a forgotten and depressing segment of the American population and provides a sobering reality of the world in modern times.

With the Trump era in full swing, this film’s release is timely in American history and gives a sobering look at the United States in general.

Oscar Nominations: Best Supporting Actor-Willem Dafoe

Independent Spirit Award Nominations: Best Feature, Best Director-Sean Baker

2017 Films, Best International Film Oscar Winners, Chilean, Daniela Vega, Drama, Francisco Reyes Morandé, Independent, Independent Drama, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Luis Gnecco, Pablo Larraín, Sebastián Lelio, Spanish

A Fantastic Woman-2017

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A Fantastic Woman-2017

Director Sebastian Lelio

Starring Daniela Vega, Francisco Reyes

Scott’s Review #729

Reviewed February 27, 2018

Grade: A

A Fantastic Woman is a 2017 Chilean film that is groundbreaking in subject matter and has received many accolades, including an Oscar nomination for Best Foreign Language Film.

Especially worthy of mention is the film’s lead actress, Daniela Vega, the first transgender woman to present an award at the Oscars and a dynamo performance in her represented film.

Besides the cultural achievements, the film succeeds in its own right as a compelling drama.

The film gets off to a sweet and romantic start as we meet Marina (Vega), a young waitress and aspiring singer, and Orlando (Francisco Reyes), a mature, affluent man thirty years her senior.

After surprising her with a lovely birthday cake, the pair begin to embark on a serious relationship, as Marina has recently moved in with Orlando.

When tragedy strikes and Orlando is rushed to the hospital after collapsing, Marina must face the harsh reality of her partner’s narrow-minded family and suspicions from law enforcement.

What a wonderful starring vehicle for this astounding young talent, Vega. The film shares a story that has never been told before, though the transgender genre is slowly coming into its own—like 2015’s brilliant Tangerine.

With A Fantastic Woman, though, the storytelling is more intimate, personal, and explicit from Marina’s point of view. Faced with financial issues and losing her love, she is forced to hurdle obstacles centered around her lifestyle that she had thought had been conquered through her open life with Orlando, who loved her for who she is.

Vega expresses so much with her wide-eyed stares and introspective glazed looks. A remarkably subdued performance, she does not have a traditional blowup or dramatic, emotional scene. Instead, she calmly goes from scene to scene, her anger and heartbreak brimming under the surface.

As she is verbally insulted and degraded by Orlando’s bitter ex-wife, Marina stands her ground and calmly accepts the verbal attack. Even when Orlando’s thuggish relatives physically assault her with tape, she is calm in her reaction.

This is a testament to Vega’s talents.

Perhaps the most touching subplot involves Marina’s struggle to retain the dog that Orlando kindly gave her. When Orlando’s son refuses to let her keep the dog, Marina reaches her breaking point and begins to fight dirty, refusing to hand over the keys to Orlando’s flat until she gets her way.

The tender affection she has for the animal is wonderful. Despite having a few people in her corner, the dog is her pride and joy and best friend.

As stellar as Vega is, and the film belongs to her, credit and mention must be given to the supporting players, mainly unknown actors to me.

Though we feel no sympathy for Orlando’s ex-wife or his relatives, they are competently portrayed and we do feel their anger and spite.

We do not know much about the back-story, but we do know that Orlando has revealed his involvement with a trans woman and he is proud of Marina.

Actor Reyes is a dream as Orlando and we wistfully imagine a different film centered solely on his romance with Marina. In their short time together, the audience falls madly in love with the duo.

A Fantastic Woman (2017) succeeds as a nuanced, level-headed drama with a powerful message and a timely approach. Never veering over the top or being too preachy, the film is an excellent telling of a topical subject matter.

I only hope that more stories about this genre are told in the future. It is a goldmine of uncharted story-telling with so much potential.

Oscar Nominations: 1 win-Best Foreign Language Film (won)

Independent Spirit Award Nominations: 1 win-Best International Film (won)

1966 Films, Ann Bell, Cyril Cusack, Drama, Francois Truffaut, Julie Christie, Oskar Werner, Science Fiction

Fahrenheit 451-1966

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Fahrenheit 451-1966

Director Francois Truffaut

Starring Oskar Werner, Julie Christie, Cyril Cusack

Scott’s Review #728

Reviewed February 26, 2018

Grade: B+

Based upon the famous and fantastic classic 1953 novel Fahrenheit 451 by Ray Bradbury, the film adaptation is futuristic and dystopian.

Directed by French filmmaker Francois Truffaut and starring Julie Christie, the “it” girl of the late 1960s, the film succeeds as an incredible, new wave, edgy, progressive hybrid. Various elements aid in making the film seem set in the future, all with hints of the great director Alfred Hitchcock sprinkled in the mix.

Indeed, the novel is superior, but Fahrenheit 451 is a worthy watch if only for Christie alone.

Christie plays a dual role as Clarisse, a young schoolteacher with progressive and forbidden views, and Linda, the vastly different spoiled wife of the central character, Guy Montag, played by German actor Oskar Werner.

The trio exists in a futuristic world where a totalitarian government has banned all literature, deeming it insufficient for society. A force called Firemen, where Guy works, can search anyone anytime and burn all books as needed.

Clarisse and Guy begin questioning the government’s motivations as Guy stashes a copy of Charles Dickens’s David Copperfield, which puts the pair in danger.

What I like most about the film is its mysterious and foreboding concept, which is downright scary. What if books were suddenly non-existent and forbidden?

Like the novel, the film references luscious and brilliant literary works of art, so much so that the viewer will undoubtedly feel how this reality would be devastating.

As with similar titles such as “1984” and “Brave New World,” the futuristic world and the “Big Brother is watching” theme is critical to its success.

Director Truffaut, an ardent fan of the master Hitchcock, seamlessly incorporates elements of suspense and key “Hitchcockian” moments, specifically with the musical score.

Truffaut used Bernard Hermann, the same composer Hitchcock used in 1966’s Torn Curtain, but more importantly, the prevalence of strings is reminiscent of classics like Psycho and Vertigo.

A fight scene behind frosted glass so that only shadows can be seen is a direct homage to Hitchcock’s famous style.

To accompany the Hitchcock comparisons, an exciting film anecdote is that legendary Hitchcock superstar Tippi Hedren was desired for the central dual role. Still, he would not allow it since she and Hitchcock were embroiled in a feud then, and she was under contract.

The possibilities this would have presented are endless. But alas, Christie is no slouch as the film’s female star.

Christie deserves significant kudos. She plays both characters to the hilt and is one of the film’s best aspects.

Anyone who has read Bradbury’s novel will understand how the character of Clarisse is expanded in the film. One wonders if this was done to showcase more of Christie.

Regardless, Clarisse and Linda’s characters are entirely different from each other, and the actress is superb. Unfortunately, this film is not among Christie’s most remembered films.

My main detraction of Fahrenheit 451, the film, is that having recently read the novel, there is no comparison, as the book is far superior. However, the film is perfect and contains some beautiful visuals and imagery.

So few times can a film usurp the beauties of the written word, and how ironic given the subject matter of the destruction of books.

Fahrenheit 451 (1966) is a stylistic, artistic film with a relaxed vibe. It features a tremendous performance from one of the ’60’s most considerable talents.

The film initially received fair to middling reviews and is now largely forgotten, but it’s nice to take down from the dusty old shelves of the Hollywood obscure now and then.

2017 Films, Carey Mulligan, Dee Rees, Drama, Garrett Hedlund, Jason Clarke, Jason Mitchell, Jonathan Banks, Kelvin Harrison Jr., Mary J. Blige, Period Drama, Rob Morgan

Mudbound-2017

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Mudbound-2017

Director Dee Rees

Starring Carey Mulligan, Garrett Hedlund

Scott’s Review #724

Reviewed February 12, 2018

Grade: B+

Mudbound is a 2017 Netflix period drama that transports viewers to a time of racism and struggles as World War II ravaged Europe.

The piece is set mainly in rural Mississippi; however, during the 1940s, most people, especially black people, had a vastly different way of life.

The film depicts the hardships and struggles of two families living on the same land, one white and one black, and how their lives intersect dramatically.

The film received several Oscar nominations, including for Adapted Screenplay, Supporting Actress, Song, and Cinematography. I will suffice it to say I support the latter two mentions in the group but not the former.

While the final act kicks the film into much-needed high gear, and the filming detail of the rural southern terrain is quite apt, I kept waiting for a stunning scene involving the usually excellent Mary J. Blige to erupt, but sadly nothing ever came.

While inspired, the writing would not get my vote in the screenplay category either, especially when other, more worthy films (think Mother!) were bypassed.

The mood of Mudbound is immediately impressive as we are introduced to the grizzled and muddy town of Marietta, Mississippi, a sort of farm wasteland. Brothers Henry and Jamie McAllan struggle to bury their recently deceased “Pappy” as the lands are ravaged by a driving storm.

When Henry briefly leaves Jamie in the watery grave the pair has dug, Jamie is panic-stricken that Henry will not return. In this way, director Dee Rees reveals a significant clue to tension between the brothers as the film rewinds to sometime earlier when times were happier for the brothers.

Mixed in with the trials and tribulations of brothers McAllan, is Henry’s wife Laura (Carey Mulligan), who shares a loveless marriage with him, while secretly lusting after Jamie.

A poor black family resides and works on the McAllan farm, and must endure hardship and racism from the white residents of Marietta, especially when their son Ronsel returns from World War II, a celebrated hero.

Old habits die hard as the Ku Klux Klan rears its ugly head, targeting the young soldier for daring to bed with a German woman abroad.

As most of the film meanders during the first hour or so with odd edits and pacing, I did not easily connect with many of the characters, though I wanted desperately to.

There seemed to be not enough buildup to the ultimate drama. The film is shot in a way that you know you are watching something of substance, but it takes a long, long time to reach a crescendo.

The aforementioned criticism of Mary J. Blige, who portrays long-suffering matriarch Florence Jackson, is not of the part itself or her acting; rather, I expected a gritty, meat-and-potatoes-style performance from the talented lady.

I disagree with her Oscar nomination, and instead would have chosen the brilliant Michelle Pfeiffer from Mother!

Praise must be written for Mulligan’s performance, shamefully overlooked, like the haggard, intellectually unfulfilled housewife, Laura. As she wistfully buries her nose in a novel to escape her dull life, or longingly looks at Jamie, disappointed with her loneliness, we feel every emotion that Mulligan plays.

A consistent problem with Mudbound was that it lacked a grand emotional scene from either Blige or Mulligan.

The film’s racist subject matter can be utterly challenging to watch as a significant character sees their tongue removed and another character forced to make a difficult choice. This action leads to a deadly turn of events and the murder of another character, resulting in a lifetime of secrets.

The final thirty minutes are the best part of Mudbound.

A must-notice historical feat is Rachel Morrison’s nomination in the cinematography category. She is the first female to receive this honor, and it is certainly about time. Morrison successfully fills Mudbound with the perfect mood—both picturesque greenery and a depressing, downtrodden aura.

This is not as easy as one might imagine, but creative talent achieves this effortlessly.

Mudbound has received much attention but is not the masterpiece some are touting it as. It takes way too long to hit its stride, the film has good aspects and some missed opportunities.

Perhaps a better-put-together film would have resulted in a brilliant experience instead of “only” a good watch. I recommend Mudbound, but I expected and hoped for much more than I was given.

Oscar Nominations: Best Supporting Actress-Mary J. Blige, Best Adapted Screenplay, Best Original Song-“Mighty River”, Best Cinematography

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

2017 Films, Brian Gleeson, Camilla Rutherford, Daniel Day-Lewis, Drama, Gina McKee, Lesley Manville, Paul Thomas Anderson, Romantic Drama, Vicky Krieps

Phantom Thread-2017

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Phantom Thread-2017

Director Paul Thomas Anderson

Starring Daniel Day-Lewis, Vicky Krieps, Lesley Manville

Scott’s Review #722

Reviewed January 31, 2018

Grade: A

Phantom Thread is a 2017 gem that should ideally be studied in film schools and remembered for decades to come, or at the very least discussed and dissected among those fortunate enough to see it currently.

Set in England during the 1950s and centering on the dress-making industry, the film mixes romance with a bizarre psychological element that leaves the viewer breathless as the final act comes to a dramatic and startling conclusion.

Daniel Day-Lewis brilliantly portrays Reynolds Woodcock, an esteemed and famous dressmaker who lived and worked in London in the 1950s.

He creates lavish dresses for the members of high society, including the wedding gown for the famous Belgian princess. Masterful at his work, he is also controlling and demanding, requiring plenty of support and attention from his equally controlling sister, Cyril (Lesley Manville).

When he meets Alma Elson, a waitress from a countryside resort, the pair fall into a relationship. She acts as his assistant, muse, and lover. Complexities develop between Reynolds, Alma, and Cyril as the plot progresses in cerebral and nail-biting fashion.

The film is ravishing and a feast for the eyes if only for the classic costumes alone.  Each dress that Reynolds creates is exceptional and at the height of glamour. His domineering nature only makes this realistic as perfection is his modus operandi and his dresses are evidence of this.

In one particularly fantastic sequence, Reynolds begrudgingly creates a dress for the boozy Barbara Rose, a rich and mature woman who promptly falls asleep drunk at her wedding and soils the garment.

A livid Reynolds, along with Alma, strips Barbara of the dress, rather than see her sleep in and tarnish it.

However, the main draw to the film is the excellent, intricate main plot involving Reynolds, Cyril, and Alma.

This weaving of personalities and their nuances must be attributed to the fabulous direction of Paul Thomas Anderson,  known for edgy, dark films such as 1997’s Boogie Nights and 1999’s Magnolia.

He comes up with a masterpiece in Phantom Thread.

The three principal characters are pretty unlikeable and the viewer’s allegiances may change throughout the tale. Appearing to be the innocent, debutante character of the film, the character of Alma will be surprised, especially in the film’s final act.

A successful nuance is the scenes involving characters breaking bread with others as events unfold over Danishes, omelets, and crisp asparagus. Sometimes the banter involves discussions and debates about the preparation of the food.

This characteristic is a dream for any foodie and the meals aid in the progression of the plot.

Earlier in the film, Alma is scolded by a maid for nearly picking poisonous mushrooms, which later becomes a major clue and part of the film’s conclusion.

During a pivotal scene between Reynolds and Alma, she prepares a delicious mushroom omelet for her love as motivations, secrets, and desires surface.

The grand twist that Anderson reveals at the end of the film will only leave the viewer open-mouthed and quickly reviewing the events and circumstances of the entire movie.

Anderson’s close-up scenes are magical, and each actor is allowed to be very expressive. The camerawork in several breakfast scenes—Alma and Cyril gazing at each other, revealing emotions that border between hatred and mutual respect—is effectively done.

Manville, in particular, does so much with her blue eyes as she sips coffee and peers over her cup with venomous indignation at her foe.

How splendid is the comparison of Cyril to the famous Hitchcock villainous Mrs. Danvers from the classic 1940 film in her cold and creepy mannerisms?

I hope that Phantom Thread will eventually be appreciated and analyzed as a cinematic work of art.

Deservedly honored with a 2017 Best Picture, Best Actor, Best Supporting Actress, Best Director, and Best Costume Academy Award nomination, the film is a lesson in excellent writing, bizarre angles, and essential effects.

Let’s hope that this film will be recognized as the great work it is.

Oscar Nominations: 1 win-Best Picture, Best Director-Paul Thomas Anderson, Best Actor-Daniel Day-Lewis, Best Supporting Actress-Lesley Manville, Best Original Score, Best Costume Design (won)

2017 Films, Aidy Bryant, Anupam Kher, Bo Burnham, Comedy, David Alan Grier, Drama, Holly Hunter, Independent, Independent Comedy, Independent Drama, Judd Apatow, Kumail Nanjiani, Kurt Braunohler, Michael Showalter, Ray Romano, Zenobia Shroff, Zoe Kazan

The Big Sick-2017

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The Big Sick-2017

Director Michael Showalter

Starring Kumail Nanjiani, Zoe Kazan

Scott’s Review #720

Reviewed January 29, 2018

Grade: B+

The Big Sick, a 2017 independent “dramedy” film, takes what could be a standard premise and turns it upside down, offering a fresh perspective on a familiar tale about a prospering relationship.

The screenplay is the standout as the writing is intelligent and crisp. Thanks to exceptional acting by all four principal characters, The Big Sick is a success and worth watching.

The story follows an interracial couple, Emily and Kumail, played by Zoe Kazan and Kumail Nanjiani, who have recently started casually dating. Kumail is a standup comic living in Chicago who meets the flirtatious Emily after a club performance one night.

They share a one-night stand and agree never to see one another again.

As the smitten pair break their promise and form a romance, a tragedy occurs, landing Emily in a coma.

Kumail must handle Emily’s parents, Beth (Holly Hunter) and Terry (Ray Romano), who are angry with Kumail for misleading Emily and not telling her about his strict Muslim parent’s intentions of marrying him off by arranged marriage.

The screenplay (nominated for a 2017 Oscar nomination) is loosely based on the relationship between actor/writer Nanjiani (who stars), and Emily Gordon (who co-wrote the screenplay).

Especially since Nanjiani stars, the film is sincere and authentic, as if Nanjiani is living the role.

The chemistry between Nanjiani and Kazan during their many scenes at the start is a significant plus to the film. Before the drama takes off, the audience will become fully invested in the pair as a couple.

Whether the couple flirts as Kumail drives Emily home or fights when Emily learns about his Muslim culture’s belief in arranged marriage, the couple has a tremendous connection, and it shows.

The story fabric takes an interesting turn about midway through when Emily is stricken with a debilitating illness.

A medically induced coma is needed, as Kumail is forced to pretend to be her husband, this opens up many moral and legal ramifications that the film chooses essentially to ignore, instead of dealing with the relationships between Kumail and Emily’s distraught parents.

Hunter and Romano are excellent in the parent roles. Hunter is the more showy of the two and has more meat, while Romano holds his own and powers a vital comedy club scene in which he defends his wife from a callous heckler.

Admittedly, the film decides to go the “happily ever after” route, this is hardly a surprise given that Judd Apatow is the producer.

Remember, this is the same guy who produced safe films such as Superbad (2007) and Anchorman 2 (2013). Still, the story within The Big Sick is an enjoyable, character-driven ride, if not unpredictable.

A darker-tinged affair might have set this film over the top as it contains many other credible film qualities.

The addition of comic talent in the supporting roles of Kumail’s comedy club buddies adds a good balance and nicely counterbalances the drama so that it does not become too dour.

Much of the film involves Emily in a coma, so comic talent such as SNL’s Aidy Bryant and Comedy Central’s Kurt Braunohler are suitable ads.

I enjoyed the inclusion of the traditional Pakistani custom of arranged marriages, but at times this seems played for laughs rather than being a significant obstacle to the couple.

Kumail’s controlling mother parades one young Pakistani girl after another in front of her son as a way of encouraging him to select one of them. Kumail’s traditional family is played as stereotypes and the lighthearted foils of the film.

The Big Sick (2017) succeeds with crisp, witty dialogue and a solid story that nicely complements the intended comedy.

A few too many stereotypes and goofiness keep the action light even when compared to the more serious parts—great acting all around.

Oscar Nominations: Best Original Screenplay

Independent Spirit Award Nominations: 1 win-Best Supporting Female-Holly Hunter, Best First Screenplay (won)

2017 Films, Drama, Eliza Hittman, Harris Dickinson, Independent, Independent Drama, Kate Hodge, LGBTQ+ Drama, LGBTQ+ Films, Madeline Weinstein, Neal Huff

Beach Rats-2017

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Beach Rats-2017

Director Eliza Hittman

Starring Harris Dickinson

Scott’s Review #719

Reviewed January 26, 2018

Grade: A-

Beach Rats is a 2017 coming of age film penned and directed by Eliza Hittman, a young female director from Brooklyn, New York, who incorporates her familiar geographical settings into only her second feature film.

2013’s It Felt Like Love received two Independent Film nominations, and Beach Rats has followed suit, garnering a Best Actor nomination and a Best Cinematography mention.

The film is a terrific story of conflict that its target audience will surely relate to.

The film is very low-budget but a successful character study of a young man named Frankie, played by newcomer Harris Dickinson, who wrestles with family issues and his sexuality while hanging out with his troubled friends and dating his sometime girlfriend.

Beach Rats is not a downer but rather an interesting glimpse into a teenager’s life and struggle with self-identity.

Mirroring It Felt Like Love, Hittman uses plenty of locales unique to Brooklyn, the most identifiable being the borough’s watery, nighttime beaches, which gives the film an authentic feel.

Many scenes are shot outdoors, which is a strong point of the film. Like many independent films, Beach Rats uses several “non-actors” in small roles, adding depth to the blue-collar, sometimes harsh, Brooklyn feels.

With only two features to her credit, Hittman is successful at having her hand-print on her films, making them identifiable as her own.

It is interesting how the director chooses a male character to write for. Similar to the female Liza in It Felt Like Love, both she and Frankie are vulnerable and coming to terms with their sexual feelings and desires.

The fact that Liza is straight and Frankie, at most, bisexual, is the only strength of the complex writer/director.

Dickinson is perfectly cast as Frankie. Good-looking, with chiseled features and a lithe, toned body, his bright blue eyes are expressive, as the audience empathizes with his many dilemmas.

Beach Rats is much more than a traditional “gay film”, which is admirable, it is more complex than that.

By 2017, the common theme of coming to terms with one’s sexuality has been explored.

According to Frankie, he “just has sex with men” and refuses to identify as either gay or bisexual. It is implied that because of his group of trouble-making friends, who only want to get high, he might be faced with resistance if he ever came out to them.

The supporting cast is well represented, Frankie’s mother, Donna (Kate Hodge), is faced with a tricky predicament as her husband, Frankie’s father, has just died of cancer, ripping the family apart.

She knows that Frankie keeps things from her, is she figuring out Frankie’s sexual secrets?

Donna implies that it is okay for Frankie to tell her anything, admirable, combined with her problems. Frankie’s girlfriend, Simone, is coming into her own as Frankie is, and even though the duo shares a sweet relationship, it appears doomed for failure.

The most interesting scenes in Beach Rats occur between Frankie and the mostly older men he meets virtually or in person. Though Frankie is quite nervous, Dickinson always makes the character appear confident and well beyond his years.

Being street-smart, he is never taken advantage of, as he is familiar with young men and older men. Why he mostly prefers older men is never explained, but it might have anything to do with seeking to fill the void left by his deceased father.

Or is it simply to reduce the risk of running into anyone he might know within his age group?

Hittman is not shy about featuring nudity, yet each scene is tastefully done and never seems to be for either shock value or to elicit a gasp. Full frontal nudity is featured, as well as scenes of Frankie engaging in sexual acts with both the men and his girlfriend.

Sure, Dickinson has a perfect body, but his assets are not on display unnecessarily.

More often than many “box office” films, independent films are given much creative freedom to tell a good story. Thankfully, in the case of Beach Rats, the audience is lucky enough to view a quiet, introspective tale of a conflicted adolescent and how he deals with demons and complex feelings.

Particularly for the predominantly LGBT audience who will see the film, Beach Rats (2017) will have much to offer.

Independent Spirit Award Nominations: Best Male Lead-Harris Dickinson, Best Cinematography

2017 Films, Ben Mendelsohn, Biography, British, David Strathairn, Drama, Gary Oldman, Historical Drama, Joe Wright, Kristin Scott Thomas, Lily James

Darkest Hour-2017

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Darkest Hour-2017

Director Joe Wright

Starring Gary Oldman, Kristin Scott Thomas

Scott’s Review #718

Reviewed January 24, 2018

Grade: A-

Darkest Hour (2017) is a British historical film that showcases legendary actor Gary Oldman’s astounding portrayal of Winston Churchill.

Known for numerous other fine-acting performances in films such as the Harry Potter series (2001-2011), JFK (1991), and Batman Begins (2005), this performance easily transcends all of the others as he brings perfection to complex role-infusing humor, drama, and many idiosyncrasies of the storied historic figure.

Churchill is the best role of Oldman’s lengthy career.

Director Joe Wright, famous for classy European films such as Pride and Prejudice (2005), Atonement (2007), and Anna Karenina (2012), traditionally offers rich, intelligent experiences with an upper-crust, often British theme and fills his characters with wry humor and wit.

In Darkest Hour, a film that belongs to Oldman, by the way, Churchill is the master of gruff sarcasm and cantankerous charm.

During the tumultuous time of 1940,  with the barbaric grips of Nazi Germany settling upon both England and France (Allies in World War II), a disheveled England is frustrated with their current Prime Minister, Neville Chamberlain, for being weak.

Chamberlain begrudgingly appoints Winston Churchill as his successor, amid limited support.

The film discusses Churchill’s early days in charge as the war and the Nazi presence loomed larger and larger- especially as the historic Dunkirk situation comes into fruition.

Darkest Hour is a good quality film —it has a certain historic richness and the feeling of experiencing a worthy and relevant film. For those of us who did not live during the 1940s, the film will likely serve as an educational experience into the events of the day.

Hundreds of films have been made over time that have explored the events during World War II in fantastic detail, but this film is unique in that it not only provides a perspective of the Allied countries “back against the wall” situation but the ups and downs and pressures that Churchill, the man, faced.

Despite a few quick clips of Hitler and very old black-and-white footage and newspaper headlines of the crazed leader, the focus is not on the enemy country. No actor was used to play Hitler; rather, the focus is on Churchill and the decisions he made and the influences he was faced with.

Pressured to appease the militant German country and reach a “peaceful” deal, Churchill instead listened to the voices of the ordinary, everyday, British people to get his decision to fight the Germans and not back down.

Clever and relevant to 2017 cinema, the film spotlights the famous Dunkirk situation, when British forces were trapped on the shores of Dunkirk, with German planes looming overhead.

Many men were saved, thanks in large part to Churchill and British and French civilian boats that aided in the rescue.

The 2017 film Dunkirk would make an excellent companion piece to Darkest Hour because its subject matter is similar to that of Darkest Hour.

Not surprisingly, both films received Academy Award nominations for Best Picture.

A great lesson I carried away from the film is with Churchill himself.

Sure, I knew that he was the Prime Minister of England during the 1940s and was instrumental in the events of the bloody war, but I knew little about the man himself.

Thanks to Wright and, of course, Oldman, the viewer will learn the good and bad characteristics of this man. A heavy drinker, commonly downing champagne with lunch and brandy the rest of the day, he was initially not well-liked, nor taken very seriously by British royalty.

With Churchill’s bubbling personality, Oldman is fantastic at filling the role with humor, frustration, and just the correct amount of empathy and concern.

Despite his temper, we can tell that he loves his country and is proud of the people living there—that is why he is adamant about conquering the enemy. So, we know he is a good man despite his temper tantrums.

Oldman also successfully embodies the mannerisms that this historical figure contained.

Kristin Scott Thomas also gives a worthy performance, albeit in a small role, as the mature and graceful wife, who can both support and match wits with her husband.

Thanks to a brilliant acting performance by Gary Oldman, who takes on a difficult role that could easily be botched by lesser talent, Darkest Hour is a 2017 historical drama worth seeing.

He makes a film that could have been dull and flat into a worthy watch to both learn something and be amazed at a truly great acting performance.

Oscar Nominations: 2 wins-Best Picture, Best Actor-Gary Oldman (won), Best Production Design, Best Cinematography, Best Makeup and Hairstyling (won), Best Costume Design

2017 Films, Alison Brie, Bob Odenkirk, Bradley Whitford, Carrie Coon, Drama, Jesse Plemons, Matthew Rhys, Meryl Streep, Michael Stuhlbarg, Neal Huff, Political Drama, Sarah Paulson, Steven Spielberg, Tom Hanks, Tracy Letts

The Post-2017

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The Post-2017

Director Steven Spielberg

Starring Meryl Streep, Tom Hanks

Scott’s Review #715

Reviewed January 15, 2018

Grade: A-

Amid the current political upheaval in the 2017 United States, comes a fresh and timely film named The Post, created by esteemed director Steven Spielberg and starring two of today’s biggest Hollywood film stars: Tom Hanks and Meryl Streep.

The film is a political, historical thriller set during the tumultuous year 1971, as the controversial Vietnam War raged on. It tells of the bravery of a female newspaper owner (Streep) who risked everything to publish the truth with her team of mostly male editors and staff.

The film is an intelligent piece of writing.

Its crisp script and quick editing allow for a believable foray into a different time, when newspapers were hot and rotary telephones, telephone booths, and polyester outfits were all the rage.

Spielberg is brilliant at setting just the right mood and tone to transport the audience back to 1971, on the eve of the enormous Watergate scandal.

While all of the elements are in play, and the truthful story is important, the film is very good but not quite brilliant—it falls just shy of that bombastic one or two scenes that would land it over the top.

The Post begins in the jungles of Vietnam in 1965, as military analyst Daniel Ellsberg documents the progress of military activities among the soldiers during battle.

On the journey home, he briefs then-President Lyndon Johnson that the war is hopeless and should be stopped. As history unfortunately shows, the brutal war continued with thousands of lives lost.

The film then continues on a journey of uncovering top-secret Pentagon papers documenting the White House’s knowledge of the war’s useless nature. Each administration chose to continue with the bleeding to avoid the United States being “humiliated.”

Streep gives her best performance in years as Katharine Graham, the Washington Post newspaper heiress, a woman who struggles to be taken seriously in a man’s world, especially given the period, many men were uncomfortable taking direction from a woman.

Streep infuses the role with the perfect amount of emotion, insecurity, and charm. Despite her wealth and control, she is frequently overruled by the all-male board of directors, so much so that she often doubts her confidence.

Hanks, however, underwhelms as the gruff editor-in-chief of the Post, Ben Bradlee. Given the actor’s enormous talents, I was expecting a meatier performance, which does not materialize.

I also anticipated an equal balance of Hanks and Streep, but the film belongs to Streep.

Perhaps because Hanks (the ultimate nice guy) portrays Bradlee as a challenging, yet family man, the performance does not quite work.

Also, the chemistry between Hanks and Streep is not the specialty of the film.

Evident is the correlation between 1971’s President Nixon and 2017’s President Trump—both administrations were shrouded in controversy.

A neat trick Spielberg creates is to only show Nixon in shadows, wildly gesturing and threatening, similar to Trump’s mannerisms—this is no accident.

The entire work of The Post seems to be a big call-out by Spielberg, a devout liberal, to the Trump administration.

This comparison of past and present makes The Post incredibly timely and topical for 2017.

Clever is the intriguing ending—as the Watergate scandal begins with a security guard catching intruders at the complex, Spielberg seems to be saying, “Watch out, Trump!”

In 2017, the current state of the media versus the White House has never been more controversial, disdainful, and even hateful, as the “truth” is often tough to come by or even to distinguish.

“Fake news” is now a thing and Twitter rants are now a daily occurrence, making the “truth” a precious commodity.

For this reason alone, The Post (2017) must be a film we celebrate and model ourselves after—how timely indeed.

Oscar Nominations: Best Picture, Best Actress-Meryl Streep

2017 Films, Debi Mazar, Drama, Jack Gore, Jim Belushi, Juno Temple, Justin Timberlake, Kate Winslet, Steve Schirripa, Tony Sirico, Woody Allen

Wonder Wheel-2017

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Wonder Wheel-2017

Director Woody Allen

Starring Kate Winslet, Jim Belushi

Scott’s Review #709

Reviewed December 31, 2017

Grade: B+

Woody Allen typically releases a new film each year, and 2017’s project is Wonder Wheel.

Set in 1950s Coney Island, a seaside beach in Brooklyn, New York, the film is an authentic-looking period drama, with lovely costumes and legitimate New York accents from all principal actors.

The story is pretty depressing, though, as a likable character is tough to find. However, Wonder Wheel contains fantastic acting, mainly on the part of star Kate Winslet, whose troubled character is the film’s focal point.

Winslet portrays Ginny Rannell, a struggling forty-year-old woman living in the seaside neighborhood and working as a waitress at a dingy Clam House. She despises her life and longs for a way out of the doldrums, yearning for the life she had years ago as an aspiring actress.

Her husband, Humpty (Jim Belushi), a carousel operator, has alcoholism. Together they raise Ginny’s son, Richie, a young boy who loves to start fires.

When Humpty’s estranged daughter, Carolina (Juno Temple), shows up on their doorstep, having provided information about her mobster husband, and subsequently “marked”, Ginny’s life slowly begins to unravel as she and Carolina pursue the same man, hunky lifeguard, Mickey (Justin Timberlake).

The film’s New York setting is an enormous plus and a standard of many Woody Allen films—the authenticity is apparent. The summer mood of the beach, sand, sunny boardwalk and beach scenes make the viewer feel transported in time.

The 1950s period worked as beachwear, and the amusement park sets were used to their advantage. The actors’ New York accents and the language and sayings are appropriate for the times.

The apartment that the Rannells rent is an excellent treat to the film. The set features a wonderful beach landscape during daytime and nighttime scenes so that the mood change can be noticed—these are all enticing elements to Wonder Wheel.

Enough cannot be said for Winslet’s talents, who make the character of Ginny come to life.

Undoubtedly a tough role for her to play, Winslet, who can make reading the phone book sound interesting, tackles the complex part and arguably gives one of the best performances of her career—my vote would still go to her portrayal of Hannah Schmitz from 2008’s The Reader.

Initially a sympathetic character, she longingly desires to return to the stage and perhaps find stardom as an actress and sees Mickey as her last chance. When events curtail her dreams, her character takes a sharp turn and does an unspeakable act.

I love Justin Timberlake’s acting talents. By 2017, he had successfully proven himself a major star in both the film and music worlds.

As the hunky, charismatic, yet studious and intelligent lifeguard, Mickey, he teeters between womanizer and earnest, love-stricken, young man.

Timberlake has taken on more interesting film roles beginning with the 2010s, The Social Network, and let’s hope there are more to come.

Juno Temple is just perfect as the naive Carolina. With an innocent, sweet personality, she yearns for love and a fresh start. Temple, known mainly for quirky independent film roles, fits a Woody Allen creation perfectly.

Finally, legendary actor James Belushi fills his character of Humpty with dedication, loyalty, and alcoholic rage. He adores Ginny but sometimes takes her for granted.

What a treat for fans of The Sopranos to see a couple of familiar faces appear as (what else?) mobsters. Tony Sirico and Steve Schirripa make cameo appearances as Angelo and Nick, henchmen for Carolina’s unseen husband, who is intent on tracking down and killing her.

Despite minimal parts, the actors seem to have a ball reprising similar roles that made them famous.

Wonder Wheel, shot in a similar tone to a stage production, draws comparisons to A Streetcar Named Desire, both with four principal characters- two male and two female, Ginny, Carolina, Mickey, and Humpty, all with some similarities to and some differences with storied characters Blanche, Stella, Stanley, and Mitch.

However, the comparisons can easily be studied and analyzed.

Woody Allen creates a film that can be appreciated chiefly for its top-notch acting talent, which is not surprising given the actor’s cast, and it is a compelling, never boring story.

The film is a downer, however, with no heroic characters. Thankfully, this is counterbalanced perfectly by a great New York setting, which is a high point of Wonder Wheel (2017) and cheers up the otherwise dour tone of the film.

2017 Films, Bill Condon, Biography, Drama, Hugh Jackman, Michael Gracey, Michelle Williams, Musical, Musical Drama, Paul Sparks, Rebecca Ferguson, Yahya Abdul-Mateen II, Zac Efron, Zendaya

The Greatest Showman-2017

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The Greatest Showman-2017

Director Michael Gracey

Starring Hugh Jackman, Michelle Williams, Zac Efron

Scott’s Review #707

Reviewed December 26, 2017

Grade: A-

A pure musical escapist film, The Greatest Showman (2017) holds a dear and relevant message. It elicits hope for outcasts everywhere by leading a story of acceptance and perseverance in the feel-good film of 2017.

Hugh Jackman leads the pack, starring as P.T. Barnum, a man struggling to create an entertainment show with live and unusual performers- deemed “freaks” in New York in those days- the 1800s.

The film is quite joyful and light, with many cheery musical numbers sure to leave audience members humming along for hours after the conclusion.

The Greatest Showman is a rags-to-riches story and a thoroughly enjoyable film.

Jackman is as charismatic and likable as Barnum, the entrepreneur and showman we meet as a young boy, the son of a poor tailor. He becomes enamored with wealthy young Charity (Michelle Williams), and the two eventually marry, much to the chagrin of her pompous parents.

Barnum and Charity initially struggle to make ends meet as they begin to raise a family, but eventually, they find success and wealth when the show succeeds.

The film chronicles Barnum’s rise to fame and the trials and tribulations (romantic, business) for several years, mainly through musical numbers.

Zac Efron is excellent as Barnum’s eventual business partner, Phillip Carlyle.

Director Michael Gracey’s supporting characters are creative, if not typical, mainstays of carnivals and circuses everywhere—the bearded lady, the fat man, and a man covered in tattoos are featured prominently.

It is unclear whether these characters existed or were created simply for plot purposes. Still, rumor has it that The Greatest Showman has taken great liberties with the factual accuracy of the real P.T. Barnum and his escapades.

This would be bothersome if not for this film’s wonderful message- acceptance and celebrating diversity.

Indeed, this is important for young people everywhere in today’s chaotic world.

Those expecting anything more substance than a cheery and bright holiday slice of enjoyment may be disappointed—some mainstream critics did not rate this film highly. Still, I am okay with a bit of escapist adventure on occasion.

The message throughout The Greatest Showman is quite good.

The best musical number is the show-stopping and anthemic “This Is Me,” Keala Settle is fabulous as the bearded lady who leads this important song. The number is empowering and energetic.

The chemistry between Jackman and Williams is not remarkable, but it is not altogether vacant either. Instead, it is simply decent and not the film’s strongest point. I sense better chemistry between Jackman and Rebecca Ferguson as grand Swedish singer Jenny Lind.

However, their “romance” is unfulfilled, and we will need to imagine its possibilities.

I adore seeing Efron in quality roles (think 2012’s exceptional The Paperboy), and his performance as Phillip is great. He shares a good bond with Barnum and has his romance with acrobat (and of mixed race) Anne Wheeler.

His values and earnestness make the character appealing as he is torn between riches and standing on principle.

The Greatest Showman (2017) may not go down in history as the ultimate top in filmmaking or even one of the best musicals. Still, the film dazzles the audience and provides a couple of hour’s worth of fun and entertainment—similar to how P.T. Barnum energized the crowds with a slice of make-believe; this is more than appropriate.

Oscar Nominations: Best Original Song-“This Is Me”

2017 Films, Best Picture Oscar Winners, Doug Jones, Drama, Fantasy, Guillermo del Toro, Michael Shannon, Michael Stuhlbarg, Octavia Spencer, Richard Jenkins, Romantic Drama, Sally Hawkins, Science Fiction, Thriller

The Shape of Water-2017

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The Shape of Water-2017

Director Guillermo del Toro

Starring Sally Hawkins, Richard Jenkins, Michael Shannon

Scott’s Review #705

Reviewed December 16, 2017

Grade: A

Director Guillermo del Toro created a lovely Beauty and the Beast-style film, The Shape of Water (2017). It is gorgeous to look at, and the story is intelligent and sweet to experience.

Thanks to a talented cast led by Sally Hawkins, the film is part drama, part science fiction, even part thriller, but touching to one’s heart and a lesson in true love regardless of outward appearances.

Vanessa Taylor co-wrote the story, giving it a needed female perspective to perfectly balance the traditional male machinations.

The setting is Baltimore, Maryland, in the early 1960s. The Cold War is ongoing, pitting the United States and the Soviet Union against each other.

Both sides are mistrustful of the other.

Kindly and mute, Elisa Esposito (Hawkins) is a curious and whimsical young woman who works as a cleaning lady at an Aerospace Research Center.

When she stumbles upon a mysterious “shape” being held prisoner for experimentation, she slowly communicates with and befriends the creature, eventually falling madly in love with him.

The “asset,” as the scientists like to call him, is an amphibian/humanoid that needs saltwater to survive. Elisa sees an opportunity to help her love escape captivity, and off she goes.

Hawkins exudes warmth and fills Elisa with courage and astounding determination. Not uttering a word is a tricky feat for an actor to challenge, but instead of words, Hawkins successfully provides a vast array of emotions to reveal how Elisa feels.

Despite her “handicap,” she is a strong woman who speaks her mind on more than one occasion, using sign language to express her frustration. Hawkins gives a fantastic and believable performance.

In excellent and vital supporting roles are Richard Jenkins as Elisa’s friend and neighbor, Giles, a closeted gay man who works as a commercial artist. Jenkins fills this character with intelligence, heart, and empathy as he struggles with his issues of alcoholism and loneliness- unable to be accepted for who he is.

Octavia Spencer shines as witty and stubborn Zelda Fuller, Elisa’s best friend and co-worker. Zelda has her domestic problems but is forever there for her friend, and Spencer gives her character zest, humor, and energy.

Finally, Michael Shannon plays the dastardly and menacing Colonel Richard Strickland, the man who found the “asset” in the rivers of South America and has a lovely family.

Each character is written exceptionally well and has a storyline rather than simply supporting Hawkins’s character.

The audience becomes involved in Giles, Zelda, and Strickland’s private lives, and we get to know and care for them—or hate them, as the case may be.

Giles, harboring a crush on a handsome pie shop owner, is afraid to reveal his feelings. Zelda, with a lazy husband, dutifully takes care of her man, though she is as sassy as they come. And Strickland lives in an all-American family with a pretty wife and two kids, unaware of his shenanigans.

The film is a gorgeous and lovely experience with a magical element. The opening and closing sequences, shot underwater, resound in beauty as objects float along in a dreamy way.

The narrator (Jenkins) takes us on a journey to explain the events of the story.

At its core, The Shape of Water is a romantic love story, and my favorite scenes—those of Hawkins and the “asset”—are to be treasured. Yes, the two do make love, which may be too much for some, but the scenes are tasteful and important, showing the depth of the characters’ love for one another.

Cherishing is how Elisa uses music and hard-boiled eggs to communicate with the “asset.” When Elisa imagines the two characters dancing, the sequence is an enchanting experience reminiscent of Beauty and the Beast.

Other underwater scenes involving Elisa and the “asset” are tender, graceful, and filled with loveliness.

A key part of the film involves a story of intrigue between the Americans and the Soviets. While both are portrayed negatively, the Americans are arguably written as more unsympathetic than the Soviets.

Thanks to Strickland—abusive and vicious—and his uncaring superior, General Holt, we do not root for the government officials at all but rather for ordinary folks like Elisa, Zelda, and Giles, who are outcasts.

Interestingly, Dmitri (Michael Stuhlbarg), a Soviet spy scientist, is the only character working at the center who wants to keep the “asset” alive and is written sympathetically.

My overall assessment of The Shape of Water is that it is a film to be enjoyed on many levels and by particular varied tastes- the film will cater to those seeking an old-style romance, complete with some tasty French music.

Then again, the film can be considered a political espionage thriller, with a cat-and-mouse chase and other nail-biting elements.

Overall, the film has heart and truth and will appeal to vast audiences seeking an excellent movie.

Oscar Nominations: 4 wins-Best Picture (won), Best Director-Guillermo del Toro (won), Best Actress-Sally Hawkins, Best Supporting Actor-Richard Jenkins, Best Supporting Actress-Octavia Spencer, Best Original Screenplay, Best Original Score (won), Best Sound Editing, Best Sound Mixing, Best Production Design (won), Best Cinematography, Best Costume Design, Best Film Editing

2017 Films, Abbie Cornish, Caleb Landry Jones, Clarke Peters, Comedy, Crime Drama, Dark Comedy, Drama, Frances McDormand, Independent, Independent Comedy, Independent Drama, John Hawkes, Lucas Hedges, Martin McDonagh, Peter Dinklage, Samara Weaving, Woody Harrelson

Three Billboards Outside Ebbing, Missouri-2017

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Three Billboards Outside Ebbing, Missouri-2017

Director Martin McDonagh

Starring Frances McDormand, Woody Harrelson, Sam Rockwell

Scott’s Review #703

Reviewed December 4, 2017

Grade: A

Frances McDormand takes control of Three Billboards Outside Ebbing, Missouri, and never lets go. In the Martin McDonagh-directed 2017 vehicle, she rivetingly portrays an angry Midwestern woman seeking justice.

The up-and-coming director has also created such films as  2008’s In Bruges and 2012’s Seven Psychopaths.

Similar to these films, Three Billboards Outside Ebbing, Missouri, is peppered with dark comedic moments and vile, bitter characters. The film is a measured success because it is not your standard Hollywood production and is quite left-of-center.

The action begins as we meet McDormand’s Mildred Hayes, sitting alone in her beat-up station wagon, brooding by the side of the road, gazing at three tattered billboards.

She is both pissed off and thoughtful as she formulates a plan to purchase a year’s worth of billboards, questioning the local police’s ineptitude in finding her daughter’s rapist and killer.

Woody Harrelson portrays the Ebbing police chief, Sheriff Bill Willoughby, and Sam Rockwell plays the racist and dim-whited officer Jason Dixon, both displeased with Mildred’s activities.

Other casting decisions in small yet essential roles are Lucas Hedges as Mildred’s adolescent and depressed son, Robbie, and John Hawke as her ex-husband, Charlie, who is dating an eighteen-year-old ditz.

Peter Dinklage is well-cast as James, a local car salesman who is an earnest dwarf with a crush on Mildred.

Supporting roles are prevalent throughout the film, and small-town locales like Jason’s mother and Red, the owner of the advertising agency who rents the billboards to Mildred, shape the experience.

The casting in Three Billboards Outside of Ebbing, Missouri, is a strong point of the film.

The town of Ebbing is portrayed as dreary, blue-collar, and racist, which is just perfect for setting the tone of the film.

I suspect residents of the Midwest or the southern United States of America may have some issues with character representations. Jason is written as both racist and not too smart, and he encompasses numerous characters in the film.

Enough cannot be said for Rockwell’s performance, transforming from a hated character during the film’s first two-thirds to suddenly almost becoming the hero towards the end.

Props are also deserved by Harrelson’s Chief Willoughby- bordering on hick and racist, he also has a heart and cares about Mildred’s predicament- when a shocking event occurs, he becomes an even richer character.

It is worth pointing out and impressive to me as a viewer that the three prominent black characters—Willoughby’s replacement, Abercrombie, Mildred’s best friend and co-worker, Denise, and a kindly billboard painter—are each written as intelligent and sensitive, a fact I found to perfectly balance the other less sympathetic characters.

In this way, a nasty film becomes more satisfying.

Three Billboards Outside of Ebbing, Missouri, though, belongs to McDormand. She is successful at portraying a myriad of different emotions. From her sly eye-winking as she crafts a good verbal assault on whoever crosses her path, to an emotional breakdown scene towards the end of the film, McDormand embodies the character with depth.

In a gorgeous scene, she has a sweet conversation with a peaceful deer grazing nearby, and for a second, she imagines it could be her dead daughter reincarnated. The scene richly counterbalances other violent and brutal scenes.

McDormand manages to look downright homely in some scenes and beautiful in others.

A film will indeed divide viewers. Some will champion the film’s crisp writing and witty dialogue. Still, others will undoubtedly be turned off by some of the character’s foul language and nasty nature.

I found Three Billboards Outside Ebbing, Missouri (2017), sarcastic, gritty, and well-told. It is a versatile affair rich with layers and brimming with enjoyment.

Oscar Nominations: 2 wins-Best Picture, Best Actress-Frances McDormand (won), Best Supporting Actor-Sam Rockwell (won), Woody Harrelson, Best Original Screenplay, Best Original Score, Best Film Editing

Independent Spirit Award Nominations: 2 wins-Best Female Lead-Frances McDormand (won), Best Supporting Make-Sam Rockwell (won), Best Screenplay

2017 Films, Beanie Feldstein, Comedy, Daniel Zovatto, Danielle Macdonald, Drama, Greta Gerwig, Independent, Independent Comedy, Independent Drama, Laurie Metcalf, Lois Smith, Lucas Hedges, Saoirse Ronan, Stephen McKinley Henderson, Timothée Chalamet, Tracy Letts

Lady Bird-2017

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Lady Bird-2017

Director Greta Gerwig

Starring Saoirse Ronan, Laurie Metcalf

Scott’s Review #700

Reviewed November 28, 2017

Grade: A

Lady Bird is a 2017 independent film released by actor-turned-writer/director Greta Gerwig. It is a tremendous effort in her solo directorial debut.

No stranger to the indie syndicate herself, Gerwig puts her unique stamp on the film with a rich, female-centered perspective that works quite well and seeps with charm and wit.

It is worth noting that the story is semi-autobiographical, based on Gerwig’s life and her stormy dealings with her mother. The story is well-written, well-paced, and empathetic as the audience views a slice of life through the eyes of a restless yet kindly teenager on the cusp of womanhood.

Saoirse Ronan gives a bravura performance in the title role. Her given birth name is Christine, but she defiantly changes it to Lady Bird in a show of adolescent independence, and much to her parents, Marion and Larry’s (Laurie Metcalf and Tracy Letts ) chagrin.

Christine lives in suburban Sacramento, California, and yearns for a more exciting life in New York City, far from what she considers Dullsville, USA. Now, in her senior year, she is attending a Catholic high school.

Christine applies to college after college, hoping to escape her daily dilemmas. Christine’s best friend Julie and somewhat boyfriend Danny (Lucas Hedges) are along for the ride.

The period is 2002- shortly after 9/11.

The brightest moments in Lady Bird are the plentiful scenes between Christine and her mother. The chemistry between Ronan and Metcalf is terrific, and I genuinely buy them as a real mother/daughter duo, warts and all. They fight makeup, get on each other’s nerves, fight, cry, do makeup, etc.

I especially love their knock-down drag-outs, as each actress stands her ground while allowing the other room to shine—feeding off of each other.

My favorite Metcalf scene occurs while she is alone. Having gotten into a tiff with Christine and giving her the silent treatment while Christine flies to New York, Marion reconsiders as she melts into tears. At the same time, she drives away, regretting her decision and missing her daughter already.

Metcalf fills the scene with emotional layers as she does not speak- we watch in awe as her facial expressions tell everything.

Comparably, Ronan—likely to receive her third Oscar nomination at the ripe old age of twenty-three (Atonement, 1997, and Brooklyn, 2015, are the other nods)—successfully gives a layered performance as a teenage girl struggling with her identity and restless to see different worlds and get out of what she sees as a bland city.

Of Irish descent, Ronan is remarkable in her portrayal of a California girl- sometimes selfish, sometimes sarcastic, but always likable and empathetic.

The casting from top to bottom is terrific, as the supporting players lend added meat to the story. Christine’s best friend, Julie, played by young upstart Beanie Feldstein (Jonah Hill’s sister), is compelling as the lovable, chubby, and nerdy theater geek.

Letts is perfect as Christine’s father, depressed at losing his job in the tough economy and having to compete with young talent as he sees his career slip away.

Legendary actress Lois Smith adds heart to Sister Sarah Joan’s role- a by-the-book nun who is an incredible old chick.

Finally, Hedges, seemingly in every film from 2016 to 2017, is emotionally resounding as Danny, Christine’s troubled boyfriend, struggles with his sexuality.

Gerwig does it all with this film—she directs and writes, scripting laugh-out-loud moments and eliciting heartfelt emotion from her enchanted audience.

A hilarious scene occurs as Christine attends a dreary class assembly- an anti-abortion-themed one- by a woman who almost did not exist but for her mother’s decision not to have an abortion.

When a bored Christine icily points out that had the woman’s mother had the abortion, she would not be forced to sit through the assembly, it is a laugh-out-loud moment.

Lady Bird (2017), thanks to a fantastic writer and director and superlative casting, is a film that has its all heart, emotion, humor, and great acting.

The film is intelligently written and forces the audience to embrace its characters quite willingly. Gerwig carves a story, perhaps done many times before in film, but with a fresh and energetic feel.

Oscar Nominations: Best Picture, Best Director-Greta Gerwig, Best Actress-Saoirse Ronan, Best Supporting Actress-Laurie Metcalf, Best Original Screenplay

Independent Spirit Award Nominations: 1 win-Best Feature, Best Female Lead-Saoirse Ronan, Best Supporting Female-Laurie Metcalf, Best Screenplay (won)

2017 Films, Agatha Christie, Daisy Ridley, Derek Jacobi, Drama, Johnny Depp, Josh Gad, Judi Dench, Kenneth Branagh, Leslie Odom Jr., Lucy Boynton, Michelle Pfeiffer, Olivia Colman, Penélope Cruz, Thriller, Tom Bateman, Willem Dafoe

Murder on the Orient Express-2017

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Murder On The Orient Express-2017

Director Kenneth Branagh

Starring Kenneth Branagh, Johnny Depp, Michelle Pfeiffer

Scott’s Review #698

Reviewed November 25, 2017

Grade: B+

Kenneth Branagh leads and directs an all-star cast in a 2017 remake of the 1974 thriller Murder On The Orient Express.

The film is based on the famous 1934 Agatha Christie novel of the same name. With a ritzy cast that includes Judi Dench, Johnny Depp, Michelle Pfeiffer, Penelope Cruz, and Willem Defoe, top-notch acting is assured.

The cinematography is tremendous, and the film looks gorgeous from start to finish. The story is an effective, good, old-fashioned whodunit that will satisfy audiences.

We meet our hero, Hercule Poirot (Branagh), in Jerusalem. He has recently solved a murder mystery and is anticipating a good rest. A friend invites Poirot to travel back to his homeland of London via the lavish Orient Express.

Amid a group of thirteen strangers, all inhabiting the luxurious first-class accommodations, one of them is savagely murdered in the middle of the night as a blustery blizzard and subsequent avalanche derails the train atop mountainous terrain.

The strangers are trapped together with a murderer on the loose. Poirot must deduce who has committed the crime and why.

Murder On The Orient Express has all the trimmings for a good, solid murder mystery, and director Branagh sets all of these elements in motion with a good flow.

Paced quite nicely, each principal character is introduced intriguingly, so much so that each contains a measure of juicy intrigue. The film briefly describes each character as they board the grandiose train.

Judi Dench broods as rich and powerful Princess Dragomiroff oozing with jewels and a chip on her shoulder. Corrupt American businessman, Samuel Ratchett (Johnny Depp), is suave and shady as he seems destined to cause trouble.

Finally, Penelope Cruz gives her character, repressed Pilar Estravados, enough shame and guilt that we cannot think something may be off with her motivations.

The details of the characters are rich and compelling.

The playing field is set very high with actors such as Dench and Depp, and all actors play their parts with gusto.

An excellent experience with Murder On The Orient Express demonstrates the true nature of an ensemble cast—each character is relevant in his or her own way, regardless of screen time, and the casting works well.

The cast must have enjoyed working together on this lovely project. Each character is written so that the individual actor can sink his or her teeth into the role, and the wonderful reveal at the end of the film allows each a chance to shine, giving each part equal weight.

After the actual murder is committed, the story takes off as each character is interviewed by Poirot and given a glance of suspicion.

The first half of the film is just the buildup, and, at times, the story slightly lags, but this is fixed when the movie kicks into high gear midway through.

Sometimes, a climactic conclusion makes up for any slight lag in the film’s first portion, and Murder On The Orient Express is an excellent example of this.

My standouts are Branagh himself as Poirot and Pfeiffer as the sexy Caroline Hubbard, an American man-crazed older woman.  How wonderful to see Pfeiffer back in the game in 2017- with fantastic roles in Murder On The Orient Express and Mother!

She has the acting chops to pull off sex appeal, vulnerability, and toughness. Branagh’s acting never disappoints in any film he appears in, but seeing him in a leading role is fantastic, and he can carry a film with such a dynamic cast.

Branagh’s Poirot is classy, intelligent, and charismatic.

I adored the film’s conclusion and found the explanation and reasoning of the murderer or murderers quite effective and believable. The use of black-and-white flashback scenes perfectly balances the action aboard the grandiose yet slightly claustrophobic train scenes.

Furthermore, the explanation and motivations of the killer or killers make perfect sense, and much sympathy is evoked. The story is moralistic and not a black-and-white subject matter.

Murder On The Orient Express succeeds as a wonderfully shot and star-studded affair. The filming is grandiose, and the production values are high. It is a caper film with a mystique and class.

The film may not be a true masterpiece or necessarily remembered ten years from now, but what it does, it does well.

The original film from 1974 is a tad bit better, but as remakes go, the 2017 offering is quite good.

A rumored sequel, Death on the Nile, is planned.

1986 Films, British, Daniel Day-Lewis, Drama, E.M. Forster, Helena Bonham Carter, James Ivory, James Wilby, Judi Dench, Julian Sands, Maggie Smith, Period Drama, Romantic Drama, Rupert Graves, Simon Callow

A Room with a View-1986

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A Room with a View-1986

Director James Ivory

Starring Helena Bonham Carter, Julian Sands

Scott’s Review #695

Reviewed November 3, 2017

Grade: B+

A Room with a View (1986) is one of four major films to be based on famed British author E.M. Forster’s novels- Howards End (1992) and A Passage to India (1986), and Maurice (1987) being the other three.

The foursome contains common elements such as the vast English countryside and class distinctions, leading to heartaches and passion.

In the case of A Room with a View, the film traverses from artistic Florence, Italy to a cozy village in England.

The film is a period drama mixed with lots of authentic, unforced, good humor and at its core is a solid romantic drama, though if compared with the aforementioned other films, is not quite on par, though is still an entertaining watch- given the dismal year of cinema circa 1986.

The film was considered one of the best releases that particular year and was awarded a handful of Oscar nominations- winning Costume Design, Adapted Screenplay, and Art Direction.

Cultured and oftentimes brooding, Lucy Honeychurch (Helena Bonham Carter), goes on holiday to Florence with her rigid and conventional older cousin Charlotte (Maggie Smith), who also serves as her chaperone.

While enjoying the artistry of the European city, Lucy meets and falls madly in love with free-spirited George Emerson (Julian Sands), who is also visiting Florence with his easy-going father, Mr. Emerson (Denholm Elliott).

The men seem oblivious to Lucy’s (and Charlotte’s) Victorian-era upbringing, which attracts Lucy and appalls Charlotte.

Months later, the would-be lovers reunite in England and spend time averting obstacles thwarting their love, while admitting to themselves that their love is blossoming.

As Lucy has become engaged to snobbish Cecil Vyse (Daniel Day-Lewis), a sophisticate deemed suitable by her family to marry Lucy, the pair lacks the romantic connection that she shares with George.

Day-Lewis, on the cusp of becoming a breakout star and brilliant talent, gives Cecil a somewhat comical, yet endearing persona, that makes him the main foil, but also breathes sympathy into the character. This is especially evident during the Lucy/Cecil break-up scene.

The standout performance in A Room with a View is the comic brilliance of Smith as the manipulative and witty, Charlotte Bartlett, and this is evident throughout.

Smith injects vigor and comic wit into her character, as Charlotte seemingly makes one blunder after the other in the self-deprecating way she manages to use to her advantage to humorously manipulate other characters into doing things her way.

A risqué and quite hysterical all-male frontal nudity scene occurs mid-way through the film and, while not advancing the plot in any way, steals the entire film in its homoerotic and free-spirited way.

As the Reverend, young George, and Lucy’s energetic brother, Freddy, walk along a beautiful path, they decide to skinny dip in a pond where they horseplay and wrestle with each other completely in the buff.

As they chase each other around the pond, grab each other, and lightly smack bottoms, one cannot help but wonder if this scene set the tone for 1987’s gay-themed period piece based on another E.M. Forster novel, called Maurice.

A coincidence? I think not. As the trio of rascals come upon the properly dressed girls on the path, hilarity takes over the scene.

The art direction and costumes are of major excellence to A Room with a View as the film “looks” like a 1910 period rather than seeming like it is 1986 with the actors donning early twentieth-century styles.

Every scene is a treat from this perspective as we wonder who will wear what attire in the next scene.

As with the other aforementioned E.M. Forster films, class distinctions, and expectations are a major element in A Room with a View and make Lucy and George all the more likable as a couple.

Still, from an overall standpoint, there is something slightly amiss in the story department.

I did not find Helena Bonham Carter, an actor I like, overall very compelling as Lucy, and I think this leads to the story being slightly less than it might have with another in the role.

We may root for Lucy and George, but if the pair do not wind up together it is more of a pity rather than a travesty.

To summarize A Room with a View, the story is good, not great, and other key components to the film are much better than the central love story of Lucy and George but are therefore secondary to the main action.

Given a Charlotte romance, the film’s best character, that would have catapulted this film to the exceptional grade. Imagine the possibilities.

Or more of the two Miss Alan’s and their gossipy nature, or even a story to the rugged nude horseplay among men.

Many of the aspects that could have made A Room with a View (1986) great, were too often on the sidelines.

Oscar Nominations: 3 wins-Best Picture, Best Director-James Ivory, Best Supporting Actor-Denholm Elliott, Best Supporting Actress-Maggie Smith, Best Screenplay Based on Material from Another Medium (won), Best Art Direction (won), Best Cinematography, Best Costume Design (won)

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

Battle of the Sexes-2017

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Battle of the Sexes-2017

Director Jonathan Dayton, Valerie Faris

Starring Emma Stone, Steve Carell

Scott’s Review #691

Reviewed October 11, 2017

Grade: A

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The scene is poignant.

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

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

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

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

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

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

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

2017 Films, Drama, Holliday Grainger, Iain Glen, Period Drama, Rachel Weisz, Roger Michell, Romantic Drama, Sam Claflin

My Cousin Rachel-2017

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My Cousin Rachel-2017

Director Roger Michell

Starring Rachel Weisz, Sam Claflin

Scott’s Review #685

Reviewed September 25, 2017

Grade: B-

My Cousin Rachel (2017) has the advantage of providing wonderful, scenic locales in Florence, Italy, and lovely scenes filmed around England, which make the film a joy to watch from a cinematic perspective.

The acting, especially by seasoned veteran Rachel Weisz,  is also stellar and noteworthy.

The plot, however, is a big negative to the film as My Cousin Rachel suffers from weak dramatic storytelling, an anti-climactic conclusion, and missed opportunities with the plot.

The film is based on Daphne du Maurier’s 1951 novel of the same name. I have yet to read the book, but I am certain the film does it no justice. The overall tone of the film contains little mystique, to say nothing of lacking any sort of haunting elements as one might expect to receive with titillating anticipation.

The story begins well enough as, through narration, we learn that a young man named Philip, having been orphaned as a child and raised by his older cousin, Ambrose, returns home from school to his childhood home in lavish Cornwall.

Through a letter, he learns that Ambrose has married his widowed cousin, Rachel, and has moved to Florence. He also cryptically writes that he is in fear for his life and suspects Rachel of poisoning him.

The main plot starts after Philip finally meets Rachel and astonishingly falls madly in love with her.

To be fair, the film is shot beautifully and glimmers with interesting camera angles. In a few hallucination scenes, the filmmaker uses a blurry, almost magical film-making style.

The aforementioned locales give My Cousin Rachel a sophisticated, graceful look. On the negative side of this filming evaluation, the lighting is much too bright, appearing more like an episode of the PBS series Downton Abbey rather than the mysterious, cryptic film that My Cousin Rachel is promoted as.

The best thing about the film is the outstanding acting performance by Rachel Weisz as the title character, Rachel. While not played quite as mysterious, Weisz envelopes her character with a passionate, earnest quality that sells the character as enchanting.

With a winning smile and a polite, dutiful manner, Rachel is tough to imagine as a murderess, which helps the lackluster plot just a bit. She happily makes a “special” tea or performs other household tasks with cheerful, uniform pizzazz.

Without Weisz in the role, I shudder to think how bleak the result might have been.

Early on in the story, Philip’s wealthy family, the Kendalls, are surprised that Ambrose married, as he was never known to be in or enjoy the company of women. It also must be noted that in flashbacks, Ambrose is portrayed as somewhat effeminate or, at most, less than manly.

This seems a blatant attempt to question the character’s sexuality, yet the film chooses never to pursue this topic again. I know how the novel handled this plot item, but it seems like a wasted opportunity.

Chemistry, or lack thereof, is also an issue with My Cousin Rachel. No connection between Weisz and Claflin exists throughout, nor is there any between either character and Philip’s intended love interest, Louise Kendall, played by Holliday Grainger.

The actress is acceptable in a role given little meat or substance.

Uneven at best, My Cousin Rachel is a beautiful-looking period piece, but it is mostly just mediocre filmmaking. The ending is quite sudden and definitively answers none of the main plot questions.

Released in 2017, the film will likely be forgotten by 2018.

2015 Films, Drama, Independent, Independent Drama, Michel Franco, Robin Bartlett, Tim Roth

Chronic-2015

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Chronic-2015

Director Michel Franco

Starring Tim Roth, Robin Bartlett

Scott’s Review #682

Reviewed September 18, 2017

Grade: A-

Chronic (2015) is a brave film, a character study, that offers an in-depth look at the life of a male nurse. He has rich relationships with his patients.

What the film also does quite soundly is reflect on not just the obvious physical needs of the patients, but the deep effects that the main character’s dying patients have on himself as well.

The film is quite bleak with a quiet element and very long scenes containing little dialogue but a treasure in bold storytelling and brazen reflection.

The film is a subdued work requiring attention and focus.

Yes, some would deem Chronic to be slow, and most would describe it as “a downer”, but dismissing the film is a mistake as it offers rich writing and an in-depth look at a vocation and lifestyle misunderstood or confusing to most people.

Tim Roth, famous for his bad boy roles, especially in Quentin Tarantino films, does an about-face, delivering a superb, subdued performance as David Wilson, a lonely and depressed nurse in the Los Angeles area.

He is a quiet, kindly man whose internal pain registers on his face as he dutifully treats his mostly close-to-death patients, sometimes attending their funerals after they have expired.

Initially, we meet David as he treats a sickly young woman. Once beautiful, she is now haggard and I cringed when the woman’s nude, skeleton-like body, is on display as David washes her with a washcloth.

The filmmakers do not gloss over his tender attention to her private areas, shot gracefully and not done garishly. Still, the long scene is frightening in its realism.

When the woman succumbs to AIDS, David reluctantly becomes involved in a celebratory drink with a newly engaged young couple after he goes to a bar to unwind.

When he pretends the deceased woman is his wife, he receives sympathy, but the couple quickly becomes aloof when he reveals what she died of.

Does he do this purposely to push the couple away? Throughout the film, we realize that David thrives on being with his patients, and can do no other work.

In contrast, he has difficulty with relations with “normal” people.

Perplexities abound in this film, which makes the viewer think and ponder throughout, and after the story ends.

For example, David searches through a young girl’s Facebook account looking at her photos- he later finds the girl, revealed to be studying medicine, and they happily reunite.

Is she his daughter or the daughter of a deceased patient?

Later, David is sued by an affluent family and subsequently fired, after he watches porn with an elderly man to lift his spirits. There is a glimmer of uncertainty where we are not sure what David’s sexual orientation is.

In the most heartbreaking sequence of all, David begins caring for a middle-aged woman with progressive cancer. Martha (Robin Bartlett) is strong-willed and no-nonsense and makes the painful decision not to continue with chemotherapy after suffering chronic nausea and later soiling herself.

It is apparent that her family only visits her out of obligation as she lies to them that her cancer is gone and she is in the clear. She then pleads with David to end her life with dignity using a heavy dose of morphine- the sequence is heartbreaking.

The final scene will blow one away and I did not see this conclusion coming. The event left me questioning the entire film, wondering how all the pieces fit together.

Surely, being overlooked for an Oscar nomination, Tim Roth proves he is a layered, complex, full-fledged actor, in a painful, yet necessary story called Chronic (2015).

Independent Spirit Award Nominations: Best Feature, Best Male Lead-Tim Roth

2003 Films, Drama, Jacqueline Bisset, Joseph Gordon-Levitt, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ Romance, Mary Kay Place

Latter Days-2003

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Latter Days-2003

Director C. Jay Cox

Starring Steve Sandvoss, Wesley A. Ramsey

Scott’s Review #679

Reviewed September 7, 2017

Grade: B

In the now saturated genre of LGBT film, a novel little more than a decade ago, Latter Days, released in 2003, tells a story with an interesting religious spin and is the first LGBT film to my knowledge to depict a clash of religious values, which deserves kudos.

The film was popular among film festival goers, yet critically, received only mixed opinions.

There are both positives and negatives to this film.

When rigid Mormon innocence meets plastic Los Angeles playboy, anything is bound to happen as a surprisingly sweet romance develops between the two young men.

While the overall feeling of the film is rather “cute”- not exactly a rallying cry of cinematic excellence- Latter Days suffers mostly from some sophomoric acting and an odd combination of a soft-core porn film and a wholesome Hallmark channel television movie quality.

This, in turn, allows the film to achieve only slightly above mediocre as a final score.

Young Mormon missionary, Aaron Davis, just out of Idaho, is sent to Los Angeles with three fellow missionaries, to spread the word of faith. Soon, he meets an openly gay waiter, Christian, promiscuous, brazen, and proud of it.

After a silly bet with friends predicting how long it will take Christian to “deflower” Aaron, the young men become enamored with each other as Aaron’s secret desires for men are exposed.

This leads to a test of faith for Aaron, especially with his religious and rigid parents, waiting with fangs drawn as he is banished back to small-town Mormon territory.

The romance and chemistry between the lead actors are the best part of Latter Days. Though Aaron and Christian could not be more opposite, there is warm chemistry that actors Sandvoss and Ramsey successfully bring to the screen.

Sandvoss’s “aww shucks” handsome, innocent looks compliment Ramsey’s extroverted, pretty-boy confidence, and the film succeeds during scenes containing only the two actors.

Much is gained from a throwaway laundry scene as the young men chat and get to know one another’s backgrounds, as during the brilliant soft-porn scene as the nude men thrash around a hotel bed making love.

Though, admittedly, neither actor is the best in the acting department.

The nudity in the film is handled well- explicit, yes, but never filmed for cheap or trashy effect. While the nudity is sometimes sexual, the men also lounge around nude in bed while chatting about life and their various ideals.

Also positive is the casting of Jacqueline Bisset in the motherly role of Lila. Suffering from her drama (an unseen gravely ill romantic partner, and admittedly an unnecessary add-on to the story), she is the sensible, liberal-minded owner of Lila’s restaurant, where Christian and his friends work and socialize.

The film creates a “family unit” in this rather nice way. Bisset and her British sophistication add much to the film.

Contrasting Bisset’s character is the fine casting of Mary Kay Place as Gladys, the rigid mother of Aaron.

Hoping to “pray the gay away”, she and her husband banish Aaron to a garish rehabilitation facility to turn him straight after a suicide attempt. The character does show unconditional love for her son but simply refuses to accept his sexual preferences.

There is no question that director C. Jay Cox slants the film in one clear direction as the Mormon characters are portrayed as stodgy and bland.

Latter Days slips when the focus is on the other supporting characters. I tend to champion large casts and neat, small roles, but Christian’s friends are largely self-centered, bantering about either their sexual escapades or their career aspirations as they wait tables hoping to get a big break.

Worse yet, a silly side story is introduced focusing on a misunderstanding between Christian and his best friend Julie.

I could have done well without many of these secondary characters.

In the final act, the film goes the safe route with a brief red-herring about a character’s death only to then quickly wrap the film in a nice happy ending moment featuring a nice Thanksgiving dinner at Lila’s restaurant.

Latter Days (2003) contains a good romantic story between two males that does just fine without the added trimmings that occasionally bring the film down.

All in all a decent effort.

2016 Films, Adam Scott, Bradley Whitford, Chris Kelly, Comedy, Drama, Independent, Independent Comedy, Independent Drama, Jesse Plemons, June Squibb, LGBTQ+ Comedy, LGBTQ+ Films, Molly Shannon, Paul Dooley

Other People-2016

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Other People-2016

Director Chris Kelly

Starring Jesse Plemons, Molly Shannon

Scott’s Review #676

Reviewed August 24, 2017

Grade: B+

2016’s recipient of numerous Independent Film award nominations is equal parts a touching drama and equal parts witty comedy, providing a film experience that crosses more than one genre.

Is it a heavy drama, or is it a comedic achievement?

Without being sappy or overindulgent, Other People is a film that will elicit laughs and tears from viewers fortunate enough to see it. The subject is a tough one- a woman dying of cancer.

The title, in which one character states he always thought cancer was something that happened to “other people,” is poignant.

Jesse Plemons and Molly Shannon play son and mother. The film is both written and directed by Chris Kelly.

The very first scene is a confusing one and caught me off guard. We see the entire Mulcahey clan- father Norman (Bradley Whitford), three kids, David (Plemons), Alex, and Rebeccah, along with their dead mother Joanne (Shannon), all lying in the same bed, sobbing and clutching hands.

Joanne has just succumbed to her battle with cancer. This powerful opening scene, also the final scene, sets the tone as Kelly works his way back, beginning a year before the critical “death scene.”

Cancer is a challenging subject to cover in film, especially going the comedy/drama route.

The sensitive filmmaker must be careful not to trivialize the subject matter with too many comedic elements or heavy drama. Kelly successfully mixes humor and drama well, making it a cross-genre film.

He achieves this with capable talents like Plemons and Shannon. They share tremendous chemistry in every scene they appear in together.

Scenes that show David and Joanne crying in each other’s arms work well, as do others, such as when David takes a giddy Joanne to meet his comedy friends.

Most impressive is that the story in Other People is mainly autobiographical. Kelly, a gay man like the character of David, moved from New York City to Sacramento, California, to tend to his ailing mother, who had also died from cancer.

Actress Shannon reminded him so much of her that he had the fortune of casting the talented lady in his film- the part slated initially to go to Sissy Spacek instead.

Along with Joanne’s battle with cancer, a lovely story about David is included. A gay man, David has broken up with his boyfriend Paul, who previously lived together on the East Coast (though he still pretends to spare Joanne worry), and is returning to the West Coast.

Over the next year, we see Joanne and Norman slowly come to terms with David’s sexuality. The turbulent father/son relationship is explored during the film as Norman, initially hesitant to meet David’s boyfriend, Paul, pays for his airline ticket to attend Joanne’s funeral.

A slight miss with the film is the Norman/David dynamic.

Other than a few hints of Norman encouraging David’s struggling writing career and his obsession with David joining the gym and boxing, it is not clear what issue he takes with his son being gay or why he is uncomfortable with it. Besides the family being rather conservative, no other reason is given.

David’s sisters and grandparents do not seem to take issue with David’s sexuality, though it is not made sure if the grandparents are even aware of it. Is it a machismo thing with Norman?

This part of the story is unclear.

Still, Other People (2016) is a good, small indie film. It is rich with crisp, sharp writing and a tragic “year in the life of a cancer patient. ” The film also features good family drama and the relationships that abound when a family comes together and unites because of a health threat.

The film is nothing that has not been done before, but thanks to good direction, a thoughtful, nuanced approach, and one character’s sexuality mixed in, the film feels relatively fresh.

Independent Spirit Award Nominations: 1 win-Best Male Lead-Jesse Plemons, Best Supporting Female-Molly Shannon (won), Best First Screenplay, Best First Feature

1996 Films, British, Drama, LGBTQ+ Drama, LGBTQ+ Films

Beautiful Thing-1996

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Beautiful Thing-1996

Director Hettie MacDonald

Starring Glen Berry, Scott Neal

Scott’s Review #675

Reviewed August 20, 2017

Grade: B

Based on the play of the same name, Beautiful Thing is a heartwarming 1996 British LGBT film written by Jonathan Harvey and directed by Hettie MacDonald.

Incorporating music from the Mamas and the Papas, and specifically Mama Cass, the film undoubtedly was groundbreaking upon release in the 1990s due to its taboo (at that time) gay romance, but in the year 2017, this film suffers a bit from both a dated feeling and a play it safe vibe.

The action, just like a play would, takes place almost entirely within a working-class London apartment building in the present times.

The lead character is Jamie (Glen Berry), a high school student, intrigued by his male classmate and neighbor, Ste (Scott Neal). He also must keep an eye on his flighty mother, Sandra, who changes boyfriends like the weather, and aspires to open her pub- she is currently dating neighbor and understanding hippie, Tony.

Ste is the other central character. Shyer than Jamie, he has a difficult upbringing, living next door to Jamie with an abusive father and brother. Ste and Jamie eventually bond and a secret love story begins as the young men conceal their relationship from everyone else.

In the mix is a vivacious black teenage neighbor girl, Leah, who is obsessed with Mama Cass’s records, which her grandmother owns and frequently plays. Leah and Sandra are engaged in a lightweight feud, in large part because Sandra believes Leah is a bad influence on Jamie.

Keeping in close mind when Beautiful Thing (1996) was made, the film deserves an enormous amount of praise for, at the time, simply existing when LGBT films were hardly the norm.

Watching in 2017, though, the film loses a bit when compared with subsequent LGBT releases that broke more barriers with their mainstream viewership and much darker themes (LGBT masterpieces like 2006’s Brokeback Mountain and 2016’s Moonlight immediately come to mind).

Beautiful Thing also contains a safer, lightweight touch than the aforementioned films, making it now seem too much like fluff.

Director, MacDonald, mixes in humor so that while the message of a same-sex relationship is important, it is softened a bit by the comedy.

Specifically, the sidekick character of Leah lightens the message. The supporting characters may get a bit too much screen time. Sandra’s giggle-worthy job interview attempting to do “respectable work” in an office environment, or her man-hungry escapades, take away from the main story.

I also never felt any real threats or danger to the same-sex relationship. Sure, there is some brief disapproval, and a quick mention of Jamie not liking football (a negative gay stereotype that is unnecessary) combined with Ste’s abuse at the hands of his family, but even that is not perceived as a major obstacle to their, at that time anyway, shocking relationship.

On the other hand, the chemistry between the two leads (Berry and Neal) is wonderful and the best aspect of the film. Both actors convey the emotions of the characters perfectly- both coming into their sexuality, Berry’s Jamie is the more confident one, asking Neal’s Ste, in a sweet scene, whether he has ever been kissed.

This leads to a sleepover that is innocent and tender rather than steamy or sexual. I completely buy the characters as young lovers, coming to terms with their own identities while supporting the needs of the other, and becoming a good team.

The final scene, naturally accompanied by a Cass Elliot song “Dream A Little Dream Of Me”, is a touching, wonderful scene. Jamie and Ste dance together in broad daylight, for their entire complex to see, and subsequently are circled by both supporters and the curious.

As their show of support, Sandra and Leah join the boys and end their dispute.

Beautiful Thing (1996) offers a heartwarming conclusion to a fine, yet lightweight by modern standards, LGBT romantic film.

2016 Films, Australian, Bentley Dean, Drama, International, International Drama, Marie Wawa, Martin Butler, Mungau Dain

Tanna-2016

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Tanna-2016

Director Bentley Dean, Martin Butler

Starring Mungau Dain, Marie Wawa

Scott’s Review #673

Reviewed August 18, 2017

Grade: A

Tanna, named for the tiny South Pacific nation of Vanuatu, close to Australia, was made in 2016 and nominated for the Best Foreign Language Academy Award.

It is a marvelous work in every way, but the crowning achievement is how this film was made.

Shot entirely on the island with a minimal budget and the use of nonactors, the result is a romantic yet tragic love story that will move its viewer to tears in its innocence and beauty.

Tanna is shot in the  Nauvhal and Nafe languages.

Film-makers reportedly spent seven months in the village of Yakel, immersing themselves in the tribe’s culture and civilization. The people are the last of their kind, rebuffing nearby colonial and Christian influences in favor of their traditional values and beliefs.

The film is based on a true story of love by two tribe members and played out by the villagers, each portraying a role close to their lives and hearts.

As the movie opens, we are immediately exposed to a tribal community living their daily lives. They wash, hunt, and wander through the jungles, exploring their natural surroundings.

The men wear simple penis sheaths, and the women are primarily topless. We sense a great community and a sense of togetherness.

When Dain and Wawa  (I am unsure if these are the “actors” names or the real-life people) lay eyes on one another from across the jungle, they instantly fall in love and secretly begin to spend time in a tender and romantic courtship.

A traditional rule is arranged marriage, which becomes a significant problem for Dain and Wawa as their love blossoms. When a neighboring tribe attacks the Shaman over a dispute regarding bad crops, Dain wants revenge.

When cooler heads prevail, the leaders of each tribe decide that Wawa will marry a member of the other tribe, leaving her and Dain distraught and desperate.

Their love is then tested ultimately.

The actors who play Dain and Wawa are authentic and truthful. Although they have never acted before or seen a camera, both pour their souls into the characters they portray.

This also applies to Wawa’s little sister, a goldmine in her honest portrayal. All the performances are rich.

Visually, Tanna is breathtaking. One thing is the exotic lushness of the green jungles, mixed with the gorgeous running streams and waterfalls. Still, the oozing volcano inhabiting the island is colorful and picturesque during the night scenes.

The entire film is shot outdoors and captures the tribal world incredibly well. Thus, the film immerses the audience wholly in the tribal world.

Comparisons to the William Shakespeare play Romeo and Juliet must be made.

The film is a romantic tragedy of epic proportions, and the doomed couple shares everlasting love and a bond that can never be broken.

The truth in this tale is genuine as the couple must agonize over a decision to either remain together or risk the threat of Dain’s life and Wawa’s freedom if they return to their native village.

The film is almost poetic, never more so than in the final act, set upon the glorious spitting volcano.

Sadly, films similar in richness and honesty are rarely made today, but Tanna (2016) stands out as a treasure in beauty and thought.

Interestingly, because of the real-life couple’s determination and strength, the age-old tradition of chosen marriages has since been lifted, and true love encouraged.

Oscar Nominations: Best Foreign Language Film