Category Archives: Drama

2015 Films, Dakota Johnson, Drama, Eloise Mumford, Jamie Dornan, Jennifer Ehle, Luke Grimes, Marcia Gay Harden, Romantic Drama, Sam Taylor-Johnson

Fifty Shades of Grey-2015

August 5, 2015 scottmet99 Leave a comment

Fifty Shades of Grey-2015

Director Sam Taylor-Johnson

Starring Jamie Dornan, Dakota Johnson

Scott’s Review #262

Reviewed August 5, 2015

Grade: B-

To quote a humorous phrase I once coined years ago, when I decided to give in and see Fifty Shades of Grey (2015), despite negative reviews, “I was not expecting Citizen Kane” fit perfectly with this film as I pondered my review after the conclusion.

Based on the titillating book series by author E.L. James, the film is sudsy, steamy, and poorly acted. However, something is charming and sexy about the badness of it.

It’s not a terrible film, but the negatives outweigh the positives.

Dakota Johnson, daughter of Melanie Griffith and Don Johnson, and granddaughter of Hollywood royalty Tippi Hedren plays a shy literature student named Anastasia Steele.

She is pretty and grounded and meets and becomes enamored with a twenty-seven-year-old billionaire named Christian Grey after driving to Seattle to interview him for a sick friend.

The chemistry between the two is palpable and an instant romance ensues.

Christian courts Anastasia mercilessly, becoming somewhat controlling, and she is willing to be his “victim” as she adores his attention.

As the two get to know each other better, it is revealed that Christian is “dominant” and desires Anastasia to sign a contract, becoming his “submissive” and “belonging” to him. Anastasia is conflicted by this notion.

She loves Christian but wants a traditional romance with flowers and chocolates, something Christian has admitted he does not do.

I confess to having gotten caught up in the kinky romanticism of it.

The film has a smoldering, dreamlike style. The scenes in the “playroom” are hot and the film does its best to make the entire production erotic, but not going so far as to make it pure smut.

Boy meets girl, girl falls head over heels, boy conquers girl.

The film makes sure to portray Anastasia and Grey as complete opposites. He is wealthy, sophisticated, calm, cool, and collected while she is a struggling, naive girl ripe for the picking.

Perhaps this was part of her appeal to Grey.

The acting is not great, especially on the part of Johnson.

I did not find Jamie Dornan (Grey) to be so bad and he is likable enough to me. For the most part, the character of Anastasia irritates me, and I find her quite unlikeable.

Anastasia becomes enamored with Christian, allows herself to be pursued, showered with gifts, considers, then more or less accepts his offer to be his “submissive”, then gets furious and dumps him.

Huh?

Fifty Shades of Grey is told from a female point of view as evidenced by the marketing and the strategic opening on Valentine’s Day weekend.

I sense that the character of Anastasia is made to be sympathetic while Grey is drawn to be the cad and the bad character.

A brief backstory is mentioned as to what turned him into a dominant male who likes to have females submit to his desires coupled with his lack of desire for any affection, but this was not too deeply explored.

The film does not want the audience to really “get him” or delve too deep into the psychological reasons, instead of going for the kinkiness and the female side of the story.

A poorly structured film that made a ton of money and will undoubtedly spawn at least another sequel, Fifty Shades of Grey (2015) is a guilty pleasure and one I shamefully confess to having somewhat enjoyed.

Oscar Nominations: Best Original Song-“Earned It”

2014 Films, Billy Bob Thornton, David Dobkin, Denis O'Hare, Drama, Grace Zabriskie, Ian Nelson, Jeremy Strong, Robert Downey Jr., Robert Duvall, Vera Farmiga, Vincent D'Onofrio

The Judge-2014

August 2, 2015 scottmet99 Leave a comment

The Judge-2014

Director David Dobkin

Starring Robert Downey Jr., Robert Duvall

Scott’s Review #261

Reviewed August 2, 2015

Grade: B+

The Judge (2014) is a formulaic, courtroom drama that we have all seen many times before, but I found the film rather enjoyable.

The main reason for this is the casting of Robert Downey Jr. and Robert Duvall in the pivotal central roles. The two actors play estranged father and son.

The clichés are numerous, but with excellent acting, the story feels fresh, fun, and compelling, if not innovative. As seen by only a few, The Judge was on my radar only because of Duvall’s Oscar nomination for his role.

Hank Palmer (Downey Jr.) is a big-shot attorney from Chicago. Highly successful, he is selfish, driven, and a downright prick. Going through a messy divorce with his gorgeous, athletic wife, he has a close bond with his daughter, despite not being home very often.

Suddenly, Hank’s mother dies tragically and he must return to small-town Carlinville, Indiana, a place he despises, not simply because the town is in the sticks, but because he has bad memories.

When he arrives he reconnects with his two brothers and his father (Duvall), the local judge. While staying at the family house, Hank once again butts heads with his father and runs into an old girlfriend (Vera Farmiga), who now owns the local diner.

On his way out of town for good, Hank is asked to defend his father when he is arrested and charged with murder.

The Judge is a family drama that contains suspense and a few twists.

The film reminds me of a slew of 1990s-era courtroom dramas based on John Grisham novels (A Time to Kill, The Client, The Firm) so I expected a bland, dated film.

I love the chemistry between Downey Jr. and Duvall, which I think is the most successful aspect of the film, and the family-style drama with numerous trials and tribulations thrown in.

Hank is smarmy and ruthless, but has a humorous side and tells it like it is. I smiled at his wry wit.

Judge Parker is equally stubborn and the battles are wonderful to watch. Conversely, the film also has tender bonding moments between the two men, which are sentimental and warm. As one man takes care of the other during sickness it is a tender and heartbreaking scene.

An interesting aspect is the small-town sense of community of Indiana, which I found charming. Everyone gravitates towards the cute diner in the center of town owned by Hank’s high school sweetheart. There is a nice wholesome, small-town appeal to the entire film.

I half expected a county fair or apple pie baking scene to be added.

The film feels wholesome and comfortable- a slick, mainstream drama. Movie comfort food if you will.

The relationships among the three brothers- Hank, Glen- a middle-aged man regretting never having moved from Carlinville, and Dale, a sweet-natured autistic man, determined to one day become a filmmaker, are interesting.

They are so different but stick together bicker, and bond. Similar to real-life families.

The negatives are that the courtroom scenes sometimes go on too long and the film brings nothing new or exciting to cinema and plays it safe throughout.

Still, I was pleasantly surprised to be treated to a film above mediocrity but not a reinvention of the wheel.

To be seen for simmering acting by the entire cast and especially film stalwarts, Duvall and Downey Jr, who bring life and wit to an otherwise traditional film.

Oscar Nominations: Best Supporting Actor-Robert Duvall

2014 Films, Angelina Jolie, Biography, Coen Brothers, Domhnall Gleeson, Drama, Finn Wittrock, Garrett Hedlund, Jack O'Connell, Sports, War

Unbroken-2014

August 1, 2015 scottmet99 Leave a comment

Unbroken-2014

Director Angelina Jolie

Starring Jack O’Connell, Garrett Hedlund, Domhnall Gleeson

Scott’s Review #260

Reviewed August 1, 2015

Grade: B

Unbroken (2014) tells the true story of Olympic athlete Louis Zamperini, a runner during the World War II period, who was also serving in the military during this tumultuous time in history.

His story is one of bravery, courage, and endurance, as he survives a hellish experience in a Japanese prisoner of war camp after having crashed in the Pacific Ocean, stranded for forty-seven days as if that were not enough to break a man.

Mainstream Hollywood fare to the hilt, this film is surprisingly directed by Angelina Jolie (a woman) and written by the Coen brothers, the latter usually emitting less traditional and more quirky fare than this film.

Jolie directs what is arguably a “guys movie” that contains very few women in the cast, and the ones who do appear are either loving mothers or giggling schoolgirl types, so the big names associated with Unbroken surprise me.

I would have taken this work as a Clint Eastwood film.

Unbroken, expected to receive several Oscar nominations, was shut out of the major categories.

Visually, Unbroken is slick, glossy, and shot very well- it looks perfect. The cinematography, sound effects, and costumes look great.

The cast of good-looking young men looks handsome even while battered and bruised and half-starved. While in a way this is a compliment, it is also not one. Unbroken lacks any grittiness and plays it quite safe. Even the scenes of abuse and beatings lack an edge to them.

This is not to say that the film is not good. It is good.

I found myself inspired by the lead character of Louis, played by Jack O’Connell, for his resilience during his ordeals. O’Connell gives a very good performance as his motto, “If I can take it, I can make it” is repeated throughout, and who will not cheer at his accomplishments?

Zamperini, who has traditional Italian parents having relocated to the United States, is strict but fair. Louis’s older brother, Peter, is his best friend and is the person who has the most faith in him. At first, Louis is on the verge of becoming a punk, in trouble with the law, if not for the interference of his brother, who gets him interested in the sport of running.

As the years go by and war erupts, Louis embarks on a tour of duty in the military and his plane crashes in the water providing yet another test of courage and stamina. Louis is strong and always the leader of the group he is intertwined with.

The scenes of the three survivors stranded on the raft for days become slightly tedious, but perhaps this is the intention, as they eat raw fish and raw birds to survive. Much of the remaining action is set in two Japanese war camps as Louis (and others) struggle to survive until the massive war has ended- they do not know if they will live or die.

The central antagonist- a vicious Japanese sergeant named “Bird”, perplexed me. Blatantly targeting Louis and administering cruel beatings and heaping tests of strength upon Louis, presumably out of jealousy because Louis was an Olympic athlete, why did Bird not simply kill him?

His motivations were also odd- In one scene, Bird tearfully tells Louis that he knew they would be friends from the beginning and seems to admire him. Bird’s father, going by a photo, seems a hard, mean man. Is this why Bird is so vicious? Bird’s character is not well thought out.

Also, every single Japanese character is portrayed in a very negative light, which sadly is common in war movies. Surely, despite being a war, there had to have been a few Japanese people who were not cruel.

Character development and depth are not a strong suit of this film.

Unbroken is a good, solid, war drama with an inspiring message of triumph, faith, and determination.

Indeed, it is a positive message to viewers of all ages.

The abuse/torture scenes are tough to watch, but the result is a feel-good story.

The snippets of the real Louis Zamperini are wonderful to watch.

Oscar Nominations: Best Sound Editing, Best Sound Mixing, Best Cinematography

2015 Films, Bill Pohlad, Biography, Drama, Elizabeth Banks, Independent, Independent Drama, John Cusack, Musical, Musical Drama, Paul Dano, Paul Giamatti

Love and Mercy-2015

July 17, 2015 scottmet99 Leave a comment

Love and Mercy-2015

Director Bill Pohlad

Starring John Cusack, Paul Dano

Scott’s Review #258

Reviewed July 17, 2015

Grade: B+

The life and times of the Beach Boys’ famous and troubled lead singer, Brian Wilson, is finally played out on the big screen (apparently many attempts were made to make a film) as Love and Mercy (2015) chronicles his difficult upbringing, unrivaled success, and his interesting life in later years.

He suffered from schizophrenia, traveled down a paranoid, nervous path, and was manipulated by a family friend who served as his doctor and main caregiver.

Thankfully, he weathered the storm due to his future wife, and remarkably still performs and entertains in 2015.

His musical career began in the 1960s.

The biopic features many well-known Beach Boys tunes to hum along to and be entertained by. It’s not a happy film nor a downer either.

It’s somewhere in the middle of the two and the life story of a rock star.

There is a risk in this. If the film is too sentimental it will fail. Love and Mercy do it correctly.

The film is not a sing-along, trip-down-memory lane film for lighthearted film fans. Rather, it is dark, murky, and troubling at times (the psychedelic scene when a young Brian is imagining different voices and noises in his head is rather frightening).

Wilson is played by two actors, first in the 1960s and later in the 1980s.

Paul Dano stars as a young Wilson in the early stages of his career, filled with passion for life, art, music, and talent beyond belief, but clearly in the onset stages of paranoia, thanks to his critical father. He is a demanding, angry man, possibly envious of Brian’s talents as a songwriter, who always wanted more from Brian.

Wilson’s father managed Brian and his brothers success but at a huge cost, and was ready to bail when the “next big thing” came along.

Miraculously, through conflict with his father and other members, Wilson completed the Beach Boys masterpiece, Pet Sounds, a groundbreaking album from the late 1960s. The film shows the struggles faced to achieve this success.

In later years John Cusack takes over the role of Brian. By this point in his life, he is damaged and he is a full-blown neurotic, insecure, and dependent on his psychotherapist, Dr. Landy, brilliantly played by Paul Giamatti.

Landy has control of Wilson’s assets and will destroy anyone who interferes in this.

The scenes in which he screams at and berates a drugged-out Brian Wilson to create music are tough to stomach. When Wilson romances their future wife Melinda Ledbetter, played by Elizabeth Banks, she ultimately saves his life as she is determined to rescue Brian from the wicked abuse and adjust the toxic levels of medications he was kept on.

I left the movie theater unsure of the factual accuracy and pondered the following questions.

Did Brian’s wife swoop into his life and “save” him as neatly as the film explains? How instrumental was the maid in this process? Was the Wilson brothers’ father as much a monster as the movie portrayed him? Was Giamatti’s vicious psychotherapist role true to life or were the aspects of Love and Mercy embellished ever so slightly for moviemaking magic?

One wonders, but from a film perspective, Love and Mercy (2015) works well as a work that takes risks, does not go for softness or niceness, and gives a character study that is quite admirable.

Independent Spirit Award Nominations: Best Supporting Male-Paul Dano

2014 Films, Adriana Barraza, Anna Kendrick, Chris Messina, Daniel Barnz, Drama, Felicity Huffman, Jennifer Aniston, Sam Worthington, William H. Macy

Cake-2014

July 14, 2015 scottmet99 Leave a comment

Cake-2014

Director Daniel Barnz

Starring Jennifer Aniston, Adriana Barraza

Scott’s Review #257

Reviewed July 14, 2015

Grade: B+

Cake (2014) is a film about a woman suffering from chronic physical pain and depression that she constantly battles after a terrible accident that she was involved in.

Jennifer Aniston gives a wonderful performance as Claire Simmons, a grumpy, sarcastic, bitter victim of unimaginable loss. Aniston’s performance is the best part by far.

It is interesting to note that Aniston Executive produced this film.

Similarly and somewhat sadly, Reese Witherspoon had to produce her own 2014 film (Wild) centered on a female role for both women to showcase their powerful acting chops. Too few films about women are made these days unless female star power is used, which is too bad.

Claire has been through hell and back.

As the story opens, Claire sits angrily in a support group filled with other women with problems. One of the women, Nina, (played by Anna Kendrick) has just jumped off of a freeway overpass to her death—a giant photo of her glares jarringly at the other women.

When Claire prods about the details of the death and uses sarcastic tones, she is politely asked not to return to the group by the lead counselor, Annette, (played by Felicity Huffman).

Claire returns to her well-maintained Los Angeles home and the audience is introduced to her well-meaning housekeeper and confidant, Silvana, played by Adriana Barraza. Barraza herself gives a powerful performance.

Nina appears throughout the remainder of the film in visions as Clare debates suicide.

Let me discuss Jennifer Aniston’s performance in particular. I thought it was amazing and she was shamefully overlooked for an Oscar nomination.

She was superior to at least a couple of the other Best Actress nominees from 2014 (Felicity Jones immediately comes to mind as one).

Her character of Claire starts as a bit of a shrew but gradually becomes quite sympathetic as the story becomes layered and the audience gets to know what makes her tick.

We do not know how she came to be in her predicament initially. We know she was in a terrible accident, but it slowly takes time for all of the details to emerge. We only know she is in pain and angry. Claire’s relationship with Silvana is an interesting one.

They spar, Claire takes Silvana for granted at times, but throughout the film, a close friendship emerges between the women. In a touching scene, they hold hands as they sleep.

Two scenes in particular are heartbreaking and honest. A man played by William H. Macy emerges on the doorsteps of Claire’s house and she is engulfed in rage at his appearance.

The power that Aniston emits in this scene is unrivaled. In another scene she sees a portrait hanging on her living room fireplace mantle given by a friend- she bursts into tears and sobs emotionally. At this point, the plot makes more sense and we feel Claire’s raw pain.

The subject matter of depression and suicide is not a cheery one, and Cake delves deeply into this territory. The film is a bit of a downer, slow, and, at moments, drags a bit, and teeters on the verge of a lifetime television movie (yikes!), but MUCH better than that thanks to Aniston’s compelling portrayal.

With a lesser actress, the film might have felt watered down and safe.

Some light moments fail. For instance, when Claire “blackmails” Annette and bribes her with vodka for the address of Nina, this seems very trivial and silly.

Thanks in large part to a gripping performance by one of Hollywood’s underrated talents, Cake (2014) takes a film on the border of being one-dimensional to a grander level of dynamic acting by its leading lady.

A supporting cast of similar talents helps the film rise above the mediocrity it may have been if served by lesser casting choices.

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

Inherent Vice-2014

July 7, 2015 scottmet99 Leave a comment

Inherent Vice-2014

Director Paul Thomas Anderson

Starring Joaquin Phoenix, Josh Brolin

Scott’s Review #255

Reviewed July 7, 2015

Grade: A-

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Oscar Nominations: Best Adapted Screenplay, Best Costume Design

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

2014 Films, Adventure, Bill Pohlad, Biography, Drama, Gaby Hoffmann, Jean-Marc Vallée, Laura Dern, Reese Witherspoon, Thomas Sadoski

Wild-2014

June 21, 2015 scottmet99 Leave a comment

Wild-2014

Director Jean-Marc Vallee

Starring Reese Witherspoon, Laura Dern

Scott’s Review #249

Reviewed June 21, 2015

Grade: B+

Wild (2014) is a personal story of a young woman’s 1995 challenge to hike the 2,650-mile Pacific Crest trail as a form of therapy for her divorce and her recovery from drug addiction.

The film stars Reese Witherspoon in a thoughtful biography of a real-life figure, Cheryl Strayed, and is adapted from a novel entitled Wild: From Lost to Found on the Pacific Trail.

The film depicts Cheryl’s struggles to survive in the remote area of northern California through various weather patterns, and her interesting encounters with strangers.

The film is a showcase for Witherspoon as she takes center stage, appearing in almost every frame of the film.

Her producing the project undoubtedly has something to do with this. Regardless, it is a winning turn for Witherspoon as she is excellent. She portrays the role with vigor, emotional rawness, and vulnerability, which comes across on-screen.

She deserved her Oscar nomination for this part.

What sets her apart from other actresses who may have gotten this part is that Witherspoon is a small woman, which makes her physical struggles to commandeer trails and wilderness while hauling a large backpack containing her necessities, believable.

Shot using many flashbacks of Cheryl’s life before the enormous hike, we are introduced to the character of Cheryl and her challenging life before. We know that she is a recovering addict, but we do not know what led to these events.

Living in Minneapolis, she is very close to her mother Bobbi, played by Laura Dern, who tragically dies. This leads to a path of destructive behavior for Cheryl and ultimately to her divorce from her husband Paul, who periodically sends Cheryl care packages along her journey.

The bond that Cheryl shares with her mother, a struggling woman herself, is deep. Bobbi has difficulties raising a family and striving to improve her education and life and this is explored during the flashback scenes featuring Cheryl as a teenager.

I love the encounters Cheryl faces along the trail and feel it adds depth to the film.

Few and far between are these gems of interchange since she is mostly alone with nature, and the characters are interesting. Alone in the dark and desperate for a meal, she flags down a farmer named Frank.

At first, it appears Frank may be dangerous and wielding a gun so Cheryl is wary as she goes home with him for dinner.

Happily, Frank is married to a kindhearted woman named Annette, and the three of them enjoy a lovely feast. Later, she encounters a young boy whose mother has died. They bond as the boy sings a song that his mother used to sing to him, and when the boy leaves, Cheryl sobs in emotion for her mother.

These small snippets of real-life conversations and togetherness make the film feel happy and we root for Cheryl to accomplish her enormous feat.

Thanks to a bravura performance by Witherspoon, Wild (2014) is much more than a woman surviving on her own in the wilderness. It is encased in quiet emotion and understated supporting performances that give layers to a human story.

Oscar Nominations: Best Actress-Reese Witherspoon, Best Supporting Actress-Laura Dern

2014 Films, André Holland, Ava DuVernay, Carmen Ejogo, Colman Domingo, Common, Cuba Gooding Jr., David Oyelowo, Drama, Dylan Baker, Giovanni Ribisi, Historical Drama, Independent, Independent Drama, Jeremy Strong, LaKeith Stanfield, Martin Sheen, Niecy Nash, Oprah Winfrey, Tessa Thompson, Tim Roth, Tom Wilkinson, Wendell Pierce

Selma-2014

June 19, 2015 scottmet99 Leave a comment

Selma-2014

Director Ava DuVernay

Starring David Oyelowo, Carmen Ejogo

Scott’s Review #248

Reviewed June 19, 2015

Grade: A-

An Oscar-nominated factual feast, set in the mid-1960s during the Civil Rights movement, Selma (2014) is a re-telling of the life and times of Martin Luther King Jr. and the struggles that black Americans endured during a tumultuous period in history.

The film includes dealings with then-President Lyndon B. Johnson and the famous and important 1965 Selma to Montgomery voting rights march, which led to the signing of the pivotal Voting Rights Act of 1965.

This film reminded me quite a bit of 2013’s The Butler in subject matter and style-ironic since Lee Daniels was slated to direct and instead signed on for The Butler.

Both feature a charismatic and intelligent black man struggling with racial matters.

Despite being an independent undertaking, it is glossy, polished, and reflective of the time. Both The Butler and Selma boast a huge cast, and historical political figures, in a tumultuous era in history.

Selma features a bevy of real-life figures from George Wallis to President Johnson to the obvious leader of the Civil Rights movement, Martin Luther King Jr., and his wife, Coretta Scott King, and the casting is very well thought out.

Tim Roth, David Oyelowo, Tom Wilkinson, and Carmen Ejogo portray their roles professionally and passionately. None of the above received Oscar nominations and I am okay with that.

I did not feel that any were definite standouts from a crowded field of talent, though perhaps Ejogo could have been in the running with her understated though compelling performance.

The drama surrounding the lack of expected Oscar nominations is not shared by me. The truth is, the film was included in the Best Picture category and won Best Song.

While an emotional and compelling film, neither is it a masterpiece nor will change the art of cinema, though I must stress it is good.

I find Selma to be an important film- a look back on history and the shame and humiliation placed on blacks who attempted to obtain voting rights. A heartbreaking scene depicts a determined woman (played by Oprah Winfrey) being denied this right by a cold and racist authority figure as she is asked impossible and tricky questions to prove her patriotism, which of course, she cannot possibly answer correctly.

Yes, the film is directed by a black, female director (Ava DuVernay) and yes, one might argue that it has a black point of view. However, the film successfully sympathetically portrays several white characters and avoids the assumption that all white people were racist in this period.

Let’s face it- racism still exists, especially in the South, and in the 1960s even more so. I did not find the message in black people vs. white people’s terms, but rather as a humanistic struggle for rights.

And the struggles continue as the film makes abundantly clear in the message of the film.

While King was a life changer to the black people of the United States, his life was abruptly cut short in his prime. One wonders how much more good this man could have achieved.

The song “Glory” is an emotional, powerful number, especially during the marching and subsequent slaughter scenes highly emotional and effective.

And who will not become teary-eyed as the innocent marchers are beaten and treated like cattle, simply for taking a stand? One will gasp at the senseless bombing scene that rocks a building and takes four innocent little girls’ lives away with it.

Selma successfully transplanted me to a time before my time and made me appreciate and capture the positive and negative experiences of a race of people not long ago.

This film inspires and moves me and teaches me what a movement occurred in 1965.

Oscar Nominations: 1 win-Best Picture, Best Original Song-“Glory” (won)

Independent Spirit Award Nominations: Best Feature, Best Director-Ava DuVernay, Best Male Lead-David Oyelowo, Best Supporting Female-Carmen Ejogo, Best Cinematography

2014 Films, Ann Dowd, Bill Murray, Chris O'Dowd, Comedy, Drama, Independent, Independent Comedy, Independent Drama, Melissa McCarthy, Naomi Watts, Terrence Howard, Theodore Melfi

St. Vincent-2014

June 5, 2015 scottmet99 Leave a comment

St. Vincent-2014

Director Theodore Melfi

Starring Bill Murray, Naomi Watts, Melissa McCarthy

Scott’s Review #246

Reviewed June 5, 2015

Grade: B-

St. Vincent (2014) succeeds only due to the charming, funny appeal of its star Bill Murray, who fronts this cute, mainstream comedy.

Set in blue-collar Brooklyn, New York, it tells the story of a curmudgeonly old man (the title character, Vincent), who befriends a lonely young boy named Oliver, new to the neighborhood.

Mixed in with the cast of characters are Oliver’s struggling mother Maggie (played by Melissa McCarthy) and Vincent’s pregnant, stripper girlfriend, Daka, played by Naomi Watts.

I found intrigue in how we get to know Vincent first and then watch him evolve from a grumpy, cutting old man to a begrudging babysitter of the neighbor boy while clashing with Maggie and fighting with Daka.

Murray returns to comic wit using his now-legendary flawless dry, sarcastic humor and perfect timing and displays much of that in St. Vincent. Throughout all of this Vincent remains brutally honest with his snarky remarks (mainly aimed at Maggie) yet heartwarming and I love this aspect of the film.

Thanks to Murray, Vincent is lovable, making the film, which with lesser talent, would be overly sentimental

As the film progresses we see Vincent’s struggles- his wife suffers from Alzheimer’s, and he is indebted to bookies (primarily Terence Howard- in a bit of a throwaway role).

The film staggers with some predictability issues and is formulaic and easy to predict a warm finale.

Of course, in true form, Vincent is a Vietnam vet who drinks and gambles and is angry at the world, but has a heart of gold so, despite being temperamental, the audience falls in love with him (patriotism helps).

The character contains every cliche in the book. A mean old man- who rises to new heights and becomes a nice grandfather figure to a bullied boy is what this film is going for.

The bullying of Oliver is also contrived- during one scene Oliver, after being picked on once again by the prominent bully, flies into a seething rage and breaks the bully’s nose.

The audience is supposed to buy that the waif-ish, shy kid triumphs over the bully. If only life were that simple. Inevitably, after both serve after-school detention, they bond over bathroom cleaning and become best friends.

Who did not see that coming?

In addition, most of the characters are one-note.

Naomi Watts is a sexy, and aging Russian (not sure I bought that accent) stripper with a soft spot- she comes across as uptight but is caring- another cliche.

Melissa McCarthy is a hard-working, soon-to-be divorcee, trying to raise her kid right- one-dimensional. Even Vincent is seemingly tough as nails, but of course, has a soft spot for the neighbor kid.

The casting of Watts, McCarthy, and Howard is okay, and I surmise the film was going for casting “name” actors, but these parts might have been played by unknowns and had the same effect.

The gem is Murray.

Murray effortlessly breathes life into a character who otherwise would have been as dull as dishwater. I found the writing the weakest point of the film.

A major incident brings the cast together united as one (yawn). The film closes with the family all happily eating dinner together. I do not see this as a spoiler as this ending can be seen a mile away.

Despite the flaws and sentimentality of the film, it is admittedly sweet, and humorous at times, and sends a nice message to the audience- be kind to one another and help each other get through life.

Without Bill Murray, this film would have been completely bland and unlikeable.

St. Vincent (2014) is a feel-good film that is perhaps too feel-good.

1960 Films, Art, Best International Film Oscar Winners, Bibi Andersson, Birgitta Pettersson, Birgitta Valberg, Drama, Gunnel Lindblom, Ingmar Bergman, International, International Drama, Max von Sydow, Swedish

The Virgin Spring-1960

May 15, 2015 scottmet99 Leave a comment

The Virgin Spring-1960

Director Ingmar Bergman

Starring Max von Sydow, Birgitta Valberg

Scott’s Review #243

Reviewed May 15, 2015

Grade: A

The Virgin Spring is a quiet masterpiece by director Ingmar Bergman.

A Swedish film, it won the Best Foreign Language Oscar in 1960, which is surprising for such a dark film.

I have heard about this film for years, but it has eluded me until now. I am finally glad I viewed it. It is breathtaking and mesmerizing.

A unique film for many reasons, it inspired “revenge” films to follow, specifically The Last House on the Left and I Spit on Your Grave, which is a horror film, yes, while The Virgin Spring is interestingly an art film.

The film also questions morals, the main character’s religious beliefs, and reflections on guilt.

The filming is in black and white, and the first point that struck me about the film was its gorgeous cinematography and lighting. The brilliant, deep contrast of black and white with the illumination of a character’s face while the background is death black is bold and reminiscent of Citizen Kane (1941).

It gives the film warmth and glow that contrasts perfectly with the bleak subject matter.

The story of The Virgin Spring is a tragedy, yet the filming is so magnificent that it was not until the film concluded and I pondered the actual story that I realized just how horrific it truly is. And that is what Bergman was going for-provoking a thought.

This is not a film to watch while munching a tub of popcorn. It is a film meant to make one think.

An affluent Swedish couple owns a farm and lives a peaceful, quiet existence. They are stellar members of their community and church. Although they are humble, they can afford to have servants.

They have a beautiful and pampered young daughter named Karin, who is sent to deliver candles to their church one sunny day. Karin is a trusting, virginal, and proper girl. She meets a trio of males- two adults and a young boy.

At first, gleefully sharing food with them and enjoying her newfound friends, they soon turn on her, and she is viciously raped, robbed, beaten, and murdered.

The look of surprise, pain, and horror on Karin’s face is monumental. As this occurs, a pregnant and spiteful servant, Ingeri, watches in horror from a hiding place. A rival of Karin’s, Ingeri wanted misfortune thrust upon Karin, but as she sees in horror, her expressions portray regret.

As the family hopes and prays that they can find the missing Karin, the men and boy show up at the farmhouse in need of food and shelter.

Unbeknownst to the family, they are Karin’s rapists and killers, and once the truth is known, the once-sweet parents are out for brutal revenge. The young boy of the trio is guilt-ridden and physically sick from the circumstances.

Is the family’s revenge justified, or should they (as good Christians) forgive? This is the moral point of the story.

The conclusion is powerful as the father begs God for forgiveness. He questions his actions. But is he a changed man?

Bergman uniquely and intelligently shoots these scenes with only the father’s back in view as he throws his hands to leave. In these moments, we, the viewer, become one with the father, which makes for powerful storytelling.

Influential to many subsequent films, The Virgin Spring (1960) is a powerful tale reminiscent of a fairy tale that makes viewers think about the ending.

Subdued yet horrifying, it is meant to be viewed and analyzed.

Oscar Nominations: 1 win-Best Foreign Language Film (won), Best Costume Design, Black-and-White

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

Pulp Fiction-1994

May 12, 2015 scottmet99 Leave a comment

Pulp Fiction-1994

Director Quentin Tarantino

Starring John Travolta, Samuel L. Jackson, Uma Thurman

Top 100 Films #22

Scott’s Review #242

Reviewed May 12, 2015

Grade: A

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

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

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

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

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

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

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

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

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

The film, however, is set in present times.

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

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

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

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

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

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

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

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

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

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

1952 Films, Drama, Eddie Albert, Jennifer Jones, Laurence Olivier, Miriam Hopkins, William Wyler

Carrie-1952

May 3, 2015 scottmet99 Leave a comment

Carrie-1952

Director William Wyler

Starring Jennifer Jones, Laurence Olivier

Scott’s Review #240

Reviewed May 3, 2015

Grade: B

Carrie, not to be confused with the 1976 horror classic Brian DePalma, is a 1952 drama starring Laurence Olivier and Jennifer Jones—two big Hollywood stars of the time.

Shot in black and white, the film tells the story of a self-titled ingénue (Jones) from a Midwest upbringing who travels to Chicago to make her fortune.

Attempting to launch her career, Carrie becomes immersed in a love triangle with Olivier, who is unhappily married and runs a restaurant with salesman Charles Drouet, played by Eddie Albert.

Directed by William Wyler, the film has a melancholy tone as one of the characters sinks into a world of despair.

The highlight of this film is Laurence Olivier’s excellent performance as George Hurstwood, who goes from being a successful restaurant manager with an affluent existence to a poverty-stricken, lonely, and broken older man.

Olivier is so effortless and believable in his performance, as he always was.

However, I felt that Jennifer Jones was miscast. While attractive, yes, I did not think that every man would lust after her on sight alone, as was needed for the character of Carrie. Her acting, while okay, is not on the level of either Albert or especially Olivier, with whom she shares much screen time.

Perhaps Vivian Leigh, Teresa Wright, or Kim Novak might have been wiser choices.

The story itself is compelling and engaging. Here we have a woman- at the turn of the twentieth century- forging ahead to make it on her own- almost unthinkable for a woman, taking menial jobs as a sewing worker in a factory to scrape by.

Carrie resists the urge to become a rich husband-seeking gal and believes in marriage and true love. That is why she is devastated when she learns that George is married.

Will true love win out for them? This seems to be the central aspect of the film.

Behind-the-scenes issues may have contributed to the problems that appear onscreen. Wyler reportedly did not want to cast Jones, Olivier did not like Jones, Olivier was injured during much of the filming, and the film’s ending was changed to provide a “happier” ending.

Initially, George was to commit suicide, which might have successfully made the film more shocking and heartbreaking.

Containing beautiful costumes and interesting cinematography, Carrie has positives but might have been much better than the final product ended up being, but for poor casting and real-life dramas that hurt the film.

Oscar Nominations: Best Art Direction, Black-and-White, Best Costume Design, Black-and-White

2014 Films, Albert Brooks, Christopher Abbott, Crime Drama, David Oyelowo, Drama, Independent, Independent Drama, J. C. Chandor, Jessica Chastain, Mob, Oscar Isaac

A Most Violent Year-2014

May 1, 2015 scottmet99 Leave a comment

A Most Violent Year-2014

Director J.C. Chandor

Starring Oscar Isaac, Jessica Chastain

Scott’s Review #239

Reviewed May 1, 2015

Grade: B

Set in New York City, throughout the notoriously violent year of 1981 and influenced, at least in part, by The Godfather (1972) A Most Violent Year (2014) is similar in texture to the elite HBO series The Sopranos (1999-2007).

A Most Violent Year is an attempt at weaving a tale of a “good guy” mixed up with the mafia and attempting to remain upstanding throughout the adversity and corruption he encounters.

Oscar Isaac and Jessica Chastain portray Abel and Anna Morales, who owned Standard Oil, an upstart business they are attempting to launch.

Due to the violent nature of the times, several trucks are hijacked, resulting in robberies and severe beatings. In desperate need of funds to expand their business and stay ahead of competitors, Abel and Anna are forced to take out loans, leading them into a world where crime and violence run rampant.

They are under investigation for apparent price fixing and tax evasion activity by the Assistant District Attorney.

The main theme is the conflict and guilt that Abel feels towards violence and the constant temptation to join the ranks of the crime world to protect his business ventures.

Abel faces pressure from Anna, who has mob ties (her father is an influential mafia boss known around town) and is all for fighting fire with fire. Abel refuses and is determined to lead a straight and narrow life.

When circumstances spin out of control, his morals are questioned.

A Most Violent Year is an interesting film yet I think I was expecting a bit more than I was given.

For starters, it is not in the same league as the mafia works of art. It is tough to put my finger on what the issue is but something is missing from the film making it lack a compelling edge.

The plot moves slowly, for sure, but the film is successful as the character study that it is, however, I was left wanting more depth to the characters and a broader vision of the film itself.

I did not find myself truly vested in either the character of Abel or Anna.

Chastain received praise for her performance, which I found adequate, but hardly a marvel. Nominated for several awards, but deemed “snubbed” for not receiving an Oscar nomination, I find this untrue.

Her performance is not brilliant and Oscar Isaac’s is superior.

This is not to say that I did not enjoy the film overall. It takes some risks, has a rich character complexity, is shot very well, and looks great. It has a smooth look and I completely bought the 1981 time period, rather than it appearing to be dressed up for the era.

There is an authenticity to it.

A mob film not on the level of The Godfather or Goodfellas (1990), A Most Violent Year is a decent contribution to the crime-thriller era. It just does not live up to the critical acclaim heaped upon it.

Independent Spirit Award Nominations: Best Supporting Female-Jessica Chastain, Best Screenplay, Best Editing

2014 Films, Agata Kulesza, Agata Trzebuchowska, Best International Film Oscar Winners, Drama, International, International Drama, Paweł Pawlikowski, Polish

Ida-2014

April 24, 2015 scottmet99 Leave a comment

Ida-2014

Director Pawel Pawlikowsi

Starring Agata Kulesza, Agata Trzebuchowska

Scott’s Review #238

Reviewed April 24, 2015

Grade: A

Ida (2014), the winner of several Best Foreign Language statuettes, including the first-ever Best Foreign Language Oscar for Poland, is a black and white film, containing beautiful cinematography. It offers a fascinating story that is both moving, sad, and very character-driven and centers around not one, but two compelling characters.

The ravages and after-effects of war have been explored in film before, but Ida brings a fresh spin to the subject matter.

The film takes place sometime in the 1960s, years after the cruelties of World War II and the brutality of the holocaust occurred, and explores the long-lasting pain and sadness that the incredible time in history left on the survivors, both mentally and physically.

The focus is on Anna (Agata Kulesza), a young nun about to take her coveted vows and begin a life serving the Lord. Quite beautiful, she was left as a toddler at a convent. Before she takes her vows she is instructed to spend time with her only known relative, Aunt Wanda (Agata Trzebuchowska).

Wanda is a former judge who battles depression and alcoholism. Her brother, Anna’s father, was murdered along with Wanda’s young son, so she is a tortured soul. As Anna (real name Ida and Jewish) and Wanda begin a road trip to find the whereabouts of their deceased family’s bodies, they both face personal demons.

What struck me most about Ida is the cinematography- the black and white is lovely, especially when Ida and Wanda travel across the Polish countryside, exquisite to look at.

The farms, land, and roads are so crisp and perfectly lit that it is easy to fall in love with them.

Many scenes resemble paintings giving the film an artistic quality. Ida is simply elegant and peaceful in style.

The story itself of Ida is wonderful. Ida- the title character nun is torn. She knows no other life than the church that saved her life. But she is a gorgeous young woman filled with desires. She sees her promiscuous aunt flaunt men and dress to the nines in flashy outfits and makeup.

Ida, almost always dressed in her nun’s garb, secretly dresses in Wanda’s dresses and makeup and is transformed. When she meets a handsome saxophone player, her desires begin to brim over and her conflict increases especially as the truth about her heritage unfolds.

As interesting a character study as Ida is, the character of Wanda is equally, if not more so, interesting. Damaged, hurt, and depressed she needs men to feel good about herself.

An alcoholic she has not gotten over the death of her young son and has become a bitter woman. Ida is about loss.

Visually and creatively enticing, Ida is as good as they get. It deserves the many awards that were bestowed upon it.

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

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

2014 Films, Drama, Fantasy, Independent, Independent Drama, Jeffrey Wright, Jim Jarmusch, John Hurt, Mia Wasikowska, Romantic Drama, Tilda Swinton, Tom Hiddleston

Only Lovers Left Alive-2014

April 24, 2015 scottmet99 Leave a comment

Only Lovers Left Alive-2014

Director Jim Jarmusch

Starring Tilda Swinton, Tom Hiddleston

Scott’s Review #237

Reviewed April 24, 2015

Grade: B

Only Lovers Left Alive (2014) is a bizarre trip into the strange and unusual world of vampires.

The film, moving slowly, becomes hypnotic, grabbing me into the plot, though the plot itself seems almost secondary to the gothic mood and dark ambiance of the film.

Thanks to the wonderful Tilda Swinton, who I find mesmerizing in every film role she appears in, the methodical film never completely bored me and, at times, even fascinated me.

Set in present times, Swinton and Tom Hiddleston play vampires named Adam and Eve, who are lovers separated geographically. Adam is a musician living in a vast Victorian house in Detroit and Eve resides in Tangier.

Realizing that Adam is lonely and suicidal, Eve makes the international trek to the United States to be with her love. While they begin enjoying a quiet existence immersed in music and thoughts, Eve’s rebellious sister Ava (Mia Wasikowska) from Los Angeles adds havoc to their lives.

Also cast in the film is John Hurt, who plays Marlowe, an ancient vampire assisting Adam and Eve, who succumbs to sickness due to tainted blood.

The film is a creative, atmospheric offering from edgy independent film director Jim Jarmusch, known for such left-of-center fare as Broken Flowers (2005) and Coffee and Cigarettes (2003), which are visual and visceral achievements.

While I did not completely love this film, feeling that the actual story is the weakest area, the magical and beautiful arrangements almost make up for any shortcomings.

Set entirely at night (when vampires are awake) and featuring several shots of Adam and Eve posed naked or almost naked in lovely, artistic angles, I think the film is going for a “look” as much as for storytelling and not completely centering on the plot.

It is also a lovely romantic film, though not in the typical sense of silly misunderstandings, and comical moments, but rather in romantic artistry, as Adam and Eve connect spiritually.

Married hundreds of years ago, Adam and Eve have been inexplicably separated by thousands of miles and coasts, though the reason is not explained.

Why are they the few remaining vampires alive? Does the human race know they are vampires or think they are odd-looking people? They both have money to burn and pay a high cost for being vampires as they either pay a contact to steal blood from hospitals to survive or obtain the blood elsewhere.

They are tempted to bite humans but resist those urges. The film does not explain why they are two of the few vampires left in the world or other questions. Adam, supposedly a famous musician, is wealthy beyond words and lives in a haunted-looking mansion surrounded by music and musical instruments.

The plot holes, of course, are secondary to me. None of them matter.

The film has beautiful moments- it is musically centered and Adam and Eve on more than one occasion engage in beautiful, tender dances the film is a pure love story, but a very left-of-center one.

I admire the film’s creativity and going where most filmmakers do not dare to go. Jarmusch dares to be different and deserves much praise.

The negative for me was the pacing of the film- the story almost does not matter as the film feels more like an experience in art than a “mainstream” film containing strong plot points and focus.

Only Lovers Left Alive (2014) is a different type of film and one worth admiring.

Independent Spirit Award Nominations: Best Female Lead-Tilda Swinton, Best Screenplay

1938 Films, Best Film of the Year, Bette Davis, Drama, Fay Bainter, Henry Fonda, William Wyler

Jezebel-1938

April 18, 2015 scottmet99 Leave a comment

Jezebel-1938

Director William Wyler

Starring Bette Davis

Scott’s Review #236

Reviewed April 18, 2015

Grade: B+

An excellent showcase for the young and lovely Bette Davis, Jezebel (1938) is a very early film role for Davis. It is similar to Gone with the Wind, a film Davis reportedly lost to Vivian Leigh.

One wonders how she would have made the character of Scarlett O’Hara her own, and Jezebel is on a journey exploring that possibility.

Acclaimed director William Wyler directed Jezebel, set in New Orleans in 1852 (pre-Civil War). Davis plays spoiled southern belle Julie Marsden, who is engaged to wealthy banker Preston Dillard, played by Henry Fonda.

After a dispute in which Julie selfishly feels her needs are unmet, she shockingly wears a red dress to a sophisticated ball where unmarried women are expected to wear white. This causes a scandal that results in Preston dumping Julie and leaving town.

Cocky Julie expects Preston to return to town and grovel for her forgiveness, but when he does return with a life-changing twist, the drama unfolds. Circumstances include a savage duel, longing for love, and atonement.

Fans of Davis will love Jezebel for the sheer excellence that she brings to the screen. Mesmerizing with those soulful, big eyes and excellent mannerisms, she exudes confidence and sophistication. Admittedly, this is my earliest Davis experience, and she shimmers on-screen.

Bette Davis is perfectly cast. Interesting to note are the innocent qualities early Davis possessed. Later afflicted with a hoarse, deep voice and ravaged beauty after years of alcohol and cigarette abuse, Davis in Jezebel is virginal and debutante-looking.

I find Julie’s wardrobe choices interesting. Her horseback riding outfit, the vixen-like red dress, the virginal white dress, and the dark raven cape at the climax of the film, as well as the various lighting techniques Wyler used to showcase Davis’s face, almost look like candlelight.

The film is similar to Gone with the Wind (preceded by a year). Julie, like Scarlett, is a rich, selfish girl who likes to manipulate men. Both films feature a love triangle prevalent in the story and broken hearts. The enslaved people in both films resemble each other, though they are a bit more glamorous in Jezebel.

The introduction of the yellow fever storyline and the sick and weak lying around in droves is similar to the wounded and dying soldier scene in Gone with the Wind, where the ill and dying lie in pain. The periods, triangle, and southern charms all heavily play in both. It is impossible not to compare the two films.

Melodrama did very well; Jezebel (1938) is to be admired as it is a film featuring a strong female character, something lacking in the film then (1938) and shamefully still lacking in cinema today! Jezebel is an actual “ambitious woman’s movie.”

Oscar Nominations: 2 wins- Outstanding Production, Best Actress-Bette Davis (won), Best Supporting Actress-Fay Bainter (won), Best Scoring, Best Cinematography

1968 Films, Art, Drama, International, International Drama, Italian, Terence Stamp

Teorema-1968

April 10, 2015 scottmet99 Leave a comment

Teorema-1968

Director Pier Paolo Pasolini

Starring Terence Stamp, Silvana Mangano

Scott’s Review #234

Reviewed April 10, 2015

Grade: A-

Teorema is a 1968 Italian art film directed by Pier Paolo Pasolini, who later would go on to direct the dark and disturbing 1975 masterpiece, Salo- 120 Days of Sodom.

If one is looking for a concise, mainstream plot with a fixed, to-the-point, beginning and ending, one will be disappointed. Rather, Teorema is an exhibition in artistic style and interpretation and succeeds in mesmerizing this viewer in thought and contemplation.

A mysterious stranger, simply known as “the visitor”, suddenly arrives to stay with an affluent, Italian family in their sprawling estate. The family consists of a father, mother, son, daughter, and maid, all with issues of loneliness, boredom, fear, rage, or repression.

The handsome stranger successfully beds all members of the family and just as suddenly as he arrives, he then disappears from the household leaving the family members with different thoughts, feelings, and actions upon his departure.

The film is highly interpretive and every character can be analyzed.

All of the characters are seduced by the stranger and the family’s wealth can be studied. Is Teorema (which translates to the theorem in Italian) a commentary on the bourgeois society? The father, Paolo, owns a factory and appears to be in turmoil- is he a repressed homosexual?

The conclusion of the father’s story is very interesting as he turns his factory over to the workers, strips naked, and roars with anger and frustration.

Is the mother simply a wealthy, bored housewife or much more than that? This character might have been explored more thoroughly.

The maid, devoutly religious, becomes suicidal after her tryst with the stranger. The others confide in the stranger about how they feel about themselves and, at times, the film is like watching a therapy session as each character delves more into their personal feelings.

Only the maid is a bit different than the others, but could this be because she is of working-class and the others affluent?

The daughter, Odessa, approximately, sixteen years old, becomes depressed after her liaison. The frightened, weak son appears to have a crisis and is consoled by the stranger in a loving, tender fashion.

Interestingly, the film at the time was resoundingly denounced by the Vatican, which took offense at the controversial tone of the film and its focus on “obscenity”.

Could this be because of some people’s interpretation of “the visitor” as being a Christ-like figure? One must argue the difference between “obscenity” and “art” after viewing this groundbreaking and visionary film. I viewed Teorema as a thought-provoking experience and did not feel as if the film was going for shock value. The film is lightweight in this regard compared to the hauntingly brutal Salo, which followed years later.

Teorema delves into the psychological abyss and portrays an Italian family as more than wealthy- they are people with emotions, fears, desires, and complexities.

Not for mainstream audiences, but meant for lovers of interpretive film, it can be debated and discussed for ages to come.

1968 Films, Beryl Reid, British, Drama, LGBTQ+ Drama, LGBTQ+ Films, Robert Aldrich, Susannah York

The Killing of Sister George-1968

March 13, 2015 scottmet99 Leave a comment

The Killing of Sister George-1968

Director Robert Aldrich

Starring Beryl Reid, Susannah York

Scott’s Review #228

Reviewed March 13, 2015

Grade: A-

The Killing of Sister George is a British film drama, adapted from a 1964 stage production that was a risky subject matter to tackle for the times- lesbianism- in the late 1960s.

Directed by Robert Aldrich, well known for directing Whatever Happened to Baby Jane, The Killing of Sister George is a similarly dark tale of loneliness, desperation, and an actress falling from former grace and success to despair, confusion, and anguish.

It also has some witty, crackling, comedic moments to avoid being a true downer.

Sister George is a successful, well-regarded actress on a popular soap opera named Applehurst. Her character is the wholesome presence in a town fraught with manipulation and drama. She is the moral focal point of the show.

In real life, however, George (interestingly called by her character’s name), is troubled.

She is bitter, angry, an alcoholic, and frequently berates and even abuses her partner, Childie, played by Susannah York. A third central character in the film is TV Producer Mercy Croft, who is powerful and confused about her sexuality.

When the soap opera powers-that-be decide to kill off the beloved Sister George, the real George’s life begins to spiral out of control.

As interesting a film as it is and certainly featuring the competent talents of Beryl Reid in the title role, I cannot help but ponder and fantasize how wonderful the casting of Bette Davis- reportedly considered for the role and inexplicably not cast- would have been.

Davis, famous for playing grizzled, mean, unsympathetic characters, would have knocked this role out of the park and, sadly, she did not have the chance.

At its core, the film is a sad character study of one woman’s pain and anguish at being discarded. Presumably unable to be hired anywhere else, her soap opera character is her life.

She loves Childie but is not completely fulfilled by her either, and that relationship is threatened by the vibrant and polished Mercy.

This is an interesting triangle as George does not always treat Childie well, but loves her all the same. Childie is a simple character, childlike, and needs a strong mate to counter-balance the way she is- someone to take care of her.

Without a job or prospects, this would be difficult for George. Does Childie love George or simply want a meal ticket?

The film is understandably rated X for content, presumably for a very explicit sex scene between Mercy and Childie and when a drunken George molests two nuns in the back seat of a London taxi cab.

These scenes are both cutting-edge and admirable in their risk-taking.

The scene set at the real-life London lesbian club (the Gateway Club) and featuring mostly real-life lesbians is great and provides a real-life glimpse into the gay/lesbian world and lifestyle during the period.

A brave, groundbreaking, risk-taking film with and bravura direction from Aldrich, The Killing of Sister George (1968) is a forgotten gem that needs to be rediscovered by film fans everywhere and is an early journey into gay and lesbian cinema.

2014 Films, Alec Baldwin, Drama, Julianne Moore, Kate Bosworth, Kristen Stewart, Richard Glatzer, Wash Westmoreland

Still Alice-2014

February 26, 2015 scottmet99 Leave a comment

Still Alice-2014

Director Richard Glatzer, Wash Westmoreland

Starring Julianne Moore, Alec Baldwin

Scott’s Review #224

Reviewed February 26, 2015

Grade: B+

Still Alice (2014) tells the story of a highly educated college professor who, at the young age of fifty, is afflicted with early-onset Alzheimer’s disease.

She wrestles with, not only the gloomy diagnosis but also the emotional effects of the disease and what effects they will have on her husband and three grown children.

Also explored are the hereditary aspects of the illness and the effects on the offspring of the inflicted person.

The film has a calm demeanor but is heartbreaking and a downer.

Alice Howland has always achieved success, she is a linguistics professor at the esteemed Columbia University in Manhattan and has a seemingly idyllic life. She lives an affluent lifestyle and has three grown, well-adjusted children.

Alec Baldwin plays John Howland and Kristen Stewart plays the most predominantly featured daughter, Lydia.

These points of perfection make the story and her gradual decline all the more tragic to watch. We root for Alice because she is an ideal character- kind, loving, and the perfect mother and wife.

How could a thing like this happen to her? When she goes for a jog near her campus and suddenly does not recognize her surroundings or where she is, the audience shares Alice’s confusion.

The primary reason to watch the film is for the astounding performance that Julianne Moore gives, as Alice. The film borders on a good Lifetime television movie, albeit, much better than that and arguably in the same vein.

The acting sets this one above the mediocre largely due to Moore- with a lesser actress, I ponder how the film would have succeeded.

The tender scenes are wonderful. When Alice wets her pants, the audience also feels her humiliation. When she breaks down in fear and anxiety we do the same with her.

The supporting cast also deserves praise, specifically Baldwin and Stewart. While not entirely fleshed out characters, their lending of support to their wife and mother respectively makes the characters themselves sympathetic and likable.

An important scene in an ice-cream parlor late in the film when John asks Alice if she “really wants to be here” is misunderstood by Alice making the importance of what he is asking even more profound.

A scene where a coherent Alice, early in her diagnosis, leaves instructions for herself via video, to be seen when she is further along in her illness, is suspenseful and left me rooting for the result to be one way, which could be interpreted as drastic, and left me conflicted.

Masterfully done.

My only criticism is that despite the subject matter of Alzheimer’s disease which is devastating and life-altering not only for the victim but for the family, the film has a safe feel to it.

I would have liked darker, grittier moments throughout the film to make it even more effective.

Not a happily ever after story, bleaker moments might have prevailed. And, centered on Moore, it also might have been interesting to explore more of the effects the family has and will go through, especially Baldwin’s John.

His character and Lydia could have been explored more deeply instead of merely supporting and comforting Alice.

Still Alice (2014) is worth seeing if only for the performance of Julianne Moore, a talented actress doing a brilliant job in the title role.

Oscar Nominations: 1 win-Best Actress-Julianne Moore (won)

Independent Spirit Award Nominations: 1 win-Best Female Lead-Julianne Moore (won)

2014 Films, Biography, Bradley Cooper, Clint Eastwood, Drama, Luke Grimes, Sienna Miller, War

American Sniper-2014

February 22, 2015 scottmet99 Leave a comment

American Sniper-2014

Director Clint Eastwood

Starring Bradley Cooper, Sienna Miller

Scott’s Review #223

Reviewed February 22, 2015

Grade: A-

American Sniper (2014), directed by Clint Eastwood, is a war film told from the viewpoint of a soldier- or a sniper.

A character study if you will.

Starring Bradley Cooper as Chris Kyle, deemed the deadliest marksman in U.S. military history, he has 255 kills. The film begins pre-9/11 as Kyle views coverage of the 1998 U.S. Embassy attacks and enlists in a grueling training program to become a Navy Seal sniper.

Flashbacks reveal Kyle as a child being taught to hunt deer and shoot a rifle by his demanding father. He is eventually sent to Iraq following the 9/11 terror attacks and the film continues to showcase Kyle’s military career and multiple tours of duty ending years later.

His wife Taya is played by Sienna Miller.

I am not sure the bevy of controversy that American Sniper has stirred is warranted. I see the film simply as a very good mainstream, action movie. Yes, it does have the overdone Americana machismo and Texas swagger, but it is an Eastwood film! This masculinity is at the heart of many of his films.

I do not view the film as politically charged.

The film leans neither Republican nor Democratic and seems to take a middle-of-the-road viewpoint.

It is a tale of a war hero, but it questions the wars fought and the casualties involved both American and otherwise. Sure, Kyle is a good ole, red-blooded American, but as he and Taya watch the 9/11 attacks on television, they are watching CNN, not Fox News.

His close military buddy asks “Why are we here?” referring to Afghanistan- there is inference by Eastwood to question what this is all about.

I hope audiences keep this in mind.

One concern I do face as I ponder the film is whether American Sniper will send some audience members back to a time when the world was fearful of Muslims and at risk of the recent ISIS terror situations, I hope that people are smart enough to realize that NOT all Muslims are terrorists.

It is only a minuscule portion that is evilly inspired.

The major terrorist in American Sniper, known simply as The Butcher, is despicable, but plenty of other Muslims are innocent and victims of The Butcher’s brutality.

I love how the film has depth. Cooper is as resilient as the troubled sniper. He is portrayed as human, a nice, all-American guy. He wrestles with the choice of shooting a woman and a young boy who died at the risk of them carrying a bomb and killing members of his squad- he does not want to kill them, but rather is excellent at his job.

He is a perfect shot.

In the heat of the moment, under extreme pressure, he must ask himself, “Should I pull the trigger and end their lives”? “what if they are innocent pedestrians?”.

He becomes, in a sense, addicted to his duty of going overseas to Iraq and Afghanistan and justifies his service as “protecting Americans”.

This leads to a troubled personal life as Taya becomes frustrated with his frequent tours of duty, which he readily chooses to do. He suffers from Post-Traumatic Stress disorder but refuses to acknowledge this. He almost kills the family dog in a fit of uncontrolled rage; he temporarily confuses sounds from an auto shop as military warfare.

My admiration for the acting ability of Bradley Cooper increases with each role I see him in. He is a marvel. From recent dynamic performances in American Hustle (2013) and The Place Beyond the Pines (2012) to this role, I am convinced he can play any part successfully and convincingly.

He has sure come a long way from The Hangover (2009).

American Sniper (2014) is an enormously creative and commercial success and deserves to be. Layered, and character-driven, it is worlds above the typical male-driven action film.

Oscar Nominations: 1 win-Best Picture, Best Actor-Bradley Cooper, Best Adapted Screenplay, Best Sound Editing (won), Best Sound Mixing, Best Film Editing

1984 Films, Best Film of the Year, Burt Young, Crime Drama, Danny Aiello, Drama, Elizabeth McGovern, Epic, Estelle Harris, James Woods, Jennifer Connelly, Joe Pesci, Mob, Robert De Niro, Sergio Leone, Treat Williams, Tuesday Weld

Once Upon a Time in America-1984

January 19, 2015 scottmet99 Leave a comment

Once Upon a Time in America-1984

Director Sergio Leone

Starring Robert De Niro, James Woods

Scott’s Review #218

Reviewed January 19, 2015

Grade: A

An epic film, the extended directors cut at more than four hours in length, 1984’s Once Upon a Time in America is a film directed by Sergio Leone, who also directed the 1968 masterpiece Once Upon a Time in the West and numerous other westerns starring Clint Eastwood.

This particular film is in a different vein and not to be confused as any sort of sequel or related to the aforementioned film- this time Leone explores the crime drama genre rather than the western and does so in remarkable fashion.

The film tells the story of a group of Jewish friends who became involved in organized crime during the 1920s in New York City.

The main story is told via flashbacks as the central character, Noodles, played by Robert De Niro, returns to Brooklyn thirty years later to reunite with his former mobster friends.

In this way, the film is sectioned- the group of youngsters and kids and the same characters as adults.

Once Upon a Time in America has been met with much controversy since it was made. At the time of its release, the film was butchered as over an hour of footage was cut by the studio heads making the film largely uneven.

Fortunately, the restored version, at over three hours in length, is available for viewing. Furthermore, the director cut clocks in at well over four hours, and is the best version to watch. Due to so many cuts, other versions appear shoddy and out of order making the viewing experience difficult.

Once Upon a Time in America is largely underappreciated except for the die-hard cinema lovers most patient with the film, and deserves mention as an excellent crime epic drama.

The film contains many similarities to The Godfather and The Godfather Part II and the role De Niro plays is not too different from Vito Corleone in Part II.

However, the greatest contrast is that Once Upon a Time in America is more visually artistic than The Godfather films.

The film centers mainly on Noodle’s perspective as he enjoys youth in the Lower East Side of Manhattan where he meets his group of lifelong friends.

The focal point is his friendship with Max, the adult character played by James Woods, and his undying love for Deborah, played by Elizabeth McGovern as an adult.

As kids, they are worry-free, but gradually fall in with a group of older mobsters, first doing their dirty work, followed by venturing out on their own.

The themes of the film are loyalty, childhood friendship, betrayal, and greed as all of the characters change (or die) in the time that the film takes place.

When a mysterious letter forces Noodles to resurface in Brooklyn, we begin to understand the back story and the history between the friends as layers are slowly peeled back.

The film drags slightly in the middle section, but the first part and last parts are very well-made and absorbing.

Leone has a way of pacing the film that works- it is methodical, and nuanced, with wonderful set pieces and each period explored- 1920s, 1930s, and 1960s seem equally as authentic as the next one does.

I especially enjoyed the 1920s art direction- it revealed such a state of genuineness and felt like truly there in that period.

The relationship between Noodles and Deborah is an interesting one worth mentioning. Falling in love as youngsters (when Deborah was played by a very young Jennifer Connelly) they had an innocent, puppy-love relationship.

As adults, due to a violent, disgraceful act, their tender relationship is subsequently ruined and one might argue one of the characters turns quite unsympathetic.

Once Upon a Time in America (1984) is a sprawling epic film sure to be enjoyed by intelligent fans of the crime epic drama genre and specifically Sergio Leone fans- an underappreciated gem.

2014 Films, Charlie Sexton, Drama, Ellar Coltrane, Ethan Hawke, Independent, Independent Drama, Patricia Arquette, Richard Linklater

Boyhood-2014

January 19, 2015 scottmet99 Leave a comment

Boyhood-2014

Director Richard Linklater

Starring Ellar Coltrane, Ethan Hawke

Scott’s Review #217

Reviewed January 19, 2015

Grade: A

Boyhood (2014) is a family drama directed by Richard Linklater that tells the story of a family’s trials and tribulations over twelve years, ranging from approximately 2002-2013.

The film uses the same actors over the entire period, enabling the viewer to see the characters change. What a novel idea! In this day and age of special effects, superheroes, and animated animals, how refreshing to see a simple tale of a family told over a while.

The film’s main character is Mason Evans, Jr. played by Ellar Coltrane.

We are introduced to Mason when he is six years old and in the first grade. He lives with his older sister Samantha, played by the director’s daughter Lorelei Linklater, and his mother Olivia, played by Patricia Arquette, in Texas.

Ethan Hawke, divorced from Olivia plays Mason’s father (Mason Sr.).

As the years go by we see situations arise and the characters grow and develop like real life.

After the film, Mason Jr. is headed off to college following years of life experience including his first relationship. The other characters develop and we see Olivia and Mason Sr. delve into relationships with partners, some successful, others less successful.

Boyhood succeeds because it is a film about real life that feels like a slice of Americana.

It’s a wonderful film.

The audience invests in the characters because we grow to love and care about their lives. It is comparable to seeing cousins or friends once a year and seeing what becomes of their lives over time.

This film fascinates me because it is so basic and real that it does not need contrived dramatic situations to warrant attention. It is simply authentic and that is what makes a great film.

The film is left-leaning politically speaking and I love that current events are brought up throughout the years by the family members.

As the film progresses we are treated to Mason Sr. commenting on his distaste of the Iraq war, the children’s anticipation of the new Harry Potter film, Mason Sr. taking the kids to a Houston Astros game, and The Beatles and Star Wars are mentioned.

Another scene sadly focuses on a returning soldier from Iraq who suffers from Post-traumatic stress disorder. These nuances make the film seem so authentic and rich.

As wonderful a job as Patricia Arquette and Ethan Hawke did neither of them had a huge, bombastic, emotional scene which would have been splendid given the talents of each, but this is a small criticism.

Both are superb as struggling parents trying to do the right thing for their children and carve out a life for themselves.

Boyhood redefines realism in the film as we see a family unit hope, struggle, and dream as it’s played out before our eyes.

The film does not need overwrought dramatics as it is simply a slice of the life of a group of people we come to know and love.

Everyone can relate to Boyhood (2014).

Oscar Nominations: 1 win-Best Picture, Best Director-Richard Linklater, Best Supporting Actor-Ethan Hawke, Best Supporting Actress-Patricia Arquette (won), Best Original Screenplay, Best Film Editing

Independent Spirit Award Nominations: 2 wins-Best Feature, Best Director-Richard Linklater (won), Best Supporting Male-Ethan Hawke, Best Supporting Female-Patricia Arquette (won), Best Editing

2014 Films, Amy Adams, Biography, Christoph Waltz, Drama, Terence Stamp, Tim Burton

Big Eyes-2014

January 18, 2015 scottmet99 Leave a comment

Big Eyes-2014

Director Tim Burton

Starring Amy Adams, Christoph Waltz

Scott’s Review #216

Reviewed January 18, 2015

Grade: B

Big Eyes (2014) tells the true story of Margaret Keane, a talented artist, famous for the “big eyes” waif collection, whose husband manipulated her and took credit for her works during the 1950s and 1960s.

A con artist, he passed himself off as a talented artist, but in truth, he scammed other artists and had no artistic talent of his own.

He was also mentally unstable.

Due to his charisma and ability to wine and dine, with influential people, combined with his marketing talents, he made millions in profits from his wife’s art.

Amy Adams and Christoph Waltz portray Margaret and Walter Keane.

Tim Burton directs the film.

Adams and Waltz are the main appeals in this film. They share tremendous chemistry, when they are courting one another and subsequently when they despise each other and fight a bitter divorce battle in court over the rights to Margaret’s paintings.

I love Christoph Waltz in whatever he appears in as his charisma and acting ability astound me.

Adams is quite effective and believable as the passive, loyal, and talented Margaret Keane.

As compelling performance as Adams gives, one issue with the film is that I did not feel as sympathetic towards Margaret Keane as the film probably intended.

I like the character very much and was rooting for her in the courthouse scenes to be awarded rights to her paintings and cheered when she escaped to Hawaii with her daughter to begin a new life.

But, she willingly went along with her husband’s plot, as they both decided a female artist would not sell like a man could (it was the 1950s), and they made millions from her art. They lived in a gorgeous house, had wonderful dinners, and were able to maintain an extravagant lifestyle- not so bad.

It was not as if Walter stole all of her money and left her homeless. She enjoyed a nice lifestyle.

So, my sympathy for her was affected.

A positive of Big Eyes is how Margaret continues to uncover Walter’s deceptions. She first learns he has taken credit for her work then finds out that he is not even an artist and has conned another painter into giving Walter credit for their work.

The buildup to these reveals is excellent.

The film is a change of pace for Tim Burton. Big Eyes is not a dark film and is quite bright and colorful. Some interesting sets and art direction are similar to his other works- Edward Scissorhands and Beetlejuice.

Big Eyes (2014) is an enjoyable film largely made successful by the talents and appeal of its two stars.

Independent Spirit Award Nominations: Best Screenplay

2014 Films, Andrew Scott, Ben Schnetzer, Bill Nighy, British, Comedy, Dominic West, Drama, Imelda Staunton, LGBTQ+ Drama, LGBTQ+ Films, Matthew Warchus, Russell Tovey

Pride-2014

January 17, 2015 scottmet99 Leave a comment

Pride-2014

Director Matthew Warchus

Starring Bill Nighy, Imelda Staunton

Scott’s Review #215

Reviewed January 17, 2015

Grade: B-

Pride (2014), based on a true story, deserves props for delivering a nice message about inclusion and groups of vastly different people coming together as human beings.

While it’s a nice film, the filmmakers play it a bit too safe and it has a definite formulaic feel to it.

Surely, the real story of Pride was not as simplistic as this film felt at times.

The setting is 1984 England. A group of British miners goes on strike over wages. A group named Lesbians and Gays Support the Miners made up of gay men and women developed an interest in the strike and decided to help the miners and families.

Why they decided to take on this cause is not fully explained. The National Union of Mineworkers is hesitant to accept funds as they worry about the publicity caused by a group thought to be perverts.

The film is riddled with clichés- the macho miners resist the help from the gays, many of whom are portrayed as effeminate. The characters who are lesbians look as though the filmmakers wanted to “butch them up”, thereby overdoing the stereotype.

There is a subplot of one gay young man who has not come out to his parents, a well-to-do, pretentious couple. When inevitably the truth is revealed, the parents are angry and turn their backs on the teen.

He leaves home to join the gays and lesbians who accept him into their lives with open arms.

The female head of the committee is homophobic and vows to do everything in her power to make sure the gay and lesbian group does not succeed in aligning with the miners.

These clichés seemed way too overdone to make the film more dramatic. Some of the characters, therefore, come across as one-dimensional.

Even the story revolving around a character with AIDS seems watered down and soft.

On the plus side, casting the brilliant Imelda Staunton as the sympathetic, maternal, Hefina is a plus.

A huge supporter of gays and lesbians she comically befriends all of them and is curious about their lifestyles. Bill Nighy is also excellent as Cliff, the older miner who turns out to be gay.

Margaret Thatcher, Prime Minister at the time, is presented as greedy and selfish with little regard or use for the miners or labor unions.

Pride (2014) is an earnest, sentimental, feel-good film that deserves adoration for the coming together of different communities.

I would have liked to see more risks taken by the film.

2014 Films, Allen Leech, Benedict Cumberbatch, Biography, Drama, Keira Knightley, Morten Tyldum

The Imitation Game-2014

January 15, 2015 scottmet99 Leave a comment

The Imitation Game-2014

Director Morten Tyldum

Starring Benedict Cumberbatch, Keira Knightley

Scott’s Review #213

Reviewed January 15, 2015

Grade: A

The Imitation Game (2014) tells the story of Alan Turing, a confident and brilliant British mathematician who was responsible for cracking Nazi Germany’s Enigma code, which led to the Allied forces winning World War II.

The film also delves into Turing’s complex and sad personal life and the audience grows to know his upbringing largely told via flashbacks as a small boy at boarding school.

The film is tragic yet wonderfully made and is a powerful viewing experience in human storytelling.

The film has two aspects going on. The first is the hiring of Turing by the Government Code and Cypher School at Bletchley Park to crack the code and the numerous struggles faced in accomplishing this feat.

Turing is not easy-going. He is arrogant, quick-witted, and even smug. However, through his friendship with Joan (Keira Knightley), an intelligent woman on the team of scholars, we see a human side to him as they forge a lifelong bond.

The other is of his personal life which is a bit more mysterious and comes into play during the second half. Keeping a secret about his personal life, he is homosexual, which in the time the film is set (1940’s England), is illegal.

Alan and Joan agree to marry, in large part to appease her parents, but circumstances change these plans.

Benedict Cumberbatch, who portrays Turning, deserves praise for his impressive portrayal. He successfully gives depth and a wide range of emotions to the character.

He begins as a self-centered man but becomes layered, guarded, and protective due to his private life of which he is forced to hide a great deal.

Keira Knightley’s character supports Cumberbatch’s character of Alan as she becomes engaged to him and later in life becomes his biggest champion. Her character, besides being quite intelligent, is also kind and giving.

The ending will give the viewer many tears and cause to think of the enormity of World War II in terms of the vast amount of casualties. The facts listed just before the credits roll are awe-inspiring and gut-wrenching.

The Imitation Game is not a war movie per se since it does not deal with battle scenes. It is more of a drama dealing with the effects of war. Many figures are presented and some characters are affected.

For instance, in one scene, the group (led by Turing) must make a heartbreaking decision not to stop an impending attack, which will cause many deaths- including a character’s brother- instead of choosing to keep mum to save thousands more.

It is a powerful scene.

The Imitation Game (2014) successfully and heartbreakingly tells the story of a heroic figure who received no accolades while living, instead of being ostracized, and not until posthumously, did he receive his due.

Sadly, this was too little too late.

Oscar Nominations: 1 win-Best Picture, Best Director-Morten Tyldum, Best Actor-Benedict Cumberbatch, Best Supporting Actress-Keira Knightley, Best Adapted Screenplay (won), Best Original Score, Best Production Design, Best Film Editing

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