Category Archives: Thriller

2015 Films, Comedy, Dark Comedy, Deanna Dunagan, Ed Oxenbould, Horror, Kathryn Hahn, M. Night Shyamalan, Olivia DeJonge, Peter McRobbie, Thriller

The Visit-2015

September 24, 2015 scottmet99 Leave a comment

The Visit-2015

Director M. Night Shyamalan

Starring Olivia DeJonge, Ed Oxenbould, Kathryn Hahn

Scott’s Review #276

Reviewed September 24, 2015

Grade: B

A modern-day thriller/horror/comedy hybrid (admittedly it is tough to classify this film as exclusive horror with the dreaded and watered-down PG-13 rating) directed by M. Night Shyamalan, The Visit (2015) has its moments of genuine scary frights and surprises.

It contains a wonderful twist at the end but suffers from some clichés, one severely unlikeable character, and suspensions of disbelief.

Bringing grandparents to the forefront of the film is a clever idea, albeit, stereotypically, The Visit is a decent watch, but laden with a few misfires.

Paula (Kathryn Hahn), a single mother on the outs with her parents for some years, but recently reunited, sends her two children- Rebecca and Tyler, for a week, to stay at their grandparent’s farmhouse, whom they have never met.

At the kids prompting, Paula decides to go on a romantic vacation with her new boyfriend.

Naturally, when the kids arrive at Grandma and Grandpa’s strange events happen. The children are warned never to go into the basement, not to leave their bedrooms after nine-thirty pm, plus the grandparents have a creepy, weird, look to them.

Rebecca and Tyler, in true modern horror fashion, arguably contrived at this point, record all the events (think Paranormal Activity from 2007) and begin to realize there is something rotten in the state of Denmark.

The Visit contains positives and negatives.

The mother and the two kids live in New Jersey and the grandparents in Pennsylvania. That is one state away, yet Rebecca and Tyler have never met, seen photographs, spoken to their grandparents on the phone, not even to discuss the impending visit.

The kids constantly use Skype to communicate with Mom throughout their visit, but doesn’t occur to anyone to chat with the grandparents before embarking on a week-long visit to introduce themselves.

This is a convenient plot manipulation.

Another negative is the film contains one of the most annoying characters in recent memory, Tyler. I am baffled as to whether this was intentional or unintentional.

The kid is about twelve years old and is written as dumb as possible. There are at least three to four endless scenes of him rapping, mostly to the video camera, that I found to be an utter waste of valuable screen time and lends nothing to the plot.

Filler and for a ninety-minute movie, unnecessary.

In the end, though, I got the last laugh, as the character, a germophobe, has his face smeared with human excrement.

The third negative I observed is the constant “old people jokes”, which bordered on the offensive after a while. The grandparent’s unusual behavior was blamed numerous times on their age as if all elderly people were scatterbrained, daffy, or just downright strange.

Many seniors are intelligent, useful, and lively so there was a feeling of disrespect towards the elderly that I could not shake. The film could have portrayed the grandparents with more dignity than it chose to.

Now for some positives, the compelling twist at the end of the film I did not see coming and I loved that about The Visit.

Rarely is the audience surprised anymore, especially in the horror genre, and I was. Having replayed the film in my mind the plot makes perfect sense, but is a positive in the heart of the climax.

On the subject of the conclusion, The Visit has a unique slow-motion/dreamlike feel and an odd, classical-type musical score playing throughout the ending that adds much depth to the typical thriller-type music heard in most genre films.

The oven scene inevitably viewed by all during early trailers for The Visit is excellent. When Grandma convinces Rebecca to crawl completely inside her oven to clean it we know this will not end well.

Additionally, the look and texture of the setting, an old deserted farmhouse in a small, rural town in the middle of nowhere has a feeling of being trapped.

This successfully provides a scary backdrop for the film and all the elements scream horror.

The Visit (2015) has genuine scares and will make the viewer jump, and perhaps even shriek. That is what good horror does yet I am still unsure if this film is more horror or comedy.

Unintentionally so, perhaps.

1970 Films, Claude Chabrol, French, International, International Thriller, Stéphane Audran, Thriller

(Le Boucher) The Butcher-1970

September 14, 2015 scottmet99 Leave a comment

(Le Boucher) The Butcher-1970

Director Claude Chabrol

Starring Stephane Audran, Jean Yanne

Scott’s Review #273

Reviewed September 14, 2015

Grade: A-

(Le Boucher) The Butcher is a French thriller made in 1970 that is slow-moving at first but progresses to a dramatic crescendo as the latter part of the film escalates, and turns from plodding to cerebral mind-blower.

Mirrored after and inspired by director Alfred Hitchcock, The Butcher is surprisingly not quite horror (based on the title one might assume it is), but rather, an intelligent dreamy thriller.

Gorgeous schoolteacher Helene Daville is smart, confident, and filled with a zest for life. She tutors children needing extra help laughs with them and even lets one sip champagne during a wedding to try the taste of it. She enjoys living and the occasional adventure.

One day, at a wedding, she meets the local butcher, Paul Thomas, and they immediately hit it off as they tenderly walk home together. Cordial and kind, they develop a friendship and laugh together.

As time goes on, a series of killings begin to occur in the town.

Helene begins to suspect Paul of the murders and wrestles with her conflict between her budding love for him and her revulsion at the thought of being in love with a vicious murderer. Her conflict is the point of the film.

The relationship between Helene and Paul is an interesting dynamic and, I now realize, the reason for the slow pace of the picture. Helene and Paul enjoy a nurturing, caring courtship and the film successfully achieves the intended slow build.

The murder mystery is rather secondary and helps support the main plot. We know little- almost nothing- about the female victims. They are strangers to the audience and the reason for their deaths is unknown.

The killer simply kills- no motivation is revealed. This is what makes the film so cerebral and mysterious.

The Butcher is a love story intertwined with a thriller. It is not a mainstream thriller in the conventional sense and the final twenty or thirty minutes reeled me in completely and gave me great admiration for the film, which I had been hedging about throughout.

The meat of the film might have started an additional thirty minutes before it did in my opinion, but then again the slow build may have been intended to make the result more powerful. The moral conflict, love versus hate, tenderness, affection, caring, devastation, and betrayal are all explored during this relatively brief finale.

Besides, the blurry camera shots and angles from the vantage point of an automobile driver traveling down a dark, tree-lined street are highly creative and unique.

The comparisons to Hitchcock are evident.

Helene is similar to Tippi Hedren’s “Melanie Daniels” from The Birds. She is glamorous, alluring, blonde, tall, well-dressed, and the heroine of the film. Attractive and blonde are traits featured in many Hitchcock films.

Paul, on the other hand, reminds me of Rod Taylor’s Mitch, also from The Birds, though not as handsome or charismatic. Still, their relationship reminds me of the two of them as the chemistry oozes from the screen and a romance and thriller are combined.

Helene is perceived as a wholesome wonderful person by the audience, but is she truly?

In the end, we are left questioning her true feelings and are left with a distaste in our mouths. Her choices confuse us or is she simply a complex human being like each of us is?

The interesting aspect of The Butcher (1970) is it leaves one questioning how we would handle Helene’s dilemma, and more importantly, how we would channel our feelings if faced with a similar predicament.

1946 Films, Alfred Hitchcock, Best Film of the Year, Cary Grant, Claude Rains, Film noir, Ingrid Bergman, Thriller

Notorious-1946

August 11, 2015 scottmet99 Leave a comment

Notorious-1946

Director Alfred Hitchcock

Starring Cary Grant, Ingrid Bergman

Scott’s Review #265

Reviewed August 11, 2015

Grade: A

Notorious is a classic Alfred Hitchcock film from 1946, a period that preceded his golden age of brilliant works in the 1950s and 1960s, but it is a marvel all the same.

Perhaps not as wonderful as future works, but that is like comparing prime rib to filet mignon. Shot in black and white, the subject matter is familiar to Hitchcock fans- political espionage.

The film contains elements familiar with Hitchcock’s films- romance with suspenseful plot.

Starring two greats of the time (and Hitchcock stalwarts), Carey Grant and Ingrid Bergman, one is immediately enthralled by the chemistry between the characters they play- T.R. Devlin and Alicia Huberman. Devlin, a government agent, recruits Alicia, per his bosses, to spy on a Nazi sympathizer, Alex Sebastian (Claude Raines), who is affiliated with her father.

Her father, having been convicted and sentenced to prison, has committed suicide. Alicia’s allegiance is questioned as she takes drastic measures to prove her loyalty and complete the hated assignment.

The film is set between Miami and the gorgeous Rio De Janeiro, where much of the action is set at Alex’s mansion.

A blueprint for his later works, Hitchcock experiments with creative camera shots and angles- specifically the wide and high shot overlooking an enormous ballroom.

I also love the airplane scene- subtly, Hitchcock treats the audience to background views of Rio from the view of the airplane as Devlin and Alicia converse.

The plane is slowly descending for landing, which allows for a slow, gorgeous glimpse of the countryside and landscape in the background.

Subtleties like these that may go unnoticed make Hitchcock such a brilliant director.

The character of Alicia is worth a study. Well known for his lady issues, did Hitchcock hint at her being an oversexed, boozy, nymphomaniac?

I did not think the character was written sympathetically, though, to be fair, she is headstrong and loyal in the face of adversity.

She parties hard, drives at 65 miles per hour while intoxicated, and falls into bed with more than one man. It is also implied that she has a history of being promiscuous.

Made in 1946, this must have been controversial during that period. The sexual revolution was still decades away.

Notorious also features one of Hitchcock’s most sinister female characters: Madame Sebastian (Leopoldine Konstantin). The woman is evil personified, and her actions are reprehensible. She is arguably the mastermind behind all of the dirty deeds and a fan of slow, painful death by poisoning.

My favorite scene is, without a doubt, the wine cellar scene. To me, it epitomizes good, old-fashioned suspense and edge-of-your-seat entertainment.

A cat-and-mouse game involving a secret rendezvous, a smashed bottle, a key, champagne, and the grand reveal enraptures this scene, which goes on for quite some time and is the climax.

Perhaps Notorious is not quite as great a film as Vertigo (1958), Psycho (1960), or The Birds (1963), but it is a top-notch adventure/thriller that ought to be watched and respected.

Oscar Nominations: Best Supporting Actor- Claude Rains, Best Original Screenplay

2015 Films, Jason Bateman, Joel Edgerton, P. J. Byrne, Rebecca Hall, Thriller, Wendell Pierce

The Gift-2015

August 9, 2015 scottmet99 Leave a comment

The Gift-2015

Director Joel Edgerton

Starring Jason Bateman, Joel Edgerton

Scott’s Review #264

Reviewed August 9, 2015

Grade: A-

The Gift (2015) is a throwback to the type of psychological thriller made famous by Fatal Attraction in 1987 and similar films throughout their heyday into the 1990s.

An unstable psycho threatens a happy couple.

Interestingly, The Gift is similar in genre to a film also released in 2015, The Boy Next Door. The Gift is worlds superior to that film and contains surprises, frights, twists, and turns that I pleasantly did not see coming.

The film is not predictable which is refreshing in this particular genre.

Jason Bateman and Rebecca Hall star as Simon and Robyn, a successful young couple who have relocated from Chicago to sunny California, near Simon’s childhood hometown, to begin a new life with the intent of starting a family.

They soon run into a man named Gordo, played by actor/director Joel Edgerton, a high school chum of Simon’s from twenty years ago whom Simon barely remembers. Simon and Gordo plan to re-connect over dinner, but the audience can sense that something is not right with Gordo.

As Simon, Gordo, and Robyn get to know each other again, Gordo begins leaving pleasant little gifts on Simon and Robyn’s doorstep as well as showing up at their house unannounced, which is particularly unnerving to Robyn as she is home alone all day long. Simon is consumed with his new career and possible promotion.

Interestingly, their home is located in a secluded area.

The film soon reveals that Gordo was nicknamed “Gordo the Weirdo” in high school and that an incident involving Gordo occurred, though nobody seems to remember the exact circumstances.

Perhaps they choose not to remember?

The vagueness of this situation is appealing because the audience is sure that these circumstances will be revealed later in the story and play a large part in the climax, which it does.

We also learn that another incident took place with Robyn in Chicago and that she suffered a miscarriage. She does not drink and avoids pills. Could she be unstable, imagining things, or overly cautious?

It is revealed that she does not handle stress well.

A wonderful aspect of The Gift is its surprise factor. As the plot twists and turns, I switched alliances and wondered who the villain was. Gordo? Simon? Robyn?

Edgerton (along with a great acting performance) compellingly directed the film and was undoubtedly influenced by Alfred Hitchcock.

The camera angles and score are excellent in establishing the correct level of tension at just the right moment. In more than a few scenes the audience knows something will jump out at the screen, so there is anticipation, but when and how it will happen is a surprise.

Many scenes are when Robyn is alone, during the day thank goodness, and she hears a noise or notices the water running. These scenes are traditional fare in horror or the thriller genre but are well done in The Gift.

Simon is an interesting character. Sophisticated, educated, and with a high-level executive job, he has a strange fear of monkeys.

The past is a common theme of the film- past events encase the three lead characters leading to conflict and ultimately these events come back to haunt them. Most of Simon’s friends are unlikable and appear interested in style over substance. They seem drawn to Simon more for his success than because they care about him.

This contradicts his wife’s character. Robyn is down-to-earth, and kind, and does not place as much stock in wealth and achievements as she does with personality and being a kind individual. She and Simon bicker and disagree about Gordo and their conflict increases.

It is not often in films anymore that one is truly frightened and “jumps out of your seat”, but two intense scenes, one involving a dog, and the other a shower, made me jump, and the hairs on my arm stand on end. Everyone in the audience gasped together.

Now that is fun!

The only negatives in The Gift are continuity issues and the suspension of disbelief in some scenes. Without giving anything away, how is Gordo able to do some things he can do?

The Gift (2015) is an old-fashioned thriller with excellent acting, compelling characters, and a wonderful debut for Edgerton in the director’s chair.

The film will leave the viewer pondering moral questions, and relating to each of the three main characters.

1975 Films, Art, Ian Hendry, Jack Nicholson, Michelangelo Antonioni, Thriller

The Passenger-1975

July 19, 2015 scottmet99 Leave a comment

The Passenger-1975

Director Michelangelo Antonioni

Starring Jack Nicholson, Maria Schneider

Scott’s Review #259

Reviewed July 19, 2015

Grade: A

A true art film in every sense of the word, The Passenger (1975) is a thinking man’s film, not for those content to munch on popcorn and escape the day’s stressors, but rather, custom-made for a film fan willing to ponder the meaning of the film, revel in the slow pace, and appreciate the film as an art form.

The Passenger is tough to “get” throughout most of its over two-hour running time, but its complexities are also its most beautiful characteristics. To say that the film will leave the viewer with questions is quite an understatement, but is pleasing to analyze and come up with conclusions of meaning.

Michelangelo Antonioni directed this film and is well-known for directing Blowup and Zabriskie Point, neither of which I have seen as of this writing.

Jack Nicholson stars as a journalist named David Locke, who is on location in Africa (specifically the Sahara desert in Chad). David’s assignment is to produce a documentary film. While there he mysteriously assumes the identity of a businessman named Robertson, who he finds dead in his hotel room.

This task is easy because David and Robertson look very much alike. As events unfold, it becomes clear that Robertson is involved in arms dealings and smuggling matters related to the ongoing civil unrest within the country.

Flashbacks reveal David’s former life, including his friendship with the businessman, and his relationship with his wife, Rachel, and these scenes are mixed in with the current action until they become more linear with each other.

The film is complex, to say the least. The initial scene when David spontaneously decides to switch identities is excellent. We wonder, what are David’s motivations and what is the appeal of him taking over another man’s life? Who is the man? Why is David so unhappy in his own life?

The film succeeds immeasurably as the plot is not simply told to the audience like so many other mainstream films. Events seem genuine and not forced for plot purposes.

In the current time, whereabouts in London, Rachel sadly mourns the assumed “death” of her husband David, though we learn that Rachel has secrets of her own she has been hiding and suffers from tremendous guilt.

To further complicate matters for everyone, she is attempting to find the businessman, since she has learned that he was the last person to see her husband alive. Also mixed into the story is a mysterious young woman whom David meets when the story moves to Barcelona, Spain.

What makes The Passenger so compelling to me is its intricacies- story as well as camera styles. The seven-minute-long shot towards the end is brilliant filmmaking and the climax is quietly intense.

The camera’s focus is on a hotel room, switches to the parking lot, and returns to the hotel room. I was transfixed by the character of David enormously, struggling to empathize with him, while all the while enjoying an intelligent character study mixed in with a story of political intrigue.

I do not confess to understanding everything about The Passenger and will surely need more viewings to make more sense of it all, but the film fascinates me.

In a time of mediocre films, how refreshing to stumble upon a forgotten relic from 1975 and have a renewed appreciation for film as an art form.

1965 Films, Bette Davis, British, British Horror, Hammer Horror, Horror, Jill Bennett, Seth Holt, Thriller, Wendy Craig

The Nanny-1965

July 11, 2015 scottmet99 Leave a comment

The Nanny-1965

Director Seth Holt

Starring Bette Davis

Scott’s Review #256

Reviewed July 11, 2015

Grade: B

The Nanny is a 1965 Hammer productions thriller starring legendary film icon Bette Davis as a mysterious nanny caring for a ten-year-old boy named Joey.

Joey has recently been released from a mental institution and returned home to resume everyday life, but has he been “cured”?

There is obvious tension between Joey and Nanny, but the audience doesn’t know what that tension is precisely. Why do they dislike each other? Why is Joey afraid of her?

As the plot unfolds, the suspense and tensions thicken as various events occur and Joey’s parents and Aunt Pen are further fleshed out. Past events are revisited, and the story becomes thrilling.

At one point, long before Joey’s return home, his younger sister has drowned, and the circumstances are vague. It has devastated the family, including Nanny. Joey has been blamed for her death, though he insists that Nanny is the culprit.

Nobody except the neighbor girl believes Joey, and the audience wonders who to believe and who to root for: Joey or Nanny. Davis, like Nanny, brings a warmness to her character, but is she sincere? Is it an act? Is Joey a sweet boy or maniacal?

These questions race through the audience’s minds as the film progresses. When Virginia, the mother, eats tainted food, the obvious conclusion is that the Nanny poisoned it since she prepared it. But why? Did she do this?

As the plot is slowly explained, there are a few chills, though the ending is not too surprising.

Any film starring Bette Davis is a treasure, though admittedly, it is not her finest work. Still, her finest work is challenging to match.

The Nanny is a good film, though not great. It is shot in black and white, which is a nice touch for a thriller.

The main reason to watch Davis’s performance is that it is always mesmerizing. Traditionally playing gruff, mean, or bitchy parts (especially in her later years), The Nanny allows Davis to play a sympathetic role.

She is seemingly sweet, proper, well-organized, and a perfect nanny on paper.

The role of Virginia, played by Wendy Craig, is a bit too neurotic and slightly over-acted. She is rather one-note as the fretting mother worried about her son. The character of the father is also a bit one-dimensional.

The Nanny is more of a classic thriller from the 1960s that is often lumped together with some of Bette Davis’s other films around the same period (Dead Ringer-1964, Hush, Hush, Sweet Charlotte-1964, and Whatever Happened to Baby Jane? -1966), and are in large part superior to The Nanny. As a stand-alone, it is a decent film.

2015 Films, Bailey Chase, Ian Nelson, Jennifer Lopez, John Corbett, Kristin Chenoweth, Rob Cohen, Ryan Guzman, Thriller

The Boy Next Door-2015

July 5, 2015 scottmet99 Leave a comment

The Boy Next Door-2015

Director Rob Cohen

Starring Jennifer Lopez

Scott’s Review #254

Reviewed July 5, 2015

Grade: C-

A steamy direct rip-off of the 1987 classic film Fatal Attraction, The Boy Next Door (2015) is a mainstream thriller starring Jennifer Lopez as a separated suburban Mom raising her son alone.

One day a handsome young man, Noah (Ryan Guzman), moves in next door. He makes friends with her son and develops an unhealthy obsession with her.

The film is your basic thrill ride with some jumps mixed in but predictable as they come and is safe mainstream fare.

Claire Peterson (Lopez) lives a cozy suburban existence with her socially awkward teenage son Kevin (Ian Nelson) and works as a literature teacher at the local high school.

She lives a modest yet successful life.

Her estranged husband Garrett (John Corbett) has cheated on her with his secretary.

One day a hunky twenty-year-old neighbor, Noah, moves in, takes a shine to Kevin and an attraction develops between Noah and Claire, despite him being half her age. The audience knows that there is something off.

The inevitable happens, a lonely Claire winds up in bed with Noah after a disastrous blind double date with her friend and confidant Vicky (Kristin Chenoweth), also the vice-principal of Claire’s school.

The sex scenes are titillating and sensual with lots of skin.

I went into my viewing not expecting an invigorating or thought-provoking film and was not disappointed.

The film is lightweight, predictable, and has a lifetime television movie feel. The acting is not great and the setups are seen a mile away. When Claire and Noah meet there is instant chemistry between them but there is also a sinister quality to Noah that the audience is aware of.

There is no doubt he will make trouble for Claire.

As we progress we become aware that Noah has a temper, another setup for things to come. If he feels wronged he strikes back. Once Claire realizes their passionate night was a mistake, Noah becomes obsessed with and vengeful of Claire and everyone around her.

The plot is filled with one implausibility after another. I could list silly nuances for hours, but here are a few that immediately come to mind.

I do not buy Jennifer Lopez as an intelligent, sophisticated, literature genius (despite the film hysterically having her wear nerdy glasses) nor the good-looking Ryan Guzman (Noah) as a scholarly expert in literature either.

This is done to construct the plot with no believability whatsoever.

Throughout the film, Noah can do whatever he wants, somehow hacking into Claire’s computer, arranging for printouts of his liaison with her to fly endlessly from the ceilings, tampering with brakes, and seamlessly splicing Claire’s voice into conversations.

The entire film is ridiculous and unbelievable, but, again, it’s what I expected it to be.

The ending surprised me abruptly with no cliffhanger or hint at a sequel as is common with thrillers. Perhaps the filmmakers had low expectations for audience turnout.

One jarring point is that Jennifer Lopez, clearly Latina, plays a character in a suburban neighborhood, named Claire Peterson. Nowhere is her Latina heritage mentioned. The character is about as white as you can get.

A dumb, entertaining ninety minutes of escapism, The Boy Next Door is not a good film (2015) but fun. Some thrilling moments, some fun to kick back relax, and take it for what it is.

It is comparable to a McDonald’s hamburger, you know what you will get and expect nothing more.

2014 Films, Atom Egoyan, Mireille Enos, Rosario Dawson, Ryan Reynolds, Scott Speedman, Thriller

The Captive-2014

April 18, 2015 scottmet99 Leave a comment

The Captive-2014

Director Atom Egoyan

Starring Ryan Reynolds

Scott’s Review #235

Reviewed April 18, 2015

Grade: C-

The Captive is a 2014 thriller that reminds me quite a bit of a 2013 thriller, Prisoners, which must have been an influence.

A similar plot involving a blue-collar, working-class family attempting to track down a missing child as the father takes matters into his own hands and is also considered a prime suspect in the crime by detectives, is used.

Set in snowy upstate New York, the film tells the tale of Matthew (Ryan Reynolds) and Tina Lane (Mireille Enos), a struggling young couple whose nine-year-old daughter, Cassandra, is snatched out of Matthew’s truck while he runs into a store to buy her a pie.

Told using flashbacks, the story picks up several years later as the defeated couple is periodically taunted by Cassandra’s abductors, who leave clues to indicate she may still be alive.

Via video cameras, the abductors watch the parent’s emotional reactions to the clues and sell this “entertainment” to subscribers.

As the film moves along we learn of a major crime syndicate involved in the kidnapping of Cassandra and other similar-aged girls.

At times the plot of The Captive is compelling with a few nice twists and surprises- other times the plot moves quite slowly and plods too much.

The film sets the story in a cold, wintry season emitting a tone of darkness, loss, and harshness. The cinematography is beautiful and deserves major recognition for the mood.

The major problem with the film, though, is the extreme plot holes throughout and the ludicrous nature of the story- I still do not understand the pivotal childhood ice-skating message at the end.

As the film progresses the plot becomes tough to follow and many questions resonate. Who is paying to watch parents emotionally tortured? How can Cassandra seemingly come and go as she pleases and remain a prisoner? Why, years later, is Matthew still a suspect?

These points seem too plot-driven for my taste and seem to be created to further the plot. The main villain- Mika- is a weird guy but what is his motivation? Why is he part of the kidnapping syndicate? What is anyone’s motivation besides Matthew and Tina striving to get their daughter back?

This is not explained.

The casting of some of the actors is problematic- I had difficulty buying Enos working as a maid in a small town- she is way too glamorous a woman for that to be believed.

Similarly, casting Rosario Dawson and Scott Speedman as central detectives in the case seems unrealistic. The film is pure fantasy- these actors are too good-looking to be believable as upstate New York, small-town, detectives.

While very handsome, Ryan Reynolds is the only actor I bought as a grizzled, broken father with a glimmer of hope that his daughter is still alive.

Besides some interesting turns, The Captive (2014) is too unrealistic and convoluted to follow closely and is a bit of a mess.

For this type of film (kidnapping thriller?), I would recommend Prisoners (2013), though the plot holes are prevalent in that film too.

2014 Films, Bill Paxton, Dan Gilroy, Independent, Independent Thriller, Jake Gyllenhaal, Rene Russo, Riz Ahmed, Thriller

Nightcrawler-2014

March 1, 2015 scottmet99 Leave a comment

Nightcrawler-2014

Director Dan Gilroy

Starring Jake Gyllenhaal, Rene Russo

Scott’s Review #225

Reviewed March 1, 2015

Grade: B+

Nightcrawler (2014) is best described as an intense crime-thriller set in Los Angeles featuring a wonderful performance by Jake Gyllenhaal as an unstable thief named Lou. He cons and manipulates his way to success videotaping accident scenes and selling them to news stations.

The film is the directorial debut of Dan Gilroy, who could become a household name in the future. Nightcrawler was deservedly awarded the Best Screenplay and the Best First Feature Independent Spirit award honors.

The film is set mainly at night as Lou courses the city in search of accidents, crimes, and violence- the bloodier the better. Later, he is told by Nina Romina, successfully played by Rene Russo that violent crimes in affluent neighborhoods are the best, as they garner the highest ratings.

Lou sells video footage of the crimes to the highest bidder and Nina becomes his main customer. Lou is eventually assisted by Rick Carey, a desperate accomplice in need of money, played by Riz Ahmed.

The interesting thing about Nightcrawler is its moody setting and dim lighting. It reminds me of the 2004 film Collateral, starring Jamie Foxx and Tom Cruise, also set in Los Angeles.

Mostly set at night time and heavily set on the streets of L.A., I found this mood excellent and a compelling aspect of the film.

It makes Nightcrawler look great.

Gyllenhaal deserves praise for his role as Lou and is largely responsible for the success. He was a co-producer.

From an acting standpoint, he is excellent and reminiscent of the frightening performance that Robert DeNiro gave in Taxi Driver (1976). With an angular face and eyes that seemingly never blink, he is intense and driven on every level.

He is a sociopath.

When he quietly threatens Nina and Rick on separate occasions one can tell he means business. Why Lou has become a thief desperate for money is never explained- does he have a family? Is he a convict? He seems highly educated, but is he? How did he land in this predicament and resort to the life that he does?

As Lou becomes more manipulative and adjusts crime scenes to make them shocking, he seems to teeter over the edge of sanity. In one scene he sneaks into a victim’s home and videotapes photos of the victims from their refrigerator to promote an empathetic angle and therefore make more money from them.

This is a brilliant performance by Gyllenhaal.

Another fascinating performance I admired is that of Rene Russo- absent from films for what seems like years, Nightcrawler is a nice return for her. Her character also has a little backstory.

We know she is a driven newswoman who has trouble maintaining success at individual news stations and moves around a lot. Nina is a cut-throat news director eager for violent stories and determined to keep her existing job. She also becomes begrudgingly fascinated and enamored with Lou.

Does she like bad boys or does she admire his talent?

The third major character is Riz Ahmed’s Rick. Rick comes across as a sweet, yet gullible guy strapped for cash. Like Lou, we do not know why he is broke, but it is hinted that he may do or have done some male prostitution- he is desperate.

As the film goes along the character develops tough skin and realizes he is attracted to this new lifestyle and excitement, but will not be bullied by Lou.

On a social level, the film presents an interesting, albeit disturbing take on the relationship between the media and the viewers. What will news channels do for a good story? How bloodthirsty are news audiences? How often is a positive news story presented? It makes the audience reflect and ponder.

Nightcrawler is a dark thriller, which deservedly garnered an Oscar nomination for Best Screenplay and a slew of Independent Spirit Awards.

Intense, rich, and visually appealing, it is one of the success stories of 2014 cinema.

Oscar Nominations: Best Original Screenplay

Independent Spirit Award Nominations: 2 wins-Best Male Lead-Jake Gyllenhaal, Best Supporting Male-Riz Ahmed, Best Screenplay (won), Best First Feature (won), Best Editing

2014 Films, Charlie McDowell, Comedy, Elisabeth Moss, Independent, Independent Comedy, Mark Duplass, Mary Steenburgen, Ted Danson, Thriller

The One I Love-2014

February 18, 2015 scottmet99 Leave a comment

The One I Love-2014

Director Charlie McDowell

Starring Mark Duplass, Elisabeth Moss

Scott’s Review #221

Reviewed February 18, 2015

Grade: C+

Reminiscent of a modern-day Twilight Zone episode, The One I Love (2014) tells the story of a young married couple (Ethan and Sophie), played by Mark Duplass and Elisabeth Moss, who seek the assistance of a therapist, played by Ted Danson.

The therapist realizes the couple is out of sync and recommends a weekend away. The therapist has an excellent reputation for rekindling faltering marriages and turning them into successful ones.

He sends them to a sunny, beachfront house with a guest house, pool, and various trails along the water. It is simply a paradise.

I admire the creativity of the screenplay.

The couple meets their ideal, perfect versions of each other while basking at the vacation house. Ethan’s alter-ego is suave, athletic, and sensitive to Sophie’s needs while Sophie’s is sexy, flirtatious, and invested in Ethan’s life.

The real versions are bored, lazy, and a bit disheveled.

The flaws they once saw in each other are replaced with the perfect spouses. It is fantasy-like. As one half of the couple slowly falls in love with the fantasy version, the other half begins to get jealous and the film dives into a tale of who winds up with whom.

But is it a fantasy? Are the perfect versions real people or something reminiscent of Invasion of the Body Snatchers?

It is tough to know the intentions of the film.

A weakness I felt the film has is it plods too much. At a brief ninety minutes, the film somehow has a sleepy, slow-moving undertone and could have easily been a short film or wrapped up within forty-five or fifty minutes.

I did not feel the chemistry between Duplass and Moss as strongly as I would have liked. Individually fine actors, the spark did not ignite for me.

I wish Ted Danson had a larger role. The focal point was the young couple, but the mysteriousness surrounding the paradise was never really explained and Danson’s character could have been the key to the story. Did he contrive the entire situation? Was it fantasy? His brief part left many plot holes unexplained.

The One I Love (2014) is a creative effort and an imaginative angle, but I wanted more clarity than I was served up.

The film is mysterious, yes, but also confusing and slightly dull and uneven.

Independent Spirit Award Nominations: Best First Screenplay

2014 Films, Adam Wingard, Dan Stevens, Ethan Embry, Independent, Independent Thriller, Lance Reddick, Maika Monroe, Sheila Kelley, Thriller

The Guest-2014

February 7, 2015 scottmet99 Leave a comment

The Guest-2014

Director Adam Wingard

Starring Dan Stevens

Scott’s Review #220

Reviewed February 7, 2015

Grade: C-

The Guest is a thriller from 2014 that can, perhaps, be classified under the adage “it’s so bad that it’s good”, though as I pondered writing this review, that could be a bit of a stretch.

As poor as the film is, there is something that I slightly enjoyed about it.

The premise is simple. A Midwestern family, the Peterson’s, is suddenly visited by a veteran soldier, named David, who claims to be a friend of the parent’s deceased son Caleb. David easily insinuates himself into their lives and the Petersons extend an invitation for him to stay a few days to rehash details about Caleb.

The family is middle-class, yet struggling financially, and consists of a mother and father, a college-aged daughter named Anna, the actress eerily resembling a young Gwen Stefani, and a bullied, timid, high school-aged son named Luke.

From the get-go, something is off with David, but his motives are unclear to the audience.

The issues with the film are aplenty.

For starters, the acting is rather poor. The most notable actors in the film are Dan Stevens (Downton Abbey) and Sheila Kelley (L.A. Law) and a collection of unknowns.

Stevens and Kelley give better performances, and I particularly thought Stevens very believable in a role opposite of his Downton Abbey alter ego.

The rest of the cast is wooden and un-compelling.

The weakest parts of The Guest are the inane plot points and the 1980s-style soundtrack. Were the filmmakers going for a retro throwback? The film is set in present times so this aspect remains a mystery.

The story starts interestingly. Is it a Fatal Attraction (1987) type of film? What is David’s motive? What was his relationship with the deceased Caleb? Does he intend to help or harm the family?

The reveal towards the end of the film is implausible, ridiculous, and disappointing. Without giving too much away, the government plays a large role in the meat of the film and it does little to provoke sympathy for any of the characters, only eliciting further confusion.

The attempted (and botched) love story between David and Anna does not work. They have little chemistry and the rooting value is not there especially as he picks up her drunken best friend at a party.

Is the audience supposed to root for David and Anna or is it merely a weak sub-plot to the thrill aspect of the film? I suspect the latter.

Despite all of these negatives, I did not despise the film as it trucked along- rather, I found it to be more of a mess than anything else.

It is not a good film, but there is something slightly appealing about it. Some of the death scenes are well done and the budding friendship between David and the bullied son is rather sweet.

The son is enamored with the strong, masculine David, and David, in turn, serves as a protector, humiliating the bullies who gave the kid a black eye. The film does not delve into a sexual angle regarding this but is a bond that is cheerful to see. It has a nice, warm element.

Another impressive point of The Guest is that it ends with a surprise that leaves room for a sequel. However, due to the success that the film did not achieve, I doubt a sequel will ever see the light of day.

A poorly written, weak-acted film, The Guest (2014) has moments of interest but fails miserably at providing a strong viewing experience.

By the end, I still had no idea of the main character’s motivations which is a huge problem.

Confusing and convoluted are the adjectives best to describe this film.

Independent Spirit Award Nominations: Best Editing

1999 Films, Best Film of the Year, Bruce Willis, Donnie Wahlberg, Haley Joel Osment, Horror, M. Night Shyamalan, Olivia Williams, Scott's Top 100 Films, Scott's Top 20 Horror Films, Thriller, Toni Collette

The Sixth Sense-1999

October 8, 2014 scottmet99 Leave a comment

The Sixth Sense-1999

Director M. Night Shyamalan

Starring Bruce Willis, Haley Joel Osment

Top 100 Films #56 Top 20 Horror Films #15

Scott’s Review #182

Reviewed October 8, 2014

Grade: A

The Sixth Sense is a psychological thriller/horror film directed by M. Night Shyamalan, made in 1999, about ghosts, that was an incredible box-office and critical success at its time of release and made the line, “I see dead people” universally imitated.

Bruce Willis stars as Dr. Malcolm Crowe, a successful and admired child psychologist, who lives a perfect life with his wife Anna in Philadelphia.

Enjoying a romantic night at home, Malcolm and Anna are interrupted by a deranged former patient- played by an unrecognizable Donnie Walhberg.

Malcolm is shot by the patient, who also shoots himself, and the story picks up a year later as Malcolm takes an interest in Cole, a troubled 9-year-old boy, played by Haley Joel Osment. Cole is a peculiar boy- an outcast taunted at school, who can see the dead.

He’s worried, over-worked mother, Lynn, is played by Toni Collette. Meanwhile, Malcolm and Anna appear to be going through marital problems and lack any meaningful communication with each other.

Anna begins to be pursued by a new beau much to Malcolm’s chagrin. Malcolm and Cole develop a special bond as Malcolm convinces Cole to speak to and help the ghosts that he sees rather than be terrified of them.

As the plot slowly unfolds, Cole helps a recently deceased girl named Kyra Collins, who is around his age. Kyra gives Cole a videotape that reveals she was murdered and proves who killed her.

The subsequent scene is my favorite- there is a haunting quality to it and the camera follows the events interestingly- slowly and sedately.

The setting is a service at Kyra’s house where family and friends are gathered to pay respects and support Kyra’s parents. Malcolm and Cole arrive and present Kyra’s father with the plain videotape.

The entire scene is powerful in its simplicity yet high emotional value. It is slow, but devastating in its climax and reveals. Small nuances are revealed- why is Kyra’s mother wearing bright red when the other guests are all wearing black? Will Kyra’s younger sister be the next victim?

Superlative filmmaking.

A scene involving Cole’s teacher is riveting- being able to sense aspects of people’s pasts Cole realizes his teacher had a stuttering problem as a child. When his teacher is condescending towards Cole, the young boy explodes with rage and begins a chant of “Stuttering Stanley” which reduces the teacher to childhood traumas.

Yet another powerful scene involves Cole and his mother sitting in a car caught in traffic- Cole admits the truth of his skill of seeing dead people to her and introduces an emotional story to her as proof.

This is a scene where Toni Collette shines brightly.

Well over a decade since The Sixth Sense was released, most people know the twist and subsequent surprise ending and it is such a joy to go back, see the manipulations in the story and individual scenes, add them all up, and revel in the clever way that Shyamalan puts them all together.

The Sixth Sense is not dated and is quite fresh, holding up tremendously, and I personally still get chills during the big reveal all these years later.

But more than this pleasure, the film is written beautifully. Somewhere between horror and psychological thriller, it successfully tells a ghost story with interesting characters and jumps-out-of-your-seat thrills that are not contrived and predictable in the traditional horror film way.

From an acting perspective, Bruce Willis is amazing and under-appreciated as Malcolm- he is calm, cool, and collected and his performance is quite understated as the inquisitive and pensive psychologist.

More praise should have been reaped on Willis.

Haley Joel Osment gives an astounding performance of a lifetime- he emits an image to the audience of being strange yet sympathetic and he relays his very frightening fear of the ghosts so well that the pain and conflict he endures is evident on his face.

Toni Collette is effective as the scared, concerned, haggard mother. Collette and Osment were rewarded with Academy award nominations- sadly Willis was not.

Shyamalan was subsequently ridiculed for his later films (The Village-2001, and Unbreakable-2001) – perhaps the manipulation and trickery from The Sixth Sense angered some people.

The Sixth Sense (1999) is a film that remains with you for days, weeks, even years and can be revisited and rediscovered for an intelligent, chilling good time.

Oscar Nominations: Best Picture, Best Director-M. Night Shyamalan, Best Supporting Actor-Haley Joel Osment, Best Supporting Actress-Toni Collette, Best Screenplay Written Directly for the Screen, Best Film Editing

2014 Films, Ben Affleck, Boyd Holbrook, Carrie Coon, David Fincher, Neil Patrick Harris, Reese Witherspoon, Rosamund Pike, Scoot McNairy, Sela Ward, Thriller, Trent Reznor, Tyler Perry

Gone Girl-2014

October 6, 2014 scottmet99 Leave a comment

Gone Girl-2014

Director David Fincher

Starring Ben Affleck, Rosamund Pike

Scott’s Review #181

Reviewed October 6, 2014

Grade: A-

Gone Girl (2014), directed by dark yet mainstream filmmaker David Fincher, offers a simple premise. An affluent woman disappears without warning and a loved one is suspected of the crime.

This type of story has been done many times before in film- think Prisoners from 2013 to cite a very recent example, but what makes Gone Girl unique is its storytelling, pacing, and twists and turns aplenty.

The film is based on the best-selling novel, written by popular novelist Gillian Flynn, who also wrote the screenplay.

Ben Affleck plays Nick Dunne, a man in his 30’s, whose wife Amy, magnificently played by Rosamund Pike, mysteriously disappears, causing a media frenzy.

After clues are revealed, Nick is thought to be a sociopath and responsible for Amy’s disappearance. Nick and Amy have the perfect marriage….or so it appears. Until fairly recently Nick and Amy have lived an idyllic, well-to-do lifestyle in New York City.

Amy’s family is wealthy and writes as successful children’s authors.

Following the recession of 2010 causing both Nick and Amy to lose their jobs and all of their money, combined with Nick’s parent’s health problems, they wind up in a state of peril, and their marriage is severely tested.

They are forced to move to a small town in Missouri where Nick grew up and their lifestyle completely changes.

These facts are naturally revealed as the film progresses, via flashbacks, mostly told from Amy’s perspective, as she chronicles events by writing in her diary.

The story is so smart and layered that the audience continually asks questions throughout the film. Is Amy dead? Did she fake her death? Is Nick involved or innocent? Could Amy’s parents be involved in her disappearance? Can we trust Nick’s sister Margo? What involvement does Amy’s wealthy college sweetheart Desi Collings (Neil Patrick Harris) have?

As more of the plot is revealed new questions are asked.

Intelligently written, with twists and turns galore, after a slow start, the film is a thrill ride. The slow start is necessary to lay the groundwork of the film and it wisely keeps the audience guessing throughout.

The film seems to be a puzzle (literally and figuratively) as each layer is unraveled leading to further questions and new theories.

The film’s score is composed by Trent Reznor (Nine Inch Nails), which adds a dark, techno-gloomy feel, which increases the mood wonderfully.

The acting in Gone Girl is exceptional. Affleck is capable in the lead male role, though I did not find the part as meaty as one might think. Affleck is handsome and charismatic, though unlikeable too, and I think that is all the part requires.

The standout and breakout performance belongs to Rosamund Pike. After years of struggling in support film roles as someone’s wife or friend, Pike finally has a complex role that allows her to sink her teeth in.

Pike displays almost every emotion- kindness, anger, rage, deception, humor.

The character of Amy is nuanced and resourceful and more than one movie-goers mouth dropped open at her actions in a couple of scenes- think wine bottle and hammer for reference.

Neil Patrick Harris is dynamic in the role of Desi and brings a healthy dose of creepiness mixed with child-like sweetness.

Gone Girl features one of the most shocking scenes involving a bedroom, a box-cutter, and lots of blood.

Fincher’s setting of North Carthage, Missouri is interesting. Hardly the intelligentsia of Manhattan that Nick and Amy are accustomed to, the perfect mix of homespun kindness turned to a lynch mob of the townspeople is effectively portrayed.

The sweet neighbors, happily offering casseroles and hugs to Nick one minute, suddenly turn into sharks when detail is revealed.

The media is, almost ironically, portrayed as menacing and ready to pounce. Female reporters are played by Sela Ward and deliciously and comically played by Missi Pyle.

More than a handful of female characters are written as borderline man-hating and eager to either castrate, figuratively speaking, or bed (or both!), Nick Dunne.

Gone Girl contains a few plot holes. How could there be no recorded tapes of the goings-on at Desi’s lake house? The entire plot is so far-fetched when one decides to ponder it.

Gone Girl (2014) is a mainstream yet dark Hollywood thrill ride with a theme of dishonesty, and a film exceptionally well-written and layered.

Oscar Nominations: Best Actress-Rosamund Pike

1964 Films, Alan Napier, Alfred Hitchcock, Bruce Dern, Diane Baker, Kimberly Beck, Louise Latham, Martin Gabel, Melody Thomas Scott, Sean Connery, Thriller, Tippi Hedren

Marnie-1964

October 4, 2014 scottmet99 Leave a comment

Marnie-1964

Director Alfred Hitchcock

Starring Sean Connery, Tippi Hedren

Scott’s Review #180

Reviewed October 4, 2014

Grade: A

When evaluating Alfred Hitchcock’s many films, Marnie (1964) is one of the more complicated. In recent years, it has earned higher praise than at its release, a la Vertigo (1958).

It features one of Hitchcock’s most complex psychological characters and is as much a character study as a psychological thriller.

Tippi Hedren stars as Marnie Edgar, a troubled young woman who travels from one financial company to another using a false identity and good looks to insinuate her way into a clerical job without references. Over time, she steals thousands from the companies when she gains their trust.

Eventually, she is caught by Mark Rutland, a handsome, wealthy widower and client of one of the firms, played by Sean Connery. Infatuated with Marnie, he strikes a deal with her: She will marry him, but he will not turn her over to the police.

Marnie gives most of her stolen money to her disabled mother, Bernice, in Baltimore- played by Louise Latham.

Why Bernice is crippled, avoids affection with Marnie, and why Marnie despises most men and is terrified of the color red make up the film’s mysterious nature. Diane Baker is compelling as Lil, the sister-in-law to Mark and somewhat nemesis of Marnie.

The film features three scenes I am enamored with each time I watch it. In one scene, Marnie hides and waits in the bathroom until all the employees have gone home for the night. She carefully steals money from her employer’s safe and prepares to leave. Suddenly, she notices an unaware cleaning woman with her back to Marnie, yet blocking the exit.

How will Marnie escape unnoticed? The surprise in this scene is excellent. Hitchcock plays the scene without music, which adds to the tension—brilliant.

In an emotional scene later in the film, Marnie’s horse, Forio, is injured, and a sobbing Marnie must choose between killing her beloved friend or letting him suffer until a veterinarian can be summoned.

It is a heart-wrenching scene.

The third scene takes place at a racetrack as Marnie and Mark are enjoying one of their first dates together before Mark learns the truth about Marnie- the date is ruined when a former victimized employer of Marnie’s recognizes and makes accusations towards her.

Marnie turns from sweet girl to ice queen seamlessly.

A huge controversial aspect of the film is that, while not shown, it is heavily implied that Mark rapes Marnie on their honeymoon. The following day, Marnie attempts suicide but is rescued by Mark.

This scene was filmed carefully so viewers didn’t hate Mark. Perhaps saving Marnie the next morning lessens what he did the night before in the eyes of the audience? This is open to debate.

Hedren is fantastic at showing the complexities of the character of Marnie throughout the entire film and does an excellent job in a demanding role.

As excellent as Hedren is (and she is fantastic), I have difficulty buying her as a poor, icy criminal, and this comes up each time I view the film.

Could this be a result of having identified Hedren as the sophisticated, glamorous socialite in The Birds made a year earlier so many times? This is quite possibly so.

The set of Marnie was reportedly fraught with tension during filming. This tension was mainly between Hedren and Hitchcock, who refused to speak with each other throughout the filming. This may have added to the tension, and Hedren appears anxious.

Could this be art imitating life? As the ending nears, Marnie and Mark align and form a team as they try to avoid the police altogether- Mark more or less becomes an accomplice.

The final reveal seems rushed. It takes place mostly in flashbacks and wraps up quickly. Marnie has blocked much of her childhood from her memory, which seems far-fetched.

Still, Marnie (1964) is a complex, psychological classic Hitchcock film from his heyday.

1956 Films, Alan Mowbray, Alfred Hitchcock, Bernard Miles, Best Film of the Year, Brenda de Banzie, Carolyn Jones, Doris Day, James Stewart, Noel Willman, Scott's Top 100 Films, Thriller

The Man Who Knew Too Much-1956

September 26, 2014 scottmet99 Leave a comment

The Man Who Knew Too Much-1956

Director Alfred Hitchcock

Starring James Stewart, Doris Day

Top 100 Films #38

Scott’s Review #176

Reviewed September 26, 2014

Grade: A

The Man Who Knew Too Much is a classic 1956 Alfred Hitchcock film starring James Stewart and Doris Day. The two share tremendous chemistry.

They play a successful married couple: Ben and Jo McKenna, a Doctor and a well-known singer, who travel on a lovely trip to Morocco with their young son Hank.

They are a traditional American family that the viewer trusts and believes in on vacation abroad.

Suddenly, they are approached by a Frenchman named Louis Bernard, who seems a bit too curious about Ben and his work.

Jo is immediately suspicious of the mysterious man.

This begins a series of events involving mistaken identity, an assassination attempt on England’s Prime Minister, and a trip to London to locate Hank, who criminals have kidnapped.

As with other Hitchcock films—think North by Northwest (1959)—the motivational plot is unclear and, one might argue, unnecessary. Why are the characters attempting to assassinate a political figure? Is there money to gain? Is there power to be obtained?

These questions are never answered- the film is not about that, but rather about Ben and Jo’s predicaments. The villains- primarily an innocent-seeming English couple and a sneering, rat-like assassin, are one-dimensional characters. The motivations are not revealed.

A remake of a 1934 version with the same title but far superior, the film is a suspense/ political thriller.

Some interesting comparisons to other Hitchcock films released around the same time that I continue to notice with each passing viewing-

North by Northwest– the ordinary man falling into international intrigue and Vertigo– Jo is dressed in almost identical fashion to Madeleine/Judy- a classic, sophisticated grey suit with a pulled-up bun hairstyle; the musical scores are incredibly similar- identical in instances; Vertigo’s bell tower is reminiscent of Ambrose Chappel in The Man Who Knew Too Much. Stewart’s Ben climbs up the bell tower in The Man Who Knew Too Much, whereas in Vertigo is terrified of heights, let alone climbing.

These are fascinating tidbits to note for any Hitchcock fan.

Doris Day’s performance, which is her most fabulous, impressed me. Known for lightweight romantic comedy and fluff roles, she turns into a wonderfully emotional and dramatic character and is quite effective in her own right.

The six-minute climactic final sequence, set at a musical concert at the Royal Albert Hall, is among the best in film history and uses no dialogue. This technique is jaw-dropping, as one realizes how much transpires within the six minutes, solely based on physical activity and facial expressions. The entire plot of the film reaches a searing crescendo—quite literally.

Day is strong in this sequence.

In his fourth turn in a Hitchcock film, James Stewart is charismatic, playing the everyman tangled in a web of deceit and espionage. He takes charge but identifies with the audience- he can be your friend or neighbor, and we trust his character- he is a successful doctor.

The now-legendary song from the film “Que Sera, Sera (Whatever Will Be, Will Be)” is an integral part of the finale and remains with the audience in a happy yet terrifying way long after the curtain closes on the film.

The Man Who Knew Too Much (1956) is exciting, suspenseful, engaging, and fun- just what a Hitchcock film should be.

Oscar Nominations: 1 win-Best Song-” Que Sera, Sera (Whatever Will Be, Will Be)” (won)

1980 Films, Action, Gena Rowlands, John Cassavetes, Scott's Top 100 Films, Thriller, Tom Noonan

Gloria-1980

September 9, 2014 scottmet99 Leave a comment

Gloria-1980

Director John Cassavetes

Starring Gena Rowlands

Top 100 Films #23

Scott’s Review #166

Reviewed September 9, 2014

Grade: A

Gloria (1980) is an action/thriller film that features the standard action-crime thriller elements, the shoot ‘em up, guns blazing, clichéd fare but contains an interesting, appealing leading character, a gritty atmosphere, and smart dialogue.

It is a much better film than most indistinguishable films of the action genre.

Directed and written by independent film master, John Cassavetes, who wanted to make a more conventional, mainstream film than was typical for him- think the very left of center, brilliant A Woman Under the Influence, also starring Gena Rowlands, and Gloria was the perfect film for him to create with Rowlands as the focal point.

Made in 1980, Gloria perfectly portrays New York City at the time.

New York City was gritty, dirty, rough, crime-infested, violent, and chaotic and the film travels throughout Manhattan, the Bronx, and New Jersey very often, with many scenes shot directly on the streets of New York.

Several other scenes are set in dingy apartments, hotels, sleazy bars, and dumpy streets and are highly effective in portraying a gloomy atmosphere. The cinematography is perfect in the film.

The heart of the film lies with Rowlands (Director Cassavetes’s wife) who gives a mesmerizing performance as a former mob girlfriend who, by circumstance, must protect a young Hispanic boy from execution by the mob because of an informant book he clings to for dear life.

No other actress could have played this role of a tough-talking, brash New Yorker, as well as Rowlands, plays her. The boy’s father, played by Buck Henry, is a scared accountant with ties to a company fronted by the mob.

He fears his entire family will be murdered and hands his kid over to Gloria. Julie Carmen gives a brief but effective performance as Phil’s frazzled mother.

I wish Henry and Carmen had been given more screen time and fleshed-out characters because both had huge potential. The film belongs to Rowlands- she is no-nonsense, tough, and so convincing in the part.

I also enjoyed the casting of John Adames as the kid, Phil. His performance was inexplicably panned by many critics and I’m not sure why.

I also love the unique opening credits as intense folk/jazz music plays over watercolor portraits that turn into the skyline of New York City and the music has a melancholy and eeriness to it.

Amid the violence, there is a sweet bond that develops between Gloria and Phil that is not too sentimental or cheesy.

A great, compelling, late 1970s/early 1980s film that has some definite Godfather and Dirty Harry influence in texture and characters, especially with some of the mobster characters.

The appeal of the film is that it has a heart but never delves into schlock. Surprisingly rated only PG, it is gritty, but not lewd or harsh and seems dirtier than it is with barely any filthy language.

The chemistry and heartfelt connection between Gloria and Phil are darling without being too sappy or safe. Gloria is a fast-paced, action gem that is both appealing and tough.

Oscar Nominations: Best Actress-Gena Rowlands

1958 Films, Alfred Hitchcock, Barbara Bel Geddes, Best Film of the Year, James Stewart, Kim Novak, Scott's Top 100 Films, Thriller, Tom Helmore

Vertigo-1958

August 7, 2014 scottmet99 Leave a comment

Vertigo-1958

Director Alfred Hitchcock

Starring James Stewart, Kim Novak

Top 100 Films #6

Scott’s Review #151

Reviewed August 7, 2014

Grade: A

Over the years, Vertigo (1958) has quickly become one of my favorite Alfred Hitchcock films. With each repeated viewing, I learn, appreciate, or see something new.

It is an absolute masterpiece.

The primary appeal of Vertigo is its mystique and dream-like quality, which provide a beautiful cinematic experience. It is sometimes ominous, psychological, gloriously complex, and even confusing.

That is what makes it extraordinary.

Considering the time, the colorful opening visuals are dynamic, groundbreaking, and stunning.

The story involves a retired detective, Scottie, played by Hitchcock stalwart Jimmy Stewart. Scottie suffers from vertigo, which hinders his daily life.

After an incident in which a police officer is killed, and Scottie blames himself and his vertigo for causing the death, he whiles away the days brooding and keeping companionship with Midge- a college friend to whom he was once engaged.

One day, he is hired by another college friend to follow his wife, played tremendously by Kim Novak, who is acting strangely and periodically disappearing, obsessed with a painting of a woman from years past.

From this point, the plot twists and turns in a mysterious fashion, and mixed in is a romantic, bizarre, obsessive love story.

Is Scottie in his right mind? Will his vertigo continue to haunt him? What is the secret to Madeleine and Judy? Is Midge as sweet as she appears?

The score to Vertigo is haunting and unforgettable, adding so much mood and ambiance to the film.

Several location shots are featured in San Francisco, including the Golden Gate Bridge, downhill streets, the Mission, and Redwood Forest.

As with all Hitchcock films, all sets and details are perfect, from paintbrushes, coffee mugs, curtains, and furniture to the gorgeous bright red décor of the restaurant heavily featured in the film.

How exquisite does Kim Novak look in the film??

Initially critically panned upon its release, it is now considered one of the greatest films. Its unique camera angles and slow, methodical pacing have influenced other films.

The film is not always an easy watch as it is complex, to be fair, but like a fine wine, it gets better and better.

Vertigo (1958) is a layered psychological thriller that is appreciated more with each viewing.

Oscar Nominations: Best Sound, Best Art Direction

2013 Films, Action, Brad Pitt, Drew Goddard, Marc Forster, Mireille Enos, Ruth Negga, Science Fiction, Thriller

World War Z-2013

July 20, 2014 scottmet99 Leave a comment

World War Z-2013

Director Marc Forster

Starring Brad Pitt

Scott’s Review #121

Reviewed July 20, 2014

Grade: B

World War Z (2013) is the type of film that is a summer hit but will most likely be forgotten over the years. It is a slightly above-average, enjoyable action/ zombie thriller, but not much more.

It stars Brad Pitt as a former United Nations investigator called in to save the world from a zombie pandemic. The crisis is spreading throughout major cities of the world simultaneously.

The film sees Pitt traversing the globe in an attempt to find a cure for the epidemic before it is too late and the zombies make the world extinct from humans.

The zombies are super zombies in that they can fly and move at lightning speed making them ultra-dangerous.

The story is implausible and plot-driven, but it doesn’t matter and works on some level. My theory for this success is that the film is fast-paced, the action starts almost immediately, and Brad Pitt is charismatic.

He is the star and all the action centers around him.

The film contains exciting, tense scenes including a plane crash sequence and a chase around a medical lab.

World War Z (2013) is a popcorn film, meant to be sat back and enjoyed and not overanalyzed or taken too seriously.

It is a perfect summer hit.

1943 Films, Alfred Hitchcock, Best Film of the Year, Henry Travers, Hume Cronyn, Joseph Cotten, Macdonald Carey, Patricia Collinge, Scott's Top 100 Films, Teresa Wright, Thriller

Shadow of a Doubt-1943

July 17, 2014 scottmet99 Leave a comment

Shadow of a Doubt-1943

Director Alfred Hitchcock

Starring Joseph Cotten, Teresa Wright

Top 100 Films #40

Scott’s Review #117

Reviewed July 17, 2014

Grade: A

Shadow of a Doubt (1943) is a black-and-white Alfred Hitchcock film about a quaint California town with a killer. The town is idyllic and wonderful: People attend church on Sundays and meet at the drug store for ice cream sodas.

The film was shot on location in a small town in California rather than on a sound stage, adding much authenticity.

The Newton family is at the center of the thriller, led by Charlie (Teresa Wright), a young woman who idolizes her recently visiting Uncle, also named Charlie (Joseph Cotton). They are very close- almost like father and daughter.

When Uncle Charlie is suspected of being the notorious Merry Widow Murderer, Charlie is conflicted. Could her Uncle be the murderer?

Shadow of a Doubt is one of Hitchcock’s more straightforward films, and the town itself is a huge plus. It’s quiet and family-oriented- what could go wrong? But evil embodies the city, and events slowly start turning dark.

A scene in which the family sits down for a quiet meal that turns into a conversation about death is famous and influential. The train sequence is nicely shot. There is also a fantastic side plot involving two friends playing an innocent game of “How would I murder you?” unaware of the irony of the game itself.

The film is not as flashy or complex as other Hitchcock films, specifically Vertigo (1958), but that aspect works to its credit.

Hitchcock adored the idea of a small town with foreboding secrets, and this film is quite a gem.

Shadow of a Doubt (1943) is a good, old-fashioned thriller and a must-see for Hitchcock fans.

1966 Films, Alfred Hitchcock, Julie Andrews, Lila Kedrova, Paul Newman, Thriller

Torn Curtain-1966

July 15, 2014 scottmet99 Leave a comment

Torn Curtain-1966

Director Alfred Hitchcock

Starring Paul Newman, Julie Andrews

Scott’s Review #109

Reviewed July 15, 2014

Grade: A-

Torn Curtain is an under-appreciated and largely forgotten Cold War political thriller directed by Alfred Hitchcock circa 1966.

The film is very good but was troubled from the start, which presumably led to its poor reception and a trip to film oblivion.

The trouble with the film lies with the casting; otherwise, it is a compelling, suspenseful adventure.

Starring Paul Newman and Julie Andrews- two enormous stars when the film was made, the studio chose both, and neither did Hitchcock desire on the set.

This led to conflict, especially with Newman, who disliked the script.

His continued script “rewrites” and method of acting annoyed the famous director.

Newman plays Michael Armstrong, an American physicist who is attending a conference in Copenhagen. Andrews plays his assistant and fiancee, Sarah Sherman.

Michael mysteriously flies to East Germany, behind the Iron Curtain, unknowingly with a concerned Sarah in tow. This event sets off political intrigue and espionage as Michael attempts to secure a formula and return it to the United States.

But is he a patriot or a defector, colluding with the Germans?

Presumably, the main reason for the poor reviews for Torn Curtain is the lack of chemistry between Newman and Julie Andrews and behind-the-scenes problems with this film (both stars were unhappy throughout the shoot, and Hitchcock did not want either actor in the film).

In truth, there is little chemistry between the pair, and I cannot help but think how delicious it would have been if Sean Connery and Tippi Hedren had been cast instead! After all, this duo had great chemistry in Marnie, released just two years prior.

Despite the backstage drama, the film is complex, exciting, and taut. The bus escape scene is fantastic and edge-of-your-seat.

The best scene, though, occurs in the middle of the film, when Michael is in East Germany. He is revealed to be part of a syndicate that enables him to sneak out of the country. He then goes to a remote farm, where he is involved in a tortuous fight with a security officer and a farmer’s wife.

The scene is spectacular in its long length and edge-of-your-seat drama.

The scenic locales are excellent, and the film is bright, colorful, and sharp, especially on Blu-Ray. The gorgeous opening scene is aboard a cruise ship in the breathtaking Fjords of Scandinavia.

Frankly, I am surprised this film has not been rediscovered on a larger scale. Along with Topaz (1969), Torn Curtain (1966) is another forgotten gem of Hitchcock’s, worthy of praise.

1969 Films, Alfred Hitchcock, Ann Doran, Thriller

Topaz-1969

July 12, 2014 scottmet99 Leave a comment

Topaz-1969

Director Alfred Hitchcock

Starring Frederick Stafford, Karin Dor

Scott’s Review #108

Reviewed July 12, 2014

Grade: A-

Topaz is an intriguing, suspenseful 1969 latter-day Alfred Hitchcock film.

In the political thriller vein, the film typically suffers from being both overlooked and under-appreciated yet receives admiration from film buffs. It is certainly not one of his better-known films and that is quite a shame.

To be fair, as with many great films, it is complex and layered and requires close attention and even multiple viewings.

The issue with Topaz is that the film suffers from a lack of recognizable stars- a trademark of Hitchcock films in his heyday. Frederick Stafford (Andre) and Karin Dor (Juanita) are the featured romantic couple.

Despite his being married to another woman, Andre and Juanita are the couples the audience is intended to root for.

The story involves competing spies from France, the United States, and Cuba all vying for government secrets concerning the Cuban Missile Crisis in the 1960s.

Each spy does their best to obtain the secrets, some in a sinister fashion.

The French accents especially can be tough to understand, but it is a thrilling film that traverses from New York City to Cuba to France. The main protagonist is Andre and Stafford has a high level of charisma and a suave manner.

The character is quite similar to James Bond. The film itself plays out like a Bond film with the exotic locales, the beautiful women, and the political intrigue.

As with most Hitchcock films, the set pieces and art direction are beautiful and perfect. One highlight is a particular character’s death scene in Cuba. Involved in a love story throughout the film, the death is tragic yet heartfelt and very surprising.

Topaz, sadly, was unsuccessful at the box office due to no Hollywood names attached to it and little promotion, although it made several top ten critics lists in 1969.

Topaz is certainly one of the more obscure of Hitchcock films, but an excellent one to be discovered and revered.

1976 Films, Alfred Hitchcock, Bruce Dern, Karen Black, Thriller, William Devane

Family Plot-1976

July 9, 2014 scottmet99 Leave a comment

Family Plot-1976

Director Alfred Hitchcock

Starring Bruce Dern, Karen Black

Scott’s Review #99

Reviewed July 9, 2014

Grade: B

Family Plot is sadly Alfred Hitchcock’s final film, made in 1976.

It is certainly not one of his greats, but not bad either, and a fitting way for a viewer to conclude his career.

The film is a jewel caper and has a vastly different feel from many of his other, earlier films. It has a slick quality to it and is reminiscent of a 1970s television movie, which is not a knock.

It simply feels more television-like than film, which likely could be because the film stars notable television stars, William Devane and Katherine Helman.

It also features some big film stars of the time- Karen Black, Bruce Dern, and Barbara Harris.

The film is a departure from other Hitchcock films in that it is a macabre comedy. It is a tongue-in-cheek story of a fake psychic (Harris) and her boyfriend (Dern) who become involved in a search for a missing heir, a jewel heist, and a murder.

All of the characters intersect as the film moves along and it contains some nice Hitchcock elements- the speeding car with no brakes down a hilly road is pure Hitchcock.

The film, for me, has a slightly melancholy feel as sadly, it is the great Hitchcock’s final farewell.

1942 Films, Alfred Hitchcock, Priscilla Lane, Robert Cummings, Thriller, Tony Randall

Saboteur-1942

July 9, 2014 scottmet99 Leave a comment

Saboteur-1942

Director Alfred Hitchcock

Starring Robert Cummings, Priscilla Lake

Scott’s Review #98

Reviewed July 9, 2014

Grade: B+

Saboteur (1942) is a very early Alfred Hitchcock film that served as a blueprint for his masterpieces in the years to come.

The story follows a common theme among Hitchcock thrillers- the falsely accused man. An aircraft factory worker, Barry Kane, is falsely accused of an act of sabotage that kills his best friend.

Only Kane and the audience know the true culprit and set out on a quest for his innocence and to find and capture the real culprit.

The film then begins a tale of adventure, cross-country hijinks, romance, and political espionage, similar to the Hitchcock classic North by Northwest (1959), which followed years later.

This film contains some excellent scenes- the traveling Carnie train adventure, the blind man, and the climactic chase scene atop the Statue of Liberty are fantastic.

Saboteur (1942) is a bit raw, and the chemistry between the leads, Robert Cummings and Priscilla Lane, is poor, but an early Hitchcock film to be appreciated.

2013 Films, Elizabeth Olsen, James Ransone, Josh Brolin, Lance Reddick, Michael Imperioli, Rami Malek, Samuel L. Jackson, Spike Lee, Thriller

Oldboy-2013

July 8, 2014 scottmet99 Leave a comment

Oldboy-2013

Director Spike Lee

Starring Josh Brolin, Elizabeth Olsen

Scott’s Review #97

Reviewed July 8, 2014

Grade: B-

Oldboy (2013) is a United States remake of the original South Korean film from 2003 that tells the story of a successful advertising executive named Joe Doucett, played wonderfully by Josh Brolin.

He is mysteriously kidnapped and kept prisoner in a private one-room facility, where he is served the same three meals daily for twenty years, while framed for the murder of his wife.

Through the years he is kept abreast of his daughter’s life events through videos. He is just as mysteriously released after twenty years and sets out to exact revenge on his former captors.

Brolin is quite charismatic and appealing (kudos for his multiple nude scenes) in the lead role and it is nice to see Michael Imperiolo in an off-beat supporting role.

The premise is interesting but the type of film where everything that happens is plot-driven, the villains completely manipulate events, and the film becomes implausible and, via flashbacks, reminds me of the CBS series Cold Case.

Forgetting that Brolin’s character becomes superhero-like and chiseled after twenty years in captivity, the film is a good, solid, fun, thrill-ride, and bloody at times.

It has aspects of a nice whodunit to a point. It has so many plot holes that I lost count, but somehow it is enjoyable at the same time.

Oldboy is never boring and even unpredictable at times.

Many questions run through the viewer’s head. Who is the villain? What could the villain’s motivation be? Friend or foe?

Is the film unrealistic, and ludicrous at times, but also highly enjoyable?

1987 Films, Brad Pitt, Gene Hackman, Iman, Kevin Costner, Sean Young, Thriller, Will Patton

No Way Out-1987

July 5, 2014 scottmet99 Leave a comment

No Way Out-1987

Director Roger Donaldson

Starring Kevin Costner, Sean Young, Gene Hackman

Scott’s Review #96

Reviewed July 5, 2014

Grade: B+

No Way Out is a slick political thriller from 1987 starring Kevin Costner as a U.S. Naval Officer investigating a Washington D.C. murder.

Gene Hackman and Sean Young are co-stars. Costner is at the top of his game in the film and is quite charismatic and charming.

The plot has several twists and turns that keep the viewer guessing and engaged and is a classic edge-of-your-seat stylistic film.

The film is paced very well as it gradually picks up steam with each plot turn until it builds to a frenetic finish. Specifically, the final forty-five minutes that take place in the CIA are quite a cat-and-mouse game.

It’s a film about sex, murder, love affairs, politics, and backstabbing.

Hugely successful in the 1980s, and as much as I still enjoy it, the film unfortunately now appears quite dated as the soundtrack, hair, and clothes, all scream late 1980’s and that is not to its credit.

It now seems all too similar, though a cut above, to other countless themed films of the same period. Truly great films are timeless.

Kevin Costner was in his prime with No Way Out (1987) and Sean Young has a wonderful turn as the mysterious Susan Atwell.

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.