Category Archives: Elisabeth Moss

The Old Man & the Gun-2018

The Old Man & the Gun-2018

Director David Lowery

Starring Robert Redford, Sissy Spacek

Scott’s Review #945

Reviewed October 11, 2019

Grade: B

Quiet films centered on older characters are not the norm in youth-obsessed Hollywood, where profits are always in fashion.

The Old Man & the Gun (2018) spins a tale offering adventure and a good old-fashioned love story, with appealing stars. The film is slow-moving and not groundbreaking, but it possesses a fine veneer and a snug plot that gives viewers a fuzzy feeling of watching something wholesome.

The script is loosely based on David Grann’s 2003 article “The Old Man and the Gun”, which was later collected in Grann’s 2010 book The Devil and Sherlock Holmes.

Career criminal Forrest Tucker (Robert Redford) is wanted for his daring escape from San Quentin State Prison in 1979. The current period is 1981.

Addicted to petty bank robberies for relatively small dollar amounts because he is addicted to the rush. A charmer, he is unassuming and unsuspecting. As he flees the scene of a recent heist, he meets a kind widowed woman named Jewel (Sissy Spacek), whose truck has broken down.

The pair have lunch at a diner and quickly bond.

Forrest is in cahoots with two other bank robbers as the trio makes their way across the southwest United States, garnering a reputation. Detective John Hunt (Casey Affleck), a Dallas detective, is tasked with finding and arresting Tucker until the FBI takes the case away.

Hunt cannot give up the search, and the duo embarks on a cat-and-mouse chase across the area, sometimes crossing paths in the local diner.

Where The Old Man & the Gun succeeds is any scene featuring Forrest and Jewel together. Their chemistry is radiant during calm scenes of the couple eating pie and sipping coffee at the diner, simply getting to know each other organically.

During their first encounter, Forrest slips her a note, adding mystery to their bond. It is unclear whether he reveals his shady career to her, but it is alluded that he has confessed something that she is not sure she believes.

Redford carries the film as if he were still a leading man from his 1970s and 1980s blockbuster days, which is a testament to his Hollywood staying power.

With his charismatic smile and still dashing good looks, it is little wonder that the bank tellers he holds up describe him as friendly and polite, easily wooing the folks into his good graces.

A crowning achievement for the actor, he narrowly missed an Academy Award nomination but did score a Golden Globe nod.

The film suffers from predictability during the final act, when one of his accomplices turns him in to the police, and a chase ensues between Forrest and Hunt.

This is not the film’s best part, and it feels like dozens of other crime dramas. Affleck looks to be in a role he didn’t particularly enjoy; at least, that is how it seems to me watching the film.

The actor is an Oscar winner playing cops and robbers and second fiddle to Redford. Can you blame him for looking glum?

Speaking of misses, Hunt is in an interracial relationship with Maureen, a beautiful black woman who has a mixed-race daughter. Rural Texas in 1981 must have posed racial issues for the family, but this is never mentioned. Maureen and her daughter also look straight out of 2019 with fashionable hairstyles and clothes.

The relationship is progressive, a plus, but it is written unrealistically.

Although rumored to be retiring from the film industry (we’ll see if that happens), Robert Redford gives a terrific turn as a man who reflects upon his life and treats the audience to the same effect.

Spacek is a delicious role and a crowning achievement for a great career and is a perfect cast and a treasure to have along for the ride, celebrating two fantastic careers.

The Old Man & the Gun (2018) is a touching, romantic bank heist film with more positives than negatives.

Us-2019

Us-2019

Director-Jordan Peele

Starring-Lupita Nyong’o, Winston Duke

Scott’s Review #882

Reviewed April 1, 2019

Grade: A

Hot on the heels of his critically acclaimed and shockingly Oscar-nominated horror film Get Out (2017) Jordan Peele does it again with an even more thought-provoking creation.

Us (2019) combines classic horror elements with macabre and insightful qualities, crafting an ambitious project that can be dissected and discussed at length following the climactic and psychologically perplexing ending.

One thing is for sure; Peele has earned his spot among the most influential and elite directors circling Hollywood.

The film begins in 1986 as an event entitled Hands Across America- a publicity campaign encouraging people to hold hands to create a human chain to fight hunger and poverty- gripped the United States. Nine-year-old Adelaide Thomas goes on vacation to Santa Cruz, California with her parents only to wander off into a deserted house of mirrors.

When she meets her doppelganger, she is terrified beyond comprehension and requires therapy to resume a normal life.

Events return to the present day as Adelaide (now played by Lupita Nyong’o) is married to Gabe Wilson (Winston Duke) with two young children, Zora and Jason. Coaxed into a weekend getaway to none other than Santa Cruz to visit their wealthy friends Josh and Kitty Tyler (Tim Heidecker and Elisabeth Moss), Adelaide is apprehensive about the trip with a dreading sensation that her doppelganger is returning to get her.

When a strange family dressed in red jumpsuits appear on Wilson’s driveway the plot transforms into a bizarre direction especially since the family looks exactly like the Wilsons.

Us is extremely layered and reminiscent of the expression “peeling back the onion” in analysis and discussion possibilities. For starters, a character thought to be one person is another causing the audience to spin into confusion and not know who they were rooting for or not rooting for all along.

The astounding questions are endless and in Peele’s brilliant fashion can be asked at different times during the film. Why do the doppelgangers exist? What do they want? What do Hands Across America have to do with anything? What do the rabbits symbolize?

One gruesome scene and a favorite is the barbaric scene when the Tyler’s are suddenly attacked by their doppelgangers- home invasion style.

Reminiscent of the infamous Charles Manson murders, the family is slain quickly and mercilessly as the audience is left agape at the brutal slaughter. So much happens in this scene, first and foremost is the realization that there are more doppelgangers than we originally thought.

To lighten the mood a bit, Peele adds morbid comic relief as the family’s voice-controlled Siri system misunderstands the dying victim’s plea to call for police and mistakenly plays “F#@$ the Police” by N.W.A. instead.

Nyong’o has the most opportunities to showcase her acting ability by tackling two very different types of roles. As Adelaide, she is kind, capable, and your typical suburban Mom but as her doppelganger Red she is grizzled and desperate with a dry, throaty voice filled with pain and defeat.

At first thought a villain the audience eventually learns the complexities of Red’s story clearer and the Oscar winner delivers both parts with exceptional grace.

The supporting actors fill their characters with gusto with a mention going to Duke and Moss. Duke’s character of Gabe contains inept humor coming across as slightly incompetent and the typical goofball dad-type character.

Moss takes her one-note character of Kitty, a spoiled never made it as an actress whiner with a rich husband, and infuses naughty passion into her doppelganger. As she playfully applies lipstick while coquettishly watching herself in the mirror she soon gives the term “plastic surgery” a new definition as she curiously carves her face.

Peele delivers a treasure with Us (2019) and I salivate at the thought of the film is only the novice director’s second attempt. Not suffering from the dreaded sophomore slump, he is becoming a modern director whose works are more like events than simply released films.

Quentin Tarantino is a director who has also achieved this status through the director’s styles are vastly different. I cannot wait to feast on Peele’s next attempt.

The Square-2017

The Square-2017

Director Ruben Östlund

Starring Claes Bang, Elisabeth Moss

Scott’s Review #814

Reviewed September 28, 2018

Grade: B+

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

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

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

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

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

The film also interjects various subplots that are generally interesting but do not always make logical sense.

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

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

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

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

My favorite sequence occurs approximately midway through the film. As bizarre as the scene, it is riveting in its momentum and bravery.

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

He begins pulling one woman’s hair while chasing an angry man from the hall. This scene is shocking, intense, and thought-provoking.

But what the scene means is perplexing.

A treat for me was viewing the famous Stockholm museum’s frequent interior and exterior scenes- which I was privy to have visited in 2016.

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

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

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

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

Oftentimes disjointed and impossible to make heads or tails of, one would be wise to simply “experience” the film on its own merits. I am not sure.

I mainly need to view it again and try to figure out the plot because I am uncertain if that was the intent of director Ruben Oslund.

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

Oscar Nominations: Best Foreign Language Film

Girl, Interrupted-1999

Girl, Interrupted-1999

Director James Mangold

Starring Winona Ryder, Angelina Jolie

Scott’s Review #461

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Reviewed August 8, 2016

Grade: B+

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

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

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

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

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

It is not as gritty as it could have been.

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

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

Ryder and Jolie are tops.

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

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

The One I Love-2014

The One I Love-2014

Director Charlie McDowell

Starring Mark Duplass, Elisabeth Moss

Scott’s Review #221

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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