Category Archives: Romantic Drama

2017 Films, Drama, Jamie Bell, Romantic Drama

Film Stars Don’t Die in Liverpool-2017

December 11, 2018 scottmet99 Leave a comment

Film Stars Don’t Die in Liverpool-2017

Director-Paul McGuigan

Starring-Annette Bening, Jamie Bell

Scott’s Review #840

Reviewed December 11, 2018

Grade: B+

Film Stars Don’t Die in Liverpool (2017) showcases a compelling performance by stalwart actress Annette Bening as she plays faded, insecure Hollywood glamour girl, Gloria Grahame.

The film focuses only on Grahame’s final two years of life as she battles breast cancer and begins a relationship with a much younger man, Peter Turner (Jamie Bell).

The film is a sad yet poignant dedication to the star featuring enough performance gusto from its actors to make up for a limited period and too much back and forth within the timeline that complicated the film too much.

As a result, Film Stars Don’t Die in Liverpool is endearing but does not hit it out of the park.

The entire film takes place between 1979 and 1981 as actress Gloria Grahame, her best days behind her, resides in a rented Liverpool room. In 1979 she has found a bit of success in local theater and befriends her much younger male neighbor.

The pair become romantic partners and experience trials and tribulations as the film teeters back and forth between Grahame’s ailing final days in 1981 to happier times in Los Angeles and New York. Gloria also befriends and finally lives with Peter’s parents, who care for her unflinchingly.

The story is enveloped in sadness but is not a downer either.

The film begins towards the end of Gloria’s illness though the audience is not aware yet of the seriousness of her disease. Insisting she just has painful gas, the tender relationship between the actress and Peter is explored.

The story then parlays back to 1979 when Peter and Gloria first meet- he is an aspiring actor unaware of who she is until a bartender makes the connection.

In this way, the film makes it clear this is not a story about a young man seeking the fortunes of a presumably wealthy woman. I like this point as the story is about romance not money-grubbing.

Film Stars Don’t Die in Liverpool belongs to Bening.

The supporting roles are well cast taking nothing away from either Bell’s performance or a nice turn by Julie Walters as Peter’s mum.

Bening, however, does wonders emulating the mannerisms of Grahame with an innocent, damsel in distress nature (mirroring the roles she made famously).

Bening was amazing at revealing the actress’s insecurities and fear of aging and an older appearance. During a fight, Peter cruelly refers to her as an “old lady” and we see the comment strike a deadly blow the same as if she had been physically slapped. Bening is so good at portraying a myriad of emotions throughout the film.

Another high point comes towards the end of the film. I love the way the film connects an earlier argument (and breakup) between Gloria and Peter with a later sequence.

As Peter assumes she was carrying on with another man when he learns she lied about her whereabouts, the haunting reality is later revealed, changing the audience’s entire perception of the turn of events.

This is good writing by the screenwriters.

To counter the above point, the constant back and forth from 1981 to 1979 and everywhere in between detracts from the enjoyment of the overall film for me.

Spanning only two years the film spends way too much time in multiple locations without enough explanation. Suddenly Gloria and Peter are in Los Angeles having dinner with her mother and sister at Gloria’s modest house, then they are in New York City in her lavish Park Avenue apartment.

The film would have been better suited with a straightforward approach chronicling events from 1979 to 1981 in sequence.

Another negative is the omission of any scenes before 1979.

The actress’s career thrived during the 1940s and 1950’s so it would have been interesting to capture those earlier days. If the fear was that Bening was too old to pass for a younger Grahame, another actress could have been used for those scenes.

While a clip of the real Grahame winning the Oscar and a few clips of her starring in films are nice, way more time could have been spent on more stories.

Thanks to a brilliant performance by Bening and an emotional story that in large part succeeds, Film Stars Don’t Die in Liverpool (2017) is a win.

Not recognized during awards season as originally anticipated, this could have been due to the overly complex timeline and thus the limiting feeling the film produced. The production and writing are very good, but lack greatness.

1943 Films, Claude Rains, Drama, Humphrey Bogart, Ingrid Bergman, Michael Curtiz, Paul Henreid, Peter Lorre, Romantic Drama, Sydney Greenstreet

Casablanca-1943

December 7, 2018 scottmet99 Leave a comment

Casablanca-1943

Director Michael Curtiz

Starring Humphrey Bogart, Ingrid Bergman

Scott’s Review #838

Reviewed December 7, 2018

Grade: A

Casablanca (1943) is a classic style Hollywood film made during a decade when big studio productions were all the rage. The film may very well be in the top ten creations of its day and a movie that nearly everyone has either seen or is aware of.

A grand romantic World War II drama released at the perfect time, the film contains legendary stars Humphrey Bogart and Ingrid Bergman. It is flawless in nearly every way, as a lavish production should be.

Bogart stars as Rick Blaine, an expatriate who owns a lavish nightclub in Casablanca, Morocco. The film takes place in December 1941, before the United States entered the vicious World War II.

His clientele ranges from French and German officials to refugees attempting to flee the country, fearful of being stuck in a foreign land. Mixed in with the melee of varied characters is Ilsa (Bergman), a former flame of Rick’s, who appears with a new husband, Victor, a Czech leader.

Ilsa begs Rick for help escaping the country, and their romance begins to blossom again.

Through scenes, we see Rick and Ilsa living perfectly in pre-war Paris. They happily co-exist, sharing a happy life, unaware of the conflict and secrets that will emerge in Casablanca two years later.

Victor is initially presumed dead, which leads to Ilsa’s initial freedom and romance with Rick.

Back in Casablanca, Rick has essential letters that will allow the holder to escape the city and be bound for safety in another country. While Ilsa is desperate for these letters, she is also madly in love with Rick, and vice versa, adding a strong romantic element to the film.

Supporting characters are mixed into the plot as desperation and impending doom interplay.

Casablanca is a film with things happening simultaneously, which is a significant part of its draw. From the apparent romance of Rick and Ilsa- the focal point of the story part of the draw are the sub-plots weaved within.

The nasty Nazi Major Heinrich Strasser encompasses the future Third Reich and the devastation this group would ultimately cause. A multitude of supporting characters and extras perfectly flesh out both the cast and the look and feel of the film.

The most interesting character is Rick.

Once idealistic and moral, he has changed, becoming cynical and broken. In this way, the film nearly becomes a character study. The audience sees the change in Rick and slowly realizes he has given the war the culprit.

The final sequence reveals Rick and Ilsa’s fate. Their doomed romance is assuredly no surprise, true to the message. An “unhappily ever after” result was rare in a big studio production and is a testament to the well-written story.

The featured piano number and Casablanca’s “theme song” is the lovely yet melancholy “As Time Goes By.” Beautifully played by Sam (Dooley Wilson), the house pianist and close friend of Rick, the number is instrumental to the plot and specifically to Rick and Ilsa’s romance.

The song is a painful memory of the once-idyllic life the pair shared.

The film’s timing, made in 1941 and released in 1943, is the key to its unrelenting success. American audiences undoubtedly found it identifiable, and the uncertainties of the impending war threatened their current freedoms.

Casablanca was wonderfully marketed in this way, and its compelling nature resonated. Audiences shared Rick’s conflict and “for the greater good” perspective.

Casablanca (1943) is a film that educates, entertains, and romances without exhibiting a shred of pretension. The crisp black-and-white filming and the unique use of light and shadows to reflect the characters’ thoughts make the film lovely and has a lofty budget.

Immersed in the richness are sadness and a timely message about a changed man, a failed romance, and the ravages of war that still resonate decades later.

Oscar Nominations: 3 wins-Outstanding Motion Picture (won), Best Director-Michael Curtiz (won), Best Actor-Humphrey Bogart, Best Supporting Actor-Claude Rains, Best Screenplay (won), Best Scoring of a Dramatic or Comedy Picture, Best Cinematography, Black-and-White, Best Film Editing

1941 Films, Alan Mowbray, Alexander Korda, Drama, Gladys Cooper, Laurence Olivier, Romantic Drama, Vivien Leigh

That Hamilton Woman-1941

June 27, 2018 scottmet99 Leave a comment

That Hamilton Woman-1941

Director Alexander Korda

Starring Laurence Olivier, Vivien Leigh

Scott’s Review #779

Reviewed June 27, 2018

Grade: B+

That Hamilton Woman (1941) is an obscure, black, and white gem that stars legendary actors and real-life couple Vivien Leigh and Laurence Olivier.

Providing a story of an old-fashioned style romance, war battles, and dazzling cinematography, the film succeeds as a classic film that should be better remembered than it is.

The overall theme here is a tragic love story with a sad ending.

One of the best aspects of That Hamilton Woman is witnessing the super-couple team of Leigh and Olivier act opposite one another. The actor’s talents are reason enough, but it makes a fascinating viewing experience.

The curiosity of the pairing of big stars in their heyday is a delight and highly appealing, and both actors do not disappoint. One wonders whether they were acting or otherwise enjoying the experience.

Lady Hamilton begins with a jarring scene in which the title character, Emma Lady Hamilton (Vivien Leigh), is thrown into debtor’s prison after stealing booze in France.

The rest of the story is told via flashbacks as she regales her fellow prisoners with how she ended up in her current state. Her former life starkly contrasts Emma’s appearance as a young woman with hope, promise, and riches.

It is hard to imagine how her life turned out so severely, which gives the film quality of intense intrigue.

The film then has a “riches to rags” element as the story is reversed. Full of energy, British Emma moves with her mother to the Kingdom of Naples, where she marries the affluent (and much older) Sir William Hamilton (Alan Mowbray), presumably for his money.

When handsome Admiral Horatio Nelson (Olivier) appears on the scene, the pair fall madly in love. They face tremendous hurdles, however, as the war rages on and each is unfaithful to their respective spouses.

Since the film was made scarcely two years after the epic romance Gone with the Wind (1939), one cannot help but compare Leigh’s portrayal of Emma to Scarlett O’Hara.

Emma comes across as a British version of the southern lass, especially as she is clad in gorgeous gowns or romancing men.

However, as the film develops, she becomes a much more sympathetic character and certainly less of a vixen. Still, there are plenty of similarities for viewers to draw from.

The role of Lady Frances Nelson (Gladys Cooper) is completely one-note, so the rooting value is never doubted. The film intends for the audience to be in the corner of Emma and Horatio, and that said, Cooper does a fantastic job of making her character completely unlikeable. Her icy, vengeful spirit perfectly complements the sympathetic lead characters. The fact that Horatio and Emma are adulterers, especially for the year the film was made, is not fully explored.

To be critical, the video quality is not the greatest, presumably because the film is old. If the film had been in color, the gorgeous Italian landscapes and Leigh’s lovely costumes would have appeared even more lavish and picturesque.

However, due to the film’s age, not much can be done about it unless it is decided to repackage the disc or make it a Blu-ray offering.

Still, the film frequently features southern Italy’s luminous mountains and lush oceans, which is a real treat.

Purely a showcase for newlyweds Olivier and Leigh to dish their real-life romance for mainstream audiences, That Hamilton Woman (1941) must have been a big deal at the release.

While suffering from lackluster film quality, the story is quite hearty, featuring romantic scenes, loud, bombastic battle scenes, and a bit of British and Italian history.

Sadly, this film is largely forgotten, but it is a good watch for fans of the legendary stars.

Oscar Nominations: 1 win-Best Sound Recording (won), Best Art Direction-Interior Decoration, Black-and-White, Best Cinematography, Black-and-White, Best Special Effects

2004 Films, Drama, Eileen Atkins, Gabriel Byrne, Jim Broadbent, Julian Fellowes, Period Drama, Reese Witherspoon, Rhys Ifans, Romantic Drama

Vanity Fair-2004

June 12, 2018 scottmet99 Leave a comment

Vanity Fair-2004

Director Mira Nair

Starring Reese Witherspoon, James Purefoy

Scott’s Review #772

Reviewed June 12, 2018

Grade: B

An adaptation of the classic 1848 novel written by William Makepeace Thackeray, Vanity Fair (2004) softens the traditionally unlikable and roguish character of Becky Thatcher quite a bit.

This proves not to be the smartest move as the character, now more of a heroine is watered down and forever changed, as is this film adaptation.

Reese Witherspoon (Becky) drew harsh criticism for her starring turn, but I do not think she is so bad, and the costumes and set designs are wonderful and quite the highlight of the resulting period piece.

In 1802 England, we meet Becky Sharp, a young woman who has just graduated from a School for Girls and been sent to work as a governess. Because her father, a talented painter, is impoverished, Becky is cast aside as lower class and deemed undesirable to anybody upper class- the men she is most interested in.

Despite her reputation as a tart, Becky aspires to marry rich and frequently gets into trouble with her shenanigans and smart tongue while romance blooms with the handsome Rawdon Crawley (Purefoy).

The story is supposed to encompass Becky’s life from approximately age eighteen through her mid-thirties (though Witherspoon never appears to age) and displays her trials and tribulations, her loves and losses through the years.

We follow her from rural England to London and Belgium, eventually residing in Germany, reduced to working in a casino, where the film concludes.

The film is a treat as the various countries as they appeared in the nineteenth century, and the wars and battles occurring during this period are featured making for an interesting history lesson.

The main appeal should be Becky Thatcher since the film revolves around her, and numerous criticisms were thrown around accusing the film of casting Reese Witherspoon in the important and demanding role based on her star power at the time.

In 2004 Witherspoon was experiencing enormous film success after 2001’s Legally Blonde and 2002’s Sweet Home Alabama- admittedly fluff films- but securing her box office power nonetheless. These films undoubtedly led to her being cast in the pivotal role, but I thought the star was perfectly adequate and gave Becky appropriate humor and zest.

Based on Witherspoon’s “girl next door” persona and the fact that she just looks like a good character- perplexing the decision to cast her if filmmakers wanted to be true to the character.

Witherspoon was delicious in 1999’s Election as villainous Tracy Flick, a role of a lifetime. But that is the exception and not the standard.

But I digress- the bottom line is that while she is a capable actress, she does not give the gritty performance that many were expecting to be true to the character in the novel.

The rest of Vanity Fair is just mediocre as far as the story goes.

While the antics of Becky are both humorous and dramatic, her rooting value in the romance department does not come across in the 2004 film offers- not enough chemistry exists between the leads to warrant much support.

Opinions abound that other incarnations of Vanity Fair are far more superior and compelling than this film is, but I have yet to see any.

Compliments must be reaped on the costume department and the art direction- both are superior. Such threats are the lavish and colorful costumes and gowns that mark the time. From the classic style hats and highfalutin dresses featured in ball after ball, this aspect is nearly enough to recommend a watch over the dull story and immeasurably the highlight of the entire film.

Vanity Fair (2004) is considered a messy travesty to those well-read enough to have turned the pages of the classic novel. Since I have not yet read the book, perhaps I enjoyed the film slightly more than I should have, but alas, I did not find the casting of Witherspoon as Becky nor the overall product to be drivel as many did.

I recommend the film for the gorgeous visual treats if nothing else.

1969 Films, Alan Bates, Art, Drama, Glenda Jackson, Ken Russell, Oliver Reed, Romantic Drama

Women in Love-1969

June 2, 2018 scottmet99 Leave a comment

Women in Love-1969

UPDATED REVIEW

Director Ken Russell

Starring Glenda Jackson, Oliver Reed, Alan Bates

Scott’s Review #766

Reviewed June 2, 2018

Grade: A

Women in Love (1969) is a British romantic drama film that is truly one of a kind. The film is quite cerebral and requires a bit of thought which undoubtedly will lead to good conversation with film connoisseurs everywhere following a viewing.

The four central characters are complex and flawed and intersect in each other’s lives in a dramatic fashion making the film a “thinking man’s” feast.

The film is adapted from a popular D.H. Lawrence novel of the same name.

In 1920, set in the Midlands section of central England, sisters Ursula (Jennie Linden) and Gudrun (Glenda Jackson) attend the wedding of an acquaintance, Laura Crich. The Crich family is enormously rich and owns a good portion of the mining town.

During the ceremony, Gudrun and Ursula fantasize about Gerald Crich (Oliver Platt) and Rupert Birkin (Alan Bates), respectively. When the foursome cross paths again at Rupert’s pretentious girlfriend’s party, attraction and conflict arise.

The film is described as “character-driven” and does not begin to do it justice. Each of the four principal characters is richly written with intelligence and gusto. All of them are either flawed or insecure in some way, while the fact that Gerald and Rupert share a sexual attraction for each other is another nuance explored throughout the film.

Rupert is confident and outspoken about his bisexuality- extremely rare for a 1969 film. In this way, Women in Love is ahead of its time.

The major themes in Women in Love are commitment and love and how each character handles these sometimes either embracing them or running away from them.

Gudrun and Gerald are in love with each other, while Rupert and Ursula are too, but one couple is unsuccessful at reaching any sort of bliss. The characters possess a bevy of emotions making their happiness almost impossible and the characters feel doomed to failure from the onset.

This is an example of the tremendous writing on the part of Larry Kramer and bringing the characters to the big screen in a memorable way.

Jackson’s Gudrun and Bates’s Rupert are my favorite characters because they appear to have slightly more depth to them and feel like the standouts. Gudrun appears to have love/hate feelings toward Gerald and often is downright cruel to him.

As they vacation in the Swiss Alps, Gudrun purposely and inexplicably flirts with a gay artist leaving Gerald insanely jealous and resulting in tragedy.

Counter-balancing Gudrun’s anger, Rupert showers in fun and zest for life, happily bi-sexual and thinking nothing of it, enjoying his sexually charged affections for both men and women.

The supporting characters, specifically snobbish Hermione and mentally unstable Christianna Crich are examples of perfect casting. Eleanor Bron plays Hermione as mocking and teetering on unhinged. As she psychologically bullies poor Ursula when it’s clear Rupert prefers the more innocent woman, Hermione becomes frightened.

Actress Catherine Willmer takes Christianna to a new level in creepy. Already appearing psychotic, when her daughter tragically drowns the woman goes over the edge, unleashing vicious dogs on any visitors to her estate.

Both actresses give unforgettable performances.

Women in Love contains a scene that may very well be the most homo-erotic scene in film history. As Rupert and Gerald decide to partake in a Japanese-style wrestling match one evening, they strip completely naked and grapple in front of a roaring fire.

In this lengthy sequence, both front and rear nudity are provided, leaving nothing to the imagination. When Rupert suggests they swear eternal love for each other, Gerald cannot commit to the emotional union.

One wonders if this outstanding scene influenced 2007’s Eastern Promises.

1969’s Women in Love is an amazing film with terrific acting all around. Taking romantic drama to an entirely different level and setting a new standard for brilliant complexities in film, the work of art from director Ken Russell is peppered with nuances making it rich with great storytelling and character development.

The fact that one couple ends in bliss and the other in tragedy is sheer excellence.

Oscar Nominations: 1 win-Best Director-Ken Russell, Best Actress-Glenda Jackson (won), Best Screenplay Based on Material from Another Medium, Best Cinematography

2007 Films, Drama, Independent, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films, Romantic Drama

Shelter-2007

May 16, 2018 scottmet99 Leave a comment

Shelter-2007

Director Jonah Markowitz

Starring Trevor Wright, Brad Rowe

Scott’s Review #758

Reviewed May 16, 2018

Grade: B+

By the mid-2000s independent LGBT films were coming fast and furious as the genre was still relatively new and ripe for the picking with good ideas.

With Shelter (2007) we have a sweet film that focuses on the new romance between two young men, one of whom is coming to terms with his sexuality.

The lead characters are not gay stereotypes and could easily pass for straight men, a characteristic impressive in LGBT film- and other mainstream films for that matter.

Rather than focusing on discrimination, the characters may face, or any obstacles from other characters (family and friends), the film wisely makes the story a character study and the demons one man wrestles with while “coming out”.

The small film is written intelligently save for one supporting character’s plot-driven decision. Also, in the modern age, we are beginning to see a bevy of similarly themed films emerge from the LGBT community, and Shelter offers nothing we have not seen before.

Set in sunny southern California, our main protagonist is Zach (Trevor Wright), an aspiring artist in his early twenties. The ultimate “good guy” he is popular with friends and girls and frequently babysits his five-year-old nephew Cody while his sister parties and has one-night stands.

When Zach meets his best friend’s older brother Shaun (Brad Rowe), the pair fall in love as Zach wrestles with his sexuality and conflicts with his plans. The sexual and family struggles of Zach are the main themes of the film.

Shelter (not sure I get the title’s meaning) is a solid slice-of-life story.

Zach initially dates a pretty girl, Tori, who is blonde, wholesome, and a girl-next-door type. This is done intentionally to show that Tori is a girl any young straight man would have an interest in.

We never see Zach show interest in any other men besides Shaun so the film leans towards a solid romantic drama once the fellas get together. Still, we see Zach’s internal struggles and accepting himself for who he is played out.

Actor Wright and director Jonah Markowitz, capture this successfully.

Shaun, arguably second fiddle to Zach, is a character that I feel is very well written. Avoiding negative stereotypes, Shaun is handsome, masculine, and charismatic. Completely confident and exuding great poise, he is a character that any gay male should look up to.

He is openly gay yet “one of the guys” as he should be. He immediately connects with Cody becoming a father or cool surrogate uncle figure for the lad. A quick concern of Zach’s sister Jeanne’s of having the boy around a gay man is trivialized in a quick form.

Another positive to the film is the multiple scenes showing Zach, Shaun, and Cody as a happy family and how normal this is. Examples of this are frolicking around the beach playing football or horseplay.

A quiet dinner of barbeque steaks and red wine for the men and macaroni and cheese for Cody elicit images of a connected family unit despite some in society still poo-pooing this idea.

The film presents the connectivity as normal.

A tiny flaw in the character of Jeanne shows her willingness (almost eagerness) to leave Cody (and her ailing father) behind when she decides to take off to Oregon with her brand new boyfriend. This point seems rushed and out of character.

While a party girl with a crappy job in a grocery store Jeanne did exhibit heart and was written as sympathetic and caring throughout the film. Surprising and unrealistic to me is that she would up and leave her life.

A paltry excuse of “Oregon not allowing kids” was left unclear and unexplained.

A part coming-of-age story, part coming out story, Shelter (2007) is an example of a little film that could with an appreciation of independent cinema.

The film tells a nice story of one man’s journey to self-discovery and the individuals he surrounds himself with. With impressive California oceanfront and working-class principles as a backdrop, the film has a calming texture and weaves a solid experience for viewers to enjoy.

1992 Films, Anthony Hopkins, Best Film of the Year, Drama, E.M. Forster, Emma Thompson, Helena Bonham Carter, Independent, Independent Comedy, Independent Drama, Independent Romantic Comedy, James Ivory, James Wilby, Period Drama, Romantic Drama, Vanessa Redgrave

Howards End-1992

December 1, 2017 scottmet99 Leave a comment

Howards End-1992

Director James Ivory

Starring Anthony Hopkins, Emma Thompson, Helena Bonham Carter

Scott’s Review #702

Reviewed December 1, 2017

Grade: A-

Howards End is my favorite film in the collection of E.M. Forster’s adapted novels turned into films during the 1980s and 1990s (1985’s A Room with a View and 1987’s Maurice are the other two quality works).

The novels were written during the early 1900s and set during the same period, focusing on class relations in 20th-century England.

The film is lovely, and picturesque, and tells an interesting story about romance and drama between the haves and the have-nots during this period.

The film was a success and received heaps of Academy Award nominations in 1993.

Margaret Schlegel (Emma Thompson), an upper-middle-class intellectual, part of London’s bourgeoisie, befriends wealthy and sophisticated, yet shockingly conservative Ruth Wilcox (Vanessa Redgrave).

The two women strike up a powerful friendship, which results in her beloved country home being left to Margaret when an ailing Mrs. Wilcox dies.

To complicate matters, Margaret falls in love with a businessman (and husband of Ruth), Henry (Anthony Hopkins), while Margaret’s sister Helen, briefly becomes engaged to Paul Wilcox, Henry’s son.

The two families’ lives further intersect when they wind up as neighbors in London and the true owner of the beloved “Howards End” is questioned.

Added to the mix are several other characters of various social backgrounds, having connections to the families.

The writing in Howard’s End is rich and emotional as each character is perfectly fleshed out this includes the supporting as well as the lead characters.

Thompson and Hopkins, both sensational actors, have tremendous chemistry together, and unsurprising was Thompson’s win for Best Actress during this competitive year. She carries the film seamlessly with her upper-middle-class ideals- not conservatively rich, but far from working-class- she epitomizes poise grace, and empathy for those less fortunate than she.

Hopkins, on the other hand, is calculating and confident, yet charismatic and sexy as an old-school, controlling businessman.

Somehow, these two characters complement each other exceptionally well despite their varied backgrounds

The role of Helen may very well be Helena Bonham Carter’s finest. Not being an enormous fan of the actress-overrated and too brooding in my opinion enjoys portraying an interesting character in Helen.

Lovelorn and earnest, yet somewhat oblivious, she develops a delicious romance with the young clerk, Leonard Bast, my favorite character in the film. Living with Jacky, a woman of dubious origins, he is the ultimate nice guy and sadly winds up down on his luck after heeding terrible business advice.

Bast, thanks in large part to actor Samuel West, who instills an innocent, good guy quality in his character, deserves major props.

The cinematography featured in Howards End is beautiful with extravagant outdoor scenes- the lavish gardens of Howards End- just ravishing and wonderful.

Kudos too to the art direction, set design, and costume department for making the film look so enchanting.

There is something so appealing about the look of this film and director, James Ivory, undoubtedly deserves praise for pulling it all together into a suave picture. Whether the scene calls for sun or rain, tranquil or bustling, every scene looks great.

If I were to knock any points from this fine film it would be at two hours and twenty-two minutes, Howards End does drag ever so slightly, and many scenes involve the characters merely having chats with each other, without much action.

But this criticism is small potatoes when compared to the exceptional writing and well-nuanced character development displayed throughout the piece.

Admittedly, and perhaps shamefully, I have not read any of the Forster novels, but Howards End appears to be the film that is most successfully adapted, gleaming with textured finesse, grace, and style.

With the film’s finest actors along for the experience, and intricate, fine story-telling, Howards End (1992) is a film well worth watching.

Oscar Nominations: 3 wins-Best Picture, Best Director-James Ivory, Best Actress-Emma Thompson (won), Best Supporting Actress-Vanessa Redgrave, Best Screenplay Based on Material Previously Produced or Published (won), Best Original Score, Best Art Direction (won), Best Cinematography, Best Costume Design

Independent Spirit Award Nominations: Best International Film

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

A Room with a View-1986

November 3, 2017 scottmet99 Leave a comment

A Room with a View-1986

Director James Ivory

Starring Helena Bonham Carter, Julian Sands

Scott’s Review #695

Reviewed November 3, 2017

Grade: B+

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2017 Films, Period Drama, Rachel Weisz, Romantic Drama

My Cousin Rachel-2017

September 25, 2017 scottmet99 Leave a comment

My Cousin Rachel-2017

Director-Roger Michell

Starring-Rachel Weisz, Sam Claflin

Scott’s Review #685

Reviewed September 25, 2017

Grade: B-

My Cousin Rachel has the advantage of providing wonderful, scenic locales of Florence, Italy, and lovely scenes filmed around England that makes the film a joy to watch from a cinematic perspective.

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

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

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

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

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

The main plot kicks off after Philip finally meets Rachel and astonishingly begins to fall madly in love with her.

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

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

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

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

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

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

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

Chemistry, or lack thereof, is also an issue with My Cousin Rachel, as no connection between Weisz and Claflin exists throughout, nor is there any between either character and Philip’s intended love interest, Louise Kendall, played by Holliday Grainger. The actress herself is fine in a role that is given little meat or substance.

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

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

2016 Films, Ben Whishaw, Colin Farrell, Comedy, Dark Comedy, Drama, John C. Reilly, Léa Seydoux, Olivia Colman, Rachel Weisz, Romantic Drama, Satire, Yorgos Lanthimos

The Lobster-2016

April 20, 2017 scottmet99 Leave a comment

The Lobster-2016

Director Yorgos Lanthimos

Starring Colin Farrell, Rachel Weisz

Scott’s Review #635

Reviewed April 20, 2017

Grade: A-

One thing is sure about the puzzling 2016 film The Lobster: It is a film worthy of discussion long after the end credits roll and will leave the viewer pondering its many facets—a great movie to dissect.

This in itself is worth recognition and praise for the power of the film- so many questions abound.

I was immediately struck by how heavily The Lobster contains primary subject matter influences from “message novels” (and films) such as Brave New World, 1984, and A Clockwork Orange, as well as creative, stylistic recent film influences from The Grand Budapest Hotel (2014) and the Moonrise Kingdom (2012).

The story begins outside of Dublin, where David (Colin Farrell) has recently been dumped by his wife in favor of another man.

Now single, he is whisked away by authorities to a luxurious hotel in the woods, where he (and the other guests) are given forty-five days to find a suitable romantic partner, or else they will be turned into an animal of their choice.

David is accompanied by his brother, now a dog, and has decided that he should be turned and that he will become a lobster because he loves the sea, and they tend to live to be over one hundred years old.

The hotel management adheres to strict rules- no masturbation, mandatory temptations by hotel employees, and a strange outdoor hunting game where the guests hunt other guests to win extra days extended to their stays.

As David befriends fellow hotel guests, he is conflicted and desperate to find a mate. Events take a surprising turn when circumstances allow the rules to change for him, and he becomes involved with a short-sighted woman (Weisz).

The film’s plot is strange beyond belief yet incredibly creative and thought-provoking. The subject matter is pure dystopian- a facility, presumably controlled by the government, with a rebel group intent on ruining the “status quo.”

Suddenly, an odd little secret romance between David and Shortsighted Woman appears, beginning only during the film’s final act.

One aspect of the film that I found interesting was the odd monotone dialogue the characters used. They were almost matter-of-fact in whatever they said, even while expressing anger.

This peculiarity perplexed me, but the more I think about it, the more this decision makes the film dark-humored and dry with wry wit.

Another interesting nuance to the film is the multitude of quirky characters, many of whom are mainly referred to by their nicknames. Lisping Man, Limping Man, and Nosebleed Woman, to name a few.

And what viewer would not spend the film’s duration imagining which animal he or she would desire to be turned into and why?

My favorite aspect of the film is the offbeat performance by Colin Farrell- typically a rugged sex symbol, he goes against the grain and plays a pudgy, socially awkward, insecure man, but all the while instilling the character with enough warmth and likability to make the character work- and his chemistry with Rachel Weisz is fantastic.

This turns the strange dark comedy into a peculiar romantic drama.

A beautiful forest becomes the backdrop for a large part of the film, as does the city of Dublin itself, contrasting the film in nuanced ways. Combined with the lavish hotel, the film achieves several different settings for the action, each meaningful in its own right.

Without giving anything away, the conclusion of the film- the final scene in particular- is gruesome in what goes through the viewer’s mind, and the resolution is unclear.

Does David do it, or doesn’t he? Much of the film is open to one’s interpretation and imagination.

Black humor and cynicism are significant components of The Lobster, a thinking man’s movie. I continue to think of this film as I write this review.

The film is filled with originality and thought, which is a tremendous positive. Confusing and mind-blowing? For sure. A run-of-the-mill film? Not.

The Lobster (2016) is a film that gives no answers and is not an easy watch but an achievement in film creativity- something sorely needed.

Oscar Nominations: Best Original Screenplay

2015 Films, Anthony LaPaglia, Australian, Craig Stott, Drama, Geoffrey Rush, Guy Pearce, International, International Drama, International Romance, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, LGBTQ+ Romance, Neil Armfield, Romantic Drama, Ryan Corr, Sarah Snook

Holding the Man-2015

January 24, 2017 scottmet99 Leave a comment

Holding the Man-2015

Director Neil Armfield

Starring Ryan Corr, Craig Stott

Scott’s Review #612

Reviewed January 24, 2016

Grade: B+

Holding the Man (2015) is a brave love story centering on two young men and spanning fifteen years as the men begin as high school sweethearts and progress into adulthood and sadly both contract AIDS.

This is a pivotal aspect of the film as it is set during the 1970s and 1980s- a time when this disease was dreadful and more or less a death sentence.

The film is tender and poignant, but despite these characteristics, I felt something with more vigor was missing. I did not have the exact emotional reaction I thought I might have.

The film is set in Australia and adapted from a 1995 memoir of the same name.

The action begins in 1976 as we meet Tim and John, both high school students. They are from opposite social groups, Tim a theater student, and John captain of his soccer team.

Surprisingly, they connect romantically as Tim asks John out on a date.

The pair receive little hassle and are quite open with their relationship. Certainly, they face a bit of opposition from officials at the school, but this is not the main aspect that the film goes for.

Instead, the main problems come from John’s family- specifically, his father, but this is played safely. Tim’s family is much more accepting.

Over the next fifteen years, the couple encounters death directly when they are simultaneously told they have acquired HIV.

The film is mostly told chronologically but goes back and forth at times. Specifically, we are reminded of John’s youthful good looks in flashbacks, when he is close to death, bald and sickly looking.

The main point is the men’s enduring love for each other, which is a nice message.

Otherwise, the film (2015 and long since the AIDS plague), goes for a reminder of how harsh those times were for gay men, though there is a softness to the film that I felt instead of the brutal reality.

The actors playing John and Tim (Craig Stott and Ryan Corr, respectively) have decent chemistry, but this may have been stronger than my perception was, and the reason I did not feel emotionally invested in the film.

The film was nice and sweet-the romance part, but when one of the men succumbs to AIDS I should have been a puddle of tears and I just wasn’t.

I did enjoy how the film does not focus too much on the opposition by John’s father (Anthony LaPaglia). He would wish his son’s sexuality differently but is more concerned with how his son’s relationship with a male looks to Dad’s friends and neighbors.

The deeper story was the love between the men who knew no barriers.

It was nice to see Geoffrey Rush and Guy Pearce in supporting turns as a drama teacher (Rush) and as Tim’s father, Dick (Pearce). Both do well with limited roles and I adore how the film portrays Dick as a supportive father- even dancing a slow dance with his son at a wedding- free of embarrassment.

Also notable is the sweet ending where a photo of the real Tim and John is shown during a narrative from an interview with the real Tim before his death.

Holding the Man (2015) is a nice film, but does not have the power that other LGBT films in recent decades had. Brokeback Mountain (2006) immediately comes to mind as a similar film, but one that was more emotional and engaged me much more.

An honest effort, though.

2004 Films, Clive Owen, Drama, Jude Law, Julia Roberts, Mike Nichols, Natalie Portman, Romantic Drama

Closer-2004

January 11, 2017 scottmet99 Leave a comment

Closer-2004

Director Mike Nichols

Starring Julia Roberts, Jude Law, Natalie Portman

Scott’s Review #605

Reviewed January 11, 2017

Grade: B+

Closer (2004) is a very odd, offbeat sort of film, yet it is strangely fascinating and reels you in as the story unfolds and more is revealed. One will become engrossed in the characters as the film is rich in nuanced character development.

Closer is very adult and not for everyone, but if you enjoy character-driven films this one is worth checking out.

Based on a play of the same name and featuring a star-studded cast to go along with several Oscar nominations, Closer tells the story of companionship, isolation, and betrayal.

It centers on four characters, (Anna-Julia Roberts, Dan-Jude Law, Alice-Natalie Portman, and Larry-Clive Owen), each of whom spends the film either bedding, scheming, or jealous of each of the others.

Purely a character study, we see many different emotions from each, which is the film’s strength.

To the film’s credit, it is shot much like a play, however, is just a tad on the slow-moving side.

However, I adored the London locales, and the film’s successful attempt at making the viewer uncomfortable and just a tinge disturbed.

Oscar Nominations: Best Supporting Actor-Clive Owen, Best Supporting Actress-Natalie Portman

2008 Films, Drama, Dylan Baker, Kate Winslet, Kathryn Hahn, Kathy Bates, Kristen Connolly, Leonardo DiCaprio, Marin Ireland, Michael Shannon, Romantic Drama, Sam Mendes, Zoe Kazan

Revolutionary Road-2008

January 10, 2017 scottmet99 Leave a comment

Revolutionary Road-2008

Director Sam Mendes

Starring Leonardo DiCaprio, Kate Winslet

Scott’s Review #598

Reviewed January 10, 2017

Grade: A

Revolutionary Road (2008) is an outstanding film- what superior, human, raw acting by stars Leonardo DiCaprio and Kate Winslet.

The duo reunites in film over ten years after the monstrous success of Titanic (1997).

The trailers might lead one to believe that this film is a romantic comedy or some type of love story- it is a love story, but a very real, dark one.

Both characters are flawed.

Set in affluent New England, somewhere in Connecticut to be precise, April and Frank seemingly have it all. He is a successful doctor, and she is the perfect housewife, they live a happy existence free of problems- or do they?

Slowly, the audience sees their lives spin out of control and varying emotions between the pair emerge to the surface.

Great supporting turns by Kathy Bates and Michael Shannon as characters presenting roadblocks to April and Frank’s happiness.

If you are looking for a film with true, gritty, layered acting, this is it. Revolutionary Road (2008) is a much more complex film than the previews would allow you to think.

It shows the depth of DiCaprio’s and Winslet’s acting ability. Some might feel it is a bit slow-moving, but the payoff is worth it.

Oscar Nominations: Best Supporting Actor-Michael Shannon, Best Art Direction, Best Costume Design

2009 Films, Alfred Molina, British, Carey Mulligan, Drama, Emma Thompson, Lone Scherfig, Olivia Williams, Peter Sarsgaard, Romantic Drama, Rosamund Pike, Sally Hawkins

An Education-2009

January 4, 2017 scottmet99 Leave a comment

An Education-2009

Director Lone Scherfig

Starring Carey Mulligan, Peter Sarsgaard

Scott’s Review #584

Reviewed January 4, 2017

Grade: B+

An Education, a British film released in 2009, is a small, little gem of a film. The story-telling and the acting are very good.

Since it is a British film, the accents can be a little distracting for some, but I enjoyed it very much.

It tells the story of an intelligent, college-driven teenager, named Jenny (Mulligan), who falls in love with an older, charismatic man (Sarsgaard). She is faced with conflict from her family and teachers, most notably her father, played by Alfred Molina.

The individuals in her life have differing opinions on which path Jenny should choose in her life. This leads to the main conflict in the film.

The setting is rainy, cold, London in 1961. Headed for Oxford and a successful career (not common for a female in those days), Jenny is willing to risk it all for love, but is she being taken advantage of?

The film is romantic, comical, and serious all rolled into one. The story is nothing original, to be frank, but specifically, the excellent acting makes it worth seeing.

An Education (2009) proves filmmakers can take a good story, told before, and make it compelling to an audience.

Carey Mulligan deservedly received an Oscar nomination for this film and made her debut as a high-caliber young actress to watch.

Oscar Nominations: Best Picture, Best Actress-Carey Mulligan, Best Adapted Screenplay

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

2009 Films, Chris Weitz, Colin Firth, Drama, Independent, Independent Drama, Jon Hamm, Julianne Moore, LGBTQ+ Drama, LGBTQ+ Films, Romantic Drama, Tom Ford

A Single Man-2009

January 1, 2017 scottmet99 Leave a comment

A Single Man-2009

Director Tom Ford

Starring Colin Firth, Julianne Moore

Scott’s Review #577

Reviewed January 1, 2017

Grade: B+

A Single Man (2009) is a dark film fraught with meaning and honesty-it is a very good movie. It is a melancholy film and a bit surreal, but worth seeing.

The acting, especially from star Colin Firth, is first-rate.

The subject matter involves being gay in the 1950s and 1960s and the ramifications of living a forbidden and secretive life.

The intelligent film is based on the novel of the same name, written by Christopher Isherwood.

The film is written as a sad tale of a day in the life of a gay man living in the 1960s.

Firth portrays George Falconer, a British college professor living in liberal-minded Los Angeles. When his much younger lover (presumably a student) dies, George plans to commit suicide.

Moore plays his best friend and confidante, Charley, who is dealing with her demons.

Through flashbacks, we learn about George and his lover Jim’s secret life together and the challenges that ensued. George also had a strange relationship with a male prostitute.

We learn the path of life George leads following Jim’s tragic death- we also see them happy at one time.

A Single Man (2009) is a bit of a downer containing a definite dream-like feel and is heavy on the flashbacks, but this is intriguing to the picture and not a complaint.

A very good, but not an uplifting film.

Oscar Nominations: Best Actor-Colin Firth

Independent Spirit Award Nominations: Best Male Lead-Colin Firth, Best First Screenplay, Best First Feature

2009 Films, Anna Kendrick, Drama, George Clooney, J.K. Simmons, Jason Bateman, Jason Reitman, Romantic Drama, Sam Elliott, Vera Farmiga, Zach Galifianakis

Up in the Air-2009

December 30, 2016 scottmet99 Leave a comment

Up in the Air-2009

Director Jason Reitman

Starring George Clooney, Vera Farmiga, Anna Kendrick

Scott’s Review #573

Reviewed December 30, 2016

Grade: A

Up in the Air is a fantastic film, but for some odd reason, circa its release to theaters in 2009 it was categorized as a romantic comedy. While there is a bit of romance involved, the film is a dark romantic drama.

The content is perfect for this period in history- the terrible economy, and the unemployment rate rising sky-high.

The acting by the principles is excellent and is worth watching, but do not expect a happy, uplifting film.

George Clooney plays Ryan Bingham, a corporate “downsizer”, who travels the country firing employees from companies that hire him. Ryan has no qualms about what he does and enjoys traveling around the country.

He mentors a young employee, Natalie, played by Anna Kendrick, who is more sympathetic to the people whose lives she changes.

Ryan meets another frequent flyer, businesswoman Alex (Vera Farmiga), and they begin an affair. He becomes a more sympathetic character as he develops real feelings for Alex, but will Alex return the affections?

The tone of the film is sarcastic and sardonic, and Clooney is dynamic in the lead role- carrying the film. He is charismatic and energetic, performing his work duties in an emotionless way.

We slowly get to know him better and realize, through Alex, that he does have a heart. Alex is a more mysterious character, and Farmiga is equally as engaging in the role. When a big reveal is learned about Alex, the audience does not see it coming.

As the years go by, I hope that Up in the Air is remembered for being a film that was released at the perfect time, given the difficulties many were going through.

I love how the film carries smart dialogue- the characters questioning each other’s motivations and becoming intertwined.

Jason Reitman and the screenwriter craft an exceptional film.

Oscar Nominations: Best Picture, Best Director-Jason Reitman, Best Actor-George Clooney, Best Supporting Actress-Vera Farmiga, Anna Kendrick, Best Adapted Screenplay

2009 Films, Biography, Christopher Plummer, Drama, Helen Mirren, James McAvoy, Kerry Condon, Michael Hoffman, Paul Giamatti, Romantic Drama

The Last Station-2009

December 28, 2016 scottmet99 Leave a comment

The Last Station-2009

Director Michael Hoffman

Starring Christopher Plummer, Helen Mirren

Scott’s Review #569

Reviewed December 28, 2016

Grade: A-

The Last Station (2009) is a wonderful film.

It contains many worthwhile elements- history, culture, good drama, and great acting. Starring seasoned veterans such as Christopher Plummer and Helen Mirren, the fantastic acting is as good as it gets.

The film tells the story of the final year in the life of famous Russian author Tolstoy and the relationship he has with his family- specifically his wife, Sofya, and his disciples.

The year is 1910 and Tolstoy is ailing. He has had a stormy yet passionate relationship with his wife for decades, which is explored in the film.

The film’s main point is greed and in-fighting for control of a great literary figure’s legacy and money.

The main strong point of The Last Station is the relationship between Tolstoy and Sofya- both characters are headstrong and opinionated, but also madly in love, which leads to many sessions of battle.

This is a film of substance.

Director Michael Hoffman also mixes some humor with the heavy drama.

In conclusion, you might need to use some hankies.

Oscar Nominations: Best Actress-Helen Mirren, Best Supporting Actor-Christopher Plummer

Independent Spirit Award Nominations: Best Feature, Best Director-Michael Hoffman, Best Female Lead-Helen Mirren, Best Supporting Male-Christopher Plummer, Best Screenplay

1969 Films, Alan Bates, Art, Drama, Glenda Jackson, Ken Russell, Oliver Reed, Romantic Drama

Women in Love-1969

December 20, 2016 scottmet99 Leave a comment

Women in Love-1969

Director Ken Russell

Starring Glenda Jackson, Jennie Linden

Scott’s Review #553

Reviewed December 20, 2016

Grade: A

Women in Love is a shamefully, by and large, forgotten gem- except for the obscure cinema lover- made in 1969.

The film is a British art film and way ahead of its time. Despite the title, it is anything but a romantic comedy- quite dark in content. The film is adapted from a D.H. Lawrence novel of the same name.

The story is of two sisters, Gudrun and Ursula, living in a small mining town. They gather at the wedding of a friend and each becomes enamored with a member of the wedding party.

Later, at a swanky dinner party, the girls meet the men. The film tells of the sister’s relationships with each of the men (played by Alan Bates and Oliver Reed) as well as the men’s relationship with each other.

All of the relationships are very complex and filled with emotion tender and some are quite violent.

Women in Love is one of the first films to feature tons of nudity, but not so much in a gratuitous fashion.

The film’s themes are love, hatred, and the trials and tribulations of the English upper class are explored. The film is a love of mine since it is character-driven, told from each of the perspectives of the characters, and is quite an intense experience.

Glenda Jackson won the 1970 Best Actress Oscar- deservedly so.

Oscar Nominations: 1 win-Best Director-Ken Russell, Best Actress-Glenda Jackson (won), Best Screenplay Based on Material from Another Medium, Best Cinematography

1955 Films, Arthur O'Connell, Betty Field, Comedy, Drama, Elizabeth Wilson, Joshua Logan, Kim Novak, Nick Adams, Romantic Comedy, Romantic Drama, Rosalind Russell, Susan Strasberg, William Holden

Picnic-1955

December 19, 2016 scottmet99 Leave a comment

Picnic-1955

Director Joshua Logan

Starring William Holden, Kim Novak

Scott’s Review #550

Reviewed December 19, 2016

Grade: A-

Picnic is a classic 1955 film that is wonderful to watch over Labor Day weekend or anytime during the humid summer season.

The film perfectly depicts summertime in a tiny town in Kansas. It is a slice-of-life story about life in middle America during the 1950s, trials and tribulations notwithstanding.

William Holden stars as a “wrong side of the tracks” type of guy who arrives in a quiet Kansas town on Labor Day weekend, disrupting the town events and causing scandals for the townspeople.

He is a hunky former college football player and exudes sexuality.

He then falls in love with his best friend’s girlfriend, Madge Owens, played by Kim Novak. The chemistry between the two stars is the film’s main appeal.

The supporting cast makes this film unique (Arthur O’Connell and Rosalind Russell star as townspeople who are in a relationship of their own).

Picnic also contains a gorgeous and lovely musical score, precisely “Theme from Picnic” and “Moonglow”.

It is shot on location in Kansas, mostly in and around Hutchinson, and is considered classic summer enjoyment.

Based on the Pulitzer-award-winning play.

Oscar Nominations: 2 wins-Best Motion Picture, Best Director-Joshua Logan, Best Supporting Actor-Arthur O’Connell, Best Scoring of a Dramatic or Comedy Picture, Best Art Direction, Color (won), Best Film Editing (won)

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

45 Years-2015

October 1, 2016 scottmet99 Leave a comment

45 Years-2015

Director Andre Haigh

Starring Charlotte Rampling, Tom Courtenay

Scott’s Review #488

Reviewed October 1, 2016

Grade: B+

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

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

Tom Courtenay and Charlotte Rampling carry the film.

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

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

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

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

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

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

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

Like real people do.

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

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

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

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

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

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

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

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

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

Oscar Nominations: Best Actress-Charlotte Rampling

2012 Films, Comedy, David Frankel, Drama, Elisabeth Shue, Jean Smart, Marin Ireland, Meryl Streep, Romantic Comedy, Romantic Drama, Steve Carell, Tommy Lee Jones

Hope Springs-2012

June 30, 2016 scottmet99 Leave a comment

Hope Springs-2012

Director David Frankel

Starring Meryl Streep, Tommy Lee Jones

Scott’s Review #434

Reviewed June 30, 2016

Grade: B

Hope Springs (2012) is a cute, lighthearted romantic comedy-drama with enormous talent (it is tough to go wrong with heavyweights like Meryl Streep and Tommy Lee Jones).

The story tells of a middle-aged, married couple who reach the point of boredom in their long marriage. They decide to go away on a retreat to repair their marriage and add some spark.

That’s the movie in a nutshell.

There are no surprises to speak of and I expected a bit more from this film given the talent involved. It has safely written all over it, and while nice, it could have been much more.

What’s the reason for the conflict? They suddenly reach a point of boredom for no reason.

Props to Steve Carell for an against-type performance.

Hope Springs (2012) has great acting all around, but too safe of a story.

2012 Films, Andy Samberg, Chris Messina, Chris Pine, Drama, Elijah Wood, Emma Roberts, Independent, Independent Drama, Independent Romantic Comedy, Lee Toland Krieger, Lowest Rated Films, Rashida Jones, Romantic Comedy, Romantic Drama

Celeste and Jesse Forever-2012

June 19, 2016 scottmet99 Leave a comment

Celeste and Jesse Forever-2012

Director Lee Toland Krieger

Starring Rashida Jones, Andy Samberg

Scott’s Review #421

Reviewed June 19, 2016

Grade: D

Celeste and Jesse Forever (2012) was a major dud for me.

I am not a fan of romantic comedies, but since the film received a nomination for an Independent Spirit Award for Best First Screenplay, I decided to watch it.

Why this film was nominated for that award I cannot understand. Perhaps someone knows someone who knows someone?

There is nothing impressive about the writing whatsoever. It’s a tried and true romantic comedy formula: couple together, the couple splits, the couple reunites, throw in some misunderstandings for good measure and that is pretty much the film.

The central characters and supporting characters are either dull, annoying, or both.

To be fair, there is nothing loathsome about the movie, but rather, it’s your standard-by-the-numbers romantic comedy that warrants no award nominations.

Bland.

Independent Spirit Award Nominations: Best First Screenplay

2014 Films, Brazilian, Daniel Ribeiro, Drama, Fábio Audi, Ghilherme Lobo, International, International Romance, LGBTQ+ Films, LGBTQ+ International, LGBTQ+ Romance, Romantic Drama

The Way He Looks-2014

June 4, 2016 scottmet99 Leave a comment

The Way He Looks-2014

Director Daniel Ribeiro

Starring Fabio Audi, Ghilherme Lobo

Scott’s Review #408

Reviewed June 4, 2016

Grade: B+

The Way He Looks is a foreign language film (Brazilian) from 2014 that tells a coming-of-age story about a blind high school student, who develops feelings for the new kid in town. The other boy has rapidly become his new best friend and the boys, while unsure of the other’s sexual preferences, fall in love.

The film is a charming story about a modern romance, now becoming more prevalent today.

Leonardo (known as Leo) is a blind high school student struggling to be his true self. His close friend Giovana (Tess Amorim) is in a similar situation as neither has ever been kissed, yet they feel adolescent desires- they are lonely but share a close bond.

Regardless of his disability, Leo is quite independent, despite having parents who border on smothering. One day, a new student named Gabriel volunteers to sit behind Leo in class and strike up a friendship.

Giovana, unaware of Leo’s sexual preferences, develops a crush on Gabriel.

The film then tells a sweet story about a young, blossoming, romance. The main characters do not face particularly tough obstacles from outside sources, but rather from each other as their feelings and emotions are fragile.

In addition to romance, the film focuses on the friendships between Leo, Gabriel, and Giovana.

The Way He Looks is a warm film. It is sweet, compassionate, and tenderhearted. The viewer witnesses a budding romance between two teenagers and the fact that they are both males is secondary- that is how charming the film is.

The audience will root for Leo and Gabriel because they are nice kids. Giovana, the outsider, also has a rooting factor- she is in no way a villain, nor does she harbor resentment for either Leo or Gabriel, but rather yearns for her first romance and happiness.

The film wisely does not turn her into an emotional wreck, or a psycho. Sure, she gets drunk at a party, but this is only to escape her feelings.

I recoiled at the scene after scene of Leo’s parents either fretting about something, worried sick about Leo coming home late or worried that something may happen to their son.

Relax already. Life is not meant to be spent frazzled because your son is blind.

The parents are not the strongest written characters in the film and are rather secondary characters. The case is the same for the bullies, the slutty girl, and the teacher.

The film belongs to Leo, Gabriel, and Giovana.

The supporting characters in The Way He Looks are meant to react to the central characters.

The Way He Looks is about a same-sex, young romance. Charming, not too heavy, with likable characters, who one can root for. There are no bombs, car chases, or explosions needed.

The Way He Looks (2023) is a slice of life that is simple, pure, and true.

2014 Films, Comedy, Drama, Gaby Hoffmann, Gillian Robespierre, Independent, Independent Comedy, Independent Drama, Independent Romantic Comedy, Jake Lacy, Jenny Slate, Richard Kind, Romantic Comedy, Romantic Drama

Obvious Child-2014

March 22, 2016 scottmet99 Leave a comment

Obvious Child-2014

Director Gillian Robespierre

Starring Jenny Slate

Scott’s Review #387

Reviewed March 22, 2016

Grade: C+

Obvious Child is a 2014 independent comedy/drama nominated for a couple of independent spirit awards, that has mixed results.

It works on some levels but has an irritating underbelly and some unneeded components that ultimately give it a thumbs down.

The major success is star Jenny Slate, a real-life Brooklyn stand-up comic with immeasurable comic timing, who will hopefully become a rising star.

Slate starred in a 2009 short film of the same name before said film graduated to a full-length feature.

Slate stars as a twenty-eight-year-old Brooklyn-ite, who moonlights as a stand-up comic in a dingy bar while working in a desolate bookstore that is soon closing.

Conversely, her parents are successful- her mother is a famed professor. When she is unceremoniously dumped by her steady, she takes up with a handsome young man for a one-night stand filled with fun.

Predictably, she winds up pregnant and forges ahead with a plan to abort their child.

The abortion story is quite interesting since there is never a doubt about what will happen. Unlike films that make abortion the main focus of conflict, Obvious Child wisely does not- every character supports, and even encourages her to have the procedure, including her mother and best friend.

Having been written and directed by women, this is intentional and a way of empowering women, which is one of the high points. If one is on the fence about the topic of abortion or is a pro-life stance, this film may be very tough to watch as its slant is made crystal clear.

Slate is the other high point of the film.

She exudes confidence and comic range. Jewish and slightly awkward looking, she is not the leading-lady type and this arguably makes her wit and sarcastic language all the more comical. She is a natural in the comedy department and hope she will go far.

Two slight props for me worth mentioning are the wonderful mention of the classic film Gone with the Wind (1939) and the setting of Brooklyn. This was a great nod to film history and the setting gave Obvious Child an authentic New York City feel.

On the other hand, an utter annoyance about Obvious Child is the shameless and constant use of blatant and off-putting bathroom humor- not just once or twice, but numerous times.

How is this necessary to the plot? I can’t say, but surmise that it was deemed necessary by the filmmakers to show that females can give as good as males can.

Almost saying, “men can make poop jokes, why can’t women”? Why this is necessary for any film is beyond me and it gives Obvious Child a crass, ugly feel.

The film also has an unrealistic quality to it. Max is portrayed as prince charming. He can do no wrong, supports Donna in any decision she makes, is enamored by her sole being, and loves her unconditionally after only a one-night stand.

This would not happen in real life.

The fact that Donna is Jewish and quirky and Max is Christian and straight-laced is not explored. What conflicts would they undoubtedly face? Why were his parents not featured?

Highly uneven, with a great premise and an interesting slant on a still-controversial social issue, Obvious Child (2014) succeeds in the story department but fails in its uncalled-for use of potty humor to elicit cheap laughs.

Independent Spirit Award Nominations: Best Female Lead-Jenny Slate, Best First Feature

1974 Films, Cloris Leachman, Cybill Shepherd, Drama, Eileen Brennan, Period Drama, Peter Bogdanovich, Romantic Drama

Daisy Miller-1974

March 6, 2016 scottmet99 Leave a comment

Daisy Miller-1974

Director Peter Bogdanovich

Starring Cybill Shepard, Cloris Leachman

Scott’s Review #383

Reviewed March 6, 2016

Grade: B

Daisy Miller is a largely forgotten 1974 film based on a Henry James novella of the same name, directed by Peter Bogdanovich and starring then-girlfriend Cybill Sheperd in the title role.

I admire the film in certain aspects, but ultimately rank the film as good, but not spectacular. I pondered the film afterward and had a feeling that something was missing from it.

The story, set in the late 1800s, tells of a wealthy upstate New York family, led by the naïve Daisy Miller (Sheperd), visiting Europe in the hopes of becoming more cultured and worldly, but instead, are largely met with defiance and snobbery from European sophisticates. Daisy attempts to find love with her numerous potential suitors.

The film is largely shot in Switzerland and Italy.

The romantic story between Daisy and upper-class Frederick Winterbourne is the focal point. Daisy, a chatterbox and flirtatious, captures Winterbourne’s fancy and he gradually woos her but is conflicted by social norms and her innocent involvement with other men, most notably dashing Italian Giovanelli.

This leads to conflict. I noticed some chemistry between Daisy and Winterbourne.

Bogdanovich, who only directed a handful of films, including the masterpiece The Last Picture Show (1971), uses several great actors in both films.

In addition to Sheperd, Cloris Leachman, and Eileen Brennan appear in supporting roles. Leachman as Daisy’s equally chatty and naïve mother, and Brennan as the vicious socialite Mrs. Parker.

Brennan, in particular, shines. Outstanding at playing snobs and unique character roles, this was right up Brennan’s alley and she almost steals the show.

I adored the cinematography and the costumes featured in the production and thought both were the film’s main strengths.

The clothing that the characters were dressed in is both gorgeous and believable for the period. The backdrop during the hotel garden scene is exquisite and picturesque as the lake, sky, and mountain are all in full view adding a unique viewing experience.

I also found the subject of cultural class distinctions quite interesting. The Millers are rich but uneducated and unlikable- they live in Schenectady and are considered far beneath the clever, intelligent figures of Europe.

They do not measure up and they lack the same breeding and class as many of the characters.

Adding to this is the fact that the Millers never really seemed all that interested in being in Europe, almost taking the opportunity for granted, so I was never completely captured by the Millers or found them particularly sympathetic as a group.

Given that she is the focus, I found the character of Daisy Miller a bit unlikable and this could be due to the casting of Sheperd. Daisy’s endless rants, largely about herself, teetered on annoying to say nothing of her irritant little brother.

Sure, Daisy is sweet and kindhearted, but there is something that did not compel me about her. She was a less charismatic, northern version of Scarlett O’Hara.

I kept wondering if other actresses might have brought more to the character and given her more muscle. Was this role a showcase for Sheperd because of her relationship with Bogdanovich?

The conclusion of the film surprised me and features a downcast ending that I did not expect given the sunny mood of the rest of the film, and this is to Bogdanovich’s credit.

He certainly did not make a mainstream film and I admire that.

Daisy Miller (1974) is a mixed bag for me. I give my admiration for some aspects, but the story and the casting could have used a bit of altering.

Oscar Nominations: Best Costume Design

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