Category Archives: Romantic Drama

WALL-E-2008

WALL-E-2008

Director Andrew Stanton

Starring Various voices

Scott’s Review #594

Reviewed January 8, 2017

Grade: B+

After hearing so much buzz about WALL-E (2008), I decided to see for myself what all the fuss was about.

Disney-Pixar has created another fantastic film. Visually, it is a creative and intelligent experience that warrants the praise it has received.

They also do a lot with intricate graphics and animations.

In a futuristic world where humans have destroyed their environment and thereby abandoned planet Earth, the robot WALL-E is left to clean up the mess.

He then meets a fellow female robot named EVE, and the two develop an innocent, sweet relationship that is charming and authentic.

The humans in the film are portrayed as fat, lazy, incapable of intelligent thought, and mostly unable to move much since technology has trained them to be that way.

Sad.

The story itself is very sweet and touching, and sends a very important message about society and taking care of our environment.

Very enjoyable.

Oscar Nominations: 1 win-Best Original Screenplay, Best Animated Feature Film (won), Best Original Score, Best Original Song-“Down to Earth”, Best Sound Editing, Best Sound Mixing

An Education-2009

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 storytelling 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 faces 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. 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)

A Single Man-2009

A Single Man-2009

Director Tom Ford

Starring Colin Firth

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 own 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

Up in the Air-2009

Up in the Air-2009

Director Jason Reitman

Starring George Clooney

Scott’s Review #573

Reviewed December 30, 2016

Grade: A

Up in the Air is a fantastic film, but for some odd reason, around its 2009 theatrical release, 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, with the terrible economy and the unemployment rate rising sky-high.

The acting by the principals 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 (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, with 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

The Last Station-2009

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

Never Let Me Go-2010

Never Let Me Go-2010

Director Mark Romanek

Starring Carey Mulligan, Andrew Garfield, Keira Knightley

Scott’s Review #555

Reviewed December 21, 2016

Grade: A-

Offering a unique experience in creative storytelling, Never Let Me Go (2010) is an excellent film that I was happy to discover.

A mixture of romance and science fiction, it tells of young love and tragedy. Interestingly, sacrifice and science can lead to dire results.

Based on a 2005 novel of the same name.

A small British drama about a private school where the children are raised as typical children, but at a certain point are expected to donate organs to save other lives; the concept is quite fresh and original.

The film deals with both the moral and psychological effects on the chosen ones as they attempt to end their lives, if they can prove they are in love.

My initial reactions were multiple emotions-thought-provoking, touching, and sad is what I felt.

This film will make you think. It is equally evocative and thought-provoking; many times I imagined myself in a similar situation.

As Andrew Garfield’s character gets out of his car on the side of the road and screams up at the sky, it is the most powerful scene in the film.

Excellent acting by the three leads (Mulligan, Garfield, and Knightley), with special praise for Carey Mulligan.

Charlotte Rampling as the mysterious headmistress of the school is brilliant.

Independent Spirit Award Nominations: Best Cinematography

Women in Love-1969

Women in Love-1969

Director Ken Russell

Starring Glenda Jackson, Oliver Reed

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 is 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 for a friend’s wedding, and each becomes enamored of a member of the wedding party.

Later, at a swanky dinner party, the girls meet the men. The film follows the sisters’ relationships with each man (played by Alan Bates and Oliver Reed) and the men’s relationships with each other.

The relationships are complex and filled with tender emotion, and some are pretty violent.

Women in Love is one of the first films to feature extensive nudity, but not in a gratuitous way.

The film explores themes of love, hatred, and the trials and tribulations of the English upper class.

The film is a love of mine because it is character-driven, told from each character’s perspective, 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

Golden Globe Nominations: 1 win-Best Director-Ken Russell, Best Actress-Drama-Glenda Jackson, Best Foreign Film (English Language) (won)

I Am Love-2009

I Am Love-2009

Director Luca Guadagnino

Starring Tilda Swinton

Scott’s Review #545

Reviewed December 11, 2016

Grade: A

Tilda Swinton shines in I Am Love,  an amazing Italian film from 2009 that I wish received wider recognition, but alas, some of the best films do not receive their due.

Swinton stars as a matriarch of a wealthy Italian family who owns a successful business.

To make this film feel authentic, it was shot in and around Milan and features a highly stylish, exquisite look. It is a grand film with high-class set pieces and a great look.

I do not hesitate to categorize it as an artistic, female version of The Godfather (1972) because it is that good.

It focuses on the family as a whole but more so on Swinton’s character, who is bored and unhappy with her life and yearns for passion and feeling.

One day she meets a friend of her sons, and drama ensues.

The boy is only half her age, but they share a passion that awakens her from her doldrums. The conflict in the film is how the affair looks to society and affects the family business- not to mention being detrimental to her marriage.

I Am Love (2009) is a great film that should be discovered by those looking for a gorgeous film with great drama.

Oscar Nominations: Best Costume Design

Lovely, Still-2008

Lovely, Still-2008

Director Nik Fackler

Starring Ellen Burstyn, Martin Landau

Scott’s Review #543

Reviewed December 11, 2016

Grade: B+

Oh, how I wish this movie had gotten more attention!

Lovely, Still (2008) is a small, independent venture that is Christmas-themed and set in Omaha, Nebraska.

It stars Martin Landau and Ellen Burstyn as an older couple who fall in love.

Landau is Robert, a lonely older man interested in dating again, who meets and falls in love with Mary, the mother of his next-door neighbor.

Before you start thinking Lifetime television movie, the last thirty minutes of the film will shock and fascinate you.

A guttural reveal takes this film to a completely different place during the climax, making it a heart-wrenching and powerful experience.

Landau and Burstyn are wonderful actors who mesmerize scenes together. They have a sweet innocence and are in glee, like teenagers experiencing first love.

My only criticism is that the first half of Lovely, Still is a bit slow, but this can be forgotten as the film kicks into high gear.

Also, some wonderful camera shots from novice director Nik Fackler.

Loving-2016

Loving-2016

Director Jeff Nichols

Starring Joel Edgerton, Ruth Negga

Scott’s Review #527

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Reviewed November 26, 2016

Grade: A

Loving (2016) is a quiet film.

Subdued and poignant, it is an important historical story to tell and jarring to be transported back to the 1950s Southern style, where interracial marriage was not only illegal, but children of interracial couples were barely considered human beings.

This is to say nothing of the views of their parents, specifically of law enforcement.

Sadly, circa 2016, we all should be aware that racism is still alive and well in the United States, and this film is a reminder of how much further we need to go.

The true story of the landmark 1967 Loving vs. Virginia Supreme Court case is the basis for this film.

The time is 1958 in Virginia, and a sweet, working-class couple, Richard and Mildred, are very much in love. Richard-white and Mildred-black are met with some sideways glances around town but generally have a strong, supportive family and friend structure, although both families are pretty poor.

They enjoy spending time with friends in bars and racing cars.

When Mildred becomes pregnant, Richard purchases a plot of land for them and asks Mildred to marry him. Despite the challenges this will create, they are wed in Washington, D.C. Once they return to Virginia, they are arrested for violating anti-miscegenation laws prohibiting interracial marriage.

The couple eventually sued the state of Virginia, leading to a unanimous Supreme Court ruling a decade later.

As a film, Loving is thoughtful and introspective.

The audience questions who we are to decide who someone loves. This can apply to same-sex couples as easily as interracial couples.

The film, led by director Jeff Nichols, creates many quiet scenes of thoughtfulness on the faces of leads Edgerton and Negga.

Furthermore, several scenes of peril encompass the film.

The Lovings constantly threaten to be discovered as they secretly return to their forbidden home state to give birth to their son, only wanting Richard’s mother to perform the birth. The tense scene where Mildred is dropped off on a deserted back road is well shot; the camera constantly focuses on the road and the threat of a car coming by at any moment.

Edgerton, a fantastic actor and director, performs tremendously as a quiet, stoic, blue-collar man who is madly in love with his wife and sees nothing wrong with it simply because it is not the norm.

He is poorly educated, but Edgerton gives him underlying intelligence and a basic understanding of cherished love and more than once calmly utters, “But I love my wife.”

To him, it is that simple. Richard will also use any necessary measures to protect his family, as any man would. Edgerton’s squinting blue eyes portray suspicion, warmth, and love.

Negga is equally compelling as calm and loyal Mildred.

One might expect Mildred to finally explode with rage as she faces obstacle after obstacle, raising three kids in an environment she does not want, yet she never does.

Negga embodies the character with sweetness, wide-eyed passion, and longing for a better life. Mildred tries not to get her hopes up with each impending court date, but Negga successfully portrays the character with many different emotions and complexities.

My favorite scenes of hers involve Mildred gazing at her husband, her eyes filled with love and pride.

Nichols wisely does not spend much time in the courtroom, a positive aspect of the film. Sure, we get the occasional scene of Richard and Mildred facing the court, but the film does not take a different approach than necessary.

Despite a landmark decision coming from Loving’s marriage, the film is a love story between a good man and a good woman who happens to be of different races.

What a lesson every viewer can learn from Loving (2016).

Oscar Nominations: Best Actress-Ruth Negga

Independent Spirit Award Nominations: Best Director-Jeff Nichols, Best Female Lead-Ruth Negga

45 Years-2015

45 Years-2015

Director Andre Haigh

Starring Charlotte Rampling, Tom Courtenay

Scott’s Review #488

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Reviewed October 1, 2016

Grade: B+

In 45 Years (2015), acting is the film’s clear highlight and the main reason to watch it.

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

Tom Courtenay and Charlotte Rampling carry the film.

45 Years follows an enduring marriage tested by an outside revelation that escalates into conflict and mixed emotions.

The film moves at a slow pace and can challenge even the most patient viewers, but that pace is warranted, as the longevity of the characters’ marriage is key to the film.

Geoff and Kate Mercer, a happy couple living in rural England, excitedly plan their 45th wedding anniversary (the 40th was canceled because of Geoff’s heart condition).

They are a popular couple in their town, both kind and decent, and many will attend the event.

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.

After falling into an icy glacier, her body is preserved and looks the same as it did then.

Unsure of the extent of their relationship, Kate is riddled with 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.

The film shows many scenes of Geoff and Kate’s day-to-day activities: 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 years ago (excitement, risk, youth), and Kate’s point of view is understandable.

As details reveal themselves, Kate feels inferior.

She is no longer young and thinks of Geoff and Katya, and the life they might have had together if the accident had not occurred. Despite being dead, Katya becomes an obstacle in Kate’s mind.

The film wisely doesn’t write Kate as a jealous shrew or a one-dimensional character. She fights her jealousy at every turn and tries to stay 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. Instead, Rampling conveys a range of complex emotions through 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 it.

Several scenes show the couple dealing with “old people” issues, awkward lovemaking, for example, which highlights how different things are from 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 casually dance. Kate is both touched and pained, and as the scene goes along, it unravels. She explodes internally.

Sometimes, perhaps a tad too slow-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

Café Society-2016

Café Society-2016

Director Woody Allen

Starring Jesse Eisenberg, Steve Carell

Scott’s Review #462

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Reviewed August 11, 2016

Grade: B+

Having received sub-par reviews but wanting to see this film for myself, as it is a Woody Allen film, and I have yet to see an Allen film I did not like, I traversed to my local theater to see this flick.

I was not disappointed, though others did not share my opinion.

To love Woody Allen films is to love quirky characters who are either neurotic, damaged, or, more often than not, both.

Also notable to Café Society (2016) is the stellar cast of who’s who, many in minor cameo roles, another trademark of Woody Allen films.

Marisa Tomei, Daniel Radcliffe, and television stars Anna Camp (True Blood) have tiny roles, as do stars such as Sheryl Lee (Twin Peaks) and Tony Sirico (The Sopranos).

Additionally, Woody Allen himself narrates the film- a highlight.

The main stars of Café Society are Jesse Eisenberg and Kristen Stewart, both ideally cast.

The setting (which I adored) is 1930s Hollywood, and the action traverses between California and New York City, another common bond in Allen’s films.

Eisenberg plays Bobby Dorfman, a Jewish son of a working-class jeweler who has many siblings. Tired of New York, he flies to Los Angeles to obtain work with his hotshot Uncle Phil, played by Steve Carrell, who knows every celebrity.

There, he meets Vonnie (Stewart), and they fall in love, Bobby unaware of her on-and-off love affair with Phil.

The set and costume designs are to die for, and as a fan of this glamorous period in history, I find it an extraordinary visual treat.

Café Society is a prime example of a film that feels authentic to its time rather than appearing staged with actors merely dressed up in appropriate attire. This is tougher to achieve than one might imagine.

Despite contrary opinions, I enjoyed how most characters were wishy-washy and unsure of their motivations or feelings toward others.

Vonnie loves Phil, and then she warms to Bobby, who has been in love with her since their first meeting. She innocently shows him around Hollywood’s palatial mansions.

She is honest with Bobby but then makes a decision and becomes everything she once despised about Hollywood: a shallow, trophy wife.

Ironically, Bobby becomes involved with a stunning new woman named the same as his ex back in New York. This coincidence is crucial to the film’s point. He transfers his feelings to another woman, but is he pleased?

It did not bother me, though perhaps it should have, that several characters were introduced for a scene or two and then mysteriously dropped.

For instance, the novice hooker, Candy, having tried to make it as an actress and failed, has a heart of gold. However, after her awkward attempt at a tryst with Bobby, the character is never seen again.

Another characteristic of the film that I enjoyed is the natural, overlapping dialogue between the characters. It makes them more genuine and evokes my fondness for Robert Altman films, which used a similar technique with their actors.

The point of Café Society is that nobody ever gets what they want, and the film makes a point that nobody knows what they want.

Containing elements common to other Woody Allen films, Café Society (2016) is intended for fans of his lengthy work.

Your Sister’s Sister-2011

Your Sister’s Sister-2011

Director Lynn Shelton

Starring Emily Blunt, Rosemarie DeWitt

Scott’s Review #448

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Reviewed July 9, 2016

Grade: C+

Your Sister’s Sister is a small 2011 independent film with a central cast of only three characters: the two sisters mentioned in the title and a young man (Mark Duplass) who is a rival for their affections.

The story tells of a love triangle, of sorts, between two sisters and one man.

I admire the improvisational method that is used in the dialogue, à la Robert Altman style, where the characters merely have conversations and discuss issues rather than a structured dialogue.

This works well in the film.

The standout is Rosemarie DeWitt (“Mad Men”). I also enjoy the remote cabin setting, which creates a claustrophobic experience.

Emily Blunt’s performance, though, feels bland to me, and I didn’t find her character very relatable.

The ending of the film leaves everything up in the air, and no clear conclusions are drawn, something I could see coming from miles away.

I admired the style of Your Sister’s Sister (2011) but was unsatisfied with the outcome.

Independent Spirit Award Nominations: Best Supporting Female-Rosemarie DeWitt

Hope Springs-2012

Hope Springs-2012

Director David Frankel

Starring Meryl Streep, Tommy Lee Jones

Scott’s Review #434

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Reviewed June 30, 2016

Grade: B

Hope Springs (2012) is a cute, lighthearted romantic comedy-drama with enormous talent. It is hard 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 ‘safe’ 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 it’s too safe a story.

Celeste and Jesse Forever-2012

Celeste and Jesse Forever-2012

Director Lee Toland Krieger

Starring Rashida Jones, Andy Samberg

Scott’s Review #421

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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.

I can’t understand why this film was nominated for that award. Perhaps someone knows someone who knows someone?

There is nothing impressive about the writing whatsoever.

It’s a tried-and-true romantic comedy formula: a couple comes 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.

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

The Perks of Being a Wallflower-2012

The Perks Of Being A Wallflower-2012

Director Stephen Chbosky

Starring Logan Lerman, Emma Watson   

Scott’s Review #415

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Reviewed June 18, 2016

Grade: A-

The Perks of Being a Wallflower (2012) is a coming-of-age gem of a film.

It reminds me of a strange combination of The Ice Storm (1997), Donnie Darko (1999), and American Beauty (1999), but a bit more straightforward and less weird than those films.

Perhaps with a bit of The Breakfast Club (1985) thrown in for a lighter touch.

This movie felt real to me, not like the typical high school schmaltz usually crowding cinemas these days. It’s dark at times but also humorous and well-written.

Each teen in the group of friends has demons to face, and the characters are complex and intricately written. All are insecure in some form, and many teen issues are addressed in a mature, sensitive way.

It’s nice to see Emma Watson breaking away from her Harry Potter image.

The Perks of Being a Wallflower (2012) is a character-driven treat worth seeing.

Independent Spirit Award Nominations: 1 win-Best First Feature (won)

The Way He Looks-2014

The Way He Looks-2014

Director Daniel Ribeiro

Starring Fabio Audi, Ghilherme Lobo

Scott’s Review #408

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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 quickly becomes his new best friend, and the boys, unsure of each other’s sexual preferences, fall in love.

The film is a charming story about a modern romance, which is 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 don’t 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 male 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 film’s strongest characters and are mostly secondary. 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. No bombs, car chases, or explosions are needed.

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

Bus Stop-1956

Bus Stop-1956

Director Joshua Logan

Starring Marilyn Monroe, Don Murray

Scott’s Review #400

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Reviewed April 30, 2016

Grade: C

Bus Stop is a 1956 film starring Marilyn Monroe that, while surprisingly ranking among her best roles, is, in my opinion, one of her worst films and, at present, feels dated, chauvinistic, and diminishing toward women.

Perhaps perceived as romantic and cute in 1956, the film no longer has the charm it undoubtedly had decades ago.

The film is based on a play by William Inge and, remarkably, is Monroe’s first full-fledged dramatic performance.

She plays a nightclub performer named Cherie, mispronounced “cherry” by her love interest, Beau, an immature, naïve, socially inept cowboy, unfamiliar with women, and looking for his “angel”.

He is accompanied by his friend and father figure, Virgil.

Together, they travel by bus from Montana to Phoenix, Arizona, for a rodeo. Once Beau meets Cherie, he conquers and marries her despite her resistance to his pursuits.

As a fan of Monroe’s more familiar works- Gentlemen Prefer Blondes (1953) and How to Marry A Millionaire (1953)- it is nice to see her in a dramatic role, giving her some nice range and meatier material to tackle.

In 1956, she still looked marvelous, and the sexy nightclub outfit she wore while prancing around in the film worked well.

While Monroe will never be accused of being the most excellent actress in the world, her performance in this film is to be praised. She expresses some lovely emotions.

Unfortunately, the character is poorly written, but Monroe gives it the old college try.

Another positive aspect of the film is the supporting cast.

Bus stop owner Grace (Betty Field), who has a suggested affair with the bus driver (Robert Bray), is a delight and nearly steals the show!

I found their limited screen time and limited romance more interesting and fraught with more potential than the main couple (Beau and Cherie).

Eileen Heckert is acceptable as Vera, Cherie’s waitress and confidante, though she is given little to do.

My favorite scene is at Grace’s Bus Stop as the group is stranded during a sudden winter storm. Beau and the bus driver engage in a bare-knuckles fight outdoors in the driving snow while the rest look on. The bus driver is tired of Beau’s obnoxiousness and intends to teach him a lesson.

Despite being on a soundstage, the scene feels authentic, and the snow and gusts add to its animal-like, masculine feel.

Otherwise, the film is not kind to women and, in some parts, is downright sexist. When Cherie, clearly rebuffing Beau’s advances, attempts to board a bus out of town (and alone), Beau decides to lasso her to prevent her from leaving.

In the next scene, Cherie obediently sits beside Beau on another bus to Phoenix to marry him. It is suggested that she finally gives in, temporarily, to his advances.

This film would never be made today.

Beau’s character is not well-crafted. Dumb, lower-class, and bordering on abusive to Cherie, I am perplexed as to why the audience should root for this character to obtain Cherie and ride off happily into the sunset- I certainly did not.

I would have preferred a pairing of Cherie and Virgil, who are older, sensible, and kind.

Dated, sexist, and poorly written, Bus Stop (1956) is not Monroe’s best film, but it allows an audience to see her in a dramatic role worth a viewing.

Oscar Nominations: Best Supporting Actor-Don Murray

Golden Globe Nominations: Best Motion Picture-Musical or Comedy, Best Performance by an Actress in a Leading Role-Musical or Comedy-Marilyn Monroe

Obvious Child-2014

Obvious Child-2014

Director Gillian Robespierre

Starring Jenny Slate

Scott’s Review #387

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Reviewed March 22, 2016

Grade: C+

Obvious Child is a 2014 independent comedy/drama nominated for a couple of Independent Spirit Awards, with 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 it became a full-length feature.

Slate stars as a twenty-eight-year-old Brooklynite, 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 her steady boyfriend unceremoniously dumps her, 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 even funnier.

She is a natural in comedy, and I hope she goes 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 I surmise the filmmakers deemed it necessary 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 feels unrealistic.

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

Daisy Miller-1974

Daisy Miller-1974

Director Peter Bogdanovich

Starring Cybill Shepherd, Cloris Leachman 

Scott’s Review #383

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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 Shepherd in the title role.

I admire the film in certain respects, but ultimately rank it as good, 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 (Shepherd), visiting Europe in hopes of becoming more cultured and worldly, but instead is 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 flirt, captures Winterbourne’s fancy, and he gradually woos her. Still, he is conflicted by social norms and by her innocent involvement with other men, most notably the 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 Shepherd, 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 the characters wear is both gorgeous and believable for the period. The backdrop in the hotel garden scene is exquisite and picturesque, with the lake, sky, and mountain all in full view, creating 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 lack the same breeding and class as many of the other 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 Daisy Miller a bit unlikable, which could be due to the casting of Shepherd. Daisy’s endless rants, largely about herself, teetered on annoying, to say nothing of her irritating 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 Shepherd because of her relationship with Bogdanovich?

The conclusion of the film surprised me, featuring a downcast ending 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 admire some aspects, but the story and the casting could have used a bit of work.

Oscar Nominations: Best Costume Design

The Danish Girl-2015

The Danish Girl-2015

Director Tom Hooper

Starring Eddie Redmayne

Scott’s Review #310

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Reviewed December 29, 2015

Grade: A-

The Danish Girl (2015) tells the loosely based story of Danish painters and married couple Lili Ebe and Gerda Wegener and Lili’s struggles as the first known recipient of sex reassignment surgery, unheard of at the time (1930).

The film showcases terrific acting (Eddie Redmayne and Alicia Vikander especially) and a journey of one person’s struggle with gender identity.

The subject matter is important and timely, as the recent transgender movement has emerged at the forefront of today’s social issues.

A happy, young couple living in Copenhagen, and married for six years, Gerda and Einar are inseparable and madly in love.

They are best friends and help each other with their art. Because a female model is late, Gerda convinces Einar to stand in for her.

This event triggers a lifelong identification as a female named Lili Elbe. Lili has emerged sporadically since childhood.

Through painful self-assessment and encouragement from progressive loved ones, Lili decides to go through with a highly experimental and risky sex change operation.

Gushing with sensitivity and tenderness, and groundbreaking, though I bet even more so if made ten years ago, one feels for both lead characters, as they both go through emotional turmoil.

It would be easy to lessen Gerda’s emotions, and perhaps with a lesser actress, this might have happened, but Vikander (unknown to me before seeing this film) gives a raw, empathetic performance.

One can imagine how they would feel if their spouse identified as the opposite sex. Confusion, blame, anger, and sorrow would all be common reactions.

Gerda is strong, brave, and helpful while crumbling beneath the surface.

Vikander brings all of this to the screen flawlessly.

Similarly, Redmayne brings depth and empathy to his role.  Redmayne’s Einar is masculine, but he has something sensitive and slightly feminine about him from the start.

Was this done on purpose to soften the blow? He also appears slightly built. Redmayne lost weight to portray this role and have a softer appearance.

Actors can easily dress up in drag, but the emotional investment needs to be there, and Redmayne makes the viewer care about Lili.

One is teary-eyed along with Lili as she sees no other choice but to undergo the risky operation. We see the desperation in Lili’s eyes thanks to Redmayne’s acting skills.

I loved how supportive the characters are. Granted, Einar/Lili and Gerda move in liberal, progressive circles, but for 1930, it was wonderful to see.

Of course, Copenhagen and Paris are open-minded cities, but Lili’s childhood friend Hans, a sophisticated, macho guy, offers support. The same goes for the Doctor taking on Lili’s surgery.

These elements create a delicate, peaceful film of encouragement.

To be clear, Lili is not gay, and this is made crystal clear during the film as she meets a gay man, and the distinction between them is made.

She does, however, identify as a woman. She was born with the wrong parts.

The greatest aspect of The Danish Girl is its powerhouse acting and compelling subject matter.

One’s gender is a given for most, but watching a riveting drama about someone who is unrestful with their gender is eye-opening and still rather taboo.

2015 was a year of progressive transgender films, and The Danish Girl is among the best, handling the subject matter gracefully a without judgment.

Oscar Nominations: 1 win-Best Actor-Eddie Redmayne, Best Supporting Actress-Alicia Vikander (won), Best Production Design, Best Costume Design

Brooklyn-2015

Brooklyn-2015

Director John Crowley

Starring Saoirse Ronan

Scott’s Review #298

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Reviewed December 12, 2015

Grade: A

Brooklyn (2015) is a classic-style Hollywood film that I adored watching. It has a genuine innocence, with wonderful, powerful acting and perfect cinematography/art direction.

The film is conventional and mainstream, but never sappy.

Based on Colm Tóibín’s popular novel, Brooklyn is set in the early 1950s in Ireland and New York City.

Eilis Lacey, played by Saoirse Ronan, is a young Irish girl with good morals and traditional values. She is faithful and Catholic, with a good upbringing.

Not rich by any means, she is intelligent and uses good sense, working hard on weekends in a grocery run by an unkind woman to save money.

Thankfully, her older sister Rose, whom Eilis adores, has scrimped and saved enough for Eilis to study in the United States through a church program.

Rose doesn’t want Eilis trapped in the small Irish town.

While in New York City, an event forces Eilis to return to Ireland. At home, she faces a romantic dilemma that makes her wonder whether to return to her new life in New York City or stay in Ireland.

Eilis is conflicted, which is the story’s main focus.

On paper, one might assume Brooklyn is sappy, a “chick flick,” or a trite romance with predictability for miles, but it isn’t. Everything about the film is perfect and highly detailed.

The pieces somehow fit together- good direction, good camerawork, good acting, and good storytelling.

Throughout the film, I found myself emotionally invested.

When Eilis meets the young, charming Tony, a working-class Italian American who becomes infatuated with her, I worried about how the film would handle their different backgrounds.

Their courtship is sweet and tender, and I cheered for them as their slow romance builds.

She is taught to eat pasta correctly to impress his traditional parents. He walks her home every night. Tony and Eilis have a sweetness and purity that is hard not to fall in love with as an onlooker.

On the other hand, when dramatic events unfold, the excellent acting makes Brooklyn a delight and quite emotionally powerful. One might find themselves in a flood of tears by the end.

Thanks to Ronan, an impressive talent since my discovery of her work in 2007’s Atonement, she elicits in Eilis a strength and stoicism that is tested when she breaks down at one point in the film.

Also worth mentioning are the awe-inspiring performances by Fiona Glascott as Eilis’s sister Rose and Jane Brennan as Eilis’s mother.

Unknown actresses (to me), both deliver dramatic, dynamic performances in their roles.

Veteran character actors Jim Broadbent and Julie Walters are wonderful as Father Flood and Madge, respectively.

What a visual treat Brooklyn is!

As the title suggests, most of the action takes place in this New York City borough, and the influx of Irish and Italian immigrants during this period is evident in the clothing and cinematography.

Ireland’s lush green, vast landscape makes it a pleasure to view.

A story of bravery, romance, and kindness, Brooklyn (2015) is a wholesome, feel-good film, and I was immersed in the story and its look from the very first shot.

Oscar Nominations: Best Picture, Best Actress-Saoirse Ronan, Best Adapted Screenplay

The Immigrant-2013

The Immigrant-2013

Director James Gray

Starring Marion Cotillard, Joaquin Phoenix, Jeremy Renner

Scott’s Review #293

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Reviewed December 5, 2015

Grade: A-

The Immigrant (2013) is a lovely, classic, old-style Hollywood film set in early 1920’s New York City.

The film is a classic tale of a poor Polish immigrant who travels to America in hopes of a better life, only to be met with hardship, manipulation, and conflict.

However, The Immigrant is not a downer. Rather, a powerful and intriguing story of life and the clichéd pursuit of happiness, with a compelling love story mixed in.

Nominated for Best Actress for Two Days, One Night, eligible the same year as The Immigrant, this is a good example of how the Academy got it wrong, as Marion Cotillard should have been nominated for this performance instead.

The actress was, however, recognized with an Independent Spirit Award nomination for Best Actress for this role. A true talent, she gives a wonderful performance.

Little is known about Ewa’s (Cotillard) life before she arrives on Ellis Island with her sister Magda in tow.

We meet them as they disembark a ship and wait in line at the immigration station, weary from their escape from war-torn Poland.

They have escaped their native country in hopes of a better life in the United States.

Unfortunately, Magda is ill, cannot hide a cough, and is sent to the infirmary, most likely before being sent back to Poland.

Ewa desperately needs money and is told that her Aunt and Uncle have not shown up to collect her as she had originally thought.

She is now on her own and desperate in a land where she knows not a soul.

As the plot unfolds, Ewa encounters two men who enter her life- Bruno (Joaquin Phoenix) and Emil (Jeremy Renner)- brothers with a rivalry, both professionally and over Ewa.

They both fall in love with her- she is gorgeous and innocent, after all.

But can the men be trusted? Are their feelings true? We begin to get to know the men better, and not everything is as it seems or as it originally appeared.

The Immigrant perfectly captures the 1920s era cinematically with gorgeous cinematography and camera work.

Directed by James Gray, a director with a tendency to direct films set in New York City and feature a romantic element (Two Lovers comes to mind- also starring Joaquin Phoenix as a Jew pursuing a blonde girl).

In The Immigrant, I felt transported to the 1920s with Bruno’s dark coat and bowler and the characters’ costumes in general.

The Lower East Side, from the automobiles to the theaters, seems like that’s how it was back then- charming, artistic, and yet combustible too.

Marion Cotillard gives a soft yet tough performance as the long-suffering, heart-of-gold Ewa.

Her yearning to keep her traditional Catholic values while being transported into a new, dangerous world filled with corruption and the need to survive is heartbreaking, and Cotillard wears her heart on her sleeve.

She is also tougher and more stubborn than we first think she is- she will not be taken advantage of, and these aspects give the character complexity.

I did not see her as a victim.

Let’s not forget the men in the film; while it borders on turning into a “woman’s movie” towards the climax, and Cotillard is front and center, Phoenix and Renner are flawless.

Phoenix, with the larger role, is extremely complex, and it takes the audience until the final scene to entirely figure Bruno out.

I wish The Immigrant (2013) would have found a wider audience, but for fans of a traditional, classic, romantic Hollywood experience, this film is a treat.

It will take you back to an earlier time in the world- in a completely authentic way.

Independent Spirit Award Nominations: Best Female Lead-Marion Cotillard

A Little Chaos-2014

A Little Chaos-2014

Director Alan Rickman

Starring Kate Winslet, Matthias Schoenaerts

Scott’s Review #269

Reviewed August 22, 2015

Grade: B-

A Little Chaos (2014) is a difficult film to review.

The film does not kick into high gear, or much of a gear, until the final thirty minutes or so, as the drama hits a crescendo and past events are suddenly explained.

At this point, it becomes a very entertaining film.

Until then, it is largely a bore and slow-paced.

Starring Kate Winslet, Matthias Schoenaerts, and Alan Rickman, who also directs the film, A Little Chaos is a good film with beautiful period-piece costumes to marvel at, and it feels great. Still, it misses the mark with a lack of momentum balance throughout.

It is also largely fictionalized, which makes it less enjoyable to watch.

A period drama set at the gorgeous Versailles in France, in the late 1600s, when King Louis XIV of France is in power and lives on the illustrious estate.

Landscaper Andre Le Nôtre hires unconventional gardener Sabine (Winslet) to create one of the gardens.

Sabine is progressive and does not live in the past. Rather, she has ideas for creating a unique pattern. Sabine is instructed to incorporate a wonderful fountain within the garden.

She faces hostility from staff members for simply being a woman, and they refuse to work for her.

Others admire her creativity.

As the plot unfolds, Sabine has romantic feelings for Andre, a man trapped in a loveless marriage with Françoise, and they begin a tender courtship.

The past haunts Sabine, and she frequently hears cries in her dreams. The audience does not know what her past life was, only that she is widowed.

The final act brings everything together nicely. We learn about Sabine’s past, and her suggested dalliance with Andre comes to fruition.

After the film, I was left thinking how exceptional it was, but then I remembered most of it dragged.

The themes of A Little Chaos are class systems, feminism, and societal views. At first, snubbed by some for being a commoner, Sabine is slowly accepted by the royal figures, including the King himself, whom Sabine humorously mistakes for the gardener at one point.

Ideally, it would have been lovely if a woman had been hired to create the garden.

Sadly, events do not happen this way, but it is someone’s fantasy.

A Little Chaos (2014) has great potential and looks beautiful- my main complaint is that, for most of the film, nothing happens.

Also disappointing is that the film was not filmed at the historical Versailles, nor was it even shot in France. Every exterior scene was filmed in England.

This isn’t a deal-breaker, but some authenticity would have been nice.

Another major detraction is that Sabine De Barra is not even a real-life figure, but rather is fictionalized- sort of how the past should have been but wasn’t really.

If she were a real person, the film would be more interesting. What is the investment?

From an acting standpoint, the film succeeds. Winslet, a highly talented actress, is well cast, and the chemistry between her and Matthias Schoenaerts is palpable. Both actors are believable in their roles.

Stanley Tucci, typically great in whatever he appears in, plays Philippe, a silly, slightly effeminate Duke who does more to annoy than to amuse and is a trivial character.

Throughout the film, I kept thinking it was the kind of movie you should like because it looks great, but something was missing.

The royal drama, sexual dalliances, and antics were fun, but I felt like the film could have been much more than it ended up being.

Fifty Shades of Grey-2015

Fifty Shades of Grey-2015

Director Sam Taylor-Johnson

Starring Jamie Dornan, Dakota Johnson

Scott’s Review #262

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Reviewed August 5, 2015

Grade: B-

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

Based on the titillating book series by author E.L. James, the film is sudsy, steamy, and poorly acted.

Still, something about its badness is charming and sexy.

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

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

She is pretty and grounded, and she meets and becomes enamored with a 27-year-old billionaire named Christian Grey after driving to Seattle to interview him for a sick friend.

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

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

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

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

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

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

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

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

Perhaps this was part of her appeal to Grey.

The acting isn’t great, especially Johnson’s.

I didn’t find Jamie Dornan (Grey) that bad, and he is likable enough to me. For the most part, the character of Anastasia irritates me, and I find her quite unlikeable.

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

Huh?

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

I sense that Anastasia is made sympathetic, while Grey is drawn as the cad and the bad character.

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

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

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

Oscar Nominations: Best Original Song-“Earned It”