Category Archives: Bill Condon

#159 Favorite Film, 2006 Films, Beyoncé, Bill Condon, Danny Glover, Drama, Eddie Murphy, Jamie Foxx, Jennifer Hudson, John Krasinski, John Lithgow, Musical, Musical Drama, Top 250 Films

Dreamgirls-2006

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Dreamgirls-2006

Director Bill Condon

Starring Beyonce, Jennifer Hudson, Eddie Murphy

Top 250 Films #159

Scott’s Film Review #792

Reviewed July 20, 2018

Grade: A

Dreamgirls (2006) is a glossy show business-style drama with plenty of glitz and glamour. Adapted from the Broadway production of the same name, the story is loosely based on the trials and tribulations of The Supremes, a popular all-girl group from the 1960s.

Despite the film being heavily focused on the drama and tension between the characters, it boasts a wonderful soundtrack and fantastic acting- most notably newcomer Jennifer Hudson, who garnered a surprising Best Supporting Actress Oscar win for her role.

The film tells the story of the evolution of American R&B music during the 1960s and the 1970s- the action mainly taking place in Detroit, Michigan, where the genre began.

Taking center stage is the incarnation of a girl group called The Dreams, who are controlled by their manipulative record label executive.

A womanizer and creep, Curtis Taylor (Jamie Foxx), guides the girls to stardom, but beds both the beautiful Deena (Beyonce) and the talented yet overweight Effie White (Jennifer Hudson). This leads to conflict as Curtis decides that less talented Deena is more marketable and thus should be the central figure of the band.

With a stellar cast in tow, Dreamgirls contains a plethora of talent and a good history lesson to boot. The main draw in the acting department is the revelation of the talented Jennifer Hudson.

Winner of the talent show American Idol, many pooh pooed her film direction, apparently assuming she was a flash in the pan and a “reality television” star. The challenging role of Effie is perfectly suited for Hudson- brazen, pipes for days, and plenty of attitude.

Her acting aside, Hudson scorches through an unforgettable rendition of “And I Am Telling You I’m Not Going”, which is assuredly what won her the Oscar.

Otherwise, the supporting cast is worthwhile and impressive is Beyonce in a pivotal role. Surely, the singer/actress faced her share of detractors, along with Hudson, but their chemistry is amazing and she nails all of her songs.

Eddie Murphy is a gem in the role mirrored after James Brown, James “Thunder” Early.  The role is perfect for Murphy- a far cry from his standard comedic roles that have grown stale over the years.

This role rejuvenates the actor’s credibility.

Dreamgirls does at times falter a bit with the drama, almost soap opera-like situations. A triangle develops between Effie, Curtis, and Deena, which leads to tension, bad blood, cattiness, and melodrama.

If the film were a standard drama this would undoubtedly make the film suffer from a tired script or generic writing.

But the musical numbers are so riveting that these flaws can be overlooked completely. The ritzy glamour and sparkles that erupt during “Dreamgirls” and “One Night Only” are wonderful fun and the songs are memorable leaving audiences humming along as they dance in the aisles.

The story has been told many times before. A dream of rising to musical stardom and the many trials and tribulations that go along with these hopes and desires.

Comparisons can be made to Chicago (2002), Valley of the Dolls (1967), or even Gypsy (1962), but the mostly black cast and the 1960s Motown theme is interesting, particularly as the Civil Rights movement of the time was upon us.

The film does not invest much time in politics, sticking mainly with drama and music, which may be a wise move to avoid too much of a message theme.

As the film concludes in 1975, Effie is reaffirmed as a meaningful member of The Dreams after her career has tanked and she has wound up on welfare.

A paternity twist is also thrown in for good measure, but the film has a clear “happily after ever” vibe to it which softens the film and keeps it more on the PG-13 level instead of going for darker themes.

Dreamgirls (2006) is a musical that is highly memorable for me because it made Jennifer Hudson a household name and confirms the talent and glory that she is rightfully due.

In subsequent years the star lost weight, softened her image a bit, and became, well, more generic. But thankfully we have a gorgeous performance to always appreciate her for.

Oscar Nominations: 2 wins-Best Supporting Actor-Eddie Murphy, Best Supporting Actress-Jennifer Hudson (won), Best Original Song-“Listen”, “Love You I Do”, “Patience”, Best Sound Mixing (won), Best Art Direction, Best Costume Design

2019 Films, Bill Condon, Crime Thriller, Helen Mirren, Ian McKellen, Jim Carter, Lucian Msamati, Russell Tovey, Thriller

The Good Liar-2019

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The Good Liar-2019

Director Bill Condon

Starring Ian McKellen, Helen Mirren

Scott’s Review #1,201

Reviewed November 26, 2021

Grade: B+

The Good Liar (2019) is a well-acted film, but by the numbers, the thriller is made as well as it can be, thanks to superior acting. Casting British heavyweights Ian McKellen and Helen Mirren automatically provides enough star power and credibility to save any lame plot.

This is the first time the actors have appeared in a film together, though they have appeared on stage together.

The film moves briskly, and there is never a moment of boredom. While the main storyline at first is intriguing, the inevitable twist at the end is satisfying. Suspension of disbelief is required, and a portion of the backstory is unnecessary.

Nothing is as it seems.

Roy Courtnay (McKellen) is a dashing career con man. He is suave and used to getting what he wants out of people, to their advantage and disadvantage. He cagily dips into the online dating pool and stumbles upon an older woman named Betty McLeish (Mirren) ripe for the picking.

She is rich, divorced, and lonely.

What could go wrong?

As Betty opens her life and home to him, Roy is surprised to find himself caring about her, turning what should be a cut-and-dry swindle into the most treacherous tightrope walk of his life.

Betty’s grandson, Steven (Russell Tovey), constantly annoys Roy when he questions Roy’s intentions and urges his grandmother to be wary of the man.

As the plot began, I kept thinking that there was no way Betty could be so gullible, lonely, or not. This kept me engaged until the big reveal that filled the final thirty minutes or so. If The Good Liar did not contain something more than the banal plot, it would have been a real dud.

To continue with the storyline element, Betty’s ultimate motivations, while clever, are hard to believe. Not to ruin any plot points, but the whole Nazi component from the 1940s feels superfluous and easy. The revenge motives feel extremely plot-driven and are meant as a thrown-in explanation.

From a timeline perspective, it also doesn’t make much sense. If events take place during present times, it would put Roy and Betty in their 90s! The characters are assumed to be in their mid-70s.

Despite Roy being the villain, I fell in love with him. His shenanigans appealed to me despite my better judgment. His trickery when he feigns a knee injury to manipulate Betty while dashing into a corporate meeting minutes later was enamoring instead of mortifying.

The chemistry between McKellen and Mirren is tremendous. Both actors know how to carry a film and are confident in their abilities. This comes across onscreen, and the romantic element works.

The Good Liar also gets respect from me for featuring actors in their golden years in leading roles.

Bill Condon has directed various films, including Chicago (2002) and Dreamgirls (2006). The Good Liar is hardly on this level or one of his finest, but the director adds enough seasoning to assure a compelling experience.

The locales of London and later Berlin, Germany, are robust and a treat for any viewer who is partial to international filming—I am! Plenty of busy London streets and German architecture appear during the film.

McKellen and Mirren’s slickness and excellent acting save The Good Liar (2019) from the drivel it might have been with lesser actors and inferior direction. Instead, it’s a clever film that toys with its viewers, keeping them engaged until the end.

2017 Films, Bill Condon, Biography, Drama, Hugh Jackman, Michael Gracey, Michelle Williams, Musical, Musical Drama, Paul Sparks, Rebecca Ferguson, Yahya Abdul-Mateen II, Zac Efron, Zendaya

The Greatest Showman-2017

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The Greatest Showman-2017

Director Michael Gracey

Starring Hugh Jackman, Michelle Williams, Zac Efron

Scott’s Review #707

Reviewed December 26, 2017

Grade: A-

A pure musical escapist film, The Greatest Showman (2017) holds a dear and relevant message. It elicits hope for outcasts everywhere by leading a story of acceptance and perseverance in the feel-good film of 2017.

Hugh Jackman leads the pack, starring as P.T. Barnum, a man struggling to create an entertainment show with live and unusual performers- deemed “freaks” in New York in those days- the 1800s.

The film is quite joyful and light, with many cheery musical numbers sure to leave audience members humming along for hours after the conclusion.

The Greatest Showman is a rags-to-riches story and a thoroughly enjoyable film.

Jackman is as charismatic and likable as Barnum, the entrepreneur and showman we meet as a young boy, the son of a poor tailor. He becomes enamored with wealthy young Charity (Michelle Williams), and the two eventually marry, much to the chagrin of her pompous parents.

Barnum and Charity initially struggle to make ends meet as they begin to raise a family, but eventually, they find success and wealth when the show succeeds.

The film chronicles Barnum’s rise to fame and the trials and tribulations (romantic, business) for several years, mainly through musical numbers.

Zac Efron is excellent as Barnum’s eventual business partner, Phillip Carlyle.

Director Michael Gracey’s supporting characters are creative, if not typical, mainstays of carnivals and circuses everywhere—the bearded lady, the fat man, and a man covered in tattoos are featured prominently.

It is unclear whether these characters existed or were created simply for plot purposes. Still, rumor has it that The Greatest Showman has taken great liberties with the factual accuracy of the real P.T. Barnum and his escapades.

This would be bothersome if not for this film’s wonderful message- acceptance and celebrating diversity.

Indeed, this is important for young people everywhere in today’s chaotic world.

Those expecting anything more substance than a cheery and bright holiday slice of enjoyment may be disappointed—some mainstream critics did not rate this film highly. Still, I am okay with a bit of escapist adventure on occasion.

The message throughout The Greatest Showman is quite good.

The best musical number is the show-stopping and anthemic “This Is Me,” Keala Settle is fabulous as the bearded lady who leads this important song. The number is empowering and energetic.

The chemistry between Jackman and Williams is not remarkable, but it is not altogether vacant either. Instead, it is simply decent and not the film’s strongest point. I sense better chemistry between Jackman and Rebecca Ferguson as grand Swedish singer Jenny Lind.

However, their “romance” is unfulfilled, and we will need to imagine its possibilities.

I adore seeing Efron in quality roles (think 2012’s exceptional The Paperboy), and his performance as Phillip is great. He shares a good bond with Barnum and has his romance with acrobat (and of mixed race) Anne Wheeler.

His values and earnestness make the character appealing as he is torn between riches and standing on principle.

The Greatest Showman (2017) may not go down in history as the ultimate top in filmmaking or even one of the best musicals. Still, the film dazzles the audience and provides a couple of hour’s worth of fun and entertainment—similar to how P.T. Barnum energized the crowds with a slice of make-believe; this is more than appropriate.

Oscar Nominations: Best Original Song-“This Is Me”

2017 Films, Audra McDonald, Bill Condon, Children, Dan Stevens, Disney, Emma Thompson, Emma Watson, Ewan McGregor, Fantasy, Ian McKellen, Josh Gad, Kevin Kline, Luke Evans, Musical, Stanley Tucci

Beauty and the Beast-2017

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Beauty and the Beast-2017

Director Bill Condon

Starring Emma Watson, Dan Stevens

Scott’s Review #634

Reviewed April 18, 2017

Grade: A-

When I went to see the live-action version of the Disney animated classic Beauty and the Beast, which was released in the spring of 2017, I was unsure what to expect.

Would it be a cheesy or amateurish retread of the 1991 animated smash only with human beings? Why the lackluster March release date? Indeed, this is telling; otherwise, why not release the film in the coveted fourth quarter with potential Oscar buzz?

I do not have the answers to all these questions, but this version of Beauty and the Beast is enchanting, romantic, and lovely- a spring treat for the entire family to enjoy.

Our protagonist, Belle (producers wisely casting Harry Potter legend Emma Watson), is a kindly farm girl living with her father, Maurice (Kevin Kline),  in a quaint village outside of Paris.

Considered a bit odd by her village mates because she loves to read, she rebuffs the advances of the dashing soldier, Gaston (Luke Evans), because he is arrogant- the other village ladies (as well as Gaston’s gay companion, LeFou) flaunt over Gaston’s good looks.

When Maurice ventures into unknown parts and stumbles upon a dilapidated castle, he is locked up by a vicious beast. Having once been a handsome prince, he has since been cursed by a beggar woman.

The only way the beast can return to his former self is to find true love before a wilted rose loses all of its petals—enter Belle to the rescue. Belle convinces the Beast to let her stay in prison and release her father.

Will Beast and Belle fall madly in love?

Of course they will. The fated romance is part of what makes the film heartwarming and lovely.

The now-legendary classic fairy tale feels fresh and energized with the Disney-produced project. Director Bill Condon carefully and successfully crafts an honest effort, making sure that while providing a fairy tale happy ending, not to make the film seem contrived, overblown, or overdramatized.

I fell for the film hook, line, and sinker. It is an uplifting experience. The song and dance numbers abound with gusto and good costumes—my personal favorites are the rousing “Be Our Guest” and the sentimental “Beauty and the Beast.”

The crucial romance between Watson’s Belle and the Beast, earnestly played by Dan Stevens (of Downton Abbey fame), works in spades. Their chemistry feels authentic and passionate. As Belle is at first held captive by the misunderstood bad boy instead of Maurice, the pair at first loathe each other, but this is done with innocence and no malice.

Condon wonderfully exudes the right amount of slow build to make the pair beloved by audiences with the correct pacing.

The CGI in Beauty and the Beast is heavy, as expected. However, the Beast’s distraction is a bit confusing. Was the Beast a complete CGI creation save for the close-ups, or was Watson dancing with Stevens when filming commenced in certain scenes?

I am unsure.

The controversial “gay storyline”, which helped the film be banned in the southern United States and Russia, as well as other countries, is pure and utter rubbish.

The subject is explored extremely superficially and not worthy of all the fuss.

Worthier of mention is the tremendous diversity that is featured in the film, most notably in the opening sequence. Interracial couples appear in the form of Madame de Garderobe (Audra McDonald), the opera singer turned wardrobe, and Maestro Cadenza (Stanley Tucci), turned harpsichord.

On the gay issue, it is sweet that the implied gay character of LeFlou finds love with another man at the end of the film.

A minor complaint is the scattered authentic French accents of many of the household staff and village people, but Belle and Maurice speak in the British tongue. Being a fairy tale, liberties must be taken, and suspending disbelief is necessary, but this was noticed.

Beauty and the Beast (2017) is a lovely experience that combines fantastic musical numbers with romance, with a side of diversity thrown in for good measure.

Since the film will undoubtedly be seen by many youngsters and teens, this is a wonderful aspect of the film and, hopefully, a shining, positive example in filmmaking.

Oscar Nominations: Best Production Design, Best Costume Design