Category Archives: Historical Drama

2024 Films, Aunjanue Ellis-Taylor, Brandon Wilson, Drama, Ethan Cole Sharp, Historical Drama, Jimmie Fails, RaMell Ross

Nickel Boys-2024

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Nickel Boys-2024

Director RaMell Ross

Starring Ethan Cole Sharp, Brandon Wilson, Aunjanue Ellis-Taylor

Scott’s Review #1,478

Reviewed April 25, 2025

Grade: A-

Nickel Boys (2024) is a film adaptation of a 2019 novel called The Nickel Boys, written by Colson Whitehead, which won him the Pulitzer Prize for Fiction award.

The film is a unique experience in cinematography. Using a jarring but immersive point of view effectively makes the audience feel the weight of the subject matter and the peril that the characters face.

Since most of the events are shot from a first-person perspective, it takes some time to get used to it, and I can understand how it might turn off some viewers.

However, I admire the unconventional approach very much and champion any cinema that pushes boundaries. RaMell Ross, a director new to the scene, obviously made a splash, scoring a Best Screenplay Oscar nomination as well as a Best Picture nod.

Elwood Curtis’s (Ethan Herisse) college dreams are shattered one sunny afternoon when he unwittingly accepts a ride with a drug dealer in the deep Jim Crow American South in 1962.

Despite his innocence, he is sentenced to Nickel Academy, a segregated and brutal reformatory where young black males frequently disappear without a trace.

As the 1960s continue and the Civil Rights Movement and Reverend Martin Luther King’s influence spread, Elwood and his best friend, Turner (Brandon Wilson), plot a daring escape.

Ross incorporates short sequences of present-day activity where Elwood (Daveed Diggs) is now a successful businessman in New York City. He lives with his girlfriend and eventually reconnects with a fellow inmate.

During the first of these scenes, I breathed a sigh of relief, assured that Elwood not only survives Nickel Academy but also gets as far away from the racist South as possible. Successful in life, this aspect also satisfies.

Shot in swampy Louisiana, doubling as Tallahassee, Florida, the ambiance is sticky, sweaty, and suffocating, which serves the film perfectly.

As the black youngsters arrive at the facility with white youngsters who are let out of the car first, the different experiences are immediately apparent.  The black kids’ barracks are smaller, darker, and fraught with racism.

I immediately sympathized with Elwood. On a bright path along with his caregiver and grandmother, Hattie, beautifully played by Aunjanue Ellis-Taylor, his incarceration is devastating and unfair.

Without a doubt, instances portrayed in the film happened in real life, and the number of lives ruined or lost is beyond comprehension.

Ellis-Taylor, whose Hattie does a lot of talking to the camera, either to Elwood or Turner, is rich with power, prowess, and guts, never losing hope amid dire circumstances.

The stylistic approach never detracts from the top-notch acting performances, especially by the teen actors playing Elwood and Turner (Ethan Cole Sharp and Wilson).

Nickel Boys (2024) doesn’t feel gimmicky; it’s instead a confirmation of what cinema can do, how it can speak to us, and how it can move us.

It serves as an argument for progressing and documenting fiction as something more than just a well-meaning film. My A-rating would have been a solid A, but it took a little while to fully capture it due to the film’s style, which I ultimately appreciate.

Oscar Nominations: Best Picture, Best Adapted Screenplay

Independent Spirit Awards Nominations: Best Feature, Best Cinematography

2024 Films, Connie Nielsen, Denzel Washington, Derek Jacobi, Drama, Epic, Fred Hechinger, Historical Drama, Joseph Quinn, Paul Mescal, Pedro Pascal, Ridley Scott

Gladiator II-2024

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Gladiator II-2024

Director Ridley Scott

Starring Paul Mescal, Pedro Pascal, Denzel Washington

Scott’s Review #1,456

Reviewed December 21, 2024

Grade: B+

Ridley Scott, who directed Gladiator (2000), returns to the fold to direct Gladiator II almost twenty-five years later. Both are epic proportions and center on the barbaric yet luscious Ancient Roman Era.

It’s the type of film best seen in the theater on a large screen with loud surround sound. It’s bloodier than the first Gladiator.

Scott wisely incorporates snippets of the original’s ending to familiarize the audience with the events and ties a significant character to characters from the first film, both dead and alive.

The great thing about Scott directing both films is that despite the long gap between them, they feel very much aligned and have a similar tone.

When the film begins, we are told that Rome is nearly ruinous and led by tyrants. The peacefulness after Maximus’s (Russell Crowe in Gladiator) death is sadly gone.

Rome is now ruled by corrupt twin emperors, Geta (Joseph Quinn) and Caracalla (Fred Hechinger). They are barbaric and evil and use scare tactics to keep the masses in line.

We meet Lucius (Paul Mescal) when the emperors of Rome steal his home and kill his wife. He has unrelenting rage in his heart, and it’s revealed that he is the rightful heir to Rome and witnessed his father’s (Maximus) death at the hands of his uncle as a young boy.

With the empire’s future at stake, he looks to the past to find the strength and honor needed to return the glory of Rome to its people.

The fact that Lucius is the rightful heir and that his mother, Lucilla (Connie Nielsen), is still alive and now remarried to General Acacius (Pedro Pascal) provides immediate rooting value.

Combined with the viciousness of the current regime, we want the good guys to beat the bad guys. The bloody battles and the machismo nature of the story make it a muscular vehicle sure to appeal to a male audience.

It’s that type of film.

However, there is much to see visually to titillate one’s loins. Mescal looks chiseled and cut in his gladiator attire, sweatily and bloodily fighting others to the death. His hunky nature and dreamy blue eyes only make the character a sure crowd-pleaser.

Mescal also looks enough like Crowe to make the heritage believable.

Pascal and Denzel Washington are terrific in supporting roles. Washington, as Macrinus, a motivated leader intent on having the throne for himself, is bisexual, though this is hardly explored other than one line of dialogue.

A rumored kiss between Macrinus and another male character was reportedly scrapped, and shame on the powers that be for that. Too much for mainstream audiences?

The central LGBTQ+ presence is saved for the more unhinged twin ruler in a more stereotypical form.

There is little unpredictability since we know from the start that Lucius will conquer the tyranny and save the Roman people from further chaos.

But, the violent matches between gladiators and vicious beasts and one another are entertaining to watch and enthralling in their violence.

The visuals of a mock Roman Colosseum and palatial dining areas are well constructed and look real enough to transport us to the Roman Era.

Politically, the twins are compared to present-day tyrannical rulers in office and a rogue’s gallery of appointed officials. Although it can be argued that the twins are somewhat played for laughs, the fact that dictators like this rule is scary.

Gladiator (2000) packs more emotional punch than Gladiator II (2024), but watching them in parallel would be fun. From a story perspective, they link well and have the same look and feel.

Oscar Nominations: Best Costume Design

2019 Films, August Diehl, Drama, Epic, Historical Drama, Matthias Schoenaerts, Terrence Malick, Valerie Pachner, War

A Hidden Life-2019

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A Hidden Life-2019

Director Terrence Malick

Starring August Diehl, Valerie Pachner

Scott’s Review #1,063

Reviewed September 22, 2020

Grade: A

Terrence Malick returns to the big screen with A Hidden Life (2019), a lavish, sprawling beauty with a more structured plot than many of his other films.

His recent offering, The Tree of Life (2011), though marvelous, lost some viewers with its spiritual themes and lack of pacing.

With A Hidden Life, the director presents more substantial writing and a more straightforward story. It seems we can never get enough of World War II Nazi stories and conflict in cinema, as the topic remains relevant and robust.

This one stands out to me in a powerful way because it is based on a real-life figure. Although set in 1940s Germany and Austria, it resonates with great relevance in current United States history, as Malick offers clear parallels to the Donald Trump era—frightening stuff.

He weaves the past with the present, so Trump and Hitler’s personalities are compared, and the supporters of each are portrayed as similar. Again, frightening stuff.

A peaceful peasant farmer, Franz Jägerstätter (August Diehl), lives a quiet life with his wife, Fani (Valerie Pachner), in rural Austria. Over the years, they welcomed three daughters and lived in the idyllic village, popular and well-liked by the townspeople.

Their beautiful life soon turns ugly when the German army recruits Franz for basic training.

Events escalate when he refuses to take a loyalty oath to Hitler, wanting nothing to do with a war he does not support, nor with those who align themselves with the dictator.

This leads to many conflicts for Franz and his family as they face the wrath of once kindly neighbors, and the vicious Nazis.

The artistic details are gorgeous, as frequent scenes of lush landscape erupt in a frenzy. The statuesque mountains in the background, a shot of a running stream, the characters digging, planting, and growing produce —all are exquisite, adding a grandness and spirituality.

It is advisable to watch the film on the big screen, although I did not, and I still marvel at these sequences.

Despite the camerawork, A Hidden Life is not an easy watch, but it is an important one. The film is rich with meaning, texture, and substance. You get the feeling you are watching something of worth, and that means something.

The film is not a work of fiction, and the realism is quite powerful.

To imagine a man like Franz sticking to his values and beliefs in the face of death and peril in real life is astonishing and sobering. Malick does not do glossy or downplay the ordeals that Franz endures in the hideous German prisons.

Treated barely better than Jews were in concentration camps, he was nonetheless mocked, humiliated, and eventually executed.

When Franz is repeatedly advised by a local priest and others to merely take the oath and not mean a word of it, Franz cannot do it. I was left wondering how many other German and Austrian people pretended to support Hitler to save him from death, but did not.

I couldn’t find any studies.

The comparisons to the horrific conditions in the United States present day with a wannabe dictator in the White House are sobering.

Thankfully, the United States remains the land of the brave and the free, and certainly the outspoken. But we have a voice, and Franz did not, nor do the Austrian people whom he presumably represents. He did his best and refused to succumb to the pressures, but the question can be asked if it was worth it.

Oh, how I wish A Hidden Life had a different title, though. Not exactly one that rolls off the tongue, it took me days to remember what the title was.

I kept confusing it with A Better Life (2011), a completely different type of film with a similar name. Something a bit more dynamic would have been preferred, though I get why the word “life” was included. It’s such a profound word. The correlation of titles with The Tree of Life (2011) does make sense.

Malick does it again, offering another left-of-center production that goes against the grain compared to most modern cinema. World War II films are a dime a dozen, but this film stands out for its beauty and characterization.

One needs to see Terrence Malick’s films to truly understand and appreciate what the man is going for here, and props for adding a more concise story to draw viewers.

A Hidden Life (2019) is grand and fraught with meaning, adding relevance to the current state of the United States’ political system.

Independent Spirit Award Nominations: Best Director- Terrence Malick

2019 Films, Allen Leech, Drama, Elizabeth McGovern, Historical Drama, Hugh Bonneville, Imelda Staunton, Jim Carter, Laura Carmichael, Maggie Smith, Michael Engler, Michelle Dockery, Penelope Wilton, Period Drama

Downton Abbey-2019

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Downton Abbey-2019

Director Michael Engler

Starring Hugh Bonneville, Michelle Dockery, Maggie Smith

Scott’s Review #947

Reviewed October 16, 2019

Grade: B+

Capitalizing on the tremendous success of the television series, which ended in 2015, Downton Abbey (2019) is a British historical period drama film written by Julian Fellowes, creator and writer of the series.

Beloved fans will devour the film, as the familiar formula and characters are brought to the big screen, giving it an even grander feel.

The film plays more like a two-hour episode arc over reinventing the wheel, but the result is a resounding crowd-pleasing affair with drama, scandals, and a good dose of nostalgia.

The Crawleys and their servants reside in the lavish fictional estate of Downton Abbey during the year 1927, a year and a half after the series ended.

Little has changed, and most of the characters are in similar situations, enjoying their daily lives.

Robert (Hugh Bonneville) and Cora Crawley (Elizabeth McGovern), the Earl and Countess of Grantham, are notified that King George V and Queen Mary will visit their home as part of a royal tour throughout the country.

The family and staff are excited yet skittish as they prepare to ensure the lavish event goes off without a hitch.

Situations arise such as the Downton Abbey servants feuding with the Buckingham Palace staff, Violet Crawley’s (Maggie Smith) dismay at Robert’s cousin Maud (Imelda Staunton) being in attendance, and attempted plot to kill the King which is thwarted by Tom (Allen Leach).

A new job offer for Edith’s (Laura Carmichael) husband, Mary’s (Michelle Dockery) frustration with maintaining the vast estate, and potential romances for several characters, including a scandalous same-sex relationship.

A few contemporary issues are created – among them, women’s rights and the plight of gay men. And though welcome, neither changes the overall blueprint of what the series is about, which is just what the series fans ordered.

Smith is the main attraction as she chews up the scenery with her insults, sarcasm, and blunt honesty. But the best scene, coming late in the film, gives Smith a chance to burst with sentimentality and limit the hamminess for at least one treasured scene.

The costumes and art direction are lovely, with luscious gowns, tuxedos, suits, jackets, hats, and shoes found in every scene.

The sprawling grounds of Downton Abbey and the ravishing interiors are front and center.

The film ventures to the neighboring city of York to offer a more progressive and metropolitan vibe, but each scene looks perfect, which is what fans have come to expect.

Not every character is front and center, but with an unwieldy cast of close to thirty principals, some are destined to accept back-burner status.

Surprisingly, yet agreeably, is the toned-down story for “super-couple” Bates (Brendan Coyle) and Anna (Joanne Froggatt), having enjoyed their share of trials and tribulations during the original run.

Wonderful moments feature supporting characters like Carson (Jim Carter), Thomas (Robert James-Collier), and Molesley (Kevin Doyle), who nearly steals the show with his hysterical fascination with royalty.

The balance and pace of the film are nearly perfect, and every character has at least something to do.

This characteristic has always helped huge ensemble casts succeed, and Fellowes wisely balances humor with drama but avoids tragedy or dark situations, hoping for mainstream success with his move to the big screen, opting to play it safe.

The attempt succeeds as the film adopts the “if it ain’t broke, don’t fix it” approach.

Downton Abbey (2019) is a splendid winner, primarily due to its impressive production values and costumes.

For fans of the television series, the film is a must-see and offers no more or no less than expected, providing more than enough to please those who want what the popular stories initially offered.

Despite the drama, the film does not feel “soapy” or contrived, and the tender moments may evoke a need for a hankie.

If the writing can remain fresh, I see no reason for another offering not to be green-lit, primarily due to the significant box-office returns.

2017 Films, Bill Pullman, Biography, Drama, Historical Drama, Jeffrey Donovan, Jennifer Jason Leigh, Kim Allen, Michael Stahl-David, Political Drama, Richard Jenkins, Rob Reiner, Woody Harrelson

LBJ-2017

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LBJ-2017

Director Rob Reiner

Starring Woody Harrelson, Jennifer Jason Leigh

Scott’s Review #890

Reviewed April 27, 2019

Grade: B-

LBJ (2017) provides small glimpses of historical interest with a biography about a United States president who is perhaps underrepresented in cinema history compared to other presidents.

The production never catches fire and falls flat with an overproduced film lacking a bombast.

The film can easily be viewed once, never to be thought of again, nor providing the need for analysis or discussion.

Director Rob Reiner creates a glossy, mainstream Hollywood production with questionable casting choices and a muddled feel.

To its credit, the film introduces the fateful day of November 22, 1963, into the story.

As then-Vice President Johnson (LBJ), played by Woody Harrelson, and their wife, Lady Bird (Jennifer Jason Leigh), deplane and embark on a motorcade procession through downtown Dallas, Texas, dire events will follow.

As the violent assassination of President John F. Kennedy (Jeffrey Donovan) soon arrives, the film portrays the initial foreshadowing well, then backtracks to 1960 when the Democratic nominee was up for grabs with both JFK and Johnson in contention.

The film traverses back and forth from pre to post-JFK assassination as LBJ took over the presidency amid the controversial Civil Rights Bill and a still shocked United States public.

A character study develops as the gruff and grizzled man takes center stage to lead the country into the future. The attempt is to show LBJ, the man, at his best and worst, personally and professionally, facing pressure from his cabinet.

Reiner portrays LBJ as complex, brooding, and vulgar but also as a person whose heart is ultimately in the right place. A man we love to hate? Or hate to love?

The film fails from a historical drama perspective and a genre with many in the cinematic chambers.

A powerful political drama is supposed to be compelling, but LBJ feels dull, run-of-the-mill, and highly forgettable.

Some examples of exceptional political film projects are Lincoln (2012), JFK (1991), and Vice (2018). Each has flare, flavor, and a twist or otherwise unusual story construction that LBJ glaringly lacks.

Simply put, the experience feels plain and unimpressive.

Having regrettably not seen the HBO film version entitled All the Way starring Bryan Cranston as LBJ, I cannot compare the two other than from word of mouth that Cranston gives the superior portrayal.

Based on the trailers, I agree with the overall assessment. Harrelson’s version of LBJ is adequate, if not sensational. His mannerisms as President may be effective, but he does not resemble the man too well.

With a waxy, heavily made-up face, Harrelson the actor is unrecognizable and feels staged rather than authentic.

Jennifer Jason Leigh suffers the same fate as Harrelson in the critical role of First Lady Lady Bird Johnson. The actress successfully emulates the appropriate characteristics, specifically facially, but she also appears to be made up, like a wax figure in a museum springing to life.

As Harrelson and Jason Leigh daftly teeter from scene to scene, the result is marginally comical, but LBJ, the film is not a comedy nor a satire, played instead for the heavy drama.

LBJ (2017) is of mild interest but limited as a successful film adaptation of an important figure in United States history. Glimpses of political education for those not alive to experience the tumultuous 1960s are good, but much more was expected from this film than was provided.

Better studies will hopefully be created in the future than what adds up to little more than a snore-fest.

2018 Films, Alfonso Cuarón, Best International Film Oscar Winners, Drama, Historical Drama, International, International Drama, Jorge Antonio Guerrero, Marina de Tavira, Yalitza Aparicio

Roma-2018

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Roma-2018

Director Alfonso Cuarón

Starring Yalitza Aparicio, Marina de Tavira

Scott’s Review #862

Reviewed February 2, 2019

Grade: A

Roma (2018) is a film to be experienced rather than merely viewed.

A cinematic, black and white feast for the eyes, and direction to be amazed by is utterly impressive and a triumph in masterful filmmaking.

On par with geographically picturesque epics such as Lawrence of Arabia (1962), the piece is not easy to watch at first. Still, the audience will become enraptured and rewarded with each passing moment as the characters emerge to flawless perfection, reaching a crescendo of magnificent art.

Set during a politically tumultuous time in Mexico City during 1970 and 1971, the film follows a young maid working for a middle-class Mexican family and her perspective on her surroundings.

She serves as housekeeper, going about her numerous duties of mopping, cooking, and even cleaning up the family dog excrement that runs rampant, and she provides emotional support for the family members.

Cleo (Yalitza Aparicio) and her best friend, fellow maid Adela (Nancy Garcia), tend to four children of varying ages and their troubled parents. He is a doctor, and she is the family matriarch.

Antonio and Sofia (Marina de Tavira) have a troubled marriage as he supposedly goes to Quebec for business, and tensions mount among the family.

Through it all, Teresa, Antonio’s mother, resides with the family as Cleo learns she is pregnant, and her boyfriend Fermin flees after hearing the news.

Director Alfonso Cuarón, responsible for the writing, direction, cinematography, editing, and nearly every picture aspect, draws from his personal experience growing up in Mexico City.

Cuarón reportedly created the film as an artful love letter to his beloved family housekeeper, whom he adored. This approach creates a rich personality, intimacy, and a definite family angle.

The film centers mainly around Cleo’s trials and tribulations, but the entire family appears in numerous scenes, making it feel like an ensemble feature.

Cleo is a quiet and modest girl, happily going about her chores and serving the needs of everyone around her. She is treated well by the family and adored by the children, only occasionally enduring the wrath of Sofia’s temper and troubles, but she is loved and appreciated.

In love with Fermin and her only sexual experience, she winds up pregnant, which scares the aggressive and battle-minded young man.

The storyline takes place over a year, so we see Cleo’s entire pregnancy progress and experience her devastation as she gives birth to a stillborn girl.

My favorite aspects of Roma are the simplicity and the monumental touches that Cuarón includes.

The film begins with a lengthy shot of water being thrown on a cement garage and the puddles and circulation of the water. Seen from above is a slow-moving airplane, and numerous background shots of a slowly landing airplane subsequently appear throughout the film.

Is this to represent the slowness of life? Life, death, and near-death experiences are featured in Roma. Cleo’s pregnancy, the death of a baby, and the near-drowning of one of the children rescued by Cleo, despite the girl not being able to swim.

Gorgeous scenes of Cleo traversing through the streets of downtown Mexico City exude beauty. The scenes undoubtedly represent her journey through life and the pain and rewards that she experiences, but they also feature dozens of interesting characters if one pays close attention.

A man lighting a cigarette, a woman gazing, and other ordinary people doing things that look illuminating and like glimpses of the past are featured. The automobiles are representative of the 1970s, as a Ford Galaxy, the family car, is extensively featured.

The film’s cover art (pictured above) perfectly captures the theme of Roma and is highly symbolic. Huddled on the sand at the beach, the family encircles Cleo with expressions of panic, fear, and gratitude.

The black-and-white adds depth, as it could easily be a piece immersed in an art museum. The group of people appears unified and clings to Cleo for dear life, also in a show of support and appreciation.

The photo is endearing and beautiful to look at.

Roma (2018) received an impressive ten Academy Award nominations and numerous year-end accolades, an impressive achievement for a foreign language film.

Those who are patient enough to let the film and its components marinate will be rewarded with a fine appreciation for cinematic artistry.

The dreamlike quality with meticulous attention to detail makes this personal work a fascinating masterpiece.

Oscar Nominations: 3 wins- Best Picture, Best Director- Alfonso Cuarón (won), Best Actress- Yalitza Aparicio, Best Supporting Actress- Marina de Tavira, Best Original Screenplay, Best Foreign Language Film (won), Best Sound Editing, Best Sound Mixing, Best Production Design, Best Cinematography (won)

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

2018 Films, Drama, Historical Drama, International, International Drama, Joanna Kulig, Paweł Pawlikowski, Tomasz Kot

Cold War-2018

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Cold War-2018

Director Pawel Pawlikowski

Starring Joanna Kulig, Tomasz Kot

Scott’s Review #861

Reviewed January 29, 2019

Grade: A

Every once in a long while, a modern film set in a different time embodies that era with such authenticity and grace that we forget that it was not shot when the story is told.

Cold War (2018) is one such film that dares to whisk the viewer to another world with genuine timelessness emboldened by the torturous romantic entanglements of its main characters.

Reminiscent of an Ingmar Bergman film shot in black and white, the film is lovely, tragic, and fraught with historical references. One can dissect the character nuances and atmospheric qualities encompassing the entire experience.

The film is a sum of its parts, with a painful layer of veneer immersed in all the various tidbits. Cold War contains almost no humor but rather doom and gloom.

Amid the ruins of post-World War II Poland, repressed and self-destructive musicians Wiktor (Tomasz Kot) and Zula (Joanna Kulig) forge an obsessive love affair and cannot stay away from each other despite the European cities and countries that stand in their way.

Spanning over a decade, they battle alcohol abuse, rage, and imprisonment as they traverse Poland, France, Berlin, and Yugoslavia.

Zula does obtain some success with her musicianship, but at a steep cost. She is forced to marry a hated man she does not love, many miles away from Wiktor. Still, their romance perseveres over time until the duo makes a fateful decision that leads to a profound climax.

The conclusion of the film is powerful, macabre, and emotional.

To state that Cold War is a tragedy is almost an understatement, though viewers will probably not realize this before watching the film.

When Zula auditions at a Polish house for the musically gifted and Wiktor accompanies her on the piano, sparks fly between them as they meet for the first time.

Zula appears to be a simple farm girl and sings a mountain song in duet with another girl. Spirited, Zula flirts with men but is forever drawn to Wiktor, and their chemistry runs rampant.

The direction, art direction, and cinematography are superb, offering a magnificent look to the film. The use of black-and-white filming gives the piece an immeasurably timeless quality, especially as streets and avenues in Paris emerge from time to time.

They could easily be 1950s France. The lovely halls where the pair performs add ambiance and effect, and musical treasures such as the melancholy main song, performed in multiple languages and tones, sparkle with culture.

With a runtime of only eighty-nine brief minutes, Cold War never feels rushed and compartmentalizes all that it needs to tell in this time period.

The story runs from 1949 until the early 1960s, and the film’s title is no mere accident. The historical reference is plain and obvious. The film also has a bleak and frigid quality in both its surroundings and its characters.

One worth mentioning is a rigid government man who complains that one girl in the chorus is “too dark”; the connotation is one of nationalism.

Multiple comparisons can be drawn to Pawlikowski’s masterpiece Ida (2014), one of which is that Kulig stars in both films.

In addition to the black and white shooting, both films feature a central female character that is tortured, a Nazi occupation of Poland or the after-effects of such an occupation, and the effects of repression or otherwise obsessive behavior featured in both films.

Pawlikowski is superb at crafting these damaged and conflicted characters in his films.

Director Pawlikowski successfully achieves a second Polish film offering that challenges his audiences with remarkable storytelling, a dark mood, and a reminder of the terrible effects of the aftermath of World War II and those left in its wake.

Psychological scars can wound as much as physical scars, as Pawlikowski proves in the characters he draws from and their doomed lives.

Cold War (2018) is an achievement in many ways and makes for a thoughtful conversation after the credits roll.

Oscar Nominations: Best Director- Pawel Pawlikowski, Best Foreign Language Film, Best Cinematography

2018 Films, Drama, Gemma Chan, Guy Pearce, Historical Drama, Ian Hart, Jack Lowden, Joe Alwyn, Josie Rourke, Margot Robbie, Period Drama, Saoirse Ronan

Mary Queen of Scots-2018

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Mary Queen of Scots- 2018

Director Josie Rourke

Starring Saoirse Ronan, Margot Robbie

Scott’s Review #851

Reviewed January 2, 2019

Grade: B+

A period piece with all the trimmings for brilliance (on paper anyway), Mary Queen of Scots (2018) is a very good film, but its pacing misses the mark, preventing it from being a truly great film.

Fantastic acting and wonderful photography are the high points of an otherwise uneven experience, even if most of the components are intact.

This is not so much a total knock as a light critique, as the film is ultimately quite good and just missing the big oomph to take it over the top.

Saoirse Ronan stars as Mary Stuart, the likable Queen of France, who has returned to her native Scotland to reclaim the throne after her husband dies. Only eighteen years of age, she initially refuses pressure to remarry, but conflict ultimately ensues with Queen Elizabeth I (Margot Robbie), who rules neighboring England and Ireland.

The women admire each other from afar but develop a rivalry in power and love. To complicate matters, religious conflict, scandals, and deceit are also present in the story.

The feminist theme is inspiring and makes the film better than merely a soap opera of two rival females sparring over men.

In the mid-sixteenth century, women in control were hardly commonplace and relatively resented by the men forced to serve the “whims of women,” as one male character puts it.

Constantly showcased are males’ attempts at wooing the women in hopes of gaining power and ultimately the throne.

Still, director Josie Rourke (a woman) keeps the power firmly among the women, showing they can be as tough as they are sympathetic.

Furthermore, Mary Queen of Scots continues its progressive agenda with a startling LGBT subplot, which largely enriches Mary’s image.

One young androgynous male friend, presumably a bodyguard, frolics with Mary and other maids and confesses that he feels more like a sister than a brother to her. She accepts him wholeheartedly with an added message of “being your true nature.”

Later, the character suffers a terrible fate that devastates Mary. Regardless of the accuracy, this is a nice addition with an inspiring message.

The acting, particularly among leads Ronan and Robbie, is fantastic. Both young “it” women in Hollywood, the roles of Mary and Elizabeth, showcase their acting talents and chops for handling period piece roles.

Ronan, with flawless pale skin and authentic red locks, is beyond believable as Mary, who exudes strength yet kindness in the role she tackles. She can be stubborn but also fun and light, and Ronan has no trouble making the role her own.

Hot on the heels of playing the trailer trash character of Tonya Harding in I, Tonya (2017), Robbie hits it out of the park and does a one-eighty with the role of Elizabeth. Insecure and barren, afflicted with a skin disorder and a balding head of hair, the actress infuses the character with sensitivity and composure.

Robbie portrays her insecurity and yearning for unconditional love as she wears bawdy wigs and pancake makeup to hide her affliction.

Rourke’s mistake is not including more scenes of Ronan and Robbie together, save for one treasured scene at the end of the film. This is a wasted opportunity, as the treasured actresses could have played off each other’s talents in innumerable ways.

A knock-down, drag-out fight scene would have been a treasure to view.

The male characters do not leave much impact other than perhaps Lord Darnley (Jack Lowden), Mary’s bisexual second husband. As he betrays her on her wedding night with another man, Mary sees little use for him besides producing a child.

The handsome blonde actor adds some pizzazz, but is ultimately unlikable, as are the other similarly written men. Mary’s half-brother and Elizabeth’s advisor (Guy Pearce) are fine but ultimately underdeveloped.

Mary Queen of Scots (2018) is an effort to be commended for its female-driven and pro-LGBT stances. Perhaps unrealistic given the period and questions of historical accuracy looming over the entire film, problems with the production do exist.

The film ebbs and flows with some high moments and some looming blandness, but overall, it is to be respected and thereby recommended.

Oscar Nominations: Best Makeup and Hairstyling, Best Costume Design

2017 Films, Ben Mendelsohn, Biography, British, David Strathairn, Drama, Gary Oldman, Historical Drama, Joe Wright, Kristin Scott Thomas, Lily James

Darkest Hour-2017

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Darkest Hour-2017

Director Joe Wright

Starring Gary Oldman, Kristin Scott Thomas

Scott’s Review #718

Reviewed January 24, 2018

Grade: A-

Darkest Hour (2017) is a British historical film that showcases legendary actor Gary Oldman’s astounding portrayal of Winston Churchill.

Known for numerous other fine-acting performances in films such as the Harry Potter series (2001-2011), JFK (1991), and Batman Begins (2005), this performance easily transcends all of the others as he brings perfection to complex role-infusing humor, drama, and many idiosyncrasies of the storied historic figure.

Churchill is the best role of Oldman’s lengthy career.

Director Joe Wright, famous for classy European films such as Pride and Prejudice (2005), Atonement (2007), and Anna Karenina (2012), traditionally offers rich, intelligent experiences with an upper-crust, often British theme and fills his characters with wry humor and wit.

In Darkest Hour, a film that belongs to Oldman, by the way, Churchill is the master of gruff sarcasm and cantankerous charm.

During the tumultuous time of 1940,  with the barbaric grips of Nazi Germany settling upon both England and France (Allies in World War II), a disheveled England is frustrated with their current Prime Minister, Neville Chamberlain, for being weak.

Chamberlain begrudgingly appoints Winston Churchill as his successor, amid limited support.

The film discusses Churchill’s early days in charge as the war and the Nazi presence loomed larger and larger- especially as the historic Dunkirk situation comes into fruition.

Darkest Hour is a good quality film —it has a certain historic richness and the feeling of experiencing a worthy and relevant film. For those of us who did not live during the 1940s, the film will likely serve as an educational experience into the events of the day.

Hundreds of films have been made over time that have explored the events during World War II in fantastic detail, but this film is unique in that it not only provides a perspective of the Allied countries “back against the wall” situation but the ups and downs and pressures that Churchill, the man, faced.

Despite a few quick clips of Hitler and very old black-and-white footage and newspaper headlines of the crazed leader, the focus is not on the enemy country. No actor was used to play Hitler; rather, the focus is on Churchill and the decisions he made and the influences he was faced with.

Pressured to appease the militant German country and reach a “peaceful” deal, Churchill instead listened to the voices of the ordinary, everyday, British people to get his decision to fight the Germans and not back down.

Clever and relevant to 2017 cinema, the film spotlights the famous Dunkirk situation, when British forces were trapped on the shores of Dunkirk, with German planes looming overhead.

Many men were saved, thanks in large part to Churchill and British and French civilian boats that aided in the rescue.

The 2017 film Dunkirk would make an excellent companion piece to Darkest Hour because its subject matter is similar to that of Darkest Hour.

Not surprisingly, both films received Academy Award nominations for Best Picture.

A great lesson I carried away from the film is with Churchill himself.

Sure, I knew that he was the Prime Minister of England during the 1940s and was instrumental in the events of the bloody war, but I knew little about the man himself.

Thanks to Wright and, of course, Oldman, the viewer will learn the good and bad characteristics of this man. A heavy drinker, commonly downing champagne with lunch and brandy the rest of the day, he was initially not well-liked, nor taken very seriously by British royalty.

With Churchill’s bubbling personality, Oldman is fantastic at filling the role with humor, frustration, and just the correct amount of empathy and concern.

Despite his temper, we can tell that he loves his country and is proud of the people living there—that is why he is adamant about conquering the enemy. So, we know he is a good man despite his temper tantrums.

Oldman also successfully embodies the mannerisms that this historical figure contained.

Kristin Scott Thomas also gives a worthy performance, albeit in a small role, as the mature and graceful wife, who can both support and match wits with her husband.

Thanks to a brilliant acting performance by Gary Oldman, who takes on a difficult role that could easily be botched by lesser talent, Darkest Hour is a 2017 historical drama worth seeing.

He makes a film that could have been dull and flat into a worthy watch to both learn something and be amazed at a truly great acting performance.

Oscar Nominations: 2 wins-Best Picture, Best Actor-Gary Oldman (won), Best Production Design, Best Cinematography, Best Makeup and Hairstyling (won), Best Costume Design

2015 Films, Alan Alda, Amy Ryan, Billy Magnussen, Coen Brothers, Drama, Historical Drama, Jesse Plemons, Mark Rylance, Noah Schnapp, Peter McRobbie, Sebastian Koch, Steven Spielberg, Tom Hanks

Bridge of Spies-2015

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Bridge of Spies-2015

Director Steven Spielberg

Starring Tom Hanks, Mark Rylance

Scott’s Review #399

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Reviewed April 28, 2016

Grade: B+

Tom Hanks teams with Stephen Spielberg once again in another A-list Hollywood film.

Like Saving Private Ryan (1998), Bridge of Spies (2015) is in the historical vein. This time, the Cold War is featured; the film begins in 1957.

The camera work, the artwork, and the set decorations are second to none as the film looks and feels authentic.

As interesting as the overall result is—it felt like I was watching a well-made film—there was also something missing, which did not make it truly riveting, and that is why it received a B+ rating.

With Spielberg and Hanks on board, one will get a quality film.

Hanks portrays James B. Donovan, a Brooklyn attorney specializing in insurance law, but a wiz at negotiation and experienced with the Nuremberg trials.

He is assigned to defend suspected spy Rudolf Abel (Mark Rylance) in what is assumed to be an open-and-shut case, his guilt is considered a given.

Abel has been arrested by the FBI and is thought to be a Russian spy. They are willing to release him on the condition that he reveal Soviet contacts, but he refuses.

Meanwhile, an American pilot, Frances Powers, is captured in Soviet territory and taken hostage. To make matters more complicated, an American graduate student, Pryor, is trapped behind the Berlin Wall in East Germany and not allowed by the Germans to leave.

The pressure is on Donovan to defend Abel in the United States but to make a deal to return the three men to their respective countries.

Hanks, a great actor, is his typical stoic, capable self, and his portrayal reminds me of his role in Captain Phillips (2013), calm, well-mannered- a clear yet quiet leader.

The role is not flashy compared to other legendary Hanks roles (Forrest Gump-1994, Philadelphia-1993). The film centers around Hanks and caters to his acting style. His character is always at the forefront.

Hanks never gives a bad performance and I admire him in almost anything.

Let’s discuss the role and the portrayal by Mark Rylance in his Oscar-winning role.

Giving a very subdued, nuanced performance, he is good and low-key in what could have been an energetic, over-the-top performance if written that way, but I am not sure I would have handed him the golden statuette over a few of the other nominees in the 2015 Supporting Actor category.

This isn’t a criticism, but I am unsure if he warrants an Academy Award.

Bridge of Spies is very detail-oriented and every set piece- from late 1950s cars, clothing, hairstyles, and home furnishings is spot on.

The film was expensive to produce and no expense seems to have been spared.

The film travels from Brooklyn to the Soviet Union, to Germany, and gives off a patriotic, Americana flare, which is true to life in the given time. There was such a sense of country and community.

Nothing makes this more apparent than the distasteful glares coldness and hatred displayed by many characters towards Donovan.

To counteract this, when Donovan is ultimately more the hero, he is revered and celebrated.

As great as the film looks, there is something slightly disconnecting about it. I was left wanting more from a story perspective and feeling slightly disengaged throughout parts of it. I was never riveted or blown away despite realizing I was watching a well-made film.

This can happen if the story is less compelling than the way the film looks as with Bridge of Spies.

After I finished watching I felt that I did not need to see the film again, in contrast to truly great films where one can watch over again.

A slight mention is that Bridge of Spies is a “guy’s film”. Amy Ryan, a great actress, does all she can with the only real female role in the film in that of Donovan’s dutiful, supportive wife, a role written one-dimensionally hundreds of times.

It is a shame her character is not fleshed out. The typical worried scenes or fretting for her husband to return home to his family are purely reactionary and do not further the plot.

In this sense, the film deserves criticism for being too traditional.

Bridge of Spies is a good effort but not a tremendous film. It is the type of film I liked but did not love.

Perhaps, the names Spielberg and Hanks on the marquee had me expecting more.

Oscar Nominations: 1 win-Best Picture, Best Supporting Actor-Mark Rylance (won), Best Original Screenplay, Best Original Score, Best Sound Mixing, Best Production Design

2014 Films, Alessandro Nivola, André Holland, Ava DuVernay, Carmen Ejogo, Colman Domingo, Common, Cuba Gooding Jr., David Oyelowo, Drama, Dylan Baker, Giovanni Ribisi, Historical Drama, Independent, Independent Drama, Jeremy Strong, LaKeith Stanfield, Martin Sheen, Niecy Nash, Oprah Winfrey, Stephan James, Stephen Root, Tessa Thompson, Tim Roth, Tom Wilkinson, Wendell Pierce

Selma-2014

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Selma-2014

Director Ava DuVernay

Starring David Oyelowo, Carmen Ejogo

Scott’s Review #248

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Reviewed June 19, 2015

Grade: A-

An Oscar-nominated factual feast, set in the mid-1960s during the Civil Rights movement, Selma (2014) is a re-telling of the life and times of Martin Luther King Jr. and the struggles that black Americans endured during a tumultuous period in history.

The film includes dealings with then-President Lyndon B. Johnson and the famous and important 1965 Selma to Montgomery voting rights march, which led to the signing of the pivotal Voting Rights Act of 1965.

This film reminded me quite a bit of 2013’s The Butler in subject matter and style-ironic since Lee Daniels was slated to direct and instead signed on for The Butler.

Both feature a charismatic and intelligent black man struggling with racial matters.

Despite being an independent undertaking, it is glossy, polished, and reflective of the time. Both The Butler and Selma boast a huge cast, and historical political figures, in a tumultuous era in history.

Selma features a bevy of real-life figures from George Wallis to President Johnson to the obvious leader of the Civil Rights movement, Martin Luther King Jr., and his wife, Coretta Scott King, and the casting is very well thought out.

Tim Roth, David Oyelowo, Tom Wilkinson, and Carmen Ejogo portray their roles professionally and passionately. None of the above received Oscar nominations and I am okay with that.

I did not feel that any were definite standouts from a crowded field of talent, though perhaps Ejogo could have been in the running with her understated though compelling performance.

The drama surrounding the lack of expected Oscar nominations is not shared by me. The truth is, the film was included in the Best Picture category and won Best Song.

While an emotional and compelling film, neither is it a masterpiece nor will change the art of cinema, though I must stress it is good.

I find Selma to be an important film- a look back on history and the shame and humiliation placed on blacks who attempted to obtain voting rights. A heartbreaking scene depicts a determined woman (played by Oprah Winfrey) being denied this right by a cold and racist authority figure as she is asked impossible and tricky questions to prove her patriotism, which of course, she cannot possibly answer correctly.

Yes, the film is directed by a black, female director (Ava DuVernay) and yes, one might argue that it has a black point of view. However, the film successfully sympathetically portrays several white characters and avoids the assumption that all white people were racist in this period.

Let’s face it- racism still exists, especially in the South, and in the 1960s even more so. I did not find the message in black people vs. white people’s terms, but rather as a humanistic struggle for rights.

And the struggles continue as the film makes abundantly clear in the message of the film.

While King was a life changer to the black people of the United States, his life was abruptly cut short in his prime. One wonders how much more good this man could have achieved.

The song “Glory” is an emotional, powerful number, especially during the marching and subsequent slaughter scenes highly emotional and effective.

And who will not become teary-eyed as the innocent marchers are beaten and treated like cattle, simply for taking a stand? One will gasp at the senseless bombing scene that rocks a building and takes four innocent little girls’ lives away with it.

Selma successfully transplanted me to a time before my time and made me appreciate and capture the positive and negative experiences of a race of people not long ago.

This film inspires and moves me and teaches me what a movement occurred in 1965.

Oscar Nominations: 1 win-Best Picture, Best Original Song-“Glory” (won)

Independent Spirit Award Nominations: Best Feature, Best Director-Ava DuVernay, Best Male Lead-David Oyelowo, Best Supporting Female-Carmen Ejogo, Best Cinematography

2012 Films, Chilean, Drama, Gael García Bernal, Historical Drama, International, International Drama, Pablo Larraín, Sergio Hernández

No-2012

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No-2012

Director Pablo Larrain

Starring Gael Garcia Bernal

Scott’s Review #119

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Reviewed July 17, 2014

Grade: B

No is a 2012 Best Foreign Language film nominee that centers around a Chilean ad executive’s campaign to oust a powerful Chilean dictator (Pinochet) from power circa 1988.

The ad executive (played by Gael Garcia Bernal) struggles to create a powerful campaign to influence the media and the voters.

The movie looks very documentary-style and is visually interesting. One will experience firsthand how difficult it was to create a successful campaign amid the political unrest occurring in Chile during this time.

The fact that the film is based on a true story adds a level of interest.

While watching the film, I felt like it was genuinely 1988 and I felt transported back to that time, unlike many period films where sets simply look dressed up for the period.

A detraction of No (2012) was its painfully slow pace, which made it drag occasionally.

Oscar Nominations: Best Foreign Language Film

2013 Films, Alan Rickman, Biography, Colman Domingo, Cuba Gooding Jr., David Oyelowo, Drama, Forest Whitaker, Historical Drama, James Marsden, Jane Fonda, John Cusack, Lee Daniels, Lenny Kravitz, Liev Schreiber, Mariah Carey, Minka Kelly, Oprah Winfrey, Robin Williams, Terrence Howard, Vanessa Redgrave

Lee Daniels’ The Butler-2013

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Lee Daniels’ The Butler-2013

Director Lee Daniels

Starring Forest Whitaker, Oprah Winfrey

Scott’s Review #81

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Reviewed June 30, 2014

Grade: A

Director, Lee Daniels, is a recent favorite of mine (Precious-2009, The Paperboy-2012) and his latest The Butler (2013) is an excellent, true story, undertaking.

While the trailer looked appealing, I was concerned that the film might be overwrought or have a Hollywood sappiness.

While it’s a Hollywood film, it is also a powerful, emotional experience.

The viewer is taken on a journey from 1926 through the current president from the viewpoint of White House butler Cecil Gaines (Whitaker), who serves several presidents and is privy to the goings-on in the White House.

He is played by Forest Whitaker and his boozy, troubled wife is played by Oprah Winfrey.

Both give tremendous performances.

The Butler is a political journey through time and I love the authenticity of each decade from the sets to the costumes to the hairstyles.

The casting of the Presidents is curious (Robin Williams as Eisenhower and John Cusack as Nixon), but works nonetheless.

The rivalry between Cecil Gaines and his rebellious son is quite interesting as the viewer sides with each individual at different times.

The film is more emotional than I anticipated and much of the audience was teary during scenes of heartbreak and triumph.

I feel The Butler (2013) is a must-see for everyone.