Category Archives: Richard Jenkins

1998 Films, Ben Stiller, Bobby Farrelly, Brett Favre, Cameron Diaz, Chris Elliott, Comedy, Jeffrey Tambor, Lee Evans, Lin Shaye, Markie Post, Matt Dillon, Peter Farrelly, Richard Jenkins, Romantic Comedy, Sarah Silverman

There’s Something About Mary-1998

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There’s Something About Mary-1998

Director Peter Farrelly, Bobby Farrelly

Starring Ben Stiller, Cameron Diaz, Matt Dillon

Scott’s Review #1,428

Reviewed June 16, 2024

Grade: B+

Since many films are released within the romantic comedy genre most are disposable and forgettable. Very few stand out initially let alone stand the test of time.

Decades later, There’s Something About Mary (1998) holds up well mostly because of its chemistry and laugh-out-loud memorable moments. It also has a heart and is not mean-spirited showcasing a brewing romance people can relate to.

Watching in 2024 particularly interesting is the appeal of Cameron Diaz since retired from acting, and a young Ben Stiller who was then in his heyday and a box-office gem. Brett Favre, who then was a superstar NFL quarterback makes a cameo appearance.

Pleasing is to watch a hit film from decades ago that still offers appeal.

Ted’s (Ben Stiller) unexpected dream prom date with Mary (Cameron Diaz) in 1985 is disastrous due to an embarrassing injury at her home causing them never to get to the prom. Mary leaves town shortly after.

Thirteen years later, pre-social media in 1998, Ted hires shady investigator Pat Healy (Matt Dillon) to track down Mary so he can reconnect with her. Pat becomes obsessed with her and lies to Ted about Mary, finding out everything he can about her to trick her into dating him.

Ted realizes the truth and travels to meet Mary in Miami, Florida where she is a successful orthopedic surgeon to reconnect with her.

Instantaneous hilarity comes to mind from two legendary scenes involving Ben Stiller’s Ted that most people have heard of.

While using the bathroom at Mary’s house before leaving for the prom Ted gets his private parts or ‘frank and beans’, caught in his zipper. Every male viewer will squirm in imagined discomfort but the hijinks with Mary’s parents and neighborhood firefighters who get involved make the sequence legendary.

This pairs well with a later scene when Ted masturbates just before his date with Mary to relax. Mary mistakes some ‘residue’ on Ted’s ear for hair gel and hilariously applies it to her hair causing it to stick straight up in the air during dinner.

Both scenes still feel fresh and natural years later and are now historical.

The introduction of Tucker (Lee Evans) a third admirer of Mary doesn’t work so well in hindsight. The revelation that he is not a British architect but merely a pizza deliverer who injured his back to get close to Mary feels forced and unnecessary.

The triangle between Ted/Mary/Pat is just enough.

The inclusion factors are impressive. In 1985, Mary had a black stepfather and a mentally disabled brother both of whom she adores. When Ted drives from Rhode Island to Florida he stops at a rest area and is assumed to be gay. This is preceded by a session with a psychiatrist who suspects Ted may be gay.

These additions go a long way to showcase normalcy in these individual areas.

It’s also impressive that the Farrelly brothers (Peter and Bobby), who direct the film, make Mary a surgeon paving the way for female viewers to aspire to the same.

There’s Something About Mary gets a slight knock for exploiting female breasts, Mary is seen at least twice through a window putting on a bra while a male spies on her from the distance.

The characters are benevolent especially Ted and Mary making it easy for the audience to root for them. Thanks to the tremendous chemistry between Diaz, Stiller, and Dillon, There’s Something About Mary (1998) feels fresh and romantic without a forced feeling.

2021 Films, Bradley Cooper, Film noir, Richard Jenkins, Thriller

Nightmare Alley-2021

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Nightmare Alley-2021

Director-Guillermo del Toro

Starring-Bradley Cooper, Cate Blanchett, Rooney Mara

Scott’s Review #1,229

Reviewed February 13, 2022

Grade: B+

I have not seen the original Nightmare Alley made in 1947 so can make no comparisons to how the film noir remake in 2021 compares but I am a fan of respected filmmaker Guillermo del Toro. His knack for creating such dark treats containing fantastical elements like Pan’s Labyrinth (2006) and The Shape of Water (2017) have similar tones.

Set back in the 1930s and the 1940s when the United States of America suffered from the Depression and subsequently World War II, a midwestern carnival and then wintry Buffalo, New York are the chosen settings for his latest film.

Nightmare Alley feels like two different films and I prefer the first half by a small margin. del Toro is a major filmmaker and while he creates an experience that is gorgeously shot and simmering with effective elements it’s not one of his best films and certainly not on par with the above-mentioned gems.

The story stretches believability at times and feels like the film noir elements from the original might have been included just for the sake of making it fit a defined category. The twist at the end shocks and disturbs which cements the del Toro flavor.

To summarize, the look of the film is exceptional and the story is pretty good and the two halves, one in the midwest and the other in Buffalo, feel disjointed.

When handsome and very charismatic but down-on-his-luck Stanton Carlisle (Bradley Cooper) meets the clairvoyant Zeena (Toni Collette) and her aging mentalist husband Pete (David Strathairn) at a traveling carnival, he creates a powerful act utilizing his ability to manipulate townfolks.

He has fled from a dark past involving his father and fire but we don’t know the exact details.

Moving on to Buffalo, he enshrouds the wealthy elite of 1940s New York high society. With the virtuous Molly (Rooney Mara) by his side, Stanton plots to con a rich yet vulnerable tycoon (Richard Jenkins) with the aid of a mysterious and pouty psychiatrist (Cate Blanchett) who might have tricks up her sleeve.

Since I adore Blanchett I was eagerly awaiting her entrance which unfortunately doesn’t come until midway through the film. Nonetheless, she makes quite an impression as she smokes and drinks in stylish glamour befitting gorgeous women of the time. Moreover, her character of Lilith Ritter is cold and calculating as the audience knows she is toying with Stanton, we just don’t know how or why.

While not quite a romantic triangle, Cooper has good chemistry with Mara but tremendous chemistry with Blanchett. Both actresses reunite from their turn together in Carol (2015) but have very little screen time together.

Each of the three delivers a mighty performance with Cooper and Blanchett simply mesmerizing.

One can even forget the plot entirely and simply look at the film. It’s that good and polished. From the dusty and depressing midwestern ordinary towns to the architecturally fabulous Buffalo, del Toro and team construct a lavish production design. Each costume and set piece is perfectly staged.

I was more attuned to the strange and creepy carnival characters like the ‘geek’ and Cooper and Blanchett making on-screen magnificence than to care as much as I should have about the storyline plotholes or inconsistencies.

The unsatisfying reveal about the relationship between Stanton and his father or the backstory of the rich tycoon abusing young girls only gave me mild interest. The story as a whole becomes too complex and uncompelling for me to really care for a while.

The sweet spot of Nightmare Alley (2021) is the grand production design and the flawless acting. Besides an effective ‘oh, shit!’ moment at the conclusion which confirms Cooper as a great actor, the story mainly meanders.

It’s a very good effort but not one of del Toro’s best.

Oscar Nominations: Best Picture, Best Cinematography, Best Production Design, Best Costume Design

2011 Films, Bradley Whitford, Chris Hemsworth, Drew Goddard, Horror, Horror-Comedy, Kristen Connolly, Richard Jenkins, Science Fiction, Sigourney Weaver

The Cabin in the Woods-2011

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The Cabin in the Woods-2011

Director Drew Goddard

Starring Kristen Connolly, Chris Hemsworth

Scott’s Review #1,221

Reviewed January 17, 2022

Grade: A-

The Cabin in the Woods (2011) is a very clever film with tremendous writing and acting. It takes a standard horror film premise and spins it into something new and inventive. I wouldn’t dare spoil the twist reveal at the end of the film but suffice it to say it’s a doozy.

It’s not your typical or expected slasher film.

Created by Drew Goddard (he wrote Cloverfield-2008) in his directorial debut he also co-wrote the screenplay with Joss Whedon. Besides horror, there is dark comedy and science fiction incorporated making it cross-genre entertainment and enjoyment.

When five college friends (Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, Jesse Williams) arrive at a remote forest cabin for relaxation and quiet, odd horrors await them. A group of backwoods zombies wreaks havoc on the group and they are systematically killed one by one in a gruesome fashion.

From an unknown location, two scientists (Richard Jenkins, and Bradley Whitford) are manipulating the events, but there are even more sinister machinations going on somewhere else.

The story on the surface is pretty basic and Goddard and Company delightfully add parodies of standard horror elements. Most who see The Cabin in the Woods will be fans of the horror genre.

Anytime five college kids head for a weekend alone in a secluded cabin it’s a recipe for disaster.

I immediately compared the film to Friday the 13th (1980) meets The Evil Dead (1981).

The group even has nicknames that coincide with traditional horror/slasher film character trademarks: ‘The Virgin’, ‘The Athlete’, ‘The Whore’, ‘The Fool’, and ‘The Scholar’.

This is a pure treat for fans.

Goddard, or the scientists manipulating the action, gleefully fills the students with intoxicants making their libidos flare and their curiosities piqued. A mysterious diary and other weird objects are found by the group in the cabin basement.

Ordinarily smart, the students are unable to provide rational thinking or proper reasoning. Naturally, they are unable to escape the remote area either.

The scientists cackle and make bets on which zombie will appear next. The audience enjoys this immensely because what horror film viewer doesn’t predict who gets killed when how and who will be the last one standing?

The Cabin in the Woods is incredibly enjoyable.

In joyous form, two of the group have animalistic sex outside and one is decapitated.

Then things get strange.

The audience knows of the scientists, but wait there’s more! When the scientists are called by a mysterious ‘director’ who tells them that Marty (Hemsworth) has not been killed and is attempting to rescue Dana (Connolly), something has gone amiss.

The reasoning and understanding of the big reveal are very implausible but shocking nonetheless. It’s scary because it’s unexpected and that’s why the film is so creative and successful.

The Cabin in the Woods (2011) turns the traditional horror formula upside down and is a pure delight for fans of the genre. Instead of mocking, it embraces the methods and offers intelligence and humor that I truly appreciate.

2017 Films, Best Picture Oscar Winners, Drama, Michael Shannon, Michael Stuhlbarg, Octavia Spencer, Richard Jenkins

The Shape of Water-2017

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The Shape of Water-2017

Director-Guillermo del Toro

Starring-Sally Hawkins, Richard Jenkins, Michael Shannon

Scott’s Review #705

Reviewed December 16, 2017

Grade: A

Director Guillermo del Toro creates a lovely Beauty and the Beast style film that is as gorgeous to look at as the story is intelligent and sweet to experience.

Thanks to a talented cast led by Sally Hawkins, the film is part drama, part science fiction, even part thriller, but touching to one’s heart and a lesson in true love regardless of outward appearances.

The story was co-written by Vanessa Taylor giving it a needed female perspective to perfectly balance the traditional male machinations.

The setting is Baltimore, Maryland during the early 1960s. Ongoing is the Cold War pitting the United States and the Soviet Union against each other- both mistrustful of the other side. Kindly and mute, Elisa Esposito (Hawkins) is a curious and whimsical young woman, who works as a cleaning lady at an Aerospace Research Center.

When she stumbles upon a mysterious “shape” being held prisoner for experimentation purposes, she slowly communicates with and befriends the creature, eventually falling madly in love with him.

The “asset” as the scientists like to call him is an amphibian/humanoid needing saltwater to survive. Elisa sees an opportunity to help her love escape captivity and off she goes.

Hawkins exudes warmth and fills Elisa with courage and a determination that is astounding. Not to utter a word is a tough feat for an actor to challenge, but instead of words, Hawkins successfully provides a vast array of emotions to reveal how Elisa feels.

Despite her “handicap” she is a strong woman and speaks her mind on more than one occasion using sign language to offer her frustration. Hawkins gives a fantastic and believable performance.

Cast in wonderful and important supporting roles are Richard Jenkins as Elisa’s friend and neighbor, Giles, a closeted gay man who works as a commercial artist. Jenkins fills this character with intelligence, heart, and empathy as he struggles with his issues of alcoholism and loneliness- unable to be accepted for who he is.

Octavia Spencer shines as witty and stubborn Zelda Fuller, Elisa’s best friend and co-worker. Zelda has her domestic problems but is forever there for her friend, and Spencer gives her character zest, humor, and energy.

Finally, Michael Shannon plays the dastardly and menacing Colonel Richard Strickland, the man who found the “asset” in the rivers of South America and has a nice family.

Each of these characters is written exceptionally well and each has its storyline rather than simply supporting Hawkins’s character.

The audience becomes involved in the private lives of Giles, Zelda, and Strickland and we get to know and care for them- or hate them as the case may be.

Giles, harboring a crush on a handsome pie-shop owner, is afraid to make his feelings known. Zelda, with a lazy husband, dutifully takes care of her man though she is as sassy as they come. And Strickland lives an all-American family life with a pretty wife and two kids, totally unaware of his shenanigans.

The film is a gorgeous and lovely experience and by this I mean the film has a magical element. The opening and closing sequences shot underwater, resound in beauty as objects float along in a dreamy way, the narrator (Jenkins) taking us on a journey to explain the events of the story.

At its core, The Shape of Water is a romantic love story, and my favorite scenes- those of Hawkins and the “asset” are to be treasured. Yes, the two do make love, which may be too much for some, but the scenes are tasteful and important to show the depth of the character’s love for one another.

Cherishing is the way that Elisa uses both music and hard-boiled eggs to communicate with the “asset”. When Elisa imagines the two characters dancing, the sequence is an enchanting experience reminiscent of Beauty and the Beast.

Other underwater scenes involving Elisa and the “asset” are tender, graceful, and filled with loveliness.

A key part of the film involves a story of intrigue between the Americans and the Soviets, and while both are portrayed negatively, the Americans are arguably written as more unsympathetic than the Soviets.

Thanks to Strickland- abusive and vicious, and his uncaring superior, General Holt, we do not root for the government officials at all, but rather, the ordinary folks like Elisa, Zelda, and Giles, who are outcasts.

Interestingly, Dmitri (Michael Stuhlbarg), a Soviet spy who is a scientist, is the only character working at the center who wants to keep the “asset” alive and is written sympathetically.

My overall assessment of The Shape of Water is that it is a film to be enjoyed on many levels and by particular varied tastes- the film will cater to those seeking an old-style romance, complete with some tasty French music.

Then again, the film can be lumped into a political espionage thriller, with a cat-and-mouse chase and other nail-biting efforts.

Overall, the film has heart and truth and will appeal to vast audiences seeking an excellent film.

Oscar Nominations: Best Picture (won), Best Director-Guillermo del Toro (won), Best Actress-Sally Hawkins, Best Supporting Actor-Richard Jenkins, Best Supporting Actress-Octavia Spencer, Best Original Screenplay, Best Original Score (won), Best Sound Editing, Best Sound Mixing, Best Production Design (won), Best Cinematography, Best Costume Design, Best Film Editing

2010 Films, Chloë Grace Moretz, Horror, Kodi Smit-McPhee, Matt Reeves, Richard Jenkins

Let Me In-2010

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Let Me In-2010

Director Matt Reeves

Starring Kodi Smit-McPhee, Chloe Grace Moretz

Scott’s Review #509

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Reviewed November 4, 2016

Grade: A-

I loved Let Me In (2010).

It is nearly as exceptional as the original, Let the Right One In (2008), which is Swedish.

Billed as horror, it contains none of the typical horror cliches or corny dialogue- rather it is mysterious, compelling, and character-driven.

This in itself is refreshing.

Additionally, the cinematography is exceptional in its coldness, darkness, and good old-fashioned ambiance.

Let Me In is about a twelve-year-old outcast, named Owen (Kodi Smit-McPhee),  who befriends a neighbor girl-Abby (Chloe Grace Moretz)- who we learn is a vampire.

Owen is bullied at school and through Abby, learns to stand up to his tormentors.

I am partial to foreign language films so, to me, the American version lacks the engaging language a bit and is not…well, foreign, so that detracts slightly, but not much at all, and this effort is quite remarkable.

This film is a horror film- in the classic sense of containing vampires and not being played for goofs- and quite gory, but also a beautiful, emotional film, and the concepts of sadness and loneliness are explored.

Let Me In (2010) is one of the best horror films I’ve seen in recent years.

2015 Films, David Arquette, Independent, Independent Western, Kurt Russell, Matthew Fox, Patrick Wilson, Richard Jenkins, S. Craig Zahler, Sean Young, Western

Bone Tomahawk-2015

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Bone Tomahawk-2015

Director S. Craig Zahler

Starring Kurt Russell, Patrick Wilson, Richard Jenkins

Scott’s Review #403

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Reviewed May 10, 2016

Grade: B+

Bone Tomahawk is a film from 2015 that almost nobody saw or heard of, and is a unique independent horror/western hybrid. It has strong influences on Quentin Tarantino and contains an impressive cast for such a low-profile film.

Bone Tomahawk is the proverbial diamond in the rough and is worth seeing for film fans with patience enough to sit through the slow-moving pace to get to the good stuff.

It largely comes in the final thirty minutes of the film.

Notably, the film was recognized by the Independent Film Committee and received two Spirit Awards, for Best Supporting Male (Richard Jenkins), and Best Screenplay.

It won neither.

The film does not have a “star”, but rather a myriad of heavy hitters in a clear ensemble. Kurt Russell plays Franklin Hunt, sheriff of a tiny town named Bright Hope, presumably somewhere in the west (Wyoming?) circa 1890. His deputy sheriff, Chicory,  is played by Jenkins.

When drifters kill some travelers, they accidentally stumble upon a mysterious Native American burial ground and taint its contents, leaving one brutally murdered by the tribe.

The other (played by David Arquette) stumbles into Bright Hope and is immediately deemed suspicious. When he, a female Doctor’s assistant, and a young local man disappear, it is realized that they have been abducted by the owners of the burial ground, who are feared to be cannibalistic savages.

Hunt, Chicory, a foreman named Arthur (the doctor’s assistant’s wife), played by Patrick Wilson, and a local playboy played by Matthew Fox, decide to trek long terrain to find and rescue the missing.

The pace is slow and will undoubtedly turn off some folks seeking slicker, high-tech viewing, or even some CGI, but the payoff for patience is immense.

The group’s trek through the desert in pursuit of the accosted seems endless, and I did have thoughts of what the point was, but the forthcoming turn of events makes this tedium worth it.

In defense of the long plodding journey, this aspect does make the audience get to know and begin to care about the characters- some make it out alive, others are not as lucky. The fun part is finding out who does and doesn’t.

Bone Tomahawk contains one of the most gruesome scenes that I have ever witnessed in my thousands of viewed films. A male character, nude, is brutally scalped and a spear is hammered into his throat in full view of the prisoners.

As if this is not shocking enough, he is then turned upside down, split down the middle, and chopped in half, as his insides spill to the ground. The snapping sounds of his bones and the visual horror of the guts are even tough for the non-squeamish to view.

It is uncanny that Kurt Russell plays a similar character in another 2015 film, the much higher profile, The Hateful Eight. Sure, he is a bounty hunter, but the period, setting, and costumes are almost identical.

One might wonder which was made first.

Bone Tomahawk is a guy’s movie, but not in the traditional sense- there are no explosions, no unnecessary machismo, or apparent clichés.

But at the end of the day, it is a Western and the cast is mainly male. Besides the Doctor’s assistant, the only other females are wives with small roles.

The most glaring is Sean Young- given hardly anything to do in a cameo appearance. Otherwise, the Native American females, blind, deaf, pregnant, and missing appendages are the only other females in sight.

A unique hybrid of film genres, Bone Tomahawk (2015) is a clever, different experience.

I am a champion of independent film and this film is a good example of why I am. Evidently, with a stellar cast of A-list or former A-list stars banding together to make a piece of art, it seems others champion good films too.

Independent Spirit Award Nominations: Best Supporting Male-Richard Jenkins, Best Screenplay

2015 Films, Best Feature- Independent Spirit Award Winners, Best Picture Oscar Winners, Billy Crudup, Biography, Brian d'Arcy James, Drama, Independent, Independent Drama, John Slattery, Liev Schreiber, Mark Ruffalo, Michael Keaton, Paul Guilfoyle, Rachel McAdams, Richard Jenkins, Stanley Tucci, Tom McCarthy

Spotlight-2015

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Spotlight-2015

Director Thomas McCarthy

Starring Michael Keaton, Mark Ruffalo, Rachel McAdams

Scott’s Review #294

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Reviewed December 9, 2015

Grade: B+

Spotlight (2015) is a film with an important story to tell.

A telling of true events that occurred within the Catholic Archdiocese for ages, Spotlight’s focus is specifically on the Boston scandals, as a team of reporters working for the Boston Globe uncovered and exposed a multitude of child molestation cases committed by priests.

They were subsequently covered up, leaving victims paid off to keep quiet. The number of proven cases in Boston alone is staggering.

Starring are a plethora of talents including Michael Keaton, Mark Ruffalo, and Rachel McAdams, who lead the pack.

They make up the “Spotlight” team at the newspaper,  an investigative unit that works on special stories as they arise.

Their new boss, Marty Baron (ironically a Jewish man), played compellingly by Liev Schrieber, takes over as head of the department. He quizzically asks why the story is not already a priority. Suddenly it is a hot-burner issue and the film delves into an investigation to uncover the facts.

Spotlight is a minimalist film. There is nothing cinematically unique or razzle-dazzle about it, but somehow that is okay.

In some aspects, the film reminds me of the 1975 thriller All The Presidents Men, starring Dustin Hoffman.

For instance, the bleak, bare news rooms-sterile in their look, are similar- cubicle after cubicle,  harsh lighting, and generic conference rooms.

This is the filmmaker’s intent.

Also, the fast, energetic pacing, successfully emitting the tight deadlines newspaper folks face, transfers perfectly on film.

The sexual abuse scandal is a cold, harsh reality and the film introduces several victims, who, now as adults, are forever scarred. Some attend support groups, some take drugs, one is sadly not “all there”. Another, now a gay man, was singled out by a priest during a vulnerable period in the then-young boy’s, life.

It is a heartbreaking reality that many victims in the film are based on real cases.

Let’s focus on Schrieber’s character for a minute.  He gives such an understated yet compelling performance there is a risk it will wind up being overlooked. He calmly, yet passionately initiates the case. It is not a showy performance and subdued but a compelling one if enough attention is paid to it. He is a standout.

Unfortunately, the film does not delve much into the defense (if any) of the Catholic church. Did they do anything but deny the allegations? Why were the victims paid off? Not much is noted from the church’s point of view.

In real life, the Catholic church did hide the abuse that transpired for decades.

A slight negative is that the film does not delve into the characters’ personal lives.

Michael Keaton’s character, Robby Robinson, is arguably the lead character, spearheading the case,  though very little is known about him.

Is he married? happily? Yes, he is a workaholic, but what else?

Ruffalo’s Michael Rezendes is separated from his wife, but little is known to the reasons.

Finally, McAdam’s Sacha is probably the most fleshed-out. She is happily married, close with her religious grandmother, and hurt by the scandal. But we do not know her in-depth either.

I found myself wanting to know more about these people.

All in all, Spotlight (2015) is a superior film deserving of the recognition it is receiving. Intense, gritty, and filled with honesty, it is a story that needed to be told and has been told well.

Oscar Nominations: 2 wins-Best Picture (won), Best Director-Tom McCarthy, Best Supporting Actor-Mark Ruffalo, Best Supporting Actress-Rachel McAdams, Best Original Screenplay (won), Best Film Editing

Independent Spirit Award Nominations: 5 wins-Best Feature (won), Best Director-Tom McCarthy (won), Best Screenplay (won), Best Editing (won), Robert Altman Award (won)