Category Archives: Independent

2014 Films, Comedy, Independent, Independent Comedy, Thriller

The One I Love-2014

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The One I Love-2014

Director Charlie McDowell

Starring Mark Duplass, Elisabeth Moss

Scott’s Review #221

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Reviewed February 18, 2015

Grade: C+

Reminiscent of a modern-day Twilight Zone episode, The One I Love (2014) follows a young married couple (Ethan and Sophie), played by Mark Duplass and Elisabeth Moss, who seek help from a therapist (Ted Danson).

The therapist realizes the couple is out of sync and recommends a weekend away. The therapist has an excellent reputation for rekindling faltering marriages and turning them into successful ones.

He sends them to a sunny, beachfront house with a guest house, pool, and various trails along the water. It is simply a paradise.

I admire the screenplay’s creativity.

The couple meets their ideal, perfect versions of each other while basking at the vacation house. Ethan’s alter ego is suave, athletic, and sensitive to Sophie’s needs, while Sophie’s is sexy, flirtatious, and invested in Ethan’s life.

The real versions are bored, lazy, and a bit disheveled.

The flaws they once saw in each other are replaced with the perfect spouses. It is fantasy-like.

As one half of the couple slowly falls in love with the fantasy version, the other half grows jealous, and the film dives into a tale of who ends up with whom.

But is it a fantasy? Are the perfect versions real people or something reminiscent of Invasion of the Body Snatchers?

It is tough to know the film’s intentions.

A weakness I felt the film has is that it plods too much. At a brief ninety minutes, the film somehow has a sleepy, slow-moving undertone and could have easily been a short film or wrapped up within forty-five or fifty minutes.

I did not feel the chemistry between Duplass and Moss as strongly as I would have liked. Individually, they were fine actors, but the spark didn’t ignite for me.

I wish Ted Danson had a larger role. The young couple was the focal point, but the mystery surrounding paradise was never really explained, and Danson’s character could have been the key to the story.

Did he contrive the entire situation? Was it fantasy? His brief part left many plot holes unexplained.

The One I Love (2014) is a creative effort with an imaginative angle, but I wanted more clarity than I got.

The film is mysterious, yes, but also confusing, slightly dull, and uneven.

Independent Spirit Award Nominations: Best First Screenplay

2014 Films, Action, Independent, Independent Thriller, Thriller

The Guest-2014

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The Guest-2014

Director Adam Wingard

Starring Dan Stevens, Maika Monroe

Scott’s Review #220

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Reviewed February 7, 2015

Grade: C-

The Guest is a 2014 thriller that can perhaps be classified under the adage “it’s so bad that it’s good,” though as I pondered writing this review, that might be a bit of a stretch.

As poor as the film is, I still enjoyed something about it.

The premise is simple. A Midwestern family, the Petersons, is suddenly visited by a veteran soldier named David, who claims to be a friend of the parents’ deceased son, Caleb.

David easily insinuates himself into their lives, and the Petersons invite him to stay a few days to rehash details about Caleb.

The family is middle-class yet struggling financially, and it consists of a mother and father, a college-aged daughter named Anna, an actress eerily resembling a young Gwen Stefani, and a bullied, timid, high school-aged son named Luke.

From the get-go, something feels off about David, but his motives remain unclear to the audience.

The film has plenty of issues.

For starters, the acting is rather poor. The most notable actors are Dan Stevens (Downton Abbey), Sheila Kelley (L.A. Law), and a collection of unknowns.

Stevens and Kelley give better performances, and I found Stevens particularly believable in a role opposite his Downton Abbey alter ego.

The rest of the cast is wooden and uncompelling.

The weakest parts of The Guest are the inane plot points and the 1980s-style soundtrack. Were the filmmakers going for a retro throwback? The film is set in present times, so this aspect remains a mystery.

The story starts interestingly. Is it a Fatal Attraction (1987) type of film? What is David’s motive? What was his relationship with the deceased Caleb? Does he intend to help or harm the family?

The reveal towards the end of the film is implausible, ridiculous, and disappointing. Without giving too much away, the government plays a major role in the film, but it does little to provoke sympathy for any of the characters, only eliciting more confusion.

The attempted (and botched) love story between David and Anna does not work. They have little chemistry, and the rooting value is not there, especially as he picks up her drunken best friend at a party.

Is the audience supposed to root for David and Anna, or is it merely a weak sub-plot to the thrill aspect of the film? I suspect the latter.

Despite all these negatives, I didn’t despise the film as it trucked along; rather, I found it more of a mess than anything else.

It is not a good film, but there is something slightly appealing about it. Some of the death scenes are well done, and the budding friendship between David and the bullied son is rather sweet.

The son is enamored with the strong, masculine David, and David, in turn, serves as a protector, humiliating the bullies who gave the kid a black eye.

The film doesn’t delve into a sexual angle, but it is a bond that is cheerful to see. It has a nice, warm element.

Another impressive point of The Guest is that it ends with a surprise that leaves room for a sequel. However, because the film didn’t achieve success, I doubt a sequel will ever see the light of day.

A poorly written, weakly acted film, The Guest (2014) has moments of interest but fails miserably as a viewing experience.

By the end, I still had no idea what the main character was motivated by, which is a huge problem.

Confusing and convoluted are the adjectives best to describe this film.

Independent Spirit Award Nominations: Best Editing

2014 Films, Coming-of-Age, Drama, Independent, Independent Drama

Boyhood-2014

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Boyhood-2014

Director Richard Linklater

Starring Ellar Coltrane

Scott’s Review #217

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Reviewed January 19, 2015

Grade: A

Boyhood (2014) is a family drama directed by Richard Linklater that follows a family’s trials and tribulations over twelve years, from about 2002 to 2013.

The film uses the same actors throughout, allowing viewers to see the characters change.

What a novel idea! In this day and age of special effects, superheroes, and animated animals, how refreshing to see a simple tale of a family told over a while.

The film’s main character is Mason Evans, Jr., played by Ellar Coltrane.

We meet Mason at age six, in first grade. He lives with his older sister Samantha, played by the director’s daughter Lorelei Linklater, and his mother Olivia, played by Patricia Arquette, in Texas.

Ethan Hawke, divorced from Olivia, plays Mason’s father (Mason Sr.).

As the years go by, we see situations arise, and the characters grow and develop like in real life.

After the film, Mason Jr. heads off to college after years of life experience, including his first relationship. The other characters develop, and we see Olivia and Mason Sr. enter relationships with partners, some successful, others less so.

Boyhood succeeds because it is a film about real life that feels like a slice of Americana.

It’s a wonderful film.

The audience invests in the characters because we grow to love and care about their lives. It’s like seeing cousins or friends once a year and watching what becomes of their lives over time.

This film fascinates me because it is so basic and real that it does not need contrived dramatic situations to warrant attention. It is simply authentic, and that is what makes a great film.

The film is left-leaning politically, and I love that family members bring up current events throughout the years.

As the film progresses, we see Mason Sr. comment on his distaste for the Iraq War, the children’s anticipation of the new Harry Potter film, Mason Sr. take the kids to a Houston Astros game, and mentions of The Beatles and Star Wars.

Another scene sadly focuses on a returning soldier from Iraq who has Post-traumatic stress disorder.

These nuances make the film seem so authentic and rich.

As wonderful a job as Patricia Arquette and Ethan Hawke did, neither of them had a huge, bombastic, emotional scene that would have been splendid given their talents, but this is a small criticism.

Both are superb as struggling parents trying to do the right thing for their children and carve out a life for themselves.

Boyhood redefines realism in film as we watch a family unit hope, struggle, and dream play out before our eyes.

The film doesn’t need overwrought drama; it is simply a slice of life for a group of people we come to know and love.

Everyone can relate to Boyhood (2014).

Oscar Nominations: 1 win-Best Picture, Best Director-Richard Linklater, Best Supporting Actor-Ethan Hawke, Best Supporting Actress-Patricia Arquette (won), Best Original Screenplay, Best Film Editing

Independent Spirit Award Nominations: 2 wins-Best Feature, Best Director-Richard Linklater (won), Best Supporting Male-Ethan Hawke, Best Supporting Female-Patricia Arquette (won), Best Editing

2014 Films, Biography, Drama, Independent, Independent Drama, Psychological Thriller, Sports, Thriller

Foxcatcher-2014

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Foxcatcher-2014

Director Bennett Miller

Starring Steve Carell

Scott’s Review #210

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Reviewed January 2, 2015

Grade: A

Foxcatcher (2014) is a dark, disturbing psychological thriller that succeeds through its bleak look and strong performances.

It is a superb, character-driven story based on true events, led by Steve Carell, Channing Tatum, and Mark Ruffalo, all of whom are excellent.

It is a sports film, but hardly as predictable as many in the genre.

The film is set in 1987. Brothers Mark and Dave Schultz (Tatum and Ruffalo, respectively) are former Olympic gold-medal-winning wrestlers preparing to compete in the 1988 Olympics.

Despite winning a gold medal, Mark (Tatum) lives in squalor and is reduced to giving pep rallies at elementary schools, jobs meant for Dave (Ruffalo), for very little money.

Dave is the more successful brother, a family man living a happy existence. He is more talented and more driven than Mark.

One day, wealthy philanthropist John du Pont (Carell) contacts Mark and invites him to live with him at his expansive estate in Pennsylvania and train with other aspiring Olympic wrestlers.

John’s initial attempts to woo Dave also fail.

From this point in the story, the film delves into psychologically dark territory, mainly the controlling, disturbing behavior of John, as he attempts to control Mark and woo Dave.

John has a damaged relationship with his mother, Jean, wonderfully played by Vanessa Redgrave. Jean feels that John’s obsession with the wrestling world is far beneath him, and their relationship is tense and unloving.

The three principal actors in the film are worth discussing, as the film wouldn’t be as complex or compelling without them.

Let’s begin with Channing Tatum- known primarily as a hunky movie star with questionable acting ability- he proves the naysayers wrong.

I cannot help but compare him to a younger Brad Pitt. It took years and many films for him to be recognized as more than a pretty face and abs to die for.

His performance is understated and calm, but his laid-back demeanor is nuanced. Sometimes anger bubbles under the surface.

Carell is downright creepy as the affluent yet insecure Du Pont.

Throughout the film, the character seems off. Known mostly for silly comedies, he delivers a breakout performance that, I hope, leads to similar meaty roles. Carell shows he has what it takes to appear in quality films.

Lastly, Mark Ruffalo, who always plays interesting, everyman-type characters, again brings strong emotion to Dave Schultz, a successful, driven athlete who is also a dedicated husband and father.

With a different cast, Foxcatcher wouldn’t have been as interesting.

Questions will arise at the end of the film. What were John du Pont’s motivations? What effect did his mother have on his actions? How could a man with all his power and wealth end up this sad? Did John make inappropriate sexual overtures toward the wrestlers?

Foxcatcher (2014) excels at portraying a dark, layered, moody true story and shows that wealth does not equal happiness; in many cases, the opposite occurs.

The film is an immense success.

Oscar Nominations: Best Director-Bennett Miller, Best Actor-Steve Carell, Best Supporting Actor-Mark Ruffalo, Best Original Screenplay, Best Makeup and Hairstyling

Independent Spirit Award Nominations: 1 win-Special Distinction Award (won)

1989 Films, Comedy, Dark Comedy, Independent, Independent Comedy, Satire

Heathers-1989

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Heathers-1989

Director Michael Lehman

Starring Winona Ryder, Christian Slater

Scott’s Review #207

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Reviewed December 25, 2014

Grade: B

My gut tells me that Heathers was quite controversial and influential upon release in 1989 and has sustained a cult following that continues to this day, 2014.

Having seen the film only once in 2014, I found it good, but it now suffers from a slightly dated look and feel. Still, it is a brave and unique expression of creativity.

It is a film that sends the message that the popular kids are bad and that the meek shall inherit the earth.

The uncool kids will rise.

To summarize the plot, Heathers is told from the perspective of high school student Veronica Sawyer, played by a young Winona Ryder. She is a second-tier popular girl- she is lieutenant to the generals, if you will.

The school is run by three popular girls named Heather. As popular as they are, they are also despised and feared by the other students, but carry great influence.

They enjoy playing cruel jokes on other students and ridiculing anyone beneath them.

A rebellious male student, J.D., played by Christian Slater, befriends Veronica, and they hatch a plan to destroy the popular clique, including another pair of popular jocks.

Shannon Doherty plays the second-in-command, Heather.

The tone of Heather’s is surreal and dream-like. For example, in the opening scene, all three Heathers- along with Veronica- are on a perfectly manicured lawn in the suburbs playing croquet.

The hierarchy is established when Veronica is buried up to her neck and becomes the target of the croquet balls, making her, without question, the lowest of the four girls.

Whether or not this is a dream or real is unclear.

The film is well-written and edgy. It reminds me, at times, of The Ice Storm (1997) and American Beauty (1999), which Heathers preceded and are, in my opinion, superior.

Heathers is a teen angst film and quite dark at times- the various deaths are committed viciously (drain cleaner poisoning, concocting a setup for the jocks to appear to be having a love affair with each other, and then passionately shooting each other), but with sly wit and humor.

Veronica is, at heart, a good girl, albeit misguided and heavily influenced by J.D., but her intentions of having a fair, just school society are noble. The character is likable.

All the parents are hilariously portrayed as buffoons and have no idea of the darkness that exists in their kids’ lives- Veronica’s parents in particular.

Fearing that Veronica has committed or soon will attempt suicide, they fret that it is their fault stemming from childhood negligence; however, their concern has more to do with themselves than with Veronica’s well-being.

Small gripes about the film are the 1980s-style outfits and hairstyles, which, since they were made in the 1980s, are not a particular fault of the film, though it does contain a slightly dated feel while watching in the present.

Also, Christian Slater mimicking Jack Nicholson’s voice is odd- was this a decision by the film or by the actor himself? Either way, the imitation is both distracting and confusing. What is the point?

The ending of the film is a happy and satisfying conclusion- however, different from the dark tone of the rest of the movie- rumor has it that the studio had some influence in toning down the original ending.

1989 was not a stellar year for film, so Heathers deserves major props for thinking outside the box and doing something dark and creative.

Brave, inventive, and unique, Heathers is a cult classic worth a look.

Independent Spirit Award Nominees: 1 win-Best Female Lead-Winona Ryder, Best Screenplay, Best First Feature (won)

2014 Films, Drama, Independent, Musical, Musical Drama

Whiplash-2014

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Whiplash-2014

Director Damien Chazelle

Starring Miles Teller

Scott’s Review #192

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Reviewed November 13, 2014

Grade: A

Whiplash (2014) is a film about an aspiring nineteen-year-old Jazz drummer, Andrew Neyman, played by rising star Miles Teller (known for 2013’s indie teen drama The Spectacular Now).

He attends one of the country’s most revered music schools, the Schaffer Conservatory in New York.

He is both mentored and terrorized by his intense, sometimes sadistic conductor, Terence Fletcher, played by J.K. Simmons.

Andrew aspires to be the best drummer and worships Buddy Rich, a famous Jazz drummer from the 1930s and 1940s, whom he constantly listens to and emulates.

While Andrew aspires to make the school orchestra that desperately needs a new drummer, he meets a cute girl, Nicole, at the concession stand of his favorite movie theater, and they bond.

Also in the mix is Andrew’s father, played by Paul Reiser. Once an aspiring writer who never made it big, he struggles as a high school teacher.

Andrew’s mother left the family when Andrew was just a toddler, leaving just father and son.

The film centers on the tumultuous relationship between Andrew and Terence, and Andrew’s determination to become the best drummer in the world.

J.K. Simmons is mesmerizing as Terence and wonderful to see, as he has struggled as a character actor for years.

He delivers a powerhouse performance, plowing full steam ahead in his viciousness and extreme brutality toward the students, and on more than one occasion reducing a student to tears.

If the tempo is not to his liking, he shakes his clenched fist in disapproval.

The audience wonders if Terence is mean and sadistic or is tough on the students to make them work harder and achieve great things.

Throughout the film, I wondered whether to hate this character or sympathize with him for wanting the students to excel.

The sexuality of Fletcher is ambiguous.

He belittles and ridicules the students with fat jokes. He hatefully taunts an overweight student about Mars bars and Happy Meals, uses Irish digs, and inevitably uses gay slurs on other students, but is he hiding something in his personal life? Is he a closet case? His private life remains a mystery.

As brutal as Terence can be, there are moments of sensitivity that the character exhibits. He tearfully tells the orchestra a heartbreaking story of a former student, whom he admired, who recently died in a car accident.

In another scene, he warmly bonds with a friend’s young daughter.

As brilliant as Simmons is, we must not forget Teller’s immense talent. The young actor does a fantastic job of portraying determination, drive, anger, and vengeance.

Andrew has a wonderful relationship with his dedicated father, a love/hate relationship with Terence (are they bitter enemies or do they have the respect of a mentor/student?), and a sweet yet uneven relationship with Nicole.

He successfully portrays a myriad of different emotions throughout the film.

Paul Reiser is wonderful in an overlooked, thankless role as Andrew’s unsuccessful yet forever faithful father.

Thankfully, the film centers on the conductor/student dynamic. The romantic relationship with Nicole did not take center stage or usurp the main story, as I felt the dynamic between the two was less important to the whole.

The finale, an intense concert performance scene focusing on the intensity between Terence and Andrew, is superbly done. Close-up shots of the two add much to the climax.

Throughout Whiplash, extreme close-ups of sweat, blood, and intensity during performances and practices add to the film’s overall rawness.

Whiplash (2014) is an intense, sometimes brutal, assaulting experience, but an amazing film.

Oscar Nominations: 3 wins-Best Picture, Best Supporting Actor-J.K. Simmons (won), Best Adapted Screenplay, Best Sound Mixing (won), Best Film Editing (won)

Independent Spirit Award Nominations: 2 wins-Best Feature, Best Director-Damien Chazelle, Best Supporting Male-J.K. Simmons (won), Best Editing (won)

2014 Films, Art, Best Feature- Independent Spirit Award Winners, Best Picture Oscar Winners, Comedy, Dark Comedy, Drama, Favorite Film of the Year, Independent, Independent Drama, New York City, Satire

Birdman-2014

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Birdman-2014

Director Alejandro G. Iñárritu

Starring Michael Keaton

Scott’s Review #190

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Reviewed November 6, 2014

Grade: A

Birdman (2014) is a unique art film that, happily, has garnered major exposure and publicity because a movie like this risks receiving praise and notice only from the art-house crowd.

The film’s star, Michael Keaton, portrays Riggan Thomson, a former action-hero superstar from the 1990s, made famous for the “Birdman” character he created.

Having made sequels to the film, his career has since dried up, and he hopes to establish credibility and prove himself a real actor by writing, directing, and starring in his play.

The film is set in and around the Broadway theater in New York City.

As opening night approaches, he struggles to pull everything together and mount a successful production while dealing with an injured, terrible actor; a difficult actor; his insecurities; and a miserable theatre critic destined to ruin his big chance.

To make matters worse, his daughter Sam, played by Emma Stone, is a recovering drug addict who hangs around the theatre distracting actors with her charm and good looks.

Naomi Watts and Edward Norton play Leslie and Mike, other cast members in the production. Watts is sympathetic as the emotional actress with a heart of gold who finally realizes her dream of performing on Broadway.

Norton, outstanding as Mike, is blunt yet socially awkward and can only perform truthfully on stage.

Keaton is a marvel as he plays a dark, vulnerable man. He hates and wants to shed his ridiculous movie persona of yesteryear and secretly cringes when fans recognize him.

He uses a voice in his head when he played “Birdman” years earlier.

The film’s uniqueness lies in what seems like one long take, as the action rarely stops.

The film belongs to Keaton, who wonderfully relays vulnerability, pain, and fear within an outward persona of bravery and masculinity.

Throughout the film I wondered, is Riggan suicidal? What is real and what is imagined? Are certain scenes foreshadowing later events?

The film has much depth.

One marvels at how art imitates life: is Keaton portraying himself? He was the original Batman in the successful superhero franchise beginning in 1989, and his career tanked shortly after.

Birdman is a comeback film for him, and he is devastatingly good.

Norton’s character Mike impressed me. He is blunt, flawed, scared, and addicted to the stage.

Stone has one particularly brilliant scene where she lambasts her father and later, with regret, tells him the world has moved on without him and that he is irrelevant, like everyone else. It is a powerful scene.

In another, Riggan is locked outside the theater during the performance, clad only in his underwear. How on earth will he get back on stage and finish the show?

The quick jabs at current Hollywood superhero stars, especially Robert Downey Jr., are deliciously naughty.

It is impossible to predict what comes next, and the film feels very New York theater-style.

Keaton’s run-in with a theater critic in a cocktail bar is the best scene in the film, as the critic’s vicious critique of “You’re a celebrity, not an actor” resonates with both pain and tremendous anger for Riggan.

Riggan is a sensitive, struggling man, and Keaton shows his vulnerability beautifully in every scene.

Oscar Nominations: 4 wins-Best Picture (won), Best Director-Alejandro G. Iñárritu (won), Best Actor-Michael Keaton, Best Supporting Actor-Edward Norton, Best Supporting Actress-Emma Stone, Best Original Screenplay (won), Best Sound Editing, Best Sound Mixing, Best Cinematography (won)

Independent Spirit Award Nominations: 3 wins-Best Feature (won), Best Director-Alejandro G. Inarritu, Best Male Lead-Michael Keaton (won), Best Supporting Male-Edward Norton, Best Supporting Female-Emma Stone, Best Cinematography (won)

2013 Films, Horror, Independent, Independent Horror, LGBTQ+ Films, LGBTQ+ Horror, Zombie

Contracted-2013

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Contracted-2013

Director Eric England

Starring Najarra Townsend

Scott’s Review #184

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Reviewed October 12, 2014

Grade: B-

It seems that many reviewers of Contracted (2013) are looking for a deeper meaning to the film or debating whether a particular scene was a rape or a consensual sexual act.

I looked for neither and just took the 2013 independent horror film at face value.

I don’t view the film as worth overanalyzing or digging too deep beneath the surface.

The plot is rather basic.

Samantha is a young woman on the outs with her girlfriend Nikki. She goes to a party where her friend Alice gets her drunk, and Samantha winds up talking to a handsome stranger named BJ.

Samantha agrees to have sex with him in his car, but at one point begs him to stop. It is unclear what transpires.

The next morning, Samantha wakes up feeling strange- she assumes she is hungover, but gradually her hair, teeth, and fingernails begin to fall out, and her eyes are hideously bloodshot.

Her symptoms slowly worsen as she transforms into a strange monster.

In the mix are supporting characters, Riley, who is in love with Samantha even though she is a lesbian and rebuffs all of his advances, and Samantha’s Mom, who is convinced that Samantha is using drugs again (which she is).

I did not find the film to be a metaphor for punishing women or lesbians for a one-night stand. I viewed it as a fun, Saturday late-night horror flick.

If I were to dissect the film critically, the premise is rather absurd- a young woman turning into a zombie/monster after having sexual relations with a stranger.

Silly, but I am not expecting highbrow art from this type of film. The acting, especially of the actress portraying Samantha, is below average at best, and horrid at worst.

The three central female characters (Samantha, Nikki, and Alice) are presumably all lesbians or bisexual; especially Nikki is irritated when a man dares to hit on her, as if they should magically already know she is a lesbian.

Nikki is very unlikeable. She seldom returns Samantha’s calls and keeps pushing her away.

I did not buy any of the three as lesbians- not to be stereotypical, but they each had feminine-only qualities.

The way Samantha’s mother kept insisting that Samantha was on drugs became irritating by the fifth time she brought it up.

Why did Riley pursue Samantha ad nauseam when he was aware that she was a lesbian? What is BJ’s motivation for presumably giving Samantha a drug? She was already drunk enough to have sex with him- why did he want to turn her into a monster?

This plot point is unclear.

The film is not character-driven; it is strictly plot-driven, and like most horror films, is meant to be that way. The finale is quite satisfying, as Samantha’s fate, along with her mother’s, is left up in the air.

The same cannot be said for Nikki or Alice, as both receive their just desserts.

Contracted (2013) isn’t a masterpiece, but it’s a fun little horror film to enjoy. Just don’t ask too many questions.

2014 Films, Comedy, Dark Comedy, Drama, Independent, Independent Comedy, Independent Drama

The Skeleton Twins-2014

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The Skeleton Twins-2014

Director Craig Johnson

Starring Bill Hader, Kristen Wiig

Scott’s Review #179

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Reviewed October 2, 2014

Grade: A-

The Skeleton Twins (2014) is a tremendous, character-driven, family drama that focuses on character development rather than standard plot devices.

The film stars Bill Hader and Kristen Wiig from Saturday Night Live, but don’t be fooled into thinking The Skeleton Twins is a light comedy; it is not.

There are laugh-out-loud scenes throughout, but this is a serious story about depression, suicide, and anger, and at times, very dark.

Wiig plays Maggie, a woman in her thirties who seemingly has it all.

Lance, her handsome, loyal husband, played by Luke Wilson, adores her. She has a stable job as a dental hygienist and lives a quiet, quaint life in upstate New York- seemingly enjoying a happy middle-class existence.

Hader plays Milo, Maggie’s estranged twin brother, who lives in Los Angeles and is a struggling actor with no agent, reduced to waiting tables in a lousy restaurant.

Presumably, just out of a relationship, Milo attempts suicide by slitting his wrists.

Maggie flies to Los Angeles to visit Milo in the hospital and invites him to recuperate with Maggie and Lance in New York.

Having grown up as best friends, they reconnect once Milo moves in.

The Skeleton Twins is so jam-packed with interesting stories, both current and backstory, that it becomes effortless to fall in love with Maggie and Milo.

When the twins were fourteen, their father committed suicide by jumping off a bridge, a father they were very connected to.

Their mother, played by Joanna Gleason, was a horrible mother growing up and, in present times, is a hippie involved in an interracial marriage. She awkwardly visits Maggie and Milo and attempts to heal them through meditation.

Other character history is revealed.

Milo, who is gay, was molested by his teacher when he was fifteen years old, a teacher he is still in love with, and is wonderfully played against type by Ty Burrell.

Maggie has carried on affairs with various men throughout her marriage to Lance and is secretly using birth control pills to avoid becoming pregnant. Lance happily thinks they are trying to conceive.

Milo and Maggie are incredibly layered and well-written. They are both damaged from a difficult childhood, suffer from depression, and now only have each other.

Scenes in The Skeleton Twins range from hysterical- a scene in a dentist’s office with laughing gas rolling on the floor and a lip-syncing scene to the hit “Nothing’s Gonna Stop Us Now”- to wonderful.

Dramatic and shocking scenes where Milo and Maggie go at each other with gusto, dredging up childhood wounds, are brilliantly acted by Wiig and Hader.

The chemistry between Wiig and Hader is incredible, and both actors successfully balance hysterical comedy with dark drama, which impressed me.

Luke Wilson is great in support as the straight-laced, nice guy married to Maggie.

A slight criticism: the character of Milo is written as stereotypically gay- man-hungry and hardly a man’s man. He has trouble clearing brush because, presumably, he is too girly to handle the task.

I wish more films would avoid these stereotypes.

Ty Burrell’s character, Rich, is so complex that I wish they’d explored him more: as a gay man, how can he work with his girlfriend while harboring so many secrets? Is he still in love with Milo despite repeatedly pushing him away?

I would have loved more depth to this complex character.

After the film, I felt the filmmakers didn’t go as dark as they could have, and audiences will know what I mean after the final scene.

There is no fairy tale ending either.

Milo and Maggie are damaged goods who only have each other, making for a dynamic, character-rich film.

2013 Films, Crime Drama, Drama, Independent, Independent Drama

Go for Sisters-2013

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Go for Sisters-2013

Director John Sayles

Starring LisaGay Hamilton, Yolonda Ross

Scott’s Review #177

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Reviewed September 27, 2014

Grade: B-

Go for Sisters is a 2013 independent feature film about a female parole officer (Lisa Gay Hamilton) with a troubled, missing son named Rodney, feared to be mixed up with the murder of a drug dealer.

The film takes place in California and Mexico.

Hamilton plays Bernice, a middle-aged black woman, who has always done the right thing.

Widowed and recently dumped by a new boyfriend, she runs into ex-convict Fontayne, played by Yolonda Ross, at her parole office.

Initially wanting nothing to do with her former high school friend, Bernice decides to use Fontayne’s criminal connections to locate Rodney.

From this point, they hire retired Mexican police officer Freddy Suarez, played by Edward James Olmos, and the trio embarks on an adventure across the border of Mexico.

I love the story involving the two female leads (Hamilton and Ross) who share a Thelma and Louise-type bond.

The characters reconnect and develop independently. Straight-laced Bernice toughens up and breaks a few rules, while Fontayne, determined to go straight, struggles to keep her head above water, resisting drugs and attempting to hold down a job.

The two forge a bond based on trust, respect, and loyalty, and their friendship grows throughout the film.

One gripe about Fontayne’s character: she admits to being a lesbian but then mentions she is not sure if she is or if she is not. This sexual identity crisis seems strange- why couldn’t the film make her a lesbian? Why the hedging?

The rest of the film is mediocre to weak.

Adding Freddy to the mix is unnecessary. He adds little to the plot beyond helping the women get into Mexico and serving as male comic relief.

Either way, I didn’t find the character very interesting or care about him, and the film would have been better off without Freddy.

What was the reasoning behind making him have poor eyesight? What was the point of Freddy taking a young woman and her daughter to breakfast and realizing they were crossing the border to find her estranged husband?

Who cares? It had nothing to do with the plot.

All the audience knows about Freddy is that he is retired due to a misunderstanding, accepts money to help Bernice and Fontayne, and tags along with them for the rest of the film.

The stereotypes should have been eliminated. The Chinese dragon lady and the corrupt Mexican police officers have been played to death in films and are rather insulting to smart and serious movie-goers.

I found the plot a bit tough to follow, and I still don’t understand how or why Rodney was involved with the Chinese mob in the first place, other than to help Chinese immigrants cross the border.

Was he involved with the money, or did he just want to help immigrants cross to the United States?

The film mentions countless times how Rodney is a decent person, so what’s his motivation? The film never wholly explains why he is kidnapped and a suspect in a murder case.

Also, countless characters are introduced to help the women on their journey with some connection to the kidnap victim but are written haphazardly with no character development.

The ending of Go for Sisters (2013) is too predictable and leaves the audience not caring about the outcome.

Despite numerous negatives, the film’s heart belongs to Hamilton and Ross and the interesting, warm friendship that develops between their characters throughout the film.

Independent Spirit Award Nominations: Best Supporting Female- Yolonda Ross

2014 Films, Drama, Independent, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films, New York City, Romantic Drama

Love Is Strange-2014

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Love Is Strange-2014

Director Ira Sachs

Starring John Lithgow, Alfred Molina

Scott’s Review #174

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Reviewed September 24, 2014

Grade: B

Love Is Strange (2014) is sweet, though not nauseatingly sentimental, and explores many different types of relationships; at the forefront is the same-sex couple Ben and George, played by John Lithgow and Alfred Molina, respectively.

They are a successful New York City couple of a certain age, together for nearly thirty years, and finally legally wed in a low-key ceremony surrounded by friends and family.

George teaches music at a strict Catholic high school where the students and staff know and love him and his new husband.

The bishop doesn’t support his marriage, and he’s fired unceremoniously.

This causes Ben and George to become homeless and rely on family and friends for a roof over their heads.

The film features several secondary character relationships.

Ben’s nephew and wife balance busy careers with a temperamental, rebellious, confused son; Ben’s niece from Poughkeepsie seems neurotic.

Neighbors who are gay police couples have loud parties seemingly every night.

Marisa Tomei, who plays Ben’s niece by marriage, Kate, and Charlie Tahan, who plays Joey, Ben’s great-nephew, are probably the most prominent in the supporting cast.

While well-meaning and accommodating, Kate bottles up her anger and comforts herself with nightly red wine.

Joey lashes out at his great-uncle in frustration, criticizing his artwork and scolding him for using his teen friend in a portrait, a friend whose sexuality is unclear.

Most other characters are not fleshed out well and are there to move the plot along. This is slightly disappointing. I would have preferred a bit more backstory regarding the rest of the cast.

Throughout the film, a few clues about Joey and his friend’s sexuality surface, but they don’t go beyond the surface.

I was curious about the cop’s backstory. How long have they been together? Do they face conflict at work?

Numerous scenes show both cops in uniform running errands or visiting the hospital, which seems to emphasize that cops can be masculine and gay, a fact I love, yet the characters are one-dimensional.

Why is Ben’s niece neurotic? The film doesn’t pursue this at all.

The film belongs to Lithgow and Molina.

The two have such effortless, natural chemistry that the audience instantly believes they have been together for decades. The fact that Lithgow and Molina are lifelong friends in real life surely adds to the realism and naturalness.

Ben is the yin to George’s yang. Lithgow and Molina’s performances are so understated and calming that you might overlook how excellent they are, since they are both low-key characters.

Love Is Strange (2014) is a film about strength, courage, loyalty, and perseverance through life’s challenges.

It is a sensitive and lovely film.

Independent Spirit Award Nominations: Best Feature, Best Male Lead-John Lithgow, Best Supporting Male-Alfred Molina, Best Screenplay

2013 Films, Drama, French, Independent, Independent Drama, International, International Drama, Persian

The Past-2013

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The Past-2013

Director Asghar Farhadi

Starring Bérénice Bejo, Tahar Rahim, Ali Mosaffa

Scott’s Review #171

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Reviewed September 16, 2014

Grade: B+

The Past (2013) is an international film directed by acclaimed Iranian director Asghar Farhadi, who directed the brilliant A Separation in 2012.

Despite being directed by an Iranian director, the film is written in French and set in France.

While not quite on the level of A Separation, The Past is still a good, layered, and compelling film, though admittedly slow-paced in spots, like real life.

The film centers on a couple, Marie (Bérénice Bejo) and Ahmad (Ali Mosaffa), amid a divorce.

Marie lives in France with her two daughters from a relationship before Ahmad, so they have no children together. He lives in Iran and comes to visit and finalize the divorce proceedings.

Further complicating the situation is that Marie is in a relationship with another man, Samir (Tahar Rahim), who has a son with his current wife, who is a vegetable in a coma after a suicide attempt.

What were the events that led her to attempt suicide? Did someone reveal something of importance to her? If so, who?

Questions such as these compel viewers to invest in the characters.

The Past is an excellent family drama done right; it has no needless stereotypes, and the children serve a purpose beyond being cute or attractive wallpaper, as in many family dramas.

Each child involved- there are 3- has real feelings and realistically expresses themselves. All three principal adult characters are mature, complicated, and have depth.

Nobody is the villain, and the intent is not to make the audience root for one couple over the other. The film is more mysterious than that.

Instead, the audience spends the film trying to uncover the secrets the characters keep.

Is Marie ready to divorce Ahmad or does she still love him? Does Samir blame Marie for his wife’s condition? Why does the oldest daughter hate Samir so much?

These are questions that arise more and more as The Past unfolds.

Another interesting facet of the film is that it introduces no red herrings to manipulate the viewer. The film is simply a detailed, complex drama.

All three leads give wonderful performances, though I’m not sure why Bejo’s stands out.

After watching and reflecting, I noticed many similarities to A Separation.

The Past (2013) is a good, solid family drama, with rich writing and honest, compelling situations.

2013 Films, Drama, Independent, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films

Pit Stop-2013

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Pit Stop-2013

Director Yen Tan

Starring Bill Heck, Marcus DeAnda

Scott’s Review #168

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Reviewed September 10, 2014

Grade: B

Pit Stop is a small independent film from 2013 that centers on a group of gay men living in rural Texas, outside of Houston or San Antonio.

The plot focuses on two men, Gabe and Ernesto, who don’t know each other. They recount their ups and downs, mostly about dating and relationships.

Gabe lives with his ex-wife Shannon, and they share a child they raise together as a family. They have a warm relationship and live together as friends.  Gabe was recently dumped by a married man who wants him to stop calling.

Ernesto lives with a younger man whom he used to date and is trying to convince him to move out and get his life together.

Ernesto also has a former partner who is comatose and whom he continues to visit in the hospital.

A subplot is Shannon’s struggles to date. She arranges a date with a co-worker and, after drinking too much, embarrasses herself by coming on too strong to him.

The point of the film is that all the characters are struggling to find love and companionship, and most are lonely, yet not unbalanced or neurotic.

They reside in the middle of nowhere, which dims their chances of finding love.

There are no villains, and all the characters are quite likable. There is a reason to root for each of them, especially Gabe and Ernesto, and I kept hoping they would be brought together, since they seem like a wonderful pair with real chemistry.

Both are caregivers in their current situations, so what transpires after the film is interesting.

Pit Stop (2013) is a feel-good, happily-ever-after type film, mostly screened at independent film festivals and the gay festival circuit.

The film is small and steady, but a nice, uplifting experience and worth checking out.

Independent Spirit Award Nominations: John Cassavetes Award

2013 Films, Coming-of-Age, Drama, Independent, Independent Drama, Romantic Drama

The Spectacular Now-2013

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The Spectacular Now-2013

Director James Ponsoldt

Starring Miles Teller, Shailene Woodley

Scott’s Review #161

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Reviewed August 29, 2014

Grade: B

The Spectacular Now (2013) is a coming-of-age independent film that follows a romance between two unlikely high school seniors.

Sutter (Miles Teller) is a popular student who takes a shine to smart loner Aimee (Shailene Woodley), and the two develop a strong bond as they each struggle with parental issues while being opposite social types.

She is college-bound and motivated; he lives in the now with no thoughts of the future. But somehow they forge a connection.

The film’s success lies with Teller and Woodley, who each deliver strong performances, and their chemistry is evident.

At first, I didn’t buy Teller as a traditionally popular kid or Woodley as the friendless recluse, but somehow the film works because each has a rooting value.

Sutter’s ex-girlfriend Cassidy, whom he still has feelings for, is played by Brie Larson, and the character is underdeveloped, unnecessary, and not much of a rooting interest for her or competition for the main couple.

Interestingly, alcohol and alcoholism are touched on as the two leads drink quite heavily and regularly for being only eighteen years old, but are glossed over.

I think the film is more about the romance between the two rather than any social issues.

Jennifer Jason Leigh, Kyle Chandler, and Mary Elizabeth Winstead deliver capable supporting performances.

Shailene Woodley received an Independent Spirit Award nomination for Best Actress, but Miles Teller received no nomination. This surprised me, as I thought he was a bit better than she was and had the meatier role.

The Spectacular Now (2013) is hardly anything groundbreaking, but a nicely told story that is authentic and admirable for a teen film.

Independent Spirit Award Nominations: Best Female Lead-Shailene Woodley, Best Screenplay

2013 Films, Documentary, Independent

After Tiller-2013

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After Tiller-2013

Directors Martha Shane, Lana Wilson

Scott’s Review #153

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Reviewed August 13, 2014 

Grade: A

After Tiller (2013) is a brilliant and thought-provoking documentary about the controversial topic of abortion.

The issue presented is not whether abortions should be performed, but rather whether they should be performed late-term (beyond twenty weeks).

The Doctor Tiller mentioned in the title was the doctor who opened the handful of clinics that perform late-term abortions and who was murdered outside of his church by fanatics before the documentary was made.

The four remaining protégés of his are doctors who now openly perform these controversial procedures and who are presented as not monsters, as some would think of them, but as sympathetic, kind professionals who put the pregnant mothers’ needs first.

As I assumed before seeing the documentary, the doctors are not strictly performing the abortions for mothers seeking a way to get rid of a “problem”, but rather, in most cases, the baby will lead a life of pain, misery, and health problems.

Typically, parents do not learn of the problem until late in the pregnancy, which adds layers to the issue.

The viewer is left wondering, what would I do?

Most of the parents struggle with the decision to terminate their pregnancies.

These doctors (and their families) constantly receive death threats from pro-life groups who do not comprehend the issue, and the doctors are harassed by people who do not want their abortion clinics anywhere near them.

As a viewer, this is painful to watch.

Any viewer who is pro-life or pro-choice ought to watch this for a better understanding of the complexities of late-term abortions.

After Tiller (2013) is riveting but has shamefully been seldom seen by audiences.

Independent Spirit Award Nominations: Best Documentary Feature

2013 Films, Drama, Independent, Independent Drama, Social Issues

Short Term 12-2013

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Short Term 12-2013

Director Destin Daniel Cretton

Starring Brie Larson

Scott’s Review #149

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Reviewed August 6, 2014 

Grade: C+

Having just viewed Short Term 12 (2013), I am not sure I am getting all of the “this movie is brilliant” or “beyond amazing” or glowing praise surrounding the film.

The film is set in a group home for troubled teens and centers on the home’s supervisor, Grace (Brie Larson). Grace runs the home with her boyfriend and other twenty-somethings, mostly former troubled youths.

The film’s focal point is Grace and both her problems (she is pregnant and her abusive father is being released from prison) and her relationships with the teens currently staying in the group home.

The film is fairly engaging but seems a bit forced and not gritty enough given the subject matter.

I enjoyed the relationship between Grace and a new charge, Jayden, whom she befriends.

The group of teens is almost too perfectly cast, with a mix of races and stereotypes; the kids did not come across as genuine.

I would have liked to see more backstory for some of the kids besides the two that were given one.

Subjects were introduced but not followed through with- why was Grace’s father never introduced onscreen? Where was the mother?

Her childhood issues were mentioned only in passing. Some of Grace’s actions were unrealistic and out of character for a counseling supervisor.

Would she smash the windows of one of the teen’s father’s cars out of anger and not consider the repercussions? And what was with the constant poop jokes, especially in the first ten minutes?

That was dumb and out of place.

The film feels glossed over, and I didn’t feel the realism- almost like a CBS television drama with swear words added to seem harsher. The subject was brave, but many more details could have been explored in Short Term 12 (2013).

Independent Spirit Award Nominations: 1 win-Best Female Lead-Brie Larson, Best Supporting Male-Lakeith Stanfield, Best Editing (won)

2013 Films, Drama, Independent, Independent Drama, Los Angeles, Romantic Drama, Science Fiction

Her-2013

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Her-2013

Director Spike Jonze

Starring Joaquin Phoenix, Scarlett Johansson

Scott’s Review #147

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Reviewed August 5, 2014

Grade: A-

Her (2013) is a very unique film directed by Spike Jonze.

The film tells the tale of a lonely, depressed man named Theodore, played by Joaquin Phoenix, who lives in a beautiful high-rise in futuristic Los Angeles.

He works as a writer for a company that creates intimate cards for people in relationships.

After a recent divorce, he falls in love with his computerized operating system, Samantha, played by Scarlett Johansson (voice only).

Conflicts emerge as the relationship deepens and intensifies.

This is a uniquely crafted love story, but also a story of loneliness and the world of technology we now live in.

It portrays human relationships as troubled and unsuccessful, yet several characters have wonderful relationships with computers.

Is this what the future may bring for human beings? How many people have fallen in love with a fantasy or a voice on the phone?

The film ponders how technological advances have changed relationships and wonders what will happen further into the future. Technology, while wonderful, has changed our interpersonal relationships, and this film delves deeply into that.

Conversation is a lost art, and Her captures both the joys and tragedies of technology.

Visually, the film is successful because it portrays Los Angeles in a sophisticated, ultra-sleek, modern way that is fascinating.

Several technological games are featured (the Alien child is brilliantly comical), and the “Mom points” are fascinatingly ironic.

Her is a deep film that raises questions, and I applaud this in modern cinema.

Her is a slow-moving film, but a questioning one.

It won the 2013 Best Original Screenplay Oscar, and I am so glad the Academy recognized the film’s originality.

Oscar Nominations: 1 win-Best Picture, Best Original Screenplay (won), Best Original Score, Best Original Song-“The Moon Song”, Best Production Design

1981 Films, Comedy, Dark Comedy, Horror, Horror-Camp, Independent, Independent Horror

The Evil Dead-1981

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The Evil Dead-1981

Director Sam Raimi

Starring Bruce Campbell

Scott’s Review #144

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Reviewed July 31, 2014

Grade: B+

For its time, The Evil Dead (1981) was a unique, creative, visually impressive horror classic, far different from the wave of mediocre slasher films of the era.

In the story, five teenagers head to a remote cabin in Tennessee for spring break.

From the beginning of the trip, there is trouble: they are almost killed in a head-on collision, their car almost falls off a rickety bridge, and, finally, at the cabin, they stumble upon a haunted book.

From this point, even stranger events unfold, and the haunting, crazy action begins.

Director Sam Raimi does an excellent job from a visual standpoint- the camera racing through the woods from the demon’s point of view is very effective and scary.

The ambiance is creepy- fog, mist, smoke, and the lighting is great.

The film has all the elements- darkness, a remote cabin, and woods coming alive for a genuinely scary horror flick.

Yes, the film seems a bit campy to watch now, but at the time, the special effects were brilliant.

My personal favorite is the long shot of the twitching, dismembered body and the various, hysterically funny chattering and gibberish among the demons.

The ending of the film is very well done.

2014 Films, Comedy, Drama, Independent, Independent Comedy, Independent Drama

The Grand Budapest Hotel-2014

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The Grand Budapest Hotel-2014

Director Wes Anderson

Starring Ralph Fiennes

Scott’s Review #143

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Reviewed July 30, 2014

Grade: B+

The Grand Budapest Hotel (2014) is a witty, unique film by director Wes Anderson, who has also directed similarly quirky films, notably Monsoon Kingdom (2012) and The Royal Tenenbaums (2001).

The film recounts the history of the Grand Budapest Hotel over dinner, told by the current owner, Zero (F. Murray Abraham), and an inquisitive guest (Jude Law).

The film then flashes back to the 1930s and shares the hotel’s real history.

The main story centers on the head concierge, Gustave (Ralph Fiennes), and his antics involving older wealthy blonde women, a murder, stolen art, and a missing will.

Gustave is a ladies’ man and bisexual who spends time with the rich women who stay at the hotel.

Fiennes does an excellent job as the quick-witted, almost manic Gustave.

This sets off a series of interesting, mysterious events for the remainder of the film that turns into a whodunit yarn.

The visual aspects usurp the story. The art direction is amazing. The sets are constructed so perfectly and ingeniously that they almost look like animated sets or like a dollhouses.

The costumes and makeup are flawless.

The story can be tough to follow at times and isn’t as strong as the other aspects of the film, but that doesn’t mean it’s bad; it is entertaining, just not much more.

The other aspects of the film are magnificent, and the story is secondary. It’s an odd film, certainly, but unique and interesting.

Well-known Hollywood stars appear: Tilda Swinton, Edward Norton, Adrien Brody, Willem Dafoe, and Harvey Keitel.

Oscar Nominations: 4 wins-Best Picture, Best Director-Wes Anderson, Best Original Screenplay, Best Original Score (won), Best Production Design (won), Best Cinematography, Best Makeup and Hairstyling (won), Best Costume Design (won), Best Film Editing

2012 Films, Alcoholism, Drama, Independent, Independent Drama, Romantic Drama, Social Issues

Smashed-2012

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Smashed-2012

Director James Ponsoldt

Starring Mary Elizabeth Winstead, Aaron Paul

Scott’s Review #139

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Reviewed July 28, 2014

Grade: B

Smashed is an independent film from 2012 and a showcase for Mary Elizabeth Winstead, who impressed me enormously as an actress.

She gives a fantastic portrayal of a twenty-something elementary school teacher who has alcoholism.

Known for either crappy or supporting roles (or both) in bombs like The Thing (2011) and Live Free or Die Hard (2007), Winstead comes into her own and is the main reason to see the film.

I am always amazed when an actor who hasn’t been given great material to shine finally goes indie and takes a risk.

Aaron Paul plays her husband, who also has alcoholism.

They both love music and partying. When she decides to sober up, conflict emerges in their marriage.

Despite the subject matter of alcoholism, the film is not a downer. It borders on a romantic comedy, with drama thrown in, and isn’t depressing.

My one criticism would be that the side effects of alcoholism are glossed over. There is not much grittiness in the film-she becomes an alcoholic, struggles a bit, and recovers, almost television movie-like.

The film doesn’t show the true, horrific battles.

Octavia Spencer and Megan Mullally appear in small roles.

Independent Spirit Award Nominations: Best Female Lead-Mary Elizabeth Winstead

2011 Films, Drama, Independent, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films, New York City

Gun Hill Road-2011

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Gun Hill Road-2011

Director Rashaad Ernesto Green

Starring Esai Morales

Scott’s Review #138

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Reviewed July 27, 2014

Grade: A-

Gun Hill Road (2011) is a very small, independent film set in the Bronx, New York, hence the title, which is a famous street there.

It tells the story of a Hispanic family: the father, Enrique (wonderfully played by Esai Morales), has recently been released from prison and is adjusting to clean living.

His wife Angela (Judy Reyes) has moved on emotionally and physically, and his teenage son Michael (Harmony Santana) is going through a sexual identity crisis and defines himself as a female.

Each of the three characters is sympathetic and well understood in terms of motivation.

The most interesting facet of the film is the father/son relationship, as Enrique must eventually come to terms with Michael’s sexuality and gender definition, which is not portrayed as easy in the Latino community.

The film has a rawness and realness.

Gun Hill Road is a dysfunctional family drama, character-driven, sometimes difficult to watch, and quite captivating, though the ending is slightly disappointing, as events were left open-ended.

Santana was nominated for the 2012 Independent Spirit Award for Best Supporting Female.

I only wish this film had received wider recognition and acclaim, as it’s a marvel.

Independent Spirit Award Nominations: Best Supporting Female-Harmony Santana

2012 Films, Drama, French, Independent, Independent Drama, International, International Drama, Romantic Drama

Rust and Bone-2012

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Rust and Bone-2012

Director Jacques Audiard

Starring Marion Cotillard, Matthias Schoenaerts

Scott’s Review #137

Reviewed July 26, 2014

Grade: B+

Rust and Bone (2012) is a French-language film that tells the difficult love story of a successful, cultured whale trainer (Stephanie) who is seriously injured in an accident and left without legs.

She has an unlikely romance with an unemployed former boxer (Ali), who leads a troubled life providing for his young son.

Marion Cotillard and Matthias Schoenaerts give outstanding performances as the two leads.

Their powerhouse performances are the main reason to watch this film. They are amazingly convincing, and Cotillard’s performance alone is astonishing.

Cotillard, who has already won an Oscar for La Vie En Rose (2007), is one of the best younger actresses around, and Schoenaerts showed great promise in 2011’s Bullhead.

The film is character-driven as both leads have difficult, challenge-filled existences. Ali attempts to return to boxing, and Stephanie attempts to cope with life after losing limbs.

Together they slowly bond and a love story blossoms.

Slow-paced, realistic, and complex, the relationship between the two is at the heart of the film.

The one negative I found is that the story meanders into several different plots, some even unnecessary to the main story, so much so that it becomes unclear what the main story is supposed to be.

This results in an uneven viewing experience.

Still, beyond that flaw, Rust and Bone (2012) is well worth the price of admission for its superb acting and wonderful love story.

Independent Spirit Award Nominations: Best International Film

2013 Films, Biography, Drama, Independent, Independent Drama

Lovelace-2013

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Lovelace-2013

Directors Rob Epstein, Jeffrey Friedman

Starring Amanda Seyfried

Scott’s Review #133

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Reviewed July 24, 2014 

Grade: B

Lovelace (2013) is an account of famous 1970s porn star, Linda Lovelace, and her rise to stardom and inevitable fall from the spotlight.

Her difficult family life, abusive relationships, and her attempt to escape the porn world for good are explored.

The film tells the story from Lovelace’s point of view, based on her tell-all autobiography, and portrays her in a very sympathetic way.

Whether all of the abuse and struggles that Lovelace claimed are to be believed is up to the viewer.

Lovelace, the film, comes across as similar to Boogie Nights (1997)- even the 1970s soundtrack is eerily alike, but inferior to that masterpiece.

The only character whose past is fully explored is Linda Lovelace, the sole focal point; the others are simply extensions of her character.

One major issue I found with the film is Amanda Seyfried’s casting as Linda Lovelace.

Seyfried does not have the plain-Jane or girl-next-door characteristics that the real Lovelace had. She comes across as soft and gentle, much too much for this particular role.

Conversely, the casting of Sharon Stone and Peter Sarsgaard is excellent, as each is dynamic in their respective roles. Stone should have received much more acclaim for her role.

As Lovelace’s mother, she is gritty, steely, and unsympathetic.

The film contains a who’s who of Hollywood names involved in small roles.

Another issue is that the film seems like a made-for-television movie, and considering the subject matter is the porn industry, it seems awfully watered down and not harsh enough.

Lovelace (2013) is entertaining enough to keep one’s interest but is not riveting or in-depth enough to be a major success.

2011 Films, Drama, Independent, Independent Drama, Independent Thriller, Thriller

The Loneliest Planet-2011

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The Loneliest Planet-2011

Director Julia Loktev

Starring Hani Furstenberg, Gael García Bernal

Scott’s Review #131

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Reviewed July 24, 2014

Grade: B-

The Loneliest Planet (2011) is an independent film with incredibly gorgeous cinematography of the Georgian landscape (outside Russia), where the entire movie is set.

The story centers around a young couple, Alex (Gael García Bernal) and Nica (Hani Furstenberg), on a backpacking excursion through the mountains.

Their relationship is tested along the way, mainly because of their camping guide, a man who comes between them as the plot unfolds and a romantic triangle begins to emerge.

All three characters are complex, likable at times, and annoying at other times, so that is a satisfying part of the film.

The dynamic between the three individuals is interesting when action happens, which leads to my major gripe with The Loneliest Planet.

The biggest negative is that the story moves at a painfully slow pace, and while I don’t mind slow-moving films, the extremely long sequences of watching the three characters trek across the countryside with backpacks and absolutely no dialogue mean nothing happens.

When the story does develop, the audience empathizes with each character.

The ending is abrupt and ultimately unsatisfying.

As a film with lavish footage of picturesque landscapes, few are fortunate enough to see, I’d give this film a solid A, but for the compelling storytelling, the film is lackluster as a whole.

Independent Spirit Award Nominations: Best Director-Julia Loktev

2012 Films, British, Comedy, Drama, Independent, Independent Comedy, Independent Drama

Quartet- 2012

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Quartet-2012

Director Dustin Hoffman

Starring Maggie Smith

Scott’s Review #122

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Reviewed July 20, 2014

Grade: B+

Quartet (2012) is a fantastic little British film, directed by Dustin Hoffman, and starring the always wonderful Maggie Smith, whom one might argue could be watched in anything.

I certainly could.

Smith stars as a stubborn retired opera singer who begrudgingly settles in at Beecham House, a luxurious senior retirement home for former musicians in their final years.

There, she reunites with colleagues from years past who try to reunite for a concert to save the home from foreclosure.

The cast of senior citizens in Quartet is quite likable, and it’s one of the few smart films that handles aging gracefully.

Comedy and drama mix as the intelligent characters are treated as such in their final years, with a hint of soap opera, since some were intimate with others in years past, and the current hijinks are hysterical.

The film treats aging with respect and dignity, not as a joke, which is one aspect I adore.

A talent-filled cast of British theater actors, along with some real-life musicians, makes this film a treat.

It is terrific to see Pauline Collins (Upstairs/Downstairs) in a large role.