Category Archives: Independent

2018 Films, Best Feature- Independent Spirit Award Winners, Drama, Independent, Independent Drama, Pedro Pascal, Romantic Drama

If Beale Street Could Talk-2018

January 8, 2019 scottmet99 Leave a comment

If Beale Street Could Talk-2018

Director-Barry Jenkins

Starring-Kiki Layne, Stephan James

Scott’s Review #854

Reviewed January 8, 2019

Grade: A

2018 proved to be a year where filmmakers of color prided themselves in telling stories of diversity, inclusion, social injustice, and the never-ending challenges of minorities.

One of the best films of the year is If Beale Street Could Talk (2018), a lovely piece of storytelling by director Barry Jenkins. His other major work, Moonlight (2016) is a similarly poignant and melancholy experience.

The film is based on a novel by James Baldwin.

The title is explained in the first dialogue of the film. Beale Street exists in New Orleans, but thousands of streets exist in other cities and is a metaphor for discrimination and unnecessary struggles that black folks continue to endure. Right away the audience knows that an important story is to be told.

The wonderful part of If Beale Street Could Talk is all of the combined elements that lead to brilliance.

Tish Rivers (Kiki Layne) and Fonny Hunt (Stephan James) have known each other since childhood. Growing up in a Harlem neighborhood their families are interconnected and community-centered.

Events begin in 1973 as Tish realizes she is pregnant. Ordinarily a happy occasion, the situation contains a major challenge because Fonny is imprisoned for a crime he did not commit.

A woman has accused him of rape and a corrupt policeman has positively identified Fonny as the rapist despite this being a logistical impossibility. Tish is determined to prove his innocence before the baby arrives with the assistance of her family.

The story is non-linear as Jenkins begins the film in the present day with Tish breaking the news of her pregnancy to him then notifying her family.

As the film progresses more of the Fonny and Tish love story is explored. The couple falls in love has romantic dinners and nervously makes love for the first time. In this way, the film becomes a tender story of young love.

The social injustice and family drama situations are carefully mixed in amid the central romance.

The film impresses with warm touches and ingenious cinematography and musical score. These left me resounding with pleasure at the intricate and intimate details. The frequent use of jazz music over dinner or as the Rivers family sips celebratory wine adds sophistication to many scenes.

The texture of the film is muted and warm giving it a subdued look that is genuine to the quiet and timeless nature of the production.

The plume of cigarette smoke can be seen in nearly every scene as most of the characters smoke. Since the period is the 1970’s the authenticity is there, and a glamorous image is portrayed.

Smoking enhances the sophistication of the characters and adds to the tremendous cinematography.

Several scenes of simple dialogue crackle with authenticity and passion. In one of the best scenes Fonny’s friend Daniel, a recent parolee, stays for dinner and the friends share a conversation over beer and cigarettes.

The lengthy scene is poignant and tremendous with meaning. Daniel recounts his experience in prison and how black men are victims of the whims of white men and the terror involved in that. The scene is powerful in its thoughtfulness and a foreshadowing of Fonny’s impending trauma.

The supporting characters are stellar and add to the bravura acting troupe.

Regina King as Sharon Rivers gives a rave performance when she bravely travels to Puerto Rico and confronts Fonny’s accuser in hopes of getting her to modify her story. The scene is laden with emotion and honest dialogue.

The other notable actors are Colman Domingo and Teyonah Parris as Tish’s father and sister, respectively. Both do wonders with fleshing out the Rivers family as strong and kind people.

Jenkins is careful to add white characters who are benevolent to offset the other dastardly white characters. Examples are the kindly old woman who comes to the rescue of Fonny and Tish and berates the cop.

The Jewish landlord who agrees to rent a flat to the pair is portrayed as decent and helpful, and finally, the young lawyer who takes Fonny’s case is earnest and understanding.

If Beale Street Could Talk (2018) continues talented director Barry Jenkins plunge into the depths of being one of the modern greats. With a beautifully visual and narrative film, he creates an experience sure to win more and more fans.

The ending is moving yet unsatisfying as so many more miles are to go in the race for prison justice. Adapting an important story of race and repression based on skin color is a powerful and detailed affair.

I cannot wait to see what Jenkins comes up with next.

Oscar Nominations: Best Supporting Actress-Regina King (won), Best Adapted Screenplay, Best Original Score

Independent Spirit Award Nominations: Best Feature (won), Best Director-Barry Jenkins (won), Best Supporting Female-Regina King (won)

2017 Films, Horror, Independent, Independent Horror

The Transfiguration-2017

January 7, 2019 scottmet99 Leave a comment

The Transfiguration-2017

Director-Michael O’Shea

Starring-Eric Ruffin, Chloe Levine

Scott’s Review #853

Reviewed January 7, 2019

Grade: B+

The Transfiguration (2017) is a quiet horror film and resoundingly peculiar vampire tale borrowing elements of similar genre pieces but adding fresh nuances to its story.

Some may feel the film is too slow-paced, but with patience there comes a terrific payoff and tremendous conclusion. Of the independent horror field and with a limited budget, the underlying message of teen loneliness and alienation comes through loud and clear.

The film wisely adds tidbits of classic film history which is a special treat for horror buffs.

Fourteen-year-old Milo (Eric Ruffin) has been through much trauma in his young life. His father has died, and his mother has recently committed suicide. Milo resides in a crummy Brooklyn high-rise with his older brother Lewis (Aaron Clifton Moten), a depressed military veteran.

Milo has a horrific secret- he is convinced he is a vampire and habitually kills strangers drinking their blood. When he meets troubled teen Sophie (Chloe Levine), the pair are inseparable, but Milo’s secret is threatened to be uncovered.

The bevy of neighborhood Brooklyn exterior shots are pleasing for those familiar with New York City locales. Similar in style to Beach Rats (2017) another recent coming-of-age story shot in Brooklyn springs to mind.

Many scenes of Milo and Chloe wandering around their neighborhood or riding the subway are featured making the overall package feel authentic and not overly produced. The Brooklyn beaches and skylines make frequent appearances.

The most compelling, and frightening, aspect of The Transfiguration is how convinced Milo is of his being a vampire leading me to think the writer is providing mental health learning. The audience immediately knows he is delusional, but he truly believes.

Terrifying is this reality as via flashback we see Milo discovering his mother’s body, her wrists slit. As he gruesomely tastes her blood a sense of wonderment we wonder if this is his vampire discovery moment. Surely a defense mechanism, it is nonetheless extreme behavior.

The character of Sophie is also worthy of discussion. With both of her parents deceased she is sent to live with her abusive grandfather who lives in the same building as Milo. We never see the character but know that he is vile.

In one scene Sophie appears to be raped by a group of boys and she yearns for a friend in Milo. As she slowly realizes his secret but incorrectly assumes he is writing a book not killing people, she can look past this to belong. Milo and Sophie desperately need each other.

Despite the macabre characterizations outlined above the film is not quite a downer. In the middle of the vampire story is a sweet and likable young romance between the two leads.

There is a charisma and charm between the two that is genuine and heartfelt and even the simplest conversations sparkle with the appeal. The final sacrifice that one makes for the other is riddled with kindness.

Fans of classic horror will be delighted with clips of the 1922 film Nosferatu as well as other gory cult classic films that Milo is obsessed with.

Innocently, he attempts to broaden Sophie’s exposure to vampire films- she thinks the Twilight films are masterpieces much to Milo’s chagrin. This fun banter balances the dreadful main story plot.

Does Milo have rooting power? Despite a history of animal torture and human killings, he is a remarkably nice kid. He is tempted to kill both Sophie and a young boy in the park but resists this urge.

In the end, he also saves Sophie ensuring she will have a better fate than he. The character is complex and a large part of the success of The Transfiguration.

Writer and director Michael O’Shea cleverly use a side story of a gang of bullies to incorporate a dramatic and shocking conclusion with a wonderful twist. Milo, though tragic and flawed, proves himself a hero as he uses an opportunity to punish and exact revenge on enemies while saving the life of another character.

In this way, he will undoubtedly gain sympathy from the audience.

The Transfiguration (2017) is a unique film that infuses character development and a romance with a blend of horrific blood-curdling moments, especially during “kill” scenes.

I hope that this very small film with no advertising budget receives enough word of mouth to gather a following or at the very least garner recognition for the up-and-coming director (O’Shea).

Independent Spirit Award Nominations: John Cassavetes Award

1997 Films, Allison Janney, Ang Lee, Christina Ricci, Drama, Elijah Wood, Independent, Independent Drama, Joan Allen, Jonathan Freeman, Katie Holmes, Kevin Kline, Sigourney Weaver, Tobey Maguire

The Ice Storm-1997

January 1, 2019 scottmet99 Leave a comment

The Ice Storm-1997

Director Ang Lee

Starring Kevin Kline, Joan Allen, Sigourney Weaver

Scott’s Review #850

Reviewed January 1, 2019

Grade: A

The Ice Storm (1997) is a brilliant film directed by Ang Lee of Crouching Tiger, Hidden Dragon (2000), and Brokeback Mountain (2005) fame.

The film is based on a 1994 novel of the same name, written by Rick Moody.

The brilliance lies in the rich way the characters are written with coldness, repression, and loneliness being central themes. The film is astonishingly genuine and fresh with an authenticity rarely felt so wholly in adult family dramas.

The period is 1973 and the events take place in New Canaan, Connecticut, a wealthy suburban town.

Two dysfunctional families, the Hoods and the Carvers co-exist during the Thanksgiving weekend as each deals with repression and escapism amid alcohol and sexual experimentation.

Both the adults and the children’s lives are prominently featured in the story. Ben and Elena Hood (Kevin Kline and Joan Allen) and Jim and Janey Carver (Jamey Sheridan and Sigourney Weaver) head the families.

While Ben and Janey carry on a secret affair, Elena lives an unfulfilled existence, craving more from life but not knowing how to get more and reduced to consulting self-help books for support.

Wendy Hood (Christina Ricci) enjoys sexual escapades with multiple boys while Paul Hood (Tobey Maguire), home from boarding school, takes the train into New York City to see a rich classmate Libbets Casey (Katie Holmes).

The most wonderful aspect of the film is that the story is a slice of life but with clever nuances. Since the families are rich why should the viewer feel sympathy for any of the characters let alone root for them?

Ben and Janey lounge in bed after sex, he is chatty about nonsense, and she is bored and depressed. During a holiday neighborhood gathering a kinky “key party” develops, where participants swap spouses for the night, resulting in titillation and excitement.

The bold and controversial writing is exactly why The Ice Storm scores so many points. The characters are cold and frozen, unlikable and selfish, but might that be the point? All seem unhappy and tired of their dull, small-town existence and craving what little excitement they can muster.

Written similarly to American Beauty (1999) the films could be watched in tandem for evenings of Gothic and macabre story-telling.

My favorite character is Elena as she has the most sensibility. She is lonely and ignored by her husband dutifully going about her day with little emotion. She feels temporarily excited when she develops a romantic crush on a neighbor only to quickly realize the most she can ever hope for with this man is a fling.

Her character is fleshed out as she yearns for more than she has. The other characters are largely selfish and pampered.

The film’s conclusion, however, is monumental as it changes the perceptions of some characters and softens them. A tragic death brings characters together in a powerful way.

Again, the writing in The Ice Storm is the most interesting and compelling appeal. The acting among the entire cast is professional, heartfelt, and brazen, but the written dialogue and interesting situations make this film rise above others of a similar genre.

Lee’s direction is brilliant as the blustery winter atmosphere is central to the story- in more ways than we might originally think. The frozen power lines and slick windy country roads elicit a cozy feeling nestled between harboring family secrets and scandals.

The bitter yet beautiful ambiance is a soothing and compelling aspect of the entire film and Lee portrays these elements with precision.

Of the independent drama genre, The Ice Storm has a low budget and big-name stars. The film could easily be performed as a play, but the cinematic elements and fantastic writing make it a memorable and storied piece of film-making.

Ang Lee frequently incorporates astounding character development in his works and The Ice Storm (1997) has all the qualities to be considered a masterpiece.

2017 Films, Comedy, Dark Comedy, Independent, Independent Comedy, John Lithgow

Beatriz at Dinner-2017

December 18, 2018 scottmet99 Leave a comment

Beatriz at Dinner-2017

Director-Miguel Arteta

Starring-Salma Hayek, John Lithgow

Scott’s Review #844

Reviewed December 18, 2018

Grade: B+

Thanks to a well-written screenplay and a thought-provoking idea, Beatriz at Dinner (2017) spins an interesting concept about politics and class systems discussed over dinner.

Salma Hayek and John Lithgow give tremendous performances as characters with opposing viewpoints helping the film to succeed, though a flawed ending and cookie-cutter style supporting characters detract from the overall enjoyment.

Set in southern California, presumably around Los Angeles, Beatriz (Hayek) works as a holistic health practitioner. Moonlighting as a massage therapist, she becomes stranded at the wealthy home of one of her clients, Kathy (Connie Britton), who she views as a friend.

Kathy invites Beatriz to stay for dinner where she encounters real-estate mogul Doug Strutt (Lithgow) and the two gradually develop a feud based on their differing politics and viewpoints.

The setup and flow of Beatriz at Dinner is commendable and paces the film nicely, sort of a day in the life of Beatriz. The film begins as the character awakens to her pet dogs and goat noisily beginning their day and culminates late at night, the dinner party concludes, and the last glass of wine consumed.

In this way, the film has a nice packaged feel that keeps the story confined and structured.

Being an independent film, the budget is small and most of the scenes are shot in the spacious modern house overlooking the Pacific Ocean, which works well. Gorgeous and vast, many rooms are used as conversations among the characters occur, many overlapping each other.

Beatriz at Dinner could have been a play, and this helps with the good flow.

Hayek and Lithgow are the main draws as their initial guarded pleasantries progress to venom and violence, albeit largely imagined.

Initially thinking that Beatriz is the household help, Doug is inquisitive about her entry into the United States and makes numerous insulting gestures, mispronouncing her Mexican hometown and mocking her profession.

Beatriz calmly endures his racism and begins discussions about how his business harms animals and people as emotions escalate. The actors play off each other wonderfully and share chemistry.

With each glass of wine, Beatriz becomes more brazen and shares a story of how people in her village lost their land to real estate development and shares a humanistic viewpoint while Doug sees life as to be lived while you can.

Despite their dislike for each-others lifestyle the film has Beatriz and Doug at least listen to one other and attempt to understand the other’s opinion, which is more than can be said for the supporting player’s motivations or lack thereof.

Besides Kathy, while sympathetic to Beatriz’s calm demeanor and life-rich philosophies, she also realizes that Doug is her family’s meal ticket.

The other party attendees are written as polite yet uninteresting twits with nothing to talk about except a reality star’s nude photos, dinner, or a handful of other nothing topics.

Chloe Sevigny, Jay Duplass, Amy Landecker, and David Warshofsky have little to do other than stand around and react to the meatier written material that Hayek and Lithgow get to play.

Beatriz at Dinner had me in its corner until the film takes a jarring turn during the final act. As Beatriz leaves the party and sets about on her way home, she hastily decides to grab a letter opener and bludgeon Doug to death as the dinner guests hysterically realize what is happening.

Instead of leaving things be the film chooses to make this only Beatriz’s fantasy and then have her go to the ocean and walk into the waves. Does this mean she commits suicide or is this another fantasy? Unclear and unsatisfying is this final sequence.

I am not sure why Beatriz at Dinner is considered a comedy. Perhaps a mild dark comedy, I argue that the film is a straight-ahead drama and lacks the witty humor that made dinner party-themed films such as Who’s Afraid of Virginia Woolf? (1966) and The Boys in the Band (1970) are such masterpieces.

Beatriz at Dinner (2017) is a valiant attempt at offering social commentary in a time when discussions like these are needed in films and the project largely succeeds.

An impassioned yet subdued performance by Hayek deservedly earned her a Female Lead Independent Film nomination. Rich writing garnered the film a Best Screenplay nomination too, but a big whiff at the end lowers the overall experience a notch.

Independent Spirit Award Nominations: Best Female Lead-Salma Hayek, Best Screenplay

2018 Films, Comedy, Dark Comedy, Drama, Emma Stone, Independent, Independent Comedy, Independent Drama, LGBTQ+ Comedy, LGBTQ+ Drama, LGBTQ+ Films, Period Drama

The Favourite-2018

December 17, 2018 scottmet99 Leave a comment

The Favourite-2018

Director-Yorgos Lanthimos

Starring-Olivia Colman, Emma Stone, Rachel Weisz

Scott’s Review #843

Reviewed December 17, 2018

Grade: A

The Favourite (2018) is a deliciously wicked comedy about greed, jealousy, and rage during early eighteenth-century England.

The primary rivalry consists of two feuding cousins, each jockeying for position and “favor” with the Queen, both resorting to dire methods to achieve these goals.

With splendid acting and grand designs, director Yorgos Lanthimos adds to his growing collection of odd and compelling works with the dark comedy offering.

The film takes place amid the British and French war of 1708 as a physically and mentally ill Queen Anne (Olivia Colman) rules the country by way of her confidante and secret lover, Sarah, Duchess of Marlborough (Rachel Weisz).

Though deals and modifications must be made with the ruling Parliament Anne has the final say in all decisions including doubling the state tax to pay for the war.

When Abigail (Emma Stone), a distant cousin of the Duchess, and former royalty herself, arrives seeking work as a servant, she quickly plots her way to the bedside of the Queen at all costs.

Lanthimos, known for such bizarre treats like Dogtooth (2009), The Lobster (2015), and The Killing of a Sacred Deer (2017), is not afraid to get down and dirty and wrestle with the macabre subject matter.

The Favourite is the director’s most mainstream affair yet and is quickly becoming one of my favorite modern-day filmmakers. As he now charters into royal territory the possibilities are endless in a world of politics and scheming.

Some morose highlights include an abused bunny, naked tomato throwing, and pheasant shooting.

The film is not kind to animals.

Despite being a mainstream affair in the world of Lanthimos, The Favourite is a bizarre and brazen experience. The heaps of award nominations are quite remarkable given the film will not be enjoyed by all audiences.

Despite being categorized as a comedy (see more below) the film is not an easy watch and none of the characters are likable. Abigail is sympathetic at first and quite humorous but as the plot develops her true colors and motivations are exposed.

Conversely, Anne and Sarah are initially despicable, but garner support as the story evolves.

The comic elements are the best elements and clever lines come at a deliciously rapid pace. The best dialogue is the sparring between Sarah and Abigail as the women realize they are bitter enemies and each attempt to one-up the other in a chess game for Anne’s attention.

Anne, known for fits of emotion, stuffing her face with cake and vomiting, and berating the servants, offers her comic wit. The language is salty bordering on vulgar, but that is what makes the experience so stellar and morosely enjoyable.

The musical score adds muscle and the diabolical string arrangements give The Favourite a gruesome, morbid atmosphere.

The feeling of dread is prevalent and downright haunting at times as the audience, knowing that some sort of shenanigans will soon occur, does not know when or how.

This quality enhances the overall product and gives ambiance to an already superior piece.

Finally, the acting in The Favourite is brilliant and worth the price of admission. With heavyweights like Colman, Stone, and Weisz this is unsurprising, but the gravy is in the individual moments.

The chemistry the women share is what works best as every scene sparkles with exceptional delivery and a sly sense of humor. When the three women appear together-these are the best scenes.

Deserving of all the accolades lauded upon it The Favourite (2018) is an experience that contains all elements of a fine film though one that is quite the unconventional work.

With glistening art direction, set pieces that shine with authenticity, and costumes that would make Scarlett O’Hara drool with envy, The Favourite takes all of its parts and spins a crafty tale that encompasses the entire film.

Oscar Nominations: Best Picture, Best Director-Yorgos Lanthimos, Best Actress-Olivia Colman (won), Best Supporting Actress-Emma Stone, Rachel Weisz, Best Original Screenplay, Best Production Design, Best Cinematography, Best Costume Design, Best Film Editing

Independent Spirit Award Nominations: Best International Film

2018 Films, Alex Wolff, Horror, Independent, Independent Horror

Hereditary-2018

December 6, 2018 scottmet99 Leave a comment

Hereditary-2018

Director-Ari Aster

Starring-Toni Colette, Alex Wolff

Scott’s Review #837

Reviewed December 6, 2018

Grade: B+

Hereditary (2018) is a horror film that provides quite an unsettling feeling long after the credits have rolled, which is always a positive in my book. Moreover, the film contains more than a handful of effectively chilling moments and a breathtakingly good performance by its star Toni Colette, who delivers the goods in spades.

The film is the debut project by writer and director Ari Aster, who certainly has a bright future ahead of him.

We meet the Graham family- artist Annie (Colette) and husband Steve, along with sixteen-year-old Peter (Alex Wolff) and thirteen-year-old Charlie as they mourn the death of Annie’s mother.

As Annie sees an apparition of her mother in her workshop, the mother’s grave is desecrated prompting her to attend a support group to deal with her problems. When Charlie then tragically dies in a gruesome accident, Annie begins to teeter over the edge putting her remaining loved ones at risk.

The story that Aster writes is tremendously hard to follow leaving many perplexities and assured questions about the plot. Was fellow support group attendee Joan (Ann Dowd) a sinister cultist along with Annie’s mother or merely a kindly friend trying to help? Did Annie kill her family or were their deaths fated, a result of an unstoppable force hence the “hereditary” title?

A post-film synopsis will need to be read by many viewers (myself included) for clarity.

Frightful sequences resonated with me for days following my viewing of Hereditary, so much so that a second viewing may very well be required.

The decapitation of Charlie is one of the creepiest scenes I have ever witnessed as well as tidbits such as Annie furiously pounding her head on the attic door, clearly not herself. Not to be outdone, Steve bursting into flames, and Annie slowly beheading herself with piano wire while coven members look on may lead to nightmares for days.

Shot in a style that makes the film feel claustrophobic and contained, props must be given to the camera crew for creating a dollhouse aesthetic. Enhancing this point is artist Annie’s clay dollhouse, mirroring the families.

The viewer sees a mock version of the real family and when Annie decides to create a mimic of Charlie’s headless body to express herself the results are dire.

The best part of Hereditary, though, is Colette’s performance.

Flawless as the haggard mother in The Sixth Sense (1999), her role as Annie takes the actress to even greater heights. The woman slowly teeters to the brink of insanity as she awakens one morning to find the headless corpse of her daughter lying in the back seat of her car.

Aster wisely has her discovery and reactions appear off camera giving the sequence a high element of anticipatory horror. From this point, we know that Annie will steamroll further into insanity as she realizes the death of her daughter was caused by her son.

Horror films involving witchcraft or other demonic supernatural elements do not always work for me as I find realistic situations more effective, but Hereditary is atmospheric and effective.

The film possesses this element throughout the entire run so that we know bad things will happen, we just do not know when.

To further explain, many scenes involve closeups of characters seemingly deep in thought or shrouded in mystery. Evidence of this is when Peter sits in a classroom hearing the clicking of teeth, a habit of Charlie’s. When a trance-like Peter returns to reality, he is confused and slams his head against his desk breaking his nose.

Aster might have been wise to write a more concrete screenplay instead of leaving the audience unable to add up the parts.

Interpretation is a fine thing, but in the case of Hereditary, the sum may have been greater than the parts. Meaning, a more satisfying, though not less frightening, ending would be encouraged for his next picture.

Hereditary (2018) is a demonic horror film that offers a perplexing plot of a family’s hereditary curse and ultimate doom.

Thanks to brilliant acting and some of the most disturbing scenes ever witnessed, the film is a breath of fresh air in the over-saturated horror genre and a welcome debut from an upstart director.

Independent Spirit Award Nominations: Best Female Lead-Toni Collette, Best First Feature

2017 Films, Aubrey Plaza, Comedy, Dark Comedy, Independent, Independent Comedy, O'Shea Jackson Jr.

Ingrid Goes West-2017

November 16, 2018 scottmet99 Leave a comment

Ingrid Goes West-2017

Director-Matt Spicer

Starring-Aubrey Plaza, Elizabeth Olsen

Scott’s Review #832

Reviewed November 16, 2018

Grade: A-

Ingrid Goes West (2017) is a deliciously wicked black comedy and a bold statement about the current obsession with social media.

Combined with a dynamite performance by young actress Aubrey Plaza and smart writing, the small independent film provides a summertime treasure and two Spirit Award nominations for good measure.

The film is a breath of fresh air and a fine achievement by new director Matt Spicer.

The film immediately catapults the audience into the action as we are treated to a closeup of a sobbing Ingrid Thorburn (Plaza).

We immediately know that she is not right as she fumes with the realization that she has not been invited to her Instagram friend’s wedding and proceeds to interrupt the reception and attack the bride with pepper spray. Ingrid is carted off to a mental hospital for analysis and recovery.

Once released we learn that Ingrid’s mother has recently died leaving her a tidy sum of money as an inheritance. Ingrid suddenly becomes obsessed with Taylor Sloane (Elizabeth Olsen), a popular and narcissistic young woman who Ingrid follows on Instagram.

Taylor becomes Ingrid’s idol as she decides to move to Los Angeles and insinuates herself into Taylor’s life. She stalks Taylor and steals her dog only to pretend she rescued it, thereby becoming a close friend of hers.

Gradually, Ingrid’s actions become more and more psychotic as Taylor catches wind of Ingrid’s antics.

Aubrey Plaza is perfectly cast as the unstable, manipulative title character. She possesses such strong comic timing, and with her wide eyes, nervous mannerisms, and determination to get what she wants, the audience roots for and falls in love with her.

On paper, we should dislike the character as she takes advantage of nearly everyone in her path, but Plaza embodies her with empathy and smarts. Delightful to watch is how she gets out of scrape after a scrape with her quick thinking- Plaza truly excels in the role.

Bold and calculating are words to be used to describe Olsen’s performance as the selfish Taylor, and this may very well be why it is easy to root for Ingrid.

The character is so plastic and conniving that it is intensely satisfying to see her as the foil. Olsen usually plays good girl roles and possesses a girl next door quality, but in this part, she nestles nicely into a bitch role. Olsen also contains great timing with her character’s dialogue delivery, so much so that Olsen and Plaza had me in stitches during their one on one scenes.

I adore the Los Angeles setting, beyond appropriate for a film about phoniness, obsession, and plastic personas.

Beneath the sunny veneer lies darkness and tomfoolery in every direction and besides Ingrid’s landlord/somewhat boyfriend, Dan (O’Shea Jackson Jr.), there are not many likable characters.

Attending party after party and lavish club, restaurant, or get-away, being involved in the “scene”, the City of Angels is the perfect backdrop.

One gripe that knocks Ingrid Goes West down a rung for me is how the character of Taylor’s artist husband Ezra (Wyatt Russell) is written.

Ingrid realizes as she has a poolside heart to heart with the depressed Ezra, in one of the more authentic scenes, that his wife is not the girl he knew when she moved to L.A. He and Ingrid seem to connect, but shortly after it is as if the conversation never happened and he is ferociously taking his wife’s side again.

A nicer approach, and one I was hoping for, is that Ingrid and Ezra would ride off into the sunset, but the film misses this opportunity.

The entire film is a clever piece of work. From the performances, the dark humor, and the witty dialogue, Ingrid Goes West (2018) succeeds on nearly all levels.

A modern-day Single White Female (1992) with a social media slant, the film goes for the gusto and gets there. I cannot wait to see more from up-and-coming star Aubrey Plaza as the actress has the comic and dramatic chops to go very far.

Independent Spirit Award Nominations: Best First Screenplay, Best First Feature (won)

2002 Films, Andrea Martin, Comedy, Independent, Independent Comedy, Independent Romantic Comedy, John Corbett, Lainie Kazan, Nia Vardalos, Rita Wilson, Romantic Comedy, Tom Hanks

My Big Fat Greek Wedding-2002

August 28, 2018 scottmet99 Leave a comment

My Big Fat Greek Wedding-2002

Director Joel Zwick

Starring Nia Vardalos, John Corbett

Scott’s Review #806

Reviewed August 28, 2018

Grade: B+

My Big Fat Greek Wedding is a romantic comedy from 2002 that became a surprising sleeper hit at the time of release. A novel story idea, the film was even recognized with a Best Original Screenplay Oscar nomination.

The film achieved success the old-fashioned way by garnering word-of-mouth buzz despite little promotion.

Good-natured, earnest, and tender, the film was nonetheless marred by an abysmal sequel and short-lived television series- a lesson learned in leaving well enough alone.

Comedian Nia Vardalos reportedly wrote the story as a one-woman play and word of mouth among Hollywood A-list celebrities led to a film version starring Vardalos herself. This casting choice adds enormous authenticity as the writer’s vision shines through on-screen.

The film has a fresh and modern feel to it. Otherwise, the supporting cast is brilliant and perfectly selected. From handsome love interest John Corbett to veterans like Lainie Kazan and Andrea Martin, everyone plays their part to the hilt and seems to be having a ball with the comic elements.

Dowdy Toula Portokalos is a lonely thirty-year-old Greek woman, considered the black sheep of her family. Of traditional roots, she is expected to marry and bear children as quickly as possible.

Toula still lives at home and works in the family restaurant in bustling Chicago, yearning for something more out of life.

When she sees dashing school teacher Ian Miller (Corbett) in the restaurant one day, she makes an embarrassing attempt to catch his attention. Through a computer class, Toula blossoms and finally lands her man, but the drama is just beginning as the couples and their individual families’ differing cultures collide.

My Big Fat Greek Wedding is written very well and, again, the authenticity is what shines through in each scene. Admittedly, it often feels like a television sitcom and many scenes play for obvious laughs, but the laughs work. The funniest of these scenes is when Toula and Ian (now engaged) decide to invite his parents to dinner at her parent’s house.

Predictably, events go awry as his parents-conservative and reserved, do not mesh well with hers-festive and bombastic.

Vardalos and Corbett may not have the greatest chemistry in film history, but the build-up and the romance are so charming that we can overlook the lack of lustful vigor or the sexual tension between the pair.

The film feels more like a PG-rated Cinderella story than anything heavier. Predictably, the couple shares a happily-ever-after ending.

As much of a jewel as My Big Fat Greek Wedding was in 2002, the risk with a film of this nature is to hold up well over time. Specifically, in the romantic comedy genre, films of this ilk have a short relevant shelf-life (if deemed relevant at all).

The humorous Windex references may be lost on audiences over time or just become stale over the years.

Some can deem My Big Fat Greek Wedding (2002) as fluff- mainly based on the romantic comedy genre it exists in. But it’s of better worth than that, mainly because of the fresh and genuine use of culture and differing backgrounds.

The film has a quality that most of the standard “rom coms” do not possess, that of authenticity. Yes, it contains Greek stereotypes, but the overall vibe of the film is that of a sunny, fun, happy experience.

An uplifting film can sometimes be just what the doctor ordered.

Oscar Nominations: Best Original Screenplay

Independent Spirit Award Nominations: 1 win-Best Debut Performance- Nia Vardalos (won)

2005 Films, Best Picture Oscar Winners, Brendan Fraser, Daniel Dae Kim, Don Cheadle, Drama, Independent, Independent Drama, Ludacris, Matt Dillon, Michael Pena, Paul Haggis, Ryan Phillippe, Sandra Bullock, Terrence Howard, Thandie Newton, Tony Danza, William Fichtner

Crash-2005

August 3, 2018 scottmet99 Leave a comment

Crash-2005

Director Paul Haggis

Starring Matt Dillon, Thandie Newton, Don Cheadle

Scott’s Review #799

Reviewed August 3, 2018

Grade: A-

A superior film that has unfortunately suffered greatly after controversy, Crash (2005) is a story of intersecting vignettes all interrelated.

The controversy stems from the film’s very surprising Oscar win over the heavily favored Brokeback Mountain. Many thought the latter was a shoo-in, poised to set the LGBT genre ahead of the game.

Sadly, now when Crash is discussed by film lovers, it’s usually in tandem with Brokeback, and usually on the heels of its having stolen the Oscar crown.

On its own merits, the film excels as a social story exploring the many facets of race, racism, and bigotry.

The events in Crash take place within one thirty-six-hour day in metropolitan Los Angeles. Featuring a slew of characters that would even impress Robert Altman, the audience witnesses situations involving many races and backgrounds.

We meet Rick and Jean Cabot (Brendan Fraser and Sandra Bullock), a white affluent couple who are carjacked when driving home from dinner. The black men who carjack the couple then strike a Korean man and bring him to the hospital.

A racist police officer, John Ryan (Matt Dillon), cares for his troubled father who cannot afford insurance. A Persian father and daughter wish to buy a gun for protection, and a Hispanic father (Michael Pena) worries about a rash of drive-by shootings.

The stories go on and on as a myriad of the characters come into situations involving other characters.

The interconnecting stories all cascade into overlapping situations of interest. The point of Haggis’s film is racism but with a creative twist.

The director points out and shows that those who are racist have good qualities too and those who are discriminated against in turn discriminate against others themselves.

The most interesting character is Dillon’s, John Ryan. On the surface a racist, wise-ass, who in one scene embarrasses an affluent light-skinned black woman (Thandie Newton), simply because he carries a gun, then ends up saving her life in a horrific car accident.

But is he redeemed? Does he see the world as black people getting ahead and he is left behind? What about the Persian man, discriminated against, but then vowing revenge on a Hispanic man after a misunderstanding?

The black men who carjack the white couple then release a group of immigrants who will surely be sold, perhaps even for sex trafficking. Does this act make the men good?

The point that Haggis makes is that each character is neither all good nor all bad, but rather complicated and nuanced with emotions based on past experiences and discrimination themselves.

Crash is highly similar to Traffic (2000) and Babel (2006) in terms of pace, style, and the way the stories align. The film is different, however, in that the location is strictly confined to Los Angeles, making the setting of monumental importance.

How would events be different in a setting like Middle America? Or in a different country? These possibilities are worth contemplating based on the perception that Los Angeles is one of the most diverse cities in the United States. If racism occurs there it can occur anywhere.

Now more about that pesky Oscar controversy! In later years critics would largely agree that the inferior film had won that year and Brokeback Mountain lost due to a level of homophobia on the part of the voting academy.

Since the academy is filled with Hollywood liberals, albeit of an older generation, an alternative way of thinking is that perhaps Crash won because it was the “safer” film.

Everyone seems to have forgotten the other three nominated films that year. Alas, Crash is permanently marred for winning Best Picture. It would undoubtedly have more supporters had it lost.

Ranked as one of the lowest-scoring Best Picture winners, I still believe Crash has some worth- though I agree that it should not have won over Brokeback Mountain.

Taken on its own merits the film is quite good. A message film with great atmosphere, it succeeds in making the viewer think and ponder perhaps their discrimination, whether conscious or subconscious.

The ensemble acting and character representations are all very good and worthy of a second watch.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-Paul Haggis, Best Supporting Actor-Matt Dillon, Best Original Screenplay (won), Best Original Song-“In the Deep”, Best Film Editing (won)

Independent Spirit Award Nominations: 2 wins-Best Supporting Male-Matt Dillon (won), Best First Feature (won)

2005 Films, Burt Young, Comedy, Drama, Felicity Huffman, Graham Greene, Independent, Independent Comedy, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films

Transamerica-2005

July 25, 2018 scottmet99 Leave a comment

Transamerica-2005

Director Duncan Tucker

Starring Felicity Huffman, Kevin Zegers

Scott’s Review #795

Reviewed July 25, 2018

Grade: A

Transamerica (2005) is a brave and topical independent drama effort. By 2005 the LGBT genre was in full force with a multitude of similarly themed films gracing silver screens everywhere.

One prominent mainstream production (Brokeback Mountain-2005) was in theaters everywhere. So in a year celebrating diversity, how wonderful and touching to witness a film focused on a transgender woman come into play.

Mixing drama with some needed humor, the film succeeds in large part because it does not take itself too seriously, never becoming too preachy, it merely tells a story. The film’s brilliant casting of Felicity Huffman in the role of a pre-op male to a female transsexual is a success as the decision to cast a female rather than a male in the important role pays off in spades.

The premise allows for a story of both adventure and humor as the film mixes an important issue.

A transgender woman, Bree (Huffman) decides to go on a road trip with her long-lost son, Toby (Kevin Zegers). The intrigue is that Toby is unaware that Bree is both transgender and his father, the fun coming by way of the relationship between the individuals. Adding to the setup is that a week before Bree’s scheduled operation, she has no idea who Toby is.

Encouraged by her therapist, Bree decides to throw caution to the wind and travel to pick up her son- however, does not realize that Bree (being transgender) is his real father. Talk about complicated material!

I love the overall message of the film; the theme being one of self-discovery and a personal journey toward happiness. These qualities do not only apply to Bree but also to Toby. Being a teenage boy, abused and neglected, he has his share of issues, which the film does not skirt over.

The areas of male prostitution and gay porn are featured and the film does its best not to shy away from these sensitive matters.

Therefore, even though the tone of the film is light and more of a coming-of-age story, there are underlying painful emotions suffered by the characters. This makes their bonding easier and more fulfilling.

Without a doubt, the film belongs to Huffman, who was honored with a Best Actress Oscar nomination. No offense to that year’s winner (Reese Witherspoon for Walk the Line (2005), but the rightful owner of the statuette should be Huffman.

The actress simply comes out of nowhere and slays this role. Known for playing a different type of role on the hit television series, ABC’s Desperate Housewives, Bree is in a different league entirely.

Huffman possesses strength, vulnerability, and sarcasm, while physically undertaking a transformation that makes her both feminine and masculine while not becoming a “joke.” All of this she pours into the character.

Transamerica (2005) is an unconventional film that on the surface feels mainstream, like many other road trip films made over the years. With a twist and thus a breath of fresh air considering the importance and relevance of the time-released, the film should be championed.

When combined with the tremendous performance by Huffman, the film is a heavyweight and should be viewed and celebrated for its influence.

Oscar Nominations: Best Actress-Felicity Huffman, Best Original Song-“Travelin’ Thru”

Independent Spirit Award Nominations: 2 wins-Best Female Lead-Felicity Huffman (won), Best First Screenplay (won), Best First Feature

2006 Films, Brittany Murphy, Drama, Giovanni Ribisi, Independent, Independent Drama, Independent Thriller, James Franco, Josh Brolin, Karen Moncrieff, Kerry Washington, Marcia Gay Harden, Mary Beth Hurt, Mary Steenburgen, Piper Laurie, Rose Byrne, Thriller, Toni Collette

The Dead Girl-2006

July 24, 2018 scottmet99 Leave a comment

The Dead Girl-2006

Director Karen Moncrieff

Starring Brittany Murphy, Toni Collette

Scott’s Review #794

Reviewed July 24, 2018

Grade: A

The Dead Girl (2006) is a unique independent drama with a moody, gloomy underbelly, and is quite the downer, however is also a masterpiece.

Reminiscent of David Lynch’s Mulholland Drive (2001), the remote and dark setting perfectly counter-balances the traditional image of sunny California as a young woman’s murder is discovered.

Writer and director, Karen Moncrieff spins a delicious tale in the mysterious and sinister.

Moncrieff, (a former daytime television actress), wisely carves the film into five chapters- each focusing on a different character. The clever approach, since at first it seems as if the stories are independent of each other, is all intertwined.

The mystery of who the woman is, why she was killed, and other major questions come into play as the chapters unfold. To twist the drama even further, one of the chapters is revealed to be a complete red herring.

The five chapters are each compelling in their way.

Chapter one focuses on Arden (Toni Collette) and her relationship with her abusive mother- deliciously played by Piper Laurie. Arden has a love interest in Rudy (Giovanni Ribisi), who she confides in when she discovers the “Dead Girl”.

The film then moves to various other chapters entitled “The Sister”, “The Wife”, “The Mother”, and finally “The Dead Girl”, which is from the perspective of the murder victim when final clues are revealed.

The last chapter is the best and most heartbreaking in my opinion.

The casting is just wonderful as a myriad of top talents appear in the film. With low-budget independent films, especially before 2006, finding big stars willing to accept little pay was quite difficult.

Moncrieff, however, scores big with the actors cast in her film.

Mainly an all-female cast, talents like Collette, Laurie, Mary Beth Hurt, Brittany Murphy, and Marcia Gay Harden round out the all-star cast. Names like these could fill up a Hollywood marquee let alone a small indie like The Dead Girl.

Speaking of Murphy, this may be the very best role of her career. Sadly, meeting death shortly after this film, she gives a mesmerizing performance in the title role- also known as Krista.

With heavy, gothic-style makeup, her character is vulnerable, having had a difficult childhood and struggling to send an enormous teddy bear to her daughter on her birthday.

Tragically, events do not go as planned for Krista, but what a bravura performance by Murphy.

The overall tone of the film is a great achievement and key to its success. The film is small and does not need explosions, car chases, or police banter to achieve the message it relays.

The Dead Girl is a quiet film about struggles, decisions, and wounded characters dealing with the life that they have been given the best they can.

The mysterious identities of the characters and the loneliness and lack of identity of some of the characters make me think Moncrieff was at least somewhat inspired by Lynch’s Mulholland Drive.

Not quite as oddball as the former, but more of a downer, The Dead Girl shows elements by way of unusual characters and a melancholy vibe.

The latter focuses more on a serial killer subject matter.

Being a huge proponent of the genre of independent film (think modern 1970s films with directors who have a clear vision), The Dead Girl is an enormous achievement.

Despite a handful of Independent Spirit Award nominations, I still feel the film is under-appreciated and a decade later is largely forgotten, if anyone knew about it, to begin with.

Let’s hope that enough young, aspiring filmmakers were inspired by Moncrieff and what she created with The Dead Girl (2006).

Independent Spirit Award Nominations: Best Feature, Best Director-Karen Moncrieff, Best Supporting Female-Mary Beth Hurt

2006 Films, Adriana Barraza, Alejandro G. Iñárritu, Alex Jennings, Brad Pitt, Cate Blanchett, Drama, Elle Fanning, Gael García Bernal, Independent, Independent Drama, Michael Pena, Rinko Kikuchi

Babel-2006

July 19, 2018 scottmet99 Leave a comment

Babel-2006

Director Alejandro G. Iñárritu

Starring Brad Pitt, Cate Blanchett

Scott’s Review #791

Reviewed July 19, 2018

Grade: A

Babel (2006) is part of director Alejandro G. Iñárritu’s “Death Trilogy” films- Amores Perros (2000) and 21 Grams (2001) are the others. The director crafts a riveting drama involving intersecting stories that are a thrill ride a minute and highly compelling.

The film is at risk of being forgotten, however, largely due to Iñárritu’s subsequent successes- Birdman (2014) and The Revenant (2015), but Babel is a fantastic companion piece to either Traffic (2000) or Crash (2006), as those films hold a similar style.

The three stories are riveting in their own right and could each be a gripping short film of their own. The fact that characters within each segment are related to the others in some way takes the stories over the top.

The film switches back and forth within each story which is a huge plus, making the tension even more palpable as we begin to connect the dots. The spliced editing is a remarkable achievement in making the continuity seamless.

Each story is summarized below.

An affluent American couple, Richard and Susan (Brad Pitt and Cate Blanchett), vacation in Morocco, happily enjoying a bus tour.

When two local boys play with their father’s rifle and experiment by shooting at long-range, the American woman is shot, leading to a terrorist accusation while the couple desperately seeks medical attention in the middle of nowhere and in a foreign country.

In Japan, a wealthy businessman (and owner of the rifle), is investigated while his promiscuous teenage daughter (Rinko Kikuchi) seeks attention from young men.

The girl, deaf, is angry and depressed due to her mother’s recent suicide.

As she flirts with a local detective, she slips him a mysterious note and implores him to read the note only after he leaves her father’s gorgeous high-rise apartment, leading to a mysterious revelation.

Finally, in southern California, Richard and Susan’s Mexican nanny, Amelia (Adriana Barraza), cares for the couple’s young children. Almost like a real family member, Amelia adores the kids (and they love her.)

When she is notified that the couple will be delayed returning home, she panics and foolishly takes the kids across the border to Mexico to attend her son’s wedding.

When an incident allows the police to become involved, Amelia and the kid’s lives are in peril.

The connecting stories are only part of what makes Babel so fantastic, but an enormous aspect is the direction Iñárritu has the characters go in.

As the stories play out we care deeply for the characters which play a great role in adding meat to each story.

Sometimes the connections of the characters are immediately known, other times the audience can savor the inevitable big reveal. Not every story featured in Babel will have a happy ending, which makes the film all the more compelling and satisfying.

How incredible are the different locales and cultures featured in Babel from a geographical perspective alone?

The action traverses from the hip, modern metropolis of Tokyo, with slick nighttime sequences dance clubs, and urban hip-hop beats.

The deserts of remote Morocco with the vast and sweeping lands mix perfectly with the hot Mexican atmosphere and the cultural nuances of a real Mexican wedding.

Another key element is the different backgrounds of the characters and the conflict this sometimes leads to. As Richard frantically seeks medical attention for Susan, he is met with resistance from some while receiving aid from a local veterinarian.

At the border of Mexico and the United States, Amelia and her brother are not treated well by Border patrol. One cannot help knowing that this is because they are Mexican and carrying American children, thus discriminated against.

Wonderful call-outs are deserved for relatively unknown actors, Kikuchi and Barraza, both of whom received tremendous accolades in 2006 for their work when they could have easily been overlooked in favor of bigger, high-profile stars like Blanchett and Pitt.

I love when this happens and gritty performances find their due respect. Both actors give great performances in complex, layered characters.

Since making Babel Iñárritu has progressed to great acclaim with Oscar winners like Birdman and The Revenant, but let’s not forget that Babel received a heap of Oscar nominations, though sadly only one victory for the musical score.

Unfortunately usurped by his more high-profile works, Babel (2006) is an excellent, fast-paced, and layered film with spectacular characters, story-telling, and editing.

Oscar Nominations: 1 win-Best Picture, Best Director-Alejandro G. Iñárritu, Best Supporting Actress-Adriana Barraza, Rinko Kikuchi, Best Original Screenplay, Best Original Score (won), Best Film Editing

2005 Films, Drama, Fred Durst, Independent, Independent Drama, Mark Waters, Robin Wright, Sandra Oh

Sorry, Haters-2005

July 12, 2018 scottmet99 Leave a comment

Sorry, Haters-2005

Director Jeff Stanzler

Starring Robin Wright

Scott’s Review #787

Reviewed July 12, 2018

Grade: A

Sorry, Haters (2005) is a small, indie film that was not well received by audiences or necessarily by many film critics, but that I am a champion of.

The film is a little-known gem and a showcase piece for star Robin Wright, who has become quite the indie queen over the years. Thankfully, the film did receive some recognition via two independent film nominations, which is how I heard of it.

Regardless, Wright gives a fantastic performance as a troubled television executive who becomes involved with a Muslim taxi driver in New York City, panic-stricken post 9/11.

Ashade (Abdel Kechiche), struggles with driving a cab and the myriad of family issues he faces, including legal troubles. When an upscale, white woman, Phoebe (Wright) enters his cab one night, she insists on forging a friendship, but what is her motivation?

She immediately seems slightly unbalanced and tense.

Reluctant, but needing her help, Ashade’s life becomes entangled with hers as Phoebe offers Ashade assistance. But when her true motivations are revealed, the audience will never see the terrific and terrifying conclusion coming.

The film is very dark in tone and hardly a feel-good film. The best facet of Sorry, Haters is the complicated relationship between Phoebe and Ashade and how this plays out within the story.

More accurate is the complex dynamic of Phoebe herself as her motivations are slowly revealed.

As great as Kechiche is, the standout is Wright, but both play well opposite each other. Her role is more developed and the centerpiece as the audience slowly becomes aware of her dark secrets and disturbing behaviors.

Phoebe immediately claims to be going through a divorce and hires Ashade to drive her to nearby New Jersey to observe her ex-husband. She talks his ear off, recounting how she has lost her family. This scene becomes the first clue that Phoebe may be unbalanced.

As the film progresses, this becomes more obvious. As Phoebe dines with colleagues, she engages in reluctant conversation as she violently cuts her leg with a fork underneath the table for some relief.

Wright can do no wrong as an actress appearing in numerous films over the years. She is not a “box office” type of actress and this is to her credit. She chooses independent films that allow her to sink her teeth into good, meaty, complex, female roles.

The role of Phoebe is of that ilk. The character is unstable and borders on madness and has rage bubbling under the surface. Wright portrays these emotions successfully.

Let’s not forget the other leading actor- Kechiche is purely dynamic in the male leading role. The audience will undoubtedly sympathize right away with this man and the character.

Since the period is so close to the events of 9/11, and the character is Muslim (some big clues to the climactic conclusion here), the man is a prime target for discrimination.

Since his brother is imprisoned and needs a legal team, Ashade is quite vulnerable and ultimately at Phoebe’s mercy.

The interesting dynamic between Phoebe and Ashade is that they do not share a romantic relationship at all. Developing a friendship based on need, there is something not right with the situation, and director Jeff Stanzler provides the appropriate mood with many scenes occurring either at night or in the confines of Ashade’s taxi.

Dialogue frequently seems awkward between the two.

Despite not being an easy film to watch, Sorry, Haters (2005) is a film with a powerful message and great scenery of one of the most vibrant cities in the world.

The film is dark, even dour, but above all contains a powerful message with a timely subject matter. Rich in character development between the leads and the maniacal motivations of some.

I found the film to be topical, riveting, and disturbing.

Independent Spirit Award Nominations: Best Female Lead-Robin Wright Penn, Best Screenplay

2008 Films, Best Picture Oscar Winners, British, Danny Boyle, Dev Patel, Drama, Freida Pinto, Independent, Independent Drama, Irrfan Khan

Slumdog Millionaire-2008

July 11, 2018 scottmet99 Leave a comment

Slumdog Millionaire-2008

Director Danny Boyle

Starring Dev Patel, Freida Pinto

Scott’s Review #786

Reviewed July 11, 2018

Grade: A-

Winner of the 2008 Best Picture Oscar (as well as seven other Academy Awards), Slumdog Millionaire (2008) arguably was the “feel good” film of the year.

While I am not sure if all of those awards are ultimately deserved, the film is nonetheless very good, offering a mixture of good culture, a young man overcoming enormous odds, and a love story.

Fans of the universal game show hit, Who Wants to Be a Millionaire, will be pleased.

Young Dev Patel (critically acclaimed for 2016’s Lion) stars as a poor young Indian man, Jamal Malik. He is detained after being a contestant on Who Wants to Be a Millionaire after he comes one question away from winning a million dollars.

The producers go on a commercial break and Jamal is whisked away to custody as suspicions are aroused and the young man is accused of cheating. Since he is a “slumdog” and poorly educated, it is assumed there is no way possible he could know all the answers.

Jamal recounts, via flashbacks, through experience, how he came to know all of the correct answers.

Director, Danny Boyle does a fantastic job directing the film. Slumdog Millionaire is edited in a fast-paced fashion and the camera angles are quick and stylized, making for an excellent flow.

The soundtrack to the film is very effective and enhances the plot. For example, the music is extremely diverse and features genres such as traditional Indian classical music, European house music, and American-style hip hop.

This is an ingenious way for Boyle to incorporate multiple cultures and he, therefore, creates a rousing crowd-pleasing experience.

Another successful aspect of the film is its use of knowledge and intelligence to tell a story. As we experience Jamal’s difficult life beginning as a five-year-old orphan, the unlikely success story and his adventures on the streets are engulfed in both life lessons and education.

The audience is learning important details about the world while Jamal simultaneously is.

The romantic, love-story featured in Slumdog Millionaire is also a highlight and extremely well-crafted. Heartbreakingly, Jamal, his older brother Salim, and the lovely Latika (later played by the gorgeous Freida Pinto) are on the run when Latika vanishes.

Her disappearance and later reappearance are vital aspects to the heart of the film and Patel and Pinto make a handsome and highly likable couple. Their reconciliation is heartfelt and beautiful and gives the film a nice emotional investment.

The incorporation of a relevant and acclaimed game show into the story is wonderful, though hopefully as the years go by, the film does not suffer from a dated feel if and when Who Wants to Be a Millionaire is long forgotten, but alas this is a risk and only time will tell.

The glossy set and for American audiences, the Indian-style version of the game show is great fun as are the Indian locales, which visually dazzle.

A slight detraction of Slumdog Millionaire is the film is unquestionably uplifting and light feeling. Even though the characters face peril and dangerous experiences, the film just “feels” safe.

So much so that qualities such as slick and mainstream resound.

Don’t get me wrong, the film is genuine and has heart and soul, but just slightly too cheery. Of course, since the film is made well and the story and the acting great, this can easily be overlooked.

Slumdog Millionaire (2008) is a wonderful piece of work and is quite simply a film that lots of people will champion. All of the elements are perfectly in place, which is a main selling point and a prime reason for the film’s many accolades.

The romance and adventure pieces are the best parts- with a quick flow and lots of fun, educational tools utilized.

The film is a nice pleasure to experience.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-Danny Boyle (won), Best Adapted Screenplay (won), Best Original Score (won), Best Original Song-“Jai Ho”, “O Saya”, Best Sound Editing, Best Sound Mixing (won), Best Cinematography (won), Best Film Editing (won)

2011 Films, Drama, Ezra Miller, Independent, Independent Drama, John C. Reilly, Lynne Ramsay, Tilda Swinton

We Need to Talk About Kevin-2011

July 9, 2018 scottmet99 Leave a comment

We Need to Talk About Kevin-2011

Director Lynne Ramsay

Starring Tilda Swinton, Ezra Miller, John C. Reilly

Scott’s Review #785

Reviewed July 9, 2018

Grade: A

We Need to Talk About Kevin (2011) is a tremendously disturbing independent drama with eerie similarities to the infamous Columbine school shooting massacre.

The point of view of the film is from the perspective of Eva (Tilda Swinton), a haggard, troubled mother doubting her love for her violent teen son.

Swinton was shamefully overlooked for an Academy Award nomination despite her brilliant and breathtaking role. The overall film itself is equally astounding and powerful.

Adapted from a Lionel Shriver novel, the events of the film begin in present times after tragedy has occurred. Eva, once a successful, writer of affluent means, now lives alone in a rundown house near a prison where she frequently visits her son Kevin (Ezra Miller).

She is now reduced to working a mundane job in a travel agency while terrorized by neighbors who blame her for her son’s machinations. Chillingly, Eva ponders the warning signs Kevin exhibited throughout his childhood and tortures herself with thoughts of what she could have done differently to prevent the shootings and the death of her loved ones.

Uniquely, the film segues to before Kevin was even born. Eva and her husband Franklin (John C. Reilly), happily welcome their baby boy, but he is immediately “not right” and difficult and cold towards her.

This behavior continues over the years as Kevin is distant towards Eva, but warm and adoring towards his father, leading to mental games and the death of a pet. When Eva and Franklin have another child things get progressively worse leading to tragic events.

The film is a pure masterpiece with riveting acting performances all around (especially Swinton) and a slow, plodding pace. This is a perfect aspect of the film because there is a continuous gloomy and moody vibe.

Director, Lynne Ramsay, reveals all in the beginning moments of the film so we know how events will transpire, but the pure enjoyment is the development of the characters.

Dad, Franklin, and daughter, Celia, are around, but the film belongs to the characters of Eva and Kevin and their relationship with each other.

Many questions will be asked throughout the film (I know I asked myself these questions).

Should any blame be cast upon Eva or is she purely innocent? How about Franklin? Is Kevin just a “bad kid”? Was Eva wrong for breaking Kevin’s arm in anger, or justified? Should Eva have never had kids because of her earlier doubts? Should she have been more proactive in getting treatment for Kevin?

Swinton delivered her career-best performance and while she was recognized with a Golden Globe nomination, the ultimate gold statuette (Oscar) alluded to her. I find this to be troubling especially since she won for 2007’s Michael Clayton, a very good performance, but not on the same level as Eva.

Swinton is one of the great modern actresses and hopefully, great roles will continue to follow this treasured star.

Almost on par with Swinton is a young talent, Ezra Miller. A relative newcomer in 2011 he appeared in the indie gem The Perks of a Wallflower (2012) and in later years traversed into more mainstream fare like Trainwreck (2015) and Suicide Squad (2016).

We Need to Talk About Kevin remains his best and most challenging effort.

One of the best sequences occurs during the school massacre scene. Shot at night time (and in my adopted hometown of Stamford, Connecticut!) the sequence involves flashing police lights and chaos as Eva approaches the school in horror. With no dialogue, we see Kevin enter the school and render the doors useless as an escape route.

Terrified students are murdered as Kevin erupts with maniacal rage. The scene is downright chilling and incredibly effective.

2017’s The Killing of a Sacred Deer reminds me quite a bit of We Need to Talk About Kevin in tone and style, so much so that I wonder if the latter was watched and studied before the former.

Either way, the duo could be watched subsequently for a double-dose of teenage maniacs.

With a bleak and dark tone, We Need to Talk About Kevin (2011) offers a story that has a clear message. Never discussing the hot topic of gun control, guns are not used in the slaughter, a bow is, weapon restrictions will nevertheless be an obvious discussion point.

This film is one to be observed, savored, dissected, and thought about after the finale, and is one to be remembered as a great piece of cinema.

1999 Films, Alfred Molina, Drama, Felicity Huffman, Independent, Independent Drama, Jason Robards, John C. Reilly, Julianne Moore, Luis Guzman, Melinda Dillon, Melora Walters, Patton Oswalt, Philip Baker Hall, Philip Seymour Hoffman, Tom Cruise, William H. Macy

Magnolia-1999

June 21, 2018 scottmet99 Leave a comment

Magnolia-1999

Director Paul Thomas Anderson

Starring Tom Cruise, Julianne Moore, John C. Reilly

Scott’s Review #777

Reviewed June 21, 2018

Grade: A

Paul Thomas Anderson is one of my favorite modern directors. His best film in my opinion is Boogie Nights (1997) but has also created other dark offerings such as Phantom Thread (2017) and Inherent Vice (2014).

Arguably, his most peculiar effort might be Magnolia (1999), a cerebral film with themes of forgiveness and the meaning of life.

An ambitious effort with a stellar ensemble cast makes the film a fantastic experience.

Set in San Fernando Valley (a mountainous area of Los Angeles), the film resembles David Lynch’s Mulholland Drive (2001) in area and oddness alone with unusual dialogue and offbeat characters.

A narrator explains three situations of extreme coincidence and surmises that chance may not be the only responsible party. Anderson then carves an intricate tale involving numerous characters, intersecting lives, and a riveting final climax during one rainy California day (an oddity in itself!).

The plot begins when we meet Jim Kurring (John C. Reilly), a police officer who is called to investigate a disturbance.

After finding a woman’s body in an apartment closet, events turn bizarre as a children’s game show host (Philip Baker Hall), his estranged daughter (Melora Walters), the show’s former producer, Earl (Jason Robards), who is dying from cancer, his drug-addicted wife Linda (Julianne Moore), Earl’s male caretaker (Philip Seymour Hoffman), a former game show champion (William H. Macy), and finally, an intense motivational speaker (Tom Cruise).

Quite a bevy of talented actors!

As the plot moves along mysteriously, the connections of each of the characters are not only revealed, but their peculiar motivations start to take shape.

For example, Linda, who married Earl for his money, seems to have an epiphany and demands her lawyer change Earl’s will. Later, a character may have a connection to Earl and Linda, but is it all as it seems?

In the case of Magnolia, the film is so wonderfully strange that it leaves the audience guessing throughout most of its running time.

Bizarre scenes are commonplace throughout the film. My favorite one is a marvelously creative scene. Suddenly, frogs begin to fall out of nowhere from the Los Angeles sky with numerous consequences for the characters.

The incident causes a ripple effect, of sorts, as many of the character’s fates are determined. Though one may not be able to make heads or tails of this scene or take complete logic from it, it’s enthralling all the same.

Magnolia has an overall quirky tone- sometimes upbeat-sometimes melancholy- that I adore. Films that are tough to figure out and that add an interesting musical score are so rich with flavor.

Aimee Mann is responsible for composing many of the songs on the musical soundtrack, so much so that she received a title credit on the soundtrack itself. Mann infuses richness into her music that is moody and diverse with ambient essentials.

Many actors make frequent appearances in Paul Thomas Anderson’s films. Magnolia alone seems almost like a Boogie Nights reunion with Moore, Walters, Macy, Baker Hall, and Philip Seymour-Hoffman to name just a handful.

The amazing aspect is that all of the aforementioned actors play vastly different, and arguably even more complex roles than they did in Boogie Nights.

Similar to Quentin Tarantino’s actors appearing in many of his films, what a creative treat this must be for them.

There is no doubt that Magnolia (1999) is a complex, dream-like, film. Open to interpretation and reflection, I find it to be a film that feels brilliant and that I would like to revisit and dive into even more and more with further viewings, for hopefully a better understanding and an even deeper appreciation.

Oscar Nominations: Best Supporting Actor-Tom Cruise, Best Screenplay Written Directly for the Screen, Best Original Song-“Save Me”

2017 Films, Independent, Independent Thriller, Thriller

The Killing of a Sacred Deer-2017

June 15, 2018 scottmet99 Leave a comment

The Killing of a Sacred Deer-2017

Director-Yorgos Lanthimos

Starring-Colin Farrell, Nicole Kidman

Scott’s Review #774

Reviewed June 15, 2018

Grade: A

For fans of Greek director Yorgos Lanthimos, creator of such disturbing and bizarre films as 2009’s Dogtooth and 2015’s The Lobster, then The Killing of a Sacred Deer (2017) will be a treasure.

As with those films, the odd story and the peculiar acting styles are prevalent making the film quite the experience.

I relish the film and its unusual nature, offering a cinematic experience that is insightful, mesmerizing, extreme, and quite frankly, brilliant.

Steven Murphy (Farrell) is an esteemed cardiac surgeon who “befriends” a troubled teenage boy named Martin (Barry Keoghan) whose father had died years earlier as a result of Steven’s negligence.

When Martin slowly insinuates himself into Steven’s family life, they begin to fall ill. Martin threatens to kill the entire family unless Steven kills either his wife Anna (Nicole Kidman) or one of his two children- the victim can be of his choosing.

The creepy premise is enormously intriguing as the conclusion cannot be foreseen.

A basic yet deep storyline is wonderfully spun with many possible directions for the plot to go in. After forty-five minutes or so of the audience wondering why Steven and Martin meet secretly in diners, hospital corridors, or other remote areas, the teen boy’s true motivations come to the surface as he rapidly and calmly puts his cards on the table for Steven.

Surprisingly, none of the characters are particularly sympathetic.

One would assume that the Murphy family- wholesome, affluent, and astute, would garner audience support, but we slowly peel back the onion on each character.

With a gorgeous house in a quiet Cincinnati neighborhood, Steven and Anna (a doctor herself) are sometimes harsh and physical with their kids, while the kids (Bob and Kim) develop a strange fascination toward Martin.

In this way, each character is peculiar and has his or her own dire motivations as the plot unfolds.

Lanthimos is quietly becoming one of my favorite new directors as he slowly churns out one disturbing film after the next. Particularly in The Killing of a Sacred Deer, his clear Stanley Kubrick influences bubble to the surface.

With plodding then sudden bombastic classical music pieces, the score is crisp with uniqueness, eliciting emotions like surprise and terror from the audience.

From a visual perspective, fans of Kubrick will no doubt notice the long camera shots and slowly panning camera angles. The hospital’s long and foreboding hallways are prominently featured as we follow a character walking along the corridors. This is highly reminiscent of the Overlook hotel sequences in the 1980 Kubrick masterpiece, The Shining.

One particularly jarring nuance to the film is the speech patterns of most of the actors- clearly dictated by Lanthimos and also occurring in 2015’s The Lobster.

The character of Steven talks very quickly, but with monotone delivery and in a matter-of-fact style; Kim and Martin also speak this way. I didn’t notice the quality as much with Kidman’s Anna, but Farrell really went to town. I’m not sure this totally works throughout the entire film since the mannerisms give off almost a comical element.

To be sure, this uniqueness makes the film more quirky and decidedly non-mainstream, which is to be celebrated.

The climax of the film is brutal.

As Steven brandishes a loaded shotgun, the family gathers in their family room, Anna fussing over her new black dress. As the group dons pillowcases, Steven goes Russian roulette-style on the family, randomly firing a shot until one member is killed. When the remaining family members see Martin at the diner the next day, they provide him with icy, hateful looks.

The entire scene is done without dialog and is tremendously macabre.

Rest assured, I am eagerly awaiting Lanthimos’s next project (reportedly already in the works) and hope against hope he continues to use the superb Colin Farrell, the brilliant Nicole Kidman, and newcomer Barry Keoghan again.

Thanks to tremendous acting, a riveting score, and enough thrills and creeps to last a lifetime, The Killing of a Sacred Deer (2017) is at the top of its game.

Independent Spirit Award Nominations: Best Supporting Male-Barry Keoghan, Best Cinematography

2017 Films, Crime Drama, Drama, Independent, Independent Drama

Good Time-2017

June 5, 2018 scottmet99 Leave a comment

Good Time-2017

Director-Ben Safdie, Joshua Safdie

Starring-Robert Pattinson, Ben Safdie

Scott’s Review #767

Reviewed June 5, 2018

Grade: B+

Every so often an actor who is known for either doing mainstream films or for portraying a mediocre character risks being typecast.

Fortunately for actor Robert Pattinson, known mostly as the heartthrob from the trite Twilight films, he has been given the best role of his career. The actor hits the jackpot with a challenging and edgy performance in the fast-paced independent crime drama, Good Time (2017).

The film is a very good ride, and directors Ben and Joshua Safdie successfully provide excellent tension and compelling action scenes (Ben even gives a worthy supporting performance as a mentally challenged character). The overall tone of the film is that of an edge-of-your-seat experience.

As enjoyable and taut as the film is, a few minor criticisms must be mentioned below.

Good Time begins with Nick Nikas (Ben Safdie) being quizzed by a therapist. They are quickly interrupted by Nick’s brother Connie (Pattinson), who removes him from the facility so that he can assist with a bank heist.

When the attempt goes awry and Nick is arrested, Connie does his best to spring his brother from jail than from the hospital following an altercation with another inmate. All the while, Connie must also evade the police as he forms a strange connection with a sixteen-year-old girl, Crystal (Taliah Webster).

The fun part of Good Time is that the film is fast-paced and filled with twists and turns. Largely taking place over the course of one night, we are compelled by Connie’s journey and wonder if he will outrun the cops.

In a way a standard thriller, Good Time rises slightly above this ranking with its wonderful New York City setting with numerous exterior scenes- this is a major plus.

Also garnering props for the film is the look of it. With a slick yet gritty and grainy feel, the camera angles are quick and plentiful. This is a great tool to keep the action going at lightning speed and the editing deserves kudos too.

The intensity and tension run rampant throughout. A good example of this is the bank robbery scene- as the teller disappears into the vault to get the requested amount of money she takes what seems like an eternity to return, leaving the audience (and Connie) wondering if she has alerted the authorities.

Otherwise, the film is helped immensely by the acting performance of Pattinson who owns the film. Having not seen him in anything before I was surprised at how good he is.

Thinking of him as more a matinee idol versus a serious actor, I was proven wrong. Grizzled, temperamental, but being a decent guy at times, Pattinson’s Connie is loyal to a fault, putting his brother first and foremost.

Fans of Captain Phillips (2013) will be delighted to see Barkhad Abdi cast in a small yet pivotal role of an amusement park security guard.

Nominated for the Best Supporting Actor award for Captain Phillips, the Somali- American actor has been able to find steady work in film since his acclaimed debut performance. In his role in Good Time, the character is instrumental in kicking off the final act that leads to the downfall of at least one other character.

Worth mentioning are a few small but notable flaws (rather unnecessary) that Good Time contains.

Perplexing to me is the casting of Jennifer Jason Leigh in the role of Connie’s girlfriend Corey. Decades older than Connie, Corey is written pretty much as a nitwit- attempting to use her mother’s credit card to bail out Nick.

The film does not mention the age difference nor provides much meat to the role- Jason Leigh deserves better than a throwaway role like this.

Otherwise, none of the female characters are treated especially well. Connie frequently directs or shouts at either Corey or even Crystal eliciting a “man in charge” vibe that is slightly off-putting.

Also, a gay slur uttered by Connie is thrown into a scene for seemingly no reason, which in 2017 surprises me. Still, there is something that makes the audience root for Connie while we still want him to get his punishment.

Good Time (2017) provides quality entertainment in a specified genre with good acting all the way around.

With a weird Ocean’s Eleven style (only with one prominent character) the bank robbery theme will satisfy those in the mood for a good heist film. The title of the film is a mystery (is it irony?) and not sure it totally works, but overall the film is a very good watch.

Independent Spirit Award Nominations: Best Director-Safdie Brothers, Best Male Lead-Robert Pattinson, Best Supporting Male-Benny Safdie, Best Supporting Female-Taliah Lennie Webster, Best Editing

2017 Films, Drama, Independent, Independent Drama

A Ghost Story-2017

May 27, 2018 scottmet99 Leave a comment

A Ghost Story-2017

Director-David Lowery

Starring-Casey Affleck, Rooney Mara

Scott’s Review #764

Reviewed May 27, 2018

Grade: A-

Marvelous is it to support independent film and I get most of my selections via the annual independent spirit award nominations announced every November.

Rich, creative films that ordinarily would be overlooked are recognized and sometimes treasured instead of forgotten entirely.

A Ghost Story (2017) is a small film fortunate to land big-name stars undoubtedly increasing its audience- I am unsure if this film even played in theaters anywhere.

Nonetheless, the film is a thought-provoking experience that left me both perplexed and fascinated but with the knowledge that I had seen something of worth. I may not have completely understood it, but I also adored it.

Writer and director David Lowery must be in good with Hollywood A-listers Casey Affleck and Rooney Mara, who star in A Ghost Story. The pair also appeared in Lowery’s first film, Ain’t Them Bodies Saints (2013) which received critical acclaim.

Somewhere outside of Dallas, Texas, a young married couple is known as “C” (Affleck) and “M” (Mara) moves into a small house. “C” is a musician with an unusual fondness for the small house that the couple rents.

While “M” desires to leave the house “C” wishes to stay, somehow drawn to it. After “C” is tragically killed in a car accident his spirit returns unable to let go of either his wife or his home eventually stuck in time to watch generations come and go.

A Ghost Story is a cerebral experience as we watch the events from the perspective of “C”. Adding an eerie quality is that “C” is in the form of a ghost- shrouded in a plain white bed sheet with dark circles for the eyes. While “C” does not speak we experience his perceptions and feelings through what he sees.

At first, following “M” around as she mourns his loss, eventually, she moves on and “C” is forced to watch others live in the house. Pitifully, he awaits the return of “M” as hundreds of years go by.

Lowery is so good at creating an ominous and haunting tone mostly through his classical musical score. The film is wonderfully original.

The audience feels the loss and loneliness of both “C” and “M”, but there is a scary quality too. Not in the horror genre way, but rather we do not know what will happen next. When “M” brings a man home “C” is furious and knocks books to the ground and turns the lights on and off. Later, a new family is terrorized when an unhappy “C” breaks all of their dishes in a fit of rage.

A scene that gave me the creeps is when “C”, in spirit form, gazes out the window of his house and notices another ghost looking out the window of the house next door. This ghost looks exactly like him except is female- we know this because her sheet has a flower pattern.

They can communicate without speaking and “C” learns that she has been waiting for someone to come home to her, but it’s been so long that she can’t remember who it is. This scene is sad and filled with despondence.

A forewarning is that the pacing of the film is very slow- perhaps too slow for most. After “M’s” landlord brings her a pie we watch her devour the pie in a very long five-minute scene after which she vomits the contents up.

Despite long this scene is powerful and important as the entire time we view her depression and longing for “C” to return absorbing some little comfort from the pie.

A Ghost Story reaches its creative climax towards the end as the film sort of comes full circle and we begin to understand the circumstances. A dynamic sequence of the passage of time occurs showing the demolition of the house and the development that becomes a thriving city over time. Depressed and desolate “C” jumps off of a high rise.

I was mystified, however, by the final scene and was unable to completely make A Ghost Story (2017) add up (was there a second ghost or a rebirth of “C”?), but that is also part of the intrigue of the film.

Regardless, the film is a worthy watch if only for a story that is cerebral and makes one think. Its central themes of loneliness and loss are depressing, but also fascinating concerning the good story that Lowery creates.

Independent Spirit Award Nominations: John Cassavetes Award

1999 Films, Horror, Independent, Independent Horror

The Blair Witch Project-1999

May 22, 2018 scottmet99 Leave a comment

The Blair Witch Project-1999

Director Daniel Myrick, Eduardo Sanchez

Starring Heather Donahue, Joshua Leonard, Michael Williams

Scott’s Review #761

Reviewed May 22, 2018

Grade: A

When a horror film “scares the viewer to death” then that film has superseded what it has intended to do since horror films are a dime a dozen these days.

Fondly remembering sitting in a crowded and very dark movie theater to see The Blair Witch Project (1999), I was left both mesmerized and clutching my seat for dear life. This film had an enormous impact on me.

The film wisely uses hand-held cameras (black and white 16mm film) and Hi-8 video, manipulating the audience into using their imaginations leading to terrifying results making the film one of the scariest horror films of the 1990s.

Sometimes what you don’t see is much more frightening than what is seen on screen.

In 1994 three college-aged amateur filmmakers (Heather, Michael, and Joshua) decided to hike to Burkittsville, Maryland to film a documentary about a legend known as the “Blair Witch”.

The witch is reportedly responsible for mysterious deaths and disappearances over the past two hundred years. They interview, wander, and joke around with each other as a sense of dread begins to develop.

According to the film, the trio themselves disappear, but a year later their equipment is uncovered fully intact with the film footage able to be viewed.

The 1999 film is professed to be the footage left behind by the group.

Throughout the film we watch the individuals conduct interviews with the townspeople and eventually get lost in the woods at nightfall, forced to stay the night as a mysterious entity terrorizes them.

Numerous creepy noises and rustlings scare the group.

In retrospect, with more insight and knowledge about the film, it may be easy for critics to dismiss The Blair Witch Project as either a hoax or a complete manipulation, but in 1999 audiences flocked to the theaters in droves as word of mouth spread.

I saw the film twice on the big screen and was frightened equally with each viewing. More importantly, with the onset of the reality television craze, the film was clever in capitalizing on this trend, so it is to be championed.

Timing is everything!

In the film genre, The Blair Witch Project used buzz and word of mouth to elicit interest before the film was even released- and then the craze began.

The film was highly influential to subsequent releases that also chose to utilize camcorders as their method of storytelling- think 2007’s Paranormal Activity and 2008’s Cloverfield.

The Blair Witch Project is similar in tone to older masterpieces such as 1974’s The Texas Chainsaw Massacre and 1968’s Night of the Living Dead- independent releases made on a shoestring budget that became enormously successful.

As with these films, the camerawork was tremendously important in eliciting necessary realism.

What makes The Blair Witch Project enormously authentic is the tricks used not only on the audience but also on the cast. Reportedly the film was almost entirely improvised including dialogue and situations that the characters faced.

The actors began to feel as if the events they were supposed to act were happening- their map disappeared and noises were created to frighten them.

This clever approach to Method acting elicited the perfect responses from all involved- especially as they got colder, hungrier, and more desperate.

My concern is how well 1999’s The Blair Witch Project will hold up as the years pass. Phenomenally effective and tremendously profitable at the time, dozens of imitations have arisen since the idea of the film was novel. So much so that it makes the original idea seem dated.

One thing remains true- the film gave the horror genre a much-needed breath of fresh air and influenced many films to come.

Independent Spirit Award Nominations: 1 win-Best First Feature (Under $500,000) (won)

2007 Films, Drama, Independent, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films, Romantic Drama

Shelter-2007

May 16, 2018 scottmet99 Leave a comment

Shelter-2007

Director Jonah Markowitz

Starring Trevor Wright, Brad Rowe

Scott’s Review #758

Reviewed May 16, 2018

Grade: B+

By the mid-2000s independent LGBT films were coming fast and furious as the genre was still relatively new and ripe for the picking with good ideas.

With Shelter (2007) we have a sweet film that focuses on the new romance between two young men, one of whom is coming to terms with his sexuality.

The lead characters are not gay stereotypes and could easily pass for straight men, a characteristic impressive in LGBT film- and other mainstream films for that matter.

Rather than focusing on discrimination, the characters may face, or any obstacles from other characters (family and friends), the film wisely makes the story a character study and the demons one man wrestles with while “coming out”.

The small film is written intelligently save for one supporting character’s plot-driven decision. Also, in the modern age, we are beginning to see a bevy of similarly themed films emerge from the LGBT community, and Shelter offers nothing we have not seen before.

Set in sunny southern California, our main protagonist is Zach (Trevor Wright), an aspiring artist in his early twenties. The ultimate “good guy” he is popular with friends and girls and frequently babysits his five-year-old nephew Cody while his sister parties and has one-night stands.

When Zach meets his best friend’s older brother Shaun (Brad Rowe), the pair fall in love as Zach wrestles with his sexuality and conflicts with his plans. The sexual and family struggles of Zach are the main themes of the film.

Shelter (not sure I get the title’s meaning) is a solid slice-of-life story.

Zach initially dates a pretty girl, Tori, who is blonde, wholesome, and a girl-next-door type. This is done intentionally to show that Tori is a girl any young straight man would have an interest in.

We never see Zach show interest in any other men besides Shaun so the film leans towards a solid romantic drama once the fellas get together. Still, we see Zach’s internal struggles and accepting himself for who he is played out.

Actor Wright and director Jonah Markowitz, capture this successfully.

Shaun, arguably second fiddle to Zach, is a character that I feel is very well written. Avoiding negative stereotypes, Shaun is handsome, masculine, and charismatic. Completely confident and exuding great poise, he is a character that any gay male should look up to.

He is openly gay yet “one of the guys” as he should be. He immediately connects with Cody becoming a father or cool surrogate uncle figure for the lad. A quick concern of Zach’s sister Jeanne’s of having the boy around a gay man is trivialized in a quick form.

Another positive to the film is the multiple scenes showing Zach, Shaun, and Cody as a happy family and how normal this is. Examples of this are frolicking around the beach playing football or horseplay.

A quiet dinner of barbeque steaks and red wine for the men and macaroni and cheese for Cody elicit images of a connected family unit despite some in society still poo-pooing this idea.

The film presents the connectivity as normal.

A tiny flaw in the character of Jeanne shows her willingness (almost eagerness) to leave Cody (and her ailing father) behind when she decides to take off to Oregon with her brand new boyfriend. This point seems rushed and out of character.

While a party girl with a crappy job in a grocery store Jeanne did exhibit heart and was written as sympathetic and caring throughout the film. Surprising and unrealistic to me is that she would up and leave her life.

A paltry excuse of “Oregon not allowing kids” was left unclear and unexplained.

A part coming-of-age story, part coming out story, Shelter (2007) is an example of a little film that could with an appreciation of independent cinema.

The film tells a nice story of one man’s journey to self-discovery and the individuals he surrounds himself with. With impressive California oceanfront and working-class principles as a backdrop, the film has a calming texture and weaves a solid experience for viewers to enjoy.

1985 Films, Ally Sheedy, Comedy, Emilio Estevez, Independent, Independent Comedy, John Hughes, Judd Nelson, Molly Ringwald, Paul Gleason

The Breakfast Club-1985

May 8, 2018 scottmet99 Leave a comment

The Breakfast Club-1985

Director John Hughes

Starring Judd Nelson, Molly Ringwald

Scott’s Review #755

Reviewed May 8, 2018

Grade: A

The Breakfast Club (1985) is one of the most beloved films of the 1980s and perfectly captures being a teenager during this time.

Containing both innocence and authenticity rarely found in films targeted at younger audiences (and there were plenty in the 1980s), the film is timeless and holds up exceptionally well, still feeling fresh.

Director John Hughes avoids cliches and creates genuine truth in cinema. The theme song, “(Don’t You) Forget About Me” is nearly impossible to hear without associating it with this film.

The storyline is uncomplicated; five high school students (Bender, Claire, Andy, Brian, and Allison) of differing social classes gather one Saturday morning in the high school library for a day of detention.

Each student appears to know the others, but only peripherally, having little in common.

Assistant Principal Vernon (Paul Gleason) assigns them to complete a thousand-word essay by the end of the day. The group engages in mischievous antics, and squabbles, and discusses their respective roles and troubles in life throughout the day.

The film looks and feels like a small independent feature rather than a big-budget offering, which is of enormous praise. The cast is very small- only the aforementioned six principles and two minor characters.

The setting is almost entirely inside the walls of a suburban high school with only a few exterior shots to speak of. Mainly what succeeds is that the characters interact with rich dialogue, good texture, and underlying insecurities that make the screenplay bristle with genuine angst.

It is tough to pinpoint who the lead characters would be, but arguably Claire and Bender (Molly Ringwald and Judd Nelson) are the pair expected to unite as a couple, as they do in the conclusion- this is predictable yet sweet.

Unexpectedly, however, the film pairs Andy and Allison (Emilio Estevez and Allie Sheedy). Both couples are complete opposites, Claire and Bender even despise each other throughout most of the film but realize their mutual attraction.

Careful not to weigh down the film with too much heavy drama, Hughes, who also wrote and produced the work, peppers in some comedic moments.

Gleason is the easy foil as the sole authority figure, a bit too dedicated to his job of humiliating and disciplining the students, but he does get his due humorously.

Either on-screen or off-screen, no adult figures are written in a positive light giving The Breakfast Club a complete teenage perspective.

But the main appeal goes to the teenagers and the message that Hughes successfully relays- that of the misunderstood young adult. Each character is unhappy in some way and feels put into a category or defined by the individual cliques they each belong to- whether they want to or not.

Hughes makes the film a treasure in terms of relating to the characters- everyone remembers high school and the insecurities wrestled with while attempting to get good grades and obtain acceptance.

Hughes brings these aspects to life with his slice-of-life tale.

Even if every character is not immediately recognized by the viewers themselves, each is empathetic nonetheless. When Andy reveals his father’s criticisms or Bender painfully recounts his father’s physical abuse, we feel for them, suddenly seeing the strong athlete or the burnout from our high school days in an entirely new way.

Mousy Allison gets a makeover from Claire and suddenly shines like a new dime- finally not being ignored. Brian’s overbearing parent’s pressures are almost too much for him to bear.

After the film, we are left to wonder what will happen on Monday morning during homeroom. Will the group continue their new friendships (or more) or simply return to the normalcy of their respective peer groups?

Hughes wisely does not satisfy our piqued curiosity but rather leaves it to our imagination.

The Breakfast Club (1985) holds appeal for the masses without feeling cliched or put upon- only feeling insightful and inspired to accept others we may have preconceived notions about.

2018 Films, Andrew Haigh, Drama, Independent, Independent Drama

Lean on Pete-2018

April 24, 2018 scottmet99 Leave a comment

Lean on Pete-2018

Director-Andrew Haigh

Starring Charlie Plummer, Steve Buscemi

Scott’s Review #747

Reviewed April 24, 2018

Grade: B+

Lean on Pete (2018) is a heartbreaking and emotional slice of life film written and directed by British director, Andrew Haigh.

The film centers on the relationship between a boy and a horse so the heartstrings will receive a good tugging as the viewer is taken on a journey as the protagonist struggles through both pain and triumph.

While slow-moving and matter-of-fact, the film is a celebration of wonderful writing and good story chapters, perfectly nestled into the independent drama genre.

Based upon the novel of the same name- reportedly a much darker experience, actor Charlie Plummer portrays Charley Thompson, a fifteen-year-old boy living outside of Portland, Oregon, with his troubled father- his mother has taken off for parts unknown.

As his already complicated life turns upside down after a violent attack, Charley finds himself increasingly attracted to the world of local horse racing as he becomes involved with a shady horse trainer, Del Montgomery (Steve Buscemi).

There he befriends and falls in love with an aging horse named Lean on Pete, who sadly is destined for the slaughterhouse in Mexico.

The film is really about Charley’s journey and determination to survive while facing seemingly insurmountable odds and obstacles. The intriguing aspect of Lean on Pete is watching what Charley experiences and hoping against hope that he will come out unscathed and undamaged.

The youngster aspires to reach his estranged aunt, who he only knows to have been living in Wyoming as a waitress. How on earth will he be able to find her? If he does reach her will she welcome him with open arms as he hopes or will he suffer more defeat?

Several key aspects struck me as I watched this film- As Charley embarks on his travels to find his beloved aunt, with Lean on Pete in tow, he encounters many individuals who either aid or hinder his intentions.

However, the common theme of waitresses continues to be portrayed- for starters, his aunt is referenced to be working as a waitress at a bar, when Del gives Charley some fatherly advice he implores him that the best women have always worked as a waitress.

On the road, he is treated kindly by two different waitresses- one of whom gives him free dessert, the other gives him a major break. I am not sure why Haigh chose to add this to the film, but it is a nice touch and effectively gives a warm, blue-collar sensibility to the story.

Another intelligent decision Haigh makes is to keep the focus on Plummer and Charley’s facial expressions and reactions during pivotal scenes- for example, a scene where Charley is painting a house for extra money is important.

As he hears a jovial father and son playing outside, Haigh shoots Charley’s reactions to this poignant scene rather than deciding to show the father and son. Hearing their pleasure is enough to elicit a look of pain on Charley’s face rather than a blatant scene of said father and son shoved down the viewer’s throat.

Enough praise cannot be given to young talent, Plummer, as he gives a layered performance that will surely make him a star in years to come.

The actor possesses an earnest, trustworthy, sensibility which makes him a likely hero in any film he appears in down the road. Furthermore, he quietly gives Charley depth with a range of emotions including disappointment, fear, and anger at his predicament.

The supporting cast members give well-acted performances that add to the overall meat of the story. As grizzled, yet responsible Del, Buscemi sinks his teeth into a role that allows his sarcastic humor and wit to take center stage and he is perfect in the role.

Chloe Sevigny, like Bonnie, a female jockey who befriends Charley, yet also gives it to him straight with lessons on life’s hard knocks, gives a fine performance.

Lean on Pete is a quiet film that elicits an emotional response from its intended audience by giving firm texture to the story and wonderful cinematography of the western United States landscape.

Viewing a likable young adult in constant turmoil seems to be a difficult subject, but instead is rather beautiful and inspiring as captured by Haigh’s piece, instead of a complete downer as it might have been.

The film is a tale of a journey and struggle that accomplishes what it sets out to achieve.

1989 Films, Best Film of the Year, Danny Aiello, Drama, Independent, Independent Drama, John Turturro, Martin Lawrence, Rosie Perez, Ruby Dee, Samuel L. Jackson, Spike Lee

Do the Right Thing-1989

April 21, 2018 scottmet99 Leave a comment

Do the Right Thing-1989

Director Spike Lee

Starring Danny Aiello, Spike Lee

Scott’s Review #746

Reviewed April 21, 2018

Grade: A

Do the Right Thing is one of the few great films to come out of 1989, not remembered as a fantastic year in cinema when most mainstream films were as glossy as tin foil- and barren of quality substance.

Here we have a small, independent gem that made people have discussions about current race relations in the United States and also became a monumental, influential film.

Filmmaker (and star) Spike Lee carves a controversial story of racial tensions in a Brooklyn neighborhood one hot summer day.

Beginning rather light and comedic, then turning violent and dark, the action is set in a largely black neighborhood, Bedford-Stuyvesant, Brooklyn, where twenty-five year old, Mookie (Spike Lee) works delivering pizzas at an Italian pizzeria owned by Sal (Danny Aiello).

With a toddler at home and a nagging girlfriend Tina (Rosie Perez) always in his face, Mookie is unmotivated yet still a decent guy and loyal friend.

Sal has two sons who work at the pizza place- Pino (John Turturro), who is angry and racist, and nice guy Vito, who is a friend of Mookie’s.

When conflicts erupt over whether Sal’s restaurant should celebrate black celebrities and white on a wall in the dining room, tensions reach their breaking point as the intense heatwave makes matters much worse.

What makes Do the Right Thing a marvel is both the overall tone of the film and the atmosphere relayed by Spike Lee, who does an incredible job of writing, producing, and starring in the film.

The elements having little to do with the actual story immediately impress as big, bright colors, in comic book style scream at the big screen in bold fashion, eliciting both a warm, inviting feeling and an angry, contemptuous vibe.

The loud rap and hip-hop beats are exceptionally instrumental in portraying a certain feeling and emotion in the film. Made independently, with little budget, the film feels raw and intense from the get-go.

Brooklyn, and New York City, in particular, are the perfect settings as Sal and his family are white folks living in a predominantly black neighborhood, so, in turn, are the minorities in the story.

Additionally, the viewer sees the friendly neighborhood and feels a sense of belonging regardless of race- the humorous drunk, the kindly, grandmotherly type people-watching from her stoop, and the boombox music kid all form a sense of community and togetherness.

This point is tremendously important to the overall plot of the film.

The relationship between Mookie and Sal and his sons is very important and the centerpiece of the entire film, which I found quite interesting as a character study.

Open-minded, Sal is a decent man and fine with the diversity in his neighborhood- yet still true to his Italian roots. Aiello does a fantastic job of portraying this complex, conflicted character.

His two sons could not be more different from each other- Vito, who is a close friend of Mookie’s, is sympathetic and sweet- with nary a racist bone in his body.

Pino, on the other hand, is angry and resentful of the black community taking over what he feels is his territory. Finally, while lazy, Mookie is also a sympathetic character as he is conflicted once tension reaches its boiling point.

These diverse characters make the film so dynamic.

Revered director Spike Lee carves out a story and brings it to the big screen telling an important topic that is as vital in modern times as it was when Do the Right Thing was released in 1989.

The film is intelligent and timely without being condescending to either black or white races, nor preachy- instead of telling a poignant story that is angry and sometimes painful to watch, but more importantly, is empathetic and real.

Oscar Nominations: Best Supporting Actor-Danny Aiello, Best Screenplay Written Directly for the Screen

2017 Films, Horror, Independent, Independent Horror

The Blackcoat’s Daughter-2017

March 12, 2018 scottmet99 Leave a comment

The Blackcoat’s Daughter-2017

Director-Oz Perkins

Starring-Emma Roberts, Kiernan Shipka

Scott’s Review #732

Reviewed March 12, 2018

Grade: B+

The Blackcoat’s Daughter is an eerie 2017 independent horror film offering that combines various chilling elements to achieve its goal.

Largely a fusion of the supernatural, the occult, and the psychological, the film, while slow at times, does offer a unique experience and is unpredictable in nature.

Parts of the film are downright scary and spooky as religion meets satanism, always a safe bet for an unsettling experience.

Writer/Director Oz Perkins should be well on his way to a successful career in the industry with this, almost full-on artsy, film.

The action begins in a prestigious Catholic boarding school in a quiet, wintry area of upstate New York. As students (largely unseen) leave the school for a February break, Kat (Kiernan Shupka), and Rose (Lucy Boynton) are left behind when their parents do not arrive to pick them up.

While the girls hunker down for the night, hoping their parents show up the next day, a third girl, Joan (Emma Roberts), who may be a psychopath, is en route towards the school, enlisting the help of a strange married couple (Bill and Linda), whose daughter had died years ago and was the same age as Joan.

Also in the mix are two school nuns who are rumored to be Satanists.

Little is known about the town, but the fact that nobody is around making the setting a major plus. This may very well be due to budgetary restrictions associated with the film, but regardless, the use of very few characters or extras is a score, with the number of principal characters below ten.

The cold and bleak nature of the town and the stark journey that Joan is on make the ambiance very successful. Many scenes throughout The Blackcoat’s Daughter are set during nighttime in relative seclusion and given the icy texture of upstate New York in the middle of winter the setting chosen by Perkins is spot on and quite atmospheric.

The overall story of The Blackcoat’s Daughter is both peculiar and mysterious and does not make complete sense a good deal of the time.

In fact, by the time the film concludes and the credits roll, not a lot of the film adds up from a story perspective, which left me rather unsatisfied.

Since Bill and Linda’s daughter looks identical to Rose, are we to assume that the events at the school occurred a decade before the events involving Joan? What ends up happening to Kat is perplexing- haunted by spirits and forced to kill, is she healed at the end of the film? Or is Kat really Joan? Too many loose ends are left.

The film is very heavy on the violence and the gore and dares not hold back in showcasing the victim’s pain and suffering before they cease to exist. More than one character lies bleeding and immobile as the killer calmly approaches to finish the deed.

Three characters are decapitated in horrific form as we later see their severed heads lined up in a boiler room. The demonic chanting of “Hail, Satan!” may turn some viewers off as would the overall storyline- those who feel 1973’s The Exorcist is disturbing need not see this film as similar elements abound.

Also worthy of a quick mention is the cool, unique musical soundtrack that singer/songwriter, and brother of the director, Elvis Perkins, creates. With goth/techno elements, the score is noticed (in a good way) at various points throughout the running time and adds to the overall feel of the film.

The Blackcoat’s Daughter succeeds as a disturbing and experimental piece of independent horror-making sure to at least pique the interests of horror aficionados.

With plenty of blood-letting and squeamish parts, Oz Perkins knows what works. The story, though, would have been made better by a clear, definitive beginning, middle, and end, to avoid a confusing outcome.

Still, I look forward to more works from this up-and-coming director.

Welcome to my blog! 1,450 + reviews posted! My name is Scott Segrell and I reside in Stamford, CT. My blog is a diverse site featuring tons of film reviews I have written since I launched my site in 2014. I hope you enjoy perusing the site for latest or greatest films or to search for your own favorites to see how we compare. Please take a look at my featured sections at the top of the page which change often! Utilize the tags and category links.