Category Archives: Independent

2019 Films, Adam McKay, Beanie Feldstein, Billie Lourd, Comedy, Diana Silvers, Independent, Independent Comedy, Jason Sudeikis, Jessica Williams, Kaitlyn Dever, Lisa Kudrow, Mason Gooding, Maya Rudolph, Olivia Wilde, Will Ferrell, Will Forte

Booksmart-2019

February 17, 2021 scottmet99 Leave a comment

Booksmart-2019

Director Olivia Wilde

Starring Beanie Feldstein, Kaitlyn Dever

Scott’s Review #1,113

Reviewed February 17, 2021

Grade: A-

I usually avoid teenage coming-of-age comedies, or more to the point, being not of that demographic, they are not usually even on my radar.

The only reason I saw Booksmart (2019) is for the Independent Spirit Award it won and the Golden Globe nomination it achieved. Still, I was skeptical of what the appeal of two female teenage bookworms who decide to become party animals would have on me.

Boy, was I wrong? The film is a fabulous and fast-paced experience that I enjoyed immensely.

Director Olivia Wilde, in her very first effort, delivers the goods, believe it or not. She takes a genre told to death and knocks it on its keister, offering a fresh and creative spin on a tried-and-true formula that feels anything but formulaic.

There is diversity, inclusiveness, and heart for miles without the feeling that these add-ons were done intentionally for a modern spin.

Before I get carried away too much Wilde carefully keeps the standard moments of teenage angst, rejection, breakups, and makeups, and there are one or two of the commonplace high school “types”- loner, jock, weirdo, etc. but evident is a strong LGBTQ+ stronghold including one of the leading female characters. Booksmart sure feels authentic to me.

Molly (Beanie Feldstein) and Amy are forever friends.

The girls study, they giggle, they hang out, and they share their problems, both sexual and otherwise, with each other. The kicker is that Molly is straight and Amy is gay. Amy is happily “out” and nobody gives a damn.

Her parents, played in small but juicy parts by Will Forte and Lisa Kudrow, are hilarious and progressive in their approach to understanding a gay child. They incorrectly assume that Molly and Amy are a couple, which the girls use to their advantage.

Anyway, Amy and Molly are intelligent and look forward to graduation day and attending great schools. Once they realize that their fellow students who, in their minds, slack off and party, are also going off to Ivy League schools, they panic.

They realize they have wasted four years studying and decide to finally let their hair down the night before graduation, intent on attending a popular boy’s (and Molly’s crush) party.

The situations the duo get themselves into are clever and witty, and the most fun in the film. Feldstein and Dever have exceptional chemistry, and I bought them as best friends from the moment of their first scene.

When they have a knock-down, drag-out argument towards the end of the film, it’s acting at its finest, which made me feel proud.

I admire young talent with great acting chops and pride in their craft, and Feldstein and Dever both have it.

Wilde peppers much of the film with hip and trendy pop songs that surprisingly enhance rather than detract from the viewer’s enjoyment. The lyrics match the specific events of the particular scene.

The romanticism is pivotal as the crushes Molly and Amy have are not necessarily who they wind up with at the end of the film, which naturally culminates on graduation day. I love how their ceremony includes no parents.

The creativity within Booksmart is admirable.

When Molly and Amy trip on a hallucinogen, they accidentally imagine they are Barbie dolls. The scene is laden with hilarity as they bend, twist, and turn. Later, Molly imagines a dance with Nick amid a colorful, slow-motion sequence that is beautiful, while Amy has an awkward, unexpected sexual experience with a mean girl.

Booksmart (2019) is quite R-rated, almost shockingly so, which is not a negative. It’s a positive. Too many films of this ilk try to soften how teenagers speak and the feelings they have, which are usually sexual.

It’s raunchy and not for the younger teen set, but mature audiences will reminisce about their high school days.

Independent Spirit Award Nominations: 1 win-Best First Feature (won)

2020 Films, Chadwick Boseman, Colman Domingo, Denzel Washington, Drama, George C. Wolfe, Glynn Turman, Independent, Independent Drama, Michael Potts, Taylour Paige, Viola Davis

Ma Rainey’s Black Bottom-2020

February 3, 2021 scottmet99 Leave a comment

Ma Rainey’s Black Bottom-2020

Director George C. Wolfe

Starring Viola Davis, Chadwick Boseman

Scott’s Review #1,107

Reviewed February 3, 2021

Grade: A-

Viola Davis and the late Chadwick Boseman lead tremendous performances in Ma Rainey’s Black Bottom (2020), a film fueled by exceptional acting.

The production is shot like a play and is based on one written by August Wilson. He also wrote Fences, which was adapted into a film in 2017 and starred the terrific Davis.

As wonderful as Davis is amid a bruhaha of hype over how powerful her performance is, it’s an ensemble event that makes Ma Rainey’s Black Bottom a memorable experience.

Ruben Santiago-Hudson adapts a fast-paced screenplay with quick dialogue, extended scenes, and a startling turn of events. The action unfolds over one day, similar to other Wilson works, adding a robust and powerful strength as the situations unfold.

The time and the racial aspects are key to the crackling dialogue.

Most of the cast is black, and it’s 1927, so how can the work not be about race? In clever and heartbreaking form, much of the racism is internalized, pitting black versus black instead of the standard white versus black.

Despite the excellent singing and acting, this point hit home the most with me and was the most uniquely palpable. It’s bad enough when black people, or any other minority group, face hatred and resentment from other people, but when it’s one of your own, this is bitter and hard to watch.

The conflict and fury escalate to a vicious climax as one character lashes out in deadly form, ruining more than just their own life. It has a spiraling effect that utilizes the claustrophobic rehearsal hall where these scenes take place as a backdrop.

There are two different stories taking place here, and both are superb.

Ma Rainey (Davis) is a superstar, being female and black, her victory is achieving that success, to begin with, against insurmountable odds.

We only imagine this because the film doesn’t go into her backstory too much- they don’t need to. Her struggle is obvious, and we can only imagine how she managed to get so far in her career. Was she able to capitalize on her success with her voice alone?

Ma is immensely talented and angry. She is pouty and tough as nails with her white producers, who have invited her to Chicago to record an album. She knows they want one thing from her, and that’s money-making profits from her talent.

She demands a Coke before she will perform. She smirks as the producers scurry to fulfill her request, not daring to show too much irritation that will cause her to cancel the session and return to the South.

Is she a diva? Well, yes, but shouldn’t she be? If she were a gracious person, would people walk all over her?

We learn she would easily be arrested for causing a stir in the streets if not for her manager, Irvin (Jeremy Shamos), schooling the police on who she is.

Davis, who can play any role handed to her, is brilliant. Ma is brazen and brutal, yet she releases emotion when she belts out her tunes.

Though Davis is the star, Ma is almost a supporting player against the robust and juicy other plot occurring among the male cast, one floor below. Boseman is flawless as the trumpeter in her band, Levee Green.

His humor masks a wave of anger and cynicism lurking beneath that slowly builds as he feels jealous and cheated by the older members of Ma’s band.

Colman Domingo and Glynn Turmann are fantastic, adding stability and wisdom in supporting roles. Their characters try to teach the younger Levee that being a black man also represents stoicism, a calm demeanor, and wisdom.

From a diversity and inclusion perspective, the film features Ma’s bisexual girlfriend Dussie Mae (Taylour Paige) and nephew Sylvester (Dusan Brown), who stutters.

This offers LGBTQ+ and disability inclusion.

Ma Rainey’s Black Bottom (2020) is a film that celebrates fearlessness, determination, and the ugliness and frustration of inner turmoil within one’s race.

It also features gorgeous and emotional songs from the roaring 1920s and top-notch acting performances.

Oscar Nominations: 2 wins-Best Actor, Chadwick Boseman, Best Actress, Viola Davis, Best Production Design, Best Costume Design (won), Best Makeup and Hairstyling (won)

Independent Spirit Award Nominations: Best Feature, Best Female Lead-Viola Davis, Best Male Lead-Chadwick Boseman, Best Supporting Male-Colman Domingo, Glynn Turmann

2012 Films, Independent, Independent Drama, Ira Sachs, Julianne Nicholson, LGBTQ+ Drama, LGBTQ+ Films, Romantic Drama, Thure Lindhardt, Zachary Booth

Keep the Lights On-2012

January 16, 2021 scottmet99 Leave a comment

Keep The Lights On-2012

Director Ira Sachs

Starring Thure Lindhardt, Zachary Booth

Scott’s Review #1,100

Reviewed January 16, 2021

Grade: A

With such a healthy dose of LGBTQ+ films released during the 2010s, most independent productions enough exist to please nearly everyone striving for good diversity in film.

Over the years in cinema, it was tough to find specific genre films, rather than being forced to seek out subtle clues that filmmakers would incorporate.

LGBTQ+ films are now a dime a dozen, which is good but makes some films fall under the radar.

Keep The Lights On (2012) is a romantic drama, rather mysterious, about two men and the nine-year-long love affair they share. It’s not a happy watch because drug addiction is a large part of the story.

It portrays the men as human beings with passion, and feelings, and experiencing joys and pains, instead of being written as caricatures or comic relief.

This is progress, and worthy of much praise.

The only issue with the film is that by 2012, and the decade as a whole, there were so many similar films being made that there’s not enough to distinguish it from other high-profile works.

The LGBTQ bar was set very high with Brokeback Mountain in 2006, and recent offerings like Carol (2015) and Moonlight (2016) thrust the LGBTQ+ community into the spotlight.

Keep The Lights On has many positives, especially cinematically, but it risks getting lost in the shuffle matched up against other genre films.

Advisable, is to check out this gem.

It might best be compared to the exceptional same-sex love story, Call Me By Your Name (2017). Both are character-driven and are both happy and tragic.

Keep The Lights On is technically an American film. It feels like an international film, though, because it centers around a Danish filmmaker who lives in New York City.

Erik (Thure Lindhardt) is a troubled, creative soul, struggling to complete a documentary about an artist named Avery Willard. He meets and enters into a loving but complicated long-term relationship with Paul (Zachary Booth), a lawyer in the publishing industry who struggles with drug addiction.

Therein lies the complicated nature of their relationship. They are bonded but plagued with outside challenges. It began in 1998 and ended in 2006.

They meet via a phone sex chatline which adds to the sexual mystique. Erik is gay and happily out, but Paul indulges in both men and women and is conflicted sexually.

He gets Erik high. Will he lead Erik down a dark path? Will Paul clean up his act or die? Erik and Paul bed numerous other men throughout the story. This is an intriguing addition to the complicated events.

Since the film is about a filmmaker it ought to include cool and inventive camera angles and trimmings, and it does. Ira Sachs, an American director, provides flourishing shots of New York City and gazes through the lens of an actual creative spirit, which justifies the character of Erik.

The story builds quite slowly and plenty of times I awaited something exciting to happen. But real life is composed of many small moments and I loved how the film simply is instead of big momentous scenes being added for effect.

The audience is meant to root for Erik and Paul to trot into happily ever after territory. This may or may not happen.

Keep The Lights On has a vague ending open to interpretation.

Erik and Paul look similar to each other which I found very interesting. They say that many same-sex couples are attracted to individuals who look like themselves. I’m not sure how true this is, but I wondered if Sachs had a point to make.

Can a person have multiple sides to themselves they see through other people? Keep The Lights On is told more from Erik’s perspective and sees in Paul the dark side of himself.

Key to the honesty that exudes from Keep The Lights On is that the story is based on Sach’s relationship with a publisher he met and fell in love with. The truthfulness comes across on screen, which is the main appeal to the overall experience.

I love the title which can be interpreted in a few different ways, especially once the conclusion is upon us.

I admire the fact that Keep The Lights On (2012) was made and the characters provide a longing and yearning that is quite humanistic. It feels like it was created based on fact rather than a studio idea conjured up around a boardroom table.

Ira Sachs creates an excellent, quiet film about two men and the love story they share. Their troubles come and go but their passion and bond never waver.

Independent Spirit Award Nominations: Best Feature, Best Director-Ira Sachs, Best Male Lead-Thure Lindhardt, Best Screenplay

2003 Films, Comedy, Helen Mirren, Independent, Independent Comedy, Jay Leno, Julie Walters, Patton Oswalt, Penelope Wilton

Calendar Girls-2003

December 11, 2020 scottmet99 Leave a comment

Calendar Girls-2003

Director Nigel Cole

Starring Helen Mirren, Julie Walters, Penelope Wilton

Scott’s Review #1,090

Reviewed December 11, 2020

Grade: B+

A clever female version of The Full Monty (1997), the middle-aged bordering on senior citizen characters, nudity comparisons notwithstanding, Calendar Girls (2003) has standard similarities.

The film is a light-hearted affair, charming and fun with positive and inspiring messages about friendship and helping with cancer research.

How can a film like this not bring a smile to the viewer’s face? It did to mine.

That said, it’s hardly high drama or material that requires much thought or dissection. I’d wager to say you only need to see it once. There lies a situational or clichéd theme as the women face the standard and guessable awkward moments, but the film entertains in style.

Calendar Girls is based on a true story adding merit, appreciation, and an endearing quality. It’s a feel-good film if there ever was one which is just fine in this case.

The film was a box-office smash, and why not? It’s a comically robust experience.

A likable group of “women of a certain age” conspire to launch a calendar, bearing their best assets for all to see. Before this sounds too scandalous or corny, the ladies do it for a good cause and not for any titillating pleasure.

The women are British and, while attractive, are average-looking gals with womanly figures. These tidbits lead to humorous and embarrassing situations as some of the women are more modest than others, especially parallel to the conservative and crusty town they live in.

This leads to shocks among the prudish townspeople.

Chris (Helen Mirren) and Annie (Julie Walters) are best friends. When Annie’s husband dies of leukemia, they conjure up the idea of creating a nude calendar, where women pose while doing traditional duties like baking and knitting. The proceeds will go to research for the deadly disease.

Unexpectedly, Chris and Annie, along with others from the Women’s Institute in which they are members, achieved worldwide success even invited to Los Angeles to appear on television’s The Tonight Show with Jay Leno.

The women clash due to their success and differing lifestyle directions, before reconciling and deciding that their ordinary lives aren’t so bad. They happily resume their nice lives away from the spotlight.

The comparisons to The Full Monty (1997) must be mentioned because they are obvious. Whereas the men in The Full Monty strip on stage, the women prefer more modesty, nestled behind calendars for safety, but both groups hail from the English countryside and are regular folk.

Since nudity is the word of the day, both groups possess average bodies and champion worthy causes. Like it or not, this setup produces giggles.

The “calendar girls” are a relatable group that is a marketing genius and allows the film to achieve much merit. Who would care if a bunch of supermodels posed nude while baking cookies?

No, the everywoman factor is sky-high, allowing the film to be appreciated and savored.

Because Mirren and Walters, two respected British actresses appear in Calendar Girls, there is an added respectability.

After all, would either choose a project less than credible? The obvious answer is they make the film better than it might have been. Penelope Wilton does too.

There is a classiness the ladies bring so that we can sink into our theater seats and revel in the good-natured comedy, assuring ourselves we are seeing something of quality too.

Calendar Girls (2003) is so like The Full Monty that they ought to be watched back to back. Perhaps a naughty night in, with a bottle of wine and some cheese, ready to embark on delights and jolly laughs.

1985 Films, Catherine O'Hara, Cheech Marin, Comedy, Dark Comedy, Independent, Independent Comedy, John Heard, Martin Scorsese, Rosanna Arquette, Teri Garr, Will Patton

After Hours-1985

October 9, 2020 scottmet99 Leave a comment

After Hours-1985

Director Martin Scorsese

Starring Griffin Dunne, Rosanna Arquette

Scott’s Review #1,069

Reviewed October 9, 2020

Grade: A-

After Hours (1985) is a gem of a film.

When thoughts of director Martin Scorsese are conjured, Taxi Driver (1976), Raging Bull (1980), or Goodfellas (1993) are films that immediately spring to mind.

Scorsese’s decision to create a pared-down independent film was met with enormous success and accolades for the very first Best Feature indie film victory and Best Director honors.

The experience is a black comedy set within the gritty and unpredictable underbelly of Soho-New York City in the 1980s.

Mixing comedy with satire, Scorsese leapfrogs from similar content in The King of Comedy (1983) to this film made only two years later.

Any fan of New York City will cheer with joy at the authenticity achieved since the film was shot on location there. The Big Apple in the 1980s was a notoriously violent cesspool so the genuine setting and the use of dark streets and alleys is an immeasurable treat and adds much zest to this unusual film.

A nice guy, Paul Hackett (Griffin Dunne), works hard as a computer data entry worker by day and shares an encounter with a quirky young woman named Marcy Franklin (Rosanna Arquette) in a Manhattan coffee shop.

After she gives him her number and leaves, he is unable to stop thinking about her and embarks on a late-night adventure to go and see her at her apartment.

The night does not end how he thinks it will. Not by a long shot, as he spends the rest of the long night meeting various women and other strange characters as he traverses around the city attempting to get back home. He has lost his money and is broke.

The great aspects of After Hours are its bizarre characters and the cinematography that offers a tantalizing view of downtown Manhattan. The film is atmospheric and zany in its gloomy and steamy side streets and odd locales sprinkled with color.

A dingy bar, a sophisticated artist’s apartment, and a man sculpture that follows Paul everywhere are usurped by the film’s strangest and most interesting set, Club Berlin, an “after-hours” club inhabited by punks who want to shave Paul’s head into a mohawk.

I enjoyed this film as a sort of “A Day in the Life of Paul” adventure story, albeit a gothic one. The film concludes wonderfully as the sun begins to rise just as the film ends and thus Paul’s wild night finally ends.

I was chomping at the bit with the thought of what a new morning would bring and the possibilities of reuniting with any of the women he encountered the night before, either dead or alive.

Particularly charming to me while watching After Hours, the decade of decadence well into the past, are the relics once commonplace in everyday life. A phone booth, the traditional yellow cabs, and desktop personal computers are heavily featured.

These items, relevant when the film was made, now seem like throwback niceties that make the film endearing and like a glimpse into someone’s time capsule.

I did not pick up on much authentic romance between Paul or any of the female characters- Marcy, June, Gail (Catherine O’Hara), or Julie (Teri Garr), but maybe that’s the point. While one winds up dead, not one, but two of them pursue him, and not in a good way.

The film is mystical, weird, and energetic. The inclusion of Cheech & Chong only adds to the revelry.

Sadly, underappreciated and too often forgotten, After Hours (1985) is a Scorsese treat worth dusting off now and then. The birth of the Independent Spirit Awards has a lot to owe to this film for grabbing top honors and the admiration works both ways.

For a glimpse at the creative genius that is Martin Scorsese, this film gets an enormous recommendation.

Independent Spirit Award Nominations: 2 wins-Best Feature (won), Best Director-Martin Scorsese (won), Best Female Lead-Rosanna Arquette, Best Screenplay, Best Cinematography

2019 Films, Aldis Hodge, Alfre Woodard, Chinonye Chukwu, Danielle Brooks, Drama, Independent, Independent Drama, Richard Schiff, Wendell Pierce

Clemency-2019

October 7, 2020 scottmet99 Leave a comment

Clemency-2019

Director Chinonye Chukwu

Starring Alfre Woodard, Richard Schiff

Scott’s Review #1,068

Reviewed October 7, 2020

Grade: A-

I will be candid. Clemency (2019) is not a film that will appeal to everybody’s taste.

The topics of prison, execution, and psychological conflict among its characters are pretty heavy.

After a long day of work and the desire to snuggle on a comfy couch with a tall glass of wine, this film may not be recommended. But, for those seeking a thought-provoking experience about timely and serious social issues, with racial overtones, Clemency is a riveting and powerful story.

This film is written well, and it matters.

Haggard, prison warden Bernadine Williams (Alfre Woodard) trudges along day after day, managing the multitude of tasks that her job requires of her. She is committed to overseeing the prison executions and experiences her twelfth at the start of the film.

The procedure is botched, causing the prisoner excess pain, and an investigation is launched. Bernadine is conflicted and consumed by her job, causing her marriage to Jonathan (Wendell Pierce) to deteriorate and her visits to a local watering hole to increase.

When Bernadine takes interest in Anthony Woods (Aldis Hodge) a prisoner slated for execution in a case receiving national media attention and prison protests, her conflict escalates.

Anthony’s ex-girlfriend (Danielle Brooks) and attorney (Richard Schiff) play vital roles, especially when the convicted cop killer’s innocence is called into question.

Will he or won’t he receive a last-minute pardon from the governor sparing his life?

Chinonye Chukwu, a rookie director, is a black, Nigerian female with lots of interesting things to say and a bright future ahead of her. She also penned the screenplay and tackles a weighty issue of great controversy in the United States.

The age-old debate of whether capital punishment is inhumane or even deters crime is not the focus of the film’s narrative, but neither is it about that per se.

The fact that Chukwu and her characters, Bernadine and Anthony, are both black introduces an additional racial element.

In the time of “Black Lives Matter”, this is a powerful statement.

To say that Clemency is a downer is an understatement, though it leaves the viewer with some sense of hope amid an ambiguous ending. I won’t spoil the film, but we wonder what will become of Bernadine.

Has she had enough of the prison lifestyle and decided to fly off in a new direction, or does her work so consume her that she is trapped for life, too far gone for any growth?

The final sequence is brilliant.

An impending execution, emotional goodbyes are said, and a full minute or so of a close-up scene focused on Woodard’s face taps a range of emotions that include compassion, disgust, and unbridled sadness.

The gloomy and stark atmosphere that Chukwu presents fills the film with a bleakness that is eclipsed ever so slightly by the possibility of change.

A common theme, and not only with Bernadine, is the need to be heard and the frightening perception of being invisible. Jonathan, in a strong supporting role by Pierce, is the perfect husband. A teacher, he is responsible, loyal, and even prepares a surprise dinner on their anniversary.

He feels diminished by Bernadine and resides in a motel after he has had too much. Anthony’s attorney and a priest, both of whom plan to retire soon, feel their jobs are pointless, as they are not heard and their work is neither appreciated nor noticed.

Interesting that Chukwu does not reveal which state within the United States the twelve or thirteen executions take place in, though we can only guess it’s somewhere in the south.

Clemency (2019) is a bold offering fraught with debate, questions, and character conflict. A slow build, there is much to savor and mull over, and the story feels personal.

Woodard delivers a soaring performance, backed by exceptional work from all the supporting players.

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

Independent Spirit Award Nominations: Best Feature, Best Female Lead- Alfre Woodard, Best Screenplay

2009 Films, Bill Hader, Comedy, Greg Mottola, Independent, Independent Comedy, Jesse Eisenberg, Kristen Stewart, Kristen Wiig, Ryan Reynolds, Wendie Malick

Adventureland-2009

October 1, 2020 scottmet99 Leave a comment

Adventureland-2009

Director Greg Mottola

Starring Jesse Eisenberg, Kristen Stewart

Scott’s Review #1,066

Reviewed October 1, 2020

Grade: B-

Adventureland (2009) is a cute film. That may seem like a compliment, but it’s not. There is nothing wrong with this film, but it’s a rather safe experience.

In a word, it is fine, nothing more, nothing less.

It plays like a romantic comedy and is mixed with a coming-of-age theme about two young adults merging from kid to adulthood. It’s a story that most of us can appreciate though it’s been done too many times in cinema for this film to do much more with.

The selling point is the excellent acting.

The theme park (aka Adventureland) and the nostalgic 1980s time is a nice touch though it feels like a 2009 film with the actors fitted into retro costumes and hairstyles.

Greg Mottola directed Superbad in 2007 so you can see the influence. He has a knack for directing films with a light comedic touch that will appeal to young adults going through some angst or young, blossoming feelings of love.

The stars of the film, Jesse Eisenberg and Kristen Stewart, terrific actors in their regard, have little chemistry together and that weakens the picture. They are helped immensely by a talented supporting cast, who pick up the slack and improve the film.

Bill Hader, Kristen Wiig, Wendie Malick, and Ryan Reynolds give a comic boost to the events. Unfortunately, despite positive trimmings, the film feels like your standard, every day, independent comedy with little left to separate it from other contemporaries.

It just has big stars.

Likable James Brennan (Eisenberg) anticipates a fabulous trip to Europe after graduating from Oberlin College, having earned it for his achievements.

Unfortunately, his parents Mr. and Mrs. Brennan (Jack Gilpin and Malick) break the bad news to him. They are in dire financial straits and can no longer support him. He must get a part-time job immediately.

The disappointing news disappointed me as well. I was savoring a nice adventure in London, Paris, and Rome.

Sadly, the rest of the film takes place in an amusement park in Pennsylvania.

Predictably, Mottola, who wrote the screenplay as well, offers banal and stereotypical characters such as Mike Connell (Reynolds), the resident mechanic, who is a rival for the affections of Em (Stewart), the love interest of James.

Thrown into the mix are various characters who are a bitch, a sarcastic college student, and a nerd. And, for good measure, James is a virgin. Naturally.

The film nosedives with some slapstick humor and misunderstandings worthy of American Pie (1999).

When Adventureland was made Eisenberg was on the brink of breaking out into a fantastic role in The Social Network (2010) that garnered him an Oscar nomination and credibility.

Stewart, meanwhile, was in the middle of her Twilight (2008-2012) years which made her a household name but was undoubtedly creatively very unfulfilling.

This film is a reminder that actors need to work and make the best of the material they are given.

Truth be told, the main attraction of watching Adventureland is to sit back and admire what was to become of Stewart and Eisenberg. Since the film’s release in 2009, they have traversed meatier and better projects.

Eisenberg has a Tom Hanks or James Stewart likeability. He is someone to whom the average young male can relate and the problems that James must face could easily be challenges the viewer might also have.

In the case of Stewart, what a star this girl is with the right roles. Since 2012 she has declined roles in big-budget films in favor of independent productions for the next few years. She took on a terrific supporting role in the drama Still Alice (2014) as a troubled daughter.

Still young, the future looks very bright for the talented actress.

But, back to Adventureland (2009). This film is only suggested for a glimpse at the early work of Eisenberg and Stewart. Two young stars who went on to enormous critical cinematic success.

2002 Films, Brian Cox, Catherine Keener, Chris Cooper, Comedy, Curtis Hanson, David O. Russell, Independent, Independent Comedy, John Cusack, John Malkovich, Judy Greer, Maggie Gyllenhaal, Meryl Streep, Nicolas Cage, Peter Ramsey, Ron Livingston, Spike Jonze, Tilda Swinton

Adaptation-2002

September 24, 2020 scottmet99 Leave a comment

Adaptation-2002

Director Spike Jonze

Starring Nicolas Cage, Meryl Streep, Chris Cooper

Scott’s Review #1,064

Reviewed September 24, 2020

Grade: B+

Adaptation (2002) is a kooky film that is recommended for all writers or lovers of the written word, especially for those ever having suffered from writer’s block.

The film is wonderful for people who are either curious or obsessed (me!) with how a novel is turned into a screenplay.

With an A-list cast featuring Nicolas Cage and Meryl Streep, the offering is credible and not just a bumbling indie experiment with no budget. Stars must get paid, which allows the film a mainstream audience, and awards.

The film will be too weird for some. There is a measure of conceit and self-indulgence (it’s set in Los Angeles after all!) that is sometimes off-putting, but I adored the premise too much and chomped at the bit at what I was offered.

It’s quite non-linear and the characters sometimes do things that are weird or out of turn.

Adaptation is different (in a good way) and is recommended for its oddness as I cannot think of another film like it, though Being John Malkovich (1999) would be close. Director, Spike Jonze would later create Her (2013) and, of course, directed Malkovich too.

Charlie Kaufman wrote the screenplay and the central character is Charlie Kaufman, played by Cage, who also plays Kaufman’s brother Donald, a mooch. Charlie is self-loathing and disheveled but somehow likable. He struggles mightily to bring words into his head as he nervously sits at his typewriter day after day when he is tasked to adapt the novel, The Orchid Thief, into a film.

The novel’s author, Susan Orlean, played by Meryl Streep, intimidates Charlie, who decides to pay her a visit to New York City.

This film features the best work of Cage’s career. An actor who is “not for everybody”, the performance rivals that of Leaving Las Vegas (1995), in which he won an Academy Award.

A dual role is tough to play, but the actor does so with bombast and confidence, making the characters very different from each other and making me forget they were Cage.

Too often sinking to inferior action films like Face/Off (1997) or Con Air (1997), the actor wisely had an epiphany or something and made a wise decision. Cage does best when he goes for wacky- Raising Arizona (1987) is proof of that.

The supporting players, specifically Streep and Cooper are fantastic. Streep could fart through a film and still give a great performance and you can tell she enjoys the part of Susan, allowed to let loose. Her character loves sex and drugs and is not above devious shenanigans to get her way.

Cooper, who won the Oscar, is delicious as John Laroche, a theatrical character with missing front teeth, who is the secret lover of Susan.

Both provide great entertainment.

Adaptation simply feels good for a thought-provoking writer providing oodles of “writer things” to ponder and discuss with friends after the credits roll. Many scenes are rich with layered dialogue and rife with originality making the words sparkle with pizzazz.

And there are enough twists and turns to keep viewers guessing.

One of the most original and kooky films you will ever see, Adaptation (2002) pairs well with Being John Malkovich (1999) for an evening of the odd and absurd, but also films not altogether hard to follow.

The satirical Hollywood theme will both please and annoy but it’s all good fun and a lesson in creative art cinema.

Oscar Nominations: 1 win-Best Actor-Nicholas Cage, Best Supporting Actor-Chris Cooper (won), Best Supporting Actress-Meryl Streep, Best Adapted Screenplay

2002 Films, Alexander Payne, Comedy, Dermot Mulroney, Drama, Hope Davis, Independent, Independent Drama, Jack Nicholson, June Squibb, Kathy Bates

About Schmidt-2002

August 18, 2020 scottmet99 Leave a comment

About Schmidt-2002

Director Alexander Payne

Starring Jack Nicholson, Kathy Bates

Scott’s Review #1,054

Reviewed August 18, 2020

Grade: A-

Anyone familiar with the works of director Alexander Payne knows that the man is notorious for crafting pictures with wry humor and dark sarcasm mixed with emotion.

Election-1999, Sideways-2004, and The Descendants-2011 immediately spring to mind.

Interestingly, several of his projects are set in Omaha, Nebraska, not exactly a hotbed of excitement, but there is a reason for this- he embraces every man.

Payne also has a knack for casting big stars, sometimes before they are big stars, giving them meaty and clever roles to sink their teeth into.

With About Schmidt (2002) he hits the jackpot and obtains the legendary Jack Nicholson, an actor famous for turning down many roles that simply aren’t good. This already bodes well for the film which spotlights an older character and plants the spotlight firmly on him, admirable in youth-obsessed Hollywood.

The film is very good, sometimes adding stock characters, but an admirable, worthwhile effort with surprisingly strong emotion and sentimentality. The result was both a critical and commercial success and is highly recommended.

The film kicks off showing Walter Schmidt (Nicholson) staring at the clock in his office, day after day counting the minutes until his shift concludes and he goes home for dinner. He has a dull job as an actuary at a life insurance company.

Finally, one day he retires and feeling useless, sponsors an African child, and the two become quick pen pals. Suddenly, Walter’s wife, Helen (June Squibb), dies as they are about to embark on a cross-country trip in their Winnebago.

Devastated, he finally goes it alone.

About Schmidt is a film with many emotions: happy, angry, sad.

Walter is a lonely, unhappy man, in a loveless marriage with Helen, though he doesn’t have the heart to tell her. She’s a nice lady, but the honeymoon ended years ago, and the spark has dulled.

At the same time, he has a tough time coping with her death and can barely cook, clean, or do laundry. He uncovers a secret about his wife that both turns his life into free fall and inspires him to conjure up the nerve to live a little.

Walter is a great character and exhibits the traits of many, many men. He is someone for audiences (especially males) to relate to and fall in love with. Bored with life, he is used to doing the same thing every day, no doubt eating the same meals, going to bed at the same time each night, etc.

Helen dictates what he does, reducing him to urinating and sitting down. Audiences will champion his reemergence to the land of the living! The fun is witnessing his escapades.

A hilarious sequence erupts when he meets the vivacious Roberta Hertzel (Kathy Bates). She is the mother of Walter’s daughter Jeannie’s (Hope Davis) intended, Randall (Dermot Mulroney), and has a voracious sexual appetite.

She immediately sets her sights on Walter and attempts to seduce the unwitting man in her hot tub. Bates is terrific in the role and her nude scene is something to always remember and major props to the actress for letting it all hang out!

The characters of Jeannie and Randall are not written especially well, and I was not a fan at all. They are “types” meant to complicate the plot or affect other characters in some way.

Actors Davis and Mulroney do their best with what they are provided, but they are meant to be obstacles for Walter to overcome. He loves his daughter and doesn’t want to see her marry a jerk.

Jeannie is angry because her life hasn’t turned out the way she wanted it to, so she takes it out on Walter. I did not buy or bond with Jeannie or Randall the way I did with Walter and Roberta.

Nicholson’s performance is one of the best of his career and the most multi-faceted. The final scene when he returns home to find a note from his pen pal with a sentimental crayon drawing is electric with emotion, feeling authentic, and is a pivotal breakthrough for Walter.

The character runs the course from submissive and lost to emboldened and strong. It’s a joy to watch his progression.

I love how Payne frequently celebrates and showcases older characters who are more than providers of advice, good listeners, or some other watered-down stock characters. They have their own stories and enriched meaningful lives.

About Schmidt (2002) has it all and is one of Payne’s top films deservedly showcasing this generation in cinema.

Oscar Nominations: Best Actor-Jack Nicholson, Best Supporting Actress-Kathy Bates

1974 Films, Drama, Feminist, Gena Rowlands, Independent, Independent Drama, John Cassavetes, Peter Falk

A Woman Under the Influence-1974

August 11, 2020 scottmet99 Leave a comment

A Woman Under the Influence-1974

Director John Cassavetes

Starring Gena Rowlands, Peter Falk

Scott’s Review #1,051

Reviewed August 11, 2020

Grade: A

I champion films that are not necessarily easy to digest but are well worth the struggle if the result is either a fantastic pay-off or the afterglow of watching something of worth or substance.

A Woman Under the Influence (1974) is a grueling watch for the ferocious intensity alone that Gena Rowlands infuses into her emotionally challenged title character.

Rowlands and director/writer/husband John Cassavetes changed the face of independent film forever with this project.

Critical film darling and fantastic director Cassavetes specifically wrote the screenplay of A Woman Under the Influence for Rowlands who wanted to play the character but could not take the strain of playing her eight days a week on stage as originally envisioned.

Thus, the project was birthed using their own money to finance the making of it. Co-star Peter Falk also contributed financially.

Each served as a makeup artist, or gofer, or performed other non-actor or non-director tasks to achieve the results.

A real house was used to film in rather than on a studio set.

The film was rebuffed by distributors and Cassavetes begged to have it shown at college campuses where he would discuss the film afterward. It was the first time in the history of motion pictures that an independent film was distributed without the use of a nationwide system of sub-distributors.

This is the main reason that Cassavetes is heralded as an independent film god and has a category named after him at the annual Independent Spirit Film Awards.

Rowlands parts mountains to make this role her own and she is passionate about it.

Originally only seeing the legendary actress in one film, the gritty Gloria (1980), I kept a notion of her as the impatient, tough-as-nails, mobster girlfriend that she played in that excellent film (also directed by Cassavetes).

In A Woman Under the Influence, made six years before Gloria, she plays a much more vulnerable, to say nothing of unhinged, character. This is not to say that Mabel is crazy in a psychotic sort of way. She is loving and adores her husband, Nick (Falk), and kids Margaret and Angelo.

Rowlands puts her versatility on display.

In her desperate attempts to keep her family happy, she tries to put on a brave front as she dutifully cooks dinner, puts her kids to bed, and kisses her husband.

Inside though she is dying and unsure what is wrong with her. She knows she is unhappy and doesn’t know why. What she does know is that she is slowly going insane.

At the risk of making A Woman Under the Influence Rowland’s film as the title implies, it’s not. Falk does not merely serve as a supporting player to her story but blossoms with one of his own.

The story could have easily been told only from Mabel’s perspective, but we see such a range of emotions from Falk as his character tries desperately to keep it together.

This is great acting.

Nick thinks that inviting friends over to celebrate Mabel’s return home from the hospital is a good idea, and realizing it’s not, angrily sends them home. His emotions spiral as much as hers do but differently.

The best scenes are the most emotionally taxing for all.

When Mabel talks gibberish at a speed of a mile a minute, Nick tries to be patient but soon explodes with anger, sympathetic to his wife but also exhausted beyond belief. When Mabel and Nick spar fireworks explode.

In pure Cassavetes’s genius, there lies no solution to Mabel’s woes and we wonder what will happen to her. Will she eventually be institutionalized for life? Will she take her own life or someone else’s life?

The vagueness is its beauty.

A Woman Under the Influence (1974) is one of the most realistic films ever made to focus on mental illness difficultly and truthfully.

To add boldness to the tough subject matter, especially given the time-period made when we now know more about the disease, Cassavetes, and Rowlands add a feminist quality to the film while also showcasing the male point of view.

1970’s cinema oozed with creativity, richness, and experimentation. True artists emerged, who have created an important legacy in small-budgeted films forever.

Oscar Nominations: Best Director-John Cassavetes, Best Actress-Gena Rowlands

2019 Films, Adam Sandler, Benny Safdie, Crime Thriller, Idina Menzel, Independent, Independent Thriller, Jake Ryan, John Amos, Josh Safdie, Judd Hirsch, Julia Fox, Kevin Garnett, LaKeith Stanfield, Mike Francesa, Natasha Lyonne, The Weeknd, Thriller, Tilda Swinton

Uncut Gems-2019

August 5, 2020 scottmet99 Leave a comment

Uncut Gems-2019

Director Ben Safdie, Josh Safdie

Starring Adam Sandler, Idina Menzel

Scott’s Review #1,049

Reviewed August 5, 2020

Grade: A-

The Safdie brothers have quickly emerged as a directing force to be reckoned with, producing two “gems” in only three years.

Co-written by Ronald Bronstein, the final product is jagged, fast-paced, and frighteningly intense.

Uncut Gems (2019) follows up the similarly themed Good Time (2017), giving star Adam Sandler his most significant role yet.

Yes, his performance even rivals the brilliant one in Punch-Drunk Love (2002), leading him to his first Independent Spirit Award win for Best Male Lead.

He was robbed of an Oscar nomination. We can’t have everything.

Playing a loud-mouthed Jew is hardly new territory for the actor. Think of most of his screwball comedies from the 1990s and 2000s before he delved into serious actor territory. In the dreadful Jack and Jill (2011), he played two of them!

But a trip down memory lane is surely not what the actor prefers; instead, he undoubtedly prefers to veer off course to more mature movies for the latter part of his film career. Uncut Gems made money, so let’s hope so.

We meet Howard Ratner (Sandler) following his first-ever colonoscopy, which leaves him anxious and irritable.

On better days, he is needier and a somewhat lovable teddy bear as he carries on an affair with his employee, Julia (Julia Fox), and his estranged wife Dinah (Idina Menzel), who has agreed to a divorce after Passover.

Howard runs KMH, an upscale jewelry store in the Diamond District section of New York City. How he manages to land and carry on with both gorgeous ladies is a mystery, but Dinah is a kept woman, and Julia’s father is in the jewelry industry, thus explaining why Howard is.

There is something particularly charismatic about Howard that draws other characters and the viewers to him.

As revealed at the beginning of the film and the main storyline, Howard has made a deal with Ethiopian Jewish miners in Africa to obtain a valuable black opal and sell it to him at a low price, presumably so that he can make a substantial profit from it in the United States.

It is also quickly established that Howard is a mess, owing $100,000 to his brother-in-law and loan shark. To complicate matters, his shady business associate brings basketball star Kevin Garnett into Howard’s shop.

After spotting the opal, he asks to borrow it for one night with his NBA Championship ring as collateral. This cannot end well, and it doesn’t.

The subsequent activity in Uncut Gems is crude, foul-mouthed, and off-putting to some. I have friends who watched eight or twelve minutes of it and either turned it off or left the theater in a huff.

If you are expecting a comedy rife with potty jokes or other juvenile humor, look elsewhere.

This is the real deal, with a deadly ending that is impossible to imagine. I loved the settings of Manhattan, Long Island, and Mohegan Sun in Connecticut the best.

The Safdie brothers have two major knacks. They can craft tense, edge-of-your-seat crime thrillers like nobody’s business with a pulsating backdrop and a herky-jerky editing style. They can also catapult A-list actors teetering on the verge of being typecast for specific roles into the deep waters of creativity and sink or swim risk.

No better example than Robert Pattinson’s risky turn as a grizzled bank robber in Good Time (2017), shedding his sterile, pretty-boy image that The Twilight (2008-2013) films brought him. This led to his fantastic turn in The Lighthouse (2019).

The soon-to-be household name directing team does not deserve all the credit, though, even though the men serve in a variety of key positions, including acting, editing, shooting, mixing sound, and producing their films.

Sandler has become an interesting and versatile actor as he forges into the drama vein. Happy to roll up his sleeves and do an indie film for little money (like he needs it!), he proves that an unlikeable character can have hints of likability, black humor, and pizzazz.

He completely embodies Howard, making the audience love and hate him. He balances two women, schemes to get rich, and neglects his kid’s school play, yet he is appealing.

Let’s ceremoniously proclaim 2019 as the year that stars previously known for generic films, determined to break out with challenging and fantastic roles, were shunned by the Academy.

Jennifer Lopez, shockingly snubbed for Hustlers (2019), is being punished for years of mediocre films such as Maid in Manhattan (2002) and Monster-in-Law (2005), which join her compadre Sandler in two of the biggest snubs of the decade, with Uncut Gems (2019).

Perhaps an Oscar will be in their future if they stay the course and remain true to the work.

Independent Spirit Award Nominations: 3 wins- Best Feature, Best Male Lead-Adam Sandler (won), Best Director-Benny Safdie and Josh Safdie (won), Best Screenplay, Best Editing (won)

2019 Films, Arabic, Documentary, Edward Watts, Hamza al-Kateab, Independent, International, International Documentary, Waad Al-Kateab

For Sama-2019

July 25, 2020 scottmet99 Leave a comment

For Sama-2019

Director Waad al-Kataeb, Edward Watts

Starring Waad al-Kataeb, Hanza al-Kataeb

Scott’s Review #1,044

Reviewed July 25, 2020

Grade: B+

The wonderful thing about documentaries is that a viewer can absorb and learn something they have not been exposed to and know little or nothing about.

Aware via news outlets of unrest in Syria, For Sama (2019) personalizes and humanizes the battles as the film chronicles the life of a young Syrian woman and her husband, both rebels, and he a doctor, with a young daughter born and raised amid the war-ravaged city of Aleppo from 2011-2016.

For Sama is horrifically brutal and unkind at times, but to soften the experience would be to do an injustice to those on the front lines living with war every day.

The viewer should see firsthand the inhumanity and terror imposed on innocent civilians before they become cavalier about the effects of war.

The film bravely shows both human suffering and death, including dead children. Waad al-Kataeb wrote, produced, co-directed, and stars in this brutal yet hopeful production.

She also narrates it.

Waad al-Kataeb focuses on five years of living in Aleppo, Syria, before and during the infamous Battle of Aleppo, a major military confrontation between the Syrian government and its opposition.

She is a marketing student when the documentary begins, and highly intelligent. Waad al-Kataeb meets and falls in love with Hamza, a skilled doctor whose wife has already fled for safety, leaving him behind.

Waad gives birth to her first daughter, Sama, and navigates motherhood, all while the conflict begins to engulf the city.

Waad and Hamza work at one of the few remaining hospitals in the city, facing daily agonizing decisions whether to flee to safety or stay behind to help the innocent victims of war.

Despite having Sama and later becoming pregnant again, they cannot bring themselves to leave, as it would be abandoning those who rely on them. The documentary features their friends who also stay on, refusing to leave the city they still love.

The group tries for brief moments of pleasure, sitting around and chatting, all while the constant threat of bombings is a daily occurrence.

Notably, For Sama is told from the perspective of the female. This is unusual in the war genre, whether it be a film or a documentary feature, as it is more common for it to be male-driven.

When she provides narration, Waad exudes a warmth and kindness that is hard not to fall in love with. She cares for Sama, never knowing if today will be their last day alive.

In one frightening moment, Waad quickly gives Sama to another person to hide when the bombs start hitting the hospital, determined that Sama’s life might be spared if she is thought to be an orphan, rather than the spawn of hated rebels.

Props must be given for getting this project off the ground and released, rewarded with wide acclaim and recognition. In a country as volatile as Syria, it is inspiring to have someone like Edward Watts, an English filmmaker, able to follow through with For Sama. Amazing is how some footage, especially during the bombings, was spared.

Waad explains how determined she was to film as much as possible, even during very personal moments. In the most heartbreaking scene, a pregnant woman is injured during a bombing, and her lifeless baby is born.

After minutes of real-time uncertainty, the baby finally coughs and gags and is alive. Watts and Waad go to horrific depths to show how close the baby comes to dying, and the scene is fraught with sadness and finally relief. I have never seen moments as chilling as these in any documentary.

Other scenes feature young boys whose playmates or siblings have just been killed by bombs, and their emotional exhaustion and grief.

Thankfully, the documentary attempts to incorporate as many moments of human connection as possible, showcasing the laughs and good times that can be mustered when fear is the main ingredient of daily life.

For an experience that bears the ugliness of war, the constant fear, and peril, and a humanistic story of raising one’s child during frightening times, For Sama (2019) also shows the love and dedication to one’s flesh and blood, as well as the beauty of spirit and perseverance during tragic times.

It is heartbreaking, humanistic, and inspiring.

Oscar Nominations: Best Documentary Feature

Independent Spirit Award Nominations: Best Documentary

2009 Films, French, Independent, Independent Thriller, International, International Thriller, Jacques Audiard, Tahar Rahim, Thriller

A Prophet-2009

June 18, 2020 scottmet99 Leave a comment

A Prophet-2009

Director Jacques Audiard

Starring Tahar Rahim

Scott’s Review #1,034

Reviewed June 18, 2020

Grade: A-

A Prophet (2009), known as Un prophète in the French language, is a prison drama/crime thriller made exceptionally well and told from a character perspective rather than a plot angle.

Skirting any traditional genre prison characteristics, the film instead crafts a character study with the conflicting emotions of its main character taking center stage.

The result is a layered, complex experience led by a brilliant acting turn by actor Tahar Rahim.

Malik (Rahim) is a nineteen-year-old French youth of Algerian descent imprisoned for six years for attacking police officers. Friendless and unable to read, he is vulnerable and coaxed into murdering a witness involved in a crucial trial.

He becomes embroiled in tensions between the Corsicans and Muslims who populate much of the prison.

Malik cannot forget his participation in a murder, tortures himself, and has frequent nightmares of the incident. He slowly rises to the ranks of power within the prison community becoming involved in dangerous events and pivoting from meek to fear.

Largely avoided are overused prison elements common in many films of similar ilk. In other films, humor or standard dramatic situations occur that make a watered-down experience. A Prophet breathes fresh life into the prison film, albeit grisly and violent life.

The film is not for everyone and is extremely dark, even brutal at times.

During murder scenes, blood and guts are spilled at an alarming rate, and there ceases to exist many characters to sympathize with.

Malik is the main character but is an opportunist, readily doing what he must to gain power and control. Can we blame him? No.

Malik is a complex and nuanced character who is a joy to watch and dissect. He starts his prison tenure as a naive and timid boy, illiterate and easily manipulated. Over time, he grows into a seasoned gangster becoming involved in intricate plots and messy situations.

Actor Tahar Rahim successfully makes the character both likable and detestable, fleshing him out so the audience will love and hate him. This is the mark of a wonderful actor who can give complicated dynamics to the character.

Prison life is portrayed exceptionally well by director Jacques Audiard, who relays an authentic representation. It was good enough to make me never want to be imprisoned anyway. He wisely hired former convicts as both extras and advisors to flesh out the experience.

Life in prison, Audiard style, is not a rosy picture, but one filled with pain, fright, and violence. The Arab population, woefully underrepresented in cinema, is given a voice.

Another subject matter, homosexuality, a popular addition in prison films is not explored. Mostly played either for laughs or providing a conveniently situational plot device, A Prophet does not need the inclusion, too much else is going on.

Although a titillating prospect for many, the subject may have added a sexual or romantic angle taking away from the main point of the film, which is one man’s journey within the prison system.

Told from one man’s viewpoint, A Prophet (2009) is a triumphant French film that deservedly received accolades for its courage and realistic feel.

Starring a young actor with great potential and a brave director unafraid to develop logical storytelling and avoid typical traits, one wonders what their next project will be.

Violent gangs, corrupt guards, and impressionable prisoners would be a good way to continue.

Oscar Nominations: Best Foreign Language Film

Independent Spirit Award Nominations: Best Foreign Film

2006 Films, Comedy, Independent, Independent Comedy, John C. Reilly, Kevin Kline, Lily Tomlin, Lindsay Lohan, Maya Rudolph, Meryl Streep, Robert Altman, Tommy Lee Jones, Virginia Madsen, Woody Harrelson

A Prairie Home Companion-2006

June 16, 2020 scottmet99 Leave a comment

A Prairie Home Companion-2006

Director Robert Altman

Starring Meryl Streep, Kevin Kline, Woody Harrelson, Lily Tomlin

Scott’s Review #1,033

Reviewed June 16, 2020

Grade: B

The final film by legendary and influential director Robert Altman is not his greatest work. If I were to compare A Prairie Home Companion (2006) to another of Altman’s pictures it would be Nashville (1975) both having grassroots entertainment similarities.

The latter combines satire amid a political rally in a southern city while the former celebrates behind-the-scenes events at a long-running radio show in Minneapolis.

Difficult to criticize anything a genius does, my expectation was much more than was given.

The film plods along with little excitement or juiciness ever happening so the experience is to enjoy the standard Altman fixtures like a huge cast, overlapping dialogue, and witty chatter.

A melancholy effort since no new material will ever be released by the cinema great, but a chance to celebrate his achievements all the same.

Set in present times, events take place in Saint Paul, Minnesota, a chilly city in the United States mid-west. A long-running live radio variety show, A Prairie Home Companion, prepares for its final broadcast.

The radio station’s new parent company has scheduled the show’s home, the storied Fitzgerald Theater, for demolition and dispatched “the Axeman” (Tommy Lee Jones) to judge whether to save the show. Prospects are grim as radio shows are deemed a thing of the past and irrelevant.

The many radio stars revel and reminisce in memories as they prepare for cancellation.

Led by the singing Johnson Girls, Yolanda (Meryl Streep) and sister Rhonda (Lily Tomlin), and daughter Lola (Lindsay Lohan) who are most prominent, other characters include cowboy duo Dusty (Woody Harrelson) and Lefty (John C. Reilly); pregnant PA Molly (Maya Rudolph) and the show’s creator and host, Garrison Keillor.

A spirit known as “Dangerous Woman” (Virginia Madsen) also joins the group.

Star power is not the issue here and it pleasing is to witness a bevy of A-list Hollywood stars duke it out for screen-time. Anyone possessing knowledge of Altman knows that he was an actor’s director, meaning he let his actors truly shine and interpret what the motivations of the characters were.

Garrison Keillor, who wrote the piece, follows Altman’s lead in this area letting the cast try and bring to life what is on the written page.

Unfortunately, they fail.

While meandering greatly, A Prairie Home Companion has an earthy and humanistic theater troupe quality. The stars of the radio show are like family and cling to each other for moral support during uncertainty.

This feels nice to the viewer as common compassion is endearing, many of the individuals have spent decades together. Their stories and experiences resonate warmly, and one can’t help but be sucked into their lives.

The problem with this is that the stories go on and on and quickly seem pointless. There is little doubt whether the show will close. While the people are enamoring nothing much really happens in the film and it becomes a bore.

The character interactions lack any energy and do not carry the film in any direction. They merely are what they are.

I can appreciate a slow build if there eventually is a payoff. A Prairie Home Companion (2006) never achieves full-throttle or hits the gas pedal so the film exists but doesn’t shine.

With masterpieces such as The Long Goodbye (1973), Nashville (1975), and 3 Women (1977) my expectations were soaring so that may be a part of my letdown.

Prairie Home is not included in my go-to catalog of Altman greats and would teeter at the bottom of a master ranking of his films.

Independent Spirit Award Nominations: Best Director-Robert Altman

2019 Films, Brad Pitt, Danny Glover, Drama, Finn Wittrock, Independent, Independent Drama, Jimmie Fails, Joe Talbot, Jonathan Majors, Rob Morgan, Thora Birch, Tichina Arnold

The Last Black Man in San Francisco-2019

May 1, 2020 scottmet99 Leave a comment

The Last Black Man in San Francisco- 2019

Director Joe Talbot

Starring Jimmie Fails, Jonathan Majors

Scott’s Review #1,018

Reviewed May 1, 2020

Grade: A

The brilliance of The Last Black Man in San Francisco (2019) is multi-fold. The immediate call-out is that the work is the creation of up-and-coming director Joe Talbot, an artist with an excellent eye for both the visual and humanistic aspects of cinema.

Whoever influenced this young man deserves props, for he has a great future ahead of him. Given that this is his film debut and he also co-wrote it, the future is indeed bright. The film is loosely based on the life of Jimmie Fails, his childhood best friend, who also stars.

A24 is arguably the new “it” film studio for independent entertainment offerings, and this is to be celebrated.

Indie films provide creative artists with the means and time to develop their products and tell stories that are fraught with meaning, and in many cases, dare to go where other films have not ventured, at the risk of turning off a mainstream audience.

This is to be celebrated and championed, and has resulted in many fantastic and unique films. Hereditary (2018), Midsommar (2019), and The Lighthouse (2019) immediately spring to mind.

The Last Black Man in San Francisco gets off to an interesting start as two young black men, Jimmie (Fails) and Mont (Jonathan Majors), wait for the bus as men clad in protective gear appear to clean polluted waters.

The implication is clear that residents are not protected while the men are. Protesters chant while images of the changes San Francisco has experienced over the years are shown.

The two then skateboard to a Victorian house in the city’s Fillmore District, where Jimmie grew up and says it was built by his grandfather in 1946.

Their skateboard trip is cerebral and surrealistic and has ten glorious cinematic moments.

It is evident that Talbot is channeling either an autobiographic story or one of a friend- it proves to be the latter. Unclear is if Mont is supposed to be Talbot, but my guess would be in the affirmative.

Jimmie and Mont are inseparable, residing both at Mont’s grandfather’s house (played by a startlingly elderly Danny Glover) and the house that Jimmie’s grandfather built.

The friends trudge along with their daily lives by enduring insults hurled at them by a neighborhood gang and fixing up the Victorian house whose owners neglect it, only to be subsequently evicted.

Jimmie and Mont are fantastically nuanced, rich characters, each for different reasons. Jimmie is pained that his city has forgotten his grandfather and his legacy, which have been cast aside for progress and wealth.

His father (Rob Morgan) is angry, his mother, a recovering drug addict, is barely in his life, as they run into each other by chance on the city bus. Jimmie’s Aunt (Tichina Arnold) resides outside the city and serves as his confidante.

Mont is creative, yearning to write a play based on the local gang, but struggles to create the words or authentically express his voice. He works in a fish shop and frequently acts out his thoughts about others down by the water. Considered odd, he is a good guy and loyal to his grandfather.

Since a female love interest is never mentioned (another high point of the film), neither Jimmie’s nor Mont’s sexuality is ever discussed, nor is a potential relationship between the two ever mentioned.

The ambiguity works remarkably well and evokes comparisons to the groundbreaking Moonlight (2016).

When a sudden death erupts, the proceedings, Mont finally finds his voice and composes an improvised stage play which he stars in as a dedication to the fallen victim.

He elicits responses from the people in attendance (including all principal cast members) as a shocking secret erupts, resulting in disarray. This takes the already layered film in a new direction as all Jimmie thought to be true is suddenly shattered.

In a word, the film feels fresh, both visually and from a story perspective.

Fails and Majors are a top young talent with bright futures who add a patient climb to their characters amid a film that paces slowly but steadily, letting the events unfold in a thought-provoking way.

I eagerly await the next project by the talented Talbot.

In a film industry hungry for new ideas, the creator of The Last Black Man in San Francisco (2019) offers a journey into the minds of two black men, written not as stereotypes, but as interesting and intelligent individuals, who are not looking forward, but looking backward.

The film provides characters who are not standard but are so much more than that.

Independent Spirit Award Nominations: Best First Feature, Best Supporting Male-Jonathan Majors

2011 Films, Biography, David Cronenberg, Drama, Independent, Independent Drama, Keira Knightley, Michael Fassbender, Viggo Mortensen, Vincent Cassel

A Dangerous Method-2011

April 9, 2020 scottmet99 Leave a comment

A Dangerous Method-2011

Director David Cronenberg

Starring Keira Knightley, Viggo Mortensen, Michael Fassbender

Scott’s Review #1,009

Reviewed April 9, 2020

Grade: B+

A literal psychological-themed drama, if ever there was one, director David Cronenberg uses popular actors of the day to create a film based on a non-fiction book.

Famous psychoanalysts, Sigmund Freud and Carl Jung share a tumultuous relationship when they catch the eye of the first female psychoanalyst, who was a patient of each.

Thanks to a talented cast and an independent feel, the result is a compelling piece and a history lesson in sexual titillation, jealousy, passion, and drama, among real-life elite sophisticates.

Set on the eve of World War I in Zurich, Switzerland, a young woman, Sabina Spielrein (Keira Knightley), suffering from hysteria begins a new course of treatment with the young Swiss doctor Carl Jung (Michael Fassbender).

He uses word association, dream interpretation, and other experimental methods as part of his approach to psychoanalysis and finds that Spielrein’s condition was triggered by the humiliation and sexual arousal she felt as a child when her father spanked her naked.

They embark on a torrid affair.

Jung and friend and confidante, Sigmund Freud (Viggo Mortensen) explore various psychoanalytical methods, but cracks appear in their friendship as they begin to disagree more frequently on matters of psychoanalysis.

When Spielrein, now a student, meets Freud, she confides her relationship with Jung to him, which leads to animosity between the men. Spielrein embarks on other lovers as she attempts to reconcile the geniuses, to allow for their psychoanalysis studies to continue to develop with relevancy.

The film is intelligently written and for any viewer fascinated with psychology or sexual interest, a wonderful marvel. Since Freud and Jung are two of the most recognizable names in behavioral science and Spielrein is one of the most influential women in the field, the production is as much a historical and biographical study as it is dramatic enjoyment.

Spanking, bondage, and sexual humiliation for gratification and pleasure, strong taboos at the turn of the twentieth century, are explored and embraced in delicious and wicked style.

Given that Fassbender, Mortensen, and Knightley are easy on the eyes provide further stimulation than if less attractive actors were cast. Nonetheless, what the actors provide in eye candy is equally matched by their acting talent as each one immerses themselves into each pivotal role.

Cleverly and uniquely, the film is not a trite romantic triangle or giddy formulaic genre movie. Rather, the sets, costumes, and cinematography are fresh and grip the audience.

Carl Jung is the central figure as both his personal and professional experiences are given plenty of screen time. He wrestles between remaining committed to his wife or giving in to his deepest desires with Speilrein- we can guess how this turns out!

The early scenes between Fassbender and Knightley crackle with passion and will make many blush and smirk with naughtiness.

The title of the film is bold but doesn’t always live up to the subject matter. More sensual, fun, and intelligent than dangerous, the film is hardly raw or gritty, surprising given it’s an independent project. It is softer to the touch, especially during scenes between Jung and Speilrein than hard-edged.

Many early psychoanalytical ideas of approach and remedy are discussed and explored making the film more of a study than a thriller.

A Dangerous Method (2011) received stellar reviews and year-end awards consideration, but unsuccessful box-office returns. Hardly a popcorn film and deeply accepting of its indie roots, the film ought to be shown in high-school or academic psychology classes- whether in abnormal or general studies remains a question.

With a fascinating story that risks making the prudish blush or turn away, the film will please those independent thinkers, sexual deviants, or those aching for an expressive and satisfying film.

2011 Films, Chris Weitz, Demián Bichir, Drama, Independent, Independent Drama, Jami Gertz

A Better Life-2011

March 26, 2020 scottmet99 Leave a comment

A Better Life-2011

Director Chris Weitz

Starring Demian Bichir, Jose Julian

Scott’s Review #1,004

Reviewed March 26, 2020

Grade: B+

A Better Life (2011) is a heartwarming and timely project that focuses on and showcases the Hispanic culture, both positively and negatively. The subject matter of illegal immigration is studied amid a powerful family drama.

Lead actor, Demian Bichir, deservedly received a Best Actor Oscar nomination for his sensitive portrayal of a man wanting only the best for his son while having life odds stacked against him.

The film is an atypical Hollywood production, told simply and with heart.

Carlos Galindo (Bichir), is a struggling Los Angeles gardener who manicures the lawns of the rich and famous in sunny California with his partner and close friend Blasco. Carlos lives a content life but is always on guard because he is an illegal immigrant and worries about his son Luis (Jose Julian) falling in with the wrong crowd.

When one day Carlos’s sister loans him $12,000 to purchase a truck, he needs for his job, the man hits his stride, only to have the truck stolen.

Desperate, Carlos and Luis are determined to get back the truck while avoiding trouble with the law.

The title of the film, while basic and not sexy, is powerful in its simplicity. Bold and thought-provoking, this is merely what Carlos wants for Luis and what every father wants for his son.

His trials and tribulations a constant, he strives to teach Luis to steer a positive path and avoid mistakes that Carlos has made.

Regardless of the political discussion, the film could have, what lies beneath is a heartwarming story of cherished love between a man and his son.

Cleverly, the film provides a hopeful final message for both major characters.

I adore the rich Mexican culture represented in the film. A battle of traditional appreciation of one’s roots versus immersing oneself in the American culture is examined.

Nearly the entire cast is of Hispanic descent and the numerous scenes of ethnic flavor, from restaurants and cafes to nightclubs and street life, the film is authentic and fresh.

Thankfully, the filmmakers do not try to pull off the insulting ploy of casting white actors clad in Mexican garb or a big-name actor in the role of Carlos.

Many of the characters even seem like non-actors.

The setting of Los Angeles is highly successful, especially since the low-budget independent film uses eons of exterior shots.

The camerawork is not exceptional but feels fresh, letting the warm climate marinate with viewers so that they feel implanted in the southern Californian neighborhoods. The contrast between the East Los Angeles area where Carlos lives versus where he works is a harsh reality for most landscapers.

Bichir more than deserves the accolades heaped upon him for this mesmerizing and intelligent role. He quietly portrays an empathetic man who is an unsung hero and a representative of many fathers who never get their due respect, especially if they are undocumented immigrants.

When Luis denounces Mexican music, the pain is evident on the face of Carlos as he must endure what surely breaks his heart. The realism and the truth of the characters are led by Bichir.

A Better Life (2011) is a story rich with poignancy and relevance as the plight of a good man is showcased. Now almost ten years ago, the film is arguably more important than ever since immigration has become a hot ticket item in the turbulent political climate.

Do hardworking, undocumented people deserve a break from being in the United States? The answer seems obvious and the film skews steadily to the left, but is there any other strong viewpoint?

Oscar Nominations: Best Actor-Demian Bichir

Independent Spirit Award Nominations: Best Male Lead-Demian Bichir

2009 Films, Chloë Grace Moretz, Comedy, Drama, Independent, Independent Comedy, Independent Drama, Independent Romantic Comedy, Joseph Gordon-Levitt, Marc Webb, Mark Waters, Minka Kelly, Zooey Deschanel

(500) Days of Summer-2009

March 20, 2020 scottmet99 Leave a comment

(500) Days of Summer-2009

Director Marc Webb

Starring Zooey Deschanel, Joseph Gordon-Levitt

Scott’s Review #1,002

Reviewed March 20, 2020

Grade: B

(500) Days of Summer (2009) is an unconventional love story that deserves props for being different, but never completely catches fire as a film effort.

What it tries to do left-of-center from most conventional romantic comedies is to be admired, but I did not feel much connection to the characters and the result seemed pointless.

The independent film garnered some praise for being unique and clever, but this is out-shined by a gnawing, forced feeling, like the filmmakers are trying to be edgy for the sake of being edgy, adding in contrived story elements.

The lead characters conveniently both like an obscure band and an obscure artist, throwing them immediately together.

The film is a modest effort but will only be remembered as an indie project with a bit of unfulfilled potential.

When his girlfriend, Summer (Zooey Deschanel), unceremoniously dumps him, greeting card copywriter and hopeless romantic Tom (Joseph Gordon-Levitt) spins into depression and begins reflecting on the year-long relationship the pair spent together, looking for clues as to what went wrong.

As he rummages through the good times and the bad times, his heart reawakens to find what is most important.

The Los Angeles backdrop sets the tone for the five hundred days of Tom and Summer.

Director, Marc Webb, a first-time director at this point, now known more for The Amazing Spider-Man reboot franchise (2012-2014) steers in an experimental direction.

Shown somewhat like a “year in the life” of the young lovebirds blossoming relationship, the film is presented in a nonlinear narrative, jumping between various days within the five hundred days of Tom and Summer’s relationship. There is an on-screen timer showing the day, which is a nice addition.

Props are given for the creativity Webb infuses. The romantic comedy genre, not my favorite, is constantly saturated with formulaic films, predictable from the start.

Frequently told from the female perspective, (500) Days of Summer tells the story from the male perspective, even reversing the traditional gender stereotypes. Tom is the lovesick romantic, and Summer is the rough-and-tumble, one-night-stand type.

This is nuanced and throws the entire genre upside down.

The characters are questionable and the ablest to relate to is Tom. There is some confusion and mystery with some motivations. The audience can understand how Tom falls head over heels for Summer, immediately smitten.

His depression is deep and to be taken seriously, but he is depressed because of Summer, and any history or previous causes of depression are not mentioned. It feels like his depression is a convenient way of adding a story element.

Summer is even more perplexing and not deeply explored. Is she merely playing the field? After a song and dance scene where she explains she is not looking for anything serious and wants a casual romance, she suddenly marries another man.

She hurriedly tells Tom that she discovered her husband was her true love and that she now believes in love, whereas Tom doesn’t anymore.

Again, this feels more like storyline-dictated writing versus anything character-rich.

Despite receiving a Best Screenplay Independent Spirit Award nomination, two Golden Globe Award nominations, and oodles of praise, (500) Days of Summer (2009) is a non-conformist piece with some nice moments but feels irrelevant.

The lead actors are talented and do a decent job with the material given, but meander through the experience since it is more about the film than the acting.

The result is not a pure dud, but neither is it a pedigree winner.

Independent Spirit Award Nominations: 1 win-Best Feature, Best Male Lead-Joseph Gordon-Levitt, Best Screenplay (won)

2011 Films, Anjelica Huston, Anna Kendrick, Bryce Dallas Howard, Comedy, Drama, Independent, Independent Comedy, Independent Drama, Jonathan Levine, Joseph Gordon-Levitt, Philip Baker Hall, Seth Rogen

50/50-2011

March 17, 2020 scottmet99 Leave a comment

50/50-2011

Director Jonathan Levine

Starring Joseph Gordon-Levitt, Seth Rogan

Scott’s Review #1,001

Reviewed March 17, 2020

Grade: B+

The subject matter of cancer is an incredibly tricky one to portray in a film. Especially tough when any comedic bits are incorporated- the risk lies with jokes not going over well or being misinterpreted.

With 50/50 (2011), director Jonathan Levine and writer Will Reiser craft an intelligent and genuine story, based on a true one, led by upstart actor Joseph Gordon-Levitt, shining in the lead role.

Comic actor Seth Rogan is on board to cement the comedy elements.

Healthy twenty-something Seattle resident, Adam Lerner (Gordon-Levitt) experiences severe back pain and is shocked to learn he has a malignant tumor in his spine. Devastated, his world is turned upside down.

Adam is usually accompanied by his best friend Kyle (Rogan).

While Kyle is brash and outspoken, Adam is reserved and mild-mannered. They are opposites, but inseparable friends. Adam is dating artist Rachael (Bryce Dallas Howard), whom Kyle despises adding conflict to the story.

The screenplay and Gordon-Levitt’s performance are the superior aspects of 50/50. The title of the film is poignant because Adam is given the dubious news that he has only a 50/50 chance of surviving his cancer.

The young actor provides heart and soul to his challenging role and his acting is such that scenes do not feel cliched or manufactured. This, naturally, is due to the excellent writing by Will Reiser.

He crafts a sincere script that is straightforward, avoiding razzle-dazzle, but one that is also heartfelt.

My only criticism with 50/50 is that I would have liked a bit more darkness. As we all know, real-life cancer patients must endure the ravages that brutal disease inflicts. The film never really goes there and shows how devious the disease is and what happens to the human body.

I get that the film toes the line carefully, but despite shaving his head, Adam does not lose much weight or suffer other visible indignities.

The toned-down approach feels PG-rated rather than R-rated as it might have been.

This can largely be forgiven because the main message of the film supersedes this point. The film shows that love and friendship can be the best healers and the root of good, kind, humanity. This is something every viewer can take and learn from and it makes the film lovely and worthy to witness.

The romantic comedy elements do not work, and I am not even sure they are necessary. The main draw is the undying friendship between Adam and Kyle and Adam’s experiences with other cancer patients along his journey.

Combining comedy and cancer is not an easy task, but thanks to exceptional writing and a talented cast, 50/50 (2011) succeeds in its achievements.

The film and Gordon-Levitt were rewarded with Golden Globe nominations but missed out on any Oscar nominations. If the intended result of the film, is to ease cancer patient’s minds about their situations and provide some meaningful entertainment, the film is a major win.

Independent Spirit Award Nominations: 1 win-Best Feature, Best Supporting Female-Anjelica Huston, Best First Screenplay (won)

2019 Films, Darren Mann, Drama, Independent, Independent Drama, Josh Wiggins, Keith Behrman, Kyle MacLachlan, LGBTQ+ Drama, LGBTQ+ Films, Maria Bello, Taylor Hickson

Giant Little Ones-2019

March 13, 2020 scottmet99 Leave a comment

Giant Little Ones-2019

Director Keith Behrman

Starring Josh Wiggins, Darren Mann

Scott’s Review #1,000

Reviewed March 13, 2020

Grade: B+

Giant Little Ones (2019) is an independent LGBTQ film about both coming to terms with one’s sexuality and accepting and embracing other people for whom they love, and how they wish to spend their life.

It’s an honest and resilient coming-of-age story, most reminiscent (but rawer) of the recent Love, Simon (2018), told from a teenager’s perspective and the pressures and emotions of youth.

The subject matter has been explored to death in cinema, but there is still something fresh and meaningful that is offered.

High school chums Franky Winter (Josh Wiggins) and Ballas Kohl (Darren Mann) have been best friends since diapers. They joke around, go bike-riding, and knock back a six-pack together.

They are handsome, integral parts of the swim team, and popular with girls. Each has a steady girlfriend with who they anticipate soon going all the way. Any teenage girl would love to trade their life with the boys.

On the night of Franky’s seventeenth birthday party, Franky and Ballas get drunk together and spend the night crashing in the same bed. An unclear incident of a sexual nature occurs, altering and damaging their friendship.

Each boy has one sister and a set of parents, but Franky’s are more prominent, with a story of their own. His father, Ray (Kyle MacLachlan) divorced Franky’s mother, Carly (Mario Bello) after coming to terms with being gay.

While the focal point is on the teenage set, and Franky more than Ballas, it’s nice to see parents in these types of films with more to do than just pour coffee or offer unheeded advice.

MacLachlan and Bello are fascinating to watch, carefully distant from each other, but also have mutual respect. Both characters’ struggles are pointed out by Carly angrily lashing out that Ray was certainly not gay when she married him; Ray experiences guilt at wounding Franky emotionally.

The film is careful, admiringly so, to include two high school students who are already outwardly gay. The characters are not ridiculed or repressed, and one, Franky’s best friend Mouse (Niamh Wilson), is assumed to be slowly coming to terms with being transgender.

The other is a popular boy on the swim team. These representations are strong, though both characters face some level of opposition, so their plights are not easy.

The most heartfelt and poignant scene is when Franky and Ray reconnect as father and son in a treasured dialogue, where Ray explains how he met his partner. The beautiful moment blossoms because it’s Franky who asks Ray how he and his partner met.

Any LGBTQ person can attest to the powerful and heartwarming moment when they are asked about their significant other. The proud look in Ray’s eyes and the quiet cadence with which he carefully warns Franky not to label himself, but rather stick with those he connects to, is lovely and sentimental.

I like how Giant Little Ones is not a love story between the two boys and ambiguous is not only whether their friendship can be fixed, but whether one or both is gay, bi-sexual, curious, or merely experimenting with their sexuality.

The film avoids labels and boasts no clear-cut angle, steering clear of anything too preachy or defined. This supports its overall point.

A minor criticism is that, despite the boys being best friends and on equal footing, Franky becomes the central character, while Ballas is not explored thoroughly. Ballas borders on sociopathic behavior and has a ton of anger, but why? Is it only his sexuality?

The character remains mostly a mystery, and I was eager to learn more about him and what drives him.

Giant Little Ones (2019) is a heartfelt and intimate coming-of-age story about friendship, self-discovery, and the power of love without labels. The young actors are all natural, believable, and earnest, and the seasoned supporting cast lends credibility to a tiny, low-budget picture.

The LGBTQ community will embrace this film, while anyone else will be touched by its honesty and poignancy.

2003 Films, Alejandro G. Iñárritu, Benicio del Toro, Clea DuVall, Danny Huston, Denis O'Hare, Drama, Independent, Independent Drama, Melissa Leo, Naomi Watts, Sean Penn

21 Grams-2003

February 14, 2020 scottmet99 Leave a comment

21 Grams-2003

Director Alejandro G. Iñárritu

Starring Sean Penn, Naomi Watts, Benicio Del Toro

Scott’s Review #990

Reviewed February 14, 2020

Grade: A

21 Grams (2003) is an independent drama containing crisp writing, top-notch acting, and a unique directing style by Alejandro G. Iñárritu.

An early work by the acclaimed director, he delivers a powerful exposure to the human condition using intersecting storylines.

The result is a powerful emotional response that resonates among viewers taking the time to let the story evolve and marinate.

Outstanding filmmaking and a sign of things to come for the director.

The film is the second part of screenwriter Guillermo Arriaga’s and Iñárritu’s Trilogy of Death, preceded by Amores Perros (2000) and followed by Babel (2006), 21 Grams interweaves several plot lines in a nonlinear arrangement.

Viewing the films in the sequence is not required to appreciate and revel in the gorgeous storytelling and mood.

The story is told in a non-linear fashion and focuses on three main characters, each with a “past”, a “present”, and a “future” story thread. Events culminate in a horrific automobile accident, which is the overall story. The sub-story fragments delve into the lives of the principals as the audience learns more about them.

Ultimately, all three lives intersect in dramatic fashion leaving the viewer mesmerized and energized by the deep connections.

Paul Rivers (Sean Penn) is a successful, married college mathematics professor who desperately needs a heart transplant. He and his wife are considering having a baby in case he should die.

Cristina Peck (Naomi Watts) is a recovering drug addict now living a happy suburban life with a loving husband and two young children.

Jack Jordan (Benicio Del Toro) is a former convict who is using his newfound religious faith to recover from drug addiction and alcoholism and live a happy existence with his wife and kids. After the car accident, each life takes a shocking turn forever changing things.

The multiple timelines and back-and-forth storytelling are an excellent part of 21 Grams, adding layers upon layers of potential entanglements among the characters. This could be a confusing quality, but instead, it provides mystique and endless possibilities.

What worked so well in the outstanding Traffic (2000) is used by Inarritu and delivers. The recipe of clever plotting characters the audience cares about and top-notch acting is created, mixed, and served on a silver platter.

Penn, Watts, and Del Toro are stellar actors who give their characters strength, sympathy, and glory. Each has suffered greatly and faced (or faces) tremendous obstacles in life, soliciting feelings from viewers.

All three are good characters, trying to do the right thing, and grasp hold of any sliver of happiness they can find. They have moral sensibilities without being judgmental, delicious is how each character interacts with the others, but in differing ways.

The film is not happy and not for young kids, but the brilliant elements will leave the film lover agape at the qualities featured. The dark, muted lighting of the film is perfect for the morbid stories told throughout and the common themes of anguish, courage, and desperation.

The clever title refers to an experiment in 1907 that attempted to show scientific proof of the existence of the soul by recording a loss of body weight (said to represent the departure of the soul) immediately following death.

Only the second full-length film in Inarritu’s young career, 21 Grams is brilliant in human emotion and connections. The powerful director would go on to create Babel (2006) and The Revenant (2015), two vastly different films but with similar hearts.

21 Grams (2003) is a wonderful introduction to good things to come while utilizing crafty acting and layered writing to create a gem well worth repeated viewings.

Oscar Nominations: Best Actress-Naomi Watts, Best Supporting Actor-Benicio del Toro

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

2019 Films, Art, Horror, Independent, Independent Horror, Robert Eggers, Robert Pattinson, Willem Dafoe

The Lighthouse-2019

February 5, 2020 scottmet99 Leave a comment

The Lighthouse-2019

Director Robert Eggers

Starring Robert Pattinson, Willem Dafoe

Scott’s Review #987

Reviewed February 5, 2020

Grade: A-

The Lighthouse (2019) is the sophomore effort by acclaimed and novice horror director Robert Eggers.

His first film, The Witch (2015), garnered praise and independent film award nominations, and his latest offering has also received numerous accolades across the board.

This time around, he wisely secures top-notch talent, casting the incredible Willem Dafoe and Robert Pattinson to star.

The result is a well-acted, gorgeously photographed film that is odd beyond belief, requiring a second viewing even to attempt to understand it. The atmosphere of this film will draw some viewers in and push away others. It is that type of film experience.

Shot in startlingly good black and white, the time is the 1890s, set somewhere off New England.

The film stars Dafoe and Pattinson as two lighthouse keepers who start to lose their sanity when a storm strands them on the remote island where they are stationed. They spar, love, and play games, while imaginations run wild with bizarre images of mermaids, death, and claustrophobic storm conditions.

Frequent hallucinations render the plot unclear of what is fantasy and what is reality.

The technical aspects of The Lighthouse are superior to the story elements.

The gorgeous camera work, looking like either a modern film or a film from the 1940s, is superior. Seldom is a film made like this, and the black and white filming provides a cold and bleak atmosphere.

The prevalent wind and driving rain are buffeted by flying objects and mud, creating a looming and foreboding danger. The viewer can tell that sinister events are on the horizon, perfectly encrusting the increasingly dangerous storm.

The story is harrowing to figure out, with the exception that one or both men are losing their minds. Winslow (Pattinson) is the newbie, sent to assist the elder lighthouse keeper, the elderly and cranky Thomas Wake (Dafoe).

Wake forbids Winslow to ever set foot in the lantern room, insisting that the task is his job alone. This piques the interest of the young man, especially when Winslow observes Wake going up to the room at night and stripping naked.

Winslow begins experiencing visions and dreams of tentacles in the Lighthouse, tree stumps floating in the water, and distant images of a mermaid.

Peculiar scenes exist that make The Lighthouse both memorable and challenging to decipher. The presence of seagulls lends the film an authentically beach-like atmosphere, with their cawing and flying around.

Their existence soon becomes an ode to Alfred Hitchcock’s The Birds (1963) as a one-eyed gull begins to stalk Winslow.

Told it is bad luck ever to kill a gull since they harbor the souls of sailors, Winslow finally kills the attacking one-eyed gull in a fit of rage during one of the film’s most brutal scenes. Wake seethes with anger.

The film is homoerotic in many scenes, none more so than the lovely scene when the two men begin to dance and sway to the music. About to kiss, reality strikes, and the two drunk men come to blows.

The scene reminds me of an important one in the groundbreaking LGBT masterpiece Brokeback Mountain (2005).

The combustible pent-up masculine tension explodes, and we wonder if in another time the men lovers might be. This aspect is cerebral, filling The Lighthouse with psychological mystique.

A common element is the two men’s distrust of one another. Trapped by the destructive storm, they frequently drink themselves into oblivion- what else is there to do?

They sit and stare at each other, sometimes filled with rage, sometimes suspiciously. In a scene both jaw-dropping and hilarious, Winslow forces Wake into a collar and leash and leads him on his hands and knees into a muddy grave.

Unsure if the scene is fantasy or reality, it could almost be taken from a gay leather porn film.

Eggers has a bright future ahead of him, and I am eager to see his next project. I am not averse to odd or even nonsensical films if the intent is good, but I would recommend a more straightforward approach next time to see what he comes up with.

The Lighthouse (2019) successfully offers a creepy and bizarre tale of men losing their sanity in a dream-like and creative way that will assuredly divide audiences.

Oscar Nominations: Best Cinematography

Independent Spirit Award Nominations: 2 wins- Best Director- Robert Eggers, Best Male Lead- Robert Pattinson, Best Supporting Male-Willem Dafoe (won), Best Cinematography (won), Best Editing

2019 Films, Ari Aster, Florence Pugh, Horror, Independent, Independent Horror, Jack Reynor, Will Poulter, William Jackson Harper

Midsommar-2019

November 11, 2019 scottmet99 Leave a comment

Midsommar-2019

Director Ari Aster

Starring Florence Pugh, Jack Reynor

Scott’s Review #957

Reviewed November 11, 2019

Grade: B+

Director Ari Aster made a splash with his feature-length directorial debut, the horror-drama film Hereditary, in 2018. The film received enormous accolades, even considered for an Oscar nomination, and was quite bizarre and horrific.

Aster follows up with Midsommar (2019), a film that is arguably even freakier and more ambitious.

The film is slow-moving and foreboding, but it ultimately reaches a macabre and perplexing climax. My initial reaction is that the film is a fine wine with additional richness upon subsequent viewings.

The film quickly gets off to a creepy start in the United States as college student Dani Ardor (Florence Pugh) receives a cryptic email from her troubled sister. Her sister soon kills herself and her parents by filling the house with carbon monoxide fumes.

Dani is devastated and needs support from her distant boyfriend, Christian (Jack Reynor), an anthropology student. The couple continues to feel increasingly disconnected from each other as the months pass.

Dani and Christian decide to join some friends at a midsummer festival in a remote Swedish village. One friend has relatives in the town, and another chooses to work on his thesis.

What begins as a carefree holiday takes a devious turn when the villagers invite the group to partake in festivities that grow increasingly unnerving and viscerally disturbing.

Strange events begin to occur as the subsequent series of celebrations gets underway.

Any horror film that mixes pagan cults, folklore, and religion easily provides the creeps, and Midsommar successfully hybridizes American culture with Swedish culture in frightening form.

Much of the film takes place in a remote area, with sprawling sunny lands and a deathly silent atmosphere.

The cheery locale has a peculiar California vibe, and Swedish women often adorn their hair with hairstyles reminiscent of the Charles Manson era.

Uncertain is whether this was Aster’s intent or not.

I love how the students are intelligent and worldly, using their time in the village to learn and study. The traditional horror stereotype involving high school or college students is their desire to guzzle beer, party, have sex, and do little else.

Aster wisely makes his group intellectual and more studious than the norm. The students do partake in drugs, but this has more to do with the villagers having healing remedies and other sorts of herbal delicacies.

Midsommar contains many lengthy nude scenes, both male and female, the actors readily baring both their fronts and their rears. This is almost unheard of in American film, but Midsommar is a co-production between the United States and Sweden, providing more leeway in the nudity department.

When Christian is given a strong psychedelic and beds a virginal villager eager to mate, the poor chap winds up chased around the village in the buff. This occurs after he inseminates the girl as they are surrounded by nude female villagers cheering them on.

Confusing and left unclear are the motivations of the villagers. The point is made that nine human sacrifices must be made to rid the village of evil, but why is the evil there to begin with?

During a ritual, it is revealed, in gruesome form, that those elderly folks commit suicide at age seventy-two, and their names are given to newborns.

The handsome Christian is a prime candidate to provide life, but why are the others killed? Were they lured intentionally, and does their being American have anything to do with it? Was the intent all along to crown Dani May Queen, or did she win the dancing competition?

The climax of the film ties back to the beginning portion only in terms of Dani’s and Christian’s relationship, and her family’s deaths seem to have little to do with the overall narrative. Does Dani intend revenge on Christian, or is she so drugged that she is unaware of her actions? Will she remain in the village?

A film heavily influenced by The Wicker Man (1973), Midsommar (2019) has divided audiences, with common reviews offering mixed opinions. Some despise the film, calling it one of the worst ever seen.

Others herald it as a work of art, an unsettling offering that provokes thought and provides a sinister feel.

I found an enormous number of questions left unanswered, and this may be a good thing. It only makes me want to see the film again or peel back the onion post-film to dissect the many layers Aster creates.

Independent Spirit Award Nominations: Best Cinematography

1973 Films, Camp, Horror, Horror-Camp, Independent, Independent Horror

Don’t Look in the Basement-1973

November 5, 2019 scottmet99 Leave a comment

Don’t Look in the Basement-1973

Director S.F. Brownrigg

Starring Anne MacAdams, Rosie Holotik

Scott’s Review #954

Reviewed November 5, 2019

Grade: B

A film that is so low-budget that it strongly resembles the quality of independent master John Waters films, Don’t Look in the Basement (1973) has very low production values. It makes Waters’s films look like grandiose budget fests.

It contains a campy and cheap quality that adds to the fun of watching. With a videotaped look and marginal acting, the film is perfect for a late-night indulgence, but little more.

Director S.F. Brownrigg, with screenwriter, Tim Pope, brought this project to life. Also named The Forgotten and Death Ward #13, Don’t Look in the Basement is the title that works best and conjures up the most intrigue.

The story revolves around a collection of odd hospital inmates running the asylum while a series of mishaps occur.

Stephens Sanitarium is a secluded mental health facility in a remote area run by the quirky Dr. Stephens. The good doctor believes that the secret to curing his crazy group of loons is to allow them to express themselves, acting out their realities in hopes of solving their problems.

Stephens and an elderly nurse are both killed separately, he is accidentally hacked to bits by an ax, and she has her head crushed by a female patient who thinks her baby (a doll) is being taken from her.

Dr. Geraldine Masters (Anne MacAdams) is left to run the facility and greets a new nurse, the sexy Charlotte (Rosie Holotik) when she arrives from out of town expecting a job.

Charlotte encounters all the inmates before strange events begin to occur like an older patient having her tongue cut out, and a visiting telephone repairman being murdered.

One could speculate that Don’t Look in the Basement influenced independent treats such as Supervixens (1975), High Anxiety (1977), or the plethora of slasher films soon to be on the horizon, but this may be wishful thinking.

A few choice scenes seem like quick blueprints for these films to follow but in an amateurish way.

Despite the film being of the horror genre category, several scenes, mostly of Charlotte and Geraldine talking in an office, seemingly carved from a daytime soap opera, which was popular in those days.

The long dialogue, and almost throwaway scenes, do not further the plot much, and it’s the occasional macabre death scene that achieves the most reaction.

Don’t Look in the Basement adds a big twist that is not difficult to figure out once all the pieces are presented to the viewer. The foreboding title ultimately underwhelms as this anticipated big secret barely comes to fruition.

As the players are offed one by one the implausible conclusion reaches a climax and the viewer will ruminate that the early stages of the film are superior to the ending.

The poor pacing and meandering story made me tune out from time to time. Still, the film is fun and a good, old-fashioned camp-goofy good time.

The characters are completely over-the-top in the best possible way. A female nymphomaniac who, it is relayed, has been left by any man she has ever met and craves love and affection, is convinced that the repairman will marry her (they have only just met!) and has sex with his corpse.

A lobotomized black man only eats purple lollipops and has a heart of gold, while the ugly old woman, sans tongue, attempts to convey a secret message.

Don’t Look in the Basement (1973) is a marginal success because it does not take itself too seriously. This is both good and bad because the project takes on a juvenile quality that sometimes seems to be going for laughs more than for fright.

The acting is below par, but somehow the characters retain enough interest to warrant a recommendation, but only for those with interest in the genre.

2019 Films, Adam McKay, Cardi B, Constance Wu, Crime Drama, Drama, Independent, Independent Drama, Jennifer Lopez, Julia Stiles, Keke Palmer, Lili Reinhart, Lizzo, Lorene Scafaria, Mercedes Ruehl, Usher, Will Ferrell

Hustlers-2019

October 3, 2019 scottmet99 Leave a comment

Hustlers-2019

Director Lorene Scafaria

Starring Constance Wu, Jennifer Lopez

Scott’s Review #942

Reviewed October 3, 2019

Grade: B+

Hustlers (2019) is a film that I had no intention of seeing. It was not on my radar, and I did not know much about the movie except that it was promoted as a story about a group of strippers who bamboozle Wall Street men.

Yawn!

The experience was better than expected, thanks to the critically lauded performance by Jennifer Lopez. She astounds in a role perfectly written for her as the true story champions female empowerment, and why shouldn’t it?

The result is a feminist film with humor.

Constance Wu, famous for putting Asian actors on the map with Crazy Rich Asians (2018), does a complete one-eighty as the lead character in Hustlers.

Unrecognizable, she plays a New York City stripper named Destiny, who works at a trendy Wall Street club named Moves, in 2007. She supports her grandmother and barely gets by on meager tips, possessing the looks but not quite the style.

When she witnesses fellow dancer Ramona Vega (Lopez) perform a simmering routine, the women bond and become fast friends.

Destiny enjoys newfound wealth and a close friendship with Ramona. A year later, the financial crisis strikes, and both women find themselves struggling for cash, having squandered their fortunes.

Destiny becomes pregnant.

Her boyfriend leaves her shortly after their daughter’s birth, and she is unable to find a new job. Destiny and Ramona, along with other girls, hatch a plot to manipulate the business people they have grown to know out of desperation.

The story is based on actual events.

Had the elements not wholly come together in this film, the result would have been dreary or at best mediocre.

A current trend in modern cinema is to have a group of female characters team up in some form of heist or crime-fighting adventure- think Ocean’s Eight (2018), the Ghostbusters (2016) remake, or Widows (2018).

Some results are better than others, but hardly memorable, as the girl-buddy genre hardly has any depth.

Two critical factors stand out to me as rising Hustlers way above a mediocre or standard fare film experience. Jennifer Lopez deserves all the praise she has been showered with for her role as Ramona.

From the moment Lopez, who is listed as Executive Producer, appears on screen, she is electrifying and impossible not to be mesmerized by.

As she shakes her booty (and many other parts of her anatomy) and writhes on stage to Fiona Apple’s “Criminal,” the men in the club throw money at her.

The scene oozes sexuality, and from this moment on, Lopez owns the film.

Lopez, besides Selena (1997), has primarily chosen mainstream and fluff material like The Wedding Planner (2001) and Maid in Manhattan (2002) over the years.

She may not be the Meryl Streep of her time, but it is always nice when an actor charts challenging and dangerous waters. May she continue to choose wisely. She powers through Hustlers with gusto and is the central draw.

Not to limit Hustlers to a conventional woman using sex appeal to lure men, the film is sure to get its message across to viewers in a more sobering way.

By 2008, the United States was in a financial landslide, with Wall Street being hit particularly hard. The point is made that not a single person went to jail for causing the collapse or for causing tens of thousands of people to lose their homes, jobs, or life savings.

This makes the audience realize that what the women did pales in comparison to Wall Street types (their victims), and many of their lures got what they deserved.

The subject matter at hand, being one of the worlds of strippers, may turn off some of the prudish, but delving into the emotions and aspirations of those who exist in the industry is eye-opening and quite enjoyable.

Hustlers (2019) successfully garnered empathy from its audience and champions a female empowerment movement, resulting in the surprise hit of the season.

Independent Spirit Award Nominations: Best Director-Lorene Scafaria, Best Supporting Female-Jennifer Lopez, Best Cinematography

Welcome to my blog!1,505 reviews posted so far! I'm Scott Segrell and I reside in Stamford, CT. My site features hundreds of film reviews I have written since I launched the site in 2014. I hope you enjoy reading my latest reviews or searching for your own favorites to see if we agree. Please see my featured films of the month, and don't forget to utilize the tags and category links.