Category Archives: Brian d’Arcy James

2021 Films, Ansel Elgort, Ariana DeBose, Brian d'Arcy James, Corey Stoll, David Alvarez, Drama, Mike Faist, Musical, Musical Drama, Rachel Zegler, Rita Moreno, Steven Spielberg, Talia Ryder

West Side Story-2021

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West Side Story-2021

Director Steven Spielberg

Starring Ansel Elgort, Rachel Zegler, Ariana DeBose

Scott’s Review #1,207

Reviewed December 12, 2021

Grade: A

I salivated when the news broke that a reboot of the brilliant 1961 film West Side Story, itself based on a Broadway musical, was being planned.

I was cautiously optimistic when I heard Steven Spielberg would direct the production. Nothing personal against Mr. Spielberg, but there have been some misses with musical adaptations over the years.

Does anyone remember Cats (2019)? I know, we are all trying to forget it.

Nonetheless, my anticipation was temporarily sidelined due to the dreaded COVID-19 pandemic. Still, art always perseveres, and the release of the new West Side Story was pushed back from December 2020 to December 2021.

Finally, the moment had arrived, and I was even fortunate enough to score members-only sneak preview tickets to an early screening at my local art theater.

Hooray!

West Side Story (2021) is a brilliant adaptation that does not disappoint in the least, offering entertainment and authenticity in abundance. It’s bombastic and enthralling, mixing romance with some quite brutal fight scenes.

The delightful songs “Maria”, “America”, “Tonight”, “I Feel Pretty”, and my personal favorite “Somewhere” are all included and are like new gifts for fans to unwrap greedily.

This may be Spielberg’s best effort yet (I never thought he’d top 1993’s Schindler’s List), as he recreates a musical spectacle that will surely entice viewers back to the cinema.

The reboot has life, artistry, and expressionism, breathing fresh energy into the production. In some ways, it surpasses the 1961 version.

Despite being created in the late 1950s, a remains timely. Racism sadly still exists in America, and we have much work to do to unite as one if we ever do. This may feel hopeless, but the film’s message is one of love and unity, offering hints of hopefulness.

How timely and how much we need this film.

The film has a more profound sentiment in light of the recent death of Stephen Sondheim, the masterful composer and lyricist who revolutionized the American musical. He worked in tandem with Leonard Bernstein on most of these songs.

For those unfamiliar, let me briefly summarize the film’s plot.

Love, at first sight, strikes when young Tony (Ansel Elgort) spots Maria (Rachel Zegler) at a high school dance in 1957 New York City. Forbidden from having anything to do with each other except to hate each other, their immediate romance helps fuel the fire between the warring Jets and Sharks —two rival gangs vying for control of the streets.

Things go from tense to terrible when street fights between the gangs lead to mayhem, misunderstandings, and death.

The film is crafted exceptionally well from a visual and cinematic perspective. From the opening sequence, when the gangs stumble amongst the ruins of a decrepit west side lot, there are intriguing shadows and shapes, and high camera shots.

These moments continue throughout the film, as the flawless choreography of the dance scene takes center stage.

Speilberg corrects missteps that the 1961 version made, which brought a broad smile to my face. The Puerto Rican characters, which make up half the cast, are played by Hispanic actors. The big mistake the original film made was casting Caucasian actors who passed for Puerto Rican.

The chemistry between Richard Baymer (original Tony) and Natalie Wood (original Maria) was lacking, but it explodes off the screen from the first moment that Elgort and Zegler appear together.

Rita Morena, familiar to West Side Story fans with her portrayal of Anita in the 1961 version, returns in the role of Valentina, who runs Doc’s general store and is assumed to be the widow of Doc.

It is explained that Valentina, a Puerto Rican, married a white man. Morena’s role is much bigger than I thought, and she performs a magnificent, tear-jerking version of “Somewhere”.

The casting is flawless. Standouts are Elgort (Tony), Ziegler (Maria), Ariana DeBose (Anita), David Alvarez (Bernardo), and Mike Faist (Riff), but the entire company performs flawlessly and effortlessly.

The character of Anybodys, a tomboy in the original, is cast with a transgender actor, Iris Menas, which provides rich diversity and inclusion.

West Side Story (2021) is an instant classic that I eagerly anticipate seeing again and again. I’ll never waver in my love and devotion to the original version.

Still, the new version is an exceptional achievement in authenticity, style, and pizazz that will assuredly remind viewers why they love the cinema so much.

It certainly reminded me.

Oscar Nominations: 1 win-Best Picture, Best Director-Steven Spielberg, Best Supporting Actress-Ariana DeBose (won), Best Cinematography, Best Production Design, Best Costume Design, Best Sound

2019 Films, Allison Janney, Amy Landecker, Ashley Greene, Biography, Brian d'Arcy James, Charlize Theron, Connie Britton, Drama, Holland Taylor, Jack Haven, Jay Roach, John Lithgow, Kate McKinnon, Malcolm McDowell, Margot Robbie, Mark Duplass, Mark Moses, Nicole Kidman, P. J. Byrne, Richard Kind, Stephen Root

Bombshell-2019

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Bombshell-2019

Director Jay Roach

Starring Charlize Theron, Margot Robbie, Nicole Kidman

Scott’s Review #972

Reviewed December 26, 2019

Grade: B+

Bombshell (2019) is the type of film that, depending on your political affiliation, you will either refuse to see or see and have a love/hate reaction to.

As a non-lover of the “news” network Fox News, I am firmly ensconced in the latter camp, so my opinion of the film is mixed.

The importance of releasing the film during a time of political turmoil in 2019 is crucial and intentional, which is why I commend the film.

Still, the subject matter of sexual harassment against women is complex to watch and a sobering reminder that this behavior continues to occur.

The performances of the principal players — Charlize Theron, Nicole Kidman, Margot Robbie, Kate McKinnon, and John Lithgow — are outstanding and key to the film’s success. Theron and Lithgow receive the lion’s share of makeup and prosthetic work, making them look identical to their real-life counterparts.

Beneficial is a myriad of Fox News political figure portrayals (Sean Hannity, Jeanine Pirro, and Bill O’Reilly) with frighteningly good accuracy, creating a surreal effect.

The film centers on female Fox News personnel in Manhattan and their sexual harassment allegations against founder Roger Ailes (Lithgow).

The central figure- Megyn Kelly (Theron) is conflicted over the risks to both her career and her financial stability if she comes forward and admits her harassment by Ailes years ago, after Gretchen Carlson sues the network.

Margot Robbie plays Kayla, a young Fox employee whom Ailes also harasses.

McKinnon plays a closeted lesbian and confidante to Kayla, who works for the network despite being liberal and a massive admirer of Hillary Clinton.

The plot is fast-paced and unfolds like a quick page-turner, with some sections narrated by Kelly. Bombshell feels timely and has a distinct “ripped from the headlines” makeup.

The fact that the real-life events occurred as recently as 2016 is a striking aspect that will captivate the viewer, especially those who follow United States politics or current events.

The story is fresh and vibrant, with a sense of familiarity, rather than a tale from an event decades ago that many viewers have forgotten or were too young to remember.

I had difficulty feeling much sympathy for most of the characters, which detracts from the film’s overall impact.

The standard definition that the term “Fox News” usually conjures is one of male chauvinism and the good old boys club, with old-fashioned machismo ruling the roost.

Why would any woman choose to work for them or align themselves with the Conservative party, which is not a fan of women or women’s rights?

With this fact in mind, it was difficult for me to watch the film.

To build on this, CEO Roger Ailes is written as the clear villain with no redeeming value. During one scene, he salivates over Kayla when she visits him in his office and instructs her to lift her skirt higher and twirl for him. The scene is sickening, and we feel Kayla’s embarrassment and humiliation.

In a cheer-out-loud moment at the end of the film, she quits, unable to remain in such a corrupt corporation.

One of the only likable characters is Jess Carr (McKinnon), probably fictitious. Hardly fitting the mold of the female staff, not perky or showing leg, she goes out for drinks with Kayla and admits to being gay; the two end up having a one-night stand.

The character is unique, and McKinnon makes wise acting choices.

Worth mentioning is Ailes’s long-time secretary Faye (Holland Taylor). Surely, she knows the antics that go on in her boss’s office, but she almost serves as an accomplice. Why?

Sad to realize that, as recently as 2016, women were still having to face discrimination in the workplace. Industries with powerful men still can be toxic and poisonous to women attempting to climb the ranks.

If the women harassed at Fox News were not top anchors, there is no way the accusations would have even been heard. What about the receptionists, cleaning staff, or administrators who are harassed?

Would anyone listen to them? This message crossed my mind while watching Bombshell.

With fantastic acting and incredible makeup, time will tell if Bombshell (2019) remains a relevant film. Leaving the viewer with an unsatisfying ending rather than a hopeful one, it isn’t easy to sympathize with most of the characters, even when they are supposed to be sympathetic.

Bombshell would make a perfect companion piece to Vice (2018), a similar political, yet superior film.

Oscar Nominations: 1 win-Best Actress-Charlize Theron, Best Supporting Actress-Margot Robbie, Best Makeup and Hairstyling (won)

2018 Films, Biography, Brian d'Arcy James, Christopher Abbott, Ciarán Hinds, Claire Foy, Corey Stoll, Damien Chazelle, Drama, Jason Clarke, Kyle Chandler, Lukas Haas, Ryan Gosling

First Man-2018

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First Man-2018

Director Damien Chazelle

Starring Ryan Gosling, Claire Foy

Scott’s Review #915

Reviewed July 4, 2019

Grade: B+

First Man (2018) is a reteaming of efforts by director Damien Chazelle and actor Ryan Gosling, following the 2016 critical and commercial smash hit La La Land.

The former could not be more different from the latter, and the direction is unrecognizable for those expecting a comparison. First Man is a mainstream Hollywood production with good camerawork and edgy quality.

The necessary full-throttle action approach is interspersed nicely with a personal family story and humanistic spin that is never too sappy nor forced.

The focus of the story is on Neil Armstrong (Gosling) and the events leading up to the historic Apollo 11 mission, which made him the first United States astronaut to walk on the moon.

Buzzy Aldrin (Corey Stoll), the second man to walk on the moon, is featured to a lesser degree, and his character is portrayed as self-centered and complex, though screen time is limited.

The overall message is of the triumphs and the costs to families, the astronauts, and the country during an already tumultuous decade in history.

The events of the film begin in 1961, as we see Armstrong as a young NASA test pilot struggling with mishaps due to his problems, and culminate in 1969 after the successful mission concludes.

Chazelle wisely balances human and personal scenes with the inevitable rocket take-offs and outer space problems that the astronauts face.

Both segments turn out well and keep the action moving, allowing for tender moments between the characters, mainly showcasing the relationship between Neil and his wife, Janet (Claire Foy).

Lacking (thankfully) are the scenes of machismo or “guy talk” that sometimes accompany films in this genre.

During one of the first scenes, the audience quickly witnesses the couple’s two-and-a-half-year-old daughter Karen retching and suffering from learning disabilities, only to promptly die from a brain tumor, forever destroying the couple.

This critical aspect reoccurs as Neil imagines his daughter playing with neighborhood kids and enjoying life.

In a wonderful moment, he tearfully drops Karen’s tiny bracelet into a giant crater, hoping to keep her memory alive forever.

These additions give the film a character-driven quality.

Worthy of analysis before and after viewing the film is the young director’s decision to tackle such a project, heartily appealing to the mainstream audience undoubtedly in mind.

Legendary director Clint Eastwood was initially slated to direct, and the historically rich story seems right up his alley.

It’s interesting to wonder if, during the 1990s, Tom Hanks might have been cast as Armstrong in his younger days, playing a similar part in Ron Howard’s 1995 film Apollo 13.

Well-known character actors appear in supporting roles, fleshing out the production and further adding name and face recognition. Kyle Chandler, Jason Clarke, and Ciaran Hinds appear as astronauts or various NASA Chiefs. Viewers who may not be able to name the actors will certainly recognize them as actors seen in other films.

This only brings First Man to the big leagues with a hearty and talented central cast.

Gosling and Foy are the main draws, and both actors were mentioned as possibilities for Oscar nominations throughout awards season, but a slot in the big race did not come to fruition.

While the film drew a couple of nominations for Best Editing and Best Score, a Best Picture nomination was not to be, probably due to the film not being as big a blockbuster success as expected.

The film is also more brooding and less patriotic than a Howard or Eastwood production would have been.

To expand on this, First Man came under attack by Senator Marco Rubio from Florida and President Donald Trump for Chazelle’s decision to omit any mention of the famous planting of the American Flag on the moon by Armstrong and Aldrin.

Chazelle refused to admit that this was a political statement, instead insisting that he chose to focus more on the lesser-known aspects of the moon landing rather than facts that everybody already knew.

Young director Damien Chazelle proves to be a multi-faceted filmmaker by changing course and creating a historic biopic that is quite different from a story of singing and dancing in Los Angeles.

He proves to be no one-trick pony and gets the job done, creating a brave and robust effort that does not limit action at the hands of humanity, successfully weaving a good dose of both.

First Man (2018) may not be a classic in the making, but it deserves to be seen.

Oscar Nominations: 1 win- Best Sound Editing, Best Sound Mixing, Best Production Design, Best Visual Effects (won)

2015 Films, Amy Poehler, Bobby Moynihan, Brian d'Arcy James, Comedy, Dianne Wiest, Ike Barinholtz, James Brolin, Jason Moore, John Cena, John Leguizamo, Kate McKinnon, Maya Rudolph, Samantha Bee, Tina Fey

Sisters-2015

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Sisters-2015

Director Jason Moore

Starring Tina Fey, Amy Poehler

Scott’s Review #458

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Reviewed July 31, 2016

Grade: B-

Slapstick comedy is admittedly not my genre of choice, though I will watch some for light entertainment or to see just how bad (or good) current offerings are.

Nonetheless, I have tried to put myself in a mindset of low expectations for these films that are usually fluff and plot-driven.

In the case of Sisters (2015), the film is pretty much as one would expect: vulgar, crass and raunchy. Yet, due to the chemistry between the leads (Amy Poehler and Tina Fey) and a few heartfelt romantic moments, something does work. It is not as mean as one might think.

This is not to say that Sisters is a great film. Hardly. But not as bad as I feared.

Poehler and Fey play Maura and Kate Ellis, respectively, two late thirties sisters, living in other areas of the country, who return home to Orlando, Florida, when their parents (James Brolin and Dianne Wiest) sell their childhood home.

Maura and Kate have been tasked with cleaning their bedrooms in time for the sale.

The sisters have an idea to throw one final bash and invite their high school classmates, who all conveniently still live in the same town. Events go awry and the party gets way out of hand.

Mixed in with the main plot are sub-plots consisting of a romantic interest for Maura, and a rival for Kate, played by Maya Rudolph.

The best part is the chemistry between Poehler and Fey. They “have it” whether it is a Saturday Night Live sketch, hosting the Golden Globe awards, or starring in Sisters. The banter and the jokes work well because the two comics work well together and it shows on-screen.

They are believable as sisters despite looking nothing alike.

Otherwise, Sisters is a traditional vulgar comedy. One irksome recent trend (now more female-driven than in years past) is the leading ladies being classless. This must be an attempt at female empowerment or the assumption that since adult comedies were once a man’s world, female characters should be written like men.

Do we need Kate and Maura swearing like sailors, making poop jokes, and being so raunchy? Behaving like ladies would now be the exception, not the norm (Bridesmaids, 2011, set this precedent).

Not surprisingly, the supporting characters are all caricatures as is typically the case in films of this genre. The parents are a bit clueless and have kinky sex much to the girl’s chagrin.

Brinda, bitchy, judgmental, yet insecure, the Korean (big stereotype) nail technician who cannot properly pronounce English words, the new owners of the house are snobbish, uptight, and clueless, and finally, James, the guy next door, who are Mr. Fix-it and the straight man in the high-jinks. He is sugar-sweet and the male hero.

The romantic scenes between Maura and James are sweet and sentimental, nicely balancing the vulgarity and raunchiness that the rest of the film encompasses. They are a nice couple and have a rich rooting value.

Most of the action takes place at Kate and Maura’s childhood home where posters of such 1980s films as E.T. and Out of Africa, and a poster of heartthrob Tom Cruise, hang on the walls.

This, and many other references that Generation X will delight from in this film are pointed out, so that is a treat and a positive of the film.

As the party gets off to a slow start, the thirty and forty-somethings appear dull and either talk about their kids or their various maladies and suddenly, after being fed drugs, are back to their college party days, are both dumb and cute at the same time.

Sisters (2015) (hopefully) knows what it is. It is a late Saturday night, raunchy comedy affair, meant as fluff and escapist fun. It is not a masterpiece nor does it intend to be one.

Rather, a full-length SNL sketch including many alumni. It is harmless fun.

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

Spotlight-2015

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Spotlight-2015

Director Thomas McCarthy

Starring Michael Keaton, Mark Ruffalo, Rachel McAdams

Scott’s Review #294

80061341

Reviewed December 9, 2015

Grade: B+

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

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

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

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

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

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

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

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

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

This is the filmmaker’s intent.

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

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

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

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

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

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

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

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

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

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

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

I found myself wanting to know more about these people.

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

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

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