Category Archives: Jamey Sheridan

2018 Films, Biography, Chloë Sevigny, Craig William Macneill, Denis O'Hare, Fiona Shaw, Independent, Independent Thriller, Jamey Sheridan, Kristen Stewart, Thriller

Lizzie-2018

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Lizzie-2018

Director Craig Macneill

Starring Chloë Sevigny, Kristen Stewart

Scott’s Review #925

Reviewed July 31, 2019

Grade: B+

Lizzie (2018) is an odd and macabre interpretation of the life and times of the infamous Lizzie Borden, who was accused and acquitted of hacking her father and stepmother to bits with a deadly ax.

This offering is shrouded in controversy because of inaccuracies and interpretations of the events, specifically Borden’s sexuality, which is called into question. The film is quiet and a tad too slow, but it thunders to a grand climax, more than making up for any negatives.

The casting of its leads is perfect and key to success.

Thirty-two-year-old Lizzie (Chloë Sevigny) lives with her domineering and affluent father, Andrew (Jamey Sheridan), and rigid stepmother, Abby (Fiona Shaw).

Despising both, she lives out a lonely and depressing existence, her only outlet being occasional evenings at the theater. When an Irish immigrant, Bridget Sullivan (Kristen Stewart), moves into the Borden residence to work as a servant, the women form a strong bond, especially after Andrew abuses her.

Sevigny, one of my favorite modern actresses, possesses an astounding range in the myriad of characters she has played in her long career.

Debuting to the masses in the critically acclaimed and depressing Boys Don’t Cry (1999), she has churned out a multitude of independent features portraying one oddball character after another and deserves the strong influence she has achieved over the years.

Director Craig Macneill makes interesting choices with his film, which may or may not please audiences expecting a numbers horror offering. He dives into psychological thriller territory with more of a character study approach that provides layers to the finished product.

Sevigny is center stage, and plenty of camera close-up shots offer an introspective analysis of her feelings rather than from her parents’ perspective. Instead of a crazed killer spontaneously committing the crime, she is careful and calculating in her plan.

Macneill presents Lizzie as the victim and Andrew and Abby as the villains. This is to assume that Borden committed the crimes, which the film never doubts.

Historically, people assume that this is the truth, but Lizzie was set free by a jury refusing to believe a woman of such means would commit such a heinous crime. I wonder if Macneill directed the film with a bit of a smirk at this ridiculous decision of the times when the woman enjoyed the murders.

At the end of the film, what happened to Lizzie and Bridget is explained, which is a good decision and wraps the film up nicely.

Powerful is the quiet subtext that gives a moody and foreboding quality. I adore slow-moving films provided the reward is worth the wait and Lizzie sucker punches once the events begin rolling along.

Another positive is the gnawing feeling of terrible things about to happen but unsure when or how the attacks will occur. Most viewers watching this film will know the context and the reported murders committed.

The atmospheric additions succeed as the late eighteenth-century costumes and daily living are believable. The lavish Borden house is well-kept and brightly lit, offering a friendly New England feel.

Finally, the creaks and noises throughout the house perfectly encompass the danger lurking behind corners, and the fun is in wondering when Lizzie will strike.

Since the film moves back and forth through time, we know she will strike.

The film’s best work is in the relationship between Lizzie and Bridget. Sevigny and Stewart dazzle together with an unleashed chemistry that nearly rivals a similar dynamic seen in 2003’s Monster.

As with Aline Wuornos and Selby, Lizzie is dominant, and Bridget is submissive, following her lead. Both women share a lesbian relationship, and neither pair achieves happiness after the film.

A film sure to fly under the radar and likely to be forgotten before long, Lizzie (2018) is worth the effort. A spooky and controversial interpretation of the events leading up to, during, and after one of the most notorious crimes in United States history is dissected and analyzed from a human perspective.

Macneill makes Borden less maniacal and more sympathetic than some may prefer. He does a fine job and deserves praise for a rich story.

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

The Ice Storm-1997

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The Ice Storm-1997

Director Ang Lee

Starring Kevin Kline, Joan Allen, Sigourney Weaver

Scott’s Review #850

Reviewed January 1, 2019

Grade: A

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2017 Films, Alan Cumming, Andrea Riseborough, Bill Pullman, Biography, Comedy, Danny Boyle, Drama, Elisabeth Shue, Emma Stone, Fred Armisen, Jamey Sheridan, Jonathan Dayton, Lewis Pullman, Sarah Silverman, Sports, Steve Carell, Valerie Faris

Battle of the Sexes-2017

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Battle of the Sexes-2017

Director Jonathan Dayton, Valerie Faris

Starring Emma Stone, Steve Carell

Scott’s Review #691

Reviewed October 11, 2017

Grade: A

Battle of the Sexes (2017) is a film worth watching on many levels. Equal parts sports film, drama, and biography, it excels across all genres with exceptional acting and crowd-pleasing storytelling.

To boot, the film is a true story based not only on the very famous pro tennis match of 1973, termed the “Battle of the Sexes,” but also a story of the sexual identity conflict of one of the opponents in a time where being ones true self was not easy, especially for a public figure.

Emma Stone might have given her best portrayal of her young career as Billie Jean King, the talented tennis pro featured in the film.

She was kind and fair but a fierce proponent of women’s rights in the United States when feminism began taking shape and women and their male supporters demanded equal treatment.

Although initially uncertain whether Stone could pull the role off (not because of a lack of talent, but because the women seem so different), she truly shines as the tomboy athlete with shaggy, feathered locks and a toothy grin.

Equally worthy of praise is Steve Carell, who bolsters his film credo by tackling the role of King’s opponent and foe in the big match, Bobby Riggs.

Portrayed as a certifiable “jerk” and a sexist pig, Carell somehow pours the perfect amount of sympathy and likability into the part.

We witness scenes of Riggs’ playfulness with his young son and tender yet troubled relationship with his wife, Priscilla (Elisabeth Shue in a well-cast role), that never seem trite or contrived but rather quite genuine.

The acting in Battle of the Sexes is, across the board, good.

Sarah Silverman drips with confidence and humor as Gladys Heldman, founder of World Tennis magazine and leader of the troupe of female tennis players who parade around southern California seeking the same respect and pay as their male counterparts.

Bill Pullman makes the most of his one-dimensional role as Jack Kramer, a wealthy and male chauvinistic promoter, while the talented Andrea Riseborough is brilliant as Marilyn, Billie Jean’s bisexual, closeted lover—giving her role a blend of vulnerability and toughness.

The romantic scenes between Stone and Riseborough smolder with tenderness and heart as they forge ahead with their forbidden romance.

The film makes clear that a same-sex romance in those days, while accepted by those around them, would be met with shame and rejection by a large part of King’s legions of fans- this is a heartbreaking reality.

One of the most tear-jerking scenes comes at the end of the film when a victorious King is unable to acknowledge Marilyn. Her openly gay male dresser earnestly whispers to her that one day, she will be free to love who she truly loves.

The scene is poignant.

Directors Dayton and Faris carve a finale that is careful not to fall into the cliched territory. Given that Battle of the Sexes is a sports film, this is a real risk, as typically, these genre films teeter into the “good guys beat bad guys” fairy tale land.

While the film does champion King in the end, the moment is laced with good humor, drama, and sentimentality that does not seem forced but rather honest and real—I enjoyed the final act immensely.

As the film progressed, I found myself drawing parallels to the ever-dramatic and historic 2016 Presidential election—sure to have films made in years ahead- and King, in many ways, mirrors Hillary Clinton, while Riggs resembles Donald Trump in the sexist department.

The political and sports “Battles of the Sexes” warrants much analysis.

My point is a sad one. As much as I love the film, I was left with a cold feeling that forty-five years after the famous Billie Jean King versus Bobby Riggs match, male superiority, and chauvinism are alive and well in the United States—we still have so much progress to make.

Battle of the Sexes (2017) is a film with fantastic acting, stellar casting, passion, excitement, and a telling of a historical, true story.

The film contains all the elements of a compelling cinematic experience.

2016 Films, Aaron Eckhart, Anna Gunn, Biography, Clint Eastwood, Drama, Jamey Sheridan, Katie Couric, Laura Linney, Tom Hanks

Sully-2016

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Sully-2016

Director Clint Eastwood

Starring Tom Hanks, Aaron Eckhart

Scott’s Review #623

Reviewed March 10, 2017

Grade: B

I think most film critics would agree that each modern film directed by Clint Eastwood would accurately be described as a compelling film yet safe film, and the 2016 Eastwood offering, Sully, fits into both of these categories snugly- just as Sully feels like a snug film.

Everything seems to fit into a nice package when the credits roll.

While the film is sympathetic and has leanings of a character study, it is also shrouded in a wholesomeness that is incredibly safe and “Hollywood.”

This is not a knock or a detriment to the film, as it is very good, well-made, and has a high budget. However, edginess is not its forte, and it might have been better off with a bit more grit.

The actual film recounts the lively, perilous recent United Airways flight 1549, on which the now-famous Captain Sully successfully landed in New York’s frigid Hudson River one January morning.

Tom Hanks is the subdued and unassuming hero to perfection as his calm demeanor and grounded persona make him a likable chap, to say nothing of saving 155 lives aboard the would-be doomed flight that day.

Instead of going in a purely linear direction, building up the events (gravitating passengers, takeoff) in sequential order until the inevitable crash, Eastwood wisely decides to begin directly after the crash.

Captain Sully, clearly jarred by the events, is startled awake by nightmares. He dreams of crashing into midtown Manhattan instead of safely landing the jet.

The hero is beginning to suffer from symptoms of PTSD.

He is kept in New York City for days on both a press tour, interview after interview, as well as being questioned by The National Transportation Safety Board, who wonder why Captain Sully did not return to a nearby airport for an emergency landing as simulated computer recreations show that he could have.

This leads to both Sully and First Officer Jeff Skiles (Aaron Eckhart) being put under a microscope and questioned.

I was a bit caught off guard and got slightly bored, as the film takes about thirty minutes to focus on the actual crash or show an airplane scene rather than building up the events by concentrating on Sully and Skiles’s mental health. However, in retrospect, Eastwood made a wise decision.

The entire film is barely over ninety minutes total, so the action comes fast and furious mid-stream.

Still, the film is not quite all that it could have been. Despite the potentially horrific consequences faced by an airplane blowing both engines due to the flocks of birds, I never got many extremely perilous moments during the film.

While technically well done, the danger scenes as Sully navigates the plane into the river lack much in the way of the punch.

Sure, there are a few quick shots of passengers praying or appearing frightened, but we never get to know any of the passengers very well.

A “don’t blink or you might miss it” scene of an elderly mother and her daughter shopping for a snow globe at the airport or three men rushing to catch the plane to catch a golf game in Charlotte is not enough for the audience to become too enveloped in their characters.

They almost seem thrown at the last minute as a way of personalizing the passengers.

As I mentioned above, the film’s point surrounds Sully (and arguably it should; there is nothing wrong with that) and, to a lesser degree, Skiles. The supporting characters contain no character development, and even Skiles’s personal life is not explored well.

Scully’s wife is only seen through phone conversations (played by Laura Linney), and he is happily married with two daughters. There is a brief talk about money trouble, but the wife is underdeveloped.

Additionally, the NTSB agents are portrayed as quite antagonistic towards Sully and Skiles (rumors abound that this was embellished for movie making), which makes sense.

I enjoyed the ending of the film- in tandem with the credits rolling- of seeing not only the real-life Sully but his wife and the passengers and crew of the actual United Airlines Flight 1549 through interviews and photographs.

This offering in true-life biography films is now a standard feature to look forward to as it brings a humanistic conclusion to the story just watched.

The film’s focus centers on Captain Sully, which is fine by me- the man is a hero- but as a film, and more than a biography, it might have added depth to have richer supporting characters and a more substantial background of the man that is Sully.

A few rushed childhood aviator and battle plane scenes seemed somewhat out of place.

Still, the film is pleasant and immensely watchable. It will not set the world on fire or be remembered as much more than a decent film based on a true story.

Oscar Nominations: Best Sound Editing

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

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Reviewed December 9, 2015

Grade: B+

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

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

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

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

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

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

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

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

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

This is the filmmaker’s intent.

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

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

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

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

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

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

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

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

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

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

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

I found myself wanting to know more about these people.

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

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

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