Category Archives: Lewis Pullman

2022 Films, Action, Adventure, Ed Harris, Glen Powell, Jon Hamm, Lewis Pullman, Monica Barbaro

Top Gun: Maverick-2022

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Top Gun: Maverick-2022

Director-Joseph Kosinski

Starring Tom Cruise, Miles Teller, Jennifer Connelly

Scott’s Review #1,316

Reviewed November 23, 2022

Grade: B

I made the mistake of watching Top Gun: Maverick (2022) in the worst possible forum imaginable- inside an airplane at 35,000 feet! And I wasn’t inside the cockpit either, which would have fulfilled the appropriate thrills and perhaps even elicited terror.

Being chastised repeatedly for not seeing the film on the biggest movie theater screen imaginable, I watched this offering on the plane primarily out of curiosity to see what all the fuss was about.

In a nutshell, I thought the visuals and action/adventure sequences up in the sky were second to none. The use of sound and cinematography successfully provided the peril and anticipation of the events of the film.

Even on a teenie tiny screen with earbuds I could sense and appreciate the bombastic trimmings.

To bury myself even further, I hadn’t even seen the original Top Gun made in 1986. Of course, I was familiar with the popular soundtrack featuring the enormous Kenny Loggins hit, ‘Danger Zone, which is reprised in the new film, and the syrupy ballad, ‘Take My Breath Away by Berlin.

I guess I felt I knew the predictable story enough not to bother viewing the film.

So, I’ll chalk this review up to lessons learned but I can still provide a critical opinion as I asked myself repeatedly over the two hours and eleven minutes running time why people love Top Gun: Maverick so much and why it was such a box-office hit.

But in the end, I’m glad it was because in 2022 we desperately need butts in movie theater seats.

After more than thirty years of service as one of the Navy’s top aviators, Pete “Maverick” Mitchell (Tom Cruise) pushes the envelope and challenges his superiors as a courageous test pilot. This subsequently hinders his chances of advancing up the ranks of status.

When he finds himself training a group of All-American-looking Top Gun graduates for a specialized mission, Maverick encounters Lt. Bradley Bradshaw (Miles Teller), call sign: “Rooster,” the son of Maverick’s late friend and Radar Intercept Officer Lt. Nick Bradshaw, aka “Goose”.

Rooster blames Maverick for his father’s death.

Facing an uncertain future and confronting the ghosts of his past, Maverick is drawn into a confrontation with his own deepest fears, culminating in a mission that demands the ultimate sacrifice from those who will be chosen to fly it.

This summary equates to a limited story with plenty of flaws but Top Gun: Maverick is about entertainment first and foremost. A cohesive and edgy story is not to be found.

Let’s get the storyline woes out of the way in short order.

I was disappointed that superb actress Jennifer Connelly (if anyone has missed her wonderful turn in 2006’s Little Children check it out asap) was reduced to playing Penny Benjamin, a girlfriend who owns a dive bar role.

I mean Connelly looks amazing but she has no deep story to speak of. She flirts with, sleeps with, and hopes to live happily ever after with him. A single Mom, her daughter frets that Maverick will break her heart.

It’s the romantic angle of the story but quite banal and uninteresting.

The ‘recruits’ are written as one-dimensional. There is rivalry and teamwork to be had but they are all so good-looking that it’s tough not to see a lack of realism.

Finally, Jon Hamm suffers through an uninteresting role as the heavy. Cast as Vice Admiral Simpson, he doesn’t like Maverick and that’s about all there is to his part.

The same can be said for Ed Harris and his role.

On the upside, Cruise has a wonderfully emotional scene that reminds audiences how good an actor he is. He says a teary goodbye to his long-time friend Kazansky (Val Kilmer) and it’s a beautifully written, rich scene that I adored.

Top Gun: Maverick (2022) fails in the story department but I realize the main draw is Cruise the action star. The film wins as a loud, thrilling, summer, popcorn visual and sensory treat, and thankfully it was an enormous success.

Oscar Nominations: 1 win-Best Picture, Best Adapted Screenplay, Best Original Song-“Hold My Hand”, Best Film Editing, Best Sound (won), Best Visual Effects

2018 Films, Cailee Spaeny, Chris Hemsworth, Cynthia Erivo, Dakota Johnson, Drew Goddard, Jeff Bridges, Jon Hamm, Lewis Pullman, Nick Offerman, Thriller

Bad Times at the El Royale-2018

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Bad Times at the El Royale-2018

Director Drew Goddard

Starring Jeff Bridges, Cynthia Erivo, Dakota Johnson

Scott’s Review #919

Reviewed July 10, 2019

Grade: A-

Bad Times at the El Royale (2018), directed by Drew Goddard, known for crafting the horror film The Cabin in the Woods (2012), is a gem that crosses multiple genres with sound results.

With Bad Times, he assumes writing and production duties for the thriller and steals a page from the Quentin Tarantino playbook, most notably from The Hateful Eight (2015).

The resulting feature is clever, perverse, and mysterious. It is a fantastic, edge-of-your-seat experience and a must-see for Tarantino fans.

Set in 1969, the film focuses on seven strangers of different backgrounds who go to a seedy and remote hotel on the California/Nevada border. Each harbors its share of dark secrets, culminating during a deadly macabre showdown one dark and stormy night.

In many ways, each character seeks redemption or forgiveness for a past indiscretion or is otherwise protecting someone or something else. A large sum of money is also in play for the greedier characters to tussle over.

The seven players are as follows: Jeff Bridges plays catholic priest Donald “Dock” O’Kelly, Cynthia Erivo plays struggling soul singer Darlene Sweet, and Dakota Johnson portrays Emily Summerspring, a hippie trying to save her younger sister, Rose, who is devoted to and mesmerized by sadistic cult leader Billy Lee (Chris Hemsworth).

Finally, Jon Hamm plays Dwight Broadbeck, a vacuum salesman who may have a secret identity, and hotel clerk Miles Miller (Lewis Pullman), who runs the hotel alone.

As events roll along, the complexities of the characters grow, which is my favorite aspect of the film. There are so many twists and turns involving the characters’ backstories and motivations that surprises are in store.

Some characters have strange connections to each other, while others meet for the first time and their lives intersect in interesting ways.

The dynamic between all the actors works tremendously well, with the standouts being Bridges and Erivo, who share tremendous chemistry and are the most interesting characters, to mention get the most screen time.

Their characters forge a bond during their lengthy scenes while never wholly trusting each other. Erivo, as Darlene, gets to showcase her wonderful singing voice. The highlight is the grand hotel room sequence as she belts out “This Old Heart of Mine (Is Weak for You).”

Old and burdened with memory loss, Bridges successfully grants more sympathy to his character than he deserves.

The film loses momentum towards the end when introducing the miscast Hemsworth, who is pretty but not the most remarkable acting talent. The actor overacts, playing Billy Lee as sinister and one-dimensional rather than infusing complexities into the character, which doesn’t work.

A better casting choice (and Tarantino mainstays) would have been Leonardo DiCaprio or Brad Pitt, and either actor would have assuredly brought more depth to the role.

Comparisons must be made to The Hateful Eight and the comedy Clue (1985). Godard divides the film into chapters like the former, mostly entitled as the hotel room numbers. With each subsequent room, the events going on in that room and its inhabitants are explored.

As in both films, he brings several mysterious characters with connections together. In Clue, secret passageways that lead to various parts of a building are featured, offering layers of possibilities.

The hotel itself is styled and dressed brilliantly, nearly a character with glossy decals and shiny trimmings but with a solemn and melancholy gloominess. The establishment has seen its share of heartbreak, schemes, and even death. Clever is the division of the hotel into either the sunny and cheerful “California” section or the less posh “Nevada” section, purple and costing one dollar less.

The viewer is sucked into its web within the first sequence when a man is shown hiding money under the floorboards and then subsequently shot to death.

Despite being labeled a Tarantino rip-off, this does not bother me as I was enthralled with the characters, the details, and the vast nuances offered.

Unfortunately, the film was a box-office disappointment, suffering from a lack of awards buzz and a lofty running time. Bad Times at El Royale (2018) will entertain, intrigue, and keep one guessing until the credits roll.

Be prepared for a bloody good time!

2018 Films, Andrew Haigh, Chloë Sevigny, Drama, Independent, Independent Drama, Lewis Pullman, Steve Buscemi, Steve Zahn

Lean on Pete-2018

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Lean on Pete-2018

Director-Andrew Haigh

Starring Charlie Plummer, Steve Buscemi

Scott’s Review #747

Reviewed April 24, 2018

Grade: B+

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.