Category Archives: 2011 Films

2011 Films, Benedict Cumberbatch, David Thewlis, Drama, Emily Watson, Jeremy Irvine, Peter Mullan, Richard Curtis, Steven Spielberg, Toby Kebbell, Tom Hiddleston, War

War Horse-2011

Leave a comment

War Horse-2011

Director Steven Spielberg

Starring Jeremy Irvine, Emily Watson

Scott’s Review #1,268

Reviewed June 19, 2022

Grade: B+

Director Steven Spielberg has an enormous catalog of films to rank and paw over. From his dabble into the horror genre with Jaws (1975) to fantastical melodramas like E.T. the Extraterrestrial (1982), his best work to me is the dark and powerful Schindler’s List made in 1993.

The recent remake of West Side Story (2021) is also brilliant.

My point in mentioning a few of his films is to compare them to War Horse (2011). The film is mediocre when comparing it to the great director’s filmography but there is no doubt the film is extremely well made, lavishly directed, with a wonderful and heartfelt storyline that will make suckers of most viewers.

The main result is that the film doesn’t resonate very much beyond the closing credits especially when matched against Spielberg’s other films.

War Horse did achieve several Oscar nominations mainly because it’s a Spielberg film after all but came away empty-handed. This is not surprising because it’s the type of film that is trying to get awards notice.

A successful Broadway adaptation preceded the film which was also based on a novel of the same name from 1982.

Albert (Jeremy Irvine) and his beloved horse, Joey, live on a farm in the British countryside. At the outbreak of World War I, Albert and Joey part ways after Albert’s father sells the horse to the British cavalry out of necessity.

Against the backdrop of the war, the horse begins a journey full of danger, joy, and sorrow, as he transforms everyone he meets along the way.

Meanwhile, Albert, unable to forget his friend, searches the battlefields of France to find Joey and bring him home.

It’s interesting to see the different settings and situations the horse gets into. From England to Germany to France, so many cultures are explored. Joey even bonds with another horse named Tophorn, a black stallion.

The film is as syrupy and sentimental as the summary suggests and that is okay. I fell for the story hook, line, and sinker. Seeing the film in a movie theater on the big screen was a wise choice because the sentimentality oozes to audiences leaving not a dry eye in the house.

Spielberg polishes and shines his film like nobody’s business utilizing all the lavish Hollywood trappings like superior editing, sound, and cinematography.

It’s a Hollywood film plus a hundred.

Despite a safe-leaning film Spielberg wisely does not skate over the ravages of war. Several characters that the horse encounters die tragically leaving him in a state of temporary peril.

Unsurprisingly, War Horse satisfies those audiences seeking a fairy tale ending but the fun is the journey we are taken on.

Actor Jeremy Irvine appearing in his big-screen film debut is exceptional and quite likable. War Horse may be his pinnacle film since he hasn’t done all that much since this meaty role.

The main takeaway is friendship and the bond between human beings and animals which cannot be severed. The mere thought of this brings a tear to my eye and Spielberg wisely manipulates the audience, whisking them away on a journey of forever friendship.

This is not exactly a bad thing.

The war backdrop is a fine addition and the exquisite beach scenes and the glossy images of the horse are fantastic. Hundreds of horses were used and clever editing provided rich and authentic texture.

War Horse (2011) is a film with all the standard characteristics of an old-style film that Hollywood used to make. The sum of the parts doesn’t add up to much beyond the experience and it’s not a film worth seeing over and over.

It’s a one-and-done affair but a lavish production of heartfelt ideals.

Oscar Nominations: Best Picture, Best Art Direction, Best Cinematography, Best Original Score, Best Sound Editing, Best Sound Mixing

2011 Films, Charlize Theron, Comedy, Dark Comedy, Independent, Independent Comedy, J.K. Simmons, Jason Reitman, Jill Eikenberry, Mary Beth Hurt, Patrick Wilson, Patton Oswalt

Young Adult-2011

Leave a comment

Young Adult-2011

Director Jason Reitman 

Starring Charlize Theron, Patrick Wilson, Patton Oswalt

Scott’s Review #1,267

Reviewed June 17, 2022

Grade: A-

I am a big fan of Jason Reitman films.

Though classified as comedies, they lack the qualities I most dislike in many mainstream comedies: slapstick, formulaic, gag setups, and potty jokes, that feel completely staged and redundant.

Instead, he incorporates wry, sardonic humor, cynicism, and intelligence into his films that enhance the writing and make the characters’ motivations clear.

Most of his characters are damaged and unhappy, suffering from inner conflict or instability, but the result is witty humor providing laughs to those able to think outside the box and immerse themselves into the character’s heads.

Thanks to a brilliant screenplay by Diablo Cody the thoughts and conflicts of a female character take center stage.

Reitman’s best films are Juno (2007), Up in the Air (2009), and Young Adult (2011) right up there with the others providing a darker tone than especially Juno contained.

Along with Reitman and Cody is a terrific performance by Charlize Theron who rightfully should have received an Oscar nomination. This is tough to achieve with a comedy performance and she had to settle for a Golden Globe nomination instead.

Just looking at the movie poster for Young Adult reveals a lot about her character. With an annoyed and flabbergasted look, wearing pajamas, she immediately gives off the vibe of being slovenly, fed up, and looking for a fight.

Theron is great at playing take-no-prisoners, tough characters with a bit of edge and a no-bullshit attitude.

Mavis Gary (Theron) is a successful but frustrated writer of teen literature who realizes that her high school sweetheart Buddy Slade (Patrick Wilson) has just become a father with his wife Beth (Elizabeth Reaser).

Mavis decides to return to her small hometown and cause trouble.

She feels her life is getting away from her and she’d love to steal Buddy away from Beth and ride off into the sunset for presumed happiness. She also knows that life usually doesn’t work this way.

Mavis forms an unusual bond with a former classmate Matt (Patton Oswalt), who has also found it difficult to move past high school.

The two connect in the unlikeliest of ways since they didn’t exactly travel in the same circles during high school. Matt has his own powerful story since he was gay-bashed causing him to be permanently disabled.

Matt and Mavis are both relatable characters to most of the audience. Who hasn’t ruminated over their past life in high school? For some high schools are glorious years filled with memories of pep rallies, parties, and graduation.

For others, the mere thought conjures up memories of insecurity, moodiness, and awkward experiences. There can also be some of both for most people.

Mavis, Matt, and Buddy have each not closed out their high school chapters in different ways so the fun is seeing the feelings of each character come to the surface shrouded in conflict. With Matt and Mavis turning to all-night drinking binges eases their pain.

The best scene that showcases Mavis’s anger and Theron’s exceptional acting skills occurs at an outdoor party in celebration of naming Buddy’s daughter.

As the entire town is gathered on the front lawn Beth spills punch on Mavis’s dress causing Mavis to fly into a rage, insulting Beth, and finally confessing that she was once pregnant with Buddy’s child but had a miscarriage.

The hateful Mavis, the hurt Beth, and the embarrassment of the townspeople are on full display. The scene is wonderful and shows the cohesive value of the events to the rest of the story.

Reitman brings complexity to his characters in Young Adult (2011) and proves that dark comedy, especially character-driven, provides emotional power amid the laughs.

I love that the ending is ambiguous rather than wrapped up in a nice bow like too many comedies.

Thanks to wonderful acting, insightful writing, and wise direction, the film is well-remembered and undoubtedly a source of inspiration for upcoming comedy writers and directors.

2011 Films, Bradley Whitford, Chris Hemsworth, Drew Goddard, Horror, Horror-Comedy, Kristen Connolly, Richard Jenkins, Science Fiction, Sigourney Weaver

The Cabin in the Woods-2011

Leave a comment

The Cabin in the Woods-2011

Director Drew Goddard

Starring Kristen Connolly, Chris Hemsworth

Scott’s Review #1,221

Reviewed January 17, 2022

Grade: A-

The Cabin in the Woods (2011) is a very clever film with tremendous writing and acting. It takes a standard horror film premise and spins it into something new and inventive. I wouldn’t dare spoil the twist reveal at the end of the film but suffice it to say it’s a doozy.

It’s not your typical or expected slasher film.

Created by Drew Goddard (he wrote Cloverfield-2008) in his directorial debut he also co-wrote the screenplay with Joss Whedon. Besides horror, there is dark comedy and science fiction incorporated making it cross-genre entertainment and enjoyment.

When five college friends (Kristen Connolly, Chris Hemsworth, Anna Hutchison, Fran Kranz, Jesse Williams) arrive at a remote forest cabin for relaxation and quiet, odd horrors await them. A group of backwoods zombies wreaks havoc on the group and they are systematically killed one by one in a gruesome fashion.

From an unknown location, two scientists (Richard Jenkins, and Bradley Whitford) are manipulating the events, but there are even more sinister machinations going on somewhere else.

The story on the surface is pretty basic and Goddard and Company delightfully add parodies of standard horror elements. Most who see The Cabin in the Woods will be fans of the horror genre.

Anytime five college kids head for a weekend alone in a secluded cabin it’s a recipe for disaster.

I immediately compared the film to Friday the 13th (1980) meets The Evil Dead (1981).

The group even has nicknames that coincide with traditional horror/slasher film character trademarks: ‘The Virgin’, ‘The Athlete’, ‘The Whore’, ‘The Fool’, and ‘The Scholar’.

This is a pure treat for fans.

Goddard, or the scientists manipulating the action, gleefully fills the students with intoxicants making their libidos flare and their curiosities piqued. A mysterious diary and other weird objects are found by the group in the cabin basement.

Ordinarily smart, the students are unable to provide rational thinking or proper reasoning. Naturally, they are unable to escape the remote area either.

The scientists cackle and make bets on which zombie will appear next. The audience enjoys this immensely because what horror film viewer doesn’t predict who gets killed when how and who will be the last one standing?

The Cabin in the Woods is incredibly enjoyable.

In joyous form, two of the group have animalistic sex outside and one is decapitated.

Then things get strange.

The audience knows of the scientists, but wait there’s more! When the scientists are called by a mysterious ‘director’ who tells them that Marty (Hemsworth) has not been killed and is attempting to rescue Dana (Connolly), something has gone amiss.

The reasoning and understanding of the big reveal are very implausible but shocking nonetheless. It’s scary because it’s unexpected and that’s why the film is so creative and successful.

The Cabin in the Woods (2011) turns the traditional horror formula upside down and is a pure delight for fans of the genre. Instead of mocking, it embraces the methods and offers intelligence and humor that I truly appreciate.

2011 Films, Adam Sandler, Al Pacino, Caitlyn Jenner, Christie Brinkley, Comedy, Dan Patrick, Dana Carvey, David Spade, Dennis Dugan, Drew Carey, John McEnroe, Johnny Depp, Katie Holmes, Kristin Davis, Lowest Rated Films, Norm Macdonald, Regis Philbin, Shaquille O'Neal, Tim Meadows

Jack and Jill-2011

Leave a comment

Jack and Jill-2011

Director Dennis Dugan

Starring Adam Sandler, Al Pacino, Katie Holmes

Scott’s Review #1,171

Reviewed August 16, 2021

Grade: F

Typically, an actor playing a dual role is a challenging and rewarding experience for the actor and leads to accolades for a challenge well met. While Adam Sandler may have been challenged, it’s the audience who suffers tremendously.

I can think of no redeeming qualities to mention during this review.

Anyone who watches Jack and Jill (2011) will be made to ache for the duration of the running time or either scramble for the theater exit or pound the stop button on the remote control.

Jack and Jill (2011) is the worst film Sandler has ever made with a screeching over-the-top performance and terrible writing.

The additions of New York and Jewish stereotypes and every other stereotype in the book meant for laughs instead exude annoyance and disrespect.

To make matters worse, Al Pacino appears in a supporting role well beneath him and plays himself. And reaching an assured low, the actor is forced to rap. How embarrassing for him.

Poor Katie Holmes has little to do since she is trapped in the one-dimensional ‘wife role’.

Bad decision-making by writers, producers, and actors. Perhaps the makeup people enjoyed themselves.

The premise offers the possibility that the film could be hysterical or at least partially amusing. Well-known actors dressing in drag and put in uncompromisingly awkward situations is nothing new and has been met with success.

Some Like it Hot (1959) and Tootsie (1982) are classics resulting in kudos for Jack Lemmon, Tony Curtis, and Dustin Hoffman respectively.

The main issue with Jack and Jill is that the writing stinks.

Never a fan of the Sandler and director Dennis Dugan slapstick collaborations, let’s hope this drivel led to better acting choices for the actor.

He would later star in the superb Uncut Gems (2019) and miss out on an Oscar nomination by a whisker. I hope nobody saw Jack and Jill and revoked a vote for Sandler though I couldn’t blame them if they did.

Let’s hope Sandler learned his lesson with this film. He must have since his films vastly improved after this one.

Los Angeles advertising executive Jack (Adam Sandler) dreads the Thanksgiving holiday because his overbearing twin sister, Jill (also played by Sandler), makes her annual visit from New York City.

When Jack and his sister immediately butt heads, Jack feels guilty, and the only way to make it right is to invite her to stay through Hanukkah.

When actor Al Pacino (Al Pacino), whom Jack desperately needs to star in a commercial, becomes obsessed with Jill, Jack may be forced to extend his sister’s visit even longer to get what he wants. Jack’s gardener, Felipe (Eugenio Derbez) also takes a shine to Jill.

Everything about the film is pretty bad but let’s point out the highlights…..or lowlights.

Sandler plays Jill as obnoxiously as possible and in predictable form, Jack must disguise himself as Jill. Gee, I never saw that coming. Why any man, let alone two (Al and Felipe), would become enamored with her is beyond me.

Jack’s wife Erin (Holmes) and kids are as cookie-cutter as imaginable and possess every ‘neat and clean’ characteristic in the books. They are as white bread as wonder bread.

To match the stereotypes why does Felipe have to be Mexican? It’s as if Dugan and Sandler (who co-wrote the screenplay) wanted every cliche imaginable.

Jill conquers Los Angeles with appearances on The Price is Right, attendance at a Lakers game, and a cruise.

The film’s conclusion, after a myriad of expected misunderstandings between Jack and Jill, and Jill and Al, results in a silly New Year’s Eve high school reunion back in New York with classmates and bullies.

To confirm how bad Jack and Jill (2011) is at the 32nd Golden Raspberry Awards, it won all categories, a first in the thirty-two-year history of the annual parody event.

This is a film to be buried six feet under.

2011 Films, British, Comedy, Drama, Emily Blunt, Ewan McGregor, Kristin Scott Thomas, Lasse Hallström, Romantic Comedy, Romantic Drama

Salmon Fishing in the Yemen-2011

Leave a comment

Salmon Fishing in the Yemen-2011

Director Lasse Hallstrom

Starring Ewing McGregor, Emily Blunt

Scott’s Review #1,152

Reviewed June 15, 2021

Grade: B-

Despite exceptional chemistry between leads Ewing McGregor and Emily Blunt, who were also bankable stars in 2011, the romantic comedy Salmon Fishing in The Yemen (2011) is predictable, dull, and lacks a good identity.

It is the feel-good film of the year and that is not meant as a compliment.

Don’t get me wrong, it’s above par as compared to the usual drivel emerging from one of my least favorite genres, the rom-com, but it should offer more than the by-the-numbers plot it churns out.

Someone either felt lazy or was instructed to create a banal film.

With good actors and fabulous locales, I expected more edge from Swedish director, Lass Hallstrom. But, alas, we get something merely adequate.

Doctor Alfred Jones (McGregor) is a fisheries scientist who one day receives an unusual request from a strong businesswoman named Harriet Chetwode-Talbot (Blunt). She wants his help in fulfilling a request from a wealthy sheik played by Amr Waked who wants to bring sport fishing to Yemen.

Jones declines at first, but when the British prime minister’s spokeswoman (Kristin Scott Thomas) latches on to the project as a way to improve Middle East relations, he joins in.

Romance blooms as Jones and Harriet work to make the sheik’s dream come true.

If this brief synopsis sounds like it’s taken from a novel that’s because it is and it is as straightforward as you can imagine. The film is based on a 2007 novel which must have been better than the film.

Let’s be fair and clear. McGregor and Blunt are as good as they can be with the material they are given and they succeed in bringing some life to the big screen. The trouble is there isn’t very far to go with their characters. Harriet is a businesswoman with a task at hand. Alfred is a handsome doctor with something she needs. Did I mention he’s a doctor?

Harriet’s romantic interest is hardly a surprise and Hallstrom puts nary any real obstacles in their path towards getting together.

The fact that early in the film Harriet is dating British Special Forces Captain Robert Meyers played by Tom Mison and Alfred is married to a woman named Mary (Rachael Stirling) is laughable after Robert is quickly killed off and Mary is sent away to Geneva for a conference.

Predictably, Alfred and Mary realize their marriage is over.

But wait, there’s more! Robert resurfaces from the dead alive and well. Harriet struggles with her emotions and quickly realizes that her feelings for him have changed leaving her to be with Alfred.

The setup for Harriet and Alfred is as predictable as what peanut butter and jelly sandwiches will taste like.

Poor Kristin Scott Thomas, a fantastic actor is reduced to playing the cliched role of Public Relations Patricia Maxwell. She straightforwardly plays her as aggressive, impatient, and bitchy. The performance doesn’t work well.

Second, to the sweetness of McGregor and Blunt, the locales are thankfully plentiful. Visits to London, Scotland, and Morocco are blessed treats.

A silly subplot of the salmon being removed from British rivers and something about farming goes nowhere and is not worth the effort to go into. Suffice it to say it does little for the film or as a companion to the main plot. The only thing viewers should focus on is Harriet and Alfred’s romantic involvement.

I only recommend Salmon Fishing in The Yemen (2011) for those fans of either McGregor or Blunt or who yearn to escape to a fantasy world with a happily ever after ending.

If one enjoys fishing or fly-fishing (is there a difference?) that may be enough cause to give the film a twirl too.

Otherwise, the film offers nothing that hasn’t been seen countless times before. By the conclusion of the film, I felt weary and bored for so much unchartered potential left on the cutting room floor….or somewhere else.

2011 Films, Drama, Independent, Independent Drama, Jeff Nichols, Jessica Chastain, Kathy Baker, LisaGay Hamilton, Michael Shannon

Take Shelter-2011

Leave a comment

Take Shelter-2011

Director Jeff Nichols

Starring Michael Shannon, Jessica Chastain

Scott’s Review #1,150

Reviewed June 9, 2021

Grade: B+

Michael Shannon is a great actor. Appearing mostly in supporting roles and breaking out big time in 2008’s Revolutionary Road he gets the lead in Take Shelter (2011) and is more than up to the task of creating a great character.

The ambivalence and uncertainty his character feels are monumental to the enjoyment of the film.

It’s a slow burn and an unsatisfying payoff but I mean that with positive praise.

The plot is set in a small rural town in Ohio.

Curtis LaForche (Shannon) is a working-class husband, father, and provider to his wife Samantha (Jessica Chastain) and young daughter Hannah. Curtis begins to have scary apocalyptic dreams which he keeps from his family.

He decides to build a storm shelter in his backyard which raises concerns for Samantha. His strange behavior creates a strain on his family. As he builds the shelter, Curtis is afraid of his dreams, or rather, afraid that they are a premonition and will come true.

Is he going crazy, or will his dreams become a devastating reality?

Curtis, Samantha, and the entire audience will ponder this note throughout the film.

An interesting add-on is that Hannah is deaf so the way her parents embrace and accept her disability is a nice nod to the inclusiveness of people with disabilities.

Take Shelter is delightful to revisit and discuss ten years following its release. In 2011, both Shannon and Chastain were up-and-coming stars and only barely on the cusp of A-list status so it’s fun to see them in an independent film that showcases their acting chops.

They would grow to be big stars and flourish their talents in many other roles so it’s fun to see them in early-career performances.

Shannon is careful not to outshine Chastain, but Curtis’s focal point is what is going on internally. His conflict is palpable and written all over his face in quiet scene after quiet scene after quiet scene of his gazing at the luminous skies.

He wonders what is coming next.

His dreams, hallucinations, and auditory experiences involving swarms of blackbirds are creepy and well-made on a small budget. A clue is when it is revealed that Curtis’s mother suffered from paranoid schizophrenia at roughly the same age that Curtis is.

A drained Curtis seeks counseling but still cannot shake his feelings of impending doom. I felt completely empathetic to his plight and never saw Curtis as crazy or out of control. He possesses controlled restrain.

Director Jeff Nichols does an exceptional job of making the film largely quiet and peaceful with a gnawing and foreboding dread just as the expected apocalypse might come upon the lonely town.

Take Shelter is the debut by Nichols who followed up this gem with two other low-key but critically acclaimed films Mud (2012) and Loving (2016). He knows how to get to the core of his character’s deepest thoughts and feelings.

He wrote each of these works and received praise for fine writing.

The film is about the relationship between the characters and the possibility that Curtis is going insane. I’m not sure Take Shelter provides a neatly wrapped conclusion but boy is it an edge-of-your-seat thrill. And why does it need to?

Shannon’s best scene occurs at a Lions Club community event. With most of the town gathered in the hall for a delicious dinner of pot luck dishes things go bad when Curtis loses his temper and verbally berates the townspeople. He warns them that they are unprepared for the doom.

They look at him as if he belongs in a padded cell and Shannon’s explosion is frightening and frighteningly good.

As good as Shannon is, Chastain must not be dismissed. She barely holds it together as a woman with a special needs child and an unbalanced husband. When they lose their health insurance she nearly comes apart at the seams.

I love the ending because Nichols leaves the truth of reality a mystery to the audience. This may dissatisfy some but I thought it’s how Take Shelter should be. Unclear, just like the thoughts of its main character.

Take Shelter (2011) succeeds with a powerhouse performance by its star Michael Shannon, wonderful direction, and a refined imbalance.

The quiet and thoughtful cinema fan will endear the most to this film.

2011 Films, Adam Driver, Armie Hammer, Biography, Clint Eastwood, Denis O'Hare, Dermot Mulroney, Drama, Jessica Hecht, Judi Dench, Kaitlyn Dever, Lea Thompson, Leonardo DiCaprio, LGBTQ+ Drama, LGBTQ+ Films, Naomi Watts

J. Edgar-2011

Leave a comment

J. Edgar-2011

Director Clint Eastwood

Starring Leonardo DiCaprio, Armie Hammer, Naomi Watts

Scott’s Review #1,099

Reviewed January 12, 2021

Grade: A

When director Clint Eastwood and actor Leonardo DiCaprio align, exceptional things can happen. This is evidenced by J. Edgar (2011), a compelling and well-constructed drama with a biographical and character-driven focus.

One gets inside the head and psyche of the title character, J. Edgar Hoover, the head of the Federal Bureau of Investigations, with DiCaprio playing him flawlessly.

The film is left-of-center, surprising for the mainstream director, though his film-making style is familiar. Eastwood does what he does best by constructing a slick and “Hollywood” experience.

There are not daring camera angles or unique uses of light that Stanley Kubrick might use.  He creates a steady affair that will appeal to the American heartland, getting butts to the movie theater on his name alone.

The film opens in 1919 when a young Hoover (DiCaprio) is tasked with purging radicals from the United States and obtaining their secrets, something he’d carry with him for decades. He meets a new Secretary, Helen Gandy (Naomi Watts), whom he makes an awkward pass and an even more awkward marriage proposal.

She refuses, and they become professional and personal allies.

The story then plods along with historical stops through the decades like the Lindbergh baby kidnapping, Martin Luther King Jr., and Richard Nixon.

Hoover is always involved in these escapades.

Hoover, who served as the head of the bureau from 1924 until he died in 1972, was a powerful and ruthless man.

Eastwood carefully dissects him, professionally and personally. He never married, lived with his mother, traveled, and enjoyed dinners with one man who in death, bequeathed his estate.

You do the math.

He was a gay man when one couldn’t be an openly gay man. Thus, he is conflicted, and Eastwood does a great job of showing the demons he wrestles with.

The relationship between Hoover and lawyer, Clyde Tolson (Armie Hammer) is my favorite part of J. Edgar because it’s interesting and humanistic.

DiCaprio and Hammer give outstanding performances with flawless chemistry and charisma.

When Hoover professes his love for Tolson and quickly recants his statement then professes love for an actress, we view his turmoil. He loves Tolson but cannot bear to accept it even though it would free him from his chains.

Despite the tender nature of the sequence above or that his mother was a traditional, no-nonsense, shrew, Hoover is not portrayed as a hero. He was a complicated and damaged man and Eastwood hits this point home.

He blackmailed Martin Luther King Jr., kept sexual secrets on several Hollywood stars, and participated in various abuses of power.

The film does admit that the director also instituted fingerprinting and forensic measures that reduced crime.

Those who desire a straightforward lesson in history may be slightly perturbed by the focus on Hoover’s personal life. Eastwood could have easily made Hoover’s career the only facet of the production-enough material that exists for this.

Instead, we get to see the inner workings of the man. Kudos for this.

Dustin Lance Black, who wrote Milk (2008), a portrait of a gay man, is back at the helm serving as a screenwriter. But the two films are not modeled after one another. They are very different animals.

While Milk celebrates a man refusing to deny who he and others are, demanding their just civil rights, J. Edgar provides the narrative of a man fleeing from who he is.

Offering a rich and complex biography of a tortured man, the audience is exposed to a person wrestling with inner turmoil. Hoover was a famous man, but the film could easily represent those thousands of men who could not bring themselves to accept who they were.

The largest praise goes to DiCaprio who makes us sympathize, pity, and admire the complexities of his character.

J. Edgar (2011) hits a grand slam.

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

A Dangerous Method-2011

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

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

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

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)

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

We Need to Talk About Kevin-2011

Leave a comment

We Need to Talk About Kevin-2011

Director Lynne Ramsay

Starring Tilda Swinton, Ezra Miller, John C. Reilly

Scott’s Review #785

Reviewed July 9, 2018

Grade: A

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2011 Films, Ben Falcone, Chris O'Dowd, Comedy, Jill Clayburgh, Jon Hamm, Judd Apatow, Kristen Wiig, Maya Rudolph, Melissa McCarthy, Paul Feig, Rebel Wilson, Romantic Comedy, Rose Byrne, Terry Crews

Bridesmaids-2011

Leave a comment

Bridesmaids-2011

Director Paul Feig

Starring Kristen Wiig, Maya Rudolph

Scott’s Review #784

Reviewed July 6, 2018

Grade: A

Despite the raunchy romantic comedy genre not being my favorite, and despite not being such a fan of Judd Apatow (famed producer of several of these types of films), Bridesmaids (2011) is easily the best of its kind.

Influential in a multitude of female empowerment-themed comedies that followed, this one is witty, genuine, and funny because of its star, Kristen Wiig, who also co-wrote the film.

It is one of the best comedies (if not the best) of the decade.

Apatow is largely known for producing comedy films that mix in the standard potty humor for cheap laughs. He is responsible for This Is 40 (2012) and Trainwreck (2015), both of which I found moderately funny, but needlessly gross-out and tired.

My point is that minus the talents of Wiig (both in front of and behind the camera), Bridesmaids would likely have been mediocre like these films. Instead, Bridesmaids is a wonderful, uproarious experience with a star who captures a moment.

My one gnawing gripe is that shouldn’t a film about women be directed by a woman?

Annie (Wiig) has been asked to serve as the maid of honor at her best friend, Lillian’s (Maya Rudolph), upcoming wedding. Rather than be thrilled, Annie is depressed due to an ongoing string of bad luck.

Her bakery business fails, she loses her unfulfilling job at a jewelry store, she is dating a jerk (Jon Hamm), and her car is about to die. She has difficult roommates and is on the verge of having to move back in with her mother at age thirty-five.

The story hilariously follows Annie’s rivalry with Helen (Rose Byrne), Lillian’s soon-to-be husband’s boss’s controlling wife. Helen is intent on taking over the handling of the wedding events much to Annie’s chagrin.

The ladies compete to one-up each other throughout the film- Rose is the perfect princess for Annie’s grit and cynicism.

Annie struggles through her issues, unhappy with the state of her love life, when she meets police officer, Rhodes (Chris O’Dowd), and they begin a tender friendship. However, their attraction is tested because of Annie’s shenanigans.

Annie must then fly to Las Vegas with the other bridesmaids despite being terrified of flying.

Despite the story being nothing not seen dozens of times before in romantic comedy history (the setups), the film is a laugh-out-loud riot. In addition to Wiig, Rudolph, and Byrne, the remaining cast of ladies all have tremendous chemistry with each other.

Special kudos go to Melissa McCarthy in her fearless role of Megan, a tomboy misfit who somehow is part of the wedding party. With her “tell it like it is” attitude the actress sinks her teeth into this fabulous role without taking her too far across the line into ridiculousness.

In rip-roaring fashion, multiple scenes are permanently etched in my mind.

After Annie suggests a Brazilian steak restaurant for lunch followed by a fitting at a chic dress shop, the girls suffer from food poisoning. This results in torrents of diarrhea scenes and one unlucky character being reduced to going to the bathroom in the middle of the street.

The scene while super raunchy is hilarious and fraught with perfect comic timing.

Not to be outdone, the airplane scene is equally tremendous, however, the scene belongs to Wiig rather than the entire ensemble. Being forced to fly coach while everyone else is treated to first-class, Annie unwisely accepts a pill from Helen to calm her during the flight.

Instead, Annie becomes belligerent and wild when she mixes the sedative with alcohol.

As good as the supporting cast is, Wiig owns the film through and through. Every scene she is in and each line she utters is perfectly timed. The fact that Wiig did some improvisation (the scene in the jewelry store) is evident and only adds to the genuine feel of the film.

Subsequently, to Wiig’s credit, she has been careful to choose more complicated roles to avoid the risk of being typecast. And a sequel was wisely never made- this would have ruined the appeal.

Bridesmaids (2011) is an authentic story rich with hilarity and crisp dialogue. The film is enhanced in that it’s a female-centered film written by women (though the direction and producers too would have been better).

Because of the tremendous cast led by Wiig, the film is blazing with humor and led a firestorm of similar “girl power” films (mostly bad) well into the decade.

Oscar Nominations: Best Supporting Actress-Melissa McCarthy, Best Original Screenplay

2011 Films, Asghar Farhadi, Best Film of the Year, Best International Film Oscar Winners, Drama, International, International Drama, Leila Hatami, Persian, Peyman Moaadi, Shahab Hosseini

A Separation-2011

Leave a comment

A Separation-2011

Director Asghar Farhadi

Starring Leila Hatami, Peyman Moaadi

Scott’s Review #734

Reviewed March 21, 2018

Grade: A

A Separation is a 2011 Iranian film that was awarded the Best Foreign Language Film Academy Award statuette, the first Iranian film to achieve the honor.

The film is a wonderfully complex family drama and weaves typical family issues (divorce and school issues) with more complicated and cultural leanings, and keeps going and going with story nuances.

A Separation is directed by the acclaimed Asghar Farhadi, who is also responsible for the brilliant screenplay- this is a top-notch film.

Presumably set in Tehran, or a more progressive (by Iranian standards) city in Iran, husband and wife Nader and Simin reside with their teenage daughter, Termeh, and Nader’s elderly father, who suffers from Alzheimer’s disease.

Frustrated by her husband’s refusal to leave the country for a better life, Simin files for divorce, but her wish is rejected by male judges. When she leaves her family anyway, Nader is forced to hire a pregnant caregiver, Razieh, to tend to his ailing father.

After a controversial tragedy ensues, causing Razieh to suffer a miscarriage, the film shifts directions and adds an entirely new layer to the already fascinating story.

Farhadi is very keen on his delivery of a good story- he traditionally mixes themes of culture and social class in an interesting way as his future, 2017, work, The Salesman, would also do.

Thanks to Farhadi’s innovative storytelling, more notice is taken of Iran and Iranian culture, thereby humanizing its citizens more within the craft of film.

We see Iranian people just like ourselves and not the radical or dangerous individuals we are programmed to see.

With A Separation, there are no clear-cut protagonists or antagonists, and the viewer’s allegiances may shift throughout the run of the film.

Do we champion Simin for desiring a better life for herself and Termeh or scold her for refusing to live with her family? A progressive woman for sure, she is a layered character in her ambitions and her autonomy.

Nader is also a complex character- heroic for desiring the best of care for his father, but he is also fraught with danger and bad temperament, which is the main reason for the second half of the film, and leads to Razieh’s predicament.

Viewers will not be certain whether Nader is a good man or a villain, or perhaps a hybrid of the two. Subsequently, this is the meat of the entire story and makes for an enthralling experience in character development.

As if the brilliant screenplay was not enough to demand a good watch, the acting across the board is wonderful. A cast including seasoned Iranian actors, Leila Hatami and Peyman Moaadi as Simin and Nader, these are my favorites and are quite adept at carrying along with the nail-biting tension in masterful form.

Shades of Alfred Hitchcock are evident throughout the film as the tension unfolds to a crescendo and the action builds and builds and builds in layers upon layers of good stuff.

The quick editing and unique camera angles mirror some classic works of the famous director.

The success of A Separation is the film’s fast-paced, nicely edited construction, in a way that, at over two hours in length, the film speeds along rather quickly, and causes those who experience it to ponder, wonder, think, and ascertain.

Asghar Farhadi has quickly become a prominent director, met with obstacles from his native country, and yet surpassing these hurdles to construct a great film.

I look forward to many more of his works.

Oscar Nominations: 1 win-Best Original Screenplay, Best Foreign Language Film (won)

Independent Spirit Award Nominations: 1 win-Best International Film (won)

2011 Films, Drama, Engin Cert, German, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Sinan Hancili, Tor Iben

The Visitor-2011

Leave a comment

The Visitor-2011

Director Tor Iben

Starring Sinan Hancili, Engin Cert

Scott’s Review #630

Reviewed April 4, 2017

Grade: B-

The Visitor is a 2011 LGBT-centered film that is set in Berlin, Germany but features mainly Turkish characters.

While the film tells a nice story and features some cool shots of the metropolitan city, it is rather amateurish in style.

The pieces of the film do not always come together or fit very well and there is no character development to speak of, but still, the film does have good intentions with a nice message and theme that deserves at least a few props.

The story involves a young male and female couple, Cibrial and Christine, who are dating. Cibrail works as a policeman and the pair seem to be in a happy relationship, enjoying walks and dinners together.

One day, when Christine’s gay cousin, Stefan, comes to town, the relationship between Cibrail and Christine sours. The cousin is openly gay and comfortable with his sexuality, while Cibrail secretly harbors feelings for the same sex, which he dares not tell Christine about, though she eventually catches on dramatically.

Stefan is looking for action, cruising the city and parks for sex and companionship, while Cibrail is both lustful and jealous of Stefan.

Many scenes involve Cibrail looking longingly at Stefan and fantasizing about him. In that regard, the film teeters on being quite steamy and features more than one nude shower scene- this smoldering element helps the film avoid complete doldrums.

Specifically, Cibrail showers alone during one scene, washing and presumably daydreaming about Stefan. But too many other scenes show a character jogging or walking around the park- too much like filler material.

The climax of the film is highly predictable as the two men find their way into each other’s arms, though the passion is not exactly evident to the audience.

The lack of buildup is a negative aspect of the film because there is very little rooting value and too many questions.

Is the film a love story? Is it supposed to be about Cibrail coming to terms with his sexuality? Why do we not see more of a blowup scene between Cibrail and Christine?

He simply moves out once she catches him in bed with Stefan and before we know it, Stefan and Cibrail passionately embrace and the film closes in celebration.

A side story involving a dead body found in the park- a park known for gay shenanigans- is included as Cibrail investigates the crime with his police partner, but this seems to have nothing to do with the main plot unless we are to suspect one of the two men as the killer, but this is hardly focused on.

Another shot of a gay pride parade in Berlin is included, but is this to make it known that The Visitor is a gay film?

Additionally, a statue of two men is shown in several scenes for seemingly no other reason than to reinforce that the film is gay-themed.

The Visitor is a simple story of two men finding each other, which is a nice message, but the film’s run time is a brief seventy minutes, hardly enough time for character development.

A muted, videotaped look does not help the film seem very professional, and seems downright amateurish as an entire film, so much so that I would not be surprised if a film student might have made The Visitor (2011).

2011 Films, Amanda Seyfried, Catherine Hardwicke, Gary Oldman, Julie Christie, Leonardo DiCaprio, Lukas Haas, Shiloh Fernandez, Thriller, Virginia Madsen

Red Riding Hood-2011

Leave a comment

Red Riding Hood-2011

Director Catherine Hardwicke

Starring Amanda Seyfried, Gary Oldman, Julie Christie

Scott’s Review #477

70167073

Reviewed September 10, 2016

Grade: B-

I was hesitant to see Red Riding Hood (2011) in the theater because it seemed like more of a rental to me.

While it is far from high art, it is an above-mediocre thriller riding the current popularity of the vampire-lite genre.

It tells the tale of a teenage girl living in a medieval village that is being attacked by a mysterious wolf. The wolf, however, is human at times.

The fact that it stars young actors known in current American cinema, it is unsurprising that a love story is written.

I thought the movie was decent, but not great. The whodunit is good as we wonder who the wolf in disguise is, and the cinematography is excellent.

I bought the period’s authenticity.

Being treated to Julie Christie in a current film is always a treat, but at times the movie is quite sappy and Twilight-ish. It is directed by the same director Catherine Hardwicke so this is not surprising.

Overall, Red Riding Hood (2011) is not a bad watch.

2011 Films, Comedy, Dark Comedy, Independent, Independent Comedy, Jack Black, Matthew McConaughey, Richard Linklater, Shirley MacLaine

Bernie-2011

Leave a comment

Bernie-2011

Director Richard Linklater

Starring Jack Black, Shirley MacLaine, Matthew McConaughey

Scott’s Review #472

70189906

Reviewed August 30, 2016

Grade: C-

Bernie (2011) is a film that, surprisingly, received critical acclaim, as well as Golden Globe and Independent Spirit Award nominations, but I was left quite disappointed with it.

Categorized as a dark comedy, it contains a morbid premise, which is not the issue, I just did not find it very good overall.

Despite being a true story of Bernie (Jack Black) marrying and murdering millionaire Marjorie Nugent (Shirley MacLaine) in Texas, the film is not compelling and is written too over the top.

Inexplicably, the townspeople refuse to believe Bernie’s obvious guilt.

To be fair, the film does contain a few funny and interesting moments and was based on factual events, but I didn’t feel connected to this movie as much as I expected and honestly found it a bit dull.

Jack Black is impressive as the title character but only because it is a departure from his usual slapstick film roles. I don’t get the accolades being heaped on him for his performance.

Shirley MacLaine and Matthew McConaughey are capable of the parts written for them, but one-note characters.

Meh.

Independent Spirit Award Nominations: Best Feature, Best Male Lead-Jack Black

2011 Films, Crime Thriller, Emile Hirsch, Gina Gershon, Independent, Independent Thriller, Juno Temple, Matthew McConaughey, Thomas Haden Church, Thriller, Tracy Letts, William Friedkin

Killer Joe-2011

Leave a comment

Killer Joe-2011

Director William Friedkin

Starring Matthew McConaughey, Emile Hirsch

Scott’s Review #450

70209632

Reviewed July 14, 2016

Grade: A-

Killer Joe (2011) is a must-see for any fan of director Quentin Tarantino because this small, independent, gem of a feature is worth checking out.

Tarantino’s films influence the film in style, characters, and violence. The violence mixed with humor, wit, and great writing is stamped on the film.

Surprisingly, given the influence of another director, Killer Joe is directed by William Friedkin, who is a very acclaimed filmmaker in his own right. Classics such as The Exorcist (1973) and The French Connection (1971) were created by this talent.

Matthew McConaughey owns Killer Joe and he has thankfully graduated from silly, fluffy, romantic comedies to smart, delicious roles in independent films of late. He has come to be a respected Hollywood actor.

His lengthy nude scene is daring for such an A-list actor.

The film is satirical, without being too campy, and the setting of a suffocating, trailer-trash, Texas town is extremely well done.

I loved the violent and gruesome fried chicken dinner table scene the best.

I especially liked the overall food references throughout the film which adds even more macabre comedy to this dark (on the surface) film.

Independent Spirit Award Nominations: Best Male Lead-Matthew McConaughey

2011 Films, Emily Blunt, Independent, Independent Romantic Comedy, Lynn Shelton, Mark Duplass, Romantic Comedy, Rosemarie DeWitt

Your Sister’s Sister-2011

Leave a comment

Your Sister’s Sister-2011

Director Lynn Shelton

Starring Emily Blunt, Rosemarie DeWitt

Scott’s Review #448

70211043

Reviewed July 9, 2016

Grade: C+

Your Sister’s Sister is a small, 2011 independent film, with a central cast of only three characters- the two sisters mentioned in the title and a young man (Mark Duplass), who is a rival for their affections.

The story tells of a love triangle, of sorts, between two sisters and one man. I admire the improvisational method that is used in the dialogue, ala Robert Altman style, where the characters merely have conversations and discuss issues rather than a structured dialogue.

This works well in the film.

The standout is Rosemarie DeWitt (“Mad Men”). I also enjoy the remote, cabin setting, which makes for a claustrophobic experience.

Emily Blunt’s performance, though, seems bland to me and I did not find her character rather relatable.

The ending of the film leaves everything up in the air and no clear conclusions are drawn, something I could see coming from miles away.

I admired the style of Your Sister’s Sister (2011) but was unsatisfied with the outcome.

Independent Spirit Award Nominations: Best Supporting Female-Rosemarie DeWitt

2011 Films, Drama, International, International Drama, Muhammet Uzuner, Nuri Bilge Ceylan, Turkish

Once Upon a Time in Anatolia-2011

Leave a comment

Once Upon a Time in Anatolia-2011

Director Nuri Bilge Ceylan

Starring Muhammet Uzuner

Scott’s Review #445

70189288

Reviewed July 4, 2016

Grade: B+

Once Upon a Time in Anatolia is a Turkish film that, circa 2011, has received notice and recognition during awards season.

The film is very slow-moving and requires some patience, but it is worth the effort and I found myself savoring the experience by the end.

It is a cerebral, thoughtful experience about life and human nature and is philosophical in its message. The main characters reflect on their lives while searching for a mysterious dead body in the plains of Turkey in the middle of the night.

The cinematography is wonderful and some of the camerawork is amazing.

It’s quite a unique film.

The only drawback is its extremely slow pace, but upon its conclusion will leave you pondering for some time.

No bombs and no car chases are involved, just honest, truthful dialogue.

Independent Spirit Award Nominations: Best International Film

2011 Films, Documentary, German, Pina Bausch, Wim Wenders

Pina-2011

Leave a comment

Pina-2011

Director Wim Wenders

Starring Pina Bausch

Scott’s Review #426

70209134

Reviewed June 21, 2016

Grade: C-

Pina (2011), a documentary, is a dedication to famed German choreographer Pina Bausch.

Unfortunately, the documentary and the way it is made is a major disappointment.

I respect that Pina is a tribute to a talented artist, but as a documentary itself, it is a complete bore. I learned nothing about the art of dance or Pina Bausch herself.

The entire one hour and forty-five minutes (quite lengthy by documentary standards) consists of a troupe of dancers performing a series of numbers with little or no explanation of what they are doing or what the dances mean.

Mixed in with the dances are brief snippets of commentary from the dancers expressing how sorry they are that Pina Bausch has died.

Nice tribute, but any viewer attempting to learn about the art form or artist is left clueless.

Oscar Nominations: Best Documentary-Feature

2011 Films, Documentary, Lee Hirsch

Bully-2011

Leave a comment

Bully-2011

Director Lee Hirsch

Scott’s Review #419

70181711

Reviewed June 19, 2016

Grade: B+

Bully is an informative and topical 2011 documentary on the bullying problem that has plagued the United States in recent years and has thankfully received more attention as a result.

Shockingly, bullying has resulted in several suicides, which the documentary addresses.

The documentary mainly deals with a handful of bullied students and tells their individual stories. Unfortunately, too often teachers and school administrators either do not take the issue seriously or attempt to squander the matter to avoid more attention, according to the documentary.

Bullying is a nationwide problem in the United States.

I only wish the producers had chosen to focus some attention on the actual bullies for accountability, but surprisingly they did not.

This point was almost completely glossed over and only the victims were featured.

It would have been interesting to hear the perspective from the bully’s standpoint. Do they have issues at home causing them to bully? Are they bullied by others?

Regardless of this flaw, Bully (2011) is a well-made documentary that should be seen by anyone with kids, especially all teachers and school administrators.

2011 Films, Drama, Fabrizio Rongione, French, Independent, Independent Drama, International, International Drama, Jean-Pierre Dardenne, Luc Dardenne, Thomas Doret

The Kid with a Bike-2011

Leave a comment

The Kid With A Bike-2011

Director Jean-Pierre Dardenne, Luc Dardenne

Starring Thomas Doret

Scott’s Review #416

70189306

Reviewed June 18, 2016

Grade: B

The Kid with a Bike is a small French film from 2011 that has received acclaim and recognition worldwide.

The film tells the story of a troublesome young boy abandoned by his struggling father and various dramas that unfold.

I found the film somewhat disappointing as I expected a bit more than I was given.

Throughout the very short one hour and twenty-seven-minute run-time the young boy broods and defies either authority or his caregivers, or fights with various people he encounters as he attempts to find his father.

The boys bond with a local hairdresser who takes him in and is interesting, but her motivations are not made clear other than being kind.

Why would she take in a strange kid? We do not learn all that much about this character and that is a shame.

There is one element towards the end of the film that was shocking and well done, but overall I expected something a bit deeper from this movie given all of the praise surrounding it.

Independent Spirit Award Nominations: Best International Film

2011 Films, Alan Alda, Ben Stiller, Brett Ratner, Casey Affleck, Comedy, Eddie Murphy, Gabourey Sidibe, Judd Hirsch, Lowest Rated Films, Matthew Broderick, Michael Pena, Nina Arianda, Téa Leoni

Tower Heist-2011

Leave a comment

Tower Heist-2011

Director Brett Ratner

Starring Ben Stiller, Eddie Murphy

Scott’s Review #160

70202145

Reviewed August 29, 2014

Grade: D

Tower Heist (2011) is a completely formulaic, by-the-numbers comedy with absolutely no surprises or, frankly, creativity.

It tells the story of a luxury high-rise apartment manager named Josh Kovacs, weakly played by Ben Stiller and set in New York City, whose favorite tenant, a businessman named Arthur Shaw, played by Alan Alda is arrested for involvement in a Ponzi scheme.

The entire staff’s pensions have been squandered, thanks to Josh entrusting Shaw with the funds, and he strives to return the money to the rightful owners via a team of staff and an ex-con, played by Eddie Murphy. They team up and attempt to locate millions of dollars hidden in Shaw’s apartment.

If this film was a starring vehicle with Ben Stiller in mind, it was done horribly. He has been much funnier in There’s Something About Mary (1998) or Meet the Parents (2000).

Tower Heist has some similarities to the film Ocean’s Eleven (2001) since the score is recognizable and mirrors that film. The band of players is similar to that film and the look of it reminds me of it too.

Murphy plays a silly, stereotypical role, and zero chemistry exists within the group striving to retain the money.

There is also no chemistry between Stiller and Tea Leoni, who plays an FBI agent with a phony Queens accent that I found laugh-out-loud bad.

Nothing worked in this film since it was one tired gag after another and completely predictable.

I will admit that the two minor positives in Tower Heist were Alan Alda who it’s always great to see him in films, and the interesting choice of a luxurious high-rise setting with cool, ritzy interiors taken from real buildings in New York City.

Otherwise, Tower Heist (2011) is a complete dud.

2011 Films, Drama, Esai Morales, Harmony Santana, Independent, Independent Drama, Judy Reyes, LGBTQ+ Drama, LGBTQ+ Films, Rashaad Ernesto Green

Gun Hill Road-2011

Leave a comment

Gun Hill Road-2011

Director Rashaad Ernesto Green

Starring Esai Morales, Harmony Santana, Judy Reyes

Scott’s Review #138

70167100

Reviewed July 27, 2014

Grade: A-

Gun Hill Road (2011) is a very small, independent film set in the Bronx, New York, hence the title, which is a famous street there.

It tells the story of a Hispanic family, the father, Enrique, (wonderfully played by Esai Morales) being recently released from prison and adjusting to clean living.

His wife Angela (Judy Reyes) has moved on emotionally and physically, and his teenage son Michael (Harmony Santana) is going through a sexual identity crisis and defines himself as a female.

Each of the three characters is sympathetic and motivation well understood.

The most interesting facet of the film is the father/son relationship as Enrique must eventually come to terms with Michael’s sexuality and gender definition, which is not portrayed as easy in the Latino community.

There is a rawness and realness to this film.

Gun Hill Road is a dysfunctional family drama, character-driven, sometimes difficult to watch, and quite captivating, though the ending is slightly disappointing, as events were left open-ended.

Santana was nominated for the 2012 Independent Spirit Award for Best Supporting Female.

I only wish this film had received wider recognition and acclaim, as it’s a marvel.

Independent Spirit Award Nominations: Best Supporting Female-Harmony Santana

2011 Films, Drama, Éric Toledano, François Cluzet, French, International, International Drama, Olivier Nakache, Omar Sy

The Intouchables-2011

Leave a comment

The Intouchables-2011

Director Olivier Nakache, Eric Toledano

Starring Francois Cluzet, Omar Sy

Scott’s Review #135

70232180

Reviewed July 26, 2014

Grade: C

The Intouchables (2011) is a French comedy-drama that tells the story of a wealthy, intelligent quadriplegic man named Philippe (Olivier Nakache), who hires a poor, angry black man, named Driss (Omar Sy), who is uninterested in the position, as his caregiver.

The film is a story of their bond and friendship and is a buddy movie.

What starts as simply an employer/employee relationship turns into something much deeper.

The Intouchables received rave reviews and was a huge hit in France, but, for me, it disappoints, and I am not getting the love for this movie.

I found the message and theme of the story dated- yet another film about a wealthy sophisticated white man taking a working-class, volatile black man under his wing and the black man helping him achieve some sort of self-fulfillment.

The Blind Side (2009) and Driving Miss Daisy (1989) have done this before along with countless other films.

Yes, they become close friends, but the stereotypical racial dynamic is prevalent. How many more times must this dynamic be shown in modern film?

This is not to say that the film is poorly made. The relationship between the two men and the mixtures of each of their respective cultures is charming and, at times, heartwarming.

The way that Driss helps Philippe garner the courage to meet a woman he has been having a letter-writing relationship with is nice.

The views of Paris are lovely and plentiful.

But, overall The Intouchables (2011) comes across as a stereotypical, safe, predictable film.