Monthly Archives: June 2018

1941 Films, Alan Mowbray, Alexander Korda, Drama, Gladys Cooper, Laurence Olivier, Romantic Drama, Vivien Leigh

That Hamilton Woman-1941

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That Hamilton Woman-1941

Director Alexander Korda

Starring Laurence Olivier, Vivien Leigh 

Scott’s Review #779

Reviewed June 27, 2018

Grade: B+

That Hamilton Woman (1941) is an obscure, black, and white gem that stars legendary actors and real-life couple Vivien Leigh and Laurence Olivier.

Providing a story of an old-fashioned style romance, war battles, and dazzling cinematography, the film succeeds as a classic film that should be better remembered than it is.

The overall theme here is a tragic love story with a sad ending.

One of the best aspects of That Hamilton Woman is witnessing the super-couple team of Leigh and Olivier act opposite one another. The actor’s talents are reason enough, but it makes a fascinating viewing experience.

The curiosity of the pairing of big stars in their heyday is a delight and highly appealing, and both actors do not disappoint. One wonders whether they were acting or otherwise enjoying the experience.

Lady Hamilton begins with a jarring scene in which the title character, Emma Lady Hamilton (Vivien Leigh), is thrown into debtor’s prison after stealing booze in France.

The rest of the story is told via flashbacks as she regales her fellow prisoners with how she ended up in her current state. Her former life starkly contrasts Emma’s appearance as a young woman with hope, promise, and riches.

It is hard to imagine how her life turned out so severely, which gives the film quality of intense intrigue.

The film then has a “riches to rags” element as the story is reversed. Full of energy, British Emma moves with her mother to the Kingdom of Naples, where she marries the affluent (and much older) Sir William Hamilton (Alan Mowbray), presumably for his money.

When handsome Admiral Horatio Nelson (Olivier) appears on the scene, the pair fall madly in love. They face tremendous hurdles, however, as the war rages on and each is unfaithful to their respective spouses.

Since the film was made scarcely two years after the epic romance Gone with the Wind (1939), one cannot help but compare Leigh’s portrayal of Emma to Scarlett O’Hara.

Emma comes across as a British version of the southern lass, especially as she is clad in gorgeous gowns or romancing men.

However, as the film develops, she becomes a much more sympathetic character and certainly less of a vixen. Still, there are plenty of similarities for viewers to draw from.

The role of Lady Frances Nelson (Gladys Cooper) is completely one-note, so the rooting value is never doubted. The film intends for the audience to be in the corner of Emma and Horatio, and that said, Cooper does a fantastic job of making her character completely unlikeable. Her icy, vengeful spirit perfectly complements the sympathetic lead characters. The fact that Horatio and Emma are adulterers, especially for the year the film was made, is not fully explored.

To be critical, the video quality is not the greatest, presumably because the film is old. If the film had been in color, the gorgeous Italian landscapes and Leigh’s lovely costumes would have appeared even more lavish and picturesque.

However, due to the film’s age, not much can be done about it unless it is decided to repackage the disc or make it a Blu-ray offering.

Still, the film frequently features southern Italy’s luminous mountains and lush oceans, which is a real treat.

Purely a showcase for newlyweds Olivier and Leigh to dish their real-life romance for mainstream audiences, That Hamilton Woman (1941) must have been a big deal at the release.

While suffering from lackluster film quality, the story is quite hearty, featuring romantic scenes, loud, bombastic battle scenes, and a bit of British and Italian history.

Sadly, this film is largely forgotten, but it is a good watch for fans of the legendary stars.

Oscar Nominations: 1 win-Best Sound Recording (won), Best Art Direction-Interior Decoration, Black-and-White, Best Cinematography, Black-and-White, Best Special Effects

1998 Films, Andrew Scott, Bryan Cranston, Drama, Epic, Giovanni Ribisi, Jeremy Davies, Matt Damon, Paul Giamatti, Steven Spielberg, Ted Danson, Tom Hanks, Tom Sizemore, Vin Diesel, War

Saving Private Ryan-1998

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Saving Private Ryan-1998

Director Steven Spielberg

Starring Tom Hanks, Tom Sizemore

Scott’s Review #778

Reviewed June 26, 2018

Grade: A

Famed director Steven Spielberg does not always get his due respect. This is usually because, for better or worse, he has become synonymous with the “blockbuster” film, drawing comparisons to either lightweight fare or films of “lesser” artistic merit.

His 1980’s works- Raiders of the Lost Ark (1981), E.T. the Extra-Terrestrial (1982), and Indiana Jones and the Temple of Doom (1984), were enormous commercial successes, though I enjoyed all of the films.

During the 1990s Spielberg continued to direct “popcorn flicks” such as Hook (1991) and Jurassic Park (1993), with large studio budgets, but with somewhat less critical acclaim.

Finally, he was able to change many opinions with 1993’s Schindler’s List and the war film to end all war films, Saving Private Ryan (1998), an epic, profound experience.

Both received numerous Oscar nominations and success at the box office.

The film is a tremendous treat for nothing other than the riveting opening sequence alone (more about that later). If that is not enough to impress, Saving Private Ryan is known for infusing a very graphic element into the war film- with no letting up from the brutality.

Spielberg does not water down this picture, instead shows the pain and angst of war. The film is helped tremendously by the casting of Hollywood superstar Tom Hanks, who leads an enormous cast of mainly young men.

Saving Private Ryan opens with a prologue- in present times a veteran brings his family to visit an American cemetery at Normandy. Flashbacks then take the audience back to the Omaha Beach debacle in 1944, where American troops faced deadly German artillery attacks in France.

After the horrific three-day D-Day, it is learned that three of the four Ryan sons have died in the events. Captain Miller (Hanks) is ordered to bring a team of men to Normandy and bring the fourth Ryan son (Matt Damon) to safety.

Spielberg’s opening D-day sequence is just astounding and propels the film to unforgettable status. With a running time of twenty-four minutes, the riveting and horrific slaughter of American soldiers is intensely brought to the screen.

Audiences undoubtedly sat open-mouthed (I know I did!) as bullets riddled the beach and left soldiers killed or with limbs torn off. The camera-work is brilliant as the use of a shaky technique, almost documentary style is used for effect.

Successful is this sequence at promoting an anti-war sentiment while not glorifying the combat at all. The scene will stay with its audience for years to come.

Saving Private Ryan can be compared to the decades later Dunkirk (2017) in that each film took the war genre and turned it upside down.  The similarities between the films start with the obvious- the main events in both films are during World War II, the same week, and the French beach settings making the films perfect companion pieces.

Both films feature a gray, rainy setting with many horrific moments of death and suffering. The war film is a common genre that has historically teetered on predictability and over-saturation, but both films do something completely different and unexpected, yet mirror each other in style.

To counter-balance the violence in the opening sequence, a quiet scene is created and remains one of my favorites. The scene contains almost no dialogue throughout the seven-minute duration and is pivotal to the entire film.

As a typist realizes that three letters of death are to be delivered to the same family, a woman on a mid-west farm quietly washes dishes and is calmly horrified when she sees a government car approaching.

What else can this mean but that one of her sons is dead? The poor Mrs. Ryan will be told that she has lost not one, but three sons.

How utterly unimaginable and the scene is incredibly touching!

The best part of Saving Private Ryan is that Spielberg provides a deep level of sentimental vision combined with the terrible atrocities of war. He portrays not only the violent effects of the battles on the soldiers but also the surviving families.

This is not always done in war films, at least not to the level that Spielberg chooses to.

With such a film as the startling Saving Private Ryan, Spielberg turned the war film genre inside out. Breaking barriers with a no-holds gusto, Spielberg influenced war films for years to come- Black Hawk Down and Enemy at the Gates (2001) are prime examples, and received acclaim from fellow directors for his interesting techniques.

Saving Private Ryan (1998) was an enormous financial winner at the box office, proving that great films don’t have to be watered down to find an audience.

Oscar Nominations: 5 wins-Best Picture, Best Director-Steven Spielberg (won), Best Actor-Tom Hanks, Best Screenplay Written Directly for the Screen, Best Original Dramatic Score, Best Sound Effects Editing (won), Best Sound (won), Best Art Direction, Best Cinematography (won), Best Makeup, Best Film Editing (won)

2017 Films, Alicia Silverstone, Barry Keoghan, Bill Camp, Colin Farrell, Horror, Independent, Independent Horror, Independent Thriller, Nicole Kidman, Raffey Cassidy, Thriller, Yorgos Lanthimos

The Killing of a Sacred Deer-2017

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The Killing of a Sacred Deer-2017

Director Yorgos Lanthimos

Starring Colin Farrell, Nicole Kidman

Scott’s Review #774

Reviewed June 15, 2018

Grade: A

For fans of Greek director Yorgos Lanthimos, who created such disturbing and bizarre films as 2009’s Dogtooth and 2015’s The Lobster, The Killing of a Sacred Deer (2017) will be a treasure.

As with those films, the odd story and the peculiar acting styles are prevalent, making the film quite the experience.

I relish the film and its unusual nature. It offers a cinematic experience that is insightful, mesmerizing, extreme, and, quite frankly, brilliant.

Steven Murphy (Farrell) is an esteemed cardiac surgeon who “befriends” a troubled teenage boy named Martin (Barry Keoghan), whose father had died years earlier as a result of Steven’s negligence.

They fall ill when Martin slowly insinuates himself into Steven’s family life. Martin threatens to kill the entire family unless Steven kills either his wife Anna (Nicole Kidman) or one of his two children- the victim can be of his choosing.

The creepy premise is enormously intriguing as the conclusion cannot be foreseen.

A basic yet deep storyline is wonderfully spun, with many possible plot directions.

After forty-five minutes or so of the audience wondering why Steven and Martin meet secretly in diners, hospital corridors, or other remote areas, the teen boy’s true motivations come to the surface as he rapidly and calmly puts his cards on the table for Steven.

Surprisingly, none of the characters are particularly sympathetic.

One would assume that the Murphy family- wholesome, affluent, and astute, would garner audience support, but we slowly peel back the onion on each character.

With a gorgeous house in a quiet Cincinnati neighborhood, Steven and Anna (a doctor herself) are sometimes harsh and physical with their kids. In contrast, the kids (Bob and Kim) develop a strange fascination with Martin.

In this way, each character is peculiar and has dire motivations as the plot unfolds.

Lanthimos is quietly becoming one of my favorite new directors. He slowly churns out one disturbing film after the next. His clear Stanley Kubrick influences bubble to the surface, particularly in The Killing of a Sacred Deer.

The score is crisp with uniqueness, with plodding and sudden bombastic classical music pieces eliciting emotions like surprise and terror from the audience.

From a visual perspective, fans of Kubrick will no doubt notice the long camera shots and slowly panning camera angles. The hospital’s long and foreboding hallways are prominently featured as we follow a character walking along the corridors.

This is highly reminiscent of the Overlook hotel sequences in the 1980 Kubrick masterpiece, The Shining.

One particularly jarring nuance in the film is the speech patterns of most of the actors—clearly dictated by Lanthimos and also present in 2015’s The Lobster.

The character of Steven talks very quickly but with a monotone delivery and in a matter-of-fact style; Kim and Martin also speak this way. I didn’t notice the quality as much with Kidman’s Anna, but Farrell went to town.

I’m not sure this works throughout the entire film since the mannerisms give off almost a comical element.

This uniqueness makes the film more quirky and decidedly non-mainstream, which is to be celebrated.

The climax of the film is brutal.

As Steven brandishes a loaded shotgun, the family gathers in their family room, Anna fussing over her new black dress. As the group dons pillowcases, Steven goes Russian roulette-style on the family, randomly firing a shot until one member is killed.

When the remaining family members see Martin at the diner the next day, they give him icy, hateful looks.

The entire scene is done without dialog and is tremendously macabre.

Rest assured, I am eagerly awaiting Lanthimos’s next project (reportedly already in the works) and hope against hope he continues to use the superb Colin Farrell, the brilliant Nicole Kidman, and newcomer Barry Keoghan again.

Thanks to tremendous acting, a riveting score, and enough thrills and creeps to last a lifetime, The Killing of a Sacred Deer (2017) is at the top of its game.

Independent Spirit Award Nominations: Best Supporting Male-Barry Keoghan, Best Cinematography

2017 Films, Alec Secăreanu, British, Drama, Francis Lee, Gemma Jones, Ian Hart, Josh O'Connor, LGBTQ+ Drama, LGBTQ+ Films, Romantic Drama

God’s Own Country-2017

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God’s Own Country-2017

Director Francis Lee

Starring Josh O’Connor, Alec Secareanu

Scott’s Review #773

Reviewed June 13, 2018

Grade: B+

God’s Own Country (2017) is a British, romantic, LGBT-themed drama directed by Francis Lee, making his directorial film debut.

The setting is farming land in the Yorkshire (northern England) territory, making the film quite lovely to watch, and the pace is slow. Lee does not rush the story’s pace either, so it mirrors the slow life that farmers must endure.

The film is somewhat autobiographical of Lee’s own life.

The connection and chemistry between the two leads are palpable, and the love story is endearing. It is awe-inspiring to see two cultures come together and merge as one.

The film is a nice watch and an above-average story, making it worthy of LGBT audiences worldwide. Those who believe in true love and find their soulmate will be deeply satisfied.

Twenty-something Johnny (Josh O’Connor) lives a dull existence on his father’s farm in remote Yorkshire, England. His grandmother (Gemma Jones) also lives there, and due to his father’s recent stroke, the farm’s success is in question. Johnny is depressed, drinking regularly, and engaging in sexual encounters with men.

Romanian migrant worker Gheorghe (Alec Secareanu) is hired to help, and the two young men eventually fall in love. After some ups and downs in their relationship, they decide to live on the farm together and presumably live happily ever after.

God’s Own Country is a rich story of romance, and the only real obstacles that Johnny and Gheorghe face are internal struggles.

In a unique fashion for LGBT films, neither of the men are necessarily unhappy with their sexual identities, nor do they face hurdles by other characters because of their sexuality. Gheorghe faces harassment because he is Romanian and deemed an “outsider”.

Besides Johnny’s grandmother and perhaps his father, no characters seem aware that the men are a couple.

The cinematography is gorgeous and a perfect backdrop for the love story. The farm is lush with spacious green rolling hills for miles and miles.

The family raises lamb and cattle, and more than one scene features a beautiful birth and the nuzzling of the parent to the newborn baby. Sadly, one birth is also a breach, which is tough to watch.

The themes of life and birth perhaps mirror the feelings and emotions that Gheorghe and Johnny experience- new love.

Throughout God’s Own Country, I frequently drew comparisons to arguably the most mainstream and revolutionary film in LGBT history- that of 2005’s Brokeback Mountain.

Both films feature similar elements of animals, farming, and the outdoors. Additionally, commonalities like loneliness and loss are heavily featured. Finally, the rough-and-tumble, machismo-fueled wrestling scenes that result in rough sex between the men are used in both Brokeback Mountain and God’s Own Country.

Both films could be companion pieces.

The film does not delve too much into the back story of the main characters; at least, I did not catch many mentions. Admittedly, viewing the movie on DVD with no closed captioning or subtitle capability made capturing all of the dialogue difficult.

Especially with English and cockney accents, this was made doubly challenging. Regardless, both men are lonely, even despondent, but why? What happened to Johnny’s mother? Where are Gheorghe’s parents or his family?

Upstart Francis Lee carves a quiet, thoughtful, yet compelling story of unexpected love that develops between two lonely men in a remote area of the United Kingdom.

God’s Own Country (2017) paints a nearly perfect experience, slow, yes, but featuring exceptional acting from both leads and the two supporting turns.

The film is recommended for those seeking a poignant and fulfilling love story.

2004 Films, Camilla Rutherford, Drama, Eileen Atkins, Gabriel Byrne, Jim Broadbent, Julian Fellowes, Period Drama, Reese Witherspoon, Rhys Ifans, Romantic Drama

Vanity Fair-2004

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Vanity Fair-2004

Director Mira Nair

Starring Reese Witherspoon, James Purefoy

Scott’s Review #772

Reviewed June 12, 2018

Grade: B

An adaptation of the classic 1848 novel written by William Makepeace Thackeray, Vanity Fair (2004) softens the traditionally unlikable and roguish character of Becky Thatcher quite a bit.

This proves not to be the smartest move as the character, now more of a heroine is watered down and forever changed, as is this film adaptation.

Reese Witherspoon (Becky) drew harsh criticism for her starring turn, but I do not think she is so bad, and the costumes and set designs are wonderful and quite the highlight of the resulting period piece.

In 1802 England, we meet Becky Sharp, a young woman who has just graduated from a School for Girls and been sent to work as a governess. Because her father, a talented painter, is impoverished, Becky is cast aside as lower class and deemed undesirable to anybody upper class- the men she is most interested in.

Despite her reputation as a tart, Becky aspires to marry rich and frequently gets into trouble with her shenanigans and smart tongue while romance blooms with the handsome Rawdon Crawley (Purefoy).

The story is supposed to encompass Becky’s life from approximately age eighteen through her mid-thirties (though Witherspoon never appears to age) and displays her trials and tribulations, her loves and losses through the years.

We follow her from rural England to London and Belgium, eventually residing in Germany, reduced to working in a casino, where the film concludes.

The film is a treat as the various countries as they appeared in the nineteenth century, and the wars and battles occurring during this period are featured making for an interesting history lesson.

The main appeal should be Becky Thatcher since the film revolves around her, and numerous criticisms were thrown around accusing the film of casting Reese Witherspoon in the important and demanding role based on her star power at the time.

In 2004 Witherspoon was experiencing enormous film success after 2001’s Legally Blonde and 2002’s Sweet Home Alabama- admittedly fluff films- but securing her box office power nonetheless. These films undoubtedly led to her being cast in the pivotal role, but I thought the star was perfectly adequate and gave Becky appropriate humor and zest.

Based on Witherspoon’s “girl next door” persona and the fact that she just looks like a good character- perplexing the decision to cast her if filmmakers wanted to be true to the character.

Witherspoon was delicious in 1999’s Election as villainous Tracy Flick, a role of a lifetime. But that is the exception and not the standard.

But I digress- the bottom line is that while she is a capable actress, she does not give the gritty performance that many were expecting to be true to the character in the novel.

The rest of Vanity Fair is just mediocre as far as the story goes.

While the antics of Becky are both humorous and dramatic, her rooting value in the romance department does not come across in the 2004 film offers- not enough chemistry exists between the leads to warrant much support.

Opinions abound that other incarnations of Vanity Fair are far more superior and compelling than this film is, but I have yet to see any.

Compliments must be reaped on the costume department and the art direction- both are superior. Such threats are the lavish and colorful costumes and gowns that mark the time. From the classic style hats and highfalutin dresses featured in ball after ball, this aspect is nearly enough to recommend a watch over the dull story and immeasurably the highlight of the entire film.

Vanity Fair (2004) is considered a messy travesty to those well-read enough to have turned the pages of the classic novel. Since I have not yet read the book, perhaps I enjoyed the film slightly more than I should have, but alas, I did not find the casting of Witherspoon as Becky nor the overall product to be drivel as many did.

I recommend the film for the gorgeous visual treats if nothing else.

2017 Films, David So, Drama, Independent Drama, Justin Chon, Simone Baker

Gook-2017

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Gook-2017

Director Justin Chon

Starring Justin Chon, Simone Baker

Scott’s Review #771

Reviewed June 11, 2018

Grade: B+

Gook (2017) is an independent film drama starring and directed by the rising talent Justin Chon.

Although the film is made on a very limited budget, it delivers a powerful story with a particularly jaw-dropping final sequence that I did not see coming.

If I am being an honest critic, the film drags at times and is not wholly attention-grabbing, but the wrap-up is exceptionally done.

The film’s use of black-and-white filming and a poor, ethnic Los Angeles set is winning, and it is proof that Chon is becoming someone to watch in the years to come.

The time is 1992 amid the soon-to-be-ending Rodney King police brutality trial- news stations and radio programs are abuzz with developments.

The intensity and racial strife are in the air as the trial is reaching its controversial conclusion, resulting in tumultuous riots across Los Angeles.

Two Korean American brothers, Eli (Chon) and Daniel (David So), attempt to keep their deceased father’s shoe store alive in a predominantly African American neighborhood.

The twenty-something men bond uniquely with eleven-year-old Kamilla (Simone Baker), the younger sister of their nemesis, Keith (Curtiss Cook Jr).

I was immediately struck (and impressed!) by the clever use of black-and-white cinematography, which I was not expecting from a film with such a small budget. This technique added grittiness and texture to the spread-out city and enhanced the film’s beauty.

There is something so lovely and peaceful about the juxtaposition of the shoe store’s location in a rather remote area with the looming violence and brutality of some of the film’s roughest scenes.

The harshness of the apparent racial slur title that Chon chooses, Gook, is both shocking and brave, immediately grabbing one’s interest and piquing curiosity.

This wisely sets the tone for the entire film, and viewers will certainly not mistake it for a feel-good affair. Sure, there are some light moments of banter between Kamilla and the brothers, but the conclusion of the film brings a painful reminder of how precious life really is.

Yes, the film is uneven, but that should not be a surprise with a movie that teeters around student filmmaking territory. This is hardly a slight, but merely a mention since Chon is so new at his craft.

For example, the pacing is very bizarre. While most of the film moves at a sleepy, whimsical pace, the aforementioned final sequence moves in breakneck fashion. When a terrible, accidentally self-inflicted gunshot wound sends one character to the emergency room, the speed at which the scene occurs is strange in comparison to the rest of the film.

The highlight of Gook is a tremendous, humanistic element.

The earnest and endearing relationship between Eli and Kamilla really shines through the ugliness of other components. Since the young girl comes from a broken home led by her tyrannical older brother, Keith, she has no father figure to speak of.

To compensate for what she lacks, she spends a great deal of time with the brothers helping out at the store.

Naturally, she bonds closely with Eli, whose father (presumably murdered) is not on the scene either, so they really embrace each other. Eli serves as Kamilla’s big brother, and their scenes are crisp with good dialogue and emotional pizzazz.

Another nice touch that Chon provides with his creation is an instance where the first scene is the same as the last scene- Kamilla doing a ceremonial dance amid the burning storefront.

The final scene is more meaningful and powerful than the opening scene since, by this time, the audience knows Kamilla’s fate.

It is another shining example of Chon’s artistic talent.

Props must be given to a talented up-and-comer in the cinematic scene. Justin Chon is an actor, director, creator, and all-around talented performer.

Gook (2017) is far from perfect and suffers from choppy story-telling and erratic elements, but is impressive in the good qualities it brings to the big screen.

Celebrating young filmmakers is fun, encouraging, and necessary to ensure that ambitious ideas are embraced.

Independent Spirit Award Nominations: 1 win-Kiehl’s Someone to Watch (won)

1979 Films, Action, Bernard Lee, Desmond Llewelyn, James Bond, John Glen, Lewis Gilbert, Lois Chiles, Lois Maxwell, Richard Kiel, Roger Moore

Moonraker-1979

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Moonraker-1979

Director Lewis Gilbert

Starring Roger Moore, Lois Chiles

Scott’s Review #770

Reviewed June 8, 2018

Grade: A-

Moonraker (1979) is an installment of the James Bond film franchise not usually well regarded and rarely appearing on critic’s top ten lists.

Perhaps a reason for this is the timing of the film, hot on the heels of the late 1970’s Star Wars craze. Plans for a different Bond film were scrapped in favor of an outer space story.

Regardless, I adore most of Moonraker, save for the final thirty minutes when the plot gets way too far-fetched for anyone’s good.

The rest of the film is a superior entry and holds up quite well in the modern age of all things Bond.

Many of the familiar elements remain intact following the successful and lavish The Spy Who Loved Me (1975). An even heftier budget featuring gorgeous locales like Venice, Rio de Janeiro, and the Amazon rain forest is featured as well as a capable, intelligently written “Bond girl”.

The villains, compelling and suave, including the return appearance of Jaws (Richard Kiel), and handy, dandy gadgets make Moonraker a treat for fans.

Therefore, I find the non-love for the film rather mystifying.

The action starts when a jumbo airplane carrying a Drax Industries Moonraker space shuttle is hijacked in midair causing the plane to crash and the shuttle to disappear.

Since the space shuttle was on loan to the United Kingdom from the wealthy and powerful Hugo Drax (Michael Lonsdale), 007 (Roger Moore) is tasked with finding its whereabouts. He visits the grand shuttle-manufacturing plant in California where he learns that Drax and his bodyguard Chang are sinister and plotting global destruction.

Bond befriends the gorgeous and highly intelligent Dr. Holly Goodhead (Lois Chiles), an astronaut who works at the facility, and Corinne Dufour (Corinne Clery), the beautiful personal pilot of Drax.

As events roll along Jaws returns to the story seeking revenge on Bond and subsequently serving as Drax’s new bodyguard.

Of course, treasured favorites like M (Bernard Lee), Q (Desmond Llewelyn), and Miss Moneypenny (Lois Maxwell), return to the fold.

To explain the weakest portion of the film first, producers were attempting to capitalize on the tremendous success of 1977’s Star Wars by featuring a space exploration theme.

Only in the final half-hour does this come into play as Bond and Goodhead, and nearly all the cast, don bright yellow spacesuits. Drax’s evil plan is to eradicate all humankind and begin a new world with only beautiful people existing and reproducing.

The inevitable final battle scenes take place in a sprawling space station amid laser guns shooting bright beams- a direct rip-off from Star Wars.

The entire sequence is too long and quite reminiscent of my criticism of the tedious finale from the otherwise brilliant The Spy Who Loved Me, Moonraker’s predecessor.

Otherwise, the film is top-notch.

Fantastic sequences involve Bond’s mid-air fight with a bad guy and a dangerous struggle for a parachute, a fight scene high atop a Cable Car during Rio Carnival, vicious sparring in a Venice museum, and a female character chased and torn to bits by Drax’s carnivorous dogs, all make for great action sequences.

The highlight though may very well be Bond’s harrowing ordeal inside an out-of-control centrifuge chamber.

The return of Jaws is certainly a highlight to Moonraker especially as the popular villain turns “good” and finds a love interest! When he sees the cute blonde girl with pigtails and glasses, both character’s eyes light up in a “love at first sight” moment.

As Jaws realizes Drax’s plans for both of them to exterminate his alliances suddenly switch resulting in a touching scene between the two over champagne.

Moore and Chiles have tremendous chemistry as the MI-6 agent teams with the capable female CIA agent. Holly Goodhead is portrayed exceptionally well: female, intelligent, gorgeous, and savvy.

Impressive (and progressive) is how Goodhead takes charge as she and 007 make a harrowing journey back to planet Earth and then work nicely together to destroy Drax’s deadly missiles.

Sure the romance is there, but also the mutual respect between the two.

Fondly recalling childhood memories of watching this film numerous times, Moonraker (1979) holds good memories for me.

More importantly, it possesses wonderful Bond qualities that will enchant many Bond fans seeking fun and entertainment.

The film contains a ludicrous plot attempting to fit the times, but thanks to lavish sets and a competent main Bond girl, the film is quite memorable.

Oscar Nominations: Best Visual Effects

2017 Films, Ali Badshah, Animated, Nora Twomey, Saara Chaudry, Soma Chhaya

The Breadwinner-2017

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The Breadwinner-2017

Director Nora Twomey

Voices Saara Chaudry, Ali Rizvi Badshah

Scott’s Review #769

Reviewed June 7, 2018

Grade: B

Certainly, The Breadwinner (2017), a timely and politically charged story, provides relevance and a progressive women’s empowerment message.

This should be championed above all else and is recommended as a worthy watch for that reason alone.

The film itself is dark and not entirely a children’s movie or necessarily family-friendly, but rather a good lesson learned.

Dragging just a bit throughout, this is small compared to the overall story’s importance.

The animated feature is based on the best-selling novel by Deborah Ellis, which focuses on life in dangerous Afghanistan (circa 2001) under constant threat by Taliban rule.

Since women are not allowed to leave the house and any men daring to question the Taliban are either slaughtered, beaten, or arrested, the film is quite heavy compared to typical animated fare.

The Breadwinner’s main character is a likable eleven-year-old girl named Parvana. She lives in metropolitan Kabul, Afghanistan, with her father and sells items on the city streets to support the rest of the family—his wife, daughter, and male toddler.

Parvana’s older brother has died years ago.  Parvana’s father, Nurullah, is a former teacher left crippled by an injury sustained during the war.

When he is arrested, Parvana must disguise herself as a boy and work to support her family as she traverses the city with her best friend, Shauzia.

The animation is lovely and a definite high point of the film. The details look crisp and fresh- from the stark village houses to the vegetable stands and other more metropolitan aspects of the bustling cities, the film looks excellent and professional.

The flawless art direction and visuals aid in the believable nature of the story.

Another high point of The Breadwinner is the story’s substance; it is not fluffed, as is commonly seen in modern animated films.

Throughout the film, I knew that I was watching something of meaning. Parvana faces actual danger; if she is found not to be a young boy but instead a young girl, she could be beaten, raped, or worse.

Unwisely, early in the film, she becomes an enemy of a young, sadistic soldier who continues to resurface and threaten Parvana throughout the film.

More than a handful of frightening scenes occur, evidence that director Nora Twomey’s intentions are not for a family-friendly affair.

Given the subject matter at hand, this is a wise move. Toning down the violence and treachery of the Taliban would make the film feel insincere and dishonest.

Instead, because of the violent deaths and beatings that occur throughout, the film feels genuine and the characters’ emotions real.

If I were to point out a film, the Breadwinner suffers from an erratic approach.

I adore the straightforward aspects of the main story and enjoyed the survival instincts, female empowerment, and Parvana’s innocent friendship with Shauzia. However, the film goes in a different direction a handful of times as Parvana tells stories of a young man’s journey to retrieve seeds stolen from him.

Frankly, this slowed down the main plot, and one has little to do with the other, making them seem disjointed.

With a worthy and meaningful central storyline, how nice to feast one’s eyes on an artistic animated production so marvelously made.

The Breadwinner (2017) is a treat for animated film fans who yearn for something more intelligent than the standard “kid’s film.”

Perhaps not a perfect “A,” but something of quality nonetheless.

Oscar Nominations: Best Animated Feature Film

2017 Films, Documentary, Steve James

Abacus: Small Enough to Jail-2017

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Abacus: Small Enough to Jail-2017

Director Steve James

Scott’s Review #768

Reviewed June 6, 2018

Grade: B+

Abacus: Small Enough to Jail (2017) is a compelling documentary that received considerable attention after earning an Academy Award nomination.

The straightforward story never dulls or drags. It stays on point by telling a gripping courtroom-style legal thriller about a Chinese family’s struggle to keep their small banking business from criminal prosecution.

The documentary features the Sung family, led by patriarch Mr. Sung, who brought the family from China to start a banking business decades ago.

Since then, the family has set up roots in downtown New York City, launching a community-style bank to help people living and working in the Chinatown section.

The bank has become tremendously popular and culturally centered as a way to help struggling neighbors, and its business has thrived.

The Abacus Federal Savings Bank became the only one to face criminal charges following the mortgage crisis in 2009.

The documentary argues that this was because the larger banks were untouchable, and prosecutors desired to make an example of the banks because they were an easier target.

The documentary wisely presents both sides, featuring family interviews as well as the prosecutor’s arguments.

I found Abacus: Small Enough to Jail to move along quite smoothly and quickly. The documentary mainly focuses on the Sungs, who are all very driven people.

They reside in upscale Greenwich, Connecticut, and consist of a mother and father and three grown daughters in their twenties and thirties. The daughters are brilliant, and the entire family is intensely loyal to each other and their business despite scenes showing them bickering over trial strategies and takeout lunches.

The documentary mainly chronicles the prolonged five-year ordeal that the Sungs endured, involving a myriad of paperwork, trial dates, and other particulars. All the while, the family continues to uphold their business with gusto, but the trial takes quite a toll on the individuals, particularly the elderly patriarch.

It is tough to imagine anyone rooting for a bank, but that is the result.

Director Steve James is superb at portraying the Sung family sympathetically. There is never a doubt that he feels they have been victimized and sought after because they are a relatively easy target compared to the big boys of the banking world.

J.P. Morgan and Chase are deemed untouchable, which is a significant source of the problem and the film’s main objective to show.

Heartbreaking is a scene containing footage of at least a dozen or so Chinese bank employees being led to processing all chained together- chain gang style. This scene, shown relatively early in the documentary, cemented my support for the Sungs.

I asked myself, even if they were guilty, why the inhuman and racist treatment? When questioned about the poor treatment of the indicted, all the prosecution could muster was that it was “unfortunate,” hardly an apology.

The key element here and the main point of the story is that wrongdoing was committed, but the question asked is whether the Sungs knew about a few of their employees’ shenanigans, and I truly think not.

As the documentary explains, the jury had extreme difficulty reaching a concrete decision, which is why the trial dragged on and on. I asked myself, “If the large banks were bailed out with no prosecutions whatsoever, why should a mom-and-pop bank be targeted?”

Steve James creates an unexpectedly fast-paced piece. It is tough to do with dry financials, spreadsheets, and other banking-type particulars, but that is just what he does.

Objectively presenting the facts on both sides and offering many interviews and courtroom drawings, Abacus: Small Enough to Jail (2017) is a treat to view and captures a terrible time in United States history and how the undertones of racism still exist.

Oscar Nominations: Best Documentary-Feature

2017 Films, Barkhad Abdi, Benny Safdie, Crime Drama, Drama, Independent, Independent Drama, Jennifer Jason Leigh, Josh Safdie, Robert Pattinson, Taliah Lennice Webster

Good Time-2017

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Good Time-2017

Director Ben Safdie, Joshua Safdie

Starring Robert Pattinson, Ben Safdie

Scott’s Review #767

Reviewed June 5, 2018

Grade: B+

Every so often, an actor who is known for either making mainstream films or portraying a mediocre character risks being typecast.

Fortunately, actor Robert Pattinson, known chiefly as the heartthrob from the trite Twilight films, has been given the best career role. The actor hits the jackpot with a challenging and edgy performance in the fast-paced, independent crime drama Good Time (2017).

The film is a perfect ride, and directors Ben and Joshua Safdie successfully provide excellent tension and compelling action scenes (Ben even gives a worthy supporting performance as a mentally challenged character).

The overall tone of the film is that of an edge-of-your-seat experience.

As enjoyable and taut as the film is, a few minor criticisms must be mentioned below.

Good Time begins with Nick Nikas (Ben Safdie) being quizzed by a therapist. They are quickly interrupted by Nick’s brother Connie (Pattinson), who removes him from the facility so that he can assist with a bank heist.

When the attempt goes awry and Nick is arrested, Connie does his best to spring his brother from jail and then from the hospital following an altercation with another inmate. All the while, Connie must also evade the police as he forms a strange connection with a sixteen-year-old girl, Crystal (Taliah Webster).

The fun part of Good Time is that the film is fast-paced and filled with twists and turns. Taking place largely over the course of one night, we are compelled by Connie’s journey and wonder if he will outrun the cops.

Although it is a standard thriller, Good Time rises slightly above this ranking due to its wonderful New York City setting and numerous exterior scenes—this is a major plus.

The film’s look also garners props. With a slick yet gritty and grainy feel, the camera angles are quick and plentiful. This is a great tool to keep the action going at lightning speed, and the editing deserves kudos, too.

The intensity and tension run rampant throughout.

A good example is the bank robbery scene—as the teller disappears into the vault to get the requested amount of money, she takes what seems like an eternity to return, leaving the audience (and Connie) wondering if she has alerted the authorities.

Otherwise, the film is helped immensely by the acting performance of Pattinson, who owns the film. Having not seen him in anything before, I was surprised at how good he was.

I thought of him as more of a matinee idol than a serious actor, but I was proven wrong. Grizzled and temperamental but a decent guy at times, Pattinson’s Connie is loyal to a fault, putting his brother first and foremost.

Fans of Captain Phillips (2013) will be delighted to see Barkhad Abdi cast in the small yet pivotal role of an amusement park security guard.

Nominated for the Best Supporting Actor award for Captain Phillips, the Somali-American actor has found steady work in film since his acclaimed debut performance. In his role in Good Time, the character is instrumental in kicking off the final act that leads to the downfall of at least one other character.

A few minor but notable flaws (somewhat unnecessary) that Good Time contains are worth mentioning.

Perplexing to me is the casting of Jennifer Jason Leigh as Connie’s girlfriend, Corey. Decades older than Connie, Corey is written pretty much as a nitwit attempting to use her mother’s credit card to bail out Nick.

The film does not mention the age difference or provide much meat to the role—Jason Leigh deserves better than a throwaway role like this.

Otherwise, none of the female characters are treated exceptionally well. Connie frequently directs or shouts at either Corey or even Crystal, eliciting a slightly off-putting “man in charge” vibe.

Also, a gay slur uttered by Connie is thrown into a scene for seemingly no reason, which surprises me in 2017. Still, something makes the audience root for Connie while we still want him to get his punishment.

Good Time (2017) provides quality entertainment in a specified genre with good acting.

With a weird Ocean’s Eleven style (only with one prominent character), the bank robbery theme will satisfy those in the mood for a good heist film.

The film’s title is a mystery (is it irony?), and I’m not sure it works, but overall, it is a perfect watch.

Independent Spirit Award Nominations: Best Director-Safdie Brothers, Best Male Lead-Robert Pattinson, Best Supporting Male-Benny Safdie, Best Supporting Female-Taliah Lennie Webster, Best Editing