Monthly Archives: January 2019

2018 Films, Drama, Historical Drama, International, International Drama

Cold War-2018

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Cold War-2018

Director Pawel Pawlikowski

Starring Joanna Kulig, Tomasz Kot

Scott’s Review #861

Reviewed January 29, 2019

Grade: A

Every once in a long while, a modern film set in a different time embodies that era with such authenticity and grace that we forget that it was not shot when the story is told.

Cold War (2018) is one such film that dares to whisk the viewer to another world with genuine timelessness emboldened by the torturous romantic entanglements of its main characters.

Reminiscent of an Ingmar Bergman film shot in black and white, the film is lovely, tragic, and fraught with historical references. One can dissect the character nuances and atmospheric qualities encompassing the entire experience.

The film is a sum of its parts, with a painful layer of veneer immersed in all the various tidbits. Cold War contains almost no humor but rather doom and gloom.

Amid the ruins of post-World War II Poland, repressed and self-destructive musicians Wiktor (Tomasz Kot) and Zula (Joanna Kulig) forge an obsessive love affair and cannot stay away from each other despite the European cities and countries that stand in their way.

Spanning over a decade, they battle alcohol abuse, rage, and imprisonment as they traverse Poland, France, Berlin, and Yugoslavia.

Zula does obtain some success with her musicianship, but at a steep cost. She is forced to marry a hated man she does not love, many miles away from Wiktor. Still, their romance perseveres over time until the duo makes a fateful decision that leads to a profound climax.

The conclusion of the film is powerful, macabre, and emotional.

To state that Cold War is a tragedy is almost an understatement, though viewers will probably not realize this before watching the film.

When Zula auditions at a Polish house for the musically gifted and Wiktor accompanies her on the piano, sparks fly between them as they meet for the first time.

Zula appears to be a simple farm girl and sings a mountain song in duet with another girl. Spirited, Zula flirts with men but is forever drawn to Wiktor, and their chemistry runs rampant.

The direction, art direction, and cinematography are superb, offering a magnificent look to the film. The use of black-and-white filming gives the piece an immeasurably timeless quality, especially as streets and avenues in Paris emerge from time to time.

They could easily be 1950s France. The lovely halls where the pair performs add ambiance and effect, and musical treasures such as the melancholy main song, performed in multiple languages and tones, sparkle with culture.

With a runtime of only eighty-nine brief minutes, Cold War never feels rushed and compartmentalizes all that it needs to tell in this time period.

The story runs from 1949 until the early 1960s, and the film’s title is no mere accident. The historical reference is plain and obvious. The film also has a bleak and frigid quality in both its surroundings and its characters.

One worth mentioning is a rigid government man who complains that one girl in the chorus is “too dark”; the connotation is one of nationalism.

Multiple comparisons can be drawn to Pawlikowski’s masterpiece Ida (2014), one of which is that Kulig stars in both films.

In addition to the black and white shooting, both films feature a central female character that is tortured, a Nazi occupation of Poland or the after-effects of such an occupation, and the effects of repression or otherwise obsessive behavior featured in both films.

Pawlikowski is superb at crafting these damaged and conflicted characters in his films.

Director Pawlikowski successfully achieves a second Polish film offering that challenges his audiences with remarkable storytelling, a dark mood, and a reminder of the terrible effects of the aftermath of World War II and those left in its wake.

Psychological scars can wound as much as physical scars, as Pawlikowski proves in the characters he draws from and their doomed lives.

Cold War (2018) is an achievement in many ways and makes for a thoughtful conversation after the credits roll.

Oscar Nominations: Best Director- Pawel Pawlikowski, Best Foreign Language Film, Best Cinematography

2018 Films, Comedy, Drama, Romantic Comedy, Romantic Drama

Crazy Rich Asians-2018

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Crazy Rich Asians-2018

Director Jon M. Hu

Starring Constance Wu, Henry Golding

Scott’s Review #860

Reviewed January 26, 2019

Grade: B+

Crazy Rich Asians (2018), the romantic comedy smash of 2018, is a fun romp that is memorable because it centers on the Asian population, which is shamefully underrepresented in mainstream American cinema.

For this point alone, the film is recommended and worthy of praise, but otherwise, it is a standard genre film with gimmicks, stock characters galore, and a predictable conclusion.

The numerous cultural tidbits included must be mentioned, which raise the film above mediocrity.

Rachel Chu (Constance Wu) and Nick Young (Henry Golding) are a happily dating New York City couple; she is a New York University college professor, and he is an entrepreneur.

They fly to Singapore to attend Nick’s best friend’s wedding, which results in antics and anguish. Rachel realizes that Nick comes from an extremely wealthy family and is Chinese royalty, owning a multitude of lavish hotels and real estate.

Most of Nick’s family, especially his traditional mother Eleanor (Michelle Yeoh), disapproves of the pairing, viewing Rachel as a typical American who prioritizes passion over family.

Nick is a sought-after commodity among the single women of Singapore, and Rachel is forced to endure harassment and mockery at every turn. Her allies are Nick’s kind sister Astrid (Gemma Chan), Rachel’s outrageous college pal Peik Lin (Awkwafina), and her equally garish family.

The plot thickens when Nick’s scheming mother does a background check on Rachel and discovers a family secret.

Crazy Rich Asians is a formulaic romantic comedy with the standard situations and characters expected of a genre film. The rivalry between the good girl and her boyfriend’s domineering mother, the comic relief of the gay sidekicks as Peik Lin and another friend of Rachel’s, provides.

The caricatures of Peik Lin’s wild family, her unattractive brother fond of taking secret photos of Rachel, and Eleanor’s snooty, judgmental circle of female friends are all well cast yet one-dimensional.

It is perplexing why the filmmakers decided to make Nick only half Chinese rather than authentically Asian. Sadly, this may have been a reassurance that the film would be more marketable to mass audiences.

The film is presented as an Asian film, but it is an American film.

The storyline justification is that Nick’s father (surprisingly never seen) is British and that he and Eleanor met in college, only she being Chinese. Nick and Astrid’s English accents gnawed at me throughout the film.

Despite the myriad of cliches and manipulations, Crazy Rich Asians has a nice flow and offers a fun two hours. The film is flavorful with bright colors and visual spectacles of stylish and sophisticated Singapore and its modern and sleek nuances.

I adored the locales featuring the skyline and a rich overview of the robust and relevant city/country.

Fantastic is how the filmmakers add spices of traditional Chinese culture throughout the film’s telling, quickly becoming more of an ode to the good history. Nick’s grandmother, Su-Yi (Lisa Lu), takes pride in her excellent and artistic flowers, and Rachel is introduced to the art of dumpling making.

Crazy Rich Asians introduces a history lesson for those unfamiliar with ancient Chinese customs.

Flavorful inclusions of Mandarin Chinese language versions of American pop hits are also lovely additions, so the film has some tidbits to revel in other than the story.

Most songs reference money, such as “Money Honey” by Lady Gaga and “Rich Girl” by Hall & Oates.

The pacing of the film is nice. There is never a dull or dragging moment, and a nice balance of comedy and drama. Humorous is when Peik Lin provides Rachel with a costume makeover, ensuring she looks dynamic for the grand wedding, as she convinces her to fight Eleanor with fire.

Drama ensues when someone casts a dead fish on Rachel’s bed, and Eleanor spits that Rachel will never be enough for her son.

The film’s conclusion is predictable, resulting in a marriage proposal aboard a jet heading from Singapore to New York City. With a movie like Crazy Rich Asians, it is guaranteed that the couple lives happily ever after, riding off into the sunset in great defiance of Nick’s roots.

Due to the film’s success, a sequel is a solid bet, though I am also not betting the follow-up will be any good. Are romantic comedy sequels ever decent?

Filled with cliches, but satisfying most mainstream film-goers, Crazy Rich Asians (2018) creates a film with enough shards of Asian culture to at least get the Asian population on the map with a Hollywood production.

Although the film has a polished look and some stereotypes, it breaks no new ground other than good inclusion, and that is a start.

1987 Films, Drama, French, International, International Drama

Au Revoir Les Enfants-1987

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Au Revoir Les Enfants-1987

Director Louis Malle

Starring Gaspard Manesse, Raphaël Fejtö

Scott’s Review #859

Reviewed January 21, 2019

Grade: A

Au Revoir Les Enfants (1987), the English translation Goodbye, Children, is a powerful story of youth and friendship amid a French boarding school during the Nazi occupation of France.

As World War II rages on, Director Louis Malle crafts a tragic and poignant film that resonates on many levels, featuring both good and evil and the forever loss of childhood innocence.

The film is based on events Malle experienced as a child while attending a Roman Catholic boarding school.

At age eleven, he witnessed a Gestapo raid in which three Jewish children and a Jewish teacher were savagely rounded up and taken to the Auschwitz concentration camps and presumably to their deaths.

What a powerful and tragic event he faced, and he brilliantly transplants this into his film.

We meet young Julien Quentin (Gaspard Manesse) as he bids his mother farewell and takes a train to his boarding school after a lengthy vacation.

The headmaster introduces three new students, one of whom is of Julien’s age. Jean Bonnet (Raphaël Fejtö) is socially awkward but excels at mathematics and piano.

The boys initially dislike one another but slowly forge a powerful bond as they immerse themselves in a treasure hunt together. Julien soon discovers that Bonnet is Jewish, and the school is protecting him from capture.

The film is divided into two main stories: the troubled relationship and subsequent friendship between Julien and Bonnet, and the revelation that Bonnet is Jewish and the benevolence of the school officials toward the plight of Jews.

The latter gives Au Revoir Les Enfantes a socially relevant angle, as the audience begins to care deeply about Bonnet and the other Jewish boys who yearn for education and freedom.

Their innocence and confusion over being hated are effective and painful to watch.

The tyranny of the Gestapo is matched by the kindness and courage of the teachers who defy the anti-Semitic policies and admit Jewish students into the school under assumed names.

The teachers are the heroes of the story and largely unsung, as they yearn to give children of any religion a good education and a chance at happiness and fulfillment.

I would love to see schools feature Au Revoir Les Enfantes to their students as a lesson in bravery.

Any viewer who has visited France will readily assimilate into the country’s good culture and sophistication. Most scenes occur at the boarding school, where lessons are learned, and many students grow, but a favorite scene takes place at a gourmet restaurant.

As Julien and his mother lunch with Bonnet and others, the meals, staff, and ambiance exude French style and goodness, but among these luxuries also lies the constant threat of the Nazis as they bombard the restaurant and attempt to kick a Jewish man out of the establishment.

Malle wisely keeps the camera close to the faces of Manesse and Fejto, with a glowing quality that is both beautiful and haunting.

This results in many scenes that feature the boys’ expressions, including wonder, shock, intensity, and fear.

The young actors rise to the occasion and perform their roles flawlessly with a natural quality. The boys learn a myriad of valuable lessons, most notably that the world is unjust and full of unfairness.

Malle gives the finale more than enough power and angst to leave the viewer pondering the fates of the Jewish characters.

The Nazis undoubtedly sealed their fates; the hows and the whys are left ambiguous, eliciting powerful emotions.

Au Revoir Les Enfantes (1987) is a superb and relevant offering that depicts the pain and fear experienced by Jewish people during a tragic period of history. Told through the eyes of children, the film hits home as innocence is discovered and then lost.

The film was nominated for the Best Foreign Language Film Oscar but lost to Babette’s Feast (1987).

Oscar Nominations: Best Screenplay Written Directly for the Screen, Best Foreign Language Film

Independent Spirit Award Nominations: Best International Film

2017 Films, Thriller

Atomic Blonde-2017

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Atomic Blonde-2017

Director David Leitch

Starring Charlize Theron, James McAvoy

Scott’s Review #857

Reviewed January 19, 2019

Grade: B+

Atomic Blonde (2017) is a female-empowering action/spy film directed by David Leitch, a former stuntman. The film plays similarly to James Bond, but with the genders reversed.

The film is visually stylish, featuring dynamic music and cold, crisp location sequences of Europe.

The story is not the main appeal and cannot always be followed, but thanks to a great performance by Charlize Theron in the title role, the film is pleasant and recommended for fans of either the spy or action genres.

Based on the 2012 graphic novel The Coldest City, the film is set in Berlin in 1989, and its central theme is the collapse of the Berlin Wall amid a spy story and the Cold War backdrop.

A grizzled female MI6 agent, Lorraine Broughton (Charlize Theron), is quizzed about events that occurred during her recent time spent in the German city investigating the death of a fellow spy.

She recounts her mission via flashbacks and the whereabouts of a mysterious list that reveals the names of MI6 and KGB Russian agents. Lorraine deals frequently with David Percival (James McAvoy), an odd colleague who may or may not be trusted.

The plot and subsequent story are hardly the finer points of Atomic Blonde, and the title—a play on the words “atomic bomb”—is too cute to be taken seriously.

The novice director is a former stuntman, so one should not expect high art or exceptional writing material. The largest issue besides the plot holes and implausibility of the story is that it is not engaging. After thirty minutes of trying to ascertain who had “the list,” I gave up and tried not to follow too closely, instead enjoying the film’s other qualities.

Theron is well cast as bleached blonde vixen Lorraine—harsh as nails and badass. With icy eyes and a sneer that makes the most formidable opponents cringe, the actress has the charisma to make the role her own.

The tall and fit woman endures too many fight scenes to count, but her pizzazz and wherewithal make the character believable. Her toned physique is not dissimilar to that of her character in Mad Max: Fury Road (2015).

Bisexual, Lorraine has a brief romantic escapade with Delphine Lasalle (Sofia Boutella), a young French agent, until the woman is murdered.

Any advEuropean adventurer can be enamored for, logistically speaking, the exciting locales featured heartily in Atomic Blonde.

Sleek and modern, the photography and cinematography departments do a fantastic job of giving the film authenticity and audacity to reveal the terrific nooks and crannies the best cities offer.

Given the number of high-speed car chase scenes and a fantastic underwater sequence, London, Paris, and Berlin are all given their just due.

The feminist overview that Atomic Blonde possesses is worthy of praise. Able to tangle with the best of them, Lorraine takes no prisoners and is determined to battle until the end or until she is too bloody to fight back. She is tough yet sensitive and puts up with no nonsense.

Still, she has a heart, as evidenced by not only the violent death of her girlfriend and her subsequent reaction but also her calm despair at being unable to save a drowning man’s life. Lorraine’s calm and resilience, instead of over-dramatic emotional outrage, make her a character that has developed very well and is a role model for young women everywhere.

McAvoy is cute as a button as David adds comic relief and sly witticisms to many scenes. He often appears shirtless, exposing his lean and muscular physique. As a fan of sexual dalliances, he is both combative and flirtatious with Lorraine, though he never beds her.

A yin to her yang and sparring partners throughout, David is a nice addition to a cast containing mostly serious characters.

The 1980s-themed musical score features nostalgic songs peppered throughout the film, seemingly every few moments.

Atomic Blonde plays like a bold music video with intelligently penned songs, not disposable crap. The inclusion adds a genuine celebration of the decade of decadence crafted thoughtfully.

Treats such as the masterful “Voices Carry” by ‘Til Tuesday, “London Calling” by The Clash, and “Der Kommissar” by After the Fire is placed perfectly during relevant scenes.

With a ballsy lead character and enough action to envelope a nearly two-hour action thriller Atomic Blonde (2017) is a gift in the atmosphere and great ambiance. Forget bothering to deep-dive into the complex story too much- it isn’t worth it.

Admittedly, the coveting style over substance can be forgiven because the nice elements overshadow the negatives.

Atomic Blonde (2017) best serves as a kickback and enjoy the ride experience.

1945 Films, Drama

The Lost Weekend-1945

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The Lost Weekend-1945

Director Billy Wilder

Starring Ray Milland, Jane Wyman

Scott’s Review #856

Reviewed January 10, 2019

Grade: A

Billy Wilder, considered one of the most influential directors of the Hollywood Golden Age of cinema (the 1940s), created a masterpiece that tackles a storyline about social issues that has never been explored.

The Lost Weekend (1945) tells a tale of alcoholism and the desperation and degradation of a person with an addiction. Wilder bravely goes where no film had dared to go with astounding results.

The film was awarded several Academy Awards, including Best Picture, Best Director, and Best Actor.

Don Birnam (Ray Milland) plays a New York writer left alone for one hot summer weekend. His brother Wick (Philip Terry) and girlfriend Helen (Jane Wyman) are aware of Don’s drinking problem but leave for the weekend anyway when Don goes on a bender.

He spends each subsequent day desperate for liquor and in need of cash to purchase it. He resorts to theft and selling personal items out of desperation and the need for booze.

The story features flashbacks of past events, such as when he first met Helen and an embarrassing attempt to meet her parents for lunch.

The film is adapted from Charles R. Jackson’s 1944 novel of the same name. Although it is a dark story that can be categorized as a downer, the film does not paint a glamorous picture of the pains an alcoholic experiences or the lengths he will go to out of desperation.

Before The Lost Weekend was made, drunkard characters in the film were primarily portrayed as either bumbling or as comic relief, so this character study is a welcome departure from tradition.

Milland is perfectly cast and effectively relays the troubled and desperate Don. Handsome, well-dressed, and professional, he is not the stereotypical image of a drunk. Dressed in a suit and tie by all measures, he does not fit the bill of a desperate man but slowly begins his descent and spirals out of control.

This makes Wilder’s message more potent as he shows that alcoholism can afflict anyone, even professional, intelligent men. Milland, who resembles actor Jimmy Stewart, is supposed to be liked by the audience, eliciting a rooting factor even when he mistreats Helen. We want him to face his problems and recover.

Many glimpses of Manhattan are shown, and exterior shots are used plentifully. Wilder shoots the scenes as largely bleak and lonely, which aligns with the film’s overall feel.

Third Avenue looks desolate and isolated as we watch a desperate Don wander around and attempt to sell his typewriter for booze money. He is grief-stricken when he realizes that it is Yom Kippur weekend and the pawnshops are closed.

The camera remains firmly fixed on Milland, showcasing a range of powerful emotions throughout the film.

The Lost Weekend (1945) was a groundbreaking film at its release. It is a serious and detailed tale of the life and times of an alcoholic. With a superb acting performance by Milland, Wilder can darkly and frighteningly portray the world of a person with an addiction.

Decades later, the film is still mentioned as inspirational to other filmmakers who are creating works about alcohol abuse.

Oscar Nominations: 3 wins– Best Motion Picture, Best Director-Billy Wilder (won), Best Actor-Ray Milland (won), Best Screenplay (won), Best Scoring of a Dramatic or Comedy Picture, Best Cinematography, Black-and-White, Best Film Editing

1940 Films, British, Thriller, War

Night Train to Munich-1940

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Night Train to Munich-1940

Director Carol Reed

Starring Margaret Lockwood, Rex Harrison

Scott’s Review #855

Reviewed January 9, 2019

Grade: B

Night Train to Munich (1940) is a taut war thriller unique in the subject matter of World War II made before the war became full-blown and all the horrors not known.

The film is related to The Lady Vanishes (1938) and Alfred Hitchcock’s projects, which feature familiar crossover characters. The film’s final thirty minutes are spectacular in excitement and chase scenes. Still, the overly complex plot takes too long to develop, leaving me underwhelmed and bored for most of the experience.

In March 1939 a Czechoslovakian scientist, Axel (James Harcourt) is wanted for questioning by the Germa  Gestapo. Residing in Britain, they accost his daughter Anna (Margaret Lockwood) and throw her in a concentration camp.

She meets fellow prisoners and assumed ally Karl Marsen (Paul Henreid), who escapes with her to the safety of London. He is revealed to be a Gestapo agent assigned to gain her trust and question her father.

Finally, Anna meets undercover British intelligence officer Dickie Randall (Rex Harrison), who poses as a Nazi officer to take Anna and her father to safety.

The first forty-five minutes to an hour of Night Train to Munich are slow-moving, with a complicated and rather uninteresting plot. However, I am all for slow-moving films, provided the setup is there and the elements align correctly.

I felt shame because the cover art and title of the film suggested a more robust experience. I continued to ask, “Where is the train?” and “Where is the mountainous terrain and ski lift?” as pictured. These elements finally do arrive, but the wait is longer than necessary.

The fact that Karl and Dickie are similar in physical appearance and are both undercovers makes the average viewer a bit confused. Plus, it takes a while to realize who is playing for whose team, and since the film is related to The Lady Vanishes, I expected a bit more of the suspense and intrigue commonplace with a Hitchcock telling.

The core of the film is mediocre.

Yet the above criticisms can be almost forgiven when events kick into high gear and Night Train to Munich becomes an entirely different film.

A riveting train ride brings enormous treats and intrigue as Dickie, Anna, and Axel attempt to outwit Karl and escape before their train arrives n Munich. The fun becomes the cat-and-mouse game between the group when a secret note is hidden under a doughnut as they sip tea together and feign pleasantries in one of the film’s best scenes.

The ravishing mountaintop finale is breathtaking when Dickie attempts to transport everyone via a ski lift from Germany to the safety of Switzerland over perilously high mountains. The suspense reaches a boiling point when Karl and the Gestapo are hot on his heels.

As a wild shootout commences, we do not know whether those on the lift will be saved. A potboiler reaches a shocking crescendo as the seconds tick by.

For 1940, the sets and effects were awe-inspiring and believable rather than silly or staged.

The final segment introduces humorous characters from another film, The Lady Vanishes. A late entry into the story, nonetheless they breathe life into the script making it as suspenseful as much s a yarn. British gentlemen Caldicott (Naunton Wayne) and Charters (Basil Radford) add humor and sophisticated wit to aid the group’s successful escape.

I wondered if the pair were gay since the men appeared in The Lady Vanishes, and the esteemed director is known for slyly adding discreet LGBTQ+ characters into his pictures.

Slightly above a middling affair, Night Train to Munich (1940) has impressive moments and a startlingly good ending worth the price of admission.

The central portion of the film feels tired and overlong, with insufficient gravy to keep viewers caring for very long.

An interesting double feature would be watching this film alongside The Lady Vanishes for similar concepts and themes.

Oscar Nominations: Best Original Story

2018 Films, Best Feature- Independent Spirit Award Winners, Drama, Independent, Independent Drama, Romantic Drama

If Beale Street Could Talk-2018

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If Beale Street Could Talk- 2018

Director Barry Jenkins 

Starring Kiki Layne, Stephan James

Scott’s Review #854

Reviewed January 8, 2019

Grade: A

2018 proved to be a year where filmmakers of color prided themselves in telling stories of diversity, inclusion, social injustice, and the never-ending challenges of minorities.

One of the year’s best films is If Beale Street Could Talk (2018), a lovely piece of storytelling by director Barry Jenkins. His other major work, Moonlight (2016), is a similarly poignant and melancholy experience.

The film is based on a novel by James Baldwin.

The title is explained in the first dialogue of the film. Beale Street exists in New Orleans, but thousands of streets exist in other cities. It is a metaphor for discrimination and unnecessary struggles that black folks continue to endure.

Right away, the audience knows that an important story is to be told.

The wonderful part of If Beale Street Could Talk is the combined elements that lead to brilliance.

Tish Rivers (Kiki Layne) and Fonny Hunt (Stephan James) have known each other since childhood. Growing up in a Harlem neighborhood, their families are interconnected and community-centered.

Events begin in 1973 when Tish realizes she is pregnant. Ordinarily, a happy occasion, this situation presents a major challenge because Fonny is imprisoned for a crime he did not commit.

A woman has accused him of rape and a corrupt policeman has positively identified Fonny as the rapist despite this being a logistical impossibility. Tish is determined to prove his innocence before the baby arrives with the assistance of her family.

The story is non-linear. Jenkins begins the film in the present day with Tish breaking the news of her pregnancy to him and then notifying her family.

As the film progresses, more of Fonny and Tish’s love story is explored. The couple falls in love, has romantic dinners, and nervously makes love for the first time. In this way, the film becomes a tender story of young love.

The social injustice and family drama are carefully mixed amid the central romance.

The film impresses with warm touches, ingenious cinematography, and a musical score that left me resounding with pleasure at the intricate and intimate details. The frequent use of jazz music over dinner or as the Rivers family sips celebratory wine adds sophistication to many scenes.

The film’s texture is muted and warm, giving it a subdued look that is genuine to the quiet and timeless nature of the production.

A plume of cigarette smoke can be seen in nearly every scene, as most of the characters smoke. Since the period is the 1970s, the authenticity is there, and a glamorous image is portrayed.

Smoking enhances the sophistication of the characters and adds to the tremendous cinematography.

Several scenes of simple dialogue crackle with authenticity and passion. In one of the best scenes, Fonny’s friend Daniel, a recent parolee, stays for dinner, and the friends talk while consuming beer and cigarettes.

The lengthy scene is poignant and tremendous with meaning. Daniel recounts his experience in prison and how black men are victims of the whims of white men and the terror involved in that. The scene is powerful in its thoughtfulness and a foreshadowing of Fonny’s impending trauma.

The supporting characters are stellar and add to the bravura acting troupe.

Regina King as Sharon Rivers gives an excellent performance when she bravely travels to Puerto Rico and confronts Fonny’s accuser, hoping to get her to modify her story. The scene is laden with emotion and honest dialogue.

The other notable actors are Colman Domingo and Teyonah Parris, who play Tish’s father and sister, respectively. Both do wonders in fleshing out the Rivers family as strong and kind people.

Jenkins is careful to add benevolent white characters to offset the other dastardly white characters. An example is the kindly old woman who comes to the rescue of Fonny and Tish and berates the cop.

The Jewish landlord who agrees to rent a flat to the pair is portrayed as decent and helpful, and finally, the young lawyer who takes Fonny’s case is earnest and understanding.

If Beale Street Could Talk (2018) continues talented director Barry Jenkins’s plunge into the depths of being one of the modern greats. With a beautifully visual and narrative film, he creates an experience sure to win more fans.

The ending is moving yet unsatisfying, as there are so many more miles to go in the race for prison justice. Adapting an important story of race and repression based on skin color is a powerful and detailed affair.

I cannot wait to see what Jenkins comes up with next.

Oscar Nominations: 1 win- Best Supporting Actress- Regina King (won), Best Adapted Screenplay, Best Original Score

Independent Spirit Award Nominations: 3 wins- Best Feature (won), Best Director- Barry Jenkins (won), Best Supporting Female- Regina King (won)

2017 Films, Horror, Independent, Independent Horror

The Transfiguration-2017

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The Transfiguration-2017

Director Michael O’Shea

Starring Eric Ruffin, Chloë Levine

Scott’s Review #853

Reviewed January 7, 2019

Grade: B+

The Transfiguration (2017) is a quiet horror film and resoundingly peculiar vampire tale that borrows elements from similar genre pieces but adds fresh nuances to its story.

Some may feel the film is too slow-paced, but a terrific payoff and tremendous conclusion come with patience. In the independent horror field, and with a limited budget, the underlying message of teen loneliness and alienation comes through loud and clear.

The film wisely adds tidbits of classic film history, a special treat for horror buffs.

Fourteen-year-old Milo (Eric Ruffin) has been through much trauma in his young life. His father has died, and his mother has recently committed suicide. Milo resides in a crummy Brooklyn high-rise with his older brother Lewis (Aaron Moten), a depressed military veteran.

Milo has a horrific secret- he is convinced he is a vampire and habitually kills strangers by drinking their blood. When he meets troubled teen Sophie (Chloë Levine), the pair are inseparable, but Milo’s secret is threatened to be uncovered.

The bevy of neighborhood Brooklyn exterior shots are pleasing for those familiar with New York City locales. Like Beach Rats (2017), another recent coming-of-age story shot in Brooklyn springs to mind.

Many scenes of Milo and Chloe wandering around their neighborhood or riding the subway are featured, making the overall package feel authentic and not overly produced.

The Brooklyn beaches and skylines make frequent appearances.

The most compelling and frightening aspect of The Transfiguration is how convinced Milo is of his being a vampire. This leads me to think the writer is providing mental health education. The audience immediately knows he is delusional, but he truly believes.

Terrifying is this reality as, via flashback, we see Milo discovering his mother’s body, her wrists slit. As he gruesomely tastes her blood a sense of wonderment we wonder if this is his vampire discovery moment. Indeed, it is a defense mechanism, but it is nonetheless extreme behavior.

The character of Sophie is also worthy of discussion. With both of her parents deceased, she is sent to live with her abusive grandfather, who lives in the same building as Milo. We never see the character but know that he is vile.

In one scene, Sophie appears to be raped by a group of boys, and she yearns for a friend in Milo. As she slowly realizes his secret but incorrectly assumes he is writing a book, not killing people, she can look past this to belong.

Milo and Sophie desperately need each other.

Despite the macabre characterizations mentioned above, the film is not quite a downer. In the middle of the vampire story, there is a sweet and likable young romance between the two leads.

They have a genuine and heartfelt charisma and charm, and even the most straightforward conversations sparkle with appeal. The final sacrifice that one makes for the other is riddled with kindness.

Fans of classic horror will be delighted to see clips of the 1922 film Nosferatu and other gory cult classic films that Milo is obsessed with.

Innocently, he attempts to broaden Sophie’s exposure to vampire films- she thinks the Twilight films are masterpieces, much to Milo’s chagrin. This fun banter balances the dreadful main story plot.

Does Milo have rooting power? Despite a history of animal torture and human killings, he is a charming kid. He is tempted to kill both Sophie and a young boy in the park but resists this urge.

Ultimately, he also saves Sophie, ensuring she will have a better fate than him. The character is complex and a large part of The Transfiguration’s success.

Writer and director Michael O’Shea cleverly uses a side story of a gang of bullies to incorporate a dramatic and shocking conclusion with a fantastic twist.

Though tragic and flawed, Milo proves himself a hero by using an opportunity to punish and exact revenge on enemies while saving another character’s life.

In this way, he will undoubtedly gain sympathy from the audience.

The Transfiguration (2017) is a unique film that infuses character development and romance with a blend of horrific, blood-curdling moments, especially during “kill” scenes.

I hope this small film with no advertising budget receives enough word of mouth to gather a following or, at the very least, garner recognition for the up-and-coming director (O’Shea).

Independent Spirit Award Nominations: John Cassavetes Award

2018 Films, Drama, Historical Drama, Period Drama

Mary Queen of Scots-2018

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Mary Queen of Scots- 2018

Director Josie Rourke

Starring Saoirse Ronan, Margot Robbie

Scott’s Review #851

Reviewed January 2, 2019

Grade: B+

A period piece with all the trimmings for brilliance (on paper anyway), Mary Queen of Scots (2018) is a very good film, but its pacing misses the mark, preventing it from being a truly great film.

Fantastic acting and wonderful photography are the high points of an otherwise uneven experience, even if most of the components are intact.

This is not so much a total knock as a light critique, as the film is ultimately quite good and just missing the big oomph to take it over the top.

Saoirse Ronan stars as Mary Stuart, the likable Queen of France, who has returned to her native Scotland to reclaim the throne after her husband dies. Only eighteen years of age, she initially refuses pressure to remarry, but conflict ultimately ensues with Queen Elizabeth I (Margot Robbie), who rules neighboring England and Ireland.

The women admire each other from afar but develop a rivalry in power and love. To complicate matters, religious conflict, scandals, and deceit are also present in the story.

The feminist theme is inspiring and makes the film better than merely a soap opera of two rival females sparring over men.

In the mid-sixteenth century, women in control were hardly commonplace and relatively resented by the men forced to serve the “whims of women,” as one male character puts it.

Constantly showcased are males’ attempts at wooing the women in hopes of gaining power and ultimately the throne.

Still, director Josie Rourke (a woman) keeps the power firmly among the women, showing they can be as tough as they are sympathetic.

Furthermore, Mary Queen of Scots continues its progressive agenda with a startling LGBT subplot, which largely enriches Mary’s image.

One young androgynous male friend, presumably a bodyguard, frolics with Mary and other maids and confesses that he feels more like a sister than a brother to her. She accepts him wholeheartedly with an added message of “being your true nature.”

Later, the character suffers a terrible fate that devastates Mary. Regardless of the accuracy, this is a nice addition with an inspiring message.

The acting, particularly among leads Ronan and Robbie, is fantastic. Both young “it” women in Hollywood, the roles of Mary and Elizabeth, showcase their acting talents and chops for handling period piece roles.

Ronan, with flawless pale skin and authentic red locks, is beyond believable as Mary, who exudes strength yet kindness in the role she tackles. She can be stubborn but also fun and light, and Ronan has no trouble making the role her own.

Hot on the heels of playing the trailer trash character of Tonya Harding in I, Tonya (2017), Robbie hits it out of the park and does a one-eighty with the role of Elizabeth. Insecure and barren, afflicted with a skin disorder and a balding head of hair, the actress infuses the character with sensitivity and composure.

Robbie portrays her insecurity and yearning for unconditional love as she wears bawdy wigs and pancake makeup to hide her affliction.

Rourke’s mistake is not including more scenes of Ronan and Robbie together, save for one treasured scene at the end of the film. This is a wasted opportunity, as the treasured actresses could have played off each other’s talents in innumerable ways.

A knock-down, drag-out fight scene would have been a treasure to view.

The male characters do not leave much impact other than perhaps Lord Darnley (Jack Lowden), Mary’s bisexual second husband. As he betrays her on her wedding night with another man, Mary sees little use for him besides producing a child.

The handsome blonde actor adds some pizzazz, but is ultimately unlikable, as are the other similarly written men. Mary’s half-brother and Elizabeth’s advisor (Guy Pearce) are fine but ultimately underdeveloped.

Mary Queen of Scots (2018) is an effort to be commended for its female-driven and pro-LGBT stances. Perhaps unrealistic given the period and questions of historical accuracy looming over the entire film, problems with the production do exist.

The film ebbs and flows with some high moments and some looming blandness, but overall, it is to be respected and thereby recommended.

Oscar Nominations: Best Makeup and Hairstyling, Best Costume Design