The Aftermath-2019

The Aftermath-2019

Director James Kent

Starring Keira Knightley, Alexander Skarsgard, Jason Clarke

Scott’s Review #940

Reviewed September 13, 2019

Grade: B-

The Aftermath (2019) is a heavily melodramatic post-World War II period film riddled with cliches and poor plot setups, but is nonetheless a moderately enjoyable experience.

With a marginal romantic triangle in play and good-looking stars, this can only go so far, as predictability soon sets in.

Exquisite to look at, with a bright and lush European ambiance, the picture is easy on the eyes but lacks a good story or surprises. The film will be forgotten before long.

The period is 1945, and the murderous war is still fresh on the minds of all affected, and animosity remains between the English and the Germans.

Rachael Morgan (Knightley) arrives in Hamburg during the bitter winter season to reunite with her British husband, Lewis (Clarke), who is tasked with helping to rebuild the decimated city.

The Morgans reside with a handsome German architect, Stefan (Skarsgard), and his teenage daughter, Freda. Resentment exists between the four since a German-caused explosion killed Morgan’s son.

Both positives and negatives are contained within the film.

The casting of Knightley, Skarsgard, and Clarke brings professionalism and A-list sensibility so that the viewer is keen to be watching a glossy Hollywood affair.

The offering of a robust romantic triangle is not fair to say, since from the moment Rachael and Stefan meet, they can barely take their eyes from one another.

As if this is not enough, the largely absent Lewis leaves plenty of alone time for Stefan and Rachael to watch each other lustfully. Nonetheless, Knightley and Skarsgard share great chemistry.

The time and setting are also well done. The gorgeous German house in which Stefan and his daughter reside feels both grand and cozy, complete with a piano and enough open space to go along perfectly with the snowy and crisp exterior shots.

The coldness mixes with the fresh effects of those ravaged by war. Music is played frequently, and a female servant dutifully waits on all the principals during dinners and desserts, adding classic sophistication to the film.

So, the look of it all is quite lovely.

Despite the elements outlined above, the story is a real weak point of The Aftermath. It is riddled with cliché after cliché and seems to want to take a page out of every war romance imaginable. Rachael at first loathes Stefan simply for being German, despite clearly being in lust with him.

Her constant gazes into the distance (thoughtfully pondering what, we wonder?) grow stale, and the product is just not very interesting.

A silly side story involving Freda’s boyfriend being involved in Werwolf, a Nazi resistance movement, seems unnecessary and merely a way to momentarily cast suspicion on Stefan.

The film is plot-driven rather than character-driven, and this makes the characters less than compelling.

The final sequence, set on a train platform as Rachael, Stefan, and Freda eagerly decide to steal away into the sunset and begin a new life together, is standard fare. Lewis, the odd man out, is a bit too okay with the circumstances of Rachael and Stefan’s passion to be believed.

The farewell scene is stolen from the superb 2002 classic Far from Heaven and is nearly identical in every way.

Marvelous to look at and nurturing a slight historical lesson within its bright veneer, The Aftermath (2019) is a soap opera story-telling of a romance between two individuals who are not supposed to fall in love.

The film has pros and cons and is an okay watch, mainly because the talented cast raises it slightly above mediocrity, adding some measure of realism and avoiding it from being a disaster.

Recommended for anyone who adores melodrama mixed with a classic period piece.

IT: Chapter Two-2019

IT: Chapter Two- 2019

Director Andy Muschietti

Starring James McAvoy, Jessica Chastain, Bill Hader

Scott’s Review #939

Reviewed September 11, 2019

Grade: B+

A companion piece to the first chapter, named It (2017), and an adaptation of the famous and chilling 1986 novel by horror novelist Stephen King, It: Chapter Two (2019) is a successful culmination of the vast story and will please many fans.

A box-office hit mixing straight-ahead horror with the supernatural, and a tad of adventure mixed in, the film is to be appreciated in many ways, though I slightly prefer the first chapter by measure.

Set in present times (2016), twenty-seven years after the first film took place, the Losers’ Club kids are now nearing middle age, in their forties.

The most prominent characters in the group, Beverly Marsh (Jessica Chastain), Bill Denbrough (James McAvoy), and Richie Tozier (Bill Hader) are summoned by childhood chum Mike Hanlon to return to the sleepy town of Derry, Maine, after a series of murders begin at the summer carnival.

Each of them, except for Mike, has fled the small town and found success in bustling cities, living prosperous lives.

Because of a promise made as kids, the entire group reunites except for Stanley Uris, who chooses to fatally slit his wrists in a bathtub rather than return and face evil Pennywise the Clown (Bill Skarsgard).

The six members wrestle with their demons and past mistakes while Pennywise takes the form of human beings and objects to terrorize the group, providing imagined and frenzied scares. At the same time, they scramble to perform a Native American ritual to destroy the beast.

It isn’t easy to write a successful review of It: Chapter Two as merely a stand-alone film since the two chapters are meant to be one cohesive, long film.

Filmed at the same time, the pacing and continuity are what make the experience an enjoyable one. The key is the interspersing of many scenes, a hybrid of childhood and adult sequences, which gives the film a cohesive package.

This style is a treat for viewers who have seen the first chapter two years ago. After the hoopla dies down, patient fans would do well to watch both chapters in sequence in back-to-back sittings for an undoubtedly pleasant experience.

Director Andres Muschietti wisely places focus on the characters so that the film is character-driven rather than plot-driven, a risk with anything in the horror genre.

Each of the six adults resembles the six kids in physical appearance, which makes the story believable. A major strength is the focus on each character individually, both in the present and in the past. Each faces insecurity, guilt, or mistakes, making them complex.

At a running time of two hours and forty-nine minutes, the film can take its time with character exploration and depth.

A nice add-on and deviating slightly from the King novel is a modern LGBTQ presence. It is implied (though I admittedly missed this when I saw the film) that Richie (Hader) is either gay or wrestling with his sexuality.

The pivotal final scenes depict Richie’s undying love for his lifelong friend Eddie, as one saves the other’s life only to sacrifice his own. The fact that the love is unrequited or unrealized is both sad and heartbreaking.

The gay-bashing opening sequence of Adrian Mellon and his boyfriend is quite a difficult watch, as is the lack of any comeuppance for their perpetrators, but the scene is faithful to King’s novel.

It is also a jarring reminder that in 2019, small towns are not always the safest place for the LGBTQ community, as far too often, small towns breed small minds.

The film could contain more jumps and scares than it does, and teeters a bit too long in the overall running time. While the focus on the character is excellent, the final climax and the battle with Pennywise are a slight letdown and feel predictable.

The film is not scary in terms of horror but does have nice special effects and visual razzle-dazzle, especially concerning Pennywise. The creepy clown is less frightening than in the first chapter, but perhaps this is due to becoming more familiar with him.

A treat for eagle-eyed fans is the cameo appearance by legendary author Stephen King. As a cantankerous pawn shop owner, he sells Bill the relic bicycle he had enjoyed in his youth.

For bonus points, Muschietti treats fans to a scene including filmmaker Peter Bogdanovich, who cameos as the director of the film based on Bill’s novel.

It: Chapter Two (2019) offers good entertainment and will please fans of the horror genre and the famous author, as the film is very faithful to the novel.

As a modern horror experience, the film is a solid win, though not without slight missteps. Superior in depth and character development to most films in the same vein, it is a film to be enjoyed and appreciated.

My Fair Lady-1964

My Fair Lady-1964

Director George Cukor

Starring Audrey Hepburn, Rex Harrison

Scott’s Review #938

Reviewed September 6, 2019

Grade: A-

Winner of the Best Picture Academy Award (it would not have been my choice), My Fair Lady (1964) is a good product that is based on the stage version, in turn, based on the famous 1913 stage play Pygmalion by George Bernard Shaw.

The musical’s central negative aspect is its casting choices. Hepburn and Harrison have only mediocre chemistry, and Hepburn does not sing. However, the film is enchanting and filled with lavish sets, colorful costumes, and earnest songs, making it entertaining for the whole family.

The iconic Eliza Doolittle (Hepburn) and Henry Higgins (Harrison) are household names to every fan of the musical genre.

Set in London, sophisticated and arrogant Professor Higgins, a scholar of phonetics, is intent on proving that the tone and accent of one’s voice determine one’s lot in society.

As an experiment, he chooses flower saleswoman Eliza, with her horrid Cockney accent, and is determined to crown her duchess of a ball.

Unaware of his scheme but soon to find out she has been had, romance eventually blooms as the song “I’ve Grown Accustomed to Her Face” becomes essential.

My Fair Lady is quite the epic, with a runtime of two hours and fifty-two minutes, which is lofty for a film.

The misty London setting adds layers of mystique and atmosphere, and the cinematography drizzles with color and pizzazz, making the overall content look fantastic.

Because of the length of the film and the magnificent trimmings, the production looks like a spectacle, reminiscent of the elegant extravagance of the 1950s and 1960s, when musicals made into films were grand and robust.

It’s no wonder this helped it win Best Picture, Best Director, and many other awards. Hollywood loves this film.

When dissected and analyzed, social and class systems are a large part of the film amid the cheery singing, dancing, and big-screen bombast. Social status and hints of socialism pepper the production, rising way above the fluff it could have been if just a “boy from the good side of the tracks meets girls from the wrong side.”

Eliza’s father, Alfred (Stanley Holloway), a waste collector, is also an opportunist. He sings his story during “With a Little Bit of Luck.” The differences between the “haves” and the “have nots” are evident.

Since the chemistry is limited, I never bought Harrison and Hepburn as a romantic duo. The teacher/student angle somewhat works, though always bothersome, but Henry’s self-assured behavior and superior attitude make him tough to root for.

The controversy surrounding the film includes the decision to dub nearly all of Hepburn’s singing with another singer’s voice. This devastated the actress and cost her an Academy Award nomination. Her snub is especially jarring, given the dozen other nominations it received.

The story is heartwarming and follows the like-minded theme of a hero rescuing a damsel in distress. Hints of Cinderella (1950) and even Pretty Woman (1990) glisten, with only a hint of male chauvinism that does not ruin the experience or reduce the film to a dated guy film, as with Pretty Woman.

“I’m an Ordinary Man” describes how women ruin men’s lives and are not the most progressive or female-friendly of all the numbers.

My Fair Lady (1964) is a film from the past that begs to be viewed on the big screen so that all its qualities can be enjoyed. Like Lawrence of Arabia (1963), it is best viewed in a wide-angle, enormous theater setting to ensure that all its aspects are noticed and enjoyed.

It’s a Hollywood film done tremendously well. Young viewers would be wise to be exposed to this film to delight in the cinematic treats.

Oscar Nominations: 8 wins-Best Picture (won), Best Director-George Cukor (won), Best Actor-Rex Harrison (won), Best Supporting Actor-Stanley Holloway, Best Supporting Actress-Gladys Cooper, Best Screenplay Based on Material from Another Medium, Best Scoring of Music-Adaptation or Treatment (won), Best Sound (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Costume Design, Color (won), Best Film Editing