Monthly Archives: July 2020

1979 Films, Best International Film Oscar Winners, Drama, German, International, International Drama

The Tin Drum-1979

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The Tin Drum-1979

Director Volker Schlöndorff

Starring David Bennent, Angela Winkler

Scott’s Review #1,047

Reviewed July 31, 2020

Grade: A

A fantastic and mesmerizing film experience that goes deeper than most films do, The Tin Drum (1979) takes a brutal moment in world history and turns it into a layered production.

The film brings humor morphing into tragedy and back again in the most original of ways, seen through the eyes of a young boy named Oskar (David Bennent), who decides to physically grow no further than three years old in an allegory of political turmoil amid World War II.

The film is riddled with thought-provoking themes and historical significance, resulting in brilliance.

The film begins in 1899 and ends in the early 1940s. The story hilariously opens in the Polish lands, where Oskar’s grandfather meets his grandmother while fleeing the police.

Their tryst in a potato field produces Oskar’s mother, Agnes (Angela Winkler). She is then later torn between two men, her cousin Jan (Daniel Olbrychski) and Alfred Matzerath (Mario Adorf), whom she marries.

Oskar is born into a situation where his parentage is in question, as Agnes continues to have an affair with Jan throughout the years. Oskar’s grandfather flees to America and becomes rich without family.

When Oskar turns three, he is given a tin drum as a present that he adores and refuses to part with. He throws himself down the cellar stairs, much to his family’s chagrin, and develops the uncanny ability to shatter glass by screaming at a high pitch.

As the 1930s become the 1940s, Oskar witnesses his mother’s affair, her tragic death, his father’s and uncle’s deaths, and a beloved Jewish man committing suicide rather than being caught by the Nazis.

He finds love with a sixteen-year-old shop girl named Maria and may or may not father her baby.

The Tin Drum is not always an easy watch and teeters between fun and frightening. Oskar is not the lovable kid next door that everyone adores. He is creepy-looking and unattractive at first glance, almost demonic.

Actor David Bennent is perfectly cast and has a way of offering moments where he stands transfixed, mouth dropped open, taking in the action and making gazing observations.

Oskar goes from three years old at the beginning of the film to a grown man by the end, but never changes his appearance.

Some viewers may be bothered by certain scenes. Bennent was only eleven years old and suffered from a growth defect in real life. More prudish viewers may find the youngster’s intimacy a bit shocking since he appears nude and beds a woman in full view.

I found it in no way gratuitous or exploitative and would argue that it is vital to show the growth and maturation of little Oskar.

International films typically get away with more sex and nudity than American films, but the scenes are artistic and beautiful.

The pacing in The Tin Drum is terrific. At two hours and forty-three minutes, there is plenty of time to explore relevant scenes and sequences, slowly letting them brew and marinate.

The comedy of Oskar’s grandparents’ sexual appetites beneath her big dress is hilarious and reminiscent of Federico Fellini’s best films.

The intriguing dwarf characters that Oskar meets and befriends bring life and zest to the film as they embrace their peculiarities and profit from them, encouraging them to do the same.

The second half of The Tin Drum turns dark.

Agnes, now pregnant, vomits after witnessing an eel being collected on the beach. When they are prepared for dinner, she at first resists, then embarks on a fish-eating obsession, resulting in her untimely death.

Is this an example of showing Germans stuffing themselves with Nazism? The deaths of Jan, Alfred, and others follow in rapid succession as clips of the Nazi occupation are featured.

A valuable history lesson is offered when The Tin Drum incorporates real-life footage of Adolph Hitler. Most frightening is a clip of him outside the Eiffel Tower in Paris. How he overtook this magical city and almost destroyed it is unfathomable.

This perfectly counterbalances the fairy-tale ridiculousness of other scenes, bringing home the terrible message that much of what the film explores is based on true events.

The greatness that oozes from The Tin Drum (1979) is layered and dynamic. The filming is mostly in West Germany, with some shots in Poland, which lends authenticity to the experience. Other offerings are surrealistic, sometimes child-like in innocence, sometimes tragic, and too realistic.

The picture drizzles with life, energy, synergy, and multi-faceted character relationships. One of the greats to watch more than once to grasp the numerous things going on.

The film is adapted from the novel of the same name by Günter Grass.

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

1979 Films, Horror, Slasher, Thriller

When a Stranger Calls-1979

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When a Stranger Calls-1979

Director Fred Walton

Starring Carol Kane, Charles Durning

Scott’s Review #1,046

Reviewed July 29, 2020

Grade: B+

When a Stranger Calls (1979) has the great honor of possessing one of the most frightening twenty minutes in horror film history, kicking the daylights out of the stunned and transfixed viewer from the first frame.

While still a very good film, the pacing slows and shifts into a different kind of film before kicking back into high gear for the final twenty minutes of action.

This results in some imbalance and imperfections throughout.

Carol Kane, Tony Beckley, and Colleen Dewhurst make the film as good as it is, and they are the standouts for me.

Teenage babysitter Jill Johnson (Carol Kane) calmly walks through an affluent California neighborhood for a quiet evening of watching two children.

The doctor and his wife are embarking on a night of dinner and a movie, and the children will be no trouble, Jill is told, since they are recovering from colds and are already fast asleep in their beds.

Shortly after they leave, Jill begins receiving odd phone calls from a man who asks, “Have you checked the children?” At first, assumed to be a practical joke, the calls become more menacing, prompting Jill to get the police involved.

Now terrified, Jill is told by the alarmed police to calmly get out of the house because the calls she is receiving are coming from inside the house!

She flees and is met head-on by Detective John Clifford (Charles Durning), who apprehends an English merchant seaman named Curt Duncan (Tony Beckley), who has ripped the children to shreds with his bare hands.

He is subsequently sent to an asylum, only to escape seven years later, prompting Clifford to hunt him down like an animal.

The film is sectioned into two segments and multiple genres. The beginning and conclusion are standard horror sequences, while the guts of the film delve into a psychological thriller or crime-drama territory, with similarities to Dirty Harry (1971).

Clifford spends much of his time trying to track down Duncan in a cat-and-mouse game throughout Los Angeles. Colleen Dewhurst plays a middle-aged woman who catches the eye of Duncan one night in a seedy downtown nightclub.

Director Fred Walton makes Clifford a hard-edged, grizzled detective who has seen it all and has no mercy for Duncan, intent on killing him rather than capturing him.

Durning is not the best part of the film, and the role might have been cast with a more charismatic actor.

Perplexing is what Duncan’s motivation is for killing others, other than simply being crazy, which is not a good enough explanation. Was he abused as a child? During some scenes, he is sympathetic, more like a wounded child than a crazed killer.

He wants a friend, whereas Clifford, the good guy, is sometimes unsympathetic and tough to root for.

With “deer caught in headlight’s eyes” expressions and emotions, Kane’s Jill is brilliant at using her eyes to great benefit. The audience feels her peril, fear, and panic during her scenes. When Duncan resurfaces looking for her again (though it’s not clear why he obsesses over her), her nice life, two children, and husband’s lives are all placed in jeopardy.

Dewhurst, who could have easily been cast as the lead in Gloria (1980), is tough as nails and no-nonsense, though she does feel sympathy and some attraction for Duncan.

In 1996, when Scream was released and provided the oomph that the horror genre desperately needed, thanks were justifiably given to When a Stranger Calls for its mighty influence.

The first twelve minutes of Scream (1996) are a direct homage to this film when a stranger calls (pun intended!), and the leading lady’s life spirals out of control due to a phone call and a menacing voice.

Parts of the opening sequence are influenced by Black Christmas (1974), a brilliant horror film instrumental in the making of so many others. The revelation that the killer is inside the house is a plot device that remains scary and satisfying.

Offering a cross-genre approach that works best with its terrifying horror elements, When a Stranger Calls (1979) is a sometimes terrific, sometimes uneven picture.

Thanks to compelling acting, the slowed-down middle portion does not ruin the entire experience, but what an erupting and memorable beginning and end.

Followed by an unsuccessful sequel and an even more disappointing remake in 2006.

2019 Films, Documentary, International, International Documentary, Macedonian

Honeyland-2019

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Honeyland-2019

Director Ljubomir Stefanov, Tamara Kotevska

Starring Hatidže Muratova

Scott’s Review #1,045

Reviewed July 27, 2020

Grade: B+

Honeyland (2019) is a crucial documentary for anyone who cares about the environment, or for those who don’t but should, to experience.

The setting is the rural mountains of Macedonia, an area probably on nobody’s radar, yet comes a terrific story, nonetheless.

The key takeaways that the filmmakers want the audience to grasp are those of greed, overindulgence, and the need for conservation to be a pressing issue, a worthy concern of utmost importance.

The piece has the honor of being the first documentary to be nominated not only for the Best Documentary Oscar but also for the Best International Feature award.

The need to receive dual nominations is a mystery to me, as the documentary is as straightforward as one can be, minus the need for any narration.

Unclear is whether this is the reason for both nominations. It won neither, losing to American Factory (2019) and Parasite (2019), respectively.

The focus is on a middle-aged woman named Hatidze, who lives in a cave in the village, caring for her elderly mother. Not only does she feed and bathe the bedridden matriarch, but she is also the keeper of wild bees in her village.

She periodically embarks on a journey into the city to sell honey that she collects from the beehives.

The honey is of top quality, and she can sustain a living based on a good reputation. A kind man even gives her a free fan to give to her mother, helping to keep the flies away during the intense summer heat.

One day, a rambunctious family of seven arrives to live next door to Hatidze. They are energetic and noisy, but she bonds with them, especially one of the sons. Hatidze teaches the father how to produce honey like she does and warns him to use only half of the honey, or else it will upset the bees and cause problems.

Needing money, the man is pressured to produce more and succumbs to the request, only to accidentally kill Hatidze’s bees, causing a rift in their friendship.

She is heartbroken and angry.

A few reasons to recommend Honeyland are the frequent camera shots that capture moments.

Reportedly, it took three years to film, and over 400 hours of footage were used to create an hour and a half of running time. The best scenes are gorgeously shot and feature Hatidze in close-up moments.

As she gazes into the sunset or prompts her mother to eat bananas for nourishment, the lines on her face express her myriad emotions. She longs to be married, a missed opportunity, and wonders how her life might have been different had she.

Hatidze’s village will be a novelty to most viewers, and she lives in a world that few viewers will have experienced. This is a compelling reason for viewers to explore this other world.

With no electricity, no water, no nothing, she makes do with what little she has and bears no ill will. The neighbors finally pack up and leave, exhausting their short-lived good fortune, and Hatidze is left alone to endure a hard winter.

When her mother finally dies, she succumbs to tears, the burden lifted from her, but with an endless feeling of grief and uncertainty.

Honeyland (2019) conveys a powerful message about the temptations of greed and the repercussions it can have on those who wish to live in peace.

It brings the viewer into a strange world, unfamiliar and dire to nearly everyone. It centers on one woman’s endurance, courage, and tenacity to live her life the only way she knows how, one foot in front of the other.

With gorgeous cinematography, the documentary is slow-paced and not an easy watch, but it mirrors the pace of life in the harsh Macedonian mountains.

Oscar Nominations: Best International Feature Film, Best Documentary Feature

Independent Spirit Award Nominations: Best Documentary

2019 Films, Arabic, Documentary, Independent, International, International Documentary

For Sama-2019

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For Sama-2019

Director Waad al-Kataeb, Edward Watts

Starring Waad al-Kataeb, Hanza al-Kataeb

Scott’s Review #1,044

Reviewed July 25, 2020

Grade: B+

The wonderful thing about documentaries is that a viewer can absorb and learn something they have not been exposed to and know little or nothing about.

Aware via news outlets of unrest in Syria, For Sama (2019) personalizes and humanizes the battles as the film chronicles the life of a young Syrian woman and her husband, both rebels, and he a doctor, with a young daughter born and raised amid the war-ravaged city of Aleppo from 2011-2016.

For Sama is horrifically brutal and unkind at times, but to soften the experience would be to do an injustice to those on the front lines living with war every day.

The viewer should see firsthand the inhumanity and terror imposed on innocent civilians before they become cavalier about the effects of war.

The film bravely shows both human suffering and death, including dead children. Waad al-Kataeb wrote, produced, co-directed, and stars in this brutal yet hopeful production.

She also narrates it.

Waad al-Kataeb focuses on five years of living in Aleppo, Syria, before and during the infamous Battle of Aleppo, a major military confrontation between the Syrian government and its opposition.

She is a marketing student when the documentary begins, and highly intelligent. Waad al-Kataeb meets and falls in love with Hamza, a skilled doctor whose wife has already fled for safety, leaving him behind.

Waad gives birth to her first daughter, Sama, and navigates motherhood, all while the conflict begins to engulf the city.

Waad and Hamza work at one of the few remaining hospitals in the city, facing daily agonizing decisions whether to flee to safety or stay behind to help the innocent victims of war.

Despite having Sama and later becoming pregnant again, they cannot bring themselves to leave, as it would be abandoning those who rely on them. The documentary features their friends who also stay on, refusing to leave the city they still love.

The group tries for brief moments of pleasure, sitting around and chatting, all while the constant threat of bombings is a daily occurrence.

Notably, For Sama is told from the perspective of the female. This is unusual in the war genre, whether it be a film or a documentary feature, as it is more common for it to be male-driven.

When she provides narration, Waad exudes a warmth and kindness that is hard not to fall in love with. She cares for Sama, never knowing if today will be their last day alive.

In one frightening moment, Waad quickly gives Sama to another person to hide when the bombs start hitting the hospital, determined that Sama’s life might be spared if she is thought to be an orphan, rather than the spawn of hated rebels.

Props must be given for getting this project off the ground and released, rewarded with wide acclaim and recognition. In a country as volatile as Syria, it is inspiring to have someone like Edward Watts, an English filmmaker, able to follow through with For Sama. Amazing is how some footage, especially during the bombings, was spared.

Waad explains how determined she was to film as much as possible, even during very personal moments. In the most heartbreaking scene, a pregnant woman is injured during a bombing, and her lifeless baby is born.

After minutes of real-time uncertainty, the baby finally coughs and gags and is alive. Watts and Waad go to horrific depths to show how close the baby comes to dying, and the scene is fraught with sadness and finally relief. I have never seen moments as chilling as these in any documentary.

Other scenes feature young boys whose playmates or siblings have just been killed by bombs, and their emotional exhaustion and grief.

Thankfully, the documentary attempts to incorporate as many moments of human connection as possible, showcasing the laughs and good times that can be mustered when fear is the main ingredient of daily life.

For an experience that bears the ugliness of war, the constant fear, and peril, and a humanistic story of raising one’s child during frightening times, For Sama (2019) also shows the love and dedication to one’s flesh and blood, as well as the beauty of spirit and perseverance during tragic times.

It is heartbreaking, humanistic, and inspiring.

Oscar Nominations: Best Documentary Feature

Independent Spirit Award Nominations: Best Documentary

2019 Films, Animated, Disney, Fantasy, Kids, Musical

Frozen II-2019

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Frozen II-2019

Director Chris Buck, Jennifer Lee

Starring Kristen Bell, Idina Menzel

Scott’s Review #1,043

Reviewed July 22, 2020

Grade: B

Six years after the enormous success of Frozen (2013) comes the follow-up, Frozen II (2019).

Surprisingly, the long gap of time between creations is a long gap of time between creations, but the beauty of animation is that these characters do not age unless creators want them to.

The adventure story is fun, incorporating a bit of history, which always creates depth, but also charts familiar territory as the first installment.

The film showcases lovely visuals and songs, which usurp the other elements. Breeding so much familiarity, there seems little need for a third chapter, though I’d bet my bottom dollar another will emerge.

We are reintroduced to Anna (Bell) and Elsa (Menzel) as little girls when they are tucked into bed by their father, King Agnarr of Arendelle, one night.

He relays a story about his father (their grandfather), a treaty made with a neighboring tribe, a dam, and a magical Enchanted Forest.

As a youngster, Agnarr barely escapes alive after a fight erupts with the other tribe, causing his father’s death, and enraging the spiritual elements of the forest. There is also a key mention about Anna and Elsa’s parents’ lost ship, which is apparently how they died.

Fast-forward to the present day, Elsa and Anna are adults, three years after the events of the first film. Elsa, the one with ice powers, runs her happy kingdom with Anna serving as Princess.

They live in peace and harmony with familiar characters, Olaf, the snowman created by Elsa, Kristoff, Anna’s boyfriend, and Sven, his reindeer.

When Elsa begins hearing mysterious voices calling to her from the mountains, she pursues them only to reawaken the spirits and threaten her kingdom and her people. The group must come to the rescue to retain harmony, learning the reason for Elsa’s powers in the process.

Frozen II has a “nice” feel, which is positive and negative. A family-friendly film with a feminist, female perspective is beneficial, crafting a positive and inspiring message for youngsters, especially females, who watch it.

Anna and Elsa control their destiny, are empowered to go after what they want, and achieve results.

They also support each other, share sisterly love rather than being rivals, and treat people fairly.

The adventure that the girls and their friends face will end happily, that much we know. Slight peril emerges when Anna goads and then flees from gigantic earth spirits, Olaf melts and is assumed dead, and Elsa is also thought dead in the forest.

Still, these are aspects added for dramatic effect, and the safe feel of the film ensures that all major characters will remain in happily ever after harmony.

When Kristoff awkwardly attempts to propose to Anna throughout the film, we are sure he will eventually do the deed, which he does.

I criticized Frozen for limiting diversity in its production, which is corrected in Frozen II. Mattias, leader of a group of Arendelle soldiers, is a strong and protective character and is black.

As an LGBTQ presence, one is only hinted at.

When Kristoff befriends Ryder over their love of reindeer, Ryder admits he knows nothing about girls. Mention must be made of Elsa’s barbie doll-like appearance with her bright blue eyes and long blonde hair.

Does she have to look that stunning? Might impressionable girls get the idea that looks are most important?

Let’s hope not.

The best parts of the film are the musical numbers, which feel more enhanced than those in the first Frozen. Using the same song composers, the tunes feel slightly less poppy. The most emotional number is “Into the Unknown”, which possesses a mysterious quality and powerful, compelling lyrics.

Its message is to go for it, which can be interpreted as conquering fears or trying something new. The sound is anthem-like and superior to “Let it Go”.

Frozen II (2019) is a predictable yet fun affair, infused with Scandinavian elements, featuring mountains, fjords, and a gorgeous landscape that provides the necessary cold-weather ambiance and magical quality.

The visuals are lavish, bright, and sophisticated.

Part II is a slightly more mature affair but on par with Frozen and wisely targets the right audience. Tastes change, so if Part III is made, filmmakers might want to consider a deeper plot or additional details to maintain interest.

Oscar Nominations: Best Original Song-“Into the Unknown”

2019 Films, Drama, International, International Drama, Spanish

Pain and Glory-2019

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Pain and Glory-2019

Director Pedro Almodovar

Starring Antonio Banderas, Penélope Cruz

Scott’s Review #1,042

Reviewed July 20, 2020

Grade: A-

Thought to be director Pedro Almodóvar’s most personal effort to date, Pain and Glory (2019) showcases the talents of actor Antonio Banderas, who has been appearing in Almodóvar’s films since 1982.

A character study, the film poetically reflects on the life of an aging filmmaker (Banderas) who yearns to rediscover his lost creative spirit while reminiscing about his first love.

The triumphant film could have been faster-paced, but above all, it celebrates life, regret, and pain, and is thus inspiring.

Salvador Mallo (Banderas) is a once well-known filmmaker who is now personally and professionally on the decline. He suffers from health maladies, leaving him in chronic pain, and has lost his knack for crafting good projects.

When he runs into an old friend and actress, Zulema (Cecilia Roth), who barely acts anymore and is reduced to accepting any roles offered to her, he decides to visit the lead actor from his best-known film, Sabor.

Salvador hasn’t spoken to Alberto (Asier Etxeandia) in thirty years, and both ruminate over the film as it is to be remastered and celebrated.

Once a subject of contention, Salvador and Alberto begin to smoke heroin, prompting Salvador to revisit his childhood memories, rediscovering life. His most prominent memory is when he, his father, and his mother, Jacinta (played by Penélope Cruz), move to a whitewashed cave to live.

There he meets and befriends an older laborer, whom he teaches to read. Salvador discovers his sexuality through this young man after seeing him naked.

Years later, during the 1980s, Salvador falls madly in love with Federico (Leonardo Sbaraglia), and the pair share a passionate love affair that deteriorates at the end of the decade.

In the present day, Federico reemerges and tracks down Salvador. They reconnect, sharing drinks and memories, nearly reigniting their passion. Federico is now married to a woman and raising kids in Argentina, but the powerful memories resurface, and the men flirt and gaze at one another longingly.

The film utterly belongs to Banderas. The actor has charisma in many other roles, but Salvador might be his crowning achievement.

It’s such a personal role and was written specifically for the actor by Almodóvar. He possesses the ability to grasp the viewer in his clutches and never let go.

From the agonizing pain he experiences daily, causing him to choke for no reason, to his inability to fulfill his now elderly mother’s dying wish to die in her village after accusing him of never loving her, we empathize with him every step of the way.

His sexuality was discovered and revealed at a young age. Salvador’s longing and unfulfilled passion are the most intricate and nuanced aspects of the film.

As the laborer draws a picture of Salvador, which he later rediscovered, an unspoken passion develops between the youngsters.

In later years, his assistant nudges him to look the laborer up via Google, to see where he is, perhaps reconnecting. Salvador refuses, sinking into regret of what might have been.

To build on this, his fling with Federico as a young man, shown via flashbacks, is powerful. The scene, in which a teary Federico, in present times, sits in a theater weeping while watching Salvador’s play, is a testament to his love for the man.

The unknown is why the relationship failed, and Federico gave up on men and succumbed to a traditional relationship. However, we can only guess that Salvador might not have been able to commit.

When the men spend an evening together, capped off with a passionate kiss but nothing more, we realize how they could have built a wonderful life together.

Props to Sbaraglia for a tremendous performance in a small role.

Assuredly, Pain and Glory were patterned after 8 1/2, a 1963 masterpiece penned and directed by Federico Fellini.

The themes of regret, writer’s block, and memories come into play throughout both films. Almodóvar even names Salvador’s lover Federico, an obvious tribute to the famous director, known for infusing stylistic touches and non-linear stories.

Like most of Almodóvar’s other projects, Pain and Glory explores themes of vibrant colors, sexuality, and passion. Set in Madrid, the film boasts a zesty, cultured Spanish flair, characterized by blues, greens, and oranges.

Even though the overarching theme is loss, pain, and missed opportunities, the film remains rich in energy and pizzazz. For those with a fondness for acting, cinema, or creativity, there is enough to satisfy.

After decades in the spotlight, crafting film after film with resounding results, Pain and Glory (2019) may be the cream of the crop for the Spanish director.

Thanks in large part to the tremendous efforts of a legendary actor, the experience will please fans of the directors and anyone with a taste for a film about zest for life, unfulfilled pleasures, and new experiences.

Oscar Nominations: Best Actor-Antonio Banderas, Best International Feature Film

2019 Films, Auto Racing, Biography, Drama, Sports, True Stories

Ford v Ferrari-2019

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Ford v Ferrari-2019

Director James Mangold

Starring Matt Damon, Christian Bale

Scott’s Review #1,041

Reviewed July 18, 2020

Grade: B-

Ford v Ferrari (2019) is a film based on a real-life situation in the world of race car driving featuring two of Hollywood’s most recognizable leading men, Matt Damon and Christian Bale.

Co-leads share equal screen time and independent storylines that merge nicely. Bale gives the best performance and is the best part of an otherwise mediocre film.

The rest is quite formulaic and traditional in plot and filmmaking sensibilities.

Receiving several Academy Award nominations, I expected more from the experience. Granted, car racing isn’t the subject I’m most intrigued by.

Carroll Shelby (Damon) is an American car designer and entrepreneur, who the Ford Motor Company hires to build a car that will beat the Italian-owned Ferrari after a feud erupts between the two owners.

Shelby is tasked with building the car to debut at the upcoming 1966 24 Hours of Le Mans car race in France.

The rebellious race car driver, Ken Miles (Bale), who has no fear, is chosen to drive the new car. He and his wife have money troubles and need the payday.

Director James Mangold certainly adds his share of pomp and circumstance, making this a testosterone-fueled guy’s film. Traditional styles ensue as the climactic race fills the last act of the way-too-long production.

There is a story of loyalty and brotherhood between Carroll and Ken that feels forced and dated.

Ford v Ferrari is formulaic to a tee, with a clear modus operandi of providing entertainment and action.

The pieces are all in play. The Ford corporation is pissed at being tricked into a deal by a foreign country (Italy). They vow revenge with a big, American car that can defeat the foreign vehicle. There is a climactic finish, with the American car emerging as the clear victor.

However, first, there are hurdles to overcome to increase the tension and drama. Ken’s driver door malfunctions, causing him to have to gain laps to catch up to Ferrari.

Ford is written as the underdog, which is a tough sell.

Since the real-life events took place during the Cold War, Mangold spins a definitive Americana, good old boys’ creation that feels too patriotic to be genuine.

Many other films share a similar vibe, such as Apollo 13 (1995), The Martian (2015), and especially Rush (2013), which is similarly themed.

The Ford guys, though cagey and gruff, are meant to be the characters the audience roots for, and the Italian characters are not.

And is there a need to still show the cliched scene of a dedicated wife obediently watching television at home and cheering on her husband as he races?

The gripes are not to say the film is a bad experience- it’s not. It’s just that it’s on par with good Mexican takeout from your favorite restaurant.

You know precisely what you are going to get, and there is some comfort and satisfaction in that. Ford v Ferrari is an easy watch, and one can sink into their sofa and enjoy the revving engines, squealing tires, and smoking mufflers.

The film is machismo at its finest. Think of a better version of The Fast and the Furious (2001-present) franchise.

Let’s talk Oscar nominations.

There is no way Ford v Ferrari should have received a Best Picture nomination. Either Us (2019), Hustlers (2019), or A Beautiful Day in the Neighborhood (2019) could have deservedly taken its spot.

Warranted are nominations for Film Editing, Sound Editing, and Sound Mixing, for which it won the first two. More realistic is for Christian Bale to have been awarded a Best Supporting Actor nomination, which he did not receive.

Sometimes the Academy gets it right, sometimes they don’t.

Being a non-race car enthusiast might have hindered my enjoyment of the film compared to a more passionate viewer.

For those seeking a standard, rev ’em up, male-driven race car film, kick up your heels and enjoy the ride —you’ll love it. Ford v Ferrari (2019) will only marginally please those seeking a deeper meaning in film or film as an art form.

The film will undoubtedly be remembered as one of the most mainstream and Hollywood-produced films possible.

Oscar Nominations: 2 wins- Best Picture, Best Sound Editing (won), Best Sound Mixing, Best Film Editing (won)

2019 Films, Comedy, Dark Comedy, Horror, Horror-Comedy

Ready or Not-2019

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Ready or Not-2019

Director Tyler Gillett, Matt Bettinelli-Olpin

Starring Samara Weaving, Adam Brody

Scott’s Review #1,040

Reviewed July 16, 2020

Grade: B+

A hybrid of dark comedy, horror, and whodunit, Ready or Not (2019) is a splatter of a good time.

Witty and macabre, the film is patterned after Knives Out (2019), Clue (1985), and the television series Riverdale, with a dash of Kill Bill Volume 1 and 2 (2003-2004) peppered in for good measure.

The results are fantastic, gory, and fun, and the pacing is on point. The best aspect is the unpredictability factor, as the conclusion cannot be drawn, and the audience willingly plunges along for a thrilling ride, eager to see what happens next.

The film begins with a mysterious flashback.

A young boy living in a vast mansion is confronted by an injured man begging for help. The boy cries out for his family, who shoots the man dead.

Decades later, happier events transpire as Alex (Mark O’Brien) and Grace (Samara Weaving) enjoy a lavish wedding at the Le Domas family estate.

Alex’s family is extremely wealthy, and he asks Grace if she is certain she wants to join the family. Why wouldn’t she welcome a life of pampering and all the money she can imagine? She readily tells Alex that, yes, she is sure she wants to marry him.

After the wedding, Alex and Grace are summoned by the family to partake in a game, a family tradition. Grace will choose a card, and everyone will play that game.

When Grace chooses the Hide-and-Seek card, the reactions are morose. When she gleefully trots off at midnight to hide, she assumes it is an innocent game.

She quickly realizes that the family is determined to kill her as part of an ancient legend involving a deal to keep the family money secure. Grace spends the night being pursued by members of the family while the household staff is accidentally killed off.

Being a horror film, the rosy start to the movie (the wedding) is delicious and short-lived, as any fan of the horror genre knows that dreary events are soon in store. The fun is waiting for the other shoe to drop and the body count to begin rising.

Ready or Not succeeds most when Grace is being pursued, and when she emerges from the dumb waiter, thinking she will give up the game and enjoy a good night’s sleep, the scenes are spectacular. A house-nanny is shot by a doltish family member who mistakes her for Grace, cowering behind a bed.

At that moment the bride realizes she is screwed.

The final thirty minutes of Ready or Not take a different turn as victimized Grace turns into revenge-seeking Grace. Think Carrie White at the prom after being soaked with pig blood.

As Grace lumbers through the mansion in her blood-streaked white gown, happy to kill any one of the filthy rich family members, she has the most fun pummeling Alex’s mother, Becky Le Domas (Andie MacDowell), to death with a box, which he gets to witness.

Revenge Grace is like Uma Thurman’s The Bride in the Kill Bill double-feature.

Released the same year as Knives Out (2019), both films portray the wealthy characters similarly, rendering them as shallow and unlikable as humanly possible. Insipid, money-hungry, and impolite, they treat each other as badly as those considered beneath them.

Daniel (Adam Brody), may turn out to be Grace’s knight in shining armor but can he be trusted? Can Alex?

Snippets of the 1985 comedy Clue emerge as secret passageways are revealed, and one death is reminiscent of the singing telegram girl’s death, as the character leaps into the room only to be instantly killed. It’s a fun scene and not too seriously intended, which makes it enjoyable.

The gothic nature of the series Riverdale also comes into play with the modern trimmings and dark ambiance.

Ready or Not (2019) successfully produces what it intends to—an entertaining, cleverly written horror yarn. With a clear feminist stance and oozing with wealth and glamour, the rich people are horrible and ultimately get what they deserve.

This is satisfying to the viewer despite the silly motivations of the family.

Played for laughs, the film doesn’t take itself too seriously despite a subdued lesson in overindulgence and entitlement—a crackling, fun late-night offering.

2019 Films, Adventure, Disney, Fantasy, Kids

Maleficent: Mistress of Evil-2019

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Maleficent: Mistress of Evil- 2019

Director Joachim Ronning

Starring Elle Fanning, Angelina Jolie

Scott’s Review #1,039

Reviewed July 14, 2020

Grade: B+

Maleficent: Mistress of Evil (2019) is the follow-up to the 2014 film, titled Maleficent, and while not a necessary sequel, it surpasses the original.

The intent was to create a significant studio effort that would generate substantial revenue, and the experiment appears to have been successful.

The production is not as frightening as the title might lead one to believe, and children over the age of ten would be a suitable target audience.

While the screenplay features traditional plot elements and a predictable ending, the real winner is the visual and cinematic treatment, which will leave viewers gasping.

The lush landscapes, odd little worlds, castles, and forests blossom with vibrant colors and exquisite shapes and objects.

It may primarily be CGI, but marvelous all the same.

To recap, the character of Maleficent debuted in the 1959 classic animated Disney film Sleeping Beauty. Maleficent is an evil fairy and the self-proclaimed “Mistress of All Evil” who, after not being invited to a christening, curses the infant Princess Aurora to “prick her finger on the spindle of a spinning wheel and die” before the sun sets on Aurora’s sixteenth birthday.

The character has since “evolved”, now portrayed as a sympathetic character, who is misunderstood in trying to protect herself and her domain from humans.

For five years, Aurora (Elle Fanning) has reigned peacefully as Queen of the Moors with Maleficent (Angelina Jolie) serving as teacher and protector. They have a rapturous relationship and flock and carry on with fairies and animals alike.

Handsome Prince Phillip (Harris Dickinson) proposes to Aurora, thereby uniting her kingdom with his, which is met with caution by his parents, specifically his mother, Queen Ingrid (Michelle Pfeiffer).

When the players gather for a celebratory dinner, Maleficent is mocked, causing her to fly into a rage, setting off a war between humans and fairies.

A key positive, and a notable shift in the story, is that Maleficent, a legendary film villain, is written sympathetically, and the plot device is effective. Rather than have her sparring with daughter Aurora, the duo team up to thwart the devious efforts of the evil Queen Ingrid, who is the real villain.

Jolie and Pfeiffer must have had fun playing the roles, and both perform their respective parts adequately. Favorable to me is Jolie, adding just enough vulnerability to balance her fierce nature and blood-red lips. Pfeiffer plays the role straight, as a caricature, with no redeeming value.

Both roles are fun.

Keeping in mind the target audience, the characters of Maleficent and Aurora are inspiring, especially to young females everywhere. The film adds more than a hint of progressive feminism as both characters are strong and no-nonsense.

This does not detract from their sensitivity or sense of fairness. Both could equally be role models of tough yet compassionate female characters.

In most Disney films, there are heroes and villains, and we all know and expect that. The standard storyline of good revolting against evil is on display, and an epic climactic battle scene gives a customary ending to the film.

Likewise, the fairy tale romance between Prince and Princess is prominently featured, and for my money, Dickinson and Fanning are tremendous in the roles.

The chemistry between the actors is apparent, and there is a nice balance between a believable romance and strong, independent characters.

Queen Ingrid, barely a mention in the original animated film, is turned into an evil shrew, all completely plot-driven. The story is what I expected it to be, but not the film’s high point.

More impressive is how the viewer can easily escape into a world of make-believe and long to stay there forever. Especially for the younger viewers, the Moors are a bevy of magical creatures and fluttering fairies rich with goodness.

The comical Knotgrass, Thistlewit, and Flittle, the red fairy, green fairy, and blue fairy, respectively, make a return appearance, though in a limited capacity. It would have been nice to give them a stronger presence, providing more wisdom, more advice, and more humor, but they serve their comic relief purpose well.

Will there be a third incarnation of Maleficent?

The filmmakers provide a strong likelihood. After Aurora and Philip wed, Maleficent returns to the Moors with the other Dark Fey, teaching the young fairies to fly. She promises to return for Aurora and Philip’s future child’s christening.

This vow seems like an easy setup to build on the original storyline, unlocking the next chapter in this engaging saga.

Oscar Nominations: Best Makeup and Hairstyling