Monthly Archives: April 2022

1998 Films, Chick Flicks, Comedy, LGBTQ+ Comedy, LGBTQ+ Films, Romantic Comedy

The Object of My Affection-1998

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The Object of My Affection-1998

Director Nicholas Hytner

Starring Jennifer Aniston, Paul Rudd

Scott’s Review #1,249

Reviewed April 24, 2022

Grade: B

The Object of My Affection (1998) is a romantic comedy riddled with the standard clichés and obvious plot setups of similar films.

As a whole, it is plot-driven rather than character-driven.

The redeeming factor is that it takes a left-of-center approach and delves into LGBTQ territory, albeit in a soft-touch way, which more mainstream American films were only starting to do in the late 1990s.

The best part of the film is the casting of Jennifer Aniston and Paul Rudd, who have tremendous chemistry as a potential couple who have no chance of riding off into the sunset together.

At least in any romantic sort of way. He is gay, and she is straight, and nothing can change that.

Though fluffy, The Object of My Affection deserves some level of praise.

Several gay men can easily relate to a situation where they find a female friend who is enamored with them and experience a return of affection differently.

It’s common to fantasize about what might have been if feelings had been different, and, as the film explores, even to try to go straight.

The film itself has a definite Will & Grace vibe, a popular television program emerging at this time, and even has the same location. The main characters become the very best of friends, watching movies together and sharing intimate moments, just like a romantic couple would.

The late 1990s were a time when gay characters took center stage, so The Object of My Affection gets a thumbs up for being part of the herd.

Nina Borowski (Jennifer Aniston) lives in Brooklyn, New York, and works as a social worker. She invites her new gay friend, George (Paul Rudd), to move into her apartment after he breaks up with his longtime lover, Robert (Tim Daly).

Meanwhile, Nina gets pregnant and decides to keep the baby, but ends her relationship with the child’s father, her controlling boyfriend Vince (John Pankow).

As Nina and George live and experience her pregnancy together, they grow close, and Nina realizes she’s beginning to fall in love with her friend.

Aniston and Rudd work well together as a couple, as friends, or otherwise, and the chemistry is terrific. Even during the sappiest of scenes, and there are many of them, I always smiled a bit at their bond.

When Nina and George have the inevitable dramatic scene and express their feelings, it doesn’t feel as forced as one might expect. Their bond is solidified, and the film unsurprisingly has the pair remain in each other’s lives, presumably forever.

In satisfying form, Nina and George do ride off into the sunset along with little Molly, but in solid relationships with other mates. Each character finds their destiny and soulmate while keeping in each other’s lives.

While nice, there are many hurdles the filmmakers could have gone further with, but don’t. The message is clear- regardless of sexuality, race, religion, or politics, a friend is a friend and a bond is meant to be forever.

It’s a warm message that is the basis for what the intent was, and the film delivers a heartfelt story that eases the conflict of real life, and perhaps that is needed sometimes.

As much as The Object of My Affection (1998) has its heart in the right place with a progressive and inclusive slant, the film is bogged down by clichés and a fairy-tale ending.

It’s a nice, fulfilling fantasy film, but skates over hard-hitting, realistic issues in favor of kid-glove-type situations, making it feel dated nearly twenty-five years later.

Other films in the years ahead would supersede the premise and take it to different, more interesting levels, delving further and further outside the box.

But, a nice attempt.

1989 Films, Christmas, Comedy

National Lampoon’s Christmas Vacation-1989

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National Lampoon’s Christmas Vacation-1989

Director Jeremiah S. Chechik

Starring Chevy Chase, Beverly D’Angelo

Scott’s Review #1,248

Reviewed April 23, 2022

Grade: A-

Made several years after the first in the National Lampoon’s Vacation series (1983-2015), the inevitable production of National Lampoon’s Christmas Vacation (1989) is my personal favorite of the bunch and the most laugh-out-loud.

Silly personified, but the jokes work, and the enjoyment carries throughout the entire running time.

In retrospect, you knew they were going to do it. What better fodder for the bumbling Griswold family than to have them reunite with extended family on such a seasonal holiday?

The gags and awkward situations are ripe for the picking, as situation after setup is done exceptionally well and with grand humor.

The silliness works, and the film is a recommended watch with the family gathered around the holidays.

Viewers can either relate directly to the film or inevitably know families that resemble the incompetent yet lovable Griswolds.

As the holidays approach, Clark Griswold (Chevy Chase) is determined to have a perfect family Christmas. He motivates his wife, Ellen (Beverly D’Angelo), and their children to ensure everything is in order, including the tree and house decorations.

Naturally, things quickly go awry in the greatest of humor.

His hick cousin, Eddie (Randy Quaid), and his family show up unplanned and start living in their camper on the Griswold property.

Even worse, Clark’s employers renege on the holiday bonus he needs, causing a great deal of stress for the family patriarch.

For starters, the film has a cool holiday vibe. The setting is wisely the Midwest United States, somewhere outside of Chicago, Illinois. Snow is to be found everywhere, and Christmas decorations and lights are lit all over the place throughout the film.

This creates a suburban, homey atmosphere that is warm and friendly.

Most viewers can snuggle up by a warm fireplace with delicious hot cocoa and enjoy the film. The environment is one of the finest achievements in National Lampoon’s Christmas Vacation.

A classic moment and the film’s funniest scene occurs when Clark excitedly decorates the inside and outside of the house to the nth degree and blows the town’s electric circuit as a result, leading to uproar among his neighbors.

Proud Clark’s ego is suddenly deflated, and the man must rise above it all to somehow enjoy his family Christmas.

Watching the film decades after its release is still great fun as a nostalgia offering. The tacky Griswold Ford LTD station wagon with paneled siding is garish and unsightly (then and now), and anyone growing up in the 1980s can easily recall suburban families piling into this gas-guzzling car.

Not every aspect works perfectly in National Lampoon’s Christmas Vacation, like the unappealing yuppie neighbors Todd and Margo (played by Nicholas Guest and Julia Louis-Dreyfus) or Eddie and his redneck family.

These roles are a bit too over-the-top and secondary inclusions to be the major win the film is.

The real wins from the supporting cast are Clark’s immediate family. His parents and Ellen’s parents are perfectly cast and provide excellent comic timing and seasoned wit.

Special notice goes to John Randolph, Diane Ladd, and Doris Roberts.

And who won’t fall in love with Clark’s senile Aunt Bethany, played with hilarity by Mae Questel (the voice of animated Betty Boop and Olive Oyl)?

Predictably, and well-intentioned, all the Griswold problems quickly fade away when Clark receives his annual Christmas bonus after all, and all characters have a lovely send-off while singing ‘The Star-Spangled Banner’ just in the odd way that the Griswolds would do.

National Lampoon’s Christmas Vacation (1989) used to be a traditional Christmas viewing for me, but it has shamefully fallen out of favor over the years.

It might be time to dust off this forever gem that provides laugh after laugh, fun, and togetherness for the whole family.

2005 Films, Animated, Comedy, Kids

Madagascar-2005

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Madagascar-2005

Director Eric Darnell, Tom McGrath

Voices Ben Stiller, Chris Rock, David Schwimmer

Scott’s Review #1,247

Reviewed April 17, 2022

Grade: B-

Madagascar (2005) is a film that I found mildly entertaining but struggled to enjoy as much as others might. Films with a target audience of ages thirteen and under are a tough sell for me because I don’t see them very often.

Having no children I have few opportunities to join in on the children’s games or sit at the kiddie table and get in that mindset.

Nonetheless, this film somehow crossed my radar.

It’s lighthearted and juvenile but playfully fun sending a positive message of friendship and dedication. Not a fan of the zoo at all my curiosity was piqued at how this angle would be represented if at all.

Would the captivity of the zoo face off against the natural African wildlife?

The screenwriters tread safe waters keeping their audience in mind and don’t go for any deep message or environmental or animal issues, playing it quite safe.

Madagascar suffers from blandness and predictability knowing that the audience isn’t quite ready to think outside the box and their parents will obediently sit beside them watching the film.

The result is a film brimming with possibilities that it never realizes. It’s a ready-made family film and nothing more.

Alex the Lion (Ben Stiller) is the king of the urban jungle and the main draw at New York’s Central Park Zoo. He and his best friends Marty the zebra (Chris Rock), Melman the giraffe (David Schwimmer), and Gloria the hippo (Jada Pinkett Smith) have spent their lives at the zoo with admiring fans and tasty meals provided for them.

In their minds, they have it pretty good.

Yet Marty yearns for more and lets his curiosity get the better of him when he escapes the zoo to explore the world. He and his friends wind up on a ship back to Africa and are then shipwrecked on Madagascar and left to fend for themselves in the wild.

They face dangers and allies during their adventures and wrestle with either returning to the zoo or staying in their natural habitat.

There is plenty of humor to occupy the crowd but most of the jokes are tepid or fall flat altogether. They have very little substance to offer but rather are silly gags meant to keep the adventure going.

Big stars like Rock, Schwimmer, and Stiller are cast most likely to appeal to parents forced to go to the show with their kids. Recognizable voices always sell tickets in the animated world.

Secondary characters work better than the main cast. Sacha Baron Cohen as King Julien XIII is a standout.

Mildly entertaining and soft touch in its approach Madagascar (2005) left me feeling dull and yearning for something a bit more challenging and robust in the field of kid’s film.

Its intent is merely to entertain and not to challenge so the result is a middle-of-the-road experience for me.

I’ll take the Toy Story (1995-2019) films any day.

2000 Films, Camp, Horror, Horror-Camp

The Convent-2000

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The Convent-2000

Director Mike Mendez

Starring Adrienne Barbeau, Joanna Canton, Megahn Perry

Scott’s Review #1,246

Reviewed April 16, 2022

Grade: C+

I debated whether or not to reward Adrienne Barbeau with top billing recognition for The Convent (2000). After all, she doesn’t even appear, save for a quick silhouette scene that probably wasn’t even the actress, until the final third of the film.

Since I am a fan of Barbeau’s work, mainly the television series Maude, and films like The Fog (1980), and Escape From New York (1981), I decided to throw caution to the wind and cement her star status.

The film itself is terrible and needs all the help it can get. It’s campy beyond belief, amateurish, hokey, and acted poorly, suffering from enough ridiculous one-liners for me to wonder whether director Mike Mendez was purposely trying to make a bad film.

But before I get all curmudgeonly and smack this film in the face with an ‘F’ rating I’d like to justify my more than generous ‘C+’ rating.

If The Convent had tried to take itself seriously and produced shit like this I would have gone for the jugular in my review but it knows it’s a silly film and instead embraces this fact wholeheartedly.

Still, I kept wondering if the film was some sort of nod to the slasher film genre that took over the world from the late 1970s until the late 1980s, or if it feebly tried to merge this genre with the zombie genre and produce something fresh.

If made in say 1985, The Convent would have fit snugly amongst the heaps of other similar themed films that were patterned after superior feasts like Halloween (1978) and Nightmare on Elm Street (1984).

The film opens impressively enough when a young woman named Christine walks into a convent and goes batshit crazy shooting every nun she sees and burning the place to the ground.

I grinned because Christine looks exactly like Uma Thurman’s character in Quentin Tarantino’s 1994 masterpiece Pulp Fiction with bright red lipstick and dark shades. Even her outfit looks the same.

Unfortunately, that’s where any parallels end.

From this point, the plot is basic and uninspired. A coed named Clorissa (Joanna Canton) joins her best friend Mo (Megahn Perry) and a group of college students on a dare to venture into the aforementioned convent (now rebuilt) and tangle with nun and priest spirits rumored to be inhabiting the structure.

After Mo is left alone and the rest of the bunch dine at Denny’s the plot goes from standard to wacky as the returning students are bitten and become possessed by Satanists who want to beckon Satan back to earth. There is an attempt to sacrifice any virgin among the group to help with this.

Conveniently, Christine (now older) lives down the street after spending a thirty-year stint in the loony bin. The badass woman comes barreling to the rescue with her motorcycle and an arsenal of machine guns to kick Satan’s ass.

The fun begins when Barbeau finally appears. With her dangling cigarette and macho talk, the actress is in her comfort zone. The dialogue uttered by her and the rest of the characters is so bad that once again I wondered whether this was the intent. I truly hope it was.

The robotic head twitching and glowing green eyes by the now possessed students align perfectly with the gimmicky art direction and juvenile special effects. I’ve seen better on a 3 pm daytime afternoon soap opera.

The most irritating character is easily played by rapper Coolio in a ridiculous role as a loud policeman. This attempt at comedy fell completely flat and I was more entertained by the gay satanist who cleverly decides that if he and another virgin boy have sex they will be spared.

Once the credits rolled I was happy not to have to endure any more of the one-hour and twenty-minute experience. Upon my five-minute reflection, I decided to interpret the film as a comical satire over anything more.

The Convent (2000) isn’t distinct enough to get the ‘it’s so bad it’s good’ award because it lacks any sort of identity. However, for a midnight movie that is so goofy and over-the-top that there is plenty to mock the film is a fun time.

And, it’s always a joy to see Barbeau in anything she is willing to appear in.

2022 Films, Drama, Thriller

Death on the Nile-2022

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Death on the Nile-2022

Director Kenneth Branagh

Starring Armie Hammer, Tom Bateman, Gal Gadot

Scott’s Review #1,245

Reviewed April 15, 2022

Grade: B+

Death on the Nile (2022) is a modern remake of the 1978 thriller of the same name, which in turn is based on Agatha Christie’s famous 1937 novel, one of many stories the author wrote.

I love a good whodunit, and the fact that I already knew the outcome from seeing the original film did not lessen the entertainment and suspense that befell me.

It only made me salivate with anticipation about how the new incarnation would handle the inevitable big reveal during the film’s final chapter.

As the suspects are locked in a boat, bar one character boldly announces that the murderer is in this room and will be unmasked.

Death on the Nile is a meat-and-potatoes offering peppered with glamour.

Similar to the remake of Murder on the Orient Express (2017), Hercule Poirot (Kenneth Branagh) is once again enshrouded by mysterious folks with money to burn and secrets to hide. One of them has murdered a wealthy young heiress with her own set of secrets, and Poirot must quiz and entrap the perpetrators aboard a sailing vessel.

Or could there be more than one murderer?

The setting of mystical Egypt and the luminous Nile River in northern Africa puts the players amid gorgeous locales. This only enhances the juiciness and the appetite for a good, solid murder mystery.

Our hero’s lush Egyptian vacation aboard a glamorous river steamboat turns into a deadly search for a murderer when a picture-perfect couple’s idyllic honeymoon is cut short by the killing of one of them.

It turns out that almost everyone aboard has a reason to want her dead. Naturally.

Set against an epic landscape of sweeping desert vistas and the majestic Giza pyramids, Poirot peels back the onion of the lives of his fellow vacationers. He discovers jealousy and deceit as he gets to know the wealthy cosmopolitan travelers.

The trip includes the honeymooners, Simon and Linnet, played by Armie Hammer and Gal Gadot, Bouc (Tom Bateman), a long-time friend of Poirot’s, Euphemia (Anette Bening), a renowned painter and Bouc’s mother, Salome (Sophie Okonedo), a black jazz singer, and her niece Rosie (Letitia Wright), Linnet’s maid, Linnet’s godmother, and her companion, and a doctor who used to date Linnet.

It would seem as if all roads lead to Linnet, which it does since she is the character who suffers her fateful demise. What is key is that every character has a connection to her, making the puzzle all the more intriguing and interesting to figure out.

Branagh, coming directly from his Oscar-winning film Belfast (2022), deserves the most credit because he not only stars in but directs the movie as he did with Murder on the Orient Express.

Michael Green once again creates the screenplay. The consistency is crucial and satisfying to the overall product, and the two films can be watched back-to-back with ease.

There is trust that the anticipated enjoyment will be fulfilled, and for me, it was.

Death on the Nile is not high art but merely slick entertainment done quite well. There is considerable manipulation for the audience to endure, and the setup of the potential suspects and the victim’s background is presented directly to the viewer.

This was welcomed.

I didn’t mind the implausibility of every character having reason to kill the heiress, nor did I mind a mystery character racing around the ship, causing mayhem, then changing into formal evening wear in less than thirty seconds flat.

The numerous plot devices are to be expected from a film like Death on the Nile, and I happily and willingly fell for them hook, line, and sinker. The wealth of most of the characters is a splendid intrigue and only adds to the enjoyment.

Considering the time is the 1930s, a same-sex relationship and a brewing romance between the caucasian Poirot and the black Salome are fabulous additions.

Rumor has it that there will be another production of an Agatha Christie novel adaptation directed by and starring Branagh, and I can’t wait for this. He has dusted off the old whodunit storyline and updated it with a spectacle about crimes of passion that feels fresh.

The result is a modernized Death on the Nile (2022) brimming with fun and pleasure while never taking itself too seriously.

2021 Films, Biography, Crime Drama, Drama

House of Gucci-2021

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House of Gucci-2021

Director Ridley Scott

Starring Lady Gaga, Adam Driver, Jared Leto

Scott’s Review #1,244

Reviewed April 10, 2022

Grade: B+

Upon the release of 2021’s House of Gucci, much award buzz surrounded the film, especially for Lady Gaga’s performance. A story of a once lofty Italian fashion family of the 1970s, 80s, and 90s seemed a prime winner on many levels.

Sadly, reviews quickly turned mediocre or downright lethal as more and more people saw the film, reducing it to a meager one lonely Oscar nomination in a category viewed as minor.

The accolades were expected to be much loftier, but the buzz was tarnished very quickly. Critics largely dismissed the work as too campy and melodramatic for its own good but did praise the acting. Some ripped it to shreds entirely.

Mainstream audiences were a bit kinder than the average critic.

While I recognize the criticisms and even agree with some, mostly its uneven pacing, I find House of Gucci a resounding guilty pleasure. The main appeal is Lady Gaga, who takes charge, playing an unlikable manipulator whom you shouldn’t root for but will anyway.

Here is a brief synopsis for those not familiar with the real-life story of the rise and crumble of the Gucci empire.

The shocking true story of the family behind the Italian fashion empire inspires the film. When Patrizia Reggiani (Lady Gaga), an outsider from humble beginnings, marries Maurizio Gucci and all his wealth, her unbridled ambition and manipulations tear the once close-knit family apart.

The family legacy quickly unravels and triggers a domino effect of betrayal, decadence, revenge, and murder.

With a cast including heavyweights such as Al Pacino, Jeremy Irons, Salma Hayek, and Jared Leto, there is much to focus on in the acting department. Besides Hayek, who plays a psychic, all contain Gucci blood.

All are terrific except Leto, who suffers from overreaching for the stars in terms of the emphasis he puts on being a red-blooded Italian man. He overacts.

Notably, all the principal cast members are American, not Italian, which is why I found their language, culture, and mannerisms to be authentic, a testament to their talent.

The fact that the legendary Ridley Scott directs House of Gucci is a surprise. Known for either science fiction or different sorts of offerings like Alien (1979), Blade Runner (1982), and Gladiator (2001), House of Gucci feels like a stretch for the seasoned director by way of subject matter.

Perhaps he phoned it in? There is little that is a cinematic spectacle in House of Gucci and its straight-ahead drama. Some argue it’s shot like a television movie. While I disagree that it’s as dismal as all that, I do get the point.

From the camera lens, the film is saved tremendously by the juicy and lavish sequences that transpire in Milan, Italy. The decadence of the 1980s is never more apparent than amid the fashion capital of the world.

With luxurious estates, nightclubs, and enough exterior scenes to satisfy anyone who has been to Milan (I have!), it’s enough to save most viewers from the ho-hum story.

I’ve mentioned earlier how House of Gucci feels uneven. It’s hard to pinpoint precisely, but there’s a feeling of a gaping hole or something missing from the film. Sure, there is enough drama and schemes to make television’s The Bachelor proud, but there is a glaring misfire throughout.

I would have assured that Lady Gaga made the Best Actress Oscar list, but sadly, this was not to be. This is too bad because she gives it her all as badass Patrizia. She is a woman not to be fucked with, and when she turns the tables on her husband and the love of her life, he had better watch out.

It’s a shame that all the dots didn’t connect for House of Gucci (2021).

With such a terrific cast, juicy locales, and a respected director, the film could have been a contender. Instead, it’s a pretty good film that does not need to be watched a second time.

Oscar Nominations: Best Makeup and Hairstyling

1966 Films, British, Camp, Comedy

Modesty Blaise-1966

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Modesty Blaise-1966

Director Joseph Losey

Starring Monica Vitti, Terence Stamp, Dirk Bogarde

Scott’s Review #1,243

Reviewed April 9, 2022

Grade: B

Modesty Blaise (1966) is a campy, over-the-top escapist film loosely based on a British comic strip. It features a relaxed style but a convoluted plot.

The story doesn’t matter much, and the film feels based on the James Bond film series with some Dick Tracy and Brenda Starr comic elements thrown in.

Throughout the action, I chuckled at the characters’ situational comedy antics. Both heroes and villains get mixed up in one hokey situation after another, and all the actors seem well aware that they are not performing Shakespearean comedy.

They forge ahead, making it as much of a zany offering as humanly possible.

Much of the film is reminiscent of television, Get Smart, a foolish but sweet-natured 1960s spy-genre offering.

I challenge the odd decision to make a film of this genre a bloated one hour and fifty-seven minutes. A spry ninety or ninety-five minutes would have been ample time to wrap up the experience and allow audiences to head for the exits.

This might prevent some from realizing how silly a film they’d just sat through

Modesty Blaise is not a traditionally good film but grooviness and pizazz are the main attractions as characters indulge in an orgy of colorful situations and preposterous setups.

Lavish locales like Amsterdam, and London, and the roaring beaches off the coast of the Mediterranean Sea bring the film back from going too far off the rails and pepper it with some cultivation.

If you’re in the right mood, Modesty Blaise is a chuckle fest, but don’t waste your time if you’re aching for high art. The psychedelic, groovy art design and Mad Men-like sets won me over.

I quickly forgot to try and piece together the complicated plot.

I didn’t care who was who or who was trying to outwit who and why. And I was okay with that.

Gorgeous Italian actress Monica Vitti leads the charge, followed by the dashing English actor Terence Stamp. Together, they make a lusty and good-looking pair, though Vitti gets no acting accolades.

Her looks are the primary reason for her casting win.

The actress plays a beautiful former criminal named Modesty who decides to go straight and work for the Secret Service. They send her to infiltrate a ring of jewel thieves, but the stuck-up older regime does not especially respect her.

She shrugs it off and offers her best services.

Soon after she joins the gang, sophisticated and dangerous head honcho Gabriel (Dirk Bogarde) grows suspicious of his new charge; Modesty realizes that British Intelligence gave her a mission they could care less if she survives.

She then enlists her former partner, Willie (Stamp), to help her out of her peril while outsmarting both sides.

Most action scenes are ludicrous, and the likelihood of any of the stories being true is slim to none. Plenty of sequences are set on a luxury yacht or some other water transportation, and Vitti and Stamp are clad in as little as possible.

I smirked at more than one James Bond nod, though some influence on the still-to-be-made Diamonds Are Forever (1971) is noticed.

If I’m making Modesty Blaise out to be a terrible film, it’s not.

The gimmicky angle of having Modesty appear with a different hairstyle in every sequence is clever and enjoyable (my preference is for her as a blonde).

When she is imprisoned in a spiraling-colored basement cell and must climb out the roof for help, the set design is one of the best I’ve ever seen. The creative team gets an A-plus for expressiveness and imagination, which is why Modesty Blaise is so fun.

Dirk Bogarde and Rossella Falk play cartoonish criminals Gabriel and Clara, who are deliciously wicked. I was amazed at Gabriel’s towering purple cocktail and craved a sip to see exactly what he was drinking.

Satisfyingly, both main villains get their comeuppance.

The film is foolish, campy, and a silly time wrapped up in fantastic artistry from a creative team that deserves more credit than they probably received.

Modesty Blaise (1966) is a messy but enjoyable film. I found it endearing more than I probably should have. It’s the guiltiest pleasure in a chest of sub-par spy comedy films.

1987 Films, Biography, Drama

La Bamba-1987

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La Bamba-1987

Director Luis Valdez

Starring Lou Diamond Phillips, Esai Morales

Scott’s Review #1,242

Reviewed April 3, 2022

Grade: A-

The brief musical career of Mexican rock ‘n’ roll star Richie Valens is showcased in a lovely little film called La Bamba (1987).

The film spawned a massive United States number-one hit, the title track by the band Los Lobos, which filled the summer with rich culture and a hummable beat.

The song is a remake of Valen’s 1958 hit, and I’m humming it as I write this review!

The film itself is flavorful and tinged with Latino colors and traditions, such as the importance of family. It provides a much-needed look at diversity and recognition of a young talent taken way too soon.

His rise to stardom is the main focus. Still, his influence on his family, most notably his younger brother, is not forgotten, as love, respect, jealousy, and conflict engulf their relationship.

Valens, a Los Angeles teenager played by Lou Diamond Phillips, becomes an overnight rock ‘n’ roll success in 1958, thanks to a love ballad called “Donna” that he wrote for his girlfriend (Danielle von Zerneck), whose parents didn’t want her to date a Latino boy.

But as his star rises, Valens clashes with his jealous brother, Bob (Esai Morales), and is haunted by a recurring nightmare of a plane crash, which terrifies him and coincides with his first national tour alongside Buddy Holly (Marshall Crenshaw).

Foreshadowing indeed. It’s common knowledge that Valens tragically died in a plane crash over Iowa, alongside Holly and other prominent musicians.

Lou Diamond Phillips is fantastic in the lead role of Ritchie. The actor can entertain the audience while staying true to the Mexican star’s life. Not merely physically resembling him, Phillips brings Ritchie’s famous life and energy to the table.

Not lasting long in this world, the actor infuses as much soul as he can into the ill-fated singer, successfully creating a dedication to his life.

The supporting actors are all terrific. Morales is highly talented; his character, Bob, is conflicted by his brother’s success yet closely bonded to him.

As Mama Connie, Rosanna DeSoto is fiercely protective of her cub while championing his career path and natural talent.

Finally, Elizabeth Pena deserves praise for playing Rosie, the victimized girlfriend of Bob.

The interracial romance between Ritchie and Donna is also a central theme in La Bamba. Many decades after their brief romance, interracial relationships are commonplace, but there are still those who object.

The chemistry between Phillips and von Zerneck is palpable, but mostly I imagined how nice it would have been between the real-life figures, and the endless possibilities had the singer not perished.

Director and writer Luis Valdez deserves credit for giving this relationship meaning by making it clear that other marginalized minority communities can be assured that most people support their unions.

La Bamba (1987) is a film where all the parts come together in perfect form. The music, the culture, and the characters all brim with life and meaning, ironically, since the biography could have easily been a downer.

Instead, it inspires and teaches unity and the forever-lasting power of music.

Yes, there are occasional cliches, but I enjoyed the film immensely.

1984 Films, Drama, Kids, Sports

The Karate Kid-1984

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The Karate Kid-1984

Director John G. Avildsen

Starring Ralph Macchio, Pat Morita

Scott’s Review #1,241

Reviewed April 2, 2022

Grade: B+

The Karate Kid (1984) is a wholesome and predictable film from the commercial era of the 1980’s cinema.

With a clever marketing pitch about a bullied boy overcoming obstacles, the film is utterly predictable. But the warm message and chemistry between the two leads make the film work marvelously.

It’s a truthful film that showcases the power of friendship.

The film was a smash at the box office, becoming one of Hollywood’s biggest sleeper summer hits of 1984, making the lead actor, Ralph Macchio, an enormous star and household name. It also successfully brought karate to American households, spanning a new trend and appreciation for Asian sports.

Three tired sequels before the franchise finally ran out of steam. A relaunch emerged in 2010 with mixed results.

Daniel (Macchio) moves to Southern California with his mother, Lucille (Randee Heller). Still, he quickly finds himself the target of a group of bullies who study karate at the Cobra Kai dojo.

This heightens in severity when he becomes smitten with the ex-girlfriend (Elisabeth Shue) of the lead bully, Zabka (Johnny Lawrence), who vows revenge on Daniel.

Fortunately, Daniel befriends Mr. Miyagi (Noriyuki “Pat” Morita), a kindly repairman who is a martial arts master himself. Miyagi takes Daniel under his wing, training him in a more compassionate form of karate, and prepares him to compete against the brutal Cobra Kai.

The Karate Kid is very sweet but never too saccharin-laced, and is easy to compare to Rocky (1976).

In a clear example of manipulation and copycatting, Robert Mark Kamen, who wrote the screenplay, was instructed to write something similar to Rocky, which won the Academy Award for Best Picture.

Avildsen also directed that critically acclaimed film.

The result is Rocky-lite. The Karate Kid would be a great warm-up film before the headliner, Rocky, takes the screen.

The mission is to tell a story about an underdog rising to glory while staying true to himself. The Karate Kid is a product, but it is extremely likable and a fist-pumping good time. It’s not the sort of film one necessarily needs to see repeatedly, nor will it be studied in film school.

The main reason The Karate Kid works is the chemistry and connection between Macchio and Morita. The latter is terrific casting since Morita was usually known for comedic roles, but he works against type in his memorable role.

His character is kind and humble, and it’s impossible not to fall in love with him. As a mentor, he coaches Daniel on valuable, truthful life lessons.

Macchio surprisingly carries the film. Handsome and charismatic, he also represents anyone who has ever felt like an outsider or different from everyone else. He’s the boy next door but with an ethnic overtone.

He is clearly different and, therefore, disliked by some.

The elements that don’t work as well are the traditional love triangle, hardly a triangle because one of the three is the villain, and the stereotypical nature of the bully gang.

Shue plays her part well, but the romance between Ali and Daniel is the supporting act to the fight scenes, which inevitably show up mostly towards the end of the film.

The finale is very familiar in sports-type films because it’s all too obvious how events will play out. Surprisingly, though, it’s a satisfying payoff as every character wins out, even the villainous Johnny.

Though he is soundly defeated, he learns a lesson from Daniel and comes to respect him. So, he repents.

It’s a powerful message that stayed with me and made me appreciate the approach to valued storytelling.

Safe and sturdy for a PG audience, The Karate Kid (1984) may feel dated and struggle to resonate with modern audiences, but the message remains poignant and fresh—hard work, determination, and respect equal success and satisfaction.

This may be a point easy to ridicule and pick apart, but the film works well.

Oscar Nominations: Best Supporting Actor-Pat Morita