#233 Favorite Film, 1956 Films, Alfred Hitchcock, Anthony Quayle, Drama, Film noir, Harry Dean Stanton, Henry Fonda, Top 250 Films, Tuesday Weld, Vera Miles

The Wrong Man-1956

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The Wrong Man-1956

Director Alfred Hitchcock

Starring Henry Fonda, Vera Miles

Top 250 Films #233

Scott’s Review #902

Reviewed May 24, 2019

Grade: A-

The Wrong Man (1956) is not an Alfred Hitchcock film typically mentioned when lists of the greatest of all the director’s works are in conversation.

Although it flies completely under the radar and is absent from most “Best of” collections, the film is a lovely gem ready to be dusted off and appreciated for its worth.

It features the legendary Henry Fonda, perfectly cast in a story point frequently used in Hitchcock films: that of the wrongly accused man.

Set in New York City, Manny Balestrero (Fonda) is a struggling musician who requires three hundred dollars for dental work that his wife Rose (Vera Miles) needs. Determined not to let his wife suffer, he decides to obtain the money by borrowing against her insurance policy.

The life insurance employees mistake Manny for another man who recently held them up. He is arrested and forced to perform a test for the police, which he fails, leading them to assume he is their man.

Attorney Frank O’Connor (Anthony Quayle) sets out to prove that Manny is not guilty since he has perfect alibis for the nights of both holdups. However, complications erupt during his trial as proper witnesses either cannot be found or have died, leaving Manny in dire straits.

Meanwhile, Rose teeters towards the brink of insanity as she suffers from severe depression.

The Wrong Man differs from many Hitchcock films in that its story is based on a real-life quandary one man faced. As such, viewers can relate to the story immensely and imagine themselves in Manny’s shoes.

I often wonder, “What would I do if this were me?” as one could find the story implausible, one could just as easily find it plausible. Mistaken identity can happen, and proving one’s innocence may not be as easy as it may seem.

Mainly set on location is another tidbit unique to many Hitchcock productions as the man cringed at the thought of any scene that studio luxuries could not manipulate. The New York City locales are splendid and provide an artistic and genuine element.

Many scenes were filmed in Jackson Heights, where Manny lived when he was accused. Most of the prison scenes were filmed among the convicts in a New York City prison in Queens. The courthouse was at the corner of Catalpa Avenue and 64th Street in Ridgewood.

Careful not to be too dissimilar to standard Hitchcock fare, the use of every man being falsely accused is every day in some of his films.

Other films like North by Northwest (1958) and The 39 Steps (1935) delivered the same elements with a man being mistakenly accused of murder. While the others were more of “chase stories” involving flight, The Wrong Man stays firmly planted in one city.

The film has some jazz elements, representing Fonda’s appearance as a musician in the nightclub scenes. These elements add sophistication to the film’s overall tone, especially as we see Manny as worldly yet kind.

He is a performer but comes home to his wife and adores her, doing anything he needs to for her comfort. The music and the black-and-white cinematography exude harshness and coldness but also good style.

Fans of either the police force or the justice system may be in for a challenging ride watching The Wrong Man, as neither group is written very sympathetically. The police are the worst offenders as they go to unethical methods to accuse a man of a crime and seem not to care who is convicted, only that someone is.

The one detraction to The Wrong Man is the chemistry between Fonda and Miles. The passion is underwhelming but not terrible, either. Instead, the main point is the false accusations instead of the romance. A bit more of the latter might have made the film more unique.

With suspenseful and dramatic elements and a charismatic leading man, The Wrong Man (1956) perhaps lacks the flair of other well-known Hitchcock films. Still, it is a solid achievement that deserves more acclaim than traditionally given.

Yes, it’s sullen, but it’s also poignant, frightening, and a terrific effort. Henry Fonda carries the film and provides compassion and realism.

#234 Favorite Film, 1971 Films, Alan J. Pakula, Charles Cioffi, Donald Sutherland, Jane Fonda, Jean Stapleton, Rosalind Cash, Roy Scheider, Shirley Stoler, Sylvester Stallone, Thriller, Top 250 Films

Klute-1971

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Klute-1971

Director Alan J. Pakula

Starring Jane Fonda, Donald Sutherland

Top 250 Films #234

Scott’s Review #1,351

Reviewed March 12, 2023

Grade: A-

I’ll gladly watch any film Jane Fonda appears in, especially early treats like They Shoot Horses, Don’t They (1969), Coming Home (1978), and On Golden Pond (1981), but Klute (1971) trumps them all.

Fonda plays a prostitute, one with intelligence, manipulation skills, and deep introspective thought. Teamed with Donald Sutherland, who is quite extraordinary, the duo sink their teeth into a taut psychological thriller chasing a serial killer.

The inventive part is that the film is hardly a whodunit, yet it uses long sequences of calm dialogue and few editing breaks, making it stand out with great style and substance.

Bree Daniel (Fonda) is a New York City call girl who becomes absorbed in an investigation into the disappearance of a business executive. Detective John Klute (Sutherland) is hired to follow Bree and eventually begins a romance with her.

Klute is not the only one on Bree’s trail. A killer is on the loose, having killed two prostitutes with whom Bree is friendly. They must figure out the deadly puzzle before it’s too late.

Fonda plays Bree wonderfully. Gorgeous and well-dressed, Bree is aching to leave the business and launch an acting or modeling career, but she keeps striking out on both fronts. Fonda assures the audience that Bree is brilliant and uses her smarts to get the best of the men she beds.

Throughout several scenes in which she chats with her shrink, we learn a great deal about Bree and the workings of her mind. While she cringes at a dull life of being married and darning socks, she also craves stability and self-worth.

She aptly embraces her lifestyle, but on her terms. When briefly jaded by a pimp played by Roy Scheider, I cringed because Bree is better than that.

I only wanted to learn a bit more about Bree’s childhood and how she wound up as a call girl, but at the same time, the mystique works well. The ambiguity only makes Bree more complex.

Pre-conceived notions or sub-par writing might have had the character dubbed the overdone ‘hooker with the heart of gold’ title, but there are no cliches to be found.

Written by Andy and Dave Lewis and directed by Alan J. Pakula, they construct a complex film with equal focus on the intriguing serial-killer pursuit and the workings of its lead female character.

Surprisingly, the men achieve both goals. In later years, the screenplay might have been written by a female, but it’s impressive how boldly they write Bree.

The character of Klute is also well-written. Similarly shrouded in mystery, we know that the investigator is the strong, silent type and falls for Bree hook, line, and sinker. Has he been married? Does he have kids? Why the fascination with Bree?

He only mirrors the audience as we become equally smitten with her. The fact that he knows the killer is icing on the cake, adding rich texture to the storytelling.

The other facets of Klute are strong from a technical and location perspective.

The interior sequences, mostly of Bree’s apartment building, are superior, with dull lighting and an eerie musical score to set the proper mood. Downsizing from Park Avenue, Bree has a decent Manhattan apartment, but with dated appliances and unflattering lighting.

The exterior New York City location shots are fun to look at and help a native tri-state area resident identify various neighborhoods.

Early 1970s New York City was not a pretty sight, and the Wall Street area and garment district, where the riveting action culminates, are terrific.

Delightful is the scene involving Jean Stapleton as a no-nonsense secretary. Forever remembered as Edith Bunker on the television series All in the Family, it’s great fun seeing her in Klute and remembering that she appeared in films before her television success.

Klute (1971) is a taut, superior thriller that sometimes is a bit too complex, but it scores a winning run with its marriage of a character study and intelligent writing.

Thanks to Fonda and Sutherland, and a screenplay that bravely goes left of center when it easily could have gone straightforward, Klute is a memorable piece of cinema.

Oscar Nominations: 1 win-Best Actress-Jane Fonda (won), Best Original Screenplay

#235 Favorite Film, 1956 Films, Dennis Hopper, Drama, Elizabeth Taylor, Epic, George Stevens, James Dean, Mercedes McCambridge, Nick Adams, Rock Hudson, Rod Taylor, Sal Mineo, Top 250 Films, Western

Giant-1956

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Giant-1956

Director George Stevens

Starring Rock Hudson, Elizabeth Taylor, James Dean

Top 250 Films #235

Scott’s Review #898

Reviewed May 14, 2019

Grade: A

Giant (1956) is a sweeping epic firmly ensconced in both the Western genre and the dramatic field of play. The film is a flawless Hollywood production featuring three of the most recognizable stars of the time and a slew of powerful supporting actors offering rich performances and good characterizations.

The thunderous melodrama plays out over decades with the dry and dusty locale and the superb cinematography, among the finest aspects of the film experience.

Dashing and wealthy Texas rancher Jordan Bick Benedict Jr. (Rock Hudson) falls in love with and marries socialite Leslie Lynnton (Elizabeth Taylor) after a whirlwind romance in Maryland.

The pair begin their married life on Bick’s immaculate Texas ranch, but not before two central figures thwart their happiness. Jett Rink (James Dean) falls obsessively in love with Leslie while Bick’s sister, Luz Benedict (Mercedes McCambridge) despises Leslie, taking out her vengeance on Leslie’s horse.

The trials and tribulations continue as the characters age through the years.

The trifecta of talents Taylor, Hudson, and Dean make Giant the ultimate in treats as one fawn over the good looks of each (or all!) over the long three hours and eleven minutes of illustrious screen time.

Making for more powerful poignancy is that the film is Dean’s final appearance on-screen before his tragic death in a car accident, his death occurring before it was even released to the public.

Dean plays Jett to the hilt as a surly ranch hand, jealous of Bick’s riches and wanting to take Bick’s woman for himself. Jett is an unsympathetic character and the one I find the most interesting. Decades-long rivals, Jett and Bick’s lives overlap continuously as Jett finally becomes rich and dates Bick and Leslie’s daughter, much to their chagrin.

Jett is a racist, which was common in the early to mid-1900s, especially in southwestern Texas. Sadly, he never finds happiness, which is the central part of his depth.

The screenplay is peppered with meaningful and relevant social issues that provide sophistication and a humanistic approach. The film inches towards a liberal slant as the plot progresses, the most famous example occurring in the final act as Benedict’s stop at a roadside diner with a racist sign, implying the restaurant will not serve Mexicans.

Bick takes a dramatic stance and shows heart as his family, now multi-racial, needs his help. Culminating in a fight, the scene reveals the enduring love that Bick and Leslie share for one another.

Criticisms of the films’ enormous length and scope are wrong as these aspects deepen and the components I find the most appealing.

Director George Stevens never rushes through a scene or makes superfluous edits to limit running time. Instead, he allows each scene to marinate and graze like real life. Lengthy scenes play out with honest conversations and slow build-up, allowing the characters’ opinions and motivations to take shape slowly.

On the surface, a drama and western, the film can be peeled back like an onion to reveal deeper nuances. The racism, love story, and class structure ideals are mesmerizing, especially given the true-to-life humanitarian that Taylor was.

One can sit back and revel in the knowledge that she must have been enjoying the rich character.

Along with great epics like Gone with the Wind (1939), Lawrence of Arabia (1963), and The Godfather (1972) sits a film that is rarely mentioned with the other stalwarts, and that is a shame. With magnificent shot after shot of the vast Texas land and with enough gorgeous stars to rival the landscape, Giant (1956) is a must-see.

A Western soap opera with terrific writing, rife with racism, prosperity, and fortitude, the film deserves more praise than it’s given.

Oscar Nominations: 1 win-Best Motion Picture, Best Director-George Stevens (won), Best Actor-James Dean, Rock Hudson, Best Supporting Actress-Mercedes McCambridge, Best Screenplay-Adapted, Best Music Score of a Dramatic or Comedy Picture, Best Art Direction-Color, Best Costume Design-Color, Best Film Editing

#236 Favorite Film, 1942 Films, Alfred Hitchcock, Priscilla Lane, Robert Cummings, Thriller, Tony Randall, Top 250 Films

Saboteur-1942

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Saboteur-1942

Director Alfred Hitchcock

Starring Robert Cummings, Priscilla Lake

Top 250 Films #236

Scott’s Review #98

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Reviewed July 9, 2014

Grade: B+

Saboteur (1942) is a very early Alfred Hitchcock film that served as a blueprint for his masterpieces in the years to come.

The story follows a common theme among Hitchcock thrillers- the falsely accused man. An aircraft factory worker, Barry Kane, is falsely accused of an act of sabotage that kills his best friend.

Only Kane and the audience know the true culprit and set out on a quest for his innocence and to find and capture the real culprit.

The film then begins a tale of adventure, cross-country hijinks, romance, and political espionage, similar to the Hitchcock classic North by Northwest (1959), which followed years later.

This film contains some excellent scenes- the traveling Carnie train adventure, the blind man, and the climactic chase scene atop the Statue of Liberty are fantastic.

Saboteur (1942) is a bit raw, and the chemistry between the leads, Robert Cummings and Priscilla Lane, is poor, but an early Hitchcock film to be appreciated.

#237 Favorite Films, 1979 Films, Action, Australian, George Miller, Hugh Keays-Byrne, International, Joanne Samuel, Mel Gibson, Roger Ward, Science Fiction, Steve Bisley, Tim Burns, Top 250 Films

Mad Max-1979

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Mad Max-1979

Director George Miller

Starring Mel Gibson, Joanne Samuel

Top 250 Films #237

Scott’s Review #1,070

Reviewed October 15, 2020

Grade: A-

Mad Max (1979) is a gritty, dirty film unlike any that came before it. There is an edginess and an “off the beaten track” quality that sucks you in and pummels you into submission with its energy and ferocity.

The film is raw and not slick, and hats off for that. This is all done with fun intentions, and it’s meant to be enjoyed, but the film has brutality and power that must be experienced to be believed.

The plot is not the most important quality, nor is it the most believable, but it’s the trimmings that make Mad Max unforgettable.

I haven’t seen the two follow-up sequels, Mad Max 2 (1981) or Beyond Thunderdome (1985), but my understanding is that they are more family-friendly films, which is disappointing to hear after experiencing the raw power of the original.

The undesirable Fury Road (2015) is an enormous critical and commercial success, but its appeal was lost on me; it’s best skipped in favor of the first.

I disliked that film.

But alas, a treasure such as the original can never be duplicated. The revenge-themed, fast car-driving, lewd masterpiece is a must-see cult classic.

It stands the test of time.

In a post-apocalyptic future, an angry cop, Max Rockatansky (Mel Gibson), is looking forward to retiring, having had enough of the derelicts who populate his region. One day, his world is shattered when a malicious gang murders his family as an act of retaliation, forcing a devastated Max to hit the open road seeking vengeance.

As he travels the Australian outback’s empty stretches of highway, he tours the bloodstained battlegrounds ruled by low-life bikers who feed on violence.

Mad Max made Mel Gibson a star. His breakthrough role led to future work in the action and buddy genres, specifically the Lethal Weapon franchise (1987-1998), with tepid success from any artistic standpoint until he bravely took on more creative and challenging roles.

Max is his finest action character and most authentic feeling. He mixes a blend of rage, sentimentality, and humanity perfectly, never missing a beat.

And his youthful looks are enchanting.

The multitude of scenes featuring super-fast cars, motorbike gangs, and leather-clad creatures with colorful tattoos and missing teeth is just the icing on the cake of the fun that lies ahead.

Names like Toecutter and Bubba give you an idea here.

These are all great add-ons, but the revenge-seeking Max is the one to watch. The scene is immediately set when Max kills the grizzled Nightrider in a chaotic police chase. His gang goes rampant and loots and destroys shops and businesses, raping both women and men. All hell breaks loose.

The best sequence is also the most horrific.

Taking place on the open road, naturally, a sweet vacation by Max, his wife Jessie (Joanne Samuel), and son Sprog begins with a pleasant drive, only to culminate in a chase that ends with Sprog’s death and Jessie languishing in intensive care.

The image of Sprog and Jessie lying on the open road, tattered and torn, is memorable and lingers.

The film is intelligent if studied thoroughly, and a film school study is recommended. Credit must be given to director George Miller, who knows his way around a camera.

The cinematography greatly contributes to the film, and a feeling of being there is the desired result. The editors deserve a special prize for their brilliant efforts.

Undoubtedly influencing countless action genre selections of the 1980s and 1990s, most running the gamut between only marginally fun (the Terminator franchise, 1984-present) or downright atrocious (The Running Man, 1987), Mad Max (1979) breathes life into the genre.

Action films are widely regarded as one-dimensional. Still, by adding a cool Australian locale, characters filled with cartoon bombast and punky zest, and a futuristic mystique, Miller crafts a well-made film.

Mad Max (1979) is a low-budget flick, destined for underground viewership and appreciation, that is somehow nearly flawless.

#238 Favorite Film, #36 Favorite Horror Film, 2024 Films, Coralie Fargeat, Demi Moore, Dennis Quaid, Favorite Film of the Year, Horror, Independent, Independent Horror, Margaret Qualley, Satire, Top 250 Films, Top 40 Horror Films

The Substance-2024

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The Substance-2024

Director Coralie Fargeat

Starring Demi Moore, Margaret Qualley, Dennis Quaid

Top 250 Films #238

Top 40 Horror Films #36

Scott’s Review #1,461

Reviewed January 18, 2025

Grade: A

Demi Moore takes her languishing career by the reigns in a risky role, leaving any glitz and glamour by the wayside in the wacky horror film The Substance (2024).

She also sheds her mainstream blockbuster image for darker cinematic territory, propelling her into a fresh new image.

Respectability.

The film received widespread critical acclaim, a gaspy crowd reaction, and buzz during awards season, making it the most talked-about film of the season.

Moore portrays a fading celebrity, Elisabeth Sparkle, wired by her producer (Dennis Quaid) on her fiftieth birthday due to her age.

She decides to use a black-market drug that creates a much younger version of herself (Margaret Qualley) with unexpected side effects.

As she drives home after being fired, she is involved in a car accident. At the hospital, she meets a handsome young nurse who casually advertises a new product. He boldly tells her that it changed his life.

It creates a younger, more beautiful, more perfect you. The catch is that you share time, one week for one and one week for the other—an ideal balance of seven days each.

What could go wrong?

The film begins with a weird shot of a camera looking down at the creation of a famous star on Hollywood Boulevard, where anyone who’s anyone has their name in a star on the famous street.

The sequence reveals that Elisabeth was once a big star. Workers sand her name on the sidewalk amid the celebration, and people stop in awe of her name. As the years go by, people comment that she was in some movie they can’t remember, and then someone callously spills garbage on her name, thinking nothing of it.

The story has powerful meaning about the societal pressures on women’s bodies and aging, especially in the media spotlight.

But this isn’t simply about women. Anyone of any gender or humanity can reflect on the insecurities of aging, whether in the corporate world or being cast aside for a younger person in any way.

I found The Substance incredibly relatable.

Besides the story, Coralie Fargeat, a French director I’d like to see more of, directs The Substance very well.

She bravely incorporates snippets of Stanley Kubrick’s work, adding her funky weirdness and creating an insane experience for viewers.

Kubrick famously created long shots of hallways, which Fargeat brilliantly borrows. Elisabeth watches her producer and team rapidly walk towards her and reminds her that ‘pretty girls always smile,’ reinforcing ridiculous stereotypes attractive women are ‘supposed’ to follow.

Fargeat counterbalances the long shots with several close-ups, mainly of Moore staring at herself in the mirror. Seeing every wrinkle and blemish, she becomes increasingly obsessed with the younger version of herself.

The film does so much with very little dialogue, allowing Moore to deliver a performance of a lifetime.

As the film progresses, it becomes wackier and wackier in only the finest of ways as the older version becomes obsessed with her younger self. As she decays, she becomes a bald hunchback, unrecognizable.

At a diner, she runs into the older version of the young nurse, who admits that the process gets worse with each transformation.

The finale, set on New Year’s Eve, when Elisabeth is set to host events for millions to see, becomes horrific as her monster is set loose. A weird combination of human being and lumpy clay emerges on stage as Elisabeth begs the crowd to accept her.

The result is a moment that combines 1931’s Frankenstein with 1976’s Carrie as a horrific and quite bloody witch hunt ensues.

The film also reminds me of 2the 2000sRequiem for a Dream in style and addiction.

Fargeat, who directed, wrote, and produced the film, creates a feminist message that is awe-inspiring.

Combining unique camera angles that infuse a futuristic feel, astounding makeup work, and an exceptional performance by Moore makes The Substance (2024) the year’s surprise hit.

Oscar Nominations: 1 win-Best Picture, Best Director-Coralie Fargeat, Best Actress-Demi Moore, Best Original Screenplay, Best Makeup and Hairstyling (won)

Independent Spirit Award Nominations: Best Feature, Best Lead Performance, Demi Moore

#239 Favorite Film, 2018 Films, Aaron McCusker, Adam Lambert, Aidan Gillen, Allen Leech, Ben Hardy, Biography, Bryan Singer, Dexter Fletcher, Drama, Favorite Film of the Year, Gwilym Lee, Joseph Mazzello, Lucy Boynton, Mike Myers, Musical, Musical Drama, Rami Malek, Tom Hollander, Top 250 Films

Bohemian Rhapsody-2018

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Bohemian Rhapsody-2018

Director Bryan Singer

Starring Rami Malek

Top 250 Films #239

Scott’s Review #836

Reviewed December 3, 2018

Grade: A-

Crafting a biography of a performer with a personality the size of Freddie Mercury is challenging, but it can be done successfully.

The filmmakers of Bohemian Rhapsody (2018) opt to go in a decidedly mainstream direction, proving a wise choice as the film becomes an enthralling foot-stomping crowd-pleaser.

While nitpicking about accurate timelines and rigid facts may be disappointing, others who are content to sit back and enjoy a heartfelt biopic will undoubtedly love the film.

Rami Malek performs flawlessly as the legendary British rock band Queen’s singer Mercury. I will go out on a limb and state that this could be the young actor’s crowning achievement and his “role of a lifetime”.

The film wisely chronicles the singer’s initial struggles finding his bandmates and the band’s subsequent rise to fame and fortune during the 1970s and 1980s.

Predictably, as with many rock bands, infighting, drug use, and jealousies reared their ugly heads.

Other points of interest featured are Mercury’s personal life and his HIV diagnosis, culminating in his ultimate death in 1991 at the tender age of forty-five.

Less so a biography of the band, Mercury takes center stage as the film’s point. With his four-octave vocal range and operatic sensibilities, the star was a force to be reckoned with. He was nobody who would back down from either studio executives or pesky reporters eager for a scoop about his personal life and preference for male companions.

Malek sinks his teeth into an enormous role that is undoubtedly intimidating for most actors and an unbelievable challenge for the casting department. With boldness and charisma for miles, what actor could ever fill this challenging role?

Malek completely shines as he dons dentures to emulate Mercury’s famous overbite, a fact that the film nearly over exaggerates.

With wounded eyes and clever dialogue, Malek delivers witty one-liners and comical comebacks with a smirk, a hand wave, or a retort of “my dear”. The actor is careful to perfect the dramatic and emotional scenes flawlessly and portray the singer as a lonely and isolated being.

To the delight of most classic rock fans, Bohemian Rhapsody features many songs from the Queen catalog. “Killer Queen,” “Hammer to Fall,” “Another One Bites the Dust,” “We Will Rock You/We Are the Champions,” and the game-changing “Bohemian Rhapsody” are featured, along with the histories and stories behind many of these legendary hits.

Perhaps the loveliest tune, “Love of My Life”, which Mercury wrote for his fiancée Mary Austin, is prominently featured.

The film concludes with the band’s fantastic performance at Wembley Stadium in London for the Live Aid event 1985. A breathtaking finale, this final sequence is jaw-dropping with emotion, heart, and entertainment, and is the film’s finest moment.

As the story reaches its climax at this point with Mercury’s HIV diagnosis (a death sentence for gay men in the 1980s) and revelation to his bandmates, the lengthy scene will not leave a dry eye in the house.

A weakening Mercury powered through his illness to deliver a dynamic performance.

Bohemian Rhapsody’s (2018) numerous historical inaccuracies and incorrect timeline of events have been called into question.

Also, the fact that two members of Queen (Brian May and Roger Taylor) had a staggering amount of creative control is cause for alarm.

Additionally, further reading suggests that the characters of Mary and Mercury’s manager, Paul, may not have been as good or bad as they were respectively written. These points may be valid, but the film is a major champion as a source of good entertainment.

Oscar Nominations: 4 wins- Best Picture, Best Actor- Rami Malek (won), Best Sound Editing (won), Best Sound Mixing (won), Best Film Editing (won)

#240 Favorite Film, #37 Favorite Horror Film, 1933 Films, Adventure, Bruce Cabot, Ernest B. Schoedsack, Favorite Film of the Year, Fay Wray, Horror, Merian C. Cooper, Robert Armstrong, Top 250 Films, Top 40 Horror Films

King Kong-1933

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King Kong-1933

Director Merian C. Cooper, Ernest B. Schoedsack

Starring Fay Wray, Robert Armstrong

Top 250 Films #240

Top 40 Horror Films #37

Scott’s Review #624

Reviewed March 11, 2017

Grade: A

The original, black-and-white 1933 version of King Kong (a few other remakes or reboots followed) is a masterful achievement in special effects never before done in film. It is also a great horror/adventure film that is timeless in its look and feel, capturing 1930s New York City, especially in majestic fashion.

Some of the dialogue and scenes are now dated or slightly racist, but the film still holds up well as an overall lesson in film exploration and is a treasure to watch again and again.

The film is a take on the classic tale Beauty and the Beast, sans the happy ending.

In the watery harbors of New York City, filmmaker Carl Denham (Robert Armstrong) prepares to embark, via ship, on a journey to film his latest picture.

Known for films about exotic wildlife, he has a film to end all movies in mind and, reluctantly, is talked into casting a female lead in the part. He scours the streets of New York City, finding broke and hungry Ann (Fay Wray)—a struggling actress unable to find work. She agrees to the role and heads off to a destination unknown.

Weeks later, he reveals to the crew that they are headed for Skull Island, a secret island known for pre-historic creatures and a beast only known as “Kong.”

Amid the voyage to the island, Ann and First Mate Jack Driscoll (Bruce Cabot) fall madly in love, giving the film a nice romantic slant along with the male-driven adventure story.

The adventure begins when the crew arrives at Skull Island to find a weird, ancient ritual marriage occurring among the tribal people. All hell breaks loose when the dangerous “King Kong” escapes from captivity and falls in love with Ann.

Mixed in with the story are enormous dinosaurs who destroy everything in their paths, including many of the men from the island and the film crew.

As I watched the film in 2017, not too far from 100 years after its incarnation, I often sat in wonderment, amazed at how the filmmakers achieved the luminous special effects throughout the second half of the film.

Given that the film is in black and white, the contrast between the dark, enormous ape (Kong) and the bright New York City and the majestic Empire State Building is prominently featured in the final, climactic act.

The scenes of a struggling Ann in King Kong’s hand seem flawless and believable. I marvel at how these scenes were shot and the enormous amount of effort it took to make them dramatic and not hokey-looking.

Since the film was made “pre-code”, several shocking scenes exist- when Kong rips off Ann’s clothes as she struggles in his palm and Kong’s stepping on and squashing men are featured sparing no graphic details.

In addition to the great adventure story of King Kong, there is also a tender love story and a bit of melancholy. King Kong is not so much a dangerous creature; instead, he has fallen in love with Ann and serves as her protector.

He is a scared animal, chained and confined, and subsequently shown to a stuffy Broadway crowd as entertainment—he becomes angry. I find Kong to be a sympathetic, misunderstood character. Because the human beings in the story are frightened, he becomes their enemy. He adores Ann and would not harm her in any way, but he is perceived as vicious, which he is not.

It can be argued who the real villain of the story is. Would it not have been filmmaker Carl, intent on exploiting King Kong and gaining profit from it? Is it the tribe people who keep Kong locked up, or is it for their protection?

My favorite scene is the climax of the film. After taking Ann from a hotel room, he scales the Empire State Building and is pursued by four military airplanes.

When he sets Ann down on the rooftop ledge, he battles the planes, only to sadly topple down to the ground- dead. As he swipes at the aircraft and succumbs to gunshot wounds, it is a sad and powerful scene.

King Kong (1933) is a legendary film. Audiences will empathize with the “villain” of the story, be impressed by the technical nuances, and enjoy the conventional and unconventional love stories presented.

One thing is sure: King Kong is one of the most influential films ever made.

#241 Favorite Film, 1970 Films, Animated, Children, Disney, Eric Larson, Eva Gabor, Hermione Baddeley, Les Clark, Scatman Crothers, Top 250 Films, Wolfgang Reitherman

The Aristocats-1970

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The Aristocats-1970

Director Wolfgang Reitherman

Starring Various voices

Top 250 Films #241

Scott’s Review #570

Reviewed December 29, 2016

Grade: B+

The golden age of Disney films mainly occurred before the release of this film, The Aristocats is a latter-day Disney film, released in 1970, the first release since Walt Disney died in 1966.

It is a darling story with a charming subject matter- cats living in sophisticated Paris face peril from their butler.

Like many Disney works, the film’s message pertains to the treatment of animals. The Aristocats is much safer fare than the dark Bambi (1942) or even Dumbo (1941), but it is a fantastic film worth watching.

Glamorous and elegant retired opera star, Madame Adelaide Bonfamille, lives peacefully with her gorgeous mother cat, Duchess, and her three kittens, Marie, Berlioz, and Toulouse, in the heart of Paris, circa 1910.

They are sophisticated beyond measure and enjoy every luxury known to cats, and are accompanied in their estate by an English butler, Edgar.

One day, while Madame is discussing her will with her attorney, Edgar learns that she plans to leave her entire estate to her cats until they die, then all will go to Edgar.

Filled with greed, Edgar plots to kill the cats. This leads to an adventure in the country as the accosted cats attempt to find their way back home to Madame, with the help of feral yet kindly cat friends.

Ever so sweet to the film is the burgeoning romance that erupts between Duchess and Thomas O’Malley, as he aids the cats in returning to Paris. It is the classic girl from high class, who meets the bad boy from the wrong side of the tracks, only cat style.

The chemistry between the pair is readily apparent. On a personal note, my female cat Thora certainly seemed smitten with Thomas O’Malley as she sat smiling at Thomas while she watched the film.

During their adventure, Thomas and Duchess manage to dance and sing along with Thomas’s best friend Scat Cat, who leads a Jazz band of alley cats- this makes the film light and lively in tone. The group also shares adventures with English geese, Abigail and Amelia Gabble, who share a fondness for style and a prim and proper manner.

Throughout it all, the group continues to be pursued by Edgar, portrayed more as a bumbling villain than a sinister one, making The Aristocats a fun film rather than anything too heavy.

The film’s sophistication is really what makes me enjoy it so much. The high style of the Parisian city blocks, Madame’s gorgeous mansion, and the beautifully drawn French countryside are my favorite elements.

I love the contrasts in this film- the city and the country. The high-brow characters meet the more blue-collar ones, but in the end, everyone comes together to conquer the mischievous foe.

Whereas in Bambi, man is the serious enemy, in The Aristocats, Edgar is more of a buffoon than a hazardous element. He is cartoon-like (no pun intended), and the film is more of a caper with hijinks than of actual danger.

For the cat lovers in all of us, The Aristocats (1970) is a delightful film with a nice message and a wonderful cultural experience.

Who can forget the fantastic theme song, “Ev’rybody Wants to Be a Cat”?

#242 Favorite Film, 1964 Films, Comedy, Dark Comedy, George C. Scott, James Earl Jones, Keenan Wynn, Peter Sellers, Satire, Slim Pickens, Stanley Kubrick, Sterling Hayden, Top 250 Films

Dr. Strangelove-1964

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Dr. Strangelove-1964

Director Stanley Kubrick

Starring Peter Sellers, George C. Scott

Top 250 Films #242

Scott’s Review #958

Reviewed November 13, 2019

Grade: A

Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb, more commonly known simply as Dr. Strangelove, is a 1964 political satire black comedy film that satirizes the Cold War and fears of a nuclear conflict between the Soviet Union and the United States.

The film, timely in the 1960s, is as relevant decades later amid the chaos during the 2016 United States Presidential election and the following tumultuous years.

The film is powerful, brave, and essential.

The story centers around an unhinged United States Air Force general (Sterling Hayden) who orders a first-strike nuclear attack on the Soviet Union.

The plot follows the President of the United States (Peter Sellers), the Joint Chiefs of Staff, and a Royal Air Force (RAF) officer as they try to recall the bombers to prevent a nuclear apocalypse.

The film also follows the crew of one B-52 bomber as they try to deliver their payload.

The Cuban Missile Crisis was fresh in viewers’ minds when this film was released, and President John F. Kennedy was recently assassinated. The United States and the Soviet Union were hardly best buddies.

The film was a robust offering because its political satire was fresh. The ironic controversy between the two leaders, nearly sixty years after the film was released, is unintentionally clever.

The acting is excellent. Peter Sellers plays three prominent roles. Each is quite different from the others. Group Captain Lionel Mandrake, a British RAF exchange officer, President Merkin Muffley (what a name!), the President of the United States, and Dr. Strangelove, the wheelchair-using nuclear war expert and former Nazi.

Each glistens with goodness as the actor chomps at the bit, making them precise and unique, careful never to stray too far overboard into ridiculousness.

Director Stanley Kubrick wisely chooses black-and-white cinematography with stellar results and prominent filmmaking techniques.

As creative and progressive as many 1960s films started to become as the decade blossomed, it feels like it could have been made in the 1940s.

Kubrick, well known for masterpieces such as The Shining (1980) and 2001: A Space Odyssey (1968), delivers perhaps the oddest film in his catalog with Dr. Strangelove.

The story does not feel dated, and the dialogue remains crisp and razor-sharp in its delivery and meaning. With fast dialogue delivery and a monotone vocal style, the film is entertaining and humorous. It does not take itself too seriously yet brings a poignant and vital idea to life.

The film keeps gnawing at the viewers that as far-fetched as events seem, the possibility they could become real is more than a bit scary.

Who can forget the final sequence of the looming nightmare of the mushroom clouds, set to Vera Lynn’s hopeful We’ll Meet Again?

Since the film has a 1940s cinema style, the rude awakening that the 1960s produced in nuclear weapons and insecurity hits home in this sequence.

Dr. Strangelove (1964) is pure satire but frightening in its realism and uncertainty about how one crazy leader could lead an entire nation to detrimental results.

The film highly influenced later satires and unique filmmaking styles—Wes Anderson’s creations immediately spring to mind.

One can wonder about the different possibilities offered—in a way, the situation’s absurdity and the unthinkable way it could quickly become a reality.

Oscar Nominations: Best Picture, Best Director-Stanley Kubrick, Best Actor-Peter Sellers, Best Screenplay Based on Material from Another Medium

#243 Favorite Film, 2024 Films, Best Feature- Independent Spirit Award Winners, Best Picture Oscar Winners, Comedy, Drama, Independent, Independent Comedy, Independent Drama, Karren Karagulian, Mark Eidelstein, Mikey Madison, Romantic Comedy, Romantic Drama, Sean Baker, Top 250 Films, Yura Borisov

Anora-2024

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Anora-2024

Director Sean Baker

Starring Mikey Madison, Mark Eidelstein, Yura Borisov

Top 250 Films #243

Scott’s Review #1,450

Reviewed November 3, 2024

Grade: A

Anora (2024) is one of the boldest films I’ve seen in some time and is my favorite Sean Baker film so far. Tangerine (2015) and The Florida Project (2017) are also great works.

Those planning to see the film should do homework and learn what Baker films are about. He frequently directs independent feature films about the lives of marginalized people, especially immigrants and sex workers.

Baker’s films are dirty, dark, and outrageous.

Because Anora has received awards buzz and is classified as a romantic comedy, the audience at my showing seemed slightly overwhelmed by its raw nature. While there are comedic moments, they are shrouded in darkness, and I don’t think my audience quite knew how to respond.

Some cover art captured the main couple, played by Mickey Madison and Mark Eidelstein, happily dancing and depicted them with the caption ‘a modern day Cinderella story’. This is misleading to the gritty nature of the story.

Madison plays Ani (Anora), an exotic dancer and part-time sex worker at a swanky Manhattan strip club. She lives in a Russian section of Brooklyn. Her life takes an unexpected turn when she meets and impulsively marries Vanya (Mark Eidelstein), the childlike son of a Russian billionaire.

When Vanya’s godfather and parents catch wind of the union, they send their henchmen to annul the marriage, setting off a wild chase through the streets of New York. Vanya flees the scene, and the others must find him.

Madison is brilliant. Known for a small role as Susan Atkins in Quentin Tarantino’s Once Upon a Time in Hollywood (2019) and a role in one version of Scream (2022), the young actress comes on as gangbusters.

Her character is tricky. We only know she lives with her older sister, and their mother lives in Florida with her boyfriend. Presumably, her father is absent, and she has had to find work to support herself. She is brassy, savvy, and intelligent. Most importantly, the audience roots for her.

Madison has an aura surrounding her, and she believably plays loving and hysterical with ease. Ani wants love but is also intelligent enough to know love doesn’t come easy and has a price. Madison channels each emotion with seeming ease.

Baker has become a favorite director of mine. He also writes, produces, and edits most of his projects. Although his films are not easy to watch, that’s what I like about them.

His films take marginalized or dismissed groups and provide representation.

Another standout is Russian actor Yura Borisov. Since Ani is the only character worth rooting for, Borisov’s character, Igor, slowly becomes a fan favorite. Assumed to be a henchman, he begins to care for Ani and strive to do the right thing amid chaos.

Borisov provides Igor with warmth and kindness in a world of chaos. I yearned to know more about the character. How did he get to be where he is? Did he need to escape Russia any way he could?

It’s hard to like the other characters, and I wouldn’t say I enjoyed quite a few, especially the wealthier ones. I yearned to leap across the aisles and smack Vanya, his mother, and one stripper who is Ani’s rival.

This caused me to react viscerally to the film and think about my emotions after it ended. Anyone who appreciates good cinema knows that the longer you think about it, the better it is.

Towards the end, Baker incorporates satisfying moments of Ani standing up for herself, especially against Vanya and his mother. This only reaffirmed the passion of her character. Even in despair, Ani remains tough and refuses to be mistreated by anyone.

My favorite sequence is at the end, during a January snowstorm in Brooklyn. A tender moment occurs between Ani and Igor where the writing, cinematography, and camera angles are beautiful.

Anora (2024) is recommended for fans of Baker’s work. He successfully and carefully weaves an emotional and raw tale of adventure, romance, desperation, and the haves versus the have-nots.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Sean Baker (won), Best Actress-Mikey Madison (won), Best Supporting Actor-Yura Borisov, Best Original Screenplay (won), Best Film Editing (won)

Independent Spirit Award Nominations: 3 wins-Best Feature-(won), Best Director-Sean Baker-(won), Best Lead Performance-Mikey Madison-(won), Best Supporting Performance-Yura Borisov, Karren Karagulian

#244 Favorite Film, 2023 Films, Comedy, Dark Comedy, Emma Stone, Fantasy, Margaret Qualley, Mark Ruffalo, Science Fiction, Top 250 Films, Willem Dafoe, Yorgos Lanthimos

Poor Things-2023

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Poor Things-2023

Director Yorgos Lanthimos

Starring Emma Stone, Mark Ruffalo, Willem Dafoe

Top 250 Films #244

Scott’s Review #1,413

Reviewed December 27, 2023

Grade: A

Yorgos Lanthimos is a peculiar director and the suggestion is for potential viewers to be familiar with his work before seeing his latest film release, Poor Things (2023).

I’ve said recently that other directors like Alexander Payne, Todd Haynes, Quentin Tarantino, and Martin Scorcese can easily be added to this list with a style not for everyone but that Cinemaphiles will salivate for style and texture alone.

Anyone who has seen Lanthimos’s Dogtooth (2009) or The Lobster (2016) will know exactly what I mean.

With Poor Things, he hits a grand slam home run that might garner him some Academy Awards in what can be arguably classified as his most progressive film.

Mentions like the art direction, cinematography, set design, and fantastic performance by Emma Stone must be immediately celebrated and called out as highlights.

The film is hardly mainstream or conventional and way out there channeling a parallel to Frankenstein with frightening and gothic sets and sequences galore.

All with a twisted and refreshing feminist quality.

Ultimately, I was satisfied with the knowledge that I had witnessed a cinematic marvel that encourages repeated viewings.

During the nineteenth century in London, England, Bella Baxter (Stone), is a young woman brought back to life by the brilliant and unorthodox scientist Dr. Godwin Baxter (Willem Dafoe) who is referred to as ‘god’.

He inserts the tender brain of the baby she was carrying when she leaped from a bridge to her death suicide style.

Under Baxter’s protection and supervision, Bella is eager to learn but acts like a toddler with limited speech and motor skills. She teeters around smashing plates with gleeful joy as she discovers her surroundings.

With superior intelligence and a hunger for the worldliness she is lacking, Bella runs off with Duncan Wedderburn (Mark Ruffalo), a slick and horny lawyer, on a whirlwind adventure across the continents from Lisbon, Portugal to Paris, France, and back to London.

Free from the knowledge and the prejudices women of her time were forced to endure, Bella grows steadfast in her purpose to stand for equality and liberation. She challenges societal norms with her vision and determination.

I can’t think of anyone else to play the role of Bella other than Stone. With wide eyes filled with wonder, she infuses her character with comedy and wit as she asks questions many women have but never dare to utter aloud.

Especially in Victorian London.

Ruffalo is outrageous and Dafoe is hideously stoic. Both actors bring star quality and wacky performances in different ways.

The look of the film is to die for as Lanthimos offers a looming fairy tale set design led by cinematographer Robbie Ryan.

The European cities of Lisbon, Paris, and London are given their chapters in the film and their focus. The waterfront in Lisbon in particular resembles the real city in a gothic and foreboding way.

The hotel in Paris where Bella becomes a prostitute is regal and polished. Bella wonders aloud why the male customers get to decide which woman they want to spend time with instead of the reverse.

It’s a fair question.

Her friend and fellow prostitute introduces her to socialism while Madame Swiney (Kathryn Hunter) explains capitalism.

Finally, the musical score by Jerskin Fendrix offers shrieking classical strings mixed with haunting pizazz and perfectly timed arrangements. They promote tension and drama at just the right moments.

2023 was a fabulous year for women in cinematic terms but not so much by the United States Supreme Court but that’s another story. The bombast and box office enormity of Greta Gerwig’s Barbie is followed by Lanthimos’s celebration of the thought-provoking Poor Things.

Both elicit insightfully quirkiness that successfully bulldozes over traditional gender norms with messages that women can do whatever they set out to do which is a vital quality for young minds to be exposed to.

Oscar Nominations: 4 wins-Best Picture, Best Director-Yorgos Lanthimos, Best Actress-Emma Stone (won), Best Supporting Actor-Mark Ruffalo, Best Adapted Screenplay, Best Film Editing, Best Cinematography, Best Costume Design (won), Best Production Design (won), Best Original Score, Best Makeup and Hairstyling (won)

#245 Favorite Film, 2018 Films, Alec Baldwin, Andrew Dice Clay, Bradley Cooper, Brandi Carlile, Dave Chappelle, Drama, Halsey, Lady Gaga, Musical, Musical Drama, Romantic Drama, Sam Elliott, Todd Phillips, Top 250 Films

A Star Is Born-2018

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A Star Is Born- 2018

Director Bradley Cooper

Starring Bradley Cooper, Lady Gaga

Top 250 Films #245

Scott’s Review #819

Reviewed October 10, 2018

Grade: A

On paper, by the time a film reaches its fourth remake (think- superhero franchises), there is a risk of either utter redundancy or a lack of interest (or both!).

Months before A Star Is Born (2018) was released to theaters, a tremendous buzz emerged, particularly about the stars (Bradley Cooper and Lady Gaga). Considering the latter had never starred in a film before, the word of mouth was surprising.

The hype can be believed as the film is a tremendous effort with something to offer everyone.

The story begins with a boozy country crooner, Jackson Maine (Bradley Cooper), performing a sold-out show. He needs pills to take the stage and suffers from gradual hearing loss, but he is nonetheless a famous and popular star.

Following the concert, Jackson meets Ally (Lady Gaga), a waitress who moonlights singing French songs at a drag bar. They immediately bond as he encourages her to celebrate her talent despite her insecurities.

As events unfold, the pair dive into a passionate romance as her career skyrockets while he deteriorates from drug and alcohol abuse.

On the surface, a film such as A Star Is Born risks being hokey, formulaic, or otherwise generic. The premise dictates this: a successful star meets an insecure up-and-comer, romance ensues, and they face obstacles and internal conflict on the road to success.

Sounds like material custom-made for a Hallmark television movie or something lightweight, especially given the remake of a remake factor.

Instead, every element of A Star Is Born works perfectly.

Of enormous praise is how Bradley Cooper both directs this film and has the central male role. As a director, he incorporates some interesting camera shots, including a long shot of Ally walking down an alley, rehearsing a song for a performance.

Also, the numerous concert scenes are very well done. Impressive since this is Cooper’s directorial debut.

An enormous win for the film is the chemistry between Cooper and Gaga, which is evident in the first moments when the two appear on screen together. Their chemistry is purely electric, almost magical as they rapidly bond and connect.

Their connection is not only physical but also based on their love of music and the artistry associated with creating good music. This bond is slowly tested as Ally’s career takes off and her manager steers her in a more pop-oriented direction, infuriating Jackson.

Even through turmoil, the chemistry between the two actors is palpable in every scene.

My two favorite scenes include the one in which Jackson and Ally first meet in the drag bar. The lovely French tune (Edith Piaf’s “La Vie en rose”) that she performs is cultural and rife with talent. As Jackson gazes at her from the bar, his gleaming eyes are filled with amazement and pride. He is immediately smitten with her talent and poise, and this scene sets the tone for the film.

The second comes at the film’s conclusion, as Ally belts the heartfelt “I’ll Never Love Again”. Performing to a subdued audience, the song is performed as a close-up of Ally to the tremendous visual effect.

The musical numbers are heartfelt and emotional without being sappy. From treasures such as “Shallow” and “Maybe It’s Time” to the thunderous “Black Eyes” and pop-driven “Why Did You Do That?”, the soundtrack contains something for everyone.

Cooper, already an acting champ, astounds as he is so good, while Lady Gaga, a novice to film acting, looks like a pro. We believe in her struggles, doubting her star potential as she is deemed “too ugly” to make it in the music business.

Gaga successfully showcases her pain, doubt, and eventual bombast at her sudden success.

Mention must be given to Sam Elliott, the veteran actor who gives a dynamic supporting turn as Bobby Maine, Jackson’s older brother and manager. Elliott does not have a showy role or a big emotional scene—he doesn’t need to. In the actor’s quiet way, he infuses the character with pent-up anger but also with unconditional love and affection for his brother.

Harboring rage and turmoil for each other, the best scene between Elliott and Cooper comes towards the film’s end when Jackson admits his love for Bobby. The emotion on Elliott’s face is raw in this important scene.

A Star Is Born (2018) is a superlative remake and one for the ages. This fan favorite will easily go down in the record books.

With a memorable musical soundtrack, outstanding acting and directing, and characters audiences can relate to, a classic in the making is not too difficult to imagine.

Oscar Nominations: 1 win-Best Picture, Best Actor-Bradley Cooper, Best Actress-Lady Gaga, Best Supporting Actor-Sam Elliott, Best Adapted Screenplay, Best Original Song-“Shallow” (won), Best Sound Mixing, Best Cinematography

#246 Favorite Film, 1975 Films, Cliff Robertson, Faye Dunaway, John Houseman, Max von Sydow, Robert Redford, Sydney Pollack, Thriller, Top 250 Films

Three Days of the Condor-1975

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Three Days of the Condor-1975

Director Sydney Pollack

Starring Robert Redford, Faye Dunaway, Max von Sydow

Top 250 Films #246

Scott’s Review #1,206

Reviewed December 11, 2021

Grade: B+

Three Days of the Condor (1975) is an edge-of-your-seat thriller starring Robert Redford and Faye Dunaway, two big stars of the 1970s.

The film is directed by the respected Sydney Pollack, most famous for Out of Africa (1985) and Tootsie (1982).

He knows how to entertain while providing a good, juicy romance.

The quick pace and frenetic editing make the film move along, and the frequent exteriors of Manhattan and Brooklyn are great. Good-looking stars and a dangerous European bad guy played by Max von Sydow certainly help.

My only criticism is that Three Days of the Condor is quite similar and familiar to other espionage or political thrillers like All the President’s Men (1976) or Chinatown (1974) that emerged during the 1970s.

This is small potatoes by comparison with the compelling and action-oriented theme, though.

On a seemingly ordinary day, Joe Turner (Redford), a bookish CIA codebreaker, is tasked with fetching lunch for his colleagues. When he returns, he finds that they have all been murdered. Horrified, Joe flees the scene and tries to tell his supervisors about the tragedy, but quickly learns that CIA higher-ups were involved in the murders.

With no one to trust and a determined hitman named Joubert (Max von Sydow) on his tail, Joe must somehow survive long enough to figure out why his agency wants him dead. He kidnaps Kathy Hale (Dunaway), who he hopes will assist him in his peril.

The opening segment is the best part of Three Days of the Condor. The massacre of the entire office is shocking and bloody, and Pollack infuses the necessary elements of suspense in this key scene.

The scolding, chainsmoking receptionist who keeps a gun in her desk drawer is the first to die and no match for her assassins. As they go about the office, kicking down doors and wreaking havoc, it’s a hope that someone is spared.

We also wonder about their motivation.

And the tense elevator scene involving Turner and Joubert is fabulous.

Particularly worth mentioning is the inclusion of a female Asian character, hinted at as a possible love interest of Turner’s. Tina Chen’s character, Janice, is intelligent and sexy.

Her flirtations with Turner, unfortunately, never go anywhere, as she is part of the lunchtime slaughter, but some Asian representation in mainstream film during this time is a positive.

I fell in love with Kathy’s cozy and stylish Brooklyn apartment. Assumed to be very close to the Lower Manhattan financial district, the set is beautifully dressed. It provides depth and texture to her character, whom we barely know at first.

She has good taste and sophistication and sees something in Turner, although he has just accosted her at random.

It was a stretch to buy Robert Redford as nerdy or anything other than a platinum blonde hunk, but the actor does a satisfactory job leading the film. I couldn’t stop comparing Redford and Brad Pitt at that age, as the two stars look similar.

The chemistry between Redford and Dunaway is palpable and key to the film. If little or none existed, it would have detracted from the believability when they become lovers, it feels natural, a satisfying culminating moment for the audience, and proper to the story.

Providing enough action to enthrall viewers in the thriller genre, Three Days of the Condor (1975) is slick yet believable. Capitalizing on the paranoia that the fresh Watergate scandal had resulted in when the film was made, it still holds up well as a film decades later.

Oscar Nominations: Best Film Editing

#247 Favorite Film, 1960 Films, Adventure, Charles Laughton, Drama, Epic, Herbert Lom, Jean Simmons, John Gavin, John Ireland, Kirk Douglas, Laurence Olivier, Nina Foch, Peter Ustinov, Richard Farnsworth, Stanley Kubrick, Tony Curtis, Top 250 Films

Spartacus-1960

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Spartacus-1960

Director Stanley Kubrick

Starring Kirk Douglas, Laurence Olivier, Jean Simmons

Top 250 Films #247

Scott’s Review #1,250

Reviewed April 30, 2022

Grade: A

Typically, when influential director Stanley Kubrick’s name is uttered, films such as The Shining (1980), 2001: A Space Odyssey (1968), and Barry Lyndon (1975) are immediately thought of, and for obvious reasons.

The haunting, moody musical score, the long camera shots, the dark humor, and the clever camera tricks are easy to pinpoint.

1960, the director was hired to direct the gorgeous epic Spartacus after Hollywood star Kirk Russell unceremoniously fired the first director.

None of the previously mentioned elements are easy for me to notice and are more or less absent, but a grand battle scene in a luscious green field is very reminiscent of Barry Lyndon. This is likely because Spartacus was not Kubrick’s film entirely; instead, it belonged to others with more clout.

Spartacus is a brilliant film for many reasons. Some epics suffer from a hokey, cliched feel and can be overwrought, predictable, and tired.

The rebellious Thracian Spartacus (Russell), born and raised a slave, is sold to Gladiator trainer Batiatus (Ustinov). After training to kill for the arena, Spartacus turns on his owners and leads the other slaves in rebellion.

As the rebels move from town to town, their numbers increase as escaped slaves join their ranks. Under the leadership of Spartacus, they make their way to southern Italy, where they intend to cross the sea and return to their homes.

Spartacus is grand, sweeping, cinematically significant, and everything else you’d expect from a 1960s Hollywood epic with enormous stars of its day. Looking beneath the surface, the film is riddled with interesting tidbits like bisexuality, homoeroticism, and violence, more in tune with an art film or modern war film than the safety of a movie made during this time.

Particularly noteworthy is that Dalton Trumbo wrote the screenplay. One of the Hollywood Ten, he refused to testify before the House Un-American Activities Committee in 1947 during the committee’s investigation of alleged Communist influences in the motion picture industry.

After the release of Spartacus, it marked the beginning of the end of the Hollywood Blacklist for Trumbo and other affected screenwriters.

Thank goodness.

In a famous scene, recaptured slaves are asked to identify Spartacus in exchange for leniency; instead, each slave proclaims himself to be Spartacus, thus sharing his fate.

The suggestion is that this scene was meant to dramatize the solidarity of those accused of being Communist sympathizers during the McCarthy era.

Besides the political importance, Spartacus showcases a beautiful romance between Spartacus (Russell) and Varinia (Jean Simmons), a gorgeous slave girl. The tenderness and authenticity are palpable as many of their early scenes involve no dialogue but only longing and expression through both actors’ eyes.

I celebrated the connection between the actors at the forefront of much romance. Russell carries the film with calm masculinity, quickly making him heroic and likable.

He is the charismatic, good guy who has been wronged and ill-fated.

A sequence oozing with machismo and homoeroticism occurs when evil Crassus (Olivier) is bathed by his slave boy Antoninus (Tony Curtis). He seductively explains that while sometimes he prefers snails, he also likes oysters. The implication is that he is bisexual, brazenly so, and expects the youngster to become his sex slave.

The warmth of the bathtub and the luxurious atmosphere contrast with the proximity and touch of both male characters.

In 1960, this scene was way ahead of its time.

The conclusion of Spartacus is melancholy and surprising. Having bested Rome’s cruelty, one might have expected to see Spartacus and Varinia happily ride off into the sunset.

This doesn’t happen, and the film is more affluent in it. There is pain and despair as there were in real life. Wisely sparing complete doom and gloom, the ending is satisfying as one central character escapes a deadly demise and conjures ahead.

Spartacus (1960) is one of the greats. It has muscle and texture, and many below-the-surface nuances are ripe for discussion. For these reasons, it’s a must-see.

Oscar Nominations: 4 wins-Best Supporting Actor-Peter Ustinov (won), Best Art Direction-Color (won), Best Cinematography-Color (won), Best Costume Design-Color (won), Best Film Editing, Best Music Score of a Dramatic or Comedy Picture

#248 Favorite Film, 1971 Films, Björn Andrésen, Dirk Bogarde, Drama, Historical Drama, International, International Drama, Italian, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Luchino Visconti, Marisa Berenson, Mark Burns, Romolo Valli, Silvana Mangano, Top 250 Films

Death in Venice-1971

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Death in Venice-1971

Director Luchino Visconti

Starring Dirk Bogarde, Björn Andrésen

Top 250 Films #248

Scott’s Review #1,014

Reviewed April 22, 2020

Grade: A

Death in Venice (1971) is a haunting and tragic story of a depressed middle-aged man who becomes obsessed with a fourteen-year-old Polish boy while on holiday in Venice.

The story, on the surface, is dark and dour, not for the judgmental or the closed-minded. With a deeper dive and a haunting musical score, the film provides beauty and impressionism.

The film is based on the novella Death in Venice by German author Thomas Mann, published in 1912 as Der Tod in Venedig.

Gustav von Aschenbach (Dirk Bogarde) is a lonely composer who travels to Venice for health reasons and a recipe for recovery. His maladies are unclear at the start, but are assumed to be sent to the picturesque city as a form of therapy.

While enjoying a tranquil holiday, he spots Tadzio (Björn Andrésen), a stunning, youthful beauty staying with his family at the luxurious Grand Hôtel des Bains, just as Gustav is.

Their encounters run rampant as they are viewed by the audience from afar, but never speak to each other.

This is the brilliance of Death in Venice. A more standard approach may have been to make the story more forceful.

If Gustav had approached, harassed, or even molested Tadzio, the direction of the film would have vastly changed, and he would have been deemed a pervert.

Suddenly, the film would have been about a pedophile preying on a youngster, rather than incorporating a beautiful subtext of longing and unfulfilled passion.

The masterful classical numbers that open and close the film help to achieve this mindset.

The controversial subject matter, still taboo by today’s progressive standards, is not gratuitous but is quite obsessive. Worthy of mention is that Gustav’s plight begins harmless enough as he appreciates a beautiful image, almost like gazing at a sculpture- think Michelangelo’s David- since we are in Italy.

But when he begins to follow Tadzio and see him more and more, his desperation increases as his health deteriorates. For a while, it is unclear whether the boy even realizes he is an object of affection. It is Gustav’s feelings and emotions that are most explored.

As a side story, the city of Venice is gripped by a cholera epidemic, and the city authorities do not inform the holiday-makers of the problem for fear that they will flee the vital city.

In 2020, amid the vicious COVID-19 pandemic gripping the world, this classic film takes on a whole new importance. As Venice officials downplay the epidemic while tourists increasingly fall ill, a modern realism is conjured for the audience.

Death in Venice, as the title should make clear, is not a love story; otherwise, it would be called Love in Venice. Gustav’s lust for Tadzio is unrequited. Neither is Gustav’s sexuality clear, though he is assumed to be bisexual.

In one of the film’s saddest scenes, also the finale, Gustav lounges on the sandy beach in ill health, dressed in an improper white suit. He sees Tadzio playfully frolicking with an older boy, and afterward walks away and turns back to look at Gustavo.

As Tadzio outstretched his arms toward the water, Gustav did the same as if he was enveloping the boy. The moment is breathtaking.

Many symbolic and meaningful scenes occur, like when Gustav visits a barber who insists he will return his customer to his youth. The results are ghastly.

Dyeing his grey hair black, whitening his face, and reddening his lips to make him look younger leaves a macabre, somber image of a man feebly attempting to turn back the hands of time, something we can all relate to. His heavily made-up face is meant to hide his insecurities.

Incorporating an ingenious mix of beauty, tragedy, obsession, and loneliness, Italian director Luchino Visconti crafts a brilliant and painful dissection of human emotion.

The subject matter of Death in Venice (1971) will not appeal to all viewers. Still, those brave enough to traverse the sometimes-rocky waters will find an underlying treasure and a meaningful cinematic experience.

Oscar Nominations: Best Costume Design

#249 Favorite Film, #38 Favorite Horror Film, 1977 Films, Charlotte Stewart, David Lynch, Horror, Independent, Independent Horror, Jack Fisk, Jack Nance, Jeanne Bates, Judith Roberts, Top 250 Films, Top 40 Horror Films

Eraserhead-1977

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Eraserhead-1977

Director David Lynch

Starring Jack Nance, Charlotte Stewart

Top 250 Films #249

Top 40 Horror Films #38

Scott’s Review #541

Reviewed December 10, 2016

Grade: B+

Eraserhead is one of the oddest films that I have ever seen. The film is an early (1977) David Lynch film, shot entirely in black and white.

It is a surrealist horror film.

Entrancing is the locale of the film- a bleak wasteland, of sorts, in an even bleaker town. The name is unknown.

Factory worker Henry Spencer (Nance) is garish in appearance/with spiky hair and wild eyes; he is peculiar, to say the least.

He trods day after day, to and from his job, meeting interesting, yet grotesque characters. He has an inhuman child with a snake-like face.

Henry meets an odd woman while carrying groceries home, and his apartment is filled with rotting vegetation.

While not one of Lynch’s best works, since the “plot” is incomprehensible to follow or make very much sense of, still, Eraserhead is a blueprint for his later works, with odd visuals and even odder characters. It is to be revered for its imagination alone.

The film is fascinating in its weirdness, but I probably never need to see it again.

It’s a must-see for any David Lynch fan for the warped experience.

#250 Favorite Film, 2018 Films, Documentary, Fred Rogers, Morgan Neville, Top 250 Films

Won’t You Be My Neighbor?-2018

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Won’t You Be My Neighbor? -2018

Director Morgan Neville

Starring Fred Rogers

Top 250 Films #250

Scott’s Review #783

Reviewed July 5, 2018

Grade: A

As much as I enjoy the documentary genre, it has never been close to the top of my favorites list. Many films of this ilk are very good, providing some relevant facts about a subject matter that may be taboo to me, but sometimes, it is somewhat interesting.

Few are great.

Along comes a documentary that is emotional, inspiring, and lovely. Won’t You Be My Neighbor (2018), based on the life of Fred Rogers, is simply outstanding.

Won’t You Be My Neighbor? Chronicles the life and rise to popularity of a kindly, mild-mannered man from Pittsburgh, Pennsylvania, with a simple message of kindness towards children.

Beginning as a local television personality, his show centered around children and produced positive messages for them.

Universally known as Mister Rogers, the documentary explains his determination, eventual fame, his ability to enrich lives, and his need to introduce heavy subject matters to children to expose them rather than shelter them from it.

In today’s tumultuous time, boy, is he missed!

I fondly remember watching the PBS television show Mister Rogers’ Neighborhood as a child. The program offered a feast of creativity every half hour.

Featuring the Neighborhood of Make-Believe, a magical trolley transports the viewer to a world of puppets (voiced by Rogers). Other poignant moments occur when Rogers sings the catchy theme song at the top of every show.

The episodes are filled with simple yet important messages of self-acceptance, diversity, and kindness toward others.

At the conclusion of each episode, Rogers sang the song “It’s Such a Good Feeling” in a way that made any child watching feel secure, loved, and embraced.

Rogers sadly died in 2003- his wife, grown children, and various former cast members relay cherished memories and inspirational stories about the creative genius. Rumored to have had an insecure childhood, he was a champion at ensuring children felt worthy and accepted for who they are.

The documentary also shows how Rogers fought in court for necessary funding via news flashbacks.

My emotional reaction surprised me quite frankly. I expected a nostalgic trip back to childhood with flashbacks from the show, some interviews, and a jovial good time. Instead, I was utterly blown away by how touching and humanistic the documentary was and the abovementioned expectations.

Sure, old clips (some black and white) brought back memories as puppets Daniel Striped Tiger, Madame, and King Friday XIII made appearances. Still, the flood of tears that accompanied the memories was unexpected.

Never preachy, the documentary holds the same level of genuine goodness as Rogers does. For audiences watching the film, the question of when someone will well up in tears is the wrong question—it’s how often?

Examples of the most touching scenes are when Rogers accepts a young, gay actor for who he is when his family members do not. A disabled child who uses a wheelchair sings a heart-wrenching duet with Rogers.

Finally, as Rogers gives a commencement speech at a college university, a teary graduate explains why he gave her a special preschool education.

Perhaps the most poignant moment occurs in the final moments of the documentary. When many of the film participants are asked to think for just a moment about someone who taught them kindness, whether alive or dead, the sequence is monumental in feeling.

A quick foray into the current political climate in the United States is only briefly skated around, carefully so as not to ruin the sweetness of the overall experience.

Director Morgan Neville perfectly paces his documentary so that it never drags.

The flow is perfectly structured at one hour and thirty-four minutes. The first half is a bit lighter and more fun, while the second half culminates with a more serious and introspective tone.

Won’t You Be My Neighbor? (2018) is a brilliant documentary film and one of the best I have ever seen.

Independent Spirit Award Nominations: 1 win-Best Documentary Feature (won)

#39 Favorite Horror Film, 1981 Films, Frances Hyland, Glenn Ford, Horror, J. Lee Thompson, Jack Blum, Lawrence Dane, Lesleh Donaldson, Lisa Langlois, Matt Craven, Melissa Sue Anderson, Sharon Acker, Slasher, Top 40 Horror Films, Tracey E. Bregman

Happy Birthday to Me-1981

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Happy Birthday to Me-1981

Director J. Lee Thompson

Starring Melissa Sue Anderson, Glenn Ford

Top 40 Horror Films #39

Scott’s Review #621

Reviewed March 4, 2017

Grade: A-

Happy Birthday to Me is a 1981 slasher film that I fondly remember scaring the shit out of me as a little kid, too young to be watching a film of this nature, but sneaking into my parents’ bedroom with my brother to catch it on HBO.

Certain that the film helped shape my passion for the horror genre, I hold a fondness for it- critics be damned.

My opinion is that the film is a small treasure in the land of 1980s slasher films, containing a neat whodunit and a grotesque ending.

Melissa Sue Anderson, desiring to break out of her nice television persona, thanks to the wholesome Little House on the Prairie, is cast in the lead role.

Happy Birthday to Me also earns merit, as it is directed by acclaimed British director J. Lee Thompson (Cape Fear).

Anderson carries the film quite well in a challenging part, and Glenn Ford co-stars as a Doctor.

Virginia Wainwright is a pretty and popular senior at exclusive Crawford Academy- a school for elite, rich kids. She is part of the “Top Ten”, the most popular and richest kids in the school. The ten friends meet nightly at the local pub.

One night, Bernadette, one of the top ten, is murdered by an assailant on her way to meet her friends.

This murder sets the tone as, one by one, the others are subsequently killed off, sending the school and local townspeople into a frenzy of panic.

To thicken the plot, Virginia was involved in a horrible car accident four years earlier, which killed her mother and caused Virginia to have only sparse memories of the accident.

This piece is key to the film’s mystery.

There are many comparisons I can make to slasher classics that heavily influenced Happy Birthday to Me, but the most prominent must be 1978’s Halloween.

The character of Virginia is very similar to Laurie Strode (Jamie Lee Curtis) in their somewhat virginal, good-girl characters, and both have almost identical hairstyles!

Also, Happy Birthday to Me successfully uses the killer’s point of view, as the camera frequently serves as the perspective of either the killer or someone lurking, spying on others.

The film also “looks” similar to Halloween.

The whodunit aspect is the most effective among the film’s qualities. There are a multitude of likely suspects, and the film does not shy away from this, purposely casting doubt on several characters- could it be the creepy Alfred, who carries around a pet mouse and creates a fake head of the murdered Bernadette?

Or the suave French student, Etienne, who snoops in Virginia’s bedroom and steals a pair of her panties? Finally, could it be Head Mistress, Mrs. Patterson, a harsh, no-nonsense woman harboring resentment for the snobbish elitism that exists at her school?

When the killer is finally revealed, a measure of pure shock and confusion will undoubtedly transpire- how can this be? But by the time the ultimate finale is played out, all will make sense.

The conclusion does disappoint slightly in the implausibility factor, and the original ending is much more logical and compelling than what was actually in the final cut- rumors have run rampant that the screenplay of the film was rewritten numerous times well into the production, never a good thing.

So, the motivations of the actual killer are quite weak, but the buildup is amazing.

Not to be outdone by the whodunit, the kills themselves are superlative: a shish kabob to the throat, falling gym weights, a scarf caught in the spokes of a bike, and the traditional fireplace poker are done in macabre and fantastic fashion.

We always see the killer’s gloved hands, and we are aware that the victim is friendly with the killer, so we continually try to deduce who it could be.

The gruesome “Birthday party” finale is gruesome and gleeful at the same time. Each murder victim is propped up around a dining room table, each with a party hat on and all in various forms of dismemberment or blood-soaked from their murder wounds.

It is a grim and hilarious reveal. The murderer parades out of the kitchen, wielding an enormous birthday cake, cheerily singing “Happy Birthday to Me”.

This is one great finale.

Happy Birthday to Me (1981) is a wonderful trip down memory lane and still holds up as a key, perhaps overlooked part of the slasher genre that should be rediscovered by fans and followers everywhere.

#40 Favorite Horror Film, 1977 Films, Alfred Sole, Brooke Shields, Horror, Jane Lowry, Linda Miller, Mildred Clinton, Niles McMaster, Paula Sheppard, Slasher, Top 40 Horror Films

Alice, Sweet Alice-1977

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Alice, Sweet Alice-1977

Director Alfred Sole

Starring Paula Sheppard, Linda Miller

Top 40 Horror Films #40

Scott’s Review #1,343

Reviewed February 12, 2023

Grade: A-

Originally titled ‘Communion’ and re-titled and re-released as Alice, Sweet Alice in 1977, the film can proudly tout it as the debut film of star Brooke Shields. Her role, while quite small, is essential to the story.

Any film that challenges, mocks, or showcases Catholicism, especially in the horror genre, has instant appeal to me. There is something so warped yet satisfying to me.

As The Exorcist did in 1973, Alice, Sweet Alice will leave Catholics and the otherwise religious squirming in their seats or scrambling for the ‘stop’ button on their remotes.

Director Alfred Sole, also a well-known production designer, was inspired by Alfred Hitchcock’s films and the 1973 masterpiece, Don’t Look Now. Does it ever show if one looks closely enough?

The story is sometimes muddled and confusing, to say nothing of implausible, but the overall tone and content are fascinating. The camera angles, production design, musical score, and overall style are exceptional, making the film a major success.

On her First Communion day, Karen (Brooke Shields) is viciously strangled and set afire in church after being stuffed in a wooden chest.

Her emotionally unstable and unattractive sister, Alice (Paula Sheppard), is immediately considered a suspect because of her jealousy and her possession of a translucent mask, Karen’s crucifix, and veil.

Alice is no saint, as she enjoys tormenting Karen and the obese landlord who lives in the apartment below her family’s.

Aunt Annie (Jane Lowry), a staunch catholic who hates Alice, is later stabbed on an apartment complex stairway by a childlike figure wearing a translucent mask and a yellow rain slicker. Annie insists her attacker was Alice.

In a subplot, the girls’ mother, Catherine, played by Linda Miller, embarks on a tender romance with her dashing ex-husband, now dating another woman, until he too is brutally murdered.

I was immediately struck and smitten by the haunting musical score, a clear homage to Hitchcock’s 1960 Psycho. The shrill violins and the palpable bass are familiar, bringing fond memories of that legendary masterpiece.

Instead of a direct copy, though, composer Stephen J. Lawrence superbly enhances the effects to fit a more modern-style horror film, and it works.

Mr. Hitchcock’s fascination with stairways is also mirrored many times, and he crafts many effective scenes using only shots of feet walking up or down the stairs.

And anytime a mask is used in a horror film, it’s scary.

In terms of the plot, while the events are compelling, they also don’t make much sense. It would be too predictable and unsatisfying if Alice were the killer (she isn’t). However, the terrific final sequence leaves room for a sequel as Alice maniacally studies a bloodied butcher knife.

However, there is a constant theme of hysterical religious judgment, punishment for sins, and sacrificing someone for the greater good. These align perfectly with the many hypocritical aspects of religion at a time when the catholic church was facing much criticism.

Characters like Aunt Annie and the wacky housekeeper, Mrs. Tredoni (Mildred Clinton), are played as over the top but work surprisingly well.

And it’s likely no accident that Sole cast the adorably handsome Rudolph Willrich as the much-sought-after Father Tom.

In 1977, Alice, Sweet Alice was quite timely and fits nicely with other 1970s horror films with a religious theme.

Paula Sheppard all but carries the film, though the supporting actors are all effective, too. Her facial expressions teeter between soft and angelic, and demonic and cagey. It’s an exceptional part of the film.

Alice, Sweet Alice (1977) is an underappreciated gem that needs to be dusted off and rediscovered by rabid horror fans seeking a superior watch.

1956 Films, Audrey Christie, Barbara Ruick, Cameron Mitchell, Claramae Turner, Drama, Gene Lockhart, Gordon MacRae, Henry King, Musical, Musical Drama, Shirley Jones, Susan Luckey

Carousel-1956

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Carousel-1956

Director Henry King

Starring Gordon MacRae, Shirley Jones

Scott’s Review #1,486

Reviewed July 27, 2025

Grade: A-

Following the success of Oklahoma! in 1955, Carousel (1956) is similarly based on the lauded Rodgers and Hammerstein stage musical. It is firmly nestled among the myriad musical productions that emerged in the 1940s, 1950s, and into the 1960s in cinema.

Darker in tone, the musical drama bears a strong resemblance to Oklahoma! It swaps the Midwest United States for Northeastern Maine. Clambakes and wattery harbors lend authenticity to the film.

Easily paired with Oklahoma! as a double feature, it even features the same stars—Gordon MacRae and Shirley Jones, who return to star in Carousel. As an aside, the filmmakers originally cast Frank Sinatra, who dropped out, so MacRae was a second choice.

As with the original stage production, the film features some of Rodgers and Hammerstein’s most famous songs, particularly ‘Carousel Waltz’ and the emotional ‘You’ll Never Walk Alone’.

It also features arguably the most serious storyline of all their musicals, incorporating domestic abuse into the fray.

The story follows the romance of Billy Bigelow (MacRae), a charming carousel barker, and Julie Jordan (Shirley Jones), a pretty blue-collar worker from a nearby mill in Boothbay Harbor, Maine.

When the attractive young couple abruptly and reactively gets married, they also both find themselves unemployed and broke, which puts a strain on their relationship.

When Billy finds out that Julie is pregnant, he resorts to extreme measures to get money, a decision that leads to tragedy.

Cleverly, the film is non-linear, as the first scene features Billy in what appears to be Purgatory (or the back door of Heaven), where he is told that he can return to Earth for one day to make amends.

We know that Billy has died after a tragic event, but we do not know the details.

To its credit, Carousel is not a cheery, bombastic musical fraught with over-the-top phoniness or too much glee. The characters are darker, which makes it feel unique to me.

Proof of this is evident in a comparison of MacRae’s and Jones’s characters in Oklahoma! to Carousel. While Laurey (Jones) is a respectable, virginal good girl, Julie plays with fire, assuredly spending time alone with Billy after being warned of the consequences.

Curly McLain (MacRae) is a good-natured cowboy who admires the beautiful morning while riding to see his wholesome crush, Laurey, whereas Billy is a rough-talking, macho brute.

Supporting characters like Carrie (Barbara Ruick), Jigger (Cameron Mitchell), and Cousin Nettie (Claramae Turner) are fantastic additions, especially Turner, as she brings down the house with ‘You’ll Never Walk Alone’.

Still, I yearned for a bit more substance to their characters. What makes them tick? Are they fulfilled?

A final highlight is the amazing fantasy musical song and dance number that appears towards the finale. As Billy’s teenage daughter, Louise (Susan Luckey), dances amongst her classmates, she is mocked for her father’s reputation and shortcomings.

She writhes around them in a deliciously choreographed sequence that builds tension and kickstarts the action.

Unlike Curly, I found Billy difficult to like, though the character is softened considerably by the end of the film. He’s honestly a dick through most of the story, hitting Julie, and plotting ways to find fortune at the expense of others.

To make matters worse, he also slaps his own daughter’s hand when he comes down from Purgatory to see her. Are we expected to like him?

Despite the two aforementioned powerful musical numbers, the other songs don’t carry through as much or are nearly as memorable.

For much of the running time, until the great build with Louise’s musical number, there is a slowness to the events. Whereas Oklahoma! has it all, something is missing from Carousel, and the pacing isn’t as fine-tuned.

Nonetheless, I adore the summery New England setting with the authentic location sequences and attention to detail. The darkness and edgy religious-themed trimmings combined with two homerun hitting musical numbers are enough to make me a fan of Carousel (1956).

1977 Films, Brian Dennehy, Crime Drama, Diane Keaton, Drama, Julius Harris, LeVar Burton, Priscilla Pointer, Richard Bright, Richard Brooks, Richard Gere, Richard Kiley, Tom Berenger, Tuesday Weld, William Atherton

Looking for Mr. Goodbar-1977

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Looking for Mr. Goodbar-1977

Director Richard Brooks

Starring Diane Keaton, Tuesday Weld, Richard Gere

Scott’s Review #1,485

Reviewed July 25, 2025

Grade: A-

Diane Keaton won the Academy Award for Best Actress in 1977 for Annie Hall, an excellent film by Woody Allen, but as has happened in Oscar history, she won for the wrong role.

She delivers her best acting performance of her distinguished career in Looking for Mr. Goodbar (1977), a raw crime drama in which she plays Theresa, a liberated and carefree young schoolteacher living in a metropolitan area.

The film, directed by Richard Brooks (Cat on a Hot Tin Roof, 1967, and In Cold Blood, 1968), is based on Judith Rossner’s 1975 best-selling novel. The setting inexplicably shifts from New York City to San Francisco, but it feels exactly like the troubled urban metropolis of its late 1970s, crime-ridden period.

I nearly felt as if Theresa’s dingy, windowless apartment was a character in itself.

The musical soundtrack is a significant win, featuring disco anthems from the time, such as ‘Don’t Leave Me This Way’ by Thelma Houston and ‘Love Hangover’ by Diana Ross.

Film lovers familiar with Taxi Driver (1976) and Cruising (1980) (both set in New York City) will notice similarities and draw parallels.

Theresa (Diane Keaton) teaches deaf children during the day and cruises singles bars and discos at night. Despite being raised a devout catholic ‘good girl’, she favors quick nights of passion with random suitors, ignoring the advances of well-meaning but nerdy social worker James (William Atherton).

She pursues the likes of Tony (Richard Gere), whose threatening knife and swagger excite her. As the film progresses, Theresa becomes increasingly entangled in perilous encounters, putting her life in danger.

Despite a jarring shift in story direction towards the end of the film and the geographical change, I found more than enough to merit a superior rating, especially Keaton’s performance.

Keaton flawlessly carries the film as an unapologetic, progressive character. She lives life, enjoys life, and sees nothing wrong with her chosen lifestyle. Keaton is fearless, delivering a likable character we probably shouldn’t like.

She can be cutting, self-centered, and moody, but takes sheer delight in teaching deaf kids who have problems at home, almost fostering them as her own.

Richard Kiley and Priscilla Pointer play Theresa’s parents in rather one-note performances. They are devout Irish Catholics, but too much time is spent showcasing their traditional values.

Theresa’s sister, Katherine, played by Tuesday Weld, is more like Theresa but more needy, and clinging to any man she meets. The sisters are close, even living in the same building, and constantly have each other’s backs.

Looking for Mr. Goodbar perfectly depicts life in an inner city in the mid-1970s: booze, sex, parties, and drugs.

Rinse and repeat.

The male characters that Theresa interacts with are of different types. Her first fling is with her married professor, whom she fantasizes about living with. When this doesn’t work out, she has urges for more dangerous experiences.

Tony (Gere) is sexy, unreliable, and dangerous, and Theresa is titillated. It’s with him when she teeters over the brink.

The film transitions from a sexual thriller into a deadly final sequence, leaving my mouth hanging open with surprise. The ending will leave audiences on the edge of their seats and may not please those seeking a happily-ever-after story.

Is the audience supposed to learn a lesson? Does Theresa get what she deserves? How dare she live her life as she sees fit? These are questions well worth further discussion.

The introduction of Gary (Tom Berenger), a tortured gay man Theresa meets in a bar, comes so late in the film that there is barely time to get to know the character. But he doesn’t put the LGBTQ+ community in such a positive light.

Still, the gay men who yearn to be straight cannot be dismissed since this was commonplace when the story was created.

With a spot-on atmosphere filled with juicy late 1970s coolness and danger, and a brilliant starring turn by Diane Keaton, Looking for Mr. Goodbar (1977) has more than enough to warrant a watch and a follow-up chat.

2025 Films, Action, Allison Williams, Amie Donald, Aristotle Athari, Brian Jordan Alvarez, Gerard Johnstone, Ivanna Sakhno, James Wan, Jenna Davis, Science Fiction, Violet McGraw

M3GAN 2.0-2025

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M3GAN 2.0-2025

Director Gerard Johnstone

Starring Allison Williams, Violet McGraw

Scott’s Review #1,484

Reviewed July 6, 2025

Grade: C+

Shifting from science fiction/horror to science fiction/action, M3GAN 2.0 (2025) peppers in enough humor and witty quips from its barbie-like central robotic doll named M3GAN (Amie Donald/Jenna Davis) to keep things entertaining.

I expected more horror elements, which are sorely missing to its detriment. This is peculiar since the slasher elements of the first installment are what made it campy fun.

The story ultimately lost me due to erratic storytelling, preposterous moments, and events that were difficult to follow. Throw in some over-the-top acting, and, at best, M3GAN 2.0 delivers a popcorn summer entertainment classification.

M3GAN (2023) is much superior.

The second chapter follows M3GAN being reluctantly rebuilt by its roboticist and creator, Gemma (Allison Williams), to combat a humanoid military robot named AMELIA (Ivanna Sakhno), which was built using M3GAN’s technology and is attempting an AI takeover.

But, is M3GAN being manipulated?

Writer and director Gerard Johnstone swaps the original’s horror software for a more action-leaning approach that doesn’t prove to be an upgrade. Fight sequences and a car chase overtake any creepy moments.

However, he wisely keeps and even increases the number of quips delivered by the fiendish robot, and some are laugh-out-loud delightful with saucy expletives thrown around for good measure.

M3GAN primarily engages in banter with Gemma, easily pointing out her shortcomings while remaining a loyal friend and protector to Cady (Violet McGraw).

These are the fun moments, like when M3GAN admits that Gemma is reasonably attractive enough to lure a man to bed. Her sarcastic and slightly robotic voice worked perfectly, so I longed for more of these scenes.

The character of M3GAN is the main attraction. More mature and with a cute bob-like hairstyle, she is older and wiser but just as sinister. She has presumably progressed from a young adult ‘friend’ to a grown woman capable of superior thought process and calculating strategy.

The writing and motivations of the characters are overcomplicated and confusing.

Four different sets of potential villains are thrown into the complex mix. Christian Bradley, a cybersecurity expert whom Gemma meets on her book tour, Alton Appleton, a corrupt tech billionaire, the U.S. Army, and AMELIA.

It’s challenging to keep track of who the good guys are or who the bad guys are, and this includes the allegiance of M3GAN.

An attempt to highlight the dangers of AI to government and technology is a timely and vital message, and is weakly referenced.

Rather than making it a central part of the film, it is merely glossed over without anything to make that message resonate with the audience.

The hokey plot-driven story and kung-fu-like action sequences unfortunately outshine the more satisfying one-liners delivered by M3GAN.

Much of the acting is either alarmingly cartoonish or altogether wooden, mainly on the part of the villains (former) or young actor McGraw, who makes Cady too pouty and brooding.

Williams, most known for Get Out (2017), adequately carries the film while being upstaged by a robot.

M3GAN 2.0 (2025) is a ho-hum affair that may result in the termination of the young franchise unless Johnstone wises up and reverts to more comedy and more horror in a potential M3GAN 3.0 effort.

2020 Films, Comedy, Dark Comedy, Independent, Independent Comedy, Shelby Dash, Tyler Cornack, Tyler Rice

Butt Boy-2020

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Butt Boy-2020

Director Tyler Cornack

Starring Tyler Cornack, Tyler Rice

Scott’s Review #1,483

Reviewed June 28, 2025

Grade: B+

Despite the title, Butt Boy (2020) is not a film intended for adult entertainment during a seedy escapade to a cheap motel.

It’s better than that.

It’s a wacky, darkly humorous comedy played straight, without relying on easy gags.

With an experimental feel and co-written, directed by, and starring newcomer Tyler Cornack, it conveys a sense of creative freedom and an expressive nature.

To its resounding credit, Butt Boy is an independent film and hardly a studio production, where it undoubtedly would have been made more mainstream if not for the titillating title.

The film is a spinoff from a Tiny Cinema comedy sketch.

I am surprised I am awarding it a ‘B+’ rating because early on I wasn’t as enamored with it as I was when the credits rolled and I was able to ‘digest it’, pun intended.

The story doesn’t make complete sense, and has a fantasy edge where it’s not always clear what is happening or why.

Chip Gutchell (Cornack) is an IT specialist and married father trapped in a loveless marriage with his wife, Anne (Shelby Dash), who may be cheating on him.

He develops a compulsive behavior after a routine rectal exam, where anything he inserts into his anus provides intense pleasure and then mysteriously disappears. This fetish consists of objects, animals, and people.

Detective Fox (Tyler Rice) loves work and alcohol. After going to AA, his sponsor, Chip, becomes the main suspect in his investigation of a missing kid.

Fox also starts to believe that people are disappearing up Chip’s butt.

The audience immediately relates to Chip. He works in a sterile office with colleagues who engage in enthusiastic work chants to celebrate successes. He counts the minutes until the work day ends.

His home life is no better with a distant wife who chats on the phone and goes out with the girls. It’s revealed that Chip got her pregnant, causing them to forge a life of doldrums.

The story goes off course after Chip discovers the pleasures of anal stimulation. He kidnaps a baby, a young kid, and his dog to shove them up his butt where they are trapped inside his intestines.

Why he needs the stimulation to be a living being instead of an object is never revealed.

Bizarre sequences of Chip farting and inevitably having an explosion of diarrhea thus making his victims escape his anus covered in fecal material make no sense.

Nonetheless, I slowly became absorbed by Butt Boy mostly because it’s an idea in cinema that has never been done before. The film’s tone is awe-inspiring in its serious nature, opting not to rely on cheap laughs or easy comic points.

Deeper subjects like compulsion, addiction, and career emptiness are easy to correlate to the central premise.

I found myself intrigued by the character of Detective Russell Fox as well. Rice seems like a good actor and a poor man’s Christian Bale, with his slicked-back hair.

A revelation later in the film about Fox connects the dots better regarding his story and character motivations.

Butt Boy was recommended by John Waters, a left-of-center film director most known for gross-out indies like Pink Flamingos (1972) and Female Trouble (1974). I trust his warped appreciation for film implicitly.

The mood is comparable to that of other film gems, such as Under the Skin (2013) and Nightbitch (2024). The finale is reminiscent of The Substance (2024) in its absurdity even though Butt Boy was made several years prior.

I’m curious about Cornack and whether Butt Boy (2020) is a one-off novelty idea or if there’s more to come from his distinguished creative mind.

Time will tell.

1981 Films, Billy Hufsey, Christopher George, E. Danny Murphy, E. J. Peaker, Herb Freed, Horror, Linnea Quigley, Michael Pataki, Patch Mackenzie, Slasher, Vanna White

Graduation Day-1981

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Graduation Day-1981

Director Herb Freed

Starring Christopher George, Patch Mackenzie

Scott’s Review #1,482

Reviewed June 7, 2025

Grade: B

Essentially borrowing from Halloween (1978), Friday the 13th (1980), and other slasher films of the genre’s original heyday, Graduation Day (1981) even adopts the gimmicky holiday/big-event model (prom night, Mother’s Day, etc.) made popular by them.

A whodunit mystery, killer-point-of-view camerawork, and a revenge motive come into play, making the film a standard entry in the slasher catalog.

Released in 1981, the film capitalizes on trends in the horror genre, much like many rock bands did during the grunge and Los Angeles hair metal movements.

There are red herring devices and comical, one-dimensional characters thrown in to soften the film. Making Graduation Day a second-tier slasher film, no more and no less.

Still, the film is fun, with the guessing of the killer’s identity being the most successful and compelling aspect. The murderer carefully marking a red X over each victim post murder is delightful.

A small role by aspiring actress Vanna White, who soon became a television game show legend on Wheel of Fortune, makes Graduation Day a fun relic from another time. Her acting isn’t good, so she lucked out with a continuing career in showbiz. The script does her no favors either.

A suburban high school track team is devastated when their star runner, Laura Ramstead, drops dead following a race, having been pressured relentlessly to win by aggressive coach George Michaels (Christopher George).

Months go by, and Laura’s older sister, Anne (Patch Mackenzie), a U.S. Navy Officer, returns home to attend graduation in Laura’s honor.

Conveniently, she leers at one of Laura’s fellow trackmates and wears an identical grey tracksuit and black gloves to the killer’s. Later, we see that the coach does as well.

Has Anne returned to town to avenge her sister’s death? Or does the coach blame the other track members for Laura’s death? Is Laura’s devastated boyfriend Kevin (E. Danny Murphy) out for revenge?

Herb Freed, a director I’m not familiar with, co-wrote and co-produced the venture, which is a positive. This means he undoubtedly had more creative freedom to make the project his own.

Many scenes take place along a deserted walking path, reportedly on the way to campus. Intended victims traverse the trail while someone watches them from the sidelines. It’s either the killer or someone else. One character laughably states that she is looking for the auditorium (on a trail?) and can’t find her way.

The editing team deserves praise for the opening sequence, a slow-motion ode to Brian De Palma’s Carrie (1976), as Laura crosses the finish line, with adoring students and teachers chanting her name and offering words of encouragement.

Later, a cool roller-skating scene is shown during a performance by the new-wave rock band Felony.

The filler scenes between less critical characters, such as the principal (Michael Pataki) and the ditzy secretary, aptly named Blondie (E.J. Peaker), for example, play well.

What fans watching the film mostly want to see, though, are the kills, which are well done and clever. My favorite is when Tony (Billy Hufsey) is decapitated from behind while taking a leak.

Another track member attempts to pole vault, resulting in death when steel spikes have replaced the pads in the pole vault pit, and he is killed upon impact.

The screenplay is weak, and the killer’s motivations and reasons for the revenge are lightweight. The track members had no intention to or responsibility for Laura’s death, so the conclusion is unsatisfying.

Graduation Day (1981) is an ideal weekend movie, the kind of entertaining, low-budget horror film that will work best for audiences looking to unwind and have fun after a long, busy workweek.

That’s why I watched it, and it’s perfect for fans of the slasher genre who may not have heard of it.

Welcome to my blog!1,529 reviews posted so far! I'm Scott Segrell and I reside in Stamford, CT. My site features hundreds of film reviews I have written since I launched the site in 2014. I hope you enjoy reading my latest reviews or searching for your own favorites to see if we agree. Please see my featured films of the month, and don't forget to utilize the tags and category links.