1986 Films, Camp, Comedy, Dark Comedy, Pat Ast, Scott's Top 100 Films, Sexploitation, Sybil Danning, Wendy O. Williams

Reform School Girls-1986

January 9, 2016 scottmet99 Leave a comment

Reform School Girls-1986

Director Tom DeSimone

Starring Linda Carol, Wendy O. Williams, Pat Ast

Top 100 Films-#100

Scott’s Review #348

Reviewed January 9, 2016

Grade: A

Let’s be honest here- Reform School Girls (1986) is neither a work of cinema art nor a particularly well-acted film.

From a critic’s perspective, it is riddled with stereotypes and objectifies women.

Still, it’s one of my favorite guilty pleasures and has an offbeat charm that makes me want to watch the film over and over again. I never tire of it. I also don’t think it should be reviled, but rather, revered.

There is a perverse magnificence to the film and some similarities to another cult gem- Russ Myers’s Faster Pussycat, Kill!… Kill! (1965)

Critics be damned- not every film needs to be high art!

One of my absolute favorite cult actresses, Pat Ast, famous for another cult gem, 1972’s Heat, stars in Reform School Girls as a vicious prison guard.

Alongside punk rocker turned actress, Wendy O. Williams, they make the film a guilty masterpiece as both women bring their share of odd energy and humor to the flick.

Sybil Danning co-stars as the corrupt Warden Sutter.

The plot of the film is pretty straightforward and it screams late-night fun.

A virginal teenage girl named Jenny is sent to a reform school run by the sinister warden and her sadistic and abusive henchwoman, Edna (Ast). While there, Jenny is intimidated by Charlie (Williams), who rules the roost via bullying and threats. Jenny is accompanied by several other terrified girls, who are stripped and degraded by Edna.

This leads to an attempted escape and protest scene by the girls and others as they try to remove themselves from their tormentors.

Reform School Girls is simply great fun.

The poor acting is actually a strength of the film as one scantily clad female after another prance around the reform school.

Wendy O. Williams regularly wears skimpy panties, bra, and heels, and is laughable playing a teenager since the actress was pushing forty years old.

The culmination of the film is fantastic as a chase ends up by an enormous tower on the grounds of the prison, resulting in the deaths of Charlie and Edna in a dramatic fashion.

Edna’s charred remains are met by an uproar of cheers by the inmates- I half expected them to burst into a chorus of “Ding Dong the Witch Is Dead”.

Reform School Girls (1986) is a perfect cult classic to enjoy on a late Saturday night.

2003 Films, Biography, Bruce Dern, Charlize Theron, Christina Ricci, Drama, LGBTQ+ Drama, LGBTQ+ Films, Patty Jenkins, Scott's Top 100 Films

Monster-2003

January 9, 2016 scottmet99 Leave a comment

Monster-2003

Director Patty Jenkins

Starring Charlize Theron, Christina Ricci

Top 100 Films #83

Scott’s Review #347

Reviewed January 9, 2016

Grade: A

Monster (2003) may feature one of the best acting performances of all time-Charlize Theron simply embodies the role of the notorious female serial killer, Aileen Wuornos, in a simply astounding triumph.

The mannerisms, the anger, and the charisma that Theron portrays are nothing short of brilliance.

This brazen acting is simply the best aspect of Monster and the main reason to witness the film.

Besides this, the film itself is also great.

The film immediately focuses on Theron- we meet the down-on-her-luck prostitute sitting in tatters underneath an overpass.

Suicidal and with five dollars to her name, she goes to a dive bar for one last beer- having blown someone for the five dollars she reasons that the money will go to waste if she does not spend it.

Her older confidante is Thomas, a grizzled man assumed to be an occasional client of hers, who is played by Bruce Dern. She goes to a gay bar and meets Selby Wall (Christina Ricci), a lesbian.

Aileen insists she is not gay but winds up spending the night with her in Selby’s family home. The two form a connection and bond immediately, spending more time together and becoming immersed in each other’s lives.

When Aileen is brutally raped and beaten by a client, she begins down a dark and murderous path, killing men she meets after she steals their money.

Selby eventually catches on to this and is conflicted over whether to turn her friend in or serve as an accomplice to her crimes as the police close in on the pair.

Enough cannot be said of Theron’s performance. She simply becomes Wournos- from her walk to her infamous manic mannerisms, and her hair flip.

Theron, a gorgeous woman, gained weight, used false teeth, and became simply unrecognizable in the role of a brutal, angry, and trashy-looking woman.

Ricci also deserves praise, but plays her role as a bit clueless or dimwitted, counterbalancing Theron’s manic, in-your-face role. It works well. Both characters are longing for love and companionship and both are misfits.

In a sweet scene, the pair go roller skating together, hand in hand, to the famous rock song, “Don’t Stop Believin”.

This is a great scene.

One can argue the fact that director, Patty Jenkins, softens the way that Wournos is written. Known as a hardened, mean woman, Jenkins writes her as much more sympathetic.

This can also be attributed to the fact that Theron emits some vulnerability to the character- the woman never knew love until she met and bonded with Selby.

Needless to say, Monster (2003) is a dynamic, energetic film, thanks in large part to the powerful performance of Charlize Theron- a role that awarded her the Best Actress Academy Award.

Oscar Nominations: 1 win-Best Actress-Charlize Theron (won)

Independent Spirit Award Nominations: 2 wins-Best First Feature (won), Best Female Lead-Charlize Theron (won), Best First Screenplay

1974 Films, Action, Bernard Lee, Britt Ekland, Christopher Lee, Desmond Llewelyn, Guy Hamilton, James Bond, Lois Maxwell, Maud Adams, Roger Moore, Scott's Top 100 Films

The Man with the Golden Gun-1974

January 9, 2016 scottmet99 Leave a comment

The Man with the Golden Gun-1974

Director Guy Hamilton

Starring Roger Moore, Christopher Lee, Britt Ekland

Top 100 Films #77

Scott’s Review #346

Reviewed January 9, 2016

Grade: A

Though not typically regarded as one of the more appealing of James Bond films, and the second chapter to feature Roger Moore, Sean Connery’s replacement, The Man with the Golden Gun (1974) is one of my favorites, firmly placed in my top 5 of 007 offerings.

This could be the result of the film being one of my first introductions to the world of 007 as a child.

Moore seems more comfortable in the role than he did in the uneven Live and Let Die, released in 1973.

Qualities that make The Man with the Golden Gun a success include the wonderful casting of Christopher Lee, a famed horror film icon, in the central role of Francisco Scaramanga, the title character, and nemesis of Bond.

Who cannot think of Count Dracula while watching Lee act- his dark, swarthy looks, angular face, and his deep baritone voice make for a perfect villain.

Known in large part for participation in Hammer Horror films opposite another legend, Peter Cushing, this is casting at its finest and a true high point of the film.

To summarize the story, MI6 receives a golden bullet with “007” sketched on the side, a clear threat to the life of James Bond. It is assumed to have been sent by the famed assassin, Scaramanga, whose trademark is a deadly golden gun.

Bond is ordered to remove himself from his current mission, but he pays no mind and sets out to find Scaramanga on his own, leading him into a mystery involving a stolen solar energy weapon feared to destroy the world.

The adventure takes Bond to a bevy of gorgeous locales such as Hong Kong, Thailand, Macau, and the South China Sea where our villain resides on a private island reached only by helicopter.

I found the main locale of the sunny deserted island and Scaramanga’s dwarf sidekick, Nick Nack, great aspects of the film. Majestic caves, sandy beaches, and a gorgeous array of water set the tone with gorgeous fantasy elements.

Servant Nick Nack is sinister, but with a sweet smile, one almost trusts him as he serves lunch or expensive champagne to guests sure to be killed afterward.

The secret maze of mirrors that Bond finds himself in is made perfect by Nick Nack’s taunting and cackling. And the flying car that Scaramanga and Nick Nack drive-in, though gimmicky, is a real hoot.

A demerit to The Man with the Golden Gun that I have always been able to look past since other factors usurp her importance is the miscasting of Britt Eklund as Bond’s assistant, Mary Goodnight.

The writer’s pen Goodnight as simpering, silly, and a big goof. An attempt at comic relief falls flat as the character epitomizes a blonde bubblehead- constantly screwing up everything.

Scaramanga’s girlfriend and co-Bond girl, Andrea Anders, played by Maud Adams is much better, though we do not get to know the character very well before she is offed.

Fortunately, Adams would return to star in Octopussy in 1983.

Perhaps middling at times and suffering from some negative characteristics, The Man with the Golden Gun (1974) is a love of mine, a trip down memory lane to a time as a child when I was first discovering my love and zest for James Bond films.

This offering cemented my love of Roger Moore in the central role and I still adore watching this film.

1940 Films, Alfred Hitchcock, Best Film of the Year, Best Picture Oscar Winners, George Sanders, Gladys Cooper, Joan Fontaine, Judith Anderson, Laurence Olivier, Leo G. Carroll, Nigel Bruce, Scott's Top 100 Films, Thriller

Rebecca-1940

January 9, 2016 scottmet99 Leave a comment

Rebecca-1940

Director Alfred Hitchcock

Starring Laurence Olivier, Joan Fontaine

Top 100 Films #63

Scott’s Review #345

Reviewed January 9, 2016

Grade: A

The only Alfred Hitchcock film to win the coveted Best Picture Oscar trophy, Rebecca is a very early offering in the famous director’s repertoire.

His heyday being well ahead of this film (the 1950s and 1960s saw his best works), Rebecca is a blueprint of fine things to come and on its own merits is a great film.

Shot in black and white, the film is a descent into mystery, intrigue, and madness, with a gothic look to it.

Laurence Olivier stars as rich widower Maxim de Winter, whose first wife, title character Rebecca, died sometime before the story begins. In a clever twist, the character of Rebecca is never seen but takes on a life of her own through the tellings of the rest of the cast.

Joan Fontaine plays a nameless, naïve young woman who meets the sophisticated Maxim and marries him, becoming the new Mrs. de Winter.

This development is met with disdain by the servants who work in the Grand de Winter mansion, named Manderley, a character in its own right.

Housekeeper, Mrs. Danvers (Judith Anderson) in particular, is cold and distant from Maxim’s new wife, and begins to reveal an obsession with the deceased Rebecca, creating jealousy and intimidation for Fontaine’s character- so much so, that, she begins to doubt her sanity and decision-making capabilities.

Rebecca is a fantastic, old-style film, that provides layers of mystery and wonderment thanks to Hitchcock’s direction. The mansion that is Manderley is central to the story as is the obsession that creepy Mrs. Danvers has with Rebecca.

She keeps the dead woman’s bedroom neat, a sort of shrine to her memory, so much so that, despite the time the film is made, 1940, a lesbian element is crystal clear to attention-paying audiences.

This aspect may have not been noticed at the time, but in more recent times, this is quite obvious.

The film is also a ghost story of sorts since the central character, Rebecca, is never seen.

Could she be haunting the mansion? Is she dead or is this a red herring, created to throw the audience off the track? Is the new Mrs. de Winter spiraling out of control? Is she imagining the servant’s menacing actions? Is Maxim in on the tormentor simply seeking a replacement wife for his true love?

The pertinent questions not only are asked of the character but the audience themselves as they watch with bated breath.

The climax and finale of Rebecca (1940) are fantastic.

As the arguably haunted mansion is engulfed in flames and the sinister Mrs. Danvers can be seen lurking near the raging drapes, the truth comes to the surface leaving a memorable haunting feeling to audiences watching.

Rebecca is a true classic.

Oscar Nominations: 2 wins-Outstanding Production (won), Best Director-Alfred Hitchcock, Best Actor-Laurence Olivier, Best Actress-Joan Fontaine, Best Supporting Actress-Judith Anderson, Best Screenplay, Best Original Score, Best Art Direction, Black and White, Best Cinematography, Black-and-White (won), Best Film Editing, Best Special Effects

1981 Films, Action, Adrienne Barbeau, Best Film of the Year, Donald Pleasance, Ernest Borgnine, Harry Dean Stanton, John Carpenter, Kurt Russell, Scott's Top 100 Films

Escape from New York-1981

January 9, 2016 scottmet99 Leave a comment

Escape from New York-1981

Director John Carpenter

Starring Kurt Russell, Adrienne Barbeau

Top 100 Films #76

Scott’s Review #344

Reviewed January 9, 2016

Grade: A

Escape from New York (1981) epitomizes a great action film to me.

Too often, action films are filled with run-of-the-mill characters, are plot-driven, and are mediocre stories that lack creativity. I adore Escape from New York, however.

The creativity and amazing direction by John Carpenter allows the film to soar high above what is typical for this genre.

The unique premise sets things off immediately as we follow the mission of ex-con Snake Plissken (Kurt Russell) to save an important figure in peril.

In futuristic 1997, we learn that due to skyrocketing crime throughout the United States, New York City has been fenced off and turned into a maximum-security prison.

All of the most hardened and demonic criminals have been isolated on Manhattan Island to fend for themselves- free to kill or be killed as they like.

The rest of the country is presumably crime-free- though we never see the rest of the country.

The President of the United States (Donald Pleasence) is taken hostage when Air Force One crashes on Manhattan Island. Snake is injected with a poison that will kill him in twenty-four hours unless he successfully rescues the president and returns him alive and well.

I love this film because it is strictly Carpenter’s vision.

Due to the success of 1978’s Halloween, he was given creative freedom and a big budget to film in St. Louis (doubling for New York).

The film contains eerie synthesizer music (reminiscent of Halloween and Halloween II) which sets the tone exceptionally well. The dark and abandoned sets are wonderful and capture a futuristic world oh so well.

The audience will undoubtedly become enraptured as Snake’s mission is to do or die- if he does not save the president he dies. As Snake arrives atop the World Trade Center via glider, now post 9/11, this scene takes on a haunting quality.

Snake then immerses himself into the gloomy world of Manhattan facing all sorts of dangers along the way. Punk rock-looking creatures scurry around the city- many insane, and Snake meets odd character after odd character in his quest to save the president.

His main ally is Cabbie, played by Ernest Borgnine.

The villain of the story is Duke, not well cast nor well developed, but this can be overlooked because of his super rad Cadillac and his two fascinating accomplices- Maggie (Barbeau) and Brain (Harry Dean Stanton).

The lavish sets include the New York Public Library and Grand Central Station- I love that there are so many iconic New York City locales featured- but the fact that they are not shot in the genuine areas does not bother me.

The art direction is done so well that I was fooled.

Escapism fare, but a unique entry in the action genre. Thanks to fantastic direction and a likable star, Escape from New York (1981) succeeds.

1986 Films, Angelo Badalamenti, Best Film of the Year, Brad Dourif, David Lynch, Dean Stockwell, Dennis Hopper, Hope Lange, Independent, Independent Thriller, Isabella Rossellini, Kyle MacLachlan, Laura Dern, Scott's Top 100 Films, Thriller

Blue Velvet-1986

January 9, 2016 scottmet99 Leave a comment

Blue Velvet-1986

Director David Lynch

Starring Kyle MacLachlan, Laura Dern

Top 100 Films #62

Scott’s Review #343

Reviewed January 9, 2016

Grade: A

Taken from a 1963 Bobby Vinton tune of the same name, Blue Velvet (1986) is an independent thriller noir film directed by the master of the weird and the unusual, David Lynch.

It is surreal in look and so mysterious- almost a pre-cursor to Lynch’s fantastic television series, Twin Peaks. I adore the film and find new facets to it with each passing viewing.

Though it’s not an easy or mainstream watch- the payoff can be big and you know you are watching a deep, layered, film.

The story can be tough to completely understand with only one show, but it goes something like this- Under the guise of a cheerful, suburban surface, evil is lurking somewhere. College student, Jeffrey (MacLachlan) discovers a severed human ear lying in an abandoned lot delivers it to police detective John Williams, and reconnects with the detective’s daughter, Sandy (Dern).

Sandy, being privy to secret information about the case, reveals that a mysterious woman, Dorothy Valens (Isabella Rossellini) resides in an apartment key to the case. Jeffrey and Sandy decide to investigate further and get themselves in over their heads as the mystery deepens.

The dreamlike quality of the film is very compelling and intriguing. Layers upon layers come to the forefront as the story unfolds and very few answers are ever provided- this adds to the mystery and is really the point of the film.

Many aspects are open to interpretation.

The relationship between Jeffrey and the much older Dorothy is fascinating, but what about his chemistry with the innocent Sandy? And who is the Yellowman? When the youngsters see Dorothy perform “Blue Velvet” at her nightclub, it is a great moment in the film.

The character of Frank Booth, played by Dennis Hopper, must be one of the strangest in film history as the man is maniacal and bizarre beyond measure. With his unusual sexual tastes- he enjoys inhaling gas, and sadomasochism, he is a unique character. He is also quite abusive to Dorothy.

The film is a throwback to classic film noir from the 1950s and a clear femme fatale in Dorothy is central to the film.

I find the film so compelling since its subject matter is secrets. Many secrets and dark corruption or various forms of left-of-center dealings reside in this small North Carolina town- it is the audience’s challenge to put all the pieces of this puzzle together.

Oscar Nominations: Best Director-David Lynch

Independent Spirit Award Nominations: 1 win-Best Feature, Best Director-David Lynch, Best Male Lead-Dennis Hopper, Best Female Lead-Isabella Rossellini (won), Laura Dern, Best Screenplay, Best Cinematography

1971 Films, Action, Best Picture Oscar Winners, Crime Thriller, Gene Hackman, Roy Scheider, Scott's Top 100 Films, Thriller, William Friedkin

The French Connection-1971

January 9, 2016 scottmet99 Leave a comment

The French Connection-1971

Director William Friedkin

Starring Gene Hackman, Roy Scheider

Top 100 Films #69

Scott’s Review #342

Reviewed January 9, 2016

Grade: A

The French Connection had the notable distinction of being the first R-rated film to win the coveted Best Picture Oscar back in 1971.

This praise, similar to The Silence of the Lambs being the first horror film to win Best Picture in 1991, is well worth pointing out and is quite honorary.

The film succeeds, both for myself and other critics, because of the unique style of the camerawork, shot documentary-style, and use of quick edits.

It is much more intricate in every way than the traditional crime thriller.

Gene Hackman stars as the feisty detective, Jimmy “Popeye” Doyle, who along with his partner, Buddy “Cloudy” Russo, (Scheider) are determined to crack the case of a huge heroin smuggling syndicate from France.

The narcotics are flowing into New York City and the duo is determined to get to the bottom of the drug ring, figuring out who is the mastermind and defeating their foe.

The primary culprit is a suave French drug lord named Alain Charnier, brilliantly played by Fernando Rey.

Throughout the film, the action is non-stop, traversing throughout Manhattan and Brooklyn, via subway, and car, as Popeye becomes more and more obsessed with the case.

Director William Friedkin, who also directed the legendary 1973 film, The Exorcist, deserves a heap of praise for creating a film of this caliber. The French Connection can be enjoyed by all and is well beyond the limitations of a “guy film”- it is much more than that.

The editing and frenetic pacing work wonders for the film, all the while not ruining the experience or overshadowing the good plot. Quite simply, the film is a chase across New York City.

Friedkin distinguishes the boroughs by making Manhattan seem sophisticated and stylish, and Brooklyn dirty, grizzled, and drug-laden.

The settings are perfect.

The best scene in the film is the well-known car chase throughout New York City. Popeye is determined not to lose his man, the man riding in a subway on an elevated platform. Popeye steals a car and proceeds to chase the subway narrowly missing pedestrians, including a woman with a baby carriage, as he recklessly weaves in and out of traffic at a high speed, to keep pace with the train.

This is a phenomenal scene as the excitement and tension continue to build.

The conclusion of the film and the final scene is cynical and also leaves the audience perplexed and unsure of what has transpired.

The French Connection is open to good discussion and even interpretation, a novel aspect of the action film.

Providing a tremendous glimpse into 1970s Manhattan and Brooklyn, The French Connection is an exciting film that oozes with thrills, car chases, and a good story.

The film is unique in style and still holds up incredibly well- one of my favorites in the action genre.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Richard Friedkin (won), Best Actor-Gene Hackman (won), Best Supporting Actor-Roy Scheider, Best Screenplay Based on Material from Another Medium (won), Best Sound, Best Cinematography, Best Film Editing (won)

1985 Films, Camp, Christopher Lloyd, Colleen Camp, Comedy, Dark Comedy, Eileen Brennan, Lesley Ann Warren, Madeline Khan, Martin Mull, Michael McKean, Scott's Top 100 Films, Tim Curry

Clue-1985

January 9, 2016 scottmet99 Leave a comment

Clue-1985

Director Jonathan Lynn

Starring Christopher Lloyd, Eileen Brennan, Madeline Kahn

Top 100 Films #61

Scott’s Review #341

Reviewed January 9, 2016

Grade: A

Clue is a harmless, 1985 comic yarn that is not a cinematic masterpiece, nor anything more than fluff.

But since I adored the classic board game growing up and reveled in the excitement of the different characters, rooms, and murder weapons, the film version holds a very special place in my heart and memory bank, having watched it time and time again as a youngster.

The plot is immediately filled with intrigue- a successful element and the best part of the film.

Six interesting characters- with provocative aliases such as Ms. Scarlet, Colonel Mustard, and Mrs. Peacock, are all summoned to a New England mansion named Hill House.

Naturally, it is a dark, stormy night and each receives a mysterious note written by a stranger.

Among the colorful characters working at the mansion are the plump cook, the scantily dressed maid, Yvette, and the butler, Wadsworth, who is running the show and greets the confused guests.

Slowly, it is revealed that all of the guests are being blackmailed and all of them either live or have ties to Washington D.C.

After each guest is given a weapon as a gift, the lights go out and a murder occurs, launching a fun whodunit. Each guest, and the staff, strive to figure out who has committed the murder, as subsequent murders begin to occur.

The comic hi-jinks are reminiscent of funny films like High Anxiety (1977) and even Young Frankenstein (1974).

The atmospheric qualities featured in Clue are what I love most about the film- the vast mansion, the many gorgeously decorated rooms, the secret passageways, and the driving rain all make for a great ambiance.

Clue is clever in that it features three different endings! Upon initial theatrical release, this was a unique premise- one could see the film multiple times and not know how it was to end or who the killer might be revealed to be.

Unfortunately, the film was not a commercial success so this ploy did not work.

The famed cast delivers their parts with comic gusto, and with lesser talents, the film would simply be dumb. It seems obvious that the cast had a good old time with this romp- Eileen Brennan, Christopher Lloyd, Lesley Ann Warren, and Madeline Khan, have a comic ball with their perfect delivery of the lines.

Clue is not a message movie, it does not inspire cinematic art, but what it does, it does incredibly well- it entertains.

The writing and the political and sexual innuendos are witty. One can become lost in the interesting characters and try to guess, or even make up, the whodunit and why they did it.

I can be entertained by Clue (1985) time and time again.

1999 Films, Chloe Sevigny, Drama, Hilary Swank, Independent, Independent Drama, Kimberly Peirce, Lecy Goranson, LGBTQ+ Drama, LGBTQ+ Films, Peter Sarsgaard, Scott's Top 10 Most Disturbing Films, Scott's Top 100 Films

Boys Don’t Cry-1999

January 9, 2016 scottmet99 Leave a comment

Boys Don’t Cry-1999

Director Kimberly Peirce

Starring Hilary Swank, Chloe Sevigny

Top 100 Films #73 Top 10 Disturbing Films #10

Scott’s Review #340

Reviewed January 9, 2016

Grade: A

Boys Don’t Cry (1999) is a fitting tribute to real-life figure Brandon Teena, a transgender man from Nebraska, who adopts a male identity and attempts to find love with Lana, played by Chloe Sevigny. Brandon is played by Hilary Swank.

Sadly, Brandon was brutally raped and murdered at the hands of some local men- a fact that the film does not gloss over.

Boys Don’t Cry is a heartbreaking and tragic film that will disturb some with its shocking and violent content- sadly it is a true story.

Swank deservedly walked away with the Best Actress Oscar statuette.

Set in working-class Nebraska and in the heartland, Brandon has the cards stacked against him from the start. Not exactly the most open-minded of areas, the film also sets a working-class environment for Brandon as most of his friends are poor factory or bar workers.

Born as Teena Brandon and female, Brandon (Swank) is a drifter and in trouble with the law for various unpaid tickets. He befriends ex-convicts John and Tom and becomes part of their crowd, falling in love with Lana- they are all unaware of Brandon being a female.

When Brandon’s secret is revealed, Lana is accepting and the pair decide to run away together, but Tom and John decide to murder Brandon.

Swank’s portrayal of Brandon is brilliant and believable and very few actresses could successfully pull this off. Swank has angular, androgynous features to begin with, but her drastic physical transformation is jaw-dropping.

Having closed-cropped hair and a male swagger, Swank immerses herself in the role, so much so, that as I watched the film I completely forgot that Brandon was not physically male.

Her physical transformation is not the sole reason for the fantastic performance though- Swank is emotionally there in the role and in a heartbreaking scene, after being beaten and raped, is treated poorly by a sheriff handling the accusations- just when Brandon could use an understanding ear.

What a cold world it can be for someone different from most others as Boys Don’t Cry reveals in a brutal, honest fashion.

Anyone who knows the true story of Brandon Teena knows he led a painful, tragic life, but was also filled with life and love- mainly for Lana.

Worth mentioning is Sevigny’s performance as Lana- in love with the person that was Brandon, not so much the gender. Sevigny portrays Lana as supportive, confused, and loving.

Director, Kimberly Peirce, became obsessed with the real-life case and does a fantastic job at tackling the film in a true, compelling way. To say nothing of the writing and the acting, Peirce also successfully uses a hand-held camera during Brandon’s strip scene and a surreal, muted light to portray the gloomy mid-west and the cold, hard lives that most of the characters lived.

Impressively, Peirce accomplished all of this on a shoe-string budget and took a wealth of inspiration from independent film legend John Cassavetes, who proved that gorgeous films can be made for very little money.

Many scenes take place in bars as Lana, a devoted karaoke singer, croons one tune after another, the highlight being Restless Heart’s 1988 country hit, “The Bluest Eyes In Texas”, which Lana sings in Brandon’s presence.

The use of somber songs gives the film a tragic soundtrack.

Famed film critic, Roger Ebert, described Boys Don’t Cry as “Romeo and Juliet set in a Nebraska trailer park”.

Boys Don’t Cry (1999) is an enormous victory in film for the LGBT community and, along with Brokeback Mountain (2006), is a perfect double-feature, as both are similar films, only one featuring males, the other females.

Both are tragic, bleak and all too real.

Oscar Nominations: 1 win-Best Actress-Hilary Swank (won), Best Supporting Actress-Chloe Sevigny

Independent Spirit Award Nominations: 2 wins-Best First Feature (Over $500,000), Best Female Lead-Hilary Swank (won), Best Supporting Female-Chloe Sevigny (won), Best First Screenplay, Producers Award

1977 Films, Alida Valli, Best Film of the Year, Dario Argento, Horror, International, International Horror, Joan Bennett, Scott's Top 100 Films, Scott's Top 20 Horror Films

Suspiria-1977

January 9, 2016 scottmet99 Leave a comment

Suspiria-1977

Director Dario Argento

Starring Jessica Harper, Joan Bennett, Alida Valli

Top 100 Films #54 Top 20 Horror Films #14

Scott’s Review #339

Reviewed January 9, 2016

Grade: A

Suspiria is a horror masterpiece, made in 1977, by my favorite Italian horror director, Dario Argento.

A combination of complex storytelling, glossy colors, and a unique art direction, makes this film a treasure and an influence in “the look” of a film attempting to achieve an interesting art direction choice.

The color red is highly prevalent throughout Suspiria, which makes sense due to the subject matter of witchcraft and demons. The musical score is brilliant and chilling.

This film is perfect and one of my favorites.

The film takes place in Germany and the opening sequence is fantastic. We meet our heroine, Suzy Bannion (Jessica Harper), an American ballet student, as she arrives in blustery Munich to attend a prestigious ballet school.

The shot of the driving wind and rain as she exits the airport is a great example of the ultimate style of this film.

Suzy meets a creepy taxi driver who drives her to the school, where she witnesses a frantic student, Pat Hingle, fleeing the school. Suzy is then denied access to the school by a mysterious voice over the intercom. The focus of the film then shifts briefly to Pat’s perspective as she meets a sinister fate when she stays with a friend.

One fantastic aspect of Suspiria is we know something is wrong with the ballet academy, we just do not know what or who it involves. With great creativity, Dario Argento builds a set that is modern, and sophisticated but laced with an underlying menace.

As we meet the supporting characters, Madame Blanc (Joan Bennett) and Miss Tanner (Alida Valli), we know something is not right with them either. Blanc is kindhearted; Tanner is a drill sergeant, but both seem to have something to hide and claim to know nothing of Pat’s terror.

There is also Daniel, the blind piano player, whose seeing-eye dog suddenly turns vicious.

The plot is complex and does not always make perfect sense, but the elements of Suspiria make it a masterpiece. Pat’s death scene is laced with greatness as she dangles from a high glass ceiling dripping blood. Her hysterical friend is sliced to bits by the falling glass.

This is the best double-death scene in horror film history.

When creepy maggots invade the school leaving the girls feeling for safety, the film goes all out. A later scene involving Suzy’s best friend and fellow student, Sarah, attempting to flee the school via the basement, only to struggle in a pit of razor wire is splendid.

Much of Suspiria is dubbed in English mainly due to the actors either speaking German or Italian, but Jessica Harper and Joan Bennett have distinguishable voices, which lend texture and richness to the dialogue.

Suspiria (1977) is a grand horror film, not solely for its mysterious story, but for all the added components that Argento throws into the mix- strange characters, weird sets, and the heavy dose of blood-red- pretty fitting.

2005 Films, Ang Lee, Anna Faris, Anne Hathaway, Best Feature- Independent Spirit Award Winners, Best Film of the Year, Drama, Heath Ledger, Independent, Independent Drama, Independent Western, Jake Gyllenhaal, Kate Mara, LGBTQ+ Drama, LGBTQ+ Films, Linda Cardellini, Michelle Williams, Randy Quaid, Romantic Drama, Scott's Top 100 Films, Western

Brokeback Mountain-2005

January 9, 2016 scottmet99 Leave a comment

Brokeback Mountain-2005

Director Ang Lee

Starring Heath Ledger, Jake Gyllenhaal

Top 100 Films #46

Scott’s Review #338

Reviewed January 9, 2016

Grade: A

Brokeback Mountain (2005) is a revolutionary film and one of the most important films to be released during the 2000s. Never before had an LGBT film been given as much exposure and widespread viewership as this film did.

Robbed of the 2005 Best Picture Academy Award (the great, but not as great, Crash won), Brokeback Mountain received other tremendous accolades and word-of-mouth buzz that helped it achieve great success.

A treasure that must always be remembered and appreciated.

Perfectly cast, Heath Ledger and Jake Gyllenhaal play two cowboys who fall madly in love with each other. The period of the film runs from 1963 until the early 1980s. Through the years we see their unbreakable bond tested by outside factors- namely being gay is forbidden at this time and location- Wyoming and Texas.

Jack Swift (Gyllenhaal) and Ennis Del Mar (Ledger) meet one summer in 1963 when they are both hired by grizzled Joe Aguirre (Randy Quaid) to herd sheep one summer on Brokeback Mountain in remote Wyoming.

They immediately form a friendship that turns physical one drunken night. From this point, the men are inseparable and share a passion insurmountable.

Due to the times, there is no possible way they can openly share life, so they arrange for periodic “fishing trips”, away from their wives and children so that they can spend time together in secret.

The chemistry is evident between Ledger and Gyllenhaal, which is extremely important to the success of the film.

The audience needs to truly buy their bond and director Ang Lee is successful at eliciting wonderful performances from each actor. This is especially crucial during the first forty-five minutes of the film as all the scenes are only the two actors together.

The famous “tent” scene, in which Jack’s and Ennis’s passion first erupts is perfectly choreographed- it is as much animalistic as it is passionate and this sets the tone for the rest of the film.

Eventually, other characters are introduced and Ennis and Jack live lives largely separate from each other. Michelle Williams plays Alma, a kind-hearted country girl, married to Ennis. She accidentally stumbles on Jack and Ennis’s secret and keeps this hidden throughout the years.

Williams is fantastic in the role- sweet, yet saddled with the pain of knowing her husband is in love with another man causes her to mistrust and eventually destroys their marriage.

Jack forges a life in Texas and marries well-to-do Lureen (Anne Hathaway), but the marriage is a sham, Lureen’s father hates Jack, and Jack cannot forget Ennis. Jack is the aggressor, the one more confident with his sexuality, and one would surmise, would be the one more likely to be “out” if circumstances were different.

He looks for other men, even going to Mexico to find some companionship.

The ending of the film is tragic and heartbreaking and we witness Ennis being a good father to his now grown-up kids. A wonderful scene is written between Ledger and Kate Mara, who plays his daughter. She asks the lonely Ennis to attend her wedding and the scene is sweet and tender.

Another scene involving Ennis meeting Jack’s parents is monumental- as important as what is said in this wonderful scene is what is left unsaid.

Brokeback Mountain (2005) is an honest, graceful, and brave film, that thanks to the talents and direction of Ang Lee, was able to be made.

The exceptional cast led by Ledger and Gyllenhaal is dynamic and enables the film to come together as one masterpiece, that will surely never be forgotten.

Oscar Nominations: 3 wins-Best Picture, Best Director-Ang Lee (won), Best Actor-Heath Ledger, Best Supporting Actor-Jake Gyllenhaal, Best Supporting Actress-Michelle Williams, Best Adapted Screenplay (won), Best Original Score (won), Best Cinematography

Independent Spirit Award Nominations: 2 wins-Best Feature (won), Best Director-Ang Lee (won), Best Male Lead-Heath Ledger, Best Supporting Female-Michelle Williams

1964 Films, Action, Bernard Lee, Best Film of the Year, Desmond Llewelyn, Guy Hamilton, James Bond, Lois Maxwell, Scott's Top 100 Films, Sean Connery

Goldfinger-1964

January 9, 2016 scottmet99 Leave a comment

Goldfinger-1964

Director Guy Hamilton

Starring Sean Connery, Gert Frobe

Top 100 Films #72

Scott’s Review #337

Reviewed January 9, 2016

Grade: A

By the time Goldfinger (1964) was released, the third in the James Bond franchise, the films were huge successes and the budget was not to be spared a dime.

The lavish sets are proof of this and Goldfinger is one of the best of all the Bond films- containing all of the necessary elements to make it successful- interesting villains, Bond girls, gadgets, and locales.

By 1964’s Goldfinger, Ian Fleming’s franchise had hit its stride and was achieving runaway success.

The intriguing premise immediately sets the tone- 007 is assigned to investigate a massive gold smuggling scheme. The conspirator is Auric Goldfinger (Gert Frobe), who hatches a plot to contaminate the United States Bullion Depository at Fort Knox.

His goal, naturally, is to control the world.!

The adventure takes Bond from the United Kingdom to Switzerland, and finally to the United States in Kentucky and Florida.

The main Bond girl, a villain, is uniquely named, Pussy Galore. The film implies that the character is bisexual and she is very tough. James Bond becomes intrigued by and smitten with her.

Goldfinger has the honor of containing one of the greatest Bond villains of all time- the title character of Goldfinger. Big and burly, he is menacing-looking and actor Frobe is perfectly cast.

We first meet the man, cheating at gin rummy, poolside at a lavish Miami Beach hotel, whilst Bond looks on from dozens of floors up, with the assistance of Goldfinger’s moll, Jill Masterson.

In one of the greatest scenes in Bond history, a knocked-out Bond awakens to find Jill dead- and completely covered in gold paint! The fact that this scene occurs early on sets up the Bond/Goldfinger rivalry in an outstanding fashion.

Goldfinger’s henchman, Oddjob, is also a grand Bond villain- Asian, menacing, and wearing a trademark steel-rimmed hat, which he uses to kill his victims. Jill’s sister, Tilly, seeks revenge on Goldfinger only to find herself a victim of Oddjob’s infamous bowler hat as she flees for her life.

On the heels of an exceptional Bond film, 1962’s From Russia With Love, a stellar film itself with nary a flaw, Goldfinger excels slightly because it has got all the right ingredients for a perfect film, and was firing on all cylinders.

Everything simply flows with precision.

Unforgettable is the climax of Goldfinger at the legendary Fort Knox itself. Goldfinger’s private army, an atomic device, a countdown to destruction, and Oddjob, all make for a satisfying and riveting conclusion to one exceptional Bond entry.

Oscar Nominations: 1 win-Best Sound Effects (won)

1973 Films, Action, Clint Eastwood, Hal Holbrook, Scott's Top 100 Films

Magnum Force-1973

January 9, 2016 scottmet99 Leave a comment

Magnum Force-1973

Director Ted Post

Starring Clint Eastwood, Hal Holbrook

Top 100 Films #87

Scott’s Review #336

Reviewed January 9, 2016

Grade: A

The follow-up to the original action thriller to end all action thrillers, Dirty Harry, 1973’s Magnum Force is as good as the original in my opinion but flies under the radar as compared to the acclaimed Harry.

Both films are similar in style and grit, but Magnum Force holds sentimental memories for me, as I remember watching the film countless times on rainy Saturday afternoons as a kid.

The similarities abound between both films as the screenwriter and score are by the same writer and composer, respectively.

Admittedly, Magnum Force is more conventional and less dirty than its predecessor.

Playing not just the same role of Harry Callahan, the grizzled, hard-nosed Inspector from Dirty Harry, but Clint Eastwood also plays him in quite the same manner.

Not one to blow anyone away with his dazzling acting talent, Eastwood is smart to keep to the status quo. The character is tough, and no-nonsense, but has a take-prisoner vulnerability we love and admire.

In this chapter, a syndicate of vigilante cops is taking matters into their own hands by assassinating known criminals who have been let off the hook either by connections or some other form of loophole.

The pattern is for uniformed patrol officers to pull over a criminal for a mundane reason only to shoot and kill them on the side of the road at point-blank range. They deserve it, but are the cops justified in their actions?

The appeal and mystery of the film are that the police officers wear dark helmets that hide their identities from the audience adding a level of intrigue.

The film offers up a moral question- do the criminals get what they deserve, and do the policemen have the right to justify their actions?

Especially relevant is the final thirty minutes of the film, as Harry and the central “villain”, Lieutenant Briggs (Holbrook) have a standoff and discuss the topic.

Magnum Force is a shoot-’em-up action flick, so this debate is skirted over largely in favor of car chases and fight scenes. But the point can be thought about.

The best sequence of the film is the finale, as Callahan is lured to an abandoned garage and chased by three remaining cops. The big reveal is that Briggs is running the show and as he drives around in his early 1970’s Ford LTD, soon to become battered and weathered, it is a great scene, especially for those who enjoy car chases.

Magnum Force is a no-frills “guy” film, but one done very well and with an interesting, semi-controversial premise.

The film is the 1970s action genre at its very best.

Surprisingly, and to the film’s credit, one can discuss the film after watching it instead of it being a generic, forgettable flick.

1967 Films, Anne Bancroft, Comedy, Dustin Hoffman, Katharine Ross, Mike Nichols, Richard Dreyfuss, Scott's Top 100 Films

The Graduate-1967

January 9, 2016 scottmet99 Leave a comment

The Graduate-1967

Director Mike Nichols

Starring Dustin Hoffman, Anne Bancroft

Top 100 Films #48

Scott’s Review #335

Reviewed January 9, 2016

Grade: A

The Graduate is an immeasurable success and highly influential comedy from 1967- a time when films were gaining creative freedoms and pushing the envelope in new, edgy ideas and risqué subject matters.

Almost scandalous at the time of release, the film holds up exceptionally well after all these years and remains fresh and cutting edge.

It is slick, sophisticated, and quite funny, though peppered with dark humor.

Thanks to Dustin Hoffman and Anne Bancroft, the film works and is among my favorites of all time.

Hoffman plays Benjamin Braddock, a nervous, insecure recent college graduate, who returns home to sunny California unsure of what his future will hold.

His overbearing parents throw a lavish celebration at their home where Benjamin is flocked by well-wishers, most of whom have a materialistic edge to them. His parents live in a very affluent community where wealth and items are of great importance.

All Benjamin wants to do is be by himself. At the party, Benjamin is pursued by the much older and glamorous Mrs. Robinson (Bancroft), who lives nearby and asks Benjamin for a ride home.

Her attempted seduction of him kicks off the meat of the film and how their relationship progresses, especially when Mrs. Robinson’s daughter, Elaine (Katharine Ross), enters the picture and steals Benjamin’s heart.

Director Mike Nichols successfully sets the right tone for the film and we see the style and the sophistication of wealthy California in the 1960s.

Fashion, style, and glamour are prevalent, but they go against what Benjamin and Elaine, stand for.

The film is also an exploration of generations. Benjamin’s parents and all of their friends are into material things cars, houses, and parties.

The triangle between Benjamin, Mrs. Robinson, and Elaine is the heart of the film. At first, we find ourselves rooting for Benjamin and Mrs. Robinson. There is a sweet nature to their romance. She is the aggressor- mature, in control, and confident whereas Benjamin is insecure and shy, yet enamored with Mrs. Robinson.

Their awkward exchange in the hotel bar and their liaison in the hotel room are fantastic scenes.

Slowly, once Elaine emerges, Mrs. Robinson becomes manipulative, more of a villain-type character, as the youngster’s love blooms and we begin to root for their happiness.

A fantastic aspect of The Graduate is its musical soundtrack- completely done by Simon and Garfunkel, a major musical duo of the late 1960s. From the opening chords of ‘The Sound of Silence’, to the appropriate ‘Mrs. Robinson’, music adds much life and energy to the film and was successful at attracting young viewers at the time.

The featured soundtrack was highly influential to other films released after The Graduate.

Still fresh today, The Graduate (1967) launched the very successful career of Dustin Hoffman and emerged as an inspirational film that, controversial in its day, seems tame now, but the writing is as crisp as it ever was.

A film to watch over and over again.

Oscar Nominations: 1 win– Best Picture, Best Director-Mike Nichols (won), Best Actor-Dustin Hoffman, Best Actress-Anne Bancroft, Best Supporting Actress-Katharine Ross, Best Screenplay Based on Material from Another Medium, Best Cinematography

2006 Films, Best Film of the Year, Drama, Jackie Earle Haley, Kate Winslet, Patrick Wilson, Phyllis Somerville, Romantic Drama, Scott's Top 100 Films, Todd Field

Little Children-2006

January 9, 2016 scottmet99 Leave a comment

Little Children-2006

Director Todd Field

Starring Kate Winslet, Patrick Wilson

Top 100 Films #52

Scott’s Review #334

Reviewed January 9, 2016

Grade: A

Little Children is a subtle, dark drama from 2006 that reminds me a great deal of The Ice Storm and American Beauty- both equally quiet masterpieces. All are similar films about dysfunctional, interpersonal relationships that are damaged.

The great film is one of my more modern all-time favorites.

On the surface, the small suburban Boston town in which the members of the film reside is whimsical, peaceful, and quiet. Spacious colonial and Victorian houses similarly line the sleepy streets.

The small town (unnamed) is affluent and, we learn very early on, is rife with scandal. A child-molester, Ronnie, (Jackie Earle Haley), who is also a resident of the town, living with his mother, has recently been let loose to resume his life, which makes the neighborhood tense and angry.

It is summertime, and the air is thick with heat and secrets.

Other than the child-molester story, the main drama involves Sarah Pierce (Kate Winslet), an intelligent, bored, stay-at-home housewife. She is angry and frustrated.

She cares for her three-year-old daughter Lucy, while her husband is addicted to porn and regularly sniffs panties that he purchases online, even risking his job to immerse himself in his addiction to porn.

They have a sex-less marriage.

Soon, Sarah embarks on a relationship with the resident hunk, Brad (Patrick Wilson), a stay-at-home Dad to four-year-old Aaron. His wife, Katherine (Jennifer Connelly), a “knockout”, produces documentaries and is the breadwinner of the family.

Thrown in the mix is crazed ex-cop, Larry, obsessed with protecting the neighborhood from Ronnie, and a trio of suburban house-wives, who are friendly with Sarah and secretly lust after Brad.

Little Children is a film about relationships, insecurities, and dreams remaining unfulfilled. How these relationships are damaged, filled with angst, or yearning for a resolution far out of reach, are explored and every character is sad in some way.

Each character is unfulfilled and in the middle of all of it is the torrid romance between Sarah and Brad. They while away the summer in romance that we just know will not last. They find some happy moments, but how will this continue?

Tragic is the situation with Ronnie- despite being a child molester he is portrayed as a sympathetic character. The entire town is against him- a sad scene involves the townspeople fleeing the community pool when Ronnie dares to go for a swim.

When he tearfully tells the police that he just wanted to cool down, there is such sadness in his eyes.

Despite being supporting characters in the film, my favorite performances are by Haley and Phyllis Somerville, as Ronnie’s feisty yet haggard mother, May.

Determined to ensure her son has a decent life, she lashes out at anyone who bullies her poor Ronnie. Somerville’s performance is heartbreaking and, in a perfect Hollywood world, she would have received an Oscar nomination.

Happily, Haley did, as injecting any sympathy in a character such as his is a difficult task, but Haley does so in spades.

The film is filled with narrative- in not dissimilar fashion to the classic Barry Lyndon (1975)- as the narrator explains the thoughts and inner turmoil of the characters in regular intervals. This adds layers and clarity to the film.

A masterful scene involves one centered around the dinner table, successfully done. Curious about husband Brad’s daytime life when she is away at work, Katherine invites Sarah and her daughter to join them for a cozy dinner.

As everyone eats and converses, the light bulb suddenly goes on in Katherine’s head and she pieces together events, realizing Brad and Sarah’s true relationship.

All of those days when she knew not where Brad was now came flowing back to her. A similar scene was played out in 2008’s The Kids Are Alright, working successfully in that film too.

The stories eventually intersect and I love this point of the film, especially being that it takes place in a smothering small town.

Character-driven, cynical, tragic, and dark. Little Children (2006) is a humanistic masterpiece that I never tire of watching- one of my favorites.

Oscar Nominations: Best Actress-Kate Winslet, Best Supporting Actor-Jackie Earle Haley, Best Adapted Screenplay

2000 Films, Albert Finney, Amy Irving, Benicio del Toro, Benjamin Bratt, Catherine Zeta-Jones, Crime Drama, Dennis Quaid, Don Cheadle, Drama, Erika Christensen, James Brolin, Luis Guzman, Michael Douglas, Salma Hayek, Scott's Top 100 Films, Steven Soderbergh, Topher Grace, Viola Davis

Traffic-2000

January 8, 2016 scottmet99 Leave a comment

Traffic-2000

Director Steven Soderbergh

Starring Michael Douglas, Catherine Zeta-Jones, Benicio del Toro

Top 100 Films #78

Scott’s Review #333

Reviewed January 8, 2016

Grade: A

Simply put, I adore this film. I loved Traffic when it was first released in 2000 and I still love it in present times.

During an age where the overlapping stories with hefty casts were still in the infancy stage (Crash-2006, and Babel-2006, similar films, would not be released for several years), Traffic was groundbreaking, compelling, thought-provoking, and just a damned good drama!

With drug use still a continuing problem in the United States, the film remains both relevant and important.

Featuring three main, intersecting stories with a central theme of drug trafficking, each is told from various perspectives: users, political figures, law enforcement, and criminal traffickers.

Traffic also wisely shows how the drug problem knows no specific classes- affluent, middle-class, and poor are all represented in the film.

A strong political story is represented- led by conservative Ohio judge Robert Wakefield (Michael Douglas), who is appointed “drug czar” as the President’s Office of National Drug Policy leader, he vows to end all drug trafficking and is the moral center of the film.

However, his prep school daughter, Caroline, (played exceptionally well by Erika Christensen) and her equally affluent friends are dabbling in cocaine, heroin, and other drugs, so much so that their lives are slowly spiraling out of control.

The Mexico story involves the riveting tale of Mexican police office Javier Rodriguez (played convincingly by Benicio del Toro). He becomes heavily involved in a web of deceit, money, and drugs. His partner, Sanchez, makes a deal with the devil and his fate is thereby sealed. Javier has moral questions to ask himself and only wants to do right by some local, neighborhood boys.

Finally, San Diego is the setting for a story of corruption involving the DEA’s investigation of a drug lord, Carl Ayala. After being arrested, his wife Helena (Catherine Zeta-Jones) faces a moral dilemma- either carry on the illegal proceedings or come clean. She, up until this point unaware of her husband’s business, faces enormous pressure, both financially and through the threat of violence.

My favorite aspect of Traffic is that all of the aforementioned stories are fascinating in their own right- and could make terrific films on their own, but as the film progresses they begin to intersect and keys to the puzzle slowly unlock themselves.

I love how many of the central characters (Helena, Javier, and Wakefield) begin as “good” people only to have their moral intentions challenged, and in some cases, threatened.

They are each conflicted in some way.

The film poses an interesting, crucial question of what can be done about the United States drug trafficking problem. The answer at the end of the film is a disappointing and perhaps even depressing realization.

Drugs will never stop being a problem and Traffic wisely explains how drugs show no barriers when it comes to either wealthy or more financially challenged individuals.

How wonderful to see a stellar cast, even in smaller roles (Dennis Quaid and Amy Irving immediately come to mind) with all of the characters having a purpose in a wonderful example of how a mainstream Hollywood film can achieve a true ensemble effort that works.

Great job Steven Soderbergh!

Oscar Nominations: 4 wins-Best Picture, Best Director-Steven Soderbergh (won), Best Supporting Actor-Benicio del Toro (won), Best Adapted Screenplay (won), Best Film Editing (won)

2002 Films, Best Feature- Independent Spirit Award Winners, Best Film of the Year, Dennis Haysbert, Dennis Quaid, Drama, Independent, Independent Drama, Julianne Moore, LGBTQ+ Drama, LGBTQ+ Films, Patricia Clarkson, Randy Quaid, Scott's Top 100 Films, Todd Haynes, Viola Davis

Far From Heaven-2002

January 8, 2016 scottmet99 Leave a comment

Far From Heaven-2002

Director Todd Haynes

Starring Julianne Moore, Dennis Haysbert

Top 100 Films #53

Scott’s Review #332

Reviewed January 8, 2016

Grade: A

Far From Heaven (2002) is a gorgeous film, set in 1950’s upper-class and sophisticated Connecticut, that tackles not one, but two, separate social issues, in a wonderful story-telling fashion.

An interracial couple fraught with discrimination, and a homosexual husband hiding his secret lifestyle encompass this amazing film by acclaimed director Todd Haynes.

In years to follow, Haynes would also direct such masterpieces similar to the period (and story) of Carol (2015).

For starters, the cinematography and art direction are simply breathtaking- the beautiful and colorful small town in Connecticut, on the surface, prim and proper, is oozing with secrets and scandal just waiting to bubble to the surface.

An aerial view of the town allows the viewer to see this perfectly carved town in a sweeping motion.

Far From Heaven contains many similarities to All That Heaven Allows, made in 1955, and also focuses on a great scandal in a small, seemingly idyllic New England town.

Cathy Whitaker (Julianne Moore) seems to have everything perfectly styled and kept at home in affluent Connecticut, a successful husband named Frank (Dennis Quaid), who is an advertising executive, beauty, and a neighborhood filled with friends.

One night when Frank is working late, Cathy surprises him with dinner at the office, only to be surprised herself by catching Frank passionately kissing another man. In an awkward scene, Frank admits to Cathy that he needs conversion therapy, but instead turns to alcohol and continues to secretly see men.

Devastated, Cathy befriends her gardener, Raymond Deagan (Haysburt), a handsome black man, and slowly begins a relationship with him. Needless to say, this causes gossip and scandal amongst the townspeople.

Far From Heaven is fantastic story-telling, weaving, in essence, two main social stories together.

Frank questions his sexuality, afraid to admit he is gay and risking his reputation and career. Undoubtedly, he is a tormented individual and we see him slowly come to terms with his sexuality.

Haynes, fantastic at crafting a worthy story, carves a similar tale in 2015’s Carol, only she is a woman confident about her sexuality, but hiding it from society. Since the time in both films is the 1950s, the sexual revolution has not occurred, let alone anything gay-related.

The center story though belongs to Cathy and Julianne Moore portrays her to perfection. I would argue that Cathy is Moore’s best role- along with Amber Waves from Boogie Nights.

Hurt and betrayed by her husband, she suddenly is filled with new and dangerous emotions- falling in love with a black man in a not very open-minded time.

Moore and Haysbert have fantastic chemistry from their very first scene together.

I love how Haynes showcases the perfection of the town- the lawns are perfectly mowed, the flower beds flawless, and everyone appears cheerful and colorful. But when something in their little town becomes amiss (in this case Cathy going against the grain) the fangs come out and the animals bear their teeth.

A wonderful scene showcases Cathy and Raymond’s slow dancing in a solely black bar. They sway as one and Cathy is accepted by the black patrons. Raymond (and his daughter) are not treated the same way by the white folks of the town once they catch wind of the shenanigans going on between the interracial couple.

Far From Heaven (2002) is a beautiful film- from the way it looks and is shot, to the powerful acting performances all around. Moore may be the star and the central character of the film, but Quaid and Haysbert certainly deserve their due.

They each give layered performances as wounded and tortured men- and the conclusion of the film- perceived as open-ended- is also not a happily ever after climax.

Oscar Nominations: Best Actress-Julianne Moore, Best Original Screenplay, Best Original Score, Best Cinematography

Independent Spirit Award Nominations: 5 wins-Best Feature (won), Best Director-Todd Haynes (won), Best Female Lead-Julianne Moore (won), Best Supporting Male-Dennis Quaid (won), Best Cinematography (won)

1976 Films, Gregory Peck, Horror, Lee Remick, Scott's Top 100 Films, Scott's Top 20 Horror Films

The Omen-1976

January 8, 2016 scottmet99 Leave a comment

The Omen-1976

Director Richard Donner

Starring Gregory Peck, Lee Remick

Top 100 Films #67 Top 20 Horror Films #18

Scott’s Review #331

Reviewed January 8, 2016

Grade: A

On the heels of similarly themed supernatural horror films, and all three classics in my view, The Omen (1976) follows suit with the religious-minded terrifying piece that resembles both The Exorcist (1973) and Rosemary’s Baby (1968).

All three films are cherished gems and favorite horror films of mine.

The Omen (the last to be released) is quite possibly the weaker entry having taken much from the other two films, and at the forefront is a child encompassed by devilish forces.

But to say “weaker” implies it is not good, which is not the case- The Omen is a masterpiece.

Set mostly in London, the film begins in Rome. Gregory Peck plays a powerful diplomat, Robert Thorn. Robert’s wife, Katherine (Lee Remick), has just given birth to a baby, who dies.

Unbeknownst to her, Robert and a priest have taken a newborn whose mother has just died, thereby fooling Katherine into thinking she has delivered a healthy baby boy. They name their child Damien.

Soon, Robert is named U.S. Ambassador of the United Kingdom- an astounding honor, but his and Katherine’s lives spin out of control when strange events begin to occur surrounding Damien, and they realize the child is not “right”.

I adore the many aspects of The Omen. The locale of sophisticated and royal London is perfect. The Thorns live in a grand, palatial estate just oozing with possible horror elements.

During a vast party for little Damien’s fifth birthday, the attendees are gathered on the perfectly manicured grounds of the Thorn home. It is a bright and cheery afternoon.

Suddenly, from the top floor bedroom window, Damien’s fresh-faced nanny publicly hangs herself from the window proudly shouting, “This is all for you, Damien”!

This scene is one of the most horrific and surprising scenes in the film.

When Damien’s new nanny shows up, she is off-putting and sinister. The inclusion of a pack of black dogs hovering around the estate is fiendish, and an innocent trip to the zoo results in the scared animals fleeing from Damien as if he is the antichrist, which of course, he is revealed to be.

Fantastic is the religious element of The Omen, a sure measure to frighten and freak out audiences brave enough to watch this film.

Who will not be on edge as a sweet-looking little kid is assumed to be the devil? Religious elements in horror have been prevalent throughout the film ages.

Perhaps it is the Italian and British accents and settings that add layers of fear to the film.

What I love most about the film is its cynicism. The Omen is not a happy film by any means, nor does it result in a happy ending- Satan wins in the end.

Two memorable scenes are the pole through the heart of the priest scene and the gruesome decapitation of a photographer by a sheet of glass. In both scenes, Satan causes the deaths.

The finale of the film is incredibly compelling and downright shocking- the face-off of Robert and Damien in a church and the prevailing conclusion sets the stage for a sequel, which of course there was more than one.

The sinister smile at the end of the film is immeasurable in its evil nature.

The Omen (1976) is a film that I love to watch and revel in fright when the chills start to creep up my back.

What a fantastic film.

Oscar Nominations: 1 win-Best Original Score (won), Best Original Song-“Ave Satani”

1950 Films, Best Film of the Year, Billy Wilder, Drama, Film noir, Gloria Swanson, Scott's Top 100 Films, William Holden

Sunset Boulevard-1950

January 8, 2016 scottmet99 Leave a comment

Sunset Boulevard-1950

Director Billy Wilder

Starring Gloria Swanson, William Holden

Top 100 Films #42

Scott’s Review #330

Reviewed January 8, 2016

Grade: A

I adore films about Hollywood (good ones, that is), and Sunset Boulevard is an absolute treasure.

Directed by classic film director, Billy Wilder, the film is a film noir about a legendary silent film star, Norma Desmond, unable to cope with modern films involving sound, and living a life of instability and mental illness, as her career has long ended.

Handsome Joe innocently stumbles upon her mansion and the two form an eerie relationship ending in tragedy.

Sunset Blvd. is a famous street that runs through Los Angeles and Beverly Hills, California, and is immediately featured in the film as Joe Gillis, played by William Holden, drives down the street, an unsuccessful screenwriter, whose car is about to be repossessed.

Joe narrates the film and we see a man lying dead in a vast swimming pool. Ironically, this is the end of the film, and Wilder interestingly then works backward so that the audience knows tragedy will eventually ensue.

To avoid men chasing him, Joe pulls into a driveway and hides his car in a garage near a vast yet run-down mansion. He is mistaken for a coffin salesman and meets the infamous and creepy Norma and her servant, Max.

The coffin is for Norma’s pet chimpanzee, who has died. Intrigued, and broke, Joe hatches a plot to re-write Norma’s terrible screenplay- and make some money from the aging Hollywood star. Norma needs companionship. The two, along with Max, embark on a weird relationship based on jealousy, passion, and rage.

The black-and-white style works extremely well in the film. The lighting gives off a mystique of intrigue and film noir.

Sunset Boulevard combines the noir with a rich character study of Norma and we feel her pain and isolation at being cast aside as a result of the times.

I love how Wilder focuses both on the gloomy nature of Norma’s vast mansion- especially when she throws a New Year’s Eve party- isolated with just she and Joe and a hired band- interspersed with a lively party in Hollywood- filled with young, energetic, up and coming talents.

The scenes mix perfectly and show the two different worlds and perspectives.

Sunset Boulevard is a brilliant depiction of old Hollywood at its best (and worst). A study in ambition, struggle, and high hopes (Joe), and of faded success and dreams shattered in reality, where delusion is the only defense (Norma).

Oscar Nominations: 3 wins-Best Motion Picture, Best Director-Billy Wilder, Best Actor-William Holden, Best Actress-Gloria Swanson, Best Supporting Actor-Erich von Stroheim, Best Supporting Actress-Nancy Olson, Best Story and Screenplay (won), Best Scoring of a Dramatic or Comedy Picture (won), Best Art Direction-Set Decoration, Black-and-White (won), Best Cinematography, Black-and-White, Best Film Editing

1987 Films, Adrian Lyne, Anne Archer, Best Film of the Year, David R. Ellis, Fred Gwynne, Glenn Close, Lois Smith, Michael Douglas, Scott's Top 100 Films, Thriller

Fatal Attraction-1987

January 8, 2016 scottmet99 Leave a comment

Fatal Attraction-1987

Director Adrian Lyne

Starring Michael Douglas, Glenn Close

Top 100 Films #45

Scott’s Review #329

Reviewed January 8, 2016

Grade: A

Fatal Attraction is a film that was a monster smash hit at its time of release (1987) and has all the makings of a trashy, forgettable, slick Hollywood film from a disastrous time in the film.

Guess what? It is a fantastic, gripping, thriller that still holds up well after all of these years.

Say what you will about Anne Archer, who is very good, but this film truly belongs to Michael Douglas and Glenn Close, who made it the believable thrill ride that Fatal Attraction is.

The subject matter is adultery, which made it the water-cooler topic of its day.

The plot is quite simple- Douglas plays Dan Gallagher, a successful New York City attorney, happily married to Beth (Archer), and raising a cute young daughter, Ellen.

When Beth and Ellen are away looking at new houses one rainy weekend, Dan embarks on a torrid affair with sexy, successful businesswoman, Alex (Close), not realizing that she is an unbalanced, needy woman, who is not about to let Dan out of her life.

I adore this film in large part because it’s a film that can be debated.

Many seem to blame either (mostly) Dan or Alex, but the question of monogamy can always be a topic of conversation after viewing this film, so in that regard, it is multi-faceted, rather than solely a well-acted Hollywood potboiler.

Was it okay for Dan to cheat? Does Beth overreact or does she forgive too easily? Do we sympathize with Alex? Is she a victim?

The film is unique in that many folks were rooting for Dan and Alex, despite her being the other woman.

So many memorable lines or scenes contribute to this film- who can forget the infamous “boiling pet rabbit” scene or the wonderful line that Alex utters to Dan, “I will not be ignored, Dan”.

They are so ingrained in pop culture that it brings a smile to think of these aspects of Fatal Attraction.

The real selling point, though, is the natural and honest chemistry that Douglas and Close share. Their scenes, mainly the romantic weekend they spend together, flow so nicely that they have real rooting value and I instantly bought them as a couple.

Without this undeniable chemistry, Fatal Attraction would be a standard romantic thriller- and not much else. And the smoldering sexuality during their love scenes is erotic and intense.

Surely not suffering from the dreaded “1980s look”, Fatal Attraction is a gem that holds up very well and is a slick thrill-ride, easily watched and enjoyed time and again.

Dozens upon dozens of carbon copy films cropped up in the years to follow, but none were ever as fantastic as Fatal Attraction (1987).

Oscar Nominations: Best Picture, Best Director-Adrian Lyne, Best Actress-Glenn Close, Best Supporting Actress-Anne Archer, Best Screenplay Based on Material from Another Medium

1971 Films, Action, Bernard Lee, Desmond Llewelyn, Guy Hamilton, James Bond, Jill St. John, Lois Maxwell, Scott's Top 100 Films, Sean Connery

Diamonds Are Forever-1971

January 6, 2016 scottmet99 Leave a comment

Diamonds Are Forever-1971

Director Guy Hamilton

Starring Sean Connery, Jill St. John

Top 100 Films #57

Scott’s Review #328

Reviewed January 6, 2016

Grade: A

Despite Diamonds Are Forever (1971) being one of the lower-rated James Bond films, this is actually one of my favorite films of all time and many would disagree with me.

Some say Sean Connery phoned this performance in, some say there was little chemistry between him and Jill St. John and tension-filled the sets leading to a sub-par offering, but I think this is a great film.

I love the Las Vegas locale, the bright lights, flashy costumes, and a ritzy underbelly- and the Vegas car chase is amazing.

A bright, shiny Ford Mustang takes center stage throughout the sequence, and if one looks closely, one will realize that nearly all the cars are Ford- fun fact!

The title song by Shirley Bassey is great- sultry and stylish only enhanced by the glitzy setting. One immediately imagines the film oozing with diamonds as it does.

The villains are interesting and Mr. Wint and Mr. Kidd were the first openly gay Bond villains, which, in 1971 was groundbreaking.

Yes, they are evil and slightly silly, but what a risky and surprising blatant scene to see the gentlemen holding hands.

St. John is a sophisticated and intelligent Bond girl and the action in this film is plenty.

Diamonds Are Forever (1971) contains all the elements for an enjoyable Bond experience.

Oscar Nominations: Best Sound

1997 Films, Anne Fletcher, Best Picture Oscar Winners, Billy Zane, Disaster, Epic, Gloria Stuart, James Cameron, Kate Winslet, Kathy Bates, Leonardo DiCaprio, Romantic Drama, Scott's Top 100 Films

Titanic-1997

January 6, 2016 scottmet99 Leave a comment

Titanic-1997

Director James Cameron

Starring Leonardo DiCaprio, Kate Winslet

Top 100 Films #49

Scott’s Review #327

Reviewed January 6, 2016

Grade: A

1997’s Titanic is a sweeping, gorgeous epic, directed by James Cameron, that is perfection at every level. This film has it all: romance, disaster, gorgeous art direction, and flawless attention to detail.

The film will make you laugh, cry, and fall in love with the characters, despite knowing the inevitable outcome. The film is based on the real-life sinking of the RMS Titanic in 1912 after the ship tragically collided with an iceberg.

I have witnessed this film be derided for being a “chick flick” or too “sappy”, but I vehemently disagree and feel it is a classic for the ages.

Titanic successfully re-invented the Hollywood epic.

Jack Dawkins (Leonardo DiCaprio) is a penniless artist who meets high-class socialite Rose DeWitt (Kate Winslet) aboard the luxurious Titanic, headed from the coast of England to the United States on its maiden voyage.

Rose is engaged to cagey Cal Hockley (Billy Zane).

Depressed, Rose contemplates diving overboard to her death, but Jack saves her and convinces her otherwise. They spend time together and he draws her portrait. As their romance blossoms, Cal catches on and plots revenge.

In the mix is Rose’s snobbish mother, Ruth, played by Frances Fisher.

The main theme of the film is social class and the difference that separates the haves from the have-nots.

James Cameron desired perfection from this film and he sure got what he wanted. Every detail of Titanic is flawless and historically accurate, from the dining room silverware to the costumes to the set pieces barely visible in the background.

Cameron even had a replica of the original Titanic built for filming purposes- with limitations, but what a vast undertaking this must have been. That, along with the smoldering romance between Jack and Rose, is what makes Titanic one of my favorite films.

Two fantastic scenes are when Jack is taken under the wing of Molly Brown, played by Kathy Bates. Molly is not the snob that many of the other upper class is, and lends Jack a tuxedo so that he will look dapper for Rose. She also tenderly teaches him the appropriate way to use silverware.

Tragically, the other scene is more melancholy- a gorgeous classical piece plays in the background as the vast ship is engulfed in water and slowly sinks, causing many deaths.

At well over three hours in length, the conclusion of the film is quite sprawling- and one has the feeling of being aboard the ship. By this time I was invested in the characters, both lead and supporting and the tragedy that ensues is both a marvel and heart-wrenching.

Titanic (1997) is a film that simply must be viewed on the big screen for full effect, and is a timeless masterpiece that has aged perfectly.

Oscar Nominations: 10 wins-Best Picture (won), Best Director-James Cameron (won), Best Actress-Kate Winslet, Best Supporting Actress-Gloria Stuart, Best Original Dramatic Score (won), Best Original Song-“My Heart Will Go On”, Best Sound Effects Editing (won), Best Sound (won), Best Art Direction (won), Best Cinematography (won), Best Makeup, Best Costume Design (won), Best Film Editing (won), Best Visual Effects (won)

1973 Films, Best Film of the Year, Ellen Burstyn, Horror, Linda Blair, Scott's Top 100 Films, Scott's Top 20 Horror Films, William Friedkin

The Exorcist-1973

January 5, 2016 scottmet99 Leave a comment

The Exorcist-1973

Director William Friedkin

Starring Ellen Burstyn, Linda Blair

Top 100 Films #39 Top 20 Horror Films #13

Scott’s Review #326

Reviewed January 5, 2016

Grade: A

Making a lasting mark on cinematic history and impossible not to be familiar with through some form of pop culture, The Exorcist (1973) is a classic supernatural horror film that transcends the genre to become a Hollywood success story.

Along with Rosemary’s Baby (1968) and The Omen (1976), these three films have similarly haunting “religious” subject matters and deal with dark and sinister topics such as “god versus the devil” and “good versus evil”.

The Exorcist is a masterpiece on every level and is adapted from the 1971 hit novel of the same name.

The story centers on “demonic possession” and was quite simply a shocking subject when The Exorcist was released in 1973, scaring the wits out of those brave enough to see it (especially Christians) everywhere.

Some abhorred the subject matter and refused to have any part of the film-their loss.

Ellen Burstyn stars as Chris MacNeil, an actress of note who moves to Georgetown to film a movie. In tow is her twelve-year-old daughter Regan (Linda Blair).

As shooting on the film wraps, Regan begins acting very strangely- making noises, becoming belligerent, and peeing on the floor during a dinner party. Worried, Chris enlists the assistance of priests (Max von Sydow and Jason Miller).

Things progress from bad to worse as Regan spirals out of control and Chris and the priests determine that an exorcism is the only resolution to the problem.

The Exorcist-mainly director William Freidkin sets up the film in a clever way by using various technical elements to build the tension.

For starters, the eerie musical score is highly successful at scaring the audience and the score is similar to that of Rosemary’s Baby. The film is also lit very well, so it appears dark with dim lighting- the cinematography and the windy rustling of leaves in the exterior sets are great.

The cover art of the film should give an indication of the unique style used- black and white, a man with a hat and suitcase peers up at the second floor of a house where a glowing light is illuminating- the image is intriguing and haunting.

Enough cannot be said for Linda Blair’s performance as Regan, especially in the final act. During the “pea soup” and the “Jesus crucifix” scenes a different voice was used, but the facial expressions and the emotions that Blair uses are admirable.

As Regan is bed-ridden, angry, scared, and emotional, there is no limit to Blair’s range. Throughout a large part of the film, she is a sweet, young girl- innocent, so much so that her transformation is both shocking and disturbing to witness.

The final act of the film- the “exorcism” is riveting and a groundbreaking aspect of film history. The terrifying scene all taking place in one child’s tiny bedroom elicits fright and is nail-biting beyond belief.

The Exorcist (1973) is a very influential film that inspired filmmakers for decades to come and still resonates with audiences to this day.

Oscar Nominations: 2 wins-Best Picture, Best Director-William Friedkin, Best Actress-Ellen Burstyn, Best Supporting Actor-Jason Miller, Best Supporting Actress-Linda Blair, Best Screenplay Based on Material from Another Medium (won), Best Sound (won), Best Art Direction, Best Cinematography, Best Film Editing

1976 Films, Amy Irving, Betty Buckley, Brian De Palma, Horror, John Travolta, Nancy Allen, P.J. Soles, Piper Laurie, Scott's Top 100 Films, Scott's Top 20 Horror Films, Sissy Spacek, Stephen King

Carrie-1976

January 5, 2016 scottmet99 Leave a comment

Carrie-1976

Director Brian De Palma

Starring Sissy Spacek, Piper Laurie

Top 100 Films #37 Top 20 Horror Films #12

Scott’s Review #325

Reviewed January 5, 2016

Grade: A

Carrie is a horror film from 1976 that is adapted from the Stephen King novel of the same name.

Many King adaptations have failed, but Carrie (along with The Shining) is among the best.

Going beyond the scope of horror and receiving more than one major Oscar nomination (largely unheard of in horror), Carrie influenced films and filmmakers for decades beyond release.

This is largely due to the dream-like and breathtaking direction of mood master Brian De Palma.

By this time (2016), the film and the character of Carrie White were legendary.

Carrie (Sissy Spacek) is a lonely suburban teenager, ostracized by her classmates for being “weird”. Her mother (Piper Laurie) is a devout Christian who spreads the word of god amongst the neighbors.

Carrie has a special ability to move things, usually during anger- this is called telekinesis.

After a humiliating incident in the girl’s locker room when Carrie begins menstruating, one of the nicer girls in the class, Sue Snell (Amy Irving) feels sorry for Carrie and convinces her boyfriend, Tommy Ross, to take Carrie to the prom.

When others in the class take revenge upon Carrie with a sick joke, things take a horrific turn.

Betty Buckley as the empathetic gym teacher, Miss Collins, and John Travolta and Nancy Allen, as dastardly Billy and Chris, also star and are perfectly cast.

The direction in the film is second to none. De Palma adds interesting camera work throughout the film.

During a tender, lovely prom dance between Carrie and Tommy, the camera circles the pair repeatedly, giving a spellbinding, but not dizzying quality.

The use of slow-motion in the important “pig blood” scene is immeasurably effective.

The seemingly eternal time it takes for the blood spilling to occur, and the camera (in slow motion) goes from Sue to Miss Collins to Chris to the bucket of blood is fantastic.

The list of inspired and intense scenes goes on and on- from the climactic scene between Carrie and Mrs. White to the “jump out of your seat” final scene.

The acting is also worthy of high praise. Spacek and Laurie deservedly received Oscar nominations for their work. Spacek elicits so much rooting value into her role with a shred of psychosis bubbling just beneath the surface.

Carrie wants to fit in and have a happy life so the audience is immersed in her corner and celebrates her short-lived happiness with Tommy at the prom. Spacek is just perfectly cast.

Laurie on the other hand exudes crazy in every sense, but we do feel pangs of sympathy for her. We largely believe she cares for her daughter and wants to protect her from the dangerous world.

Carrie (1976) is a masterpiece that continues to hold up well and influence generations who can relate to school bullying, taunting, and the desire to see the nasty popular kids get their just desserts.

More than a great horror film, it is a revered classic with a dreamy, moody vibe.

One of my all-time favorites.

Oscar Nominations: Best Actress-Sissy Spacek, Best Supporting Actress-Piper Laurie

1972 Films, Burt Reynolds, John Boorman, Jon Voight, Ned Beatty, Scott's Top 100 Films, Thriller

Deliverance-1972

January 5, 2016 scottmet99 Leave a comment

Deliverance-1972

Director John Boorman

Starring Jon Voight, Burt Reynolds, Ned Beatty

Top 100 Films #74

Scott’s Review #324

Reviewed January 5, 2016

Grade: A

Deliverance is a disturbing, gritty, yet wonderful 1972 thriller, directed by John Boorman, starring a cast of all-male principal actors.

The film is an adventure, albeit a dark one, with a subject matter difficult to watch, the film takes dark twists along the way, which is also the beauty of it. The viewer will get a harsh look at the backwoods of Georgia, not to mention gorgeous outdoor scenery.

A group of middle-aged, metropolitan businessmen, (played by Burt Reynolds, Jon Voight, Ned Beatty, and Ronny Cox), from Atlanta, decide to go rafting for a weekend getaway along a remote river in a desolate area of Georgia.

It is a guy’s weekend.

Lewis and Ed (Reynolds and Voight) are experienced at canoeing and are therefore the leaders of the group.

The guys are jovial but soon come upon a strange group of very poor townspeople. The men ask for a ride to the river and one of the men, Drew (Cox) engages a strange young boy in a friendly duel of banjo versus guitar, but Drew is then snubbed by the boy.

Later, events take a dark turn when a hunter versus hunted game emerges between the city-dwelling men and the country rednecks.

The film is interesting as it begins as a light-hearted adventure- nearly a buddy movie. The men laugh and joke as they relish in anticipation of the exciting weekend lying ahead of them.

The film then becomes slightly eerie during the banjo scene. We know that something strange or sinister has occurred, but we cannot put our finger on it.

Does the redneck boy hate the city men or is he simply mentally challenged? Why the strange looks of the poor people of the tiny town?

From this point, Deliverance takes a dark turn as a brutal event occurs involving two deaths- one under mysterious circumstances, and a male rape scene that is disturbing in its intensity and humiliation.

The rawness of these aspects of the film is unprecedented, especially interspersed with the contrast of the beautiful nature that is also at the forefront.

The acting is spot-on. In my opinion, Jon Voight makes this film and gives a layered, character-driven performance, so much so, that the audience becomes invested in his life. Ed is a good guy- arguably the kindest of the bunch- and is forced to become a different person as the film progresses, far from his true self.

He struggles in one scene- one beautifully peaceful scene- to shoot and kill a deer calmly grazing in the woods. He cannot do it. I love this scene as it shows Ed’s true nature. He does not dare tell the other men of his perceived shortcomings.

Ironically, he is then forced to make another painful decision involving human life.

On the surface a straightforward mainstream film, but as the film moves along, it becomes a layered masterpiece. Happy, tragic, strange, depressing, peaceful, and brutal capture Deliverance (1972).

The film is a disturbing, memorable gem and needs to be viewed to appreciate the golden age of 1970s cinema.

Oscar Nominations: Best Picture, Best Director-John Boorman, Best Film Editing

Welcome to my blog! 1,400 + reviews posted so far! My name is Scott Segrell and I reside in Stamford, CT. My blog is a diverse site featuring tons of film reviews I have written since I launched my site in 2014. I hope you enjoy perusing the site for latest or greatest films or to search for your own favorites to see how we compare. Please take a look at my featured sections at the top of the page which change often! Utilize the tags and category links.

Scott's Film Reviews-1,400 + Reviews posted so far!!!

Monthly Archives: January 2016

Reform School Girls-1986

Monster-2003

The Man with the Golden Gun-1974

Rebecca-1940

Escape from New York-1981

Blue Velvet-1986

The French Connection-1971

Clue-1985

Boys Don’t Cry-1999

Suspiria-1977

Brokeback Mountain-2005

Goldfinger-1964

Magnum Force-1973

The Graduate-1967

Little Children-2006

Traffic-2000

Far From Heaven-2002

The Omen-1976

Sunset Boulevard-1950

Fatal Attraction-1987

Diamonds Are Forever-1971

Titanic-1997

The Exorcist-1973

Carrie-1976

Deliverance-1972