Tag Archives: Satire

1978 Films, Comedy, Dario Argento, David Emge, Gaylen Ross, George A. Romero, Horror, Horror Zombie, Horror-Comedy, Ken Foree, Satire, Scott Reiniger, Tom Savini

Dawn of the Dead-1978

November 26, 2015 scottmet99 Leave a comment

Dawn of the Dead-1978

Director George A. Romero

Starring Ken Foree, Gaylen Ross

Scott’s Review #289

Reviewed November 26, 2015

Grade: B+

One of the better installments by the famed horror-comedy director, George A. Romero, though inferior to my favorite film of his, Night of the Living Dead (1968), Romero focuses slightly more on the comedy aspect with Dawn of the Dead (1978).

For horror fans, there is plenty of gore to satisfy bloodthirsty viewers.

This film is glossier and slicker than its predecessor was.

On a slightly larger budget than Night of the Living Dead, the events are in suburban Pennsylvania, at a local mall.

An unknown phenomenon has made non-buried humans change form into flesh-eating zombies that prey on other human beings.

A group of survivors hunker down in a suburban mall and begin a life of adequacy. They utilize the contents of the mall until events threaten their existence. They must form a militant operation to survive.

The four survivors are Stephen (David Emge) and Francine (Gaylen Ross), two staff members of a local television station, and Roger (Scott Reiniger) and Peter (Ken Foree), two SWAT team members whom they meet in the ensuing chaos.

The quartet steals a helicopter and travels a short distance to the mall.

Having viewed Dawn of the Dead many times, I am a fan of the film, but not an enormous fan, and it hovers below my Top Twenty Five Horror Films list (as of this review).

The main flaw is how it delves into the personal lives of Stephen and Francine midstream, a fact I find meaningless and stalls the plot.

Francine has realized that she is pregnant and I do not understand the point of slowing down the action for this purpose.

I am a huge fan of character development (even in the horror genre!), but this development does not work.

Still, the lengthy portion of the film of over two hours (highly unusual for horror), enamored me.

The scenes in the mall are fantastic and the action in the final act is thrilling.

Reminiscent of my youth and hours spent as a child, along with my mother and siblings, being paraded around the local mall, the look of the mall in Dawn of the Dead brings back a flood of memories.

From the fake green plants to the mannequins, the pool of water filled with coins, and the redundant, but lovely Muzak in the background.

Romero, as he did with Night of the Living Dead, provides a social element to the film.

The onset of materialism and consumerism captured the United States in the late 1970s and 1980s and Romero focuses on it. It’s taken me a couple of viewings to catch onto this point. The zombies stupidly walk around the mall in a numbing fashion mirroring how many people did during the day.

One character mentions that the zombies are drawn to the mall because it is familiar, much like people frequented the malls at that time frivolously spending away their time and money.

Some of the deaths, including one main character, are haunting. As the character suddenly “turns”, it is frightening to see them in this new light compared to how they once were.

And, comically, my favorite zombie character is the nurse. Wearing a uniform (white shoes, classic nurse cap, and white suit) she is creepy yet mesmerizing in her body and facial expressions as she lumbers around the mall.

It makes me smile each time I see her.

Dawn of the Dead (1978) is one of the better, more interesting zombie films. I just wish the relationship drama, mainly in the center, had been modified since it slows down the pace.

Still, a good, fun, late-night flick.

2014 Films, Comedy, Dark Comedy, Dennis Haysbert, Drama, Independent, Independent Drama, Justin Simien, Satire, Tessa Thompson, Tyler James Williams

Dear White People-2014

September 18, 2015 scottmet99 Leave a comment

Dear White People-2014

Director Justin Simien

Starring Tyler James Williams, Tessa Thompson

Scott’s Review #274

Reviewed September 18, 2015

Grade: B+

Dear White People (2014) is a highly creative, independent satire that begs to be watched for no reason other than for its message of existing racism in present times, homophobia, and class distinction.

Set at an Ivy League college and written tongue and cheek, but also with a direct message from newly discovered director Justin Simien, it is a meaningful gem that challenges audiences to think and be entertained and emit an occasional chuckle at the wit and comical lines presented.

Set in the present day- assuming 2013 or 2014, and well beyond the Civil Rights era, the film features a hip, sharp look and a myriad of characters, all with differing perspectives, all Caucasian or black in racial identities.

All the characters attend the affluent and sophisticated Winchester University, a mostly white, conservative school with a small community of black students, who curiously all seem to reside in the same dorm house.

In addition, the Dean is a black man (played by Dennis Haysbert).

Sam White is a rebellious female student, of mixed race, who runs a radio show entitled “Dear White People”, which challenges the current state of racism in America, specifically at Winchester University.

Supporting characters include Lionel Higgins, a gay, bookish student with an enormous afro, excluded from almost all the sub-groups. Lionel is intrigued by Sam’s radio show.

Other characters include Coco- an attractive black girl with typically “white” mannerisms and friends, who try to fit in with the white culture. Troy, a very handsome black student (who tries to act “white”), dates a white girl (who tries to act “black”).

Finally, the film features Kirk, a white student whose father is the school president, who values an old-style way of thinking. Kirk, shockingly, hosts a blackface party, which leads to major controversy at the school and is the focus of much of the film’s drama.

The main theme is race, but different characters have different viewpoints on the subject matter, and all are explored, which makes the film unique and interesting.

Sam, for example, is a true advocate for racial equality and constantly challenges white people’s motivations and actions, blatantly so.

Coco, on the other hand, is resistant to being stereotyped as a woman of color and, in one scene is incorrectly assumed to be from the hood by a reality television producer she is auditioning for.

She is envious of white people and the advantages they have, even going so far as having straight hair and blue contact lenses. Then we have Lionel, who is both gay and black, and considered an outcast. He fits in with no group and curiously seems okay with being his own person.

What is unique and compelling about Dear White People is that it brings up a controversial issue, mixes it in satire, humorously, but presents compelling arguments against stereotypes, also bringing those stereotypes center stage, which most films avoid like the plague.

One black character is frustrated that, in their mind, most black people are content watching dumb black comedies, thereby supporting a negative racial stereotype.

One interesting aspect regarding the score is the use of lily-white classic film music- such as Barry Lyndon (1975)- the most lily-white of lily-white films (British and Irish).

Famous film director, Quentin Tarantino, is called out as being a racist director. What wonderful irony!

Dear White People (2014) is a witty, intelligent slice of inventive filmmaking that is worth seeing if only for its controversial subject of inequality and racism, which is too often forgotten.

An indie treat for those inclined to think a little.

Independent Spirit Award Nominations: 1 win-Best First Screenplay (won), Best First Feature

2014 Films, Carrie Fisher, David Cronenberg, Drama, John Cusack, Julianne Moore, Mia Wasikowska, Olivia Williams, Robert Pattinson, Satire

Maps to the Stars-2014

August 14, 2015 scottmet99 Leave a comment

Maps to the Stars- 2014

Director David Cronenberg

Starring Julianne Moore, Mia Wasikowska

Scott’s Review #266

Reviewed August 14, 2015

Grade: A-

Maps to the Stars (2014) is a bizarre, unpleasant, film that is as dark and perverse as provocative and fascinating to observe and ponder.

It is more like an independent art film than a blockbuster Hollywood project and was made by an arguably mainstream director, David Cronenberg (Crash-1996, The Fly-1986), I am surprised it was able to be made on a large scale budget due to the negative portrayal of actors and celebrity types, specifically, troublesome starlet and child star.

One must be wary of biting the hand that feeds.

Maps to the Stars is a film where almost all the central characters are unlikable- difficult, unstable, self-absorbed, or all of the above.

The subject matter is ugly but fascinating to me.

The wealthy and glamorous are interesting and, at times the film is like a Greek tragedy containing Shakespearean elements- think Romeo and Juliet in an incestuous way times two. One must watch this film to see what I mean.

Hint- it contains the ick factor.

The plot centers on a Hollywood family, where the son is a famous child star and the primary breadwinner. They are the Weiss family- all struggling to either find success or hang on to it, all the while each of them is neurotic.

The father, Dr. Samuel Weiss, played by John Cusack, is a TV psychologist, hired by Havannah Legrand (Julianne Moore), a highly self-centered, aging actress, struggling to land a coveted role-playing her mother.

Her mother was a young actress in her day, who tragically died in a fire. Havannah despises her due to claimed childhood abuse.

Cristina Weiss (Olivia Williams) is Samuel’s wife. This controlling, ambitious woman strives to get the most money out of her son Benjie, a Justin Bieber-type character with a troubled streak.

Rounding out the family is Agatha Weiss, a troubled teenager, sent away for years after giving her brother pills and setting her parents’ house on fire. Though not directly related to Weiss’s, Havannah, and the limo driver, Jerome Fontana (Robert Pattinson) become heavily involved with the family as events transpire.

It reminded me of a myriad of other influential film directors in peculiar ways. I noticed elements of David Lynch’s Mulholland Drive (1992), for instance, in a dark clever mood and the obvious setting of Los Angeles- even the score is similar during parts of the film, as the moody monotone sounds played in the background.

The Ice Storm (1997), American Beauty (1999), and Magnolia (1997) also sprang to mind in their dark and strange worlds (Magnolia) and the inclusion of the dysfunctional family element (The Ice Storm and American Beauty).

Furthermore, to a lesser extent, I saw some Robert Altman ingrained in Maps to the Stars. These aspects are an enormous reason why I loved the film so much.

A prevalent theme throughout Maps to the Stars is one of burning- a victim of burning, a fire set, a character setting oneself on fire. Some characters see dead people. Havannah regularly sees her dead mother. Benjie sees a young girl whom he visited in the hospital before she died, her last wish of meeting the big star.

She suffered from non-Hodgkins lymphoma, who he foolishly thought had AIDS. He sees her in visions and tries to strangle her, instead of strangling an innocent living person.

The film is a weird trip, and the viewer will be dreading an oncoming dark moment.

When Benjie carelessly plays with a gun that he assumes is unloaded we know trouble will occur. He is showing off at an actor friend’s party along with equally obnoxious starlets while talking about poop, all selfish and wanting to party.

When Havannah belittles Agatha, her assistant, we see Agatha’s past anger come back into play as she slowly unravels with rage- Havannah is unaware of Agatha’s knowledge of her betrayal.

One small gripe is the continued use of gross toilet talk in multiple scenes including a raunchy discussion of a fan buying a well-known actor’s waste for thousands of dollars. What was Cronenberg’s motivation for this?

This was a silly, tasteless, unnecessary element of an otherwise great film.

Maps of the Stars (2014) is dirty and ugly but is also a quirky treasure about bad people in Hollywood. Unpleasant characters whom I could not take my eyes off of.

A brilliant film that delves into Hollywood shallowness and madness and does it in a daring, twisted, wonderful, sort of way.

1989 Films, Christian Slater, Comedy, Dark Comedy, Independent, Independent Comedy, Satire, Shannen Doherty, Winona Ryder

Heathers-1989

December 25, 2014 scottmet99 Leave a comment

Heathers-1989

Director Michael Lehman

Starring Winona Ryder, Christian Slater

Scott’s Review #207

Reviewed December 25, 2014

Grade: B

My gut tells me that Heathers was quite controversial and influential upon release in 1989 and has sustained a cult following that continues to this day- 2014.

Having seen the film for only the first time, in 2014, the film is good, but now suffers from a slightly dated look and feel. Still, it is a brave and unique expression of creativity.

It is a film that sends the message that the popular kids are bad and that the meek shall inherit the earth. The uncool kids will rise.

To summarize the plot, Heathers is told from the perspective of high school student Veronica Sawyer, played by a young Winona Ryder. She is a second-tier popular girl- she is lieutenant to the generals if you will.

The school is run by three popular girls named Heather. As popular as they are, they are also despised and feared by the other students but carry great influence. They enjoy playing cruel jokes on other students and ridiculing anyone beneath them.

A rebellious male student, J.D., played by Christian Slater, befriends Veronica and they hatch a plan to destroy the popular clique, including another pair of popular jocks.

Shannon Doherty plays second in command Heather.

The tone of Heather’s is surreal and dream-like. For example, in the opening scene all three Heathers- along with Veronica- are on a perfectly manicured lawn in the suburbs playing croquet.

The hierarchy is established as Veronica seems to be buried up to her neck and is the target of the croquet balls making her, without question, the lowest of the four girls. Whether or not this is a dream or real is unclear.

The film is well-written and edgy. It reminds me at times of The Ice Storm and American Beauty, which Heathers preceded, and are superior in my opinion.

Heathers is a teen angst film and quite dark at times- the various deaths are committed viciously (drain cleaner poisoning, concocting a setup for the jocks to appear to be having a love affair with each other and then passionately shooting each other), but with sly wit and humor.

Veronica is, at heart, a good girl, albeit misguided and heavily influenced by J.D., but her intentions of having a fair, just school society are noble. The character is likable.

All the parents are hilariously portrayed as buffoons and have no idea of the darkness that exists in their kid’s lives- Veronica’s parents in particular.

Fearing that Veronica has committed or soon will attempt suicide, they fret that it is their fault stemming from childhood negligence, however, their concern has more to do with themselves than with Veronica’s well-being.

Small gripes about the film are the 1980s style outfits and hairstyles, which, since made in the 1980s is not a particular fault of the films- though it does contain a slightly dated feel to it while watching in present times.

Also, Christian Slater mimicking Jack Nicholson’s voice is odd- was this a decision by the film or by the actor himself? Either way, the imitation is both distracting and confusing. What is the point?

The ending of the film is a happy and satisfying conclusion- however, different from the dark tone of the rest of the movie- rumor has it the studio had some influence in toning down the original ending.

1989 was not a stellar year for film so Heathers deserves major props for thinking outside the box and doing something dark and creative.

Brave, inventive, and unique, Heathers is a cult classic worth a look.

Independent Spirit Award Nominees: 1 win-Best Female Lead-Winona Ryder, Best Screenplay, Best First Feature (won)

1970 Films, Carrie Snodgress, Comedy, Dark Comedy, Frank Langella, Independent, Independent Comedy, Satire

Diary of a Mad Housewife-1970

November 5, 2014 scottmet99 Leave a comment

Diary of a Mad Housewife-1970

Director Frank Perry

Starring Carrie Snodgress, Frank Langella

Scott’s Review #189

Reviewed November 5, 2014

Grade: A

The film version of Diary of a Mad Housewife, based on the best-selling novel by Sue Kaufman, is a tremendous, unique story of one woman’s frustration with her irritating life.

A superb Carrie Snodgrass stars as a haggard, insecure, yet affluent housewife named Tina Balser, who lives in New York City, surrounded by an unpleasant family.

The family is led by Tina’s verbally abusive and neurotic husband Jonathan- a successful attorney, played flawlessly and rather comedically by Richard Benjamin, and her two brattish daughters Sylvie and Liz.

Bored, Tina decides to embark on an affair with crude artist George Prager, wonderfully played by Frank Langella. She teeters on the edge of an emotional breakdown throughout the film and trudges through life depressed and disappointed with all aspects of her life except for her affair with George.

George, however, is a womanizer and openly has other conquests besides Tina.

The brilliant idea of the film is that the story is told strictly from Tina’s point of view. All of the action centers on her character, which makes the film so interesting.

On the surface, one might argue she has everything- she is intelligent, well-educated, and affluent. A stay-at-home mother, she is treated like a servant by her husband Jonathan, as he constantly berates her appearance and criticizes her activities- she is always doing something incorrectly.

The film though is not a downer. It is a dry, satirical comedy that reminds me very much of a Woody Allen film. Tina is depressed, yes, but she goes through life with a realistic, almost chin-up, outlook. Her marriage to Jonathan is loveless yet why doesn’t she leave him?

Her affair with George is sexually satisfying, but she has no intention of pursuing anything further with him, nor does he want to. Tina dotes over her husband- planning dinner parties, sending Christmas cards, and various other wife duties.

I’m not sure that the film’s true intent is to show Tina as either a strictly sympathetic character or as completely downtrodden- the film is not a moral tale nor is it a schmaltzy, woman victimized and will rise against the world’s generic drama- it is witty and filled with black humor.

Despite her unkind husband, I found myself envying Tina’s life, in a way, and I think the film expects that of the viewer. I never got the impression that Tina was suicidal in any way.

It’s not that type of film.

Instead, she has wealth, and she goes to fancy restaurants, but she also has a very needy husband- he does not abuse her in a physical sense, nor is she reduced to tears by his outbursts.

She gets annoyed and merely accepts that this is the way life is and gets by with the assistance of an occasional swig of alcohol while doing dishes or preparing dinner, or when the dog has “an accident” on the living room rug and Tina’s kids cannot wait to tattle on her.

She is a sophisticated woman, trapped in an unhappy yet financially secure relationship.

Diary of a Mad Housewife is an interesting character study for all women to view and perhaps even slyly wink at. Many women would champion Tina. She is a likable, sarcastic, cool chick. Audiences will find themselves drawn to her and even falling in love with her before long- I know I did.

Without the talents of Carrie Snodgrass, who completely carries this film, it would not be the wonder that it is. A wonderful satire, the film is not as wry or satirical as the novel, but how many films are?

The novel delves more into detail and the role of the Balser’s maid is barely mentioned in the film, yet plays a larger role in the Kaufman novel.

I loved the portrayal of Jonathan by Richard Benjamin who must receive some honor for the most annoying character ever in the film when he repeatedly screams for his wife by bellowing “teeeenaaaaa!”, or initiating sex by asking “Would you like a little roll in dee hay?”, one wants to choke him.

The way Tina’s daughters whine “mudder” instead of “mother” is comically brilliant. And her simmering hatred of all of them is dark hysteria.

Diary of a Mad Housewife is a genius and should not be forgotten.

Oscar Nominations: Best Actress-Carrie Snodgress

1975 Films, Best Film of the Year, Drama, Elliott Gould, Geraldine Chaplin, Jeff Goldblum, Julie Christie, Karen Black, Keith Carradine, Lily Tomlin, Ned Beatty, Robert Altman, Ronee Blakley, Satire, Scott Glenn, Scott's Top 100 Films, Shelley Duvall

Nashville-1975

June 19, 2014 scottmet99 Leave a comment

Nashville-1975

Director Robert Altman

Starring Lily Tomlin, Keith Carradine, Karen Black

Top 100 Films #7

Scott’s Review #47

Reviewed June 19, 2014

Grade: A

Nashville (1975) is a brilliant film.

I have found that with each subsequent viewing, it creeps higher and higher on my list of favorite movies of all time.

The style is unique (largely improvised) and epitomizes creative freedom in the film during the 1970s.

Director Robert Altman lets his actors express themselves, even allowing them to write their songs, the dialogue overlaps at times, which results in a natural feeling as the viewer watches the cast of twenty-four principles intersect over five days at a political rally/country music festival.

It is pure Robert Altman at his finest.

Nashville is a satire of the political arena of the early 1970s and the Vietnam conflict and politicians, specifically.

The film certainly questions and challenges the government with an ironic patriotic setting (Nashville).

The country music industry was in an uproar upon the initial release of the film. It is a layered film that can be discussed and appreciated and every character is cared about.

I cannot adequately describe the multitude of nuances in each scene that are noticed over time.

Each character- even some with limited screen time is important to the story as are the political elements- the questions of wars, policies, etc. abound.

The chaotic bits and individual storylines come together at the end and many background happenings are incredibly interesting to watch and take note of throughout each viewing.

With each experience, the audience will notice more and more. I certainly do.

Lily Tomlin, for example, plays Linnea, a haggard mother of deaf children with a supportive husband, a woman who on the surface is heroic, yet she is a complex character; she is bored with her life and falls in love with a young musician despite the guilt and repercussions.

The musician in question is Tom Frank, played by Keith Carradine. Handsome, and self-absorbed, he arrives in Nashville to dump his bandmates in hopes of a solo career and beds many willing females.

He also lashes out at a soldier at the airport, saying, “Kill anyone lately?”

Despite his unlikeable character, Carradine gives one of the most beautiful performances in the film when he sings “I’m Easy”.

Several of the female characters assume he is singing the song for them, but who is he truly singing it for…if anyone?

Another character to analyze is Barbara Jean, played by Ronee Blakley. A frail yet very successful country singer, she is in and out of hospitals as she frets about her replacement singer stealing her thunder.

Her insecurities rise to the surface.

Insecurity is a common theme among the characters. Many of them are either unsure, afraid, or not confident about their musical talent, their relationships, or even themselves.

These are only three examples of the twenty-four richly layered characters- some ambitious, some falling apart, others meandering through life.

Many songs throughout were created by the actors themselves.

Nashville (1975) is storytelling and filmmaking at its best. A creation by Altman that is deservedly admired, revered, and heralded as a major influence.

It is studied in film schools as it should be.

Oscar Nominations: 1 win-Best Picture, Best Director-Robert Altman, Best Supporting Actress-Ronee Blakley, Lily Tomlin, Best Original Song-“I’m Easy” (won)

1954 Films, Animated, Drama, John Halas, Joy Batchelor, Satire

Animal Farm-1954

June 18, 2014 scottmet99 Leave a comment

Animal Farm-1954

Director Joy Batchelor, John Halas

Voices Gordon Heath, Maurice Denhall

Scott’s Review #45

Reviewed June 18, 2014

Grade: B+

The animated film is based on the classic fable written by George Orwell.

This film is quite different from the typically wholesome Disney animated film of the time, and reportedly, many parents were shocked by the subject matter (didn’t they read the book??).

Animation-wise, this film does resemble a Disney film as the colors and animals are meticulously drawn and composed.

As anyone who has read the book knows, the tale is dark and satirical/political. Unfortunately, it is relatable today, as class systems, power, and greed are still quite prevalent in today’s society.

The ending is changed and is more hopeful than the book ending, presumably to appeal to a larger audience.

The written fable is far superior to the film, though the film is well done and effective and gets the message across.

Made in the 1950s, Animal Farm (1954) still holds up well and a look at the dark side of humanity.

1970 Films, Alan Arkin, Comedy, Dark Comedy, Martin Sheen, Mike Nichols, Satire

Catch-22-1970

June 18, 2014 scottmet99 Leave a comment

Catch-22-1970

Director Mike Nichols

Starring Alan Arkin, Martin Sheen

Scott’s Review #41

Reviewed June 18, 2014

Grade: B

Catch-22 (1970) is a satirical film similar in subject matter to Robert Altman’s M*A*S*H, released the same year though admittedly I have not seen that film yet.

It does remind me of Dr. Strangelove, and Slaughterhouse-Five in their anti-war theme.

This film is well-made and certainly effectively portrays the outrageousness and lunacy of war.

Most of the characters are presented as crazy, albeit in a dark-humored, over-the-top way.

Alan Arkin is wonderful as the protagonist trying to find a way out of the island of Italy where he and his fellow pilots are stationed.

At times the film feels disjointed and tough to follow, which I understand the novel is too (I have not read the entire book), but the message of the movie comes across loud and clear.

1972 Films, Best International Film Oscar Winners, Dark Comedy, French, International, Luis Bunuel, Satire, Stéphane Audran

The Discreet Charm of the Bourgeoisie-1972

June 17, 2014 scottmet99 Leave a comment

The Discreet Charm of the Bourgeoisie-1972

Director Luis Bunuel

Starring Fernando Rey, Paul Frankeur

Scott’s Review #13

Reviewed June 17, 2014

Grade: A-

The Discreet Charm of the Bourgeoisie (1972) is a wonderful French satire by Director Luis Bunuel.

The movie is very strange- three well-to-do couples meander from dinner party to dinner party and, due to circumstances beyond their control (an incorrect date, a mysterious corpse, and a military raid) never end up sitting down and enjoying a meal together.

How the individuals are wealthy is a bit vague though there is mention of drug smuggling.

It’s unclear who is matched up with whom since frolicking amongst them is commonplace. Several of them experience odd fantasy/dream sequences throughout and oftentimes are seen walking aimlessly down the road.

The entire film is tongue-in-cheek and pokes fun at the wealthy class.

It’s offbeat but highly enjoyable.

Oscar Nominations: 1 win-Best Screenplay Based on Factual Material or Material Not Previously Produced or Published, Best Foreign Language Film (won)

Welcome to my blog! 1,450 + reviews posted! 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.