Tag Archives: Action

How to Train Your Dragon-2010

How to Train Your Dragon-2010

Director Dean DeBlois, Chris Chambers

Starring Gerard Butler, America Ferrera

Scott’s Review #537

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Reviewed December 5, 2016

Grade: B-

How to Train Your Dragon is a  decent, but less than spectacular, animated film from 2010.

Undoubtedly targeted toward youngsters, it contains G-rated elements and I may have enjoyed it more if I were nine years old.

The film is loosely based on the British book series of the same name.

A subsequent sequel has commenced in 2014.

From a story perspective, the film does tell a story with a nice message. Young Hiccup is a teenage Viking on the cusp of becoming a man. As a ritual, he is expected to kill a dragon to prove his worth as a warrior to his tribe.

When put to the test, Hiccup finds that instead of desiring to kill the dragon, he wants to befriend it. Of course, the traditional Vikings want no part of any unity between the tribe and dragons, who are long-time enemies.

Mixed in with the main story is the inevitable love story between Hiccup and Astrid, a tough Viking girl.

There are way too many endless aerial battles between the tamed and vicious dragons, that it begins to feel more like an effort to fill time rather than furthering the main plot in any way.

This film has a nice message of kindness and togetherness but is very predictable and does not take any risks. There is nothing wrong with it, and animated fans may look at it differently, but to me, How to Train Your Dragon (2010) is quite run-of-the-mill.

Oscar Nominations: Best Animated Feature Film, Best Original Score

Salt-2010

Salt-2010

Director Phillip Noyce

Starring Angelina Jolie

Scott’s Review #522

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Reviewed November 20, 2016

Grade: B+

Salt (2010) is a very good, fast-paced, political thriller starring Angelina Jolie as a woman accused of being a Russian sleeper agent, who must go on the run to clear her name, all the while being chased by officials attempting to accost her.

The film offers nothing that has not been seen countless times before in movies like this, but seeing Jolie in a role typically played by a male (the role was originally written for Tom Cruise), is cool and makes the film unique in itself.

She is great in the role.

There are some twists and surprises along the way that keep the viewer on edge- numerous action and car chase scenes abound and will keep the action flick viewer quite pleased.

It is quite fast-paced and very big budget.

On the downside, I couldn’t help but think are they making movies about the United States vs. Russia again?

They are, but I could not help but enjoy it for what it was.

Oscar Nominations: Best Sound Mixing

Machete-2010

Machete-2010

Director Ethan Maniquis, Robert Rodriguez

Starring Danny Trejo, Robert De Niro, Jessica Alba

Scott’s Review #501

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Reviewed October 28, 2016

Grade: B

Machete (2010) is a clear, fun homage to exploitation films of the 1970’s movies, directed by Robert Rodriguez (a protege of Quentin Tarantino) and quite heavily influenced by his mentor.

It very much resembles a Tarantino film with the comic, over-the-top elements, and the violence, but is somewhat less compelling in the story department, and lacks the crisp, rich storytelling.

It tells the story of a Mexican ex-Federale (named Machete) involved in a plot to kill a corrupt United States Senator (played by Robert De Niro).

He attempts to flee Mexico for Texas, is shot, and spends the remainder of the film vowing revenge on his assailants.

Machete contains many celebrity cameos and is fun to watch- in a light way. The film is not intended to be looked upon earnestly.

For the interested, you also get to see Lindsay Lohan topless.

The film is a fun, violent, popcorn flick, with a nice political message, but if interested in these types of movies, rent Grindhouse: Planet Terror (2007), which is a better experience.

A View to a Kill-1985

A View to a Kill-1985

Director John Glen

Starring Roger Moore, Christopher Walken, Grace Jones

Scott’s Review #484

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Reviewed September 21, 2016

Grade: A

Not exactly deemed a masterpiece, or even a treasured favorite, among the masses of James Bond lovers, A View to a Kill (1985) holds a soft spot for me.

It is one of the first Bond films that I was fortunate enough to see in the movie theater and it has continued to enamor me all these decades later.

Yes, it has flaws (to be mentioned later), but it is a classic, fun, exciting, mid-1980s Bond offering. It contains Roger Moore- in his final Bond appearance, the exotic Grace Jones, a great villain, and on-location treats such as Paris and Iceland- who could ask for anything more?

We are re-introduced to MI-6 agent James Bond on the snowy slopes of Siberia as he discovers the body of 003, along with a Soviet microchip believed to belong to the wealthy Max Zorin (Christopher Walken).

Bond attends a horse sale hosted by Zorin and discovers he is drugging the horses to make them perform better.

It is also revealed that he intends to destroy Silicon Valley to rule the microchip industry. In Zorin’s camp is a mysterious woman named May Day and an odd Nazi scientist named Dr. Carl Mortner.

Events conclude in San Francisco as the action-packed finale takes place in a mine and overlooking (via blimp) the historic Golden Gate Bridge.

I completely get the criticisms hurled at this film- both Roger Moore and, as a secondary character, Lois Maxwell as Miss Moneypenny, had gotten quite long in the tooth by this point in the franchise (1985), which is a shame because both are favorites of mine.

Most glaring in the “bad” department is Tanya Roberts as the main Bond girl, Stacy Sutten- almost rivaling Halle Berry (Die Another Day) as screamingly awful.

Not appearing as a major character until quite late in the film, Stacey is a wealthy heir, to who Zorin is attempting to pay five million dollars to relinquish her shares in Silicon Valley (she refuses).

Robert’s acting is quite poor- she has no chemistry with Moore, and comes across as a dimwit, despite being written as a doctor or scientist of some sort. Regardless, she does not work as a Bond girl.

Yes, the cartoon-like chase around San Francisco with the brooding police chief is unintentionally funny- another negative to the film.

But here are some strengths- Fantastic is Walken as the main villain role of Zorin. Psychotic, loony tunes, and such a pleasure to watch. With his bleached blonde hair and grimacing sneer, a particularly controversial, and favorite scene of mine is when Zorin, machine gun in hand, sprays bullets from left to right, undoubtedly killing dozens, as he gleefully laughs.

This was unprecedented in Bond films up to this point as most villains contained a safer personality- Zorin is positively monstrous and to be feared.

Also worth mentioning is Jones as May Day, simply mesmerizing in the role- although sadly her character is weakened toward the end did she believe Zorin was capable of love??

Countering the anemic chemistry between Bond and Roberts, the chemistry between Jones and Moore sizzles.

This is not the first time Bond has explored an interracial (white and black) romance- far from it. Live and Let Die- circa 1973 takes this honor. I would have enjoyed much more exploration on an emotional level between Bond and May Day instead of the animalistic physical attraction.

One may wonder with all the recognizable flaws with the film, why the A-rating? Because simply put this film is fun and contains all the elements a Bond film ought to. The action is plentiful- who can forget the nail-biting Eifel Tower chase or the Paris car chase- sans car roof?

Not high art, but a grand favorite of mine, A View to a Kill (1985) is entertainment personified. The pop title-theme song, performed by Duran Duran, which became a #1 hit in the summer of 1985, is a wonderful aspect of the film and immediately takes me back to a different time.

I suppose the film does as well and that is a great part of my fondness for it.

End of Watch-2012

End of Watch-2012

Director David Ayer

Starring Jake Gyllenhaal, Michael Pena

Scott’s Review #447

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Reviewed July 8, 2016

Grade: B+

End of Watch (2012) impressed me much more than I was expecting. What I expected was a safe, by-the-numbers, buddy/action movie, since it was rather promoted as such from the previews.

It was worlds better than that and threw me for a loop, in a good way.

The film stars Jake Gyllenhaal and Michael Pena as two detectives patrolling the streets of grizzled central Los Angeles, which are riddled with drug and gang violence.

The viewer is brought along for the ride as we see a day in the life if you will, of their cop beat.

The one knock I’ll give the film is the implausibility factor of a cop videotaping everything. This seems silly and unrealistic.  Wouldn’t he be incredibly distracted? That said, some of the filmings were amazing, including the opening sequence.

The film contains a realistic, grittiness to it, and the Los Angeles locale is very effective.

End of Watch (2012) feels painstakingly real, is not always happy, and the dynamic between Jake Gyllenhaal and Michael Pena is evident and their friendship feels real.

The movie feels like a day in the life of an LA cop, sparing no edgy detail, and does not gloss over the lifestyle as many cop films choose to do.

Independent Spirit Award Nominations: Best Supporting Male-Michael Pena, Best Cinematography

Dirty Harry-1971

Dirty Harry-1971

Director Don Siegel

Starring Clint Eastwood, Harry Guardino

Top 100 Films #86

Scott’s Review #443

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Reviewed July 4, 2016

Grade: A

Dirty Harry (1971) is a classic crime drama that became a signature role for Clint Eastwood as the title character, a character he has played four more times.

Dirty Harry set the tone for the plethora of crime thrillers and police action films that filled theaters throughout the 1970s and 1980s. This film still holds up very well and is a masterpiece of the cat and mouse/detective genre.

Quiet, and controlled, but filled with anger below the surface (we learn his wife was killed by a drunk driver), Harry Callahan is a tough cop in San Francisco who has seen it all. He is a red-blooded American good guy, though is brooding and has a mind of his own, oftentimes disagreeing with his superiors and their rules.

He epitomizes good versus evil.

A vicious killer named Scorpio (based on the real-life Zodiac killer) is on the loose, having killed two people already. His motives are unclear, but that is rather unimportant. What is important is that he threatens to kill one person per day unless his demands of $100,000 are met.

Harry is immediately assigned to the case despite his reputation for being difficult and violent. This leads to a cat-and-mouse game between Harry and Scorpio in Harry’s pursuit of the criminal.

Scorpio is played by Andy Robinson, who is a fantastic villain- perhaps one of the most frightening in film history. His dirty blonde locks, yet angelic face, combined with maniacal facial expressions make his portrayal quite frightening.

He is a sniper so he is continually perched on rooftops seeking his next victim. As he watches a couple eating ice cream in the park or a woman swimming in a rooftop pool, we feel a sense of voyeurism and dread.

His disturbing sense of humor and sadistic personality make him quite scary.

The film succeeds in large part because of its grit and violence.  And it is a very masculine film. Harry is a take-no-prisoners kind of guy and he is hell-bent on stopping Scorpio from killing- no matter what.

In a very effective scene, Harry chases Scorpio to a vast football field and uses torture to elicit a confession from Scorpio. It is a bloody and intense scene, but quite necessary to who Harry is.

Of course, this tactic backfires as Scorpio is released from the hospital and set free. This leads to a further feud between the two men.

A bonus of Dirty Harry, and one aspect that gives so much authenticity, is the on-location setting of San Francisco. From the Golden Gate bridge to the illustrious mountains outside of the city and the Pacific Ocean, these elements give a dash of realism to an already gritty film. Chinatown and Dolores Park are also featured.

Highlighting all of this is a sequence where Scorpio forces Harry to go from locale to locale on foot in part of a wicked game to save a victim.

Harry’s famous lines as he points his gun at the perpetrators and mocks them by asking them if five or six bullets in his gun are now legendary as is his “Do I feel lucky? Well, do you, punk?”

On the surface a bit silly and gimmicky, these catchphrases somehow still work.

The school bus finale as Harry and Scorpio once again square off is great. As Scorpio hijacks a bus filled with grammar school students, he tricks the students, unaware of his intentions, by engaging them in children’s song sing-alongs as the harried bus driver drives out of the city.

When one child catches wind of the situation, Scorpio turns nasty, scaring the children into a frenzy.

Dirty Harry (1971) is a classic cop film that I never tire of watching. For the genre, it is as good as it gets and holds up well. After all of these years, it is tough to disassociate Clint Eastwood from the role of “Dirty Harry”.

The Getaway-1972

The Getaway-1972

Director Sam Peckinpah

Starring Steve McQueen, Ali MacGraw

Scott’s Review #439

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Reviewed July 3, 2016

Grade: A-

The Getaway (1972) is a classic action film by director Sam Peckinpah- known for works such as Straw Dogs and The Wild Bunch.

His films are known as “guy films” and a rather violent experience.  The Getaway is no exception, though it is not immensely brutal either. Still, there are more than one macabre scene and one dastardly villain.

For fans of Peckinpah, The Getaway is a must-see.

The film features Steve McQueen and Ali MacGraw perfectly cast as lovers Doc and Carol McCoy. Inescapable is their chemistry, and art mirrored life as the two were embroiled in a torrid love affair during shooting and later were married.

We meet Doc in a Texas prison, where his parole has just been denied. Doc and Carol decide to make a deal with a corrupt businessman, Jack Benyon, to ensure Doc is released. One stipulation is for Doc to participate in a bank heist with two of Jack’s men (Rudy and Frank).

The heist goes off, but things go awry and Doc and Carol head for El Paso with a large sum of money, being pursued by Rudy, and a double-cross attempt by Jack.

Rudy kidnaps veterinarian Harold and his young wife Fran (Sally Struthers) to aid him with his injuries, taking them along as he pursues Doc and Carol.

Mixed in with the already complicated plot is a con-man, who attempts to steal Doc and Carol’s money.

Doc and Carol are clearly the heroes of the film and are meant to be rooted for and the characters work very well together. Yes, they are criminals themselves, but they are portrayed as nice and not hurting anyone who does not deserve it. Doc does spare Rudy’s life at one point, and I think this only reinforces his appealing anti-hero character.

The love story is also a great aspect of the film making Doc and Carol likable. A few sweet, tender scenes of their romance are mixed in, adding a nice balance to the otherwise testosterone-fueled events.

The Getaway contains spectacular editing as, particularly at the beginning of the film, we watch Doc in prison, going through his day-to-day rituals, mixed in brilliantly with other stories in the film.

The musical score matches perfectly with the editing as it adds a provocative element of intrigue. These components add the necessary elements to a film like this- edge of your seat!

I love the Texas setting.

Characters are constantly traveling to get somewhere- either by train, by car, or on foot- so we see much of the Texas countryside, almost giving The Getaway a Western flavor.

It is certainly a hot and humid environment, though McQueen always has a sophisticated suit on and MacGraw looks stylish and put together.

And from a prop perspective, I never tire of seeing those early 1970s sedans driving at high speeds.

Unfortunately, as with most Peckinpah films, women are not portrayed in a positive light, though Carol is one of the strongest of his female film characters. Yet, in one tough scene, she is smacked around by Doc after he realizes she slept with Jack to ensure his release from prison.

The most confusing and weak character is Fran. In a strange bit of writing, she inexplicably falls madly in love with her kidnapper, Rudy, even as he abuses and humiliates her- while her husband is around. This is odd and tough to watch and not the best part of The Getaway.

Her character is not developed well and it is head-shaking why she feels any passion for Rudy.

The heart of the film belongs to Doc and Carol as they are on the lam for much of the time and this is a successful part of The Getaway- hence the title. Will they get caught, will they escape?

The characters remind me of Bonnie and Clyde, so we wonder if Doc and Carol will meet the same fate, but of course, we like them so we do not want that.

The Getaway is a fast-paced, down-home, red-blooded sort of action film. It is stylized, gritty, and sometimes violent. The chicken wing scene between Rudy, Fran, and Harold starts light and turns ugly, adding to the unpredictable nature of the film.

A supreme offering by Peckinpah.

The Dark Knight Rises-2012

The Dark Knight Rises-2012

Director Christopher Nolan

Starring Christian Bale, Tom Hardy

Scott’s Review #431

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Reviewed June 23, 2016

Grade: C+

The Dark Knight Rises (2012) is a sequel to the exceptional The Dark Knight from 2008 and, unfortunately,  is a complete letdown, especially compared to that film.

Perhaps my expectations were too lofty- it is a sequel after all, and sequels, typically disappoint.

To be fair, the film looks great and has a fast-paced, modern feel- slick and action-packed. A summer popcorn film.

The story, though, is uninteresting- the villains are not compelling, which is a major miss in a film like this where the villains are crucial.

Tom Hardy as Bane is miscast. Anne Hathaway’s Catwoman is underdeveloped and one-dimensional. We never really know much about what makes these characters tick.

I did enjoy the twist at the end involving Marion Cotillard, which impressed me and I did not see coming throughout the story.

I might have rated The Dark Knight Rises even lower than a C+ had it not been for the group of top-notch actors appearing in the film.

Having loved the most recent Batman film, I expected more and received less.

Spectre-2015

Spectre-2015

Director-Sam Mendes

Starring-Daniel Craig, Christoph Waltz

Scott’s Review #401

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Reviewed May 5, 2016

Grade: B+

A modern treat for James Bond fans, Spectre is a slick, very expensive production sure to please die-hard aficionados of the storied franchise.

It contains a rich history and nods to recent installments, wrapping the story-arc up, a fantastic villain, and fast-paced, compelling story-telling.

What it does lack is an interesting lead Bond girl, a quality that detracts from the film, and what is a must for the cherished franchise.

This is the only major flaw in an otherwise fantastic film.  In typical Bond fashion, his adventures take him to London, Rome, Mexico City, Austria, and Morocco.

Speeding along in what is now the twenty-fourth Bond film, and still feeling fresh and relevant, Spectre commences where its predecessor, Skyfall, left off- mainly hot on the heels of M’s (Judi Dench’s) shocking death. How wonderful to see her again, albeit in a videotaped message- that turns out to be crucial to the central plot.

The new M is a male character again and portrayed by Ralph Fiennes. In the film’s sub-plot, a new character, C, comes into play as the head of the Joint Intelligence Service, who deems the 00 section outdated.

The focal point of the story is Bond’s avenging of the former M’s death by taking down Spectre, an organization not seen in a Bond film since 1971’s Diamonds Are Forever, but once again a strong presence.

The opening sequence in Mexico City kicks off the energy of the film.

Fast-paced, and with an awesome helicopter chase/fight sequence, it is a long sequence that thrills. We watch, engaged, as the helicopter swirls and tumbles mid-air, while hundreds of spectators in a large outdoor square flee for safety.

The film then forays into the inevitable Bond song- “Writing’s On The Wall”, this time wrote and performed by Sam Smith.  This particular song has received mixed reviews, but I am fond of it.

This leaves the audience geared up for a wild adventure to come.

The return of the crime organization, Spectre, to the story, brings a rich history and is the strongest, most interesting part of the film. We have a rooting value since it is familiarity.

Even more pleasing is the return of Bond’s arch-enemy Ernst Stavro Blofeld, known more forcefully as “Number 1”, which has been played by such legendary actors as Donald Pleasance, Telly Savalas, and Max Von Sydow.

In Spectre, Christoph Waltz takes over the role and this is a major win. Waltz, a tremendous actor, plays Blofeld in a sly, wicked manner- taunting, yet with some comedic elements mixed in.

In a compelling scene (and the first one containing Waltz), James Bond appears, hidden, at a Spectre summit.  He recoils as he recognized the shadowed Blofeld, realizing the detrimental repercussions this will mean.

I only hope that in subsequent Bond films, Waltz will return.

Let’s discuss the Bond girls in the film- Ironically, the small role featuring the oldest Bond girl in franchise history (aged fifty and played by the gorgeous Monica Bellucci) is more compelling than the lead Bond girl, Dr. Madeleine Swann, played by Lea Seydoux.

As Lucia Sciarra, widow of the Italian crime lord, Sciarra, there is more chemistry between Daniel Craig and Bellucci than Craig and Seydoux.

I would have much rather seen Sciarra as the primary focus, but she is shamefully underused, appearing in two scenes only. Seydoux seems to lack energy and I noticed zero chemistry between her and Craig.

I am not sold on the new Moneypenny either- Bond’s labored sidekick and always suggested one-sided love interest, in earlier films it used to be a fun dynamic. She was a secretary, older, and their flirtation was charming, light, and fun- she was almost a mother figure to him.

Now, there is no flirtation or romantic hints at all as the character has been modernized to fit the twenty-first century.

Despite this character’s misses, the film is exceptionally well-made with tons of action. Sometimes Bond films hold up well, other times they do not.

Time will tell what fate holds for Spectre, but my hunch is that it will age well.

Oscar Nominations: Best Song-“Writing’s on the Wall” (won)

Thunderball-1965

Thunderball-1965

Director Terence Young

Starring Sean Connery, Claudine Auger

Scott’s Review #364

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Reviewed January 9, 2016

Grade: A

By 1965, the James Bond franchise was embarking on its fourth in the series, and the budget certainly reflected the success of the preceding films.

Thunderball has the luxury of reaping the benefits of an enormous budget and as a result is a grand, epic film. The sheer lavish nature of the film makes it one of my favorite Bond films simply for the look of it.

The special effects are a marvel.

By this time Sean Connery had comfortably immersed himself into the role of Bond with his charms and his ability to exude charisma into the role.

In this story, two NATO atomic bombs have been stolen by SPECTRE and hold the world to ransom for millions in diamonds. They are threatening to detonate one of the bombs in a major city in either the United States or England. Mr. Bond must race against time to deter this from happening.

For starters, the opening sequence is one of my favorites. Bond attends the funeral of a deceased SPECTRE agent (number 6) at a lavish chateau in France. The agent is disguised as his own widow, but Bond is not fooled.

This sets the tone of the film as a dramatic fight scene ensues between the two “men”.

The main villain of Thunderball is Emilio Largo (Adolfo Celi), a handsome, suave, SPECTRE agent (number 2). He is rich and sophisticated which mirrors the whole of the film. His grand estate is set and filmed in the Bahamas giving most of the film a steamy, posh, look, with bluish-green waters, and white crispy sand the most gorgeous of backdrops.

Largo is a great Bond villain and on par with Bond. He also has charm, good looks, and charisma.

The main Bond girl is Domino, played by Claudine Auger, and she is Largo’s mistress. She is typically clad in black and/or white, hence her name. Auger has the perfect balance of beautiful looks, sophistication, and intelligence, and is a perfect match for Bond. The chemistry between Connery and Auger is apparent and a major part of the success of the film.

What sets Thunderball apart from some other Bond films is the major portion of the film, mostly in the second half, taking place underwater.

In a clear example of showing off the modern technology of the time (1965), some complained that these sequences went on too long and did not further the plot.

These points may contain some validity, but oh are they so gorgeous to look at? The exotic underwater world is majestic.

Thunderball really has it all and is one of the most gorgeous of films. The film is big, bombastic, and filled with bright colors.

It contains all of the elements of a great Bond film and why it holds up incredibly well all these years later.

Oscar Nominations: 1 win-Best Special Visual Effects (won)

The Man with the Golden Gun-1974

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

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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.

Escape from New York-1981

Escape from New York-1981

Director John Carpenter

Starring Kurt Russell, Adrienne Barbeau

Top 100 Films #76

Scott’s Review #344

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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.

Goldfinger-1964

Goldfinger-1964

Director Guy Hamilton

Starring Sean Connery, Gert Frobe

Top 100 Films #72

Scott’s Review #337

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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)

Magnum Force-1973

Magnum Force-1973

Director Ted Post

Starring Clint Eastwood, Hal Holbrook

Top 100 Films #87

Scott’s Review #336

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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.

Diamonds Are Forever-1971

Diamonds Are Forever-1971

Director Guy Hamilton

Starring Sean Connery, Jill St. John

Top 100 Films #57

Scott’s Review #328

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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

Kill Bill: Volume 1 and Volume 2-2003/2004

Kill Bill: Volume 1 and Volume 2- 2003/2004

Director Quentin Tarantino

Starring Uma Thurman, David Carradine

Top 100 Films #58

Scott’s Review #322

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Reviewed January 3, 2016

Grade: A

Despite being released as separate films (Fall of 2003 and Spring of 2004), Kill Bill: Volume 1 and Kill Bill: Volume 2 are one grand, sprawling feature.

The films were shot as one, but at a running time of over four hours, it was impossible to release them as one, so director Quentin Tarantino decided to release his masterpiece martial arts film as two sequential films.

I have decided to review them as one since Volume 2 is a clear continuation of Volume 1.

From a story perspective, Kill Bill is a basic revenge thriller. The plot is not complex nor ingenious and is rather ordinary containing B-movie components- think the really bad Kung-Fu films of long ago.

What makes Kill Bill an extraordinary masterpiece, however, is the style that exudes from the film, thanks to the direction and creation of Tarantino.

The film is brimming with good flavor and crackling dialogue of an intelligent sort.

Characters have long conversations with each other-not for redundancy’s sake- in between the endless martial arts and bloody sequences.

We meet our heroine, The Bride (Uma Thurman), in a chapel in El Paso, Texas. About to be married to her groom, the entire wedding party is suddenly assassinated in a bloody fashion by the Deadly Viper Assassination Squad.

Their leader, Bill (David Carradine), shoots The Bride after she reveals to him that she is carrying his baby.

The film flashes forward four years later- The Bride has survived the massacre but has been comatose ever since. When a hospital worker rapes her, she escapes and vows revenge on each one of her attackers- the revenge culminating with Bill.

Her path of destruction leads her to Japan.

Like most of Tarantino’s films, Kill Bill is divided into chapters and often goes back and forth from past to present.

The brilliance of Kill Bill is its pizazz. We know The Bride will get her revenge on the assassins, we just do not know in what way or how bloody the slaughters will be.

The film contains copious amounts of blood and swords and machetes are everywhere to be found.

The slow drawl dialogue as The Bride has conversations with her prey before she kills them, oftentimes ends in a big fight scene. Her first revenge, against Vernita (Vivica A. Fox), is unique in that it takes place in Vernita’s kitchen as her young daughter is happily eating her breakfast cereal.

The entire battle ensues in the kitchen and we are left watching blood and cereal.

It is Tarantino’s unique style of filmmaking and storytelling, adding violence, and long character conversations, that give Kill Bill, and all of his other classic films, his unique brand, and stamp of approval.

I dearly hope he continues to make films that challenge the norm, for years to come.

Mad Max: Fury Road-2015

Mad Max: Fury Road-2015

Director-George Miller

Starring Tom Hardy, Charlize Theron

Scott’s Review #287

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Reviewed November 20, 2015

Grade: C-

Having almost nothing to do with the original (and far superior) 1979 version of Mad Max, the 2015 Mad Max, sub-titled Fury Road (presumably for the endless car chases across the desert), looks great from a visual perspective, and the charisma of Tom Hardy and Charlize Theron is appealing, but the story is non-existent and the film grows tedious after the initial admiration I first felt for the camera-work and the dream-like vision the film possesses.

Initially, and admittedly, I was quite impressed with the film- a dreamlike, glossy- look makes it a fantasy that one can escape into, for sure.

However, after some time, I began growing tired of the visuals, rather viewing it as a somewhat video game, and instead of noticing the lack of story, which glared.

Sure, the thinly laid plot-line involved a rebel, Max Rockatansky (Tom Hardy), escaping the War Boys, where he has been kept as a blood donor against his will, joined by Furiosa (Charlize Theron) and a group of young, beautiful females escaping a life of breeding.

The group joins forces to allude to Immortan Joe, who chases them throughout the barren desert as they strive to reach safety in the beautiful “Green Place”, a land of prosperity that Furiosa remembers from childhood.

But this synopsis is similar to countless other action or adventure tales that have come and gone without distinction.

Again, to compare to the original, I was expecting more from Mad Max: Fury Road, and I did not receive it.

The story, for what it’s worth, fails because there is no rooting value. Since the film is a fantasy, per se, I did not find much investment in the characters getting to the “Green Place”.The sweltering heat of the post-apocalyptic desert gives the film a roasting, tense look, and the action is almost non-stop.

Cartoon-like characters come and go, writhing on tops of cars or simply looking sinister with sneers and evil smirks, adding little to the story. Who are they? What is their purpose other than to look menacing?

I did take admiration in the character of Furiosa. With a buzz-cut and a bad-ass swagger, the character is no-nonsense and in control throughout the film.

Certainly an inspirational female character, she adds zest to the film, which, on the surface, seems male-dominated. A female that can inspire and impress in this day and age of film is reasoning enough for mention.

Inexplicably, the reviews for Mad Max: Fury Road, were positive and I just do not get that. My overall perspective disagrees with these findings. I do not mean to imply that the film is “run of the mill” in an overall critique. It’s not.

There are fits and starts of creativity, as the glossy look of the film is admittedly a treat and a spectacle, but, alas, without a compelling story this only goes so far before it begins to wear thin as an overall production.

Little chemistry or, frankly, much dialogue is found between Hardy and Theron- two top-notch talents in their own right. Rather, grunts and facial expressions run rampant between the pair. If the film was going for any kind of sexual connection between the two, especially given the hot, steamy desert atmosphere, this intention fell flat as I noticed none.

To admire visually, the latest Mad Max may be worth a glimmer, but as a film that contains the entire package, this one is not worth it’s salt.

Oscar Nominations: Best Picture, Best Director-George Miller, Best Sound Editing (won), Best Sound Mixing (won), Best Production Design (won), Best Cinematography, Best Makeup and Hairstyling (won), Best Costume Design (won), Best Film Editing (won), Best Visual Effects

Point Blank-1967

Point Blank-1967

Director John Boorman

Starring Lee Marvin, Angie Dickinson

Scott’s Review #263

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Reviewed August 8, 2015

Grade: B+

Directed by John Boorman, (later made famous for the masterpiece Deliverance in 1972), and based on the novel The Hunter, by Donald E. Westlake, Point Blank (1967) is a tense crime drama starring Lee Marvin as a man seeking revenge on those who have wronged him.

A criminal himself, and involved in the mob world of deals and drugs, he is double-crossed by his partner, who takes off with his wife.

A rather obscure film, Point Blank features obvious influences of the classics it preceded (The Getaway, Chinatown, The French Connection, and Dirty Harry immediately spring to mind) and contains some dynamic camera work and art direction.

In its day it must have been quite a groundbreaking film.

The film begins in a muddled, confusing way and catches the viewer off guard. We know nothing about any of the characters, who are suddenly introduced via flashbacks, interlaced with present and future scenes so that immediately chaos and tension fill the story.

We know that someone has stabbed someone in the back, but we do not know why or who the players are.

The film is set partially at the deserted Alcatraz island (the meeting point for a money drop we later learn) and then moves to Los Angeles. Early on we realize that Marvin’s character (Walker) has been tricked, shot, and left for dead by his partner Mal (John Vernon), who takes off with Walker’s share of cash…and his troubled wife Lynne.

Hell-bent on seeking revenge (and his money) on Mal and his wife (Lynne), he attempts to track the duo down using any means necessary, leading to the introduction of pivotal and mysterious characters such as Lynne’s sister Chris (played by Angie Dickinson), and Crime Organization leaders Carter and Brewster (played by Lloyd Bochner and Carroll O’Connor, respectively).

With little blood or covert violence, the film instead uses tense action scenes, a great style, and is told in a non-linear way.

One favorite scene involves Walker taking a new car for a test drive as a way of interrogating the salesman for information. As he terrorizes the salesman he repeatedly slams the car into a pole using the car’s reverse and drive gears, increasing in intensity with each attempt by the salesman to avoid answering Walker’s questions.

Two other scenes that stand out and deserve mention are as follows- when a naked villain is nonchalantly tossed from a penthouse apartment to his death on the street and subsequently becomes wedged under a passing car the scene is as startling as is well shot, especially considering the year was 1967.

In another scene, Lynne is at the beauty salon having her makeup and hair done by a stylist. Her face is captured in the mirror and the camera allows the viewer to see a dozen or so images of the mirror layered on top of one another.

This looks great, and inventive, and is a good example of some superlative camera shots that occur throughout the film.

A few interesting tidbits that I pondered following the film. Was the elevator scene containing Angie Dickinson (almost meaningless to Point Blank) the inspiration for the famous elevator scene from the 1980s Dressed to Kill?

Only Dressed to Kill’s director, Brian De Palma, would know the answer to that question.

How interesting to see Carroll O’Connor (later universally famous for portraying TV’s “Archie Bunker”) as a crime lord. Even though Point Blank was made before All in the Family premiered, it was tough to find him believable in this role.

Finally, I loved the scenes set high atop Los Angeles, in a gorgeous high-rise apartment- the sophisticated living room furniture arrangement and colors are great visual treats.

Taut, intense, and interesting, though admittedly a plot not always made crystal clear nor easy to follow, the film came along at a time in the film when edgier, more experimental films were beginning to be released, which makes Point Blank a groundbreaking and influential film that undoubtedly helped bring about other crime dramas to follow.

Bring Me the Head of Alfredo Garcia-1974

Bring Me the Head of Alfredo Garcia-1974

Director Sam Peckinpah

Starring Warren Oates

Scott’s Review #222

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Reviewed February 20, 2015

Grade: B+

Bring Me the Head of Alfredo Garcia is a Mexican, cult-action film from 1974, directed by Sam Peckinpah, that influenced famed modern movie director Quentin Tarantino in multiple ways.

The film itself is violent, bloody, and traditionally Peckinpah in tone and look, similar to his other films (Straw Dogs from 1971 and The Wild Bunch from 1967).

The premise of the film is intriguing- a powerful man known simply as “The Boss”, turns furious and places a bounty on the head of the man who impregnated his daughter, whom he, by the way, tortures to garner this information out of.

He offers the enormous sum of 1 million dollars to the person who can “bring him the head of Alfredo Garcia”.

From this point, the action centers mostly on Bennie, a retired military officer who is intrigued by the bounty up for grabs.

Bennie, along with his prostitute girlfriend, Elita, traverses the lands of Mexico in search of Alfredo Garcia, whether he already be dead or still alive, which is a mysterious and fun element of the film.

I have a tough time taking the film too seriously as much as I enjoyed it- it seems an action farce and, without giving too much away, the scenes involving the carrying of a severed head, arguably the lead character, are as much comical as ghastly.

The illustrious lighting is a major focal point, especially during the outdoor scenes and specifically the nighttime desert scenes when Elita is almost raped by two bikers. The moonlight radiates onscreen.

The character of Elita is a fascinating one for me. On the one hand, she is an aging prostitute madly in love with Bennie and intrigued by a life with him living off their spoils. However, she almost enjoys the sexual experience with one of the bikers, played wonderfully by Kris Kristofferson, despite being roughed up by him.

The scene, while certainly violent, is in a way, almost tender as the biker and Elita realize their attraction for one another. It’s a surreal scene and has almost a sense of clarity for both characters. Are they in lust?

Peckinpah women are traditionally not treated well, but Elita borders on the exception.

The Tarantino influence is undeniable- the mixture of humor amid violence- a severed head being treated as a comical prop, is immeasurable in its comparison to later Tarantino films such as the Kill Bill chapters.

Daring and pure genius, the film contains a dark tone but does not take itself too seriously by going for any sort of melodrama or being overwrought.

It is only a film and has fun with that fact. It tries to be nothing more and embraces being bizarre.

Tarantino films are like Peckinpah films just made 20-30 years apart.

Bring Me the Head of Alfredo Garcia has evolved into a cult classic after having flopped commercially and critically in 1974.

How wonderful when a gem is rediscovered and laden with influence, in this case as much stylistically as otherwise.

Gloria-1980

Gloria-1980

Director John Cassavetes

Starring Gena Rowlands

Top 100 Films #23

Scott’s Review #166

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Reviewed September 9, 2014

Grade: A

Gloria (1980) is an action/thriller film that features the standard action-crime thriller elements, the shoot ‘em up, guns blazing, clichéd fare but contains an interesting, appealing leading character, a gritty atmosphere, and smart dialogue.

It is a much better film than most indistinguishable films of the action genre.

Directed and written by independent film master, John Cassavetes, who wanted to make a more conventional, mainstream film than was typical for him- think the very left of center, brilliant A Woman Under the Influence, also starring Gena Rowlands, and Gloria was the perfect film for him to create with Rowlands as the focal point.

Made in 1980, Gloria perfectly portrays New York City at the time.

New York City was gritty, dirty, rough, crime-infested, violent, and chaotic and the film travels throughout Manhattan, the Bronx, and New Jersey very often, with many scenes shot directly on the streets of New York.

Several other scenes are set in dingy apartments, hotels, sleazy bars, and dumpy streets and are highly effective in portraying a gloomy atmosphere. The cinematography is perfect in the film.

The heart of the film lies with Rowlands (Director Cassavetes’s wife) who gives a mesmerizing performance as a former mob girlfriend who, by circumstance, must protect a young Hispanic boy from execution by the mob because of an informant book he clings to for dear life.

No other actress could have played this role of a tough-talking, brash New Yorker, as well as Rowlands, plays her. The boy’s father, played by Buck Henry, is a scared accountant with ties to a company fronted by the mob.

He fears his entire family will be murdered and hands his kid over to Gloria. Julie Carmen gives a brief but effective performance as Phil’s frazzled mother.

I wish Henry and Carmen had been given more screen time and fleshed-out characters because both had huge potential. The film belongs to Rowlands- she is no-nonsense, tough, and so convincing in the part.

I also enjoyed the casting of John Adames as the kid, Phil. His performance was inexplicably panned by many critics and I’m not sure why.

I also love the unique opening credits as intense folk/jazz music plays over watercolor portraits that turn into the skyline of New York City and the music has a melancholy and eeriness to it.

Amid the violence, there is a sweet bond that develops between Gloria and Phil that is not too sentimental or cheesy.

A great, compelling, late 1970s/early 1980s film that has some definite Godfather and Dirty Harry influence in texture and characters, especially with some of the mobster characters.

The appeal of the film is that it has a heart but never delves into schlock. Surprisingly rated only PG, it is gritty, but not lewd or harsh and seems dirtier than it is with barely any filthy language.

The chemistry and heartfelt connection between Gloria and Phil are darling without being too sappy or safe. Gloria is a fast-paced, action gem that is both appealing and tough.

Oscar Nominations: Best Actress-Gena Rowlands

Rush-2013

Rush-2013

Director-Ron Howard

Starring-Chris Hemsworth, Daniel Bruhl

Scott’s Review #162

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Reviewed August 31, 2014 

Grade: B+

Rush, a film directed by Ron Howard, delves into the world of auto racing with the true story of the 1970’s rivalry between racing superstars of the day James Hunt and Niki Lauda.

The film mainly focuses on the period from 1970-1976 and the series of races and championships involving the two with some of their life trials and tribulations thrown in. At first bitter enemies, respect, and friendship slowly build over the years.

Chris Hemsworth and Daniel Bruhl both give excellent performances as Hunt and Lauda, respectively.

Ron Howard, a very mainstream, Hollywood-style director carves a nice film that is not edgy or particularly risk taking, but is a solid biopic that works and will hold the viewer’s interest.

The film is not gritty and has a definite safe feel to it, but that is unsurprising since Ron Howard directed it and is a characteristic of his films.

Reportedly, the feud between Hunt and Lauda is slightly embellished from the low-key real-life feud and some events are created for effect- Hunt never beat up a reporter in Lauda’s defense.

The racing sequences are compelling and are not overdone or take away from the human aspect of the film. I loved seeing the real-life Hunt and Lauda at the end of the film as is quite common these days when telling a true-life story.

Bruhl, an unknown to me, received a deserving Golden Globe nomination for Best Supporting Actor.

Rush is not a movie to go down in history nor will it leave one thinking about or asking questions days from viewing it, but a slick, competent, entertaining story with impressive acting by the two leads.

On Her Majesty’s Secret Service-1969

On Her Majesty’s Secret Service-1969

Director Peter Hunt

Starring George Lazenby, Diana Rigg 

Top 100 Films #25

Scott’s Review #156

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Reviewed August 19, 2014

Grade: A

On Her Majesty’s Secret Service (1969) is often shamefully derided by fans of the James Bond franchise, which is sad since artistically and story-wise it is top of the heap and is my personal favorite from the series.

Bond, now played by George Lazenby, is on the hunt for arch-nemesis Blofeld, played by Telly Savalas. Blofeld is intent on securing amnesty for his past deeds and is threatening to ruin the world’s food supply if his demands are not met.

Often known among Bond historians as “the one with George Lazenby”, who, if not for Sean Connery returning to the series in the next film, could have lasted much longer in the role, is a breath of fresh air and wonderfully cast.

Lazenby brings his form of charisma, great looks, and charm to the role and Sean Connery is a tough act to follow, but Lazenby succeeds in spades.

Diana Rigg is one of the best Bond girls of all time as she is intelligent, sophisticated, confident, and beautiful, a great counterpart to Bond- she is more his equal, rather than simply just a conquest for him, and the two actors have real chemistry.

Telly Savalas is effective as the Blofeld, though not my all-time favorite Bond villain by any stretch- something is missing in his performance.

In typical Bond fashion, the film begins in sunny Portugal, side steps to London, and finishes in cold Switzerland. I love the icy, snowy Switzerland locales in the film and the ski chase, downhill bobsled chase, car chase on ice, and subsequent blizzard, which are brilliantly atmospheric.- a perfect film to view on a cold winter’s night!

I love the inside quips in this one especially when Lazenby says “I bet this never happened to the other fellow” and “He had lots of guts” both are laugh-out-loud clever.

The shocking and tragic ending is uncharacteristic of a Bond film and a brilliant change from many of the films as Bond is humanized.

On Her Majesty’s Secret Service (1969) is more character-driven than the other films in the franchise while still providing lots of adventure, and should be revered as a more layered Bond offering.

Skyfall-2012

Skyfall-2012

Director Sam Mendes

Starring Daniel Craig, Javier Bardem, Judi Dench

Scott’s Review #136

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Reviewed July 26, 2014

Grade: B+

Skyfall is the latest (and twenty-third) installment in the decades-long running James Bond franchise (1962’s Dr. No was the first one) and this one receives major kudos from me.

When one looks back upon all of the Bond films, they have had to adjust to keep up with the times and Skyfall does this very successfully.

In addition, Skyfall brings a good, old-fashioned, compelling story to the table.

An attack on MI6 is initiated by a former agent, Raoul Silva, beautifully portrayed by Javier Bardem, who has a personal vendetta against M, played by Judi Dench.

Bardem gives a complex, powerful representation of the villain and is not overly cartoonish.

He appears crazy!

James Bond, of course, must come to the rescue and save the day.

The story finally gives M. a chance to shine as the main plot revolves around her. The relationship between M. and Raoul is interesting and layered with history, which makes for a compelling story.

Standard with Bond films, exotic locales are used. This time we get Shanghai, London, Scotland, and Macau.

James Bond’s past is also explored- He grew up in Scotland. The Bond family estate is a major backdrop for the action.

The reintroduction of two famous Bond characters- Moneypenny and Q is like a breath of fresh air added to the franchise, although I was not crazy about the casting choice of Q.

Also, one minor flaw with this film is there is no clear “Bond girl” to root for.

Skyfall (2012) provides a successful return to its Bond roots and will hopefully allow the Bond franchise to continue for many films to come.

Oscar Nominations: 2 wins-Best Original Score, Best Original Song-“Skyfall” (won), Best Sound Editing (won), Best Sound Mixing, Best Cinematography

The Amazing Spider-Man 2-2014

The Amazing Spider-Man 2-2014

Director-Marc Webb

Starring-Andrew Garfield, Emma Stone

Scott’s Review #2

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Reviewed June 16, 2014

Grade: B+

Super-hero movies are not my top genre (although admittedly, I end up seeing most of them). They are fun, popcorn-type films not to be over-analyzed or taken too seriously.

One thing that confuses me is the seemingly constant reboots of the franchises and forgetting the previous installments. Wasn’t this series just made with Tobey Maguire and Kirsten Dunst not too long ago?

That being said, the strongest part of this film is the chemistry between Andrew Garfield and Emma Stone, which is undeniable and great to watch.

Sally Field adds life to anything she appears in. The more “human” parts of the film are the best.

The special effects/CGI are admirable. I enjoyed how one “villain” is a close friend of Peter Parker’s, wonderfully played by Dane DeHaan. His character has many nuances.

The other villain, Electro, played by Jamie Foxx, is silly and his story almost seems botched. His motivations are weak. He hates Spider-Man and wants to destroy the city because of a contrived misunderstanding??

I do not want to over-analyze, as this is a fun, enjoyable summer film.

Enjoy.