Tag Archives: Dark Comedy

2019 Films, Adam Brody, Andie MacDowell, Comedy, Dark Comedy, Henry Czerny, Horror, Horror-Comedy, Mark O'Brien, Matt Bettinelli-Olpin, Samara Weaving, Tyler Gillett

Ready or Not-2019

July 16, 2020 scottmet99 Leave a comment

Ready or Not-2019

Director Tyler Gillett, Matt Bettinelli-Olpin

Starring Samara Weaving, Adam Brody

Scott’s Review #1,040

Reviewed July 16, 2020

Grade: B+

A hybrid of dark comedy, horror, and whodunit, Ready or Not (2019) is a splatter of a good time.

Witty and macabre, the film is patterned after Knives Out (2019), Clue (1985), and the television series Riverdale, with a dash of Kill Bill Volume 1 and 2 (2003-2004) peppered in for good measure.

The results are fantastic, gory, and fun, and the pacing is on point. The best aspect is the unpredictability factor, as the conclusion cannot be drawn, and the audience willingly plunges along for a thrilling ride, eager to see what happens next.

The film begins with a mysterious flashback.

A young boy living in a vast mansion is confronted by an injured man begging for help. The boy cries out for his family, who shoots the man dead.

Decades later, happier events transpire as Alex (Mark O’Brien) and Grace (Samara Weaving) enjoy a lavish wedding at the Le Domas family estate.

Alex’s family is extremely wealthy, and he asks Grace if she is certain she wants to join the family. Why wouldn’t she welcome a life of pampering and all the money she can imagine? She readily tells Alex that, yes, she is sure she wants to marry him.

After the wedding, Alex and Grace are summoned by the family to partake in a game, a family tradition. Grace will choose a card, and everyone will play that game.

When Grace chooses the Hide-and-Seek card, the reactions are morose. When she gleefully trots off at midnight to hide, she assumes it is an innocent game.

She quickly realizes that the family is determined to kill her as part of an ancient legend involving a deal to keep the family money secure. Grace spends the night being pursued by members of the family while the household staff is accidentally killed off.

Being a horror film, the rosy start to the movie (the wedding) is delicious and short-lived, as any fan of the horror genre knows that dreary events are soon in store. The fun is waiting for the other shoe to drop and the body count to begin rising.

Ready or Not succeeds most when Grace is being pursued, and when she emerges from the dumb waiter, thinking she will give up the game and enjoy a good night’s sleep, the scenes are spectacular. A house-nanny is shot by a doltish family member who mistakes her for Grace, cowering behind a bed.

At that moment the bride realizes she is screwed.

The final thirty minutes of Ready or Not take a different turn as victimized Grace turns into revenge-seeking Grace. Think Carrie White at the prom after being soaked with pig blood.

As Grace lumbers through the mansion in her blood-streaked white gown, happy to kill any one of the filthy rich family members, she has the most fun pummeling Alex’s mother, Becky Le Domas (Andie MacDowell), to death with a box, which he gets to witness.

Revenge Grace is like Uma Thurman’s The Bride in the Kill Bill double-feature.

Released the same year as Knives Out (2019), both films portray the wealthy characters similarly, rendering them as shallow and unlikable as humanly possible. Insipid, money-hungry, and impolite, they treat each other as badly as those considered beneath them.

Daniel (Adam Brody), may turn out to be Grace’s knight in shining armor but can he be trusted? Can Alex?

Snippets of the 1985 comedy Clue emerge as secret passageways are revealed, and one death is reminiscent of the singing telegram girl’s death, as the character leaps into the room only to be instantly killed. It’s a fun scene and not too seriously intended, which makes it enjoyable.

The gothic nature of the series Riverdale also comes into play with the modern trimmings and dark ambiance.

Ready or Not (2019) successfully produces what it intends to—an entertaining, cleverly written horror yarn. With a clear feminist stance and oozing with wealth and glamour, the rich people are horrible and ultimately get what they deserve.

This is satisfying to the viewer despite the silly motivations of the family.

Played for laughs, the film doesn’t take itself too seriously despite a subdued lesson in overindulgence and entitlement—a crackling, fun late-night offering.

2019 Films, Comedy, Dark Comedy, Rebel Wilson, Roman Griffin Davis, Sam Rockwell, Satire, Scarlett Johansson, Taika Waititi, Thomasin McKenzie

Jojo Rabbit-2019

November 6, 2019 scottmet99 Leave a comment

Jojo Rabbit-2019

Director Taika Waititi

Starring Roman Griffin Davis, Scarlett Johansson

Scott’s Review #955

Reviewed November 6, 2019

Grade: A

Jojo Rabbit (2019) is, quite simply, a satire.

This type of film, and this style of filmmaking, is not intended for all palates. The subject of Nazis and Adolf Hitler will hit too close to home for some viewers, especially considering this film is being classified as a comedy, albeit a dark one.

With this risk in mind, the film has a fabulous message, is quirky, well-acted, and a marvelous piece of work. But it is a gradual, acquired taste, and not everyone will leave theaters feeling satisfied. I sure did.

Director Taika Waititi, a Jewish man, is careful to toe the line with his story, teetering close to the edge, but never going too far overboard.

He is careful not to offend those who may have close ties to World War II, the horrific events that took place, or disrespect the scars that remain.

Instead, he teaches a lesson of acceptance, humanity, and pathos. A laugh one moment leads to tragedy and tears the next, making Jojo Rabbit quite the robust emotional experience.

The time is the 1940s, setting Germany, as Roman Griffin Davis portrays the title character, a Hitler Youth who finds out his mother (Scarlett Johansson) is hiding a Jewish girl, Elsa (Thomasin McKenzie), in their attic.

Energetic and excitable, he joins a training camp where he is unable to kill a defenseless rabbit, earning him his new nickname. Jojo slowly comes to question his beliefs while dealing with the intervention of his imaginary friend, an idiotic version of Adolf Hitler (Waititi).

He eventually forges a close bond with Elsa.

As the film begins, it immediately reminds me of Wes Anderson’s distinctive storytelling style. Think The Royal Tenenbaums (2001) or Moonrise Kingdom (2012).

With quick editing and fast-paced monotone dialogue, the characters initially appear silly and trite, yet offer witty responses to unusual situations. As the relationships deepen, the audience comes to fall in love with them.

Davis is an outstanding child actor and the heart of the film.

Johansson’s Rosie, the mother, is secretly anti-Nazi. She’s got flair, pizzazz, and a good pair of shoes. She states that to dance is to be alive, offering Jojo words of wisdom. They come upon a few dangling bodies perched in the center of town for all to see.

They have been caught aiding Jewish people and are a deadly symbol to present. Rosie tells Jojo not to look away, for these people did what little they could.

This scene is a poignant one.

Captain Klenzendorf (Sam Rockwell), a Nazi captain who oversees the youth camp, initially appears to be a buffoon and a one-dimensional character. He deepens as not just his patriotism, but his sexuality is called into question.

The LGBTQ angle is implied, but only lightly touched upon, so that the point remains vague and mysterious.

The Captain stands very close by his second-in-command, Finkel, and a scene at the pool will make many wonder about the proper relationship between the men.

Finally, Yorki, Jojo’s best friend, is just adorable, providing sweetness and genuine quality that is undeniably benevolent. McKenzie, as the frightened yet strong Elsa, is courageous to a fault. Stubborn and inflexible, she softens to Jojo as they get to know each other.

Her mysterious boyfriend, Nathan, never seen on-screen, plays a prominent role and is a key to the relationship between her and Jojo. The characters are an integral part of the film.

Made in 2019, a volatile time on planet earth, and especially in the United States, the film breathes fresh air into the world of inclusion and acceptance. Much of this is slowly revealed as events transpire to a crescendo.

As the war ends, several lives are forever changed, some for the better, others tragically, but each is connected to the others, enriching their respective lives.

Waititi celebrates the gifts, joys, and heartbreaks of life.

Jojo Rabbit (2019) is a film that prompts the viewer to think critically and challenges them to reconcile innocence and evil. Despite the subject matter, the film is neither cold nor harsh, and it does not disrespect history.

Incorporated are death and tragedy, mixed with learning and strong relationships.

The film is a great experience and an essential find among many routines and mainstream projects. Jojo Rabbit perks up the cinema, and hopefully the viewer, with a beautiful message.

Oscar Nominations: 1 win-Best Picture, Best Supporting Actress-Scarlett Johansson, Best Adapted Screenplay (won), Best Production Design, Best Costume Design, Best Film Editing

2017 Films, Adam McKay, Atsuko Hirayanagi, Comedy, Dark Comedy, Drama, Independent, Independent Comedy, Independent Drama, Josh Hartnett, Kaho Minami, Megan Mullally, Shinobu Terajima, Shioli Kutsuna, Will Ferrell

Oh Lucy!-2017

June 20, 2019 scottmet99 Leave a comment

Oh, Lucy! -2017

Director Atsuko Hirayanagi

Starring Shinobu Terajima, Josh Hartnett

Scott’s Review #912

Reviewed June 20, 2019

Grade: B+

Japanese culture meets American culture, which is the underlying component of Oh Lucy! (2017), a fascinating dark comedy and feature film debut by female director Atsuko Hirayanagi.

The film was once short but progressed into a full-length project, deservedly receiving Film Independent nominations for Best Female Lead and Best First Feature.

The co-settings of Tokyo and Los Angeles and the tremendous performance by star Shinobu Terajima make this a worthy watch.

Middle-aged Setsuko (Terajima) lives an unfulfilled daily existence in Tokyo, working a drab office job and living in a cluttered one-bedroom apartment riddled with comforting junk.

She wears a protective mouth cover, which is common in her city, to avoid breathing in bad air and to avoid chain smoke. She is unpopular at work and wishes to date more but is unlucky in love.

One day, she is convinced by her niece Mika (Shiori Kutsuna) to take English lessons and falls for her handsome instructor, John (Josh Hartnett), who nicknames her “Lucy,” making her don a blonde wig and talks “American.”

A classmate, “Tom” (Koji Yakusho), seems interested in “Lucy.”

When Mika runs off with John to Los Angeles, prompting Setsuko and her bitchy sister Ayako (Kaho Minami) to follow suit, concerned for her safety, the adventure begins.

Setsuko and Mika compete for positions with John. Still, her vacation from her dreary job and growing obsession with him energize her as a rivalry between Setsuko and Ayako hits full throttle.

Setsuko begins to exhibit bizarre and unbecoming behavior.

The film delves into an interesting characteristic among Japanese females: rivalry, as the subject matter is heavily female-centered.

The trio of Setsuko, Ayako, and Mika are family and love each other unconditionally, but do they like each other?

Immediately, we learn that Setsuko stole Ayako’s boyfriend long ago, or so she claims. Eventually, Setsuko tries to steal Ayako’s man, so there is a recurring conflict between the two women.

We assume Ayako has a rebellious streak, just like Setsuko did at her age.

Despite the triangle of drama and issues, the main story and focal point belong to Setsuko and her infatuation with John. From the first moment they embrace part of a teacher-student dynamic, Setsuko is hooked. She longs to remain in his arms until he insists she let go.

This is a key moment when intrigue looms. Does she feel more comfortable and confident in her blonde wig and new persona? Does this give her the courage and the guts to flee her boring life for a chance at love in Los Angeles?

John loves Mika, but more importantly, despite her best efforts, he has no feelings for Setsuko. In a pivotal and hilarious scene, John and Setsuko smoke marijuana as he teaches her how to drive in a deserted parking lot.

As they feel the effects of the drug, Setsuko comes on to John, and before he knows it, they have sex. This only deepens her obsession with him as she decides to get the same tattoo as he has.

He realizes she may not be stable as the audience, still enamored with the character, begins to pity her.

Hirayanagi is careful not to make her film a downer, and she does a fantastic job. When Setsuko returns to her meager existence in Tokyo, she is unceremoniously fired from the job she despises but has held for decades.

Is she devastated or liberated? Perhaps a bit of each, but she has reached her breaking point and succumbs to sadness, longing for John.

Fortunately, a surprise appearance by an unexpected character uplifts her spirits and the entire film.

Oh, Lucy! (2017) is an excellent example of an independent film from an inexperienced director who is laden with good qualities. A wounded main character who is sympathetic to viewers leads a dynamic story of loneliness and melancholia, but also with witty dialogue, crackling humor, and a multicultural approach.

A hybrid Japanese and American film with location sequences in both areas, the film will satisfy those seeking an intelligent, quick-witted experience.

Independent Spirit Award Nominations: Best Female Lead-Shinobu Terajima, Best First Feature

2018 Films, Alex Wolff, Anton Yelchin, Anya Taylor-Joy, Comedy, Cory Finley, Dark Comedy, Independent, Independent Comedy, Olivia Cooke, Paul Sparks

Thoroughbreds-2018

March 26, 2019 scottmet99 Leave a comment

Thoroughbreds-2018

Director Cory Finley

Starring Olivia Cooke, Anya Taylor-Joy

Scott’s Review #880

Reviewed March 26, 2019

Grade: B

Thoroughbreds (2018) is an independent dark comedy with snippets of creative filmmaking and an intriguing premise that loses steam towards the conclusion, closely mirroring too many other similarly themed indies.

An enjoyable geographical setting, but the lackluster, monotone dialogue never allows the film to stand out on its own and is therefore deemed unmemorable.

The lead actors are fine, but the experience falls short of raising the bar, suffering from an odd title that has little to do with the story.

Lily (Anya Taylor-Joy) and Amanda (Olivia Cooke) are former childhood friends whose differing levels of popularity have strained their relationship over the years. When Amanda’s mother pays Lily to socialize with Amanda under the guise of tutoring, Amanda catches on to the plot and confronts Lily.

This event brings the girls closer and, in a macabre fashion, they begin to hatch a scheme to plan the death of Lily’s stepfather, wealthy Mark (Paul Sparks), whom she perceives as abusive.

It is revealed via flashback that Amanda euthanized her crippled horse to spare his suffering which resulted in animal cruelty charges.

The setting of affluent Fairfield County, Connecticut, and presumably wealthy Greenwich is a high point of the film and an immediate comparison to the 1997 masterpiece, The Ice Storm.

Bored rich kids who perceive themselves to shoulder all the world’s problems, while subsequently attending the best boarding school imaginable, is delicious and a perfect starting point for drama and intrigue.

Lily’s domineering stepfather and her passive and enabling mother are clever additions without making them seem like caricatures.

The dynamic between the girl characters is intelligently written and believable, especially as they crack witty dialogue with each other. Lily is academic and stoic, humorously said to suffer from an unnamed condition that prevents her from feeling or showing any emotion.

Amanda is the perfect counterbalance as she is sarcastic, witty, and serves up one analytical observation after another.

From a physical perspective, the statuesque Lily is believable as the more popular of the two and the perceived leader.

As the girls elicit the participation of local drug dealer Tim (Anton Yelchin) into their plans, at first voluntary and ultimately by blackmail, the plot takes a turn for the formulaic and the redundant.

The setup seems too much like a standard dramatic story arc and becomes clichéd as the once-willing participant is subsequently thrust into the scheme. There are no romantic entanglements between the three main characters, and subsequently, there are no characters to root for, one strike against the film.

Otherwise, the “been there, done that” monotone dialogue has become standard in dark comedies so that in 2018, the element seems dated and a ploy to develop offbeat characters.

Director Cory Finley borrows heavily from fellow director Wes Anderson (The Royal Tenenbaums, 2001, and The Moonrise Kingdom) in this regard, so that the freshness of the characters and story wears thin mid-stream.

The title of the film could be better, as a quick scene featuring Amanda and a horse at the beginning, and a brief mention of horses in a dream by one character, is all there is about the animals.

I expected more incorporation between animal and human, or at least a more poignant connection. The privileged lives of Lily and Amanda seem a perfect correlation to bring horses into the central story in a robust way.

Finley is on the cinematic map, crafting an effort that proves he possesses some talent and an eye for a wicked and solid offering.

Thoroughbreds (2018) represents a film like many others in the same genre that rises to the top of the pack, but it is not without merits and sound vision. It will be interesting to see what this up-and-coming director chooses for his next project.

Independent Spirit Award Nominations: Best First Screenplay

2018 Films, Adam McKay, Alfred Molina, Alison Pill, Amy Adams, Bill Camp, Biography, Brad Pitt, Cailee Spaeny, Christian Bale, Comedy, Dark Comedy, Drama, Jesse Plemons, Lily Rabe, Naomi Watts, Political Drama, Sam Rockwell, Satire, Steve Carell, Tyler Perry, Will Ferrell

Vice-2018

December 31, 2018 scottmet99 Leave a comment

Vice-2018

Director Adam McKay

Starring Christian Bale, Amy Adams, Steve Carell

Scott’s Review #849

Reviewed December 31, 2018

Grade: A

Following 2015’s The Big Short, Adam McKay once again creates an intelligently written, thought-provoking political film based on facts and historical accounts.

With Vice (2018) he focuses on former Vice President Dick Cheney and his rise through the political ranks to second in command.

Brilliant and wise in every way, the film is fair-minded in its approach. Predictably, in this era of “fake news,” it will be embraced by liberals but shunned by conservatives.

In the first seconds of Vice, a disclaimer appears stating that Cheney was a private man with secrets, but the filmmakers did their best to relay accurate information. The salty language in this clip will likely elicit chuckles, but McKay stays the course with his statement.

Immediately, the film flashes to the September 11 attacks with Cheney sitting in crisis mode, about to make an important decision.

Vice then retreats to 1963 Wyoming as a drunken college-aged Dick Cheney (Christian Bale) is pulled over for erratic driving after a barroom brawl. He is nearly dumped by his girlfriend and future wife Lynne Cheney (Amy Adams), who threatens to find another man if Dick does not straighten out.

He manages an internship and an admiration for Donald Rumsfeld (Steve Carell), a staunch Republican and White House Chief of Staff, and begins his political climb.

In clever form, the film is narrated by a character named Kurt (Jesse Plemons), who we do not know is connected to Cheney until the end of the film. This adds an added measure of intrigue to the overall film, as we know a secret will be revealed.

Vice is also unique in direction, with constant back-and-forth timeline scenes and quirky humor throughout. Are the Cheneys portrayed as ridiculous? No, but sardonic humor is directed at them as their ambitions and power-hungry motivations are completely exposed.

The film does a great job of taking the viewer through the political state of Cheney’s administration, roughly the early 1970s until 2008, when Obama took office. The Clinton years are completely skipped, but that is more to do with Cheney being in the private sector rather than an intentional slight.

The Nixon years and the George W. Bush years are given hefty screen time and the latter is portrayed as nearly a buffoon as Rockwell portrays him as a boozy, dumb frat boy.

Bale is startlingly good as Cheney and deservedly steals the show. In addition to the forty-pound weight gain, the actor endured the facial and hair treatments (props to the makeup department!) and became the man.

His body movements, smile, and speech patterns are daringly good. With a sneer and a calculating grin, we see the wheels spinning in Cheney’s head numerous times, and Bale is incredible at portraying these thoughts to the audience.

The film contains many well-known actors in vital supporting roles worth noting. The depictions of the following are examples of excellent casting with spot-on representations: Tyler Perry as Colin Powell, LisaGay Hamilton as Condoleezza Rice, Sam Rockwell as George W. Bush, Alison Pill as Mary Cheney, and Lily Rabe as Liz Cheney.

All portrayals are excellent to watch, especially for viewers who remember the real-life people involved.

Some will undoubtedly complain that the film has a “liberal slant” and portrays Cheney as power-hungry and self-serving. While this is a valid point, and McKay makes left-leaning choices, the director bravely carves the film into an experience that goes both ways.

More than a few scenes (including the final scene) justify Cheney’s actions, in his mind anyway. Claiming to do what is suitable for the people and be a true American, his actions and yearning for power can be understood to some degree, or perhaps by some people.

Vice (2018) is controversial and undoubtedly divisive, which is unsurprising given the current state of American politics. It tells an inspiring and rich story of an elusive politician’s life and policies, daring to be forgotten, that still resonate across the United States.

The more I ponder this film’s importance, the greater it becomes, but stay past the credits for arguably the best moment in the movie and of monumental importance in 2018.

Oscar Nominations: 1 win-Best Picture, Best Director- Adam McKay, Best Actor- Christian Bale, Best Supporting Actor- Sam Rockwell, Best Supporting Actress- Amy Adams, Best Original Screenplay, Best Makeup and Hairstyling (won), Best Film Editing

2017 Films, Amy Landecker, Chloë Sevigny, Comedy, Connie Britton, Dark Comedy, David Warshofsky, Drama, Independent, Independent Comedy, Independent Drama, Jay Duplass, John Lithgow, Miguel Arteta, Salma Hayek

Beatriz at Dinner-2017

December 18, 2018 scottmet99 Leave a comment

Beatriz at Dinner-2017

Director Miguel Arteta

Starring Salma Hayek, John Lithgow, Connie Britton

Scott’s Review #844

Reviewed December 18, 2018

Grade: B+

Thanks to a well-written screenplay and a thought-provoking idea, Beatriz at Dinner (2017) spins an interesting concept about politics and class systems discussed over dinner.

Salma Hayek and John Lithgow give tremendous performances as characters with opposing viewpoints, helping the film succeed, though a flawed ending and cookie-cutter supporting characters detract from the overall enjoyment.

Set in southern California, presumably around Los Angeles, Beatriz (Hayek) is a holistic health practitioner. Moonlighting as a massage therapist, she becomes stranded at the wealthy home of one of her clients, Kathy (Connie Britton), whom she views as a friend.

Kathy invites Beatriz to stay for dinner, where she encounters real-estate mogul Doug Strutt (Lithgow). The two gradually develop a feud based on their differing politics and viewpoints.

The setup and flow of Beatriz at Dinner are commendable and pace the film nicely. The film is sort of a day in Beatriz’s life. It begins as the character awakens to her pet dogs and goat noisily beginning their day and culminates late at night when the dinner party concludes, and the last glass of wine is consumed.

This way, the film has a nice packaged feel that keeps the story confined and structured.

Being an independent film, the budget is small, and most scenes are shot in a spacious modern house overlooking the Pacific Ocean, which works well. Gorgeous and vast, many rooms are used as conversations among the characters occur, many overlapping each other.

Beatriz at Dinner could have been a play, which helps with the good flow.

Hayek and Lithgow are the main draws as their initial guarded pleasantries progress to venom and violence, albeit primarily imagined.

Initially thinking that Beatriz is the household help, Doug is inquisitive about her entry into the United States and makes numerous insulting gestures, mispronouncing her Mexican hometown and mocking her profession.

Beatriz calmly endures his racism and begins discussions about how his business harms animals and people as emotions escalate. The actors play off each other wonderfully and share chemistry.

With each glass of wine, Beatriz becomes brazen and shares how people in her village lost their land to real estate development. She shares a humanistic viewpoint, while Doug sees life as to be lived while you can.

Despite their dislike for each other’s lifestyles, the film shows Beatriz and Doug at least listening to each other and attempting to understand the other’s opinions, which is more than can be said for the supporting players’ motivations or lack thereof.

Besides Kathy, while sympathetic to Beatriz’s calm demeanor and life-rich philosophies, she also realizes that Doug is her family’s meal ticket.

The other party attendees are written as polite yet uninteresting twits with nothing to talk about except a reality star’s nude photos, dinner, or a handful of other nothing topics.

Chloë Sevigny, Jay Duplass, Amy Landecker, and David Warshofsky have little to do other than stand around and react to the meatier written material that Hayek and Lithgow get to play.

Beatriz at Dinner had me in its corner until the film took a jarring turn during the final act. As Beatriz leaves the party and sets about on her way home, she hastily decides to grab a letter opener and bludgeon Doug to death as the dinner guests hysterically realize what is happening.

Instead of leaving things be, the film chooses to make this only Beatriz’s fantasy and then have her go to the ocean and walk into the waves. Does this mean she commits suicide, or is this another fantasy? This final sequence is unclear and unsatisfying.

I am not sure why Beatriz at Dinner is considered a comedy. Perhaps a mild dark comedy, I argue that the film is a straight-ahead drama and lacks the witty humor that made dinner party-themed films such as Who’s Afraid of Virginia Woolf? (1966) and The Boys in the Band (1970) masterpieces.

Beatriz at Dinner (2017) is a valiant attempt at offering social commentary at a time when discussions like these are needed in films, and the project largely succeeds.

Hayek’s impassioned yet subdued performance deservedly earned her a Female Lead Independent Film nomination. The film’s rich writing garnered a Best Screenplay nomination, too, but a big whiff at the end lowers the overall experience a notch.

Independent Spirit Award Nominations: Best Female Lead-Salma Hayek, Best Screenplay

2018 Films, Comedy, Dark Comedy, Drama, Emma Stone, Independent, Independent Comedy, Independent Drama, Joe Alwyn, LGBTQ+ Comedy, LGBTQ+ Drama, LGBTQ+ Films, Nicholas Hoult, Olivia Colman, Period Drama, Rachel Weisz, Satire, Yorgos Lanthimos

The Favourite-2018

December 17, 2018 scottmet99 Leave a comment

The Favourite-2018

Director Yorgos Lanthimos

Starring Olivia Colman, Emma Stone, Rachel Weisz

Scott’s Review #843

Reviewed December 17, 2018

Grade: A

The Favourite (2018) is a deliciously wicked comedy about greed, jealousy, and rage during early eighteenth-century England.

The primary rivalry consists of two feuding cousins, each jockeying for position and “favor” with the Queen, both resorting to dire methods to achieve these goals.

With splendid acting and grand designs, director Yorgos Lanthimos adds to his growing collection of odd and compelling works with the dark comedy offering.

The film takes place during the British and French War of 1708, as a physically and mentally ill Queen Anne (Olivia Colman) rules the country through her confidante and secret lover, Sarah, Duchess of Marlborough (Rachel Weisz).

Though deals and modifications must be made with the ruling Parliament, Anne has the final say in all decisions, including doubling the state tax to pay for the war.

When Abigail (Emma Stone), a distant cousin of the Duchess, and former royalty herself, arrives seeking work as a servant, she quickly plots her way to the bedside of the Queen at all costs.

Lanthimos, known for such bizarre treats like Dogtooth (2009), The Lobster (2015), and The Killing of a Sacred Deer (2017), is not afraid to get down and dirty and wrestle with the macabre subject matter.

The Favourite is the director’s most mainstream affair yet and is quickly becoming one of my favorite modern-day films. As he now charts into royal territory, the possibilities are endless in a world of politics and scheming.

Some morose highlights include an abused bunny, naked tomato throwing, and pheasant shooting.

The film is not kind to animals.

Despite being mainstream for Lanthimos, The Favourite is a bizarre and brazen experience. The film’s numerous award nominations are remarkable, given that not all audiences will enjoy it.

Despite being categorized as a comedy (see more below), the film is not an easy watch, and none of the characters are likable. Abigail is initially sympathetic and quite humorous, but her true colors and motivations are exposed as the plot develops.

Conversely, Anne and Sarah are initially despicable, but garner support as the story evolves.

The comic elements are the best, and clever lines come at a deliciously rapid pace. The best dialogue is the sparring between Sarah and Abigail, as the women realize they are bitter enemies and each attempts to one-up the other in a chess game for Anne’s attention.

Anne, known for fits of emotion, stuffing her face with cake and vomiting, and berating the servants, offers her comic wit. The language is salty, bordering on vulgar, but that makes the experience so stellar and morosely enjoyable.

The musical score adds muscle, and the diabolical string arrangements give The Favourite a gruesome, morbid atmosphere.

The feeling of dread is prevalent and downright haunting at times, as the audience knows that some shenanigans will soon occur, but they do not know when or how.

This quality enhances the overall product and gives ambiance to a superior piece.

Finally, the acting in The Favourite is brilliant and worth the price of admission. This is unsurprising with heavyweights like Colman, Stone, and Weisz, but the gravy is in the individual moments.

The chemistry the women share is what works best, as every scene sparkles with exceptional delivery and a sly sense of humor. When the three women appear together, these are the best scenes.

Deserving of all the accolades lauded upon it, The Favourite is an experience that contains all elements of a fine film, though one that is quite an unconventional work.

With glistening art direction, authentic set pieces, and costumes that would make Scarlett O’Hara drool with envy, The Favourite (2018) takes all of its parts and spins a crafty tale that encompasses the entire film.

Oscar Nominations: 1 win-Best Picture, Best Director- Yorgos Lanthimos, Best Actress- Olivia Colman (won), Best Supporting Actress- Emma Stone, Rachel Weisz, Best Original Screenplay, Best Production Design, Best Cinematography, Best Costume Design, Best Film Editing

Independent Spirit Award Nominations: Best International Film

2017 Films, Aubrey Plaza, Billy Magnussen, Comedy, Dark Comedy, Elizabeth Olsen, Independent, Independent Comedy, Matt Spicer, O'Shea Jackson Jr., Wyatt Russell

Ingrid Goes West-2017

November 16, 2018 scottmet99 Leave a comment

Ingrid Goes West-2017

Director Matt Spicer

Starring Aubrey Plaza, Elizabeth Olsen

Scott’s Review #832

Reviewed November 16, 2018

Grade: A-

Ingrid Goes West (2017) is a deliciously wicked black comedy that boldly addresses the current obsession with social media.

Combined with a dynamite performance by young actress Aubrey Plaza and witty writing, the small independent film is a summertime treasure and has received two Spirit Award nominations.

The film is a breath of fresh air and a fine achievement by new director Matt Spicer.

The film immediately catapults the audience into the action as we are treated to a closeup of a sobbing Ingrid Thorburn (Plaza).

We immediately know that she is not well when she fumes with the realization that she has not been invited to her Instagram friend’s wedding and proceeds to interrupt the reception and attack the bride with pepper spray.

Ingrid is carted off to a mental hospital for analysis and recovery.

Once released, we learn that Ingrid’s mother has recently died, leaving her a tidy sum of money as an inheritance. Ingrid suddenly becomes obsessed with Taylor Sloane (Elizabeth Olsen), a popular and narcissistic young woman whom she follows on Instagram.

Taylor becomes Ingrid’s idol as she decides to move to Los Angeles and insinuates herself into Taylor’s life. She stalks Taylor and steals her dog only to pretend she rescued it, thereby becoming her close friend.

Gradually, Ingrid’s actions become more and more psychotic as Taylor catches wind of Ingrid’s antics.

Aubrey Plaza is perfectly cast as the unstable, manipulative title character. She possesses such strong comic timing, and with her wide eyes, nervous mannerisms, and determination to get what she wants, the audience roots for and falls in love with her.

On paper, we should dislike the character as she takes advantage of nearly everyone in her path, but Plaza embodies her with empathy and smarts. It is delightful to watch how she gets out of scrape after scrape with her quick thinking.

Plaza truly excels in the role.

Bold and calculating are words to describe Olsen’s performance as the selfish Taylor, and this may very well be why it is easy to root for Ingrid.

The character is so plastic and conniving that seeing her as the foil is intensely satisfying. Olsen usually plays good girl roles and possesses a girl-next-door quality, but in this part, she nestles nicely into a bitch role.

Olsen also uses excellent timing with her characters’ dialogue delivery, so much so that Olsen and Plaza had me in stitches during their one-on-one scenes.

I adore the Los Angeles setting. It is beyond appropriate for a film about phoniness, obsession, and plastic personas.

Beneath the sunny veneer lies darkness and tomfoolery in every direction, and besides Ingrid’s landlord/somewhat boyfriend, Dan (O’Shea Jackson Jr.), there are not many likable characters.

Attending party after party and lavish clubs, restaurants, or getaways, being involved in the “scene,” and the City of Angels is the perfect backdrop.

One gripe that knocks Ingrid Goes West down a rung is how the character of Taylor’s artist husband Ezra (Wyatt Russell) is written.

In one of the more authentic scenes, Ingrid realizes as she has a poolside heart-to-heart with the depressed Ezra that his wife is not the girl he knew when she moved to L.A. He and Ingrid seem to connect, but shortly after, it is as if the conversation never happened, and he is ferociously taking his wife’s side again.

A more admirable approach, and one I was hoping for, is that Ingrid and Ezra would ride off into the sunset, but the film misses this opportunity.

The entire film is a clever piece of work. From the performances to the dark humor and the witty dialogue, Ingrid Goes West (2018) succeeds on nearly all levels.

A modern-day Single White Female (1992) with a social media slant, the film goes for the gusto and gets there. I cannot wait to see more from up-and-coming star Aubrey Plaza, as the actress has the comic and dramatic chops to go very far.

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

2017 Films, Claes Bang, Comedy, Dark Comedy, Dominic West, Drama, Elisabeth Moss, International, International Comedy, International Drama, Michael Gracey, Ruben Östlund, Satire, Swedish

The Square-2017

September 28, 2018 scottmet99 Leave a comment

The Square-2017

Director Ruben Östlund

Starring Claes Bang, Elisabeth Moss

Scott’s Review #814

Reviewed September 28, 2018

Grade: B+

The Square (2017) is an eccentric, highly interpretive Swedish-language film that does not always make perfect sense, as a more mainstream film would.

This is both a positive and a negative, as the film’s ultimate message is admirable, though some parts are perplexing and downright bizarre.

The film was undoubtedly commended for its bravery and cutting-edge approach and received an Oscar nomination for Best Foreign Language Film—subsequently, it lost to A Fantastic Woman (2017).

The film’s primary setting is the X-Royal Art Museum in Stockholm, Sweden. The action centers mainly around the museum’s new creative director, Christian (Claes Bang), attempting to introduce a new installation called “The Square.”

A misunderstanding with a youthful public relations firm hired to make the exhibit as accessible as possible leads to controversy.

The film also interjects various subplots that are generally interesting but do not always make logical sense.

Bang is quite compelling in the lead role and the film’s best part for me. He is charismatic and a good father to his two daughters. He helps people experiencing homelessness- even going so far as to help a young woman when nobody else will, only to find his wallet stolen- an unfortunate victim of a scam.

Furthermore, Christian’s desire to create “The Square” is humane and admirable- a safe zone for trust and compassion. The character is a good guy but is also concerned with his status.

Common themes of satire and human beings’ natural hypocritical nature abound. For example, in one scene, Christian, proud to drive his flashy Tesla car and give money to the homeless, is afraid to be seen in a run-down apartment house.

Later, a man with Tourettes syndrome disrupts an interview at the museum and is looked down on by “open-minded people” as a result. The latter scene is quite amusing as the man erupts with various expletives at the most inopportune times.

My favorite sequence occurs approximately midway through the film. As bizarre as the scene, it is riveting in its momentum and bravery.

When a group of well-dressed museum members gathers for a lavish dinner to watch a human art show, a bare-chested man who only grunts emerges and slowly antagonizes guests.

He begins pulling one woman’s hair while chasing an angry man from the hall. This scene is shocking, intense, and thought-provoking.

But what the scene means is perplexing.

A treat for me was viewing the famous Stockholm museum’s frequent interior and exterior scenes- which I was privy to have visited in 2016.

This experience was so fresh that it brought back wonderful memories of not only the museum but also the gorgeous city of Stockholm itself.

The chemistry between Christian (who is Swedish) and an American reporter, Anne (Elisabeth Moss), does nothing for the film. It feels wholly disjointed and unnecessary, and there is little connection between the two characters.

Engaging in a one-night stand, the duo has a dispute about a used condom. Does Christian think that Anne is desperate enough to use his sperm and impregnate herself? The resulting spat between the two seems meaningless.

The Square (2017) is a very tough film to review.

Oftentimes disjointed and impossible to make heads or tails of, one would be wise to simply “experience” the film on its own merits. I am not sure.

I mainly need to view it again and try to figure out the plot because I am uncertain if that was the intent of director Ruben Oslund.

Having directed the wonderful Force Majeure (2014), a more straightforward and superior film, The Square is worth a watch in its own right.

Oscar Nominations: Best Foreign Language Film

1999 Films, Comedy, Dark Comedy, Gary Cole, Jennifer Aniston, Ron Livingston, Stephen Root

Office Space-1999

September 16, 2018 scottmet99 Leave a comment

Office Space-1999

Director Mike Judge

Starring Ron Livingston, Jennifer Aniston

Scott’s Review #811

Reviewed September 16, 2018

Grade: B+

Having become somewhat of a cult classic since its theatrical release in 1999, Office Space is delightful to watch for anyone who works in a corporate environment- or ever has- they will undoubtedly “get” this movie.

The dark humor and antics may be lost on those who have not, but for the rest of us, the film is quite the treat.

One may never view a stapler or the common office cake party in the same manner. Yes, the story and characters are somewhat over-the-top but more than a few clever scenes ring with truth.

But over time will the film become dated?

Writer and Director, Mike Judge, tells a story about life within a 1990s software firm.

Reportedly, the story is based on Judge’s cartoon series Milton, and his first foray into live-action filmmaking. His first film was Beavis and Butt-Head Do America (1996) if this gives any indication of the type of humor that resounds. Fraternity boy-minded, yes, but the writing is crisp and oftentimes rife with fun.

The film was not a box-office smash at the time of release yet is well-regarded by critics.

Peter Gibbons (Ron Livingston) is a frustrated IT programmer who works for a company named Initech. Alongside two colleagues, one of whom is comically named Michael Bolton (not that Michael Bolton), they despise their sneaky boss, Lumbergh (Gary Cole).

The situation gets worse when two consultants are brought in to downsize the company, leaving everyone in panic mode.

After a failed hypnotherapy session Peter becomes relaxed and confident, even winning praise from the consultants and scoring a promotion. This puts him at odds with Lumbergh, especially after he begins dating a waitress, Joanna (Jennifer Aniston), and assumes she has also slept with him.

Office Space shines the most with the crackling dialogue and clever scenes that take place within the confines of the office. With stuffy cubicles for miles and the standard corporate jargon to make into witty lines, the subject matter is ripe for the picking.

With Cole’s sly requests for his employees to work weekends, Judge creates authenticity and freshness that is incredibly appealing to corporate workers. He successfully knocks down office politics with intelligent, wisely crafted, memorable satire.

In the supporting role of Milton Waddams, character actor Stephen Root is successful at stealing the show with his mumbling and bumbling character. Nearly invisible to all his colleagues, Milton is eventually moved to a basement desk and left out of the cake party.

When somebody borrows his prized red stapler, all hell breaks loose. Increasingly disgruntled, Milton’s fate is instrumental to the hilarious conclusion of the film and he ultimately gets his revenge satisfyingly to all.

The romantic element between Peter and Joanna is okay, but not at all the highlight of the film. The romance seems unnecessary to me but undoubtedly added since comedies of this sort usually require something heartfelt to appeal to mainstream audiences.

Aniston, popular at the time for her role on the television show Friends, was on her way to becoming a marquee movie star, but not quite yet, so she must be content with the standard “girlfriend” role.

She’s cute, but hardly anything more.

Office Space is a fun ride, but the film is not a groundbreaking experience in great film techniques, inventive ideas, or any other technical or story achievements.

What it offers to fans, it does very well and feels like a breath of fresh air in its genre.

The film is a comedy, but not a dumb comedy as a myriad of similar style offerings have been released since the beginning of cinema. With witty one-liners and comic gold, Office Space (1999) is a film to be remembered.

2018 Films, Adam Driver, Alec Baldwin, Biography, Comedy, Corey Hawkins, Crime Drama, Dark Comedy, Drama, Harry Belafonte, John David Washington, Jordan Peele, Laura Harrier, Matthew A. Cherry, Nicholas Turturro, Paul Walter Hauser, Spike Lee, Topher Grace

BlacKkKlansman-2018

August 14, 2018 scottmet99 Leave a comment

BlacKkKlansman-2018

Director Spike Lee

Starring John David Washington, Adam Driver

Scott’s Review #802

Reviewed August 14, 2018

Grade: A

Spike Lee’s latest offering, BlacKkKlansman (2018), is a brilliant effort and oh so timely given the tumultuous political climate in the United States in 2018.

Despite the film being set in the early 1970s, the racial issues and tensions that Lee examines are sadly still an enormous problem today. Lee infuses some humor and even romance into the drama, so the film is not too preachy or heavy.

A grand and relevant effort that all should watch.

As the film commences, we are treated to a clip from the 1939 classic Gone With the Wind, and BlacKkKlansman concludes with prominent clips of racial tensions circa 2017.

The timeline is crucial and influential, as the film clearly demonstrates that racism is still alive and well.

Lee, a known liberal, clearly puts a left spin on his work. BlacKkKlansman will likely not be seen by conservative filmgoers, which is sad, as valuable lessons can be learned by viewing this piece.

The story is based on a true story memoir written by Ron Stallworth, the first black police officer to be hired by the Colorado Springs police department. He successfully infiltrates the local chapter of the Ku Klux Klan with startling results.

The film begins with a speech by a doctor (Alec Baldwin) offering a “scientific explanation” of white superiority in 1957. Fast-forward to the early 1970s, where the rest of the film occurs.

Ron is initially hired by the police force as part of a progressive initiative for diversity, but he quickly moves into a detective role. He manages to pose as a KKK member via telephone while another detective, Flip Zimmerman (Adam Driver), goes to meetings in person.

Lee’s focus is clearly on the overall content and message of the film, and therefore, little character development is achieved. I admittedly did yearn to know the “hows ” and ” whys” of many of the characters, but the film is not really about the characters individually, and I am okay with this.

Why did Ron desire so much to become a police officer? What was his childhood like? How did Patrice become President of the black student union? What was her childhood like? What upbringings did some of the KKK members have?

Indeed, not enough time would have been allowed to answer these questions—minor gripe.

Lead actor John David Washington, son of Denzel Washington, was unknown to me before watching this film. He is tremendous in his role, as is Driver in his supporting role of Zimmerman, but again, these are not character-driven roles.

Washington has tremendous chemistry with his love interest, played by Laura Harrier. Ron and Patrice discuss politics and dance the night away, but she is an activist and a cop, making their chances of a happily ever after tough to imagine. Their romance is atypical of most films as it is based on intelligence and not silly, melodramatic aspects.

On the acting front, Topher Grace as the racist David Duke is tremendous. With a kindly demeanor mixed with a bubbling under the hatred of blacks and Jewish people, Lee makes sure he is the foil.

A delicious scene towards the end of the film, when Duke gets his comeuppance of sorts, is well done and received a thunderous roar from the theater audience.

Lee is careful to ensure the bad guys get their just due and are all portrayed as complete fools. With a false sense of nationalism, many hate minorities simply because they feel they are taking over their beloved country.

Not to harp on this, but BlacKkKlansman will attract those who already agree with Lee’s beliefs and politics. If only those who disagree would give the film a chance. Unlikely.

The final five minutes of BlacKkKlansman arguably are the most pivotal experience of the entire film, but they have nothing to do with the actual story portrayed in the rest of the production.

Lee concludes the 1970s portion of the film satisfyingly, then fast forwards to the horrific events that took place in Charlottesville, Virginia, in 2017 when protesters clashed with a racist group, resulting in an innocent woman’s death.

The controversial remarks of President Trump, refusing to cast blame on the racist group, are shown. Sitting in a crowded movie theater, these clips had the most significant reaction from the audience, with some flipping Trump the finger, while others sobbed in anguish and disbelief that we have achieved so little as a nation.

Rarely has a more pertinent or meaningful film been made for the current political climate in the United States. BlacKkKlansman (2018) brilliantly ties racism spanning one hundred and fifty years together and shows how it still exists.

Amid this message, however, lies a great drama containing humor and importance.

Oscar Nominations: 1 win-Best Picture, Best Director-Spike Lee, Best Supporting Actor-Adam Driver, Best Adapted Screenplay (won), Best Original Score, Best Film Editing

2017 Films, Allison Janney, Biography, Bobby Cannavale, Caitlin Carver, Comedy, Craig Gillespie, Dark Comedy, Independent, Independent Comedy, Julianne Nicholson, Margot Robbie, Mckenna Grace, Paul Walter Hauser, Sebastian Stan, Sports

I, Tonya-2017

January 10, 2018 scottmet99 Leave a comment

I, Tonya-2017

Director Craig Gillespie

Starring Margot Robbie, Allison Janney

Scott’s Review #712

Reviewed January 10, 2018

Grade: A-

I, Tonya is a 2017 biopic telling of the life and times of the infamous American Olympic figure skater, Tonya Harding, notorious, of course, for her alleged involvement, along with her husband and his friend, in the attack of fellow skater, Nancy Kerrigan during the 1994 Winter Olympics.

The event drew monumental media coverage after the attack, with the uncertainty of Harding’s knowledge or involvement, and her subsequent guilt or innocence continues to be debated.

The film itself is a dark and violent comedy, never taking itself too seriously. It immediately presents the disclaimer that the stated “facts” in the film are open to interpretation and depend on who you ask.

I, Tonya isn’t preachy or directive to the viewer but instead offers up the skater’s life and times in story form.

The film features tremendous performances by Margot Robbie and Allison Janney, as well as Tonya and her despicable mother, LaVona.

I, Tonya, is told chronologically, culminating with “the incident” in 1994.

However, the story begins in the mid-1970s, as Tonya, just a tot at the tender age of four, is as cute as a button and shrouded in innocence. One cannot help wonder if director Craig Gillespie, known for independent films, purposely made this wise casting choice.

We see Tonya, once an innocent child, journey into a life of violence, abuse, and tumultuous living. Harding grew up cold and hard and endured an abusive, complex relationship with her mother, the pressures to be the best skater never ended.

Even upon achieving success, Tonya never felt good enough or loved by her mother.

We then experience Tonya as a fifteen-year-old girl, fittingly first meeting her boyfriend and later, husband Jeff, Gillooly played well by actor Sebastian Stan. The early scenes between the two are sweet, tender, and fraught with the emotions of first love.

As explained by the actors, this was a short-lived time of bliss, and the relationship soon disintegrated into abuse, rage, and chaos.

The main point is to debate Harding’s guilt or innocence, which Gillespie peppers throughout, so it is unclear what to believe or how the audience should think.

“Interpretation” is the key here. Some may see Harding as a victim of life’s circumstances and the hardships she had to endure and may place sympathy upon her. Others may view Harding as off-putting, potty-mouthed, and even icy and violent herself, with a big chip on her shoulder.

In one scene, she publicly belittles the hoity-toity judges who never give her a break and give her less-than-perfect scores.

A clever technique that the film delivers is to have the actors frequently speak to the camera, thus the audience. This is achieved by either interview style or for the action in the film to cease and either Robbie, Janney, Stan, or whomever, turn to the camera and express their version of the events.

I, Tonya possesses a creative, edgy, indie feel.

How brilliant are the performances of both Robbie and Janney?

Robbie, a gorgeous woman, portrays a “red-neck” to the hilt. Through her bright blue eyes, her face is quite expressive—relaying pain, anger, and a seldom triumph. The film often slants the scales in a sympathetic way towards Harding, but it is Robbie’s talents that make us feel this sympathy.

Janney hits the jackpot with a delicious role she sinks her teeth into. A cold-hearted, vicious character, through facial expressions, we occasionally glimpse LaVona, perhaps softening, but as we do, the character does something even more despicable.

A good surprise for fans who remember the real-life events and the real-life players will be treated to a sequence of the honest Tonya, LaVona, Jeff, and Shawn Eckhardt, which play over the film ending credits.

How similar in looks are Robbie to Harding, with her feathered, frizzy, 1980s-style hairdo, and Janney, a dead-ringer for the boozy, chain-smoking LaVona, with her mousy brown bob haircut, complete with scruffy bangs?

Viewers will leave theaters confused, unsure, or perhaps perplexed by what they have just seen, but they will most certainly feel thoroughly entertained and may even depart chanting some upbeat 1980s rock tunes that the film uses throughout.

Thanks to fantastic acting and a strong story, I, Tonya is a success.

Oscar Nominations: 1 win-Best Actress-Margot Robbie, Best Supporting Actress-Allison Janney (won), Best Film Editing

Independent Spirit Award Nominations: 2 wins-Best Actress-Margot Robbie, Best Supporting Female-Allison Janney (won), Best Editing (won)

2017 Films, Abbie Cornish, Caleb Landry Jones, Clarke Peters, Comedy, Crime Drama, Dark Comedy, Drama, Frances McDormand, Independent, Independent Comedy, Independent Drama, John Hawkes, Lucas Hedges, Martin McDonagh, Peter Dinklage, Samara Weaving, Woody Harrelson

Three Billboards Outside Ebbing, Missouri-2017

December 4, 2017 scottmet99 Leave a comment

Three Billboards Outside Ebbing, Missouri-2017

Director Martin McDonagh

Starring Frances McDormand, Woody Harrelson, Sam Rockwell

Scott’s Review #703

Reviewed December 4, 2017

Grade: A

Frances McDormand takes control of Three Billboards Outside Ebbing, Missouri, and never lets go. In the Martin McDonagh-directed 2017 vehicle, she rivetingly portrays an angry Midwestern woman seeking justice.

The up-and-coming director has also created such films as 2008’s In Bruges and 2012’s Seven Psychopaths.

Similar to these films, Three Billboards Outside Ebbing, Missouri, is peppered with dark comedic moments and vile, bitter characters. The film is a measured success because it is not your standard Hollywood production and is quite left-of-center.

The action begins as we meet McDormand’s Mildred Hayes, sitting alone in her beat-up station wagon, brooding by the side of the road, gazing at three tattered billboards.

She is both pissed off and thoughtful as she formulates a plan to purchase a year’s worth of billboards, questioning the local police’s ineptitude in finding her daughter’s rapist and killer.

Woody Harrelson portrays the Ebbing police chief, Sheriff Bill Willoughby, and Sam Rockwell plays the racist and dim-whited officer Jason Dixon, both displeased with Mildred’s activities.

Other casting decisions in small yet essential roles are Lucas Hedges as Mildred’s adolescent and depressed son, Robbie, and John Hawke as her ex-husband, Charlie, who is dating an eighteen-year-old ditz.

Peter Dinklage is well-cast as James, a local car salesman who is an earnest dwarf with a crush on Mildred.

Supporting roles are prevalent throughout the film, and small-town locales like Jason’s mother and Red, the owner of the advertising agency who rents the billboards to Mildred, shape the experience.

The casting in Three Billboards Outside of Ebbing, Missouri, is a strong point of the film.

The town of Ebbing is portrayed as dreary, blue-collar, and racist, which is just perfect for setting the tone of the film.

I suspect residents of the Midwest or the southern United States of America may have some issues with character representations. Jason is written as both racist and not too smart, and he encompasses numerous characters in the film.

Enough cannot be said for Rockwell’s performance, transforming from a hated character during the film’s first two-thirds to suddenly almost becoming the hero towards the end.

Props are also deserved by Harrelson’s Chief Willoughby- bordering on hick and racist, he also has a heart and cares about Mildred’s predicament- when a shocking event occurs, he becomes an even richer character.

It is worth pointing out and impressive to me as a viewer that the three prominent black characters—Willoughby’s replacement, Abercrombie, Mildred’s best friend and co-worker, Denise, and a kindly billboard painter—are each written as intelligent and sensitive, a fact I found to perfectly balance the other less sympathetic characters.

In this way, a nasty film becomes more satisfying.

Three Billboards Outside of Ebbing, Missouri, though, belongs to McDormand. She is successful at portraying a myriad of different emotions. From her sly eye-winking as she crafts a good verbal assault on whoever crosses her path, to an emotional breakdown scene towards the end of the film, McDormand embodies the character with depth.

In a gorgeous scene, she has a sweet conversation with a peaceful deer grazing nearby, and for a second, she imagines it could be her dead daughter reincarnated. The scene richly counterbalances other violent and brutal scenes.

McDormand manages to look downright homely in some scenes and beautiful in others.

A film will indeed divide viewers. Some will champion the film’s crisp writing and witty dialogue. Still, others will undoubtedly be turned off by some of the character’s foul language and nasty nature.

I found Three Billboards Outside Ebbing, Missouri (2017), sarcastic, gritty, and well-told. It is a versatile affair rich with layers and brimming with enjoyment.

Oscar Nominations: 2 wins-Best Picture, Best Actress-Frances McDormand (won), Best Supporting Actor-Sam Rockwell (won), Woody Harrelson, Best Original Screenplay, Best Original Score, Best Film Editing

Independent Spirit Award Nominations: 2 wins-Best Female Lead-Frances McDormand (won), Best Supporting Make-Sam Rockwell (won), Best Screenplay

1998 Films, Brad Dourif, Comedy, Dark Comedy, Horror, Horror-Camp, Horror-Comedy, Jennifer Tilly, John Ritter, Katherine Hiegl, Kathy Najimy, Lowest Rated Films

Bride of Chucky-1998

September 11, 2017 scottmet99 Leave a comment

Bride of Chucky-1998

Director Ronny Yu

Starring Jennifer Tilly, Brad Dourif

Scott’s Review #680

Reviewed September 11, 2017

Grade: D+

Bride of Chucky (1998) is the fourth installment in the famed late 1980s Child’s Play hit franchise. The late 1980s was not the best time for the horror genre in general, but the film was quite the highlight in a slew of duds.

By this time in the series, (1998), the child/victim of the doll premise is dropped in favor of dark humor, thus the series immerses itself more into the horror-comedy arena.

A treat is the inclusion of a fantastic hard rock soundtrack led by the Rob Zombie classic, Living Dead Girl, adding some points to the film’s final grade, otherwise have been more dismal.

The film is not great and I find perverse pleasure in reviewing poor films. However, Bride of Chucky does have its place- as a late Saturday night viewing choice amid strong cocktails it contains a certain charm.

Not to be taken seriously, the placement of a love interest for Chucky gives the film macabre romantic humor.

Still, the film suffers from lackluster acting and quickly turns into drivel by the time the credits finally roll.

The action picks up from where Child’s Play 3 leaves off and the appearance of Chucky is now weathered and stitched giving the doll a more gruesome and maniacal look- this works given the elimination of a child lead character.

Left for evidence in a police compound, Chucky is stolen by Tiffany Valentine, played by Jennifer Tilly. The girlfriend of a deceased serial killer, Tiffany is convinced that the spirit of her boyfriend exists within Chucky and she is determined to bring him back to life using a voodoo ritual.

When the act finally works, Chucky and Tiffany reunite, but shortly afterward, Tiffany is also turned into a doll and the duo sets out on a killing spree.

The best aspect of the film is the camaraderie between Tilly and actor Brad Dourif, who voices Chucky. The duo has a light, comic banter that is fun to watch, as well as fantastic chemistry.

Granted the actors only voice the dolls for a small part of the film, but their back-and-forth works well.

This is what makes Bride of Chucky tongue in cheek- let’s face it, with talking dolls as your main characters, director Ronny Yu wisely avoids making the killings too grisly or heavy-handed, but rather, frequently uses quips and one-liners throughout the film.

As Chucky and Tiffany slice and dice their way to Hackensack, New Jersey, their motivations are to embody a neighborhood boy, Jesse, and his girlfriend Jade, played by a young Katherine Heigl.

Along the trek, the foursome is faced with ludicrous obstacles, such as the brief introduction of a con artist couple who meet their doom by flying shards of glass after stealing Jesse’s money.

The side story of Jade’s overprotective police chief Uncle, played by a miscast John Ritter, does not work at all. His schemes to plant marijuana in Jesse’s van are little more than plot-driven machinations to advance the thin plot.

The characters of Jesse and Jade are trivial and secondary and Heigl’s acting is particularly garish to say nothing of the lack of any chemistry between Heigl and actor Nick Stabile.

Heigl seems to wear a pout throughout the entire film. But, not to worry, these characters are as meaningless as all the others.

The gimmick ending, surely meant to “spawn” yet another sequel is as interesting as it is grotesque and a small highlight in a poor film.

Bride of Chucky (1998) provides a nice lineage to the history of the franchise, a killer musical score, and decent chemistry among the leads, but also suffers a similar fate to many horror films, especially sequels- poor acting, a silly tone, and no character development.

2016 Films, Ben Whishaw, Colin Farrell, Comedy, Dark Comedy, Drama, John C. Reilly, Léa Seydoux, Olivia Colman, Rachel Weisz, Romantic Drama, Satire, Yorgos Lanthimos

The Lobster-2016

April 20, 2017 scottmet99 Leave a comment

The Lobster-2016

Director Yorgos Lanthimos

Starring Colin Farrell, Rachel Weisz

Scott’s Review #635

Reviewed April 20, 2017

Grade: A-

One thing is sure about the puzzling 2016 film The Lobster: It is a film worthy of discussion long after the end credits roll and will leave the viewer pondering its many facets—a great movie to dissect.

This in itself is worth recognition and praise for the power of the film- so many questions abound.

I was immediately struck by how heavily The Lobster contains primary subject matter influences from “message novels” (and films) such as Brave New World, 1984, and A Clockwork Orange, as well as creative, stylistic recent film influences from The Grand Budapest Hotel (2014) and the Moonrise Kingdom (2012).

The story begins outside of Dublin, where David (Colin Farrell) has recently been dumped by his wife in favor of another man.

Now single, he is whisked away by authorities to a luxurious hotel in the woods, where he (and the other guests) are given forty-five days to find a suitable romantic partner, or else they will be turned into an animal of their choice.

David is accompanied by his brother, now a dog, and has decided that he should be turned and that he will become a lobster because he loves the sea, and they tend to live to be over one hundred years old.

The hotel management adheres to strict rules- no masturbation, mandatory temptations by hotel employees, and a strange outdoor hunting game where the guests hunt other guests to win extra days extended to their stays.

As David befriends fellow hotel guests, he is conflicted and desperate to find a mate. Events take a surprising turn when circumstances allow the rules to change for him, and he becomes involved with a short-sighted woman (Weisz).

The film’s plot is strange beyond belief yet incredibly creative and thought-provoking. The subject matter is pure dystopian- a facility, presumably controlled by the government, with a rebel group intent on ruining the “status quo.”

Suddenly, an odd little secret romance between David and Shortsighted Woman appears, beginning only during the film’s final act.

One aspect of the film that I found interesting was the odd monotone dialogue the characters used. They were almost matter-of-fact in whatever they said, even while expressing anger.

This peculiarity perplexed me, but the more I think about it, the more this decision makes the film dark-humored and dry with wry wit.

Another interesting nuance to the film is the multitude of quirky characters, many of whom are mainly referred to by their nicknames. Lisping Man, Limping Man, and Nosebleed Woman, to name a few.

And what viewer would not spend the film’s duration imagining which animal he or she would desire to be turned into and why?

My favorite aspect of the film is the offbeat performance by Colin Farrell- typically a rugged sex symbol, he goes against the grain and plays a pudgy, socially awkward, insecure man, but all the while instilling the character with enough warmth and likability to make the character work- and his chemistry with Rachel Weisz is fantastic.

This turns the strange dark comedy into a peculiar romantic drama.

A beautiful forest becomes the backdrop for a large part of the film, as does the city of Dublin itself, contrasting the film in nuanced ways. Combined with the lavish hotel, the film achieves several different settings for the action, each meaningful in its own right.

Without giving anything away, the conclusion of the film- the final scene in particular- is gruesome in what goes through the viewer’s mind, and the resolution is unclear.

Does David do it, or doesn’t he? Much of the film is open to one’s interpretation and imagination.

Black humor and cynicism are significant components of The Lobster, a thinking man’s movie. I continue to think of this film as I write this review.

The film is filled with originality and thought, which is a tremendous positive. Confusing and mind-blowing? For sure. A run-of-the-mill film? Not.

The Lobster (2016) is a film that gives no answers and is not an easy watch but an achievement in film creativity- something sorely needed.

Oscar Nominations: Best Original Screenplay

2009 Films, Abigail Breslin, Amber Heard, Bill Murray, Comedy, Dark Comedy, Emma Stone, Jesse Eisenberg, Ruben Fleischer, Woody Harrelson

Zombieland-2009

January 6, 2017 scottmet99 Leave a comment

Zombieland-2009

Director Ruben Fleischer

Starring Jesse Eisenberg, Woody Harrelson

Scott’s Review #586

Reviewed January 6, 2017

Grade: B

Zombieland (2009) is a fun, entertaining, popcorn-style flick. The film is not designed to be taken very seriously given the subject matter of zombies- nor should it.

Rather, the film goes over the top frequently to elicit a good time and plays for laughs. Sometimes it is successful, adding dark comedy to the story, other times the film comes across as silly.

The story takes place during a time when zombies have overtaken the world, and humans are left to fend for themselves and survive.

The film is a more cartoon version of the popular television series, The Walking Dead, despite pre-dating it. It lacks the heavy drama of the series.

Still, for 2009, the film is a novel idea and the movie works more often than not.

Woody Harrelson is amusing and charismatic. Jesse Eisenberg is falling into the Ben Stiller and Will Farrell trap of playing the same character over and over again, and I am personally a big fan of Abigail Breslin and she does not disappoint in this film.

Zombieland (2009) will likely only be remembered as a fun midnight, Saturday night fluff film if that.

2009 Films, Adam Arkin, Amy Landecker, Coen Brothers, Comedy, Dark Comedy, Independent, Independent Comedy, Michael Stuhlbarg, Richard Kind, Simon Helberg

A Serious Man-2009

January 4, 2017 scottmet99 Leave a comment

A Serious Man-2009

Director Joel Coen, Ethan Coen

Starring Michael Stuhlbarg

Scott’s Review #582

Reviewed January 4, 2017

Grade: B

A Serious Man (2009) is a quirky, odd film that is a character study.

Directed by the Coen brothers who typically have an offbeat style to their films (No Country For Old Men-2007, and Fargo-1996 spring to mind), A Serious Man is no different, offering wonderful, richly written supporting characters.

The film, however, lacks the violence of other Coen Brothers films, instead, adding more humorous situations and an overall comical premise.

It tells the story of a Jewish Professor, Larry Gopnik (Michael Stuhlbarg), living in the 1960s, and has a string of bad luck. People close to Larry begin to drop dead all around him and he seems cursed with a string of bad luck.

The film centers around how he deals with crisis after crisis.

The first half of the film admittedly drags a bit, but the second part picks up nicely. The plot suddenly comes to a head rather quickly.

To stress, A Serious Man is a witty, dark comedy, so much of the dialogue is either tongue-in-cheek or dry.

The rabbis that Larry meets, combined with his son Danny and wife Judith are very funny and well-carved-out characters, many certain “types”.

The character of Larry also contained elements of the Larry David character on TV’s Curb Your Enthusiasm.

Also, for those cinema lovers who pay close attention to or have an appreciation for good set design, the film captures the 1960’s style (dress, furniture, cars), perfectly.

Oscar Nominations: Best Picture, Best Original Screenplay

Independent Spirit Award Nominations: 2 wins-Best Director-Joel and Ethan Coen, Best Cinematography (won), Robert Altman Award (won)

1986 Films, Amy Steel, Comedy, Dark Comedy, Horror, Slasher

April Fool’s Day-1986

October 24, 2016 scottmet99 Leave a comment

April Fool’s Day-1986

Director Fred Walton

Starring Amy Steel, Jay Baker

Scott’s Review #498

Reviewed October 24, 2016

Grade: B-

Emerging at the tail end of the late 1970s and early 1980s slasher film craze that encompassed that period in cinema (for better or worse), April Fool’s Day (1986) capitalized on the “holiday theme” marketing tool that escalated Halloween and Black Christmas to superstar ranks.

Unfortunately, for this film, it is not a traditional horror flick, in that it has plenty of comic elements, but also contains the standard slasher characteristics, thereby making it a blockbuster failure.

It does not know what its identity truly is.

From a story perspective, the film has one great twist but otherwise suffers from mediocre writing and unmemorable characters that nobody cares about.

We are treated to an ensemble of actors, most of the unknown variety, except for horror maven Amy Steel, (Friday the 13th Part 2), who portrays Kit, arguably the most relatable of the female characters.

A clever facet, weaved by director Fred Walton, is the casting of eight principals in April Fool’s Day, all with similar amounts of screen time, rather than one obvious “final girl” surrounded by minor characters, who we know will be offed.

The set-up is all too familiar in the slasher genre- the group of college-aged kids escapes mundane life for a spring break weekend getaway at their wealthy classmates, Muffy St. John’s, island estate.

Conveniently, her family is away- leaving the friends to have the run of the mansion, with a dinner party as part of the plan. Even more convenient is that the ferry the group takes does not run on weekends, so once they are dropped off at the island, they stay until Monday.

This sense of foreshadowing gets the anticipated peril and dread going.

We also sense that there is something very off with Muffy- despite being everyone’s friend. When Muffy finds a jack-in-the-box stored in her attic and has a childhood recollection, we know this is the set-up to the mystery.

Is she mentally unstable? Is someone out to get Muffy for a childhood prank or event that once occurred?

Since it is April Fool’s Day weekend, the groups spend most of the film playing pranks and amateurish jokes on each other (a whoopee cushion, an exploding cigar), mixed with a dash of intrigue- someone is leaving trails of history as part of the jokes.

One girl had an abortion, so the prankster leaves an audiotape of a baby crying. In another room, heroin paraphernalia is left for someone with a former drug habit.

Slowly, one by one, the college kids disappear, but is it just a hoax? Or is the hoax just a hoax?

The final twenty minutes or so is really the main reason to watch this film. As Kit and boyfriend Rob is the last remaining “alive” there is suddenly a startling twist that changes the entire dynamic of the film- in one moment everything the audience thinks of the story is turned upside down-this is wise writing, but comes too late in the game.

Sadly, some parts of the film are downright silly and most of the characters are of the stock variety- the flirtatious blonde, the obnoxious jocks, the stuck-up preppy, which ruins the creative twist that is aforementioned.

With glimpses of genius and striving for something more clever than the standard, run-of-the-mill 1980s horror film, April Fool’s Day (1986) has some potential but ultimately winds up with something missing.

1990 Films, Anjelica Huston, Brenda Blethyn, Children, Comedy, Dark Comedy, Fantasy, Jim Carter, Mai Zetterling, Nicolas Roeg

The Witches-1990

September 20, 2016 scottmet99 Leave a comment

The Witches-1990

Director Nicolas Roeg

Starring Angelica Huston

Scott’s Review #483

Reviewed September 20, 2016

Grade: B-

The Witches (1990) is a G-rated family film with a slightly dark tone that is done softly as the film is targeted at children. However, it is a film that adults may love too.

I found the film to be entertaining, with impressive special effects, and a dazzling comedic performance by Angelica Huston, but ultimately The Witches has a silly quality, though admittedly not trite, that does not completely make it a success in my book.

The film is based on a Roald Dahl children’s book – with predictably a child as the central character- similar to other Dahl novels that became films like James and the Giant Peach and Charlie and the Chocolate Factory.

I cannot help but wonder if my mediocre rating of The Witches has to do with the fact that I have not read the novel, as I have the other aforementioned novels in his collection.

Our hero in the story is Luke- a kindly, innocent young boy living in Norway with his parents and grandmother- Helga. When his folks are tragically killed, his grandmother takes him to London to begin a new life for themselves.

When Helga falls ill, they stay at a seaside resort where they stumble upon a convention of witches disguised as the Royal Society for the Prevention of Cruelty to Children.

Luke and his plump friend Bruno become victims of the witch’s plot to turn children into mice. The witch group is led by the Grand High Witch (Huston), whom the other witches fawn over with grandiose praise.

Huston is fantastic as she overacts the part she plays- this is not a bad thing but makes the role quite fun and energetic.

When she transforms from a glamorous woman to a shriveled monster, the transformation is interesting to watch and an impressive part of the film.

Furthermore, the way that Luke and Bruno interact when they are mice is also cute and a positive to the film.

I enjoyed the aspect that, if watched closely, can be seen involving the reveal that numerous witches are men with female wigs on. This successfully gives the witches a grotesque, obviously mannish quality and emits a chuckle of pleasure at the same time.

Still, there is something slightly childish or juvenile about the offering- while the film appears dark on the surface. The subject is rather played for laughs instead of going full steam ahead as a dark film.

Undoubtedly this is due to the target audience that the film is going for. For instance, the hotel manager and his affair with a hotel maid seem slightly unnecessary.

The Witches (1990) is a decent offering due to respect for the creative aspects that it elicits- I just felt the story might have been done a bit more seriously.

Additionally, the ending feels slightly forced and abrupt- a Hollywood-intended ending perhaps?

2011 Films, Comedy, Dark Comedy, Independent, Independent Comedy, Jack Black, Matthew McConaughey, Richard Linklater, Shirley MacLaine

Bernie-2011

August 30, 2016 scottmet99 Leave a comment

Bernie-2011

Director Richard Linklater

Starring Jack Black, Shirley MacLaine, Matthew McConaughey

Scott’s Review #472

Reviewed August 30, 2016

Grade: C-

Bernie (2011) is a film that, surprisingly, received critical acclaim, as well as Golden Globe and Independent Spirit Award nominations, but I was left quite disappointed with it.

Categorized as a dark comedy, it contains a morbid premise, which is not the issue, I just did not find it very good overall.

Despite being a true story of Bernie (Jack Black) marrying and murdering millionaire Marjorie Nugent (Shirley MacLaine) in Texas, the film is not compelling and is written too over the top.

Inexplicably, the townspeople refuse to believe Bernie’s obvious guilt.

To be fair, the film does contain a few funny and interesting moments and was based on factual events, but I didn’t feel connected to this movie as much as I expected and honestly found it a bit dull.

Jack Black is impressive as the title character but only because it is a departure from his usual slapstick film roles. I don’t get the accolades being heaped on him for his performance.

Shirley MacLaine and Matthew McConaughey are capable of the parts written for them, but one-note characters.

Meh.

Independent Spirit Award Nominations: Best Feature, Best Male Lead-Jack Black

2015 Films, Animated, Charlie Kaufman, Comedy, Dark Comedy, David Thewlis, Drama, Duke Johnson, Jennifer Jason Leigh, Tom Noonan

Anomalisa-2015

August 27, 2016 scottmet99 Leave a comment

Anomalisa-2015

Director Charlie Kaufman, Duke Johnson

Starring Tom Noonan, Jennifer Jason Leigh

Scott’s Review #469

Reviewed August 27, 2016

Grade: A-

Anomalisa (2015) is one of the most creative offerings I have seen recently.

Animation is not my forte- typically I find them much too nice, and the old “family-friendly” tags make me cringe, Anomalisa has received heaps of buzz so I decided to check it out.

I am glad I did.

The stop-motion film is quite adult-themed, though not the slightest bit raunchy. Rather it is an intelligent tale about loneliness and human beings connecting through this loneliness.

It is a bit of a melancholy film too, based on a 2005 play.

The central character is Michael Stone, a depressed customer service expert, who travels to Cincinnati to deliver a seminar on his expertise. Michael is riddled with anxiety and his life is rather mundane though he checks into a stylish hotel that is presumably hosting his convention.

He is a bit of a big name within his industry. Oddly, every person he encounters looks and sounds the same- that of a white man- even his wife and son. He is haunted by the memory of an old flame, Bella, who it is revealed he jilted years ago and now lives in Cincinnati.

The story gets interesting when Michael hears a woman’s voice singing, up until now all voices are male, remember, and he is desperate to find the voice.

He meets Lisa (voiced by Jennifer Jason Leigh), an insecure, rather dowdy woman, with whom he becomes infatuated. A customer service representative at the hotel to witness Michael’s seminar, Lisa is instantly smitten, though wary of Michael’s intentions.

They bond and the film tells of their romance and insecurities.

The film is highly creative and unique. It is also mysterious. My first wonder was to figure out why all the characters, regardless of gender, share the same voice.

Michael is lonely and sees everyone else as monotonous or meaningless until he meets Lisa. The film is not clear what Michael sees in Lisa- perhaps her realness in a world of phoniness. She is an ordinary girl, but what is the point? I am still not sure of this.

I did not find the character Michael likable and not one to root for. He is dismissive of some characters and a bit condescending, but despite this, not a hated character either. He and Lisa as a duo are to root for.

Anomalisa has some humor too, albeit dark humor. When Michael mistakes an adult toy store for a traditional toy store and purchases a Japanese sex doll for his son, Michael’s wife hilariously wonders about some foreign substance around the doll’s mouth.

A nervous male passenger on Michael’s flight clutches Michael’s hand, even after landing safely.

The explicit sex scene between Michael and Lisa is as shocking as it is tender. I think showing this graphic edge in animation threw me for a loop since this rarely happens in animated films- perhaps incorrectly- assuming that they are for children only with their parents to endure.

Anomalisa is not true animation- felt puppets are used, giving a great, human-looking feel and making the characters more life-like.

Anomalisa (2015) is not a perfect ten but damn close for its left-of-center approach alone. A journey into the art of creativity and thought. A bit far out there for most, and perhaps the sarcasm may be lost on some, but a unique experience, nonetheless.

Oscar Nominations: Best Animated Feature Film

Independent Spirit Award Nominations: Best Feature, Best Director-Charlie Kaufman and Duke Johnson, Best Supporting Female-Jennifer Jason Leigh, Best Screenplay

2012 Films, Adam Sandler, Alan Thicke, Andy Samberg, Colin Quinn, Comedy, Dan Patrick, Dark Comedy, Dennis Dugan, Ian Ziering, James Caan, Lowest Rated Films, Rex Ryan, Sean Anders, Susan Sarandon, Todd Bridges, Vanilla Ice, Will Forte

That’s My Boy-2012

June 19, 2016 scottmet99 Leave a comment

That’s My Boy-2012

Director Sean Anders

Starring Adam Sandler, Andy Samberg

Scott’s Review #423

Reviewed June 19, 2016

Grade: D

That’s My Boy (2012) is such an incredibly bad film yet there is something that strangely kept my attention.

With oodles of stereotypes and either sexist, homophobic, or racist jokes throughout the film, it should have made me angry, but somehow it did not.

This movie was so completely over the top that it could not possibly be taken too seriously.

One laughable aspect that I did enjoy was the, albeit odd, cameos by Vanilla Ice and Todd Bridges who seem to have no problem degrading themselves, and the references to the 1980s.

Otherwise, That’s My Boy is pretty rock bottom for filmmaking.

This is not a knock on the dumb comedy genre as other recent similar types of films are well written (like This is 40-2011).

But, alas, That’s My Boy (2012) is not one of those films and will not go down in history as such.

True to form, the ending was predictable and uninteresting.

2012 Films, Abbie Cornish, Christopher Walken, Colin Farrell, Comedy, Crime Drama, Dark Comedy, Drama, Gabourey Sidibe, Harry Dean Stanton, Independent, Independent Comedy, Independent Drama, Kevin Corrigan, Martin McDonagh, Michael Stuhlbarg, Sam Rockwell, Satire, Tom Waits, Woody Harrelson

Seven Psychopaths-2012

June 19, 2016 scottmet99 Leave a comment

Seven Psychopaths-2012

Director Martin McDonagh

Starring Colin Farrell, Sam Rockwell

Scott’s Review #422

Reviewed June 19, 2016

Grade: B-

Seven Psychopaths (2012) is a film that I truly wanted to like more than I did.

It started well with a Quentin Tarantino style that was appealing and the film does contain an interesting premise.

Colin Farrell plays the straight man in a cast of offbeat, quirky characters and is attempting to complete a screenplay entitled “Seven Psychopaths” based on these characters.

Sounds great, but halfway through the movie stopped delivering. I found myself slightly bored.

The film has a unique concept, to be sure, but fizzles during the second act, so much so that it stopped making much sense and lost my interest.

I did admire the creativity, though, and the chemistry among the cast is great, but the overall story in Seven Psychopaths (2012) disappointed me.

Independent Spirit Award Nominations: Best Supporting Male-Sam Rockwell, Best Screenplay

2016 Films, Alden Ehrenreich, Alison Pill, Channing Tatum, Clancy Brown, Coen Brothers, Comedy, Dark Comedy, Dolph Lundgren, Emily Beecham, Fisher Stevens, Frances McDormand, George Clooney, Jonah Hill, Josh Brolin, Ralph Fiennes, Satire, Scarlett Johansson, Tilda Swinton, Wayne Knight

Hail, Caesar!-2016

February 16, 2016 scottmet99 Leave a comment

Hail, Caesar! -2016

Director Ethan Coen, Joel Coen

Starring George Clooney, Channing Tatum

Scott’s Review #377

Reviewed February 16, 2016

Grade: B+

Hail, Caesar! (2016) is a quirky film created and directed by the Coen Brothers, who are known for offbeat films such as Fargo (1996), No Country for Old Men (2007), and Raising Arizona (1987).

Hail, Caesar is a satirical comedy about the Hollywood film industry during the post-World War II period of the 1950s.

The film features a bevy of current Hollywood talent, including George Clooney, Channing Tatum, Josh Brolin, and Scarlett Johannsen, including singing, dancing, and scandalous matters.

All give fine performances and add humor and wit to the film.

The plot centers on the character of Eddie Mannix (Brolin), a celebrity “fixer” and real-life person who works as an executive for Capitol Pictures and whose primary responsibility is to ensure that famous Hollywood stars remain out of trouble.

The period is 1951, a particularly scandalous time in pictures. One of the biggest stars of the time, Baird Whitlock (Clooney), is suddenly kidnapped and held for ransom while completing a big epic film for the studio.

Mannix must race to keep the crisis out of the news and safely get Whitlock back.

Indeed, there are interesting subplots, including handsome yet talent-less Western actor Hobie Doyle, hired by the studio to appear in a sweeping period piece directed by suave Laurence Laurentz (Ralph Fiennes), and DeeAnna Moran (Johannsen), unmarried and with a “bun in the oven,” determined to keep herself out of the tabloids.

I loved the look of the film, as numerous films occur within it. The 1950s set pieces and designs are exquisite, particularly the period piece set, lavishly designed with classic doors, a staircase, flowers, and a cast dressed to the nines.

It brings back an extravagant time.

The film is a satire, to be sure. Still, it also addresses the serious subject of communism (especially for that period), Russia, and Russian defectors, all involved in a plot to prove a valuable point.

Despite the film being a comedy, this is worth serious consideration. Many Hollywood writers make money for the studios and are rewarded with underwhelming salaries.

The same holds true in Hollywood today.

This point can spill over into other walks of life as well, and the point of the “little man gets screwed” is explored. Communism is also explored throughout the film as the central message- an important message that resonates.

Another interesting tidbit that Hail, Caesar!Mentionss, though only on the surface, is the burgeoning onslaught of television programming.

Suddenly, an increasing number of people were purchasing TVs and avoiding the glamour of films, opting instead for the comfort of their couches.

What a different time it was!

An intriguing, favorite character of mine belongs to Channing Tatum’s portrayal of Burt Gurney, a Gene Kelly-like character famous for singing and dancing numbers. A sizzling sailor dance gives edge and sexuality to the film.

A revealing scandal involving Burt and Laurence is fantastic and delicious.

My favorite scene belongs to Frances McDormand, who shamefully only appears in one scene- quite memorable. As film editor C.C. Calhoun, she diligently shows Mannix film dailies in the hopes of discovering a clue in the disappearance of Whitlock. When her scarf gets caught in the projector, hilarity and grotesqueness ensue.

It is a classic Coen Brothers comedy.

Hail Caesar! (2016) succeeds as a witty, comical throwback to a wonderful time in film history, with a political edge that historians will appreciate and Coen Brothers fans will relish.

Perhaps not their most creative or memorable, but enjoyable all the same.

Oscar Nominations: Best Production Design

2015 Films, Adam McKay, Anthony Bourdain, Billy Magnussen, Biography, Brad Pitt, Christian Bale, Comedy, Dark Comedy, Finn Wittrock, Jeremy Strong, John Magaro, Margot Robbie, Marisa Tomei, Max Greenfield, Melissa Leo, Ryan Gosling, Selena Gomez, Steve Carell, Tracy Letts

The Big Short-2015

January 10, 2016 scottmet99 Leave a comment

The Big Short-2015

Director Adam McKay

Starring Christian Bale, Steve Carell

Scott’s Review #369

Reviewed January 10, 2016

Grade: A-

The Big Short (2015) is a confusing film and is its intention and also its genius.

Throughout some of the film, I was uncertain how much I liked it (or got it) and found many of the characters unlikeable, but at the conclusion, I realized that is exactly what the filmmakers intended is a clever tactic and makes The Big Short a success.

On the surface, the film has some humor but a very dark story at its core and left me a bit depressed and terrified at the conclusion.

I am happy that the film is receiving accolades and is the “thinking man’s” hit movie of the season.

To attempt to summarize the film, the film begins in 2005, approximately two years before the financial crisis of 2007-2008.

Eccentric hedge fund manager Michael Burry (Christian Bale), realizes the U.S. housing market is unstable and predicts a crash.

He attempts to profit by betting against the market, a move laughable to all around him, especially the banks who anticipate a windfall at Michael’s expense. Trader and fellow market managers, Jared Vennett and Mark Baum (played by Ryan Gosling and Steve Carrell) catch wind of Michael’s theory and try to get in on the action.

There is a sub-plot involving two younger investors also attempting to profit through the guidance of a retired banker (played by Brad Pitt).

The financial collapse is a tender subject and certainly no laughing matter, especially since it is so recent and affects many people.

The Big Short is touted as a comedy, which is strange. I found the audience didn’t know exactly what to laugh at or when. The film’s “laughs” were cynical, witty, and sometimes wicked. Many people do not get this type of humor.

In real life, people were kicked out of their homes and lost their jobs, pensions, etc. and it was all the result of greed, which The Big Short hammers home.

Several scenes include frat-boy investor/trader types getting rich by enabling almost anyone to afford a new house. Little did these people realize that there was a catch.

The film paints a jaded picture of Wall Street. The rich get richer at the expense of the middle class and the poor. It is an age-old sad tale.

Performance-wise, Carrell and Bale are the standouts. They both play characters who are damaged. Bale’s Michael is socially awkward, and has a false eye, but is also a genius. Carrell’s Mark is angry, grizzled, and is in therapy as a result of his brother’s suicide.

Both actors are great and have developed into worthy, credible acting talents. Worth mentioning, are small, but meaningful roles by Melissa Leo and Marisa Tomei.

The Big Short is shot interestingly, and highly unusual. From time to time, the action will stop and a famed celebrity (Selena Gomez, a world-renowned chef, or a model in a bubble bath) will explain the events, thus far, or give some review.

Also, more than once the actors will turn to the camera and speak directly to the audience. A personal touch that I found effective.

In the end, not much in life has changed, which is the message, and a frightening one. As one character brilliantly puts it “people will go back to blaming the poor and the immigrants”, which is a sad message.

After millions lost everything, not much has changed in the world and The Big Short makes that very clear. The people responsible have gotten away with crime, the banks bailed out, and a new scheme is undoubtedly in place.

It’s a sad world.

The Big Short (2015) is a gritty, harsh look at reality and a terrific film.

Oscar Nominations: 1 win-Best Picture, Best Director-Adam McKay, Best Supporting Actor-Christian Bale, Best Adapted Screenplay (won), Best Film Editing

Welcome to my blog!1,505 reviews posted so far! I'm Scott Segrell and I reside in Stamford, CT. My site features hundreds of film reviews I have written since I launched the site in 2014. I hope you enjoy reading my latest reviews or searching for your own favorites to see if we agree. Please see my featured films of the month, and don't forget to utilize the tags and category links.