Tag Archives: Thriller

#206 Favorite Film, 1945 Films, Alfred Hitchcock, Favorite Film of the Year, Gregory Peck, Ingrid Bergman, Leo G. Carroll, Michael Chekhov, Thriller, Top 250 Films

Spellbound-1945

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Spellbound-1945

Director Alfred Hitchcock

Starring Ingrid Bergman, Gregory Peck

Top 250 Films #206

Scott’s Review #1,015

Reviewed April 24, 2020

Grade: A-

One of Alfred Hitchcock’s early American films, after his voyage from his home base in London to the United States soil, proved profitable and critically acclaimed.

Spellbound (1945) followed Rebecca’s box office and awards success (1940).

Probably the most spoofed of all the Hitchcock works in the 1977 Mel Brooks parody High Anxiety, Spellbound provides a psychological storyboard that uses enough vehicles like amnesia, hypnosis, and danger to impress any daytime soap opera writer.

Not in the director’s top arsenal or remembered well, but a stellar effort.

Youthful Doctor Anthony Edwardes (Gregory Peck) arrives one day at the sprawling Green Manors Mental Asylum as the new director.

After falling for each other immediately, the beautiful Doctor Constance Petersen (Ingrid Bergman) discovers that Edwardes is not who he claims he is. Instead, he is a paranoid amnesiac impostor, more reminiscent of a patient. This gives new meaning to the phrase “the inmates are running the asylum.”

Constance becomes obsessed with answering the following questions: What happened to the real Dr. Edwardes? If Edwardes has been kidnapped or murdered, who is responsible? Who is the gorgeous man she has just fallen head over heels for?

The intelligent psychoanalyst must practice what she preaches by becoming a sleuth and figuring out what is happening. The action occurs in bustling New York City and snowy Rochester, New York.

I love the progressive nature of the story.

To have a leading female character with a lofty professional status is admirable, given the year 1945, when female roles were beginning to evolve.

While most of the roles that Hollywood heavyweight Bette Davis portrayed in the 1930s and 1940s were vital and substantial, this was the exception and not the norm.

Bergman, quite beautiful, does not need to play sex kitten to make her character sexy. She does well with that by wearing glasses and a lab coat, using her character’s intelligence to her advantage.

In 1945, Alfred Hitchcock was still considered a “new” director by most and was only beginning to make his mark on audiences unfamiliar with his work. His cunning and masterful use of lighting and shadows to produce suspense is evident in Spellbound.

The faces of Constance and Anthony glow with a combination of warmth and suspicion, and both are wonderful at eliciting emotion through subdued facial expressions. While Peck is slightly wooden, it does add a dimension to his uncertain character.

With Hitchcock, the atmosphere is everything. The treats are magnificent, like shots of the old Penn Station and Grand Central Station, monumental parts of everyday New York City life. They provide a glimpse of bustling commuter life in the 1940s before most of us were born.

Undoubtedly, many extras and non-actors were used to enrich the scenes and offer what regular people looked like in those days.

As Constance and Anthony team up to determine what secrets lie beneath his subconscious, they board a train for the seclusion of upstate New York, where more secrets are revealed. A heavy dose of psychoanalysis and hypnotism allay the film’s best scene.

Anthony sinks into a dreamlike world where he sees strange objects fraught with symbolism: a man with no face, scissors, playing cards, eyes, and curtains. What do they all mean? Fans will have fun piecing together the clues to solve the mystery.

The works of Salvador Dali, a famous surrealist artist known for bizarre and striking images, are displayed during the dream sequence. Though limited, they envelop the scene with fright and mystique and are a perfect addition to the odd sequence.

Shot in black and white, the final scene adds a blood-red image as a character turns a revolver on themselves and commits suicide. When Anthony drinks a glass of milk, the camera is inside the bottom of the glass, creating a hallucinogenic effect.

While Peck does his best with a peculiar character, Anthony is not as interesting as Constance, Doctor Alex Brulov (Michael Chekhov), or Doctor Murchison (Leo G. Carroll). I would have loved more scenes or a backstory for Brulov, as it would have allowed me to get to know him better.

Anthony has some light annoyances, such as when he inexplicably passes out whenever events become too much for him.

Spellbound (1945) is the perfect accompaniment for a snowy winter night, with its warm and cozy look, soothing atmosphere, and musical score.

Perfect to watch in tandem with High Anxiety (1977) for a double punch of suspense and appreciation for the film, with the humor and satire it furnishes. While not the best of Hitchcock films, it stands proudly on its merits.

Oscar Nominations: 1 win-Best Motion Picture, Best Director-Alfred Hitchcock, Best Supporting Actor-Michael Chekhov, Best Scoring of a Dramatic or Comedy Picture (won), Best Cinematography, Black-and-White, Best Special Effects

#211 Favorite Film, 1997 Films, Bill Pullman, David Lynch, Gary Busey, Giovanni Ribisi, Jack Nance, Marilyn Manson, Mink Stole, Patricia Arquette, Richard Pryor, Robert Blake, Thriller, Top 250 Films, Trent Reznor

Lost Highway-1997

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Lost Highway-1997

Director David Lynch

Starring Bill Pullman, Patricia Arquette

Top 250 Films #211

Scott’s Review #868

Reviewed February 17, 2019

Grade: A-

David Lynch, forever known for his odd and mind-boggling productions, released what might be his most bizarre offering, Lost Highway (1997).

Dreamlike and downright hallucinogenic, the film is impossible to dissect and is open to endless interpretation. Characters morph into younger or different versions of themselves or even into different characters entirely making the film best served as an experience not to be over-analyzed.

The most enjoyment comes from the fabulous atmospheric elements.

Lost Highway is set in Los Angeles as we meet saxophonist Fred Madison (Bill Pullman), a nightclub employee who resides with his glamorous wife Renee (Patricia Arquette) somewhere in the Hollywood hills.

The couple begins receiving envelopes containing VHS tapes of footage of their house followed by more invasive tapes of them being filmed while sleeping in their bedroom.

Spooked, they enlist the help of a pair of incompetent detectives.

The events begin to grow more complex with the introduction of a menacing mystery man (Robert Blake) and sequences involving a dismembered Renee, and Fred’s subsequent incarceration for her murder.

Fred suddenly morphs into a young auto mechanic named Pete Dayton (Balthazar Getty), who is released into his parent’s care while being followed by the two detectives.

Pete embarks on an affair with Alice Wakefield, a mirror image of Renee, who is the mistress of powerful Mr. Eddy (Robert Loggia). Pete and Alice plan to escape together leaving their troubled lives behind.

Any attempt to make more sense of the story than outlined above is fruitless as a torrent of questions could be raised. The obvious ones are why does Fred turn into Pete (looking completely different) and why does Renee turn into Alice (looking similar)?

What do random scenes of a burning desert cabin mean? What does the bizarre and hazy lesbian sequence with Marilyn Manson have to do with anything?

Discerning the logic and attempting to unravel the mystery will lead to frustration.

The best advice is to escape into the film and allow it to manifest in the viewer’s mind. The terms “dreamlike” and “hallucinating” are often used to describe films but are perfect adjectives to fit Lost Highway.

The stories do run parallel, so the challenge is not being able to follow each of them, but rather how they connect. The stories also merge circularly with a rhythmic effect and a satisfying ambiance that lured me immeasurably.

My favorite characters are Alice and Pete and this is in large part because of the actors who portray them. Not appearing until the second half Getty and Arquette infuse passion and energy into the roles.

I immediately rooted for them as a couple as their tender and smoldering chemistry was immediately felt. Arquette blazes as a sexy temptress and Getty as the handsome and earnest man submitting to her prowess.

Eagle-eyed viewers may notice comparisons to Russ Meyer’s devilish sexploitation film Supervixens (1975).

The most notable are the dual character representations, the auto mechanic occupation, the locales (more than a few Los Angeles roads seem identical), and various sequences featuring a weightlifter, a gas station drive-up, or other eerily similar scenes.

Whether or not there is a direct correlation between the films is unknown but fun to observe.

The musical score and soundtrack are high points adding both mystique and aggression with the hard rock songs featured. Marilyn Manson’s “I Put a Spell on You”, Rammstein’s “Heirate Mich”, and The Smashing Pumpkins “Eye” are used in important scenes.

The soundtrack release was a huge success on modern rock radio achieving Gold record sales status.

At the time of Lost Highway’s release, the film was not well regarded by critics and dismissed as not making much sense. In the decades following the film has garnered more acclaim and as with a fine wine has aged well. The beautiful cinematic tone, creative design, and images have become more revered over time.

For a perplexing and cerebral experience look no further than Lost Highway (1997), a delicious companion piece to the Lynch masterpiece, Mulholland Drive (2001).

#215 Favorite Film, 1971 Films, Chloe Franks, David Warner, Del Henney, Dustin Hoffman, Peter Vaughan, Roger Spottiswoode, Sam Peckinpah, Susan George, Thriller, Top 250 Films

Straw Dogs-1971

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Straw Dogs-1971

Director Sam Peckinpah

Starring Dustin Hoffman, Susan George

Top 250 Films #215

Scott’s Review #733

Reviewed March 19, 2018

Grade: A

Straw Dogs (1971) is famed director Sam Peckinpah’s most startling and most controversial film.  Hardly an easy watch, it will provoke disturbing and uneasy reactions, but it is a work of art, teetering on the edge of being an all-out art film.

Viewers will cringe during intense scenes but will also marvel at the film’s mastery of this classic, bringing on a whirlwind roller coaster ride as story elements spiral out of control to a frenetic, powerful climax.

Intellectual American mathematician, David Sumner (Dustin Hoffman), moves with his sexy British wife, Amy (Susan George), to a Cornish countryside, the town in which she grew up, where they proceed to encounter problems, both within their marriage, and external factors, as an angry mob of blue-collar workmen, threaten their home life.

When non-violent David is pushed to the limit, questions of morality are brought to light, as Amy faces her demons and bouts with brutality and victimization.

The film, made in 1971, pushes the envelope significantly in its display of violence.

Several years earlier, 1967’s Bonnie and Clyde and Peckinpah’s own The Wild Bunch (1969) were the films that really got the ball rolling. Still, Straw Dogs continues the trend of the brutal violence that overtook American cinema at the time.

While watching the film for the second time, I was struck hard by the feeling that I was watching something important.

Amy’s rape scene is the most brutal scene of all to watch for the sheer way in which it can be interpreted. Later, when Amy replays the scene in her mind, the audience is forced to relive the experience.

Not content to only include the rape scene, Peckinpah wants the viewer to dissect the scene- the fact that Amy is assaulted by not one, but two men, and reacts differently to each of them, is the key here.

The scene is complex in that Venner, the first assailant, is hunky and presumed to be a former beau, and she eventually relents to his advances, but does she enjoy the act? When Scutt enters the picture, however, things turn from tender and ambiguous to violent and dirty.

Undoubtedly, an influence on director Quentin Tarantino is the final sequence of the film- a scene fraught with tension, violence, and grit.

Now trapped in their house amid a mob of angry, drunk men, hell-bent on revenge, David and Amy must both bond with each other and match antics with the men.

I experienced visions of 2015’s The Hateful Eight through the claustrophobic, cabin-like setting and the quick edits that Peckinpah uses throughout the film.

A sad scene, and at least a portion of the reason for the townsfolk’s rage, is a scene reminiscent of Frankenstein when a hulking and mentally challenged man accidentally harms a young girl. Not knowing his strength and meaning to protect the girl instead of killing her, the menfolk of the town respond in a nightmarish and witch-hunt manner.

Suddenly, David becomes the defender and protector of this man.

David’s character change is interesting, and the great Hoffman adds layer upon layer of complexity to the role. At first, a peaceful man, due to circumstances, he soon becomes the assailant, creating traps and weapons, intent on maiming his prey.

Hardly a violent man, this change of character is evident in our earlier scene, where David nurses a wounded bird.

In addition to Hoffman’s traditionally outstanding performance, Susan George delivers the perfect blend of bitchiness, spoiled-brat tantrums, and, later, guilt-ridden angst and fear.

The villains are perfectly cast and believable as bored, simple-minded, and horny, small-town boys just itching for trouble.

Lush is the gorgeous United Kingdom countryside featured in Straw Dogs, as frequent exterior scenes are shot, revealing lavish and plush mountainous areas- the sweeping beauty of the landscape counterbalancing the brutality shown in other sections of the film.

Mixing super quick editing with a dark, compelling screenplay, with underlying themes of questioning one’s manhood, Straw Dogs is a provocative and edgy tale of violence and revenge in a small town, that gives new meaning to the fear of “home invasion” and feeling vulnerable.

Thanks to a great cast and lots of other facets, Straw Dogs (1971) is a timeless (and brutal) treasure.

Oscar Nominations: Best Original Dramatic Score

#221 Favorite Film, 2010 Films, Barbara Hershey, Darren Aronofsky, Favorite Film of the Year, Mila Kunis, Natalie Portman, Sebastian Stan, Thriller, Top 250 Films, Vincent Cassel, Winona Ryder

Black Swan-2010

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Black Swan-2010

Director Darren Aronofsky

Starring Natalie Portman, Winona Ryder, Barbara Hershey

Top 250 Films #221

Scott’s Review #735

Reviewed March 22, 2018

Grade: A

Darren Aronofsky, the director famous for the psychological and bizarre, most notably 2000’s Requiem for a Dream, 20008’s The Wrestler, and 2017’s mother!, can easily add 2010’s Black Swan to this category as he weaves an unsettling tale involving the world of ballet centered around the Tchaikovsky work Swan Lake.

The film is dark, eerie, perverse, and utterly mind-blowing in its creativity- in short, Black Swan is a masterpiece.

The film reaped several Academy Award nominations, including a win for Natalie Portman as Best Actress.

In the competitive New York City ballet company, art director, Thomas Leroy (Vincent Cassel), is preparing to open the season with the compelling and complex, Swan Lake.

Deemed “too old”, star ballerina Beth McIntyre (Winona Ryder) is forced into retirement, much to her chagrin, allowing others to audition for the coveted lead role.

Aspiring talent, Nina Sayers (Portman) gives a flawless audition as the White Swan but lacks the depth to succeed as the Black Swan. Despite this point, Nina wins the role and slowly becomes psychotic as she begins to embody the Black Swan in her quest for perfection.

Center stage, Portman embodies her character with mystique as we never know if she is living her dual role or if someone is messing with her.

As strange events begin to occur, Nina is insecure and on edge throughout- as she desperately wants to give testament to White Swan/Black Swan she does not feel confident in the skin of Black Swan and she eventually teeters toward the edge of insanity.

Deserving the Oscar statuette she won, Portman delivers the best role of her career.

Black Swan would not have been the success that it was without the talents of the three most prominent supporting characters- Cassel, Mila Kunis (at the time unknown), as Lily/Black Swan, and legendary talent Barbara Hershey as Nina’s the supportive yet haggard mother, Erica.

Just as Nina grows both suspicious of and distrustful of each of these character’s motivations, so does the audience.

Is Lily a trusted friend? What does Nina know of her? Is Cassel’s Thomas manipulating Nina for a great performance or does he have sexual designs on her?

Is Erica a loyal confidante, a jealous bitch, vengeful about her stalled career?

The final scene of the film is a masterpiece in itself and perfectly wraps up the film in a perplexing, grotesque style. As the big night finally arrives and doubt is cast on whether or not Nina will perform successfully, the entire scene is a riveting, climactic experience.

One will never forget the final shot of Nina, gushing with blood, and a grimace caked in stage makeup, as she professes a perfect performance to her musical director and castmates.

With this scene, we are left wondering whether she will ever recover from this performance.

The fabulous musical score is haunting and effective and each piece is perfectly placed within the appropriate scene. The heavy use of violins gives the soundtrack a frightening, almost horrific screeching quality, and the Chemical Brothers’ electronic songs, importantly used during Nina and Lily’s wild night out clubbing, are tremendously effective.

The 1948 masterpiece The Red Shoes, directed by the controversial Michael Powell, must have been an influence on Aronofsky.

Both contain similar subject matters of ballet and dancing on the edge of sanity, I can hardly think of two better films to serve as companion pieces, watched in tandem, than these two timeless greats.

Darren Aronofsky, along with a perfectly cast company with stellar, bombastic actors, and a classical music score by the great Tchaikovsky, with electronic elements mixed in, delivers a piece that works in spades.

2010’s chilling Black Swan is a modern-day classic that will be discussed as much as it is remembered as an incredibly important film.

Oscar Nominations: 1 win-Best Picture, Best Director-Darren Aronofsky, Best Actress-Natalie Portman (won), Best Cinematography, Best Film Editing

Independent Spirit Award Nominations: 4 wins-Best Feature (won), Best Director-Darren Aronofsky (won), Best Female Lead-Natalie Portman (won), Best Cinematography (won)

#223 Favorite Film, 2007 Films, Anthony Edwards, Brian Cox, Chloë Sevigny, Clea DuVall, Crime Thriller, David Fincher, Dermot Mulroney, Jake Gyllenhaal, John Carroll Lynch, June Diane Raphael, Mark Ruffalo, Philip Baker Hall, Robert Downey Jr., Thriller, Top 250 Films

Zodiac-2007

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Zodiac-2007

Director David Fincher

Starring Jake Gyllenhaal, Mark Ruffalo, Robert Downey Jr. 

Top 250 Films #223

Scott’s Review #1,134

Reviewed April 16, 2021

Grade: A

Zodiac (2007) is an excellent film in its own right. The attention to detail circa the 1960s and 1970s is spot on and adds to the flavor of the entire experience. The locale of San Francisco is moody and lurking with the antics of the self-professed Zodiac Killer.

With excellent acting, the sum of its parts adds up to a wonderful film experience.

The film is incredibly well-paced, character-driven, and layered in rich texture. What more can be asked of a cinematic production? It simply has it all and will engage any viewer craving mystery and intrigue.

David Fincher, as the director’s chair, creates a world unto itself with carefully crafted sets, artistic nuances, and of course a superb story. A lesson learned is that sometimes evil exists and cannot be caught despite best efforts and the ramifications are endless.

Painfully, the characters in Zodiac slowly realize this.

Zodiac is based on the best-selling non-fiction book by Robert Graysmith, a pivotal character in the film. The novel is very similar to James Elroy’s 1987 novel The Black Dahlia, another unsolved case set in California.

The film tells the story of the manhunt for the Zodiac Killer, a serial killer who terrorized the foggy San Francisco Bay Area during the late 1960s and early 1970s.

Investigators (Mark Ruffalo, Anthony Edwards) and reporters (Jake Gyllenhaal, Robert Downey Jr.) become obsessed with learning the killer’s identity and bringing him to justice.

Meanwhile, Zodiac claims victim after victim and taunts the authorities with endless and specifically graphic letters, bloodstained clothing, and cryptic messages shrouded in menacing phone calls.

The case remains one of the United States’ most infamous unsolved crimes.

Much of the acclaim must go to the three actors cast in the central roles and Gyllenhaal is top of his game in the leading role. As cartoonist Robert Graysmith he is the main hero and the person who spearheads the investigation, prompting disbelievers to listen to him.

Gyllenhaal is sensitive, sympathetic, and obsessed and at first, perceived to be a laughing stock, but audiences will immediately get behind the man and this is thanks to Gyllenhaal’s powerful acting.

The character-driven approach continues as Mark Ruffalo gives a wonderful portrayal of Inspector David Toschi. The tough-as-nails and no-nonsense approach led Toschi into obsession and fudging evidence.

Finally, Robert Downey Jr. provides energetic gusto as Paul Avery, a journalist who turns to drugs and alcohol because of the intensity and emotional investment in the case.

Plenty of red herrings make the film fun and the prime suspect of Arthur Leigh Allen, played by character actor John Carroll Lynch may or may not be the assailant.

It’s breathtaking watching all the twists and turns in this ferociously complex film.

Zodiac is based on real events and reportedly is extremely historically accurate. Fincher and others spent eighteen months conducting their investigation and research into the Zodiac murders.

So, authenticity is everywhere in this film.

Watching a film beginning in 1969 and ending in 1983 is a joy for someone who grew up in that era. Fincher drizzles the film with timely automobiles, clothes, and other sets so it appears to be walking into a time capsule.

I’m sure this only will add to the viewer’s enjoyment.

For fans of films based on the Zodiac Killers, the 1971 film Dirty Harry, starring Clint Eastwood delivers an exceptional experience based on the real-life case.

But Fincher’s Zodiac is just as good.

Despite the behemoth running time- two hours and thirty-seven minutes, Zodiac (2007) is an edge-of-your-seat thriller. The pulsating yet prowling pace is worth several viewings to appreciate the juiciness of all of the elements David Fincher offers.

A hefty round of applause is deserved.

#230 Favorite Film, 1995 Films, Brad Pitt, Crime Thriller, David Fincher, Favorite Film of the Year, Gywneth Paltrow, Kevin Spacey, Morgan Freeman, Richard Roundtree, Thriller, Top 250 Films

Seven-1995

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Seven-1995

Director David Fincher

Starring Brad Pitt, Morgan Freeman

Top 250 Films #230

Scott’s Review #780

Reviewed June 29, 2018

Grade: A-

Many films containing a similar theme as Seven (1995) have come along over the years- some good, most mediocre. The mixture of homicidal detectives tracking crazed killers has been done ad nauseam and more often than not, done with either poor writing or a predictable outcome-or both.

Instead of being a run-of-the-mill film, Seven serves as a representative blueprint of the tautness and unpredictability that can be achieved by using a familiar yet compelling concept, provided there is good writing and good direction.

The film is incredibly brutal and riveting.

Respected director David Fincher gathers an all-star cast of Hollywood heavies including Brad Pitt, Morgan Freeman, Kevin Spacey, and Gwyneth Paltrow, all of whom add to the well-crafted script.

It also brings the talent level to respectability and, as great as the story is, with weaker actors, the stakes would not have been as high and the film may have even been ruined.

A serial killer is on the loose in Los Angeles- detective duo William Somerset (a very good Freeman) is set to retire and is tasked with finding the killer. He is partnered with David Mills (Pitt), a young, hot-tempered man who has just moved to the city with his wife Tracy (Paltrow).

Unbeknownst to David, Tracy is pregnant and unsure whether to keep the child- this point factors in heavily as events unfold.

The killer is using the seven deadly sins: greed, gluttony, sloth, lust, pride, envy, and wrath, as his motivation for the creative slayings.

In retrospect Seven is very similar to the still-to-come Fincher work, 2007’s Zodiac, so much so that both films could be watched in sequence- one being a true story, the other pure fiction.

Both focus on the serial killer element with a message, they each have marvelous psychological intrigue and purpose. There are cat-and-mouse scenes aplenty for fans to enjoy.

At the risk of this point being a total stretch, I’d also argue that 1971’s Dirty Harry influenced Zodiac, Seven, and The Silence of the Lambs (1991).

A heinous killer shrouded in intelligence, danger, and motivation is a commonality of all of the aforementioned films, and numerous studies of each of the killers could be dissected if time permits.

Each killer is calculating and manipulative.

On that note, Kevin Spacey gives a tremendous performance as the cold and villainous John Doe. Clever and inventive, his victims are intended to suffer and suffer greatly.

Some of the kills could be included in the best of the torture-horror franchise, Saw (2004), as they are very twisted and carved in brutality.

A supermodel is disfigured after being given a choice to call for help or overdose on pills, representing pride. A man is forced to consume food until his stomach ruptures, representing gluttony. Spacey portrays his role as calm, cool, and collected, eliciting a terrifying response from audiences, especially as he toys with the detectives.

Still coming into his own as an actor in 1995, Pitt proves he can almost measure up (though not quite) with big-boy acting talents Spacey and Freeman. Playing an ambitious man eager to prove himself in “the big city” with his pretty wife in tow, Pitt’s David is wholesome and family-oriented, yet has an edge.

All around the likable hero, Pitt is perfectly cast in the role and a large part of its success.

The frightening final sequence still resonates with me after all of these years since Seven was released. In a classic standoff between Doe and the detectives, as is typically the case in these types of films, the ultimate climax is twisted, psychological, and gruesome.

I did not see this shocker coming as it culminates in lives being forever changed. The expressions and actions of Freeman, Pitt, and Spacey are superlative.

Seven (1995) is a film basking in riches. On par with the best of the best in serial killer films, it is powerfully directed by Fincher. The film is fraught with grisly symbolism and its share of suspenseful sequences.

With powerful acting, it is a film relevant and watchable decades after the original release. Perhaps not quite on the level as Dirty Harry or The Silence of the Lambs, but pretty damned close and that is impressive in itself.

Oscar Nominations: Best Film Editing

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

Klute-1971

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Klute-1971

Director Alan J. Pakula

Starring Jane Fonda, Donald Sutherland

Top 250 Films #234

Scott’s Review #1,351

Reviewed March 12, 2023

Grade: A-

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Saboteur-1942

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Saboteur-1942

Director Alfred Hitchcock

Starring Robert Cummings, Priscilla Lake

Top 250 Films #236

Scott’s Review #98

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Reviewed July 9, 2014

Grade: B+

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

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

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

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

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

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

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

Three Days of the Condor-1975

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Three Days of the Condor-1975

Director Sydney Pollack

Starring Robert Redford, Faye Dunaway, Max von Sydow

Top 250 Films #246

Scott’s Review #1,206

Reviewed December 11, 2021

Grade: B+

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

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

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

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

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

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

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

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

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

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

We also wonder about their motivation.

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

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

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

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

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

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

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

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

Oscar Nominations: Best Film Editing

1984 Films, Barbara Crampton, Brian De Palma, Craig Wasson, David Haskell, Deborah Shelton, Dennis Franz, Frankie Goes to Hollywood, Gregg Henry, Guy Boyd, Lane Davies, Melanie Griffith, Satire, Thriller

Body Double-1984

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Body Double-1984

Director Brian De Palma

Starring Craig Wasson, Gregg Henry, Melanie Griffith

Scott’s Review #1,475

Reviewed April 5, 2025

Grade: A-

Brian De Palma is one of my favorite directors. His stylistic body of work in the psychological thriller/horror genre is masterful, with treats such as Carrie (1976) and Dressed to Kill (1980) as my favorite films.

Body Double (1984) allowed De Palma much creative freedom because of the success of these films and the underwhelming but successful Scarface (1983).

It is a fly-under-the-radar type of film that pays direct homage to 1950s Alfred Hitchcock films, most notably Vertigo (1958) and Rear Window (1954).

I get triple pleasure from watching Body Double. I compare scenes to the above-mentioned Hitchcock films and scenes to De Palma’s own films, especially Dressed to Kill. Plus, it stars Melanie Griffith, daughter of Hitchcock star Tippi Hedren.

The setting is Los Angeles, with B-movie film sets, posh Hollywood mansions, and hilly views of the vast City of Angels landscape. I am fascinated by the city and its mixture of glitzy glamour and dark subtext, which is a perfect recipe for watching this film.

While not De Palma’s very best work it is pretty damned good and somehow isn’t as revered as other films.

Craig Wasson plays Jake Scully, a struggling actor who loses his acting role and his girlfriend, Carol (Barbara Crampton), on the same day. While taking a Method acting class, his friend Sam (Gregg Henry) offers him a gig house-sitting an ultra-modern home that overlooks mansions.

While peering through the beautiful home’s telescope one night, he spies a gorgeous blonde, Gloria (Deborah Shelton), dancing in her window. Becoming obsessed with her, it leads to a vicious crime and into the world of adult entertainment along with porn star Holly Body (Melanie Griffith).

Fans of De Palma will undoubtedly love Body Double because it feels like a De Palma film. At other times, he veered too far away from his brand for my tastes, but the sultry and glossy voyeurism is fully displayed.

Who won’t instantly think of the museum scene in Dressed to Kill during the mall scene in Body Double? It’s a titillating cat-and-mouse chase scene with Jake following Gloria through a parking garage, a Fredericks of Hollywood-type store, and ultimately watching her try on panties, which he steals.

The panties serve as a version of the glove in Dressed to Kill, while the final shower scene in Body Double made me think of the steamy shower scene in Dressed to Kill.

I often thought of Rear Window and Vertigo, but De Palma honors them instead of stealing from the treasures. Jake is obsessed with Gloria yet knows nothing of her. Is she who she appears to be? Is she in danger? Is Jake being set up like Scottie was in Vertigo?

The telescope that Jake peers through is a modern version of the one from Rear Window. In both films, a murder is attempted while the protagonist helplessly watches from afar.

Anyone who enjoys acting will be satisfied with a dose of a method acting class being showcased, as well as nifty low-budget sets and set pieces reminiscent of a Hammer Horror set.

Finally, the overarching theme of a ‘body double’ frequently used in films when the ‘star’ is replaced by a stand-in, usually for nude scenes, is cleverly referenced in the final scene when a girl with perfect breasts is used while filming a shower scene.

The trickery of filmmaking is celebrated.

The camera work and musical score are a large part of the appeal. The eroticism smolders while Jake and the audience watch Gloria and Holly dance amid moody, electronic 1980s dance beats. The camera captures the moment perfectly.

The glossy, sensual elements forever link De Palma with Hitchcock, 1980s style.

1980s films are often dismissed as cheesy or mainstream affairs, but Body Double’s look is 1980s in the best possible ways. The expensive cars, the big hair, the cocaine, and the L.A. porn world all mesh together fabulously. Incorporating the monster hit, ‘Relax’ and the band Frankie Goes to Hollywood is a significant win.

With Body Double (1984), De Palma provides slick entertainment and thrilling sensuality and helped launch the career of Melanie Griffith, a star of the 1980s and 1990s.

2025 Films, Cate Blanchett, Drama, Gustaf Skarsgård, Marisa Abela, Michael Fassbender, Naomie Harris, Pierce Brosnan, Regé-Jean Page, Steven Soderbergh, Thriller, Tom Burke

Black Bag-2025

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Black Bag-2025

Director Steven Soderbergh

Starring Cate Blanchett, Michael Fassbender

Scott’s Review #1,473

Reviewed March 30, 2025

Grade: B+

Steven Soderbergh offers Black Bag (2025), a taut spy thriller that is very slick and fast-paced. Wasting no time to lag or drag, he gets right down to the action in a quick one hour and thirty-four minute running time.

Stars Cate Blanchett and Michael Fassbender play British intelligence officers and husband and wife, George and Kathryn. His superior, Meacham (Gustaf Skarsgård), gives George one week to investigate the leak of a top-secret software program code-named Severus.

One of the five suspects is Kathryn.

Viewers familiar with Soderbergh’s films will recognize the familiarity of the tense electronic musical score by David Holmes, a frequent collaborator of Soderbergh. He scored the Oceans trilogy (2001-2007), which Black Bag resembles.

Those films, hits at the time, now feel less impactful, but Black Bag takes a similar style and envelops a modern, sophisticated London backdrop.

The immediate draw is Fassbender and Blanchett, who play exceptionally well opposite each other. Both stars light up the screen electrically, offering cat-and-mouse scenes that cackle with dry wit and sensuality.

George can always sense untruths and despises liars. As much as he loves Kathryn, he doubts her when he finds a movie ticket receipt in the trash for a film she claims never to have seen. But is she being set up?

The supporting characters are impressive, with Marisa Abela and Tom Burke as sparring partners and Clarissa and Freddie getting the meatier roles.

The best sequence is the riveting dinner sequence when George invites the four other suspects, all colleagues, to dinner. When he drugs their food to lower their inhibitions, he has them play a warped game of ‘Resolutions’ in which they make a resolution for the person to their right.

Since the other couples are each dating, this leads to revelations, squabbles, and a jealous stabbing.

Even in mainstream pictures, Soderbergh loves incorporating corporate work sequences and independent cinema/arthouse qualities. Propelled by the musical score, sometimes frenetic, there is a thrilling vibe even in quiet scenes.

He also loves closeup shots, which are especially important for Fassbender, Blanchett, and the dinner guests.

Nearly putting style over substance, the story, written by David Koepp, is complicated to follow. We assume that one of the dinner guests or Kathyrn’s boss, Arthur (Pierce Brosnan), is the rat, serving up a film whodunit.

Kathryn has access to a Zurich bank account containing ₤7 million in misdirected and unexplained funds, and there is something to do with a Russian operative who Kathryn flies to Zurich to meet.

The rest of the plot is gray, and after the film, I needed to read a synopsis to gain some understanding.

Small wonders that may have had little to do with the story impressed me. A simple scene in a crowded movie theater where Kathryn and George munch popcorn and flinch at scary scenes enhances the importance and joy one gets from watching a film in the movie theater.

The couple’s duplex London loft is pure magic to look at. As George prepares simmering food and quality wine in the vast kitchen with modern trimmings, their upstairs bedroom is equally enthralling with cosmopolitan furniture colors and just the right polish.

The couple is obviously worldly.

Black Bag (2025) is an entertaining film. Do not struggle to follow every nuance or story point, or you will be frustrated. Instead, sit back and enjoy the experience of a spy thriller with incredible music, sets, and stars.

1980 Films, Al Pacino, Crime Thriller, Don Scardino, Ed O'Neill, James Remar, Karen Allen, LGBTQ+ Films, Paul Sorvino, Powers Boothe, Richard Cox, Thriller, William Friedkin

Cruising-1980

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Cruising-1980

Director William Friedkin

Starring Al Pacino, Paul Sorvino, Karen Allen

Scott’s Review #1,469

Reviewed March 9, 2025

Grade: B+

Cruising is a 1980 effort that brought the LGBTQ+ community into mainstream cinema at least for a brief moment shortly before HIV/AIDS changed its image and trajectory.

The film was derided by critics and gay rights protesters who believed it stigmatized them.

Decades later, Cruising has become more accepted and even admired by some, especially in the LGBTQ+ community. It’s a film that most community members have heard of, allowing it to make its mark in cinema history.

William Friedkin, famous for directing The French Connection (1971) and The Exorcist (1973), writes and directs the film, loosely adapting it from a novel by The New York Times reporter Gerald Walker.

The story is about a serial killer targeting gay men, particularly the men associated with the leather scene in the late 1970s. A psychopath is scouring New York City gay clubs and viciously torturing and stabbing gay men to death.

Resembling the victims physically, Detective Steve Burns (Al Pacino) is asked to wear leather attire, and frequent the city’s hardcore clubs to lure the killer.

As Steve becomes immersed in club hopping, he begins to identify with the subculture more than expected. Meanwhile, he behaves distantly around his girlfriend, Nancy (Karen Allen), the police force’s homophobia becomes apparent and the killer remains at large throughout one hot summer.

Initially, Richard Gere was slated to star but Pacino ended up with the role.

Pacino, being Pacino, gives it his all in an uneven script and unclear character motivations. The ending is exceptionally muddled and peculiar, leaving an unsatisfying feeling, while I also somewhat admire its ambiguity.

Dusting off this relic was an absolute pleasure. It gave me a glimpse into the LGBTQ+ leather scene of long ago, with authentic New York City gay clubs and clubgoers.

Cruising also features a variety of exterior NYC locales, such as Columbia University, the Meat Packing district, and an opening view of the Manhattan skyline.

Though too young to remember the scene being showcased, I do remember traveling into Manhattan to go to work with my father as a very young boy and the dangerous city I was always warned about.

Friedkin and cinematographer James Contner exceptionally depict New York City in the late 1970s/early 1980s. The gritty and crime-ridden streets capture the time like similar films Taxi Driver (1976) and Gloria (1980) did.

I also adore seeing the clubs and bars from an LGBTQ+ perspective, though I’m unsure if non-LGBTQ community members would appreciate this aspect of the film.

Nonetheless, fans of Pacino should add this to their list. While not on par with his most tremendous role as Michael Corleone in The Godfather series (1972-1995), he was in his prime before he started overacting and taking on inferior roles.

It’s also a damned good crime thriller!

Cruising reminds me of a Dirty Harry (1971) film only set in NYC, particularly the killer. With a low and taunting voice, and a fondness for teasing his victims before killing them, the similarities are apparent and work well.

The killer’s motivation is weakly explained in a flashback with his father.

Since we more or less see the killer’s identity early on, the film is not so much a whodunit until the final scene when another character is found dead after the killer is apprehended.

Is the new killer Steve or the victim’s jealous boyfriend? Is Steve closeted? These questions are left unanswered.

The production is superior and the glowing park scenes with shadows and insect sounds only enhance the thrills and perils of the characters.

The film shows plenty of bare male asses unusual for this time in American cinema and dares to show plenty of simulated and apparent complete on sex. Forty minutes of X-rated male-on-male action footage needed to be cut, in which Pacino may or may not have participated.

While the screenplay has gaping holes and the conclusion less than satisfying, Cruising (1980) is a win in my book for showcasing an unrepresented group of people and taking me back to a fascinating time.

2023 Films, Anna Kendrick, Autumn Best, Crime Thriller, Daniel Zovatto, Nicolette Robinson, Thriller, Tony Hale

Woman of the Hour-2023

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Woman of the Hour-2023

Director Anna Kendrick

Starring Anna Kendrick, Daniel Zovatto, Autumn Best

Scott’s Review #1,448

Reviewed October 21, 2024

Grade: A-

I never thought of Anna Kendrick as a quality film director or even a director. Her most notable acting role was Up in the Air in 2009 and I had nearly forgotten about her until watching the Netflix film Woman of the Hour (2023) in which she stars and directs.

She impressed the hell out of me in her directorial debut and since the film industry still needs more female directors I hope Kendrick keeps at it.

Woman of the Hour premiered at the Toronto International Film Festival in September 2023 but wasn’t released by Netflix until October 2024 so it’s technically a 2023 film.

Kendrick creates an intelligent work that serves as a compelling and taut thriller and a lesson in misogyny and objectification. Yes, it’s set in the 1970s and an argument can be made that society has progressed in that regard but not nearly enough as this film starkly reminds us.

An aspiring actress, Cheryl Bradshaw (Kendrick), who has had little success finding roles, is talked into appearing on an episode of the popular game show ‘The Dating Game’.

She crosses paths with a prolific serial killer, Bachelor #3 on the television show, 1978. He is Rodney Alcala (Daniel Zovatto) who is feared to have raped and murdered over one hundred women.

The audience is well aware of the actions of Alcala since the action goes back and forth from the present times (1979) and New York City in 1971 when he presumably killed his first victim.

I felt uncomfortable from the first scene and remained this way during the one hour and thirty-four minute running time. The film was too short.

Alcala doesn’t lurk around corners or break into apartments brandishing a butcher knife. Instead, he sweet-talks the women into posing for photographs or offers to help them out of a jam to gain their trust.

Kendrick doesn’t play softball with the audience. She gets the action going with a brutal scene where Alcala takes photos of a young woman in the plains. After he gets the woman to open up about her painful breakup with an ex-boyfriend, he strangles her. He revives her, then strangles her to death.

The victim is pitiful since she is already distressed over her ex. The audience sees a glimmer of hope in her eyes when she considers she may have finally met a nice guy. There is slight trust and it’s heartbreaking to see reality strike the poor woman.

Kendrick does it again in a side story from 1979 when events finally ended climatically. A young runaway named Amy, played wonderfully by Autumn Best, meets Alcala and spontaneously goes hiking with him in a remote location.

Best, through Kendrick, plays wounded not as victimized but as a strong woman with a will to live. Hardly cowering, she instead channels energy and outsmarts her pursuant.

I was continually impressed with how Kendrick weaved a thriller with female empowerment.

As good as those scenes are, the best sequence is during The Dating Game since there is so much going on.

We see the creepy Alcala and know that Cheryl will choose him. He knows how to schmooze, capitalizing on the other bachelor’s weaknesses. After he wins, bachelor #2 whispers a warning to Cheryl.

It gave me goosebumps.

Daniel Zovatto is a standout as the killer. His facade of Mr. Nice Guy made me trust him as most people would. He appears kind, friendly, and helpful. When he suddenly turns evil the actor gives a creepy smile on par with the one from the horror film Smile (2022).

I shudder thinking about the smile and film and Woman of the Hour (2023) has followed me since watching it.

An impressive directorial debut, Kendrick has the chops necessary to continue her journey. She acts well but her director talents are her superpower.

2024 Films, Edward Berger, Isabella Rossellini, John Lithgow, Lucian Msamati, Ralph Fiennes, Sergio Castellitto, Stanley Tucci, Thriller

Conclave-2024

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Conclave-2024

Director Edward Berger

Starring Ralph Fiennes, Stanley Tucci, John Lithgow

Scott’s Review #1,447

Reviewed October 17, 2024

Grade: A

I was fortunate to see the Conclave (2024) premiere at our local art theater before most public audiences had. I anticipate those who talk about the ‘twist’ at the end will be stunned. Initially, I was told there was a ‘twist,’ but I did not know what it was, so I wondered.

I’ll say nothing more about the ‘twist’.

Admittedly, the premise didn’t wow me, and I only saw Conclave because of the acclaim and awards season buzz surrounding it.

Heavyweight actors like Ralph Fiennes, Stanley Tucci, John Lithgow, and Isabella Rossellini didn’t hurt.

The end product is well-written, well-acted, and well-produced. Its tinge of push-pull between liberalism and conservativism feels timely and relevant.

It’s based on a 2016 novel written by Robert Harris.

The story is fictional and follows one of the world’s most secretive and ancient events: selecting the new Pope. Fiennes expertly plays Cardinal Lawrence, who manages this complex process after the unexpected death of the beloved current Pope.

Once the Catholic Church’s most powerful leaders, most eager to be elected the next Pope, have gathered from around the world, Lawrence uncovers a trail of secrets involving the dead Pope, secrets that could shake the foundations of the Church.

They are locked in the Vatican, protected from the outside world until the majority chooses the new Pope.

Edward Berger did a phenomenal job bringing the 1930 epic All Quiet on the Western Front (2022) to legions of audiences and a slew of Oscar nominations. All bets are that he does it again with Conclave.

The screenplay is written by Peter Straughan, primarily a British playwright. The action immediately begins with the Pope’s death, and the rest of the film is a slow buildup, sometimes even a crawl.

Halfway through, I wondered why Conclave was receiving so much notice. After the conclusion, I could not stop thinking about it for days.

Berger and Straughan play their cards close to their pockets throughout the play, toying with audiences who expect a traditional, mainstream affair before the rug is yanked from beneath them.

Dramas or thrillers with a religious theme, mainly centering around questioning the Catholic Church, usually risk dismissal or ridicule. I’m anxious to see how this plays out with Conclave.

In hindsight, more than the obvious, make Conclave worth talking about after the upside-down ride that results.

Lawrence is character-driven. He questions his faith and devotion and doesn’t want to be the new Pope. We’re not exactly sure why he wants to leave the Church. Is he involved in a secret scandal? Could he be in a relationship?

One intelligent scene mentions that a Pope should not be sure of his faith and should question it. Traditions can be tweaked for the times. A conservative leader mocks the Pope for ruining the Catholic Church with whimsical decisions, embracing the current times. Another liberal leader doesn’t think he went far enough.

It’s easy to see that Berger/Straughan/Harris have Pope Francis, who was elected in 2013, in mind. Having strongly brought more progressive thought to the Catholic Church, it’s easy to see the representation.

Fiennes gives a powerful performance as a decent man who tries to do the right thing without favoritism or conflict. He is subdued but strong-willed, and the performance is understated. He gives so much to a role that could be mistaken for too little.

Volker Bertelmann composes the score, which is reminiscent of All Quiet on the Western Front. It has a soft tone, is not bombastic, and slowly increases intensity during scenes. The buildup is tense and magnificent.

Conclave (2024) is a human story about humanity and imperfection. It’s also about human complexities, mistakes, and kindness. It magnifies the scope of the Catholic Church and reminds audiences that those shrouded within its wall are not without imperfections.

It also reminds us that even the Catholic Church has corruption.

Oscar Nominations: 1 win-Best Picture, Best Actor-Ralph Fiennes, Best Supporting Actress-Isabella Rossellini, Best Adapted Screenplay (won), Best Film Editing, Best Production Design, Best Costume Design, Best Original Score

1978 Films, Amy Irving, Andrew Stevens, Betty Buckley, Brian De Palma, Carrie Snodgress, Charles Durning, Daryl Hannah, Dennis Franz, Fiona Lewis, Horror, Jim Belushi, John Cassavetes, Kirk Douglas, Melody Thomas Scott, Thriller, William Finley

The Fury-1978

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The Fury-1978

Director Brian De Palma

Starring Kirk Douglas, Amy Irving, John Cassavetes

Scott’s Review #1,446

Reviewed October 15, 2024

Grade: A-

The Fury (1978) is one of Brian De Palma’s films that flies under the radar and is underappreciated. It features many of his trademark effects, such as slow-motion camerawork, and includes actors who appear in more than one of his psychological thriller films.

The story might be more complicated than it needs to be, and while legendary actor Kirk Douglas gets top billing, he disappears for a good part of the film before returning towards the end. He hands the reins to Amy Irving, who capably carries the rest of the film.

This is a small gripe for a film that ranks pretty close to classics like Dressed to Kill (1980), Carrie (1976), and Blow Out (1981).

I’m as guilty as anyone else for underappreciating The Fury since it’s only my second time viewing it.

The all-star cast features John Cassavetes as the villain, Carrie Snodgress, Charles Durning, Douglas, and Irving. That’s enough to make cinema fans want to see it. There are also unique actors in small roles who flesh out the quirky cast in a major win.

The screenplay by John Farris was based on his 1976 novel of the same name, which feels a lot like a popular Stephen King novel.

The Fury utilizes the talents of esteemed John Williams, who scored such greats as Fiddler on the Roof (1971), The Poseidon Adventure (1972), and Jaws (1975), to name a few. The highly lauded composer aptly uses the music to enhance the overall product.

Events start in Israel when a plot separates CIA agent Peter Sandza (Douglas) from his son, Robin (Andrew Stevens), but the distraught father manages to see through the ruse.

He realizes that Robin is being held at an institute by Ben Childress (Cassavetes) because the teenager possesses supernatural powers that Ben intends to weaponize.

Meanwhile, Gillian (Amy Irving), a teen with telekinesis, forms a psychic connection to Robin and teams up with Peter to find and rescue him. They are forced to endure villains intent on destroying them for their own gain.

I am amazed how well the film, made in 1978, holds up tremendously decades later, considering the characters play dated video games and the automobiles are very 1970s. The overindulgence of 1970s ‘stuff’ is what holds the most appeal.

Appealing is the glimpse at hundreds of extras appearing in the many exterior Chicago scenes. While Gillian and her friend La Rue (Melody Thomas Scott) stroll down the boardwalk, they pass teams of regular people harkening back to a time long ago.

The unwieldy American sedans popular in the mid-1970s pepper the streets of Chicago. At the same time, the sofa and carpet styles of the time are prominently featured at the Paragon Institute, evoking a nostalgic hug of authenticity.

When the character Gillian is introduced during a high school sequence that parallels Carrie, the similarities are immediately apparent.

Carrie and Gillian are both high school students with psychic powers, including telekinesis, that harm people who physically touch or provoke them.

The kicker is that Irving also appeared in Carrie, but not as the title character.

The best scenes are when Hester (Snodgress) is struck and killed by a car propelling her bloody body through the windshield or when Institute employee, Dr. Susan Charles (Fiona Lewis) is tortured and spun to death over a lavish dinner table setting.

The food references are plentiful, mouthwatering, and fun to track. Hester and Gillian chat and giggle over heaping hot fudge sundaes, while scrambled eggs and dinner are mentioned during other scenes.

Some plot holes or inexplicable story points, like Robin’s turn into a psycho and turning on his father because another psychic will replace him, aren’t as compelling as other points of the film.

During one scene, Gillian has Robin’s powers transfer to her, causing her body to writhe and contort in an unconvincing way, and Irving looks plain silly.

Being a huge De Palma fan, I’m glad I dusted The Fury (1978) off the shelf because it’s a terrific watch with an exceptional cast. It contains many of De Palma’s trademarks, making it fantastic, especially for his fans.

2020 Films, Ann Dowd, Armie Hammer, Ben Wheatley, British, Keeley Hawes, Kristin Scott Thomas, Lily James, Thriller

Rebecca-2020

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Rebecca-2020

Director Ben Wheatley

Starring Lily James, Armie Hammer, Kristin Scott Thomas

Scott’s Review #1,430

Reviewed June 30, 2024

Grade: A-

Impossible to compare to the legendary 1940 Alfred Hitchcock film, I tried very hard to take the 2020 retelling of Rebecca based on its merits. After all, it’s been eighty years, and other attempts have been made, mostly forgotten or irrelevant.

Aware of lukewarm reviews by other critics, I desperately set those aside and settled in for a macabre, dark, ghostly British thriller.

The film is quite good! Feeling fresh and with a polished cinematic look, I’d describe it as a modern British offering, despite being set in a long-ago era.

For comparison, it reminds me of the British television series Downton Abbey (2010-2015) in terms of its look and feel—a grandiose estate, dutiful servants, and a cast of other wealthy and not-so-wealthy characters.

A young newlywed (character nameless) arrives at her husband’s imposing family estate on a windswept English coast and finds herself battling the shadow of his first wife, Rebecca, whose legacy lives in the house long after her death.

The lead actress, Lily James, whom I initially couldn’t recall, is best known for Downton Abbey and the 2023 film The Iron Claw.

The character she plays, the insecure second Mrs. de Winter, is confused and haunted, requiring terrific acting. James hits it out of the park on that front.

Emotionally abused by her employer, wickedly played by Ann Dowd, she is instantly heroic and likable so we are happy when she graduates from servant to queen bee.

I cringed at first when I realized that the gorgeous and lovely Kristin Scott Thomas was playing the pivotal role of the villainous Mrs. Danvers. Known for the film The English Patient (1996), where she played the romantic Katharine Clifton, I wasn’t sure she’d be able to go so dark.

Boy, was I wrong? It took me a bit to channel out the dastardly performance by Judith Anderson from the original and accept Scott Thomas. She gets better with each scene and even forces the audience to sympathize with her.

Finally, Armie Hammer is good in the lead role of Maxim de Winter. Handsome, sophisticated, and wealthy, he peculiarly fancies a lady’s maid who inexplicably becomes his wife.

We wonder what he sees in her when his deceased wife, Rebecca, was gorgeous, affluent, and a perfectionist. Rebecca was presumed to have drowned in a terrible boating accident, but as events unfold, we wonder if there’s more to the story.

If only the characters communicated with each other, it would have eliminated confusion. Maxim refuses to talk about Rebecca. If his true feelings were revealed, he’d have a different kind of second marriage.

Besides the story and acting, other elements make Rebecca circa 2020 worth watching.

The cinematography captures crashing waves and high cliffs, which provide a haunting mood; the dining room and kitchen sequences brim with goodness and excellent meals.

The art direction and set design are overall flawless in the presentation.

The costume party that Mrs. de Winter eagerly plans and hopes will admonish the house of any thoughts of Rebecca going wrong, which, for viewers, is a delight because the scene is already rich.  With help from Danvers, a regal red costume is designed and prepared to showcase Mrs. de Winter.

When she confidently descends the staircase, the startled crowd gasps with fright at the similarities between her and Rebecca. Maxim angrily dismisses her to change outfits while Danvers smirks in the background.

She’s won round one.

The Danvers/Mrs de Winter feud is my favorite aspect of Rebecca (both original and 2020 versions), so it’s delightful to see it work so well with Scott Thomas and James.

There is nothing quite as satisfying as watching a film with little expectations and finishing it feeling fulfilled, still thinking about it the next morning.

I’ll always watch 1940s Rebecca as a treasured friend, but Rebecca (2020) quite capably offers a modern spin with good acting and lavish production values.

1971 Films, British, Crime Thriller, John Hurt, Judy Geeson, Pat Heywood, Richard Attenborough, Richard Fleischer, Robert Hardy, Thriller

10 Rillington Place-1971

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10 Rillington Place-1971

Director Richard Fleischer

Starring Richard Attenborough, Judy Geeson, John Hurt

Scott’s Review #1,424

Reviewed March 22, 2024

Grade: A

Richard Fleischer has directed films such as Dr. Doolittle (1967) and Soylent Green (1973) that are remembered better than 10 Rillington Place (1971).

That’s a shame, because the film is one I hadn’t seen or heard of, yet it’s chilling, macabre, and masterful in its bleakness and atmosphere.

It’s also wonderfully acted.

One can’t help but notice the stark similarities to Frenzy, an equally disturbing and great 1972 film by Alfred Hitchcock.  Did this film influence the master of suspense to create that one? Only he knows the answer to that question.

Primarily set in one dreary apartment building in London named 10 Rillington Place, it tells the true story of the British serial killer John Christie (Richard Attenborough), who committed many of his crimes in the tall terraced house, and the miscarriage of justice involving his neighbor, the simple-minded Timothy Evans (John Hurt).

John used Timothy as a scapegoat for the murders.

John is a seemingly model citizen but a killer, as the audience witnesses in the first scene. He poses as a kindly doctor who convinces naive women that he can cure whatever ails them, whether it’s aches and pains or a pesky pregnancy.

He usually strangles them to death and buries them in a makeshift graveyard in the pretty garden in front of his residence.

The main story in 10 Rillington Place follows John as he cons a pregnant bride (Judy Geeson) who is struggling financially to use his help and medical methods. John’s dutiful, clueless wife, Ethel (Pat Heywood), slowly discovers her husband’s shenanigans, but will she fall victim as his next target?

Of course, Richard Attenborough steals the show as the demented killer with a calm, cool, and collected exterior. As an average-looking Joe type, he can use his trusting appearance to his advantage.

I’d trust him.

Attenborough became an Academy Award-winning director for 1982’s Gandhi, so he knows his craft well. He also directed Cry Freedom in 1987 and Chaplin in 1992.

In actor mode, he is phenomenal as a crazed killer. His most excellent skill is his demeanor. Thoughtful and pondering, he never plays the psycho or the nut. He is careful, but that’s part of his creepiness. With every noise, he peers out the window, drawing the living room curtain ever so slightly, revealing his face.

Hurt and Geeson are terrific as the young couple with the cards stacked against them. They are simply looking for tranquility and the means to raise their child.

Simplicity is a winning formula, and most of the film is subdued thanks to Fleischer’s laid-back direction techniques.

The look of 10 Rillington Place is perfection. The colors are muted and faded, giving a dank and depressing look. Even a bright red velvet sofa appears dark and dreary.

As Timothy and Beryl agree to lease the top-floor flat, it will not bode well for them, and we can sense it.

Towards the end of the film, it is almost too much to bear with the knowledge that John strangles a toddler to death and unceremoniously stuffs the child, wrapped in a blanket, in a washroom.

Brilliantly, the murders rarely happen on screen and involve none of the principal characters. That’s what’s so haunting about the film and reminds me of Hitchcock’s Frenzy.

Remember the scene where the necktie killer lures a female victim upstairs to her death? There is silence and a shot of the staircase for seemingly an eternity until the killer descends the stairs.

We know what’s happened.

What we don’t see is sometimes much more frightening than what we do see.

The ghastly reveal at the end of 10 Rillington Place that the story is based on real-life events packed a punch since I didn’t have this knowledge going into the film.

Thankfully, 10 Rillington Place (1971) has received its just desserts in recent years, with praise and recognition. This proves that great films are like cream and rise to the top…..eventually.

2023 Films, Drama, French, International, International Thriller, Justine Triet, Milo Machado-Graner, Sandra Hüller, Thriller

Anatomy of a Fall-2023

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Anatomy of a Fall 2023

Director Justine Triet

Starring Sandra Hüller, Milo Machado-Graner

Scott’s Review #1,422

Reviewed March 4, 2024

Grade: B+

The taut legal thriller, Anatomy of a Fall (2023) is rich with mystery and almost immediately offers the viewer a character’s surprising death. The rest of the film is spent trying to figure out how the death occurred as a trial surfaces.

The mountainous puzzle made me as the viewer anticipate a shocking conclusion or at least a cemented ending leaving nothing to the imagination.

In plain terms, I wanted to know why the character died, at whose hand, and how the act was done.

As good as the film is the ending underwhelmed me. I was left wanting more than I was offered. This is undoubtedly a result of the enormous buildup.

However, the effort is spectacular, and some of the year’s best acting is showcased by Sandra Hüller and Milo Machado-Graner, who give rich and dramatic performances. They stay believable and nuanced in challenging, teary scenes. 

Sandra (Sandra Hüller), her husband Samuel (Samuel Theis), and their eleven-year-old son Daniel ( Milo Machado-Graner) live a secluded life in a remote town in the French Alps.

Tension develops when Sandra, who is a writer, is interviewed by a reporter at home as they sip and enjoy wine. Samuel ruins the moment by blasting an obnoxious song loop causing the interview to be aborted.

Suddenly, Samuel is found dead in the snow by Daniel! The police question whether he was murdered or possibly committed suicide. Samuel’s suspicious death is ultimately presumed murder, and Sandra becomes the prime suspect.

As the trial begins, the events of Samuel’s death are uncovered while the complexities increase. A disturbing journey into Sandra and Samuel’s troubled relationship is explored with Daniel being at the center of the drama.

Anatomy of a Fall is a slow-moving vehicle but that’s a large part of its appeal for me. After Samuel’s death, the film features quiet scene after quiet scene of Sandra and Daniel being interviewed by either their lawyers or others involved in the case.

While not action scenes, the dialogue reveals an incredible amount of backstory. An incident that occurred years earlier is key and the remnants of that unfortunate activity are vital to the entire reveal.

With tremendous acting the film is also significant in scoring Justine Triet an Oscar nomination for Best Director when shamefully few female directors have ever been given this distinct honor.

Unfortunately, Triet’s nomination comes at the expense of Greta Gerwig NOT being nominated for the ginormous blockbuster hit Barbie. I’d give the nomination to Gerwig but why couldn’t they both be nominated?

Triet also wrote the screenplay and wisely crafted an unpredictable vehicle. Since Sandra is on trial the writing could have felt forced or generic but it doesn’t. There are also no silly television drama moments of unnecessary legal jargon or canned shocking tense moments.

What Triet serves up is genuine and humanistic.

The cold and snowy atmosphere reminds me of a Swedish film from 2014 called Force Majeure with a similar story of uncovered secrets and backstory. They are both set in the French Alps ironically enough.

I expected more from the ending but Anatomy of a Fall (2023) mesmerizes and keeps one guessing never feeling boring like some legal dramas can.

While Triet’s Oscar nomination may be questionable, Hüller’s is not and I’d even argue she deserves to win.

Oscar Nominations: 1 win-Best Picture, Best Director-Justine Triet, Best Actress-Sandra Hüller, Best Original Screenplay (won), Best Editing

Independent Spirit Award Nominations: 1 win-Best International Film (won)

2023 Films, Barry Keoghan, Carey Mulligan, Comedy, Dark Comedy, Emerald Fennell, Jacob Elordi, Margot Robbie, Richard E. Grant, Rosamund Pike, Thriller

Saltburn-2023

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Saltburn-2023

Director Emerald Fennell

Starring Barry Keoghan, Jacob Elordi, Rosamund Pike

Scott’s Review #1,417

Reviewed January 19, 2024

Grade: A

Emerald Fennell, as a director (she also acts) is someone to keep a close eye on.  With only her second film, Saltburn (2023), she has quickly drawn comparisons to Darren Aronofsky and Yorgos Lanthimos by creating wickedly daring comedies rife with sharp dialogue and peculiar tastes.

Okay, I’m drawing those comparisons on my own.

The point is that she creates films that are not necessarily for mainstream audiences but will satisfy the peculiar cravings of those seeking left-of-center and hard-to-predict films.

She also wrote the screenplay.

Those wary of hard-to-digest scenes involving blood, sex, nudity, and other depravities, be forewarned.

Her first film was the revenge-themed and Academy Award-winning Promising Young Woman (2020) starring Carey Mulligan who makes a return appearance in Saltburn.

This time out Fennell offers us a beautifully daring story centering around privilege, jealousy, and desire. The film offers unlikable characters with enough twists and turns to keep the audience off guard and confused as to who to root for or against.

Will the characters we hate stay hated? If this sounds vague it’s because the film is filled with mystery.

Oliver Quick (Barry Keoghan) is an awkward young man struggling to find his place at Oxford University the recipient of a scholarship for those with financial hardships. His mother is a recovering drug addict and his father is dead.

Unpopular, he finds himself drawn to the charming and handsome Felix Catton (Jacob Elordi), who also happens to be filthy rich. Felix is the envy of almost everyone as they strive to be his friend or bedfellow.

After Oliver does Felix a favor, they become buddies, and Felix unexpectedly invites him to Saltburn, his eccentric family’s sprawling estate, for a summer vacation.

The lavish Oxford University is grandiose and scholarly with lots of preppy and wealthy intellectuals. As the snobs partake in parties and wild games Oliver is looked down on by everyone but Felix. The spoiled students are not meant for the audience to like.

I love how Fennell incorporates legions of insecurities suffered by the have-nots struggling to fit in which is a common theme of hers. The only kid willing to give Oliver the time of day is a creepy Jeffrey Dahmer type.

Anyone familiar with cliques on college campuses will be firmly in Oliver’s corner. He’s a good kid after all, who has been dealt a struggling hand at life, what with his parent’s issues and all.

The shit hits the fan when Oliver arrives at Saltburn which makes Oxford seem minimal in comparison. Manicured and sprawling lawns complete with a center maze are overwhelming to Oliver to say nothing of the group of oddballs that make up the family and staff.

Suddenly though, everything becomes weird, and the tone of the film shifts.

The final forty-five minutes are riveting with unexpected events transpiring after a wild party to celebrate Oliver’s birthday. Felix, his sister, and their parents are involved in shenanigans that make the viewers question everything they’ve seen thus far.

Mulligan doesn’t have much to do in Saltburn. Her role amounts to little more than a cameo which would be more irritating if the other characters weren’t so richly written.

Rosamund Pike and Richard E. Grant sizzle as aristocratic types oblivious to everyone else and their wealthy surroundings. It’s almost as if they assume everyone lives this well.

The sexual scenes of desire are breathtaking and startlingly explicit. In one scene, two characters make out with bloody mouths and in another, one character masturbates in a bathtub while another character spies on him and lustfully licks the faucet a few minutes later.

The best acting performance belongs to Keoghan who delivers a complex and spirited character who we’re not sure what will do next or sometimes why. He possesses an innocent yet creepy veneer which is tough to figure out.

His naked dance sequence is one of the wildest in cinema history.

Fennell hits another grand slam with the eerie yet fascinating Saltburn (2023), a delicious examination of the class system. The mixture of the groveling poor with the callous rich makes for a brilliant story.

I can’t wait to see what she does next.

1947 Films, Agnes Moorehead, Delmer Daves, Humphrey Bogart, Lauren Bacall, Thriller

Dark Passage-1947

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Dark Passage-1947

Director Delmer Daves

Starring Humphrey Bogart, Lauren Bacall

Scott’s Review #1,393

Reviewed August 25, 2023

Grade: B

In 1947, Humphrey Bogart and Lauren Bacall were big Hollywood stars. Dark Passage is the third of four films a real-life couple made together in the 1940s. It must have catapulted audiences to theaters to see the power couple perform.

To Have and Have Not (1944), The Big Sleep (1946), and Key Largo (1948).

Dark Passage is based on the 1946 novel of the same title by David Goodis.

Vincent Parry (Bogart) has just escaped from San Quentin prison near San Francisco, California, after being locked up for murdering his wife, a crime he did not commit.

He finds a plastic surgeon to give him new features. After getting a ride out of town from a stranger, Vincent meets a young woman, Irene Jansen (Bacall). She lets him stay in her apartment while he heals and continues to try to clear his name.

The duo falls madly in love and attempts to figure out the puzzle and find the real killer.

Delmer Daves is a director with whom I am unfamiliar. The film’s first portion uses superior camera angles and a point-of-view (POV) filming from Vincent’s perspective.

The audience sees what Vincent sees, which was used to justify Vincent’s plastic surgery and the knowledge that viewers wouldn’t buy a different actor from Bogart. This makes sense and adds a creative technological perspective to the film.

Something about black-and-white filmmaking always conjures up 1940s cinema for me. That Dark Passage is a thriller with film noir elements, making it all the more effective.

A personal treat for me was to see the exterior sequences of San Francisco. The Golden Gate Bridge and Union Square are easy to spot, and having spent time in both locales, I was fascinated by what both looked and felt like in the 1940s.

Notwithstanding the ‘look,’ the main draw is Bogart and Bacall. Although I have not seen their other films, their chemistry is apparent in Vincent and Irene.

The tenderness between the pair, considering the characters have only just met, is strong, especially during a quiet scene when they sip after-dinner coffee next to a window with driving California rain.

They get to know each other, and so does the audience.

Bacall, who is terrific and smolders with sensuality and confidence, easily outshines Bogart, who doesn’t deliver his best work. This could be partly because he doesn’t speak until the midway point of the film, but there is an aura that Bacall has that Bogart doesn’t.

My favorite film of his is Casablanca (1942).

The story starts tremendously with mystery and intrigue. Who killed Vincent’s wife quickly becomes who killed Vincent’s friend after he is also found murdered.

A tremendous scene between Vincent, a man he hitches a ride from and a taxi cab driver who helps Vincent increases the thrill ride with quick and engaging dialogue meant to maintain suspense.

The climax fizzles with an overly complicated and overwrought build-up to the final reveal that drags. When the villains are unmasked, their motivations are suspect and underwhelming.

One character plummeting from a high-rise window to their death is pretty cool, especially for 1947. The shrieking neighbor and the dead body displayed along the sidewalk is a highlight.

Also, a portion of the film takes place in beautiful Peru, similar to the nightclub in Casablanca.

Dark Passage (1947) is a pretty good film but will be appreciated mainly by fans of Bogart and Bacall. The plot is up and down, but the behemoth Hollywood stars are the main attraction.

1978 Films, Denholm Elliott, Franklin J. Schaffner, Gregory Peck, James Mason, Laurence Olivier, Linda Hayden, Political Thriller, Steve Guttenberg, Thriller

The Boys from Brazil-1978

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The Boys from Brazil-1978

Director Franklin J. Schaffner

Starring Laurence Olivier, Gregory Peck, James Mason

Scott’s Review #1,391

Reviewed August 20, 2023

Grade: B+

The Boys from Brazil (1978) is a taut political thriller with a neo-Nazi focus and a weird cloning subject matter. It’s a bit of a tough follow but quite compelling all the way though and doesn’t lag at all.

Sometimes political thrillers get overly complicated or drag but this one doesn’t. The story is slightly hokey and impractical even bordering on ludicrous but since it’s so intriguing and action-packed these adjectives can be overlooked.

Surprisingly, I wasn’t blown away by either the performance of Laurence Olivier or Gregory Peck despite being a fan of both quality actors. Both actors overact and create stereotypes but especially Peck’s character is a bit too cartoonish.

It took me half the film to even recognize either man since both are heavily made up making them hard to recognize. It also took until the dramatic conclusion for either character to truly grow on me.

A brilliant one-scene cameo performance by Uta Hagen, a German American actress, as a former Nazi guard now imprisoned nearly steals the show and should have deserved an Oscar nomination.

The story surrounds Doctor Josef Mengele played by Peck who clones Adolf Hitler ninety-five times and raises the boys in Brazil, giving them childhoods identical to Hitler’s in various parts of the world.

His goal is to create a band of Nazi leaders that can continue where Hitler left off, forming the Fourth Reich. Their fathers will be murdered and the boys will be mothered as Hitler was.

Ezra Lieberman (Laurence Olivier), a Nazi hunter, learns of the plan from a young journalist (Steve Guttenberg) and is determined to thwart it.

The plot is a tough pill to swallow and takes some time to absorb exactly what is going on but it’s fresh and unique. I’m not sure if in 1978 people had had enough of Nazi and World War II films but both subjects are always worth dissecting again.

I’m not sure why it was so tough to get used to Peck as the evil doctor but it was. It’s probably because Peck usually plays characters with a strong moral compass and he was playing way against type.

His character looks weird and Peck seems to be overacting sometimes almost like he was playing a James Bond villain. It’s not exactly a role that measures up to Atticus Finch in To Kill a Mockingbird (1962).

Olivier is better and the main protagonist of The Boys from Brazil but I’m not sure he entirely wins me over. It’s not easy immersing in the prim and proper British aristocratic actor playing a Jewish man who kvetches so often.

Still, by the finale when Mengele meets Lieberman in a deadly showdown involving vicious Dobermans, a gun, and a Hitler clone I was cheering for Olivier all the way.

Supporting characters played by Guttenberg, Anne Meara (Jerry Stiller’s wife) as Mrs. Curry, one of the Hitler clone’s mothers, and the aforementioned Hagen is excellent. I wish that each character was explored better and given more screen time.

The same can be said for Rosemary Harris in a one-scene performance. While quality, I wanted more from her character of Frau Doring, the wife of one of the murdered fathers of the Hitler clones.

Finally, James Mason has little to do as Colonel Seibert other than serve as second fiddle to Peck.

But, The Boys from Brazil is the Olivier and Peck show.

The locales are a big win since they add an international vibe and relevance. Geographies such as Germany, Paraguay, Austria, and rural Pennsylvania, United States are featured which lofts the film up tremendously.

The taught nature of the film provides suspense, an ode to history, and an eerie measure of Trumpism in comparison to Nazi-ism. The Boys from Brazil (1978) isn’t prime steak but it’s not a bad watch either.

Oscar Nominations: Best Actor-Laurence Olivier, Best Film Editing, Best Original Music Score

1962 Films, Comedy, Fred Astaire, Jack Lemmon, Kim Novak, Richard Quine, Thriller

The Notorious Landlady-1962

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The Notorious Landlady-1962

Director Richard Quine

Starring Kim Novak, Jack Lemmon, Fred Astaire

Scott’s Review #1,390

Reviewed August 16, 2023

Grade: B+

If viewers can overlook The Notorious Landlady (1962) ‘s messy nature and intermittent schizophrenic pacing, the film is enjoyable.

It’s not platinum status, but it’s a decent enough flick, especially for Kim Novak and Jack Lemmon fans, who were big stars. This is the third and final film that the duo starred in.

Like the film, their chemistry fluctuates, but it is appealing to see Novak in a comic role, whereas the genre is familiar territory for the funny Lemmon.

After her husband mysteriously disappears, Carly Hardwicke (Novak) finds renting a room in her lovely London apartment impossible because everyone assumes she’s responsible.

American diplomat William Gridley (Jack Lemmon) is new to the city and desires to live with Carly. It doesn’t hurt that Carly is easy on the eyes. William becomes smitten with her, unaware of her troubles.

When his boss, Franklyn Ambruster (Fred Astaire), learns what Gridley has stumbled into, the two men try to clear her name. A series of lies and misunderstandings catapult events into a compelling mystery.

Even though neither William nor Carly is British, the foggy locale works well and provides a foreign mystery. They reside in a courtyard-type home, from which neighbors can see in or out to other apartments. This comes into greater play towards the end of the film.

This is just one example of Alfred Hitchcock’s influence on 1954’s Rear Window, which director Richard Quine heftily borrows. He’s wise to do so since he secured Novak, fresh from her role in Vertigo (1958) two years earlier.

Shit, even the title ‘The Notorious Landlady’ borrows the title of the 1946 Hitchcock masterpiece, ‘Notorious.’

There’s also a secret locked door that Carly references and forbids anyone from entering, adding suspense and foreboding.

Despite the tepid chemistry between the stars, I ultimately enjoyed their romance. It’s a hard sell that the gorgeous Carly would fall head over heels for the everyman William, but she does.

They win me over during a dramatic scene where an attempted romantic dinner of steaks goes awry, and instead, a massive fire erupts. The burgeoning lovers cling together in a sweet embrace that cements their appeal.

The tension is supposed to be about whether Carly murdered her husband and has designs on William. Red herrings like kitchen poisons and the like make an appearance, but I was more interested in the impending mystery of said husband than really believing she’d want to kill William.

The last act introduces a threatening character, an unexpected villain, and a race to save another character in dangerous peril.

A courtroom scene also adds to the tension.

The central storyline is satisfying, edge of your seat, and suspenseful. I assume Quine was going for it.

The Notorious Landlady shifts genres a whopping three times in the story! The tone is all over the place: first, romantic comedy, then suspense and drama, and finally, slapstick.

During the finale, when Carly and William race to a retirement community and scramble to stop an out-of-control wheelchair, I half expected Laurel & Hardy or The Little Rascals to make a cameo.

Poor Fred Astaire has little to do and struggles to be relevant compared to Novak and Lemmon’s characters. At times, I even forgot he was still in the film.

The Notorious Landlady (1962) is an entertaining vehicle and a must-see for fans of Novak or Lemmon eager to see a largely forgotten film that offers something fun.

1983 Films, Action, Bradford Dillman, Clint Eastwood, Crime Thriller, Michael V. Gazzo, Pat Hingle, Sondra Locke, Thriller

Sudden Impact-1983

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Sudden Impact-1983

Director Clint Eastwood

Starring Clint Eastwood, Sondra Locke

Scott’s Review #1,388

Reviewed August 12, 2023

Grade: B+

The groundbreaking and highly influential Dirty Harry, released in 1971 spawned four sequels. Sudden Impact (1983) is the third. It is directed, produced by, and stars Clint Eastwood (making it the only Dirty Harry film to be directed by Eastwood himself) and co-starring Sondra Locke, the star’s longtime girlfriend.

On the surface, the film is standard fare and relatively conventional featuring slick cinematography, a predictable story, shoot ’em-ups, and cartoon villains.

It’s also quite bloody and violent with a theme of justice being served.

Exactly what you’d expect from any action/thriller to come out in the two decades following the original.

The cliches and story setups had by 1983 been seen in so many crime thriller genre films that they feel tired and stale and can be predicted at length.

The expected Dirty Harry catchphrase in Sudden Impact is, “Go ahead, make my day” which is probably what the film is best remembered for though some assume the famous line appears in Dirty Harry.

This isn’t a glowing testament for Sudden Impact.

United States President Ronald Reagan embarrassingly used the “make my day” line in a March 1985 speech threatening to veto legislation raising taxes.

The secret weapon of Sudden Impact though is the inclusion of Locke who is a tour de force in acting and raises the film quite a bit. Her romance with Eastwood (on and off the silver screen) simmers with chemistry making Sudden Impact feel like a much better film than it is.

Jennifer Spencer (Sondra Locke) is a thirty-something blonde bombshell who along with her much younger sister was gang raped, but the crime went unpunished. She now hunts down those responsible one by one and gruesomely shoots them in the testicles before killing them.

She’s not a gal to be messed with.

The murders attract the attention of Harry Callahan (Eastwood), who is on a forced vacation due to his violent approach to police work.

The case gets complicated when Harry develops a relationship with Jennifer, and it’s up to Harry to make the right decision when Jennifer’s life is threatened for a second time.

Locke and Eastwood always do well with marginal material- think Bronco Billy (1980) or Every Which Way But Loose (1978). Both of those films are more comical so it’s riveting to see them co-star in a violence-based thriller.

Not to dwell on Locke (okay, I must), but she’s the best part of Sudden Impact. The first scene involves one of her vigilante murders and her cold, calm, steadiness is magnificent. Through icy eyes, she is filled with rage though is wise and calculating.

When she is not blowing balls to bits, Jennifer leads a successful life as an author and escapes to a whimsical carnival town outside San Francisco to focus on her work. She also finds time to finish killing the remaining members of the gang of rapists.

Locke mesmerizes in every scene she appears in.

Eastwood is good too but his character is the same grizzled, sick of criminal, guy with a gun he’s been since the beginning. Harry’s arguments with the suits in the top office are tired and the actors cast are handily stock types.

The win is Eastwood’s scenes with Locke. As they share dinner there is a romantic tenderness that perfectly offsets the rest of the story. We ask, will he send her to prison or let her go when he inevitably finds out she’s the killer?

Is she justified?

The rapists are cartoon-like and poorly cast and there is no character development. The main villain, Mick (Paul Drake) shrieks and wails and delivers his dialogue in over-the-top fashion. He’s a poor man’s ‘Scorpio’ who he tries to emulate.

A female villain, an assumed lesbian named Ray Parkins, in a purely politically incorrect fashion, has every lesbian stereotype imaginable.

I liken Sudden Impact (1983) to a McDonald’s meal. A greasy Big Mac, fries, and a shake. It’s not fine dining but it’s satisfying and one knows exactly what to expect. Only in this case, Locke is the special sauce.

1979 Films, Action, James Remar, Lynne Thigpen, Mercedes Ruehl, Thriller

The Warriors-1979

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The Warriors-1979

Director Walter Hill

Starring Michael Beck, Deborah Van Valkenburgh

Scott’s Review #1,383

Reviewed July 31, 2023

Grade: B+

The Warriors (1979) is an entertaining gang-themed action-thriller that is a perfect watch for a late Saturday night. Reportedly, it caused friction and outbreaks of fights in movie theaters when it was released but decades later doesn’t feel as dangerous as it might have upon release.

The film does terrific work with some art direction that melds live-action with colorful drawings of characters. This infuses an artistic experience and raises results way above dumb action flicks like Rambo (1982), Death Wish (1974), and countless others.

In perhaps a peculiar comparison, The Warriors reminds me a bit of Escape from New York by John Carpenter which came two years later. The isolated Manhattan streets and other areas with a post-apocalyptic feel merge the two films, in my mind anyway.

The film suffers a bit from a dated and obscure categorization and is not remembered as well as perhaps it should be. The acting isn’t terrific either but strangely this makes the experience a bit more raw and enjoyable.

After being wrongly accused of killing a charismatic gang leader named Cyrus, a Coney Island street gang known as the Warriors must hoof their way home which is miles from where the death occurred. They are pursued by both police and enemy gangs one of which framed them for Cyrus’s execution.

The ambiance and atmospheric qualities are the best aspects of the overall film. So many Big Apple treats can be found especially the infamous Central Park which takes center stage. The lavish and picturesque park wasn’t as safe and pristine in the late 1970s as in 2023 and the film uses this to its advantage.

Characters never know who or what might be lurking behind a bench or a tree. A particularly fun scene features a young Mercedes Ruehl being groped by a gang member only to be revealed to be a sexy policewoman who quickly puts the perp in handcuffs.

The other locales featured are plentiful and include Van Cortlandt Park, Union Square, 96th Street and Broadway, and Riverside Park. The beauty of this is that the action doesn’t include only Manhattan but other boroughs like the Bronx and Brooklyn showing the vastness of NYC.

The main romance is between Swan (Michael Beck) and Mercy played by Deborah Van Valkenburgh. The pair have a sliver of chemistry but I wasn’t watching the film for doey-eyed young people.

One scene was exceptionally done when the couple laid eyes on some well-dressed and upstanding teenagers on the subway who could easily be their doppelgangers.

Maybe them in another life? The forlorn look on the faces of Swan and Mercy reveals much as the couples all eye each other perhaps thinking the same thing.

Walter Hill directs the film and is well-versed in the action genre creating the popular film 48 Hours (1982). He paces and choreographs the action sequences so well that it’s as if the viewer is watching a dance routine occur.

The opening sequence gets the tone of the film out in the open as the storied Wonder Wheel on dusty Coney Island is on full display. Even the bright and windy shore feels gloomy and ominous as leather-clad gang members make it their turf.

The finale salutes the Warriors with a song, ‘In the City by Joe Walsh which I particularly enjoyed because it’s a great song.

Though unrealistic for the time, it’s nice to see gang members of different ethnicities team up together in diverse representation.

The film is a perfect watch for cinema fans thirsty for old New York City locales and greasy, dirty subway stations. Because the real Manhattan wasn’t too different from what The Warriors (1979) showcases.

1980 Films, Agatha Christie, Angela Lansbury, Crime Thriller, Elizabeth Taylor, Geraldine Chaplin, Guy Hamilton, John Bennett, Kim Novak, Pierce Brosnan, Rock Hudson, Thriller, Tony Curtis

The Mirror Crack’d-1980

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The Mirror Crack’d-1980

Director Guy Hamilton

Starring Angela Lansbury, Elizabeth Taylor, Rock Hudson

Scott’s Review #1,371

Reviewed June 22, 2023

Grade: B+

I’m a sucker for any sort of whodunit especially based on an Agatha Christie novel. Some of her treasures like Murder on the Orient Express and Death on the Nile have made for quality filmmaking in the crime thriller genre.

With The Mirror Crack’d (1980) director Guy Hamilton (he directed four James Bond films) collects some of Hollywood’s finest stars and creates an adaption with British authenticity and a knock-it-out-of-the-park finale twist that I didn’t see coming.

Any fans of the long-running CBS sleuth series Murder, She Wrote from the 1980s are treated to gleeful clues that the film influenced the series. Both star the iconic Angela Lansbury.

The main character and murder solver in The Mirror Crack’d is a kindly old woman named Miss Marple played by Lansbury. The actress is aged via makeup to look much older than she was at the time. Lansbury does a good job with the speech and mannerisms of one of her character’s age.

Jane Marple (Lansbury) is tickled pink when two glamorous Hollywood actresses, Marina Rudd (Elizabeth Taylor), and Lola Brewster (Kim Novak), arrive in her quaint English village to shoot a movie.

Drama is sprinkled in when it’s revealed that the two actresses despise each other.

At a welcome reception related to the film, Marina engages in conversation with a longtime fan named Heather Babcock and is momentarily distracted. Soon afterward, the fan collapses and dies, poisoned by a drink intended for Marina.

Pleasure is had by the incorporation of so many stars some way past their prime. My favorite is the dynamic duo of Taylor and Hudson as a married couple. Fans will recall that Hudson’s sad death due to A.I.D.S. in 1985 led to Taylor championing a crusade for research with which the government then refused to be associated.

Her efforts and star power led to tremendous progress to be made as the disease ravaged the world’s LGBTQ+ community.

So, any scene centered on Taylor and Hudson is heartfelt and a pure treat.

Otherwise, the cast of characters is positioned in a familiar pattern to reveal almost everyone would have a reason to kill the glamorous star. Could it be her sexy blonde rival? Or the cranky producer of the film played by Tony Curtis? Or even her hubby Jason?

Geraldine Chapman appears as Ella Zielensky who is secretly in love with Jason and has a good reason to want Marina out of the way. Especially suspicious are her trips to a phone booth to call an unknown person accusing them of murder.

The setting adds value as the small English village is cute and picturesque. Marple’s cottage is perfectly dressed with colors and patterns well suited for her character.

The Mirror Crack’d has a couple of misfires and sometimes has a television movie feel. The comparisons to Murder, She Wrote while nice are also detractors since it makes the film seem like a small screen effort.

The time is supposed to be 1953 and the characters are dressed appropriately but it doesn’t feel authentic. The real year 1980 feels more believable despite the costumes.

While it doesn’t drag a bit it also isn’t quite as good as the aforementioned Murder on the Orient Express (1974) or Death on the Nile (1978).

For a good old-fashioned detective story based on a storied author, one could do worse than watching The Mirror Crack’d (1980). Sure there are other better-produced efforts but the film is a solid, entertaining watch with glamorous stars incorporated.