2018 Films, Comedy

The Happytime Murders-2018

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The Happytime Murders-2018

Director Brian Henson

Starring Melissa McCarthy, Maya Rudolph

Scott’s Review #808

Reviewed September 6, 2018

Grade: B-

Some consider it the worst film of 2018, but I had no positive expectations as I walked into an empty movie theater.

In truth, The Happytime Murders is not that bad. It is more in tune with a fun, adult-humored late-night affair. The greatest assets are Melissa McCarthy’s comic talents and the neat whodunit that is the central part of the story.

The human actors acting opposite puppets are bizarre and take some getting used to, but the nice editing (not easy to do!) is to be commended.

Set in modern times, in the underbelly of Los Angeles, puppets live alongside humans and are not treated well. They are constantly bullied and taken for granted.

Sarcastic and angry puppet Phil Phillips (a nod to the American Idol winner?) works as a private investigator. An incident many years ago caused him to be booted from the LAPD police force forever.

When Phil is hired by a sexy blonde female puppet, Sandra, to find out who has been sending her blackmail letters, he stumbles upon a rash of puppet murders.

The killer is knocking off members of an 1980s television show, presumably for profit. Phil’s brother and grizzled ex-partner, Connie Edwards (McCarthy) become central to the story.

The first dynamic that works well in The Happytime Murders is the “chemistry” between Connie and Phil. The connection and good rapport are surprising, considering the human/puppet factor.

One might find it surprising that the two characters play well off each other, but their adult sparring and frequent vulgar language name-calling are oodles of fun to watch. McCarthy is always fantastic with comic timing, so her fans will not be disappointed.

As they shout vulgar “pleasantries” to each other, one cannot help but smirk.

Maya Rudolph plays an interesting role as Phil’s secretary. Named Bubbles, she is sexy, sultry, and coquettish—an unusual role for Rudolph, but she pulls it off in spades.

Otherwise, Elizabeth Banks, cast in the small role of Jenny, Phil’s blonde ex-girlfriend, is entertaining. Despite being a puppet, Phil is quite the lady’s man, and Sandra (a nymphomaniac) is his main conquest.

In one lewd scene, Phil beds her right in his office, spewing strands of white goo meant to be semen, and Sandra exposes her purple pubic hair.

The film is clearly for adults only, and hopefully, unwitting parents do not mistake the puppet characters for a kids’ movie. The film contains many scenes bordering on X-rated territory, yet the inclusion of puppets undoubtedly gives off a humorous, not-to-be-taken-too-seriously element.

The Handsome Joel McHale, as a Special Agent on the case along with a Lieutenant, Connie’s superior, makes it clear the characters are along for the comic ride, and the film never takes itself too seriously.

I admittedly had low expectations, so I was surprised to find myself enjoying the puppet characters and the rapport between them most of all. Phil, charismatic in a Dick Tracy sort of way, balances the other “over-the-top” puppets, including a drug lord, two puppet prostitutes, and a puppet bunny addicted to porn.

The creations are lively and unique.

Let’s not get carried away, though- The Happytime Murders is not the genius that Who Framed Roger Rabbit? (1988) is, but its crass nature is of some appeal.

I adored the Los Angeles setting as the sunny locale perfectly counterbalanced the murderous antics of a hooded killer. The big reveal I did not see coming added to my surprise.

To summarize, The Happytime Murders is not a work of art or anything spectacular.

Presumably, it will be forgotten, especially since McCarthy is appearing in another “more serious” film in 2018, Can You Ever Forgive Me?, which has enormous Oscar potential. Therefore, the focus will assuredly be on that film.

However, a work like The Happytime Murders (2018) does have its place as perhaps a fun late-night offering.

2001 Films, Chick Flicks, Comedy, Romantic Comedy

Legally Blonde-2001

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Legally Blonde-2001

Director Robert Luketic

Starring Reese Witherspoon, Luke Wilson

Scott’s Review #807

Reviewed August 30, 2018

Grade: B+

Legally Blonde (2001) is a film that, by all accounts, should have been a hot mess, but for some reason is a great ball of fun.

High art it ain’t by any means, and the plot is implausible beyond belief, and suspension of disbelief must be securely tucked away.

Despite portraying more serious roles before and after this film, Reese Witherspoon is largely responsible for the film’s success and is closely associated with it.

Quite simply, all the elements align perfectly in this film.

Elle Woods (Witherspoon) is the president of her sorority at a Los Angeles college. Clad in fluffy pink attire and carrying her cute dog everywhere she goes, she epitomizes the stereotypical “dumb blonde”.

However, she does carry a 4.0 grade point average in fashion.

Expecting a marriage proposal from her upper-class, snooty boyfriend, Warner, Elle instead finds herself dumped due to not being serious enough.

Determined to prove herself worthy, she manages acceptance into Harvard Law School, along with Warner, and embarks on hijinks and adventures.

Warner’s fiancée and a potential new love interest cause turmoil for the boisterous Elle.

Legally Blonde never takes itself too seriously and is simply a fun, silly-minded, comic adventure.

Audiences will likely chuckle and smile along with Elle on her adventures as she gets into one pickle after another, always determined to prove her intelligence.

To be clear, the film itself is very formulaic and could easily have been trivial and uninspired, resulting in a bomb. But Witherspoon shines in the lead role, adding a likable, charming quality to the character.

The actress possesses great wit and comic timing, so that her character becomes more of a champion, and we root for her to overcome obstacles and succeed.

By miles, she is the standout in the film.

Suspension of disbelief is at an all-time high. In “real life,” there is no way Elle would ever get into the elitist Ivy League school, brandishing a pink resume or other silly tricks to be cute and appealing.

Nor would she ever likely be so instrumental in winning a murder case so quickly. To nobody’s surprise, Elle eventually graduates with flying colors and is honored to give a graduation speech, inspiring those around her.

But as implausible as these situations are, they are also Legally Blonde’s appeal.

The supporting characters are pure caricatures, especially the main foils (Warner and Vivian- who take Elle’s place as fiancée). Both are villains, Vivian going so far as to embarrass Elle by inviting her to a stuffy party under the guise that it was a costume party.

In the end, one of the characters “turns good”, another common element of predictable films of this nature. But again, the film is just pure and simple fun, so these stereotypes are okay.

In more modern times (not that 2001 was so long ago), the film would not have been directed by a man, but rather by a woman.

Screenwriters Kirsten Smith and Karen McCullah Lutz prepared a female-driven film that was based on a novel by Amanda Brown.

Why a man was chosen to direct is beyond me, but, alas, this is the way things were at the time.

Interestingly, another recent film I reviewed, My Big Fat Greek Wedding (2002), would work perfectly as a retro romantic-comedy double feature with Legally Blonde (2001).

Both are fun and light, but also celebrate strong female characters.

Legally Blonde borrows heavily from the 1995 brilliant, similar-genre film Clueless, but is not as great as that film. Still, the film is an inspired effort, largely due to the charms of its lead star.

2002 Films, Comedy, Independent, Independent Comedy, Independent Romantic Comedy, Romantic Comedy

My Big Fat Greek Wedding-2002

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My Big Fat Greek Wedding-2002

Director Joel Zwick

Starring Nia Vardalos, John Corbett

Scott’s Review #806

Reviewed August 28, 2018

Grade: B+

My Big Fat Greek Wedding is a 2002 romantic comedy that became a surprising sleeper hit at the time of its release.

A novel story idea, the film was even recognized with a Best Original Screenplay Oscar nomination.

The film achieved success the old-fashioned way by garnering word-of-mouth buzz despite little promotion.

Good-natured, earnest, and tender, the film was nonetheless marred by an abysmal sequel and short-lived television series- a lesson learned in leaving well enough alone.

Comedian Nia Vardalos reportedly wrote the story as a one-woman play, and word of mouth among Hollywood A-list celebrities led to a film version starring Vardalos herself.

This casting choice adds enormous authenticity, as the writer’s vision shines through on screen.

The film has a fresh, modern feel. Otherwise, the supporting cast is brilliant and perfectly selected. From handsome love interest John Corbett to veterans like Lainie Kazan and Andrea Martin, everyone plays their part to the hilt and seems to be having a ball with the comic elements.

Dowdy Toula Portokalos is a lonely thirty-year-old Greek woman, considered the black sheep of her family. Of traditional roots, she is expected to marry and bear children as quickly as possible.

Toula still lives at home and works in the family restaurant in bustling Chicago, yearning for something more out of life.

When she sees dashing school teacher Ian Miller (Corbett) in the restaurant one day, she makes an embarrassing attempt to catch his attention.

Through a computer class, Toula blossoms and finally lands her man, but the drama is just beginning as the couples and their individual families’ differing cultures collide.

My Big Fat Greek Wedding is very well written, and, again, the authenticity shines through in each scene. Admittedly, it often feels like a television sitcom, and many scenes play for obvious laughs, but the laughs work.

The funniest of these scenes is when Toula and Ian (now engaged) decide to invite his parents to dinner at her parents’ house.

Predictably, events go awry as his parents, conservative and reserved, do not mesh well with hers-festive and bombastic.

Vardalos and Corbett may not have the greatest chemistry in film history, but the build-up and the romance are so charming that we can overlook the lack of lustful vigor or the sexual tension between the pair.

The film feels more like a PG-rated Cinderella story than anything heavier. Predictably, the couple shares a happily-ever-after ending.

As much of a jewel as My Big Fat Greek Wedding was in 2002, the risk with a film of this nature is to hold up well over time. Specifically, in the romantic comedy genre, films of this ilk have a short shelf life (if they are deemed relevant at all).

The humorous Windex references may be lost on audiences over time or grow stale.

Some may deem My Big Fat Greek Wedding (2002) fluff, largely because of the romantic comedy genre it falls into.

But it’s worth more than that, mainly because of the fresh, genuine use of culture and diverse backgrounds.

The film has a quality most standard “rom coms” lack: authenticity. Yes, it contains Greek stereotypes, but the overall vibe of the film is that of a sunny, fun, happy experience.

An uplifting film can sometimes be just what the doctor ordered.

Oscar Nominations: Best Original Screenplay

Independent Spirit Award Nominations: 1 win-Best Debut Performance- Nia Vardalos (won)

2018 Films, Adventure, Super Hero

Black Panther-2018

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Black Panther-2018

Director Ryan Coogler

Starring Chadwick Boseman, Michael B. Jordan

Scott’s Review #805

Reviewed August 23, 2018

Grade: B+

For the record, I am not a huge superhero fan nor an obsessive follower of the popular Marvel comic series. I see a handful of superhero films but hardly any of this particular genre, usually those (if any) receiving year-end recognition.

Having heard many positives regarding Black Panther (2018), I was looking forward to something creative and left of center from the typical genre film.

While the film has some standard superhero elements, the fact that most of the characters are ethnic is an enormous plus and worth the price of admission alone.

Admittedly, Black Panther plays out like a superhero film is “supposed” to play out: fight scenes, machismo, action, and villains, with the standard good versus evil storyline thrown in.

This is all good and will undoubtedly please the traditional Marvel comic book fan. However, the nuances that the screenwriters and director, Ryan Coogler, sneak into the film set it above a mediocre rating.

The fact that nearly all of the principal characters are black is tremendous, and the female black characters are portrayed as strong.

Furthermore, the visual treats of Africa and Korea, and multi-cultural clothing and colors are noteworthy. While I wish the actual story had steered further away from the tried-and-true, I was left happy with the other qualities.

The film begins with a quick story of how one African nation, Wakanda, came to be and proudly brought into existence the first “Black Panther” with superpowers obtained from a special plant.

As the action moves to Oakland, California, circa 1992, we learn that the King of Wakanda is visiting his brother, who works undercover.

Following the King’s death, his son T’Challa (Chadwick Boseman) takes over the throne but is soon challenged by his cousin, N’Jadaka (Michael B. Jordan), who deems himself the rightful heir.

Another subplot involves a black-market arms leader named Ulysses Klaue, who leads T’Challa, along with Nakia (Lupita Nyong’o) and Okoye (Danai Gurira), to South Korea and back to Wakanda.

Black Panther feels ambitious, like seeing something worth seeing, something inventive and cool. The film is stylized, and Coogler’s direction is spectacular, with bright, colorful visual treats, especially as he features lavish African locales.

Admittedly, in a mainstream comic book film laden with CGI effects, it is tough to know what is real or not, but as a viewer, these aspects were a treat and pleasing to the eyes.

The plot of the film itself feels admittedly mediocre, tough to follow, and a “been there, done that” evaluation. By the same token, the story seems predictable, and is it any wonder that T’Challa will reclaim the throne as King of Wakanda?

It does not matter too much after the inevitable clashes with warrior-type men who want the throne and/or feel that they are the rightful heir to it.

This is not to say the film is not good—it is, but the plot is not the highlight of Black Panther; it feels fairly standard.

The male-female roles are a fascinating study and progressive-minded. Granted, the male characters (T’Challa, N’Jadaka, and M’Baku) are all testosterone-laden and fierce with machismo.

However, despite being manly men, they also contain some sensitivity, and the characters have a unique family element.

On the other hand, the female characters are powerful and empowering- a dynamic approach for a superhero film sure to be seen by millions. One female character is even an Army General! So the portrayal of women as strong warriors rather than merely secondary or arm candy is impressive.

The comic book or superhero genre is notoriously filled with gender stereotypes and specific, often generic aspects. It is nice to see this work break down some of these barriers.

Between the recent Wonder Woman (2017) and Black Panther (2018), women and the black community have been represented positively.

Here’s to hoping that the LGBT community may be next.

Oscar Nominations: 3 wins- Best Picture, Best Original Score (won), Best Original Song-“All the Stars”, Best Sound Editing, Best Sound Mixing, Best Production Design (won), Best Costume Design (won)

1995 Films, Science Fiction

12 Monkeys-1995

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12 Monkeys-1995

Director Terry Gilliam

Starring Bruce Willis, Madeline Stowe, Brad Pitt

Scott’s Review #804

Reviewed August 21, 2018

Grade: B+

Bruce Willis stars in a 1995 science-fiction thriller named 12 Monkeys that is sure to confuse even the keenest of viewers.

With an impossible-to-follow plot (at least on a single watch), the film is quite novel and filled with edge nonetheless.

With this film, Willis came into his own and proved to some naysayers that he is more versatile than a one-note action hero. He would develop even more as the years passed- think Sixth Sense (1999).

If I may begin to summarize the complex plot, 12 Monkeys is a film about time travel (confusing enough) that traverses from the year 2035 to the year 1990, then to the year 1996, with a bevy of dreams or memories thrown in, but I am still not crystal clear on that.

The time involved threw me for a loop, and I was not able to comprehend where things shifted to……or was part of it a memory possessed by Willis’s character as a little boy?

Nonetheless, in 2035, James Cole (Willis) is a prisoner who is selected by “the powers that be” to go back in time to find a cure for a deadly virus that has wiped out a large part of the world.

He is transported to 1990 instead of 1996 and ends up in a psychiatric hospital, where he meets the fanatical Jeffrey Goines (Brad Pitt).

Dr. Kathryn Railly (Madeleine Stowe) appears in both the 1990 and 1996 stories as a respected psychiatrist and author. Both she and Goines become central to the plot, and the story twists and turns as events unfold.

The intention to make Willis and Stowe a romantic couple did not seem to quite work at first, but their chemistry grew on me.

The duo never received a “happily ever after” finale as they deserved, nor was their troubled romance ever fully realized, to say nothing of consummated.

The flirtation and bond they share felt more like a tease than anything else, or rather, having two Hollywood heavyweights forge some sort of romance.

Regardless, “romance” did not seem to be the point of this film.

Brad Pitt was nominated for Best Supporting Actor at the Oscars for the film. While he provides a quirky, showy, multirole (or multi-personality) performance, complete with tics resembling those of a Tourette’s syndrome patient, the role is not one of his best.

At this time (1995), Pitt was a rising star, and the recognition helped him tremendously. But he seems slightly overacted, making the character too over-the-top.

I much prefer his more subdued work in Seven (released the same year), or future roles in Babel (2006) and Moneyball (2011).

Appealing in parts are the frequent exterior shots of the cities of Philadelphia and Baltimore, where the film is set.

Treats include the Baltimore-Washington International Airport, the Pennsylvania Convention Center, and the Eastern State Penitentiary filming locations, as well as numerous highway and bridge shots that add tons of authenticity.

A major score for the film, and Alfred Hitchcock fans everywhere, is the incorporation of classic film clips, specifically the mysterious Vertigo (1958), into the story.

As Kathryn and James camp out in a rustic movie theater and disguise themselves as different people, they watch a marathon of Hitchcock films (as evidenced by the many titles on the marquee).

It’s clever that the characters James and Kathryn begin to mirror the actions of Vertigo’s Scottie and Judy.

Blondes anyone?

12 Monkeys (1995) does come together after the film as the dreams/memories are laid out pretty clearly. As we have witnessed these sequences throughout, it leads to a semi-satisfying conclusion.

A bit of a beautiful mess, the film has clever tidbits and is well-acted, and the bearing of both Willis’s and Pitt’s butts might get some additional viewers.

I need to watch the film again to understand, perhaps, and connect all of the dots better.

Oscar Nominations: Best Supporting Actor-Brad Pitt, Best Costume Design

2018 Films, Biography, Comedy, Crime Drama, Dark Comedy, Drama

BlacKkKlansman-2018

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BlacKkKlansman-2018

Director Spike Lee

Starring John David Washington, Adam Driver

Scott’s Review #802

Reviewed August 14, 2018

Grade: A

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

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

A grand and relevant effort that all should watch.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2003 Films, Boston, Crime Drama, Drama, Psychological Drama

Mystic River-2003

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Mystic River-2003

Director Clint Eastwood

Starring Sean Penn, Tim Robbins, Kevin Bacon

Scott’s Review #801

Reviewed August 10, 2018

Grade: A

Mystic River (2003) is a film I consider the second-best offering directed by Clint Eastwood.

Along with Million Dollar Baby (2004), Eastwood creates two compelling back-to-back dramas that are not too dissimilar.

He was unquestionably the “it” director of the early 2000s, and with Mystic River, he helms a gritty mystery drama with a stellar cast, nuts-and-bolts storytelling, and enough twists and turns to keep the audience guessing and ultimately shocked.

Together, these elements create a memorable experience.

The film is based on the novel of the same name, written by Dennis Lehane. A tremendous element is a locale of Boston and an Irish, blue-collar/working-class theme, prevalent throughout the story.

Thanks to the cinematography, which illuminates a grey, stormy look, the rest of the film is enhanced. I adore films shot in and around Boston, as it offers so much culture and flavor.

Eastwood hardly misses a beat, with some cold, grizzled touches that play into the hardships and struggles of the characters’ everyday lives.

The story begins with the central characters (Jimmy, Dave, and Sean) as young boys, in a three-musketeers-type scenario where they are like blood brothers.

After an incident occurs where Dave is accosted by men and sexually abused, he is ultimately rescued after four torturous days, but his life is never the same.

Fast forward twenty-five years, and the boys are now men, still living in a working-class Boston neighborhood. Each is married; their lives have moved on, they’ve drifted apart, and they have vastly different personalities.

They reunite after a tragedy occurs.

For starters, Eastwood’s major win is casting each male character.

Sean Penn plays Jimmy, the volatile ex-con, who runs a small store, while Sean, played by Kevin Bacon, has become a Massachusetts State Police officer, putting him directly at odds with Jimmy.

Sadly, Dave (Tim Robbins) now lives a quiet life, still harboring trauma, shame, and guilt from his childhood experience.

When Jimmy’s daughter (Emmy Rossum) is brutally murdered, the three friends’ lives are intertwined as they search for the killer, taking the viewers down a dark path filled with secrets, some from the past.

Laura Linney and Marcia Gay Harden give tremendous performances as Jimmy’s and Dave’s wives, respectively.

Mystic River is a film in which all the great elements come together perfectly. From the acting to the story’s components, the whodunit, the exciting twist and conclusion, and the overall film, it is truly exceptional.

But what sets it apart from a standard drama or thriller is the characterization and the relationships among them.

Childhood memories can last a lifetime because of their monumental importance, as Jimmy, Dave, and Sean show time and again. Blood brothers, yes, but when tragedy strikes, old wounds and fresh wounds together run deep.

Violence and revenge are firm staples of this film and common to many Eastwood films. Viewers may also find themselves conflicted about whom to sympathize with or where their allegiances should lie.

Jimmy, the anti-hero, will garner sympathy for the vicious loss of his daughter- pain that can never be fully healed.

Did Dave, the obvious prime suspect, kill the girl? If so, was it on purpose or by accident? Are others, specifically his wife, involved in a cover-up?

Eastwood carves the setup spectacularly, but is it a simple red herring? These events make the film unbelievably compelling.

The performances are fabulous all around, especially from Penn and Robbins, both Oscar winners for Best Actor and Best Supporting Actor, respectively.

Penn never delivers a poor performance, but Jimmy is one of his best characters yet.

As for Robbins, he fills the character of Dave with empathy- a wounded bird left damaged through no fault of his own, suffering a terrible fate due to circumstances, misunderstandings, and ultimately tragedy.

Mystic River (2003) watched alongside Million Dollar Baby (2004) would make for an excellent Saturday night for fans of Clint Eastwood’s directorial talents.

These two are the best of the best, with great character development and rich writing.

The direction, however, enhances the spectacular elements and takes them a bit further, providing appropriate texture and a wonderful atmosphere.

Oscar Nominations: 2 wins-Best Picture, Best Director-Clint Eastwood, Best Actor-Sean Penn (won), Best Supporting Actor-Tim Robbins (won), Best Supporting Actress-Marcia Gay Harden, Best Adapted Screenplay

2004 Films, Adventure, Christmas, Fantasy, Kids, Winter

The Polar Express-2004

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The Polar Express-2004

Director Robert Zemeckis

Starring Tom Hanks

Scott’s Review #800

Reviewed August 8, 2018

Grade: B+

The Polar Express (2004) is a modern entry into the annals of holiday film history. Along with treasures like Rudolph, Frosty, the Grinch, and all the other standards, this film has become a popular one to watch throughout the season.

The film is not exactly like the others, since it is the first of its kind to incorporate live human characters animated using live-action motion capture animation.

The mood of the film is mysterious, edgy, and with a dark tint, so jolly it isn’t, but compelling it is, and visually it is a marvel.

The story is as follows: on a snowy Christmas Eve, a young boy living in Grand Rapids, Michigan, doubts the existence of Santa Claus.

When a steam locomotive suddenly appears outside his house, he curiously boards the train and finds a mysterious conductor (Tom Hanks) manning it.

As the train rolls away, the boy meets two other children on board and stops for another one who is also reluctant to get on.

They begin a dazzling, frozen adventure to the North Pole with the promise of receiving the first gift of Christmas from Santa Claus himself.

The main reason to recommend The Polar Express is simply the gorgeous visual treats it offers. In 2004, the film was a unique experience, and I fondly recall sitting in a dark movie theater, watching it for the first time.

There was a magical element to the surroundings, combining intrigue and fantasy that still holds up well.

For adults, I do not think the film is at all scary, but I have heard some reviewers complain that the moody ingredients are a bit frightening for children, so there is that concern. 

A major component is the mixture of human beings and animated tools. The familiar actor that everybody knows is Tom Hanks as the conductor.

Therefore, to sit back and observe the character is a wonderful thing- is it really Tom Hanks or is it an animation?

It is ultimately both, but the fun is in the observation and wondering how the filmmakers created this experience.

And listen for Hanks in other voice performances throughout the film. 

The story (or fable) itself is warm and fairly predictable. But, of course, being largely made with kids in mind, this is to be expected.

There is never a doubt that the boy (interestingly, never given a name) will ultimately believe in Santa after all and live happily ever after.

The magic is in the details, though- the boy’s journey to this realization is peppered with fun and creative richness- the little girl’s floating ticket and an ornament falling off a Christmas tree are good particulars. 

Director Robert Zemeckis and Hanks worked closely together in Forrest Gump (1994), so the pair are familiar with each other, creatively speaking. Hanks undoubtedly had much input into the decision-making, and it shows. 

I do not personally rank The Polar Express (2004) among the best of the best holiday film offerings, but I support an occasional dusting off of this work for viewing pleasure.

Perhaps over time, the animations may become dated or seem less dazzling, but the film is still worth appreciating for its creative elements.

The story is nothing spectacular (in a way, Scrooge for kids), but it makes for a pleasant family viewing experience. 

Oscar Nominations: Best Song-“Believe”, Best Sound Editing, Best Sound Mixing

2005 Films, Best Picture Oscar Winners, Crime Drama, Drama, Independent, Independent Drama, Los Angeles, Social Issues

Crash-2005

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Crash-2005

Director Paul Haggis

Starring Sandra Bullock, Matt Dillon, Thandie Newton

Scott’s Review #799

Reviewed August 3, 2018

Grade: A-

A superior film that has unfortunately suffered greatly after controversy, Crash (2005) is a story of intersecting vignettes, all interrelated.

The controversy stems from the film’s very surprising Oscar win over the heavily favored Brokeback Mountain. Many thought the latter was a shoo-in, poised to set the LGBT genre ahead of the game.

Sadly, now, when film lovers discuss Crash, it’s usually in tandem with Brokeback, and usually on the heels of its having stolen the Oscar crown.

On its own merits, the film excels as a social story exploring the many facets of race, racism, and bigotry.

The events in Crash take place within one thirty-six-hour day in metropolitan Los Angeles.

Featuring a slew of characters that would even impress Robert Altman, the audience witnesses situations involving many races and backgrounds.

We meet Rick and Jean Cabot (Brendan Fraser and Sandra Bullock), a white, affluent couple who are carjacked when driving home from dinner.

The black men who carjack the couple then strike a Korean man and bring him to the hospital.

A racist police officer, John Ryan (Matt Dillon), cares for his troubled father, who cannot afford insurance. A Persian father and daughter wish to buy a gun for protection, and a Hispanic father (Michael Pena) worries about a rash of drive-by shootings.

The stories go on and on as a myriad of characters come into situations involving other characters.

The interconnecting stories all cascade into overlapping situations of interest. The point of Haggis’s film is racism, but with a creative twist.

The director points out and shows that those who are racist have good qualities too, and those who are discriminated against in turn discriminate against others themselves.

The most interesting character is Dillon’s, John Ryan.

On the surface, a racist, wise-ass, who in one scene embarrasses an affluent light-skinned black woman (Thandie Newton), simply because he carries a gun, then ends up saving her life in a horrific car accident.

But is he redeemed? Does he see the world as black people getting ahead, and he is left behind?

What about the Persian man, discriminated against, but then vowing revenge on a Hispanic man after a misunderstanding?

The black men who carjack the white couple then release a group of immigrants who will surely be sold, perhaps even for sex trafficking. Does this act make the men good?

The point Haggis makes is that each character is neither all good nor all bad, but rather complicated and nuanced, with emotions shaped by past experiences and by discrimination itself.

Crash is highly similar to Traffic (2000) and Babel (2006) in terms of pace, style, and the way the stories align. The film is different, however, in that the location is strictly confined to Los Angeles, making the setting of monumental importance.

How would events be different in a setting like Middle America? Or in a different country? These possibilities are worth considering, given that Los Angeles is one of the most diverse cities in the United States.

If racism occurs there, it can occur anywhere.

Now, more about that pesky Oscar controversy! In later years, critics would largely agree that the inferior film had won that year, and Brokeback Mountain lost due to a level of homophobia on the part of the voting academy.

Since the academy is filled with Hollywood liberals, albeit of an older generation, an alternative way of thinking is that perhaps Crash won because it was the “safer” film.

Everyone seems to have forgotten the other three nominated films that year. Alas, Crash is permanently marred for winning Best Picture. It would undoubtedly have more supporters had it lost.

Ranked as one of the lowest-scoring Best Picture winners, I still believe Crash has some worth- though I agree that it should not have won over Brokeback Mountain.

Taken on its own merits, the film is quite good. A message film with great atmosphere, it succeeds in making the viewer think and ponder, perhaps their discrimination, whether conscious or subconscious.

The ensemble acting and character representations are all very good and worthy of a second watch.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-Paul Haggis, Best Supporting Actor-Matt Dillon, Best Original Screenplay (won), Best Original Song-“In the Deep”, Best Film Editing (won)

Independent Spirit Award Nominations: 2 wins-Best Supporting Male-Matt Dillon (won), Best First Feature (won)

2004 Films, Best Picture Oscar Winners, Boxing, Drama, Sports

Million Dollar Baby-2004

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Million Dollar Baby-2004

Director Clint Eastwood

Starring Clint Eastwood, Hilary Swank

Scott’s Review #798

Reviewed August 2, 2018

Grade: A

Million Dollar Baby (2004) is arguably Clint Eastwood’s best-directed film of his career.

Rivaling Mystic River (2003) by a hair, the film has a raw emotional appeal, empathetic, richly drawn characters, and a mainstream sensibility.

These combined elements resulted in huge box office success and Oscar wins for Picture, Director, Actress, and Supporting Actor in the year of its release.

Frankie Dunn (Clint Eastwood) is a hardened boxing coach who owns a run-down Los Angeles gym. He works with his best friend and assistant, Eddie (Morgan Freeman).

When an aspiring female boxer, Maggie (Hilary Swank), arrives and begs Frankie to train her, he initially declines, but at Eddie’s urging, eventually relents and leads her to great success as a top female boxer.

Frankie and Maggie forge a close-knit, father/daughter relationship, a substitute for the damaged one he has with his daughter.

The final portion of Million Dollar Baby takes a very dark turn, as Maggie is illegally punched during a fight by a fellow boxer, causing her to develop quadriplegia. These events change the film’s tone from a very good sports drama to a great tale of morality.

Many emotions and debates ensued after this film was released, and the common question “What would you have done?” gripped viewers for months, throughout awards season.

The heartbreaking effects of the story events raise the film head and shoulders above most typical sports films.

Too often, Eastwood creates films that are palpable, but in a way generic, and very Hollywood.

Grand Torino (2008) and Invictus (2009) are good examples of this, especially Invictus, given its sports-drama element.

Some assumed that Million Dollar Baby was to be a female Rocky (1976), and the film was indeed marketed as such. For this reason, some felt robbed or duped, but I celebrate this film as leaning firmly left of center with a refreshing, progressive approach.

The performances are amazing all around, even by Eastwood, who is ever known for his acting talent. The characters are written as character-driven, but not caricatures.

Wounded, grizzled, and flawed, in his senior years, Frankie sees that his life has passed him by, having achieved nothing.

Never has Eastwood portrayed a character as complex and reserved as Frankie.

Swank deserved her second Oscar (1999’s Boys Don’t Cry was her first) for simply becoming a boxer- her pre-filming prep schedule reportedly was insane. More than the muscle and toning she achieved, are the raw acting talent and wounded emotions she possesses.

The character is portrayed as pained and vulnerable, yet very strong.

She has achieved little in her life, working as a waitress in Missouri and stealing scraps of leftovers to survive. Her family is trash through and through, only wanting her eventual riches for themselves.

The character is inevitably championed as we empathize with her plight emotionally.

Finally, Freeman deserves recognition for being the ultimate supporting actor. Eddie Dupris, a former fighter blind in one eye, is the central figure of the story and frequently narrates others’ actions, often offering a glimpse into individuals’ psyches.

The voice of reason, he is observant and analytical, almost knowing Freddie better than Freddie knows himself. They quarrel and disagree, but are forever friends and loyal to a fault.

Freeman possesses a reserve that makes the audience curious about his past life.

Million Dollar Baby (2004) is Eastwood’s best film- Mystic River comes a close second, however. A seemingly formulaic story and genre are woven into a web of humanism, emotions, and power.

The film is about the characters, which makes it succeed.

Eastwood has not quite surpassed this beautiful story, but has thankfully received dripping praise and accolades for a film not soon forgotten.

Oscar Nominations: 4 wins-Best Picture (won), Best Director-Clint Eastwood (won), Best Actor-Clint Eastwood, Best Actress-Hilary Swank (won), Best Supporting Actor-Morgan Freeman (won), Best Adapted Screenplay, Best Film Editing

2018 Films, Chick Flicks, Musical

Mamma Mia! Here We Go Again-2018

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Mamma Mia! Here We Go Again- 2018

Director Ol Parker

Starring Lily James, Amanda Seyfried

Scott’s Review #797

Reviewed July 31, 2018

Grade: B+

My expectations for Mamma Mia! Here We Go Again (2018) was not lofty, nor was I anticipating drivel. I expected (and was in the mood for) a summer popcorn musical flick with fun and dancing, and little in the way of analysis or requiring too much thought.

I can proudly say that this film fulfilled my expectations —it delivers its intent, and sometimes, that is exactly what the doctor ordered.

The film is enthusiastic and lively, with the musical numbers serving as the standouts.

In an immediate plot twist, it is revealed that the main character, Donna (Meryl Streep), died a year earlier, and her daughter Sophie (Amanda Seyfried) is planning a lavish reopening of her hotel on the beaches of Greece.

The film serves as both a sequel and a prequel, as events also go back to 1979 when a young Donna (Lily James) graduates from college and embarks on a journey to “find herself”.

She travels extensively and meets her three beaus (anyone who saw the 2008 original will be familiar with this plot), and the film is excellent at pleasingly connecting the events of both films.

Mamma Mia! Here We Go Again is hardly high art and not intended to be. Truthfully, it is a bit sub-par to the original, as some of the musical numbers are “secondary” ABBA songs. The biggest hits were used in the 2008 film.

The overall plot feels a bit forced and not exactly compelling, especially since we know the eventual result of Donna’s relationships. The story seems geared towards a bombastic finish.

But the sheer fact that the song and dances are interspersed throughout the film makes it enjoyable enough.

The film plays more like someone’s fantasy than a real-life sequence, and liberties must certainly be taken.  Everything always seems to go Donna’s way, and events merely fall into place- if only real life were that way!

The introduction of Donna’s mother (Sophie’s grandmother)—explained to be a rich and famous singer residing in Las Vegas—is a way to add the legendary Cher to the story. Disappointingly, the star does not appear until the end of the film, more like a cameo appearance.

This leads me to the film’s best parts, which occur during the final thirty minutes. As Sophie’s grand hotel reopening party comes to fruition (a devastating storm thrown into the story is purely for dramatic effect), all details fall into place in magical form.

Hundreds of party guests show up, Donna’s beaus reunite, and the aforementioned absentee grandmother (Ruby) makes a grand entrance via helicopter (in stiletto heels naturally).

In this way, the grand finale is superior to the rest of the film.

Cher, still looking gorgeous at age seventy-two, is the pure highlight of the film, and it kicks into high gear when she appears. Considering all of the hype and press surrounding a film reunion between Cher and Meryl Streep- they starred together in 1983’s Silkwood- it should be no real surprise that Streep’s deceased Donna appears.

The two best scenes come at the end of Mamma Mia! Here We Go Again! As much as the lavish Cher demands the grand finale in terms of glamour and song, Streep’s touching duet with Sophie will bring tears to the viewer’s eyes and capture the emotional element of the film.

As Streep and Seyfried churn out a gorgeous rendition of “My Love, My Life,” the actresses’ mother-daughter relationship is lovely and will fondly remind audiences of the chemistry in the 2008 film.

Regarding Cher, the revelation that Ruby is a long-lost lover of the hotel manager, Fernando (Andy Garcia), is sweet and romantic. Despite limited screen time, the duo shares fantastic on-screen chemistry, so much so that I yearned to know the back story of their relationship.

Do we only know that they were madly in love in 1959? Why did it not work out?  Regardless, Cher’s version of the song “Fernando” is both appropriate and enchanting.

Mamma Mia! Here We Go Again (2018) is a summer film sure to please audiences eager for a fluffy musical.

With bright and cheerful Greek island locales, lavish oceans, and bombastic feel-good pop sensibilities, this film was marketed well and shares enough connection with 2008’s Mamma Mia! to enrapture and please audiences who enjoyed the first version.

1987 Films, Best International Film Oscar Winners, Danish, Drama, International, International Drama

Babette’s Feast-1987

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Babette’s Feast-1987

Director Gabriel Axel

Starring Stéphane Audran

Scott’s Review #796

Reviewed July 27, 2018

Grade: A

Babette’s Feast (1987) is a pure delight for any viewer who is a foodie, particularly one who enjoys stylish French cuisine.

In fact, during the final thirty minutes or so, I was salivating with pleasure as a final multiple-course meal was presented before me.

The film is rich with “flavor” and tells a wonderful tale of self-sacrifice, benevolence, and good human nature.

The film won the Oscar for Best Foreign Language Film- the very first Danish film to do so.

Adapted from a 1958 short story, Babette’s Feast tells of two elderly and deeply religious Protestant sisters, Martine (Birgitte Federspiel) and Phillipa (Bodil Kjer), who exist in a small village in Denmark.

The sisters have lived there all their lives, and through flashbacks, it is revealed that each had an opportunity at romance with men decades earlier, as young, fresh ladies.

Each resisted the temptation because of their disapproving father’s deeply religious beliefs.

When a delightful Frenchwoman, Babette (Stéphane Audran), appears at their doorstep with a note from Phillipa’s potential beau, the kindly women take her in.

Babette, a refugee fleeing Paris, offers to serve as the sisters’ housekeeper. Babette is filled with life and a passion for cooking and art- largely contrasting the townspeople, who frequently shun pleasures and harbor reserved and repressed feelings for joy.

When Babette wins the lottery and is assumed to be returning to Paris, she instead offers to prepare the town a lavish, classic French meal.

The film is a pure treat, especially in the final act when Babette decides to prepare an exquisite meal. This is the true highlight of the film, and the menu must be listed below to appreciate it fully.

As each course is served, the film depicts the cooking process, featuring spices, salts, wines, and reductions, so much so that we wonder who made such a gorgeous meal while filming transpired.

Audran, known to be a gourmet, must have adored this fabulous and creative role!

In order, Babette’s delicious feast consists of turtle soup served with Amontillado sherry, buckwheat pancakes with caviar and sour cream served with Veuve Cliquot Champagne, quail in a puff pastry shell with foie gras and truffle sauce served with Clos de Vougeot Pinot Noir, an endive salad, rum sponge cake with figs and candied cherries served with Champagne, assorted cheeses and fruits served with Sauternes, coffee with Vieux marc Grande Champagne Cognac.

My mouth is watering and my stomach growling as I write this!

Wisely and poignantly, the film heralds the return of Martine’s longtime admirer, Swedish officer Lorens, who escorts his elderly aunt to the dinner.

The other dozen or so dinner guests agree not to fuss or voice any reactions to the meal, but Lorens is different.

With each serving, he comments in explicit detail on the pleasures of the tastes and fondly recollects an experience with each course. He speaks for the rest of the guests as we see their reactions and the pleasures they exhibit non-verbally.

Tenderly, Lorens confessed that he had never forgotten Martine, and she the same for him. Despite not having seen or heard from each other in decades, their connection has never wavered, and thus, they have spent their lives as one.

What a lovely and powerful scene this is, and it adds romanticism and elegance to the overall film.

The lighting is effective as many scenes seem to bask in an illuminating glow. The whimsical village is well-lit, with many soft or muted scenes that exude elegance and grace throughout the tiny living community.

The costumes and styles are meaningful and make the 1800’s period realistic. This adds a tremendous amount to the look and texture of Babette’s Feast.

The overall themes of Babette’s Feast (1987) are ones of kindness, forgiveness, enjoyment, and honesty. The characteristics are brought to life by the film’s characters, rich in flavor and taste, all experienced through the importance and pleasures of food.

What a magnificent piece of filmmaking this work is, and the wealth of riches found in good dining.

Oscar Nominations: 1 win-Best Foreign Language Film (won)

2005 Films, Comedy, Drama, Independent, Independent Comedy, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films

Transamerica-2005

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Transamerica-2005

Director Duncan Tucker

Starring Felicity Huffman

Scott’s Review #795

Reviewed July 25, 2018

Grade: A

Transamerica (2005) is a brave and topical independent drama effort. By 2005, the LGBT genre was in full force with a multitude of similarly themed films gracing silver screens everywhere.

One prominent mainstream production (Brokeback Mountain, 2005) was in theaters everywhere.

So, in a year celebrating diversity, how wonderful and touching it is to witness a film focused on a transgender woman come into play.

Mixing drama with some much-needed humor, the film succeeds in large part because it does not take itself too seriously and never becomes too preachy; it merely tells a story.

The film’s brilliant casting of Felicity Huffman as a pre-op male-to-female transsexual is a success, as the decision to cast a woman rather than a man in this important role pays off in spades.

The premise allows for a story of both adventure and humor as the film mixes an important issue.

A transgender woman, Bree (Huffman), decides to go on a road trip with her long-lost son, Toby (Kevin Zegers).

The intrigue is that Toby is unaware that Bree is both transgender and his father, the fun coming from the relationship between the two.

Adding to the setup, a week before Bree’s scheduled operation, she has no idea who Toby is.

Encouraged by her therapist, Bree decides to throw caution to the wind and travel to pick up her son; however, she does not realize that Bree (being transgender) is his birth father.

Talk about complicated material!

I love the overall message of the film; its theme is self-discovery and a personal journey toward happiness. These qualities do not only apply to Bree but also to Toby.

Being a teenage boy, abused and neglected, he has his share of issues, which the film does not skirt over.

The areas of male prostitution and gay porn are featured, and the film does its best not to shy away from these sensitive matters.

Therefore, even though the film’s tone is light and more of a coming-of-age story, there are underlying painful emotions the characters experience.

This makes their bonding easier and more fulfilling.

Without a doubt, the film belongs to Huffman, who was honored with a Best Actress Oscar nomination for Best Actress. No offense to that year’s winner (Reese Witherspoon) for Walk the Line (2005), but the rightful owner of the statuette should be Huffman.

The actress simply comes out of nowhere and slays this role. Known for playing a different type of role on ABC’s hit television series Desperate Housewives, Bree is in a different league entirely.

Huffman possesses strength, vulnerability, and sarcasm, while physically undertaking a transformation that makes her both feminine and masculine, without becoming a “joke.”

All of this she pours into the character.

Transamerica (2005) is an unconventional film that, on the surface, feels mainstream, like many other road trip films made over the years.

With a twist and thus a breath of fresh air considering the importance and relevance of the time-released, the film should be championed.

When combined with Huffman’s tremendous performance, the film is a heavyweight and should be viewed and celebrated for its influence.

Oscar Nominations: Best Actress-Felicity Huffman, Best Original Song-“Travelin’ Thru”

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

2006 Films, Drama, Independent, Independent Drama, Independent Thriller, Thriller

The Dead Girl-2006

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The Dead Girl-2006

Director Karen Moncrieff

Starring Brittany Murphy, Toni Collette

Scott’s Review #794

Reviewed July 24, 2018

Grade: A

The Dead Girl (2006) is a unique independent drama with a moody, gloomy underbelly and is quite the downer; however, it is also a masterpiece.

Reminiscent of David Lynch’s Mulholland Drive (2001), the remote and dark setting perfectly counterbalances the traditional image of sunny California as a young woman’s murder is discovered.

Writer and director Karen Moncrieff spins a delicious tale of the mysterious and sinister.

Moncrieff, (a former daytime television actress), wisely carves the film into five chapters- each focusing on a different character.

The clever approach, since at first it seems as if the stories are independent, is that they are all intertwined.

The mystery of who the woman is, why she was killed, and other major questions come into play as the chapters unfold. To twist the drama even further, one of the chapters is revealed to be a complete red herring.

The five chapters are each compelling in their way.

Chapter one focuses on Arden (Toni Collette) and her relationship with her abusive mother, deliciously played by Piper Laurie. Arden has a love interest in Rudy (Giovanni Ribisi), whom she confides in when she discovers the “Dead Girl”.

The film then moves to various other chapters titled “The Sister”, “The Wife”, “The Mother”, and finally “The Dead Girl”, which is told from the perspective of the murder victim as final clues are revealed.

The last chapter is the best and most heartbreaking in my opinion.

The casting is just wonderful, with a myriad of top talents appearing in the film. With low-budget independent films, especially before 2006, finding big stars willing to accept little pay was quite difficult.

Moncrieff, however, scores big with the actors cast in her film.

Mainly an all-female cast, the ensemble includes talents like Collette, Laurie, Mary Beth Hurt, Brittany Murphy, and Marcia Gay Harden. Names like these could fill up a Hollywood marquee, let alone a small indie like The Dead Girl.

Speaking of Murphy, this may be the very best role of her career. Sadly, after this film, she meets her death; she gives a mesmerizing performance in the title role, also known as Krista.

With heavy, gothic-style makeup, her character is vulnerable, having had a difficult childhood and struggling to send an enormous teddy bear to her daughter on her birthday.

Tragically, events do not go as planned for Krista, but what a bravura performance by Murphy.

The overall tone of the film is a great achievement and key to its success. The film is small and does not need explosions, car chases, or police banter to convey its message.

The Dead Girl is a quiet film about struggles, decisions, and wounded characters dealing with the life that they have been given, the best they can.

The mysterious identities of the characters, and the loneliness and lack of identity of some of them, make me think Lynch’s Mulholland Drive at least somewhat inspired Moncrieff.

Not quite as oddball as the former, but more of a downer, The Dead Girl shows elements through unusual characters and a melancholy vibe.

The latter focuses more on a serial killer subject matter.

As a huge proponent of the independent film genre (think modern 1970s films with directors who have a clear vision), I find The Dead Girl an enormous achievement.

Despite a handful of Independent Spirit Award nominations, I still feel the film is under-appreciated and a decade later is largely forgotten, if anyone knew about it, to begin with.

Let’s hope that enough young, aspiring filmmakers were inspired by Moncrieff and what she created with The Dead Girl (2006).

Independent Spirit Award Nominations: Best Feature, Best Director-Karen Moncrieff, Best Supporting Female-Mary Beth Hurt

2006 Films, British, Drama, Psychological Drama, Psychological Thriller, Thriller

Notes on a Scandal-2006

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Notes on a Scandal-2006

Director Richard Eyre

Starring Judi Dench, Cate Blanchett

Scott’s Review #793

Reviewed July 23, 2018

Grade: A

A British drama centering on the world of teachers, illicit affairs, and sexuality, Notes on a Scandal (2006) is a superlative effort with thrills and drama galore.

Featuring heavyweights like Judi Dench and Cate Blanchett, there is no way this film could be a dud based on the acting alone.

The chemistry between the women and the carefully crafted thrills created by director, Richard Eyre, make the film a compelling joy to view- perhaps multiple times for additional entertainment.

The story is told mainly from the perspective of Barbara Covett (Dench), a rigid and bored schoolteacher nearing retirement at a comprehensive school in London.

Barbara is a spinster and a closeted lesbian, constantly writing in her journal for comfort- this is the main narrative of the story and is tremendously effective.

When a young and attractive art teacher, Sheba Hart (Blanchett), arrives on the scene, Barbara fancies her and is determined to get closer.

After Sheba begins an illicit affair with a male student, Barbara discovers the shenanigans and uses the situation to her advantage.

The scandal results in both women’s careers being at risk, as well as Sheba’s troubled home life coming to fruition.

Notes on a Scandal is a good, solid psychological thriller/drama with enough twists and turns to keep the viewer engaged. The film is not very long- at one hour and thirty-two minutes, there is hardly any time for lagging.

The best achievements, however, are with the superior acting of the two leads. With other lesser talents, this film might have suffered from too much melodrama and not enough meat.

With great acting chops, Dench and Blanchett do not let this happen; instead, they treat the audience to a riveting affair.

As fantastic as Blanchett is, Dench’s Barbara is the standout, taking center stage throughout the film.

Interestingly, despite both actresses being leads, Dench received an Oscar nomination for Best Actress, while Blanchett was nominated for Best Supporting Actress.

But there is no question that both actresses deserved the praises they reaped- and then some.

Dench delivers such a delicious performance that she arguably makes the film worth watching. Wearing no makeup and dressed as conservatively as imaginable, the subject will cast an icy stare or thoughtful gaze that runs shivers up and down the viewer’s spine.

As conflict and drama unfold, Barbara proves she is nobody to be messed with.

Still, the character has an underlying vulnerable quality, simply yearning for affection and love from another woman. One wonders if she has ever really had the love she deserves.

Dench is brilliant at revealing Barbara’s nuances.

The film poses an interesting moral question that will leave some viewers undoubtedly not fans of Sheba’s.

The fact that she lusts after an underage male, Steven Connolly (Andrew Simpson), and has relations with him, while having a husband and disabled child at home, may be too much for some.

Surely, the character will not be championed by many, but I found Sheba complex and difficult to grasp.

This complexity is to the filmmaker’s credit and allows for a more layered character study of both Sheba and Barbara- neither is cut and dry.

An interesting aside of the film is what if the genders of the roles were reversed? Would the film have the same effect if Sheba were a male character and Steven were a teenage girl? What if Barbara were a straight woman? What if Barbara were a gay male character?

These other possibilities left me wondering as I watched the film. Wisely, I think director Eyre got things just right.

Notes on a Scandal (2006) is a film that reminds me of a British version of Fatal Attraction (1987) meets Single White Female (1992).

The story holds elements of each and was adapted from a 2003 novel of the same name. With frightfully good performances by both Dench and Blanchett, this film is a memorable thriller not to be missed.

Oscar Nominations: Best Actress-Judi Dench, Best Supporting Actress-Cate Blanchett, Best Adapted Screenplay, Best Original Score

2006 Films, Drama, Independent, Independent Drama, Psychological Drama

Babel-2006

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Babel-2006

Director Alejandro G. Iñárritu

Starring Brad Pitt, Cate Blanchett

Scott’s Review #791

Reviewed July 19, 2018

Grade: A

Babel (2006) is part of director Alejandro G. Iñárritu’s “Death Trilogy” films- Amores Perros (2000) and 21 Grams (2001) are the others.

The director crafts a riveting drama involving intersecting stories that are a thrill ride a minute and highly compelling.

The film is at risk of being forgotten, however, largely due to Iñárritu’s subsequent successes- Birdman (2014) and The Revenant (2015). Still, Babel is a fantastic companion piece to either Traffic (2000) or Crash (2006), as those films hold a similar style.

The three stories are riveting in their own right and could each be a gripping short film.

The fact that characters within each segment are related to the others in some way takes the stories over the top.

The film switches back and forth between stories, which is a huge plus, making the tension even more palpable as we begin to connect the dots.

The spliced editing is a remarkable achievement in ensuring seamless continuity.

Each story is summarized below.

An affluent American couple, Richard and Susan (Brad Pitt and Cate Blanchett), vacation in Morocco, happily enjoying a bus tour.

When two local boys play with their father’s rifle and experiment by shooting at long range, the American woman is shot, leading to a terrorist accusation. At the same time, the couple desperately seeks medical attention in the middle of nowhere and in a foreign country.

In Japan, a wealthy businessman (and owner of the rifle) is investigated while his promiscuous teenage daughter (Rinko Kikuchi) seeks attention from young men.

The girl, who is deaf, is angry and depressed due to her mother’s recent suicide.

As she flirts with a local detective, she slips him a mysterious note. She implores him to read the note only after he leaves her father’s gorgeous high-rise apartment, leading to a mysterious revelation.

Finally, in southern California, Richard and Susan’s Mexican nanny, Amelia (Adriana Barraza), cares for the couple’s young children. Almost like a real family member, Amelia adores the kids (and they love her.)

When she is notified that the couple will be delayed returning home, she panics and foolishly takes the kids across the border to Mexico to attend her son’s wedding.

When an incident involves the police, Amelia and the kids’ lives are in peril.

The connecting stories are only part of what makes Babel so fantastic, but an enormous aspect is the direction Iñárritu gives the characters.

As the stories play out, we care deeply for the characters that play a great role in adding meat to each story.

Sometimes the characters’ connections are immediately known; other times, the audience can savor the inevitable big reveal. Not every story featured in Babel will have a happy ending, which makes the film all the more compelling and satisfying.

How incredible are the different locales and cultures featured in Babel from a geographical perspective alone?

The action traverses from the hip, modern metropolis of Tokyo, with slick nighttime sequences, dance clubs, and urban hip-hop beats.

The deserts of remote Morocco, with their vast, sweeping landscapes, blend perfectly with the hot Mexican atmosphere and the cultural nuances of a real Mexican wedding.

Another key element is the characters’ different backgrounds and the conflicts this sometimes leads to. As Richard frantically seeks medical attention for Susan, he encounters resistance from some while receiving aid from a local veterinarian.

At the Mexico-United States border, Amelia and her brother are not treated well by Border Patrol. One cannot help knowing that this is because they are Mexican and carrying American children, thus discriminated against.

Wonderful call-outs are deserved for the relatively unknown actors Kikuchi and Barraza, both of whom received tremendous accolades in 2006 for their work, even though they could easily have been overlooked in favor of bigger, high-profile stars like Blanchett and Pitt.

I love it when this happens, and gritty performances get the respect they deserve. Both actors give great performances in complex, layered characters.

Since making Babel, Iñárritu has progressed to great acclaim with Oscar winners like Birdman (2014) and The Revenant (2015), but let’s not forget that Babel received a heap of Oscar nominations, though sadly only one victory for the musical score.

Unfortunately usurped by his more high-profile works, Babel (2006) is an excellent, fast-paced, and layered film with spectacular characters, storytelling, and editing.

Oscar Nominations: 1 win-Best Picture, Best Director-Alejandro G. Iñárritu, Best Supporting Actress-Adriana Barraza, Rinko Kikuchi, Best Original Screenplay, Best Original Score (won), Best Film Editing

2007 Films, Biography, French, International, International Drama, International Musical, Musical, Musical Drama

La Vie en Rose-2007

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La Vie en Rose-2007

Director Olivier Dahan

Starring Marion Cotillard

Scott’s Review #790

Reviewed July 18, 2018

Grade: A

As a true fan of French actress Marion Cotillard, La Vie en Rose (2007) is the tremendously talented lady’s finest role to date- and I would venture to say one of the best in film history.

She immerses herself in the pivotal role of Édith Piaf and delivers a breathtaking performance.

Besides the vehicle to showcase her acting chops, the film as a whole is lovely, presenting the poignant life story of the troubled star and adding enough French zest to make it more than just a biography.

The way the plot is constructed is quite interesting, as Édith Piaf’s story is told in a non-linear fashion.

The highly complex singer’s biography is recounted, first telling elements of her childhood and concluding with events occurring shortly before her death.

Her childhood was difficult, so she was raised by her grandmother in a bordello and discovered on the streets, beginning her meteoric rise to acclaim.

The events of the film are known to be fairly accurate, making the songstress’s life story awe-inspiring.

The visual aspects and cinematography elements of La Vie en Rose are lovely. With soft, muted tones, the film is rich with culture and has a wonderful French way about it.

Since the story commences in 1918, the period is fraught with a rich history, including World War II and a lavish trip to New York City, where Édith performs.

To say nothing of the lavish Parisian settings, the “look” of the film is enough reason to watch in wonderment.

Enough praise cannot be heaped upon Cotillard as Piaf, and as enjoyable and profound as the film itself is, the casting of the French actress is both perfect and unimaginable with anyone else in the role.

As treasured a performance as Cotillard gives, the filmmakers wisely choose to leave Piaf’s actual voice in the musical numbers. Anyone else mimicking her would be unimaginable and frankly insulting.

And an imitator would not have served the film well.

Regardless of the voice-overs, Cotillard delivers such a flawless and brave performance that it makes the film what it is.

Piaf was known as a very difficult woman to deal with both personally and professionally, though there were many sympathetic qualities to her, given her tough life.

Cotillard’s facial expressions and mannerisms perfectly mimic the star’s qualities so much so that the actress seemingly becomes the singer. The actress deservedly won the Best Actress Academy Award for her layered performance.

The final scene of the film is both profound and ghastly. A very ill Édith, looking haggard, clown-like with heavy makeup, decides to take the stage for the final time, aware that she is dying.

Refusing to cancel her show, she performs her well-known number, “Non, Je ne regrette rien”. She then exits the stage in a frail manner and dies shortly thereafter. She was the consummate professional and star until the moment of her death.

This particular scene is a wonderful culmination of the film.

La Vie en Rose (2007), solely judged as a biopic, is a very good piece of filmmaking that tells a graceful, sometimes moving story of incredible talent.

With a performance such as Cotillard’s, the film goes to another level, and the performance becomes the main event.

The emotions and characteristics the actress embodies are astounding and rank among the finest depictions in cinematic history.

Oscar Nominations: 2 wins-Best Actress-Marion Cotillard (won), Best Makeup (won), Best Costume Design

2018 Films, Comedy, Drama, LGBTQ+ Comedy, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ Romantic Comedy

Love, Simon-2018

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Love, Simon-2018

Director Greg Berlanti

Starring Nick Robinson

Scott’s Review #789

Reviewed July 17, 2018

Grade: B+

Love, Simon (2018) is a friendly, mainstream, LGBT film focused on a likable central character. Given the myriad dark films within this genre, the film is refreshing, usually ensconced in the independent genre.

Finally, a wholesome, family-oriented “coming out” story is upon us, and the film succeeds in spades. Perhaps a shade too “happily ever after” with a couple of stereotypes among the supporting characters, Love. Simon is a film to be heralded and certainly recommended.

Popular high school senior Simon (Nick Robinson) has a close circle of friends, hip parents, and an affluent existence in the suburban USA. Seemingly “having it all,” he is nonetheless filled with angst and harbors a deep secret—he is gay.

Closeted, he finds solace with a similarly closeted male student through the school website.

Determined to find out who his classmate is, he embarks on a way to discover his secret crush’s identity while being blackmailed by another schoolmate.

Young newcomer Nick Robinson is an absolute gem and carries the movie successfully. This is in stark contrast to another 2018 release starring a newcomer who failed (A Wrinkle in Time). Alas, Robinson has charm, charisma, wholesome looks, and an earnest persona, which are perfect traits for a coming-of-age film such as Love, Simon.

The audience will instantly root for the teen to find happiness and come to terms with the dreaded coming out to family and friends, which any gay person can relate to.

An enormous positive to the film is that Simon is okay with being gay- it’s the telling of other people that bothers him. He daydreams about starting fresh next year as an out and proud college freshman.

He worries that coming out will ruin his final year of high school and change his relationships with his circle of friends. But he is never ashamed or self-harming in his preference for men.

Lesser, but still significant, high points to the film are the rich diversity among the supporting players.

Several of Simon’s friends are black, and his parents are liberal, open-minded, and well-rounded. Of course, they will be accepting of their son’s chosen lifestyle.

Love, Simon also features diversity among the teachers. The theater teacher is not only black but also a champion for LGBT fairness. These qualities are always a breath of fresh air in film, especially when the target audience undoubtedly is younger.

The filmmakers succeed at breaking a key barrier with Love, Simon. As often is the case, LGBT-themed films target the LGBT audience, which makes sense.

In the case of Love, Simon, the film is an experience that the entire family can watch together, regardless of anyone’s sexual preferences. This detail is critical, as LGBT matters should be considered daily.

At the risk of pigeon-holing, the fact that Simon is masculine and popular and not the slightest bit effeminate or girly is undoubtedly a key to the film’s success.

On that note, the film does add an extremely effeminate and outgoing supporting character named Ethan. I am not sure this character is necessary other than to contrast with Simon.

Perhaps to drive the point home, Simon is a cool, macho guy, and Ethan is not. In one scene, it is assumed that Simon and Ethan are boyfriends, and Simon seems mildly disgusted by this. I’m not sure this subplot works or serves the film’s overall message very well.

Love, Simon contains frequently seen supporting character types that bring us seasoned filmgoers back to the days of the 1980s teen coming-of-age films like Pretty in Pink (1986) and Sixteen Candles (1984).

Several subplots involving characters having crushes on other characters, while another character likes them, are added to the mix for fun and a little drama.

The conclusion is sweet as the initial mystery of “who is the other gay student?” is finally revealed amid a lovely scene of Simon waiting on a Ferris wheel for his online admirer to arrive.

In a purely inclusive moment, the entire school surrounds the newly united couple and beams with pride as the duo tenderly kisses. Mass audience members are exposed to a heartfelt moment and an enormous lesson in dignity and spirit.

Director Greg Berlanti creates a lovely Hollywood film that is rich with diversity, a powerful story, and an inclusive element.

Sure, the film is not heavy and either skims over or misses discussions of powerful emotions that many gay youngsters face, but it is nonetheless a brave and necessary story in its own right.

Love, Simon (2018) is classy, tender, and quite a pleasant experience.

2018 Films, Adventure, Disney, Fantasy, Kids

A Wrinkle in Time-2018

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A Wrinkle in Time- 2018

Director Ava DuVernay

Starring Storm Reid, Oprah Winfrey, Reese Witherspoon

Scott’s Review #788

Reviewed July 16, 2018

Grade: C

A Wrinkle in Time (2018) is a film I had high hopes for, given the enormous marketing push, first-rate cast, and especially the acclaimed female director involved with the project, Ava DuVernay (Selma, 13th).

Additionally, having admired the 1962 novel, I expected a rich, earthy, and mysterious experience. Sadly, whether it be a “too many cooks in the kitchen” situation given the star power involved, or some other factors leading to a disconnect, this film disappointed me.

It’s not terrible, but it suffers from miscasting, too much CGI, and a story that is not very compelling.

Thirteen-year-old Meg (Storm Reid) is having a tough time in school. Smack dab in the “awkward phase,” she is picked on by schoolmates because her father (Chris Pine) has disappeared, presumably having ditched the family.

In reality, he is a scientist transported to another world after solving the question of humanity’s existence.

After Meg and her family are visited by a strange woman named Mrs. Whatsit (Reese Witherspoon), Meg, her little brother Charles Wallace, and Meg’s crush, Calvin, time-travel to find a way to save her father.

Fans who have read the fantastic novel written by Madeleine L’Engle will most certainly be disappointed since many details of the film are vastly different from the written page.

DuVernay attempts to take the film out of the 1960s and into 2018 (I have no issue with that), but the film feels so slick and modern with the visual elements and heavy use of CGI that the story suffers enormously.

The film is gorgeous, especially in the sweeping outdoor scenes, but in this case, too many bells and whistles spoil A Wrinkle in Time.

The three strange women characters, Mrs. Whatsit, Mrs. Who (Mindy Kaling), and Mrs. Which (Oprah Winfrey), are completely butchered. In the novel, each is portrayed as peculiar, mysterious, and similar to witches: frumpy, awkward, yet lovable.

In the film, however, they are colorful, glamorous, and empowered, but lack uniqueness or intrigue.

I am all for female empowerment, but the characters just felt wrong.

Kaling is fine in the most minor role, but in the case of Witherspoon and Winfrey, it appears to be a case of “we have big stars, let’s find roles for them.” A tough sell with Mrs. Which is to think of Oprah as anyone other than….well, Oprah!

Witherspoon’s attempts to be goofy and the comic relief of the film do not work.

The casting of newcomer Storm Reid is lackluster. I have no issue with the character of Meg being changed to bi-racial, I feel that’s a plus in the modern age. However, the actress is not the greatest, appearing both sullen and wooden in various scenes.

Nor does she have any chemistry with her love interest, Calvin.

This is a shame since the theme of young love would have been a nice addition to the film and was a coming-of-age element in the novel.

At the risk of being overly critical, A Wrinkle in Time is not a total disaster either. The progressive and heroic message of the overall film is quite inspiring if kids watch the film (and since it is Disney-produced and heavily advertised, I can see no reason why they wouldn’t), they will be exposed to a nice message of good conquering evil.

On a side note, the villain is safe and hardly conjures up much fright, so parents need not worry about the film being too scary.

With heaps of buzz and anticipation regarding A Wrinkle in Time (2018), the film seemed poised to become a blockbuster hit and a great spring flick. Instead, critics and audiences alike have largely derided it.

With creative genius, star power, and a considerable budget, something ran amok as the final product is fair to middling.

Let’s hope director Ava DuVernay gets her groove back with her next project- I expected more.

2005 Films, Drama, Independent, Independent Drama, New York City, Psychological Drama

Sorry, Haters-2005

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Sorry, Haters-2005

Director Jeff Stanzler

Starring Robin Wright

Scott’s Review #787

Reviewed July 12, 2018

Grade: A

Sorry, Haters (2005) is a small indie film that was not well received by audiences or, at least not by many, by film critics, but that I am a champion of.

The film is a little-known gem and a showcase piece for star Robin Wright, who has become quite the indie queen over the years.

Thankfully, the film did receive some recognition via two independent film nominations, which is how I heard of it.

Regardless, Wright gives a fantastic performance as a troubled television executive who becomes involved with a Muslim taxi driver in New York City, panic-stricken post 9/11.

Ashade (Abdel Kechiche) struggles with driving a cab and the myriad of family issues he faces, including legal troubles.

When an upscale, white woman, Phoebe (Wright), enters his cab one night, she insists on forging a friendship, but what is her motivation?

She immediately seems slightly unbalanced and tense.

Reluctant but in need of her help, Ashade’s life becomes entangled with hers as Phoebe offers her assistance. But when her true motivations are revealed, the audience will never see the terrific and terrifying conclusion coming.

The film is very dark in tone and is hardly a feel-good film.

The best aspect of Sorry, Haters is the complicated relationship between Phoebe and Ashade and how it plays out in the story.

More accurate is the complex dynamic of Phoebe herself as her motivations are slowly revealed.

As great as Kechiche is, the standout is Wright, but both play well opposite each other. Her role is more developed and the centerpiece as the audience slowly becomes aware of her dark secrets and disturbing behaviors.

Phoebe immediately claims to be going through a divorce and hires Ashade to drive her to nearby New Jersey to observe her ex-husband.

She talks his ear off, recounting how she has lost her family. This scene becomes the first clue that Phoebe may be unbalanced.

As the film progresses, this becomes more obvious. As Phoebe dines with colleagues, she engages in reluctant conversation while violently cutting her leg with a fork beneath the table for relief.

Wright can do no wrong as an actress, appearing in numerous films over the years. She is not a “box office” type of actress, and this is to her credit. She chooses independent films that let her sink her teeth into meaty, complex female roles.

The role of Phoebe is of that ilk. The character is unstable, bordering on madness, with rage bubbling under the surface.

Wright portrays these emotions successfully.

Let’s not forget the other leading actor- Kechiche is purely dynamic in the male leading role. The audience will undoubtedly sympathize with this man and his character right away.

Since the period is so close to the events of 9/11, and the character is Muslim (some big clues to the climactic conclusion here), the man is a prime target for discrimination.

Since his brother is imprisoned and needs a legal team, Ashade is quite vulnerable and ultimately at Phoebe’s mercy.

The interesting dynamic between Phoebe and Ashade is that they do not share a romantic relationship at all. Developing a friendship based on need, there is something not right about the situation, and director Jeff Stanzler establishes the appropriate mood with many scenes set either at night or in the confines of Ashade’s taxi.

Dialogue frequently seems awkward between the two.

Despite not being an easy film to watch, Sorry, Haters (2005) is a film with a powerful message and great scenery of one of the world’s most vibrant cities.

The film is dark, even dour, but above all, it contains a powerful message with a timely subject matter. Rich in character development between the leads and the maniacal motivations of some.

I found the film to be topical, riveting, and disturbing.

Independent Spirit Award Nominations: Best Female Lead-Robin Wright Penn, Best Screenplay

2008 Films, Adventure, Best Picture Oscar Winners, British, Drama, Independent, Independent Drama, Romantic Drama

Slumdog Millionaire-2008

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Slumdog Millionaire-2008

Director Danny Boyle

Starring Dev Patel

Scott’s Review #786

Reviewed July 11, 2018

Grade: A-

Winner of the 2008 Best Picture Oscar (as well as seven other Academy Awards), Slumdog Millionaire (2008) arguably was the “feel-good” film of the year.

While I am not sure all those awards are ultimately deserved, the film is nonetheless very good, offering a mix of rich culture, a young man overcoming enormous odds, and a love story.

Fans of the universal game show hit, Who Wants to Be a Millionaire, will be pleased.

Young Dev Patel (critically acclaimed for 2016’s Lion) stars as a poor young Indian man, Jamal Malik.

He is detained after being a contestant on Who Wants to Be a Millionaire after he came one question away from winning a million dollars.

The producers go on a commercial break, and Jamal is whisked away to custody as suspicions are aroused and the young man is accused of cheating. Since he is a “slumdog” and poorly educated, it is assumed that he could not know all the answers.

Jamal recounts, through flashbacks and experience, how he came to know all the correct answers.

Director Danny Boyle does a fantastic job. Slumdog Millionaire is edited in a fast-paced fashion, and the camera angles are quick and stylized, making for an excellent flow.

The soundtrack to the film is very effective and enhances the plot. For example, the music is extremely diverse, featuring genres such as traditional Indian classical music, European house music, and American-style hip hop.

This is an ingenious way for Boyle to incorporate multiple cultures, and he therefore creates a rousing, crowd-pleasing experience.

Another successful aspect of the film is its use of knowledge and intelligence to tell a story.

As we experience Jamal’s difficult life, beginning as a five-year-old orphan, his unlikely success story and his adventures on the streets are intertwined with both life lessons and education.

The audience is learning important details about the world while Jamal is simultaneously.

The romantic love story featured in Slumdog Millionaire is also a highlight and extremely well-crafted. Heartbreakingly, Jamal, his older brother Salim, and the lovely Latika (later played by the gorgeous Freida Pinto) are on the run when Latika vanishes.

Her disappearance and later reappearance are vital aspects to the heart of the film, and Patel and Pinto make a handsome and highly likable couple. Their reconciliation is heartfelt and beautiful, and gives the film a nice emotional investment.

The incorporation of a relevant and acclaimed game show into the story is wonderful, though hopefully, as the years go by, the film does not suffer from a dated feel if and when Who Wants to Be a Millionaire is long forgotten, but alas, this is a risk, and only time will tell.

The glossy set and for American audiences, the Indian-style version of the game show is great fun, as are the Indian locales, which visually dazzle.

A slight detraction of Slumdog Millionaire is that the film is unquestionably uplifting and light-hearted. Even though the characters face peril and dangerous experiences, the film “feels” safe.

So much so that qualities such as slick and mainstream resound.

Don’t get me wrong, the film is genuine and has heart and soul, but just slightly too cheery. Of course, since the film is well-made and the story and acting are great, this can easily be overlooked.

Slumdog Millionaire (2008) is a wonderful piece of work and, quite simply, a film that many people will champion. All of the elements are perfectly in place, which is a main selling point and a prime reason for the film’s many accolades.

The romance and adventure pieces are the best parts, with a quick flow and lots of fun, educational tools utilized.

The film is a nice pleasure to experience.

Oscar Nominations: 8 wins-Best Picture (won), Best Director-Danny Boyle (won), Best Adapted Screenplay (won), Best Original Score (won), Best Original Song-“Jai Ho”, “O Saya”(won), Best Sound Editing, Best Sound Mixing (won), Best Cinematography (won), Best Film Editing (won)

2011 Films, Drama, Independent, Independent Drama, Psychological Drama

We Need to Talk About Kevin-2011

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We Need to Talk About Kevin-2011

Director Lynne Ramsay

Starring Tilda Swinton, Ezra Miller

Scott’s Review #785

Reviewed July 9, 2018

Grade: A

We Need to Talk About Kevin (2011) is a tremendously disturbing independent drama with eerie similarities to the infamous Columbine school shooting massacre.

The point of view of the film is from the perspective of Eva (Tilda Swinton), a haggard, troubled mother doubting her love for her violent teen son.

Swinton was shamefully overlooked for an Academy Award nomination despite her brilliant, breathtaking performance.

The overall film itself is equally astounding and powerful.

Adapted from a Lionel Shriver novel, the film begins in the present day, after tragedy has occurred.

Eva, once a successful writer of affluent means, now lives alone in a rundown house near a prison where she frequently visits her son Kevin (Ezra Miller).

She is now reduced to a mundane job at a travel agency while neighbors terrorize her, blaming her for her son’s machinations.

Chillingly, Eva ponders the warning signs Kevin exhibited throughout his childhood and tortures herself with thoughts of what she could have done differently to prevent the shootings and the death of her loved ones.

Uniquely, the film segues to before Kevin was even born. Eva and her husband Franklin (John C. Reilly) happily welcome their baby boy, but he is immediately “not right” and difficult and cold towards her.

This behavior continues over the years as Kevin is distant towards Eva, but warm and adoring towards his father, leading to mental games and the death of a pet.

When Eva and Franklin have another child, things get progressively worse, leading to tragic events.

The film is a pure masterpiece with riveting acting performances all around (especially Swinton) and a slow, plodding pace. This is a perfect aspect of the film because it maintains a continuous gloomy, moody vibe.

Director Lynne Ramsay reveals everything in the opening moments, so we know how events will unfold, but the real enjoyment comes from the characters’ development.

Dad, Franklin, and daughter, Celia, are around, but the film belongs to Eva and Kevin and their relationship.

The film raises many questions (I know I asked myself these questions).

Should any blame be cast upon Eva, or is she purely innocent? How about Franklin? Is Kevin just a “bad kid”? Was Eva wrong for breaking Kevin’s arm in anger, or justified? Should Eva have never had kids because of her earlier doubts? Should she have been more proactive about getting Kevin treatment?

Swinton delivered her career-best performance, and while she earned a Golden Globe nomination, the ultimate gold statuette (Oscar) passed her by.

I find this to be troubling, especially since she won for 2007’s Michael Clayton, a very good performance, but not on the same level as Eva.

Swinton is one of the great modern actresses, and hopefully, great roles will continue to follow this treasured star.

Almost on par with Swinton is a young talent, Ezra Miller. A relative newcomer in 2011, he appeared in the indie gem The Perks of a Wallflower (2012) and later moved into more mainstream fare like Trainwreck (2015) and Suicide Squad (2016).

We Need to Talk About Kevin remains his best and most challenging effort.

One of the best sequences occurs during the school massacre scene. Shot at night (and in my adopted hometown of Stamford, Connecticut!), the sequence involves flashing police lights and chaos as Eva approaches the school in horror.

With no dialogue, we see Kevin enter the school and render the doors useless as an escape route.

Terrified students are murdered as Kevin erupts with maniacal rage. The scene is downright chilling and incredibly effective.

2017’s The Killing of a Sacred Deer reminds me a lot of We Need to Talk About Kevin in tone and style, so much so that I wonder whether the latter was watched and studied before the former.

Either way, the duo could be watched back-to-back for a double dose of teenage maniacs.

With a bleak, dark tone, We Need to Talk About Kevin (2011) offers a story with a clear message.

Never discussing the hot topic of gun control, guns are not used in the slaughter, a bow is, weapon restrictions will nevertheless be an obvious discussion point.

This film is one to be observed, savored, dissected, and thought about after the finale, and remembered as a great piece of cinema.

2017 Films, Biography, Comedy, Drama

The Disaster Artist-2017

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The Disaster Artist-2017

Director James Franco

Starring James Franco, Dave Franco

Scott’s Review #781

Reviewed July 2, 2018

Grade: B

The Disaster Artist (2017) is a biography-comedy that I found to be middle of the road to primarily good if I’m judging in overall terms- most I liked with a bit of criticism.

Due to the many accolades, I confess to having anticipated a bit more from the finished product and hardly finding it a masterpiece.

Still, I was both impressed and unimpressed by James Franco’s performance in the lead role. I was awed at the actor’s emergence as a director, and the Los Angeles setting is great.

At times the film teeters almost into bad slapstick or shtick, and a bit silly, and as much as I respect his performance, this criticism is directed at Franco. Nobody can deny his acting talent if he chooses the right films.

His attempt to make his character peculiar is noticeable within seconds, so it seems Franco also makes him a bit of a goof, and I was not able to take the character seriously all of the time.

And the weird accent threw me.

This film is based on the nonfiction book The Disaster Artist. The book chronicles the making of 2003’s The Room, not to be confused with the 2015 film Room. The Room was considered amateurish and one of the worst movies ever made.

Told repeatedly that his acting stinks, oddball Tommie Wiseau (James Franco), a European-American aspiring actor, decided to screw Hollywood and produce, direct, and star in his film.

Wiseau has an endless amount of bank funds, which he uses towards the film. Roommate and friend Greg Sestero (Dave Franco) stars in the movie and thus gets his big break. The duo and various others pitch in to create the project, which suffers from ineptness on the part of Wiseau.

The Los Angeles setting resonates with me, as does the recurring theme of struggle in the Hollywood scene. These are significant pluses of the film as a whole.

Los Angeles can appear to be a sunny and glamorous town, but beneath its shiny exterior, it always has a gloomy, dark underbelly.

The film realistically depicts struggle and success, from the central characters to the supporting players, making it resemble an ensemble.

Thousands struggle daily for a break, and no respect or appreciation is given. The Disaster Artist scores a win by focusing on this.

When Tommie brazenly approaches an influential producer in a restaurant, he is unceremoniously dismissed for having no talent and told he will never get anywhere. In addition to Tommie, several actors associated with the film struggle.

In a fantastic scene, an older actress states that being on a bad movie set beats any other job by miles. The message here is that people in Hollywood are there because they genuinely love it.

The sweet, empowering theme of friendship and empowerment is also to be celebrated, especially given the cutthroat backdrop. Tommie and Greg are best friends and have each other’s backs through thick and thin.

Neither gives up on the other, even during the initial audience reaction to The Room premiere.

Could the film have been slightly darker? Yes, indeed, as very few scenes of drug destruction or the porn that many hopeful talents turn to are mentioned. But the film is not about that. It’s an enchanting tale of hope and fun.

It is interesting to note, and not evident to me while watching the film, that brothers James and Dave Franco play opposite one another. While there is somewhat of a physical resemblance, the chemistry works between the two actors as best friends.

James delivers a worthy portrayal of an unusual character with a strange dialect, long, stringy brown hair, and seemingly cross-eyed. The role is comedic and ideally suited for an unusual actor like Franco- he must have had a ball with the part.

Movies about movie-making always fascinate me. What goes on behind the scenes?

The Disaster Artist (2017) provides enough good film meat to make it an overall good experience. It stays true to some fine Hollywood history—the famous James Dean is referenced, and the spot where he died is even visited—nice touch! Franco is both good and disappointing in the main role.

All in all, this one is worth watching for those who enjoy filmmaking, Hollywood, or L.A.-set films.

Oscar Nominations: Best Adapted Screenplay

Independent Spirit Award Nominations: Best Male Lead-James Franco

1941 Films, Drama, Romantic Drama

That Hamilton Woman-1941

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That Hamilton Woman-1941

Director Alexander Korda

Starring Laurence Olivier, Vivien Leigh 

Scott’s Review #779

Reviewed June 27, 2018

Grade: B+

That Hamilton Woman (1941) is an obscure, black, and white gem that stars legendary actors and real-life couple Vivien Leigh and Laurence Olivier.

Providing a story of an old-fashioned style romance, war battles, and dazzling cinematography, the film succeeds as a classic film that should be better remembered than it is.

The overall theme here is a tragic love story with a sad ending.

One of the best aspects of That Hamilton Woman is witnessing the super-couple team of Leigh and Olivier act opposite one another. The actor’s talents are reason enough, but it makes a fascinating viewing experience.

The curiosity of the pairing of big stars in their heyday is a delight and highly appealing, and both actors do not disappoint. One wonders whether they were acting or otherwise enjoying the experience.

Lady Hamilton begins with a jarring scene in which the title character, Emma Lady Hamilton (Vivien Leigh), is thrown into debtor’s prison after stealing booze in France.

The rest of the story is told via flashbacks as she regales her fellow prisoners with how she ended up in her current state. Her former life starkly contrasts Emma’s appearance as a young woman with hope, promise, and riches.

It is hard to imagine how her life turned out so severely, which gives the film quality of intense intrigue.

The film then has a “riches to rags” element as the story is reversed. Full of energy, British Emma moves with her mother to the Kingdom of Naples, where she marries the affluent (and much older) Sir William Hamilton (Alan Mowbray), presumably for his money.

When handsome Admiral Horatio Nelson (Olivier) appears on the scene, the pair fall madly in love. They face tremendous hurdles, however, as the war rages on and each is unfaithful to their respective spouses.

Since the film was made scarcely two years after the epic romance Gone with the Wind (1939), one cannot help but compare Leigh’s portrayal of Emma to Scarlett O’Hara.

Emma comes across as a British version of the southern lass, especially as she is clad in gorgeous gowns or romancing men.

However, as the film develops, she becomes a much more sympathetic character and certainly less of a vixen. Still, there are plenty of similarities for viewers to draw from.

The role of Lady Frances Nelson (Gladys Cooper) is completely one-note, so the rooting value is never doubted. The film intends for the audience to be in the corner of Emma and Horatio, and that said, Cooper does a fantastic job of making her character completely unlikeable. Her icy, vengeful spirit perfectly complements the sympathetic lead characters. The fact that Horatio and Emma are adulterers, especially for the year the film was made, is not fully explored.

To be critical, the video quality is not the greatest, presumably because the film is old. If the film had been in color, the gorgeous Italian landscapes and Leigh’s lovely costumes would have appeared even more lavish and picturesque.

However, due to the film’s age, not much can be done about it unless it is decided to repackage the disc or make it a Blu-ray offering.

Still, the film frequently features southern Italy’s luminous mountains and lush oceans, which is a real treat.

Purely a showcase for newlyweds Olivier and Leigh to dish their real-life romance for mainstream audiences, That Hamilton Woman (1941) must have been a big deal at the release.

While suffering from lackluster film quality, the story is quite hearty, featuring romantic scenes, loud, bombastic battle scenes, and a bit of British and Italian history.

Sadly, this film is largely forgotten, but it is a good watch for fans of the legendary stars.

Oscar Nominations: 1 win-Best Sound Recording (won), Best Art Direction-Interior Decoration, Black-and-White, Best Cinematography, Black-and-White, Best Special Effects

1998 Films, Drama, Epic, Guy Films, War, World War II

Saving Private Ryan-1998

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Saving Private Ryan-1998

Director Steven Spielberg

Starring Tom Hanks

Scott’s Review #778

Reviewed June 26, 2018

Grade: A

Famed director Steven Spielberg does not always get the respect he deserves. This is usually because, for better or worse, he has become synonymous with the “blockbuster” film, drawing comparisons to either lightweight fare or films of “lesser” artistic merit.

His 1980’s works- Raiders of the Lost Ark (1981), E.T. the Extra-Terrestrial (1982), and Indiana Jones and the Temple of Doom (1984)- were enormous commercial successes, though I enjoyed all of the films.

During the 1990s, Spielberg continued to direct “popcorn flicks” such as Hook (1991) and Jurassic Park (1993) with large studio budgets but somewhat less critical acclaim.

Finally, he was able to change many opinions with 1993’s Schindler’s List and the war film to end all war films, Saving Private Ryan (1998), an epic, profound experience.

Both received numerous Oscar nominations and achieved box-office success.

The film is a tremendous treat, thanks to the riveting opening sequence alone (more on that later).

If that is not enough to impress, Saving Private Ryan is known for infusing a very graphic element into the war film, with no let-up from the brutality. Spielberg does not water down this picture; instead shows the pain and angst of war.

The film is helped tremendously by the casting of Hollywood superstar Tom Hanks, who leads an enormous cast of mainly young men.

Saving Private Ryan opens with a prologue: in the present, a veteran brings his family to visit an American cemetery in Normandy.

Flashbacks then take the audience back to the Omaha Beach debacle in 1944, where American troops faced deadly German artillery attacks in France.

After the horrific three-day D-Day, it is learned that three of the four Ryan sons have died in the events. Captain Miller (Hanks) is ordered to bring a team of men to Normandy and bring the fourth Ryan son (Matt Damon) to safety.

Spielberg’s opening D-Day sequence is just astounding and propels the film to unforgettable status. With a running time of twenty-four minutes, the riveting and horrific slaughter of American soldiers is intensely brought to the screen.

Audiences undoubtedly sat open-mouthed (I know I did!) as bullets riddled the beach and left soldiers killed or with limbs torn off. The camera work is brilliant, as the use of a shaky technique, almost a documentary style, is used for effect.

This sequence successfully promotes anti-war sentiment without glorifying combat at all. The scene will stay with its audience for years to come.

Saving Private Ryan can be compared to the decades-later Dunkirk (2017) in that each film took the war genre and turned it on its head.

The similarities between the films start with the obvious: the main events in both films occur during World War II, in the same week, and in the French beach settings, making the films perfect companion pieces.

Both films feature a gray, rainy setting with many horrific moments of death and suffering. The war film is a common genre that has historically teetered on the brink of predictability and oversaturation. Still, both films do something completely different and unexpected, yet mirror each other in style.

To counter-balance the violence in the opening sequence, a quiet scene is created and remains one of my favorites. The scene contains almost no dialogue throughout the seven-minute duration and is pivotal to the entire film.

As a typist realizes that three letters of death are to be delivered to the same family, a woman on a mid-west farm quietly washes dishes and is calmly horrified when she sees a government car approaching.

What else can this mean but that one of her sons is dead? The poor Mrs. Ryan will be told that she has lost not one, but three sons.

How utterly unimaginable, and the scene is incredibly touching!

The best part of Saving Private Ryan is that Spielberg combines a deeply sentimental vision with the terrible atrocities of war. He portrays not only the violent effects of the battles on the soldiers but also on the surviving families.

This is not always done in war films, at least not to the level that Spielberg chooses to.

With a film as startling as Saving Private Ryan, Spielberg turned the war film genre inside out. Breaking barriers with a no-holds-barred gusto, Spielberg influenced war films for years to come- Black Hawk Down and Enemy at the Gates (2001) are prime examples, and received acclaim from fellow directors for his interesting techniques.

Saving Private Ryan (1998) was an enormous financial winner at the box office, proving that great films don’t have to be watered down to find an audience.

Oscar Nominations: 5 wins-Best Picture, Best Director-Steven Spielberg (won), Best Actor-Tom Hanks, Best Screenplay Written Directly for the Screen, Best Original Dramatic Score, Best Sound Effects Editing (won), Best Sound (won), Best Art Direction, Best Cinematography (won), Best Makeup, Best Film Editing (won)

Welcome to my blog!1,552 reviews posted so far! I'm Scott Segrell and I reside in Stamford, CT. My site features hundreds of film reviews I have written since I launched the site in 2014. I hope you enjoy reading my latest reviews or searching for your own favorites to see if we agree. Please see my Recent Posts section, and don't forget to utilize the tags and category links.