2022 Films, Best International Film Oscar Winners, Drama, International, International Drama, War

All Quiet on the Western Front-2022

March 10, 2023 scottmet99 Leave a comment

All Quiet on the Western Front-2022

Director Edward Berger

Starring Felix Kammerer

Scott’s Review #1,350

Reviewed March 10, 2023

Grade: A

With the escalating situation in vulnerable Ukraine with Russia’s dictator invading the neighboring country, the timing for the release of All Quiet on the Western Front (2022) couldn’t be more perfect.

The clear anti-war message that the film presents is nearly as powerful as when the film was first made in 1930 but the original wins out by a sliver.

The human destruction, loss of life, and futility of battle still resonate nearly one-hundred years later with a very different rendition.

In both a timely and timeless way, the film reminds its audience of the hell that war is with countless battlefield scenes that devastate and scar the main character.

As I asked in my original review- have we learned nothing at all?

The time is 1918 amid World War I. Furious patriotism prompts seventeen-year-old Paul (Felix Kammerer) to enlist in the German Army. He and his peers are duped into believing they will receive a hero welcome and fulfill their duty to the country.

Their perception is shattered as they are sent to the muddy trenches and stinking foxholes with little food, water, or training.

They quickly learn about the horrors of war.

While keeping the terrible message close to heart during my watch of the film, I was nonetheless constantly comparing the 2022 version to the 1930 version directed by Lewis Milestone. Especially intriguing is how a film can be remade so well after many decades.

The remake adjusts the final scene tremendously with mixed results. The powerful ‘butterfly scene’ in which Paul reaches for the gorgeous creature from a bloody foxhole is eliminated.

Instead, a scene nearly the equivalent is offered involving the fate of Paul. It’s more drawn out but resonates nonetheless.

Both are exceptional endings but I’ll forever remember Milestones and neither are happy ones.

Also missed are Paul’s furlough and subsequent visit to his small hometown. Instead of being embraced he is ridiculed and called a coward for questioning the war.

This is a precursor to the sheep-like support of Adolf Hitler by the German people several years later.

However, the remake introduces a powerful musical score with a loud and bombastic drum beat. Its eeriness and unexpected appearances are foreboding and tragic assuring that death is right around the corner.

The cinematography is more modern and slickly created which is beautiful to witness especially in the wintry France sequences. The snow-coated farmland and cloudy skies perfectly encompass the mood of the film.

Enough praise for Kammerer, an Austrian actor. His clean-cut appearance quickly turns waif-like as he is traumatized by one death after another. His piercing blue eyes provide so much depth and ooze pain that it becomes mesmerizing.

He should have received an Oscar nomination for Best Actor.

The battle scenes are not softcore and nor should they be. A heaping amount of bodies are bludgeoned, run over by tanks, self-mutilated, or otherwise torn apart. This reinforces the destruction that war has on lives, especially the young ones.

But the best scenes occur when Paul forms a bond with another soldier. His best friend Kat, played by Albrecht Schuch, has nothing in common with him in ‘real life’. Coming from different backgrounds they would normally not cross paths and yet they become close.

A tender moment occurs when Paul and a French soldier pummel each other only to finally see each other as human beings and a level of kindness emerges. They wonder why they are intent on killing each other.

Just as its predecessor does All Quiet on the Western Front (2022) successfully mixes the ravages of war while peppering examples of friendship and humanity.

Sadistic and brutal the film presents the case for a world that is anti-war and wins out in spades. It’s more terrifying that any horror film because of its reality.

In the end, the staggering numbers of human casualties are listed with somber and quiet end credits.

Oscar Nominations: 4 wins-Best Picture, Best Adapted Screenplay, Best Cinematography (won), Best Production Design (won), Best Original Score (won), Best Sound, Best Makeup and Hairstyling, Best Visual Effects, Best International Feature Film (won)

1971 Films, Ben Johnson, Cloris Leachman, Cybill Shepherd, Drama, Eileen Brennan, Ellen Burstyn, Jeff Bridges, Peter Bogdanovich

The Last Picture Show-1971

March 9, 2023 scottmet99 Leave a comment

The Last Picture Show-1971

Director Peter Bogdanovich

Starring Timothy Bottoms, Jeff Bridges, Cybill Sheperd

Scott’s Review #1,349

Reviewed March 9, 2023

Grade: A

1971 was a great year in American cinema from The French Connection to Willy Wonka and the Chocolate Factory to Fiddler on the Roof to Dirty Harry. The list goes on and on.

The brilliantly filmed and directed The Last Picture Show is easily ensconced in the year’s top ten featuring an embarrassment of riches across the board. Important to promote is the successful use of the dusty setting and time which is the film’s secret sauce.

Peter Bogdanovich crafts a dreary coming-of-age tale of small-town life in landlocked Texas. The film is loosely based on a 1966 novel of the same name written by Larry McMurtry.

The film includes many songs by Hank Williams Sr. and other country & Western and 1950s popular music recording artists to reflect the era.

Most of the townsfolk are bored to tears in the windswept hamlet of Anarene, Texas. Their saving grace is a local cinema (the picture show) run by the popular Sam the Lion (Ben Johnson) which is about to close its doors forever.

Others frequent the café run by sultry waitress Genevieve (Eileen Brennan) who knows everyone’s business.

The gossip and scandals run wild throughout town following several principal characters and their trials and tribulations. High school students Sonny (Timothy Bottoms) and Duane (Jeff Bridges) lust after flirty Jacy Farrow (Cybill Shepherd) while trying to figure out their futures.

Sonny also finds time for an affair with depressed housewife Ruth Popper (Cloris Leachman), twenty years his senior, who is married to the school gym teacher, Coach Popper (Bill Thurman), who may be gay.

The year is 1951 when the Korean War is broiling and the once profitable oil town is in major decline.

Bogdanovich’s apt camerawork, shot in black and white, is central to the film and the winning recipe (well, one of them). If The Last Picture Show were shot in color or worse yet, colorized, it would detract from the proper mood of sadness.

The exterior scenes involve swirling dust and wide-angle shots of the main street often enough to relay a comparison to a ghost town especially as events go along. There are also some sequences involving vehicles or highway scenes conjuring up thoughts of escape or departure.

The other key ingredient is the ensemble of characters led by exceptional acting. Sonny is the handsome lead character who has a lifetime ahead of him and is the kindest of all the players. His all-American good looks infuse a vulnerability to the character especially revealed during scenes with Sam, his mentor, and his friend Billy.

Other quiet scenes reveal much about the supporting characters. Ruth sadly hangs the wash on her clothesline looking worn and weary while Genevieve grills a cheeseburger in the café, cigarette dangling and her once youthful aspirations slipping away.

Leachman and Johnson, both Academy Award winners in the supporting categories, deserve their awards. Successful at portraying their anger in quiet ways they also both have dignity and self-worth making their characters complex and revered.

The heartiest scenes belong to the younger set as they deal with simmering sexuality and hopes for college. Jacy experiments with sex, even sleeping with the man who her mother Lois (Burstyn) is having an affair with.

Shepherd also gives Jacy vulnerability as she awkwardly strips off her clothes during a pool party encouraged by a handsome boy she hopes to impress. At times, she is childish, other times a selfish bitch. It’s mentioned that her family is wealthy so the assumption is that she is spoiled.

The 1950s usually provides a level of nostalgia and good, old-fashioned, carefree Americana. The Last Picture Show (1971) thanks to the flawless direction and screenwriting of Bogdanovich and McMurtry instead paints a perfect portrait of misspent youth and shattered dreams.

Oscar Nominations: 2 wins-Best Picture, Best Director-Peter Bogdanovich, Best Supporting Actor-Ben Johnson (won), Jeff Bridges, Best Supporting Actress-Cloris Leachman (won), Ellen Burstyn, Best Screenplay-Based on Material from Another Medium, Best Cinematography

2022 Films, Comedy, Dark Comedy, Drama

The Banshees of Inisherin-2022

March 2, 2023 scottmet99 Leave a comment

The Banshees of Inisherin-2022

Director Martin McDonagh

Starring Colin Farrell, Brendan Gleeson, Kerry Condon

Scott’s Review #1,348

Reviewed March 2, 2023

Grade: A

Martin McDonagh, who directs The Banshees of Inisherin (2022), is known for films like In Bruges (2008) and Three Billboards Outside of Ebbing, Missouri (2017). His films usually include dark humor stories of humanity and unpleasantness and require some afterthought to ruminate about the characters’ true nature.

This film stars Colin Farrell and Brendan Gleeson who reunite from their collaboration in In Bruges for another turn playing men dealing with depression and other feelings of loneliness and friendship.

McDonagh is British/Irish so the period and surroundings likely resonate well with him. The gorgeous islands off coastal Ireland are used and key to the story and counterbalance the troubles and tribulations of the characters.

Pádraic (Farrell) and Colm (Gleeson), are lifelong friends and inhabitants of an island off of mainland Ireland. They find themselves embroiled in a feud after Colm one day announces he is ending their friendship. This confuses Pádraic who vows to mend the relationship at all costs.

Their reunion is thwarted by severed fingers, a fire, and the mysterious death of Pádraic’s beloved pet donkey, Jenny.

Mixed into the events are Pádraic’s sister Siobhán (Kerry Condon) and troubled young islander Dominic (Barry Keoghan), who have their problems to face.

The Banshees of Inisherin is slow-paced and cerebral and many questions will be pondered but left unanswered. This will tick off those viewers who prefer a clear conclusion to the characters’ lives.

But, this is a key part of the beauty of the film. Sure, I might have liked one big no-holds-barred argument scene between Pádraic and Colm or more closure in Dominic’s or Siobhán’s stories. Instead, McDonagh challenges the audience to feel perplexed or unsure and use their interpretations.

For example, I wonder if Dominic was being sexually abused by his policeman father who has a penchant for sitting naked in the living room chair and masturbating.

Or, what does Siobhán leave the island for and will she ever return?

On a separate note, I wonder if McDonagh was influenced by the epic 1970 gem Ryan’s Daughter, directed by David Lean. The flowing Irish landscapes and unpleasant, embittered townspeople have key similarities.

The winning formula is ambiguity. The audience is served terrific acting all around, particularly amongst the four principals (Farrell, Gleeson, Condon, and Keoghan) all of whom were awarded Academy Award nominations.

Each provides subdued performances dripping with contained emotion and complexities buried beneath the surface.

Audiences can draw their conclusions but my takeaways were loneliness, longing for new adventures, depression, and begrudgingly accepting meager existence amid the most lavish countryside one can find.

The 1920s Irish Civil War is the backdrop though those events are not central to the plot.

Since Colm’s desire to create music is a central part of the story the accompanying music is crucial to the film. The use of fiddles is incorporated rather than traditional Irish music except in the sprinkling of pub scenes.

A hearty round of applause is due to McDonagh and company for crafting and performing a thinking man’s film. The comic bits are not syrupy but tragic in their honesty and cadence.

The Banshees of Inisherin (2022) separate cinematic thinkers from passive viewers with a quiet story about the friendship between two men and the layers that exist beneath the surface.

Oscar Nominations: Best Picture, Best Director-Martin McDonagh, Best Actor-Colin Farrell, Best Supporting Actor-Brendan Gleeson, Barry Keoghan, Best Supporting Actress-Kerry Condon, Best Original Screenplay, Best Film Editing, Best Original Score

1974 Films, Cloris Leachman, Comedy, Gene Hackman, Gene Wilder, Madeline Khan, Mel Brooks, Peter Boyle, Teri Garr

Young Frankenstein-1974

February 27, 2023 scottmet99 Leave a comment

Young Frankenstein-1974

Director Mel Brooks

Starring Gene Wilder, Peter Boyle, Teri Garr

Scott’s Review #1,347

Reviewed February 27, 2023

Grade: A

Young Frankenstein (1974) is one of the funniest, most authentic examples of slapstick comedy done right. The physical timing, facial expressions, and dialogue delivery are sheer perfection from the well-known cast.

Many of whom are stars of the comedy genre.

The fact that director Mel Brooks took a classic horror film as distinguished as Frankenstein (1931), and made a cross-genre sequel, is pure brilliance.

Even better is the incorporation of black-and-white filmmaking resembling the 1930s masterpiece so the setting feels similar. This is aided by the recreation of the original set designer Kenneth Strickfaden’s lab equipment from the 1931 film.

Brooks co-wrote the screenplay with star Gene Wilder, a comic legend, and the writing is brilliant crackling with wit and energy.

The 1970s film watched decades later has lost none of its original appeal holding up astoundingly well after most of the cast and director have left this world. It can be watched over the Halloween season for the proper atmosphere or at any time.

Ideally, recommended is to watch Frankenstein either before or after seeing Young Frankenstein for ideal pleasure.

Respected medical lecturer Dr. Frederick Frankenstein (Wilder) learns, much to his chagrin, that he has inherited his infamous grandfather’s estate in Transylvania, Romania.

The original Frankenstein’s reputation is so tarnished that Frederick wants nothing to do with the name even going so far as changing the pronunciation of his surname to “Fronkensteen”.

Begrudgingly arriving at the castle, Dr. Frankenstein soon begins to recreate his grandfather’s experiments with the help of servants Igor (Marty Feldman), Inga (Teri Garr), and the rigid Frau Blücher (Cloris Leachman).

After he creates his monster (Peter Boyle), a new set of complications ensue with the arrival of the doctor’s fiancée, Elizabeth (Madeline Kahn), and the unleashing of the frightening beast on the small town.

Comedy and horror are worlds apart but Brooks and Wilder pay respect and tribute to the classic horror film by not mocking it but instead embracing it and enhancing the story with Young Frankenstein.

You could say it’s a sequel in addition to a spoof made over forty years later.

The characters are the best part and each one is enveloped by its actor in fine form. Led by Wilder as the mad scientist, bug-eyed Igor (pronounced ‘Eyegor’ naturally) explained to be the grandson of Igor in Frankenstein, is a personal favorite of mine followed by Garr as the secret romantic interest for Wilder.

My favorite scenes are when Igor reveals that he took the wrong brain for Frankenstein’s experiment belonging to ‘Abby Normal’ instead of ‘Abnormal’ as the label read.

Inga and Frederick have instant chemistry leaving Kahn’s Elizabeth in the dust as far as a romantic triangle. Hilarity between the pair occurs in the final sequence when, after a lobotomy, she is delighted to realize that Frederick has received the monster’s “enormous Schwanzstucker”.

This is not to diminish Boyle, Leachman, or Kahn who each do their part to make Young Frankenstein an ensemble. Apt viewers will spot Gene Hackman in the role of Harold, the blind man.

As an aside, Brooks brilliantly pays tribute to Bride of Frankenstein (1934) by giving Elizabeth the same hairstyle.

The double entendre is fast and furious from knockers to the male anatomy.

The only scene that didn’t wow me was the sequence where Frankenstein and his creation perform “Puttin’ on the Ritz”. The monster singing and dancing was too amateurish for me but for some, it’s a favorite scene.

A parody that works on nearly every level and is the best of all the Brooks films (even barely usurping my forever fondness for 1977’s High Anxiety), Young Frankenstein (1974) is a treasure.

Silly, devoted, and creative, it revives a classic in only the best of ways and is filmmaking 101 in how to create a proper spoof.

Oscar Nominations: Best Adapted Screenplay, Best Sound

1964 Films, Constance Towers, Drama, Film noir

The Naked Kiss-1964

February 25, 2023 scottmet99 Leave a comment

The Naked Kiss-1964

Director Samuel Fuller

Starring Constance Towers, Michael Dante

Scott’s Review #1,346

Reviewed February 25, 2023

Grade: A

A pure treat for me is to see a film, especially a classic film, that exudes creativity and a left-of-center approach. In the 1960s cinema, films were starting to break away from the tried and true and safe, telling sinister stories of macabre and unusual human behavior.

Samuel Fuller bravely created The Naked Kiss (1964) a film that goes beyond well-meaning but straightforward offerings. Dusting off the film noir genre it is riddled with perfections like the tarnished glitter of small-town Americana and what secrets lie beneath the surface.

It also dares to delve into the lustful and perverse depths of abnormal human psychology which few films did in the old days.

The film has a B-movie and black-and-white filmmaking which only enhances its power and lurid nature.

Eager to start a new life, a prostitute named Kelly (Constance Towers) arrives in a small town but finds the sunny veneer and the residents’ cheery, wholesome dispositions to be a sham.

Kelly meets the handsome town sheriff Griff (Anthony Eisley) and eventual fiancé Grant (Michael Dante) but ultimately finds out that both men have something to hide.

Hard to believe but we do anyway is the haughty incorporation of a secret small-town brothel with one gorgeous prostitute after another. It is led by the evil madame, Candy, portrayed by Virginia Grey.

Constance Towers easily carries the film as Kelly. Towers did not make many films but later became well-known in theater circles before becoming a legendary villainess on the ABC daytime drama General Hospital.

Kelly is sultry yet highly learned and intelligent not afraid of using her smarts to get ahead. She calculates and wisely pursues opportunities to go the straight and narrow while using a man or two to get what she wants and needs.

Despite this, she is a kind human being and revels in caring for children of all colors and backgrounds. She also watches out for her fellow nurses. One of them, Buff, nearly stumbles into a life of prostitution if not for Kelly daringly describing what her new glamorous life would ultimately become.

Kelly, and thanks to Towers, relays every possible emotion to the audience from comedy to love, to horror, and controlled manipulation.

I don’t think I’ve seen any other projects by director, writer, and producer Fuller but I want to. Perhaps only a coincidence since the films were made in the same year but comparisons to Alfred Hitchcock’s Marnie are noticed.

When Kelly briskly combs her blonde hair while looking into a mirror and smirking is reminiscent of Marnie doing more or less the same in Hitchcock’s classic. Both characters are tall and leggy blondes with a secret or two to hide and damaged psyches to preserve.

They also each arrive in a new town presumably to start over boldly carrying a suitcase while wearing a smart, grey business suit. Proudly walking down a suburban street with possibilities lying ahead.

The Naked Kiss is a very progressive and feminist film.

During the first scene, Fuller shows what few directors ever would- a female character with a shaved head. Kelly has been humiliated for the last time and takes her owed $75 from her pimp. In this scene, the honest personality of Kelly is revealed since she could have easily taken $900 from him and fled.

The cagey and spiteful underbelly of suburban life is exposed. A pointed critique of small-town hypocrisy and the exploitation of women is nearly at every turn.

Another comparison to the masterpiece The Night of the Hunter (1955) is worth mentioning since the use of child characters in haunting form appears in both films.

The theme of pedophilia is powerful and sickening but portrayed with a warped sense of a fairy tale.

Finally, the cinematic use of harsh, glowing white light makes many characters appear to be angelic which works tremendously well.

Because of Fuller’s direction and Towers’s encompassing the character of Kelly so well with great acting, we get a character study to savor and a strong female character to root for. Both aggressively champion their respective areas of expertise.

The Naked Kiss (1964) challenges the rules of early 1960s filmmaking and storytelling with a brave journey through the dark nature of human beings, breaking every rule as it goes forward.

2022 Films, Comedy, Dark Comedy, Horror, Horror-Comedy

The Menu-2022

February 20, 2023 scottmet99 Leave a comment

The Menu-2022

Director Mark Mylod

Starring Ralph Fiennes, Anya Taylor-Joy

Scott’s Review #1,345

Reviewed February 20, 2023

Grade: B+

The premise of The Menu (2022) immediately elicited my utmost pleasure. A self-proclaimed ‘foodie’ with a long way to go in being an expert, a film about a high-caliber restaurant with an extravagant and sophisticated tasting menu was impossible to ignore.

Throw in the horror and dark humor genres and you’ve got the icing on the cake.

After all, being fortunate enough to have experienced fine dining like in the film makes me repeatedly reminisce about those adventures. Those enchanted by such tasting menus rich with flavor and style must see The Menu.

Cinematically, the film reminds me of part Saw (2004), part Knives Out (2018), with a dash of novelist Agatha Christie’s Ten Little Indians story and a sprinkling of a Jordan Peele project for the social commentary.

A young couple Margot (Anya Taylor-Joy) and Tyler (Nicholas Hoult) travels to a sunny coastal island to eat at an exclusive restaurant named Hawthorn, where the chef (Ralph Fiennes) has prepared a lavish menu.

They are joined by other guests including a food critic, her editor, wealthy regulars, three businessmen, a washed-up movie star and his assistant, and the chef’s alcoholic mother.

As the evening commences and the dishes are served the chef has some diabolical surprises in store for the guests. Secrets are soon revealed as it becomes apparent they have been summoned to the island for a reason.

Mark Mylod, a new director to me, peppers the film with dark, macabre humor, mostly related to the food, which is slyly placed and pairs well. Those who savor fine dining and tasty ingredients will smirk with delight.

The title and ingredients of each course are named and by the third course, the sins of the diners are revealed on tortilla shells for all to see. The audience knows they are not innocent people and the chef and his team are intent on punishing them a la carte style.

The revelation that Margot is not supposed to be there is satisfying because so far the chef, his assistant, and a guest have been eying her mysteriously. Tyler was originally scheduled to bring another woman with him.

Instead of limiting the story this only enhances it. Could Margot be convinced to align with the chef or does she hate him? Jealousy among the staff and guests quickly spirals out of control.

Another win for The Menu is the incorporation of class distinction. The haves and the have-nots and how they feel about each other is an important sidebar and easy to understand the motivations of the characters.

The Menu loses its way during the final thirty minutes with an unsatisfying and perplexing ending that hardly wraps the story up for the audience in a doggy bag.

I was left with more questions than answers regarding the plot.

The analysis can be somewhat forgiven with a deathly serving of s’mores for dessert with the bodies of the guests as the marshmallows and their heads mirroring the chocolate tops.

A laugh-out-loud moment occurs when a spoiled guest does not understand the difference in quality between cod and halibut. Every foodie should be aware of the superiority of halibut.

It’s not all polish and high cuisine as the preparation and consumption of a good old-fashioned greasy cheeseburger are made with such precision that I could nearly smell the wonderful indulgence.

The sizzling meat combined with the heavenly melted American cheese made me want to reach for the phone and order Grubhub.

Fiennes and Taylor-Joy are the standouts as their complex relationship and chemistry are palpable. Special notice must be given to Hung Chau, Judith Light, Janet McTeer, and John Leguizamo who make the ensemble quite good.

With a terrific idea and enough tastes and smells that almost emerge from the screen The Menu (2022) is a winner. It’s unsatisfying at the conclusion but the experience is enjoyable and the creativity is championed.

I felt like a restaurant guest myself.

2007 Films, Action, Eli Roth, Kurt Russell, Mary Elizabeth Winstead, Michael Parks, Quentin Tarantino, Robert Rodriguez, Rosario Dawson, Rose McGowan, Slasher, Thriller

Grindhouse: Death Proof-2007

February 13, 2023 scottmet99 Leave a comment

Grindhouse: Death Proof-2007

Director Quentin Tarantino

Starring Kurt Russell, Rosario Dawson, Zoe Bell

Scott’s Review #1,344

Reviewed February 13, 2023

Grade: A

It’s tough to go wrong with a Quentin Tarantino film recognizing that one needs to be a Tarantino fan. His films are for specific tastes that indulge in stylized violence, dark humor, and cartoonish characters.

Grindhouse: Death Proof (2007) is an easy victory for the director and incorporates his trademark qualities with beautiful female race car drivers and a sadistic stuntman.

As usual, revenge is the name of the game and results in a satisfying ending. The thrill is in the chase that occurs mainly midway through and plenty of B movie references and old songs are on display.

The experience is a pure pleasure for any cinema lover that appreciates aspects of the film like editing that too often falls beneath the surface. The scratchy film texture and retro title sequence all help to encompass another Tarantino opus.

The film is part of a double feature along with Robert Rodriguez’s Planet Terror and includes a series of mock exploitive trailers.

Both, specifically Tarantino’s, harken back to when exploitative films were shown in dusty movie houses with grainy video and a stale popcorn stench. The mood was immediately set for me while watching the film which enhanced my enjoyment tremendously.

Psychotic stuntman Mike (Kurt Russell) is a professional body double who likes to meet unsuspecting women at bars and take them for deadly drives for fun. He has a specially made car which he calls ‘Death Proof’ but only for the driver and not the passenger.

The first half of the film involves a group of girls out for a good time in a dive bar. Abbie (Rosario Dawson), Pam (Rose McGowan), and others ultimately fall victim to his shenanigans during a dastardly head-on collision exceptionally filmed.

Later, he meets a tough group of female race car drivers led by real-life stuntwoman Zoe Bell who vows to make him pay for causing them trouble. Their hell-bent vengeance just may be what the doctor ordered to cause Mike’s downfall.

Death Proof is often overlooked by fans of Tarantino and it might be because it’s paired with another film. But, it’s not half a movie either and at one hour and fifty-four minutes, it’s got legs. The film flies under the radar for me too but it’s a high-octane mile-minute experience.

One great part of Death Proof is the throwback to cult films of the 1960s and 1970s, especially Faster Pussycat! Kill! Kill!, a 1965 exploitative masterpiece by Russ Meyer.

These girls are no shrinking violets or damsels in distress who need a man to save the day. Quite the contrary. They kick ass and take names, especially in the flawless second half. Out for blood, the girls assuredly put Mike firmly in his place.

Juxtapositioned with the first half which has a dire ending for the group of girls, the second half is more upbeat and satisfactory. The lighting is also different in the two halves. The first takes place well beyond midnight while the second is in the bright afternoon.

Tarantino produces a brilliant piece of feminist progressivism with nasty muscle and female characters not to be messed with. Death Proof (2007) shows badass characters with hints of humor and discussions about men.

The girlie action flick blends perfectly with the 1970s race cars and the sexploitation theme Tarantino is recreating while still making the film feel modern and relevant.

1977 Films, Brooke Shields, Horror, Slasher

Alice, Sweet Alice-1977

February 12, 2023 scottmet99 Leave a comment

Alice, Sweet Alice-1977

Director Alfred Sole

Starring Paula Sheppard, Linda Miller

Scott’s Review #1,343

Reviewed February 12, 2023

Grade: A-

Originally titled ‘Communion’ and re-titled and re-released as Alice, Sweet Alice in 1977, the film can proudly tout it as the debut film of star Brooke Shields. Her role, while quite small, is essential to the story.

Any film that either challenges, mocks, or showcases Catholicism, especially within the horror genre has instant appeal for me. There is something so warped yet satisfying to me.

Like The Exorcist did in 1973, Alice, Sweet Alice will leave Catholics and the otherwise religious squirming in their seats or scrambling for the ‘stop’ button on their remotes.

Director Alfred Sole, also a well-known production designer was inspired by Alfred Hitchcock’s films and the 1973 masterpiece, Don’t Look Now. Does it ever show if one looks closely enough?

The story is sometimes muddled and confusing to say nothing of implausible but the overall tone and content are fascinating. The camera angles, production design, musical score, and overall style are exceptional and make the film a major success.

On her First Communion day, Karen (Brooke Shields) is viciously strangled and set afire in church after being stuffed in a wooden chest. Her emotionally unstable and unattractive sister, Alice (Paula Sheppard) is immediately considered a suspect because of her jealousy and her possession of a translucent mask and Karen’s crucifix and veil.

Alice is no saint since she enjoys tormenting Karen and the obese landlord who lives in the apartment below her family.

Aunt Annie (Jane Lowry), a staunch catholic who hates Alice, is later stabbed on an apartment complex stairway by a childlike figure wearing a translucent mask and a yellow rain slicker. Annie insists her attacker was Alice.

In a subplot, the girls’ mother Catherine, played by Linda Miller embarks on a tender romance with her dashing ex-husband, now dating another woman, until he too is brutally murdered.

I was immediately struck smitten by the haunting musical score, a clear homage to Hitchcock’s Psycho from 1960. The shrill violins and the palpable bass are familiar bringing fond memories of that legendary masterpiece.

Instead of a direct copy though, composer Stephen J. Lawrence superbly enhances the effects to meet a more modern style horror film and it works.

Mr. Hitchcock’s fascination with stairways is also mirrored many times and Sole imprints many effective scenes using only shots of feet either walking up or down the stairs.

And, anytime a mask is used in a horror film it’s scary.

In terms of the plot, while the events are compelling, they also don’t make much sense. It would be too predictable and unsatisfying if Alice were the killer (she isn’t) although the terrific final sequence leaves room for a sequel as Alice maniacally studies a bloodied butcher knife.

However, there is a constant theme of hysterical religious judgment, punishment for sins, and sacrificing someone for the greater good. These align perfectly with the many hypocritical aspects of religion at a time when the catholic church was facing much criticism.

Characters like Aunt Annie and the wacky housekeeper, Mrs. Tredoni (Mildred Clinton) are played as over the top but work surprisingly well.

And it’s likely no accident how Sole cast the adorably handsome Rudolph Willrich as the much sought-after Father Tom.

In 1977, Alice, Sweet Alice was quite timely and fits nicely with other 1970s horror films with a religious theme.

Paula Sheppard all but carries the film though the supporting actors are all effective too. Her facial expressions teeter between soft and angelic, and demonic and cagey. It’s an exceptional part of the film.

Alice, Sweet Alice (1977) is an under-appreciated gem that needs to immediately be dusted off and uncovered by rabid horror fans seeking a superior watch.

2022 Films, Horror

Smile-2022

February 8, 2023 scottmet99 Leave a comment

Smile-2022

Director Parker Finn

Starring Sosie Bacon, Jessie Usher

Scott’s Review #1,342

Reviewed February 8, 2023

Grade: B+

I was prepared to award Smile (2022), a new supernatural horror film, with an exceptional ‘A-‘ grade until it dissipated during the final act and became too confusing.

The story collapsed mightily leaving too much ambiguity and a free for all plot that turned messy so my initial reaction was dissatisfaction.

But, then I remembered that I watched some of it with my hand closed to cover my eyes and my jaw dropped open during other parts.

Smile is one of the scariest horror films I’ve seen in quite a while with amazing visuals and a handful of very scary scenes. I’ll probably never see somebody smirk again and not think of this film.

Matters get off to a thumping start when Dr. Rose Cotter (Sosie Bacon) witnesses a bizarre, traumatic incident involving one of her patients. The troubled patient claims to see a haunted smile and suddenly kills herself in the presence of Rose.

Shaken, Rose starts experiencing frightening occurrences that she can’t explain as she turns to white wine to calm her nerves. As an overwhelming terror begins taking over her life, Rose must confront her troubling past to survive and escape her horrifying new reality.

But, what does the link to her past have to do with the present?

That’s where Smile does a deep dive south but I’m willing to forgive Rose’s trip to her abandoned childhood home where her mother, suffering from mental illness, offed herself while a guilt-ridden Rose did nothing to help.

There’s also Rose’s bitchy, self-centered sister, Holly (Gillian Zinser) to contend with.

The implausible storyline can be forgiven by the knowledge that Smile is director Parker Finn’s first feature film! Greats like Hitchcock and Tarantino didn’t knock it out of the park with their first releases either but the brilliance was noticeably there.

The opening sequence for example is one of the best I’ve seen in horror this decade. I didn’t anticipate something so gruesome and palpable to occur right away. Rose’s patient is immediately terrified of Rose which is an instant tip that something is seriously wrong.

The next best scene happens at Rose’s nephew’s birthday party. On an otherwise lovely afternoon the boy’s living room is filled with brightly packaged presents from friends and family gathered nearby. He eagerly picks up his Aunt Rose’s specially wrapped gift.

What is wrapped inside is too gruesome to describe but suffice it to say the party is ruined, the nephew traumatized, and all the party guests in agreement that Rose should be immediately sent to the loony bin.

It’s other aspects that give Smile a major victory. Any character who dons that sinister smile (see poster art above) whether real or imagined haunts me in my dreams.

Those who scare easily need not see this film.

An interracial aspect (the caucasian Rose’s boyfriend is black and Holly’s husband is Indian) scores major points from a diversity perspective and smaller characters give a robust helping of cultural richness too.

Sosie Bacon, daughter of Kevin Bacon and Kira Sedgwick may be headed for Hollywood fame of her own as she easily carries the film. She emits a combination of calm, vulnerability, and intelligence which makes the character rootable.

The film received positive reviews from critics but was criticized for patterning itself too closely after its counterparts The Ring (2002) and It Follows (2014) but since those films were excellent I didn’t mind a bit.

I don’t think we necessarily need a sequel to Smile (2022) but I’m anxious to see what Parker Finn comes up with next. He’s got the jumps and the cinematography down and hopefully, he stays in the horror genre.

2022 Films, Drama, Independent, Independent Drama

Women Talking-2022

February 7, 2023 scottmet99 Leave a comment

Women Talking-2022

Director Sarah Polley

Starring Rooney Mara, Claire Foy, Jessie Buckley

Scott’s Review #1,341

Reviewed February 7, 2023

Grade: B+

Women Talking (2022) is a quiet film faithful to its title because it is about a group of women, well, talking. But, instead of idle gossip, these women have something powerful to say. They debate and discuss their fates throughout the film’s one-hour and forty-four-minute running time.

It is written and directed by Sarah Polley, a former actress, and adapted from the recent 2018 novel of the same name written by Miriam Toews.

Shockingly, the film is inspired by actual events that took place in the ultraconservative Manitoba colony in Bolivia.

For years, the women of a rural colony have been drugged and raped nightly by demons punishing them for their sins. They have until recently acquiesced. But when the women discover that these “demons” are the men of their community, they boldly decide to take a vote to determine what action to take.

The year is 2010 but the women’s dress makes it seem like it’s the 1800s. I wasn’t sure of the year going in save for a 1960s pop tune bursting from the speakers of a pushup truck so the viewer can easily be misled or unclear.

A male rapist is caught and imprisoned which leads the men to conveniently be out of town while the women have two days to make a decision. They will either stay and do nothing, stay and fight, or leave.

One male remains with the females, the kind teacher, August, played by Ben Whishaw. There also exists a transgender man who has been raped by men and no longer speaks to adults.

While the film is a slow one it has something intelligent and interesting to offer. Despite the women being repressed and abused a feminist overtone is readily apparent which uplifts the dire tone.

Hollywood heavyweights like Frances McDormand and Brad Pitt executive produced and produced respectively, so Women Talking has big-time backing, deservedly so.

Comparisons to a female version of the classic play Twelve Angry Men cannot go unnoticed by the apt viewer. The women are divided and not in agreement or harmony…..at first. The lone juror would be most similar to Ona (Rooney Mara), a sensible woman who reasons and weighs the pros and cons.

McDormand also appears in a small role as the grizzled and beaten down ‘Scarface’ Janz who has accepted her lot in life.

Mara, Claire Foy, and Jessie Buckley are the standouts, the latter two characters fueled with anger at the revelations and mistrust of the men.

Liberties must be taken. It’s mentioned that the women are not taught to read or write but the characters are wise, cagey, and well-spoken. The ambiguity of what’s to become of the women slightly let me down. Sure, a decision has been reached but now what?

Polley has directed a gem and garnered considerable notice for her project and the kudos can’t come loudly enough. I thought it wise that besides August, the male characters are either not seen or seen only from a long distance. Some are blurred entirely.

This adds to the mystique and grotesqueness of their actions.

A true ensemble picture that could easily be shaped into a stage play, Women Talking (2022) led by Polley and backers, produces an effective narrative.

The point is well-intentioned and well-received that repression and victimization are alive and well.

Oscar Nominations: 1 win-Best Picture, Best Adapted Screenplay (won)

Independent Spirit Award Nominations: 1 win-Best Feature, Best Director-Sarah Polley, Best Screenplay, Robert Altman Award (won)

1998 Films, Drama, Independent, Independent Drama, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, New Zealand, Romantic Drama

When Love Comes-1998

February 3, 2023 scottmet99 Leave a comment

When Love Comes-1998

Director Garth Maxwell

Starring Rena Owen, Dean O’Gorman, Simon Prast

Scott’s Review #1,340

Reviewed February 3, 2023

Grade: B+

When Love Comes (1998) is a New Zealand film, spoken in English, by filmmaker Garth Maxwell. It starts slow and muddled but quietly captures me with its thoughtful and humanistic tones of emotion, conflict, and sexuality.

There are no subtitles which makes the dialogue hard to follow given the accents and may knock the film down a smidgen for me but the main stories are enthralling with deep texture.

More or less an ensemble of six acquaintances, and three of the characters get the most screen time.

The main character is washed-up singer Katie Keen (Rena Owen) who struggles to create a new life for herself while coping with her absent admirer Eddie and living with her best friend, Stephen.

Stephen is in love with sexually confused ex-hustler Mark, while, band members Fig and Sally, smitten with each other, yearn for success while traipsing around town and the beaches together.

The most interesting storyline is LGBTQ+ centered. Given the time was 1998 when gay films were just starting to make their presence known, Stephen and Mark have the most depth.

Admittedly, a couple of story points are disjoined like why the men have trouble admitting their feelings for each other and Mark’s anger issues cause him to smash a window. In the end, their story wraps nicely and Maxwell gets points for making the audience appreciate the couple.

The lesbians get short shrift. Are they gay or bisexual? If bisexual, are they a couple or what is their arrangement? Don’t get me wrong, they are fun to watch shred the guitar and beat mercilessly on the drums as they raucously perform but little is known about their lives.

Even though When Loves Comes is an ensemble the lead character is Katie. I fell in love with her character because she is the most well-written. At one time a big pop singer, her star faded and she is at a crossroads.

As she whimsically gazes at the crashing waves the expression on her face reveals the deep thought and regrets in her life.

Unfortunately, her love interest, Eddie, is heard from but does not appear in the flesh until pretty deep into the film. Therefore, there is not much rooting value for the couple and we don’t know much about Eddie.

Surprisingly, despite this miss, there is a connection I felt for Katie and Eddie. Rena Owen is a terrific actress revealing expressions and a veneer we deeply want to explore.

There is a decent amount of flesh in the sex scenes which makes for some fun but the wise move is to stick to the character motivations and watch them develop.

This can be said with only three of the characters and I wished for more grit from Eddie, Fig, and Sally.

When Love Comes feels lopsided at times but succeeds as a slow-build film. Nothing is done quickly or forcefully instead crafting long scenes of dialogue but the conversations have something to say rather than existing as filler or a bridge to get to more important scenes.

I respect the cinematography because it has a softer independent film look which is of course what it is. A big budget is not needed for a film about people and the sequences showing Aukland are wonderful.

Keeping the time frame in mind, I wish I saw When Love Comes (1998) at the time it was released. It would have packed a harder punch than it does twenty-five years later when plenty of similar-toned films have been made.

2022 Films, Horror, Independent, Independent Horror, Slasher

Pearl-2022

February 2, 2023 scottmet99 Leave a comment

Pearl-2022

Director Ti West

Starring Mia Goth, David Corenswet

Scott’s Review #1,339

Reviewed February 2, 2023

Grade: A-

The follow-up to the superb horror film X (2022) is even better. Ti West directs and co-writes Pearl (2022) with star Mia Goth, who is quickly becoming a household name, especially in horror circles.

The duo creates a macabre and intelligent piece that pays homage to legendary films like The Wizard of Oz (1939) and Mary Poppins (1964) in the most wicked of ways. The film looks like a musical from the golden age of film but is instead haunting.

A24 is the place to be predominantly in the horror genre as creativity is embraced and massaged rather than picked apart and recreated by too many cooks in the kitchen.

West and Goth appear to have full creative control and it shows in the finished product.

In the second chapter of X, we are introduced to the character Pearl as a young woman living on a farm in rural Texas. Fans recall that Pearl is the old lady in X, but we knew nothing of her backstory until now.

Pearl feels trapped on her family farm. Bored and isolated, she needs more out of life than milking cows, caregiving for her sickly father (Matthew Sunderland), or disagreeing with her rigid mother, Ruth (Tandi Wright).

She lusts for the glamorous life starring in Hollywood pictures much to her mother’s chagrin. When a church-sponsored audition for dancers needed for a traveling troupe occurs, Pearl sees this as her way out of dodge and anticipates winning the contest. She is joined by her affluent sister-in-law Mitsy (Emma Jenkins-Burro).

The time is 1918 and Pearl’s fiancee is off fighting World War I.

It’s tough to take my eyes off Goth, quickly becoming a modern scream queen turned upside down. She’s not the victim, she’s the villain. With her wide-eyed stare and luscious red lips, she bares a striking resemblance to Dorothy Gale, from Kansas.

Her descent into madness is slow yet always bubbling beneath the surface. We quickly get glimpses of her psychosis when she stares down her mother during a disagreement showing that Pearl doesn’t merely get into a tizzy, she goes full-throttle psycho.

And anyone who has seen X knows that the old lady has some issues.

At first, there is hope for Pearl and we enjoy her pleasure. She catches the eye of a handsome projectionist played by David Corenswet. Mutually smitten, he makes her forget her fiancee and they bond over films and aspirations.

But, once he visits Pearl’s farm and finds a maggot-covered stuffed pig, and hears noises in her house, his interest wanes. Not to be so easily dismissed, Pearl’s true mental state is revealed.

West and Goth turn the horror genre upside down when the best and most brutal killings occur during the daytime. The standard horror films occur at night so this invention ups the ante when the cinematography and lighting are so bright.

This adds to the horrific nature of the gruesome bloodletting. Pearl calmly follows her prey down the sunny driveway holding a pitch-fork intent on killing.

She repeatedly exclaims that nothing will keep her on the farm but we know that she will.

Back to The Wizard of Oz comparisons, several references can be discovered. For starters, Goth resembles Judy Garland, mainly around the eyes. Her outfits, most notably, her dresses and hair bow, pay tribute to Dorothy. Her bicycle looks like Miss Gulchs’s ride.

Goth also resembles American actress Shelley Duvall, whose best role is the suffering Wendy Torrance in The Shining (1980). Both actors have a mesmerizing stare as if to say ‘I can go cuckoo at any moment now’.

Too few modern films can be watched and re-watched but my hunch is that my first viewing of Pearl (2022) will not be my last.

A third film is in the works.

Independent Spirit Award Nominations: Best Lead Performance-Mia Goth, Best Cinematography

2023 Films, Allison Williams, Comedy, Gerard Johnstone, Horror, Horror-Camp, Horror-Comedy, James Wan, Science Fiction, Slasher

M3GAN-2023

January 31, 2023 scottmet99 Leave a comment

M3GAN-2023

Director Gerard Johnstone

Starring Allison Williams, Violet McGraw

Scott’s Review #1,338

Reviewed January 31, 2023

Grade: B+

M3GAN (2023) is the sleeper hit of the year, quickly becoming a ‘water-cooler’ topic (remember that phrase?) after getting stagnant cinema lovers back into theaters in droves.

Released in the traditionally dismal month of January when studios usually ‘dump’ film releases with little or no bang for their buck M3GAN is already set to spawn a sequel. The possibilities for a different story to correlate with the original are endless.

The poster (see above) and the movie trailer are instantly grabbing. We see a doll-like/robotic little girl with long flowing blonde hair and mesmerizing, sparkling eyes that are cat-like and creepy.

Almost life-like, it doesn’t take a genius to conjure images of the Chucky doll from the Child’s Play franchise (1988-2019). Seemingly lovable but turning sinister, the concepts are more or less the same.

When robotics engineer Gemma (Allison Williams) takes in her orphaned niece, Cady (Violet McGraw), she creates the perfect companion for her, a lifelike doll named M3GAN, who serves as a friend, confidante, and sensible role model.

Cady and M3GAN immediately bond and become inseparable pals.

M3GAN can listen, watch, and learn from other people and objects as they relate to Cady, using advanced Artificial Intelligence to store their idiosyncrasies.

As expected, things soon go awry when M3GAN uses her superior intelligence to destroy anyone whom she perceives as a threat to Cady.

I’m not one to suggest a film tone down the blood and gore in a horror film but in the case of M3GAN, it works to the film’s advantage as proven by tremendous box-office receipts.

Far from kid-friendly, one of the main characters is eight to ten years old which might encourage parents, especially parents who are horror fans, to take their youngsters to see the film. At first, Cady and M3GAN invoke an idealized pre-teen female relationship, and a bully intent on harming Cady gets his comeuppance.

Most of the other characters who suffer dire fates are unlikeable. A boorish neighbor, a vicious dog, Gemma’s obnoxious boss, and his conniving assistant all get their due one way or another at the hands of M3GAN.

She’s not exactly a ‘hero’ but the fun is watching hated characters suffer at her hands. The setup is perfected as each character reveals their obnoxiousness to the rabid audience thirsting for a slashed throat or two.

My point is that parents and kids alike can enjoy this film and simultaneously share a startle and a giggle.

The campy nature of the film is another win since the humor evens out the horror elements. There are enough funny lines, mostly delivered by the supporting players, to evoke laugh-out-loud moments.

The grand finale is inevitably predictable but enjoyable because it’s what the audience can’t wait for. M3GAN, once prim and proper in her little girl dress, shrieks and spits curses at her former friends as her now disfigured face and ravaged hair make her look disheveled and monstrous.

M3GAN’s true colors are revealed and the audience will hoot and holler with delight.

Unlike many films, M3GAN goes right for the jugular in the first scene with a deadly car accident and keeps the fast pace for the entire one hour and forty-two minute running time.

Williams, well-known for starring in Jordan Peele’s 2017 masterpiece Get Out scores another win in the central role. She capably plays a loving yet inexperienced surrogate parent and carries the film, along with M3GAN of course.

Incorporated is a relevant knock on mass consumption of technology gadgets and a robot replacing good parenting. This is more evidence that parents should see M3GAN.

I can’t wait to see what the writers next have in store for the little terror when the sequel drops.

2022 Films, Action, Best Feature- Independent Spirit Award Winners, Best Film of the Year, Best Picture Oscar Winners, Comedy, Independent, Independent Comedy, Science Fiction

Everything Everywhere All at Once-2022

January 26, 2023 scottmet99 Leave a comment

Everything Everywhere All at Once-2022

Director Daniel Scheinert, Daniel Kwan

Starring Michelle Yeoh, Ke Huy Kwan, Stephanie Hsu

Scott’s Review #1,337

Reviewed January 26, 2023

Grade: A

Released in March 2022, Everything Everywhere All at Once is a film that built momentum throughout the year resulting in an astonishing eleven Academy Award nominations.

Traditionally, films scrambling for awards season notice and subsequent praise and honors are released in the fourth quarter and earlier releases are shuffled off to the discount racks.

But Everything Everywhere All at Once breaks the mold thanks to being a visionary, absurd comedy that demands the appreciation it has received.

As of this writing, it is the highest-grossing film released by A24, a champion of independent and quality cinema.

Evelyn Wang (Michelle Yeoh), plays a flustered and bedraggled immigrant mother who runs a laundromat along with her goofy husband Waymond (Ke Huy Kwan). They reside in the laundromat with Evelyn’s irritable father Gong Gong (James Hong) and daughter Joy (Stephanie Hsu) who is gay.

In trouble with an IRS inspector, Deirdre (Jamie Lee Curtis), Evelyn is contacted from a parallel universe and told that only she could save the world. She must quickly learn to channel her newfound powers and fight through the timelines of the multiverse to save her home, her family, and herself.

Everything Everywhere All at Once is not conventional and is admittedly a complete mess meant in the finest of ways. It takes the cinematic formula and tips it on its ass but intelligently incorporates heartfelt scenes and gripping performances so that the viewer falls in love with the characters before knowing what’s hit them.

I semi-cringed when I heard the film was action mixed with science-fiction and superhero multiverses, none of which are my genre of choice. The film goes beyond that with a sensory overload, a warped, onslaught of colorful wackiness that includes hot dog fingers, butt plugs, and a drag performance.

You can’t make this up kids.

Michelle Yeoh kicks ass (literally!) and gets the role of a lifetime. At sixty years old she has played a Bond girl in Tomorrow Never Dies (1997) and a rich bitch Mom in Crazy Rich Asians (2018), decent roles, but nothing like Evelyn.

Directors, the Daniels, show through Evelyn’s character, how her life has disappointed her. Never appreciated by her father and living in the doldrums, angry and frustrated, she develops into a woman who appreciates the small moments of human connection in her life.

We can all learn from Evelyn.

What a treat to see Jamie Lee Curtis chew up the scenery playing Deirdre. Displaying her gut, wearing a bizarre grey wig, she plays part IRS agent, part lesbian lover depending on what universe she is in, and is a hoot.

Ke Huy Kwan is famous as the child actor from Indiana Jones and the Temple of Doom in 1984 and not much since. He somersaults back into the acting spotlight in the role of Evelyn’s kind husband.

Finally, Stephanie Hsu is a gem as Stephanie who just wants to be loved by her mother. The actor has a bright future ahead of her.

These actors get to play four or five different characters and show their acting chops.

Stylistically, the film is off the wall. Dizzying special effects and absurd editing pummel the viewer with ‘stuff’ that can be talked about from a technical perspective for weeks.

But at the end of the film, you will shed a tear or two at the emotion that sneaks up from behind in the most wonderful way. Quiet scenes between the noisy ones show humanity and love for one another.

Everything Everywhere All at Once (2022) has reaffirmed my appreciation of film and the creativity and beauty that can be mastered.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-Daniel Kwan and Daniel Scheinert (won), Best Actress-Michelle Yeoh (won), Best Supporting Actor-Ke Huy Kwan (won), Best Supporting Actress-Stephanie Hsu, Jamie Lee Curtis (won), Best Original Screenplay (won), Best Original Score, Best Original Song-“This is a Life”, Best Costume Design, Best Editing (won)

Independent Spirit Award Nominations: 6 wins-Best Feature (won), Best Director-Daniel Kwan and Daniel Scheinert (won), Best Lead Performance-Michelle Yeoh (won), Best Supporting Performance-Ke Huy Kwan (won), Jamie Lee Curtis, Best Breakthrough Performance-Stephanie Hsu (won), Best Screenplay (won), Best Editing (won)

2004 Films, Andrew Lloyd Webber, Drama, Emmy Rossum, Gerard Butler, Joel Schumacher, Minnie Driver, Miranda Richardson, Musical, Musical Drama, Patrick Wilson, Period Drama, Simon Callow

The Phantom of the Opera-2004

January 23, 2023 scottmet99 Leave a comment

The Phantom of the Opera-2004

Director Joel Schumacher

Starring Gerard Butler, Emmy Rossum, Patrick Wilson

Scott’s Review #1,336

Reviewed January 23, 2023

Grade: A-

Having been fortunate enough to see the legendary Broadway production of The Phantom of the Opera makes any film version impossible to usurp compared to the live stage show.

The lights, the sets, the booming music, the dreaded chandelier, and presumably phenomenal acting all make for an unforgettable experience.

Since we are talking film, the cinematic version of The Phantom of the Opera (2004) is breathtaking and nearly twenty years late to the game, I should be scolded for having not seen it earlier like when it was initially released.

It’s based on Andrew Lloyd Webber’s 1986 musical of the same name, which in turn is based on the 1910 French novel Le Fantôme de l’Opéra by Gaston Leroux.

Critics were not kind to the film though most audiences liked it so I almost didn’t see it save for my hubby renting it and encouraging us to watch it.

I am glad I did because this film encompasses a feast of riches.

I wonder aloud if the fact that it was directed by Joel Schumacher who created the dreadfully bad Batman & Robin, made seven years earlier in 1997 influenced bad reviews. After all, nobody likes their superhero movies butchered and payback’s a bitch after all.

For the novice fan, the summary is as follows. Gerard Butler stars as the disfigured, reclusive Phantom who roams beneath the Paris Opera and takes budding star Christine (Emmy Rossum) under his wing.

But as he falls for her, she finds love with handsome and porcelain-like Raoul, played by Patrick Wilson, leaving the Phantom none too pleased.

If nothing else, and there is something else, the film is a spectacle. Gorgeous Parisian sophistication drips from the screen in nearly every scene from the gloomy catacombs to the enthralling opera stage.

The costumes reek of French style, glamour, and texture, and the principle cast is easy on the eyes, to say the least.

These treats are merely a warmup to the astounding and professional art direction, making the winter sequences dreamlike and gothic, capturing the tone perfectly.

This encapsulates the dire story sequence and aids in the viewer feeling the pain of the Phantom.

The all-too-familiar numbers are modernized in just the right places especially “The Music of the Night” which could have been played on popular radio stations. The lively “Masquerade” parlays into the lovely “The Phantom of the Opera” duet between the Phantom and Christine in his ugly lair.

I didn’t feel the chemistry between Rossum and Wilson the same way I did between Butler and Rossum and maybe that’s the point. Wilson doesn’t have much to work with since the character isn’t the main attraction.

I never wanted Christine to ride off into the unknown with Raoul but ached for the pain that the Phantom felt for Christine’s kindness.

As much as I like Wilson the actor I champion the casting of Rossum (unknown at this time) and Butler who is the top draw in the talent department.

His loud and colorful musical numbers enrapture me as a viewer and grip me with his pain. The passion and magnificence are on full display. Butler is my favorite actor.

Minnie Driver is perfect as the spoiled diva, and the supporting cast, including veteran Simon Callow, gives the cast further credibility.

I was transported to another world while watching The Phantom of the Opera (2004) by the sheer extravagance of what was on the screen. Schumacher more than deserves top accolades and respect for his production.

Oscar Nominations: Best Art Direction, Best Cinematography, Best Original Song-“Learn To Be Lonely”

2022 Films, Horror

Barbarian-2022

January 19, 2023 scottmet99 Leave a comment

Barbarian-2022

Director-Zach Cregger

Starring Georgina Campbell, Bill Skarsgard, Justin Long

Scott’s Review #1,335

Reviewed January 19, 2023

Grade: B+

Though there are some exceptions, it can be tough to differentiate many modern horror films from one another. Maybe it’s age catching up to me but many of them run together or lack a novel subject that makes them memorable past a couple of days.

Supernatural beings seem to be a standard flavor so it’s quite refreshing to watch a movie like Barbarian (2022) which offers an original storyline with a straight-ahead premise.

You might say the events could happen in ‘real life’ with some suspensions of disbelief to endure.

The twists and turns make Barbarian edge-of-your-seat with some genuinely scary moments. It’s a nice feeling when I can’t predict the ending or am surprised in some way by a horror film’s outcome.

There are major plot points and numerous questions to ponder but this is forgivable because the film takes the viewer on a fun journey into the unexpected.

Horror genre fans alike should enjoy this spooky entry and I know I’ll never go to Detroit, Michigan without thinking of this film.

Tess Marshall (Georgina Campbell) travels to Detroit for a job interview, having booked an Airbnb in a residential area. But when she arrives late at night in a driving rainstorm she discovers that the house is inhabited by a strange man named Keith (Bill Skarsgard) who insists he is also renting the house.

Suspicious, but unable to reach her contacts or find another place to stay, she decides to spend the evening, sharing a bottle of wine with the stranger.

They retire to bed (separately) but when she wakes to find her bedroom door ajar she discovers that there’s more to fear than Keith.

A lot more.

I wondered what I would do if faced with the same circumstance. Would I sit in my car all night certain to be sleep deprived and bomb an important job interview? Or, enjoy an inviting glass of wine, the company of a handsome stranger, and the comfort of a warm bed?

The first section of the film deals with this before spinning into another direction which is what makes the film so pleasurable.

As an unearthed portion of the house is uncovered Tess is continually faced with more questions usually involving fleeing from the house or staying and saving other people.

The introduction of AJ (Justin Long) a Los Angeles actor who owns the house almost makes the audience forget about Keith or the initial storyline especially when other dubious characters like a rapist and deformed woman named ‘Mother’ make their appearance midway through.

The dark, foreboding passageways to nowhere, familiar territory in horror are given fresh life by the use of flashlights and tape measures making the viewer unsure of who or what could be around the corner.

I love how the current rundown neighborhood, now avoided by the police and forgotten by everyone else is seen back in the 1980s with well-manicured lawns and freshly painted houses.

This backstory connects to current events which made me feel invested.

There’s even a shred of sympathy given to the main villain.

Where things falter is when I try to add up the logicality of the situation. Nobody eats in this film as the plausibility of finding food before starvation is nill.

Also, when history is revealed, the many living things residing below the house are nowhere to be found. Where are they or what happened to them?

Finally, Tess, while an intelligent woman, makes more than one bungled decision that lands her in continuous trouble.

Surprisingly, director Zach Cregger is new to filmmaking and simply had an idea that spiraled into Barbarian (2022). If he gets his story points straightened out he could have a bright future in the world of cinema.

2022 Films, Horror

Nope-2022

January 15, 2023 scottmet99 Leave a comment

Nope-2022

Director-Jordan Peele

Starring Daniel Kaluuya, Keke Palmer

Scott’s Review #1,334

Reviewed January 15, 2023

Grade: B

I excitedly anticipated the latest offering from one of my favorite modern directors, Jordan Peele. Always conjuring some type of message, intrigue, or social issues his projects are laden with meaning rather than a one-dimensional crazed killer or a one-note story.

Get Out (2017) and Us (2019) were riveting efforts able to watch over and over again for deeper meaning and the same was expected of Nope (2022). Peele’s brilliant yet short-lived The Twilight Zone series further cemented his appeal.

While there are moments of mystery, intrigue, and horror and the stories independently are good, they don’t come together cohesively at the end of the film. Nothing was clear or cemented in certainty or fulfillment.

Nope is not a dud and deserves respect for the originality of the premise as well as the sprinkling of nods to past horror films like The Shining (1980) and others.

Hollywood animal wrangler OJ (Daniel Kaluuya) and his sister Emerald (Keke Palmer) begin observing unexplained phenomena on their vast Southern California ranch. After their father is killed by a falling object they become obsessed as they plot to capture the mystery on camera.

Their next-door neighbor Jupe (Steven Yuen), a former child star turned family theme park ringmaster has his own story to tell.

Through flashbacks, we learn of a deadly incident with a chimpanzee who went berserk on the set of a television series Jupe starred in.

The 1998 events involving Jupe and the chimpanzee are the best parts. This is surprising since they are not part of the main action. Peele does wonders with chapter title cards to section the film and haunting camera angles focusing on Jupe’s point of view.

The chimp slaughters nearly everyone on set except for Jupe and tenderly reaches out to him before being shot and killed by police.

OJ and Emerald’s story also has juice. The foreboding unidentified flying object that circles and comes out at varying times provides mystique and wonderment. What could it be and why does it hover only over their land?

Peele wrote, directed, and produced the venture so presumably, he had complete creative control over the entire film.

He even convinced the appealing Daniel Kaluuya who starred in Get Out and just won an Academy Award for Judas and the Black Messiah in 2021 to return.

There are no major issues with the technical special effects, the cinematography, the cast, or the two separate stories.

My beef is with the myriad of questions I was left with when the end credits began to roll and I thought, ‘Why has Jordan Peele disappointed me for the very first time?’

Here are just a few of them.

Why is the unidentified flying object afraid of horses? Why does it viciously attack anyone who looks it in the eye? What does the vicious chimpanzee attack have to do with anything? How does Jupe’s story connect with OJ and Emerald’s? Why is the character named OJ; what is the connection to OJ Simpson?

Knowing Peele, I could venture a guess at the UFO’s anger at being looked at as having a connection to the celebrity or a society of voyeurs but the others are perplexing to me.

I was compelled and fascinated by the events throughout the film but wish the payoff happened but it never came.

Peele creates sophisticated films and Nope has sophistication and a deeper meaning. I wasn’t personally able to put the pieces together like I was for Get Out or Us.

I may not have the energy to rewatch the two-hour and fifteen-minute spectacle to see if I can get more out of it a second time but I probably should.

I will watch whatever Peele creates next with anticipation and salivation because there is always something to ponder and be entertained by but Nope (2022) at first review is inferior to his other projects and more was expected.

1977 Films, Comedy, Dark Comedy, Drama, Musical, Musical Comedy

Cinderella-1977

January 14, 2023 scottmet99 Leave a comment

Cinderella-1977

Director Michael Pataki

Starring Cheryl Smith

Scott’s Review #1,333

Reviewed January 14, 2023

Grade: B

This telling of the legendary fairy tale Cinderella (1977) differs significantly from the sentimental and wholesome story of a rags-to-riches Disney princess that we all know and love.

It’s for adults only; even many adults will scurry to grab the remote and turn it off before their significant other or, god forbid, children, catch them slyly peeking at what emerges from the screen.

The film is pornographic. This fact doesn’t offend me or influence my critique and in reality, piques my interest tremendously in how the filmmakers turn Cinderella into a porn film.

It’s 1970s-style pornography with the bulk of the nudity going to the female characters with barely any male flesh to view though there is some. During the fleshy numbers, there is music and dancing to be had usually with the female performers singing while topless.

The familiar story involves a lonely prince (Brett Smiley) who tries several young women in his kingdom in his search for the one he met at a royal ball. Naturally, it’s Cinderella (Cheryl Smith) the gorgeous yet abused waif who sings and dances while doing her chores, longing for a better life.

The prince is jaded and feels no satisfaction from traditional sex as he boldly reveals in the musical number ‘My Kingdom Won’t Come’. His sex-crazed father the King (Boris Moris) decides to host a lavish ball so that his son can find what he wants.

You see, the weapon that Cinderella possesses is a special snapping female genitalia that the prince experiences at the ball while blindfolded and in an orgy. This quality is irresistible to him and he must find and be with the woman who is the one who has the magic vagina.

The film is naughtily personified and the fun is seeing how far out director Michael Pataki and screenwriter Frank Ray Perilli will go for a shock. Pataki was mostly an actor who dabbled in directing which makes sense since Cinderella feels widely experimental.

Events get off to a perfectly indecent start when the royal chamberlain played by Kirk Scott wanders the forest encountering nude females who coquettishly make out with each other for fun and the affection of the handsome man.

There is more than the sex scenes to keep one thrilled. The costumes and the makeup, specifically the disgraceful pancake colors applied to Cinderella’s devilish stepsisters are in your face and gratifying. The gowns at the ball are professional and stylish.

The film teeters into art film territory at times like when Cinderella performs a musical number while soaping in the tub and while parading through the forest.

Her wacky Fairy Godmother is a black man played by Sy Richardson who is just a burglar intent on robbing Cinderella’s home but he does provide her with her special ‘gift’.

These many idiosyncrasies make the film Cinderella a cross between a lewd John Waters film and a bombastic Russ Meyers party film.

Cheryl Smith is excellent in the title role providing a gorgeous face and figure with a lovely voice. She perfectly delivers the numbers and carries the film.

Among all the many incarnations of Cinderella, circa 1977 is the most outrageous and courageous. How this film was even made and with an R rating baffles me. It’s nearly impossible to find on streaming or in stores and a mere spontaneous purchase was how I was even able to see it.

My suggestion is for cinematically creative film fans to give Cinderella (1977) a whirl but with extreme caution. Viewed with the wrong companions could be disastrous and a 3 am start time with adult nibbles is highly encouraged.

No kiddies allowed.

1992 Films, Crime Thriller, Harvey Keitel, Independent, Independent Thriller, Michael Madsen, Quentin Tarantino, Steve Buscemi, Thriller, Tim Roth

Reservoir Dogs-1992

January 9, 2023 scottmet99 Leave a comment

Reservoir Dogs-1992

Director Quentin Tarantino

Starring Tim Roth, Harvey Keitel, Steve Buscemi

Scott’s Review #1,332

Reviewed January 9, 2023

Grade: A

Reservoir Dogs (1992) is the film that began an essential transition in cinema history. The 1980s saw way too many watered-down or oversaturated films with enough sappy or melodramatic thematics to make a seasoned cinema lover want to gag and run for a good television series.

The 1990s were different. It’s impossible to think of the decade in film and not speak the name Quentin Tarantino, an iconoclast who took the crime thriller genre and riddled it with violence, dark humor, comic book-style characters, and dozens of other eccentricities and spun the world on its heads.

It was needed.

But before anyone begins to assume Reservoir Dogs is the most fantastic Tarantino film, it’s not. Many list it as his weakest catalog entry. That’s open to the opinion of course but in my view, the influence of the film accounts for much of my enjoyment of it.

It’s not as developed and stylized as Django Unchained (2012) or as powerfully fucked up or odd as Pulp Fiction (1995), but the rawness, the gore, and the go-for-broke scenes that are shot like a play, and the small-budget make watching Reservoir Dogs a reminder of the genius that is Tarantino.

Countless scenes mirror sequences to come in his later films so much so that a game can be played to discover where something played out in another Tarantino film.

The film gave new recognition and merit to the independent film genre which was huge and provided doors flying open to young filmmakers everywhere who had ideas and just needed to get their films known.

The influence of Reservoir Dogs is unmeasured and a double feature of Reservoir Dogs and Pulp Fiction is suggested. Even though the latter was released later, most people saw Pulp Fiction first and then discovered Reservoir Dogs.

A group of unsavory thieves assemble to pull off the perfect diamond heist. It turns into a bloody shit show when one of the men turns out to be a police informer. But which one is it and who is responsible for the ambush?

As the group begins to question each other’s guilt, the tensions and suspicions threaten to blow up the situation before the police step in and save the day. But how many will die first?

Tarantino cleverly casts himself in a small role as Mr. Brown and names all the men using the same formal title. There is Mr. White (Harvey Keitel), Mr. Orange (Tim Roth), Mr. Blonde (Michael Madsen), Mr. Blue (Edward Bunker), and finally Mr. Pink (Steve Buscemi) who is my favorite of all.

In 1992, many scenes were shocking. When sinister Mr. Blonde cuts off the ear of a cop and prepares to set him on fire the brutality and sadism are hard to watch.

The blood-soaked Mr. Orange lies in a pool of blood through nearly the entire film. As his skin turns whiter and whiter and his clothes redder and redder it’s an example of masterful cinema and creativity.

The few exterior shots are in Los Angeles which gives the film a low-budget, raw look. It’s to be celebrated as the potent sun and grizzled veneer of the city of angels are on display.

I’m not a fan of the lack of female representation but this only enhances the muscle and masculinity of the characters. As they sit in a diner mulling over whether tipping is necessary we could easily be in a men’s locker room witnessing banter about getting laid, or watching an episode of Seinfeld.

There are no romantic entanglements to mess up the plot or no rescuing the girl from criminals to contend with. The closest we come is a couple of homoerotic moments of men embracing men amongst bullets and blood.

Reservoir Dogs succeeds as a whodunit, a heist film, and a vile look at the inhumanity of some of the characters.

The influence and relevance of Reservoir Dogs in 2023 are as abundant as they were in 1992. Cinema is like fine wine and sometimes the more time that goes by the more appreciation is warranted for a film.

It’s not perfect and is unpolished and sometimes underdeveloped but it’s been emulated so many times that it’s become a blueprint of the crime thriller.

Independent Spirit Awards: 1 win-Best Supporting Male-Steve Buscemi (won)

2022 Films, Crime Thriller, Thriller

Glass Onion: A Knives Out Mystery-2022

January 5, 2023 scottmet99 Leave a comment

Glass Onion: A Knives Out Mystery-2022

Director-Rian Johnson

Starring Daniel Craig, Edward Norton, Janelle Monáe

Scott’s Review #1,331

Reviewed January 5, 2023

Grade: B

I teetered over grading Glass Onion: A Knives Out Mystery (2022), simply referred to as Glass Onion, a B+ or a B but the hardline critic in me won out on this day.

If I hadn’t compared it so much to the deliciously witty and inventive Knives Out from 2019 I might have given in and awarded it a generous B+ rating but it’s also impossible not to compare the two since the setups and similarities are too apparent.

Rian Johnson who returns to the fold as director, writer, and co-producer pays tribute to the fabulous Agatha Christie murder mystery whodunits and the Hercule Poirot detective inclusion with the delightful Daniel Craig as the lead, reprising his role as master detective Benoit Blanc as he takes on an exciting new case.

A Greek island owned by ultra-billionaire Miles Bron (Edward Norton) provides the setting for the Southern detective’s latest adventure, which unfolds as a group of the tech giant’s friends gather for a murder mystery party, quickly turning deadly.

I couldn’t watch Miles without thinking of Elon Musk, the current controversial social media Twitter chief executive officer in all his juvenile buffoonery.

Appearances by top stars Janelle Monáe, Kate Hudson, Kathryn Hahn, and Leslie Odom Jr., and a surprise cameo by Hugh Grant round out the cast. Along with Craig and Norton, this brings enough star power to create buzz.

It’s also appealing that Benoit, a clear ode to Poirot, is the only character that is the same from the first Knives Out story. His character is immediately developed when we see him soaking in a bathtub in his Manhattan apartment conversing with a male voice offscreen.

He refuses to leave the tub during the very topical COVID pandemic making the entire film feel incredibly timely and relevant.

Let’s see what happens when the film ages ten years.

We later learn that his husband, Phillip (Hugh Grant) lives with him and Blanc is gay. How wonderful to incorporate an LGBTQ+ presence into a main character and icing on the cake is that the studly James Bond actor is all in.

With Blanc’s vague sexuality revealed, the exciting mystery commences with many twists and turns among the characters, led by a wonderful dual performance by Monáe. She plays sophisticated New Yorker Andi and her southern sister Helen Brand.

The other characters are a mixed bag with Hudson and Hahn playing ridiculous, over-the-top roles as a washed-up fashion designer and an aspiring governor, respectively.

But the cartoon character award goes to former WWE professional wrestler David Bautista as the weird, buff guy, Duke Cody who barely keeps his clothes on.

Still, the characters are a hoot, and the anticipation of how they all connect, who has screwed over who, and why, are slowly revealed in fun form.

Not to be outdone there are even revelations of who is screwing who in the bedroom.

The story isn’t as interesting as the story in Knives Out was. The ingenious script is lost and by the end, it’s a case of who cares? All we want to know is who’s dead and who’s alive and what does the Mona Lisa have to do with anything?

The cast undoubtedly had a ball making Glass Onion and the sunny Greek Island locale is a great choice. As the players bask in the sun and saunter around in bikinis sipping a cocktail or three amid peril is great fun for the cast and viewers alike.

It’s unclear if Johnson will create another installment of the Knives Out ‘collection’ but I’m on board if he does. I’ve been fascinated by the whodunit genre for as long as I can remember.

Glass Onion: A Knives Out Mystery (2022) isn’t quite as riveting or satisfying as Knives Out (2019) but the film is simply fun with superior, glossy production values and a great cast.

Oscar Nominations: Best Adapted Screenplay

1976 Films, Action, Clint Eastwood, Crime Thriller, Thriller, Tyne Daly

The Enforcer-1976

January 2, 2023 scottmet99 Leave a comment

The Enforcer-1976

Director James Fargo

Starring Clint Eastwood, Tyne Daly, John Mitchum

Scott’s Review #1,330

Reviewed January 2, 2023

Grade: B+

The Dirty Harry film series is pure, gooey 1970s machismo entertainment.

Featuring a vigilante-type police detective who rids the world of the bad guys is pleasure personified if not all that realistic. In these films there exists only the good versus the destructive and social issues, if they are explored, are not the most relevant part of the film but more reasoning as to why the events are occurring.

Nonetheless, the films are top-notch in action with quality gun fights and violence creating a powerful crime thriller film franchise that still holds up well.

They are much better than the similar yet uninspired and poorly acted Death Wish films featuring Charles Bronson.

The Enforcer (1976) is a third of five films from 1971 until 1988 following the 1971 masterpiece Dirty Harry and the nearly as good Magnum Force in 1973.

This one provides a slightly progressive and feminist approach that would also continue in 1983’s Sudden Impact and adds some much-needed humor creating a lighter touch.

Feminism is the inclusion of a female cop due to a new affirmative action initiative who goes toe to toe with the masculinity and conservatism of our main character.

Officer “Dirty Harry” Callahan (Clint Eastwood) is reassigned from homicide to personnel after his latest use of excessive force exhausts his outranking superiors. Demoralized, he angrily assumes his duties while a new case disrupts the San Francisco Bay Area.

A new terrorist group calling themselves the People’s Revolutionary Strike Force organizes a series of crimes in San Francisco, hoping to enrich themselves. Led by Bobby Maxwell (DeVeren Bookwalter) they wreak havoc and create fear.

When they kidnap the mayor (John Crawford) and steal rockets and rifles for their next attack, Harry and his new female partner, Inspector Kate Moore (Tyne Daly), must stop the terrorists.

To measure up to 1971’s Dirty Harry is a nearly impossible feat but The Enforcer continues the rhythm with largely the same basic script. A main part of the fun is watching the grizzled Callahan feud with his superiors and being reduced to working with a female cop.

Naturally, he and Moore eventually become buddies and I like the lack of sexual chemistry. She’s not interested in his affection and neither is he so their relationship is focused on serving and protecting the public.

Daly is terrific in the role of Moore which led to her career-defining role in the television series Cagney and Lacey. Rather than playing her as a bitch she is warm and determined to immerse into a man’s world.

She’s a great character but unfortunately is not explored as much as she could have been.

The filmmakers also keep the setting of San Francisco intact which is a wise move and a treat for those moviegoers that love a good exterior sequence or two.

A fabulous final sequence finds the events of the film heading to a Giants game at the historic Candlestick Park and finally a showdown at Alcatraz Island. These trimmings are so necessary to fans anticipating the juicy and pulsating locales of the populous city.

No, Eastwood is not the greatest actor in the film but he is the best at playing Callahan. He carries the film seamlessly and will make conservatives smirk as he endures the irritations of liberal-minded decision-makers.

A weak explanation of the real motives of the terrorist group is unimportant. It’s the violence, the thrills, the chases, and Eastwood and Daly that make this movie pure fun.

The Enforcer (1976) doesn’t challenge or add to the creativity of cinematic art but provides a shoot-em-up experience featuring a confident and charismatic main character.

Forever immersed in the good tidings of 1970s cinema is enough to continue the successful string of Dirty Harry films.

2009 Films, Adrien Brody, Animated, Bill Murray, Brian Cox, Children, George Clooney, Meryl Streep, Noah Baumbach, Owen Wilson, Wes Anderson, Willem Dafoe

Fantastic Mr. Fox-2009

December 30, 2022 scottmet99 Leave a comment

Fantastic Mr. Fox-2009

Director Wes Anderson

Voices George Clooney, Meryl Streep, Bill Murray

Scott’s Review #1,329

Reviewed December 30, 2022

Grade: B+

I have fond memories of, either reading or being read, Roald Dahl’s famous 1970 children’s novel entitled Fantastic Mr. Fox. The story involves the clever and hungry Mr. Fox and how he outwits his farmer neighbors to steal food from under their noses.

In 2009, it was adapted into a stop-motion animated film by Wes Anderson and includes the voice of George Clooney and Meryl Streep as Mr. and Mrs. Fox. Anyone familiar with Anderson’s work knows well that an added dose of eccentricity will inevitably be included as well as a unique narrative.

I confess to either being in the mood for an Anderson film or not but at least I know to know what I’m in store for.

Anderson co-wrote the screenplay with Noah Baumbach known for making witty and intellectual comedies like The Squid and the Whale (2005) and Greenberg (2010).

Fantastic Mr. Fox pairs well with 2018’s Isles of Dogs if we are talking about Anderson films. Both include the thoughts and peculiarities of animals, similar stop motion, and a story about trickery and revenge pitting man against animals.

There is an eerie and prominent comparison to Animal Farm, a 1950s George Orwell novel and film adaptation, that I noticed.

The farm, animals, class system, and desire for power and authority.

When Mr. Fox’s nightly raids on three nearby farms raise the tempers of three selfish farmers who are losing their chickens, he must outwit the outrageous plans to catch him.

After all, in his mind, he is merely trying to feed his hungry family and neighbors, and Mr. Fox must find a new way to get his paws on the bounty.

Billed as a children’s film probably because it’s based on a children’s novel, Fantastic Mr. Fox contains aspects that will go way over kids’ heads. This suits me well however because I have a fascination for animation that pushes the envelope or moves beyond the overdone ‘safe genre’.

Think of it as a kid’s film for adults.

It would appear difficult to side solely with Mr. Fox since he is a thief. We are all taught at a young age not to steal but it’s difficult not to root for Mr. Fox. He steals not to gorge himself but to feed his family and community.

Of course, he is addicted to being a cad and quickly returns to his thieving ways finding his calling and strong satisfaction.

A good lesson for kids and adults is the neighborly aspect of Fantastic Mr. Fox. There is a camaraderie amongst the animals that I find lovely and inspiring. They band together and cohabitate in an underground community and later the sewer always having each other’s backs.

The farmers are portrayed as the villains though we can certainly understand their hardships at having their animals stolen and eaten. But Anderson hits home that the farmers are greedy and obsessed with their wealth, happy to kill any animals they see fit.

It’s satisfying to see them get defeated.

The story is outshined by the visuals though. It’s difficult not to focus on the technique and stunning attention to detail, especially in the tunnel sequences. The character performances and shadowy framework make one realize just how far stop motion has come.

The autumnal colors of red, orange, and yellow, perfectly enhance the visual style and season that Anderson and team create. Even the cue card titles between scenes are meticulous art that harkens back to sophisticated cartoons of yesteryear.

Fantastic Mr. Fox (2009) is a creative, edgy, and intelligently written and scored production. Multi generations are featured with means young kids, parents, and grandparents with a hunger for a left-of-center and thought-provoking approach will be well satisfied.

Oscar Nominations: Best Animated Feature, Best Original Score

2022 Films, Drama, Independent, Independent Drama

The Whale-2022

December 28, 2022 scottmet99 Leave a comment

The Whale-2022

Director-Darren Aronofsky

Starring Brendan Fraser, Sadie Sink, Hong Chau

Scott’s Review #1,328

Reviewed December 28, 2022

Grade: B+

The Whale (2022) is the latest film from director Darren Aronofsky, a filmmaker that I have been a big fan of since viewing the disturbing Requiem for a Dream in 2000. That film made me cringe and squirm in the best possible ways.

His knack for creating psychologically dark yet enthralling films continued with The Wrestler (2008), Black Swan (2010), and mother! (2017).

Any release by Aronofsky will be watched by yours truly though I am well aware I will likely leave the theater drawing deep breaths and trying not to feel disgusted. On the flip side, there is a good bet that I will feel titillated and secure that I have seen something with artistic distinction.

Not an easy watch, The Whale left me satisfied, in an Aronofsky way, but recognizing the overwhelming dirtiness and nastiness of the supporting characters and the pitiful nature of our protagonist, a good, decent guy.

Charlie (Brendan Fraser) is an obese, six-hundred-pound English teacher who makes his living teaching online classes from the safety of his meek apartment. Embarrassed by his weight he refuses to ever turn on his camera.

Racked with guilt over abandoning his family and grieving the loss of the male partner he left them for, Charlie is slowly eating himself to death. Over a week, he tries to find redemption when he reconnects with his angry teenage daughter.

He is cared for by a night nurse and the sister of his deceased partner named Liz (Hong Chau) while visited by a church missionary, Thomas (Ty Simpkins), and his estranged daughter Elle (Sadie Sink, and his ex-wife, Mary (Samantha Morton).

Let’s just give Brendan Fraser the Oscar right now. His performance is a major reason to see the film and he envelopes himself in the role while making a ‘comeback’ to the Hollywood circle.

The actor does more than wear a fat suit. He delivers an emotional turn as a lost soul who has spiraled out of control since his partner’s death. A recluse, he wheezes and struggles to walk to the bathroom while downing two meatball subs with extra cheese for lunch and two pizzas for dinner.

In a heartbreaking scene, he goes on an eating binge fueled by anger, vomiting it all up soon after. Charlie is a kind and decent person, having faced demons most of his life and trying to live out his final days in peace. He is suffering from heart failure and will not go to the hospital.

Fraser seamlessly delivers the best work of his career. He channels the proper emotional honesty that makes the character believable. He is hurting and the audience is along for the ride in his journey to find purpose before the inevitable occurs.

Before I criticize the supporting characters, I’ll stress that the acting by Sink, Morton, Chua, and Simpkins is excellent. Any award recognition provided to any of them will be well-deserved. For upstarts like Sink and Simpkins, this could be the boost to a lengthy career.

With that said, the cruelty heaped on Charlie is astonishing and difficult to watch making the characters of Elle and Mary unlikable. Thomas and Liz are a bit better until Thomas reveals that both Charlie’s weight and sexual orientation disgust him.

Liz is Charlie’s best friend and the most relatable but she is unnecessarily harsh with him when he chokes on food and doesn’t exude much warmth. Of course, she has her demons like the other characters.

A controversy regarding The Whale has emerged and there is a certain ‘fat shaming’ to be endured. If I were overweight I would not see the film since the face stuffing and cruel fat criticisms are part of the experience.

I ruminated throughout The Whale how easily it could be a stage version. Only one set, Charlie’s dark and dusty apartment in rural Idaho is used and only five principal characters exist.

Fraser’s performance is pure genius and worth the price of admission but there is difficulty with some other aspects of The Whale (2022).

Aronofsky fans should see the film but fairweather fans or non-fans should be forewarned that the film is a heavy and depressing journey.

Oscar Nominations: 2 wins-Best Actor-Brendan Fraser (won), Best Supporting Actress-Hong Chau, Best Makeup and Hairstyling (won)

2002 Films, Cameron Diaz, Crime Drama, Daniel Day-Lewis, Drama, Epic, Jim Broadbent, John C. Reilly, Leonardo DiCaprio, Liam Neeson, Martin Scorsese

Gangs of New York-2002

December 26, 2022 scottmet99 Leave a comment

Gangs of New York-2002

Director Martin Scorsese

Starring Leonardo Dicaprio, Daniel Day-Lewis, Cameron Diaz

Scott’s Review #1,327

Reviewed December 26, 2022

Grade: A-

Gangs of New York (2002) is an extremely violent and bloody epic by director Martin Scorsese that is an exquisite piece of filmmaking nearly flawless in every way except maybe its length and story.

On the one hand, it’s a beautifully choreographed and filmed crime drama with perfect costumes, art direction, and cinematography. Still, on the other, it’s tedious and lengthy, especially during the final hour, with choppy storytelling and seemingly one long continuous battle.

Scorsese being Scorsese and knowing his way around crafting an excellent film or two left me ruminating over the cinema and pondering whether I’d ever need to see it again.

Usually, I’m all in when it comes to repeated viewings of his films, especially Raging Bull (1980) or Goodfellas (1990) but with Gangs of New York, the sobering almost three hours running time and the non-stop bloodshed gives me pause.

It’s not a mafia film but it is an Irish-centered crime drama harkening back to the mid-1800s so there are historical lessons to be exposed to. Familiar with most of his films there are good guys, bad guys, and a criminal, feuding overtone, and lots of grit and grime to plow through.

I can’t say it’s one of Scorsese’s top 10 but it’s a grandiose, epic-length behemoth that features a host of top-name talent but there are nonetheless aspects that leave it slightly beneath his most famous works.

But that’s nearly akin to comparing the works of Beethoven, Rembrandt, or other geniuses of one art form or another. Anyone respecting Scorsese or appreciating good cinema should see Gangs of New York.

Amsterdam Vallon (Leonardo DiCaprio) is a young Irish immigrant released from prison. He returns to the Five Points seeking revenge against his father’s killer, William Cutting (Daniel Day-Lewis) also known as ‘The Butcher’, a brutal and powerful anti-immigrant gang leader.

He knows that revenge can only be attained by infiltrating Cutting’s inner circle. Amsterdam’s journey became a fight for personal survival and to find a place for the Irish people in 1860’s New York.

The most delicious part of the film is the rivalry between Amsterdam and ‘The Butcher’. DiCaprio and Day-Lewis make powerful sparring partners and as much as Amsterdam’s motivations are admirable it’s Day-Lewis who has the more interesting character.

To no one’s surprise, the actor channels his inner dictator as he method acts throughout the film. To no one’s additional surprise, he steals the show away from other tremendous actors like DiCaprio, Jim Broadbent, and John C. Reilly in supporting roles.

However, I need to ask why Day-Lewis was selected for the Lead Actor Oscar category when he is a supporting one.

Worthy of mention is Cameron Diaz who, for once, plays the dramatic role of a pickpocket. Typically cast in comedic roles she shows she has acting chops.

The story gets a bit wayward about halfway through and I stopped giving the story much credence about three-quarters of the way through. It’s as if Scorsese had frenetic schizophrenia moments with tons of good ideas but none of them formulating a cohesive plot.

The New York City setting is a favorite of mine especially pre-civil war and well before the NYC of modern times even existed. The prevalence of Canal Street and various others make this northeasterner heavily invested in geography.

Finally, to bring it all full circle, Gangs of New York powerfully reminds the audience of the age-old topic of immigration and how those who have citizenship too often oppose those who desire to enter a country they once also did.

‘The Butcher’s’ brutal opposition is a sad reminder of how the United States of America was never united and the senseless violence towards immigrants is never-ending.

Gangs of New York (2002) may not be Scorsese’s best work but even on his worst day, he creates a film worth watching. Mixing toxic masculinity, and revenge with a crazy story he succeeds where other directors might fail by providing compelling filmmaking with all the fixings.

Just don’t get too hung up on the story points.

Oscar Nominations: Best Picture, Best Director-Martin Scorsese, Best Actor-Daniel Day-Lewis, Best Original Screenplay, Best Art Direction, Best Cinematography, Best Costume Design, Best Film Editing, Best Original Song-“The Hands That Built America”, Best Sound

2021 Films, Drama, International, International Drama

Parallel Mothers-2021

December 22, 2022 scottmet99 Leave a comment

Parallel Mothers-2021

Director-Pedro Almodóvar

Starring Penélope Cruz, Milena Smit

Scott’s Review #1,326

Reviewed December 22, 2022

Grade: A-

The terrific quality encircling Parallel Mothers (2021), Pedro Almodóvar’s latest film, is the constant homage to Alfred Hitchcock. Not to imply that the cult favorite Spanish director needs to borrow at all because he’s got a flavor and color all his own but he has fun adding some patterns of the influential director.

Anytime there is a compelling identity switcheroo or mistaken identity to enjoy it makes me think of the director. Throw in a dose of subtle lesbianism to make things interesting and you’ve got yourself an excellent film.

I also noticed a bit of Brian DePalma’s influence in the dreamy scenes but it’s primarily Hitchcockian as far as the suspense and plot twists are concerned.

The setting is Madrid, Spain (more about that later) where two women, Janis (Penélope Cruz) and Ana (Milena Smit), meet in a hospital room where they are about to give birth. Both are single and became pregnant by accident unsure of what, if any, future with the fathers they will have.

Janis, middle-aged, is exultant to become a new mother, whereas Ana, an adolescent, is scared, and traumatized. Janis encourages Ana which creates a close link between the two women assumed to never see each other again following the birth of their babies.

But a strange twist of fate brings the women back into each other’s lives and their babies are at the heart of a complicated situation.

I didn’t know exactly what to expect from Parallel Mothers but I assumed that Cruz played a fortysomething woman who perhaps doesn’t want to give birth at her age.

Cruz is excellent in the role of Janis, a confident woman who exudes warmth and stoicism. She is unfazed about her one-night stand and plans to live happily ever after with the baby daddy despite his wife suffering from cancer.

Janis is not delusional but knows what she wants and is determined to get it embracing her situation and caring for others in her path instead of manipulating them.

A strange situation occurs with Ana and her baby which throws everything into a spiral.

Cruz is a muse of Almodóvar’s, appearing in many of his films like Volver (2006) and Pain and Glory (2019) and she is perfectly cast in this role. She is a mature woman, a feminist, and a role model while staying true to her family roots which is how she meets the father of her child.

Anyone who has either been to Madrid or aspires to (me!) will be treated to a history lesson free of charge. Plenty of location sequences of the city, restaurants, and street life are featured. As with Almodóvar’s style, he incorporates vibrant colors, a rich aesthetic, and brilliant cinematography.

The musical score enhances the series of events perfectly.

A slight miss for me is the connection between the baby story and the other story which is the disappearance of people during Spain’s wars. I didn’t envelope the important civil war story as much as I should of or understand what the connection was.

Maybe it’s a cultural thing?

The introduction and backstory of Ana’s mother, a well-known theater actress, felt jarring and out of place. I expected more of a connection to the other events in the film than was to be found.

Almodóvar teeters more in the vein of drama than his usual witty comedies like 2013’s I’m So Excited and the results are stimulating especially with Cruz in the main role.

Parallel Mothers (2021) is a sizzling and titillating exploration of human sensation, eroticism, and emotion.

Oscar Nominations: Best Actress-Penélope Cruz, Best Original Score

Independent Spirit Award Nominations: Best International Film

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