1950 Films, Animated, Ben Sharpsteen, Children, Clyde Geronimi, Disney, Eric Larson, Fantasy, Hamilton Luske, Les Clark, Marni Nixon, Musical, Wilfred Jackson, Wolfgang Reitherman

Cinderella-1950

March 7, 2018 scottmet99 Leave a comment

Cinderella-1950

Director Clyde Geronimi, Hamilton Luske, Wilfred Jackson

Voices Ilene Woods, Eleanor Audley

Scott’s Review #731

Reviewed March 7, 2018

Grade: A-

Cinderella is a lovely 1950 Walt Disney production that rejuvenated the animated film genre after a sluggish 1940s.

The film glistens with goodness and bright colors, offering a charming fairy tale-based story based on hope and “happily ever after.”

Cinderella is enchanting on all levels.

The story is told mainly in narration, especially to explain its history. We learn that Cinderella’s parents have both died, leaving her an orphan who lives with her wicked stepmother, Lady Tremaine.

Her stepsisters, Drizella and Anastasia, are jealous of Cinderella’s natural beauty. She is regularly abused and berated, and forced to work as a servant in a rundown chateau, tending to the trio’s needs and demands.

Despite her unhappy life, Cinderella makes the most of it and befriends mice, birds, and many other animals she meets, singing and dancing merrily.

Life chugs along for our heroine until one day, the King of the royal palace decides to throw a lavish Ball for his son, the Prince, to find his soulmate and marry her finally. The King requests that all eligible unmarried women attend.

As Cinderella excitedly requests to go, Lady Tremaine cruelly grants her request, provided all of her work is done. She has no intention of making things easy on her.

In proper fairy tale form, the Prince falls madly in love with Cinderella while facing many hurdles on the pair’s way to happiness.

Given the time when Cinderella was made (1950), the timing was excellent for a lavish production, to say nothing of the fantasy that many young girls undoubtedly experienced a handsome prince rescuing them, whisking them away from a life of doldrums to undying love.

Female empowerment had not yet taken hold during the 1950s, so the male-rescuing female message was palpable and appealing to many. Dated not the least bit, a story of true love overcoming hardship can always find an audience.

The production’s colors and animations are lush and powerful, oozing perfection and dripping with fantastic elements of romance and spectacular wealth.

An example of this is the lavish ball at the palace. As Cinderella’s Fairy Godmother transforms the young girl and her transportation into a magical fantasy of horses, gowns, and carriages, the ball is pretty extravagant in its beauty.

Engaging, with a bit of humor mixed in, are the supporting characters of the three evil ladies and the bumbling Grand Duke- interestingly voiced by the same person as the King. As Drizella and Anastasia attempt to impress Prince Charming, their awkward and haphazard mannerisms and scowls perfectly counterbalance the charm and grace of Cinderella in a sometimes comical fashion.

Comparisons must be made to 1937’s masterpiece, Snow White and the Seven Dwarfs. Both could easily be companion films, watched sequentially to better study and marvel at their similarities.

Snow White and Cinderella are purely “good” characters, singing lovely tunes, embracing animal friends and various forms of wildlife- they are both more or less “saved” by men.

In the present day, instead of being offensive or “old-fashioned,” it remains enchanting and a celebration of true love.

Cinderella is a treasure to be enjoyed after all these years. It never ages or becomes dated or irrelevant, which is a true testament to the power of film. Carving a story of values, honesty, hard work, and good payoff, generations of fans can appreciate this everlasting treasure.

Oscar Nominations: Best Scoring of a Musical Picture, Best Original Song-“Bibbidi-Bobbidi-Boo,” Best Sound Recording

2017 Films, Bria Vinaite, Brooklynn Prince, Caleb Landry Jones, Drama, Independent, Independent Drama, Sean Baker, Willem Dafoe

The Florida Project-2017

February 28, 2018 scottmet99 Leave a comment

The Florida Project-2017

Director Sean Baker

Starring Willem Dafoe, Brooklynn Prince

Scott’s Review #730

Reviewed February 28, 2017

Grade: A

Incorporating a realism and authenticity rarely found in mainstream films, the 2017 independent drama film The Florida Project offers the viewer a glimpse into the underbelly of society, largely from a child’s perspective.

We meet a group of poverty-stricken folks residing in a crummy hotel outside of Disney World.

Shot almost entirely on location, the film is humorous, dramatic, pathetic, and compelling—a must-see. The balance between a child’s carefree outlook and the real-life adult reality is key.

Director Sean Baker, famous for the ground-breaking and brilliant transgender-themed indie from 2015, does it again with a gritty flavored location shot feast of a story involving the welfare-stricken, prostitute-laden Floridians holing up at a cheap motel.

The plot follows six-year-old Moonee, played by Brooklynn Prince, as she and her problem-prone mother, Halley (Bria Vinaite), attempt to avoid trouble and the police.

They while away the hot summer months, pandering and stealing from tourists as Halley dabbles in prostitution after failing to get a job at a nearby Waffle House.

In addition to Moonee and Halley, other prominent characters rounding out the hotel community are Bobby Hicks (Willem Dafoe), who manages the Magic Castle Motel, and is the father figure and voice of reason to the others, Ashley, Halley’s friend, Jancey, and Scooty, friends of Moonee’s.

The group holds a special bond since they are all barely existing on limited funds in a world laden with drugs, violence, and various unsavory characters.

With initial thoughts of an R-rated Little Rascals, the early scenes involve only the children as they create juvenile pranks including car spitting, bed jumping, and more serious mischief like setting fire to abandoned condos.

All non-actors, the child scenes are genuinely brilliant, and enough praise cannot go to little Brooklynn Prince, the sweet yet precocious six-year-old central child character.

The film’s final scene involving this treasured little girl is heart-wrenching and poignant, as the scene is fraught with raw emotion on the part of Prince.

Dafoe is brilliant in the role of Bobby and the actor chooses a character he does not often play. Frequently playing villains, he shines as a good man attempting to keep things together in an evil world.

On the lookout for child predators and the police, he watches out for the kids, as he sadly knows their lives will only get worse as they grow into teenagers and adults, sure to experience misery or tragic lives.

The most successful and riveting component of The Florida Project is the honest portrayal of the characters and the gritty, realism the viewer experiences.

The fact that Baker shot the film entirely on location is immeasurable and key to the story.

In a slice-of-life way, we are brought into this world for the duration of the film and learn the inner workings of the hotel, the streets, and the hotel parking lots. We live the characters’ lives and feel their struggles and small triumphs.

Most importantly, we empathize with their hopelessness—they are basically stuck, with little hope of finding a better life.

To avoid a complete downer of a film, Baker incorporates a few humorous moments, mainly the light and fun scenes between Halley and Moonee. As they dance around in their hotel room or outside on the hotel lawn as an unexpected downpour erupts, the close bond between mother and child is apparent.

The boisterous trio of kids also breaks up the monotonous adult tension of the other characters as they frolic and play without a care in the world.

The adults versus kids outlook is apparent.

Surely one of the best films of 2017, The Florida Project examines a forgotten and depressing segment of the American population and provides a sobering reality of the world in modern times.

With the Trump era in full swing, this film’s release is timely in American history and gives a sobering look at the United States in general.

Oscar Nominations: Best Supporting Actor-Willem Dafoe

Independent Spirit Award Nominations: Best Feature, Best Director-Sean Baker

2017 Films, Best International Film Oscar Winners, Chilean, Daniela Vega, Drama, Francisco Reyes Morandé, Independent, Independent Drama, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Luis Gnecco, Pablo Larraín, Sebastián Lelio, Spanish

A Fantastic Woman-2017

February 27, 2018 scottmet99 Leave a comment

A Fantastic Woman-2017

Director Sebastian Lelio

Starring Daniela Vega, Francisco Reyes

Scott’s Review #729

Reviewed February 27, 2018

Grade: A

A Fantastic Woman is a 2017 Chilean film that is groundbreaking in subject matter and has received many accolades, including an Oscar nomination for Best Foreign Language Film.

Especially worthy of mention is the film’s lead actress, Daniela Vega, the first transgender woman to present an award at the Oscars and a dynamo performance in her represented film.

Besides the cultural achievements, the film succeeds in its own right as a compelling drama.

The film gets off to a sweet and romantic start as we meet Marina (Vega), a young waitress and aspiring singer, and Orlando (Francisco Reyes), a mature, affluent man thirty years her senior.

After surprising her with a lovely birthday cake, the pair begin to embark on a serious relationship, as Marina has recently moved in with Orlando.

When tragedy strikes and Orlando is rushed to the hospital after collapsing, Marina must face the harsh reality of her partner’s narrow-minded family and suspicions from law enforcement.

What a wonderful starring vehicle for this astounding young talent, Vega. The film shares a story that has never been told before, though the transgender genre is slowly coming into its own—like 2015’s brilliant Tangerine.

With A Fantastic Woman, though, the storytelling is more intimate, personal, and explicit from Marina’s point of view. Faced with financial issues and losing her love, she is forced to hurdle obstacles centered around her lifestyle that she had thought had been conquered through her open life with Orlando, who loved her for who she is.

Vega expresses so much with her wide-eyed stares and introspective glazed looks. A remarkably subdued performance, she does not have a traditional blowup or dramatic, emotional scene. Instead, she calmly goes from scene to scene, her anger and heartbreak brimming under the surface.

As she is verbally insulted and degraded by Orlando’s bitter ex-wife, Marina stands her ground and calmly accepts the verbal attack. Even when Orlando’s thuggish relatives physically assault her with tape, she is calm in her reaction.

This is a testament to Vega’s talents.

Perhaps the most touching subplot involves Marina’s struggle to retain the dog that Orlando kindly gave her. When Orlando’s son refuses to let her keep the dog, Marina reaches her breaking point and begins to fight dirty, refusing to hand over the keys to Orlando’s flat until she gets her way.

The tender affection she has for the animal is wonderful. Despite having a few people in her corner, the dog is her pride and joy and best friend.

As stellar as Vega is, and the film belongs to her, credit and mention must be given to the supporting players, mainly unknown actors to me.

Though we feel no sympathy for Orlando’s ex-wife or his relatives, they are competently portrayed and we do feel their anger and spite.

We do not know much about the back-story, but we do know that Orlando has revealed his involvement with a trans woman and he is proud of Marina.

Actor Reyes is a dream as Orlando and we wistfully imagine a different film centered solely on his romance with Marina. In their short time together, the audience falls madly in love with the duo.

A Fantastic Woman (2017) succeeds as a nuanced, level-headed drama with a powerful message and a timely approach. Never veering over the top or being too preachy, the film is an excellent telling of a topical subject matter.

I only hope that more stories about this genre are told in the future. It is a goldmine of uncharted story-telling with so much potential.

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

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

1966 Films, Ann Bell, Anna Palk, Cyril Cusack, Drama, Francois Truffaut, Julie Christie, Oskar Werner, Science Fiction

Fahrenheit 451-1966

February 26, 2018 scottmet99 Leave a comment

Fahrenheit 451-1966

Director Francois Truffaut

Starring Oskar Werner, Julie Christie, Cyril Cusack

Scott’s Review #728

Reviewed February 26, 2018

Grade: B+

Based upon the famous and fantastic classic 1953 novel Fahrenheit 451 by Ray Bradbury, the film adaptation is futuristic and dystopian.

Directed by French filmmaker Francois Truffaut and starring Julie Christie, the “it” girl of the late 1960s, the film succeeds as an incredible, new wave, edgy, progressive hybrid. Various elements aid in making the film seem set in the future, all with hints of the great director Alfred Hitchcock sprinkled in the mix.

Indeed, the novel is superior, but Fahrenheit 451 is a worthy watch if only for Christie alone.

Christie plays a dual role as Clarisse, a young schoolteacher with progressive and forbidden views, and Linda, the vastly different spoiled wife of the central character, Guy Montag, played by German actor Oskar Werner.

The trio exists in a futuristic world where a totalitarian government has banned all literature, deeming it insufficient for society. A force called Firemen, where Guy works, can search anyone anytime and burn all books as needed.

Clarisse and Guy begin questioning the government’s motivations as Guy stashes a copy of Charles Dickens’s David Copperfield, which puts the pair in danger.

What I like most about the film is its mysterious and foreboding concept, which is downright scary. What if books were suddenly non-existent and forbidden?

Like the novel, the film references luscious and brilliant literary works of art, so much so that the viewer will undoubtedly feel how this reality would be devastating.

As with similar titles such as “1984” and “Brave New World,” the futuristic world and the “Big Brother is watching” theme is critical to its success.

Director Truffaut, an ardent fan of the master Hitchcock, seamlessly incorporates elements of suspense and key “Hitchcockian” moments, specifically with the musical score.

Truffaut used Bernard Hermann, the same composer Hitchcock used in 1966’s Torn Curtain, but more importantly, the prevalence of strings is reminiscent of classics like Psycho and Vertigo.

A fight scene behind frosted glass so that only shadows can be seen is a direct homage to Hitchcock’s famous style.

To accompany the Hitchcock comparisons, an exciting film anecdote is that legendary Hitchcock superstar Tippi Hedren was desired for the central dual role. Still, he would not allow it since she and Hitchcock were embroiled in a feud then, and she was under contract.

The possibilities this would have presented are endless. But alas, Christie is no slouch as the film’s female star.

Christie deserves significant kudos. She plays both characters to the hilt and is one of the film’s best aspects.

Anyone who has read Bradbury’s novel will understand how the character of Clarisse is expanded in the film. One wonders if this was done to showcase more of Christie.

Regardless, Clarisse and Linda’s characters are entirely different from each other, and the actress is superb. Unfortunately, this film is not among Christie’s most remembered films.

My main detraction of Fahrenheit 451, the film, is that having recently read the novel, there is no comparison, as the book is far superior. However, the film is perfect and contains some beautiful visuals and imagery.

So few times can a film usurp the beauties of the written word, and how ironic given the subject matter of the destruction of books.

Fahrenheit 451 (1966) is a stylistic, artistic film with a relaxed vibe. It features a tremendous performance from one of the ’60’s most considerable talents.

The film initially received fair to middling reviews and is now largely forgotten, but it’s nice to take down from the dusty old shelves of the Hollywood obscure now and then.

2017 Films, Animated, Dave Mullins, Florian Babikian, Glen Keane, Jan Lachauer, Ru Kuwahata, Shorts

Oscar Nominated Animated Short Films-2017

February 21, 2018 scottmet99 Leave a comment

Oscar-Nominated Animated Short Films-2017

Directors Glen Keane, Florian Babikian, Dave Mullins, Ru Kuwahata, Jan Lachauer

Scott’s Review #727

Reviewed February 21, 2018

Grade: A-

It was amazing to have the honor of viewing the five short films nominated for the 2017 Academy Award for Best Animated Short Film at my local art theater.

Far too often dismissed as irrelevant or completely flying under the radar of animated offerings, it is time to champion these fine little pieces of artistic achievement.

Each of the five offers a vastly different experience, on par with or even superseding the full-length animated features. Still, each offers inspired or hopeful messages or dark, devious, and edgy stories.

Below is a review of each Short.

Garden Party-2016

Perhaps the strangest of all the shorts, the viewer is transported into an eerie world of amphibians.

It seems like a pair, but it is unclear if this is so. They seem to expand or multiply as they follow their primal instincts, navigating a wealthy mansion.

Containing spilled champagne, a revolver, various items, and evidence of a party, the amphibians jump around and communicate from room to room.

When eventually they descend on a dead and bloated fat man in a vast swimming pool, the film ends mysteriously.

The short was impressively a French animation school’s graduation project. Grade: A-

Lou-2017

An impressive Pixar product, Lou is the more accessible of all the entries with a heartfelt and uplifting message.

In this age of school bullying awareness, the piece is essential. Chubby J.J. enjoys snatching other kids’ toys on the playground, keeping them for himself.

A sweet creature named Lou collects lost toys and shapes himself using the toys, returning them to various parts of the playground for the kids to find the next day. When Lou and J.J.’s worlds collide, Lou teaches J.J. a valuable lesson in goodness and fairness.

Lou is an excellent short film that must be seen by small children and adults alike to experience a humanistic, wonderful tale. Grade: A

Dear Basketball-2017 (won)

The shortest of all the entries, Dear Basketball, is a piece written by NBA superstar Kobe Bryant. It features a lovely narrative by a young boy (presumably Bryant himself) who develops a love for the game of basketball and his inevitable rise among the ranks of athletes.

As he ages, his body wears down, and he realizes his time on the court has ended.

The storytelling in Dear Basketball inspires young boys and girls everywhere. Although it is a piece about basketball, it can be an inspired message about anything.

My one slight gripe to this Short is its minimal length and I wonder if it could have been fleshed out slightly. Grade: B+

Revolting Rhymes-2016

By far my favorite of the bunch and also by far the longest in length, Revolting Rhymes is based on the book of the same name by legendary author Roald Dahl.

It is a dark and disturbing collection of intertwined fairy tales.

As a wolf engages an older woman in a coffee shop and regales her with stories of his two nephews, he incorporates the stories of Little Red Riding Hood, Snow White, and the Three Little Pigs into his storytelling until the wolf does something dire to the woman.

The short is only part one of a two-part collection as part one concludes with a cliffhanger assuring the viewer will see the next chapter.

With a crisp written story and intelligent premise, Revolting Rhymes is the most unique and deserving of the Oscar statuette since its complexities make it the most cerebral. Grade: A

Negative Space-2017

Negative Space, another wonderful French nugget, is an exemplary stop-motion story about an odd relationship between a father and son.

The pair’s psychological elements are not too heavily dissected, but with a longer piece, they could have some bonding issues. The father works as a frequently traveling businessman, and father and son strangely bond solely over packing a suitcase and the efforts to never leave an inch of suitcase space underutilized.

As the father eventually dies and lies in a coffin, the son is bothered by the leftover space the coffin leaves.

A macabre and humorous Short, I was left wanting more backstory of said father and son, but what a clever tale Negative Space is. Grade: A

2017 Films, Christopher Landon, Horror, Horror-Comedy, Israel Broussard, Jessica Rothe, Ruby Modine, Slasher

Happy Death Day-2017

February 20, 2018 scottmet99 Leave a comment

Happy Death Day-2017

Director Christopher B. Landon

Starring Jessica Rothe, Israel Broussard

Scott’s Review #726

Reviewed February 20, 2018

Grade: C+

Happy Death Day is a 2017 horror/slasher film that cleverly incorporates the “Groundhog Day” theme into its story.

Oddly, the film was released in October instead of February, a missed marketing opportunity.

Despite a unique premise, the film is overly complicated, especially for this genre. Rather than succeeding as a late Friday night treat, Happy Death Day becomes tough to follow, leaving too many questions and puzzling thoughts in the after-effects.

We first meet snobbish and sarcastic sorority sister, Theresa “Tree” Gelbman (Jessica Rothe), as she awakens with a pounding headache and a bad attitude one morning in the dorm room of a handsome classmate, Carter Davis (Israel Broussard).

She barely remembers the drunken tryst as she haggardly goes about her morning. Today is her birthday! Irritated by the day, she dismisses her kindly roommate and her father.

She is rude to a former one-night stand, finally going to a party, where she is followed and brutally murdered by a figure wearing a campus mascot mask.

She suddenly awakens to the same morning she has just experienced!

Perplexed, Tree spends the remainder of the film on the hunt to figure out who killed her and unravel the mystery of halting the events by going on a continuous “loop” of the same night, each time uncovering more clues.

Mixed in with the events, Tree realizes she has feelings for Carter and should become a more sociable person.

Star Jessica Rothe is excellent in a breakout film role, though she had a small part in the musical La La Land in 2016.

Her chemistry with Broussard is adequate, though when we talk horror, romance is not at the top of the list, blood is.

Unfortunately, Happy Death Day offers few accurate kills or scares—the film is rated PG-13, for heaven’s sake.

A nice aside and testament to the character of Tree is her possession of both “good girl” and “bad girl” qualities. Trendy in slasher films is that the girl who parties and has sex is offed before very long, but in Happy Death Day, we are served both in the same character.

Tree is, in fact, butchered, but when brought back to life, the character eventually blossomed into the clear heroine. This is a nice twist on a traditionally written character.

I enjoyed the perpetual whodunit factor that screenwriter Scott Lobdell carves into the fabric. A bevy of suspects is introduced and the tale changes direction with each loop.

The story becomes more complex with each loop, and characters’ stories or motivations shift each time. Furthermore, a few more characters are introduced giving the story more layers.

This is both a strength and a problem—Trees professor Dr. Gregory Butler, her secret lover, is a suspect.

Is Tree’s sweet roommate, Lori, who wants nothing more than to treat her friend to a lovely birthday cupcake, too good to be true?

Things spiral out of control from a story perspective at a certain point.

What is the point of the local serial killer, John Tombs, injured and conveniently staying at the campus hospital, other than to serve as a red herring? Who is the masked killer and why do they suddenly disappear from the story? How is Tree able to seemingly change the details of her murder so much so that it ends up never happening?

The reveal of the actual killer is perfect, but how did we get to this point? By the big reveal at the end, I had stopped trying to figure out the film.

Slightly above par, Happy Death Day (2017), while spirited and reaching for something different, becomes muddled and senseless, leaving the viewer wondering how all the various “groundhog day” stories add to a satisfying conclusion.

Sadly, by the film’s conclusion, one will likely not wish to waste time bothering to care. Still, some props for creativity must be awarded.

2017 Films, Carey Mulligan, Dee Rees, Drama, Garrett Hedlund, Jason Clarke, Jason Mitchell, Jonathan Banks, Kelvin Harrison Jr., Mary J. Blige, Period Drama, Rob Morgan

Mudbound-2017

February 12, 2018 scottmet99 Leave a comment

Mudbound-2017

Director Dee Rees

Starring Carey Mulligan, Garrett Hedlund

Scott’s Review #724

Reviewed February 12, 2018

Grade: B+

Mudbound is a 2017 Netflix period drama that transports viewers to a time of racism and struggles as World War II ravaged Europe.

The piece is set mainly in rural Mississippi; however, during the 1940s, most people, especially black people, had a vastly different way of life.

The film depicts the hardships and struggles of two families living on the same land, one white and one black, and how their lives intersect dramatically.

The film received several Oscar nominations, including for Adapted Screenplay, Supporting Actress, Song, and Cinematography. I will suffice it to say I support the latter two mentions in the group but not the former.

While the final act kicks the film into much-needed high gear, and the filming detail of the rural southern terrain is quite apt, I kept waiting for a stunning scene involving the usually excellent Mary J. Blige to erupt, but sadly nothing ever came.

While inspired, the writing would not get my vote in the screenplay category either, especially when other, more worthy films (think Mother!) were bypassed.

The mood of Mudbound is immediately impressive as we are introduced to the grizzled and muddy town of Marietta, Mississippi, a sort of farm wasteland. Brothers Henry and Jamie McAllan struggle to bury their recently deceased “Pappy” as the lands are ravaged by a driving storm.

When Henry briefly leaves Jamie in the watery grave the pair has dug, Jamie is panic-stricken that Henry will not return. In this way, director Dee Rees reveals a significant clue to tension between the brothers as the film rewinds to sometime earlier when times were happier for the brothers.

Mixed in with the trials and tribulations of brothers McAllan, is Henry’s wife Laura (Carey Mulligan), who shares a loveless marriage with him, while secretly lusting after Jamie.

A poor black family resides and works on the McAllan farm, and must endure hardship and racism from the white residents of Marietta, especially when their son Ronsel returns from World War II, a celebrated hero.

Old habits die hard as the Ku Klux Klan rears its ugly head, targeting the young soldier for daring to bed with a German woman abroad.

As most of the film meanders during the first hour or so with odd edits and pacing, I did not easily connect with many of the characters, though I wanted desperately to.

There seemed to be not enough buildup to the ultimate drama. The film is shot in a way that you know you are watching something of substance, but it takes a long, long time to reach a crescendo.

The aforementioned criticism of Mary J. Blige, who portrays long-suffering matriarch Florence Jackson, is not of the part itself or her acting; rather, I expected a gritty, meat-and-potatoes-style performance from the talented lady.

I disagree with her Oscar nomination, and instead would have chosen the brilliant Michelle Pfeiffer from Mother!

Praise must be written for Mulligan’s performance, shamefully overlooked, like the haggard, intellectually unfulfilled housewife, Laura. As she wistfully buries her nose in a novel to escape her dull life, or longingly looks at Jamie, disappointed with her loneliness, we feel every emotion that Mulligan plays.

A consistent problem with Mudbound was that it lacked a grand emotional scene from either Blige or Mulligan.

The film’s racist subject matter can be utterly challenging to watch as a significant character sees their tongue removed and another character forced to make a difficult choice. This action leads to a deadly turn of events and the murder of another character, resulting in a lifetime of secrets.

The final thirty minutes are the best part of Mudbound.

A must-notice historical feat is Rachel Morrison’s nomination in the cinematography category. She is the first female to receive this honor, and it is certainly about time. Morrison successfully fills Mudbound with the perfect mood—both picturesque greenery and a depressing, downtrodden aura.

This is not as easy as one might imagine, but creative talent achieves this effortlessly.

Mudbound has received much attention but is not the masterpiece some are touting it as. It takes way too long to hit its stride, the film has good aspects and some missed opportunities.

Perhaps a better-put-together film would have resulted in a brilliant experience instead of “only” a good watch. I recommend Mudbound, but I expected and hoped for much more than I was given.

Oscar Nominations: Best Supporting Actress-Mary J. Blige, Best Adapted Screenplay, Best Original Song-“Mighty River”, Best Cinematography

Independent Spirit Award Nominations: 1 win-Robert Altman Award (won)

1940 Films, Animated, Ben Sharpsteen, Children, Disney, Eric Larson, Fantasy, Hamilton Luske, Les Clark, Musical, Wilfred Jackson, Wolfgang Reitherman

Pinocchio-1940

February 1, 2018 scottmet99 Leave a comment

Pinocchio-1940

Director Ben Sharpsteen, Hamilton Luske

Voices Cliff Edwards, Dickie Jones

Scott’s Review #723

Reviewed February 1, 2018

Grade: B+

As a follow-up to the marvelous 1937 Walt Disney production of Snow White and the Seven Dwarfs, 1940’s Pinocchio is a darling tale of a wooden puppet longing to become a real boy.

The film vastly differs from its predecessor in that the protagonist is male, and the thematic elements are Italian (based on an Italian children’s novel). Still, similarly, Pinocchio is a touching experience and is magical and whimsical, telling a humanistic story about wishes and dreams coming true.

As narrated by a fantastic, cheerful little insect named Jiminy Cricket, an elderly woodcarver named Geppetto creates a wooden puppet named Pinocchio and wishes upon a star for the puppet to become a little boy.

A mysterious yet lovely Blue Fairy arrives one night and tells Pinocchio that he must be brave and truthful for the desired effect to occur- Jiminy serves as his conscience. Throughout the remainder of the film, Pinocchio’s morals are tested by unsavory characters who attempt to steer him down a dark path.

Certainly, Pinocchio is intended to be a message film for little boys and girls everywhere about the importance of honesty and truthfulness. However, some comic elements are mixed to avoid making the experience too dark or scary.

This is evidenced by the legendary way Pinocchio’s nose grows longer with each fib he tells. The film preaches a valuable lesson, which is why the adorable story holds up so well in the present.

Some values never go out of flavor.

In superb Disney form, Pinocchio features an emotional tearjerker of a scene towards the end of the film as Geppetto mourns the loss of his son.

The scene is sweet and touching and will fill even the hardest of hearts with feelings- regardless of age. In this way, Pinocchio becomes even more of a timeless treasure and is a film that the entire family, generations upon generations, can enjoy together.

Films of this nature are so important as a bonding form.

Enough praise cannot be given to Pinocchio’s incredibly effective theme song, “When You Wish Upon A Star,” belted out by Jiminy Cricket. The resounding tune is as emotional as it is timeless and bold. It is belted out at just the ideal time during the film and is still associated with the legendary film.

In fact, over the years, the song has become synonymous with the Walt Disney Company itself.

One slight oddity of the film is that Geppetto—clearly at the grandfather’s age—is the father of a young boy. This might have been perceived as sweet in 1940, but in 2018, it may have been perceived as a bit creepy or at least unusual.

Still, this is a minor flaw that can be easily overlooked. I have come to assume Geppetto is the grandfather in the story.

For those in the mood for a charming, classic animated Disney picture, 1940s Pinocchio is a mesmerizing and creative experience. At its core, it is a timeless benevolent lesson in goodness and purity.

Pinocchio is artistically filmed and told, and it can be enjoyed by anyone, regardless of age or gender.

Oscar Nominations: 2 wins Best Original Score (won), Best Original Song-“When You Wish Upon a Star” (won)

2017 Films, Brian Gleeson, Camilla Rutherford, Daniel Day-Lewis, Drama, Gina McKee, Lesley Manville, Paul Thomas Anderson, Romantic Drama, Vicky Krieps

Phantom Thread-2017

January 31, 2018 scottmet99 Leave a comment

Phantom Thread-2017

Director Paul Thomas Anderson

Starring Daniel Day-Lewis, Vicky Krieps, Lesley Manville

Scott’s Review #722

Reviewed January 31, 2018

Grade: A

Phantom Thread is a 2017 gem that should ideally be studied in film schools and remembered for decades to come, or at the very least discussed and dissected among those fortunate enough to see it currently.

Set in England during the 1950s and centering on the dress-making industry, the film mixes romance with a bizarre psychological element that leaves the viewer breathless as the final act comes to a dramatic and startling conclusion.

Daniel Day-Lewis brilliantly portrays Reynolds Woodcock, an esteemed and famous dressmaker who lived and worked in London in the 1950s.

He creates lavish dresses for the members of high society, including the wedding gown for the famous Belgian princess. Masterful at his work, he is also controlling and demanding, requiring plenty of support and attention from his equally controlling sister, Cyril (Lesley Manville).

When he meets Alma Elson, a waitress from a countryside resort, the pair fall into a relationship. She acts as his assistant, muse, and lover. Complexities develop between Reynolds, Alma, and Cyril as the plot progresses in cerebral and nail-biting fashion.

The film is ravishing and a feast for the eyes if only for the classic costumes alone. Each dress that Reynolds creates is exceptional and at the height of glamour. His domineering nature only makes this realistic as perfection is his modus operandi and his dresses are evidence of this.

In one particularly fantastic sequence, Reynolds begrudgingly creates a dress for the boozy Barbara Rose, a rich and mature woman who promptly falls asleep drunk at her wedding and soils the garment.

A livid Reynolds, along with Alma, strips Barbara of the dress, rather than see her sleep in and tarnish it.

However, the main draw to the film is the excellent, intricate main plot involving Reynolds, Cyril, and Alma.

This weaving of personalities and their nuances must be attributed to the fabulous direction of Paul Thomas Anderson, known for edgy, dark films such as 1997’s Boogie Nights and 1999’s Magnolia.

He comes up with a masterpiece in Phantom Thread.

The three principal characters are pretty unlikeable and the viewer’s allegiances may change throughout the tale. Appearing to be the innocent, debutante character of the film, the character of Alma will be surprised, especially in the film’s final act.

A successful nuance is the scenes involving characters breaking bread with others as events unfold over Danishes, omelets, and crisp asparagus. Sometimes the banter involves discussions and debates about the preparation of the food.

This characteristic is a dream for any foodie and the meals aid in the progression of the plot.

Earlier in the film, Alma is scolded by a maid for nearly picking poisonous mushrooms, which later becomes a major clue and part of the film’s conclusion.

During a pivotal scene between Reynolds and Alma, she prepares a delicious mushroom omelet for her love as motivations, secrets, and desires surface.

The grand twist that Anderson reveals at the end of the film will only leave the viewer open-mouthed and quickly reviewing the events and circumstances of the entire movie.

Anderson’s close-up scenes are magical, and each actor is allowed to be very expressive. The camerawork in several breakfast scenes—Alma and Cyril gazing at each other, revealing emotions that border between hatred and mutual respect—is effectively done.

Manville, in particular, does so much with her blue eyes as she sips coffee and peers over her cup with venomous indignation at her foe.

How splendid is the comparison of Cyril to the famous Hitchcock villainous Mrs. Danvers from the classic 1940 film in her cold and creepy mannerisms?

I hope that Phantom Thread will eventually be appreciated and analyzed as a cinematic work of art.

Deservedly honored with a 2017 Best Picture, Best Actor, Best Supporting Actress, Best Director, and Best Costume Academy Award nomination, the film is a lesson in excellent writing, bizarre angles, and essential effects.

Let’s hope that this film will be recognized as the great work it is.

Oscar Nominations: 1 win-Best Picture, Best Director-Paul Thomas Anderson, Best Actor-Daniel Day-Lewis, Best Supporting Actress-Lesley Manville, Best Original Score, Best Costume Design (won)

1959 Films, Animated, Bill Shirley, Children, Clyde Geronimi, Disney, Don Bluth, Eric Larson, Fantasy, Les Clark, Mary Costa, Musical, Wolfgang Reitherman

Sleeping Beauty-1959

January 30, 2018 scottmet99 Leave a comment

Sleeping Beauty-1959

Director Clyde Geronimi, Les Clark, Wolfgang Reitherman, Eric Larson

Voices Mary Costa, Bill Shirley

Scott’s Review #721

Reviewed January 30, 2018

Grade: B+

Sleeping Beauty is a 1959 musical fantasy film and Walt Disney’s sixteenth animated production. By this point, Disney was a master at crafting wonderful and magical productions, and Sleeping Beauty was a solid work.

However, due to mixed reviews and poor box office performance, Disney films were retired for many years. The effort achieves a lighter tone than heavies like Dumbo and Bambi but is enjoyable nonetheless.

In a magical land of royalty, fairies, and both good and evil, King Stefan and Queen Leah, the benevolent leaders of the land, finally conceive their first child, Princess Aurora.

After proclaiming a memorable holiday and celebration, a festive scene turns dark when an evil and powerful fairy, Maleficent, jealous with rage, puts a curse on the innocent baby.

Thanks to a kindly fairy, the curse of death on Aurora’s sixteenth birthday is slightly blocked in favor of Aurora falling into a deep sleep- only to be awakened by true love’s kiss.

The characters in Sleeping Beauty are pretty lovely and, overall, sweet and kind. My favorite characters are the three fairies: Flora, Fauna, and Merryweather. Each has her personality but wields special magical powers—all good-natured.

While Flora and Fauna possess song and beauty, which they bestow on Aurora, Merryweather arguably saves the young girl’s life. The three women are also instrumental in being the unsung heroes of the film, while the handsome Prince Phillip gets star billing.

Compared to many other Disney films, Sleeping Beauty is quite the show. It is lush with colors as bright as stars, and the sparkles that drizzle from the fairies’ wands ooze magic that will make children giggle with delight and adults marvel with adoration.

In this regard, Sleeping Beauty is extravagant and the most expensive Disney production to date.

Maleficent is a fantastic villain, and when she finally turns into a lethal, fire-breathing dragon, this is sure to scare youngsters watching the film for the first time. Sure to mention, Maleficent’s web of thorns that she uses to surround Aurora’s castle is a spectacle in and of itself.

Upon watching the film, I continue to draw comparisons to another of Walt Disney’s famous films, 1937’s Beautiful Snow White and the Seven Dwarfs, as both films resemble each other in a sheer mass of ways.

The beautiful and innocent main female characters, both in peril from devious, older women, clearly jealous of Snow White’s and Aurora’s goodness, are apparent.

Besides, both contain dashing princes who come to the rescue in just the nick of time and kindly little things who assist in the drama.

Perhaps Sleeping Beauty’s similarities to Snow White and the Seven Dwarfs—in fact, the pair would be perfect to watch together on a rainy Saturday afternoon—led me to conclude that Snow White is the more charming and grabbing of the two films.

Also, Sleeping Beauty does not triumph in the important humanistic lessons that the Dumbo and Bambi (my favorites of all the Disney films) have.

Sleeping Beauty contains elements of an empathetic, feel-good animated experience. A King, a Queen, a Prince, a vicious villain, giddy fairies, and a beautiful heroine are all represented in this delicate and satisfying Disney venture- not the greatest in the pack, but assuredly a good time.

Oscar Nominations: Best Scoring of a Musical Picture

2017 Films, Aidy Bryant, Anupam Kher, Bo Burnham, Comedy, David Alan Grier, Drama, Holly Hunter, Independent, Independent Comedy, Independent Drama, Judd Apatow, Kumail Nanjiani, Kurt Braunohler, Michael Showalter, Ray Romano, Zenobia Shroff, Zoe Kazan

The Big Sick-2017

January 29, 2018 scottmet99 Leave a comment

The Big Sick-2017

Director Michael Showalter

Starring Kumail Nanjiani, Zoe Kazan

Scott’s Review #720

Reviewed January 29, 2018

Grade: B+

The Big Sick, a 2017 independent “dramedy” film, takes what could be a standard premise and turns it upside down, offering a fresh perspective on a familiar tale about a prospering relationship.

The screenplay is the standout as the writing is intelligent and crisp. Thanks to exceptional acting by all four principal characters, The Big Sick is a success and worth watching.

The story follows an interracial couple, Emily and Kumail, played by Zoe Kazan and Kumail Nanjiani, who have recently started casually dating. Kumail is a standup comic living in Chicago who meets the flirtatious Emily after a club performance one night.

They share a one-night stand and agree never to see one another again.

As the smitten pair break their promise and form a romance, a tragedy occurs, landing Emily in a coma.

Kumail must handle Emily’s parents, Beth (Holly Hunter) and Terry (Ray Romano), who are angry with Kumail for misleading Emily and not telling her about his strict Muslim parent’s intentions of marrying him off by arranged marriage.

The screenplay (nominated for a 2017 Oscar nomination) is loosely based on the relationship between actor/writer Nanjiani (who stars), and Emily Gordon (who co-wrote the screenplay).

Especially since Nanjiani stars, the film is sincere and authentic, as if Nanjiani is living the role.

The chemistry between Nanjiani and Kazan during their many scenes at the start is a significant plus to the film. Before the drama takes off, the audience will become fully invested in the pair as a couple.

Whether the couple flirts as Kumail drives Emily home or fights when Emily learns about his Muslim culture’s belief in arranged marriage, the couple has a tremendous connection, and it shows.

The story fabric takes an interesting turn about midway through when Emily is stricken with a debilitating illness.

A medically induced coma is needed, as Kumail is forced to pretend to be her husband, this opens up many moral and legal ramifications that the film chooses essentially to ignore, instead of dealing with the relationships between Kumail and Emily’s distraught parents.

Hunter and Romano are excellent in the parent roles. Hunter is the more showy of the two and has more meat, while Romano holds his own and powers a vital comedy club scene in which he defends his wife from a callous heckler.

Admittedly, the film decides to go the “happily ever after” route, this is hardly a surprise given that Judd Apatow is the producer.

Remember, this is the same guy who produced safe films such as Superbad (2007) and Anchorman 2 (2013). Still, the story within The Big Sick is an enjoyable, character-driven ride, if not unpredictable.

A darker-tinged affair might have set this film over the top as it contains many other credible film qualities.

The addition of comic talent in the supporting roles of Kumail’s comedy club buddies adds a good balance and nicely counterbalances the drama so that it does not become too dour.

Much of the film involves Emily in a coma, so comic talent such as SNL’s Aidy Bryant and Comedy Central’s Kurt Braunohler are suitable ads.

I enjoyed the inclusion of the traditional Pakistani custom of arranged marriages, but at times this seems played for laughs rather than being a significant obstacle to the couple.

Kumail’s controlling mother parades one young Pakistani girl after another in front of her son as a way of encouraging him to select one of them. Kumail’s traditional family is played as stereotypes and the lighthearted foils of the film.

The Big Sick (2017) succeeds with crisp, witty dialogue and a solid story that nicely complements the intended comedy.

A few too many stereotypes and goofiness keep the action light even when compared to the more serious parts—great acting all around.

Oscar Nominations: Best Original Screenplay

Independent Spirit Award Nominations: 1 win-Best Supporting Female-Holly Hunter, Best First Screenplay (won)

2017 Films, Drama, Eliza Hittman, Harris Dickinson, Independent, Independent Drama, Kate Hodge, LGBTQ+ Drama, LGBTQ+ Films, Madeline Weinstein, Neal Huff

Beach Rats-2017

January 26, 2018 scottmet99 Leave a comment

Beach Rats-2017

Director Eliza Hittman

Starring Harris Dickinson

Scott’s Review #719

Reviewed January 26, 2018

Grade: A-

Beach Rats is a 2017 coming of age film penned and directed by Eliza Hittman, a young female director from Brooklyn, New York, who incorporates her familiar geographical settings into only her second feature film.

2013’s It Felt Like Love received two Independent Film nominations, and Beach Rats has followed suit, garnering a Best Actor nomination and a Best Cinematography mention.

The film is a terrific story of conflict that its target audience will surely relate to.

The film is very low-budget but a successful character study of a young man named Frankie, played by newcomer Harris Dickinson, who wrestles with family issues and his sexuality while hanging out with his troubled friends and dating his sometime girlfriend.

Beach Rats is not a downer but rather an interesting glimpse into a teenager’s life and struggle with self-identity.

Mirroring It Felt Like Love, Hittman uses plenty of locales unique to Brooklyn, the most identifiable being the borough’s watery, nighttime beaches, which gives the film an authentic feel.

Many scenes are shot outdoors, which is a strong point of the film. Like many independent films, Beach Rats uses several “non-actors” in small roles, adding depth to the blue-collar, sometimes harsh, Brooklyn feels.

With only two features to her credit, Hittman is successful at having her hand-print on her films, making them identifiable as her own.

It is interesting how the director chooses a male character to write for. Similar to the female Liza in It Felt Like Love, both she and Frankie are vulnerable and coming to terms with their sexual feelings and desires.

The fact that Liza is straight and Frankie, at most, bisexual, is the only strength of the complex writer/director.

Dickinson is perfectly cast as Frankie. Good-looking, with chiseled features and a lithe, toned body, his bright blue eyes are expressive, as the audience empathizes with his many dilemmas.

Beach Rats is much more than a traditional “gay film”, which is admirable, it is more complex than that.

By 2017, the common theme of coming to terms with one’s sexuality has been explored.

According to Frankie, he “just has sex with men” and refuses to identify as either gay or bisexual. It is implied that because of his group of trouble-making friends, who only want to get high, he might be faced with resistance if he ever came out to them.

The supporting cast is well represented, Frankie’s mother, Donna (Kate Hodge), is faced with a tricky predicament as her husband, Frankie’s father, has just died of cancer, ripping the family apart.

She knows that Frankie keeps things from her, is she figuring out Frankie’s sexual secrets?

Donna implies that it is okay for Frankie to tell her anything, admirable, combined with her problems. Frankie’s girlfriend, Simone, is coming into her own as Frankie is, and even though the duo shares a sweet relationship, it appears doomed for failure.

The most interesting scenes in Beach Rats occur between Frankie and the mostly older men he meets virtually or in person. Though Frankie is quite nervous, Dickinson always makes the character appear confident and well beyond his years.

Being street-smart, he is never taken advantage of, as he is familiar with young men and older men. Why he mostly prefers older men is never explained, but it might have anything to do with seeking to fill the void left by his deceased father.

Or is it simply to reduce the risk of running into anyone he might know within his age group?

Hittman is not shy about featuring nudity, yet each scene is tastefully done and never seems to be for either shock value or to elicit a gasp. Full frontal nudity is featured, as well as scenes of Frankie engaging in sexual acts with both the men and his girlfriend.

Sure, Dickinson has a perfect body, but his assets are not on display unnecessarily.

More often than many “box office” films, independent films are given much creative freedom to tell a good story. Thankfully, in the case of Beach Rats, the audience is lucky enough to view a quiet, introspective tale of a conflicted adolescent and how he deals with demons and complex feelings.

Particularly for the predominantly LGBT audience who will see the film, Beach Rats (2017) will have much to offer.

Independent Spirit Award Nominations: Best Male Lead-Harris Dickinson, Best Cinematography

2017 Films, Ben Mendelsohn, Biography, British, David Strathairn, Drama, Gary Oldman, Historical Drama, Joe Wright, Kristin Scott Thomas, Lily James

Darkest Hour-2017

January 24, 2018 scottmet99 Leave a comment

Darkest Hour-2017

Director Joe Wright

Starring Gary Oldman, Kristin Scott Thomas

Scott’s Review #718

Reviewed January 24, 2018

Grade: A-

Darkest Hour (2017) is a British historical film that showcases legendary actor Gary Oldman’s astounding portrayal of Winston Churchill.

Known for numerous other fine-acting performances in films such as the Harry Potter series (2001-2011), JFK (1991), and Batman Begins (2005), this performance easily transcends all of the others as he brings perfection to complex role-infusing humor, drama, and many idiosyncrasies of the storied historic figure.

Churchill is the best role of Oldman’s lengthy career.

Director Joe Wright, famous for classy European films such as Pride and Prejudice (2005), Atonement (2007), and Anna Karenina (2012), traditionally offers rich, intelligent experiences with an upper-crust, often British theme and fills his characters with wry humor and wit.

In Darkest Hour, a film that belongs to Oldman, by the way, Churchill is the master of gruff sarcasm and cantankerous charm.

During the tumultuous time of 1940, with the barbaric grips of Nazi Germany settling upon both England and France (Allies in World War II), a disheveled England is frustrated with their current Prime Minister, Neville Chamberlain, for being weak.

Chamberlain begrudgingly appoints Winston Churchill as his successor, amid limited support.

The film discusses Churchill’s early days in charge as the war and the Nazi presence loomed larger and larger- especially as the historic Dunkirk situation comes into fruition.

Darkest Hour is a good quality film —it has a certain historic richness and the feeling of experiencing a worthy and relevant film. For those of us who did not live during the 1940s, the film will likely serve as an educational experience into the events of the day.

Hundreds of films have been made over time that have explored the events during World War II in fantastic detail, but this film is unique in that it not only provides a perspective of the Allied countries “back against the wall” situation but the ups and downs and pressures that Churchill, the man, faced.

Despite a few quick clips of Hitler and very old black-and-white footage and newspaper headlines of the crazed leader, the focus is not on the enemy country. No actor was used to play Hitler; rather, the focus is on Churchill and the decisions he made and the influences he was faced with.

Pressured to appease the militant German country and reach a “peaceful” deal, Churchill instead listened to the voices of the ordinary, everyday, British people to get his decision to fight the Germans and not back down.

Clever and relevant to 2017 cinema, the film spotlights the famous Dunkirk situation, when British forces were trapped on the shores of Dunkirk, with German planes looming overhead.

Many men were saved, thanks in large part to Churchill and British and French civilian boats that aided in the rescue.

The 2017 film Dunkirk would make an excellent companion piece to Darkest Hour because its subject matter is similar to that of Darkest Hour.

Not surprisingly, both films received Academy Award nominations for Best Picture.

A great lesson I carried away from the film is with Churchill himself.

Sure, I knew that he was the Prime Minister of England during the 1940s and was instrumental in the events of the bloody war, but I knew little about the man himself.

Thanks to Wright and, of course, Oldman, the viewer will learn the good and bad characteristics of this man. A heavy drinker, commonly downing champagne with lunch and brandy the rest of the day, he was initially not well-liked, nor taken very seriously by British royalty.

With Churchill’s bubbling personality, Oldman is fantastic at filling the role with humor, frustration, and just the correct amount of empathy and concern.

Despite his temper, we can tell that he loves his country and is proud of the people living there—that is why he is adamant about conquering the enemy. So, we know he is a good man despite his temper tantrums.

Oldman also successfully embodies the mannerisms that this historical figure contained.

Kristin Scott Thomas also gives a worthy performance, albeit in a small role, as the mature and graceful wife, who can both support and match wits with her husband.

Thanks to a brilliant acting performance by Gary Oldman, who takes on a difficult role that could easily be botched by lesser talent, Darkest Hour is a 2017 historical drama worth seeing.

He makes a film that could have been dull and flat into a worthy watch to both learn something and be amazed at a truly great acting performance.

Oscar Nominations: 2 wins-Best Picture, Best Actor-Gary Oldman (won), Best Production Design, Best Cinematography, Best Makeup and Hairstyling (won), Best Costume Design

1995 Films, Action, Alan Cumming, Desmond Llewelyn, James Bond, Judi Dench, Minnie Driver, Pierce Brosnan, Robbie Coltrane, Sean Bean

GoldenEye-1995

January 19, 2018 scottmet99 Leave a comment

GoldenEye-1995

Director Martin Campbell

Starring Pierce Brosnan, Sean Bean, Izabella Scorupco

Scott’s Review #717

Reviewed January 19, 2018

Grade: B

By 1995, after a record six years between films, the James Bond franchise re-emerged energetically with Pierce Brosnan assuming the role of the MI6 agent-, and breathing some fresh life into the character.

The charming and suave Irish actor gave a new direction to the role last played by Timothy Dalton-an an actor who gave Bond more of a brooding quality. The resulting GoldenEye offers mixed results, though the casting is a vast improvement over its predecessor.

GoldenEye sees other monumental roles recast- that of Judi Dench as M and Samantha Bond as Miss Moneypenny.

The film has a slick look, and a compelling story, but at times is tough to follow, and overall- despite containing all the elements- something seems missing.

Or maybe I just prefer the other Bonds more? Still, the offering is far from a bad watch.

GoldenEye kicks off with, in hindsight, a major clue to the story as Bond (Brosnan) and fellow 00 agents, Alec Trevelyan (Sean Bean), infiltrate a Soviet facility in northern Russia in 1986, searching for chemical weapons.

Alec is tragically killed by sinister Soviet General Ourumov and Bond mourns the loss of his friend.

The action resumes in present times (1995) as, now in gorgeous Monte Carlo, Bond follows the beautiful and sadistic Xenia Onatopp, a crime syndicate member known for crushing men with her thighs. Xenia and Ourumov travel to Siberia where they destroy a bunker holding GoldenEye satellites and kill everyone except the computer programmer, Boris (Alan Cumming), and the lone survivor, Natalya (Izabella Scorupco).

In a clever twist, it is revealed that Alec has betrayed British Intelligence and is himself leading the crime syndicate.

In one of the quietest, and best scenes, Bond and M have an interesting exchange in her office as M (a woman) calls Bond out on his arrogance and chauvinism, and states that it is a new day.

Dench adds a ton of female modernism into the role (about time in 1995) as Bond now reports to a woman. The scene is important as it leads the two characters to achieve mutual respect and arguably parlays the franchise into a new, more female-empowering direction.

A great positive to GoldenEye is the setting, which I think does wonders for the film as a whole- the bitter, blustery, Siberian set gives a soothing feeling, especially while watching the film during the ravages of winter, snug with a warm blanket and heaters.

Regardless, the sets are realistic, never cheesy, and loaded with atmosphere- so the film itself looks wonderful.

Issues abound with the frenetic pacing of the film- at times I found myself losing track of the action or the sequence of events.

Understandably, as in many Bond films, events circle the globe and, surely London, Russia, and Monte Carlo are great locations, but especially within the film’s final climax, I suffered from sensory overload.

Furthermore, Brosnan is not one of my favorite Bonds. Sure, he has the charisma, the looks, and the charm to pull off the role, but something about him does not measure up to Sean Connery, Roger Moore, George Lazenby, or Daniel Craig- certainly he supersedes Timothy Dalton.

Don’t get me wrong- I do not despise him as Bond, but nothing stands him out against the others either.

The villains in GoldenEye are perfectly adequate if not spectacular. Sean Bean gives Alec a sly, aww shucks appeal and defines good-looking, but his motivations for switching sides are not very exciting- something about Nazis in World War II, the Cossacks, and revenge are quickly mentioned, but it doesn’t much matter.

General Ourumov is effective- with his sinister look, he is the perfect Bond villain. Xenia is little more than a cartoon character (with the name to boot) and her gimmick quickly wears thin.

Finally, Cummings as the programmer is played only for laughs, and his final chant of “I am invincible!” as he freezes into solid ice is mildly humorous.

The title theme song, “GoldenEye”, performed by Tina Turner is forgettable at best and one of the most lackluster in the illustrious musical catalog.

GoldenEye has many of the standard Bond elements within its frames and is a decent entry in the franchise. With the debut of a new Bond, the film has a fresh and very modern and technical feel to it that, along with a fantastic setting, overlooks some flaws in the storytelling.

Filled with bombast and a crowd-pleasing method, GoldenEye (1995) is hardly the best Bond film, but not the worst.

1983 Films, Action, Desmond Llewelyn, Ingrid Pitt, James Bond, John Glen, Lois Maxwell, Louis Jourdan, Maud Adams, Roger Moore, Steven Berkoff

Octopussy-1983

January 17, 2018 scottmet99 Leave a comment

Octopussy-1983

Director John Glen

Starring Roger Moore, Maud Adams

Scott’s Review #716

Reviewed January 17, 2018

Grade: A-

Hardly regarded as one of the most stellar of entries in the James Bond franchise, 1983’s Octopussy is nonetheless a guilty pleasure of mine.

This is undoubtedly due to the film being the first installment that I was allowed to see in the movie theater and is filled with exciting memories.

As the film stands in current days it is perfectly fine, containing all of the enjoyable elements necessary for a good Bond film- interesting villains, solid action, and gorgeous women. Perhaps at times suffering from a bit of silliness, Octopussy is still quite the fantastic watch.

Roger Moore, admittedly looking slightly aged and sagging, returns to the fold as 007, the shaken, but not stirred action hero known as James Bond. However, he is, true to form, as witty and suave as he always is with witty one-liners and a mischievous smirk.

Moore ritualistically infuses the character with a measure of comedy- a wink of the eye or a raised eyebrow adds humor to the character so than any other actor who has portrayed Bond.

In this installment, Faberge eggs, clowns, and gorilla suits are featured. Attempting to escape from East Berlin to West Berlin, 009- dressed as a circus clown, is murdered on the estate of a British Ambassador while attempting to deliver a fake Faberge egg.

Assuming the Soviets are involved, MI6 instructs Bond to investigate the matter, and a complex smuggling ring is uncovered- featuring a gorgeous female smuggler named Octopussy (Maud Adams), along with sinister Afghan exiled prince Kamal Kahn (Louis Jourdan), and his bodyguard, Gobinda.

Watching the film in 2018, and even though it was made in 1983, Octopussy does not suffer from the dreaded “1980s look” that so many other films do and seems surprisingly clean and fresh.

The colors are vibrant- especially in the prevalent circus and clown scenes, and the best two scenes- the airplane and train scenes- still bristle and crackle with good action.

As the climax to Octopussy culminates, the inevitable heroine and main Bond girl- Adams’s “Octopussy”, has been bound and gagged and taken hostage by the baddies in a fleeing airplane, Bond grabs hold of the fuselage, and begins a harried flight over the mountains of remote India, clinging for dear life.

The scene climaxes with an exciting fight scene atop the rooftop of the speeding plane as Bond and Gobinda fight to the death as Kamal unsuccessfully attempts to twist and turn the plane and rid themselves of pesky Bond.

The scene is still compelling and loses none of its appeal over the years, never appearing dated.

The train sequence is still relevant but does suffer from a small dose of silliness. The action is plentiful as Bond races against time to prevent a Russian missile from detonating and killing thousands of American citizens, and worthy of note is the timely Cold War subject matter of the Russians versus the Americans- plentiful in American cinema during this time.

As Bond dons a phony-looking gorilla outfit- embarrassing even for the comical Roger Moore- he can successfully take off the costume and sneak out of a train car, all before the three seconds that it takes for Gobinda to turn around and slice the head off of the gorilla thinking it is Bond.

Suspension of disbelief is required.

Impressive is the female empowerment slant that is evident. From the strong businesswoman character that Adams portrays- she is decisive, intelligent, and savvy, she is neither cowering nor impressionable and cannot be bullied or pushed around.

Albeit her name, “Octopussy”, does teeter on male chauvinism. Be that as it may, her gang of feminist followers, all wielding assault rifles, are quite inspiring and, at this point, unusual for a Bond film- typically masculine leaning.

Octopussy (1983) is an overlooked, under-appreciated, too easily dismissed slice of goodness served up with a bit of comedy, plenty of action, and good solid villains- everything that makes a Bond film a Bond film.

The film is worthy of a viewing.

2017 Films, Alison Brie, Bob Odenkirk, Bradley Whitford, Carrie Coon, Drama, Jesse Plemons, Matthew Rhys, Meryl Streep, Michael Stuhlbarg, Neal Huff, Political Drama, Sarah Paulson, Steven Spielberg, Tom Hanks, Tracy Letts

The Post-2017

January 15, 2018 scottmet99 Leave a comment

The Post-2017

Director Steven Spielberg

Starring Meryl Streep, Tom Hanks

Scott’s Review #715

Reviewed January 15, 2018

Grade: A-

Amid the current political upheaval in the 2017 United States, comes a fresh and timely film named The Post, created by esteemed director Steven Spielberg and starring two of today’s biggest Hollywood film stars: Tom Hanks and Meryl Streep.

The film is a political, historical thriller set during the tumultuous year 1971, as the controversial Vietnam War raged on. It tells of the bravery of a female newspaper owner (Streep) who risked everything to publish the truth with her team of mostly male editors and staff.

The film is an intelligent piece of writing.

Its crisp script and quick editing allow for a believable foray into a different time, when newspapers were hot and rotary telephones, telephone booths, and polyester outfits were all the rage.

Spielberg is brilliant at setting just the right mood and tone to transport the audience back to 1971, on the eve of the enormous Watergate scandal.

While all of the elements are in play, and the truthful story is important, the film is very good but not quite brilliant—it falls just shy of that bombastic one or two scenes that would land it over the top.

The Post begins in the jungles of Vietnam in 1965, as military analyst Daniel Ellsberg documents the progress of military activities among the soldiers during battle.

On the journey home, he briefs then-President Lyndon Johnson that the war is hopeless and should be stopped. As history unfortunately shows, the brutal war continued with thousands of lives lost.

The film then continues on a journey of uncovering top-secret Pentagon papers documenting the White House’s knowledge of the war’s useless nature. Each administration chose to continue with the bleeding to avoid the United States being “humiliated.”

Streep gives her best performance in years as Katharine Graham, the Washington Post newspaper heiress, a woman who struggles to be taken seriously in a man’s world, especially given the period, many men were uncomfortable taking direction from a woman.

Streep infuses the role with the perfect amount of emotion, insecurity, and charm. Despite her wealth and control, she is frequently overruled by the all-male board of directors, so much so that she often doubts her confidence.

Hanks, however, underwhelms as the gruff editor-in-chief of the Post, Ben Bradlee. Given the actor’s enormous talents, I was expecting a meatier performance, which does not materialize.

I also anticipated an equal balance of Hanks and Streep, but the film belongs to Streep.

Perhaps because Hanks (the ultimate nice guy) portrays Bradlee as a challenging, yet family man, the performance does not quite work.

Also, the chemistry between Hanks and Streep is not the specialty of the film.

Evident is the correlation between 1971’s President Nixon and 2017’s President Trump—both administrations were shrouded in controversy.

A neat trick Spielberg creates is to only show Nixon in shadows, wildly gesturing and threatening, similar to Trump’s mannerisms—this is no accident.

The entire work of The Post seems to be a big call-out by Spielberg, a devout liberal, to the Trump administration.

This comparison of past and present makes The Post incredibly timely and topical for 2017.

Clever is the intriguing ending—as the Watergate scandal begins with a security guard catching intruders at the complex, Spielberg seems to be saying, “Watch out, Trump!”

In 2017, the current state of the media versus the White House has never been more controversial, disdainful, and even hateful, as the “truth” is often tough to come by or even to distinguish.

“Fake news” is now a thing and Twitter rants are now a daily occurrence, making the “truth” a precious commodity.

For this reason alone, The Post (2017) must be a film we celebrate and model ourselves after—how timely indeed.

Oscar Nominations: Best Picture, Best Actress-Meryl Streep

1978 Films, Agatha Christie, Angela Lansbury, Bette Davis, David Niven, George Kennedy, Harry Andrews, I. S. Johar, Jack Warden, Jane Birkin, John Guillermin, Jon Finch, Lois Chiles, Maggie Smith, Mia Farrow, Olivia Hussey, Peter Ustinov, Saeed Jaffrey, Simon MacCorkindale, Thriller

Death On The Nile-1978

January 14, 2018 scottmet99 Leave a comment

Death On The Nile-1978

Director John Guillermen

Starring Peter Ustinov, Mia Farrow, Lois Chiles

Scott’s Review #714

Reviewed January 14, 2018

Grade: B+

Death On The Nile is a 1978 British thriller that follows up the successful 1974 offering, Murder On The Orient Express- both films based on the fabulous Agatha Christie novels of the 1930s.

This time around, Belgian detective Hercules Poirot (Peter Ustinov) investigates a string of deaths aboard a luxurious steamer carrying the lavishly wealthy and their servants.

The film is a good, old-fashioned whodunit, perhaps not on the level of storytelling as its predecessor, the murder mystery, does not contain the oomph expected, but features exquisite Egyptian historical locales, worth its weight in gold.

Featuring a who’s who of famous stars and tremendous actors of the day, Death On The Nile carves a neat story right off the bat in such a way that the murder victim is fairly obvious right away- most of the characters have reason to celebrate her demise.

Rich and reviled heiress, Linnet Ridgeway (Lois Chiles), has stolen best friend Jacqueline’s (Mia Farrow) beau, Simon, sparking a bitter feud between the women. While honeymooning in Egypt, the newlyweds are continually taunted by angry Jacqueline.

Once the cruise ship departs with all on board, Jackie is the prime suspect when Linnet is murdered.

Poirot must find the killer as numerous other suspects, all with grudges against Linnet, begin to emerge.

Death On The Nile features a stellar cast, including legendary Bette Davis as Marie Van Schuyler, an eccentric American socialite with an eye for Linnet’s necklace.

Davis’s casting is reason enough to watch the film, though the character is not center stage but rather a supporting role.

The lead female honor goes to Farrow, who has the meatiest and most complex role in the film.

Jackie’s unstable actions make her the most likely to commit the deed, but the fun is to figure out the “whys” and the “hows” of the murder. Is there more than one killer? Are they working in cahoots or independently? As the body count increases, these questions begin to resonate more and more.

The costumes and sets are gorgeous, and it is no wonder the film won the Oscar for Best Costume Design. At a ball, the women are dripping with jewels and gorgeous gowns.

Along with Davis, boozy author Salome Otterbourne, hilariously played by Angela Lansbury, is granted the prize of wearing the most luxurious and interesting of all the costumes. She drips with jewels and, with a cocktail always in hand, is the film’s comic relief.

Director John Guillermin makes the film an overall light and fun experience and, despite the murderous drama, does not take matters too seriously.

Offering humorous moments, this balances nicely with the inevitable murders.

The fun for the audience is deducing whodunit- most of the characters have the motive, and the cast of characters is hefty.

I had memories of the famous board game Clue- Was it Jackie in the ballroom with the revolver? You get the idea. The film makes for a good, solid mystery game.

Comparisons to 1974’s Murder On The Orient Express cannot help but be drawn, especially in the lead casting of Hercule Poirot.

Truth be told, Albert Finney’s portrayal in “Murder” is superior to Peter Ustinov’s Poirot in “Death,” and I am not sure what purpose Colonel Race (David Niven) as Poirot’s friend offers other than to be a loyal sidekick and present a character that Poirot can explain events to, think what Watson was to Sherlock Holmes.

Regardless, Finney is the superior Poirot, as he musters more strength and charisma than Ustinov.

How lovely and historic to witness the wonderful Egyptian locales- the Sphinx and the Great Pyramids are featured amid an attempt on the life of the romantic pair by way of falling rocks- this sets the tone for the perilous cruise about to be embarked upon.

Perhaps a perfect film for a Saturday stay-at-home evening with friends, complete with a serving of quality wine and cheese, Death On The Nile is a sophisticated, yet fun, British mystery film, fantastic to watch in a party setting where the audience can be kept guessing until the nice conclusion and the big reveal of who killed whom and why.

Oscar Nominations: 1 win-Best Costume Design (won)

2017 Films, Alec Baldwin, Animated, Children, Jimmy Kimmel, Lisa Kudrow, Steve Buscemi, Tobey Maguire, Tom McGrath

The Boss Baby-2017

January 12, 2018 scottmet99 Leave a comment

The Boss Baby-2017

Director Tom McGrath

Voices Alec Baldwin, Tobey Maguire

Scott’s Review #713

Reviewed January 12, 2018

Grade: C

True confession- I was not expecting much from the 2017 offering of the animated film entitled The Boss Baby (a brooding, sarcastic newborn offered no appeal).

However, since the film was nominated for a Golden Globe award, I decided to throw caution to the wind and settle down for a viewing.

Predictably, the film fulfilled my hunch and resulted in a fair to middling experience—the attempt at a nice message was offset by cliched and silly characters and an overproduced film rather than a directed one, but it still held interesting and sometimes even beautiful visuals.

Seven-year-old Tim Templeton (voiced by Tobey Maguire), as an adult, narrates a story of his childhood days, living with his parents Ted and Janice, both busy marketing professionals, who work at Puppy Co.

One day, his parents return home with a bundle of joy in tow, Theodore Lindsey Templeton (voiced by Alec Baldwin), who immediately monopolizes their time and attention.

Isolated, Tim is envious and begins a rivalry with his baby brother, who is secretly a spy named “The Boss Baby” and has the mind of an adult in a baby’s body.

It is revealed that he is working undercover as a spy to investigate why puppies are now receiving more love than babies.

The duo eventually teams up and forges a bond to prevent corporate America from ruining all of the love in the world. The Boss Baby presents a positive, good message of love and acceptance, which is nice to see, but this message can only carry a film so far, and there is little else of substance.

As with many animated films, the story here has a “good versus evil” slant, which renders the film rather one-dimensional. We are instructed who to root for and who not to root for.

While challenging corporate greed is certainly a cause worth championing, too often I found The Boss Baby causing my mind to wander elsewhere instead of keeping me engaged in the story, which is not a good sign.

The target audience is relatively young because many sappy or juvenile scenes remain.

Closeups of Theodore and whimsical shots of his bulging eyes give the film cute, too wholesome quality, and predictably, there are the standard doody and poop jokes, which comedies do all too often to account for sloppy writing.

Comedy stalwart Alec Baldwin voices the character of Theodore, which makes the baby a bit more interesting.

Baldwin, fusing assertion and a touch of sarcasm into Theodore, makes him witty and energetic, but again, this can only go so far. By the time the film has concluded in happily ever after fashion, the once tough character has disintegrated into a hammy kid.

Older brother Timothy is excellent, and having Maguire narrate him as an adult is nice.

The central theme of sibling rivalry between brothers, especially the difficulty of some kids adjusting to a newborn debuting into the family, may encourage parents to make it a family outing and see The Boss Baby.

Sadly, the creative and unique sets of animations may be wasted on viewers seeking a good story. What a pity that The Boss Baby does not possess both qualities. The film is little more than adequate and will undoubtedly be forgotten.

Oscar Nominations: Best Animated Feature Film

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

I, Tonya-2017

January 10, 2018 scottmet99 Leave a comment

I, Tonya-2017

Director Craig Gillespie

Starring Margot Robbie, Allison Janney

Scott’s Review #712

Reviewed January 10, 2018

Grade: A-

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

How brilliant are the performances of both Robbie and Janney?

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

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

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

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

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

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

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

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

1954 Films, Howard Keel, Jane Powell, Jeff Richards, Julie Newmar, Musical, Russ Tamblyn, Stanley Donen

Seven Brides For Seven Brothers-1954

January 7, 2018 scottmet99 Leave a comment

Seven Brides For Seven Brothers-1954

Director Stanley Donen

Starring Howard Keel, Jane Powell

Scott’s Review #711

Reviewed January 7, 2018

Grade: B-

Seven Brides For Seven Brothers (1954) is a musical and another in a string of Metro-Goldwyn-Meyer productions, ever so present during the “Golden Age of Hollywood.”

The songs are not quite as memorable as similar musicals of the day, and the film has a sexist slant that is jarring by today’s gender-equal standards. Given the time that the film was made and the timed setting of the mid-nineteenth century, however, things were very different, and the film does contain one semi-strong female character.

Seven Brides for Seven Brothers is a lovely film, but in the present day, it is pretty dated and irrelevant—little more than an ode to yesteryear.

Adam Pompitee (Howard Keel), is a dashing, rugged man, living in the Oregon Territory in 1850. He struts into town and proclaims his desire for a wife- presumably to cook and clean for him and his six younger brothers, all living together in a cabin in the rural mountains.

When he falls head over heels for tavern worker Milly (Jane Powell), they impulsively marry, but she is disappointed to learn she will be caring for seven men- not one. Milly then plots to marry off the unruly bunch to local girls.

Throughout the film, characters partake in song and merriment as the hi-jinks play out.

At its core, Seven Brides For Seven Brothers is meant to be a lighthearted romp, and it succeeds at that. It contains a strong romantic angle, and the message of finding one’s soulmate is palpable- Milly is the sensible female counterpart to erratic Adam, and there is chemistry between the actors.

Milly is strong-willed and eventually puts her foot down, but still accepts her role as the domestic and the caretaker.

Fun is how each of the brothers finds the one girl in town meant for him as the duo pairs off in unison. This is a cute aspect of the film- and perhaps a film such as this one is not entirely meant to be over-analyzed.

Humorous, if not slightly overdone, is the luscious red hair that each Pontipee brother has- dyed hair or wigs were used as needed.

The film succeeds when it sticks to the song and dancing numbers, which are far more entertaining than the storyline. MGM used actors who were classically trained singers or dancers, giving the film a more authentic choreography.

Given the fourteen principal characters in the production, this must have been a beast to achieve without making things look ridiculous. Keel, as the main character Adam, is a professional singer who has appeared in several musicals, such as Kiss Me Kate and Showboat. Powell, as Milly, holds her own with a gorgeous singing voice and has appeared in other musicals.

Still, Seven Brides For Seven Brothers contains a bothersome sexist story, and women are treated more as objects for men to conquer rather than real people with feelings or emotions. The overall implication within the film is that women are desperate to get married and should be flattered to be chosen by any man.

This is readily apparent when the brothers accost the girls from their homes and take them unwillingly to the cabin, where, predictably, the women succumb to the men’s desires and fall in love with them.

A film to be taken with a grain of salt and a trip back to olden times, Seven Brides For Seven Brothers is a dated picture, but it is fun. It contains grand production numbers such as “Lonesome Polecat,” “When You’re In Love,” and “June Bride.”

These songs are light and airy and a high point of the film.

For those seeking a liberal-minded affair, this film will disappoint, as the film is very conservative with traditional male/female roles and expectations, as much as one could imagine.

Oscar Nominations: 1 win-Best Motion Picture, Best Screenplay, Best Scoring of a Musical Picture (won), Best Cinematography, Color, Best Film Editing

2017 Films, Debi Mazar, Drama, Jack Gore, Jim Belushi, Juno Temple, Justin Timberlake, Kate Winslet, Steve Schirripa, Tony Sirico, Woody Allen

Wonder Wheel-2017

December 31, 2017 scottmet99 Leave a comment

Wonder Wheel-2017

Director Woody Allen

Starring Kate Winslet, Jim Belushi

Scott’s Review #709

Reviewed December 31, 2017

Grade: B+

Woody Allen typically releases a new film each year, and 2017’s project is Wonder Wheel.

Set in 1950s Coney Island, a seaside beach in Brooklyn, New York, the film is an authentic-looking period drama, with lovely costumes and legitimate New York accents from all principal actors.

The story is pretty depressing, though, as a likable character is tough to find. However, Wonder Wheel contains fantastic acting, mainly on the part of star Kate Winslet, whose troubled character is the film’s focal point.

Winslet portrays Ginny Rannell, a struggling forty-year-old woman living in the seaside neighborhood and working as a waitress at a dingy Clam House. She despises her life and longs for a way out of the doldrums, yearning for the life she had years ago as an aspiring actress.

Her husband, Humpty (Jim Belushi), a carousel operator, has alcoholism. Together they raise Ginny’s son, Richie, a young boy who loves to start fires.

When Humpty’s estranged daughter, Carolina (Juno Temple), shows up on their doorstep, having provided information about her mobster husband, and subsequently “marked”, Ginny’s life slowly begins to unravel as she and Carolina pursue the same man, hunky lifeguard, Mickey (Justin Timberlake).

The film’s New York setting is an enormous plus and a standard of many Woody Allen films—the authenticity is apparent. The summer mood of the beach, sand, sunny boardwalk and beach scenes make the viewer feel transported in time.

The 1950s period worked as beachwear, and the amusement park sets were used to their advantage. The actors’ New York accents and the language and sayings are appropriate for the times.

The apartment that the Rannells rent is an excellent treat to the film. The set features a wonderful beach landscape during daytime and nighttime scenes so that the mood change can be noticed—these are all enticing elements to Wonder Wheel.

Enough cannot be said for Winslet’s talents, who make the character of Ginny come to life.

Undoubtedly a tough role for her to play, Winslet, who can make reading the phone book sound interesting, tackles the complex part and arguably gives one of the best performances of her career—my vote would still go to her portrayal of Hannah Schmitz from 2008’s The Reader.

Initially a sympathetic character, she longingly desires to return to the stage and perhaps find stardom as an actress and sees Mickey as her last chance. When events curtail her dreams, her character takes a sharp turn and does an unspeakable act.

I love Justin Timberlake’s acting talents. By 2017, he had successfully proven himself a major star in both the film and music worlds.

As the hunky, charismatic, yet studious and intelligent lifeguard, Mickey, he teeters between womanizer and earnest, love-stricken, young man.

Timberlake has taken on more interesting film roles beginning with the 2010s, The Social Network, and let’s hope there are more to come.

Juno Temple is just perfect as the naive Carolina. With an innocent, sweet personality, she yearns for love and a fresh start. Temple, known mainly for quirky independent film roles, fits a Woody Allen creation perfectly.

Finally, legendary actor James Belushi fills his character of Humpty with dedication, loyalty, and alcoholic rage. He adores Ginny but sometimes takes her for granted.

What a treat for fans of The Sopranos to see a couple of familiar faces appear as (what else?) mobsters. Tony Sirico and Steve Schirripa make cameo appearances as Angelo and Nick, henchmen for Carolina’s unseen husband, who is intent on tracking down and killing her.

Despite minimal parts, the actors seem to have a ball reprising similar roles that made them famous.

Wonder Wheel, shot in a similar tone to a stage production, draws comparisons to A Streetcar Named Desire, both with four principal characters- two male and two female, Ginny, Carolina, Mickey, and Humpty, all with some similarities to and some differences with storied characters Blanche, Stella, Stanley, and Mitch.

However, the comparisons can easily be studied and analyzed.

Woody Allen creates a film that can be appreciated chiefly for its top-notch acting talent, which is not surprising given the actor’s cast, and it is a compelling, never boring story.

The film is a downer, however, with no heroic characters. Thankfully, this is counterbalanced perfectly by a great New York setting, which is a high point of Wonder Wheel (2017) and cheers up the otherwise dour tone of the film.

2017 Films, Bill Condon, Biography, Drama, Hugh Jackman, Michael Gracey, Michelle Williams, Musical, Musical Drama, Paul Sparks, Rebecca Ferguson, Yahya Abdul-Mateen II, Zac Efron, Zendaya

The Greatest Showman-2017

December 26, 2017 scottmet99 Leave a comment

The Greatest Showman-2017

Director Michael Gracey

Starring Hugh Jackman, Michelle Williams, Zac Efron

Scott’s Review #707

Reviewed December 26, 2017

Grade: A-

A pure musical escapist film, The Greatest Showman (2017) holds a dear and relevant message. It elicits hope for outcasts everywhere by leading a story of acceptance and perseverance in the feel-good film of 2017.

Hugh Jackman leads the pack, starring as P.T. Barnum, a man struggling to create an entertainment show with live and unusual performers- deemed “freaks” in New York in those days- the 1800s.

The film is quite joyful and light, with many cheery musical numbers sure to leave audience members humming along for hours after the conclusion.

The Greatest Showman is a rags-to-riches story and a thoroughly enjoyable film.

Jackman is as charismatic and likable as Barnum, the entrepreneur and showman we meet as a young boy, the son of a poor tailor. He becomes enamored with wealthy young Charity (Michelle Williams), and the two eventually marry, much to the chagrin of her pompous parents.

Barnum and Charity initially struggle to make ends meet as they begin to raise a family, but eventually, they find success and wealth when the show succeeds.

The film chronicles Barnum’s rise to fame and the trials and tribulations (romantic, business) for several years, mainly through musical numbers.

Zac Efron is excellent as Barnum’s eventual business partner, Phillip Carlyle.

Director Michael Gracey’s supporting characters are creative, if not typical, mainstays of carnivals and circuses everywhere—the bearded lady, the fat man, and a man covered in tattoos are featured prominently.

It is unclear whether these characters existed or were created simply for plot purposes. Still, rumor has it that The Greatest Showman has taken great liberties with the factual accuracy of the real P.T. Barnum and his escapades.

This would be bothersome if not for this film’s wonderful message- acceptance and celebrating diversity.

Indeed, this is important for young people everywhere in today’s chaotic world.

Those expecting anything more substance than a cheery and bright holiday slice of enjoyment may be disappointed—some mainstream critics did not rate this film highly. Still, I am okay with a bit of escapist adventure on occasion.

The message throughout The Greatest Showman is quite good.

The best musical number is the show-stopping and anthemic “This Is Me,” Keala Settle is fabulous as the bearded lady who leads this important song. The number is empowering and energetic.

The chemistry between Jackman and Williams is not remarkable, but it is not altogether vacant either. Instead, it is simply decent and not the film’s strongest point. I sense better chemistry between Jackman and Rebecca Ferguson as grand Swedish singer Jenny Lind.

However, their “romance” is unfulfilled, and we will need to imagine its possibilities.

I adore seeing Efron in quality roles (think 2012’s exceptional The Paperboy), and his performance as Phillip is great. He shares a good bond with Barnum and has his romance with acrobat (and of mixed race) Anne Wheeler.

His values and earnestness make the character appealing as he is torn between riches and standing on principle.

The Greatest Showman (2017) may not go down in history as the ultimate top in filmmaking or even one of the best musicals. Still, the film dazzles the audience and provides a couple of hour’s worth of fun and entertainment—similar to how P.T. Barnum energized the crowds with a slice of make-believe; this is more than appropriate.

Oscar Nominations: Best Original Song-“This Is Me”

2016 Films, Christina Applegate, Comedy, David Walton, Jada Pinkett Smith, Jay Hernandez, Jon Lucas, Kathryn Hahn, Kristen Bell, Lowest Rated Films, Martha Stewart, Mila Kunis, Scott Moore, Wanda Sykes, Wendell Pierce

Bad Moms-2016

December 20, 2017 scottmet99 Leave a comment

Bad Moms-2016

Director Jon Lucas, Scott Moore

Starring Mila Kunis, Kristen Bell, Kathryn Hahn

Scott’s Review #706

Reviewed December 20, 2017

Grade: D+

Bad Moms (2016) tries to do for women what The Hangover (2009) did for men and create a raunchy, R-rated party romp that haggard mothers everywhere can relate to and appreciate.

The film’s billboard displays the three main characters boozing it up under the caption “Party Like a Mother.” Perhaps since I am not a mother, I did not entirely gravitate toward this film, but Bad Moms fell flat for me despite a smidgen of mild laughs.

Primarily because of tired characters, gimmicky situations, and an over-the-top tone.

The film, written by the same individuals who wrote The Hangover, is a direct ripoff with a different gender in the driver’s seat.

The central character is Amy Mitchell (Mila Kunis), a thirty-two-year-old mother of two who is living a busy life in the Chicago suburbs.

Considered “old” by her hipster boss and with a porn-obsessed husband, she runs around frazzled and behind schedule most of the time.

After a particularly hairy day, Amy abruptly quits the school PTA run by militant Gwendolyn (Christina Applegate). She befriends fellow moms, sex-crazed Carla (Kathryn Hahn) and timid Kiki (Kristen Bell).

After she incites Gwendolyn’s wrath, Amy decides enough is enough and embarks on a plot to win the PTA presidency while dumping her husband and dating a hunky widower, Jessie (Jay Hernandez).

Admittedly, Kunis is very likable as Amy. She’s an incredible, energetic chick who most would love to befriend, and we empathize with her predicaments and schedule.

But this can only go so far in a comedic film. The setup pieces and the supporting characters are too plot-driven and lack authenticity. The result is little more than one root-able character.

As an actress, Applegate is quite capable, but Gwendolyn, the transparent foil, is primarily written as a cartoon character. Her bitchy comments to her underlings, who inexplicably are afraid to cross her, seem too staged.

Jada Pinkett Smith, in need of a paycheck, is disposable as “second in command” crony Stacy. Furthermore, Amy’s husband, Mike (David Walton), is portrayed mainly as a buffoon and childlike.

The point of these character examples is to stress that the film contains too many caricatures rather than characters.

An irritating quality of Bad Moms that I cannot shake is that the film is written and directed by a duo of men! Jon Lucas and Scott Moore are the individuals in question, and the fact that the film, painted as a female empowerment story, is not written by females is almost unforgivable.

A case in point involves a bathroom scene where the ladies discuss uncircumcised penises, a dumb scene if you ask me, that is lousy taste considering men wrote and directed it.

In this day and age of Harvey Weinstein sexual harassment suits bubbling to the surface, the scene seems icky. It should not be this hard to find women to write for other women.

Of the additional trio of females, Kathryn Hahn’s Carla has a few funny scenes but is written as so sex-obsessed that it is impossible to take the character seriously, and the same goes for Bell’s Kiki.

When mousy Kiki finally lays down the law and tells her boorish husband to deal with their kids, it is meant to be a rah-rah moment, but instead becomes eye-rolling. Not the best actress in the world, Bell continues to get roles like this in sub-par films.

An attempt by filmmakers to make a girl film on par with male-driven raunchy comedies thrust on moviegoers over the years, Bad Moms (2016) comes across as too unoriginal and too desperate for laughs.

Undoubtedly hoping to win over the same audiences who flocked to the last funny female-driven comedy hit, 2011 Bridesmaids, the film falls flat and lacks genuine fun.

Kunis’s lead role and the sweet romance her character shares with Hernandez’s Jessie slightly bolster this.

2017 Films, Best Picture Oscar Winners, Doug Jones, Drama, Fantasy, Guillermo del Toro, Michael Shannon, Michael Stuhlbarg, Octavia Spencer, Richard Jenkins, Romantic Drama, Sally Hawkins, Science Fiction, Thriller

The Shape of Water-2017

December 16, 2017 scottmet99 Leave a comment

The Shape of Water-2017

Director Guillermo del Toro

Starring Sally Hawkins, Richard Jenkins, Michael Shannon

Scott’s Review #705

Reviewed December 16, 2017

Grade: A

Director Guillermo del Toro created a lovely Beauty and the Beast-style film, The Shape of Water (2017). It is gorgeous to look at, and the story is intelligent and sweet to experience.

Thanks to a talented cast led by Sally Hawkins, the film is part drama, part science fiction, even part thriller, but touching to one’s heart and a lesson in true love regardless of outward appearances.

Vanessa Taylor co-wrote the story, giving it a needed female perspective to perfectly balance the traditional male machinations.

The setting is Baltimore, Maryland, in the early 1960s. The Cold War is ongoing, pitting the United States and the Soviet Union against each other.

Both sides are mistrustful of the other.

Kindly and mute, Elisa Esposito (Hawkins) is a curious and whimsical young woman who works as a cleaning lady at an Aerospace Research Center.

When she stumbles upon a mysterious “shape” being held prisoner for experimentation, she slowly communicates with and befriends the creature, eventually falling madly in love with him.

The “asset,” as the scientists like to call him, is an amphibian/humanoid that needs saltwater to survive. Elisa sees an opportunity to help her love escape captivity, and off she goes.

Hawkins exudes warmth and fills Elisa with courage and astounding determination. Not uttering a word is a tricky feat for an actor to challenge, but instead of words, Hawkins successfully provides a vast array of emotions to reveal how Elisa feels.

Despite her “handicap,” she is a strong woman who speaks her mind on more than one occasion, using sign language to express her frustration. Hawkins gives a fantastic and believable performance.

In excellent and vital supporting roles are Richard Jenkins as Elisa’s friend and neighbor, Giles, a closeted gay man who works as a commercial artist. Jenkins fills this character with intelligence, heart, and empathy as he struggles with his issues of alcoholism and loneliness- unable to be accepted for who he is.

Octavia Spencer shines as witty and stubborn Zelda Fuller, Elisa’s best friend and co-worker. Zelda has her domestic problems but is forever there for her friend, and Spencer gives her character zest, humor, and energy.

Finally, Michael Shannon plays the dastardly and menacing Colonel Richard Strickland, the man who found the “asset” in the rivers of South America and has a lovely family.

Each character is written exceptionally well and has a storyline rather than simply supporting Hawkins’s character.

The audience becomes involved in Giles, Zelda, and Strickland’s private lives, and we get to know and care for them—or hate them, as the case may be.

Giles, harboring a crush on a handsome pie shop owner, is afraid to reveal his feelings. Zelda, with a lazy husband, dutifully takes care of her man, though she is as sassy as they come. And Strickland lives in an all-American family with a pretty wife and two kids, unaware of his shenanigans.

The film is a gorgeous and lovely experience with a magical element. The opening and closing sequences, shot underwater, resound in beauty as objects float along in a dreamy way.

The narrator (Jenkins) takes us on a journey to explain the events of the story.

At its core, The Shape of Water is a romantic love story, and my favorite scenes—those of Hawkins and the “asset”—are to be treasured. Yes, the two do make love, which may be too much for some, but the scenes are tasteful and important, showing the depth of the characters’ love for one another.

Cherishing is how Elisa uses music and hard-boiled eggs to communicate with the “asset.” When Elisa imagines the two characters dancing, the sequence is an enchanting experience reminiscent of Beauty and the Beast.

Other underwater scenes involving Elisa and the “asset” are tender, graceful, and filled with loveliness.

A key part of the film involves a story of intrigue between the Americans and the Soviets. While both are portrayed negatively, the Americans are arguably written as more unsympathetic than the Soviets.

Thanks to Strickland—abusive and vicious—and his uncaring superior, General Holt, we do not root for the government officials at all but rather for ordinary folks like Elisa, Zelda, and Giles, who are outcasts.

Interestingly, Dmitri (Michael Stuhlbarg), a Soviet spy scientist, is the only character working at the center who wants to keep the “asset” alive and is written sympathetically.

My overall assessment of The Shape of Water is that it is a film to be enjoyed on many levels and by particular varied tastes- the film will cater to those seeking an old-style romance, complete with some tasty French music.

Then again, the film can be considered a political espionage thriller, with a cat-and-mouse chase and other nail-biting elements.

Overall, the film has heart and truth and will appeal to vast audiences seeking an excellent movie.

Oscar Nominations: 4 wins-Best Picture (won), Best Director-Guillermo del Toro (won), Best Actress-Sally Hawkins, Best Supporting Actor-Richard Jenkins, Best Supporting Actress-Octavia Spencer, Best Original Screenplay, Best Original Score (won), Best Sound Editing, Best Sound Mixing, Best Production Design (won), Best Cinematography, Best Costume Design, Best Film Editing

2016 Films, Andrew Rannells, Ben Stiller, Bryan Cranston, Cedric the Entertainer, Comedy, Elon Musk, Gene Simmons, James Franco, John Hamburg, Jonah Hill, Keegan-Michael Key, Lowest Rated Films, Megan Mullally, Paul Stanley, Romantic Comedy, Shawn Levy, Zoey Deutch

Why Him?-2016

December 6, 2017 scottmet99 Leave a comment

Why Him? -2016

Director John Hamburg

Starring John Franco, Bryan Cranston

Scott’s Review #704

Reviewed December 6, 2017

Grade: D

Why Him? (2016) is epic film drivel starring quite capable actors in a mish-mash of dull, predictable stories, obnoxious characters, and a need to attempt to go raunchier and raunchier for a cheap laugh.

Why there is a market for films like this is beyond me as no thinking is required (maybe the film will please those fans!), but the film scores slightly higher than a solid “F” based solely on a few chuckles uttered thanks to the only dim bright spots in this mess, Bryan Cranston and Megan Mullally.

A story told dozens of times before in “slapstick comedy” fare, the premise is tired beyond belief. A good girl meets a bad boy, they fall head over heels in love and must deal with the aftermath of her parent’s meeting, and hating the bad boy.

The main gimmick is the rivalry between boyfriend and girlfriend’s father, like an unfunny Meet the Parents (2000). A silly and uninteresting plot point about each character’s business success or lack thereof is mixed in as if anyone cares.

As with all films of this ilk, the story is wrapped up in a neat, tidy little bow by the time the credits roll, and all characters live happily ever after in perfect harmony.

In one of his most disappointing roles, James Franco plays Laird Mayhew, the wealthy, eccentric, thirty-something CEO of an upstart video game company.

He is foul-mouthed and comically speaks his mind or absentmindedly shows his ass on a Skype chat with his girlfriend Stephanie (Zoey Deutch) while her parents are linked to the chat at a birthday party.

Stephanie, a college student and girlfriend of Laird, invites her parents, Ned and Barb (Cranston and Mullally), along with their fifteen-year-old Scotty, for the Christmas holidays.

Predictably, Stephanie’s parents are appalled by Laird and want her to have nothing to do with him. When Stephanie arranges for Ned, Barb, and Scotty to stay at Laird’s spacious home, the antics take off as feuds and misunderstandings erupt.

The main problem with Why Him? is that director John Hamburg (famous for mainstream comedies such as Along Came Polly, 2004, and I Love You, Man, 2009) seems determined to push the raunchy comedy elements further with this idiotic film.

He makes Laird as obnoxious and crass as possible yet tries to make the character more “likable” by giving him a clueless quality; therefore, he is not mean-spirited and should be beloved by the audience.

The character does not work. Franco has played terrific roles- specifically in 127 Hours (2010) and Howl (2010). As a fan of the talented actor, I expected more from him, but alas, some performances are only as good as the written material.

If there is a bright spot worth mentioning, it is with the casting of Cranston and Mullally.

Two actors are undeniably good at physical comedy. They do as much as they can with poorly written, stock-type roles. Cranston’s Ned, a middle-class small business owner from Grand Rapids, Michigan, is both envious and resentful of Laird, perhaps admiring the young man’s business savvy and regretting not being as successful.

Barb is a one-note, ditzy yet lovable wife, a role made slightly better by Mullally’s goofy portrayal. In one of the best scenes, Barb smokes pot and becomes a mess in her bedroom.

The following day, Ned is trapped on the toilet and has an embarrassing experience with Laird’s best friend, Gustav. While these scenes are juvenile, they are made better by the funny actors.

Suffering greatly from a tired and overused storyline that falls flat, unlikable, and dull characters, the film offers nothing of substance or worth.

Why Him? (2016) is entirely plot-driven with no character development or well-written characters.

The film is a complete waste of time. It results from a studio hoping to achieve box office success by churning out a poor comedy with wasted talent that will please only those audiences not expecting much from their films.

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