2010 Films, Documentary

Sweetgrass-2010

October 28, 2016 scottmet99 Leave a comment

Sweetgrass-2010

Director Lucien Castaing-Taylor, Ilisa Barbash

Scott’s Review #502

Reviewed October 28, 2016

Grade: F

While generally, I am an advocate and champion of film documentaries, I always love to learn something new; Sweetgrass (2010) had a strange effect on me- simply put, I despised the film.

Even if the subject matter doesn’t particularly interest me, it usually garners at least some recognition and praise for what it is.

Sweetgrass is a documentary about a group of sheepherders from Montana transporting their herd to another location.

It was unclear to me why the sheep were being transported or where they were going, but I assume it was nearby.

The documentary has no narrative and little dialogue, except for one sheepherder ranting and raving about how tough it is to be a sheepherder, all the while smoking incessantly.

Most of the time is spent watching sheep and sheep and sheep and sheep- and still more sheep wandering about and drifting down a mountain range.

Then we see still more sheep moving about.

As my mind began to wander, I began to wonder if the sheep were a metaphor of some kind. Then they threw in some dogs and horses for good measure.

The location scenes are nothing special, and after a brief five minutes of appreciation of the gorgeous landscape, I was over it.

At one hour and forty-five minutes in length- way too long for a documentary that moves along at a snail’s pace- it is about an hour too long for my tastes.

After pondering the film, my only determination is that the filmmakers were hoping to give the viewers a real-life slice of what it is like to be a shepherd- snore!

I would have rather experienced interviews and commentary with some merit on the subject.

Worse than the redundant pacing, the constant mistreatment of some of the sheep is inexcusable and has no bearing on the topic at hand, which I confess to being unsure what the point of the documentary even was, other than as a cure for insomnia.

Sweetgrass (2010) is a complete waste of time.

Independent Spirit Award Nominations: Best Documentary, Truer Than Fiction Award

2010 Films, Action, Camp

Machete-2010

October 28, 2016 scottmet99 Leave a comment

Machete-2010

Director Ethan Maniquis, Robert Rodriguez

Starring Danny Trejo

Scott’s Review #501

Reviewed October 28, 2016

Grade: B

Machete (2010) is a clear, fun homage to 1970s exploitation films, directed by Robert Rodriguez (a protege of Quentin Tarantino) and heavily influenced by his mentor.

It strongly resembles a Tarantino film with its comic, over-the-top elements and violence, but it’s less compelling in the story department and lacks crisp, rich storytelling.

It tells the story of a Mexican ex-Federal agent (named Machete), played by Danny Trejo, who is involved in a plot to kill a corrupt United States Senator (played by Robert De Niro).

He attempts to flee Mexico for Texas, is shot, and spends the remainder of the film vowing revenge on his assailants.

Machete contains many celebrity cameos and is fun to watch- in a light way. The film isn’t meant to be taken seriously.

For the interested, you also get to see Lindsay Lohan topless.

The film is a fun, violent popcorn flick with a nice political message, but if you’re into these types of movies, rent Grindhouse: Planet Terror (2007), which is a better experience.

2008 Films, Coming-of-Age, Drama, International, International Drama, Irish

Kisses-2008

October 28, 2016 scottmet99 Leave a comment

Kisses-2008

Director Lance Daly

Starring Kelly O’Neill, Shane Curry

Scott’s Review #500

Reviewed October 28, 2016

Grade: B+

Kisses (2008) is an Irish film that tells the story of two pre-teenage kids (Dylan and Kylie) who run away to Dublin on Christmas to escape their dysfunctional families and their small-town, morose life.

Instead, they become attracted to the “big city” and the hope of finding Dylan’s older brother, who has run away to escape the oppressive environment.

At first, Dylan and Kylie barely know each other, neighbors, but far from close.

Gradually, they become best friends and form an unbreakable bond.

While in Dublin, they face terror and charming moments of wonderment as they traverse the city, mainly at nighttime.

The two leads have great acting and chemistry, especially as untrained actors. Kylie- an extrovert and full of life- successfully brings out the best in Dylan, who is reserved and withdrawn, so the pair complement each other as they experience their adventures.

The cinematography in Kisses (2008) is fantastic, as one gets to experience the hustle and bustle of Dublin and the quiet countryside of a small Irish town, which is an immense threat and a contradiction in lifestyles.

2015 Films, Biography, Documentary

What Happened, Miss Simone?-2015

October 25, 2016 scottmet99 Leave a comment

What Happened, Miss Simone? -2015

Director Liz Garbus

Starring Nina Simone

Scott’s Review #499

Reviewed October 25, 2016

Grade: B+

Nina Simone, who died in 2003 at seventy, was an iconic singer and pianist with a musical style all her own. As important as her soulful musical creativity, Simone was also a civil rights activist during the restless 1960s and was outspoken about black power and racial discrimination.

This led to much controversy.

What Happened, Miss Simone? (2015) tells her story in a thorough, rich fashion.

Executive produced by her daughter, Lisa Simone Kelly, who is interviewed throughout the documentary, the piece is standard fare, using interviews and performances by Simone.

We experience her upbringing in North Carolina, her acceptance into the prestigious Juilliard, her family’s reliance on her for money, and her years of struggle performing in dingy nightclubs.

I loved seeing the old clips of her performances. They are raw, gritty, and full of something special- poetic almost. Simone had trouble relaxing as she gave every ounce of energy in her shows and knew no other way to be.

Simone is like no other and the documentary does not need to explain this. Her performances tell it all. Not one to phone in performance and arguably not really “performing” at all, Simone was as real as they come. She immersed herself into her music – and seemed to drift off into another reality.

As an activist, Nina Simone is shown to be controversial, not against supporting violence by blacks against whites in the name of freedom.

Simone had tumultuous relationships with both her husband and daughter and has claimed to have been beaten repeatedly and forced to work.

Clear comparisons to other singers such as Aretha Franklin are explored. There is an element to Simone that other singers of that day did not have. She had a style all her own and did not “play the game” to achieve her success.

Instead, she chose to only be true to herself.

This is not a slight against Franklin, but the documentary states that if Simone had been happier, she might have had more commercial appeal, but would she have been satisfied with that?

I doubt it as she was an intense soul.

Shocking to me are claims of physical abuse vocalized by her daughter, but this is explained away as a result of her mental illness and not herself at times. Prescription drugs and diagnoses were not what they are now in those days.

From a critical perspective, the documentary delivers what it should, an overview of this amazing talent, warts and all. We see her from the child until retiree, and cannot help but pity her in a way because of her apparent mental illness, which caused her not always to be the charming celebrity we would want her to be.

What Happened, Miss Simone? (2015) helped me learn something fresh about an artist I wasn’t familiar with. That is what a documentary should do.

Oscar Nominations: Best Documentary-Feature

1986 Films, Comedy, Dark Comedy, Horror, Slasher

April Fool’s Day-1986

October 24, 2016 scottmet99 Leave a comment

April Fool’s Day-1986

Director Fred Walton

Starring Thomas F. Wilson, Deborah Foreman

Scott’s Review #498

Reviewed October 24, 2016

Grade: B-

Emerging at the tail end of the late 1970s and early 1980s slasher film craze that defined that period in cinema (for better or worse), April Fool’s Day (1986) capitalized on the “holiday theme” marketing tool that had propelled Halloween (1978) and Black Christmas (1974) to superstar status.

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

It does not know what its identity truly is.

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

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

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

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

Conveniently, her family is away- leaving the friends to have the run of the mansion, with a dinner party as part of the plan.

Even more convenient is that the ferry the group takes does not run on weekends, so once they are dropped off at the island, they stay until Monday.

This sense of foreshadowing sets the anticipated peril and dread in motion.

We also sense that there is something very off with Muffy- despite being everyone’s friend. When Muffy finds a jack-in-the-box in her attic and recalls a childhood memory, we know this is the setup for the mystery.

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

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

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

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

The final twenty minutes or so are really the main reason to watch this film.

As Kit and boyfriend Rob are the last remaining “alive,” there is suddenly a startling twist that changes the entire dynamic of the film- in one moment, everything the audience thinks of the story is turned upside down.

This is wise writing, but it comes too late in the game.

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

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

1998 Films, Comedy, Coming-of-Age, Drama, International, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Romantic Comedy, Swedish

Show Me Love-1998

October 22, 2016 scottmet99 Leave a comment

Show Me Love-1998

Director Lukas Moodysson

Starring Alexandra Dahlstrom, Rebecca Liljeberg

Scott’s Review #496

Reviewed October 22, 2016

Grade: B

Throughout the latter part of the 1990s, films with a more LGBT perspective (then referred to as the gay and lesbian genre) were being released more readily.

It was not until the 2000s that mainstream offerings on the subject (Monster, 2003, Brokeback Mountain, 2006) hit the big screen to wide acclaim.

Show Me Love (1998) is a Swedish coming-of-age story about two high school girls, who are opposites in terms of social acceptance, who find love.

Interestingly, the film was directed by a male, Lukas Moodysson.

Show Me Love originally had a different title, a crude reference to the town the film is set in, in western Sweden. Still, when the film was considered for Academy Award contention (it did not make the cut), filmmakers were advised to modify the film’s title to include any shot.

The film contains a grainy look- using handheld cameras in parts and, of course, is in the Swedish language.

Agnes is sullen, introverted, and brooding. Known throughout the high school hallways as the angry, weird lesbian, she has few friends, and the ones who are kind to her, she shuns away.

Elin, by contrast, is popular, lively, and charming- everybody loves her.

However, Elin is restless in the tiny Swedish town where she lives and yearns for excitement. When Agnes develops a crush on Elin, she confesses it all to her computer but to no one else.

The film is nicely put together and, given the year 1998, is quite brave. Today, many years have passed, and progress within the LGBT community has been made; a film like Show Me, Love is a more common occurrence.

Director Moodysson does not go for anything gratuitous or steamy but rather spins a sweet coming-of-age tale, not only of teen love and hormones but also of outcasts and feelings of loneliness.

It’s a film that most can relate to in some way.

The actresses portraying the leads (Dahlstrom and Liljeberg) are fantastic in their roles, playing them with conviction and believability.

Despite being opposites, we buy their attraction and chemistry. Nothing is forced or dishonest.

My favorite scenes are the awkward 16th birthday party for Agnes, thrown by her well-meaning yet clueless parents. When nobody except a disabled girl shows up, Agnes viciously insults her, causing her to leave.

The family sits in the living room, eating the food that was planned for anticipated guests. It’s a poignant, rather sweet moment. Despite Agnes’s unpopularity at school, she has a very strong, loyal family unit- that is nice to see.

Later, Elin and her sister attend the party, but more as an excuse to avoid another one. Finally, Elin and Agnes share a kiss, but is it a mean dare or is it authentic?

A clever aspect of the film is how Moodysson distinguishes between Elin’s and Agnes’s sexualities. Agnes is gay, open, and out. Elin is very different and has boys interested in her.

The girls could not be more different, and this adds a layer of complexity, as each is at a different stage in self-discovery. This feature also makes Show Me Love very honest in its storytelling.

The film is not a masterpiece and could have ventured into more controversial territory. Could they be harmed for being lesbians, given the town they live in? Why is Agnes so sullen?

This is a stereotype (the brooding lesbian) that needs to be changed, though, given the time of the film, I will give it a slight pass. Why not make Agnes a happy, cheerful, gay girl?

How will Elin’s sister deal with Elin’s sexuality, or is it merely a phase for her?

All sorts of darker issues might have been explored, but Show Me Love (1998) is tender, sweet, and lighter fare, yet still an adventurous offering.

2015 Films, Drama, Sports

Creed-2015

October 16, 2016 scottmet99 Leave a comment

Creed-2015

Director Ryan Coogler

Starring Sylvester Stallone, Michael B. Jordan

Scott’s Review #495

Reviewed October 16, 2016

Grade: C+

Creed (2015) will please die-hard fans (and there are legions) of the Rocky (1976) franchise, eager for a trip down memory lane to revisit Sylvester Stallone’s “Rocky Balboa”.

For those yearning for a slice of nostalgia and a harkening back to when the first Rocky was released, Creed will be a crowd-pleaser. For others expecting something new or innovative the story will not be as satisfying.

The film is predictable with all of the expected elements of a sports film.

Instead of Rocky Balboa being the main attraction, he is now a senior citizen and long since retired, now owning a modest Italian restaurant in Philadelphia, the action centers on a young fighter, the bastard child of Apollo Creed, Rocky’s nemesis turned friend from the first few installments.

Adonis Johnson Creed (played by up-and-coming star Michael B. Jordan) is his name and before being rescued from a group home (he has a temper and fights a lot, naturally) by Apollo’s wife (Phylicia Rashad) he does not know fighting is truly in his blood.

Determined to make it big in the boxing world, he moves to Philadelphia and convinces Rocky Balboa to train him.

Along the way, he meets a love interest, Bianca (played by Tessa Thompson), a musician.

The main positives are the nods to history and a few sentimental moments throughout the film. How wonderful to see Rocky Balboa again. It’s like catching up with an old friend we have not seen for years.

We learn that sadly, Paulie and Adrian (Rocky’s brother-in-law and wife) have long since died and a sweet moment shows Rocky visiting their side-by-side graves, pulling up a chair, and reading the newspaper to them.

Rocky’s son has moved far away so Rocky is left a lonely man, and Apollo’s son revives a father figure element within Rocky.

Also nice are some flashback scenes to the earlier Rocky films and we see portions of Rocky’s and Apollo’s fights. The plethora of external Philadelphia scenes does bring authenticity and familiarity to the film and this is a wise decision, instead of too many interior scenes in a studio.

Otherwise, the film is largely a miss.

The formulaic, predictability must have been intentional to make Creed an ode to fans and a film that is easy to watch. We are served the many “inspirational” training scenes as Adonis trains and trains for the big match, with an arrogant, loud, Londoner, with an equally unlikable coach.

The “good vs. bad” mentality that the film develops is contrived and completely plot-driven. It makes Adonis that much more likable and gives him the rooting factor.

This occurs time and time again in sports films. Why not make both fighters nice guys?

But, of course, the film also gives Adonis a temper to ensure that he appeals to the testosterone-driven fans expecting such.

Phylicia Rashad and Tessa Thompson are stock characters. We get the standard reaction shots from both as they wince along with the blows that Adonis receives, and Rashad gets an unintentionally comic moment. When Adonis lands a flattening blow on his opponent, she proudly professes “That’s what I’m talkin’ about!”.

Interesting to note, however, is the clever decision to make Bianca suffer from progressive hearing loss. Having her handicapped gives her nice humanity, though once the fight scenes begin this is never mentioned again.

A standard boxing film with the expected elements- testosterone, brutal fighting, sentimentality for good measure, and dutiful female characters with little substance, Creed (2015) is a guy’s movie, basic and predictable, with a little edge and lots of machismo.

However, it does capitalize on the Rocky franchise and offers a nice little nod to the past. Otherwise, it is a rather forgettable film with a mediocre story.

Oscar Nominations: Best Supporting Actor-Sylvester Stallone

2015 Films, Drama, Independent, Independent Drama

Songs My Brother Taught Me-2015

October 14, 2016 scottmet99 Leave a comment

Songs My Brother Taught Me-2015

Director Chloé Zhao

Starring John Reddy, Jashaun St. John

Scott’s Review #494

Reviewed October 14, 2016

Grade: B+

Songs My Brother Taught Me (2015) is quite an understated film experience, but despite the slow pace, I found the film of great interest.

The Native American population is largely ignored in cinema (and perhaps other avenues) so what a treat it was to see a film, albeit a small, quiet film, being made to represent this group of people.

Forest Whitaker produces the film.

Undoubtedly the funding was responsible for allowing it to be made at all.

Living on an Indian reservation in remote South Dakota, the story focuses on Lakota Sioux brother and sister Johnny and Jashaun- aged sixteen and eleven, respectively.

When their father dies in a house fire, they are forced to ponder their future within the Indian reservation, and also their desires to escape their lives and move to Los Angeles with Johnny’s girlfriend- also an inhabitant of the land.

The film is largely a slice of life on a reservation and the trials and tribulations of the members who live there. Johnny’s mother is a kindhearted yet boozy young woman with another son in prison.

Jashaun’s mentor, a tattooed man who is creative and attends alcoholics anonymous meetings, only to be caught drunk by Jashaun. A rivalry between Johnny and some rival boys develops.

Finally, Johnny aspires to purchase a truck from an older gentleman. The film is laced with different facets of real-life situations- trivial to some, but an entrance into a culture most know so little about.

I found the film quite interesting and compelling in a very subdued way. A marvel is the frequent long views of the prairie land- sweeping winds and gorgeous scenery for miles. Many shots of Johnny and Jashaun are featured- simply gazing into the crisp air in deep thought.

We see the conflict put upon both youngsters. Johnny, quite handsome and the object of affection by more than one young lady, yearns for a more exciting life. His girlfriend will be attending college in California. Pretty and smart- she is sure to move on to success, but Johnny plans to go with her.

Her brother inquires how Johnny will live with no job and no money- all valid points. Will Johnny age and remain on the reservation for the rest of his life or escape to a different world?

Jashaun, quite young, is filled with quiet energy and curiosity. She is educated and wise beyond her years. What will become of her without a father and surrounded by some unsavory types that her family knows?

Not an offering for those intent on seeing more action than thoughtfulness, but for the patient viewer, it is a fascinating introspective treat.

Songs My Brother Taught Me (2015) taught me a lesson in good storytelling.

Independent Spirit Award Nominations: Best First Feature, Best Cinematography, Acura Someone to Watch Award

2016 Films, Drama, Thriller

The Girl on the Train-2016

October 12, 2016 scottmet99 Leave a comment

The Girl on the Train-2016

Director Tate Taylor

Starring Emily Blunt, Justin Theroux

Scott’s Review #493

Reviewed October 12, 2016

Grade: B+

The blockbuster was the apparent must-see film of the fall of 2016. Almost everyone flocked to see it, and I happily saw it shortly after its release.

While containing some flaws, The Girl on a Train (2016) is an excellent thriller and companion to Gone Girl (2014). It is similar in style, tone, and, in a way, story.

A whodunit with psychological, almost Hitchcockian elements, it navigates twists and turns to an unfortunate, disappointing finale.

Still, it is a more than adequate offering that does not bore.

Based on the hit novel of the same name, which I understand is superior to the film.

First and foremost, how gorgeous was the scenic eye candy of suburban New York City, where the train chugs along the Hudson River in breathtaking beauty?

The film’s point is that affluent houses are nestled along the river banks, hidden with secrets. Beautiful neighborhoods are often riddled with affairs, drama, and backstabbing.

The train’s setting and element—peering through windows to witness smoldering events—were perfect.

The film’s standout is Emily Blunt, who gives a compelling, sometimes heartbreaking turn as a boozy, jobless, young woman fraught with heartbreak after heartbreak.

She finds solace on the Metro-North train as she peers into a particular well-to-do house, making up stories about a young woman she re-names daily, usually inebriated.

Though The Girl on the Train is not the typical “Oscar-type film,” I’d argue that a potential nomination is warranted for Blunt, who is brilliant on her emotional roller coaster.

Rachel fantasizes about being the stranger’s friend, revealing her desperation. We quickly learn about her life circumstances and feel empathy.

I anticipated an experience like Hitchcock’s classic Rear Window (1954), in which Rachel notices a crime and somehow becomes involved. This is partly true, but it is also different.

I was, however, treated to a film that never lags or waivers, and the action is plenty, not in bombs or car-chase way, but instead a circulating array of plot twists and emotions.

How wonderful to see Allison Janney, Lisa Kudrow, and Justin Theroux in a big-budget, mainstream film rather than independent small films for a change.

All three knock the material they are given out of the park, and kudos to the writers for making Kudrow, in little more than a cameo, a significant part of the grand reveal.

Arguably, Janney’s character of Detective Riley is the weakest written and seems to change motivations depending on the story shift. This is perplexing and too plot-driven.

In a way, the same might be said for Theroux’s character of Tom Watson, but, alas, it is a thriller, which sometimes happens in this genre.

Without giving much away, the conclusion to the film is unsatisfactory. We are given an ending wrapped in a neat, tidy bow, which contradicts the rest of the film.

The film is confusing, dream-like, and muddled—in a good way. Rachel’s thoughts disturb us, and we wonder what reality is. The climax is too clear, and instead of leaving much to the imagination, we are fed a linear, straightforward story ending, almost geared toward a Hallmark television movie (gag).

Wise would have been to write Rachel as still vague about her surroundings, but this does not occur.

The Girl on the Train (2016) will not redefine cinema or go down in history as fine art, but it is not intended to be the type of film designed to keep you on the edge of your seat and does so.

The story is above average and slick, but Blunt is worth heaps of praise and is head and shoulders above the rest of the film and the cast, which is no small feat considering the talent involved.

Great acting job, but the writing could have been slightly better.

2010 Films, Horror

I Spit on Your Grave-2010

October 9, 2016 scottmet99 Leave a comment

I Spit on Your Grave-2010

Director Steven R. Monroe

Starring Sarah Butler

Scott’s Review #492

Reviewed October 9, 2016

Grade: B+

Too often in the horror genre, remakes of classic or cult classic gems are spewed out with high hopes but little worth, and more often than not, quickly forgotten and fading into oblivion.

This is not the case with I Spit on Your Grave.

I Spit on Your Grave is a 2010 remake of the original 1978 film and is just as disturbing.

Having seen the original and been shocked by the content, I didn’t expect the same from the retelling.

Much to my surprise, this version contains the same intensity and is fraught with brutality- however, not in an unnecessary way.

The film tells the story of a young writer who leaves the hustle and bustle of New York City for a couple of months of relaxation in the country to work on a novel.

While there, she is brutally raped by a bunch of local men.

As terrible as this is, the victim then exacts revenge on all of them, one by one, which is the real crux of the story, and we cheer on her (just as brutal) vengeance.

The rape scenes are quite intense and difficult to watch, but necessary, as the viewer wants the perpetrators tortured and maimed…which they are.

This film is for horror fans who like it brutal.

2010 Films, Biography, Courtroom, Drama, San Francisco

Howl-2010

October 9, 2016 scottmet99 Leave a comment

Howl-2010

Director Rob Epstein, Jeffrey Friedman

Starring James Franco

Scott’s Review #491

Reviewed October 9, 2016

Grade: B+

Howl (2010) is a compelling courtroom drama biopic starring James Franco, who is wonderfully cast.

This role, despite being in a small film with little recognition, cements Franco’s talents as an edgy actor willing to tackle challenging work rather than stick to mainstream safe fare.

Franco has become one of my favorite young actors. He is so diverse and believable in any role he takes on.

The story follows 1950s poet Allen Ginsberg and his trial to determine whether his poems were art or should be banned as indecent.

Much of the action takes place in the courtroom, and the film wisely mixes animation (in scenes of Ginsberg reading his poetry) with traditional scenes.

The film lets the viewer get to know Ginsberg’s character. He was troubled (his sexuality, delusions, stints in a mental hospital), for sure, but also had a true, authentic love of writing and poetry, which is inspiring in an age of digital technology.

Sometimes good old-fashioned words are the truest art.

Howl (2010) is an interesting little film.

1970 Films, Drama, Independent, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films

Trash-1970

October 7, 2016 scottmet99 Leave a comment

Trash-1970

Director Paul Morrissey

Starring Joe Dallesandro, Holly Woodlawn

Scott’s Review #490

Reviewed October 7, 2016

Grade: B+

Trash (1970) is a very unique movie. It needs to be experienced firsthand to be believed.

Produced by icon Andy Warhol, it is both creative and raw, and certainly not for those seeking a basic film that can easily be digested and contained in a box.

Rather, the gritty and controversial aspects percolate into something edgy and creative. In essence, it is a day in the life of a junkie.

An indie drama with documentary aspects, made in 1970 and set in the Lower East Side of Manhattan, Trash tells the story of a young heroin junkie named Joe (Joe Dallesandro) along with his sidekick Holly, who wander throughout the city picking through trash in desperate need of their next heroin fix.

The film is hardcore, and that is what I admired most about it. Not always compelling and certainly not always story-like, it is an experience.

Trash would likely not be made today, but, alas, in the 1960s and 1970s, films like this could be made.

Sigh.

Its rawness, explicit nudity (and I mean full-frontal folks), and blatant IV drug injections are not for the perky or conformists.

It reminds me quite a bit of a John Waters cult exploitation film, but interestingly, it preceded John Waters.

Trash (1970) is very well made, and I’d like to see it again sometime.

2010 Films, Documentary

Catfish-2010

October 2, 2016 scottmet99 Leave a comment

Catfish-2010

Director Henry Joost, Ariel Schulman

Starring Nev Schulman, Ariel Schulman

Scott’s Review #489

Reviewed October 2, 2016

Grade: A-

I loved Catfish (2010), which is a hybrid movie/documentary.

I know some people were disappointed with the twist towards the end, but I thought it was interesting and made the film quite compelling- a surprise ending, if you will.

The shaky documentary-style filming adds to the intensity.

The plot revolves around a young photographer, Nev (Nev Schulman), who strikes up an online Facebook friendship with an eight-year-old artist.

It’s risky, but they discuss art and paintings and chat regularly.

Nev lives in New York City, while Abby lives in Michigan.

Nev’s brother Ariel is shooting a documentary and thinks it would be perfect for the pair to drive to Michigan and meet Abby.

Once they do, they are in for a surprise as the web of circumstances that follows makes the film creepy, eerie, and mysterious.

I do not want to give any more away, but Catfish (2010) is an interesting, well-thought-out story, which is a true case.

The film’s presentation is wonderful.

2015 Films, Drama, Romantic Drama

45 Years-2015

October 1, 2016 scottmet99 Leave a comment

45 Years-2015

Director Andre Haigh

Starring Charlotte Rampling, Tom Courtenay

Scott’s Review #488

Reviewed October 1, 2016

Grade: B+

In the case of 45 Years (2015), acting is the clear highlight of the film and the main reason to view it.

Seasoned veterans take center stage and give tremendous performances and lessons in acting.

Tom Courtenay and Charlotte Rampling carry the film.

The subject of 45 Years is an enduring marriage tested by an outside revelation that escalates in importance into conflict and mixed emotions.

The film moves at a slow pace and can be challenging to the most patient of viewers, but the slow pace is warranted as the longevity of the character’s marriage is the key to the film.

Geoff and Kate Mercer, a happy couple living in rural England, are excitedly planning their 45th wedding anniversary (the 40th was canceled due to Geoff’s heart condition). They are a popular couple within their town, both kind and decent people, and the event will be attended by many.

One day Geoff receives a letter from authorities in Switzerland- a young woman (Katya) he was once involved with, and presumed dead in 1962, has been found. Having fallen into an icy glacier, her body is preserved and looks the same as she did then.

Not knowing the extent of their relationship, Kate is riddled with multiple feelings including jealousy, curiosity, and guilt. Geoff and Kate’s marriage is tested.

45 Years is a mature film involving mature characters. Geoff and Kate are still in love decades into their relationship, but the introduction of Katya becomes an unwelcome conflict.

The film plays out gradually, but realistically, as marriage moves along slowly. Many scenes of Geoff and Kate’s day-to-day activities are shown- they walk their dog together, travel into town to shop, relax, and read the newspaper.

Like real people do.

This is an asset to the film. Real life is sometimes mundane and dull, but these little tasks are pleasurable and soothing.

Geoff and Kate’s marriage contrasts with the relationship Geoff and Katya briefly had all those years ago (excitement, risk, youth) and one can understand Kate’s point of view.

As details reveal themselves, Kate feels inferior. She is not young anymore and thinks of Geoff and Katya and the life they may have had together if the accident had not occurred. Despite being dead, Katya becomes an obstacle in Kate’s mind.

The film wisely does not write Kate as a jealous shrew or one-dimensional. She fights her jealousy every step of the way and tries to be strong and realistic.

Charlotte Rampling gives such a good, subtle, understated performance that it is easy to overlook how good she is. She does not have hysterical moments or a scene where she loses control. Rather, Rampling shows a series of complex emotions with her facial expressions.

Let’s not forget to mention Tom Courtenay. Imagine being in the golden years of your life and a long-lost lover (in spirit anyway) returns to the fold. Geoff cannot help but imagine a life with Katya if she remained alive. Kate asks Geoff if he would have married Katya and he cannot deny that he would have.

Several scenes show the couple engaging in “old people” issues- awkward lovemaking for example, which enhances the differences between when Geoff and Katya were in their prime. Geoff cannot help but be whisked back in time with thoughts and what-ifs.

A standout scene is when Kate and Geoff dance at their anniversary party. Having professed his love during a speech they causally dance. Kate is both touched and pained and as the scene goes along unravels. She explodes internally.

Sometimes perhaps a tad too slowly paced, I get the point of pacing 45 Years this way. After all, nearly 50 years of marriage is a long time and similar days will pass with few important moments. Thanks to great acting, I overlooked this and was astounded at the complexities both Rampling and Courtenay bring to the table.

Oscar Nominations: Best Actress-Charlotte Rampling

2014 Films, Biography, British, Independent

Jimi: All Is By My Side-2014

September 30, 2016 scottmet99 Leave a comment

Jimi: All Is By My Side-2014

Director John Ridley

Starring André 3000

Scott’s Review #487

Reviewed September 30, 2016

Grade: A-

Jimi: All Is By My Side (2014) was not quite the film I was expecting it to be. It was better!

I was not expecting poor work since the film received a Best Male Lead Independent Spirit Award nomination for André 3000 (rapper) in the title role.

I expected an overview of the rise and fall of famed rocker Jimi Hendrix. Instead, I was treated to a more introspective piece than I imagined.

The film is a British production.

Interestingly, the film denied any Jimi Hendrix songs familiar to audiences, but only songs were written in 1966 and 1967.

This surprisingly turns out to be positive for the film.

The awesome achievement of this film is its non-conformity and being an independent film, lots of freedoms were undoubtedly given.

This is a good thing.

Had this film been targeted for a showing at local theaters, it may have been a run-of-the-mill affair, focusing on the star and the star only.

It is also shot in a less-than-glossy way, giving it an almost grainy, gritty look that I found added something.

Impressively, the supporting characters, specifically three females whom Hendrix has relationships with throughout his initial rise to fame, are prominently featured, and the story shifts at times to their perspectives and feelings, not just Hendrix’s.

The film does not focus on Hendrix’s untimely death.

We meet Hendrix (compellingly played by André 3000) performing guitar in a sparsely attended bar in New York City. He is discovered by Linda, the girlfriend of Rolling Stones guitarist Keith Richards, as she becomes both smitten with Hendrix and recognizes his immense talents.

Slowly, he is discovered (mainly in London) and rises to fame.

However, the film is not only focused on his success but his personal life.

Besides Linda, Hendrix becomes involved with a volatile groupie and fixture in the 1960s London music scene, Kathy, and cultured American Ida. Instead of the female characters being written as one-dimensional and dizzy, all three are quite intelligent and layered.

While each has feelings for the star, they are forced to be reckoned with in their own right, and we grow to care about their characters as individuals.

A scene involving Jimi violently beating girlfriend Kathy with a telephone during an argument has been refuted by friends as being fictitious- Hendrix was known as a gentle, peaceful man.

A controversy has emerged surrounding the accuracy of this film in general, but I thought it quite introspective and fascinating.

Independent Spirit Award Nominations: Best Male Lead-André 3000

1967 Films, Art, Drama, French, International, International Drama

Belle De Jour-1967

September 29, 2016 scottmet99 Leave a comment

Belle De Jour-1967

Director Luis Buñuel

Starring Catherine Deneuve, Jean Sorel

Scott’s Review #486

Reviewed September 29, 2016

Grade: A

Belle De Jour, the title translates to “lady of the day”, a French pun for “lady of the night”, a kind phrase for prostitution, is a fantastic art film.

Stylish, sophisticated, and open to interpretation (at least in my opinion), Belle De Jour is a late 1960s journey into eroticism, social norms, and sexual freedom.

Gorgeous star Catherine Deneuve has never looked better and calmly does mental conflict.

Luis Buñuel directs the film.

Severine is a wealthy, young, newlywed who seemingly has it all. She is showered with love and affection, not to mention material items, by her handsome hubby, Pierre, played by dashing Jean Sorel.

She wants for nothing as her husband is a doctor of great wealth. Yet she is unhappy and refuses to have physical relations with Pierre.

She begins a secret life as a prostitute in a posh home, only working in the afternoons, to avoid being found out. She has no regrets but is apprehensive about the clients she meets.

Throughout the film, Severine has secret fantasies about being kept in bondage and enduring various other sexual humiliations. All the while, the question is, “Is this all Severine’s fantasy or reality?” Or perhaps merely a portion is.

The audience wonders.

Do we feel sorry for the character of Severine? Not. One could argue that she is spoiled and selfish, but she is not evil; she is somewhat confused. She is quite polite, and Deneuve fills her with kindness and even an angelic spirit.

One cannot despise her, even though on the surface one might be tempted to. What right does this woman have to rebuff her husband in place of sleazy clients? One particularly volatile client becomes obsessed with Severine and stalks her, going so far as to exact violence against her husband.

But wait, is this Severine’s fantasy or reality? Is she imagining everything and merely obediently waiting at home for her husband to return each day, or is she living this life?

Buñuel uses many shots of gorgeous Paris, including the famed Arc de Triomphe and other interesting streets and sights, which is a treat for culture fans. The use of these exteriors goes a long way to ensure that the film is clearly “French” from a visual perspective.

Indeed, in 1967, the sexual revolution was in full swing, and Belle De Jour epitomized the revolution of the times. Yet, it does not feel dated or reduced to a film “of its time”.

I find it more of a character study than a genre film, as Severine is an interesting study.

Belle De Jour challenges the viewer with an intense yet subtle story of a woman conflicted with sexual desire and repression- a film open to much interpretation and discussion.

It does what an art film is supposed to do- makes us think and ponder.

2015 Films, Biography, Comedy, Drama

Joy-2015

September 24, 2016 scottmet99 Leave a comment

Joy-2015

Director David O. Russell

Starring Jennifer Lawrence, Bradley Cooper, Robert DeNiro

Scott’s Review #485

Reviewed September 24, 2016

Grade: B-

Joy is a safe, mainstream, female-centered 2015 film, a biopic written for current star Jennifer Lawrence. She was nominated for a Best Actress Academy Award for her role and she carries the film.

Still, despite her performance, the film is nothing special and is written in a ho-hum manner.

It is simply not very compelling and the supporting characters are not utilized as they could have been. Despite being based on a true story, the writing is lazy and the plot far-fetched.

I expected more.

The film is another collaboration between director, David O. Russell, and big stars of the time- Lawrence, Bradley Cooper, and Robert DeNiro- all used in previous Russell films.

Lawrence plays Joy, a struggling Long Island mother of two, who is divorced from her husband (who still lives in the basement of her house), with multiple family members living with her, forming a support unit.

The sense is that Joy is the breadwinner of the family.

The story is narrated by Joy’s grandmother, who she calls Mimi (Diane Ladd). Mimi always knew Joy would be a success and we see a few scenes of Joy as a child, surviving her dysfunctional family and her parent’s disputes.

DeNiro plays her womanizing father, divorced from her mother (Virginia Madsen), who lies in bed all day watching soap operas. Cooper plays opportunist, QVC executive, Neil Walker, who takes a liking to Joy and helps her achieve her dream as a successful businesswoman after she patents an idea for a new, high-powered mop.

The authenticity of the time, 1989, and through the 1990s is apparent, as we see Joy working for Eastern Airlines, a company that would fold several years later. Also authentic were the automobiles of the time and the dresses and hairstyles.

These points the film does very well. And how cute was it to see famous daytime television stars such as Susan Lucci, portraying soap opera stars, as Joy’s mother lives her life vicariously through their tangled and bizarre soap lives?

Several scenes occur on the television set as we get glimpses of the soap stories.

The film as a whole, though, feels too neat.

Predictably, Joy faces obstacles on her way to success. Already struggling financially, she takes out a second mortgage on her house. At first, she cannot give away mops, let alone sell them.

On the brink of giving up, she finishes a meeting with execs who laugh at her product, but Walker is there to give her a break because she has a pretty face.

Predictably, things do not go well and there is a rather dull subplot about a company in Texas trying to steal Joy’s idea. When she goes and threatens them they immediately back down and obediently give in to her every whim.

This is both unrealistic and uninteresting.

I would have liked to have seen a messy back-and-forth or some court scenes, but the Texas company is portrayed as nothing but the villain.

The writing has either plot holes or contains missed opportunities altogether and many questions abound. Despite many scenes of Joy’s past we end up knowing little.

Her entire family lives with her in a suburban Long Island house- why does Joy own the house and not her mother or grandmother? Why does Joy have a rivalry with her half-sister, Peggy? Why does Joy’s father own an auto garage and still need to stay with Joy? Why is Joy’s mother mostly in bed?

Madsen as the mother is rather cartoonish and unnecessary to the plot as is Ladd- a dynamic actress given little of substance. I did not buy DeNiro as a cad nor in love with his wealthy new girlfriend Trudy (though seeing Isabella Rossellini in the part is a win), conveniently there to be Joy’s financer.

Despite an enormously talented cast, which is fantastic to see, most of the supporting parts could have been played by any actors, as the roles are not all that challenging, and the film itself is certainly a vehicle to showcase Jennifer Lawrence, David O. Russell’s current “it” girl.

This is not a slight towards Jennifer Lawrence since she is the best part. She successfully portrays Joy as a sympathetic, strong-willed, fair, decent human being, with enormous struggles, and a blue-collar sensibility.

Great performance, but I wish the writing and the other talents involved in the film were given better material.

Oscar Nominations: Best Actress-Jennifer Lawrence

1990 Films, Comedy, Dark Comedy, Fantasy, Kids

The Witches-1990

September 20, 2016 scottmet99 Leave a comment

The Witches-1990

Director Nicolas Roeg

Starring Angelica Huston, Mai Zetterling

Scott’s Review #483

Reviewed September 20, 2016

Grade: B-

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

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

The film is based on a Roald Dahl children’s book, with a child as the central character, similar to other Dahl novels that were adapted into films such as James and the Giant Peach and Charlie and the Chocolate Factory.

I cannot help but wonder whether my mediocre rating of The Witches is due to not having read the novel, even though I have read the other aforementioned novels in his collection.

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

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

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

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

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

Furthermore, the way Luke and Bruno interact as mice is also cute and a positive aspect of the film.

I enjoyed the aspect that, if watched closely, reveals that numerous witches are men wearing female wigs. This successfully gives the witches a grotesque, obviously mannish quality and emits a chuckle of pleasure at the same time.

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

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

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

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

2014 Films, Comedy, Fantasy, Horror, Horror-Comedy

Vampire Academy-2014

September 18, 2016 scottmet99 Leave a comment

Vampire Academy-2014

Director Mark Waters

Starring Zoey Deutch

Scott’s Review #482

Reviewed September 18, 2016

Grade: C

Vampire Academy (2014) is a teenage intended mixture of Harry Potter meets Heathers meets Twilight. It is escapist fare and is quite light, but rather fun in an amateurish way.

I am certain the target audience is of the teenage, female persuasion, but when traveling one can be limited in film options.

Hence, on a chilly night in Norway, this film kept us occupied.

The story features a half-human-half vampire named Rose, a teenage girl, who aspires to be a guardian, and who is called back to a boarding school to uncover a hierarchical web of secrets, lies, and plots.

She is accompanied by her best friend Lissa.

Predictably, there is a romantic angle to the story as Rose has feelings for Dimitri, a fellow guardian.

The film itself is fine- it knows the demographic it is going for and young adults are sure to enjoy the compelling drama, likable leads, and attractive cast.

From a film critique standpoint, there is nothing wrong with the film, but it is a bit generic and slightly predictable- from the romantic perspective, though impressively the ending is a bit of a surprise and a whodunit.

Impressive also is Sarah Hyland (Modern Family), as nerdy classmate Natalie, who seems to be the brains and the keeper of gossip throughout the academy.

The role is against type for the young actress and she does very well.

It is tough not to compare this film to the Harry Potter series of films since many aspects of Vampire Academy mirror Harry Potter- only with a female in the driver’s seat. The mysterious teachers and characters are also reminiscent of the fantastical Harry elements.

Unfortunately, a planned sequel was scrapped due to a lack of interest, which surprised me. I would anticipate a film like this to be a hit and perhaps introduce a franchise, but not to be.

An adequate young adult film that borrows from other films and also harkens back to the days of teen-minded genres of the past, specifically the 1980’s.

2010 Films, Action, Comedy, New York City, Romantic Comedy, Screwball Comedy

Date Night-2010

September 17, 2016 scottmet99 Leave a comment

Date Night-2010

Director Shawn Levy

Starring Steve Carell, Tina Fey

Scott’s Review #481

Reviewed September 17, 2016

Grade: D+

Date Night is a perfect example of mediocrity in modern filmmaking.

We have two current comedic actors here- Steve Carell and Tina Fey- circa 2010- at the top of their game.

The filmmaker’s idea is to pair these two and make an appealing romantic comedy for the masses.

The main issue with this film is that the result is generic and quite an average offering.

The entire film is incredibly plot-driven, with no character development to speak of.

If I am being too harsh, admittedly there is nice chemistry between the two leads, but it is wasted by sloppy writing.

A couple from the New Jersey burbs, Carrell and Fey portray husband and wife, Phil and Claire Foster. Saddled with two kids and their romance reaching dullsville, Phil decides to take Claire to a ritzy Manhattan restaurant.

When they arrive, they cannot get a table, so they pretend to be another couple a get one after the other couple no-shows. This leads to a tale of mistaken identity as the other couple possesses a flash drive that a mobster (Ray Liotta) wants.

This leads to a chase through Manhattan as they try to outrun and outwit their pursuers.

Wahlberg plays a hunky client of Claire’s, always shirtless, who threatens Phil and Claire’s marriage.

Several others of the current Hollywood elite- Kristen Wiig, James Franco, Mila Kunis, and Mark Ruffalo- make small and somewhat pointless appearances. Specifically, Franco and Kunis as a stoner-type bickering couple are silly and unnecessary to the story.

Carrell and Fey are quite funny as individuals and as a duo. Date Night, though, does not capitalize on or showcase their respective talents.

The film tries too hard to come up with scenario after scenario of the two on the run and encountering one problematic situation after another.

As the plot of Date Night wears on, I notice that each situation is a matter of convenience.

Conveniently, Claire has a client in town (Wahlberg), who is a security expert. They go to him for help and, predictably, his hunkiness bothers Phil and piques Claire’s interest- though, of course, we know full well Phil and Claire will end up together- that is how these mainstream films go.

In another scene. Phil and Claire can break into an office building unnoticed, trigger the alarms, conveniently find a needed file, and escape, miraculously all before the police arrive minutes later.

Very plot-driven.

The lead actors in Date Night are appealing and even charming together, but it falls flat. Still, the inane plot makes it unappealing to watch, and the slew of stars that somebody decided would be a great addition to a lukewarm film is odd.

The roles written have little bearing on the central plot, so it was apparent why they were added.

Date Night (2010) is a film we have seen time and time again with other actors in similar roles.

2009 Films, International, International Thriller, Psychological Thriller, South Korean, Thriller

Mother-2009

September 11, 2016 scottmet99 Leave a comment

Mother-2009

Director Bong Joon-ho

Starring Kim Hye-Ja

Scott’s Review #480

Reviewed September 11, 2016

Grade: A

Mother (2009) is brilliant! I loved it and implored people to give the film a chance.

Years later, just desserts would be served. Director Bong Joon-ho would win the Oscar for Parasite (2019).

It is a South Korean film, made in 2009, that almost nobody has heard of, let alone seen, but it is fantastic.

It’s a shame that it did not get more notice, but sadly, some of the best films do not.

The plot revolves around a mysterious murder that occurs in a small South Korean village and a poor village woman’s mission to exonerate her mentally challenged son, who is convicted of the crime in a botched case.

The plot twists and turns and is compelling beyond belief. The real crux of the film is what lengths a mother will take to protect her son, a question many viewers can ask themselves.

Why Hye-Ja Kim, who plays the title character, was not nominated for an Oscar for this role is beyond me and quite a shame. She is a goldmine and gives a terrific, memorable performance.

The movie is stylistic and has moments that resemble Hitchcock and David Lynch combined. One does not know what will transpire from scene to scene, and that is the beauty of the film- besides the wonderful acting.

Once the film ends, viewers will feel compelled to discuss it, which is an accomplished feat.

I highly recommend it.

Independent Spirit Award Nominations: Best Foreign Film

1972 Films, Camp, Drama, Independent, Independent Drama, Sexploitation

Heat-1972

September 11, 2016 scottmet99 Leave a comment

Heat-1972

Director Paul Morrissey

Starring Joe Dallesandro, Sylvia Miles

Scott’s Review #479

Reviewed September 11, 2016

Grade: A-

Heat (1972) is a Paul Morrissey/Andy Warhol collaboration in the 1970s sexploitation film genre.

The film is a spoof of the 1950 classic Sunset Boulevard and stars 1970s cult star Joe Dallesandro.

He plays a hunky, struggling actor and former child star who begins a relationship with a has-been actress (Sylvia Miles) and her lesbian daughter as they cohabit in a seedy Los Angeles hotel run by a plump landlady (Pat Ast).

He pays the landlady a reduced rent in exchange for sex.

Heat (1972) stars two of my favorite cult film actresses (Miles and Ast).

It is a fun, over-the-top, independent-style sex romp and a pleasing experience for those in the mood for something left of center.

2010 Films, Comedy, Romantic Comedy, Teen Comedy

Easy A-2010

September 10, 2016 scottmet99 Leave a comment

Easy A-2010

Director Will Gluck

Starring Emma Stone

Scott’s Review #478

Reviewed September 10, 2016

Grade: B-

Easy A (2010) is a film with some good parts and some dumb parts.

However, at the end of the day, it is forgettable, and who will remember a film like this in ten years?

The film is a teen comedy about a girl who makes up a rumor about herself to gain attention from her peers.

Emma Stone is great in this movie and shows the enormous potential of her budding film career. She reminds me a bit of Lindsay Lohan. She is likable, great at comedy, and has a fun persona.

Also deserving of credit is Lisa Kudrow, who appears in the movie.

At times, the dialogue is intelligent and witty; other times, it turns into a typical dumb comedy.

This is sad because, given the star power involved, Easy A (2010) might have been a better film than it turned out to be.

2011 Films, Fantasy, Horror, Romantic Horror, Thriller

Red Riding Hood-2011

September 10, 2016 scottmet99 Leave a comment

Red Riding Hood-2011

Director Catherine Hardwicke

Starring Amanda Seyfried

Scott’s Review #477

Reviewed September 10, 2016

Grade: B-

I was hesitant to see Red Riding Hood (2011) in the theater because it felt more like a rental.

While it is far from high art, it is an above-mediocre thriller riding the current popularity of the vampire-lite genre.

It tells the story of a teenage girl living in a medieval village being attacked by a mysterious wolf. The wolf, however, is sometimes human.

The fact that it stars young actors known in current American cinema makes it unsurprising that it’s a love story.

I thought the movie was decent, but not great. The whodunit is good as we wonder who the wolf in disguise is, and the cinematography is excellent.

I bought the period’s authenticity.

Seeing Julie Christie in a current film is always a treat, but at times the movie is quite sappy and Twilight-ish. The same director, Catherine Hardwicke, directed it, so that’s not surprising.

Overall, Red Riding Hood (2011) is not a bad watch.

2012 Films, Biography, Drama, Historical Drama, Period Drama, Political Drama

Lincoln-2012

September 10, 2016 scottmet99 Leave a comment

Lincoln-2012

Director Steven Spielberg

Starring Daniel Day-Lewis

Scott’s Review #476

Reviewed September 10, 2016

Grade: A

Lincoln is a 2012 film, which received a slew of Academy Award nominations. However, opinions about the film itself differ.

Lincoln has audiences divided over whether it’s a brilliant film or a snoozefest.

My opinion leans decisively toward the former.

I recognize that (especially the first half) the film is slow-moving, but I found it engrossing and well-made.

Even the subtle aspects (costumes, art direction, lighting) are masterfully done.

I found Daniel Day-Lewis’s (Abraham Lincoln) lengthy stories intriguing, not dull, and a wonderful history lesson.

Steven Spielberg does what he does best- he creates a Hollywood film done well. He’s also done controversial, shocking, or experimental films, but mainstream fare is his forte.

This film isn’t for everyone, but if you have the patience, it will be an enlightening experience. If nothing else, a thing or two may be learned.

Oscar Nominations: 2 wins-Best Picture, Best Director-Steven Spielberg, Best Actor-Daniel Day-Lewis (won), Best Supporting Actor-Tommy Lee Jones, Best Supporting Actress-Sally Field, Best Adapted Screenplay, Best Original Score, Best Sound Mixing, Best Production Design (won), Best Cinematography, Best Costume Design, Best Film Editing

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