Category Archives: Comedy

Gayby-2012

Gayby-2012

Director Jonathan Lisecki

Starring Jenn Harris, Mathew Wilkas

Scott’s Review #441

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Reviewed July 3, 2016

Grade: C+

Gayby (2012) is a sketch-type comedy about two best friends (a gay man and a straight woman) who decide to have a child together.

Both have reached a certain age and are unhappy to have not found the perfect mate. The story is not novel and feels more like a Saturday Night Live sketch than a film.

The film is also playing on the success of television comedies like NBC’s Will and Grace, the obvious dynamic of the central characters.

The two leads are quite appealing in a comic way, have wit (Jenn Harris is deliciously neurotic), and have great timing.

The subject matter is interesting, though as years go by and more LGBTQ+ topics are covered,  it is becoming rather dated and not novel anymore.

The negative is the frenetic, quick pacing of the film, ultimately making it rather off-putting and annoying, to say nothing of the irritating stereotypical, supporting characters.

They are written so over-the-top that it is tough to take the film as seriously as it should be taken.

Independent Spirit Award Nominations: Best First Screenplay

Safety Not Guaranteed-2012

Safety Not Guaranteed-2012

Director Colin Trevorrow

Starring Mark Duplass, Aubrey Plaza

Scott’s Review #440

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Reviewed July 3, 2016

Grade: B-

Safety Not Guaranteed is similar in style to another 2012 independent film, Ruby Sparks, in that they pose the question of “Is this fantasy or reality”?

The film deals with the subject matter of time travel.

The story centers around a magazine journalist, who, along with two interns, follows a man convinced that he is building a time travel machine.

The story then develops into a romantic comedy of sorts and the audience is unsure if the guy is crazy or purely a genius.

It’s an interesting concept, intelligently written, and Aubrey Plaza and Mark Duplass are both quite likable in the lead roles.

The one flaw for me was, at times, the movie dove into slapstick territory with a silly secondary story of a stereotypically written Indian character attempting to lose his virginity.

Besides that, Safety Not Guaranteed (2012) has intriguing intentions.

Independent Spirit Award Nominations: 1 win-Best First Screenplay (won), Best First Feature

Hope Springs-2012

Hope Springs-2012

Director David Frankel

Starring Meryl Streep, Tommy Lee Jones

Scott’s Review #434

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Reviewed June 30, 2016

Grade: B

Hope Springs (2012) is a cute, lighthearted romantic comedy-drama with enormous talent (it is tough to go wrong with heavyweights like Meryl Streep and Tommy Lee Jones).

The story tells of a middle-aged, married couple who reach the point of boredom in their long marriage. They decide to go away on a retreat to repair their marriage and add some spark.

That’s the movie in a nutshell.

There are no surprises to speak of and I expected a bit more from this film given the talent involved. It has safely written all over it, and while nice, it could have been much more.

What’s the reason for the conflict? They suddenly reach a point of boredom for no reason.

Props to Steve Carell for an against-type performance.

Hope Springs (2012) has great acting all around, but too safe of a story.

Dirty Grandpa-2016

Dirty Grandpa-2016

Director-Dan Mazer

Starring-Robert De Niro, Zac Efron

Scott’s Review #432

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Reviewed June 29, 2016

Grade: D-

It is a sad day when the only interesting aspect of a film is the gratuitous nudity of one of its stars, but that is precisely the case with Dirty Grandpa, as Zac Efron bravely bares all for the sake of art….or a big paycheck, whichever the case may be.

Otherwise, Dirty Grandpa is complete drivel.

It is crass, rude, mean-spirited, and blatant in its raunch. It also aspires (successfully) to be politically incorrect- quite surprising in these times of fairness and equality for all. If the film intends to be outrageous it succeeds in spades.

Unfortunately, there is not much comedy and the film is quite bad, even where dumb comedies are concerned.

Starring one of films greatest talents of all time- Robert DeNiro, one wonders why he would sign on to appear in this film- certainly not the money, perhaps it has to do with playing a role he has yet to do- we will probably never know.

DeNiro plays Dick Kelly, a retired Army veteran, recently widowed after forty years of marriage. Faithful for decades, he embarks on a road trip to Daytona Beach Florida, with his grandson, Jason, in tow. Dick’s goal is to conquer a slutty college girl he and Jason meet while they are eating at a roadside diner.

Lenore, the college girl, is with her friend Shadia, who knows Jason from school.  To complicate matters, Jason is engaged to self-absorbed Meredith. This sets off a chain of circumstances where each pair falls in love, all the while hurdling various trivial issues.

Thrown in are scenes of partying, acting silly, and outrageous crude remarks and behavior. The standard bathroom humor is not spared.

The subject matter of Dirty Grandpa is not unchartered territory as the “road trip/buddy movie” has been done oodles of times in film history.

My gripe is not so much with the film’s raunchiness, but to be blunt it is just not funny. Over the top in raunch comedy has worked many times before- think Pink Flamingos and other John Waters films.

But those films had characters to root for and who was interesting.

DeNiro’s character is the pits- Efron’s not so bad. The motivation of Dick Kelly is to have sex- almost like the guys in American Pie, but with them it was cute- but DeNiro plays a man in his 70’s.

That is fine, but he is so blunt about his need for sex and whines of not having sex for fifteen years because of his wife’s cancer. So, the audience is to think of him as a nice guy because he waits for his wife to die to score on spring break?

Lame.

Efron is my favorite character and as mentioned above- he bears a lot of skin, making it the most appealing aspect of this sorry film.

The chemistry between Efron and DeNiro is not terrible, and I bought them as grandfather and grandson.

Efron is not afraid to poke fun at his beefcake image and kudos to him for this. He has a fantastic, chiseled body, and good for him for showing it off.

Efron has the talent- does anyone recall The Paperboy? He was superlative in that underrated independent gem. His character is the straight man in Dirty Grandpa and the only “normal” character. He is the voice of reason if you will.

The supporting characters are as stereotypical as possible.

It is almost as if the film intends to offend, but with no good reason why. Dirty Grandpa has the dumb jocks, the horny teen girl, the weak, effeminate gay character, the Hispanic drug dealer, and so forth.

Danny Glover’s brief cameo appearance as a horny wheelchair-bound nursing home resident (and old buddy of Dick) is as much laughable (not in a good way) as forgettable. Most characters are thinly written.

Dirty Grandpa appeals to unsophisticated moviegoers who find crude, mean-spirited characters funny, and deem stock characters acceptable. Every other sensible person will dislike this film.

Ted-2012

Ted-2012

Director Seth MacFarlane

Starring Mark Wahlberg, Mila Kunis

Scott’s Review #428

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Reviewed June 21, 2016

Grade: D-

So many times I will watch a comedy deemed “the funniest movie of the year”, or some other touting, and be disappointed in it.

This is the case with Ted (2012).

To be fair to the creators, I did enjoy the 1980s references, and the teddy bear has a charming, gruff, witty, crude personality that was funny at times, but that’s it for the positives.

The main storyline (a loyal male slacker with a successful girlfriend) has been done to death and this was one of the most predictable, sappy movie endings I’ve ever seen so I don’t get why people think it is so great.

Think happily ever after, as if the result was ever in question.

Ted was filled with stereotypical characters, specifically Asian stereotypes, and a myriad of dumb situations.

The actors could handle stronger material.

Raunchy comedies need not have a surprise ending, but the sappy love story was too lame to take at times. At least the film should have taken some risks and given an edge to it.

And the lord helps us if there is an inevitable sequel to Ted (2012).

Oscar Nominations: Best Original Song-“Everybody Needs a Best Friend”

That’s My Boy-2012

That’s My Boy-2012

Director Sean Anders

Starring Adam Sandler, Andy Samberg

Scott’s Review #423

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Reviewed June 19, 2016

Grade: D

That’s My Boy (2012) is such an incredibly bad film yet there is something that strangely kept my attention.

With oodles of stereotypes and either sexist, homophobic, or racist jokes throughout the film, it should have made me angry, but somehow it did not.

This movie was so completely over the top that it could not possibly be taken too seriously.

One laughable aspect that I did enjoy was the, albeit odd, cameos by Vanilla Ice and Todd Bridges who seem to have no problem degrading themselves, and the references to the 1980s.

Otherwise, That’s My Boy is pretty rock bottom for filmmaking.

This is not a knock on the dumb comedy genre as other recent similar types of films are well written (like This is 40-2011).

But, alas, That’s My Boy (2012) is not one of those films and will not go down in history as such.

True to form, the ending was predictable and uninteresting.

Seven Psychopaths-2012

Seven Psychopaths-2012

Director Martin McDonagh

Starring Colin Farrell, Sam Rockwell

Scott’s Review #422

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Reviewed June 19, 2016

Grade: B-

Seven Psychopaths (2012) is a film that I truly wanted to like more than I did.

It started well with a Quentin Tarantino style that was appealing and the film does contain an interesting premise.

Colin Farrell plays the straight man in a cast of offbeat, quirky characters and is attempting to complete a screenplay entitled “Seven Psychopaths” based on these characters.

Sounds great, but halfway through the movie stopped delivering. I found myself slightly bored.

The film has a unique concept, to be sure, but fizzles during the second act, so much so that it stopped making much sense and lost my interest.

I did admire the creativity, though, and the chemistry among the cast is great, but the overall story in Seven Psychopaths (2012) disappointed me.

Independent Spirit Award Nominations: Best Supporting Male-Sam Rockwell, Best Screenplay

Hotel Transylvania-2012

Hotel Transylvania-2012

Director Genndy Tartakovsky

Starring Adam Sandler, Kevin James

Scott’s Review #418

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Reviewed June 18, 2016

Grade: C-

Hotel Transylvania is a 2012 animated comedy film about an overprotective Dracula with a teenage daughter fascinated with the human world.

The premise sounded interesting to me- a gothic, spooky feature and the animations are very well done- bright, colorful, and unique, but the plot is way too predictable and the story as safe as they come.

Despite the dark mood of the film, there is nothing remotely scary about Dracula or any of the other characters. Rather they are completely cliched and quite amateurish.

The target audience is age 10 and under and parents might find themselves bored. I am not a parent and I was bored to tears at one point.

It is too cutesy for my tastes.

Save for the impressive animations, Hotel Transylvania (2012) is completely mainstream fare and forgettable filmmaking.

A great story achieves mountains and this one lacks.

Robot & Frank-2012

Robot & Frank-2012

Director Jake Schreier

Starring Frank Langella, Susan Sarandon

Scott’s Review #414

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Reviewed June 18, 2016

Grade: C

Robot & Frank (2012) is one of those films where I am left with a “meh” reaction after having viewed it.

It’s not that it’s a bad movie, but there’s nothing particularly special either- it is quite ordinary and rather forgettable after the credits have rolled.

The premise, on paper,  seems novel: a future with robots that grow attached to humans. Unfortunately, the movie did not live up to the idea.

I was hoping for an interesting 2001: A Space Odyssey (1968) type robot idea (HAL) but received nothing of the kind.

I’m a big fan of Frank Langella and I felt he was the main attraction in this movie.

On a side note, why is Susan Sarandon suddenly playing every meaningless supporting role these days? Another wasted role. She deserves better.

Several plot points had no follow-through and the ending, while not exactly predictable, was nothing spectacular.

Meh.

Independent Spirit Award Nominations: Best First Screenplay

Behind The Candelabra-2013

Behind the Candelabra-2013

Director Steven Soderbergh

Starring Michael Douglas, Matt Damon

Scott’s Review #411

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Reviewed June 18, 2016

Grade: A

I thoroughly enjoyed this HBO film based on the life of Liberace, whom I was too young to know much about before viewing this movie.

The excesses of his lavish lifestyle are explored completely.

The standouts are Michael Douglas and Matt Damon who are both exceptional in their portrayals of Liberace and his young lover. Both were unrecognizable at times and completely embodied their characters.

I can’t attest to the absolute truth of the story, but the HBO film does a nice job of mixing joy, passion, heartbreak, sadness, and competition throughout.

The story undoubtedly bears a likeness to many Hollywood troubled relationships past and present.

Bus Stop-1956

Bus Stop-1956

Director Joshua Logan

Starring Marilyn Monroe, Don Murray

Scott’s Review #400

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Reviewed April 30, 2016

Grade: C

Bus Stop is a 1956 film starring Marilyn Monroe that, while surprisingly ranking as one of her best roles, is one of her worst films in my opinion and, at present times, feels dated, chauvinistic, and diminishing to women.

Perhaps perceived as romantic and cute in 1956, times have changed and the film no longer has the charm that it undoubtedly must have had decades ago.

The film is based on a play by William Inge, and, remarkably is Monroe’s first full-fledged dramatic performance. She plays a nightclub performer named Cherie or mispronounced “cherry” by her love interest, Beau, an immature, naïve, socially inept cowboy, unfamiliar with women, and looking for his “angel”.

He is accompanied by his friend and father figure, Virgil.

Together they travel by bus from Montana to Phoenix, Arizona for a rodeo. Once Beau meets Cherie, he is intent on conquering her and marrying her despite her resistance to his pursuits.

As a fan of Monroe’s more familiar works- Gentlemen Prefer Blondes and How To Marry A Millionaire, it is nice to see her in a dramatic role, which gives her some nice range and meatier material to tackle.

In 1956 she was still looking marvelous and the sexy nightclub outfit the film had her prancing around in works well.

While Monroe will never be accused of being the greatest actress in the world, her turn in this film is to be praised, and she lets out some nice emotions. Unfortunately, the character is poorly written, but Monroe gives it the old college try.

Another positive I found with the film is that of the supporting cast.

Bus stop owner Grace (Betty Field), who has a suggested tryst with the bus driver (Robert Bray) is a delight and nearly steals the show! I found their limited screen time and limited romance more interesting and fraught with more potential than the main couple (Beau and Cherie).

Eileen Heckert is fine in the role of Vera, a waitress, and confidante of Cherie, though she is given little to do.

My favorite scene takes place at Grace’s Bus Stop as the group is stranded during a sudden winter storm. Beau and the bus driver engage in a bare-knuckles fight outdoors in the driving snow while the rest look on. The bus driver is tired of Beau’s obnoxiousness and intends to teach him a lesson.

Despite being on a sound stage the scene is authentic and the snow and gusts add to the animal-like, masculine scene.

Otherwise, the film is not kind to women and in some parts is downright sexist. When Cherie, clearly rebuffing Beau’s advances, attempts to board a bus out of town (and alone), Beau decides to lasso her to prevent her from leaving.

In the next scene, we see Cherie obediently sitting next to Beau on another bus to Phoenix to presumably marry him.  It is suggested that she finally gives in, temporarily, to his advances.

This film would never be made today.

The character of Beau is not well crafted. Dumb, lower class, and bordering on abusive to Cherie, I am perplexed as to why the intent is for the audience to root for this character to obtain Cherie and ride off happily into the sunset- I certainly did not.

I would have much preferred a pairing of Cherie and Virgil, who are older, sensible, and kind.

Dated, sexist, with poorly written characters, Bus Stop (1956) is not Monroe’s best film, but it does allow an audience to see her in a dramatic role and that is worth a viewing.

Oscar Nominations: Best Supporting Actor-Don Murray

Some Like It Hot-1959

Some Like It Hot-1959

Director Billy Wilder

Starring Marilyn Monroe, Jack Lemmon, Tony Curtis

Scott’s Review #388

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Reviewed March 26, 2016

Grade: A

Considered to be one of the best comedies ever made, Some Like It Hot is a funny, outlandish, yet controlled film, that never teeters too over the top or dives into outrageous camp, but rather is well written, well-acted, and contains great chemistry between the stars.

In a nutshell, it is a film where all of the elements simply come together just right. In film comedy, this is a very rare event to happen. Rather, typically we are treated to formulas or retreads of past successes.

Some Like It Hot feels refreshing and brilliant.

The film was also monumental in paving the way to the eventual elimination of the hated Hays Code, which put many restrictions on American films from 1930-1968.

Some Like It Hot pushed the envelope in important ways, leading to a spike in creativity and art within the film industry that lasted mainly throughout the 1960s and 1970s.

For that, it is a masterpiece.

Down on their luck, broke, and needing work, Jerry and Joe (Jack Lemmon and Tony Curtis) are struggling jazz musicians who seek out a meager existence in snowy Chicago. Having witnessed the St. Valentine’s Day massacre, they go on the run from the assailants, who have seen them, and pose as Josephine and Daphne, dressed in drag.

This leads to one humorous situation after another as they take the bus from Chicago to Miami with an all-girl musical band, a slumber party of sorts, led by boozy starlet Sugar Kane (played by Marilyn Monroe), who serves as the band’s vocalist and ukulele player.

Once arrived in sunny Miami “the girls” both find romantic entanglements, with Sugar and rich millionaire, Osgood Fielding III, with obvious comic antics ensuing. Josephine poses as a male Shell Oil Junior in an attempt to woo Sugar with his assumed riches in the oil business.

What makes Some Like It Hot work so well, for starters, is that it does not go too far over the edge to make it seem campy, nor does it play it too straight if you will. The balance is perfect and that makes the film rich with natural, fresh comedy.

Director Billy Wilder chose wisely to film in black and white, thereby avoiding Lemmon and Curtis looking ridiculous with colorful, bright makeup. This was toned down and muted so that it allowed for more believability.

Additionally, the subtle edginess of the film impresses me with each passing watch.  Some Like It Hot got away with a lot in 1959, keeping in mind the restrictions of the day,  and that knowledge gives it a groundbreaking quality.

There is an air of homosexuality throughout and the final line of the film is my favorite allowing for a thought-provoking interpretation.

When Daphne reaches her breaking point with Osgood’s romancing and yanks off his wig professing in a state of exasperation, “I am a man!!” only to hear Osgood’s startling reply of “Well, nobody’s perfect”, is clever dialogue.

Did Osgood know all along that Daphne was male? Will he marry ‘her’ anyway?

Who wouldn’t have blushed gazing at Monroe’s skin-colored and quite revealing outfit? It gave the impression that she was nude, and how funny is the physical comic timing of Lemmon and Curtis together.

Bumbling around in stockings, heels, and dresses, attempting to be feminine, but never really succeeding, but somehow making all of the other characters think that they truly were women is great.

Curtis was reportedly quite uncomfortable in drag and it shows on camera, but this works out well as it gives Josephine a natural awkwardness.

Lemmon went all out in his costumes and his energy comes across.

In my opinion not looking her best, slightly plump and tired looking, Marilyn Monroe still gives the film added life and charm, and who is not mesmerized viewing her on stage singing “I Wanna Be Loved By You”?

To think that Monroe died only three short years later is sad and an appreciation of her career in the final stages.

A risqué, laugh-out-loud, funny treat, Some Like It Hot resonates with me and did so with audiences upon release in 1959.

Comical, smart, and highly influential, the film is a must-see for fans of film comedy done honestly and free of standard cliché.

A blueprint for all smart comedies to follow.

Oscar Nominations: 1 win-Best Director-Billy Wilder, Best Actor-Jack Lemmon, Best Screenplay Based on Material from Another Medium, Best Art Direction, Black-and-White, Best Cinematography, Black-and-White, Best Costume Design, Black-and-White (won)

Obvious Child-2014

Obvious Child-2014

Director-Gillian Robespierre

Starring-Jenny Slate

Scott’s Review #387

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Reviewed March 22, 2016

Grade: C+

Obvious Child is a 2014 independent comedy nominated for a couple of independent spirit awards, that contains mixed results from me.

It works on some levels but has an irritating underbelly and some unneeded components that ultimately give it a thumbs down.

The major success is star Jenny Slate, a real-life Brooklyn stand-up comic with immeasurable comic timing, who will hopefully become a rising star.

Interesting to note is that Slate starred in a 2009 short film of the same name before said film graduated to a full-length feature.

Slate stars as a twenty-eight-year-old Brooklyn-ite, who moonlights as a stand-up comic in a dingy bar while working in a desolate bookstore that is soon closing.

Conversely, her parents are successful- her mother is a famed professor. When she is unceremoniously dumped by her steady, she takes up with a handsome young man for a one-night stand filled with fun.

Predictably, she winds up pregnant and forges ahead with a plan to abort their child.

The abortion story is quite interesting in that there is never a doubt what she will have done to the unborn child. Unlike films that make abortion the main focus of conflict, Obvious Child wisely does not- every character in the film supports, and even encourages her to have the procedure, including her mother and best friend.

Having been written and directed by women, this is intentional and a way of empowering women, which is one of the high points of the film. If one is on the fence about the topic of abortion or is the pro-life instance, this film may be very tough to watch as its slant is made crystal clear.

Slate is the other high point of the film. She exudes confidence and comic range. Jewish and slightly awkward looking, she is not the leading-lady type and this arguably makes her wit and sarcastic language all the more comical. She is a natural in the comedy department and I am hoping she will go far.

Two slight props for me worth mentioning are the wonderful mention of the classic film Gone with the Wind and the setting of Brooklyn. This was a great nod to film history and the setting gave Obvious Child an authentic New York City feel.

On the other hand, an utter annoyance about Obvious Child is the shameless and constant use of blatant and off-putting bathroom humor- not just once or twice, but numerous times.

How is this necessary to the plot? I really cannot say, but only can surmise that it was deemed necessary by the filmmakers to show that females can give as good as males can. Almost saying, “men can make poop jokes, why can’t women”? Why this is necessary for any film is beyond me and it gives Obvious Child a crass, ugly feel.

The film also has an unrealistic quality to it. Max is portrayed as prince charming. He can do no wrong, supports Donna in any decision she makes, is enamored by her sole being, and loves her unconditionally after only a one-night stand. This would not happen in real life.

The fact that Donna is Jewish and quirky and Max is Christian and straight-laced is not explored. What conflicts would they undoubtedly face? Why were his parents not featured?

Highly uneven, with a great premise and an interesting slant on a still-controversial social issue, Obvious Child succeeds in the story department but fails in its uncalled-for use of potty humor to elicit cheap laughs.

Independent Spirit Award Nominations: Best Female Lead-Jenny Slate, Best First Feature

Spy-2015

Spy-2015

Director-Paul Feig

Starring-Melissa McCarthy, Jason Statham

Scott’s Review #386

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Reviewed March 20, 2016

Grade: C+

Spy is a 2015 comedy spy spoof starring funny-lady Melissa McCarthy as a loser desk CIA-analyst suddenly thrown into the field and assigned to rescue a missing agent whom she is also in love with.

Carrying the film in every way, McCarthy is very funny and adds a great deal to an otherwise formulaic,  by the numbers, comedy.

As, admittedly, the “action-comedy” genre is not my favorite, I have seen much worse than Spy, and the premise is quite nice, but the second half of the film sinks into the ridiculous and is very loud and overly long.

McCarthy plays Susan Cooper, a frumpy forty-year-old woman with a decent job as a CIA analyst (she tracks the field agents cameras and warns them of impending peril), an important job, but she is deemed dispensable and a loser by the higher-ups at her job, with more important duties.

She is single, overweight, and lonely, pining after her sophisticated partner Bradley Fine (Jude Law), a field agent and stylish James Bond-type.  After a mishap with Bradley thought dead, Susan goes undercover in France, Rome, and Budapest to solve the case since she will be unnoticed.

Spy is a film with a star that completely carries the film. Personally being a big fan of McCarthy’s and enjoying her performance in whatever she appears in (comedy or drama), this film needs her charisma and comic timing.

Spy contains a few laugh-out-loud moments, especially when McCarthy is forced to take on the persona of one loser after another- a divorcee with multiple cats and a wardrobe to cringe over-throw in a 1980’s perm and you’ve got a great SNL type moment.

The film itself reminds me of a long SNL skit. When McCarthy delivers her one-liners they connect and amuse.

An apparent homage to spy films and James Bond films, Spy seems closer to an Austin Powers film as it goes for more silliness, but not quite as over the top. Still, the European locales offered added elements of Bond films in a pleasant way. McCarthy as an apparent female James Bond is also kind of cute.

A noticeable negative is the unnecessary two-hour running time. With a genre of this nature, a ninety to one-hundred minute running time is all that is necessary, and any more than that and the jokes wane, become redundant, and usually teeter off into the ridiculous, which is exactly what happens with Spy.

Another problem with Spy is the supporting characters. A well-known cast including Rose Byrne, Allison Janney, Jason Statham,  and Bobby Cannavale, each of these actors are cast in cartoon-like, one-note roles.

Cannavale and Byrne are the villains (Sergio and Rayna) in the plot and they play their roles in a one-dimensional way,  as evil as possible, but perhaps also over-acting the parts.

This could be the fault of the director or simply what is accepted in the genre that this is. Janney-  as the tough-as-nails CIA director and Statham as the dumb, temperamental, field agent also overplay their roles.

Why are all of these characters loud, unpleasant, insulting, or all of the above? The answer is it might allow better comedy to have caricatures instead of characters, but that is a debate for another time.

On the other hand, Miranda Hart as McCarthy’s sidekick Nancy, a very tall, awkward woman and Susan’s best friend is great and shares equally in the comic success that McCarthy brings.

Their chemistry is evident and a recommended second pairing would be worth exploring. Unlike the other characters, I felt myself rooting for her and wished her a love interest, though the 50 Cent romantic introduction was strange.

The plot is more or less trivial and rather unimportant in a film like this. Rationally speaking, almost everything that transpires in this film would never happen in real life, but alas, this is the movie, so one must suspend disbelief big time.

Spy is escapist fare to the max.

A hot mess if not for the wit and comic timing that McCarthy brings to the table, Spy has an interesting premise, but fails at delivering anything more than the silly formula that has existed for decades in the film comedy world. I finished the film with mixed emotions.

Gentlemen Prefer Blondes-1953

Gentlemen Prefer Blondes-1953

Director Howard Hawks

Starring Jane Russell, Marilyn Monroe

Scott’s Review #384

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Reviewed March 13, 2016

Grade: B+

One of the iconic and legendary stars Marilyn Monroe’s better-known offerings from her brief career is Gentlemen Prefer Blondes (1953), a fun musical/romantic comedy.

She stars alongside Jane Russell, another popular Hollywood star from a golden era of film to create this wonderful gem.

Together they have great chemistry and an easy yin and yang relationship, which makes the film light and cheerful, but not meaningless or too fluffy.

It is just right for the genre that it is.

As mentioned before, the romantic comedy has changed in modern cinema and Gentlemen Prefer Blondes contains the innocence and charm that has since been lost. The 1950s were a perfect time for this genre of film.

Lorelei Lee (Monroe) and Dorothy Shaw (Russell) are American showgirls and best friends who perform a stage show together. Lorelei loves diamonds and rich men- she is dating Gus Esmond, an awkward yet lovable young man, who is wealthy but controlled by his father.

Dorothy is less interested in being showered in wealth but prefers handsome, in-shape men. When the girls head to Paris on a cruise ship, the adventures begin- Lorelei is observed and followed by a private investigator (Malone) hired by Gus’s father, while Dorothy is pursued by members of an Olympic swim team.

The film is entertaining and a must-see for all Monroe fans, as it was at the time when she was at her best- Gentlemen Prefer Blondes and Some Like it Hot are my personal favorites and she was in the prime of her tragically short film career- sure she plays the “dumb blonde” character with gusto, but there is something innocent and fun about her portrayal of Lorelei and we fall in love with her immediately.

Dorothy is the leader- the smart one- and she compliments Lorelei’s naivety. More worldly and sophisticated she watches out for her counterpart.

What makes the film work so well is the chemistry between Monroe and Russell. The audience buys them as best friends and the two actresses (who reportedly got along famously).

Monroe shines during the legendary number, “Diamonds are a Girls Best Friend”, a number that famously inspired the 1984 Madonna video “Material Girl” that will forever live on in music history.

My favorite scene takes place on the ship as Lorelei gets into trouble as she sneaks into the private investigator’s cabin to obtain incriminating evidence and winds up stuck in the tight cabin window.

The shot of Monroe sticking halfway out the window is funny. She then hilariously enlists a young, precocious child to help her avoid recognition and fool a man with a sub-par vision.

Vision also comes into play when Dorothy disguises herself as Lorelei in a silly fashion (she appears looking more like a drag queen) in a courtroom scene over hi-jinks involving a stolen tiara.

Interesting is the scene in which Dorothy is flocked by dancing Olympic gymnasts and is as provocative as could be in 1953.

Certainly unable to show any form of nudity whatsoever, the dancers are clad in nude-colored shorts, which certainly suggests elements of sexuality, an illusion of nudity, and fits the scene perfectly as Dorothy is in testosterone heaven.  It is like a big, giant fantasy for her.

Gentlemen Prefer Blondes (1953) is a successful offering from another cinematic time- a time that is sorely missed. Cute, but not trivial, the film is worth dusting off for a watch every so often and to marvel at the iconic Marilyn Monroe.

How to Marry a Millionaire-1953

How to Marry a Millionaire-1953

Director Jean Negulesco

Starring Lauren Bacall, Marilyn Monroe, Betty Grable

Scott’s Review #381

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Reviewed February 28, 2016

Grade: B

How to Marry a Millionaire (1953) is a light-hearted, fun, romantic comedy from 1953 that features three leading ladies, famous at the time- Lauren Bacall, Betty Grable, and the legendary Marilyn Monroe.

The backdrop used in the film is New York City, in the 1950s, warm and sophisticated, and pleasing. This is an appropriate setting as all three women featured in the film are models searching for wealthy suitors.

Schatze (Bacall), Loco (Grable), and Pola (Monroe) are blatant gold-diggers, set on using their looks and charms to seduce rich men into marriage. They rent an enormous and lavish apartment (the owner is out of the country and avoiding the IRS) and slowly sell the furniture to pay the rent.

Each woman encounters potential beaus, both rich and poor, and must choose between true love and marriage for money. Or can they achieve both?

Very soon I noticed similarities to the 1980’s television sitcom The Golden Girls. As a whole, the ladies on the Golden Girls were constantly pursuing men- albeit not always rich men, but more specifically, Schatze resembles Dorothy in her directness, leadership skills, and height.

Loco has qualities attributed to Blanche- sexiness and a coquettish manner. Finally, Pola is dizzy and blonde, a close match for Rose. Unquestionably, How to Marry a Millionaire influenced the iconic television series.

How wonderful the setting is. Interspersed throughout the film are shots of Manhattan, not to mention the visible New York City skyline from the lady’s luxurious apartment where men come and go in attempts to pursue the eligible women.

The city skyline is set, however, other locales are not.

Numerous cinematic shots include the Empire State Building, Central Park, the Brooklyn Bridge, the lights of Times Square, Rockefeller Center, and the United Nations Building.

As a lover of New York City, it struck me as both fantastic and melancholy to think about how many people have come and gone throughout the iconic city, yet here it remains and always will. A slice of 1950’s Manhattan- another time entirely- was wonderful to see.

The film itself is arguably fluff- lightweight to be sure. But there is a 1950s innocence and a sense of fun to How to Marry a Millionaire that has become tainted and is missing in today’s romantic comedy genre- everything is now so crude and cynical, which is why this film works for me. There is a wholesomeness to it.

Sure, the women are manipulative (specifically  Schatze), but they yearn for true love and are kind women. Their escapades are humorous. Pola- frightened of being seen by a man wearing her glasses- and blind as a bat without them- constantly bumps her way into walls and navigates rooms by feeling her way around.

More humorous still is when she mistakes a flight to Atlantic City for Kansas City, thereby changing the course of her life.

Loco (Grable), clearly the oldest of the three, and in fact, by this time Grable was looking flat out matronly, decides to go on a trip to Maine with her married beau, expecting to attend a convention filled with rich and eligible men.

Misunderstanding the situation, she then engages in hilarious hijinks with her beau and also meets dashing, but poor, Eban.

Light, fun, with bright colors and sets, How to Marry a Millionaire (1953), when watched now, brings me back to a more pure day, when films were innocent and fresh- filled with glamour and sophistication.

A trip down memory lane in the film is a nice thing.

Oscar Nominations: Best Costume Design, Color

Hail, Caesar!-2016

Hail, Caesar! -2016

Director-Ethan Coen, Joel Coen

Starring George Clooney, Channing Tatum

Scott’s Review #377

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Reviewed February 16, 2016

Grade: B+

Hail, Caesar! is a quirky film created and directed by the Coen Brothers, known for such offbeat films as Fargo, No Country for Old Men, and Raising Arizona.

Hail, Caesar is a satirical comedy about the Hollywood film industry during the post-World War II period of the 1950s.

Including singing, dancing, and scandalous matters, the film includes a bevy of current Hollywood talent including George Clooney, Channing Tatum, Josh Brolin, and Scarlett Johannsen to name but a few.

All give fine performances and add humor and wit to the film.

The plot centers on the character of Eddie Mannix (Brolin), a celebrity “fixer” and real-life person, who works as an executive for Capitol Pictures, and whose main responsibility is to ensure that famous Hollywood stars remain out of trouble.

The period is 1951, a particularly scandalous time in pictures. One of the biggest stars of the time, Baird Whitlock (Clooney), is suddenly kidnapped and held for ransom while completing a big epic film for the studio. Mannix must race to keep the crisis out of the news and safely get Whitlock back.

Certainly, there are interesting subplots including handsome, yet talent-less Western actor Hobie Doyle, hired by the studio to appear in a sweeping period piece directed by suave Laurence Laurentz (Ralph Fiennes), and DeeAnna Moran (Johannsen), unmarried and with a “bun in the oven”, determined to keep herself out of the tabloids.

I loved the look of the film, as numerous films within the film occur. The 1950’s set pieces and set designs are exquisite to experience, particularly the period piece set, lavishly designed with classic doors, a staircase, flowers, and a cast dressed to the nines. It brings back an extravagant time.

The film is a satire, to be sure, but also contains the serious subject matter of communism (especially for that period), Russia, and Russian defectors, all involved in a plot to prove a valuable point.

Despite the film being a comedy, this is worth serious thought. Many writers in Hollywood make money for the studios and are rewarded with underwhelming salaries. The same holds in Hollywood today.

This point can spill over into other walks of life as well and the point of the “little man gets screwed” is explored. Communism is also explored throughout the film as the main message- a message that is important and resonates.

Another interesting tidbit that Hail, Caesar! mentions, though only on the surface, is the burgeoning onslaught of television programming.

Suddenly, more and more folks were purchasing TVs and staying away from the glamour of films opting instead for the comfort of their couch.

What a different time it was!

An intriguing, favorite character of mine belongs to Channing Tatum’s portrayal of Burt Gurney, a Gene Kelly-like character famous for singing and dancing numbers. A sizzling sailor dance gives edge and sexuality to the film.

A revealing scandal involving Burt and Laurence is fantastic and delicious.

My favorite scene belongs to Frances McDormand, shamefully only appearing in one scene- quite memorable. As film editor C.C. Calhoun, she diligently shows Mannix film dailies in the hopes of discovering a clue in the disappearance of Whitlock. When her scarf gets caught in the projector, both hilarity and grotesqueness ensue.

It is a classic Coen Brothers comedy.

Hail Caesar! succeeds as a witty, comical, throwback to a wonderful time in film history, with a political edge, that historians will appreciate and Coen Brothers fans will relish.

Perhaps not their most creative or memorable, but enjoyable all the same.

Oscar Nominations: Best Production Design

The Big Short-2015

The Big Short-2015

Director-Adam McKay

Starring-Christian Bale, Steve Carell

Scott’s Review #369

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Reviewed January 10, 2016

Grade: A-

The Big Short is a confusing film- and that is its intention and also it’s genius.

Throughout some of the film, I was uncertain how much I liked it (or got it), and found many of the characters unlikeable, but at its conclusion, I realized that is exactly what the filmmakers intended-this is a clever tactic and makes The Big Short a success.

On the surface, the film has some humor, but is a very dark story at its core, and left me a bit depressed and terrified at the conclusion.

I am very happy that the film is receiving accolades and is the “thinking man’s” hit movie of the season.

To attempt to summarize the film, the film begins in 2005, approximately two years before the financial crisis of 2007-2008.

Eccentric hedge fund manager Michael Burry (Christian Bale), realizes the U.S. housing market is very unstable and predicts a crash.

He attempts to profit by betting against the market, a move that is laughable to all around him- especially the banks who anticipate a windfall at Michael’s expense. Trader and fellow market managers, Jared Vennett and Mark Baum (played by Ryan Gosling and Steve Carrell) catch wind of Michael’s theory and try to get in on the action.

There is a sub-plot involving two younger investors also attempting to profit through the guidance of a retired banker (played by Brad Pitt).

The financial collapse is a tender subject and certainly no laughing matter, especially since it is so recent and affected so many people.

The Big Short is touted as a comedy, which in a way is strange to me. I found the audience didn’t know exactly what to laugh at or when. The film’s “laughs” were cynical, witty, and sometimes wicked. Many people do not get this type of humor.

In real life, people were kicked out of homes, lost their jobs, pensions, etc. and it was all the result of greed, which The Big Short hammers home.

Several scenes include frat-boy investor/trader types getting rich by enabling almost anyone to be able to afford a new house. Little did these people realize that there was a catch. The film paints a jaded picture of Wall Street. The rich get richer at the expense of the middle-class and poor. It is an age-old sad tale.

Performance-wise, Carrell and Bale are the standouts. They both play characters who are damaged. Bale’s Michael is socially awkward, has a false eye, but is also a genius. Carrell’s Mark is angry, grizzled, and is in therapy as a result of his brother’s suicide. Both actors give great performances and have developed into worthy, credible acting talents. Worth mentioning are small, but meaningful roles by Melissa Leo and Marisa Tomei.

The Big Short is shot in an interesting way- highly unusual. From time to time, the action will stop and a famed celebrity (Selena Gomez, a world-renowned chef, or a model in a bubble bath) will explain the events of the film, thus far, or give some sort of review. Also, more than once the actors will turn to the camera and speak directly to the audience. A nice, personal touch that I found effective.

In the end, not much in life has changed, which is the real message of the film, and a frightening one. As one character brilliantly puts it “people will go back to blaming the poor and the immigrants”, which is a sad message.

After millions lost everything, not much has changed in the world and The Big Short makes that very clear. The people responsible have gotten away with crime, the banks bailed out, and a new scheme is undoubtedly in place. It’s a sad world.

The Big Short is a gritty, harsh look at reality and a terrific film.

Oscar Nominations: Best Picture, Best Director-Adam McKay, Best Supporting Actor-Christian Bale, Best Adapted Screenplay (won), Best Film Editing

Fargo-1996

Fargo-1996

Director Joel Coen and Ethan Coen

Starring Frances McDormand, William H. Macy

Top 100 Films #79

Scott’s Review #366

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Reviewed January 9, 2016

Grade: A

Fargo (1996) is a treasure as far as I’m concerned and the role that deservedly propelled Frances McDormand to the forefront of the film audience’s minds- not to mention a gold statue for Best Actress.

The film epitomizes dark humor, and zany freshness, during a time in cinema when originality was emerging, and independent films were growing in popularity.

Fargo led the pack.

The film suffers from some derision by locals in and around the upper mid-west U.S.A. for its depiction of accents- perhaps overdone, but hysterical all the same.

Mixed with the snowy and icy locales, the film perfectly presents a harsh and small-town feeling.

The introduction of a crime- initially done innocently, escalates out of control.

Fargo is a part caper, part thriller, and part adventure and is a layered, cool film.

The fact that the time is 1987 is great. The cars, the Oldsmobile dealership, all work particularly.

McDormand plays a local Police Chief- Marge Gunderson, very pregnant, who stumbles upon the crime and slowly unravels the mystery.

All the while, the character keeps her cool, cracks jokes, and emits witty one-liner after another, presenting a slightly dim-witted image, but brilliantly deducing the aspects of the crime.

William H. Macy, in 1996 largely unknown, is perfectly cast as a car salesman, Jerry Lundegaard. Nervous, and shaky, yet with down-home respectability, he hatches a plot to have his wife kidnapped, the ransom to be paid by her wealthy father, enabling Jerry to pay off an enormous embezzling debt, and splitting the money with the kidnappers.

Predictably, things go awry and spiral out of control.

I love how the film crosses genres and is tough to label- is it a crime drama, a thriller, or a comedy? A bit of each which is the brilliance of it.

Fargo (1996) is an odd, little piece of art, and is remembered as one of the best films of the 1990s, making a star out of Frances McDormand.

Oscar Nominations: 2 wins-Best Picture, Best Director-Joel Coen, Best Actress-Frances McDormand (won), Best Supporting Actor-William H. Macy, Best Screenplay Written Directly for the Screen (won), Best Cinematography, Best Film Editing

Independent Spirit Award Nominations: 6 wins-Best Feature (won), Best Director-Joel Coen (won), Best Male Lead-William H. Macy (won), Best Female Lead-Frances McDormand (won), Best Screenplay (won), Best Cinematography (won)

Pink Flamingos-1972

Pink Flamingos-1972

Director John Waters

Starring Divine, Edith Massey

Top 100 Films #96

Scott’s Review #359

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Reviewed January 9, 2016

Grade: A

One of the true, and best, late-night gross-out films of all time, Pink Flamingos (1972) breaks down barriers I never thought possible to do in film and contains one of the most vomit-inducing scenes to ever grace the movies.

The film is certainly one of a kind and will only be appreciated by a certain type of film-goer. Pink Flamingos is raw, entertaining, and must be seen to be believed.

Outrageous in every way and shot documentary style, the film has weird close-ups and amateurish camera angles, only adding to the fun.

I love the film.

In what director John Waters famously dubbed the “Trash Trilogy”, along with similar films Desperate Living and Female Trouble, Pink Flamingos has the dubious honor of being the best of the three.

Waters stalwart, Divine, plays Babs Johnson, an underground criminal who lives a meager existence in a trailer along with her mentally challenged son Crackers, and her bizarre, egg-obsessed mother, Edie (Massey). They are joined by Babs’s companion, Cotton.

In an attempt to win the “Filthiest Person Alive” contest and usurp Babs from achieving this distinction. the Marbles (Mink Stole and David Lochary) set out to destroy her career.

Pink Flamingos is complete and utter over-the-top fare, but I have fallen in love with the film over the years.

Let’s just say it is a type of film that is an acquired taste, and one will eventually revel in the madness or be disgusted with its bad taste.

Waters, a truly creative,  breaks new ground in filthy behavior. On a budget of no more than $10,000, it is more than impressive how he pulled this off successfully.

The antics that Babs and the Marbles engage in are downright crude, but the extreme nature of the fun is exactly what is to love about the film. Hysterical is the character of Babs’s mother Edie.

Confined to a crib and constantly inquiring about the Egg Man, she is obsessed with eggs and wants to eat nothing else. She eventually marries the Egg Man. The character is entertaining beyond belief.

The Marbles run a clinic in which they sell stolen babies to lesbian couples for cash.  When they send Babs a box of human excrement and a card that says “fatso”, the war between the two sides is on.

The highlight of the film is the main sequence in which Babs holds a birthday party. A male contortionist flexes his anus in rhythm to the song “Surfin’ Bird”, which may be the only film featuring an anus.

How Waters got away with some of this stuff is mind-blowing.

The most disturbing scene occurs at the very end when Babs watches a dog do “its business” on the street and proceeds to pick up the excrement and eat it, revealing to the audience a toothy (and brown) smile.

Reportedly Divine did this act. As the film ends, Babs truly is “The Filthiest Person Alive”.

Thanks to the genius of John Waters and Divine and the superlative supporting cast, Pink Flamingos (1972) is a reminder that creativity and unique humor do not have to conform to a specific style or follow a road map.

Waters takes any film criteria and throws it right out the window, instead of creating a masterpiece in warped fun and disgust.

Caddyshack-1980

Caddyshack-1980

Director Harold Ramis

Starring Chevy Chase, Rodney Dangerfield, Bill Murray

Scott’s Review #353

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Reviewed January 9, 2016

Grade: A

Caddyshack is one of the funniest slapstick comedy films of the 1980s, arguably the decade of the “mindless comedy”.

Made in 1980, the cusp of the decade, it led the pack during a time when one after the other, comedy films were churned out out-cookie cutter style- based largely on the success of Caddyshack.

While not every aspect of the film works, the parts that do are hysterical and its influence in film history is unquestionable. More than merely a “dumb comedy”, Caddyshack features funnymen of the day (Bill Murray, Chevy Chase, and Rodney Dangerfield), and the talent and timing are well.

Clean-cut teenager Danny Noonan works as a caddy at a posh resort named Bushwood Country Club. An “underachiever”, he lacks direction in life while being pressured by his parents to attend college.

While spending the summer at work pondering his future, high jinks ensue as a rivalry develops between the club co-founder, Judge Smails (Ted Knight), and the outrageous Al Czervik (Rodney Dangerfield), who is a nouveau riche real estate developer.

Meanwhile, bordering on psychotic, Bill Murray as groundskeeper Carl Spackler is engrossed in his feud with a gopher running rampant on the golf course.

Mixed in with all of this are the standard teen romance themes, bathroom gags, and sexual jokes.

Caddyshack is not high art nor does it need to, or intend to be. It is simply pure juvenile fun. It is not even that well written, but it works. The portions that work so well do not even involve the caddies featured in the film- originally set to be the focal point.

Rather, the real scene-stealers are the two oldest members of the cast- Rodney Dangerfield and Ted Knight. The bickering and barbs traded between the two characters are delicious and downright funny.

When Al mocks Smail’s hat, or dances with his snobbish wife, or crashes into his new boat, each scene is rich with goofy comic timing.

Without a doubt, my favorite scene is the “doody” scene in the resort pool. It is laugh-out-loud raucous as a candy bar tossed into the water is thought to be something else.

The star of this scene is Lois Kibbee, who plays Judge Smail’s wife.

Her comic mannerisms and upper-crust looks make her a perfect choice for the role and she arguably steals the show in her limited appearances.

When Al jokes that she must have been something before electricity, her facial expressions perfectly emit comic horror.

There are points of the film that really are unnecessary and do not work well- I have never understood Bill Murray’s character of Carl. Bordering on silly, with a stuffed animal as the gopher, Murray himself is fantastic- improvising, but the role does not seem necessary to the rest of the film.

More scenes between the Judge and Al, or more from Chevy Chase’s character of Ty, and of the Judge’s wife would have been preferable.

Also, the attempted teen triangle between Danny, Maggie, and Lacey is dullsville- plain Maggie cannot compete with gorgeous and slutty Lacey.

These criticisms, however, are small gripes when compared to the hilarity and perfect timing of the rest of the film and that is why it ranks among one of my favorites.

Caddyshack, along with Animal House, paved the way for the plethora of slapstick comedies to follow- a few good, most bad, but must be recognized as the influence that it was, and a must-see for fans of golf, sports, and good, clean fun.

The elements of Caddyshack (1980) come together and work so well.

Beaches-1988

Beaches-1988

Director Garry Marshall

Starring Bette Midler, Barbara Hershey

Top 100 Films #93

Scott’s Review #352

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Reviewed January 9, 2016

Grade: A

Beaches (1988) is a film that can easily be described as sentimental, sappy, and a chick flick- all in a derogatory fashion- but that regardless, is a treasure to me. I fall for this tearjerker every single time that I watch it.

It is not necessarily a great film, not high art, nor particularly edgy, but a good, old-fashioned, conventional film about friendship.

Bette Midler and Barbara Hershey give the film believability whereas other similar films would appear contrived.

C.C. Bloom (Midler) and Hillary Whitney (Hershey) are lifelong friends from opposite backgrounds. Besides, they could not have more opposite personalities. C.C. is blue-collar, outrageous, and brash, Hillary, is demure, rich, and sophisticated.

We meet our friends as young girls on the boardwalk of Atlantic City, C.C. hiding from her overbearing stage Mom, and Hillary lost and wandering the boardwalk.

The two become fast friends despite their vastly different upbringings and stay connected through ups and downs and life’s trials and tribulations, for over thirty years.

The chemistry between Midler and Hershey is great. I completely buy them as best friends through the years, despite having little in common.

Throughout their tender, emotional scenes, and the knock-down-drag-out fight they have at the mall (a fantastic scene!), there is never doubt about what they have.

They compete over a man, which ordinarily is a lame plot device, but in Beaches, it works because the two stars make it work.

Each actress puts her mark on the individual role. Midler’s C.C. is arrogant, feisty, and interesting as she begins a “have not” and becomes a “have”.

She becomes spoiled and pampered- all of the things she envies about Hillary. She does not handle wealth as well as Hillary because she lacks education. Hillary, an attorney, is classy and graceful.

These characteristics are why it is believable that the women would be at odds.

The last act is a weepy one as one of the women dies, leaving the other to pick up the pieces and move on- alone. This is a sad moment in the film, but the women’s devotion and loyalty are admirable.

Beaches (1988) may not be high art, but boy will it get you reaching for the tissues.

Oscar Nominations: Best Art Direction

Reform School Girls-1986

Reform School Girls-1986

Director Tom DeSimone

Starring Linda Carol, Wendy O. Williams, Pat Ast

Top 100 Films-#100

Scott’s Review #348

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Reviewed January 9, 2016

Grade: A

Let’s be honest here- Reform School Girls (1986) is neither a work of cinema art nor a particularly well-acted film.

From a critic’s perspective, it is riddled with stereotypes and objectifies women.

Still, it’s one of my favorite guilty pleasures and has an offbeat charm that makes me want to watch the film over and over again. I never tire of it. I also don’t think it should be reviled, but rather, revered.

There is a perverse magnificence to the film and some similarities to another cult gem- Russ Myers’s Faster Pussycat, Kill!… Kill! (1965)

Critics be damned- not every film needs to be high art!

One of my absolute favorite cult actresses, Pat Ast, famous for another cult gem, 1972’s Heat, stars in Reform School Girls as a vicious prison guard.

Alongside punk rocker turned actress, Wendy O. Williams, they make the film a guilty masterpiece as both women bring their share of odd energy and humor to the flick.

Sybil Danning co-stars as the corrupt Warden Sutter.

The plot of the film is pretty straightforward and it screams late-night fun.

A virginal teenage girl named Jenny is sent to a reform school run by the sinister warden and her sadistic and abusive henchwoman, Edna (Ast). While there, Jenny is intimidated by Charlie (Williams), who rules the roost via bullying and threats. Jenny is accompanied by several other terrified girls, who are stripped and degraded by Edna.

This leads to an attempted escape and protest scene by the girls and others as they try to remove themselves from their tormentors.

Reform School Girls is simply great fun.

The poor acting is actually a strength of the film as one scantily clad female after another prance around the reform school.

Wendy O. Williams regularly wears skimpy panties, bra, and heels, and is laughable playing a teenager since the actress was pushing forty years old.

The culmination of the film is fantastic as a chase ends up by an enormous tower on the grounds of the prison, resulting in the deaths of Charlie and Edna in a dramatic fashion.

Edna’s charred remains are met by an uproar of cheers by the inmates- I half expected them to burst into a chorus of “Ding Dong the Witch Is Dead”.

Reform School Girls (1986) is a perfect cult classic to enjoy on a late Saturday night.

Clue-1985

Clue-1985

Director Jonathan Lynn

Starring Christopher Lloyd, Eileen Brennan, Madeline Kahn

Top 100 Films #61

Scott’s Review #341

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Reviewed January 9, 2016

Grade: A

Clue is a harmless, 1985 comic yarn that is not a cinematic masterpiece, nor anything more than fluff.

But since I adored the classic board game growing up and reveled in the excitement of the different characters, rooms, and murder weapons, the film version holds a very special place in my heart and memory bank, having watched it time and time again as a youngster.

The plot is immediately filled with intrigue- a successful element and the best part of the film.

Six interesting characters- with provocative aliases such as Ms. Scarlet, Colonel Mustard, and Mrs. Peacock, are all summoned to a New England mansion named Hill House.

Naturally, it is a dark, stormy night and each receives a mysterious note written by a stranger.

Among the colorful characters working at the mansion are the plump cook, the scantily dressed maid, Yvette, and the butler, Wadsworth, who is running the show and greets the confused guests.

Slowly, it is revealed that all of the guests are being blackmailed and all of them either live or have ties to Washington D.C.

After each guest is given a weapon as a gift, the lights go out and a murder occurs, launching a fun whodunit. Each guest, and the staff, strive to figure out who has committed the murder, as subsequent murders begin to occur.

The comic hi-jinks are reminiscent of funny films like High Anxiety (1977)  and even Young Frankenstein (1974).

The atmospheric qualities featured in Clue are what I love most about the film- the vast mansion, the many gorgeously decorated rooms, the secret passageways, and the driving rain all make for a great ambiance.

Clue is clever in that it features three different endings!  Upon initial theatrical release, this was a unique premise- one could see the film multiple times and not know how it was to end or who the killer might be revealed to be.

Unfortunately, the film was not a commercial success so this ploy did not work.

The famed cast delivers their parts with comic gusto, and with lesser talents, the film would simply be dumb. It seems obvious that the cast had a good old time with this romp- Eileen Brennan, Christopher Lloyd, Lesley Ann Warren, and Madeline Khan, have a comic ball with their perfect delivery of the lines.

Clue is not a message movie, it does not inspire cinematic art, but what it does, it does incredibly well- it entertains.

The writing and the political and sexual innuendos are witty. One can become lost in the interesting characters and try to guess, or even make up, the whodunit and why they did it.

I can be entertained by Clue (1985) time and time again.

The Graduate-1967

The Graduate-1967

Director Mike Nichols

Starring Dustin Hoffman, Anne Bancroft

Top 100 Films #48

Scott’s Review #335

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Reviewed January 9, 2016

Grade: A

The Graduate is an immeasurable success and highly influential comedy from 1967- a time when films were gaining creative freedoms and pushing the envelope in new, edgy ideas and risqué subject matters.

Almost scandalous at the time of release, the film holds up exceptionally well after all these years and remains fresh and cutting edge.

It is slick, sophisticated, and quite funny, though peppered with dark humor.

Thanks to Dustin Hoffman and Anne Bancroft, the film works and is among my favorites of all time.

Hoffman plays Benjamin Braddock, a nervous, insecure recent college graduate, who returns home to sunny California unsure of what his future will hold.

His overbearing parents throw a lavish celebration at their home where Benjamin is flocked by well-wishers, most of whom have a materialistic edge to them. His parents live in a very affluent community where wealth and items are of great importance.

All Benjamin wants to do is be by himself. At the party, Benjamin is pursued by the much older and glamorous Mrs. Robinson (Bancroft), who lives nearby and asks Benjamin for a ride home.

Her attempted seduction of him kicks off the meat of the film and how their relationship progresses, especially when Mrs. Robinson’s daughter, Elaine (Katharine Ross), enters the picture and steals Benjamin’s heart.

Director Mike Nichols successfully sets the right tone for the film and we see the style and the sophistication of wealthy California in the 1960s.

Fashion, style, and glamour are prevalent, but they go against what Benjamin and Elaine, stand for.

The film is also an exploration of generations. Benjamin’s parents and all of their friends are into material things cars, houses, and parties.

The triangle between Benjamin, Mrs. Robinson, and Elaine is the heart of the film. At first, we find ourselves rooting for Benjamin and Mrs. Robinson. There is a sweet nature to their romance. She is the aggressor- mature, in control, and confident whereas Benjamin is insecure and shy, yet enamored with Mrs. Robinson.

Their awkward exchange in the hotel bar and their liaison in the hotel room are fantastic scenes.

Slowly, once Elaine emerges, Mrs. Robinson becomes manipulative, more of a villain-type character, as the youngster’s love blooms and we begin to root for their happiness.

A fantastic aspect of The Graduate is its musical soundtrack- completely done by Simon and Garfunkel, a major musical duo of the late 1960s. From the opening chords of ‘The Sound of Silence’, to the appropriate ‘Mrs. Robinson’, music adds much life and energy to the film and was successful at attracting young viewers at the time.

The featured soundtrack was highly influential to other films released after The Graduate.

Still fresh today, The Graduate (1967) launched the very successful career of Dustin Hoffman and emerged as an inspirational film that, controversial in its day, seems tame now, but the writing is as crisp as it ever was.

A film to watch over and over again.  

Oscar Nominations: 1 win– Best Picture, Best Director-Mike Nichols (won), Best Actor-Dustin Hoffman, Best Actress-Anne Bancroft, Best Supporting Actress-Katharine Ross, Best Screenplay Based on Material from Another Medium, Best Cinematography