Tag Archives: Albert Brooks

Taxi Driver-1976

Taxi Driver-1976

Director Martin Scorsese 

Starring Robert De Niro

Top 250 Films #130

Scott’s Review #776 

Reviewed June 20, 2018

Grade: A

It is incredibly tough to choose a favorite among Martin Scorsese’s films, since nearly all of them are exceptionally well-made.

Goodfellas (1990), Raging Bull (1980), and Taxi Driver (1976) come to mind immediately. Taxi Driver may be Scorsese’s darkest film of all.

The thriller is intense, dangerous, and ferocious, led by a riveting performance by Robert De Niro, a regular in the director’s earlier films. The film is nail-biting and compelling, and a great, character-driven watch.

Set in the bustling and (at that time) decrepit New York City shortly following the Vietnam War, Travis is a veteran suffering from some degree of post-traumatic stress disorder.

Lonely and angry, he works as an overnight taxi driver who falls for a snooty presidential campaign worker, Betsy (Cybill Shepherd).

He also forges a relationship of a protective nature with an underage prostitute, Iris (Jodie Foster). As he gradually spirals out of control due to the unhappiness surrounding him, he plots to kill Betsy’s boss while protecting Iris from her pimp (Harvey Keitel).

One great aspect of Taxi Driver is De Niro’s extremely strong performance. Along with Jake LaMotta’s later role in Raging Bull, Travis Bickle’s role is my second favorite of his.

With Bickle, he is unpredictable, on edge, and angry, as De Niro infuses the character with those qualities in a seamless fashion.

As he teeters on the brink of insanity and is ready to snap at any given moment, the character is impossible not to watch with both fear and marvel.

De Niro is that brilliant. 

While not to be outdone by the aforementioned negative and dangerous qualities, Travis also possesses a few benevolent traits, making the character complex.

Much of this comes through in the protective nature he develops toward Iris.

Almost like a big brother/kid-sister dynamic, the deranged man treats her with kindness rather than taking advantage of her as he easily could have.

The diner scene, which the two actors (De Niro and Foster) share, is rich in interesting dialogue and binds the characters together.

Travis also feels both love and hate toward Betsy (Cybill Shepherd). As a political volunteer for a potential presidential candidate, Travis first sees her while spying on her through the large glass windows where she works.

Coaxing her to accept a date, they have coffee and eventually attend a film together. Betsy is offended by the pornographic film, and their date goes south fast.

After a vicious showdown between the pair at the campaign office, Travis goes off the deep end and plots revenge.

Scorsese’s gritty, atmospheric approach in Taxi Driver is an enormous highlight of the film. Dingy, dark, and dangerous, the director creates numerous scenes that show just how seedy New York City was in the 1970s.

Working the night shift, sure to bring out the rancid and most decaying elements of the city, Travis experiences many cretins and undesirables in his work- and arguably is one of them!

Many scenes feature the notorious 42nd Street and its accompanying porn theaters that made New York City famous (or infamous!) at the time.

In one of the film’s most frightening (and best) scenes, Travis can get his hands on a gun. He practices drawing his weapon in the mirror, repeatedly uttering the famous line “You talkin’ to me?” as we wonder if he will pull the trigger.

The scene is fraught with cerebral tension and quite frightening. Later, when Travis shaves his head and brandishes a mohawk, his new look is downright terrifying.

Scorsese creates a dark world enriched by his incredible cinematography and astounding portrayals of compelling characters in dangerous, unstable times.

Taxi Driver (1976) is a treasure to watch closely and appreciate as a timeless piece of art. Instead of decaying in the vaults of cinema, the film gets better and better with age.

Oscar Nominations: Best Picture, Best Actor-Robert De Niro, Best Supporting Actress-Jodie Foster, Best Original Score

Golden Globe Nominations: Best Actor- Drama- Robert De Niro, Best Screenplay

Terms of Endearment-1983

Terms of Endearment-1983

Director James L. Brooks

Starring Shirley MacLane, Debra Winger

Top 250 Films #152

Scott’s Review #368

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Reviewed January 9, 2016

Grade: A

Terms of Endearment (1983) is a sentimental favorite of mine, and while I am slightly embarrassed to include this chick-flick to end all chick-flicks on my favorites list, it is also a damned good sentimental film and makes me a bit weepy each time I see it.

It is pure Hollywood mainstream formula, but somehow Terms of Endearment works (romantic films are not usually at the forefront) and even won the coveted Best Picture Oscar in 1983.

That must say something.

So if it is so sappy, what makes it so great? For starters, it has exceptional acting all around, especially from the leads Shirley MacLaine, Jack Nicholson, and Debra Winger.

How can you go wrong with a talent of that caliber?

MacLaine and Winger play Aurora and Emma Greenway, a mother and daughter (the father is deceased) who share a lifelong love-hate relationship and live in the Midwest today.

Nicholson plays Garrett, a retired astronaut (and womanizer) and the object of Aurora’s affection.

The chemistry among all three is apparent- I sinfully find it delicious that Winger and MacLaine despised each other throughout filming, adding a layer of curiosity and intrigue to the film and during their scenes.

Director James L. Brooks wisely balances the heavy drama with comedy, so the film does not become too overwrought.

For example, Garrett and Aurora have a humorous courtship, constantly bickering or misunderstanding each other- he is a womanizing playboy type and Aurora a domineering, insecure woman- they end up needing each other, nonetheless.

The unforgettable drive and beach scene they share are hilarious.  Even though the duo is tenuous and difficult, I love them all the same.

The tear-jerker scenes are emotional, especially the deathbed scene at the end of the film. So much raw emotion happens at once, and, a rarity in film, the child actors are real, believable, and flawless.

The film feels like watching a true, real-life drama play out. The heartache feels real, and the film as a whole feels very genuine.

Also interesting is Emma’s failing marriage to Flap (Jeff Daniels) and her subsequent affair with kind-hearted Sam (John Lithgow), as well as her departure from her mother’s hometown, the constant phone calls, and being in one another’s lives, just like a real mother and daughter relationship often is.

Terms of Endearment (1983) incorporates all of the elements that make a good, old-fashioned, dramatic tear-jerker, and I find myself a sucker for it each time that I watch it.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-James L. Brooks (won), Best Actress-Shirley MacLaine (won), Debra Winger, Best Supporting Actor-Jack Nicholson (won), John Lithgow, Best Screenplay Based on Material Based on Another Medium (won), Best Original Score, Best Sound, Best Art Direction, Best Film Editing

Golden Globe Nominations: 4 wins-Best Picture-Drama (won), Best Director-James L. Brooks, Best Actress-Drama-Shirley MacLaine (won), Debra Winger, Best Supporting Actor-Jack Nicholson (won), Best Screenplay (won)

Broadcast News-1987

Broadcast News-1987

Director James L. Brooks

Starring William Hurt, Holly Hunter

Scott’s Review #602

Reviewed January 11, 2017

Grade: B

Broadcast News is a 1987 feature film that is admittedly an intelligently written romantic comedy.

It earned several Academy Award nominations, in what has been a bleak year for the film industry.

That said, I found the film’s overall result to be a decent, but certainly not fantastic. I left feeling that it was “okay”.

I do not think it was good enough to warrant Oscar nominations, but it was enjoyable all the same.

The principal characters are interesting enough, albeit safe.

The film centers around three television news people: a neurotic news producer (Holly Hunter), a reporter (Albert Brooks), and his rival (William Hurt).

All of them are ambitious and determined to climb the ladder of success in their Washington, D.C., base.

The film explores the characters’ relationships.

As stated, there is nothing wrong with the film. I expected a bit more, perhaps a deeper or darker story; instead, despite some witty dialogue, the film is largely a safe, predictable journey.

Oscar Nominations: Best Picture, Best Actor-William Hurt, Best Actress-Holly Hunter, Best Supporting Actor-Albert Brooks, Best Screenplay Written Directly for the Screen, Best Cinematography, Best Film Editing

Golden Globe Nominations: Best Picture-Comedy or Musical, Best Director-James L. Brooks, Best Actor-Comedy or Musical-William Hurt, Best Actress-Comedy or Musical-Holly Hunter, Best Screenplay

This Is 40-2012

This Is 40-2012

Director Judd Apatow

Starring Paul Rudd, Leslie Mann

Scott’s Review #473

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Reviewed September 6, 2016

Grade: B

I must admit, I wasn’t looking forward to seeing this movie, and my initial thought was “typical dumb comedy” that’s been seen a million times before.

While This Is 40 (2012) contains those elements and is marketed toward a specific target audience, it’s surprisingly smart and intelligent overall.

I have not viewed Knocked Up (2007), but I understand it’s somewhat of a follow-up to that film, as the two central characters are now married and traversing through a different time in their lives.

Adulthood.

I enjoyed Paul Rudd’s, Melissa McCarthy’s, and whoever played the oldest daughter’s performances the most. However, Rudd has become the latest actor to play the same role over and over again.

I enjoyed the rock n roll elements and the confrontation scenes, as these were very cleverly written and nicely acted.

Sadly, at times the film relies on the standard bathroom humor done thousands of times before- a clear attempt at a laugh, and Jason Segel’s and Megan Fox’s characters are unnecessary to the main plot.

This Is 40 (2012) is a film that, at its heart, shows the trials and tribulations of generations of families, humorously, and done rather well.

A Most Violent Year-2014

A Most Violent Year-2014

Director J.C. Chandor

Starring Oscar Isaac

Scott’s Review #239

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Reviewed May 1, 2015

Grade: B

Set in New York City during a brutally violent 1981, and influenced, at least in part, by The Godfather (1972), A Most Violent Year (2014) shares a similar tone and feel with The Sopranos (1999-2007).

A Most Violent Year attempts to weave a tale of a “good guy” mixed up with the mafia, trying to stay upstanding amid the adversity and corruption he encounters.

Oscar Isaac and Jessica Chastain portray Abel and Anna Morales, who own Standard Oil, an upstart business they are trying to launch.

Due to the violent nature of the times, several trucks are hijacked, resulting in robberies and severe beatings.

In desperate need of funds to expand their business and stay ahead of competitors, Abel and Anna are forced to take out loans, leading them into a world where crime and violence run rampant.

The Assistant District Attorney investigates them for apparent price-fixing and tax evasion.

The main theme is the conflict and guilt that Abel feels towards violence and the constant temptation to join the ranks of the crime world to protect his business ventures.

Abel faces pressure from Anna, who has mob ties (her father is an influential mafia boss known around town) and wants to fight fire with fire. Abel refuses and is determined to lead a straight and narrow life.

When circumstances spin out of control, his morals come into question.

A Most Violent Year is an interesting film, but I think I expected a bit more than I got.

For starters, it is not in the same league as the mafia works of art. It is hard to put my finger on what’s missing, but something is missing from the film, leaving it without a compelling edge.

The plot moves slowly, but the film succeeds as the character study it is; still, I left wanting more depth in the characters and a broader vision for the film.

I didn’t find myself truly invested in either Abel or Anna.

Chastain received praise for her performance, which I found adequate, but hardly a marvel. Nominated for several awards, but deemed “snubbed” for not receiving an Oscar nomination, I find this untrue.

Her performance is not brilliant, and Oscar Isaac’s is superior.

This isn’t to say I didn’t enjoy the film overall. It takes some risks, has a rich character complexity, is shot very well, and looks great. It has a smooth look, and I completely bought the 1981 time period, rather than feeling like it was dressed up for the era.

There is an authenticity to it.

A mob film not on the level of The Godfather or Goodfellas (1990), A Most Violent Year is a decent contribution to the crime-thriller era. It just doesn’t live up to the critical acclaim it received.

Independent Spirit Award Nominations: Best Supporting Female-Jessica Chastain, Best Screenplay, Best Editing