Tag Archives: Albert Finney

2004 Films, Action, Albert Finney, Andy Garcia, Bernie Mac, Brad Pitt, Bruce Willis, Carl Reiner, Casey Affleck, Catherine Zeta-Jones, Comedy, Don Cheadle, Elliott Gould, George Clooney, Julia Roberts, Matt Damon, Robbie Coltrane, Steven Soderbergh, Topher Grace, Vincent Cassel

Ocean’s Twelve-2004

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Ocean’s Twelve-2004

Director Steven Soderbergh

Starring George Clooney, Brad Pitt, Matt Damon

Scott’s Review #1,157

Reviewed June 30, 2021

Grade: B-

The casino heist gang is back together again for more action and adventure in a film that was only made because of the success of its predecessor, Ocean’s Eleven (2001).

The uninspiring title of the film, Ocean’s Twelve (2004) is a letdown as compared to the fantastic and enthralling 2001 film.

What felt like a purely original idea, even though it was a remake, now feels like stale bread that was fresh only yesterday.

Thankfully, Steven Soderbergh returns to the fold which adds some style and general good direction.

The story is slow to kick off and provides an implausible and unconventional ending that doesn’t work nearly negating most of the previous activity. There is something a bit irritating about watching a film with the knowledge that it was only made for one reason and the plot seems to be rushed and poorly thought out.

But that’s Hollywood.

Undoubtedly, George Clooney, Brad Pitt, Matt Damon, Julia Roberts, Catherine Zeta-Jones, and other top talent enjoyed the hefty paychecks they received. This is also perturbing as the performances seem ho-hum and inspired by the big bucks being deposited into big bank accounts for services rendered.

The inauthenticity all around is evident in lazy acting and writing.

The foil and mark, Terry Benedict, once again played by Andy Garcia realizes that the gang has robbed him of millions and demands the money back with interest. Unfortunately, much of it has already been spent.

Unable to come up with the cash, the crew must come together to pull off another series of heists, this time in Europe. Presumably, they are not well known there.

Being “forced” to do what the career criminals love to do is far-fetched.

Danny (George Clooney) and the gang hatch a plan to swap a Fabergé Imperial Coronation Egg for a holographic recreation. Linus (Damon) comes up with a second plan involving Danny’s wife, Tess (Julia Roberts), posing as a pregnant Julia Roberts to get close to the Egg and swap it.

They are foiled by Lahiri (Catherine Zeta-Jones) and a coincidentally present Bruce Willis, and the rest of the group are captured.

While it’s slightly clever having Bruce Willis and Julia Roberts appear as themselves especially when Julia Roberts plays another character in the film, it doesn’t work as well as it sounds on paper.

The story is way too convoluted and Ocean’s Twelve quickly turns into the sort of film you tune out of enjoying the non-story points more than the written word. In this case, that’s not a positive aspect.

The film’s successes, mainly the returning A-list cast, are also negative. While it’s fun to reconnect with familiar characters like Danny Ocean, Rusty (Pitt), and Linus, we know the characters too well and they become caricatures. Meaning, they behave exactly as one would expect them to.

Still, it is admittedly juicy and exciting to witness so many A-listers on one big screen especially when there is trickery, scheming, and just a hint of romance to be had.

I’ll also partake in just about any film that goes on location to Paris, Rome, Monte Carlo, and Amsterdam. It’s an orgy of European history and goodness adding cultural trimmings to a sub-par storyline.

Particularly inviting are the villa scenes in luscious Lake Como.

Ocean’s Twelve (2004) will please only those who are obsessed enough with the franchise to enjoy what is a retread of the 2001 film set in various parts of Europe instead of Las Vegas.

It isn’t nearly enough for me as most cleverness and bright and crisp writing are gone.

1974 Films, Agatha Christie, Albert Finney, Anthony Perkins, Ingrid Bergman, Lauren Bacall, Martin Balsam, Sean Connery, Thriller, Vanessa Redgrave

Murder on the Orient Express-1974

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Murder on the Orient Express-1974

Director Sidney Lumet

Starring Albert Finney, Lauren Bacall, Ingrid Bergman

Scott’s Review #928

Reviewed August 7, 2019

Grade: A-

Based on the 1934 novel of the same name written by famous author Agatha Christie, Murder on the Orient Express (1974) brings the story to the big screen with a robust and eccentric cast of characters all drizzling with suspicion.

The classic whodunit of all whodunits, the film adds a Hollywood flair with rich costumes and an authentic feel to a budget-blasting extravaganza that keeps the audience guessing as to who the killer or killers may be.

The film was recognized with a slew of Oscar nominations that year.

The hero of the film is Hercules Poirot (Albert Finney), a well-respected yet bumbling Belgian detective, who is solicited to solve the mysterious death of a business tycoon aboard the famous and luxurious Orient Express train.

On his way to the train’s destination, he encounters such delicious characters as the glamorous Mrs. Hubbard (Lauren Bacall), the nervous Greta Ohlsson (Ingrid Bergman), and his friend Bianchi (Martin Balsam), the director of the company who owns the enormous vessel.

Many other characters are introduced to the layered story.

As the complicated plot is unraveled, most of the characters have something to hide or a connection to another character or characters.

The fun for the viewer is to live vicariously through Poirot and await the big final reveal after the film that, unless already viewed the film or read the novel, one will not see coming.

With a film of this type, a detective thriller, the audience can be assured of a resolution, like a big murder mystery dinner theater production brought to the big screen.

Formulaic, the film never drags nor feels dull.

Amid the first few minutes of Murder on the Orient Express, the intrigue is unleashed at full-throttle speed leaving one bedazzled and hooked.

The sequence is brilliantly done and thrusts the audience into a compelling back story of plot and the wonderment of what these events have to do with a train pulling out of the Orient.

Quickly edited film clippings of a news story explain the mysterious Long Island, New York abduction and murder of the infant daughter of a famed pilot.

It is suggested that the Orient Express trip embarks from Istanbul, Turkey, and is destined for London. This means that several countries will be included in the trek, creating possibilities for both geographical accompaniments and new cultural experiences which director Sidney Lumet offers generous amounts of.

Moments following the murder, the train has the unfortunate fate of colliding with an avalanche, leaving the passengers in double peril, with a killer on the loose and cabin fever to contend with.

To the compelled viewer this is snug comfort as the atmospheric locales are gorgeous and the thought of a dozen strangers trapped together with so much to hide brings the story to a frenzy.

Who did what to the murder victim is slowly revealed as several red herrings (or are they?) are revealed. Who is the mysterious woman strutting down the corridor shortly before the murder, spotted by Poirot? Is she a staged pawn or merely an innocent victim? Could she be the murderer?

The wonderful part of Murder on the Orient Express is the number of entangled possibilities.

The conclusion of the film turns the thriller into a moralistic story, to its credit. The fact that the murder victim was hateful and diabolical is a key part of the story and makes the viewer wonder if the killer or killers are justified in their actions.

Does the fact that Ratchett was stabbed a dozen times with varying degrees of severity play into the motivation?

A very compelling, and unrecognizable Finney does a fantastic job of carrying the film among such a troupe of good actors.

Murder on the Orient Express (1974) sets out to entertain and succeeds on every level, bringing the book to the silver screen with a fresh interpretation that still honors the intent that Christie had.

Stylistic and thought-provoking, the film has gorgeous costumes, a good story, and fine acting. The knowledge of who the killer is does little to take away any enjoyment that a repeated viewing will provide.

Oscar Nominations: 1 win-Best Actor-Albert Finney, Best Supporting Actress-Ingrid Bergman (won), Best Screenplay Adapted from Other Material, Best Original Dramatic Score, Best Costume Design, Best Cinematography

1970 Films, Albert Finney, Alec Guinness, Children, Christmas, Musical

Scrooge-1970

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Scrooge-1970

Director Ronald Neame

Starring Albert Finney, Alec Guinness

Scott’s Review #561

Reviewed December 25, 2016

Grade: A

A classic that is perfect to watch around the holidays, accompanied perhaps by a roaring fire and a bit of brandy, Scrooge (1970) is a magical, musical experience, that should be adored by the entire family.

The film is a re-telling of the 1843 Charles Dickens story, A Christmas Carol.

Set in London with spectacular London-style art direction, it is perfect in its depiction of life around the holidays in the historic city, circa the nineteenth century.

To be clear, this is the musical version of the popular tale- not to be confused with the 1935 or the 1951 versions of the story.

The film is not as dark or scary as those films are. Rather, the 1970 Scrooge would be a fantastic companion piece to the 1968 classic, Oliver!, both based on Dickens stories, as both mix fantastic musical scores with dramatic elements.

Albert Finney takes center stage in flawless form as the old, cantankerous, miser, Ebenezer Scrooge. He plays the character as both an old man and, via flashbacks, as a young man (Finney was merely thirty-four years old at the time of filming).

Guinness, certainly a high-caliber actor, is effective as the ghost of Jacob Marley- Scrooge’s former business partner. Scrooge is a money-lender, mainly to the working class, and is unforgiving in his collection of debts.

Filled with hatred for all things good, especially the Christmas holiday, Scrooge refuses to attend a family Christmas dinner hosted by his nephew, Fred, or to give to any charities. He begrudgingly gives his minion and bookkeeper, Bob Cratchit, Christmas day off.

Finally left alone on Christmas Eve night, Scrooge is visited by the spirit of Jacob Marley, who tells Scrooge that he will be visited by three ghosts during the night.

In a chilling scene, Marley takes Scrooge on a journey through the sky where he is greeted by spirits doomed to traverse the Earth as Jacob is, with shackles acquired from their life as living beings.

Since they are greedy and wicked, they are doomed in the afterlife, just as Scrooge will be if he does not change his ways.

In a wonderful sub-plot, we get to know the Cratchits, led by father Bob, a poor, but earnest man. The family has little, but make the most of what they do have, and appreciate the glorious holiday. They prepare a meager Christmas bird and savor being together as a family.

Their youngest, Tiny Tim, is lame, and he lusts over a lavish train set in the local toy shop. Cratchit epitomizes goodness and richness of character and contrasts Ebenezer Scrooge.

As Scrooge is visited by the ghosts of Christmas past, present, and Christmas yet to come, he slowly realizes he needs to change his ways before it is too late, and the audience is treated to stories of Scrooge’s youth, as we realize what has made him the miserly old man that he is today.

The clear highlight of this film is its musical numbers that will leave even the most tone-deaf humming along in glee. Throughout each sequence, we are treated to various numbers.

My favorite is “Thank You Very Much”, as first appears during the Ghost of Christmas Yet To Come sequence.

By this time feeling more sympathetic and appreciative, Scrooge merrily dances and sings along with the townspeople, unaware of the fact that they are celebrating his death and are dancing on his coffin to celebrate the fact that their debts are now free and clear.

This catchy tune is a reprise at the end of the film.

Other cheery numbers are “Father Christmas” and “I Like Life”, which perfectly categorize the film as a merry, holiday one, despite the occasional dark nature of the overall film. This is necessary to avoid making Scrooge too bleak.

I also adore the vivid set designs as the gorgeous city of London is perfectly recreated to show the festive Christmas holiday. The film is not high budget but makes the most of it by using small, yet lavish sets.

Scrooge is a perfect holiday film that contains fantastic tunes, and a meaningful story, that comes across on film as a celebratory of life, never edging toward contrived or over-saturated.

A wonderful holiday feast.

Oscar Nominations: Best Original Song Score, Best Song Original for the Picture-“Thank You Very Much”, Best Costume Design, Best Art Direction

1990 Films, Albert Finney, Coen Brothers, Crime Drama, Frances McDormand, Gabriel Byrne, John Turturro, Marcia Gay Harden, Mob, Sam Raimi, Steve Buscemi

Miller’s Crossing-1990

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Miller’s Crossing-1990

Director Joel Coen

Starring Ethan Coen, Gabriel Byrne

Scott’s Review #394

60028099

Reviewed April 13, 2016

Grade: B+

Containing a mixture of The Godfather Part III, Goodfellas, and The Grifters- ironically all released in 1990- Miller’s Crossing is an old-fashioned gangster film made fresh thanks to the direction of Joel Coen.

He brings a quirky edge to the film, throwing in a blend of film noir, black humor, and edgy characters, that make the film storyline feel fresh and alive in the present.

It has a definite late 1980’s era cinematic look (not a compliment).

I could immediately tell which decade it was made. Miller’s Crossing begins slowly, but during the second act gains steam and is the best part of the film.

The film is set somewhere in New York during the 1920s Prohibition period- it is assumed New York City, but this is never stated.

The general story involves Tom Reagan, a handsome Irish gangster, and right-hand man of Leo O’Bannon (Albert Finney), who becomes involved in conflict with Leo, his lover Verna (Marcia Gay Harden), and her brother Bernie (John Turturro), who is wanted dead by rival Italian mobster, Johnny Caspar.

Johnny’s right-hand man “Dane” comes into play, as does another gangster, Mink, played by Steve Buscemi. Tom changes allegiances and plays one mob boss against the other as a web of deceit, tested loyalty, and murder ensues.

As the first half concluded I was not completely sold on the film.

How many times have I seen a gangster film with all the stereotypical elements, the tough-guy shtick, and the contrivances?

I was afraid I was watching a retread of similar films.

I wondered what the point of the film was- the relationship between Tom and Leo’s struggle for power and control. A triangle between Tom, Verna, and Leo?

I noticed little chemistry among any of them and could not help but wonder if a female presence was required in the film, but not all that necessary. Regardless, I was quickly bored with the character of Verna.

But then the elements of the film started to come together and some rather left-of-center nuances presented themselves leaving me more engrossed.

A homosexual triangle (seldom seen in traditional, crime/mob films) took shape between Mink, Dane, and Bernie. All vicious killers had no stereotypes often seen in the film, which is refreshing.

Dane was arguably the most brutal of all the characters, and the bloodletting was plenty. I found this reveal completely refreshing not to mention unexpected.

However, the intricacies of the triangle were left unexplored. They simply bedded each other.

A pivotal scene set in the woods (Miller’s Crossing) is as gorgeous as it is character-driven. Tom must choose between killing Bernie and proving his loyalty to the mobsters awaiting, or secretly letting him live, fake his death, all in the name of his love for Verna.

But will his decision come back to haunt him?  Is Tom, at his core, a good man or a bad man?

The calm of the forest mixed with the brutality of the film is perfect. I was reminded of the 1970 Italian masterpiece The Conformist as I viewed this beautiful scene. Tom’s conflict between good and evil and his earlier premonition of a tumbling hat comes into play.

His character conflict reminded me of Michael Corleone in The Godfather films.

Look quickly and you will see Frances McDormand, soon to be a fixture in Coen films, as a slinky, well-dressed secretary. We are reminded of great things to come by this then-unknown talent.

A nice thing that I always look forward to in Coen films are the quirky, weird, fun, minor characters, and Miller’s Crossing is no different- Johnny Caspar’s overweight wife and son- an Augustus Gloop from Willy Wonka and the Chocolate Factory lookalike- give comedy to the potentially too dark film.

From Bryan to Tic-Tac, to the fat lady with the purse, all give amusing and meaningful turns that give the film a richness with an unusual cast of characters.

Miller’s Crossing (1990) proves to be a nice little film once it picks up steam and the intertwining of stories, characters, and a bit of classic film noir mixed in, makes it a refreshing take on an age-old genre of film.

2000 Films, Albert Finney, Amy Irving, Benicio del Toro, Benjamin Bratt, Catherine Zeta-Jones, Crime Drama, Dennis Quaid, Don Cheadle, Drama, Erika Christensen, James Brolin, Luis Guzman, Michael Douglas, Salma Hayek, Scott's Top 100 Films, Steven Soderbergh, Topher Grace, Viola Davis

Traffic-2000

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Traffic-2000

Director Steven Soderbergh

Starring Michael Douglas, Catherine Zeta-Jones, Benicio del Toro

Top 100 Films #78

Scott’s Review #333

60003243

Reviewed January 8, 2016

Grade: A

Simply put, I adore this film. I loved Traffic when it was first released in 2000 and I still love it in present times.

During an age where the overlapping stories with hefty casts were still in the infancy stage (Crash-2006, and Babel-2006, similar films, would not be released for several years), Traffic was groundbreaking, compelling, thought-provoking, and just a damned good drama!

With drug use still a continuing problem in the United States, the film remains both relevant and important.

Featuring three main, intersecting stories with a central theme of drug trafficking, each is told from various perspectives: users, political figures, law enforcement, and criminal traffickers.

Traffic also wisely shows how the drug problem knows no specific classes- affluent, middle-class, and poor are all represented in the film.

A strong political story is represented- led by conservative Ohio judge Robert Wakefield (Michael Douglas), who is appointed “drug czar” as the President’s Office of National Drug Policy leader, he vows to end all drug trafficking and is the moral center of the film.

However, his prep school daughter, Caroline, (played exceptionally well by Erika Christensen) and her equally affluent friends are dabbling in cocaine, heroin, and other drugs, so much so that their lives are slowly spiraling out of control.

The Mexico story involves the riveting tale of Mexican police office Javier Rodriguez (played convincingly by Benicio del Toro). He becomes heavily involved in a web of deceit, money, and drugs. His partner, Sanchez, makes a deal with the devil and his fate is thereby sealed. Javier has moral questions to ask himself and only wants to do right by some local, neighborhood boys.

Finally, San Diego is the setting for a story of corruption involving the DEA’s investigation of a drug lord, Carl Ayala. After being arrested, his wife Helena (Catherine Zeta-Jones) faces a moral dilemma- either carry on the illegal proceedings or come clean. She,  up until this point unaware of her husband’s business, faces enormous pressure, both financially and through the threat of violence.

My favorite aspect of Traffic is that all of the aforementioned stories are fascinating in their own right- and could make terrific films on their own, but as the film progresses they begin to intersect and keys to the puzzle slowly unlock themselves.

I love how many of the central characters (Helena, Javier, and Wakefield) begin as “good” people only to have their moral intentions challenged, and in some cases, threatened.

They are each conflicted in some way.

The film poses an interesting, crucial question of what can be done about the United States drug trafficking problem. The answer at the end of the film is a disappointing and perhaps even depressing realization.

Drugs will never stop being a problem and Traffic wisely explains how drugs show no barriers when it comes to either wealthy or more financially challenged individuals.

How wonderful to see a stellar cast, even in smaller roles (Dennis Quaid and Amy Irving immediately come to mind) with all of the characters having a purpose in a wonderful example of how a mainstream Hollywood film can achieve a true ensemble effort that works.

Great job Steven Soderbergh!

Oscar Nominations: 4 wins-Best Picture, Best Director-Steven Soderbergh (won), Best Supporting Actor-Benicio del Toro (won), Best Adapted Screenplay (won), Best Film Editing (won)

2012 Films, Action, Albert Finney, Daniel Craig, James Bond, Javier Bardem, Judi Dench, Naomie Harris, Ralph Fiennes, Sam Mendes

Skyfall-2012

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Skyfall-2012

Director Sam Mendes

Starring Daniel Craig, Javier Bardem, Judi Dench

Scott’s Review #136

70243459

Reviewed July 26, 2014

Grade: B+

Skyfall is the latest (and twenty-third) installment in the decades-long running James Bond franchise (1962’s Dr. No was the first one) and this one receives major kudos from me.

When one looks back upon all of the Bond films, they have had to adjust to keep up with the times and Skyfall does this very successfully.

In addition, Skyfall brings a good, old-fashioned, compelling story to the table.

An attack on MI6 is initiated by a former agent, Raoul Silva, beautifully portrayed by Javier Bardem, who has a personal vendetta against M, played by Judi Dench.

Bardem gives a complex, powerful representation of the villain and is not overly cartoonish.

He appears crazy!

James Bond, of course, must come to the rescue and save the day.

The story finally gives M. a chance to shine as the main plot revolves around her. The relationship between M. and Raoul is interesting and layered with history, which makes for a compelling story.

Standard with Bond films, exotic locales are used. This time we get Shanghai, London, Scotland, and Macau.

James Bond’s past is also explored- He grew up in Scotland. The Bond family estate is a major backdrop for the action.

The reintroduction of two famous Bond characters- Moneypenny and Q is like a breath of fresh air added to the franchise, although I was not crazy about the casting choice of Q.

Also, one minor flaw with this film is there is no clear “Bond girl” to root for.

Skyfall (2012) provides a successful return to its Bond roots and will hopefully allow the Bond franchise to continue for many films to come.

Oscar Nominations: 2 wins-Best Original Score, Best Original Song-“Skyfall” (won), Best Sound Editing (won), Best Sound Mixing, Best Cinematography