Tag Archives: Allison Janney

#60 Favorite Film, 1997 Films, Allison Janney, Ang Lee, Christina Ricci, Drama, Elijah Wood, Henry Czerny, Independent, Independent Drama, Jamey Sheridan, Joan Allen, Jonathan Freeman, Katie Holmes, Kevin Kline, Sigourney Weaver, Tobey Maguire, Top 100 Films, Top 250 Films

The Ice Storm-1997

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The Ice Storm-1997

Director Ang Lee

Starring Kevin Kline, Joan Allen, Sigourney Weaver

Top 250 Films #60

Scott’s Review #850

Reviewed January 1, 2019

Grade: A

The Ice Storm (1997) is a brilliant film directed by Ang Lee of Crouching Tiger, Hidden Dragon (2000), and Brokeback Mountain (2005) fame.

The film is based on a 1994 novel of the same name, written by Rick Moody.

The brilliance lies in the rich way the characters are written with coldness, repression, and loneliness being central themes. The film is astonishingly genuine and fresh with an authenticity rarely felt so wholly in adult family dramas.

The period is 1973 and the events take place in New Canaan, Connecticut, a wealthy suburban town.

Two dysfunctional families, the Hoods and the Carvers co-exist during the Thanksgiving weekend as each deals with repression and escapism amid alcohol and sexual experimentation.

Both the adults and the children’s lives are prominently featured in the story. Ben and Elena Hood (Kevin Kline and Joan Allen) and Jim and Janey Carver (Jamey Sheridan and Sigourney Weaver) head the families.

While Ben and Janey carry on a secret affair, Elena lives an unfulfilled existence, craving more from life but not knowing how to get more and reduced to consulting self-help books for support.

Wendy Hood (Christina Ricci) enjoys sexual escapades with multiple boys while Paul Hood (Tobey Maguire), home from boarding school, takes the train into New York City to see a rich classmate Libbets Casey (Katie Holmes).

The most wonderful aspect of the film is that the story is a slice of life but with clever nuances. Since the families are rich why should the viewer feel sympathy for any of the characters let alone root for them?

Ben and Janey lounge in bed after sex, he is chatty about nonsense, and she is bored and depressed. During a holiday neighborhood gathering a kinky “key party” develops, where participants swap spouses for the night, resulting in titillation and excitement.

The bold and controversial writing is exactly why The Ice Storm scores so many points. The characters are cold and frozen, unlikable and selfish, but might that be the point? All seem unhappy and tired of their dull, small-town existence and craving what little excitement they can muster.

Written similarly to American Beauty (1999) the films could be watched in tandem for evenings of Gothic and macabre story-telling.

My favorite character is Elena as she has the most sensibility. She is lonely and ignored by her husband dutifully going about her day with little emotion. She feels temporarily excited when she develops a romantic crush on a neighbor only to quickly realize the most she can ever hope for with this man is a fling.

Her character is fleshed out as she yearns for more than she has. The other characters are largely selfish and pampered.

The film’s conclusion, however, is monumental as it changes the perceptions of some characters and softens them. A tragic death brings characters together in a powerful way.

Again, the writing in The Ice Storm is the most interesting and compelling appeal. The acting among the entire cast is professional, heartfelt, and brazen, but the written dialogue and interesting situations make this film rise above others of a similar genre.

Lee’s direction is brilliant as the blustery winter atmosphere is central to the story- in more ways than we might originally think. The frozen power lines and slick windy country roads elicit a cozy feeling nestled between harboring family secrets and scandals.

The bitter yet beautiful ambiance is a soothing and compelling aspect of the entire film and Lee portrays these elements with precision.

Of the independent drama genre, The Ice Storm has a low budget and big-name stars. The film could easily be performed as a play, but the cinematic elements and fantastic writing make it a memorable and storied piece of film-making.

Ang Lee frequently incorporates astounding character development in his works and The Ice Storm (1997) has all the qualities to be considered a masterpiece.

#136 Favorite Film, 1999 Films, Allison Janney, Annette Bening, Best Picture Oscar Winners, Chris Cooper, Comedy, Dark Comedy, Kevin Spacey, Mena Suvari, Peter Gallagher, Sam Mendes, Scott Bakula, Thora Birch, Top 250 Films, Wes Bentley

American Beauty-1999

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American Beauty-1999

Director Sam Mendes

Starring Kevin Spacey, Annette Bening

Top 250 Films #136

Scott’s Review #70

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Reviewed June 25, 2014

Grade: A

American Beauty is a film that holds up magnificently well and packs the same punch as it did when I originally saw it premiered in 1999.

The film won the Best Picture Oscar in 1999, surprisingly so, as it is not a mainstream film and is edgy, artistic, and poetic.

The film is a thought-provoking story of the American Dream gone wrong and how most people live ordinary, humdrum, on the surface, happy lives, but ultimately are unhappy, damaged, or otherwise unfulfilled.

It is a truthful film and reminds me quite a bit of The Ice Storm, a film from 1997.

American Beauty is not a downer but rather is witty, dark-humored, and filled with dry sarcasm.

Kevin Spacey is tremendous as the central character going through a mid-life crisis and Annette Bening is frighteningly good as his neurotic, controlling wife.

Their daughter, played by Thora Birch, has her teenage angst and falls in love with a neighborhood misfit. Every character, even small and supporting, is troubled in some way.

American Beauty (1999) is a film that was loved or hated at the time of its release; some did not get it or did not want to invest in the thought it requires, but, to me, it’s a work of art, which has achieved a timeless quality.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Sam Mendes (won), Best Actor-Kevin Spacey (won), Best Actress-Annette Bening, Best Screenplay Written Directly for the Screen (won), Best Original Score, Best Cinematography (won), Best Film Editing

#169 Favorite Film, 2002 Films, Allison Janney, Claire Danes, Drama, Ed Harris, Eileen Atkins, Jeff Daniels, John C. Reilly, Julianne Moore, LGBTQ+ Drama, LGBTQ+ Films, Margo Martindale, Meryl Streep, Miranda Richardson, Nicole Kidman, Stephen Daldry, Toni Collette, Top 250 Films

The Hours-2002

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The Hours-2002

Director Stephen Daldry

Starring Nicole Kidman, Julianne Moore, Meryl Streep

Top 250 Films #169

Scott’s Review #803

Reviewed August 17, 2018

Grade: A

The Hours (2002) is a film containing the ultimate in acting riches. With names like Nicole Kidman, Meryl Streep, and Julianne Moore associated with the film this is not surprising.

Not solely belonging to the ladies, however, Ed Harris, in particular, is dynamic in his role as are all the other males who appear in the film.

Told in three different sections in chronological order, but going back and forth, the stories all share connections via the novel Mrs. Dalloway, written by Virginia Woolf.

One of the best films of the decade!

Each segment of the film takes place within a single day, but decades apart. Wisely, director Stephen Daldry switches between the stories frequently leaving sort of a cliffhanger, making the drama more compelling and spicy.

In 1923, a depressed Virginia Woolf is portrayed by an unrecognizable Nicole Kidman in a role that won her the Best Actress Oscar.

Woolf resides outside of London and struggles to complete her novel amid nervous breakdowns and the watchful eye of her husband, who is aware of her mental pain.

In 1951, Laura Brown (Julianne Moore) seemingly has it all, living the “American Dream”. Residing in a nice neighborhood with a loving husband, she is pregnant with her second child, spending the days at home raising her young son, Richie, whom she is very close to yet does not understand.

After a fleeting lesbian dalliance with a neighbor, Laura goes off to a hotel with bottles of pills, intending to kill herself. She changes her mind after reading Woolf’s novel and dozing off, deciding instead to make a different decision.

Finally, in 2001, Clarissa (Meryl Streep), is bisexual and in a same-sex relationship. She lives with Richard (Harris), whom she dated in college, now the best of friends. He is gay, stricken with the AIDS virus, and close to committing suicide as he plans to jump out of a window.

This story (present times) is crucial to the film because it involves two characters from the 1951 story. These characters intersect with others in a touching and heart-wrenching way.

The greatest parts of The Hours are the brilliant acting and the richly written storytelling. Arguably, Kidman, Streep, and Moore all could have won Oscars for their performances, and I must mention that as brilliant as Kidman is (she is the sole Oscar recipient), and Streep is just universally good, I would have given the Oscar to Moore- the standout in my opinion.

Glamorous and intelligent, warm to her son, she makes a monumental and controversial decision. The character should not be sympathetic- yet she is. This is a testament to Moore’s infusing the character with confidence, reasonable thoughts, and even some empathy. We finally understand why she does what she does.

May I boast for a moment about Harris’s performance? Richard, once known as Richie as a kid (this will give something away), has lived a difficult life.

Abandoned, wounded, and suffering much loss, he is a tragic figure, pained beyond belief. His suffering is so monumental that we almost welcome his demise, and Harris offers so much of himself in this difficult role. He is both physically and emotionally hurt and Harris portrays this in spades.

Uniquely, all three stories work independently of each other. Yes, characters from one appear in another, but they are like well-crafted vignettes. Similarly, they each begin with breakfast, then involve the planning of a party or celebration of some sort, and culminate in sadness.

Yet, the film does not feel like a downer or preachy in any way, but rather, good, solid, humanistic story-telling, which I adore.

Sure, the film is considered a drama, but it also contains multiple gay or bisexual characters and therefore must be included in the chambers of LGBT filmmaking.

With an A-list cast, the film helps lead the charge (successfully so) to bring more rich LGBT films to center stage and garner mainstream audiences.

The great aspect of The Hours is that it is a mainstream film- a good solid drama.

Based on a Pulitzer Prize-winning novel by Michael Cunningham, The Hours (2002) does not try to draw parallels with each story or necessarily connect them in an obvious fashion.

Rather, the film version provokes thought both with LGBT and feminist approaches. Each female central character lives in a world run by men, as Woolf argues in her novel.

The film brilliantly adapts the novel and brings it to large audiences in a fantastic, riveting fashion.

Oscar Nominations: 1 win-Best Picture, Best Director-Stephen Daldry, Best Actress-Nicole Kidman (won), Best Supporting Actor-Ed Harris, Best Supporting Actress-Julianne Moore, Best Adapted Screenplay, Best Original Score, Best Costume Design, Best Film Editing

1998 Films, Alan Alda, Allison Janney, Audra McDonald, Comedy, Hayden Panettiere, Jennifer Aniston, LGBTQ+ Comedy, LGBTQ+ Films, Nicholas Hytner, Paul Rudd, Romantic Comedy, Sarah Hyland, Steve Zahn, Tim Daly

The Object of My Affection-1998

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The Object of My Affection-1998

Director Nicholas Hytner

Starring Jennifer Aniston, Paul Rudd

Scott’s Review #1,249

Reviewed April 24, 2022

Grade: B

The Object of My Affection (1998) is a romantic comedy riddled with the standard cliches and obvious situation setups of similar types of film.

As a whole, it is plot-driven rather than character-driven.

The redeeming factor is that it adds a left-of-center approach and delves into LGBTQ territory, albeit in a soft touch, which more mainstream American films were only starting to do in the late 1990s.

The best part of the film is the casting of Jennifer Aniston and Paul Rudd who have tremendous chemistry as a potential couple who has no chance of riding off into the sunset together. At least in any romantic sort of way.

He is gay and she is straight and nothing can change that.

Though fluffy, The Object of My Affection deserves some level of praise. Several gay men can easily relate to a situation where they find a female friend enamored with him and experience a return of affection differently.

It’s common to fantasize about what might have been if feelings were different and as the film explores, even try to go straight.

The film itself has a definite Will & Grace vibe, a popular television program emerging at this time, and even has the same location. The main characters become the very best of friends, watching movies together and sharing intimate moments just like a romantic couple would do.

The late 1990s was a time when gay characters took center stage so The Object of My Affection gets a thumbs up for being part of the herd.

Nina Borowski (Jennifer Aniston) lives in Brooklyn, New York, and works as a social worker. She invites her new gay friend, George (Paul Rudd), to move into her apartment after he breaks up with his longtime lover, Robert (Tim Daly).

Meanwhile, Nina gets pregnant and decides to keep the baby, but ends her relationship with the child’s father, her controlling boyfriend Vince (John Pankow).

As Nina and George live and experience her pregnancy together, they grow close and Nina realizes she’s beginning to fall in love with her friend.

Aniston and Rudd work well together as a couple, friends or otherwise, and the chemistry tones are terrific. Even during the sappiest of scenes, and there are many of them, I always smiled a bit at their bond.

When Nina and George have the inevitable dramatic scene and express their feelings it doesn’t feel as forced as one might expect. Their bond is solidified and the film unsurprisingly has the pair remain in each other’s lives, presumably forever.

In satisfying form, Nina and George do ride off into the sunset along with little Molly but in solid relationships with other mates. Each character finds their destiny and soulmate while keeping in each other’s life.

While nice, there are many hurdles the filmmakers could have gone further with but don’t. The message is clear- regardless of sexuality, race, religion, or politics, a friend is a friend and a bond is meant to be forever.

It’s a warm message which is the basis for what the intent was and the film delivers a heartfelt story that eases the conflict of real life and perhaps that is needed sometimes.

As much as The Object of My Affection (1998) has its heart in the right place with a progressive and inclusive slant, the film is bogged down by standard cliches and a fairy tale ending.

It’s a nice, fulfilling fantasy film but skates over hard-hitting realistic issues in favor of kid gloves-type situations making it feel dated nearly twenty-five years later.

Other films in the years ahead would supersede the premise and take it to different and more interesting levels delving outside the box further and further.

But, a nice attempt.

2007 Films, Adam Shankman, Allison Janney, Amanda Bynes, Anne Fletcher, Brittany Snow, Christopher Walken, Comedy, Jerry Stiller, John Travolta, John Waters, Michelle Pfeiffer, Musical, Musical Comedy, Nikki Blonsky, Paul Dooley, Queen Latifah, Ricki Lake, Romantic Comedy, Zac Efron

Hairspray-2007

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Hairspray-2007

Director Adam Shankman

Starring Nikki Blonsky, John Travolta, Christopher Walken

Scott’s Review #1,095

Reviewed December 28, 2020

Grade: B+

Hairspray (2007) is a fun film, without being superfluous. The third incarnation of the musical treat doesn’t disappoint, offering a brighter production.

A safer affair than the 1988 escapade directed by naughty filmmaker John Waters, it’s nonetheless not a “watered” version either. It loses none of the charm that the original had and includes plenty of big-name stars.

In short, it’s a solid summer popcorn flick with sing-along tunes and a cool vibe.

The important message of racial relations is not lost nor dismissed.

The setting is early 1960s Baltimore, Maryland, a city rife with racial problems representing the entire United States during that decade.

Our star, Tracy Turnblad (Nikki Blonsky) is a chubby, bubbly, sixteen-year-old, who wants nothing more than to trudge through the school day and come home and indulge in her favorite television show, The Corny Collins Show, a popular local dance competition.

Tracy auditions for a spot on the show, and wins. She became an overnight celebrity, a trendsetter in dance, fun, and fashion. She and her fans hope that her new status as a teen sensation is enough to topple Corny’s reigning dance queen, Amber von Tussle (Brittany Snow), and bring racial integration to the show.

Amber’s racist mother, Velma (Michelle Pfeiffer) manages the television station and thwarts Tracy’s efforts, leading to tension and a dance competition between Tracy and Amber.

The casting is a big part of the success. Blonsky, making her film debut, carries the film flawlessly. Both energetic and empathetic, she is the perfect girl next door and relatable for any young girl who is not a stick figure.

More broadly, she represents anybody who feels like a misfit or is put upon for not being classified as perfect. Her joy and sincerity as she sings and dances to “Good Morning, Baltimore” and “I Can Hear the Bells” is infectious and makes her a perfect protagonist.

The supporting cast is delightful and laden with A-list Hollywood stars having a ball with their over-the-top roles.

My favorite is John Travolta as Tracy’s mother and compadre, Edna. Fans of Hairspray know that Edna is always cast with a male actor in drag and Travolta is fantastic. His mannish body and movements only make the character more fun and fabulous.

And with his beehive hairdo and pink ribbon he is so darn cute!

Tracy’s father, Wilbur, is played by Christopher Walken. His love for his wife and daughter is sweet. Pfeiffer fuels her one-note character with venom as the racist woman gets her just due.

Director, Adam Shankman, puts the focus on the musical numbers, and that’s just fine. For added pleasure, he includes both John Waters and Rikki Lake (the original Tracy) in cameo roles, which is a treat for anyone who has seen the original.

The best numbers occur when the entire company joins in, especially the wonderful finale, “You Can’t Stop the Beat”. Besides being musically contagious, the song sends an important message of progression and embracing change.

Despite the fluffy trimmings, the important message of racial inequality is not overlooked, nor does it feel dated in the year 2007.

Racism is still an issue. Justifiably so, the racist characters like Velma and Prudence Pingleton (Allison Janney) look ridiculous with outrageous fear for anyone different than themselves.

Tracy and her friends champion causes like racism, integration, and being true to oneself, which are themes at the heart of the film, along with the merry songs.

While I still prefer the 1988 version of Hairspray for more seediness and a colder vibe, Hairspray (2007) is a colorful rendition that exposes a new generation to the chirpy and danceable tunes while maintaining the important themes.

It’s a family-friendly affair and a very funny experience without sacrificing any credibility.

2019 Films, Allison Janney, Amy Landecker, Ashley Greene, Biography, Brian d'Arcy James, Charlize Theron, Connie Britton, Drama, Holland Taylor, Jack Haven, Jay Roach, John Lithgow, Kate McKinnon, Malcolm McDowell, Margot Robbie, Mark Duplass, Mark Moses, Nicole Kidman, P. J. Byrne, Richard Kind, Stephen Root

Bombshell-2019

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Bombshell-2019

Director Jay Roach

Starring Charlize Theron, Margot Robbie, Nicole Kidman

Scott’s Review #972

Reviewed December 26, 2019

Grade: B+

Bombshell (2019) is the type of film that, depending on your political affiliation, you will either refuse to see or see and have a love/hate reaction to.

As a non-lover of the “news” network Fox News, I am firmly ensconced in the latter camp, so my opinion of the film is mixed.

The importance of releasing the film during a time of political turmoil in 2019 is crucial and intentional, which is why I commend the film.

Still, the subject matter of sexual harassment against women is complex to watch and a sobering reminder that this behavior continues to occur.

The performances of the principal players — Charlize Theron, Nicole Kidman, Margot Robbie, Kate McKinnon, and John Lithgow — are outstanding and key to the film’s success. Theron and Lithgow receive the lion’s share of makeup and prosthetic work, making them look identical to their real-life counterparts.

Beneficial is a myriad of Fox News political figure portrayals (Sean Hannity, Jeanine Pirro, and Bill O’Reilly) with frighteningly good accuracy, creating a surreal effect.

The film centers on female Fox News personnel in Manhattan and their sexual harassment allegations against founder Roger Ailes (Lithgow).

The central figure- Megyn Kelly (Theron) is conflicted over the risks to both her career and her financial stability if she comes forward and admits her harassment by Ailes years ago, after Gretchen Carlson sues the network.

Margot Robbie plays Kayla, a young Fox employee whom Ailes also harasses.

McKinnon plays a closeted lesbian and confidante to Kayla, who works for the network despite being liberal and a massive admirer of Hillary Clinton.

The plot is fast-paced and unfolds like a quick page-turner, with some sections narrated by Kelly. Bombshell feels timely and has a distinct “ripped from the headlines” makeup.

The fact that the real-life events occurred as recently as 2016 is a striking aspect that will captivate the viewer, especially those who follow United States politics or current events.

The story is fresh and vibrant, with a sense of familiarity, rather than a tale from an event decades ago that many viewers have forgotten or were too young to remember.

I had difficulty feeling much sympathy for most of the characters, which detracts from the film’s overall impact.

The standard definition that the term “Fox News” usually conjures is one of male chauvinism and the good old boys club, with old-fashioned machismo ruling the roost.

Why would any woman choose to work for them or align themselves with the Conservative party, which is not a fan of women or women’s rights?

With this fact in mind, it was difficult for me to watch the film.

To build on this, CEO Roger Ailes is written as the clear villain with no redeeming value. During one scene, he salivates over Kayla when she visits him in his office and instructs her to lift her skirt higher and twirl for him. The scene is sickening, and we feel Kayla’s embarrassment and humiliation.

In a cheer-out-loud moment at the end of the film, she quits, unable to remain in such a corrupt corporation.

One of the only likable characters is Jess Carr (McKinnon), probably fictitious. Hardly fitting the mold of the female staff, not perky or showing leg, she goes out for drinks with Kayla and admits to being gay; the two end up having a one-night stand.

The character is unique, and McKinnon makes wise acting choices.

Worth mentioning is Ailes’s long-time secretary Faye (Holland Taylor). Surely, she knows the antics that go on in her boss’s office, but she almost serves as an accomplice. Why?

Sad to realize that, as recently as 2016, women were still having to face discrimination in the workplace. Industries with powerful men still can be toxic and poisonous to women attempting to climb the ranks.

If the women harassed at Fox News were not top anchors, there is no way the accusations would have even been heard. What about the receptionists, cleaning staff, or administrators who are harassed?

Would anyone listen to them? This message crossed my mind while watching Bombshell.

With fantastic acting and incredible makeup, time will tell if Bombshell (2019) remains a relevant film. Leaving the viewer with an unsatisfying ending rather than a hopeful one, it isn’t easy to sympathize with most of the characters, even when they are supposed to be sympathetic.

Bombshell would make a perfect companion piece to Vice (2018), a similar political, yet superior film.

Oscar Nominations: 1 win-Best Actress-Charlize Theron, Best Supporting Actress-Margot Robbie, Best Makeup and Hairstyling (won)

2019 Films, Allison Janney, Diana Silvers, Horror, Juliette Lewis, Luke Evans, Octavia Spencer, Slasher, Tate Taylor, Thriller

Ma-2019

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Ma-2019

Director Tate Taylor

Starring Octavia Spencer, Diana Silvers

Scott’s Review #949

Reviewed October 22, 2019

Grade: B+

Marketed as a slasher film based on the trailers, Ma (2019) impressed me immensely as my expectations of a standard horror film were superseded by a more complex, perfectly paced psychological thriller.

A fantastic performance by Octavia Spencer, and dare I mention an Oscar-worthy one if this were a different type of film, the actress effortlessly brings a vulnerability to a not-so-easy role to play.

The finale is disappointing, and the film includes a few too many stereotypes, but it is a terrific effort nonetheless.

Set somewhere in remote Ohio, but looking more like the southern United States, teenager Maggie Thomson (Diana Silvers) and her mom Erica (Juliette Lewis) return to Erica’s hometown after her marriage fails.

Reduced to a job as a cocktail waitress at a local casino, she encourages Maggie to make friends. Maggie falls into the popular crowd as Erica reconnects with high-school friends who are mostly the parents of Maggie’s new friends.

Sue Ann (Spencer) bonds with the cool kids by purchasing them alcohol and hosting parties in her basement, much to the displeasure of her parents.

The audience soon realizes that something is amiss with Sue Ann. She forbids the kids from ever venturing upstairs and slowly develops a needy attachment to the teens.

Flashbacks begin to emerge as clues to her connection to the other parents and her plot for revenge.

The incorporation of a place in the house to avoid is a typical horror gimmick that always works well. Inevitably, someone will venture into that area of the house, and a secret will be revealed. Ma is no different in this regard.

It’s terrific to see more diversity, particularly among the African-American population, represented in the horror genre. Typically, the horror genre has been an all-white affair, with actors of color often cast as best friends or in minor supporting roles at best.

Thanks to Get Out (2017) and Us (2019), horror films have recently included all-black casts and have been tremendous hits.

Let’s hold out hope that the Asian, Latino, and LGBTQ communities will receive more inclusion and bring freshness to a key cinematic genre.

The film belongs to Spencer.

The Oscar-winning actress must have had a fun time with this role and gets to let loose during many scenes. She goes from coquettish to maniacal, sometimes within the same scene, with flawless precision and gutsy acting decisions.

My favorite, Sue Ann, is the unhinged one as she slyly threatens to cut one male character’s genitalia off. She smirks and uses her large, expression-filled eyes to her advantage. Psycho has never looked so good!

The climax, so crucial in horror or thrillers, to follow through and capitalize on the build-up, ultimately fails in Ma. Once the big reveal surfaces and a childhood prank is exposed, the trick hardly seems worthy of a killing bonanza.

A mousy Sue Ann performed fellatio on a nerd instead of her crush. Even those involved on the outskirts are blamed, and waiting twenty years to exact revenge on her tormentors (most of whom have repented) doesn’t seem plausible.

Ma (2019) contains a hefty cast of stalwarts, but it’s Spencer who brings the sometimes-generic material and trivial conclusion to crackling life with her brilliant portrayal of a damaged woman.

Allison Janney, Lewis, and others add respectability when the film teeters too close to mediocrity with its teen character cliches. Still, the film excels when it focuses on a character-rich story and unexpected plot points.

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

I, Tonya-2017

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I, Tonya-2017

Director Craig Gillespie

Starring Margot Robbie, Allison Janney

Scott’s Review #712

Reviewed January 10, 2018

Grade: A-

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

How brilliant are the performances of both Robbie and Janney?

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

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

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

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

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

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

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

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

2016 Films, Allison Janney, Arnaud Valois, Drama, Édgar Ramírez, Emily Blunt, Haley Bennett, Justin Theroux, Lisa Kudrow, Luke Evans, Rebecca Ferguson, Tate Taylor, Thriller

The Girl on the Train-2016

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The Girl on the Train-2016

Director Tate Taylor

Starring Emily Blunt, Justin Theroux

Scott’s Review #493

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Reviewed October 12, 2016

Grade: B+

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2015 Films, 50 Cent, Action, Allison Janney, Bobby Cannavale, Comedy, Jason Statham, Jude Law, Melissa McCarthy, Miranda Hart, Paul Feig, Rose Byrne

Spy-2015

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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 with whom she is also in love.

Carrying the film in every way, McCarthy is funny and adds to an otherwise formulaic, by-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 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.  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 1980s perm and 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 pleasantly. McCarthy as an apparent female James Bond is also 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 the jokes wane, become redundant, and usually go into the ridiculous.

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’s romantic introduction was strange.

The plot is more or less trivial and unimportant in a film like this. Rationally speaking, almost everything that transpires 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, Spy (2015) has an interesting premise but doesn’t deliver anything more than the silly formula that has existed for decades in the film comedy world.

I finished the film with mixed emotions.

1996 Films, Allison Janney, Campbell Scott, Comedy, Drama, Independent, Independent Drama, Isabella Rossellini, Liev Schreiber, Minnie Driver, Peter McRobbie, Stanley Tucci, Tony Shalhoub

Big Night-1996

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Big Night-1996

Director Stanley Tucci, Campbell Scott

Starring Stanley Tucci, Tony Shalhoub

Scott’s Review #300

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Reviewed December 16, 2015

Grade: B+

Big Night (1996) is a sweet, whimsical little film that is a food lover’s dream come true since that is the focal point of the story with more than one dish being prepared on-screen giving it realism.

It centers on the restaurant business and, specifically, how two brothers struggle to keep their failing restaurant afloat through their love and passion for food.

The story tells of two Italian immigrant brothers, Primo and Secondo, played by Tony Shalhoub and Stanley Tucci, respectively.

The time is the 1950s and they reside in blue-collar New Jersey. Times are tough for them as they try to succeed in the difficult restaurant business- they specialize in Italian food of course.

Secondo is a playboy of sorts- suave and handsome, he dates Phyllis (Minnie Driver) while galavanting with a sophisticated older woman named Gabriela, the wife of a competitor.

Primo, on the other hand, is quiet, and serious, yet an all-star chef. The food he prepares is wonderful and his talent is evident.

But how can they market themselves to be successful?

At this point, their restaurant is dying and they risk being reduced to returning to Italy or eke out a meager existence working for someone else.

An idea is announced to have a celebrity singer (Louis Prima) perform for a one-night extravaganza at their restaurant, where they will make the meal of their lives and impress the town, thus achieving success.

The film is charming and my favorite parts are on the “big night”. As the duo prepared the liquor order and shopped for flowers and other decorations in preparation, the mood and spirit left me with a warm feeling.

What a sense of togetherness Primo and Secondo, along with friends, felt to achieve this challenging goal. Inevitably, there is tension between the brothers, and between Secondo and Phyllis, but truthfully, these are merely sub-plots, and the heart of the film is in the food.

The scenes that take place in the kitchen left my mouth watering. As Secondo prepares a baked pasta dish (Timpano), the meal oozes with love and tastiness. The entire story arc is grand and magnificent.

The group of diners revels in the dining room of the restaurant enjoying spirits and dancing the night away. By morning everyone is full and drunk, both with love and alcohol, but most are happy. They get merry as they eat the night away.

I could almost taste the main course!

A subplot that works for me is the burgeoning romance between reserved Primo and equally reserved flower shop owner, Ann. Both very timid, they finally muster the courage to admit their feelings for each other while enjoying (what else?) wine and food- what better way to begin a romance?

The tenderness and chemistry between these two are very innocent and captivated me while watching the film.

The final scene of the brothers making an omelet is also wonderful and a fitting way to stress togetherness and perseverance, which is what the small film is really about.

For lovers of food, Big Night (1996) is a shining moment.

Independent Spirit Award Nominations: 1 win-Best Male Lead-Tony Shalhoub, Stanley Tucci, Best First Screenplay (won), Best First Feature

2013 Films, Allison Janney, Amanda Peet, Comedy, Drama, Independent, Independent Comedy, Independent Drama, Jim Rash, Liam James, Maya Rudolph, Nat Faxon, Sam Rockwell, Steve Carell, Toni Collette

The Way, Way Back-2013

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The Way, Way Back-2013

Director Nat Faxon, Jim Rash

Starring Steve Carrell, Toni Collette

Scott’s Review #40

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Reviewed June 18, 2014

Grade: B-

The Way, Way Back (2013) is a cute, summery, “coming of age” story about a teen misfit struggling to fit in.

It contains the basic stereotypical characters (boozy neighbor, overbearing step-father type), but kudos to great performances by Allison Janney and Steve Carell who make the film much more than it would have been otherwise.

The film feels like something that has been done many times before but contains a charming, feel-good quality.

Still, I would have enjoyed it more if some risks had been taken and the characters delved into more.

It is a one-dimensional film that ultimately disappoints.