Tag Archives: Ann Dowd

2020 Films, Ann Dowd, Armie Hammer, Ben Wheatley, British, Kristin Scott Thomas, Lily James, Thriller

Rebecca-2020

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Rebecca-2020

Director Ben Wheatley

Starring Lily James, Armie Hammer, Kristin Scott Thomas

Scott’s Review #1,430

Reviewed June 30, 2024

Grade: A-

Impossible to compare to the legendary 1940 Alfred Hitchcock film, I tried very hard to take the 2020 retelling of Rebecca based on its merits. After all, it’s been eighty years and other attempts have been made mostly forgotten or irrelevant.

Aware of lukewarm reviews by other critics I desperately washed those aside and settled in for a macabre, dark ghostly British thriller.

The film is quite good! Feeling fresh and with a polished cinematic look, I’d describe it as a modern British offering despite being set long ago.

For comparisons, it reminds me of the British television series Downton Abbey (2010-2015) in look and feel. A grandiose estate, dutiful servants, and rank and file of other wealthy and not-so-wealthy characters.

A young newlywed (character nameless) arrives at her husband’s imposing family estate on a windswept English coast and finds herself battling the shadow of his first wife, Rebecca, whose legacy lives in the house long after her death.

The lead actress, Lily James, who at first I couldn’t recall who she was, is most known for Downton Abbey and the 2023 film The Iron Claw.

The character she plays, the insecure second Mrs. de Winter is confused, and haunted requiring terrific acting. James hits it out of the park on that front.

Emotionally abused by her employer, wickedly played by Ann Dowd, she is instantly heroic and likable so we are happy when she graduates from servant to queen bee.

I cringed at first when I realized that the gorgeous and lovely Kristin Scott Thomas was playing the pivotal role of the villainous Mrs. Danvers. Known for the film The English Patient (1996) where she played the romantic Katharine Clifton, I wasn’t sure she’d be able to go so dark.

Boy, was I wrong? It took me a bit to channel out the dastardly performance by Judith Anderson from the original and accept Scott Thomas. She gets better with each scene and even forces the audience to sympathize with her.

Finally, Armie Hammer is good in the lead role of Maxim de Winter. Handsome, sophisticated, and wealthy, he peculiarly fancies a lady’s maid who inexplicably becomes his wife.

We wonder what he sees in her when his deceased wife ‘Rebecca’ was gorgeous, affluent, and a perfectionist. Rebecca was presumed to have drowned in a terrible boating accident but as events unfold we wonder if there’s more to the story.

If only the characters communicated with each other it would have eliminated confusion. Maxim refuses to talk about Rebecca. If his true feelings were revealed he’d have a different kind of second marriage.

Besides the story and the acting, other trimmings make Rebecca circa 2020 worthy of watching.

The cinematography captures crashing waves and high cliffs that provide a haunting mood. The dining room and kitchen sequences brim with goodness and wonderful meals.

The art direction and set design are overall flawless in the presentation.

The costume party that Mrs. de Winter eagerly plans and hopes will admonish the house of any thoughts of Rebecca go wrong which for viewers is a delight because the scene is already rich.  With help from Danvers a regal red costume is designed and prepared to showcase Mrs. de Winter.

When she confidently descends the staircase the startled crowd gasps with fright at the similarities between her and Rebecca. Maxim angrily dismisses her to change outfits while Danvers smirks in the background.

She’s won round one.

The Danvers/Mrs. de Winter feud is my favorite aspect of Rebecca (both original and 2020 versions) so it’s delightful to see it work so well with Scott Thomas and James.

There is nothing quite so satisfying as watching a film with little expectations but finishing feeling fulfilled and still thinking about it the next morning.

I’ll always watch 1940s Rebecca as a treasured friend but Rebecca (2020) quite capably offers a modern spin with good acting and lavish production values.

2018 Films, Andrea Riseborough, Ann Dowd, Independent, Independent Thriller, Thriller

Nancy-2018

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Nancy-2018

Director-Christina Coe

Starring-Andrea Riseborough

Scott’s Review #941

Reviewed October 1, 2019

Grade: B+

Part of why I love independent cinema so much is the freedom given the director to simply tell a good story of his or her choosing, usually with little studio interference or opinions.

Nancy (2018) is a good example of this as Christina Choe writes and directs a film that is simply hers to share. A quiet film about loneliness, the need to belong, and connect with others are the main elements in a compelling and unpredictable story.

Existing in a barren small town in upstate New York, Nancy (Andrea Riseborough) bears weather that is cold, damp, and bleak. Working a temporary office job where the staff barely remembers her from her previous stint, Nancy spends her downtime caring for her ill mother (Ann Dowd) and playing with her cat, Pete.

When an occurrence leaves her vulnerable, she sees a news report featuring a couple whose daughter disappeared thirty years ago, and looks exactly like Nancy, given the sometimes-dishonest woman an idea.

Riseborough carries the film with a strong performance, but not a character the audience easily roots for. Nancy is not unkind, dutifully tending to her mother’s needs when she is not being pleasant. She pretends to be pregnant to meet an internet support group man who lost a child and seeks comfort in Nancy.

Hoping for a romance or at least a human connection, the two run into each other, and when the man realizes her scheme, he calls her psycho. We witness a range of subtle facial expressions revealing the complicated character which Riseborough provides brilliantly.

Choe tells a very humanistic story that is peppered with deep feelings and emotions easy for the audience to relate to.

Conflicted views will resound between the three principal characters; Nancy, Leo Lynch (Steve Buscemi), and wife Ellen (J. Smith-Cameron). The Lynch’s, especially Ellen, are vulnerable, yearning for a glimmer of hope that their long-lost daughter, surely dead, is alive.

So, the complexities that the director provides work exceptionally well with keeping the emotional level very high.

All three principal actors do a fine job, Smith-Cameron being rewarded with a Film Independent award nomination. She is the most conflicted of the three and the character audiences will ultimately fall in love with and feel much empathy for.

Has Buscemi ever played a nicer man? I think not as the actor so often plays villainous or grizzled so well. With Leo, he is rational, thoughtful, and skeptical of the story Nancy spins. He adores Ellen and does not want to see her disappointed yet again, the pain apparent on both their faces.

Many quiet and palpable subtleties are possessed by the cast.

The locale in the film is also a high point. Presumably, in January or February, the cold and angry air fills the screen, adding a measure of hopelessness that each character suffers from differently.

Numerous scenes of the outdoors are featured, and compelling moments are provided. When a pretty snowfall coats the land, this is a tease, as one character’s hopes are ultimately dashed. A cheery landscape such as California or Florida would not have worked as well in this film.

Nancy (2018) is a film that risks turning some viewers off with its unhappy nature and slow pace, but isn’t this much better than a fast-paced Hollywood popcorn film?

To me the answer is obvious, and Nancy is a prime example of why little films should be celebrated and revered by the film industry and its enthusiasts.

Lies and truths cross a fine line and the potent psychological thriller will leave viewers mesmerized as events progress.

Independent Spirit Award Nominations: Best Supporting Female-J. Smith-Cameron, Best First Screenplay

2018 Films, Alex Wolff, Ann Dowd, Horror, Independent, Independent Horror

Hereditary-2018

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Hereditary-2018

Director-Ari Aster

Starring-Toni Colette, Alex Wolff

Scott’s Review #837

Reviewed December 6, 2018

Grade: B+

Hereditary (2018) is a horror film that provides quite an unsettling feeling long after the credits have rolled, which is always a positive in my book. Moreover, the film contains more than a handful of effectively chilling moments and a breathtakingly good performance by its star Toni Colette, who delivers the goods in spades.

The film is the debut project by writer and director Ari Aster, who certainly has a bright future ahead of him.

We meet the Graham family- artist Annie (Colette) and husband Steve, along with sixteen-year-old Peter (Alex Wolff) and thirteen-year-old Charlie as they mourn the death of Annie’s mother.

As Annie sees an apparition of her mother in her workshop, the mother’s grave is desecrated prompting her to attend a support group to deal with her problems. When Charlie then tragically dies in a gruesome accident, Annie begins to teeter over the edge putting her remaining loved ones at risk.

The story that Aster writes is tremendously hard to follow leaving many perplexities and assured questions about the plot. Was fellow support group attendee Joan (Ann Dowd) a sinister cultist along with Annie’s mother or merely a kindly friend trying to help? Did Annie kill her family or were their deaths fated, a result of an unstoppable force hence the “hereditary” title?

A post-film synopsis will need to be read by many viewers (myself included) for clarity.

Frightful sequences resonated with me for days following my viewing of Hereditary, so much so that a second viewing may very well be required.

The decapitation of Charlie is one of the creepiest scenes I have ever witnessed as well as tidbits such as Annie furiously pounding her head on the attic door, clearly not herself. Not to be outdone, Steve bursting into flames, and Annie slowly beheading herself with piano wire while coven members look on may lead to nightmares for days.

Shot in a style that makes the film feel claustrophobic and contained, props must be given to the camera crew for creating a dollhouse aesthetic. Enhancing this point is artist Annie’s clay dollhouse, mirroring the families.

The viewer sees a mock version of the real family and when Annie decides to create a mimic of Charlie’s headless body to express herself the results are dire.

The best part of Hereditary, though, is Colette’s performance.

Flawless as the haggard mother in The Sixth Sense (1999), her role as Annie takes the actress to even greater heights. The woman slowly teeters to the brink of insanity as she awakens one morning to find the headless corpse of her daughter lying in the back seat of her car.

Aster wisely has her discovery and reactions appear off camera giving the sequence a high element of anticipatory horror. From this point, we know that Annie will steamroll further into insanity as she realizes the death of her daughter was caused by her son.

Horror films involving witchcraft or other demonic supernatural elements do not always work for me as I find realistic situations more effective, but Hereditary is atmospheric and effective.

The film possesses this element throughout the entire run so that we know bad things will happen, we just do not know when.

To further explain, many scenes involve closeups of characters seemingly deep in thought or shrouded in mystery. Evidence of this is when Peter sits in a classroom hearing the clicking of teeth, a habit of Charlie’s. When a trance-like Peter returns to reality, he is confused and slams his head against his desk breaking his nose.

Aster might have been wise to write a more concrete screenplay instead of leaving the audience unable to add up the parts.

Interpretation is a fine thing, but in the case of Hereditary, the sum may have been greater than the parts. Meaning, a more satisfying, though not less frightening, ending would be encouraged for his next picture.

Hereditary (2018) is a demonic horror film that offers a perplexing plot of a family’s hereditary curse and ultimate doom.

Thanks to brilliant acting and some of the most disturbing scenes ever witnessed, the film is a breath of fresh air in the over-saturated horror genre and a welcome debut from an upstart director.

Independent Spirit Award Nominations: Best Female Lead-Toni Collette, Best First Feature

1993 Films, Ann Dowd, Antonio Banderas, Bradley Whitford, Charles Napier, Denzel Washington, Drama, Jason Robards, Joanne Woodward, Jonathan Demme, LGBTQ+ Drama, LGBTQ+ Films, Mary Steenburgen, Tom Hanks

Philadelphia-1993

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Philadelphia-1993

Director Jonathan Demme

Starring Tom Hanks, Denzel Washington

Scott’s Review #782

Reviewed July 3, 2018

Grade: A

Having the powerful distinction of being one of the first Hollywood LGBT films to deal with heavy issues such as HIV/AIDS and homophobia, Philadelphia (1993) is a film to champion.

The film does contain some less-than-positive stereotypes across the board, but was a tremendous box office success and more importantly introduced a large audience to a still (at that time) taboo subject.

Hopefully, this had a tremendous effect on creating an understanding of a vicious disease and its ramifications.

Tom Hanks deservedly won the Best Actor Oscar for his lead performance of an AIDS and discrimination victim as did the heartbreaking theme song “Streets of Philadelphia”, penned by Bruce Springsteen, win for Best Original Song.

Director Jonathan Demme creates a world quite realistic in portrayal at the corporate level. Hotshot attorney Andrew Beckett (Hanks) has a promising future at one of the country’s largest law firms in Philadelphia.

Assigned a high-profile case, it is noticed that Andrew has developed lesions across his body and is subsequently fired from the firm. After deciding to sue the firm and having no luck finding an attorney to represent him, he finally meets struggling black attorney, Joe Miller (Denzel Washington), who begrudgingly takes the case to gain exposure.

Philadelphia is a film that is a courtroom drama with a cause and is firmly ensconced in the “message movie” genre.  A lesser version, and perhaps one made even a decade or so after 1993, might be reduced to the Hallmark television movie category.

Fortunately, the timing is perfect and Philadelphia can be remembered as a film championing LGBT rights.

Hanks’s performance is just dynamic- his character is meant to be empathetic, a victimized man unjustly suffering not only discrimination but a death sentence. The audience knows what is to come and as Andrew loses more weight and appears more sullen and haggard, the tale increases in sadness.

The final act of Andrew’s court victory is to be celebrated, but also is heartbreaking as a feeble and dying Andrew now lies close to death.

Hanks brilliantly infuses Andrew with courage, heart, and values, so much so that he becomes a hero to the audience even if their sexuality is different than his.

As much as the undying love for Hanks is deserved, the powerful supporting cast is a treasure. Washington is not as sympathetic a character as Andrew is, but learns a lesson and eventually leaves his machismo on the sidelines.

The heart-wrenching death scene culminating in the hospital room involves lover Miguel (Antonio Banderas), surrounded by Andrew’s family, all-embracing as one. There is beauty mixed with tragedy in this one scene alone.

Even Mary Steenburgen as the tough defense lawyer shows some heart. And who can say more about the dynamic Joanne Woodward as Andrew’s mother?

Unfortunately, there are a few stereotypes to endure, and sadly many early LGBT films (and some still do!) include these for emphasis- or perhaps ignorance? Nonetheless, these make the film seem slightly dated given the LGBT progress made in the decades since the film was released.

Joe Miller is portrayed as a macho guy afraid to be viewed as gay- he even jokes around about being a “man” with his wife. Joe also grimaces when he shakes hands with Andrew and suddenly realizes Andrew has AIDS.

Nearly all of Andrew and Miguel’s gay friends are effeminate- this hardly seems possible.

Such is a monumental achievement when a film breaks barriers by telling a story of critical importance. Philadelphia (1993) does just that by patiently asking its audience for tolerance, understanding, and heart.

In return, the film educates, floods with emotion, and breaks hearts. Other LGBT films would come along that were arguably even better, but Philadelphia is a groundbreaking experience sure to be remembered as the first of its kind.

Oscar Nominations: 2 wins-Best Actor-Tom Hanks (won), Best Original Screenplay, Best Original Song-“Streets of Philadelphia” (won), “Philadelphia”, Best Makeup

2016 Films, Ann Dowd, Comedy, Drama, Frank Langella, Independent, Independent Comedy, Independent Drama, Kathryn Hahn, Matt Ross, Steve Zahn, Viggo Mortensen

Captain Fantastic-2016

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Captain Fantastic-2016

Director Matt Ross

Starring Viggo Mortensen

Scott’s Review #616

Reviewed February 10, 2017

Grade: B+

A thought-provoking story that raises a question of home-schooled, non-traditional book intelligence versus the lack of social norms and interactions and debates about which upbringings are more relevant, Captain Fantastic (2016) is a terrific film with a moral center.

The film, which stars Viggo Mortensen, is a family drama with a unique spin and edgy subject matter. Mortensen is not afraid to tackle complex and thoughtful roles.

Although it is perhaps not as gritty as it could have been and feels a bit safe, it still entertains and elicits thought, a critical aspect of film often lacking in modern cinema.

Director Matt Ross immediately treats us to aerial views of the green and mountainous Pacific Northwest, where a family of seven- one father and six children aged five to seventeen, silently prey on and kill a deer grazing in the forest. This is their dinner.

The family is unorthodox, to say the least.

Led by Ben Cash (Mortensen), he teaches the children how to fight, how to survive, and how to be ready for any situation. They are brilliant kids who can recite the Bill of Rights and the most complex literature.

Soon, it is revealed that their mother, Leslie, has committed suicide, and a battle ensues between her parents (Frank Langella and Ann Dowd), who is determined to bury her “properly” with a Christian funeral, and Ben and his children, who are determined to honor her last wishes for cremation.

Ben and the gang travel via their run-down school bus to New Mexico, meeting local townspeople as a battle of cultures occurs.

I commend Ross for creating a story that challenges the viewer to think, depending on the viewer’s religious or political views. There is a risk of people either loving or hating the film.

The film is skewed toward the left, as in the dinner and sleepover scenes with Ben’s sister. Her “Americanized” family is awkward, and the families have entirely different styles.

Ross makes it clear that Ben and his family are the intelligent ones, and his sister’s kids are pretty dumb, not even knowing what the Bill of Rights is and mindlessly playing violent video games.

The fact that they are a “typical American family” is sad and quite telling of wRoss’s perspective

Captain Fantastic wisely shows that either side is not perfect. His oldest son, Bodevan, blooming sexually, has an awkward encounter with a pretty girl, proposing marriage to her with her mother present because he knows no social norms.

A younger son is attracted to a “normal” life with his grandparents, who are a wealthy couple. The grandparents are not presented as bad people; instead, they want the best for their grandchildren and fear how their lives will turn out without better structure or what they perceive as a better upbringing.

Some of the kids blame Ben for their lack of social skills and being what they perceive as “freaks.”

The film does end safely as a happy medium is ultimately reached, but I never felt cheapened by this result. I found Captain Fantastic rich in intelligent writing and a challenging tale.

Many moments of “what would you do?” were brought to the forefront. Mortensen portrays Ben Cash flawlessly, mixing just the right vulnerability with the stubbornness of the character, and it is an excellent film for anyone fearing being intelligent is not cool because it is.

Oscar Nominations: Best Actor-Viggo Mortensen

Independent Spirit Award Nominations: Best Male Lead-Viggo Mortensen

2012 Films, Ann Dowd, Craig Zobel, Drama, Dreama Walker, Independent, Independent Drama, Independent Thriller, Thriller

Compliance-2012

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Compliance-2012

Director Craig Zobel

Starring Dreama Walker, Ann Dowd

Scott’s Review #435

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Reviewed June 30, 2016

Grade: A

Compliance (2012) is a ninety-minute riveting experience that will leave you thinking, talking, and feeling for days or weeks after viewing it.

The film is that intense.

The fact that it is based on true events is even more startling. It is, at times, quite disturbing and unsettling to watch, and if one likes their movies happy and wrapped in a bow, this will not be for you, but for film fans who truly want an emotional experience check it out.

At times I wanted to scream at the characters, look away from the screen, and shake my head in disbelief.

A truly riveting experience.

Major props to actress Ann Dowd, who does a bang-up job as the restaurant manager, and main character. What an amazing talent this actress is.

My range of emotions toward this character (sympathy, confusion, anger, disbelief) blew me away.

Compliance (2012) is one of the best modern films of late.

Independent Spirit Award Nominations: Best Supporting Female-Ann Dowd

2014 Films, Ann Dowd, Bill Murray, Chris O'Dowd, Comedy, Drama, Independent, Independent Comedy, Independent Drama, Melissa McCarthy, Naomi Watts, Terrence Howard, Theodore Melfi

St. Vincent-2014

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St. Vincent-2014

Director Theodore Melfi

Starring Bill Murray, Naomi Watts, Melissa McCarthy

Scott’s Review #246

70295665

Reviewed June 5, 2015

Grade: B-

St. Vincent (2014) succeeds only due to the charming, funny appeal of its star Bill Murray, who fronts this cute, mainstream comedy.

Set in blue-collar Brooklyn, New York, it tells the story of a curmudgeonly old man (the title character, Vincent), who befriends a lonely young boy named Oliver, new to the neighborhood.

Mixed in with the cast of characters are Oliver’s struggling mother Maggie (played by Melissa McCarthy) and Vincent’s pregnant, stripper girlfriend, Daka, played by Naomi Watts.

I found intrigue in how we get to know Vincent first and then watch him evolve from a grumpy, cutting old man to a begrudging babysitter of the neighbor boy while clashing with Maggie and fighting with Daka.

Murray returns to comic wit using his now-legendary flawless dry, sarcastic humor and perfect timing and displays much of that in St. Vincent. Throughout all of this Vincent remains brutally honest with his snarky remarks (mainly aimed at Maggie) yet heartwarming and I love this aspect of the film.

Thanks to Murray, Vincent is lovable, making the film, which with lesser talent, would be overly sentimental

As the film progresses we see Vincent’s struggles- his wife suffers from Alzheimer’s, and he is indebted to bookies (primarily Terence Howard- in a bit of a throwaway role).

The film staggers with some predictability issues and is formulaic and easy to predict a warm finale.

Of course, in true form, Vincent is a Vietnam vet who drinks and gambles and is angry at the world, but has a heart of gold so, despite being temperamental, the audience falls in love with him (patriotism helps).

The character contains every cliche in the book. A mean old man- who rises to new heights and becomes a nice grandfather figure to a bullied boy is what this film is going for.

The bullying of Oliver is also contrived- during one scene Oliver, after being picked on once again by the prominent bully, flies into a seething rage and breaks the bully’s nose.

The audience is supposed to buy that the waif-ish, shy kid triumphs over the bully. If only life were that simple. Inevitably, after both serve after-school detention, they bond over bathroom cleaning and become best friends.

Who did not see that coming?

In addition, most of the characters are one-note.

Naomi Watts is a sexy, and aging Russian (not sure I bought that accent) stripper with a soft spot- she comes across as uptight but is caring- another cliche.

Melissa McCarthy is a hard-working, soon-to-be divorcee, trying to raise her kid right- one-dimensional. Even Vincent is seemingly tough as nails, but of course, has a soft spot for the neighbor kid.

The casting of Watts, McCarthy, and Howard is okay, and I surmise the film was going for casting “name” actors, but these parts might have been played by unknowns and had the same effect.

The gem is Murray.

Murray effortlessly breathes life into a character who otherwise would have been as dull as dishwater. I found the writing the weakest point of the film.

A major incident brings the cast together united as one (yawn). The film closes with the family all happily eating dinner together. I do not see this as a spoiler as this ending can be seen a mile away.

Despite the flaws and sentimentality of the film, it is admittedly sweet, and humorous at times, and sends a nice message to the audience- be kind to one another and help each other get through life.

Without Bill Murray, this film would have been completely bland and unlikeable.

St. Vincent (2014) is a feel-good film that is perhaps too feel-good.

2012 Films, Adam Scott, Ann Dowd, Comedy, Independent, Independent Comedy, Isla Fisher, James Marsden, Kirsten Dunst, Leslye Headland, Lowest Rated Films, Rebel Wilson, Will Ferrell

Bachelorette-2012

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Bachelorette-2012

Director Leslye Headland

Starring Kirsten Dunst, Isla Fisher

Scott’s Review #22

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Reviewed June 17, 2014

Grade: D

I’m not sure how to pinpoint exactly what is wrong with Bachelorette (2012) except for just about everything.

It tries to be a Bridesmaids (2011) meets Hangover (2009) copycat but fails miserably. What made those films entertaining was that they were funny.

This film attempts many jokes and falls flat almost every time. The set-ups are there, but there is no follow-through.

Almost every character is unlikable and hateful to everyone else and there is nobody to root for.

Worse yet, the film is bland. Dumb comedies are not my favorite genre, but this was lackluster.

I adore Kirsten Dunst, but sadly she picked a dud she’s likely soon to forget. Isla Fisher seems to always be in films like this and the male actors (James Marsden, Adam Scott) have little to do.

The talented cast is wasted and Bachelorette (2012) is not worth seeing.