Tag Archives: Brian Helgeland

1997 Films, Brian Helgeland, Crime Drama, Curtis Hanson, Danny DeVito, David Strathairn, Drama, Film noir, Guy Pearce, James Cromwell, Kevin Spacey, Kim Basinger, Matt McCoy, Russell Crowe, Simon Baker

L.A. Confidential-1997

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L.A. Confidential-1997

Director Curtis Hanson

Starring Kevin Spacey, Russell Crowe, Kim Basinger

Scott’s Review #1,102

Reviewed January 19, 2021

Grade: A

An enormous critical and commercial hit of 1997, L.A. Confidential spins a tale of intrigue and mystery during the 1950s with plenty of big-name stars to go around.

The film can be classified as a throwback, neo-noir escapade, but it’s quite stylistic and fleshed out. It’s well-made with slick elements and Hollywood looks and feels like the lavish production design and musical score, but it’s the seduction and bevy of secrets that will keep viewers glued to their seats, trying to guess what happens next.

As if it doesn’t have enough great elements a powerful whodunit is constructed leading viewers to question if the bad guys are good or the good guys bad.

Stalwarts like Kevin Spacey, Kim Basinger, and Danny DeVito bring star power, while unknowns at the time, Russell Crowe and Guy Pearce are the real reasons to tune in.

L.A. Confidential has a seemingly endless tangled web to absorb and unravel, but the film is paced well and never overcomplicates itself. The strong art direction and musical score make it a delight to the eyes and ears.

The film is fraught with a saucerful of secrets just waiting to be brought to the surface.

Based on the James Ellroy 1990 novel of the same name, it’s the third book in his L.A. Quartet series, the others being The Black Dahlia (1987) and The Big Nowhere (1988). All focus on the Los Angeles Police Department, corruption, and scandal. The former was turned into an unsuccessful film in 2006 starring Josh Hartnett and Scarlett Johansson.

I love films set in the City of Angels with a focus on Hollywood darkness lurking beneath the sunny and swanky exterior. Especially effective is the 1950s time, post World War II, when everything seemed to be coming up roses.

Naturally, murder is the offering of the day.

To summarize, three policemen, each with his motives and obsessions, tackle the corruption surrounding an unsolved murder at a downtown Los Angeles coffee shop in the early 1950s.

Detective Lieutenant Exley (Pearce), the son of a murdered detective, is out to avenge his father’s killing. The ex-partner of Officer White (Crowe), implicated in a scandal uncovered by Exley, was one of the victims.

Sergeant Vincennes (Spacey) feeds classified information to a tabloid magnate (DeVito). Basinger portrays Lynn Bracken, as a glamorous prostitute.

It’s nice watching the film with the knowledge of the big stars Crowe and Pearce would become. Also interesting is to see Spacey when he was a big star, eventually destined to turn into Hollywood mud due to a scandal.

That’s the beauty of watching a classic film and adds a realistic element unknown at the time of the first release.

From a romantic angle, it’s fun and juicy to wonder who Lynn, a Veronica Lake lookalike, will wind up with. Basinger has chemistry with all of the handsome cops and one wonders who she will screw and screw over.

The role is the best of Basinger’s career.

L.A. Confidential is a film that can be viewed multiple times to notice intricacies missed during the first go-around. It harkens back to the 1940s in style, pizazz, and texture. There is something for everyone and it develops well beyond the film noir genre.

It contains great acting, exceptional writing with twisting storylines and events, bloodshed, and thrills. It is an exceptional crime drama almost on par with one of the greats, Chinatown (1974).

The 1990s was an excellent decade for well-made films and L.A. Confidential (1997) is near the top of the pile.

Oscar Nominations: 2 wins-Best Picture, Best Director-Curtis Hanson, Best Supporting Actress-Kim Basinger (won), Best Screenplay Based on Material Previously Produced or Published (won), Best Original Dramatic Score, Best Sound, Best Art Direction, Best Cinematography, Best Film Editing

1988 Films, Brian Helgeland, Fantasy, Freddy Kruger, Horror, Robert Englund, Slasher, Tuesday Knight

A Nightmare on Elm Street 4: The Dream Master-1988

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A Nightmare on Elm Street 4: The Dream Master-1988

Director Renny Harlin

Starring Robert Englund, Tuesday Knight, Lisa Wilcox

Scott’s Review #1,030

Reviewed June 8, 2020

Grade: B-

By 1988, a tepid year in cinema, and with the slasher genre nearly dead on arrival, the release of A Nightmare on Elm Street 4: The Dream Master (1988) had the cards stacked against it.

The franchise feels tired and out of gas by this point, so more comedy and humorous lines were added along with a return to a similar concept offered in A Nightmare on Elm Street 3: Dream Warriors (1987), the dream sequences.

The film is so-so with not much making it stand out as compared to the superior first three offerings. Thankfully, Robert Englund is the mainstay and main attraction.

A year after the events of the previous film, Kristen (Tuesday Knight) and her friends have been released from the stifling Westin Hills sanitarium, putting the horrific events behind them.

Their attempts to resume normal teenage activities like attending class and partying are thwarted by Freddy Krueger (Englund) who begins to infiltrate Kristen’s dreams.

As usual, a fresh batch of teenagers is along for the ride as they struggle to stay awake by watching Music Television (MTV) and revisiting the lavish junkyard featured in the previous installment.

The redundancy of another franchise film using the tired “one year later” to begin events anew is feeling like a cliché.

The main character Kristen being played by a different actress does not help the film only making it lack any consistency, the fact that actress Patricia Arquette had little interest in returning for around two in the role is not the film’s fault, but a brand-new character instead of a recast might not have been a bad idea.

Recasting prominent roles may work in daytime soap operas but not in the movies.

A Nightmare on Elm Street 4: The Dream Master, while quite similar to its predecessor, Dream Warriors, so much so that they could easily be watched in tandem, has some positive qualities.

I love the MTV angle, the network music channel overtaking nearly every United States teenager’s living room or bedroom throughout the 1980s.

If the filmmakers wanted to get teenagers who might not necessarily watch horror films, this was a perfect marketing tool. The target audience is perfectly aligned, and the film feels fresh and relevant for its time of release.

The drawback to the above point is that making a film that is timely means that decades later its risk is being referred to as “of its time”, and sadly that is what has happened with Dream Master.

Nobody will scramble to watch this installment when other better chapters are out there. There may hardly be a reason to watch this one against you unless a Nightmare marathon is on the docket.

The junkyard set and the creepy church set are very good, so the film does well from a visual perspective.

Englund is Freddy and his familiarity cannot be dismissed, but the actor seems to be phoning in his performance by this point in the franchise. Finally receiving top billing, as he should, he shares his familiar witty remarks and playfully taunts his victims like a cat would before pouncing on a mouse.

The actor adds even more humor to his one-liners, but this sacrifices the horrific moments of which there are not many. A successful horror/comedy fusion is a delicate balance and there is not enough meat on the bone.

Entertaining at best, A Nightmare on Elm Street 4: The Dream Master (1988) is not well remembered, nor should it be. A dated affair, with emotionless teenage actors needing acting lessons and surely never to be heard from again, round out the cast led by Robert Englund.

The film is a letdown because it is too much like Dream Warrior and suffers from too much predictability.

2003 Films, Brian Helgeland, Clint Eastwood, Crime Drama, Drama, Eli Wallach, Emmy Rossum, Kevin Bacon, Laura Linney, Laurence Fishburne, Marcia Gay Harden, Sean Penn, Tim Robbins

Mystic River-2003

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Mystic River-2003

Director Clint Eastwood

Starring Sean Penn, Tim Robbins

Scott’s Review #801

Reviewed August 10, 2018

Grade: A

Mystic River (2003) is a film that I consider to be the second-best offering directed by Clint Eastwood.

Along with Million Dollar Baby (2004), Eastwood successfully creates two compelling back-to-back dramas, not too dissimilar from each other.

He was unquestionably the “it” director of the early 2000s, and with Mystic River, helms a gritty, mystery drama with a stellar cast, nuts-and-bolts storytelling, and enough twists and turns to keep the audience guessing and ultimately shocked.

All of these pieces result in a memorable experience.

The film is based on the novel of the same name, written by Dennis Lehane. A tremendous element is a locale of Boston, and an Irish, blue-collar/working-class theme, prevalent throughout the story.

Thanks to the cinematography, illuminating a grey and stormy look, enhances the rest of the film. I adore films shot in and around Boston as so much culture and flavor are provided.

Eastwood hardly misses a beat with some cold and grizzled touches that play into the hardships and struggles of the character’s everyday lives.

The story itself begins as we meet the central characters (Jimmy, Dave, and Sean) as young boys, a three musketeers-type scenario where they are like blood brothers. After an incident occurs where Dave is accosted by men and sexually abused, he is ultimately rescued after four torturous days, but his life is never the same.

Fast forward twenty-five years and the boys are now men, still living in a working-class Boston neighborhood. Each is now married, their lives have moved on, drifted away from each other, and contain vastly different personality types.

They reunite after a tragedy occurs.

For starters, a major win by Eastwood is the casting of each of the male characters. Sean Penn plays Jimmy, the volatile ex-con, who runs a small store, while Sean, played by Kevin Bacon, has become a Massachusetts State Police officer, putting him directly at odds with Jimmy.

Sadly, Dave (Tim Robbins), now lives a quiet life, still harboring trauma, shame, and guilt from his childhood experience. When Jimmy’s daughter (Emmy Rossum) is brutally murdered, the three friends’ lives are intertwined as they search for the killer taking the viewers down a dark path filled with secrets, some from the past.

Laura Linney and Marcia Gay Harden give tremendous performances as Jimmy’s and Dave’s wives, respectively.

Mystic River is a film where all of the great elements come together perfectly. From the acting to the components of the story to the whodunit involved, to the exciting twist and conclusion to the overall film are truly exceptional.

But what sets it apart from a standard drama or thriller are the characterizations and relationships among these characters.

Childhood memories can last a lifetime in their monumental importance and this is evidenced many times between Jimmy, Dave, and Sean. Blood brothers, yes, but when tragedy strikes, old wounds and fresh wounds together run deep.

The themes of violence and revenge are firm staples of this film, and these are commonalities for many Eastwood films. Viewers may also find themselves conflicted with whom to sympathize with or where their allegiances should lie.

Jimmy, the anti-hero, will garner sympathy for the vicious loss of his daughter- pain that can never be fully healed.

Did Dave, the obvious prime suspect, kill the girl? If so, was it on purpose or by accident? Are others, specifically his wife, involved in a cover-up? Eastwood carves the setup spectacularly, but is it a simple red herring? These events make the film unbelievably compelling.

Fabulous is the performances all around, but especially by Penn and Robbins, both awarded with Oscar wins for Best Actor and Best Supporting Actor, respectively.

Penn never delivers poor performance, but Jimmy is one of his best characters yet. As for Robbins, he fills the character of Dave with empathy- a wounded bird left damaged through no fault of his own, suffering a terrible fate due to circumstances, misunderstandings, and ultimately tragedy.

Mystic River (2003) watched alongside Million Dollar Baby (2004) would make for an excellent Saturday night for fans of Clint Eastwood’s directorial talents. These two are the best of the best with great character development and rich writing.

The direction, however, enhances the spectacular elements and takes it a bit further providing appropriate texture and a wonderful atmosphere.

Oscar Nominations: 2 wins-Best Picture, Best Director-Clint Eastwood, Best Actor-Sean Penn (won), Best Supporting Actor-Tim Robbins (won), Best Supporting Actress-Marcia Gay Harden, Best Adapted Screenplay

2015 Films, Biography, Brian Helgeland, Chazz Palminteri, Crime Thriller, David Thewlis, Emily Browning, Mob, Taron Egerton, Thriller, Tom Hardy

Legend-2015

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Legend-2015

Director Brian Helgeland

Starring Tom Hardy

Scott’s Review #405

80057599

Reviewed May 24, 2016

Grade: B+

Tom Hardy is one of my favorite modern film actors (he should have won the 2015 Oscar for his riveting performance in The Revenant, in my humble opinion) and in Legend (2015) fans are treated to a dual role by the handsome Brit.

Hardy portrays Reggie and Ronald Kray, two of London’s most feared and brutal gangsters.

The film belongs to Hardy in every way, shape, and form, the locales of London are fantastic, and more than one scene is jaw-dropping violent, but the film meanders quite a bit and the vocals of Ron Kray are quite difficult to understand.

Still, impressive effort as a whole.

The time is late 1950s London. Reggie Kray, the more mainstream of the Kray brothers, is a feared member of the organized crime community.  He is coddled by his mother and can do no wrong in her eyes. This makes any relationships difficult as his mum disapproves of his mates.

He falls in love with Frances Shea, a young woman who narrates most of the film, so it is told from an outsider’s perspective. Reggie’s brother Ron has recently been released from a mental hospital and if off of his medications, is certifiably crazy, and very volatile.

He is gay and makes no bones about it.

Ron and Reggie have a love/hate relationship, and this dynamic is the most interesting aspect.

Thanks to Hardy, as the writing is not Legend’s strongest suit, we see two very different characters, even though they look alike. In the myriad of scenes shared between the brothers, it appears that two actors are playing the roles which is to Hardy’s credit.

An important scene emphasizes the relationship between the two. When a rival dares to mention Reggie’s wife’s name disparagingly, he points a gun and fires at the man’s head.

Fortunately, the gun is not loaded, so the audience breathes a sigh of relief. Yet, a worse fate awaits the victim. After the deed is done, Reggie whispers in Ron’s ear that he killed the man “because I can’t kill you”.

This means Reggie would kill Ron if he could- shocking since they are brothers. To add to this, it is implied that he would kill his brother with the same savageness as his victim.

This makes the audience ponder.

Impressive is Ron’s sexuality, especially since he is not written stereotypically. He is brutal, masculine, and hardcore. The fact that Ron Kray was a real figure is important to note. His entourage of boyfriends follows him around in dedication.

Who can blame them as his charisma oozes- think of an unstable James Bond.

The twin’s relationship is the best part of the film, but as a mob film, Legend meanders quite a bit, so much so that it becomes tough to identify what the point is, if not for Hardy.

Save for Frances, none of the supporting characters are written with interest and are all rather forgettable.

The wonderful Chazz Palminteri is wasted in the role of Angelo Bruno, head of a Philadelphia crime family and friend of the Krays. There is little meaning or interest in his role.

A mediocre story, but with leading characters with depth, makes Legend (2015) an interesting film that flies under the radar and receives little notice.

Hopefully, if nothing else, it continues the success that Tom Hardy is currently achieving in modern film.