Tag Archives: Comedy

2023 Films, Alexander Payne, Christmas, Comedy, Da'Vine Joy Randolph, Dominic Sessa, Drama, Paul Giamatti, Tate Donovan

The Holdovers-2023

November 22, 2023 scottmet99 Leave a comment

The Holdovers-2023

Director Alexander Payne

Starring Paul Giamatti, Dominic Sessa, Da’Vine Joy Randolph

Scott’s Review #1,410

Reviewed November 22, 2023

Grade: A

The snowy New England setting is just one of many aspects of The Holdovers (2023), director Alexander Payne’s latest release gets right. There’s a stuffy prep school, the tumultuous 1970-1971 in world politics, and teenage angst in the mix.

The early 1970s-era set pieces and Americana comfort food are brilliantly and prominently placed to offer security in a world with tragedy and loneliness The jazzy soundtrack also features hits of the time, embracing the viewer in beautiful nostalgia.

Finally, the three lead characters are well-defined and their complexities are displayed in raw form making them rich relatable flawed thanks to strong acting performances.

Paul Giamatti leads the charge as a sarcastic teacher with his great acting and meshes well with newcomers Dominic Sessa as a rival student and Da’Vine Joy Randolph as a kind but wounded cook.

Anyone who has seen Payne’s films like Election (1999), Sideways (2004), The Descendents (2011), or others knows that he sprinkles satirical depictions of contemporary American society in his works.

There is frequently sadness and morosity to the content saved from depression by warmhearted and caring characters.

I savored the quiet moments of human connection that were crafted in The Holdovers.

Events take place over about two weeks beginning at Christmas break and culminating in early January so holiday cheer and sadness are themes.

Paul Hunham (Giamatti) is a classics instructor at Barton University, a prep school outside of Boston. He is forced to remain on campus during Christmas break to babysit the handful of students with nowhere to go.

At first, despising each other he eventually forms an unlikely bond with one of them, a damaged, but witty troublemaker named Angus Tully (Sessa).

He also connects with the school’s head cook, Mary (Randolph), who has just lost her son in the Vietnam War (Da’Vine Joy Randolph) and shows romantic interest in Lydia Crane (Carrie Preston), a Barton faculty member.

Giamatti is terrific and my favorite character. As a grumpy teacher, the character could have been a one-note standard or stock. But as events go on we learn more about his past and despite being an authority figure he has demons and insecurities of his own.

During emotional moments he calmly offers a voice of reason which is a comfort. He’s stoic and rough around the edges but he genuinely cares about people making him likable.

Sessa and Randolph, despite being supporting characters each have their own stories.

There wasn’t much awareness about mental illness in 1970 compared to current times and Angus, who takes medication is fearful of spiraling down the same rabbit hole that cost his father his sanity.

Will he follow in his Dad’s footsteps?

A teary scene occurs when Angus visits his father in a facility. Hopeful of progress, Angus is quietly shattered when his father reveals paranoia about his food being poisoned by the staff.

Sessa provides a low-key performance that envelopes the character.

Randolph as Mary is kind yet depressed. She tries to find the good in people while realizing she’s been left out of the game in many instances. Her breakdown scene at a Christmas party allows Randolph to flex her mighty acting muscles.

I relished in the retro Christmas lights, the suburban houses with 1960s and 1970s living room and kitchen set pieces, the sweaters, the hairstyles, and the coffee mugs and plates.

The set designers flawlessly depict a time long ago.

I wanted to sit down and dine on Mary’s scrambled eggs and bacon or Lydia’s Christmas cookies. I yearned to sip a Miller Lite with Paul and Angus.

Finally, I smiled pleasantly at the movie theater scene featuring Dustin Hoffman in Little Big Man, an obscure American Western film from 1970.

With precision, Alexander Payne creates another outstanding film featuring the trials and tribulations of good characters dealt losing hands.

The Holdovers (2023) proves that a quality film with terrific writing, a moderate pace, and both dramatic and comic moments, draws cinema fans to theaters as much as a cliched superhero film does.

Independent Spirit Awards Nominations: Best Screenplay, Best Supporting Performance-Da’Vine Joy Randolph, Best Breakthrough Performance-Dominic Sessa, Best Cinematography

1986 Films, Charlie Sheen, Comedy, Jennifer Grey, John Hughes, Matthew Broderick, Wayne Newton

Ferris Bueller’s Day Off-1986

September 7, 2023 scottmet99 Leave a comment

Ferris Bueller’s Day Off-1986

Director John Hughes

Starring Matthew Broderick, Alan Ruck

Scott’s Review #1,396

Reviewed September 7, 2023

Grade: B

Ferris Bueller’s Day Off (1986) is one of the best-known of the John Hughes collection featuring 1980s teen, coming-of-age comedies. On par with The Breakfast Club (1985) and Pretty in Pink (1986) in name recognition memory banks especially for teenagers growing up in this decade.

Iconic moments like Ben Stein’s teacher’s monotone attendance roll call the name ‘Bueller’ repeatedly, and the term ‘Save Ferris’, which became the name of an alternative rock band, are legendary.

The film has its moments of creativity and Matthew Broderick’s portrayal of the title character was charming and star-making. Watching the film, though, decades later the slapstick feels overwhelming to the drama and there isn’t much angst like other Hughes films.

There isn’t much deeper meaning besides one day to skip school and have an adventure.

This makes Ferris Bueller’s Day Off fun and lighthearted but silly in comparison to more mature Hughes efforts. The film is about being young, free, and having fun but not much more, and the hijinks between the students and the authority figures sometimes feel tired.

Ferris Bueller (Broderick) is brilliant at skipping school and getting away with it despite being an intelligent student. He causes the high school principal Rooney (Jeffrey Jones) much irritation and the ultimate pursuit to catch Ferris in the act.

The young man plans one final outing before graduation with best pal Cameron (Alan Ruck) and his girlfriend Sloane (Mia Sara). They ‘borrow’ Cam’s father’s expensive Ferrari and journey through the streets of Chicago.

Ferris’s sister Jeanie (Jennifer Grey) seethes with rage at her brother’s antics while their successful but dimwitted parents Katie (Cindy Pickett) and Tom (Lyman Ward) remain clueless.

The superior aspects of the film are the frequent sites of Chicago and Broderick himself which raise the film above mediocrity decades after its initial release.

Broderick followed his contemporaries like Michael J. Fox and Emilio Estevez as the cool and likable all-American boy next door. His performance makes the film better than it might have been and the fun is watching him outwit rivals like the principal and other villains he encounters.

Hughes creates a nice ‘day in the life’ style that follows the characters from early morning until evening which keeps the events contained well.

A high point of the film and where it picks up steam is when the gang gets to Chicago. We suspect the teenagers, while they skip school via fibs, merely have a case of ‘senioritis’ and otherwise are superior students. This is confirmed by the sophisticated and intellectually stimulating places they visit.

They indulge in lunch at a swanky French restaurant and visit the worldly Art Institute of Chicago for good old-fashioned culture. Not to appear too snobby they hobnob with blue-collar folks at an afternoon Cubs baseball game.

Where Ferris Bueller’s Day Off feels dated is with the ditziness of Ferris’s parents. The teen easily bamboozles his parents with his feigned illness and when his father notices Ferris in a nearby taxi cab he shrugs it off as his imagination.

The most laughable instance of the parent’s cluelessness is when mom Katie, in the passenger seat, appears not to notice her son running in front of their car when sister Jeanie slams on the brakes. She instead scolds Jeanie for driving recklessly.

These and other setups involving the over-the-top principal feel more like cliches than genuine laugh-out-loud moments. But this was common in 1980s comedies.

Ferris Bueller’s Day Off (1986) feels fresh in some parts but dated in others making the experience humorous but hardly legendary. Whereas The Breakfast Club holds up very well this film doesn’t as much.

1962 Films, Comedy, Fred Astaire, Jack Lemmon, Kim Novak, Thriller

The Notorious Landlady-1962

August 16, 2023 scottmet99 Leave a comment

The Notorious Landlady-1962

Director Richard Quine

Starring Kim Novak, Jack Lemmon, Fred Astaire

Scott’s Review #1,390

Reviewed August 16, 2023

Grade: B+

If viewers can look past the messy nature of The Notorious Landlady (1962) and the schizophrenic pacing that appears intermittently then the film is enjoyable.

It’s not platinum status but a decent enough flick, especially for fans of Kim Novak and Jack Lemmon who were big stars at the time. This is the third and final film that the duo starred in.

Like the film, their chemistry goes in and out but appealing is to see Novak in a comic role whereas the genre is familiar territory for the funny Lemmon.

After her husband mysteriously disappears, Carly Hardwicke (Novak) finds it impossible to rent a room in her lovely London apartment, because everyone assumes she’s responsible.

American diplomat William Gridley (Jack Lemmon), is new to the city and desires a residence with her. It doesn’t hurt matters that Carly is very easy on the eyes. William becomes smitten with her unaware of her troubles.

When his boss, Franklyn Ambruster (Fred Astaire), learns what Gridley has stumbled into, the two men try to clear her name. A series of lies and misunderstandings catapult events into a compelling mystery.

Even though neither William nor Carly are British the foggy locale works well providing foreign mystery. They reside in a courtyard type of home where neighbors can see in or they can see out to other apartments. This comes into greater play towards the end of the film.

This is just one example of an Alfred Hitchcock influence from 1955’s Rear Window which director Richard Quine heftily borrows from. He’s wise to do so since he secured Novak, fresh from her role in Vertigo (1958) two years earlier.

Shit, even the title ‘The Notorious Landlady’ borrows the title of the 1946 Hitchcock masterpiece, ‘Notorious’.

There’s also a secret locked door that Carly references and forbids anyone from entering adding suspense and foreboding.

Despite tepid chemistry between the stars I ultimately enjoy their romance. It’s a hard sell that the gorgeous Carly would fall head over heels for the everyman William but she does.

They win me over during a dramatic scene where an attempted romantic dinner of steaks goes awry and instead, a massive fire erupts. The burgeoning lovers cling together in a sweet embrace that cements their appeal.

The tension is supposed to be about whether Carly murdered her husband and has designs on William. Red herrings like kitchen poisons and the like make an appearance but I was more interested in the impending mystery of said husband than really believing she’d want to kill William.

The last act brings the reemergence of a threatening character, an unexpected villain, and a race to save another character who’s in dangerous peril.

A courtroom scene also adds to the tension.

The central storyline is satisfying, edge of your seat, and suspenseful, just what I assume Quine was going for…..ultimately.

Within the story, The Notorious Landlady shifts genres a whopping three times! The tone of the film is all over the place, first romantic comedy, then suspense and drama, and finally slapstick.

During the finale when Carly and William race to a retirement community and scramble to stop an out-of-control wheelchair, I half expected Laurel & Hardy or The Little Rascals to make a cameo.

Poor Fred Astaire has little to do and struggles to keep up any relevance as measured against Novak and Lemmon’s characters. At times I’d even forgotten he was still in the film.

The Notorious Landlady (1962) is an entertaining vehicle and a must-see for fans of Novak or Lemmon eager to see a largely forgotten film that has something fun to offer.

1984 Films, Anthony Michael Hall, Comedy, Jami Gertz, Joan Cusack, John Cusack, John Hughes, Molly Ringwald, Romantic Comedy

Sixteen Candles-1984

August 14, 2023 scottmet99 Leave a comment

Sixteen Candles-1984

Director John Hughes

Starring Molly Ringwald, Michael Schoeffling, Anthony Michael Hall

Scott’s Review #1,389

Reviewed August 14, 2023

Grade: B

While recently re-watching a string of John Hughes-produced or directed films from the 1980s I set upon them with fresh eyes. Some scenes or themes that worked in the mid-1980s would be inappropriate in a more sensitive and post-Me Too! movement.

Hughes, of course, was the king of the teen angst, coming-of-age, romantic comedies that usually starred Molly Ringwald.

Sixteen Candles, Hughes’s first directorial effort was released in 1984 and launched him to superstardom and immense popularity. Films like The Breakfast Club (1985) and Pretty in Pink (1986) would follow to much acclaim.

What he did so well was provide maturity and a message to otherwise dumb and raunchy comedies that populated the decade and they had a fresh female perspective whereas others were typically male and hormone-driven.

Already angst-ridden Samantha (Molly Ringwald) wakes up on the morning of her sixteenth birthday to find her busy family has completely forgotten her special day.

Samantha already pines for the handsome senior Jake (Michael Schoeffling), but worries that her dorkiness and lack of sexual experience will be a turnoff for the popular boy.

Meanwhile, Samantha must constantly rebuff the affections of nerdy Ted (Anthony Michael Hall), the only boy in the school who seems to take an interest in her.

As enjoyable as Sixteen Candles is I’d list it as the weakest of the Hughes films. It serves as more of a blueprint for the genius he would become.

Ringwald carries the film with ease made more impressive since this was one of her first film roles. She infuses Samantha with a blend of confidence but also insecurity and worry so that most American teenage girls could see themselves in her.

Pretty but not a pinup blonde, Samantha is intelligent and the girl next door. She lives in a suburban neighborhood, is middle class, has loving but distracted parents, and siblings focused on their trials and tribulations.

Most can relate to that.

A wonderful and tender moment between Samantha and her father, Jim, played brilliantly by Paul Dooley nearly moved me to tears. His wisdom and kindness as Samantha emotionally reveals her love for Jake to her dad is warm and solid epitomizing what a dad should be to his daughter.

A tepid series of misunderstandings occur between Samantha and Jake, who ironically has noticed her and shares the attraction. She freezes when face to face with him, and flees, so he naturally assumes she is a bitch and has no interest in him.

It takes so long for the lovebirds to connect that more possibilities and scenes are left unexplored. The film ends as soon as they reveal their feelings so there isn’t enough for the audience to celebrate.

We also know almost nothing about Jake. He is a rich kid whose parents are vacationing in Europe but what makes him tick? He could have any girl in high school and dates the pretty blonde girl but what makes him so drawn to Samantha?

The casting of the four grandparents serves no purpose other than comic relief and an inaccurate message of how bumbling older people are. One refers to Samantha’s ‘boobies’ while another stinks up the bathroom.

Worse yet, the inclusion of a foreign exchange Asian student named Long Duk Dong is riddled with cliches and stereotypes only played for laughs.

These characters are caricatures.

Finally, the groping and taking advantage of drunk female characters now feels dated if not flat-out inappropriate. In 1984, the scenes are meant to be funny.

Still, Sixteen Candles (1984) accurately depicts the loneliness and problems that face nearly every teenager in the history of the world. With a warm message of belonging and a sweet subtext, the film is a recommended watch but watch out for those stereotypes.

1985 Films, Andrew Dice Clay, Comedy, Dody Goodman, Hector Elizondo, Johnny Depp, Leslie Easterbrook, Rob Morrow

Private Resort-1985

July 26, 2023 scottmet99 Leave a comment

Private Resort-1985

Director George Bowers

Starring Rob Morrow, Johnny Depp, Hector Elizondo

Scott’s Review #1,382

Reviewed July 26, 2023

Grade: B

Depending on what type of film you are looking for Private Resort (1985) may be just what the doctor ordered.

A version of Animal House (1978) or Porky’s (1981) shifted to a sunny beach resort is the perfect summer setting for a sex romp with enough g-strings, boobs, and bare butts to make even non-prudish viewers blush a little.

Suffice it to say, director George Bowers, mostly known as a film editor, and screenwriter Alan Wenkus wasn’t seeking any Academy Award nominations.

Though silly, thoughtless, and caked with terrible acting Private Resort is a fun flick.

Shamelessly, since its 1985 release the distributors have callously billed mega Hollywood star Johnny Depp as the ‘star’ of this film. Someone even dared to add his photo to the film’s cover art, which I nearly used when creating my film review.

In reality, Depp plays second fiddle to Rob Morrow, who is the film’s real star and proudly displays more bare flesh than Depp does.

Morrow also proudly dons a dress and wig for a lengthy drag performance.

Thankfully, another source cleverly depicts a lineup of bronzed and toned beach bodies donning the letters that spell ‘Private Resort’ (see above) on different cover art.

Horny teenage buddies, Ben and Jack (Morrow and Depp) decide to spend a weekend in a swanky Miami beach resort chasing the flock of equally horny and scantily clad women they encounter.

How they have the money to afford a room is never explained.

Their fun is parlayed when they cross paths with a shifty jewel thief played by Hector Elizondo and his leggy girlfriend Bobbie Sue (Leslie Easterbrook). Throw in a romance with all-American-looking waitress Patti (Emily Longstreth) and sultry Dana (Karyn O’Bryan) and you’ve got a plot.

Bowers throws in enough physical comedy and antics to keep the action moving along in a speedy one-hour and twenty-two-minute running time.

The gags follow films like Caddyshack (1980) or any of the other countless 1980s slapstick comedies and you can pretty much bank on what you’ll be served up.

Why, the opening scene follows a parade of sexy female sunbathers slathering suntan lotion on or suggestively bending over for all to see. Many were uncredited so my hunch is that adult film stars were used.

Morrow is the standout and his boyish charisma lights up the screen especially when he becomes smitten with Patti. The fresh-faced pair make a perfect match and exude young love becoming the heart of the film.

Elizondo and Easterbrook dutifully perform their parts as one-dimensional foils and MILF roles respectively. Decent actors are worlds above any of the other supporting actors in terms of talent. Even comic actress Dody Goodman goes way over the top in her role as the wealthy grandmother to Dana.

Andrew Dice Clay, then known as Andrew Clay also appears.

Private Resort gets a severe wrist-slapping for two crass fat-shaming scenes not worth giving time to other than to mention it’s not kind to plump girls.

I first saw Private Resort (1985) as a teenager when it was first released and loved it. This was before I blossomed into a snobby film critic. Seeing the film a million years later with more sophisticated tastes I still find it fun, especially on a scorching summer night.

That’s got to count for something, right?

2023 Films, Comedy, Satire

Barbie-2023

July 23, 2023 scottmet99 Leave a comment

Barbie-2023

Director Greta Gerwig

Starring Margot Robbie, Ryan Gosling

Scott’s Review #1,381

Reviewed July 23, 2023

Grade: A

Greta Gerwig is a tremendously talented director who is influencing Hollywood films. The gifted woman crafted Lady Bird in 2017 to critical acclaim and forges ahead with another feminist and progressive project.

With Barbie (2023) she takes a traditional and iconic ‘Barbie doll’ product by Mattel and explores the positives and negatives of the doll throughout its existence.

A cool opening sequence harkening to Stanley Kubrick’s 1968 masterpiece 2001: A Space Odyssey explains the evolution of the doll.

Barbie incorporates gender balance, creativity, thought, satire, and slapstick comedy fraught with meaning. Not forgotten is heart and humanity and a look at how much progress has been achieved for women over the years and how much more is still needed.

As if that’s not enough, Barbie deserves praise for its direction, production design, costumes, music, and cast performances.

Well done.

The film stars Margot Robbie as Barbie and Ryan Gosling as Ken, who decide to go on a journey of self-discovery following an existential crisis Barbie faces. Deemed the ‘stereotypical’ Barbie she begins having peculiar and ‘un-Barbie’ thoughts of death and analytics and must return to the real world to find her doll’s owner.

She soon longs to return to Barbie Land which is a perfect place. Unless you’re a Ken who exists merely to pine after Barbie. But, do they secretly resent this?

There are a ton of positives to delve into regarding Barbie but one slight miss is proximity to silly comedy and goofiness. This is mostly offset by the meaning of the film but my fear is some audiences may be overwhelmed by gag jokes and lose the overall point of the story.

Let’s take a deep dive. The production design and art direction are dazzling and immediately noticed. Particularly, I’m referring to Barbie Land and its pink and pretty sets. Luxurious pools, streets, houses, and cars are rich with color and ooze a fun vibe.

I can’t imagine these teams being overlooked during the year-end awards season.

Robbie and Gosling looking blonde, buff, and tanned are wonderfully cast and not only look the part but quickly switch from physical comedy to heavy drama without looking foolish.

Robbie, for example, while the classic Barbie type has layers of emotion that she channels. And Gosling could have been looked the buffoon with over-the-top sequences if not for a startling good dramatic scene towards the film’s climax.

The supporting casting is brilliant and includes Kate McKinnon as ‘weird Barbie’ a perfect role for her to release her comic beast. How lovely to see Rhea Perlman again in the small but powerful role of Ruth Handler, co-founder of Mattel and creator of the Barbie doll.

Finally, America Ferrera and Will Ferrell add both comedy and meaningful spirit to their roles. And how could the inclusion of British stalwart Helen Mirren as the narrator not create credibility?

The main attraction though is the writing. Isn’t it always when intelligently done?

The dynamic duo of Gerwig and Noah Baumbach (famous for among other works the 2019 film Marriage Story) pair well giving equality messages to both Barbie and Ken. While easy to dismiss Ken his role is valued and respected within the overall context of showing that everyone deserves a seat at the table.

I was touched by the film in various moments more than I ever expected it to be. Wonderful sentiments about being a mother are powerfully stated by Ruth and Gloria (Ferrera) during various scenes and messages such as everyone deserving respect and serving a purpose are hard not to get choked up over.

Barbie wins points for diversity and inclusion with nearly every ethnic group represented and a transgender character, Dr. Barbie (Hari Nef) featured prominently.

By providing roaring entertainment, bubble gum sets and design, and a message that will break your heart while exuding intelligence Barbie (2023) is a win.

It’s a story about the wills of plastic and humanity making for a perfect harmonious blend. Who would have thought a film about Barbie would be so important?

1957 Films, Audrey Hepburn, Comedy, Fred Astaire, Romantic Comedy

Funny Face-1957

July 7, 2023 scottmet99 Leave a comment

Funny Face-1957

Director Stanley Donan

Starring Audrey Hepburn, Fred Astaire

Scott’s Review #1,375

Reviewed July 7, 2023

Grade: B

The results of Funny Face (1957) are mixed and the word ‘cute’ pops to mind on more than one occasion.

On the one hand, audiences are served a sophisticated look at the fashion industry and the sleek style of Paris, France in the 1950s. The outfits and set design are fab revealing the cultured and colorful modeling world while the makeup and hairstyles match the time with fragrant gusto.

The screenplay is riddled with plausibility issues bordering on offensiveness and silliness and a good look at the patriarchal mindset of the times. The message is twofold. The fashion industry and Hollywood equally embraced these norms at the time the film was made.

In a word, the overall film is dated.

New York City fashion photographer Dick Avery (Fred Astaire) is tasked with finding a model for a new assignment. Discouraged, he is struck by the beauty of Jo Stockton (Audrey Hepburn), an intellectual bookstore employee he photographed by accident.

He convinces Jo to go with him to France, where he continues to photograph her against Parisian backdrops while they scramble to pull together a fashion show along with crusty Maggie Prescott (Kay Thompson), a fashion magazine publisher.

Dick and Jo fall for one another, only to find hurdles to overcome along the way.

The musical numbers are plentiful but rather second-tier. Bouncy songs like ‘Funny Face’ and ‘On How to Be Lovely’ are decent but not memorable. The highlight is “S, Wonderful’ appearing during the finale and perfectly wrapping the Paris experience and the film in a shiny bow.

Comparisons can be made to An American in Paris (1951) and not just because both are set in Paris use the same tune (S Wonderful) and are composed by George Gershwin. There’s more buried beneath the surface that ties the two films.

Both lead characters, Jerry and Jo, wind up with the wrong partners, in reality, inappropriate for each other. Jerry should be with the comparable Milo while Jo should be with the dashing and artistic Flostre (Michael Auclair). Instead, Jerry chooses the waifish Lise while Jo lands the ancient Dick.

Astaire is old enough to be Hepburn’s grandfather which makes the romance odd.

Of course, in both An American in Paris and Funny Face, Milo and Flostre are made to be the foils. They are merely obstacles to be overcome by the preferred couple.

Another irritant is the demeaning nickname that Dick calls Jo, ‘funny face’. Hardly a dog, Hepburn is quite beautiful though the film makes the audience assume she is wrong for the modeling world. The reality is she fits right in looking perfect in every dress or costume she dons, or photograph she appears in.

A better casting choice would have been not classically beautiful singers/actors such as Barbra Streisand or Bette Midler though admittedly neither had surfaced at that point.

Though shot on a soundstage, Funny Face rebounds from implausibility with gorgeous ariel views of historic Parisian landmarks that envelope the glitter of the theme.

Shots of the Eifel Tower, Arc de Triomphe, and the broad Champs-Elysees are robust and made me rewatch this sequence again and again.

In parallel, the Greenwich Village, New York City setting where other events in the film take place is an intelligent choice to define the artistic and bookish characters.

The opening titles of Funny Face (1957) are creative and polished which reflect the maturity of the subject matter and style of the 1950s.

With no chemistry, Hepburn and Astaire carry the film as best they can with a dated and tame screenplay.

Oscar Nominations: Best Writing, Story, and Screenplay-Written Directly for the Screen, Best Costume Design, Best Cinematography, Best Art Direction-Set Direction

2022 Films, Comedy, Dark Comedy, Independent, Independent Comedy, Satire

Triangle of Sadness-2022

July 2, 2023 scottmet99 Leave a comment

Triangle of Sadness-2022

Director Ruben Östlund

Starring Harris Dickinson, Charlbi Dean Kriek, Woody Harrelson

Scott’s Review #1,374

Reviewed July 2, 2023

Grade: A

When I realized the director of Triangle of Sadness (2022) had directed Force Majeure (2014) and The Square (2017) I became very interested in seeing it. I’m not sure I ultimately ‘got’ The Square but Force Majeure was a thought-provoking slice of cinematic brilliance that I still think about now and then.

Sure, Triangle of Sadness was rewarded with three Academy Award nominations, deservedly so. Still, Ruben Östlund has a knack for challenging his audience to think outside the box, cinematically or otherwise with a robust look at social classes.

He crafts a subject matter about class systems and the haves and have-nots that has been explored before in film many, many times. But, in Triangle of Sadness, it feels fresh and fraught with many different possible directions.

The wicked dark comedy explores political talking points like capitalism, communism, and socialism and challenges standard ways of thinking.

It’s on par with the popular HBO series The White Lotus but on steroids.

I cannot recommend the film more heavily especially geared toward those desiring expressive and deep-textured films with some meaning.

Despite the dreary title, it’s far from a dour experience. There are quite a few laugh-out-loud moments, especially in scenes featuring severe vomiting amid sea sickness.

The rich and famous embark on a luxury cruise with fine dining and servants galore. But after a devastating storm leaves several passengers and staff stranded together on a deserted island the power exchange begins to shift and the social hierarchy is turned upside down.

Events mainly surround a celebrity model couple, Carl (Harris Dickinson) and Yaya (Charlbi Dean), who are invited on the luxury cruise for promotional purposes. Yaya is a social media influencer.

They are joined by a Russian oligarch Dimitry and his wife Vera, and an elderly couple Clementine and Winston, who have made their fortune manufacturing grenades and other weapons. Therese, a wheelchair user only capable of speaking a single phrase in German following a stroke; and Jarmo, a lonely tech millionaire who flirts with Yaya.

Besides possibly, Therese, there is not a sympathetic rich character to be found.

The yacht staff are more sympathetic although we don’t get to know all characters very well. Highlights are the head of staff, Paula, who demands the staff obey the guests’ without question, Abigail, a cleaning woman, and the yacht’s captain, Thomas Smith (Woody Harrelson), who spends his time drunk in his cabin, and despises the absurdity of the guests’ wealth.

The main events on the ship take a while to get to and the film is divided into chapters. Part 1: Carl and Yaya, Part 2: The Yacht, and Part 3: The Island.

I realized after the fact that the point of the slow build is to show the dynamic between Carl and Yaya, the main characters. Both models and living life based on their looks they are wildly insecure, bickering over money and gender roles.

While not likable nor complete assholes either, enjoyable is a chance to get a fleshed-out perspective on where they are coming from.

My adoration for the film largely stems from not knowing what is going to happen but knowing that at some point the shit is going to hit the fan.

The setup is perfect, especially the put-upon staff. While they are not abused, the relationship is clear. The passengers are in a position of power, the staff is not.

This will soon change.

Late in the game, I unexpectedly found myself rooting for a minor character who takes center stage in the last chapter turning events upside down.

Comparisons can also be found in the recent Best Picture winner Parasite (2019) and old-school international films Swept Away (1974) and L’Vventura (1960).

These are all brilliant films and my hunch is that Triangle of Sadness (2022) will hold up well perhaps achieving even greater acclaim as the years go by.

Oscar Nominations: Best Picture, Best Director-Ruben Östlund, Best Original Screenplay

1971 Films, Christopher Guest, Comedy, Dark Comedy, Diana Rigg, George C. Scott, Satire

The Hospital-1971

June 11, 2023 scottmet99 Leave a comment

The Hospital-1971

Director Arthur Hiller

Starring George C. Scott, Diana Rigg

Scott’s Review #1,369

Reviewed June 11, 2023

Grade: A

An example of the freedom to craft one’s vision allowed in cinematic works during the first half of the1970s, The Hospital (1971) is a testament to the creativity and exceptional writing and what can happen when studios and producers leave the creatives alone to make the film they want to make.

One can dismiss any preconceived notions of the classic medical dramas that flooded television networks during the 1970s and 1980s. The Hospital is not formulaic or contrived.

No, The Hospital is a dark work drooling with satirical examples of the politics and shenanigans within the medical community. Oftentimes, secondary activities come at the cost of good care and quality medicines.

Before you imagine a doctor and nurse cavorting in a janitor’s closet, it’s a deeper film than it appears on the surface despite the inclusion of witty comedy. A lax patient care, staff deaths, and the dismissal of nearby residents because of a new drug rehabilitation project are explored in this fascinating film.

At a rundown Manhattan teaching hospital, chief of staff Herb Bock (George C. Scott) is riddled with multiple personal and professional problems after two doctors and one nurse are found dead almost simultaneously.

He assumes the rash of deaths is due to dimwitted staff who are overworked amid the chaos.

Suicidal, he meets the intelligent daughter of a patient who knocks him off his feet with her studious personality and reflections of the world. Barbara Drummond is played by Diana Rigg.

Immediately noticeable is the clever and well-paced screenplay while I was unknowledgeable of the fact that Paddy Chayefsky had won the Oscar for writing the film. Immediately, the chaos of a city hospital is exposed but not in a cliched way like a series like ER or Grey’s Anatomy might show.

Nobody is going into cardiac arrest on the operating table or having convulsions in the waiting room amid lame dramatic music.

The Hospital is more cerebral than that.

Unknown patients and little-known hospital staff go about their everyday business like clockwork until confusion with daily tasks causes events to go awry.

Like real-life.

The brilliance is how director Arthur Hiller casts regular-looking actors in almost all the roles. They look and act like everyday hospital staff so that the proper tone is set. This is even before we meet and get to know Herb and Barbara. They answer phones, walk around with charts, and hustle after emergencies.

Chayefsky and Hiller mirror director Robert Altman in many ways mostly in the dialogue and how seemingly unimportant scenes mean a whole lot.

In robust soliloquy-style scenes between Herb and Barbara the audience ‘gets them’. They are both desperate, wounded, and unhappy yet possess the sophistication and awareness to realize how similar they are.

They immediately connect, fall in love, and nearly run off together. It’s that simple. They are willing to flee their lives after meeting for five minutes. But will they ultimately take that plunge?

A key character is revealed to be Barbara’s father and a whodunit begins after it comes to light that the deaths are not accidents. Who is responsible and what their motivation is is the key to the story.

Scott does wonderful work with his character and rivals his excellent performance a year earlier in Patton (1970). Herb is more introspective with the world on his shoulders.

The Hospital has more than one daring scene. Herb, though impotent, basically throws Barbara down on the table and rapes her. The shocker is she makes light of it the next day and almost seems to have enjoyed it.

Barbara and Herb are both complex characters that the audience needs to ruminate over.

My favorite part of The Hospital (1971) is the setting. That Hiller puts you inside what a real urban hospital was like in 1971 is brilliance. The satire comes into play with the writing which questions decision-making and incompetence within the hospital walls.

Only, the result is a scathing look at hospital practices and will hit home to anyone terrified of entering a hospital only to never come out again.

Oscar Nominations: 1 win-Best Actor-George C. Scott, Best Original Screenplay (won)

2022 Films, Comedy, Dark Comedy, Drama, Epic, Period Drama

Babylon-2022

June 4, 2023 scottmet99 Leave a comment

Babylon-2022

Director Damien Chazelle

Starring Margot Robbie, Brad Pitt

Scott’s Review #1,365

Reviewed June 4, 2023

Grade: A-

Babylon (2022) is a film that will largely divide audiences. Slightly late to the table, I viewed the film after the awards season hoopla had ended and the film came up empty-handed. Sure, a few nominations were received but much more was expected from the epic Hollywood-themed venture.

I’m a fan of director Damien Chazelle, most famous for the similarly set Los Angeles film La La Land (2016), which I adore.

His direction style reminds me a great deal of Baz Luhrmann’s with the incorporation of intense musical numbers during many scenes and a strong chaotic and frenetic nature.

I realize this style is not for everyone so I’m not surprised Babylon is somewhat revered and somewhat reviled. This isn’t always a bad thing as a good film debate can be fun.

I adore Babylon mostly for the powerful and potent silent-era Hollywood story and the terror stars of the 1920s faced with the realization that sound had entered their pictures and they were expected to keep with the times.

Sadly, many careers ended in devastating fashion sinking one-time big stars into depression and despair.

The acting is superb and major props go especially to Margot Robbie as debaucherous film star Nellie LaRoy and newcomer (to me) Diego Calva as handsome Mexican immigrant Manny Torres. Both actors elicit superb performances that should have landed them Oscar nominations.

The major overtones that Chazelle incorporates into Babylon are those of ambition and outrageous excess, but also belonging and acceptance. The rise and fall of multiple characters during an era of unbridled decadence and depravity in early Hollywood are explored.

As Hollywood makes the transition from silent films to talkies, ambitious up-and-coming actress Nellie and aging superstar Jack Conrad (Brad Pitt) each struggle to adapt to the new medium as well as a rapidly changing world.

And Manny just wants a seat at the table.

Another reason I love the film is the dedication and exposure given to pre-sound Hollywood movies which nobody remembers. I struggle to recall ever viewing a film from that era with my earliest film being the 1930 film All Quiet on the Western Front.

The hit film The Artist (2011) may have paid tribute but it’s not the same and Babylon goes for the jugular in showcasing an entire movement that is now largely forgotten.

Cinema fans will respect Babylon.

Besides the film’s characters, there is so much movie stuff to appreciate. A Hollywood movie set, repeated takes, scripts, dialogue, lighting equipment, and rehearsals, make for a feast of riches for any cinephile.

The weak point is the behemoth length of the film. At three hours and nine minutes, an epic length, the erratic structure is a challenge to get through. A piecemeal approach can sometimes affect the continuity and it did detract a bit in this case for me.

If one can sit still long enough the final thirty minutes is superb. A tidy wrap-up and truthful storytelling give several characters a proper sendoff. The film ends in 1952 so a great conclusion befits.

Before we get to this point though, a nailbiting sequence involving Manny and a fiendish Los Angeles gangster played by Toby MacGuire is second to none. Fake money, a rat-eating entertainer, and pornographic dwarfs make for an odd adventure that one can’t look away from.

A fascinating and bombastic experience, Babylon (2022) loudly delves into the silent film world and gives a proper head nod to a long-forgotten period.

The film successfully makes me appreciate Hollywood and its history more than I already do.

Oscar Nominations: Best Musical Score, Best Production Design, Best Costume Design

1975 Films, Carrie Fisher, Comedy, Dark Comedy, Drama, Goldie Hawn, Hal Ashby, Julie Christie, Lee Grant, Susan Blakely, Warren Beatty

Shampoo-1975

May 19, 2023 scottmet99 Leave a comment

Shampoo-1975

Director Hal Ashby

Starring Warren Beatty, Julie Christie, Goldie Hawn

Scott’s Review #1,362

Reviewed May 19, 2023

Grade: A-

Shampoo (1975) is a drama and comedy hybrid that reminds me greatly of a Robert Altman film without the customary overlapping dialogue common in his works.

The political environment against the posh Los Angeles backdrop emotes the vibes of The Long Goodbye (1973) and Nashville (1975) with enough sly satire and humor to generate a comparison.

Of course, the film, nestled in mid-1970s cinema greatness is in the right decade. Further, the 1968 setting is perfect for the Los Angeles mood where the Manson killings, hippies, sex, drugs, and rock n roll were all commonplace.

Listening to the soundtrack of The Beatles, Jimi Hendrix, Jefferson Airplane and other familiar bands of the late 1960s makes Shampoo a grand slam of authenticity and richness.

Director, Hal Ashby, who created the dark comic genius Harold and Maude in 1971, hits it out of the park again with Shampoo, a study of love and loneliness and a sense of belonging and fulfillment.

I wasn’t won over right away and the film took me a while to warm up to if I’m being honest but by the end, I was a big fan, especially of the writing. But, some of the slow-build films are the best.

The film takes place against the backdrop of Election night in 1968 when eventually shamed former president Richard Nixon won the presidency. The characters bounce from one election party to the next but barely notice the outcome choosing booze and lust over politics.

Beverly Hills hairdresser and notorious cad George Roundy (Warren Beatty) runs into trouble when his bedroom antics interfere with a possible business deal with the influential Lester (Jack Warden). George is sleeping with Lester’s wife Felicia (Lee Grant) and his best friend and ex-girlfriend, Jackie (Julie Christie), in addition to his current girlfriend, Jill Haynes, played by Goldie Hawn.

Part of why Shampoo sneaks up on the viewer is that it’s not a laugh-out-loud comedy in a physical way. Instead, the intelligent dialogue and the development of its characters are the winning formula.

We first meet George in bed with his older mistress, Felicia, who we assume might be his girlfriend. When he makes an excuse to check on Jill, we realize he is playing the field, but with no ill intent. He genuinely likes the women he beds and despite his antics is feeling empty and mindlessly trudging along.

A wonderful scene atop the Hollywood Hills brings George’s peril to a climax when he professes his love for one of the women but is it too late?

Beatty, who co-wrote the screenplay, fleshes his character’s motivations out well. He really only wants happiness and a successful business. Some of the action takes place in his salon where he meets his conquests.

The scenes between Beatty and Warden work particularly well especially when Lester discovers George in a precarious situation or three assuming he is gay.

Let’s not forget the ladies. The triple bill of Christie, Hawn, and Grant is a force to be reckoned with. Grant is an interesting character since she has all the wealth she wants but instead loves the financially struggling George. Should we feel sympathy for her?

Jill presumably will find happiness with a director smitten with her. They seem like a quality pair and Christie’s Jackie also makes out well at the conclusion of the film.

Surprisingly and effectively, the presidential election is more of a background effect and is largely ignored by the characters who have better things to worry about.

Ashby mostly has the news telecasts and election returns blurred intentionally. The point made is that Nixon’s cheating is a reflection of the self-obsession affecting the United States during that time.

Despite his flaws, the audience nonetheless roots for George. This is a testament to the writing of Beatty and Robert Towne and the rich slow build that Ashby provides to Shampoo (1975) amid a shiny yet tarnished Los Angeles veneer.

Oscar Nominations: 1 win-Best Supporting Actor-Jack Warden, Best Supporting Actress-Lee Grant (won), Best Original Screenplay, Best Art Direction

2022 Films, Action, Christmas, Comedy, Dark Comedy

Violent Night-2022

April 9, 2023 scottmet99 Leave a comment

Violent Night-2022

Director Tommy Wirkola

Starring David Harbour, John Leguizamo

Scott’s Review #1,355

Reviewed April 9, 2023

Grade: B

Violent Night (2022) isn’t the straight-ahead slasher flick with a holiday theme that I thought it might be. Part magic, part action, and part dark comedy make the film a peculiar yet strangely satisfying experience.

In a warped way, of course.

I’m not sure what director Tommy Wirkola was specifically going for but Violent Night is an entertaining one-hour-and-fifty-two-minute experience. Best watched around the Christmas holidays I watched the film on a cross-country flight from Los Angeles to New York City in April and still enjoyed it.

It’s a cool concept with lots of gore, a ritzy mansion as the main set, and a pleasing interracial element providing diversity. The film is also a strange take on a jovial Christmas message production like a Lifetime television movie.

A lot is going on in Violent Night and it openly patterns itself after Home Alone (1990) which one character has just watched for the first time.

David Harbour plays a not-so-jolly Santa Clause who guzzles beer in a London pub on Christmas Eve just before he is set to traverse the world distributing toys to children.

Depressed at the state of the world and the overwhelming amount of naughty people on his list Santa arrives in upper-crust Greenwich, Connecticut, and witnesses a team of mercenaries breaking into a wealthy family compound and taking everyone inside hostage.

Led by Scrooge (John Leguizamo) the bad guys dressed as Christmas characters take the family hostage demanding money they know is hidden in the estate. St. Nick must save the day and kick some ass to maintain the spirit of Christmas.

The characters, though mostly over the top, are my favorite part of Violent Night.

The audience is meant to like seven-year-old Trudy (Leah Brady) a darling innocent with interracial parents who are separated. Jason (Alex Hassell) is part of a rich family and his wife, Linda (Alexis Louder) is a kind woman who has her daughter’s best interests at heart.

All Trudy wants for Christmas is her parents back together.

The other characters are played for laughs especially grand dame Gertrude, deliciously played by Beverly D’Angelo. She’s terrific as the queen rich bitch whose family kisses her ass at every turn hoping to keep in her good graces.

Leguizamo pairs well against Harbour’s Santa who is effective as the beefy and boozy man. He is a good fellow but has lost his belief in the magic of Christmas. The relationship between Santa and Trudy also works well.

A couple of belly chuckles exist which is always a good thing. As Santa takes off on his reindeer-led sleigh to deliver toys he promptly vomits on the pub bartender’s head. Soaked with barf she proudly exclaims ‘He is Santa!’

Violent Night is good fun though severely unrealistic. The film gets a bit too hammy towards the conclusion when the bad guys get their comeuppance on the spacious mansion’s snowy exterior. One character’s decision to burn money to keep warm is too far-fetched and the villains quickly disintegrate into caricatures.

The happily ever after conclusion and the resurrection of a character are underwhelming and worthy of a Hallmark television movie send-off.

The Connecticut mansion is a cool set and the trimmings of Christmas make the set flourish with strong design. The plentiful rooms and secret attics are fun to watch.

I’ve never seen the film Bad Santa (2003) but from what I know of it Violent Night (2022) seems on par. Be forewarned, the ‘violent’ in the title is true to form and the violence is fast and furious at times with a snug message wrapped within.

1984 Films, Anthony Edwards, Comedy, James Cromwell, John Goodman, Robert Carradine

Revenge of the Nerds-1984

April 8, 2023 scottmet99 Leave a comment

Revenge of the Nerds-1984

Director Jeff Kanew

Starring Robert Carradine, Anthony Edwards

Scott’s Review #1,354

Reviewed April 8, 2023

Grade: B+

Released in 1984, Revenge of the Nerds is in a similar vein to other raunchy comedies like Police Academy (1984), Animal House (1978), or Porky’s (1981).

Goofy with slapstick elements and involving unpopular or marginalized groups rising above are the thematic commonalities these genre films share.

To say the film is dumb fun is quite apt and watching it again almost forty years past the release date the stereotypes and gags are ever so noticeable. The term ‘date rape’ was not known then but known presently leaves a slightly uncomfortable feeling during one scene.

Also dated is the classification of what a nerd is. In 1984, the last name one would like to be referred to was a nerd. Today, it’s a term of endearment or even something to aspire to be!

Anyone under the age of forty will not appreciate Revenge of the Nerds or even get it’ It was made at a very different time but will be appreciated by the older folks and provide a burst of uproarious nostalgia.

Revenge of the Nerds is one of my favorite selections when I think of the 1980s and yearn for a slice of mind-numbing entertainment.

Geeky college students Gilbert (Anthony Edwards) and Lewis (Robert Carradine) are excited to leave their repressed small town and venture off to the mind-opening University where, in their minds, they are bound to score with countless women.

Once there, they are ridiculed mercilessly by the jocks and evicted from their dormitory when the Alpha Betas, who recently burned down their own fraternity house by accident, confiscate the building.

When the college forces the freshmen to live in the gym, Gilbert, Lewis, and their fellow dorks relocate to a run-down house. When the Alpha Betas, led by jock Stan (Ted McGinley), repeatedly humiliate them, the nerds plot revenge.

Naturally, in an attempt at gender parity, there is a nerd sorority named Omega Mu featuring Judy (Michelle Meyrink) who becomes Gilbert’s girlfriend.

And as a fabulous addition, there is one equivalent to Alpha Beta consisting of cheerleader types who are bitchy and mean to the nerds led by Betty Childs (Julie Montgomery), the object of Lewis’s affections.

Revenge of the Nerds succeeds well because it’s easy to root for the Nerds to exact their revenge on the jocks. But this would not be the case without the characters of Gilbert and Lewis.

Edwards and Carradine infuse them with likability and a flavor of fairness. More than just horny nerds, they choose their brethren from all walks of life. There is a gay nerd, a black nerd, an Asian nerd, and even a nerd who picks his nose and is effectively named Booger (Curtis Armstrong).

Despite the subject matter, it’s easy to see the producers were attempting some early diversity and inclusion. They exist within boxed stereotypes but at least the representation was visible.

McGinley as Stan is the perfect foil. The actor is a blonde and a surfer dude so he is the perfect ‘big man on campus’ type. The secondary jocks are all loud and obnoxious but are happy to be second bananas to Stan.

Adorable is how the distinction bubbles up to the school dean, played by David Wohl, who is at first intimidated by but finally gets the better of loud Coach Harris (John Goodman). And Lewis’s father, Mr. Skolnick (James Cromwell) is his doppelganger.

Revenge of the Nerds is successful at bringing out the thirteen-year-old boy in all of us with its incorporation of mooning scenes, belching, and a hilarious peeping tom scene in the hated popular girls’ sorority.

It’s not film art or anything in the way of classy cinematic camerawork, or visual effects, but what Revenge of the Nerds (1984) does is provide some good-humored laughs.

It’s well-intentioned and holds up surprisingly well on its own merits while some 1980s ‘quality’ films do not.

2022 Films, Comedy, Dark Comedy, Drama

The Banshees of Inisherin-2022

March 2, 2023 scottmet99 Leave a comment

The Banshees of Inisherin-2022

Director Martin McDonagh

Starring Colin Farrell, Brendan Gleeson, Kerry Condon

Scott’s Review #1,348

Reviewed March 2, 2023

Grade: A

Martin McDonagh, who directs The Banshees of Inisherin (2022), is known for films like In Bruges (2008) and Three Billboards Outside of Ebbing, Missouri (2017). His films usually include dark humor stories of humanity and unpleasantness and require some afterthought to ruminate about the characters’ true nature.

This film stars Colin Farrell and Brendan Gleeson who reunite from their collaboration in In Bruges for another turn playing men dealing with depression and other feelings of loneliness and friendship.

McDonagh is British/Irish so the period and surroundings likely resonate well with him. The gorgeous islands off coastal Ireland are used and key to the story and counterbalance the troubles and tribulations of the characters.

Pádraic (Farrell) and Colm (Gleeson), are lifelong friends and inhabitants of an island off of mainland Ireland. They find themselves embroiled in a feud after Colm one day announces he is ending their friendship. This confuses Pádraic who vows to mend the relationship at all costs.

Their reunion is thwarted by severed fingers, a fire, and the mysterious death of Pádraic’s beloved pet donkey, Jenny.

Mixed into the events are Pádraic’s sister Siobhán (Kerry Condon) and troubled young islander Dominic (Barry Keoghan), who have their problems to face.

The Banshees of Inisherin is slow-paced and cerebral and many questions will be pondered but left unanswered. This will tick off those viewers who prefer a clear conclusion to the characters’ lives.

But, this is a key part of the beauty of the film. Sure, I might have liked one big no-holds-barred argument scene between Pádraic and Colm or more closure in Dominic’s or Siobhán’s stories. Instead, McDonagh challenges the audience to feel perplexed or unsure and use their interpretations.

For example, I wonder if Dominic was being sexually abused by his policeman father who has a penchant for sitting naked in the living room chair and masturbating.

Or, what does Siobhán leave the island for and will she ever return?

On a separate note, I wonder if McDonagh was influenced by the epic 1970 gem Ryan’s Daughter, directed by David Lean. The flowing Irish landscapes and unpleasant, embittered townspeople have key similarities.

The winning formula is ambiguity. The audience is served terrific acting all around, particularly amongst the four principals (Farrell, Gleeson, Condon, and Keoghan) all of whom were awarded Academy Award nominations.

Each provides subdued performances dripping with contained emotion and complexities buried beneath the surface.

Audiences can draw their conclusions but my takeaways were loneliness, longing for new adventures, depression, and begrudgingly accepting meager existence amid the most lavish countryside one can find.

The 1920s Irish Civil War is the backdrop though those events are not central to the plot.

Since Colm’s desire to create music is a central part of the story the accompanying music is crucial to the film. The use of fiddles is incorporated rather than traditional Irish music except in the sprinkling of pub scenes.

A hearty round of applause is due to McDonagh and company for crafting and performing a thinking man’s film. The comic bits are not syrupy but tragic in their honesty and cadence.

The Banshees of Inisherin (2022) separate cinematic thinkers from passive viewers with a quiet story about the friendship between two men and the layers that exist beneath the surface.

Oscar Nominations: Best Picture, Best Director-Martin McDonagh, Best Actor-Colin Farrell, Best Supporting Actor-Brendan Gleeson, Barry Keoghan, Best Supporting Actress-Kerry Condon, Best Original Screenplay, Best Film Editing, Best Original Score

1974 Films, Cloris Leachman, Comedy, Gene Hackman, Gene Wilder, Madeline Khan, Mel Brooks, Peter Boyle, Teri Garr

Young Frankenstein-1974

February 27, 2023 scottmet99 Leave a comment

Young Frankenstein-1974

Director Mel Brooks

Starring Gene Wilder, Peter Boyle, Teri Garr

Scott’s Review #1,347

Reviewed February 27, 2023

Grade: A

Young Frankenstein (1974) is one of the funniest, most authentic examples of slapstick comedy done right. The physical timing, facial expressions, and dialogue delivery are sheer perfection from the well-known cast.

Many of whom are stars of the comedy genre.

The fact that director Mel Brooks took a classic horror film as distinguished as Frankenstein (1931), and made a cross-genre sequel, is pure brilliance.

Even better is the incorporation of black-and-white filmmaking resembling the 1930s masterpiece so the setting feels similar. This is aided by the recreation of the original set designer Kenneth Strickfaden’s lab equipment from the 1931 film.

Brooks co-wrote the screenplay with star Gene Wilder, a comic legend, and the writing is brilliant crackling with wit and energy.

The 1970s film watched decades later has lost none of its original appeal holding up astoundingly well after most of the cast and director have left this world. It can be watched over the Halloween season for the proper atmosphere or at any time.

Ideally, recommended is to watch Frankenstein either before or after seeing Young Frankenstein for ideal pleasure.

Respected medical lecturer Dr. Frederick Frankenstein (Wilder) learns, much to his chagrin, that he has inherited his infamous grandfather’s estate in Transylvania, Romania.

The original Frankenstein’s reputation is so tarnished that Frederick wants nothing to do with the name even going so far as changing the pronunciation of his surname to “Fronkensteen”.

Begrudgingly arriving at the castle, Dr. Frankenstein soon begins to recreate his grandfather’s experiments with the help of servants Igor (Marty Feldman), Inga (Teri Garr), and the rigid Frau Blücher (Cloris Leachman).

After he creates his monster (Peter Boyle), a new set of complications ensue with the arrival of the doctor’s fiancée, Elizabeth (Madeline Kahn), and the unleashing of the frightening beast on the small town.

Comedy and horror are worlds apart but Brooks and Wilder pay respect and tribute to the classic horror film by not mocking it but instead embracing it and enhancing the story with Young Frankenstein.

You could say it’s a sequel in addition to a spoof made over forty years later.

The characters are the best part and each one is enveloped by its actor in fine form. Led by Wilder as the mad scientist, bug-eyed Igor (pronounced ‘Eyegor’ naturally) explained to be the grandson of Igor in Frankenstein, is a personal favorite of mine followed by Garr as the secret romantic interest for Wilder.

My favorite scenes are when Igor reveals that he took the wrong brain for Frankenstein’s experiment belonging to ‘Abby Normal’ instead of ‘Abnormal’ as the label read.

Inga and Frederick have instant chemistry leaving Kahn’s Elizabeth in the dust as far as a romantic triangle. Hilarity between the pair occurs in the final sequence when, after a lobotomy, she is delighted to realize that Frederick has received the monster’s “enormous Schwanzstucker”.

This is not to diminish Boyle, Leachman, or Kahn who each do their part to make Young Frankenstein an ensemble. Apt viewers will spot Gene Hackman in the role of Harold, the blind man.

As an aside, Brooks brilliantly pays tribute to Bride of Frankenstein (1934) by giving Elizabeth the same hairstyle.

The double entendre is fast and furious from knockers to the male anatomy.

The only scene that didn’t wow me was the sequence where Frankenstein and his creation perform “Puttin’ on the Ritz”. The monster singing and dancing was too amateurish for me but for some, it’s a favorite scene.

A parody that works on nearly every level and is the best of all the Brooks films (even barely usurping my forever fondness for 1977’s High Anxiety), Young Frankenstein (1974) is a treasure.

Silly, devoted, and creative, it revives a classic in only the best of ways and is filmmaking 101 in how to create a proper spoof.

Oscar Nominations: Best Adapted Screenplay, Best Sound

2022 Films, Comedy, Dark Comedy, Horror, Horror-Comedy

The Menu-2022

February 20, 2023 scottmet99 Leave a comment

The Menu-2022

Director Mark Mylod

Starring Ralph Fiennes, Anya Taylor-Joy

Scott’s Review #1,345

Reviewed February 20, 2023

Grade: B+

The premise of The Menu (2022) immediately elicited my utmost pleasure. A self-proclaimed ‘foodie’ with a long way to go in being an expert, a film about a high-caliber restaurant with an extravagant and sophisticated tasting menu was impossible to ignore.

Throw in the horror and dark humor genres and you’ve got the icing on the cake.

After all, being fortunate enough to have experienced fine dining like in the film makes me repeatedly reminisce about those adventures. Those enchanted by such tasting menus rich with flavor and style must see The Menu.

Cinematically, the film reminds me of part Saw (2004), part Knives Out (2018), with a dash of novelist Agatha Christie’s Ten Little Indians story and a sprinkling of a Jordan Peele project for the social commentary.

A young couple Margot (Anya Taylor-Joy) and Tyler (Nicholas Hoult) travels to a sunny coastal island to eat at an exclusive restaurant named Hawthorn, where the chef (Ralph Fiennes) has prepared a lavish menu.

They are joined by other guests including a food critic, her editor, wealthy regulars, three businessmen, a washed-up movie star and his assistant, and the chef’s alcoholic mother.

As the evening commences and the dishes are served the chef has some diabolical surprises in store for the guests. Secrets are soon revealed as it becomes apparent they have been summoned to the island for a reason.

Mark Mylod, a new director to me, peppers the film with dark, macabre humor, mostly related to the food, which is slyly placed and pairs well. Those who savor fine dining and tasty ingredients will smirk with delight.

The title and ingredients of each course are named and by the third course, the sins of the diners are revealed on tortilla shells for all to see. The audience knows they are not innocent people and the chef and his team are intent on punishing them a la carte style.

The revelation that Margot is not supposed to be there is satisfying because so far the chef, his assistant, and a guest have been eying her mysteriously. Tyler was originally scheduled to bring another woman with him.

Instead of limiting the story this only enhances it. Could Margot be convinced to align with the chef or does she hate him? Jealousy among the staff and guests quickly spirals out of control.

Another win for The Menu is the incorporation of class distinction. The haves and the have-nots and how they feel about each other is an important sidebar and easy to understand the motivations of the characters.

The Menu loses its way during the final thirty minutes with an unsatisfying and perplexing ending that hardly wraps the story up for the audience in a doggy bag.

I was left with more questions than answers regarding the plot.

The analysis can be somewhat forgiven with a deathly serving of s’mores for dessert with the bodies of the guests as the marshmallows and their heads mirroring the chocolate tops.

A laugh-out-loud moment occurs when a spoiled guest does not understand the difference in quality between cod and halibut. Every foodie should be aware of the superiority of halibut.

It’s not all polish and high cuisine as the preparation and consumption of a good old-fashioned greasy cheeseburger are made with such precision that I could nearly smell the wonderful indulgence.

The sizzling meat combined with the heavenly melted American cheese made me want to reach for the phone and order Grubhub.

Fiennes and Taylor-Joy are the standouts as their complex relationship and chemistry are palpable. Special notice must be given to Hung Chau, Judith Light, Janet McTeer, and John Leguizamo who make the ensemble quite good.

With a terrific idea and enough tastes and smells that almost emerge from the screen The Menu (2022) is a winner. It’s unsatisfying at the conclusion but the experience is enjoyable and the creativity is championed.

I felt like a restaurant guest myself.

2023 Films, Comedy, Horror, Horror-Camp, Horror-Comedy, Science Fiction, Slasher

M3GAN-2023

January 31, 2023 scottmet99 Leave a comment

M3GAN-2023

Director Gerard Johnstone

Starring Allison Williams, Violet McGraw

Scott’s Review #1,338

Reviewed January 31, 2023

Grade: B+

M3GAN (2023) is the sleeper hit of the year, quickly becoming a ‘water-cooler’ topic (remember that phrase?) after getting stagnant cinema lovers back into theaters in droves.

Released in the traditionally dismal month of January when studios usually ‘dump’ film releases with little or no bang for their buck M3GAN is already set to spawn a sequel. The possibilities for a different story to correlate with the original are endless.

The poster (see above) and the movie trailer are instantly grabbing. We see a doll-like/robotic little girl with long flowing blonde hair and mesmerizing, sparkling eyes that are cat-like and creepy.

Almost life-like, it doesn’t take a genius to conjure images of the Chucky doll from the Child’s Play franchise (1988-2019). Seemingly lovable but turning sinister, the concepts are more or less the same.

When robotics engineer Gemma (Allison Williams) takes in her orphaned niece, Cady (Violet McGraw), she creates the perfect companion for her, a lifelike doll named M3GAN, who serves as a friend, confidante, and sensible role model.

Cady and M3GAN immediately bond and become inseparable pals.

M3GAN can listen, watch and learn from other people and objects as they relate to Cady, using advanced Artificial Intelligence to store their idiosyncrasies.

As expected, things soon go awry when M3GAN uses her superior intelligence to destroy anyone who she perceives as a threat to Cady.

I’m not one to suggest a film tone down the blood and gore in a horror film but in the case of M3GAN, it works to the film’s advantage as proven by tremendous box-office receipts.

Far from kid-friendly, one of the main characters is eight to ten years old which might encourage parents, especially parents who are horror fans, to take their youngsters to see the film. At first, Cady and M3GAN invoke an idealized pre-teen female relationship, and a bully intent on harming Cady gets his comeuppance.

Most of the other characters who suffer dire fates are unlikeable. A boorish neighbor, a vicious dog, Gemma’s obnoxious boss, and his conniving assistant all get their due one way or another at the hands of M3GAN.

She’s not exactly a ‘hero’ but the fun is watching hated characters suffer at her hands. The setup is perfected as each character reveals their obnoxiousness to the rabid audience thirsting for a slashed throat or two.

My point is that parents and kids alike can enjoy this film and simultaneously share a startle and a giggle.

The campy nature of the film is another win since the humor evens out the horror elements. There are enough funny lines, mostly delivered by the supporting players, to evoke laugh-out-loud moments.

The grand finale is inevitable and predictable by enjoyable because it’s what the audience can’t wait for. M3GAN, once prim and proper in her little girl dress, shrieks and spits curses at her former friends as her now disfigured face and ravaged hair makes her look disheveled and monstrous.

M3GAN’s true colors are revealed and the audience will hoot and holler with delight.

Unlike many films, M3GAN goes right for the jugular in the first scene with a deadly car accident and keeps the fast pace for the entire one hour and forty-two minute running time.

Williams, well-known for starring in Jordan Peele’s 2017 masterpiece Get Out scores another win in the central role. She capably plays a loving yet an inexperienced surrogate parent and carries the film, along with M3GAN of course.

Incorporated is a relevant knock on mass consumption of technology gadgets and a robot replacing good parenting. This is more evidence that parents should see M3GAN.

I can’t wait to see what the writers next have in store for the little terror when the sequel drops.

2022 Films, Action, Best Feature- Independent Spirit Award Winners, Best Film of the Year, Best Picture Oscar Winners, Comedy, Independent, Independent Comedy, Science Fiction

Everything Everywhere All at Once-2022

January 26, 2023 scottmet99 Leave a comment

Everything Everywhere All at Once-2022

Director Daniel Scheinert, Daniel Kwan

Starring Michelle Yeoh, Ke Huy Kwan, Stephanie Hsu

Scott’s Review #1,337

Reviewed January 26, 2023

Grade: A

Released in March 2022, Everything Everywhere All at Once is a film that built momentum throughout the year resulting in an astonishing eleven Academy Award nominations.

Traditionally, films scrambling for awards season notice and subsequent praise and honors are released in the fourth quarter and earlier releases are shuffled off to the discount racks.

But Everything Everywhere All at Once breaks the mold thanks to being a visionary, absurd comedy that demands the appreciation it has received.

As of this writing, it is the highest-grossing film released by A24, a champion of independent and quality cinema.

Evelyn Wang (Michelle Yeoh), plays a flustered and bedraggled immigrant mother who runs a laundromat along with her goofy husband Waymond (Ke Huy Kwan). They reside in the laundromat with Evelyn’s irritable father Gong Gong (James Hong) and daughter Joy (Stephanie Hsu) who is gay.

In trouble with an IRS inspector, Deirdre (Jamie Lee Curtis), Evelyn is contacted from a parallel universe and told that only she could save the world. She must quickly learn to channel her newfound powers and fight through the timelines of the multiverse to save her home, her family, and herself.

Everything Everywhere All at Once is not conventional and is admittedly a complete mess meant in the finest of ways. It takes the cinematic formula and tips it on its ass but intelligently incorporates heartfelt scenes and gripping performances so that the viewer falls in love with the characters before knowing what’s hit them.

I semi-cringed when I heard the film was action mixed with science-fiction and superhero multiverses, none of which are my genre of choice. The film goes beyond that with a sensory overload, a warped, onslaught of colorful wackiness that includes hot dog fingers, butt plugs, and a drag performance.

You can’t make this up kids.

Michelle Yeoh kicks ass (literally!) and gets the role of a lifetime. At sixty years old she has played a Bond girl in Tomorrow Never Dies (1997) and a rich bitch Mom in Crazy Rich Asians (2018), decent roles, but nothing like Evelyn.

Directors, the Daniels, show through Evelyn’s character, how her life has disappointed her. Never appreciated by her father and living in the doldrums, angry and frustrated, she develops into a woman who appreciates the small moments of human connection in her life.

We can all learn from Evelyn.

What a treat to see Jamie Lee Curtis chew up the scenery playing Deirdre. Displaying her gut, wearing a bizarre grey wig, she plays part IRS agent, part lesbian lover depending on what universe she is in, and is a hoot.

Ke Huy Kwan is famous as the child actor from Indiana Jones and the Temple of Doom in 1984 and not much since. He somersaults back into the acting spotlight in the role of Evelyn’s kind husband.

Finally, Stephanie Hsu is a gem as Stephanie who just wants to be loved by her mother. The actor has a bright future ahead of her.

These actors get to play four or five different characters and show their acting chops.

Stylistically, the film is off the wall. Dizzying special effects and absurd editing pummel the viewer with ‘stuff’ that can be talked about from a technical perspective for weeks.

But at the end of the film, you will shed a tear or two at the emotion that sneaks up from behind in the most wonderful way. Quiet scenes between the noisy ones show humanity and love for one another.

Everything Everywhere All at Once (2022) has reaffirmed my appreciation of film and the creativity and beauty that can be mastered.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-Daniel Kwan and Daniel Scheinert (won), Best Actress-Michelle Yeoh (won), Best Supporting Actor-Ke Huy Kwan (won), Best Supporting Actress-Stephanie Hsu, Jamie Lee Curtis (won), Best Original Screenplay (won), Best Original Score, Best Original Song-“This is a Life”, Best Costume Design, Best Editing (won)

Independent Spirit Award Nominations: 6 wins-Best Feature (won), Best Director-Daniel Kwan and Daniel Scheinert (won), Best Lead Performance-Michelle Yeoh (won), Best Supporting Performance-Ke Huy Kwan (won), Jamie Lee Curtis, Best Breakthrough Performance-Stephanie Hsu (won), Best Screenplay (won), Best Editing (won)

1977 Films, Comedy, Dark Comedy, Drama, Musical, Musical Comedy

Cinderella-1977

January 14, 2023 scottmet99 Leave a comment

Cinderella-1977

Director Michael Pataki

Starring Cheryl Smith

Scott’s Review #1,333

Reviewed January 14, 2023

Grade: B

This telling of the legendary fairy tale Cinderella (1977) differs significantly from the sentimental and wholesome story of a rags-to-riches Disney princess that we all know and love.

It’s for adults only; even many adults will scurry to grab the remote and turn it off before their significant other or, god forbid, children, catch them slyly peeking at what emerges from the screen.

The film is pornographic. This fact doesn’t offend me or influence my critique and in reality, piques my interest tremendously in how the filmmakers turn Cinderella into a porn film.

It’s 1970s-style pornography with the bulk of the nudity going to the female characters with barely any male flesh to view though there is some. During the fleshy numbers, there is music and dancing to be had usually with the female performers singing while topless.

The familiar story involves a lonely prince (Brett Smiley) who tries several young women in his kingdom in his search for the one he met at a royal ball. Naturally, it’s Cinderella (Cheryl Smith) the gorgeous yet abused waif who sings and dances while doing her chores, longing for a better life.

The prince is jaded and feels no satisfaction from traditional sex as he boldly reveals in the musical number ‘My Kingdom Won’t Come’. His sex-crazed father the King (Boris Moris) decides to host a lavish ball so that his son can find what he wants.

You see, the weapon that Cinderella possesses is a special snapping female genitalia that the prince experiences at the ball while blindfolded and in an orgy. This quality is irresistible to him and he must find and be with the woman who is the one who has the magic vagina.

The film is naughtily personified and the fun is seeing how far out director Michael Pataki and screenwriter Frank Ray Perilli will go for a shock. Pataki was mostly an actor who dabbled in directing which makes sense since Cinderella feels widely experimental.

Events get off to a perfectly indecent start when the royal chamberlain played by Kirk Scott wanders the forest encountering nude females who coquettishly make out with each other for fun and the affection of the handsome man.

There is more than the sex scenes to keep one thrilled. The costumes and the makeup, specifically the disgraceful pancake colors applied to Cinderella’s devilish stepsisters are in your face and gratifying. The gowns at the ball are professional and stylish.

The film teeters into art film territory at times like when Cinderella performs a musical number while soaping in the tub and while parading through the forest.

Her wacky Fairy Godmother is a black man played by Sy Richardson who is just a burglar intent on robbing Cinderella’s home but he does provide her with her special ‘gift’.

These many idiosyncrasies make the film Cinderella a cross between a lewd John Waters film and a bombastic Russ Meyers party film.

Cheryl Smith is excellent in the title role providing a gorgeous face and figure with a lovely voice. She perfectly delivers the numbers and carries the film.

Among all the many incarnations of Cinderella, circa 1977 is the most outrageous and courageous. How this film was even made and with an R rating baffles me. It’s nearly impossible to find on streaming or in stores and a mere spontaneous purchase was how I was even able to see it.

My suggestion is for cinematically creative film fans to give Cinderella (1977) a whirl but with extreme caution. Viewed with the wrong companions could be disastrous and a 3 am start time with adult nibbles is highly encouraged.

No kiddies allowed.

2021 Films, Christmas, Comedy, LGBTQ+ Comedy, LGBTQ+ Films, LGBTQ+ Romantic Comedy, Romantic Comedy

Single All the Way-2021

December 21, 2022 scottmet99 Leave a comment

Single All the Way-2021

Director-Michael Mayer

Starring Michael Urie, Philemon Chambers, Luke Macfarlane

Scott’s Review #1,325

Reviewed December 21, 2022

Grade: C+

Single All the Way (2021) is an LGBTQ+ romantic comedy film released by the streaming behemoth Netflix, though I swear the film feels like a Hallmark or Lifetime television movie of the week offering.

The film is a Christmas-themed romantic comedy about gay men and is the streaming service’s first gay holiday film.

As inspired and momentous as this may sound please hold the accolades and champagne for just a hot second. I hoped for at least a bit more danger, complexity, or even darker drama from Single All the Way being that it’s the first of its kind.

Instead, I was presented with a childish, cliched, saccharine-induced, run-of-the-mill story that swaps the standard straight-laced, blue-eyed, blonde-haired straight couple from the midwest, USA, with gay characters.

Everything else remains the same.

Since the LGBTQ+ is to be celebrated, the result is a marginally enjoyable romantic comedy featuring gay men and a timid triangle where the audience knows all along how it’s going to play out.

Desperate to avoid his family’s judgment about his perpetual single status, Peter (Michael Urie) who lives in Los Angeles, convinces his best friend Nick (Philemon Chambers) to join him for the holidays in snowy New Hampshire and pretend that they’re now in a relationship.

But when Peter’s mother (Kathy Najimy) sets him up on a blind date with her hunky trainer James (Luke Macfarlane) the plan goes awry. Peter becomes caught in a quandary about either confessing his feelings for Nick or pursuing relations with James while his family schemes to unite Peter and Nick.

Let me just make clear that the only reason Single All the Way rates as high as a ‘C+’ is that I applaud the decision to write, produce, and release an LGBTQ+-themed film. It’s about damn time, but I wish it were a better film.

Nick being light-skinned black is also a way to promote at least a bit of diversity, although the other characters and environment feel as white as the fake snow draping the wintry set design.

Despite being slightly effeminate he works as a rugged handyman which somehow completely doesn’t work.

The main issue is that there is no chemistry between any of the three men. Unbelievable is how Nick and Peter have been roommates for years and it takes a trip to New Hampshire for them to suddenly realize their undying love for one another.

Macfarlane, well-known for appearing in Bros. (2022), the first gay romantic comedy released by a major studio, is almost distractingly good-looking. Hunky and drop-dead gorgeous, to believe his character would be the odd man out against the semi-cute Peter and Nick is laughable.

It’s like someone wanted the average joe to finally beat out the hunk.

Realistically, Peter would have at least slept with James instead of hemming and hawing before declining an invitation up to James’s apartment after a date.

The family, led by Peter’s mother Carole (Najimy) is beyond irritating. Wanting desperately for her son to find love, she is what every gay man doesn’t want his mother to be. Landing Jennifer Coolidge, a gay icon, is a major win wasted by casting her in the cliche-riddled role of Aunt Sandy, a man-hungry diva.

If that isn’t bad enough, Peter’s two sister’s scheming to separate Peter and James’s burgeoning romance and unite Peter and Nick is silly and not worthy of a daytime soap opera.

At the end of the day Single All the Way (2021) is barely even a cute film. It’s as safe as can be with every cliche (straight and gay) imaginable as if someone was so thrilled to be making an LGBTQ+ film that they didn’t dare take one single risk.

2022 Films, Comedy, Dark Comedy, Horror, Horror-Comedy, Slasher

Bodies Bodies Bodies-2022

December 11, 2022 scottmet99 Leave a comment

Bodies Bodies Bodies-2022

Director-Halina Reijn

Starring-Amandla Sternberg, Maria Bakalova

Scott’s Review #1,321

Reviewed December 11, 2022

Grade: B

Bodies Bodies Bodies (2022) is an admirable attempt at merging straight-ahead slasher whodunit with a good dose of dark comedy and camp. It doesn’t always hit the mark but provides entertainment and is thought-provoking.

The film is never boring and will keep the viewer guessing. There is plenty of diversity with a twist at the end which I’m still not sure is satisfying or not.

While watching the film, I wasn’t always sure if the dialogue was being played for laughs (it’s sometimes terrible). I’m still uncertain if the debut director Halina Reijn was poking fun at 1980s-style slasher flicks or paying homage to them.

The inclusion of Saturday Night Live alumni Pete Davidson provides a bit of humor and pushes the film toward comedy territory though his character is more of an asshole than comic relief. It’s other characters who deliver the funny lines.

Having not heard of the film at all, the premise was intriguing and made me flip it on during a long international flight. I needed to pass ninety minutes or so of time.

When a group of rich twenty-somethings plans a dubious hurricane party at a remote family mansion, they drink and use drugs. A party game goes awry.

I knew right away that an incident would occur that would see them knocked off unceremoniously one by one.

A hefty dose of cattiness between both the male and female characters will make the viewer smirk with pleasure. The backstabbing and fake friends angle is as delicious as the offing of several characters.

I love that Sophie (Amandla Sternberg) and Bee (Maria Bakalova), the central characters, are a lesbian couple. Bee is from eastern Europe while Sophie is of mixed race, and Sophie is affluent and Bee working class. So there are many differences to explore making for an insecure relationship.

It’s suggested that they are a new couple, early on in their relationship, and one of the other girls, Jordan (Myha’la Herrold), has previously had relations with Sophie. On top of all that, Sophie is a recovering drug addict.

I’m not sure the myriad of drama elements is all that necessary but it does reinforce the complexities of the characters. At the end of the day what the audience wants to see is violence and dripping blood and I felt a bit cheated in that department.

Don’t get me wrong, people do die but nobody is shown squealing or running for their life. Because they are playing a game, aptly titled ‘bodies bodies bodies’, the victims pretend to die but then wind up dead.

Besides Bree and Sophie, the other characters are unlikeable. I slowly realized that’s the fun of Bodies Bodies Bodies. Since the characters are whiny, rich, and spoiled rotten, we want them to get their just desserts.

My main criticism of Bodies Bodies Bodies is that it’s not always clear what the intention of the film is which confuses. Is it a message movie, a slasher flick, or an argument over a spoiled and clueless generation?

As the credits rolled I wasn’t even sure who the killer was or why. Turns out, my immediate hunch was right but I second-guessed myself.

In hindsight, I like the ultimate twist but there are so many aspects to Bodies Bodies Bodies. Generation Z hatred, societal clashes, love triangles, and a potential serial killer all rolled into one. That’s a bit much for a ninety-minute affair.

Comparisons to April Fool’s Day (1986) and Scream (1996) come to mind. And, Agatha Christie’s novels where a group of characters flocks to a remote locale for a good whodunit also occur.

As I absorb Bodies Bodies Bodies (2022) more and more I realize that Reijn brings a fresh perspective to a sorely oversaturated genre and that’s a good thing.

The film could have been fleshed out more.

Independent Spirit Award Nominations: Best Director-Halina Reijn, Best First Screenplay

2020 Films, Adventure, Children, Comedy

The Witches-2020

November 16, 2022 scottmet99 Leave a comment

The Witches-2020

Director-Robert Zemeckis

Starring Anne Hathaway, Octavia Spencer

Scott’s Review #1,314

Reviewed November 16, 2022

Grade: B

A remake of the 1990 film starring Anjelica Huston, The Witches (2020) sometimes delivers the goods and occasionally derails off the tracks into campy, over-the-top, wackadoo.

Mostly, on the part of star Anne Hathaway who plays an evil and powerful witch.

But, regardless of what this adult thinks, it will please, surprise, and fascinate youngsters who see it. There’s a comforting and vital message of friendship and family roots ingrained in the story which is a nice touch.

In 1968, seven-year-old orphan Charlie Hansen (Jahzir Bruno) travels from Chicago to Alabama to live with his grandmother, Agatha (Octavia Spencer), after his parents are killed in a car accident.

After he is approached by a dastardly witch in a grocery store they flee to a seaside resort to avoid the child-hating witches. Agatha has a troubled past with the witches who long ago turned her best friend into a chicken.

When the two arrive at their hotel, they find a coven with villainous plans. They are accompanied by a mouse named Daisy and an English boy named Bruno (Codie-Lei Eastick).

I much prefer the first half of The Witches to the last.

The wonderful and caring relationship between Agatha and Charlie is a beautiful dynamic. When she envelops him with love and southern cooking in her cozy home, understanding the trauma he has endured, it is heartwarming and genuine.

Spencer is terrific in any role she plays, of course, but her calm and stoic demeanor when paired against the witches is lovely. She is prepared for trouble and sneaks to a back room where she keeps crystals, and other anti-witch weaponry.

But the relationship with the little boy is darling and top-notch. I wish they would have just stayed at home and nurtured their relationship with Daisy and Bruno.

The weakest section of the film involves the witches themselves. As they flock to the hotel for a convention to plot the destruction of children everywhere, they appear more silly than scary, especially when they remove their wigs and reveal bald, scabby heads.

Director, Robert Zemeckis must have given Hathaway free range to ham it up because she certainly does just that.

I’m a fan of hers so it’s not a personal knock but she teeters toward ridiculous pretty quickly. I get the need to make a children’s film villain colorful, memorable, and loud but there is no restraint, causing the character to feel more silly than terrifying.

On the plus side, Hathaway must have had a ball letting loose and leaving all constraints on the sidelines.

Inevitably, the kids are changed into cute mice and must convince their loved ones that they are themselves while figuring out how to change back to human children.

Not much is different from the 1990 version besides a tweak here and there and the story is the same but I think I prefer the original by a hair.

Huston beats Hathaway in a comparison.

Some inconsistencies emerge like how Agatha can afford to stay in a grandiose hotel. She knows someone connected to the hotel but the who’s and why’s aren’t clear.

It’s never explained what happened to Agatha’s friend who wound up as a chicken and I wanted more from Stanley Tucci than an uninteresting hotel manager role with little to do.

But, the action sequences are adventurous and energetic and it’s fun cheering the turning of the Grand High Witch (Hathaway) into a rat.

I wanted more of the homespun love between Agatha and Charlie and the simple southern town that felt so lovely and welcoming, but The Witches (2020) provides family fun entertainment that many can enjoy.

2009 Films, Comedy

I Love You, Man-2009

October 24, 2022 scottmet99 Leave a comment

I Love You, Man-2009

Director-John Hamburg

Starring Paul Rudd, Jason Segal, Rashida Jones

Scott’s Review #1,311

Reviewed October 24, 2022

Grade: B

I Love You, Man (2009) is another one of these ‘feel-good’ types of ‘bromance’ comedies to grace the silver screen in the 2000s. It takes a familiar storyline of two male friends bonding, usually involving a female in the mix to complicate matters, with hilariously awkward moments thrown in.

It’s nothing groundbreaking or overly severe but rather a mildly satisfying ‘guy film’ that a female audience can also enjoy too because there exists a romance and a happily ever after.

I’m simplifying the specific gender tastes quite a bit but what I mean is the film is light and there can be something for everyone to enjoy.

While there are some innocent homoerotic playful moments between the men, for laughs, of course, the genre avoids anything LGBTQ+ related other than a gay supporting character who cleverly teaches the straight male how to ‘meet’ men.

Director, John Hamburg, is involved in similarly themed projects like Meet the Parents (2000) and Along Came Polly (2004) so he knows the common premise required for a film like I Love You, Man as well as what the audience wants.

As his wedding day approaches, nerdy Peter Klaven (Paul Rudd) realizes he has no one to serve as his best man. Through a series of “man-dates,” he finds abrasive Sydney Fife (Jason Segel), and the pair become instant friends.

But as Peter’s “bromance” with Sydney grows stronger, it threatens his relationship with his intended, Zooey (Rashida Jones), forcing Peter to make a choice.

It’s not a bad effort and Rudd and Segal have good chemistry as polar opposite characters. The differences are a big part of the laughs but Jones is somewhat unnecessary to the plot other than the required female component to satisfy the formula.

She dutifully plays her role as the straight woman immersed between two goofballs but has very little to do other than get in the way and be a roadblock to the guy’s fun.

It’s not a great role for her and the chemistry is lacking between her and Rudd but maybe that’s just the point. I’m not too sure but I found the humorous moments entirely left to the boys to provide.

My favorite section of the film is one that many may dismiss or deem secondary. The legendary progressive rock band Rush makes an appearance as a way that Peter and Sydney ultimately bond.

Any fan of music, especially a thinking man’s band like Rush, can attest to the genuine bond that can be created between followers of a specific group.

Rush is legendary for just that and it makes I Love You, Man feel fresher than it otherwise would have. Besides, other than Led Zeppelin is there a better example of a ‘guy’s band’?

Otherwise, the film is particularly run-of-the-mill. There are familiar arguments, misunderstandings, breakups, and makeup to be endured.

Events start with a marriage proposal and unsurprisingly end with a wedding ceremony so anything in between is rather superfluous since we can see the outcome a mile away.

Naturally, as much as Zooey wants Peter to have more male friends she becomes suspicious and otherwise threatened by the new blood, feeling left out. There is a hint that Sydney may be trying to manipulate and pull the wool over Peter’s eyes over a financial loan but things work themselves out just fine.

As predictable as I Love You, Man is there is a sentimental, even heartwarming sensation to be left with, and a few good chuckles along the way.

1972 Films, Barbra Streisand, Comedy, Dark Comedy, Drama, Fantasy

Up the Sandbox-1972

October 18, 2022 scottmet99 Leave a comment

Up the Sandbox-1972

Director Irvin Kershner

Starring Barbra Streisand, David Selby

Scott’s Review #1,308

Reviewed October 18, 2022

Grade: B

Up the Sandbox (1972) is likely the least successful film in the Barbra Streisand collection and more obscure than likely desired. The star performs no songs and the film is experimental but it’s unclear if it was intended to be or not.

Streisand takes a break from comedies and musicals and ventures into unknown territory, taking a risk that doesn’t always pay off.

On the flip side, she never looked more beautiful in a film.

The film has its moments. It’s shrouded in early progressive feminism which provides intrigue and it’s tough to go wrong with a bankable star like Streisand in a lead role.

Still, the fantasy sequences get too weird and sometimes unnecessary, and the film doesn’t always make a lot of sense.

The film gets taken down at least a notch for two anti-gay slurs that are shamefully unnecessary to any plot direction.

I award Up the Sandbox credit for thinking outside the box and being unconventional but all the parts don’t come together in a cohesive unit leaving me unfulfilled but recognizing the superior qualities.

The cover art (see above) is wacky and thought-provoking.

Margaret (Streisand) is a young wife and mother who is bored with her day-to-day life in New York City playing second fiddle to her successful and too-busy husband, Paul (David Selby).

He is a professor at Columbia University and they reside in a cramped yet fairly sophisticated apartment.

To combat boredom, she regularly escapes into increasingly outrageous fantasies: her mother breaking into the apartment, an explorer’s demonstration of tribal fertility music at a party causing strange transformations, and somehow joining terrorists to plant explosives in the Statue of Liberty.

Streisand is well cast and while other actresses could have given a fine performance she plays New York Jewish better than anyone. Her plight to break out of her life of doldrums is perfectly conveyed as she yearns to equal the balance between men and women.

She has resentment for going down the path of housewife, just like her mother did, and vowing to be nothing like her, as the women bicker and feud throughout the film.

The sequences involving her mother are the best in the film. Played by Jane Hoffman, Margaret’s mother provides all of the expected Jewish mother stereotypes like nagging and judging, hilariously.

The funniest mother/daughter sequence sees Margaret smash her mother’s head into a giant birthday cake. Naturally, it’s just her fantasy.

Up the Sandbox wins big by the lofty amount of location sequences showing early 1970s New York City, absolutely fascinating to view. One with an appreciation for Manhatten can be assured of a pleasant viewing experience.

The most heartfelt and sentimental moments occur during a long shot of the still-under-construction World Trade Center. Seeing the Twin Towers still being erected brings back teary memories of 9/11.

Lavish sequences are set in and around Columbia University in upper Manhattan and the campus can frequently be seen as Margaret and her friends trudge their baby strollers around the campus and surrounding areas.

Where the film fails is when it teeters too far out in fantasy land. It makes little sense why Margaret would join terrorists intent on blowing up Lady Liberty or what the group’s intentions are.

Perhaps it is a metaphor for something that went over my head.

Even when the screenplay is a dud Ms. Streisand holds her head high and plays the comedy or drama with sincerity and professionalism. With her well-known perfectionism, she would have been aware when things were not working.

A film not remembered well, Up the Sandbox (1972) scores some points with its locales, progressivism, and star power but stumbles off course too many times to recommend.

If only Streisand would have belted out a number or two amid her scripted fantasies the film might have worked better.

1990 Films, Action, Angela Bassett, Arnold Schwarzenegger, Cathy Moriarty, Comedy, Ivan Reitman, Linda Hunt, Penelope Ann Miller

Kindergarten Cop-1990

October 12, 2022 scottmet99 Leave a comment

Kindergarten Cop 1990

Director Ivan Reitman

Starring Arnold Schwarzenegger, Penelope Ann Miller

Scott’s Review #1,306

Reviewed October 12, 2022

Grade: C+

Before Arnold Schwarzenegger found politics and after he left professional bodybuilding, he starred in a string of films during the 1980s and 1990s.

At first solely a bankable action figure due to his bulky frame, he delved into more comedic and friendlier film roles.

Kindergarten Cop (1990) is one of those films yet there is enough mild violence to draw in the male crowd too.

Some of his films were better than others with the best of the bunch being The Terminator (1984) and True Lies (1994).

Kindergarten Cop is fair to a middling effort that attempts to transport the brawny star into a likable teacher but the result feels more forced than genuine. Naturally, the main character ends up in a quandary over whether he wants to fight crime or teach youngsters after he falls in love with them and another teacher.

The setup is way too similar to other films in the action-comedy genre and the film is very standard fare. The bad guy and love interest are tired and cliched, and the gags involving the kids are overly juvenile and mostly fall flat.

Despite these trite characteristics, Kindergarten Cop is not a terrible film and this is thanks to Schwarzenegger’s appeal. He is good-natured and his transition from grizzled cop to a kindly teacher is not unfun.

It provides some family-friendly light entertainment that can be enjoyed on a rainy Saturday afternoon.

Unusual circumstances find cop John Kimble (Schwarzenegger) forced to pose as a kindergarten teacher to apprehend major drug lord Cullen Crisp (Richard Tyson) and his accomplice and mother, Eleanor, played by Carroll Baker.

While pretending to be a kid-friendly instructor, Kimble falls for pretty fellow teacher Joyce Palmieri (Penelope Ann Miller) as he tries to balance unruly children with the dangerous bad guys.

In a twist seen coming a mile away, Joyce and her son are the people that Cullen is pursuing.

Kindergarten Cop all seems so perfectly thought out. It’s like a bunch of suits were sitting at a round table making sure the elements were all included: hero, bad guy, love interest, kids, enough action sequences, and a chase finale.

There is even one standard black kid and one Asian kid to check off the diversity box. And enough precociousness to last a lifetime.

The comedy mostly comes in the classroom where it’s frequently humorous to watch a gigantic man teach little kids especially when he has no idea what to do. Careful not to be too silly there are a couple of sentimental moments and social situations like when Kimble threatens a father who is abusing his son.

Director Ivan Reitman, quite familiar with screwball comedies, directed funnies such as Meatballs (1979) and Stripes (1981) so he knows what provides chuckles.

The action sequences do not work well other than providing a reason for Kimble to run around and protect the kids and Joyce. We all know he will eventually best Cullen which he does.

Even the amazing Linda Hunt is wasted as a one-dimensional principal who at first hates Kimble but then comes around to accept him.

Kindergarten Cop (1990) is too blueprint-ready to recommend since it contains elements used in hundreds of other films. But for fans of the hulking Schwarzenegger, the film is a safe offering that sees the film star more softly.

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