Tag Archives: Drama

2025 Films, ASAP Rocky, Christian Slater, Comedy, Conan O'Brien, Danielle Macdonald, Dark Comedy, Drama, Independent, Independent Comedy, Independent Drama, Josh Safdie, Mary Bronstein, Rose Byrne

If I Had Legs I’d Kick You-2025

Leave a comment

If I Had Legs I’d Kick You-2025

Director Mary Bronstein

Starring Rose Byrne, Conan O’Brien, Christian Slater

Scott’s Review #1,521

Reviewed February 25, 2026

Grade: A-

Not being a parent myself, nor ever having the desire to be one, I was nonetheless enthralled by the subject of stressed parenting explored in If I Had Legs I’d Kick You (2025).

Examining our frazzled lead character, Linda’s, descent into madness after enduring day after day of adult chaos and kid problems, the role is wonderfully played by Rose Byrne.

The actor, though memorable in 2011’s classic Bridesmaids, is usually associated with one-note or throwaway roles throughout her long career.

It’s inspiring to see her finally get her due by playing a complex role with so much chops and receiving an Academy Award for Best Actress in 2025.

With her life crashing down around her, Linda, ironically a psychotherapist, attempts to navigate her child’s mysterious illness amid pressure from her therapist, her absent husband, a missing client, and an increasingly hostile relationship with her own therapist (Conan O’Brien), also a colleague.

After her living room is destroyed by water damage, she is reduced to renting a dingy motel for an extended period, where she encounters hostile motel workers.

Her saving grace is her late-night solitude, when she can peacefully indulge in wine and pot while sitting on the beach, contemplating her life.

Director Mary Bronstein, who also appears as a therapist, cleverly doesn’t show Linda’s daughter or husband for nearly the entire film, revealing them only through their grating voices. They irritate and stress Linda out to no end.

Undoubtedly, Bronstein either wanted to keep the focus on Linda and her daily peril or to leave it uncertain whether they even existed outside Linda’s mind.

The plot mostly involves a medical situation where Linda’s daughter, Delaney, has a pediatric feeding disorder that necessitates nightly supplemental feeding through a tube and participation in a day hospital program.

Her husband, a ship captain, is away, presumably at sea. This leaves Linda to handle everything.

Linda trudges through her days, arguing with a parking attendant and a contractor, while having misunderstandings with her therapist, patients, and a bitchy girl at her motel.

The supporting characters are well cast and add leverage to Linda’s peril by being completely unsympathetic and sour. O’Brien is excellent as the self-absorbed therapist, while Danielle Macdonald is good as a needy patient who ditches her baby.

But the film belongs to Byrne.

From the first scene, she wears a weary look, and her close-up facial expressions speak volumes about her peril. Linda looks washed out and exhausted while things spiral out of control. Nearly dozing off as a patient chatters away, she finally has had enough.

On the other hand, she is constantly on the brink of losing her shit.

Thanks to Byrne, we are treated to fist-pumping scenes where she lets loose on both therapists and the bitchy motel girl, instantly making Linda the only rootable character in the lot.

Still, she’s not exactly likable herself and incessantly makes poor choices. Her irritation with everything grows tiresome until the final sequence, when the film parleys into a message about mental illness.

If I should have found the film depressing, I didn’t.

Sprinkled with macabre humor, the film must have been influenced by the 1970 masterpiece Diary of a Mad Housewife, starring Carrie Snodgrass as a woman emotionally tortured by her selfish family and on the brink of a breakdown.

Bronstein, also the screenwriter, makes Linda the only character the audience should focus on, and all events are told from her perspective, which makes the film a winner.

Never knowing where events are headed, If I Had Legs I’d Kick You (2025) is a sheer delight in comedic/dramatic insanity. Though it carries a strong central theme of mental wellness, it also promotes the important message that it’s also okay not to have kids who will ruin your life.

Oscar Nominations: Best Actress-Rose Byrne

Independent Spirit Award Nominations: 1 win-Best Director-Mary Bronstein, Best Lead Performance-Rose Byrne (won)

2025 Films, Abel Ferrara, Comedy, Drama, Emory Cohen, Fran Drescher, Gywneth Paltrow, Josh Safdie, Kevin O'Leary, Odessa A'zion, Sandra Bernhard, Sports, Timothée Chalamet, Tyler Okonma

Marty Supreme-2025

Leave a comment

Marty Supreme-2025

Director Josh Safdie

Starring Timothée Chalamet, Gwyneth Paltrow, Odessa A’Zion

Scott’s Review #1,519

Reviewed February 19, 2026

Grade: A

At a mere thirty years old, Timothée Chalamet has already amassed some terrific film roles in Call Me By Your Name (2017), Wonka (2023), and A Complete Unknown (2024).

Portraying unique and offbeat characters is his sweet spot. 

Playing Marty Mauser in the film Marty Supreme (2025) is his best performance to date. He seamlessly turns a character the audience should dislike into an instant fan favorite who we laugh with, cry with, and root for to overcome life obstacles.

He is a nobody who desperately wants to be a somebody.

While Chalamet leads the charge, he is aided by strong supporting performances from Gwyneth Paltrow, Odessa A’zion, Kevin O’Leary, and Fran Drescher as characters who weave into Marty’s web of adventures.

Even actors appearing in only a few scenes are flawlessly cast, providing an authentic look at working-class and affluent white Jewish people in New York at the time.  A racial harmony is also set by including a handful of black characters as dear friends of Marty’s.

Set in 1950s New York City, Marty is a young man with a dream of becoming the world’s best table tennis player, despite setbacks and a lack of respect for the sport.

With a needy mother (Drescher), two different on again off again girlfriends who are both married, one a childhood buddy and one twice his age (A’zion and Paltrow), a pathway to a dull career as a shoe salesman, and a tumultuous relationship with a successful businessman (played by Kevin O’Leary), the cards in life are stacked against him.

Yet, Marty consistently manipulates his way to a free trip to London and Tokyo, and several get-rich-quick schemes to get what he wants and to fulfill his lifelong dream.

Acting is only a part of the overall success of Marty Supreme. Thanks to Josh Safdie’s (Good Time, 2017; Uncut Gems, 2019) superior direction, all technical capabilities are flawlessly executed, and an unpredictable story is achieved.

The pacing is quick and organized, leaving never a dull moment in nonstop Marty adventures. Sequences like the search for a lost dog portray perilous moments of danger as the dog becomes a more prominent character than expected.

The editing is superior, making the fast-paced table tennis sequences both thrilling and exhausting. The quick dialogue, whether during phone conversations, in a dusty theater, or in an exquisite hotel room, all add up to a tight package of filmmaking.

Finally, the costumes and art direction more than adequately showcase a period when a few Americans were affluent. At the same time, the rest struggled to make ends meet while pursuing their own version of the American dream.

I’ve been a fan of Safdie since he was an up-and-comer making the independent film Good Time with his brother Benny, and he has since come into his own with the grizzled crime thriller Uncut Gems starring Adam Sandler.

Seeming to enjoy the New York setting in his films, just like director Paul Thomas Anderson prefers sunny California, he is steadily making his films highly recognizable.

Continuing on the theme of good film balance, Safdie incorporates naughty scenes like Marty’s humiliating bare bottom spanking in front of snickering businessmen, and a daring scene where he goes down on an aging film actress (Paltrow) in Central Park.

This ensures some humor is present.

The haves and have-nots support Marty’s journey. Wanting more than the life his depressed mother or shady friends have, Marty aspires to be in the big leagues. He will lie, cheat, or steal from whomever he needs to to achieve this.

And yet, Marty is kindhearted and humorous in his pursuits. He giggles when he can lounge in a lavish hotel and order room service or shmooze among rich theater types at a grandiose party.

Class distinctions are an important part of the character’s motivation for a better life.

Deservedly recognized with many awards-season accolades, Marty Supreme (2025) is an example of a young director coming into his own, with ample resources to make a gem of a film.

Oscar Nominations: Best Picture, Best Director-Josh Safdie, Best Actor-Timothée Chalamet, Best Original Screenplay, Best Casting, Best Cinematography, Best Production Design, Best Editing, Best Costume Design

2025 Films, Best Feature- Independent Spirit Award Winners, Clint Bentley, Drama, Felicity Jones, Joel Edgerton, Kerry Condon, Will Patton, William H. Macy

Train Dreams-2025

Train Dreams-2025

Director Clint Bentley

Starring Joel Edgerton, Felicity Jones, William H. Macy

Scott’s Review #1,515

Reviewed February 4, 2026

Grade: A-

Train Dreams (2025) offers a character-driven approach to filmmaking that is also wonderfully cinematic, thanks in part to Clint Bentley’s direction.

Bently also wrote and produced 2023’s Sing Sing, but I think Train Dreams is the superior effort in terms of visuals alone. Adolpho Veloso is the film’s lead cinematographer and deserves major praise for the gorgeous look the film achieves.

The tone is often serene and quiet, allowing viewers to immerse themselves in the scenes’ tranquility without making the film drag. Landscapes, forests, and luminous sunsets are featured, providing an environmentally ubiquitous experience.

Will Patton narrates the film.

Train Dreams begins around 1917 and recounts the life of Robert Grainier, fantastically portrayed by Joel Edgerton, an example of an actor/director who continues to choose quality projects.

This may be his best role yet.

Robert begins life as an orphan, arriving in the desolate town of Bonners Ferry, Idaho, where he works aimlessly as a logger until he meets Gladys Olding (Felicity Jones). They marry, build a log cabin along the Moyie River, and have a daughter, Kate.

When tragedy strikes, Robert must reassess his life and purpose as he grows older and the years pass aimlessly by. Through the elements, he recognizes both beauty and brutality during his life-altering events and the redundancy of everyday life.

The scenes featuring Edgerton and Jones are the warmest and most touching. The pair shares a strong chemistry made more palpable because Robert is forced to leave his family for a portion of the year for work. Their joy at each reconciliation is apparent, with golden sunsets enveloping the happy couples’ most memorable moments.

Years later, Robert meets another woman named Claire (Kerry Condon), a Forest Service worker who is nearly a doppelganger for Gladys. We tenderly see the progressive, fearless woman Gladys might have become decades later, had she not been in a terrible accident.

Edgerton, the standout performer, easily displays his emotions on his face. Though tortured, he is also a dreamer and a kindly man, as proven when he is disturbed by an immigrant who is shot and killed, and an older man who has dementia.

There is an overall intimacy to Train Dreams that the audience can grasp. Robert’s frequent visions of Gladys, Katie, and the immigrant both disturb and comfort him as he evaluates his usefulness over his decades on Earth.

For a viewer like me who lives in a city, Train Dreams was an important reminder to appreciate the small, silent things in life, such as birds, grass, and trees. So easily overlooked, these elements remain long after the self-important human beings pass through.

I asked myself when the last time I was in a forest was, and I couldn’t come up with an answer.

Intricate sequences of spinning trees, with shifting focus, further enhance the creativity of the cinematography and production design.

The message Bentley creates also appears to be a comparison of the peace America once had, now tarnished by political discord, corruption, and chaos, which has destroyed most of its serenity.

But that’s a different conversation.

Above all, Train Dreams (2025) taught me not to get so hung up on stress and the rat race, but to put the brakes on from time to time to appreciate what really matters.

Oscar Nominations: Best Picture, Best Adapted Screenplay, Best Cinematography, Best Original Song, “Train Dreams”

Independent Spirit Awards Nominations: 3 wins-Best Feature (won), Best Director- Clint Bentley (won), Best Lead Performance- Joel Edgerton, Best Cinematography (won)

2025 Films, Andrew Scott, Biography, Bobby Cannavale, Comedy, Drama, Ethan Hawke, Jonah Lees, Margaret Qualley, Patrick Kennedy, Richard Linklater

Blue Moon-2025

Leave a comment

Blue Moon-2025

Director Richard Linklater

Starring Ethan Hawke, Margaret Qualley

Scott’s Review #1,514

Reviewed January 26, 2026

Grade: B+

Blue Moon (2025) is a character-driven look at a talented writer on the brink of breakdown. Over the course of one boozy night, the audience is introduced to the troubled man and comes to envelop him and his sometimes off-putting ideas.

The movie succeeds through a combination of crisp, sardonic, well-written dialogue and Ethan Hawke’s inspired performance as Lorenz Hart, an American lyricist living in the 1940s.

A film every Old Broadway New Yorker ought to love, the setting is the famous theatre district eatery, Sardi’s, where many a piano song has been sung, and drink has been drunk by both popular and struggling players in the Broadway game.

The plot centers on the night of March 31, 1943, as World War II rages.

Hart reflects on himself following the opening night of Oklahoma!, a new musical created by his former colleague Richard Rodgers (Andrew Scott), where a celebration is planned to gush over its overwhelming success. He despises the corny, overly wholesome lyrics and is dismayed by the production’s popularity.

The talkative, cynical, and newly sober Hart visits with bartender Eddie (Bobby Cannavale), who tries unsuccessfully not to serve him liquor, and enlisted sergeant piano player Morty (Jonah Lees), who is on leave.

Hart also commiserates with writer E.B. White (Patrick Kennedy), soon to become famous for stories like Stuart Little and Charlotte’s Web, the former of which he gets from Hart.

While not the flashiest film, director Richard Linklater draws an excellent performance from Hawke and miraculously and flawlessly makes Hawke’s character appear physically very short in stature.

This is more difficult than it sounds from a cinematography perspective, and it also deserves props for creating a unique-looking restaurant-and-bar shape.

Hawke came into his own with 1989’s Dead Poets Society and has continued to deliver more sophisticated performances as he has aged.

Except for a brief opening sequence where Hart’s ultimate fate is revealed, the entire film takes place in the dark restaurant/bar.

Hart spends time chatting with Elizabeth Weiland, an unrequited love interest of his, who ruminates on her own unsuccessful love life.

Over the course of the film, it’s sad to see Hart’s life unravel. Fans will know that Rogers and Hammerstein were a tremendously successful musical duo and not Rogers and Hart. As Hart spends time pitching ideas to Rogers, we realize their partnership will go no further than it already has.

Hawke is superb at delivering a massive amount of lines, showcasing Hart’s sometimes rambling and fragmented ideas. The handsome actor adopts a more homely persona in Hart, suffering rejection after rejection throughout the evening.

The glitz of Broadway is enshrouded within the walls of Sardi’s, famous for showcasing caricatures of Broadway celebrities. In satisfying form, a close-up of a caricature of Hart clings to the wall as Blue Moon ends, presumably long after his death.

Briefly skated over is Hart’s sexuality, said to lean more toward homosexuality than is ever more than alluded to, which is a disappointment. The closest the film comes to any dissection of this nature is when Hart invites a delivery boy to an afterparty and has a a conversation with Morty in the men’s room.

Both story points go nowhere. Instead, Hart mostly pines over Elizabeth.

The winning formula is the dialogue, sometimes teetering off course when Hart goes off on tangents. Still, the central concept of a misunderstood and underappreciated creative genius is received loud and clear.

While good, Qualley and Cannavale are never given great moments to show off their acting chops. The best supporting player is Andrew Scott, who provides entertaining banter while playing opposite Hawke.

Linklater offers up a talkative, cerebral film about the celebrations and heartbreaks of life through art. Through enriching conversations, Blue Moon (2025) delivers a thought-provoking dialogue-heavy cinema that is an intelligent, confined experience.

Oscar Nominations: Best Actor-Ethan Hawke, Best Original Screenplay

2025 Films, Christoph Waltz, David Bradley, Drama, Felix Kammerer, Guillermo del Toro, Horror, Lars Mikkelsen, Mia Goth, Oscar Isaac, Science Fiction

Frankenstein-2025

Leave a comment

Frankenstein-2025

Director Guillermo del Toro

Starring Oscar Isaac, Jacob Elordi, Mia Goth

Scott’s Review #1,510

Reviewed January 15, 2026

Grade: A

Guillermo del Toro, known for his astounding production and art design in his films, hits a home run with a remake of Frankenstein (2025) based on Mary Shelley’s 1818 novel, unmasking a beautifully crafted film.

He pulls out all the stops to achieve an exquisite gothic look that is hard not to be mesmerized by. It reminds me of the HBO series Penny Dreadful (2014-2016) in both its subject matter and its visual style.

I worried that the sets and designs would usurp the story, but especially in the final act, the film becomes very character-driven, especially the Creature, played by Jacob Elordi. It is easy to garner sympathy for his character as the story progresses and he goes from bald and alien-like to disheveled and wild-looking.

The film is divided into three chapters: Prelude, Victor’s Tale, and The Creature’s Tale, so the pace is structured with shifting perspectives. This is a wise move.

Victor Frankenstein (Oscar Isaac) is a brilliant but egotistical scientist who brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.

The inclusion of Victor’s brother, William (Felix Kammerer), Elizabeth (Mia Goth), and the Blind Man (David Bradley) adds interesting and potent supporting characters who help reveal the intentions of the more prominent characters.

Mesmerizing are the sequences in the dark, evening settings, and especially within the grandiose walls of the estate where William and Elizabeth are to be married.

The cool blueish hues amongst the glowing burning candlelight provide a warm yet gruesome tone. As Elizabeth, clad in her pale white wedding dress, is carried down the bold staircase by the creature, her abdomen is caked in scarlet red blood, amid falling flower petals, another example of the powerful visuals.

In contrast, the daytime sequences usually take place amid a blustery snowstorm or in frigid, barren wastelands, with a very white color palette. Del Toro doesn’t even need to use wind sounds to portray the frigid landscape perfectly.

Lastly, the costumes are award-worthy. From the seventeenth-century wedding outfits the attendees wear to the filthy rags the Creature dons, all are well defined by societal class. The kindly Blind Man wears modest attire and lives in a barren forest area.

While both are superior in excellence and storytelling, 2025’s Frankenstein is vastly different from the 1931 version directed by James Whale and starring legendary horror actor Boris Karloff. Made nearly one hundred (gasp!) years apart, they are dissimilar in ways, and the former is more faithful to Shelley’s novel.

Elordi deserves kudos for infusing the Creature with humanity and sympathy, a character that many perceive as nothing more than a monster.  His kindness and compassion mask the torture and pain he feels, wishing for death at nearly every turn.

The hulking actor is a perfect fit from a physical perspective, lumbering along the terrain and brooding with pain. His tentative relationship with Elizabeth is touching to see, and the future possibilities are endless if not for tragedy.

Isaac and Goth are also impressive. As the true film villain, Isaac’s Frankenstein is also tortured but turns to lies and deception to mask his pain. Goth, parlaying from indie horror into mainstream cinema, is one to watch as she chooses her next roles.

The lovely male relationship between the creature and the blind man is a true testament to kindness and what friendship is all about.

With his legendary visual touch, Guillermo Del Toro resurrects Frankenstein (2025) with a magnificent, nearly operatic offering that’s gloriously gothic and heartbreaking, with exceptional performances and visual mastery.

In this case, his story matches his visuals.

Oscar Nominations: Best Picture, Best Supporting Actor-Jacob Elordi, Best Adapted Screenplay, Best Cinematography, Best Costume Design, Best Makeup & Hairstyling, Best Original Score, Best Production Design, Best Sound

2025 Films, Biography, Craig Brewer, Drama, Ella Anderson, Erika Slezak, Fisher Stevens, Hugh Jackman, Jim Belushi, Kate Hudson, King Princess, Michael Imperioli, Mustafa Shakir

Song Sung Blue-2025

Leave a comment

Song Sung Blue-2025

Director Craig Brewer

Starring Hugh Jackman, Kate Hudson

Scott’s Review #1,507

Reviewed January 5, 2026

Grade: A

Knowing nothing about the film Song Sung Blue (2025) other than brief snippets of a trailer, it wasn’t on my radar to see. A sole Golden Globe Awards nomination by star Kate Hudson felt like a sentimental effort rather than merit.

Appearing to be little more than a feel-good holiday time release with a sprinkling of schmaltz and a money grab to nostalgic fans of entertainer Neil Diamond, I hesitated to go to the theater to see it.

To my immediate surprise and delight, the theater was nearly full, an anomaly in today’s quick-to-streaming world, but the importance of movie theaters is a topic for another day.

While Song Sung Blue is a delightful crowd pleaser and the songs are catchy and infectious, there is a darkness to the story, based on real-life events, that I didn’t see coming.

By combining a local singing duo’s triumph with tragedy, the film creates a perfect counterbalance that had me and the audience I was with in both tears and chuckles.

The project appears to be based on a 2008 documentary about the real-life couple.

The film stars Hugh Jackman and Hudson as Mike and Claire Sardina, who perform as the Neil Diamond tribute band Lightning & Thunder in their local area of Wisconsin, circa the 1990s.

They are struggling blue-collar folks eeking out a living as an impersonator and a part-time hairdresser, respectively. While both are middle-aged, each with an ex-spouse and a teenage daughter, and tons of bills to pay, they nonetheless adore performing in any capacity and love the thrill of life.

Mike is a recovering alcoholic, and Claire suffers from bouts of depression. Still, they meet early in the film, fall in love, and marry almost immediately.

The actors Jackman and Hudson have enormous chemistry, which makes the film work so well. The audience instantly buys their connection, love of performing, and passion for music. Why couldn’t Mike and Claire have met years ago? It’s thanks to the actors that we wish they had.

While Jackman is terrific as the Diamond performer, dazzling and charismatic in each performance, he never usurps Hudson, nor is there a perception that she is merely a backup performer.

Truth be told, I was more enamored with Hudson’s performance by a hair. Immediately drawing me in with her spot-on Midwestern accent, which never wavered, her depiction of a single middle-aged mom living in the suburbs is perfection.

Trying to be calm but occasionally exploding with rage or bursts of gleeful excitement, Hudson never overacts or makes Claire seem ridiculous. Her late-1980s crappy car, discount-rack clothes, and heart-of-gold characterization work so well.

To cement the dysfunctional yet strong family’s bond, Mike’s daughter, Angelina (King Princess), and Claire’s daughter, Rachel (Ella Anderson), instantly bond. Joined by Claire’s son, Dayna, the family structure is set.

As essential add-ons, diversity is incorporated through family friends who represent ethnic, multicultural, and LGBTQ+ communities.

These strong bonds are crucial because, before Mike and Claire can even savor the success of becoming the opening band for a Pearl Jam concert and performing with singer Eddie Vedder, tragedy strikes when a terrible accident changes their lives forever.

The first of the family tragedies hits like a ton of bricks and is so brilliantly filmed. My audience gasped in pure shock at the turn of events. A mini sigh of relief at the hint that it’s all a dream is quickly extinguished by reality, making the sequence all the more powerful.

Craig Brewer, who both directs excellently and also writes the screenplay, must love music. He delves deep into Diamond’s catalog, mentioning more obscure songs like ‘Soolaimon’ besides the obvious mainstays, ‘Sweet Caroline’ and the title track.

Thanks to pitch-perfect performances by Jackman and Hudson, Song Sung Blue (2025) is paced perfectly and hits every emotional chord. With humor, heart, and drama, it delivers a fitting tribute to one of the most beloved singer-songwriters in modern music history.

Oscar Nominations: Best Actress-Kate Hudson

2025 Films, Art, Drama, Elle Fanning, Inga Ibsdotter Lilleaas, International, International Drama, Joachim Trier, Norwegian, Renate Reinsve, Stellan Skarsgård

Sentimental Value-2025

Leave a comment

Sentimental Value-2025

Director Joachim Trier

Starring Renate Reinsve, Stellan Skarsgård, Elle Fanning

Scott’s Review #1,506

Reviewed December 22, 2025

Grade: A

Sentimental Value (2025) is a Norwegian art film with powerful themes of love and loss, suicide, intergenerational connections, family relationships, and cinema. The intertwining of the components makes the film both dark and hopeful, thanks to beautiful, layered performances.

It is brooding, thought-provoking, and relatable in many ways, mostly showcasing quality writing and excellent acting. Not as much of Norway’s majestic countryside is shown, especially in Oslo, where the film is set, as I had hoped.

Right off the bat, the audience receives narration about a house and the generations of events, some happy and some tragic, that have occurred over the years. The house, while changed, has persevered and has become a character in the film.

One could correlate the struggles of the house with those of life; in the film, the characters are deeply flawed and troubled, suffering from alcoholism and paranoia.

After their mother dies, two sisters, Nora (Renate Reinsve) and Agnes (Inga Ibsdotter Lilleaas), reunite with their estranged father, the charismatic Gustav (Stellan Skarsgård), a once-renowned director who offers stage actress Nora a role in what he hopes will be his comeback film.

The film is personal about Gustav’s frailty following his mother’s death by suicide.

When Nora turns it down, she soon discovers Gustav has given her part to an eager, yet cerebral, young Hollywood star played by Elle Fanning, who is a new fan of Gustav’s older work.

The past and deeply harbored secrets come to the surface as the characters struggle to maintain balance between their emotions and their interpretations of various life events.

An early sequence set in a theater sets the tone. Nora, a fabulous stage actor, suffers from severe stage fright, nearly rendering her unable to take the stage. The crew backstage scurries to calm her nerves and convince her to perform seconds before her cue. They’ve been through this before.

Nora is neurotic and, in fact, attempted suicide, which worries Agnes whenever there is a lapse in communication with her sister.

Other complexities, such as Gustav’s return, an unsuccessful relationship, and insecurities, affect Nora, especially when Rachel, the starlet, enters the picture.

But the winning formula is that Sentimental Value is not ‘the Nora show’. Agnes, Gustav, and Rachel are equally showcased and explored, making the film an ensemble piece.

Agnes, who starred in one of Gustav’s films as a young girl, is now married with a child and has left the industry far behind. Does she harbor regrets?

An aging Gustav has seen the cinematic world change from grand, theater-style film work to television-style streaming platforms like Netflix, taking over. Has the world left him behind?

And young Rachel is frustrated by her limited acting roles, which have made her a star but don’t showcase her true talent or love of her craft. Does she even have talent, she wonders?

As a cinemaphile, Sentimental Value left me pondering the state of cinema in a time of limited theatergoers and the popularity of watching films at home on a television, or worse, on a mobile phone.

But the success and emotion of Sentimental Value come through its characters, Nora, Agnes, Gustav, and Rachel.

The importance of the house also amazed me. As in life, things constantly evolve and change, setbacks are experienced, life and death come and go, and the cycle of life continues.

Sentimental Value (2025) is a fantastic film with main themes about life and forgiveness. It is also a stark reminder, without being preachy, about the monumental importance of mental wellness and the crippling effects mental illness can have on people.

Oscar Nominations: Best Picture, Best Director-Joachim Trier, Best Actress-Renate Reinsve, Best Supporting Actor-Stellan Skarsgård, Best Supporting Actress-Elle Fanning, Inga Ibsdotter Lilleaas, Best Original Screenplay, Best International Feature, Best Film Editing

2025 Films, Chloé Zhao, Drama, Emily Watson, Historical Drama, Jacobi Jupe, Jessie Buckley, Joe Alwyn, Noah Jupe, Paul Mescal, Sam Mendes, Steven Spielberg

Hamnet-2025

Leave a comment

Hamnet-2025

Director Chloé Zhao

Starring Jessie Buckley, Paul Mescal

Scott’s Review #1,505

Reviewed December 8, 2025

Grade: A

For lovers of William Shakespeare, the famous sixteenth-century playwright, poet, and actor, Hamnet (2025) is highly recommended for its recognition of his renowned tragedy, Hamlet, written in 1599 or 1600.

Any literature nut will ooze with pleasure since the tragic play is the basis for the entire film, and its creation is based on the events in the movie. This allows viewers to understand the reason for it, despite some fictionalization.

A bonus is a portion of it being performed on stage late in the movie.

And for cinemaphiles, Hamnet contains gorgeous cinematography, raw, emotionally charged acting, and a believable love story mired in heartbreak and ultimately hopefulness.

The film’s story dramatizes the marriage between Anne Hathaway (Agnes in the movie), played by Jessie Buckley, and William Shakespeare (Paul Mescal), and the impact of the tragic death of their eleven-year-old son, Hamnet, on their relationship, which inspired Shakespeare’s play Hamlet.

Sam Mendes and Steven Spielberg produced the film, which ensured it was made, and Chloé Zhao directed it. The financial help undoubtedly made sure (hopefully) that Zhao could make the film she wanted, and the final product looks like her vision.

Zhao is well known for directing Nomadland (2021), a movie with powerful landscapes, and Hamnet is no different in its exterior riches, though it is set in the late 1500s rather than the present.

She includes peaceful green forests, lush with quiet, thoughtful sequences, leading the viewer to enjoy the tranquility and mystique rather than to incorporate a storyline purpose.

It’s an overall vibe.

As characters wander along a path or a garden, the audio enhancement of birds chirping pairs well with greenery or flowers lit with golden sunshine.

A colder, grey vibe enshrouds the interior scenes of humble cottages, where characters peel boiled eggs, perform tedious household tasks, or share a modest meal.

I totally bought the authenticity of the 16th and 17th-century locales, costumes, sets, and characters. This buy-in did wonders to reflect the believability of everything else.

The leading actors get an A+ for chemistry and connection, with powerfully acted, sometimes guttural scenes, scene after scene.

From the first garden scene, when Buckley and Mescal, strangers, meet amid instant attraction and infatuation, the scene smolders with fiery romance. How the actors conjured that amount of intensity is remarkable.

They are forever linked when they give in to their attraction, shortly after which results in a pregnancy, much to the chagrin of his family.

Separately, Agnes is intriguing and spiritual, rumored to be the daughter of a forest witch. Before her death, Agnes’ mother taught her herbal lore, which Agnes later uses to heal a cut on William’s forehead.

William is thoughtful, bookish, and very introspective. His intensity towards his writing and art is inspiring.

The characters get along, and Agnes even insists he go to London, where he can work in a proper environment and better understand his creative mindset.

Buckley especially delivers the goods with ferocious acting and startling realism.

Equally noteworthy are Jacobi and Noah Jupe, who play the real Hamlet and the stage Hamlet. Brothers in real life, both look similar and possess top-notch acting skills.

And can Emily Watson (playing Mary Shakespeare) not be great in anything?

A minor gripe is why Buckley is positioned as the lead actress while Mescal is deemed the supporting actor. As equals, it’s not her story versus his; together, they share the depth of the storyline as a pair. And Shakespeare as a supporting character doesn’t sound right.

Destined to be rewarded for its artistic merit, humanistic integrity, and truthful approach, Hamnet (2025) is a beautifully slow-building film. It elicits heartwarming cinematic perfection.

Oscar Nominations: Best Picture, Best Director-Chloé Zhao, Best Actress-Jessie Buckley, Best Adapted Screenplay, Best Casting, Best Costume Design, Best Original Score, Best Production Design

1980 Films, Best Picture Oscar Winners, Dinah Manoff, Donald Sutherland, Drama, Elizabeth McGovern, Judd Hirsch, M. Emmet Walsh, Mary Tyler Moore, Robert Redford, Timothy Hutton

Ordinary People-1980

Leave a comment

Ordinary People-1980

Director Robert Redford

Starring Mary Tyler Moore, Donald Sutherland, Timothy Hutton

Scott’s Review #1,500

Reviewed November 15, 2025

Grade: A

Ordinary People (1980) demonstrates that a quiet film with excellent writing and superb acting can pack an emotional punch, surpassing the gimmicks or action sequences that other films often employ to draw attention.

It’s character-driven and tells a story of a family tragedy and the ramifications and complications that affect the surviving members. The emotional intelligence that director Robert Redford embeds in the film is astonishing.

Deservedly winning the 1980 Best Picture Academy Award, it proves how crucial good writing and good characters are to a quality film.

Significantly, it propelled 1970s television sitcom star Mary Tyler Moore, known until then as the iconic girl-next-door type, into cinematic respectability.  Her narcissistic, uptight character was uncharted territory and a career risk for the actor who ended up exceeding expectations.

Tortured by guilt following the death of his older brother, Buck, in a sailing accident, we meet the alienated teenager Conrad Jarrett (Timothy Hutton) right off the bat, following a failed suicide attempt.

Returning home to his affluent Chicago suburban life following an extended stay in a psychiatric hospital, Conrad tries to deal with his mental anguish and also reconnect with his mother, Beth (Mary Tyler Moore), who has grown bitter after the accident.

His emotionally wounded father, Calvin (Donald Sutherland), tries to gently repair the family damage with the help of a psychiatrist, Dr. Berger (Judd Hirsch), who begins to treat Conrad.

The screenplay, written by Alvin Sargent, is based on the 1976 novel by Judith Guest.

Combined with Redford’s masterful direction, the story never shifts to a soap opera direction with Calvin or Beth having affairs, turning to booze, or other showy plot devices, intent on stirring up drama.

Instead, it’s about how they and Conrad handle their trauma. Each has an individual view of the events, who they blame, and how they cope with such trauma.

The audience can easily empathize and relate to the incidents if anyone has faced a death, loss of a job, an accident, a divorce, or any such upheaval in their lives.

The posh autumnal suburban landscape is enveloped by Redford, which enhances the experience. The Jarretts’ affluence is put to good use as they attend local theater, play golf, take European vacations, and can afford to send Conrad to a psychiatrist.

Exterior shots of large suburban homes, accompanied by luxury cars, housekeepers, well-manicured lawns, and sleek golf courses, all convey the comforts of life.

It makes their pain a bit more understandable as they, especially Beth, soak in luxury as a way of comforting herself from the loss of her son.

Can’t their money help alleviate some of the suffering?

I had mixed emotions about Beth’s character. Appearing to be a cold bitch with Conrad and the assumption that she favored the dead son, she never visits Conrad in the hospital after his suicide attempt, instead fleeing to Europe on vacation. She engages in small talk with him rather than caring for him.

What kind of mother could do that?

But I realize that she is hurting too, and when she becomes teary-eyed or crumbles in her husband’s arms, I feel genuine sympathy for her, a testament to Tyler Moore’s talents.

My favorite character, though, is Conrad (Hutton).

Via flashbacks, we see the closeness of the brothers’ relationship and the action that occurred during the drowning.

Hutton delivers on many levels. Whether staring into the distance, pondering events, exploding with rage, tenderly sharing a date with a blossoming love interest, Jeannine (Elizabeth McGovern), or struggling with a friend, Karen, his performance is always inspiring.

Ordinary People (1980) marks his directorial debut; Redford crafts a family drama rich in layers and a beautifully moving pace that draws the viewer into the lives of the primary characters.

The still taboo of mental illness and therapy is also embraced, showing that expressing feelings is better than repressing emotions.

Oscar Nominations: 4 wins-Best Picture (won), Best Director-Robert Redford (won), Best Actress-Mary Tyler Moore, Best Supporting Actor-Timothy Hutton (won), Judd Hirsch, Best Adapted Screenplay (won)

1974 Films, Ann Prentiss, Barbara Ruick, Comedy, Drama, Elliott Gould, George Segal, Gwen Welles, Jeff Goldblum, Robert Altman

California Split-1974

Leave a comment

California Split-1974

Director Robert Altman

Starring Elliott Gould, George Segal

Scott’s Review #1,493

Reviewed August 25, 2025

Grade: A-

California Split (1974) is heavily recommended for hardcore Robert Altman enthusiasts as a way of comparing his other, more well-known works with this effort.

It’s a minor film in his vast catalog, but a dissection of the very best of what the director offered the world of cinema and why cinephiles forever love him.

For novice Altman viewers, I’d start with The Long Goodbye (1973), Nashville (1975), or Gosford Park (2001).

Rich with fascinating, mostly minor or even background characters, combined with overlapping, largely improvised dialogue, this is Altman’s sweet spot. The dialogue crackles with brilliance and everyday conversation, especially around the casino tables.

California Split dives headfirst into a sad and sometimes depressing world of casinos, filled with prostitutes, derelicts, robust cashouts, and shattered dreams.

Footloose and fancy free, Charlie Waters (Elliott Gould) rooms with two high-class prostitutes, Barbara Miller (Ann Prentiss) and Susan Peters (Gwen Welles), and lives to gamble.

Along with his more reasonable friend Bill Denny (George Segal), Charlie sets out on a gambling streak in search of the big payday, regardless of the ramifications or hijinks they encounter along the way.

After troubles in Los Angeles, they quickly flock to Reno, Nevada, to see if their luck changes.

While Charlie and Bill have some lucky moments, they also have to contend with serious setbacks like owed debts and stolen money that threaten to derail their lofty ambitions.

California Split is a minor treasure.

Good chemistry exists between Gould and Segal, and they make compelling buddies. Charlie is the yin to Bill’s yang, but Bill is the character I care about most.

Explained to be married but separated, assumed because of his gambling addiction, Segal’s character is conflicted. Unable to help himself, he is nonetheless marginally sensible and aware of his problems.

After winning an enormous payout, instead of celebrating like Charlie does, Bill is instead morose.

He shares a tender moment with Susan, but after a feeble attempt at intimacy, he suddenly bails, leaving her shattered.

While the ladies don’t get as much screen time as the men, Prentiss and Welles also have a strong connection. With lesser acting talents or lesser writing, their characters could have been dismissed as floosies without any merit, but there’s a deeper understanding.

I yearned for more backstory, especially for Susan. Wounded and starved for love, she is my favorite female character.

Characters who appear in just one scene can leave a lasting impression.

The sassy receptionist, the angry, well-dressed woman in a bar who insults Bill with homophobic slurs, the female bartender (Barbara Ruick) in Reno observing Charlie and Bill’s conversations, and the fat lady at the casino table, each is fraught with endless possibilities.

How did each reach their lot in life?

Despite the unique characters and strong chemistry amongst the leads, California Split suffers from some aimlessness.

Occasional scenes are useless and meander incessantly. When the gents engage in a game of basketball with some strangers, there’s really no point to the scene.

The final sequence is compelling but also a letdown, as there is little satisfying climax or explanation of what happens to the characters in the future.

California Split (1974) is triumphant because it proudly celebrates Altman’s unique brand of filmmaking, showing his abilities as an iconoclast in the world of cinema.

It thrives on character over plot and the nuances of human behavior over dramatic story arcs. It displays his improvisational style and his ability to draw the viewer into a seedy world quite willingly.

Though not his most outstanding work, the mere essence of Altman is prevalent, making it a measured success.

1975 Films, Anthony Perkins, Berry Gordy, Billy Dee Williams, Diana Ross, Drama, Jean-Pierre Aumont, Musical, Musical Drama, Nina Foch

Mahogany-1975

Leave a comment

Mahogany-1975

Director Berry Gordy

Starring Diana Ross, Billy Dee Williams, Anthony Perkins

Scott’s Review #1,492

Reviewed August 20, 2025

Grade: B-

Watching Diana Ross, the ‘Queen of Motown Records’ and the lead singer of the legendary pop group, The Supremes, in a film role holds appeal.

A fabulous singing star, she had her sights set on continued film stardom with Mahogany (1975), having achieved respectability with Lady Sings the Blues (1972).

Ross portrays Tracy Chambers, a struggling Chicago fashion design student who rises from shop girl to popular fashion designer in Rome, after a chance meeting with hotshot fashion photographer Sean (Anthony Perkins) in the department store where she works.

Her love interest is aspiring politician Brian Walker (Billy Dee Williams), a local activist fighting against gentrification in their community.

But will her sudden success and diva antics destroy her relationship as well as her respect in the fashion world?

The highlights of the film are the many exterior sequences in and around Chicago and the swanky Rome locales featuring the Spanish Steps, the Colosseum, and other sophisticated locales.

Also, the soundtrack includes the single “Theme from Mahogany (Do You Know Where You’re Going To)”, sung by Ross, which peaked at number one on the Billboard Hot 100 chart in January 1976.

The song is a gorgeous ballad wisely recreated in different tones and styles throughout the film as well as during the credits.

Ross and Williams have a decent amount of chemistry, making an unlikely pair. Brian yearns to make a difference in the world, caring for the ‘little guy’ while earnestly forging a career in politics.

He puts up with Tracy’s ambitions because he is progressive, and their tender scenes of romance work well. When they spar, the tension builds into a believable crescendo, especially their blow-up fight in Rome.

This showcases the best acting from the pair, and the audience roots for them to reconcile.

It’s inspiring, especially for 1975, to see a black couple featured in a film front and center. Their lives are showcased instead of merely supporting white characters.

Other aspects of Mahogany are affected by various issues.

Ross, a singer, has hits and misses in the acting department. Sometimes she nails a scene, and other times she overacts. This may be the less-than-stellar writing, though, as her character progresses from likeable to diva bitch to likeable again in lightning speed.

It’s wonderful to see Anthony Perkins in another film role besides his signature role as Norman Bates in Psycho (1960). But his character, struggling with his sexuality, is possessive of Tracy, then has a death wish, all with underexplored and unsatisfactory themes.

Was being gay in the fashion industry such a big deal?

I wished for a more substantial role for Nina Foch, famous for her 1951 turn in An American in Paris. Playing a one-note, stuffy character like Miss Evans doesn’t give her much to work with.

It has a soap opera tone and a feeling that Ross is somewhat playing herself. Combined with a nagging, schmaltzy vibe and messy, plot-driven writing, it’s a film that’s all over the place, especially towards the conclusion.

The best example is when Tracy’s new benefactor, Count Christian Rosetti (Jean-Pierre Aumond), also in love with her, agrees without argument to let her give up her entire career and return to Chicago, and Brian.

This follows Tracy’s sudden epiphany that she no longer wants to be the biggest star in the world.

All in the final ten minutes.

Mahogany (1975) is a marginal success with a few highlights and a dismal failure for other reasons, leaving it hovering somewhere around the mid-line for mediocrity.

Oscar Nominations: Best Original Song, “Theme from Mahogany (Do You Know Where You’re Going To”).

#2 Favorite Film, 1974 Films, Abe Vigoda, Al Pacino, Best Picture Oscar Winners, Connie Mason, Danny Aiello, Diane Keaton, Dominic Chianese, Drama, Epic, Favorite Film of the Year, Francis Ford Coppola, G. D. Spradlin, Gastone Moschin, Gianni Russo, Harry Dean Stanton, James Caan, John Cazale, Lee Strasberg, Marianna Hill, Mario Puzo, Michael V. Gazzo, Mob, Morgana King, Richard Bright, Robert De Niro, Robert Duvall, Talia Shire, Tony Sirico, Top 10 Films, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

The Godfather: Part II-1974

Leave a comment

The Godfather: Part II-1974

Director Frances Ford Coppola

Starring Al Pacino, Robert DeNiro

Top 250 Films #2

Scott’s Review #197

60011663

Reviewed: November 25, 2014

Grade: A

Frances Ford Coppola’s sequel (and, technically, a prequel) to the highly regarded and successful The Godfather (1972) is one of the rare sequels to equal, if not surpass, the original in greatness, creativity, and structure.

The Godfather Part II (1974) feels more profound, more complex, and ultimately richer than The Godfather- and that film itself is a masterpiece. Part II is much darker in tone. Francis Ford Coppola had complete freedom to write and direct as he saw fit, with no studio interference.

The results are immeasurable in creating a film masterpiece.

The film is sectioned into two parts, which is an exciting and practical decision.

The story alternates between the early twentieth century, following Don Corleone’s life, now played by Robert DeNiro, as his story is explained- left without a family and on the run from a crime lord, Don escapes to the United States as a young boy and struggles to survive in the Little Italy neighborhood of New York City.

He obtains a modest job as a grocery stockboy and finally celebrates his eventual rise to power in the mafia.

The other part of the film is set in 1958, as Michael Corleone faces a crumbling empire, with both rivals and the FBI investigating him and holding Senate committee hearings in Washington, D.C., and a failing marriage to Kay (Diane Keaton).

Betrayal is a common theme of the film, as Michael’s wife, brother, and mobster allies are revealed to be cagey enemies. Michael becomes increasingly uncertain and mistrustful of almost everyone around him. Is Kay a friend or foe? Is Fredo plotting against him? He even begins lashing out at Tom Hagen on occasion.

What makes The Godfather Part II so brilliant, and in my opinion richer than The Godfather, is that it is tougher to watch- and that is to its credit. Now, instead of being a warm, respected member of a powerful family, Michael is questioned, analyzed, and betrayed.

New, interesting characters are introduced, including Hyman Roth, played by Lee Strasberg, a former ally of Don’s, and Frankie Pentangeli, played by Michael V. Gazzo. These characters are intriguing, and their allegiances remain unknown throughout most of the film: are they loyal to the Corleones or deadly enemies?

The character of Michael evolves from conflicted to all-out revenge-minded, including seeking revenge against members of his own family. Michael is now a dark, angry character- gone is the nice, decorated war hero with his whole life ahead of him.

He is much older and has changed.

Similar to the original Godfather, the opening scene is a large celebration- this time, Anthony Corleone’s first communion celebration.

Additionally, the film’s finale features the deaths of several significant characters, one after another.

Unique to this film are the multiple-location scenes, featuring New York, Nevada, Italy, Florida, and Cuba, which make for an enjoyable segue throughout and a more substantial budget.

The blow-up confrontation between Michael and Kay reaches a devastating, shocking climax. When Michael punches Kay in a sudden rage, the audience feels punched as well.

The incredible scene at the end of the film, with the entire family gathered around for Don’s fiftieth birthday in 1942, is a special treat for viewers; familiar faces make cameo appearances.

I love these aspects of the film.

The rich history of Don is the most significant aspect of The Godfather Part II, known as “Godfather” and patriarch of the family. His life as a boy and a young father is explained, showing how he became one of the most powerful men in the crime world.

I love how he remains a decent man and helps people experiencing poverty and the victims of the ruthless Don Fanucci, his predecessor. He loves his wife and children, but also loves his neighbors and helps them, believing in the principle of fairness.

Ultimately, the characters of Don and Michael are worlds apart.

The Godfather Part II (1974) is one of the most complex and well-written films in movie history- studied in film school, discussed, imitated, and championed.

It remains vital and should be viewed and analyzed repeatedly.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Francis Ford Coppola, Best Actor-Al Pacino, Best Supporting Actor-Robert De Niro (won), Michael V. Gazzo, Lee Strasberg, Best Supporting Actress-Talia Shire, Best Screenplay Adapted from Other Material (won), Best Original Dramatic Score (won), Best Costume Design, Best Art Direction (won)

#3 Favorite Film, 1975 Films, David Arkin, Drama, Elliott Gould, Favorite Film of the Year, Geraldine Chaplin, Gwen Welles, Henry Gibson, Jeff Goldblum, Julie Christie, Karen Black, Keenan Wynn, Keith Carradine, Lily Tomlin, Michael Murphy, Ned Beatty, Robert Altman, Ronee Blakley, Satire, Scott Glenn, Shelley Duvall, Top 10 Films, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

Nashville-1975

Leave a comment

Nashville-1975

Director Robert Altman

Starring Lily Tomlin, Keith Carradine, Karen Black

Top 250 Films #3

Scott’s Review #47

60001541

Reviewed June 19, 2014

Grade: A

Nashville (1975)  is a brilliant film.

I have found that with each subsequent viewing, it creeps higher and higher on my list of favorite movies of all time.

The style is unique (largely improvised) and epitomizes creative freedom in the film during the 1970s.

Director Robert Altman lets his actors express themselves, even allowing them to write their songs; the dialogue overlaps at times, which results in a natural feeling as the viewer watches the cast of twenty-four principals intersect over five days at a political rally/country music festival.

It is pure Robert Altman at his finest.

Nashville is a satire of the political arena of the early 1970s, particularly the Vietnam conflict and its politicians.

The film certainly questions and challenges the government with an ironic patriotic setting (Nashville).

The country music industry was in uproar upon the film’s initial release. It is a layered film that can be discussed and appreciated, and every character is cared about.

I cannot adequately describe the multitude of nuances in each scene that are noticed over time.

Each character, even those with limited screen time, is vital to the story, as are the political elements —the questions of war, policies, and so on.

The chaotic bits and individual storylines come together at the end, and many background happenings are exciting to watch and take note of throughout each viewing.

With each experience, the audience will notice more and more. I certainly do.

Lily Tomlin, for example, plays Linnea, a haggard mother of deaf children with a supportive husband, a woman who, on the surface, is heroic; yet, she is a complex character. She is bored with her life and falls in love with a young musician despite the guilt and repercussions.

The musician in question is Tom Frank, played by Keith Carradine. Handsome and self-absorbed, he arrives in Nashville to dump his bandmates in hopes of a solo career and beds many willing females.

He also lashes out at a soldier at the airport, saying, “Kill anyone lately?”

Despite his unlikable character, Carradine gives one of the most beautiful performances in the film when he sings “I’m Easy”.

Several of the female characters assume he is singing the song for them, but who is he truly singing it for — if anyone?

Another character to analyze is Barbara Jean, played by Ronee Blakley. A frail yet very successful country singer, she is in and out of hospitals as she frets about her replacement singer stealing her thunder.

Her insecurities rise to the surface.

Insecurity is a common theme among the characters. Many of them are unsure, afraid, or lack confidence in their musical talent, relationships, or themselves.

These are only three examples of the twenty-four richly layered characters- some ambitious, some falling apart, others meandering through life.

Many songs throughout were written and performed by the actors themselves.

Nashville (1975) is storytelling and filmmaking at its best. A creation by Altman that is deservedly admired, revered, and heralded as a significant influence.

It is studied in film schools as it should be.

Oscar Nominations: 1 win-Best Picture, Best Director-Robert Altman, Best Supporting Actress-Ronee Blakley, Lily Tomlin, Best Original Song-“I’m Easy” (won)

#4 Favorite Film, 1972 Films, Abe Vigoda, Al Lettieri, Al Martino, Al Pacino, Alex Rocco, Best Picture Oscar Winners, Diane Keaton, Drama, Epic, Favorite Film of the Year, Francis Ford Coppola, Gianni Russo, James Caan, John Cazale, John Marley, Mario Puzo, Marlon Brando, Mob, Morgana King, Richard Bright, Richard Conte, Richard S. Castellano, Robert Duvall, Sterling Hayden, Talia Shire, Top 10 Films, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

The Godfather-1972

Leave a comment

The Godfather-1972

Director Frances Ford Coppola

Starring Marlon Brando, Al Pacino, James Caan

Top 250 Films #4

Scott’s Review #196

60011152

Reviewed November 24, 2014

Grade: A

The Godfather (1972) is one of the most identifiable and brilliant film masterpieces of all time. It is so ingrained in pop culture and film history that it was a blueprint for 1970s cinema, and its legend deserves to live on.

The film has not aged poorly nor been soured by over-exposure. It is as much a marvel today as it must have been when it was initially released in theaters.

The film revolves around the Corleone family- a mob family living in New York. They are high-powered, wealthy, and influential with politicians and law enforcement alike. They are the cream of organized crime families.

The patriarch of the family is known as “The Godfather”; his real name is Don Corleone, played by Marlon Brando.

The eldest son, hot-headed Sonny, is played by James Caan. Middle son Fredo, played by John Cazale, is dim-witted and immature, serving as the family’s weak link.

Finally, the youngest son is the central character in the film. Michael, played by a very youthful Al Pacino, has just returned home from World War II, a decorated and Ivy League-educated hero.

Throughout the film, Michael wrestles with steering the Corleone family business toward the straight and narrow or continuing the death, bloodshed, and corruption that currently plague the family.

Rounding out the Corleone family is Tom Hagen, an Irish surrogate son of sorts, who serves as the family attorney. Connie, the temperamental and emotional sister, and Mama Corleone, the passive wife of Don, complete the prominent family.

The supporting characters are numerous, ranging from family friends and relatives to corrupt mobsters and those introduced while Michael lives in Italy.

The brilliance of The Godfather lies in the richness of its numerous characters, as well as its structure and pacing.

Even minor characters are vital to the film, and every scene is essential and effortlessly paced, so that they neither seem rushed nor dragged out; the film is immeasurably character-driven.

My favorite character is Michael Corleone, as he is the most troubled and complex of all. Pacino plays him to the hilt as, initially, a nice guy trying to do the right thing, going against the grain, and non-traditional- he proposes to a WASP woman who has no Italian heritage.

When events unfold in a particular way, Michael suddenly becomes the family’s leader, despite being the youngest son, and the character’s complexities deepen from this point.

Specifically, the revenge-killing sequence is brilliant, keeping the viewer on the edge of their seat through a car ride, a meal at a restaurant, and a men’s room scene, until all hell finally breaks loose, all the while Michael is conflicted, unsure, and intense.

Has he veered too far from being a nice guy? Can he salvage the family business without being ruthless? Michael faces a battle of good vs. evil.

The scenes are brilliantly structured- the grand opening scene alone is beautiful as the audience is introduced to the entire family- cheerfully dancing and frolicking during a bright and sunny outdoor wedding (Connie’s) at the Corleone estate, while inside a dark interior study, a man begs Don Corleone to help avenge his raped and beaten daughter by having her attackers killed.

Several scenes in The Godfather are my personal favorites —the aforementioned restaurant scene, where Michael is faced with a dilemma involving a corrupt policeman and a high-powered figure. One can feel the tension in this extended scene.

The scene in a Hollywood mansion where poor, innocent, horse Khartoum meets his fate in the most gruesome way imaginable.

Later, Michael’s beautiful Italian wife, Apollonia, has an explosive send-off.

Towards the end of the film, there is an improvised scene set in a tomato garden, with an elderly Don Corleone playing with his young grandson.

Finally, the brutal scene at the toll booth involving Corleone’s son, Sonny, is mesmerizing, murderous, and flawlessly executed.

The lack of any strong female characters and how women are treated (either beaten or passively following their husbands) is bothersome.

Unfortunately, this was still the case circa the 1940s.

One could argue that Kay Adams, played by Diane Keaton, is the strongest female character because she questions the Corleone family’s motives and tries to keep Michael honest and trustworthy. She has little in common with the other female characters.

Lines such as “I’m gonna make him an offer he can’t refuse” and “Don’t forget the cannolis” are unforgettable and quote-worthy.

The film’s finale is breathtaking—a combination of bloody killings and a peaceful scene in which Michael accepts the honor of becoming his nephew’s godfather. As he pledges his devotion to God and denounces Satan, the murders he orchestrated are simultaneously being executed.

The character, while complex, suddenly becomes a hypocrite.

Some view Michael as strictly a hero whose choices should not be questioned or analyzed; others see him as a complex, tortured, and flawed character rather than a hero.

One must watch The Godfather and The Godfather Part II (1974) as companion pieces, as Part I is slightly more straightforward and easier to follow than the more complex and layered sequel.

The Godfather (1972) is storytelling and filmmaking at its absolute best and continues to influence films to this day.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-Francis Ford Coppola, Best Actor- Marlon Brando (won), Best Supporting Actor- James Caan, Robert Duvall, Al Pacino, Best Screenplay Based on Material from Another Medium (won), Best Costume Design, Best Sound, Best Film Editing

#8 Favorite Film, 1997 Films, Alfred Molina, Anne Fletcher, Burt Reynolds, Don Cheadle, Drama, Favorite Film of the Year, Heather Graham, Independent, Independent Drama, Joanna Gleason, John C. Reilly, Julianne Moore, Luis Guzman, Mark Wahlberg, Melora Walters, Nicole Ari Parker, Paul Thomas Anderson, Philip Baker Hall, Philip Seymour Hoffman, Robert Ridgely, Thomas Jane, Top 10 Films, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films, William H. Macy

Boogie Nights-1997

Leave a comment

Boogie Nights-1997

Director Paul Thomas Anderson

Starring Mark Wahlberg, Burt Reynolds

Top 250 Films #8

Scott’s Review #312

1180077

Reviewed December 31, 2015

Grade: A

Boogie Nights (1997) is a fantastic film about the pornography industry (The Golden Age of Porn) of the 1970s and 1980s, and does an excellent job of portraying the characters as human beings with feelings and emotions, rather than as nymphomaniacs or perverts.

They bond with one another as a family- a group of misfits striving to survive. This, and many other reasons, are why Boogie Nights is one of my all-time favorite films.

Written, produced, and directed by Paul Thomas Anderson (Magnolia, 1999; There Will Be Blood, 2007; Inherent Vice, 2014), he is a master at exploring the underbelly of society and the flawed, desperate characters who inhabit it.

Boogie Nights is no different.

The dysfunctional family is the film’s central theme. Most of his characters are unhappy, but they are survivors who desperately seek a piece of happiness.

Many of the Boogie Nights cast also appear in Magnolia.

Mark Wahlberg (Eddie/Dirk Diggler), Burt Reynolds (Jack Horner), Julianne Moore (Maggie), Don Cheadle (Buck), William H. Macy (Little Bill), John C. Reilly (Reed Rothchild), Heather Graham (Rollergirl), Philip Seymour Hoffman (Scotty), Malora Walters (Jessie), and Alfred Molina (Rahad Jackson), round out the large cast.

The film is set in Los Angeles and spans the period from 1977 to 1984. Although only seven years pass, much happens to most of the characters, and we experience their trials and tribulations.

The unique thing about Boogie Nights is that I care about every character, thanks to excellent writing and fantastic acting. They succeeded in earning my empathy. Boogie Nights is a highly character-driven film, which is an enormous part of its brilliance.

The cast is an ensemble, but the main character is Eddie Adams, a high school dropout whom we meet working as a dishwasher at a nightclub. He has an abusive mother who kicks him out of the house, leading him to audition for and move in with Jack Horner.

Jack is a patriarchal figure who shares a house with Maggie, the matriarch of the household, and Roller Girl, a fellow high school dropout who is always seen wearing roller skates. Eddie’s talent is his large “manhood”.

We watch Eddie, at first shy and polite, rise to superstardom in the porn industry, becoming rich and living a lavish, drug-fueled lifestyle, where his ego gets the best of him. He, like many of the characters, hit rough times as the early 1980s shift to videotape was the death of many 1970s porn actors’ careers.

The musical soundtrack plays a crucial role in the success of Boogie Nights. Many scenes contain songs that were hits of the time or prior, including “Sister Christian”, “Jessie’s Girl”, “God Only Knows”, “Got to Give it Up”, “Ain’t No Stoppin’ Us Now”, and countless others- so much so that the soundtrack is almost a character of the film.

We look forward to hearing what song might be featured next.

Later in the film, circa 1983, as things begin to spiral out of control for many of the characters, the musical score turns ominous, with low bass and a nighttime setting, and the lighting grows darker. Several stories begin to intersect on a late L.A. night on the streets.

Jack, filming a scene in a limousine starring Rollergirl and a young college jock they pick up off the streets, Dirk, forced to prostitute himself for $10 to a young man in a pickup truck, and Buck, who innocently stops to buy doughnuts for his very pregnant wife Jessie.

Each of these stories ends in brutal violence, and the tone is crucial to the scenes’ success. This lengthy scene bears a resemblance to a Quentin Tarantino scene in its macabre tone.

Particular favorite scenes include the heartbreaking scene when Maggie loses custody of her son, the New Year’s Eve party at Jack’s house, and the ill-fated drug sale at Rahad Jackson’s.

Each is heartbreaking, powerful, fraught with tension, or otherwise empathetic toward the characters, making them each quite powerful in different ways.

Induced in the drug sale scene is some black comedy- Rahad’s presumed Chinese houseboy has a fetish for firecrackers, which startle Dirk, Reed, and Todd, as the fear of possible gunshots fills the air. Maggie’s sob scene elicits an emotional response as we cry with her, and the New Year’s Eve turn of events involving Scotty and Little Bill is tragic.

Boogie Nights (1997) is one of my favorite films because it contains brilliant writing, characters who are fleshed out, damaged, and human, a killer soundtrack, and a dark, mysterious industry (porn) that is both misunderstood and categorized.

Thanks to director Anderson, we see the people in this lifestyle as real individuals with their own issues, yet also with full hearts and kindness.

Oscar Nominations: Best Supporting Actor-Burt Reynolds, Best Supporting Actress- Julianne Moore, Best Screenplay Written Directly for the Screen

#18 Favorite Film, 1965 Films, Anna Lee, Best Picture Oscar Winners, Charmian Carr, Christopher Plummer, Drama, Eleanor Parker, Favorite Film of the Year, Julie Andrews, Marni Nixon, Musical, Musical Drama, Norma Varden, Peggy Wood, Richard Haydn, Robert Wise, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

The Sound of Music-1965

Leave a comment

The Sound of Music-1965

Director Robert Wise

Starring Julie Andrews, Christopher Plummer

Top 250 Films #18

Scott’s Review #49

60001917

Reviewed June 20, 2014

Grade: A

The Sound of Music (1965) is a film that almost everyone has seen multiple times. It is undoubtedly ingrained in most people’s childhood memories, especially around the holiday season, and is a treasure to watch.

It is tough to be objective, as I’ve probably seen the film dozens of times and continue to appreciate and love it with each repeated viewing.

Maria (Julie Andrews) is a pretty, young, free-spirited woman living in the gorgeous hills of Austria. We first meet her on a lush hilltop where she sings with the birds and enjoys life.

While very popular with other nuns, she does not quite fit in at the Nonnberg Abbey, where she studies to become a nun. She is sent to discover herself as the governess of seven nearby children. They are the children of well-known and now-retired Georg von Trapp (played by Christopher Plummer).

Since his wife died, no life or music exists inside the house. Maria brings life and music to all, transforming everyone’s existence into a happier one. The threat of the powerful Nazis wishing to recruit a disapproving von Trapp adds tension.

Maria and the von Trapp family fall madly in love.

As a musical, it is top-notch and is the hallmark of all musicals. The songs are challenging to get out of one’s head (“The Sound of Music,” “Climb Ev’ry Mountain,” and “My Favorite Things” are personal favorites), but the list of gems goes on and on.

The political/Nazi story was lost on me as a child, but now I see the film does have a darker tone in the second half and becomes quite severe. Indeed, since it is a family film, the details are glossed over a bit, but so what? It is the wonderful music that makes The Sound of Music great and memorable.

The first half is wholesomely sugary, sweet, and safe, and, from what I’ve read, exceptionally loosely based on the real von Trapp family. However, this hardly matters, as escapism is sometimes needed.

I hate to dissect and overanalyze a film like this, a fantasy/musical extravaganza meant to be enjoyed—lighthearted and fun for everyone.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Robert Wise (won), Best Actress-Julie Andrews, Best Supporting Actress-Peggy Wood, Best Scoring of Music-Adaptation or Treatment (won), Best Sound (won), Best Art Direction, Color, Best Cinematography, Color, Best Costume Design, Color, Best Film Editing (won)

#22 Favorite Film, 1939 Films, Best Picture Oscar Winners, Drama, Epic, Favorite Film of the Year, George Cukor, George Reeves, Hattie McDaniel, Jane Darwell, Leslie Howard, Olivia de Havilland, Richard Farnsworth, Sam Wood, Thomas Mitchell, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films, Victor Fleming, Vivien Leigh

Gone With The Wind-1939

Leave a comment

Gone With The Wind-1939

Director Victor Fleming/George Cukor

Starring Clark Gable, Vivien Leigh, Olivia de Havilland

Top 250 Films #22

Scott’s Review #201

70020694

Reviewed December 4, 2014

Grade: A

Gone with the Wind (1939) is the grand masterpiece of sweeping epic drama.

The film is based on Margaret Mitchell’s best-selling novel. Set in the American South (specifically, Georgia) during the Civil War era, it centers on the life of Scarlett O’Hara, a Southern belle who works on the cotton plantation Tara. After the South loses the war, she struggles to keep her plantation alive.

Initially, Scarlett cares little about the war but enjoys her spoiled, narcissistic lifestyle and romances with many men in the town, all vying for her attention. With all eyes on her, she revels in one sunny picnic and ball after another.

As war decimates the South, Scarlett must take over the plantation and survive the ravages of war.

Mixed in with the war theme is a romance between Scarlett and Rhett, one of cinema’s most recognized and enduring couples. Having gone through three directors (Victor Fleming, George Cukor, and Sam Wood), the film is as extravagant and precise in its style, attention to detail, and set design as films come.

At close to four hours, Gone with the Wind is a lavish production that can take an entire afternoon or evening to watch. It is divided into two halves—interestingly, Cukor directs the first half, and Fleming primarily directs the second.

It is a film that can be viewed and analyzed repeatedly, and the set pieces and flawless perfection alone are worthy of marvel. The first half is superior to the second, but that is like comparing prime rib to filet mignon—it’s a matter of personal preference.

The first half is brighter, cheery, and fantastic. The excellent Tara and neighboring plantation Twin Oaks host southern balls and parties filled with romance, gossip, and beautiful costumes. War is coming, but it is a delightful time of merriment.

The Southerners eagerly embrace the prospect of war, assuming it will last only two weeks and that they will emerge victorious. They party and celebrate.

The second half has a much darker tone.

By the beginning of the second half, Atlanta has burned, thousands of men have died, Tara is decimated, Scarlett’s mother has died, and her father has gone batty.

The rebuilding of the South is explored, the troubled Rhett and Scarlett marriage commences, their daughter dies, and the world-famous line uttered by Rhett to Scarlett, “Frankly my dear…. I don’t give a damn”.

Having been now directed by a different person (Fleming), the first and second halves almost seem like two separate films.

Vivien Leigh plays a beautiful role. In 1939, women were rarely portrayed as strong characters in films, so Gone with the Wind is groundbreaking for its portrayal of female characters.

Scarlett is selfish but rises above, is strong, saves her plantation, and succeeds as a successful businesswoman—almost unheard of in cinema in 1939. Her undying love for Ashley Wilkes but her inability to obtain him (he is married to his cousin Melanie) gives her a sympathetic vulnerability.

Clark Gable, already a massive star and the people’s choice to play Rhett, is charismatic and handsome. The fact that he and Leigh did not get along makes their fights and sexual tension electric. They love but hate each other, which is transmitted on screen.

Rhett is his own man—he defines himself as not a Northerner but not a Southerner. He is a vagabond and spends many nights at the local brothel in the company of Belle Watling. Rhett’s character is independent and strong.

The supporting characters are colorful, lively, and humorous. Aunt Pittypat’s dramatic worrying and smelling salts and Prissy’s insistence on expert childbirth when, in reality, she knows nothing is moments meant to lighten the mood.

Mammie, Scarlett’s mother figure, is a moral, kind, yet tough character. Melanie (Olivia de Havilland) is an even sweeter character, characterized by her caring and selflessness.

Lesser characters, such as Dr. Meade, Suellen, Carreen, India, and Frank Kennedy, serve their purpose and are no throwaways.

It is bothersome that, over the years, Gone with the Wind has been unfairly “feminized” once it began airing as an alternative to the annual Super Bowl. The assumption was that only women would enjoy it, which is silly.

I do not find this film to be a female film, and frankly, some of the battle scenes are pretty masculine, with epic fires and guns galore. Is Gone with the Wind now considered a racist film?

Perhaps so, and time has made the political incorrectness much more glaring- this point can be debated endlessly. Ashley participates in a hooded Klan organization and is portrayed as a hero in the film.

Indeed, throughout the film, the enslaved people are portrayed as happy, kindly, and comfortable with their place in life, vastly different from what transpired. However, Hattie McDaniel (Mammie) won the first-ever Oscar for a black actress, which was monumental progress and influence.

Using seemingly thousands of extras, the war-torn Atlanta scene where the camera rises up and up and up, panning down on hundreds of wounded and dead Union soldiers as Scarlett defeatedly walks among them, is still heartbreaking to watch and is a reminder of the power and destruction that war is.

Gone with the Wind is an epic masterpiece from the past that still holds up remarkably well. The sets, the rich characters, and the costumes can be admired and still inspire today.

Oscar Nominations: 8 wins-Outstanding Production (won), Best Director-Victor Fleming (won), Best Actor-Clark Cable, Best Actress-Vivien Leigh (won), Best Supporting Actress-Hattie McDaniel (won), Olivia de Havilland, Best Screenplay (won), Best Original Score, Best Sound Recording, Best Art Direction (won), Best Cinematography, Color (won), Best Film Editing (won), Best Special Effects

#23 Favorite Film, 1994 Films, Amanda Plummer, Best Feature- Independent Spirit Award Winners, Bruce Willis, Christopher Walken, Comedy, Crime Drama, Dark Comedy, Drama, Eric Stoltz, Favorite Film of the Year, Harvey Keitel, Independent, John Travolta, Kathy Griffin, Quentin Tarantino, Rosanna Arquette, Samuel L. Jackson, Steve Buscemi, Tim Roth, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films, Uma Thurman, Ving Rhames

Pulp Fiction-1994

Leave a comment

Pulp Fiction-1994

Director Quentin Tarantino

Starring John Travolta, Samuel L. Jackson, Uma Thurman

Top 250 Films #23

Scott’s Review #242

880640

Reviewed May 12, 2015

Grade: A

Pulp Fiction (1994) is one of the most influential films of the 1990s and single-handedly kicked the film industry in the ass. It led an entire generation of filmmakers, who were starved and determined to make more creative work after the largely dull decade of the 1980s.

The success of the film, both creatively and critically, helped ensure that edgier and more meaningful artistic expression would continue to occur.

The leader of the charge, of course, was director Quentin Tarantino.

With Pulp Fiction, a black comedy crime film, Tarantino mixes violence, witty dialogue, and a 1970’s cartoonish feel to achieve a filmmaking masterpiece.

The plot is non-linear, and the story contains three main focuses that intersect —a new style of filmmaking that has become commonplace in modern cinema, but at the time was a novel adventure.

Set in Los Angeles, Samuel L. Jackson and John Travolta portray hitmen named Jules and Vincent, who work for a powerful gangster, Marsellus Wallace, played by Ving Rhames. We get to know them as they interrogate four college-aged youths who double-crossed Marsellus, all the while discussing fast-food hamburgers and adventures in Europe.

On another front, Butch (Bruce Willis) is hired by Marsellus to lose a fight to another boxer. Later, Marcellus instructs Vincent to take his wife Mia (Uma Thurmon), a former unsuccessful television actress, out for dinner and a night on the town.

Finally, we meet Pumpkin and Honey Bunny (Tim Roth and Amanda Plumber), two small-town robbers plotting a heist at a local diner. As the film develops these plots relate to each other in unique ways.

The film is quite stylistic, resembling a 1970s film production in the way it looks, and the use of 1970s style sets- the diner, in particular, looks very of that time, and an automobile where a death occurs, is a 1970s, Chevy Nova.

The film, however, is set in present times.

The dialogue throughout Pulp Fiction is immensely impressive to me. Long dialogues occur between characters, usually sitting over a meal, discussing the meaning of life, religion, fast-food burgers, and other wonderfully real conversations.

I love the many food references- from Butch’s girlfriend salivating over an impending meal of blueberry pancakes to the French version of the Big Mac being discussed, to the price of a shake, these make the conversations between the characters rich and unique and oh so creative.

My favorite sequence is the one between Vincent and Mia, mostly taking place at a trendy 1950s-themed diner named Jack Rabbit Slim’s, where the staff dresses up in costume impersonating their favorite stars of the day, such as Marilyn Monroe.

After winning a dance contest (and a possible homage to Saturday Night Fever) the two go back to Mia’s place where she accidentally overdoses on heroin thought to be cocaine.

The song “Girl, You’ll Be a Woman Soon” by Neil Diamond, is both integral and haunting to the scene.

An intense and shocking scene of male gay rape is extremely violent and the hillbillies involved could be straight out of Deliverance from 1972 despite being in Los Angeles.

This scene is disturbing yet mesmerizing at the same time, and might I say even comedic in a dark way?

Pulp Fiction is not a mainstream affair and has its share of detractors and plain old non-fans, but for film-goers seeking a fun, entertaining, cleverly delicious work of art, influential to Hollywood and Independent filmmakers alike, Pulp Fiction (1994) is a film to watch over and over again and admire its style and creativity.

Oscar Nominations: 1 win-Best Picture, Best Director-Quentin Tarantino, Best Actor-John Travolta, Best Supporting Actor-Samuel L. Jackson, Best Supporting Actress-Uma Thurman, Best Screenplay Written Directly for the Screen (won), Best Film Editing

Independent Spirit Award Nominations: 4 wins-Best Feature (won), Best Director-Quentin Tarantino (won), Best Male Lead-Samuel L. Jackson (won), Best Supporting Male-Eric Stoltz, Best Screenplay (won)

#24 Favorite Film, 1941 Films, Agnes Moorehead, Alan Ladd, Arthur O'Connell, Dorothy Comingore, Drama, Favorite Film of the Year, Herman J. Mankiewicz, Joseph Cotten, Mark Robson, Orson Welles, Ruth Warrick, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

Citizen Kane-1941

Leave a comment

Citizen Kane-1941

Director Orson Welles

Starring Orson Welles

Top 250 Films #24

Scott’s Review #296

60000605

Reviewed December 12, 2015

Grade: A

Regarded as one of the greatest films ever made, Citizen Kane (1941) is a technically brilliant film that introduces fantastic new elements into a film that has not been seen before and has not been replicated for decades. It is a timeless masterpiece that continues to be enjoyed and marveled at in modern times.

One can forget what the story is about, as they can sit back, having no idea of what the story means (it can be a bit difficult to follow), and view the film from a cinematic perspective.

The various camera angles, shadows, and use of an actual ceiling (never seen in film before) are impossible not to appreciate for any film lover.

My favorite scenes occur when director (and star) Orson Welles uses snow falling outside as the cameras look through a window to observe the winter wonderland. This quality is simply astonishing in creative technicality.

I can view this scene over and over again.

The plot is a hybrid of drama and mystery. It examines the life and legacy of newspaper legend Charles Foster Kane.

The character, played by Welles himself, is loosely based on the real-life figure of William Randolph Hearst.

The film is told mainly through narrated flashbacks, as a newsreel reporter attempts to solve the big mystery centered around the deceased celebrity- his dying word, uttered from his lavish Florida mansion, was “rosebud,” and nobody seems to know who “rosebud” is or what the word represents.

As the story progresses, we learn more about the famous Kane. The reporter, Jerry Thompson, learns that Kane’s childhood in Colorado was one of poverty.

His mother, discovering a gold mine on her property, sent Kane away to be educated by a famous banker, thus securing his future. Thompson also interviews Kane’s business manager and Kane’s ex-wife, who is now a drunk and owns a nightclub, but neither can shed light on the mystery.

The mystery- never solved by Thompson nor anyone else- is revealed at the end of the film, to the viewer only, in fantastic form, and Kane’s childhood is key to the entire puzzle. This angle is creative, imaginative, and brilliant for the whole film.

Technically, one of the best, most creative film creations, Citizen Kane, has lost none of its marvels over the years and can be watched, studied, and introduced to new generations of film lovers eager to learn what a true movie gem is all about.

Oscar Nominations: 1 win-Outstanding Motion Picture, Best Director-Orson Welles, Best Actor-Orson Welles, Best Original Screenplay (won), Best Scoring of a Dramatic Picture, Best Sound Recording, Best Art Direction-Interior Decoration, Black-and-White, Best Cinematography, Black-and-White, Best Film Editing

#25 Favorite Film, 2005 Films, Ang Lee, Anna Faris, Anne Hathaway, Best Feature- Independent Spirit Award Winners, Bill Pohlad, David Harbour, Drama, Favorite Film of the Year, Heath Ledger, Independent, Independent Drama, Independent Western, Jake Gyllenhaal, Kate Mara, LGBTQ+ Drama, LGBTQ+ Films, Linda Cardellini, Michelle Williams, Peter McRobbie, Randy Quaid, Roberta Maxwell, Romantic Drama, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films, Western

Brokeback Mountain-2005

Leave a comment

Brokeback Mountain-2005

Director Ang Lee

Starring Heath Ledger, Jake Gyllenhaal

Top 250 Films #25

Scott’s Review #338

70023965

Reviewed January 9, 2016

Grade: A

Brokeback Mountain (2005) is a groundbreaking film and one of the most significant releases of the 2000s. Never before had an LGBT film received as much exposure and widespread viewership as this one did.

Robbed of the 2005 Best Picture Academy Award (the great, but not as great, Crash won), Brokeback Mountain received other tremendous accolades and word-of-mouth buzz that helped it achieve great success.

A treasure that must always be remembered and appreciated.

Perfectly cast, Heath Ledger and Jake Gyllenhaal play two cowboys who fall madly in love with each other. The film spans a period from 1963 to the early 1980s. Through the years, we see their unbreakable bond tested by outside factors- namely, being gay is forbidden at this time and location, Wyoming and Texas.

Jack Swift (Gyllenhaal) and Ennis Del Mar (Ledger) meet one summer in 1963 when they are both hired by grizzled Joe Aguirre (Randy Quaid) to herd sheep on Brokeback Mountain in remote Wyoming.

They immediately form a friendship that turns physical on one drunken night. From this point, the men are inseparable and share a insurmountable passion.

Due to the times, there is no possible way they can openly share life, so they arrange for periodic “fishing trips”, away from their wives and children so that they can spend time together in secret.

The chemistry is evident between Ledger and Gyllenhaal, which is extremely important to the success of the film.

The audience needs to truly buy their bond and director Ang Lee is successful at eliciting wonderful performances from each actor. This is especially crucial during the first forty-five minutes of the film as all the scenes are only the two actors together.

The famous “tent” scene, in which Jack’s and Ennis’s passion first erupts is perfectly choreographed- it is as much animalistic as it is passionate and this sets the tone for the rest of the film.

Eventually, other characters are introduced and Ennis and Jack live lives largely separate from each other. Michelle Williams plays Alma, a kind-hearted country girl, married to Ennis. She accidentally stumbles on Jack and Ennis’s secret and keeps this hidden throughout the years.

Williams is fantastic in the role- sweet, yet saddled with the pain of knowing her husband is in love with another man causes her to mistrust and eventually destroys their marriage.

Jack forges a life in Texas and marries well-to-do Lureen (Anne Hathaway), but the marriage is a sham, Lureen’s father hates Jack, and Jack cannot forget Ennis. Jack is the aggressor, the one more confident with his sexuality, and one would surmise, would be the one more likely to be “out” if circumstances were different.

He looks for other men, even going to Mexico to find some companionship.

The ending of the film is tragic and heartbreaking and we witness Ennis being a good father to his now grown-up kids. A wonderful scene is written between Ledger and Kate Mara, who plays his daughter. She asks the lonely Ennis to attend her wedding and the scene is sweet and tender.

Another scene involving Ennis meeting Jack’s parents is monumental- as important as what is said in this wonderful scene is what is left unsaid.

Brokeback Mountain (2005) is an honest, graceful, and brave film, that thanks to the talents and direction of Ang Lee, was able to be made.

The exceptional cast led by Ledger and Gyllenhaal is dynamic and enables the film to come together as one masterpiece, that will surely never be forgotten.

Oscar Nominations: 3 wins-Best Picture, Best Director-Ang Lee (won), Best Actor-Heath Ledger, Best Supporting Actor-Jake Gyllenhaal, Best Supporting Actress-Michelle Williams, Best Adapted Screenplay (won), Best Original Score (won), Best Cinematography

Independent Spirit Award Nominations: 2 wins-Best Feature (won), Best Director-Ang Lee (won), Best Male Lead-Heath Ledger, Best Supporting Female-Michelle Williams

#31 Favorite Film, 1965 Films, Adrienne Corri, Alec Guinness, David Lean, Drama, Epic, Geraldine Chaplin, Ingrid Pitt, Jack MacGowran, Julie Christie, Noel Willman, Omar Sharif, Ralph Richardson, Rod Steiger, Romantic Drama, Siobhán McKenna, Tom Courtenay, Top 100 Films, Top 250 Films, Top 50 Films

Doctor Zhivago-1965

Leave a comment

Doctor Zhivago-1965

Director David Lean

Starring Julie Christie, Omar Sharif, Rod Steiger

Top 250 Films #31

Scott’s Review #42

449931

Reviewed June 18, 2014

Grade: A

Doctor Zhivago (1965) is a great film to watch on a cold night or throughout the crisp winter or holiday season.

The film is a classic masterpiece directed by the talented David Lean (Lawrence of Arabia, 1962, A Passage to India, 1986), whose perfectionism is evident in his epic films.

Nearly every scene could be a painting, so the cinematography alone is reason enough to become enchanted with art.

Of course, the story is also a goldmine as a sprawling decades-long love story unfolds amid the ravages of the bloody Bolshevik Revolution.

The film is set in the bitter cold of Russia (though all scenes were shot in Spain), and the harshness of the climate and the war combine with a doomed love story set against the backdrop of numerous battles and wartime conditions.

Nearly all sequences are set in winter, and the blustery, icy effects are set against numerous scenes of cozy, candlelit cabins or more extravagant, glowing surroundings.

Viewers must be surrounded by fire, flaming candles, or another form of warmth as a snowstorm or blizzard rages outside for a perfect viewing experience.

A large-screen television or a cinema is simply a must to watch this film, as it is epic on the grandest scale.

Omar Sharif and Julie Christie (a gorgeous star in her day) are cast perfectly as Uri and Lara, young forbidden lovers enthralled with one another but involved with significant others.

The film dissects their initial meeting and their story over the years, experiencing marriages, births, and deaths throughout the ravages of Russia in the early twentieth century.

Despite their affairs, neither is deemed unsympathetic—quite the contrary.

Audiences will fall in love with the pair and become enchanted as they watch their love-tortured adventures unfold.

Sharif and Christie are just magnificent and utterly believable as a couple.

The set pieces are magnificent and flawless in design and detail (my favorite is the Ice Palace).

The cinematography is breathtaking, and the content is remarkably close to the superior novel by Boris Pasternak, evoking a sense of “really being there” in the viewer.

Doctor Zhivago (1965) is a brilliant film, perfect for a snowy winter evening.

Oscar Nominations: 5 wins-Best Picture, Best Director-David Lean, Best Supporting Actor-Tom Courtenay, Best Screenplay Based on Material from Another Medium (won), Best Music Score-Substantially Original (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Costume Design, Color (won), Best Film Editing

#34 Favorite Film, 1970 Films, Bernardo Bertolucci, Dominique Sanda, Drama, Enzo Tarascio, Favorite Film of the Year, Fosco Giachetti, Gastone Moschin, International, International Drama, Italian, Jean-Louis Trintignant, José Quaglio, Pierre Clémenti, Stefania Sandrelli, Top 100 Films, Top 250 Films, Top 50 Films

The Conformist-1970

Leave a comment

The Conformist-1970

Director Bernardo Bertolucci

Starring Jean-Louis Trintignant, Stefania Sandrelli, Dominique Sanda

Top 250 Films #34

Scott’s Review #212

70054715

Reviewed January 10, 2015

Grade: A

The Conformist, directed by Italian director Bernardo Bertolucci and based on the 1950s novel by Alberto Moravia, is a complex film that tells the story of one man’s complicated life during the Italian Fascist era (1922-1943).

Due to a traumatic childhood event, he is troubled and strives to “conform” to a “normal”, traditional lifestyle despite his underlying wounds and desires, which he struggles to repress.

The character in question is Marcello Clerici, played by Jean-Louis Trintignant, who works for the secret police in support of the Fascist government.

Marcello yearns for a quiet life that everyone else seems to have. He is set up with a beautiful new wife and is ordered to assassinate his college professor, who is a leader of an anti-Fascist party.

Throughout the story, Marcello is tormented by his troubled childhood in flashbacks, and the film delivers a marvelous, creative use of camera angles, style, and design.

It is a dreamlike film that makes full use of the protagonist’s childhood memories.

The film is a character study in the highest regard, yet it is also beautiful to look at, making it very multifaceted. Marcello is troubled, as evidenced by his backstory. In many ways, he is weak, refusing to accept who he is or admit his deepest desires.

Mixed in with the complexity of his character is a unique character named Anna (Dominique Sanda), the college professor’s gorgeous blonde wife, who appears to be bisexual, enticing both Marcello and his wife, Giulia, played by Stefania Sandrelli.

Marcello, in particular, becomes transfixed and obsessed with Anna.

A truly heartbreaking moment arrives later in the film and is my favorite scene in The Conformist. As the assassination attempt is made on a lonely and secluded, yet picturesque country road, the result is murder, betrayal, and surprise.

When one character nonverbally speaks to another, mainly through facial expressions, and emotionally and pathetically pleads for their life through a car window, it is as tragic as it is poetic.

The scene is wrought with drama and sadness.

Additionally, Marcello’s troubled childhood involving a homosexual experience with a chauffeur named Lino resurfaces years later in an unlikely way and leads to the shocking conclusion of the film.

The very last frame of the film leaves the viewer pondering what is to become of Marcello next.

Marcello’s mother and father add mysterious layers to the film. His father is securely an inmate in a mental hospital, while his mother is a boozy older woman who sleeps until noon.

While these characters are not explored as thoroughly as they might have been, this exploration does lead one to ponder why Marcello is the way he is and whether his parents have any bearing on his persona.

In a particularly fascinating scene, Anna seductively dances with Marcello’s wife at a crowded dancehall; they do the tango, even as, amid her affair with Marcello, she is clearly in love with his wife, making the dynamic confusing yet fascinating to view.

The Conformist heavily influenced storied directors such as Frances Ford Coppola, Martin Scorsese, and Steven Spielberg. A beautiful scene of leaves blowing in the wind almost mirrors a similar scene contained in Coppola’s The Godfather: Part II (1974).

A film as captivating as it is influential, The Conformist is an interesting watch for its style and the mystique that surrounds it.

Oscar Nominations: Best Screenplay Based on Material from Another Medium

#40 Favorite Film, 1970 Films, Cliff Gorman, Drama, Frederick Combs, Kenneth Nelson, Laurence Luckinbill, Leonard Frey, LGBTQ+ Drama, LGBTQ+ Films, Maud Adams, Peter White, Robert La Tourneaux, Top 100 Films, Top 250 Films, Top 50 Films, William Friedkin

The Boys in the Band-1970

Leave a comment

The Boys in the Band-1970

Director William Friedkin

Starring Kenneth Nelson, Leonard Frey

Top 250 Films #40

Scott’s Review #658

Reviewed July 4, 2017

Grade: A

An excellent counterpart to the equally brilliant and equally unpleasant Who’s Afraid of Virginia Woolf? (1966) The Boys in the Band is also a stage production made into a feature film.

As such, shot very much like a play and seemingly in one long take, the film is highly effective and delicious in wit and dark humor. With a macabre and bitter element, the characters snipe and ridicule each other during a birthday party.

The Boys in the Band is a groundbreaking film on many levels, as it is one of the first LGBTQ+ films to feature gay characters in prominent roles. Furthermore, it has the dubious honor of being the first film to use the word “cunt”.

Regardless, the film is fantastic and a must-see for anyone intrigued by LGBTQ+ film history. All of the actors appeared in the stage production and reprised their roles for the film version.

The setting is the Upper East Side of Manhattan in the late 1960s.

Michael, a writer, is hosting a birthday party for his good friend, Harold. When Michael receives an urgent call from his straight and married college chum, Alan, he begrudgingly invites him over at the risk of having his lifestyle exposed.

One by one, the guests arrive for the party. Emory is quite effeminate and loud, Hank and Larry are masculine and a couple, but with monogamy issues and Hank’s marriage as obstacles.

Bernard, a black bookstore clerk, is a friendly, amiable guy.

“Cowboy”, a dim-witted hustler, and Harold, the sarcastic, bitter, guest of honor, round out the attendees.

As the night wears on, the party turns into a free form of insults, bad feelings, and vicious conversation. Alan and Emory get into a fistfight, and later a hurtful telephone game forces everyone to call the one person they truly love, which results in anxiety and sadness for most of the guests.

The key aspect of The Boys in the Band is that it is shot like a play, with a highly effective results. In this way, especially midway through the film, when the guests are all in the same closed room, the action becomes suffocating and stifling as a few of the guests bare their fangs.

Director Friedkin uses many close-ups of his characters to portray their raw emotions further.

My favorite characters are Alan and Hank, as these characters are the most complex.

Both are married, and both hit it off famously, although Alan’s sexuality is never completely revealed. He is married but troubled, and the audience never learns why, although we could wager a guess that he is, indeed, conflicted by his sexuality.

What will become of him? Will he accept his sexuality or live a repressed existence?

Hank, during a divorce from his wife, lives with Larry as a couple. Hank is complex because he is transitioning from a straight life to a gay lifestyle, and that must have been very difficult in the late 1960s- for this reason, I find the character of Hank quite brave.

The film does not explore this angle as much as it could have, but a character like Hank adds depth to the cast in a positive way. Alan and Hank are multi-dimensional characters, whereas some of the others contain gay stereotypes.

I would have enjoyed a deeper dive into the personal lives of some of the characters. Still, the film is really about the emotions many of the characters possess and feelings of love, some unrequited, and there are too many characters for each to receive their due focus.

Plus, the film’s primary focus is the characters’ back-and-forth banter.

#44 Favorite Film, 1975 Films, Drama, Epic, Marie Kean, Marisa Berenson, Murray Melvin, Patrick Magee, Philip Stone, Ryan O'Neal, Stanley Kubrick, Top 100 Films, Top 250 Films, Top 50 Films

Barry Lyndon-1975

Leave a comment

Barry Lyndon-1975

Director Stanley Kubrick

Starring Ryan O’Neal

Top 250 Films #44

Scott’s Review #211

284790

Reviewed January 4, 2015

Grade: A

Barry Lyndon (1975) is a sprawling, beautiful film by famed director Stanley Kubrick. The film is set in the 18th century.

Extremely slow-paced, yet mesmerizing, every shot looks like a portrait, and the inventive use of lighting via real candlelight in certain scenes makes this film a spectacle in its subdued beauty, to say nothing of the gorgeous sets and costumes.

The film is nothing short of a marvel to view.

The story centers around Ryan O’Neal, who plays an Irish man named Redmond Barry.

Redmond is a poor Irish man but is an opportunist. The film follows his life travels throughout Ireland, England, and Germany, as he becomes involved in duels, is robbed, impersonates an officer, is reduced to becoming a servant, gambles, marries a rich widow, and feuds with his stepson.

When he woos and marries the wealthy Countess of Lyndon, he settles in England to enjoy a life of wealth and sophistication. He changes his name to Barry Lyndon. His ten-year-old stepson, Lord Bullingdon, becomes a lifelong enemy as their hatred for each other escalates and is the focal point of Act II of the film.

The supporting cast is filled with unique characters and in particular, the three sinister characters (Lord Bullingdon, Mother Barry, and Reverend Runt) are delicious to watch especially when they square off against one another as is the case with Runt and Mother Barry.

Barry’s two love interests (Lady Lyndon and a German war widow) are entertaining to watch and Lady Lyndon’s costumes are exquisite. Furthermore, Chevalier de Balibar, a wealthy gambler who takes Barry under his wing is a delight.

As with many masterpieces, if not for the great casting, the film would not be as wonderful.

My three favorite scenes include the vicious confrontation between Mother Barry and Reverend Runt- an initially polite conversation between two selfish characters gradually spins into viciousness, the duel between Barry Lyndon and Lord Bullingdon- bitter rivals square off in an awkward yet dramatic duel, and when Barry passionately kisses his dying friend- an unexpected homoerotic scene.

Barry Lyndon delves into the issue of class and class distinction and clearly defines the haves and the have-nots and the struggles of the poor to obtain wealth by any means and for the wealthy to retain their good fortunes.

At a running time of over three hours, it may initially turn viewers off, but as time goes on the film will grip hold of the viewer and not let go.

Having now seen Barry Lyndon (1975) four times, each time I enjoy the film more and more as I become more absorbed by and immersed in the masterpiece.

It’s like a fine wine- it gets better with each taste.

Oscar Nominations: 4 wins-Best Picture, Best Director-Stanley Kubrick, Best Screenplay Adapted from Other Material, Best Scoring: Original Song Score and Adaptation or Scoring: Adaptation (won), Best Costume Design (won), Best Art Direction (won), Best Cinematography (won)

#49 Favorite Film, 1957 Films, Art, Bengt Ekerot, Bibi Andersson, Drama, Favorite Film of the Year, Gunnar Björnstrand, Gunnel Lindblom, Ingmar Bergman, International, International Drama, Max von Sydow, Swedish, Top 100 Films, Top 250 Films, Top 50 Films

The Seventh Seal-1957

Leave a comment

The Seventh Seal-1957

Director Ingmar Bergman

Starring Max von Sydow, Gunnar Bjornstrand

Top 250 Films #49

Scott’s Review #497

70127971

Reviewed October 23, 2016

Grade: A

The Seventh Seal (1957) is an Ingmar Bergman Swedish masterpiece that, after three mere viewings, I am just beginning to appreciate and fall in love with.

It is not that I did not “get” the dark, artsy theme to begin with- I did, but The Seventh Seal is a savory dish meant for repeated offerings, and with each, I have loved it even more.

The subject matter of the plague and the Black Death is heavy.

It is a quiet yet powerful, dark art film about death.

The film is shot in black and white, which does nothing but enhance the cold, stark concepts of the film. The color would have certainly made the film cheery or bright- if that can be said, given the subject matter.

Instead, the filming is cold yet illuminating, and the whites seem very white, while the blacks seem very dark, which symbolizes the film’s concepts.

In the story, a disillusioned medieval knight, Antonius Block (Max von Sydow), returns home from war, disenchanted with life. He fought in the Crusades and returned home to Sweden to find it plagued by the Black Death.

He begins to play a game of chess alone- and is visited by Death- a hideous pale creature shrouded in black. Antonius challenges Death to chess- his fate is left so long as the game continues.

Throughout the film, Antonius is the only character who can see Death- the other characters cannot, making the film open to interpretations.

The other characters in the story are a troupe of actors that Antonius meets along the way to his castle, and a young, fresh-faced girl who has been branded a witch and is fated to be burned at the stake is featured.

Since she is close to death, Antonius takes a particular fascination with her.

Throughout the film, as well as the trials and tribulations of the characters, Death continuously lurks around, watching these characters, which is a fascinating part of the film. They cannot see him, so we can only assume their time in this world is limited.

What makes The Seventh Seal so powerful is its honesty—harsh as it is. The knowledge that death is coming for these people is fascinating. Many characters discuss God in length and pray, as religion is an enormous aspect of the film.

It almost contains a good vs. evil, God vs. devil component, and again, important to stress, highly open to interpretation. Great art films are.

Numerous scenes reverberate and are significant iconic moments in film history decades later. The scene of Antonius and Death playing chess on the beach is chilling and ghost-like. Death- his pale face and a black cloak would frighten anyone. This scene has been referenced numerous times over the years.

My favorite is the inevitable final shot of peasants being led to their fate by Death. They are pulled begrudgingly by a rope reminiscent of the Pied Piper titled “Dance of Death.”

The individuals are dressed in black and are atop a hill surrounded by the sky, making the morbid scene highly effective.

The Last Supper scene is powerful, and the group enjoys the final meal, unsure of what fate has in store for them the next day.

I anticipate more viewings of this brilliant piece of filmmaking.