Tag Archives: Jessica Rothe

La La Land-2016

La La Land-2016

Director Damien Chazelle

Starring Emma Stone, Ryan Gosling

Top 250 Films #173

Scott’s Review #538

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Reviewed December 6, 2016

Grade: A

La La Land (2016) breathes new life into the classic musical genre of the 1950s and offers a fresh glimpse into Hollywood.

The film explores the glitz and glamour, triumphs and heartbreaks, and dreams both broken and fulfilled in a town laden with broken hearts.

The bright, colorful film stars two of today’s top young, talented actors: Emma Stone and Ryan Gosling. The chemistry between the leads and the dynamic musical numbers is incredible.

It’s a masterful nod to old Hollywood.

Mia (Stone) is an aspiring young actress struggling to survive the Hollywood scene. She serves lattes in a coffee shop on a studio lot and auditions endlessly for film and television parts without much luck.

Her passion is acting, but she also writes a one-woman play she plans to star in.

On the other hand, Sebastian (Gosling) is a dedicated jazz musician, struggling to make ends meet by playing demoralizing gigs that ruin the essence of jazz, meeting many people who tell him that jazz is a dying genre.

Sebastian’s dream is to open his nightclub one day.

Through circumstances, Mia and Sebastian meet and continue to run into each other, forging a wonderful friendship that eventually leads to romance.

The film is a gorgeous experience with bright sets, creative sequences, and numerous song and dance numbers to keep you humming. Mia and Sebastian even tap-dance one beautiful night following a Hollywood party under the moonlight with the Los Angeles skyline in view as they bond.

It is one of the best scenes in the film.

La La Land is seasonal and begins in the winter, though this is strictly an attempt to separate the chapters. Los Angeles is always warm, but the timing is Christmas, which is engaging in a warm climate.

In the first scene, we are immediately treated to a musical number. Stuck in stifling freeway traffic, the car drivers get out in unison, sing and dance, and then return to their cars to continue their mundane day.

Director Damien Chazelle cleverly balances the cheerful tone with the everyday redundant tasks and the struggles of artists hoping for a dream.

La La Land excels during the scenes of Sebastian and Mia as the chemistry is palpable. Gosling and Stone have something.

Supporting players like J.K. Simmons and Rosemarie Dewitt add pizzazz to their small but meaningful parts.

I adore the odes to classic Hollywood films that director Chazelle incorporates into his movie.

Classics such as Alfred Hitchcock’s Notorious (1946) and the legendary film Casablanca (1940) are mentioned twice.

During a sweet moment, Sebastian takes Mia to see Rebel Without a Cause (1956) at an old-style theater; he is shocked that she has never seen the film and eagerly excited to introduce her to it.

This continues as he shares his love for jazz music with her.

Later, the theater closes, and the film takes a more dour tone as the struggles of both characters overwhelm them.

The film’s finale is terrific.

Suddenly, five years later, many events have happened. In a brilliant sequence, the characters’ lives are explained through a song as we see the period play out until we reach the point of the film where the song began, a treasure of an ode to the truth of the characters.

The sequence is emotional, heartbreaking, and choreographed without missing a beat,

Gosling and Stone sing all their songs, not live as in Les Miserables (2012), but wisely on a sound stage. They are neither novices nor Grammy winners, but they are honest, truthful, and with heart.

It is refreshing to see classic Hollywood told in such a riveting fashion, as seen through the young’s eyes.

Films and styles of decades past are renewed through this excellent piece of cinema.

I noted similarities to An American in Paris (1951) and countless other gems from years ago and stood proudly, knowing that a nostalgic piece of cinema is precisely what we need.

Oscar Nominations: 6 wins-Best Picture, Best Director-Damien Chazelle (won), Best Actor-Ryan Gosling, Best Actress-Emma Stone (won), Best Original Screenplay, Best Original Score (won), Best Original Song-“City of Stars” (won), “Audition (The Fools Who Dream),” Best Sound Editing, Best Sound Mixing, Best Production Design (won), Best Cinematography (won), Best Costume Design, Best Film Editing

Happy Death Day-2017

Happy Death Day-2017

Director Christopher B. Landon

Starring Jessica Rothe, Israel Broussard

Scott’s Review #726

Reviewed February 20, 2018

Grade: C+

Happy Death Day is a 2017 horror/slasher film that cleverly incorporates the “Groundhog Day” theme into its story.

Oddly, the film was released in October instead of February, a missed marketing opportunity.

Despite a unique premise, the film is overly complicated, especially for this genre. Rather than succeeding as a late Friday night treat, Happy Death Day becomes tough to follow, leaving too many questions and puzzling thoughts in the after-effects.

We first meet snobbish and sarcastic sorority sister, Theresa “Tree” Gelbman (Jessica Rothe), as she awakens with a pounding headache and a bad attitude one morning in the dorm room of a handsome classmate, Carter Davis (Israel Broussard).

She barely remembers the drunken tryst as she haggardly goes about her morning. Today is her birthday! Irritated by the day, she dismisses her kindly roommate and her father.

She is rude to a former one-night stand, finally going to a party, where she is followed and brutally murdered by a figure wearing a campus mascot mask.

She suddenly awakens to the same morning she has just experienced!

Perplexed, Tree spends the remainder of the film on the hunt to figure out who killed her and unravel the mystery of halting the events by going on a continuous “loop” of the same night, each time uncovering more clues.

Mixed in with the events, Tree realizes she has feelings for Carter and should become a more sociable person.

Star Jessica Rothe is excellent in a breakout film role, though she had a small part in the musical La La Land in 2016.

Her chemistry with Broussard is adequate, though when we talk horror, romance is not at the top of the list, blood is.

Unfortunately, Happy Death Day offers few accurate kills or scares—the film is rated PG-13, for heaven’s sake.

A nice aside and testament to the character of Tree is her possession of both “good girl” and “bad girl” qualities. Trendy in slasher films is that the girl who parties and has sex is offed before very long, but in Happy Death Day, we are served both in the same character.

Tree is, in fact, butchered, but when brought back to life, the character eventually blossomed into the clear heroine. This is a nice twist on a traditionally written character.

I enjoyed the perpetual whodunit factor that screenwriter Scott Lobdell carves into the fabric. A bevy of suspects is introduced and the tale changes direction with each loop.

The story becomes more complex with each loop, and characters’ stories or motivations shift each time. Furthermore, a few more characters are introduced giving the story more layers.

This is both a strength and a problem—Trees professor Dr. Gregory Butler, her secret lover, is a suspect.

Is Tree’s sweet roommate, Lori, who wants nothing more than to treat her friend to a lovely birthday cupcake, too good to be true?

Things spiral out of control from a story perspective at a certain point.

What is the point of the local serial killer, John Tombs, injured and conveniently staying at the campus hospital, other than to serve as a red herring? Who is the masked killer and why do they suddenly disappear from the story? How is Tree able to seemingly change the details of her murder so much so that it ends up never happening?

The reveal of the actual killer is perfect, but how did we get to this point? By the big reveal at the end, I had stopped trying to figure out the film.

Slightly above par, Happy Death Day (2017), while spirited and reaching for something different, becomes muddled and senseless, leaving the viewer wondering how all the various “groundhog day” stories add to a satisfying conclusion.

Sadly, by the film’s conclusion, one will likely not wish to waste time bothering to care. Still, some props for creativity must be awarded.