Tag Archives: Jovan Adepo

2022 Films, Comedy, Dark Comedy, Drama, Epic, Flea, Jovan Adepo, P. J. Byrne, Period Drama

Babylon-2022

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Babylon-2022

Director Damien Chazelle

Starring Margot Robbie, Brad Pitt

Scott’s Review #1,365

Reviewed June 4, 2023

Grade: A-

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

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

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

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

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

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

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

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

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

And Manny just wants a seat at the table.

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

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

Cinema fans will respect Babylon.

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

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

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

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

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

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

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

2017 Films, Jovan Adepo, Thriller

Mother!-2017

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Mother! -2017

Director-Darren Aronofsky

Starring Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer

Scott’s Review #687

Reviewed October 4, 2017

Grade: A

Mother! is an intense, disturbing, and brilliant 2017 work by acclaimed director Darren Aronofsky, having crafted left of the center works such as 2000’s Requiem for a Dream, 2008’s The Wrestler, and 2010’s Black Swan- I shudder to think this film rivals the other in the insanity department.

Stocked with four principal characters portrayed by mainstays in the Hollywood world, much buzz circled this film upon release.

The film is thought-provoking, analytical, and surely will be discussed following the conclusion. I appreciate the complex, difficult watches, and Mother! succeeds in spades.

The film is set entirely within the confines of one enormous house in the middle of a vast field of land. Aronofsky never reveals the location adding mystery to the already intriguing premise.

A young couple known only as Him (Javier Bardem) and Mother (Jennifer Lawrence) cheerfully enjoy married life together and seem very much in love. Him is a renowned author suffering from writer’s block and his mother had fixed up the house after it had burned long ago.

One day Man (Ed Harris) arrives looking for a place to stay- while Him is delighted by the visitor and encourages Man to stay, the mother is not as pleased.

When Man’s wife, Woman (Michelle Pfeiffer) arrives, the houseguests turn Him and mother’s lives upside down. This is merely the beginning of a complex puzzle.

As the plot unfolds, Mother! is oozing with one bizarre event after the other. mother witnesses unsettling images such as a beating heart within the walls and a bloodstain within the floor that will not go away. When relatives of Man and Woman overtake the house and a violent event occurs, events go from dark to downright chaotic.

Giving too much more of the plot points away would ruin the element of surprise, making Mother! a difficult film to review- the film is polarizing and mesmerizing and each of the principal characters can be analyzed and their motivations questioned.

Why do Him and mother react differently to the visitors? What manifests the resentment each has towards mother?

Each actor gives a compelling turn and Aronofsky has admitted the character of the mother is the one he related to most of all logically one might assume that Bardem’s Him might receive that honor since the character is famous and a writer. How strange and this revelation by the director will only result in more character analysis.

How wonderful to see Michelle Pfeifer back in the forefront of a Hollywood film- it seems eons ago since we have seen her grace the silver screen, and she is back with a vengeance.

Her bitchy portrayal is purely delicious and she encompasses Woman with the perfect amount of venom, toughness, and mystery. As she icily quizzes mother about her intentions of starting a family, she slowly immerses herself in mother’s life without missing a beat.

The film is unconventional and layered with symbolism and differing interpretations. Is Aronofsky’s message biblical? Is it political? Or could it be a reference to the obsessions everyday folk has with celebrities?

After much pondering and all three possibilities went through my mind, the biblical message seems the most solid and plausible explanation, but with Aronofsky films, the pleasure is in the analysis.

The final act of the film is particularly macabre as, until this time, the action exclusively centers on the four principal characters and the setting is largely bright.  A slow burn if you will, suddenly, all hell breaks loose as mobs, blood, fire, death, and darkness take over. The brutality and cannibalism involved will churn anyone’s stomach.

Quick to note are the lurid closeups of Jennifer Lawrence’s face during most of her scenes. Certainly, the camera loves her, but there is more going on here. Is the intention to make the viewer focus more on her character or to sympathize more with her character?

Mother! is a film that has stirred controversy among film-goers with some ravishing its elements and themes, while others have reviled and been revolted by the film.

Time will tell if Mother! holds up well, but my hope and guess would be that it will become a film studied in film schools everywhere.

2016 Films, Denzel Washington, Drama, Jovan Adepo, Stephen McKinley Henderson, Viola Davis

Fences-2016

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Fences-2016

Director Denzel Washington

Starring Denzel Washington, Viola Davis, Jovan Adepo

Scott’s Review #652

Reviewed June 11, 2017

Grade: B+

Denzel Washington and Viola Davis both give dynamic performances in Fences (2016), a film directed by Washington himself, and based on a stage play, written by August Wilson.

The film reunites several actors from the stage version and, while compelling, Fences does not translate as well onto the screen as hoped. Throughout the movie, I surmised how much better Fences would be on the live stage.

Still, a tremendous acting tour de force transpires, which is well worth the price of admission.

Set in 1950s Pittsburgh, Troy Maxson (Washington) is a struggling fifty-three-year-old black man who works as a trash collector alongside his best friend, Jim Bono.

Troy is married to Rose (Davis). They have a teenage son, Cory (Jovan Adepo), an aspiring high school football player. Troy’s younger brother, a mentally impaired World War II veteran, and Troy’s older son, Lyons, a fledgling musician, are also in the mix.

Everyone lives in a close-knit community, and there is a sense of comradery, though the principal characters are frequently at odds with each other as dramatic situations slowly arise.

Troy is an irate man, frequently going on rants about his time playing in the Negro baseball league and complaining about the unfairness of the world, specifically the racial injustice of the time.

The friction between Troy and Cory is thick as Cory wants to dedicate his life to football, while Troy feels his son will ultimately be disappointed. When Troy drops a startling bomb on Rose, their lives are forever changed as they work to mend the damage inflicted between them.

At its core, Fences is a family drama and the story offers conflict. Almost all the action is set in the Maxson family home, a two-story brick house. Scenes frequently play out in the backyard.

The film stays very true to its roots as a stage production, which is good and bad.

The film feels like a play, so I fantasized about how good the production would be on the stage rather than on the screen, especially since some actors (Washington and Davis) starred in that version.

What a blessing and a curse.

The film feels limiting and has a glossy “Hollywood look”. This is good, but the stage version would undoubtedly be more bare-bones, giving the production a raw feel, important in several key dramatic scenes between Troy and Rose.

Despite other opinions, I did not find Troy to be a likable character. Washington infuses power and good acting grit into the character, but I found few redeeming qualities. To say nothing of the situation with Rose, he does not treat his son Cory with much respect.

After a while, I found Troy’s repeated verbal rampages and stories irritating and wondered, “Why should we root for this man?”

Viola Davis deserved the Best Supporting Actress award she received for her turn as Rose. Dutiful, loving, and woefully underappreciated, her character rises well above a traditional housewife, as during one pivotal scene, she explodes with rage.

Davis, a fantastic “crier”, saves her best tears, in a weepy portrayal. But more than that, she exudes a strong woman, during a time when black women had it particularly tough.

I would have preferred an edgier film than Fences (2016) brings to the big screen, but the wonderful performances more than compensate for what the film otherwise lacks in darkness.

At times too safe and slightly watered down, the stage version may be the one to see.

Oscar Nominations: 1 win- Best Picture, Best Actor-Denzel Washington, Best Supporting Actress-Viola Davis (won), Best Adapted Screenplay