Tag Archives: Margaret Qualley

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

Blue Moon-2025

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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

#84 Favorite Film, 2019 Films, Al Pacino, Austin Butler, Brad Pitt, Brenda Vaccaro, Bruce Dern, Dakota Fanning, Damian Lewis, Danielle Harris, Drama, Emile Hirsch, Favorite Film of the Year, James Remar, Julia Butters, Kurt Russell, Lena Dunham, Leonardo DiCaprio, Lorenza Izzo, Luke Perry, Margaret Qualley, Margot Robbie, Michael Madsen, Mikey Madison, Quentin Tarantino, Rumer Willis, Scoot McNairy, Sydney Sweeney, Toni Basil, Top 100 Films, Top 250 Films, Walton Goggins

Once Upon a Time in Hollywood-2019

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Once Upon a Time in Hollywood-2019

Director Quentin Tarantino

Starring Leonardo DiCaprio, Brad Pitt, Margot Robbie

Top 250 Films #84

Scott’s Review #926

Reviewed August 1, 2019

Grade: A

Once Upon a Time in Hollywood (2019) is another brilliant offering by one of the most (deservedly) respected directors of the modern film era.

This film may be his most personal as it includes many cinematic references and immerses itself in the Hollywood lifestyle. Toned down considerably from the violence standard in his other films, the first half lays the groundwork for a startlingly good second half with every detail of utmost importance.

A bevy of riches awaits any viewer enthusiastically feasting their eyes on this film.

The time is 1969, as actor Rick Dalton (Leonardo DiCaprio) struggles to reinvent himself and revitalize his career in Hollywood amid a changing cinematic landscape.

Famous for a popular western television series from the 1950s, Bounty Law, a pursued film career has not taken off, and he is reduced to guest appearances as the villain, then considered throwaway roles, in other episodic series.

His stunt double and best friend, Cliff Booth (Brad Pitt), accompanies him almost everywhere, serving as both sidekick and errand boy.

Meanwhile, famous director Roman Polanski and his wife, actress Sharon Tate (played by Argot Robbie), have moved into the house next door, which Dalton hopes will help him revitalize his career aspirations.

As Tate goes about her daily life of running errands and watching her movies in the theater, she is visited by Charles Manson one day, looking for the former resident of her house.

Historical viewers are familiar with the subsequent events that unfolded in real life, as Tarantino presents a fictional and tantalizing version of the events.

The film’s length is two hours and thirty-nine minutes, quite robust but typical for a Tarantino production. Some may complain about the bloated running time, but the film never drags; instead, the director lays out all the pieces carefully like a fine chess game.

By the mid-point, all hell breaks loose with one of the most suspenseful and edge-of-your-seat scenes in film history. When Cliff drives a flirtatious young hippy hitchhiker, Pussycat (Margaret Qualley) to a range populated by Manson followers, he is in for the adventure of his life…..if he survives.

Once Upon a Time in Hollywood is an orgy of cinematic tidbits, featuring a myriad of clips from forgotten films of the late 1960s and popular songs from that era.

This is just the tip of the iceberg in greatness as Tarantino perfectly immerses the viewer into the time with fury and zest. Every set piece, costume, hairstyle, or car is flawlessly placed. Kraft macaroni and cheese, Velveeta cheese, and popular dog food from the period are featured.

Tarantino is a fan of cinema and makes cinema lovers fall in love with cinema all over again.

The cast is humongous, but each character is necessary and perfectly represented in roles large and small.

The haunting troupe of Manson followers, specifically Tex Watson (Austin Butler), Squeaky Fromme (Dakota Fanning), and Susan Atkins (Mikey Madison), are all real-life figures. They are foreboding, dangerous, and crucial to the story.

Al Pacino shines in the small but pivotal role of Schwarz (not Schwartz), Dalton’s agent, while Steve McQueen’s look-alike, Damian Lewis, on-screen for merely seconds, is memorable.

The list of cameo performances goes on and on and on, and the fun is wondering who may appear next.

Despite the incorporation of big-name stars in important minor roles, the best performances belong to DiCaprio and Pitt. DiCaprio’s best scene takes place alone in his trailer as the washed-up star botches his lines thanks to a hangover, causing a delay in filming.

He abuses himself into nailing the scene, receiving kudos all around, while becoming teary-eyed after a compliment from a young actress.

Pitt has never given a better performance than he does as Cliff, sharing his best scenes with his adorable dog Brandi and with DiCaprio.

Who can ever forget his chest-baring rooftop scene?

Quentin Tarantino scores again with a bombastic and flawless picture, his ninth release. Rumored to retire after his tenth film, one can hardly fathom the reality of that statement. Hismovis can be watched and watched again, continuously absorbing new and noteworthy details of rich texture.

Once Upon a Time in Hollywood (2019) easily joins the ranks of great works, not just of the director’s catalog, but of all time.

Oscar Nominations: 2 wins-Best Picture, Best Director-Quentin Tarantino, Best Actor-Leonardo DiCaprio, Best Supporting Actor-Brad Pitt (won), Best Original Screenplay, Best Sound Editing, Best Sound Mixing, Best Production Design (won), Best Cinematography, Best Costume Design

#238 Favorite Film, #36 Favorite Horror Film, 2024 Films, Coralie Fargeat, Demi Moore, Dennis Quaid, Favorite Film of the Year, Horror, Independent, Independent Horror, Margaret Qualley, Satire, Top 250 Films, Top 40 Horror Films

The Substance-2024

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The Substance-2024

Director Coralie Fargeat

Starring Demi Moore, Margaret Qualley, Dennis Quaid

Top 250 Films #238

Top 40 Horror Films #36

Scott’s Review #1,461

Reviewed January 18, 2025

Grade: A

Demi Moore takes her languishing career by the reigns in a risky role, leaving any glitz and glamour by the wayside in the wacky horror film The Substance (2024).

She also sheds her mainstream blockbuster image for darker cinematic territory, propelling her into a fresh new image.

Respectability.

The film received widespread critical acclaim, a gaspy crowd reaction, and buzz during awards season, making it the most talked-about film of the season.

Moore portrays a fading celebrity, Elisabeth Sparkle, wired by her producer (Dennis Quaid) on her fiftieth birthday due to her age.

She decides to use a black-market drug that creates a much younger version of herself (Margaret Qualley) with unexpected side effects.

As she drives home after being fired, she is involved in a car accident. At the hospital, she meets a handsome young nurse who casually advertises a new product. He boldly tells her that it changed his life.

It creates a younger, more beautiful, more perfect you. The catch is that you share time, one week for one and one week for the other—an ideal balance of seven days each.

What could go wrong?

The film begins with a weird shot of a camera looking down at the creation of a famous star on Hollywood Boulevard, where anyone who’s anyone has their name in a star on the famous street.

The sequence reveals that Elisabeth was once a big star. Workers sand her name on the sidewalk amid the celebration, and people stop in awe of her name. As the years go by, people comment that she was in some movie they can’t remember, and then someone callously spills garbage on her name, thinking nothing of it.

The story has powerful meaning about the societal pressures on women’s bodies and aging, especially in the media spotlight.

But this isn’t simply about women. Anyone of any gender or humanity can reflect on the insecurities of aging, whether in the corporate world or being cast aside for a younger person in any way.

I found The Substance incredibly relatable.

Besides the story, Coralie Fargeat, a French director I’d like to see more of, directs The Substance very well.

She bravely incorporates snippets of Stanley Kubrick’s work, adding her funky weirdness and creating an insane experience for viewers.

Kubrick famously created long shots of hallways, which Fargeat brilliantly borrows. Elisabeth watches her producer and team rapidly walk towards her and reminds her that ‘pretty girls always smile,’ reinforcing ridiculous stereotypes attractive women are ‘supposed’ to follow.

Fargeat counterbalances the long shots with several close-ups, mainly of Moore staring at herself in the mirror. Seeing every wrinkle and blemish, she becomes increasingly obsessed with the younger version of herself.

The film does so much with very little dialogue, allowing Moore to deliver a performance of a lifetime.

As the film progresses, it becomes wackier and wackier in only the finest of ways as the older version becomes obsessed with her younger self. As she decays, she becomes a bald hunchback, unrecognizable.

At a diner, she runs into the older version of the young nurse, who admits that the process gets worse with each transformation.

The finale, set on New Year’s Eve, when Elisabeth is set to host events for millions to see, becomes horrific as her monster is set loose. A weird combination of human being and lumpy clay emerges on stage as Elisabeth begs the crowd to accept her.

The result is a moment that combines 1931’s Frankenstein with 1976’s Carrie as a horrific and quite bloody witch hunt ensues.

The film also reminds me of 2the 2000sRequiem for a Dream in style and addiction.

Fargeat, who directed, wrote, and produced the film, creates a feminist message that is awe-inspiring.

Combining unique camera angles that infuse a futuristic feel, astounding makeup work, and an exceptional performance by Moore makes The Substance (2024) the year’s surprise hit.

Oscar Nominations: 1 win-Best Picture, Best Director-Coralie Fargeat, Best Actress-Demi Moore, Best Original Screenplay, Best Makeup and Hairstyling (won)

Independent Spirit Award Nominations: Best Feature, Best Lead Performance, Demi Moore

#244 Favorite Film, 2023 Films, Comedy, Dark Comedy, Emma Stone, Fantasy, Margaret Qualley, Mark Ruffalo, Science Fiction, Top 250 Films, Willem Dafoe, Yorgos Lanthimos

Poor Things-2023

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Poor Things-2023

Director Yorgos Lanthimos

Starring Emma Stone, Mark Ruffalo, Willem Dafoe

Top 250 Films #244

Scott’s Review #1,413

Reviewed December 27, 2023

Grade: A

Yorgos Lanthimos is a peculiar director and the suggestion is for potential viewers to be familiar with his work before seeing his latest film release, Poor Things (2023).

I’ve said recently that other directors like Alexander Payne, Todd Haynes, Quentin Tarantino, and Martin Scorcese can easily be added to this list with a style not for everyone but that Cinemaphiles will salivate for style and texture alone.

Anyone who has seen Lanthimos’s Dogtooth (2009) or The Lobster (2016) will know exactly what I mean.

With Poor Things, he hits a grand slam home run that might garner him some Academy Awards in what can be arguably classified as his most progressive film.

Mentions like the art direction, cinematography, set design, and fantastic performance by Emma Stone must be immediately celebrated and called out as highlights.

The film is hardly mainstream or conventional and way out there channeling a parallel to Frankenstein with frightening and gothic sets and sequences galore.

All with a twisted and refreshing feminist quality.

Ultimately, I was satisfied with the knowledge that I had witnessed a cinematic marvel that encourages repeated viewings.

During the nineteenth century in London, England, Bella Baxter (Stone), is a young woman brought back to life by the brilliant and unorthodox scientist Dr. Godwin Baxter (Willem Dafoe) who is referred to as ‘god’.

He inserts the tender brain of the baby she was carrying when she leaped from a bridge to her death suicide style.

Under Baxter’s protection and supervision, Bella is eager to learn but acts like a toddler with limited speech and motor skills. She teeters around smashing plates with gleeful joy as she discovers her surroundings.

With superior intelligence and a hunger for the worldliness she is lacking, Bella runs off with Duncan Wedderburn (Mark Ruffalo), a slick and horny lawyer, on a whirlwind adventure across the continents from Lisbon, Portugal to Paris, France, and back to London.

Free from the knowledge and the prejudices women of her time were forced to endure, Bella grows steadfast in her purpose to stand for equality and liberation. She challenges societal norms with her vision and determination.

I can’t think of anyone else to play the role of Bella other than Stone. With wide eyes filled with wonder, she infuses her character with comedy and wit as she asks questions many women have but never dare to utter aloud.

Especially in Victorian London.

Ruffalo is outrageous and Dafoe is hideously stoic. Both actors bring star quality and wacky performances in different ways.

The look of the film is to die for as Lanthimos offers a looming fairy tale set design led by cinematographer Robbie Ryan.

The European cities of Lisbon, Paris, and London are given their chapters in the film and their focus. The waterfront in Lisbon in particular resembles the real city in a gothic and foreboding way.

The hotel in Paris where Bella becomes a prostitute is regal and polished. Bella wonders aloud why the male customers get to decide which woman they want to spend time with instead of the reverse.

It’s a fair question.

Her friend and fellow prostitute introduces her to socialism while Madame Swiney (Kathryn Hunter) explains capitalism.

Finally, the musical score by Jerskin Fendrix offers shrieking classical strings mixed with haunting pizazz and perfectly timed arrangements. They promote tension and drama at just the right moments.

2023 was a fabulous year for women in cinematic terms but not so much by the United States Supreme Court but that’s another story. The bombast and box office enormity of Greta Gerwig’s Barbie is followed by Lanthimos’s celebration of the thought-provoking Poor Things.

Both elicit insightfully quirkiness that successfully bulldozes over traditional gender norms with messages that women can do whatever they set out to do which is a vital quality for young minds to be exposed to.

Oscar Nominations: 4 wins-Best Picture, Best Director-Yorgos Lanthimos, Best Actress-Emma Stone (won), Best Supporting Actor-Mark Ruffalo, Best Adapted Screenplay, Best Film Editing, Best Cinematography, Best Costume Design (won), Best Production Design (won), Best Original Score, Best Makeup and Hairstyling (won)