Tag Archives: Ralph Fiennes

2024 Films, Edward Berger, Isabella Rossellini, John Lithgow, Lucian Msamati, Ralph Fiennes, Sergio Castellitto, Stanley Tucci, Thriller

Conclave-2024

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Conclave-2024

Director Edward Berger

Starring Ralph Fiennes, Stanley Tucci, John Lithgow

Scott’s Review #1,447

Reviewed October 17, 2024

Grade: A

I was fortunate to see the Conclave (2024) premiere at our local art theater before most of the public audiences had. I anticipate those talking about the ‘twist’ at the end will be stunned. Having been told there was a ‘twist’ at the start, but not knowing what it was kept me wondering.

I’ll say nothing more about the ‘twist’.

Admittedly, the premise didn’t wow me, and I only saw Conclave because of the acclaim and awards season buzz surrounding it.

Heavyweight actors like Ralph Fiennes, Stanley Tucci, John Lithgow, and Isabella Rossellini didn’t hurt.

The end product is well written, well acted, and well produced, with a tinge of push-pull between liberalism and conservativism that feels timely and relevant.

It’s based on a 2016 novel written by Robert Harris.

The story is fictional and follows one of the world’s most secretive and ancient events, selecting the new Pope. Cardinal Lawrence, expertly played by Fiennes, is tasked with running this complex process after the unexpected death of the beloved current Pope.

Once the Catholic Church’s most powerful leaders, most chomping at the bit to be elected the next Pope, have gathered from around the world, Lawrence uncovers a trail of secrets involving the dead Pope, secrets which could shake the foundations of the Church.

They are locked in the Vatican, protected from the outside world until the majority chooses the new Pope.

Edward Berger did a phenomenal job bringing the 1930 epic All Quiet on the Western Front (2022) to legions of audiences and a slew of Oscar nominations. All bets are that he does it again with Conclave.

The screenplay is written by Peter Straughan, primarily a British playwright. The action immediately begins with the Pope’s death, and most of it is a slow buildup, sometimes even a crawl.

Halfway through, I wondered why Conclave was receiving so much notice. After the conclusion, I could not stop thinking about it for days.

Berger/Straughan play their cards close to the pocket throughout most of the running time, toying with audiences who expect a traditional, mainstream affair before the rug is yanked from beneath them.

Usually, dramas or thrillers with a religious theme, mainly centering around questioning the Catholic Church, risk dismissal or ridicule. I’m anxious to see how this plays out with Conclave.

In hindsight, more than the obvious make Conclave worth talking about after the upside-down ride that results.

Character-driven, Lawrence questions his faith and devotion and doesn’t even want to be the new Pope. We’re not exactly sure why he wants to leave the Church. Is he involved in a secret scandal? Could he be in a relationship?

One intelligent scene mentions that a Pope should not be sure of his faith and should question it. Traditions can be tweaked for the times. A conservative leader mocks the Pope for ruining the Catholic Church with whimsical decisions embracing the current times. Another liberal leader doesn’t think he went far enough.

It’s easy to see that Berger/Straughan/Harris have Pope Francis, who was elected in 2013, in mind. Having strongly brought more progressive thought to the Catholic Church, it’s easy to see the representation.

Fiennes gives a powerful performance as a decent man who tries to do the right thing without favoritism or conflict. He is subdued but strong-willed, and the performance is understated. He gives so much to a role that could be mistaken for too little.

Volker Bertelmann composes the score, which is reminiscent of All Quiet on the Western Front. It has a soft tone, is not bombastic, and slowly increases intensity during scenes. The buildup is tense and magnificent.

Conclave (2024) is a human story about humanity and imperfection. It’s also about human complexities, mistakes, and kindness. It magnifies the scope of the Catholic Church and reminds audiences that those shrouded within its wall are not without imperfections.

It also reminds us that even the Catholic Church has corruption.

2022 Films, Anya Taylor-Joy, Comedy, Dark Comedy, Horror, Horror-Comedy, Ralph Fiennes, Will Ferrell

The Menu-2022

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The Menu-2022

Director Mark Mylod

Starring Ralph Fiennes, Anya Taylor-Joy

Scott’s Review #1,345

Reviewed February 20, 2023

Grade: B+

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I felt like a restaurant guest myself.

2021 Films, Action, Ben Whishaw, Cary Joji Fukunaga, Daniel Craig, James Bond, Léa Seydoux, Ralph Fiennes

No Time to Die-2021

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No Time to Die-2021

Director-Cary Joji Fukunaga

Starring Daniel Craig, Léa Seydoux, Rami Malek

Scott’s Review #1,236

Reviewed March 6, 2022

Grade: A-

Celebrating the twenty-fifth in the iconic James Bond film franchise, No Time to Die (2021) is Daniel Craig’s fifth and final appearance as the British MI6 agent. As of this writing, it is yet to be determined who will next step into the shoes of the legendary character but Craig was able to make the character his own since his debut in Casino Royale (2006).

He retains his hunky and muscular portrayal with a sullen and serious tone.

No Time to Die is visually and stylistically similar to the recent handful of films to come before it with a slick and modern look and feel. The difference is that the film is about relationships and has a shocking conclusion that nearly rivals Mrs. James Bond’s, death in On Her Majesty’s Secret Service way back in 1969.

There are few quips or one-liners uttered by James Bond and we can agree that Craig does not play the character in the same way that Roger Moore did. But, there exists a dark and dreary tone throughout and more than one surprising death.

It’s a serious affair.

I love the parallels to On Her Majesty’s Secret Service that emerge mostly in the beginning and end of the film. The inclusion of the famous Louis Armstrong song ‘We Have All the Time in the World’ recalls both love and loss experienced by Bond and is played in full during the closing credits.

This is a special treat for fans of that film, myself included. I felt emotionally connected to No Time to Die which was a major score for it.

In a long opening sequence, a young girl named Madeleine witnesses the murder of her mother by terrorist Lyutsifer Safin in a failed attempt to murder her father Mr. White (appearing in Casino Royale). Madeleine shoots Safin (Rami Malek), but he survives and rescues her after she falls into a frozen lake. This connects them for life.

In the present, after the capture of villain Blofeld, Madeleine (Léa Seydoux) is vacationing in Southern Italy with Bond when Spectre’s assassins ambush him. He incorrectly assumes Madelaine has betrayed him and he ends their relationship after they escape death.

Depressed, Bond retires to Jamaica but returns to action after his friend Felix Leiter (Jeffrey Wright) from the CIA turns up asking for help. The mission to rescue a kidnapped scientist turns out to be far more treacherous than expected, leading Bond onto the trail of a mysterious villain armed with dangerous new technology.

With the emotional and relationship investments successfully sealed any worthy Bond film should have great action with interesting locales, stellar villains, and relevant Bond girls. In this regard, the film gets a solid B+ with the aforementioned bumping it up a notch.

The chase throughout southern Italy is fabulous with delicious scenery of the culturally lavish country getting the film off to a fast start. Other sequences in Chile and Cuba show the sophistication and investment in quality locales. Naturally, London is heavily featured and I adore the grand and frequent aerial views that allow prominent landmarks to be discovered.

As creepy as actor Malek can be in his roles and as dastardly a villain as he plays, I wasn’t completed satisfied with the character of Safin. Not appearing in an obvious fashion until midway through his screen time is limited and his motivations murky- I wanted more.

The casting is terrific but the character is underwhelming and not explored to his potential.

Christoph Waltz’s limited appearance as an imprisoned Blofeld is great, and double agent Logan Ash (Billy Magnussen), and scientist Obruchev (David Dencik) prove quality secondary villains. The storyline with Felix and the returns of Moneypenny, Q, and M (now played by Ralph Fiennes) is solid.

Main Bond girl Madelaine did not win me over at first but by the end, I was heavily invested, especially since she is a powerful female character and a true romantic partner to Bond. A new female 007, played by Lashana Lynch is a progressive inclusion that breathes new life into MI6.

May both appear in the future?

Time, and perhaps another viewing, will determine how No Time to Die (2021) ranks compared to other Bond films. At a hefty two hours and forty-three minutes, the film drags in the middle section, and some characters receive limited exploration.

The nods to history and the heavy emotional investment kept me glued to my seat.

Oscar Nominations: Best Original Song-“No Time to Die” (won), Best Sound, Best Visual Effects

1993 Films, Ben Kingsley, Best Film of the Year, Best Picture Oscar Winners, Biography, Drama, Epic, Liam Neeson, Ralph Fiennes, Steven Spielberg, War

Schindler’s List-1993

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Schindler’s List-1993

Director Steven Spielberg

Starring Liam Neeson, Ben Kingsley, Ralph Fiennes

Scott’s Review #775

Reviewed June 19, 2018

Grade: A

Schindler’s List (1993) is a film that is arguably Steven Spielberg’s finest directorial work and Liam Neeson’s finest acting performance.

The film is as disturbing as it is awe-inspiring as many emotions will undoubtedly envelop any viewer- most of them dark and dire.

Spielberg’s most personal story centers on the devastating Holocaust of World War II that will grip and tear audiences to pieces.

The work deservedly secured the Oscar award for Best Picture and Best Director as well as numerous other accolades.

Oskar Schindler (Neeson) is a powerful German businessman who arrives in Krakow, Poland during the antics of World War II, presumably to make his fortune. Handsome and respected, he is charismatic and feared by the German army, who have forced most of the Polish Jews into the overcrowded ghettos where they await their fates.

Schindler himself is a Nazi, but becomes more humanistic than most and ultimately against the Holocaust killings. He establishes a factory and hires a Jewish accountant (Ben Kingsley) to assist.

As he is tremendously affected by the inhumanity he sees throughout the city, he makes arrangements to hire and thus save the lives of over a thousand Polish refugees.

He does so by allowing them to safely work and be productive in his factory. The story is reportedly true and was a rare instance of humanity in a cold and ugly chapter in world history.

To be clear, Schindler does not start as a hero and is admittedly rather an unlikely one. The man is a businessman, greedy, and undoubtedly flawed. He plans to use the Jews because they are cheap labor and can be used to his advantage.

Because of the very long running time of the film (over three hours), Spielberg slowly depicts Schindler’s complex character growth and eventual determination to save these poor people from the Auschwitz gas chambers.

Spielberg shoots Schindler’s List entirely in black and white with tremendous results. The camera work adds such ambiance and style to the 1990s film- so much so that throughout the film I felt as if I were watching a documentary from the 1940s.

The film is epic and choreographed with precision and timeliness- some of the best camera work in cinema history as far as successfully creating the perfect solemn and dreary mood.

Supporting turns by Ben Kingsley and Ralph Fiennes must be noted. In vastly different types of roles, both shine.

As the understandably nervous, Jewish accountant for Schindler’s factory, Itzhak Stern is most notable for creating the famous “list”. This contains the names of those who would be transferred to the factory and thus have their lives spared.

Kingsley, a brilliant actor, fills the character with empathy and heart.

Conversely, Fiennes plays a dastardly character in that of Amon Goth, a commander at the concentration camp. Evil and known for taking glee from killings, he is the man instrumental in deciding to exterminate all of the people in the ghetto.

A pivotal character, Goth is important because he is the man who makes Schindler realize how sickening and inhumane the treatment is.

Fiennes carves the character with so much hate that he is believable in the part.

One of the most beautiful scenes is aptly named “the girl in red” and is highly symbolic and worthy of analysis. Oskar watches as prisoners are escorted, presumably to their executions. He notices a three-year-old girl walking by herself- she is clad in a bright red coat.

The coat is Spielberg’s only use of color throughout the entire film.

The scene is incredibly important as the girl stands out, proving that all the Nazi commanders are accepting of her death. In tragic form, Oskar later sees her dead body draped in her red coat.

The scene is sad and powerfully distressing.

Schindler’s List (1993) is an outstanding film that elicits such raw emotion from anyone who views the masterpiece. By no means an easy watch and most assuredly “a heavy”, the film depicts the true struggles and catastrophic events occurring not all too long ago.

A film for the ages that simply must be seen by all to appreciate the terror and inhumanity that occurs throughout the world.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-Steven Spielberg (won), Best Actor-Liam Neeson, Best Supporting Actor-Ralph Fiennes, Best Adapted Screenplay (won), Best Original Score (won), Best Sound, Best Art Direction (won), Best Makeup, Best Costume Design, Best Cinematography (won), Best Film Editing (won)

2008 Films, Drama, German, Kate Winslet, Ralph Fiennes, Stephen Daldry

The Reader-2008

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The Reader-2008

Director Stephen Daldry

Starring Kate Winslet

Scott’s Review #603

Reviewed January 11, 2017

Grade: A

The Reader (2008) is by far my favorite of all of Kate Winslet’s film roles-and that is saying something! It is her most challenging and provocative to date and will ruffle some feathers for sure based on the subject matter of the story.

The subject of a grown woman in her thirties involved in a steamy and passionate love affair with a young boy half her age is too much for some, but I found the bravery of the film admirably.

To be fair, the film is a slow build-up type of story and it takes a little while to get going, but if you stick with it, it will be worth your time.

Winslet plays a woman (Hanna) in 1950’s Germany, living an ordinary life. She is a poor woman and a young boy she meets changes her life for the better.

He teaches her readings and other educational things and they are inseparable. When she leaves town one day, the boy is devastated.

The film then fast-forwards thirty years to the 1990s and the boy, now grown up and played by Ralph Fiennes, comes upon Hanna in a most unusual, dramatic, and devastating way.

The film is told from the perspective of Fiennes’s character, which is a wonderful decision.

The Reader (2008) is very heavy on sex and nudity (I mean lots!), so if anyone is offended by that you might want to skip it.

The story is riveting and the acting is top-notch.

An excellent film.

Oscar Nominations: 1 win-Best Picture, Best Director-Stephen Daldry, Best Actress-Kate Winslet (won), Best Adapted Screenplay, Best Cinematography

2010 Films, Adventure, Elizabeth McGovern, Fantasy, Liam Neeson, Louis Leterrier, Luke Evans, Mads Mikkelsen, Nicholas Hoult, Ralph Fiennes, Sam Worthington

Clash of the Titans-2010

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Clash of the Titans-2010

Director Louis Leterrier

Starring Sam Worthington, Liam Neeson

Scott’s Review #566

Reviewed December 27, 2016

Grade: B

Though I went to the theater begrudgingly to see Clash of the Titans-2010, (fantasy blockbusters are not typically my cup of tea), I have to confess to being moderately impressed by this film.

I had no real expectations other than it is a tale loosely based on the Greek myth of Perseus.

I have heard some people compare it to the original in an unfavorable way, but I have not seen the original- released in 1981 so any comparisons are a moot point.

At one hour and fifty minutes, the film is a perfect length and does not drag.

The plot is basic and focused. Perseus (Sam Worthington)  must save the life of the beautiful Princess Andromeda, as he leads a team of warriors into battle against vicious enemies.

Some of the creatures they meet along the way are fascinating.

Clash of the Titans (2010) is not fine cinema, and the acting is not spectacular, but the effects are worth mentioning and the look of the film is impressive.

My only real criticisms are the way Medusa is portrayed (said to be ugly, she really is a beautiful woman with snakes on her head) and the 3-D, which was pretty much unnecessary- this is probably an attempt by the studios to capitalize for profit.

2015 Films, Action, Adriana Paz, Andrew Scott, Ben Whishaw, Christoph Waltz, Daniel Craig, Dave Bautista, James Bond, Judi Dench, Léa Seydoux, Monica Bellucci, Naomie Harris, Ralph Fiennes, Sam Mendes

Spectre-2015

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Spectre-2015

Director Sam Mendes

Starring Daniel Craig, Christoph Waltz

Scott’s Review #401

80056799

Reviewed May 5, 2016

Grade: B+

A modern treat for James Bond fans, Spectre (2015) is a slick, costly production sure to please die-hard lovers of the storied franchise.

It contains a rich history and nods to recent installments, wrapping the story arc up, a fantastic villain, and fast-paced, compelling story-telling.

It lacks an interesting lead Bond girl, a quality that detracts from the film, and what is a must for the cherished franchise.

This is the only major flaw in an otherwise fantastic film.  In typical Bond fashion, his adventures take him to London, Rome, Mexico City, Austria, and Morocco.

Speeding along in what is now the twenty-fourth Bond film, and still feeling fresh and relevant, Spectre commences where its predecessor, Skyfall, left off, mainly hot on the heels of M’s (Judi Dench’s) shocking death.

How wonderful to see her again, albeit in a videotaped message crucial to the central plot.

The new M is a male character again and portrayed by Ralph Fiennes. In the film’s sub-plot, a new character, C, comes into play as the head of the Joint Intelligence Service, who deems the 00 section outdated.

The focal point is Bond’s avenging of the former M’s death by taking down Spectre, an organization not seen in a Bond film since 1971’s Diamonds Are Forever, but once again a strong presence.

The opening sequence in Mexico City kicks off the energy of the film.

Fast-paced, and with an awesome helicopter chase/fight sequence, it is a long sequence that thrills. We watch, engaged, as it swirls and tumbles mid-air, while hundreds of spectators in a large outdoor square flee for safety.

The film then forays into the inevitable Bond song, “Writing’s On The Wall”, this time written and performed by Sam Smith.  This particular song has received mixed reviews, but I am fond of it.

This leaves the audience geared up for a wild adventure to come.

The return of the crime organization, Spectre, to the story brings a rich history and is the most interesting part. We have a rooting value since it is familiarity.

Even more pleasing is the return of Bond’s arch-enemy Ernst Stavro Blofeld, known more forcefully as “Number 1”, who has been played by such legendary actors as Donald Pleasance, Telly Savalas, and Max Von Sydow.

In Spectre, Christoph Waltz takes over the role and a major win. Waltz, a tremendous actor, plays Blofeld in a sly, wicked manner,  taunting, yet with some comedic elements.

In a compelling scene (and the first one containing Waltz), James Bond appears, hidden, at a Spectre summit.  He recoils as he recognizes the shadowed Blofeld, realizing the detrimental repercussions this will mean.

I only hope that in subsequent Bond films, Waltz returns.

Let’s discuss the Bond girls in the film.

Ironically, the small role featuring the oldest Bond girl in franchise history (aged fifty and played by the gorgeous Monica Bellucci) is more compelling than the lead Bond girl, Dr. Madeleine Swann, played by Lea Seydoux.

As Lucia Sciarra, widow of the Italian crime lord, Sciarra, there is more chemistry between Daniel Craig and Bellucci than between Craig and Seydoux.

I would have much rather seen Sciarra as the primary focus, but she is shamefully underused, appearing in two scenes only. Seydoux seems to lack energy and I noticed zero chemistry between her and Craig.

I am not sold on the new Moneypenny either, Bond’s labored sidekick and always suggested one-sided love interest, in earlier films it used to be a fun dynamic. She was a secretary, older, and their flirtation was charming, light, and fun. She was almost a mother figure to him.

There are no flirtation or romantic hints as the character has been modernized to fit the twenty-first century.

Despite this character’s misses, the film is exceptionally well-made with loads of action. Sometimes Bond films hold up well, other times they do not.

Time will tell what fate holds for Spectre (2015), but my hunch is that it will age well.

Oscar Nominations: 1 win-Best Song-“Writing’s on the Wall” (won)

2016 Films, Channing Tatum, Comedy, Jonah Hill, Ralph Fiennes, Satire

Hail, Caesar!-2016

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Hail, Caesar! -2016

Director-Ethan Coen, Joel Coen

Starring George Clooney, Channing Tatum

Scott’s Review #377

80074084

Reviewed February 16, 2016

Grade: B+

Hail, Caesar! is a quirky film created and directed by the Coen Brothers, known for such offbeat films as Fargo, No Country for Old Men, and Raising Arizona.

Hail, Caesar is a satirical comedy about the Hollywood film industry during the post-World War II period of the 1950s.

Including singing, dancing, and scandalous matters, the film includes a bevy of current Hollywood talent including George Clooney, Channing Tatum, Josh Brolin, and Scarlett Johannsen to name but a few.

All give fine performances and add humor and wit to the film.

The plot centers on the character of Eddie Mannix (Brolin), a celebrity “fixer” and real-life person, who works as an executive for Capitol Pictures, and whose main responsibility is to ensure that famous Hollywood stars remain out of trouble.

The period is 1951, a particularly scandalous time in pictures. One of the biggest stars of the time, Baird Whitlock (Clooney), is suddenly kidnapped and held for ransom while completing a big epic film for the studio. Mannix must race to keep the crisis out of the news and safely get Whitlock back.

Certainly, there are interesting subplots including handsome, yet talent-less Western actor Hobie Doyle, hired by the studio to appear in a sweeping period piece directed by suave Laurence Laurentz (Ralph Fiennes), and DeeAnna Moran (Johannsen), unmarried and with a “bun in the oven”, determined to keep herself out of the tabloids.

I loved the look of the film, as numerous films within the film occur. The 1950’s set pieces and set designs are exquisite to experience, particularly the period piece set, lavishly designed with classic doors, a staircase, flowers, and a cast dressed to the nines. It brings back an extravagant time.

The film is a satire, to be sure, but also contains the serious subject matter of communism (especially for that period), Russia, and Russian defectors, all involved in a plot to prove a valuable point.

Despite the film being a comedy, this is worth serious thought. Many writers in Hollywood make money for the studios and are rewarded with underwhelming salaries. The same holds in Hollywood today.

This point can spill over into other walks of life as well and the point of the “little man gets screwed” is explored. Communism is also explored throughout the film as the main message- a message that is important and resonates.

Another interesting tidbit that Hail, Caesar! mentions, though only on the surface, is the burgeoning onslaught of television programming.

Suddenly, more and more folks were purchasing TVs and staying away from the glamour of films opting instead for the comfort of their couch.

What a different time it was!

An intriguing, favorite character of mine belongs to Channing Tatum’s portrayal of Burt Gurney, a Gene Kelly-like character famous for singing and dancing numbers. A sizzling sailor dance gives edge and sexuality to the film.

A revealing scandal involving Burt and Laurence is fantastic and delicious.

My favorite scene belongs to Frances McDormand, shamefully only appearing in one scene- quite memorable. As film editor C.C. Calhoun, she diligently shows Mannix film dailies in the hopes of discovering a clue in the disappearance of Whitlock. When her scarf gets caught in the projector, both hilarity and grotesqueness ensue.

It is a classic Coen Brothers comedy.

Hail Caesar! succeeds as a witty, comical, throwback to a wonderful time in film history, with a political edge, that historians will appreciate and Coen Brothers fans will relish.

Perhaps not their most creative or memorable, but enjoyable all the same.

Oscar Nominations: Best Production Design

2014 Films, Adrien Brody, Bill Murray, Comedy, Drama, Edward Norton, F. Murray Abraham, Harvey Keitel, Independent, Independent Comedy, Independent Drama, Jason Schwartzman, Jeff Goldblum, Jude Law, Léa Seydoux, Lucas Hedges, Owen Wilson, Ralph Fiennes, Saoirse Ronan, Tilda Swinton, Tom Wilkinson, Wes Anderson, Willem Dafoe

The Grand Budapest Hotel-2014

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The Grand Budapest Hotel-2014

Director Wes Anderson

Starring Ralph Fiennes, F. Murray Abraham

Scott’s Review #143

70295915

Reviewed July 30, 2014

Grade: B+

The Grand Budapest Hotel (2014) is a witty and unique film by director Wes Anderson, who has also directed similarly quirky films,  notably Monsoon Kingdom (2012) and The Royal Tenenbaums (2001).

The famous story of the history of the Grand Budapest Hotel is recounted, over dinner, by the current owner Zero (played by F. Murray Abraham), and an inquisitive guest (Jude Law).

The film then goes back to the 1930s and shares the story of the actual history of the hotel.

The main story centers on the head concierge, Gustave, (Ralph Fiennes), and his antics involving older wealthy blonde women, a murder, stolen art, and a missing will.

Gustave is a ladies’ man, and bisexual, who spends time with the rich women who stay at the hotel.  Fiennes does an excellent job as the quick-witted, almost manic Gustave.

This sets off a series of interesting, mysterious events for the remainder of the film that turns into a whodunit yarn.

The visual aspects usurp the story. The art direction is amazing. The sets are constructed so perfectly and ingeniously that they almost look like animated sets or like a dollhouses.

The costumes and makeup are flawless.

The story tends to be tough to follow at times and is just not as strong as the other aspects of the film, although this is not to be interpreted as the story is not good- it is entertaining, but nothing more.

It’s just that the other aspects of the film are magnificent and the story is secondary. It’s an odd film, certainly, but unique and interesting.

Well-known Hollywood stars appear- Tilda Swinton, Edward Norton, Adrien Brody, Willem Defoe, and Harvey Keitel.

Oscar Nominations: 4 wins-Best Picture, Best Director-Wes Anderson, Best Original Screenplay, Best Original Score (won), Best Production Design (won), Best Cinematography, Best Makeup and Hairstyling (won), Best Costume Design (won), Best Film Editing

2012 Films, Action, Albert Finney, Ben Whishaw, Daniel Craig, James Bond, Javier Bardem, Judi Dench, Naomie Harris, Ralph Fiennes, Sam Mendes

Skyfall-2012

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Skyfall-2012

Director Sam Mendes

Starring Daniel Craig, Javier Bardem, Judi Dench

Scott’s Review #136

70243459

Reviewed July 26, 2014

Grade: B+

Skyfall is the latest (and twenty-third) installment in the decades-long running James Bond franchise (1962’s Dr. No was the first one) and this one receives major kudos from me.

When one looks back upon all of the Bond films, they have had to adjust to keep up with the times and Skyfall does this very successfully.

In addition, Skyfall brings a good, old-fashioned, compelling story to the table.

An attack on MI6 is initiated by a former agent, Raoul Silva, beautifully portrayed by Javier Bardem, who has a personal vendetta against M, played by Judi Dench.

Bardem gives a complex, powerful representation of the villain and is not overly cartoonish.

He appears crazy!

James Bond, of course, must come to the rescue and save the day.

The story finally gives M. a chance to shine as the main plot revolves around her. The relationship between M. and Raoul is interesting and layered with history, which makes for a compelling story.

Standard with Bond films, exotic locales are used. This time we get Shanghai, London, Scotland, and Macau.

James Bond’s past is also explored- He grew up in Scotland. The Bond family estate is a major backdrop for the action.

The reintroduction of two famous Bond characters- Moneypenny and Q is like a breath of fresh air added to the franchise, although I was not crazy about the casting choice of Q.

Also, one minor flaw with this film is there is no clear “Bond girl” to root for.

Skyfall (2012) provides a successful return to its Bond roots and will hopefully allow the Bond franchise to continue for many films to come.

Oscar Nominations: 2 wins-Best Original Score, Best Original Song-“Skyfall” (won), Best Sound Editing (won), Best Sound Mixing, Best Cinematography