Tag Archives: Sam Elliott

2018 Films, Drama, Musical, Musical Drama, Sam Elliott

A Star Is Born-2018

Leave a comment

A Star Is Born-2018

Director-Bradley Cooper

Starring Bradley Cooper, Lady Gaga

Scott’s Review #819

Reviewed October 10, 2018

Grade: A

On paper, by the time a film reaches its fourth remake (think- superhero franchises), there is a risk of either utter redundancy or a lack of interest (or both!).

Months before A Star Is Born was released to theaters a tremendous buzz emerged, particularly about the stars (Bradley Cooper and Lady Gaga). Considering the latter had never starred in a film before, the word of mouth was surprising.

The hype can be believed as the film is a tremendous effort with something to offer everyone.

The story begins as a boozy country crooner, Jackson Maine (Bradley Cooper), performs a sold-out show. He needs the aid of pills to take the stage and suffers from gradual hearing loss but is nonetheless a famous and popular star.

Following the concert, Jackson meets Ally (Lady Gaga), a waitress who moonlights singing French songs at a drag bar. They immediately bond as he encourages her to celebrate her talent despite her insecurities.

As events unfold the pair dive into a passionate romance as her career skyrockets while he deteriorates from drug and alcohol abuse.

On the surface, a film such as A Star Is Born runs the risk of being hokey, formulaic, or otherwise generic. The premise dictates as such- successful star meets insecure up and comer, romance ensues, and they face obstacles and internal conflict on the road to success.

Sounds like material custom-made for a Hallmark television movie or something lightweight, especially given the remake of a remake factor.

Instead, every element of A Star Is Born works perfectly. Of enormous praise is how Bradley Cooper both directs this film and has the central male role. He, as a director, incorporates some interesting camera shots, including a long shot of Ally walking down an alley, rehearsing a song for a performance.

Also, the numerous concert scenes are very well done. Impressive since this is Cooper’s directorial debut.

An enormous win for the film is the chemistry between Cooper and Gaga which is evident in the very first moments the two appear on screen together. Their chemistry is purely electric- almost magical as they rapidly bond and connect.

Their connection is not only physical but over their love of music and the artistry associated with creating good music. This bond is slowly tested as Ally’s career takes off and her manager steers her in a more pop-oriented direction, which infuriates Jackson.

Even through turmoil, the chemistry between the two actors is palpable in every scene.

My two favorite scenes include the scene in which Jackson and Ally first meet in the drag bar. The lovely French tune (Edit Piaf’s “La Vie en rose”) that she performs is cultural and rife with talent. As Jackson gazes at her from the bar there is amazement and pride in his gleaming eyes. He is immediately smitten with her talent and poise and this scene sets the tone for the film.

The second comes at the film’s conclusion, as Ally belts out the heartfelt “I’ll Never Love Again”. Performing to a subdued audience, the song is performed as a close-up of Ally to the tremendous visual effect.

The musical numbers are heartfelt and emotional without being sappy. From treasures such as “Shallow”, and “Maybe It’s Time” to the thunderous “Black Eyes” and pop-driven “Why Did You Do That?”, the soundtrack contains something for everyone.

Cooper, already an acting champ, astounds as he is so good, while Lady Gaga, a novice to film acting, looks like a pro. We believe her struggles, doubting her star potential as she is deemed “too ugly” to make it in the music business.

Gaga successfully showcases her pain, doubt, and eventual bombast at her sudden success.

Mention must be given to Sam Elliott, the veteran actor who gives a dynamic supporting turn as Bobby Maine, older brother, and manager of Jackson. Elliott does not have a showy role or a big emotional scene- he doesn’t need to. In the actor’s quiet way, he infuses the character with pent-up anger but with unconditional love and affection for his brother mixed in.

Harboring rage and turmoil for each other, the best scene between Elliott and Cooper comes towards the end of the film when Jackson admits his love for Bobby. The emotion is raw on the face of Elliott in this important scene.

A Star Is Born (2018) is a superlative remake and one for the ages. I can easily see this film, already a fan favorite, going down in the record books.

With a memorable musical soundtrack, wonderful acting and directing, and characters audiences can relate to, a classic in the making is not too difficult to imagine.

Oscar Nominations: Best Picture, Best Actor-Bradley Cooper, Best Actress-Lady Gaga, Best Supporting Actor-Sam Elliott, Best Adapted Screenplay, Best Original Song-“Shallow” (won), Best Sound Mixing, Best Cinematography

2009 Films, Anna Kendrick, Drama, George Clooney, J.K. Simmons, Jason Bateman, Jason Reitman, Romantic Drama, Sam Elliott, Vera Farmiga, Zach Galifianakis

Up in the Air-2009

Leave a comment

Up in the Air-2009

Director Jason Reitman

Starring George Clooney, Vera Farmiga, Anna Kendrick

Scott’s Review #573

Reviewed December 30, 2016

Grade: A

Up in the Air is a fantastic film, but for some odd reason, circa its release to theaters in 2009 it was categorized as a romantic comedy. While there is a bit of romance involved, the film is a dark romantic drama.

The content is perfect for this period in history- the terrible economy, and the unemployment rate rising sky-high.

The acting by the principles is excellent and is worth watching, but do not expect a happy, uplifting film.

George Clooney plays Ryan Bingham, a corporate “downsizer”, who travels the country firing employees from companies that hire him. Ryan has no qualms about what he does and enjoys traveling around the country.

He mentors a young employee, Natalie, played by Anna Kendrick, who is more sympathetic to the people whose lives she changes.

Ryan meets another frequent flyer, businesswoman Alex (Vera Farmiga), and they begin an affair. He becomes a more sympathetic character as he develops real feelings for Alex, but will Alex return the affections?

The tone of the film is sarcastic and sardonic, and Clooney is dynamic in the lead role- carrying the film. He is charismatic and energetic, performing his work duties in an emotionless way.

We slowly get to know him better and realize, through Alex, that he does have a heart. Alex is a more mysterious character, and Farmiga is equally as engaging in the role. When a big reveal is learned about Alex, the audience does not see it coming.

As the years go by, I hope that Up in the Air is remembered for being a film that was released at the perfect time, given the difficulties many were going through.

I love how the film carries smart dialogue- the characters questioning each other’s motivations and becoming intertwined.

Jason Reitman and the screenwriter craft an exceptional film.

Oscar Nominations: Best Picture, Best Director-Jason Reitman, Best Actor-George Clooney, Best Supporting Actress-Vera Farmiga, Anna Kendrick, Best Adapted Screenplay

2015 Films, Comedy, Drama, Independent, Independent Comedy, Independent Drama, Judy Greer, Julia Garner, Laverne Cox, Lily Tomlin, Marcia Gay Harden, Paul Weitz, Sam Elliott

Grandma-2015

Leave a comment

Grandma-2015

Director Paul Weitz

Starring Lily Tomlin, Marcia Gay Harden

Scott’s Review #275

Grandma_Movie_Poster

Reviewed September 21, 2015

Grade: B+

Grandma (2015) is clearly and deservedly, a showcase for the talented and interesting legendary Hollywood actress Lily Tomlin.

Years (twenty-seven to be precise) since she has had a starring turn in a film, the role of Grandma is custom-made for Tomlin, with the character’s sarcasm, wit, and downright bluntness emerging to the forefront.

The film is labeled a comedy/drama, which it is. It’s themed around a heavy topic of abortion and runs the risk of offending pro-life individuals, as the film undoubtedly contains a pro-choice slant.

Ellie (Tomlin) is a poet and former college professor in her seventies living in California. She is a lesbian and is mourning the recent death of her long-time partner. She has recently been dating a lovely young woman named Olivia (played by Judy Greer), whom she unceremoniously, and cruelly dumps, referring to Olivia as little more than a footnote in her life.

Afterward, Ellie breaks down in tears of guilt while showering.

One day her granddaughter, Sage, (her daughter Judy being the product of a one-night stand), appears on her doorstep asking for money for an abortion. Having just paid off her debts and destroyed her credit cards, Ellie is therefore broke.

The duo embarks on a quest for cash, and race against time to make the appointment in time for the scheduled procedure.

The film belongs to Tomlin but is enhanced by excellent supporting turns, specifically by Marcia Gay Harden as daughter Judy, and veteran actor Sam Elliot, as Ellie’s former flame Karl, to cite examples.

Judy and Ellie have experienced a tumultuous relationship their entire lives while Karl harbors resentment for Ellie for long-ago aborting their child. Harden is thrilling as a borderline, one-dimensional bitch character.

She is driven, angry, and self-centered, and it is mentioned that she has gone through numerous administrative assistants in her high-level corporate role.

I have not seen Harden in a role quite like this before. As unsympathetic as the character is, one cannot help wondering if Ellie’s mothering skills may have made Judy turn out this way.

Karl on the other hand is sympathetic. He is still wounded from his ages-ago relationship with Ellie and may still hold a flame for her, as unlikely a romance between them would be.

The film is darker than expected and is not the syrupy, mainstream, family story one might expect from the fuzzy one-word title.

Still, Tomlin’s cantankerous, sarcasm kept me in stitches and perfectly balanced the tough subject matter displayed in Grandma.

The relationships between the main characters are complex and tough to watch as they argue, swear, and insult each other.

Love is mixed in but complexities arise due to the controversial subject matter. The history of and, in many cases, painful memories are dredged up between characters.

Impressively, Grandma is not a film that debates the hot-button issue of abortion as one might assume. Sage never really considers keeping her baby and will have the procedure done as quickly as possible.  Ellie and Judy never try to persuade Sage to keep the child nor does Sage seriously contemplate keeping the baby.

The only instance of a pro-life perspective is when two ridiculous characters- a young mother and her ten-year-old daughter- suggest Sage not kill her baby. When Ellie steps in the young girl punches her in the face. Is this intended as comic relief or to make these characters appear as buffoons?

These characters are laughable.

The father of Sage’s baby is unsympathetic and a very minor blip on the radar. My theory is that the film chooses to go this route intentionally to avoid a debate over the abortion issue.

A debate is not the point, but the relationships between the characters are.

The scenes involving Ellie becoming irritated and sarcastic are priceless, successfully utilizing Tomlin. As she hilariously goes from situation to situation in an attempt to earn the $600 for Sage she resorts to various means as diverse as selling books, giving a kiss, or collecting an old debt.

This is the main draw of the witty little film, Grandma (2015).