Mindhunter Season 2

TV Show Name: Mindhunter - Season 2
Year of Release: 2019

Directors: David Fincher, Andrew Dominik, Carl Franklin

Stars: Jonathan Groff, Holt McCallany, Hannah Gross, Anna Torv, Cotter Smith, Joe Tuttle, Cameron Britton, Joseph Cross, Stacey Roca, Alex Morf, Happy Anderson, Michael Park, Marianne Bayard, Sonny Valicenti, Michael Cerveris, Albert Jones, Zachary Scott Ross, Lauren Glazier, Dohn Norwood, Gareth Williams

Genre: Crime, Drama, Thriller

Score out of ten (whole numbers only): 8
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Synopsis and Review:

Following an acclaimed first season, "Mindhunter" is back, following a two year hiatus. Again under the tutelage and creative leadership of David Fincher and show creator, Joe Penhall, the second season picks right after the events of the first one. Holden Ford is reeling from his interaction with Ed Kemper, while Bill Tench's family starts cracking. All the while Wendy Carr's attempts at credible investigation processes continue, while her personal life also has some shuffles, as she meets someone. The team is also placed under new direction, with someone who wants to make their stance, perspective and methodology a staple and impactful for the credibility of the bureau. As the team continues to perform their interviews, and building their profiling templates, using arrested serial killers, including Charles Manson, this time around, they get the opportunity to be brought in, and assist with a gruesome ongoing investigation. Holden and Bill are tasked with assisting the local police with the Atlanta Murders of 1979-1981. This shocking case, which resulted in the death of 28 persons, including children, requires them to utilize all their emerging profiling skills, with Bill in particular going through a challenging situation, due to his son being involved in a gruesome death and the aftermath of that event in his family life and where his family lives.
If the first season of "Mindhunter" invited its viewers to understand how profiling actually started, and the lives of the main proponents of this activity, the second season, further expands upon it, providing a deeper look at their impact on actual cases that were taking place as their department gained more widespread acknowledgment and recognition. The show also dives deeper into the lives of the three main characters, showcasing the humanity lying behind their tireless professional endeavors. If the first show focused on Holden's path, the second season, allows Bill and his family to occupy more screen time, particularly as their reality starts unraveling due to a gruesome accident. The marriage of the scenarios underlying the three lead characters, with the continuous profiling and the recreation of the Atlanta Murders, is particularly effective, since it generates an overall tone of unease, angst wherever the characters go and whomever they interact with. David Fincher, Andrew Dominik and Carl Franklin who directed the whole season, manage to create a stylistic, consistently detailed tone to the show, that makes it all the more memorable. The performances from the entire cast continue to be solid, with Holt McCallany in particular having the opportunity to make Bill a nuanced character, one trying to remain afloat in the midst of very troubled times. The cinematography from Erik Messerschmidt is impeccable as is the score from Jason Hill. A very good show, worth watching.

The Prince of Tides

Movie Name: The Prince of Tides
Year of Release: 1991
Director: Barbra Streisand
Starring: Nick Nolte, Barbra Streisand, Blythe Danner, Kate Nelligan, Jeroen Krabbe, Melinda Dillon, George Carlin, Jason Gould, Brad Sullivan, Maggie Collier, Lindsay Wray
Genre: Drama
Score out of ten (whole numbers only): 4
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Synopsis and Review:

Following her directorial debut with "Yentl", actress/producer/director Barbra Streisand, decided to tackle another feature, this time with an adaptation of Pat Conroy's "The Prince of Tides". The film follows the story of Tom Wingo, a teacher and football coach from South Carolina, who goes to New York at the request of his mother, to help with the recovery of his twin sister, Savannah, following a suicide attempt. Savannah is being helped by a therapist, Dr. Susan Lowenstein, who wants to understand what is propelling Savannah's issues, including a different persona which she has created, and under whose name she writes books. Tom himself has avoided thinking about the family's past, since it's filled with abuse and violence, which have tormented his adult life, the same going for his siblings (his oldest brother has already passed away). As they start uncovering their past, Tom and Lowenstein become closer, since they're both going through marital difficulties. Tom also starts coaching and helping Lowenstein's son, who wants to break away from a pre-arranged life and focus on things that he actually loves. As sessions continue and as emotional ties get deeper, Tom and his family's dramatic past become clearer, suddenly clarifying many of the issues that haunt the Wingo family.
Barbra Streisand's feature directorial career has thus far been comprised of three features (the third being "The Mirror Has Two Faces"). "The Prince of Tides" which is based upon a very successful book by southern writer Pat Conroy, is filled with a richly layered storyline, centered around domestic abuse, traumatic childhood events, and the ghosts of certain situations that scar children and trouble them for the rest of their lives. This story could have easily been depicted as an harrowing drama, with enough grittiness but also with demonstrable hope, ultimately proving that ghosts and past traumas can be battled and overcome. However, Barbra Streisand goes for a Lifetime type of film direction and approach, focusing the story at some point more on the Lowenstein/Tom Wingo amorous relationship, as opposed to the actual core of the story, the root of all the issues that made all of those family members so dysfunctional. The material in itself required someone with a stronger point of view, since ultimately the film becomes so manicured and polished, that it looks like a Nancy Meyers film taking place in the South. It's overly manicured look and feel, ultimately rob this film and its relevant topic, of the impact that it could have, the same way it also robs the cast of delivering performances that are truly resonant. Nick Nolte manages to overcome the restraints of the sappiness, creating a character with a heart, the same going for Blythe Danner, but Streisand, Kate Nelligan and Jeroen Krabbe, have very little to do. The cinematography from the immensely talented Stephen Goldblatt is at times overly golden, but the score from James Newton Howard is effective. A somewhat forgettable endeavor.

Point Break

Movie Name: Point Break
Year of Release: 1991
Director: Kathryn Bigelow
Starring: Patrick Swayze, Keanu Reeves, Gary Busey, Lori Petty, John C. McGinley, James Le Gros, John Philbin, Bojesse Christopher, Julian Reyes, Chris Pedersen, Anthony Kiedis, Lee Tergesen
Genre: Action, Crime, Thriller
Score out of ten (whole numbers only): 6
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Synopsis and Review:

In the early 90s director Kathryn Bigelow started getting bigger budgets and started tackling projects with bigger visibility, the first being "Blue Steel" with Jamie Lee Curtis, which was followed in 1991 with "Point Break", featuring two actors who were then riding a wave of popularity, namely Patrick Swayze (fresh from the hit that was Jerry Zucker's "Ghost") and Keanu Reeves (who was coming off from Ron Howard's "Parenthood", Stephen Herek's "Bill and Ted's Excellent Adventure" and Lawrence Kasdan's "I Love You to Death"). The film follows the story of Johnny Utah, a former quarterback, now a young FBI agent who is tasked with going undercover, and discover if a group of surfers is in reality, moonlighting as a group of bank robbers who call themselves The Ex-Presidents. As Johnny gets to know these individuals, he creates a brotherly bond with Bodhi, the charismatic and somewhat new age oriented, leader of the group. He also falls in love with Tyler, who originally taught him surf and was familiar with Bodhi and his group. As Johnny uncovers the truth about the surfers, so does Bodhi about his FBI job and surveillance. What follows is a game of mouse and cat, where one man tries to catch and the other one evade its predator, until the final confrontation.
"Point Break" turned out to be a very successful film, not on the coattails of the originality of its screenplay, but primarily due to Kathryn Bigelow's  ability to bring this story to life. The director was able to quickly understand and define the universe of these characters, perfectly depicting their communion with nature, and their rebellion against institutions, while also depicting Johnny Utah's quest, his perseverance to do the right thing, against all odds. Even if the characters didn't have much depth to them, Kathryn Bigelow managed to visually create a film that is enticing, riveting and filled with beautiful shots that have since at times attempted to be copied, but never quite with the quality of what is seen here. It's a muscular thriller, with a strong sense of rhythm, that perfectly captures these two individuals on a collision course. Patrick Swayze and Keanu Reeves were both well cast, and find characters that while not exactly a stretch, allows them to bring their uniqueness to the roles, the same going for the colorful Gary Busey. The cinematography from Donald Peterman is stunning as is the score of the underrated Mark Isham. A good film from a very talented film maker. 

Naked Lunch

Movie Name: Naked Lunch
Year of Release: 1991
Director: David Cronenberg
Starring: Peter Weller, Judy Davis, Ian Holm, Julian Sands, Roy Scheider, Monique Mercure, Nicholas Campbell, Michael Zelniker, Robert A. Silverman, Joseph Scoren, Peter Boretski
Genre: Drama
Score out of ten (whole numbers only): 7
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Synopsis and Review:

Acclaimed director David Cronenberg followed one of his most well received films, "Dead Ringers", with an adaptation of William S. Burroughs' novel of the same name. The narrative focuses on the story of Bill Lee, a writer who is making a living by exterminating bugs. The powder Bill uses for the extermination is highly addictive, having seduced his wife into a constant usage, the same going for Bill. The powder creates hallucinations, one of them making Bill believe the typewriters are these huge talking cockroaches, who tell him to kill Joan his wife (according to the cockroach, she is an enemy agent). That does end up happening, due to an unfortunate accident. Bill finds himself in the Interzone, in North Africa, where he again meets a variety of characters, including Dr. Benway, Tom and his wife Joan Frost, a doppelganger for his deceased wife. Once again his hallucinations manifest themselves, with other talking cockroaches and people who may actually be monstrous centipedes involved. Bill has to navigate these murky waters and somehow flee the Interzone towards Annexia. 
"Naked Lunch" is a film adaptation that mixes elements from the novel with other elements from the life of its writer, William S. Burroughs. The novel had long been considered impossible to adapt, due to its surrealism, drug usage and gay overtones, but David Cronenberg somehow manages to digest it into something quite interesting and still very much in line with his own universe. In his capable hands and unique point of view, this film becomes a story about someone experiencing mind/reality altering situations, in a way, constantly shifting his perception of what bodies, sex and gender actually are. The surreal tones are peppered throughout the film, as are the ties with the life of Burroughs, which includes the episodes that showcase his friendship with writers Jack Kerouac and Allen Ginsberg. It's a film that has a non linear approach to itself, due to the larger than life aspect of its characters, but it's nonetheless visually compelling and finely acted, with great performances from Peter Weller, Judy Davis, Ian Holm and Roy Scheider. The cinematography from Peter Suschitzky is impeccable as is the score from Howard Shore. A very interesting film from a phenomenal director. 

The Naked Gun 21/2: The Smell of Fear

Movie Name: The Naked Gun 21/2: The Smell of Fear
Year of Release: 1991
Director: David Zucker
Starring: Leslie Nielsen, Priscilla Presley, George Kennedy, Robert Goulet, Richard Griffiths, Jacqueline Brooks, Anthony James, Lloyd Bochner, Tim O'Connor, Peter Mark Richman
Genre: Comedy
Score out of ten (whole numbers only): 6
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Synopsis and Review:

Following the well received "The Naked Gun", director David Zucker again collaborated with writer Pat Proft, to make this irreverent sequel, using the characters from the wonderful and underrated tv show, "Police Squad" (which hailed from the creative minds of David Zucker, Jerry Zucker and Jim Abrahams, which lasted 6 episodes in 1982, before being cancelled). The film finds Frank Drebin being honored at the White House for heroic achievements. Frank who separated from Jane, runs into her once again when there's a terrorist attack, and she is one of the surviving witnesses. Unbeknownst to both Frank and Jane, there's a conspiracy being devised, hailing from figureheads associated with the Oil industry, who want to prevent a consulting scientist to the President, to announce recyclable alternatives as the energy investment to tackle for the government. One of these figureheads is the man Jane is currently dating. It's up to Frank and his team to uncover this massive plot and once again, save the nation.
Coincidentally "The Naked Gun 2" came out the same year as "Hot Shots", the latter being another feature from the mind of Jim Abrahams and writer Pat Proft. "The Naked Gun" obviously made a mark and continued to do so in this sequel, as a direct heir from the work of the short lived TV Show created by the trio collectively known as ZAZ, but also and foremost, as a direct descendant of the classic "Airplane". What's always been a testament to David Zucker's mind and ability, is how even subverting the tropes of different genres, in what can be considered a spoof, he always embeds it with a sense of rigor that most other spoofs can't even comprehend. His films, much like this one, never rely on vile or excessively crude jokes, always aiming for a type of humor that is derived from situations and parodies, and not cruelty or scatological type of humor. As always his films are perfectly cast, with Leslie Nielsen once again proving to be the perfect blend of nonsense and dashing, Priscilla Presley and George Kennedy rounding out the trio of central performances. This film touches on relevant points, topics important then as now, but does so without taking anything or anyone very seriously. It's an entertaining, breezy film worth watching. 

Little Man Tate

Movie Name: Little Man Tate
Year of Release: 1991
Director: Jodie Foster
Starring: Jodie Foster, Dianne Weist, Adam Hann-Byrd, Harry Connick Jr., David Hyde Pierce, Debi Mazar, Celia Weston, George Plimpton, Josh Mostel, Bob Balaban
Genre: Drama
Score out of ten (whole numbers only): 7
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Synopsis and Review:

The same year that saw the release of one of her most iconic film roles, Jodie Foster also made her feature directorial debut with "Little Man Tate". The film follows the story of Fred, a young boy with amazing intellectual abilities, who lives with his young single parent mother in New York. His mother Dede is a waitress, and upon noticing his capabilities, allows with some reticence, for him to enroll in a school for the gifted, run by a former child prodigy herself, and now a psychologist, Jane Grierson. While Fred starts socializing a bit more, with both the joys and letdowns that derive from it, he also realizes ultimately where his heart is.
"Little Man Tate" was originally a project to be directed by celebrated director Joe Dante, who ended up vacating the project, allowing Jodie Foster to make her directorial debut. It's a film centered around a character who is clearly intelligent, sensitive and gifted, and yet somehow at odds with the world. The narrative positions itself as if the world doesn't really understand what to do with this unique set of characteristics from the central character. It's a topic that has surfaced in other films throughout Jodie Foster's career as a director, namely "Home for the Holidays" and even "The Beaver". One of the most rewarding aspects of this film, is the quiet assurance and easiness that comes across from all the actors in the situations that Jodie Foster captures so well. She manages to create this universe, filtered through the eyes of a gifted child, who yearns to be loved, accepted and just be part of everything. All the central performances make this film a treasure to be watched, with Foster, Dianne Weist, Adam Hann-Byrd and Harry Connick Jr., all successfully creating more than just two dimensional archetypes. The cinematography from Mike Southon is effective as is the jazzy score from Mark Isham. A great directorial debut from a terrific actor/director.

Get Carter

Movie Name: Get Carter
Year of Release: 1971
Director: Mike Hodges
Starring: Michael Caine, Ian Hendry, John Osborne, Alun Armstrong, George Sewell, Britt Ekland, Dorothy White, Geraldine Moffat, Rosemarie Dunham, Bryan Mosley, Glynn Edwards, Bernard Hepton
Genre: Crime, Thriller
Score out of ten (whole numbers only): 7
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Synopsis and Review:

After a career started in Television (much like many celebrated British film directors, such as Stephen Frears, Michael Apted and Alan Parker), director Mike Hodges ventured into feature film making with "Get Carter", an adaptation of the book by Ted Lewis. The film follows the story of Jack Carter, a lethal London-based gangster, who goes back to Newcastle, to attend his brother's funeral. He suspects that his brother's death was not accidental, and starts investigating in order to get to the bottom of things. His niece is in shambles, but he manages to start uncovering the workings of the criminal life of Newcastle, and slowly starts peeling away of what has truly occurred, not stopping at anything to get what he wants. What he uncovers is a shocking revelation which sets him on a path of vengeance with no stop.
"Get Carter", much like William Friedkin's "The French Connection", which also made its debut in 1971, would capitalize on a fresh perspective on the world of crime - gone were the glamour or humor driven views of the seedy underbelly, replaced instead with a more dramatic and visceral view of that reality. Both films went in the direction of a grittier, more violent and ultimately, realistic of that lifestyle, with all that it comes with it (including violence, death, greed). "Get Carter" and director Mike Hodges, manage to capture the reality of Newcastle impeccably, grim and grey, with Jack Carter aiding to this portrait, since he is the narrator, one who takes us through his views of the investigation, while also allowing us to view the city through his eyes, a city he had long left behind (the same going for people he pushed aside, in order to become the person he now is). Michael Caine dominates the film with a performance that goes from charming to lethal fairly quickly. He's charismatic, brutal, funny and fearless, all of which make this character unforgettable. The supporting cast is equally effective in their brief depictions. A solid film always worth revisiting. 

Once Upon a Time in Hollywood

Movie Name: Once Upon a Time in Hollywood
Year of Release: 2019
Director: Quentin Tarantino
Starring: Leonardo DiCaprio, Brad Pitt, Margot Robbie, Al Pacino, Emile Hirsch, Margaret Qualley, Timothy Olyphant, Julia Butters, Austin Butler, Dakota Fanning, Bruce Dern, Kurt Russell, Damian Lewis, Nicholas Hammond, Luke Perry, Maya Hawke, Lena Dunham, Scott McNairy, Rumer Willis, Rebecca Gayheart, Zoe Bell, James Remar, Michael Madsen, Perla Haney-Jardine
Genre: Drama
Score out of ten (whole numbers only): 6
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Synopsis and Review:

Quentin Tarantino is back, 4 years after the release of "The Hateful Eight". Where his previous film was a lengthy chamber piece with a series of despicable characters, "Once Upon a Time in Hollywood" is a view/homage of life in Hollywood at the end of the 60s, distilled through the director's sensibility. The film focuses on Rick Dalton, a character modeled after Clint Eastwood's career. We find him in 1969, following a successful run on TV, playing a cowboy/lead on a TV show which has given him plenty of exposure and fame. Rick meets with a successful producer who wants to cast him in a series of Italian features, where once again he can be the lead star, starting with some spaghetti westerns. Rick overdrinks, oversmokes, and his sole friend is his constant and loyal stuntman, Cliff Booth, a handsome, charming man, who has a somewhat colorful past. Cliff has remained best friends with Rick through trials and tribulations, and has a very low profile, easy going vibe, which draws him to a group of hippies (under the mentorship of Charles Manson) living in what used to be a set for cowboy films. Rick lives on the Hollywood Hills, surrounded by well known neighbors, such as Roman Polanski and Sharon Tate who is just now starting her path to fame. As Rick, Cliff and Rick's new wife return from their Italian experience, they're all in for more than they expected.
"Once Upon a Time in Hollywood" is, unlike Tarantino's previous films, looser and scope and narrative. Though the film focuses on the story of Rick Dalton, and his relationship with his best friend Cliff, there's not much advanced in terms of who Rick, or for that matter Cliff, really are. The film cuts a slice of what life in Hollywood was in 1969, and provides insight into the life of an actor trying to find his bearings, someone who feels precociously aged and out of sync with the life/career he aimed to live and have. The film also has a series of supporting characters who show up, all aiming to create a more diverse universe, one where hippies, cults and their followers co-exist without much friction. What is the most fantastic thing about the film, its fluid style and seemingly ease by which the story gets told, is also its downfall: there really isn't that much to tell. As much as Rick's fascinating character and life may be, and Leonardo DiCaprio brings him to life impeccably, as a mixture of loneliness, fear, excitement, insecurities, alcoholism, all bottled to amazing dysfunction, the film veers off into other plot lines, such as Cliff's encounter with the cult (which basically goes nowhere) or even Sharon Tate's, both of which are inconsequential, lack insight or generally feel underdeveloped or superficially looked at. The film is indeed a postcard to a bygone era, but much like postcards, it's up to the viewer to make the story or imagine what has happened in that postcard. Robert Richardson's cinematography is phenomenal, and Leonardo DiCaprio and Brad Pitt, make this film worth watching, but this lacks the punch or visceral response that Tarantino's previous films caused. 

A Vigilante

Movie Name: A Vigilante
Year of Release: 2018
Director: Sarah Daggar-Nickson
Starring: Olivia Wilde, Morgan Spector, Kyle Catlett, Tonye Patano, Betsy Aidem, Judy Marte, C.J. Wilson, Chuck Cooper
Genre: Drama, Mystery
Score out of ten (whole numbers only): 4
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Synopsis and Review:

Following a few shorts, "A Vigilante" is Sarah Daggar-Nickson's feature directorial debut. The film follows the story of Sadie, a woman who helps women (mostly but not exclusively) escape domestic abuse situations. She lives precariously in motels, where she trains incessantly and has some devastating breakdowns. Through a series of flashbacks, we witness Sadie's heartbreaking story and how she eventually escaped her own devastating abuse story, embodied by her violent husband. 
"A Vigilante" is a film filled with good intentions, showcasing a topic deserving of all attention possible, domestic abuse. It's also a film that capitalizes on what Patty Jenkins did with the complicity of Charlize Theron on "Monster": showcase through grittiness and as much realism as possible, the devastating effects that some brutal events have on women's lives. However where "Monster" succeeded in creating a universe and populating it with characters, "A Vigilante" is comprised of snapshots that never provide much insight into Sadie's plight, who she was and ultimately her sudden transition into the vigilante that we find her as. Olivia Wilde tries her hardest to make Sadie believable, someone living with unbearable pain and ghosts, but there's a hollowness to her performance, something that lacks substance and dimension - she forgets that in order to showcase pain, you have to draw a path that demonstrates an evolution of a person/character. Unlike Charlize Theron who loses herself in Aileen Wuornos, Olivia Wilde's performance is a more calculated one and one note, while the supporting characters are sketches and barely defined (including her ex husband, the catalyst for the situation she's in). There are glimpses of possibility, but it's a film that could benefit from a stronger point of view. Forgettable.

The Midnight Meat Train

Movie Name: The Midnight Meat Train
Year of Release: 2008
Director: Ryuhei Kitamura
Starring: Bradley Cooper, Leslie Bibb, Vinnie Jones, Brooke Shields, Roger Bart, Tony Curran, Peter Jacobson
Genre: Horror, Mystery
Score out of ten (whole numbers only): 5
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Synopsis and Review:

Japanese director Ryuhei Kitamura followed a prolific directorial career in Japan, with "The Midnight Meat Train", an adaptation of Clive Barker's short story with the same title. The film follows the story of Leon, a photographer trying to build a career in New York. He lives with his girlfriend, the loving and supportive Maya, who is a waitress. While capturing enticing and gritty photos, Leon is drawn to a man leaving the subway station, impeccably suited, very late in the night. He starts following this oddly striking man, and discovers he is a butcher. As he probes deeper, he discovers that the man is actually a serial killer who kills people on a train carriage, after midnight. Leon becomes a target for the killer, and when Maya and their friend Jurgis try to help, they both get tangled in a gruesome scenario that goes beyond all that they originally envisioned.
"The Midnight Meat Train" holds a lot of Clive Barker's story trademarks, namely the progressive evolution of a seemingly normal situation to something menacing and supernatural. This film and its director capture the life of the young couple at the center of the story successfully, even if a bit generically, but as Leon's obsession grows, and as the gruesomeness of the deaths escalates, the film takes a very dark and graphic turn, that also turns out to be the least interesting element about it. The final revelation of the film is once again gratuitous, failing to capture the suspenseful thread that it had built throughout the narrative. The film could have been more successful through suggestion, rather than through exposition that is both literal and limiting. The cast tries to embed these characters with as much dimension as possible, but in the end only Bradley Cooper and Vinnie Jones actually create memorable characters: one showcasing the descent into a dark valley of horror and the other, by communicating menace with physical glances and an imposing physical presence. The cinematography from Jonathan Sela is cold and menacing, as is the score from Johannes Kobilke and Robb Williamson. A film that could have benefited from more subtlety, but nonetheless worth watching.