Blue Velvet

Movie Name: Blue Velvet
Year of Release: 1986
Director: David Lynch
Starring: Kyle MacLachlan, Isabella Rosselini, Dennis Hopper, Laura Dern, Hope Lange, Dean Stockwell, Jack Nance, Priscilla Pointer, Frances Bay, Brad Dourif, Jack Harvey, Ken Stovitz, J. Michael Hunter, Dick Green
Genre: Action, Adventure, Sci-Fi
Score out of ten (whole numbers only): 9
Watch it on Amazon

Synopsis and Review:

Following the challenging "Dune" project, David Lynch finally had the opportunity to tackle one of his original scripts, with enough budget (his feature directorial debut, "Eraserhead" for instance, was shot for $10,000 as it has been reported). The film follows the story of Jeffrey Beaumont, a college student who comes back home to the small town of Lumberton, following a serious health issue his father experiences. On his way to visit his father in the hospital, and while going across a field, he discovers a severed human ear. After reporting the situation to the police, he strikes a friendly relationship with the lead detective, and upon visiting him and his family at his home, he also becomes close to the detective's daughter, Sandy. Through her, he learns that the case tied with the severed ear involves a nightclub singer by the name Dorothy Vallens. Jeffrey and Sandy start investigating on their own, eventually following Dorothy to her apartment, eventually finding ways to interact with her without raising much suspicion. As Jeffrey infiltrates Dorothy's apartment to uncover more clues, he witnesses a man by the name of Frank coming in and abusing Dorothy. From that moment on they all embark on a dark journey, which reveals a lot more about the life in Lumberton that they never thought was possible.

"Blue Velvet" in a way set the stage for all that "Twin Peaks" became. It's a film that demonstrates that behind the seemingly serene and all too perfect life of a small town and suburbia, there's all sorts of extreme behaviors taking place, including ones that are potentially fatal. It's a film that really explores the underbelly of the Norman Rockwell idolized American way of life, demonstrating that there is a darkness which pervades life in general. David Lynch manages to progressively build a sense of unease as the narrative unfolds, from the early on unexpected seizure Mr. Beaumont experiences, until that seedy, surreal, erotic and violent underbelly explodes when Dennis Hopper's Frank is introduced on screen. It's a film that manages to present itself as a somewhat typical detective story, only to rapidly descend into territories that include trauma, assault, violence, sexual abuse, all within a seemingly innocent small town. This film truly demonstrated the power behind David Lynch's vision, with his multitude of influences, including visual art, music choices and even his always detailed attention to sound design. The cast is also uniformly fantastic and memorable, including the Lynch troupe members, Kyle MacLachlan, Jack Nance and Laura Dern, with great support from the remainder of the cast, including the fantastic Isabella Rosselini, Dennis Hopper, Dean Stockwell, Hope Lance and Brad Dourif. The cinematography from Frederick Elmes is stunning as is the score from David Lynch's usual collaborator, Angelo Badalamenti. A classic film always worth revisiting, from one of the most unique voices in cinema. 

Looking - The Movie

Movie Name: Looking
Year of Release: 2016

Directors: Andrew Haigh

Stars: Jonathan Groff, Murray Bartlett, Frankie J. Alvarez, Lauren Weedman, Russell Tovey, Raul Castillo, O-T Fagbenle, Daniel Franzese, Bashir Salahuddin, Chris Perfetti, Michael Hsu Rosen, Derek Phillips, Tyne Daly, Jennifer Foster, Christopher Michael Holley, Cleve Jones, Suilma Rodriguez

Genre: Drama, Romance, Comedy

Score out of ten (whole numbers only): 7
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Synopsis and Review:

After HBO cancelled the show, and left the fate of its characters up in the air, the creators had an opportunity to revisit the characters and the microcosms of "Looking" for a feature. The film finds Patrick returning to San Francisco, following the events that took place at the end of season 2. He has been living in Denver, and returns for Agustin's wedding to Eddie. Upon his return he is reunited with his best friends, with Dom thriving in his business, yet fearful of opening himself to a possible relationship. Agustin is, as usual, having all sorts of fears, with his tendency of sabotaging his endeavors looming large, particularly as he now has an opportunity to be truly happy. Patrick seizes the opportunity to reconnect with Richie, who is still involved with Brady. While in San Francisco Patrick also decides to reach out to Kevin, in the hopes of closing that chapter and possibly salvage a friendship, but after a candid discussion with him, comes to terms with a series of realizations, and a possible job offer. As the wedding is about to take place, Patrick starts realizing that running away from problems doesn't solve anything, and that San Francisco, his friends, Richie, and all he apparently left behind, is possibly where is heart truly belongs.

"Looking - The Movie" is a fitting epilogue to the lives of these characters and their challenges. It's very much a fitting way to send them off, having witnessed how they matured and became more aware of who they actually are. The film has much of the traits that have made Andrew Haigh such an acclaimed director, namely being able to capture brief and intimate moments between characters, making those situations feel real and authentic. In the film, Patrick, the catalyst for the "Looking" narrative, who basically left the city in order to avoid confrontation, emotional turmoil and the responsibilities of handling a challenging relationship, returns to the city which in a way, is almost the 4 main friend to this group. His return doesn't work as a manicured trimming of narrative threads: it mostly emphasizes the growth those characters are still experiencing, and how these friendships inform and nurture who these characters actually are. It's a film that once again captures the warmth, humor, and complicity between this group of characters. Jonathan Groff, Murray Bartlett, Lauren Weedman, Russell Tovey, Daniel Franzese and Tyle Daly, all create memorable characters, and provide heart and humor to the narrative. Much like the show, it's a feature well worth watching, from a wonderful writer/director. 

Looking

TV Show Name: Looking
Year of Release: 2014, 2015

Creators: Michael Lannan

Directors: Andrew Haigh, Jamie Babbit, Ryan Fleck, Joe Swanberg, Craig Johnson

Stars: Jonathan Groff, Murray Bartlett, Frankie J. Alvarez, Lauren Weedman, Russell Tovey, Raul Castillo, Andrew Law, O-T Fagbenle, Daniel Franzese, Scott Bakula, Bashir Salahuddin, Joe Williamson, Chris Perfetti, T.J. Linnard, Matthew Risch, Amy York Rubin, Kelli Garner, Julia Duffy, Ann Magnuson, Scott Evans

Genre: Drama, Romance, Comedy

Score out of ten (whole numbers only): 7
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Synopsis and Review: 

"Looking" made its debut on HBO in 2014, and it's a result of the marriage of the penmanship of its creator, Michael Lannan, and also of the fantastic Andrew Haigh, who is one of its main directors, producers and writers. Haigh of course is well know for his features "Weekend", "45 Years" and "Lean on Pete", all of which have been met with terrific reviews and an array of accolades. "Looking", during its two seasons, follows the entwined narrative of three gay best friends in San Francisco. The trio is comprised of Patrick, who is the center of the show, a young man originally from Denver, who works as a game designer. He's inexperienced when it comes to relationships, and during the course of the show's narrative, gets involved with Richie, a young stylist who is looking to fall in love, and not fall prey to the allure of the hookup. He also gets mixed with Kevin, a British expatriate, who turns out to be his boss, and who has a partner of his own. The trio is also comprised of Dom, who turns 40 during the narrative, and who we initially meet waiting on tables. He has a dream of starting his own restaurant, selling a Portuguese style of chicken. He has lived most of his adult life with his best friend, Doris, a nurse. Dom gets to experience some advice from an experienced man whom he dates for a while, though the relationship goes nowhere, whereas Doris meets someone who changes her life profoundly. The final axis of the trio is Agustin. He's a wannabe artist, who initially moves in with his longtime partner, but who perpetually sabotages himself, and the relationship, never allowing himself to move forward with his life. After almost destroying his life, he finds meaning and someone in Eddie, who forces him to face his own drama and fears. This microcosms of characters, and their entwined lives, navigate the challenging world of modern relationships, in a city with such a profound history regarding gay rights, as San Francisco obviously is.

What has always been a rewarding aspect about Andrew Haigh's work, aside from his beautiful stylistic approach to everything he captures, among many other admirable traits to his work, is of course, how he manages to capture relationships and intimacy between his characters. In all of his features, there's a profound sense of authenticity in the relationships he captures between the main characters, be it the central character in "Weekend", or the couple who has been married for quite some time in "45 Years". "Looking" falls under the same mantle. The show manages to capture the intimacy, camaraderie and sense of friendship shared by these three men (and to a certain extent, with Doris, when it comes to Dom's relationships), of different generations, all trying to cope with their views of the world and relationships. Though the narrative hits some clichés in terms of dating in the time of apps, and cruising for instant satisfaction in clubs & bars, it's a show that aims to look beyond that superficiality, and allow for the characters to be closer to reality. What makes this show a rewarding watch, is ultimately how it portrays its characters with warmth and without judgement, demonstrating how flawed everyone ultimately is, and how they look to each other for support and make their lives better. The cast is filled with wonderful performances, particularly the ones from Jonathan Groff, Murray Bartlett, Lauren Weedman, Russell Tovey and Daniel Franzese, all of whom bring dimension and authenticity to what they're going through. The cinematography from Reed Morano on season 1 and Xavier Grobet on season 2 is impeccable, as is the score from David Stone Hamilton. A very good show worth watching.

Dune

Movie Name: Dune
Year of Release: 1984
Director: David Lynch
Starring: Kyle MacLachlan, Francesca Annis, Everett McGill, Kenneth McMillan, Sian Phillips, Sean Young, Richard Jordan, Dean Stockwell, Patrick Stewart, Max Von Sydow, Silvana Mangano, Jose Ferrer, Alicia Witt, Linda Hunt, Virginia Madsen, Freddie Jones, Sting, Brad Dourif, Jack Nance, Jurgen Prochnow, Leonardo Cimino, Paul Smith, Judd Omen
Genre: Action, Adventure, Sci-Fi
Score out of ten (whole numbers only): 6
Watch it on Amazon

Synopsis and Review:

Artist and Director David Lynch followed his celebrated "The Elephant Man", with the adaptation of the cult novel "Dune" by Frank Herbert. The shooting and post production of this film have been widely reported and discussed, and to this day, David Lynch doesn't acknowledge the final product as a film of his own, due to many of the forced edits and compromises the studio and financiers forced upon him. The film takes place in the year 10191, when all planets of the known Universe are under the command of an Emperor. The most important commodity during these times is a Spice "Melange" which has the power to extend life, expand consciousness among other powers. The spice originates from the desert planet of Arrakis, also known as Dune. This planet is inhabited by a tribe known as Fremen, and by giant worms which protect the harvesting of the spice. The tribe has a prophecy of a man who will lead them to freedom. The interest in controlling the Spice has many realms playing political games. Two families in particular, the Atreides and the Harkonnens, fight one another for sole control of the Melange mining operations. The Atreides family is betrayed and falls prey to the Harkonnens, however the oldest son Paul, and his mother Lady Jessica, manage to flee, due to their telepathic powers. As they find unexpected allies in the Fremen, Paul emerges as their leader and the savior they've long prophesied. 

"Dune" is the first tome in a series of 6 written by Frank Herbert, with the first one having originally been published in 1965. It's a complex tale of politics, power, rivalries, faith, families, with multiple players all aiming to control the Spice and ultimately gaining power over the entire Universe. David Lynch manages to capture much of the spirit of the novel, and his visual style and unique point of view, still come across in the way he defines some of the key players in the narrative, particular the Harkonnens and the Atreides families. The film falters in such aspects as introducing many characters and sub-plots, which appear and suddenly are never accounted for again, while the characterization of some characters is very limited, lacking dimension to make them more visible and ultimately impactful. Ultimately it's a film with such a rich source to work with, and for the most part, David Lynch is successful in establishing that Universe. Sadly all the narrations to explain and propel the narrative forward, fail to capture the richness of what the film should really be about, and the characters for the most part are simply too unidimensional. The cast tries their best with their material, with Kyle MacLachlan, Francesca Annis, Sian Phillips, Kenneth McMillan and Patrick Stewart, all creating memorable performances. The cinematography from the late Freddie Francis is fantastic, as is the production design from Anthony Masters. While not on par with the excellence of most of his films, this is still a feature worth watching and enjoying, from a truly unique voice in cinema. 

Places in the Heart

Movie Name: Places in the Heart
Year of Release: 1984
Director: Robert Benton
Starring: Sally Field, John Malkovich, Lindsay Crouse, Danny Glover, Ed Harris, Amy Madigan, Yankton Hatten, Gennie James, Terry O'Quinn, Lane Smith, Ray Baker, Jay Patterson, Bert Remsen, De'voreaux White
Genre: Drama
Score out of ten (whole numbers only): 7
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Synopsis and Review:

Writer/Producer/Director Robert Benton, may not have had a very prolific career thus far, but his directorial efforts have been peppered with very interesting and for the most part, well received films. Following his successful "Kramer vs. Kramer", and the not so very critically praised "Still of the Night", the director got back in the spotlight with "Places in the Heart" which went on to win several accolades and be nominated for many more. The film follows the story of Edna Spalding, a wife to a sheriff in a small town in the South, during the 1940s. She suddenly sees herself in the precarious situation of being a widower with bills to pay and two small children to raise, following an unfortunate accident where her husband gets shot and is instantly killed. Edna hasn't much money in the bank, has a mortgage payment due on her farm and house, and her sister Margaret sadly, can't do much to help her either. Edna decides to take upon the offer of a day laborer, who suggests that they can have a cotton plantation, which will satisfy her money woes. She also sees herself in the situation of being a landlord of sorts, when she's forced to take a resident in her house, which comes in the shape of Mr. Will, a blind war veteran, whom the bank manager imposes on her. This group of individuals unite all with the sole purpose of making sure Edna manages to save her farm and keep her family together.

Robert Benton is well known for making films that are essentially character studies. Films where ordinary, every day characters are forced to deal with traumatic events, and eventually surpass them or learn to live with them. In the case of "Places in the Heart", the film tackles the tribulations of a woman suddenly having to fend for herself and her children, at times where women didn't have many options. It's of course a distilled version of what those tribulations were, but the film does try to tackle issues such as women's emancipation and racism. What has always been interesting about Robert Benton's films is the fact that he allows for his characters to have distinct energies and conflicts, ultimately becoming more than clichés. However his films always stop short of giving a sense of rawness or for that matter, to authentically capture the ordeals and messiness of those same characters. Nonetheless "Places in the Heart" manages to succinctly capture a moment in time, where the challenges for minorities were colossal, and where the iron will of this woman and her persistence managed to keep her afloat. The cast is uniformly fantastic, with Sally Field, John Malkovich, Lindsay Crouse and Danny Glover all creating memorable and heartfelt characters. The cinematography from the late Nestor Almendros is stunning as is the score from John Kander. Worth watching. 

Raising Arizona

Movie Name: Raising Arizona
Year of Release: 1987
Director: Joel Coen, Ethan Coen
Starring: Nicolas Cage, Holly Hunter, John Goodman, William Forsythe, Trey Wilson, Randall Tex Cobb, Frances McDormand, Sam McMurray, M. Emmet Walsh, Lynne Kitei, Peter Benedek, Warren Keith
Genre: Comedy
Score out of ten (whole numbers only): 7
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Synopsis and Review:

After making a splash with their feature directorial debut, "Blood Simple", the Coen brothers followed up that auspicious beginning with the comedy "Raising Arizona". The film follows the story of H.I. McDunnough and his wife Edwina, who goes by the name Ed. H.I. is a petty criminal and Ed is a police officer, and they meet when he's being detained. After being detained quite a few times and eventually paroled, he gets the courage to propose to Ed, and they soon marry. As H.I. settles into suburbia and a calm married life, they decide to have a child. Sadly, Ed is barren, throwing their plans and peaceful existence into disarray. They're crushed by that unfortunate development, until while watching the news, they witness the extraordinary event that a family in Arizona has had quintuplets. Wasting no time, they both decide to take one of the babies for themselves, since they figure the family already has plenty to keep them busy. That's the beginning of a series of events which will put their relationship and their own lives to the test.

"Raising Arizona" is a deliciously over the top comedy, one that feels at times much like a Tex Avery cartoon. It's a film where reality is a jumping point to this universe where these characters live, where most criminals do have a heart of gold, and really awful ones go up in smokes. The directors manage to populate the narrative with a rhythm that is relentless, taking their characters (and the viewers), on an intense journey, one that is realization, but also one that is peppered with great humor. It's a film that quickly establishes the characters and their motivations (though the supporting ones are quite threadbare in terms of dimension), with the sole purpose of keeping the narrative going towards that finish line/epilogue. The cast is phenomenal, bringing all these colorful characters to life, with Nicolas Cage brilliantly leading everyone, with great support from Holly Hunter, John Goodman, William Forsythe, Frances McDormand and Sam McMurray. The camera work from Barry Sonnenfeld, while very influenced by Sam Raimi's "Evil Dead", is tremendous, as is the score from Carter Burwell. One of the Coen brothers best films, always worth revisiting.  

Radio Days

Movie Name: Radio Days
Year of Release: 1987
Director: Woody Allen
Starring: Julie Kavner, Dianne Wiest, Michael Tucker, Josh Mostel, Mia Farrow, Seth Green, Wallace Shawn, Larry David, Todd Field, Danny Aiello, Diane Keaton, Jeff Daniels, Tony Roberts, Robert Joy, Rebecca Schaeffer, Rebecca Nickels, Richard Portnow
Genre: Comedy
Score out of ten (whole numbers only): 7
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Synopsis and Review:

"Radio Days" was the first release of 1987 for Woody Allen, which would be followed by "September" later that year. It was of course preceded by the immensely lauded and popular "Hannah and Her Sisters". "Radio Days" is largely an autobiographical picture, following the life of the narrator when he was at a young age, between 1938 and 1944. At the time Joe, the young boy at the center of the narrative, is of course living with his parents, aunts, uncle, grandparents, in a single family in Queens. The film goes on to detail different episodes Joe witnesses, either taking place around the household, or events related to radio shows he listens with his family. Some of these episodes involves his aunt Bea, and in particular her quest to find a nice man to marry. She goes out with a series of individuals, who for some reason always end up not working. In parallel, there are episodes focused on the Radio Shows, notably the "Masked Avenger", but also others describing the ascension to fame of Sally White, who starts as a cigar girl. It's a film that compiles a series of memories of growing up in the 40s, surrounded by classic Radio shows.

"Radio Days" is both a heartfelt homage to the days of the serials on radio, where people would collectively stop what they were doing, in order to listen to their broadcasts, but also a chance for Woody Allen to revisit some of his earlier memories of growing up in Queens, surrounded by an eclectic family. The film has a nostalgic and heartfelt aspect to it, almost organized as a series of vignettes edited together. The characters that populate this film are for the most part, defined in very broad strokes, but the film manages to capture the emotion, innocence and enthusiasm of people listening to radio, and dreaming of better and far more lavish lives. It's one of Woody Allen's films with a more heartfelt approach towards his own family, with all the characters ultimately exhibiting the biting satire one expects from him, but also displaying heart and sentiment, which makes this film a fitting tribute to them, but also to a time that has gone by. The nostalgia for the entertainment of the 30s/40s is also demonstrated by some of the episodes detailing the making of some of the Radio shows, and the one involving Mia Farrow's character, which is hilariously brought to life. It's definitely a unique film in Woody Allen's body of work, but one worth watching, featuring the wonderful cinematography from Carlo Di Palma, and a great ensemble of actors, most of whom are habituals in Allen's films, including Julie Kavner, Michael Tucker, Josh Mostel, Dianne Wiest, Mia Farrow, Tony Roberts and Wallace Shawn. Worth watching.

The Long Kiss Goodnight

Movie Name: The Long Kiss Goodnight
Year of Release: 1996
Director: Renny Harlin
Starring: Geena Davis, Samuel L. Jackson, Craig Bierko, David Morse, Brian Cox, Yvonne Zima, Tom Amandes, Patrick Malahide, Joseph McKenna, Melina Kanakaredes, Dan Warry-Smith, Rex Linn
Genre: Action, Crime, Drama
Score out of ten (whole numbers only): 3
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Synopsis and Review:

The debacle of "Cutthroat Island" which premiered in 1995, left the creative team of Renny Harlin and Geena Davis, at the time a married couple with their own producing company, in dire need of figuring out what to do next. That came in the shape of Shane Black's "The Long Kiss Goodnight" script, which at the time was sold for a hefty sum. The film follows the story of Samantha Caine, a school teacher who lives in a small town alongside her young daughter and boyfriend. Samantha has no recollection of her life prior to when she was discovered 8 years ago on a New Jersey shore, pregnant with her young daughter Caitlin. She's hired a series of investigators throughout the years to discover who she was, the most recent of them being Mitch. During the Christmas Holiday, she's involved in a car accident, suffers a concussion, which in turn sparks some memories of her past. Her home is soon invaded by a criminal with ties to her past, to which she responds lethally, surprising even her. She decides to research more about her past with the assistance of Mitch, and as they embark on that journey, they eventually uncover Samantha's real name, occupation, a very sinister plot involving government agents and a series of individuals all bent on making sure that her disappearance is permanent.

Renny Harlin enjoyed a blooming directorial career in the early 90s, particularly in the action films arena. "Die Hard 2" and "Cliffhanger" were his initial calls to fame, though he also briefly worked on "Alien 3", before moving on from that project. "Cutthroat Island" was a big debacle for him and also Geena Davis, and "The Long Kiss Goodnight" was their hopeful chance to reinstate them as creative powerhouses. The film ultimately fails to capitalize on what has become a trademark for Shane Black's best projects: intelligently devised plot married with a cracking sense of humor (something he showcased in the wonderful "Kiss Kiss Bang Bang" and also "The Nice Guys"). This film has Geena Davis as the nerdy schoolteacher, who turns out to be a resourceful and "edgy" secret agent, with a comedic sidekick in the shape of Samuel L. Jackson, both of whom have to team up and face off some nefarious individuals, led by an ex lover of Geena Davis's character. The film lacks a lot of the energy which is usually associated with Shane Black's scripts, save for Samuel L. Jackson's character. Both personalities of the central character are simply a bunch of clichés tied together, whereas the supporting characters, including the main villain, have little to no dimension. The film ends up relying on the action set pieces to somehow make an impact, but even the stunts feel cheaply executed, lacking some of the polish one can expect from films hailing from John McTiernan in the 80s and 90s or Chad Stahelski/David Leitch more recently, to name but a few. The cast for the most part does what they can, with the fantastic Brian Cox having very little bandwidth to showcase his range, the same going for David Morse. Samuel L. Jackson ends up being the most riveting presence throughout the entire film. The cinematography from Guillermo Navarro is excellent, as is the score from the always reliable Alan Silvestri. Ultimately it just fails to resonate. 

Sexy Beast

Movie Name: Sexy Beast
Year of Release: 2000
Director: Jonathan Glazer
Starring: Ray Winstone, Ben Kingsley, Ian McShane, Amanda Redman, James Fox, Cavan Kendall, Julianne White, Alvaro Monje, Robert Atiko
Genre: Drama
Score out of ten (whole numbers only): 7
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Synopsis and Review:

Director Jonathan Glazer made a name for himself in the 90s with a series of superbly crafted music videos for bands such as Radiohead, Massive Attack, Blur and Nick Cave. "Sexy Beast" is in fact his feature film debut, and had its premiere at the Toronto Film Festival in 2000, before going to a wide release during 2001. The film follows the story of Gal, a retired British criminal who is currently living with his wife Deedee in southern Spain, where all he does is focus on his tanning, enjoying his pool and being able to go to the restaurant with another couple who has also retired to the same area. This idyllic retirement is violently shaken to its core, when Don Logan, Gal's former boss, suddenly reappears, wanting him to come out of retirement for a seemingly impossible heist in London. The menacing Don has everyone on the group shaking due to his moody and violence prone emotional swings. The more Gal resists Don's forcing requests, the more charged up he gets. As events take a darker turn, Gal is forced to make decisions to sustain his privately created Eden. 

"Sexy Beast" is an interestingly constructed film, in the sense the central characters are briefly introduced, and as the narrative progresses, we learn a bit more about their connections, without ever truly discovering what prompted some of their decisions to justifiably explain where they currently are. In that similar vein, though the film has a heist as a catalyst for the events which are taking place, it holds a surprisingly thin piece of the narrative itself. The film ends up focusing primarily on the effect that this menacing character has not only over the protagonist, but also over the small group of characters who lives within his relationship-ecosystem. This disruptive force, is ever more menacing, not only due to the fact that it has this violent behavior associated with him, but also for what it represents, namely the disruption and destruction of their Eden. These environments, both the sun soaked Spanish experience, and the gloomy and industrial British, are perfectly captured by Jonathan Glazer, as are the interactions between the central group of characters, which are brought to life thanks to an amazing cast, with Ben Kingsley in particular creating an indelible character, with strong support from Ray Winstone and Ian McShane. It's a film that while adhering to a particular genre, manages to be so much more, thanks to a unique point of view from its director. Worth watching.

Bonnie and Clyde

Movie Name: Bonnie and Clyde
Year of Release: 1967
Director: Arthur Penn
Starring: Warren Beatty, Faye Dunaway, Michael J. Pollard, Gene Hackman, Estelle Parsons, Denver Pyle, Dub Taylor, Evans Evans, Gene Wilder
Genre: Action, Crime, Drama
Score out of ten (whole numbers only): 8
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Synopsis and Review:

One of the most interesting books I've read on the making of films, hails from writer Mark Harris, and it's called "Pictures at a Revolution", and details the arduous journey for a few films that became iconic in 1967, make their way to the screen (the author specifically traces the origins of all 5 films which were nominated for Best Picture). One of the most interesting films to come out that year was of course "Bonnie and Clyde". It was the first script of future acclaimed director Robert Benton, and his usual writer partner, David Newman. The film follows the story of Bonnie Parker and Clyde Barrow in 1934. They meet when he's about to steal a car, and have an instant attraction to each other. Although that attraction is strong, they have some hurdles with their physical intimacy, but that doesn't prevent them from starting a relationship. They both decide to embark on a life of crime, robbing banks primarily, never intending on hurting anyone in the process. They soon amass a reputation, and some additional people for their gang, including the young C.W. and Clyde's older brother, Buck, alongside his wife, the high strung Blanche. As their looting keeps escalating, so does their reputation and the number of policemen on their trail.

One of the interesting things to come out of reading Mark Harris's book is learning about the fact that some of the original directors sought for the film included François Truffaut, and later on when he decided to pass, Jean-Luc Godard. Both of course are well known for their masterful films but also because they were at the genesis of the Nouvelle Vague. The goal for the film was essentially to be more in line with that style which was brought forth by the French masters: a documentary style, with less artifice, closer to realism than the typical product manufactured by the studios. Arthur Penn, who had already worked with Warren Beatty on "Mickey One", was well known in theater, and managed to bring to "Bonnie and Clyde" the type of urgency and energy the material needed. The film manages to deftly and briefly characterize the characters, and as the group grows, the communal relationships between them all are also swiftly established. The film manages to have this spontaneous aspect to it, while also capturing the times in which it takes place, alongside the evolution of the relationship between Bonnie and Clyde, including their longings and fears (death always looming by). It's an iconic film that lives from its varied cast of characters and actors, with Warren Beatty, Faye Dunaway, Michael J. Pollard, Gene Hackman and Estelle Parsons, all crafting indelible performances. Always worth watching.

Ma Rainey's Black Bottom

Movie Name: Ma Rainey's Black Bottom
Year of Release: 2020
Director: George C. Wolfe
Starring: Viola Davis, Chadwick Boseman, Colman Domingo, Glynn Turman, Michael Potts, Jeremy Shamos, Jonny Coyne, Taylour Paige, Dusan Brown, Joshua Harto
Genre: Drama
Score out of ten (whole numbers only): 5
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Synopsis and Review:

Actor, writer, producer & director George C. Wolfe is back, following his TV film "The Immortal Life of Henrietta Lacks" and the little seen "You're not You". This time around he adapts a play written by August Wilson (who also wrote "Fences" and "The Piano Lesson"). The story takes place in 1927 in Chicago, during an afternoon, where a series of musicians are waiting for Ma Rainey to come in so they can play and make a record. She arrives late, with her girlfriend and her nephew. One of the members of the band, Levee Green has his own ambitions, and has been composing music which he hopes the producer of Ma's record will buy, and allow him to move to another level. He also lusts after Ma's girlfriend, and as the recording is met with a series of challenges, he finally gets his chance to court her. As Ma confesses her own ambitions and frustrations, the recording finally gets done, not without some additional friction, upon which she also resolves to fire Levee. As he sees his plans unravel and collapse, he lashes out at the band members. 

"Ma Raine's Black Bottom" while based on the play by August Wilson, is in itself based on the life of Gertrude "Ma" Rainey, one of the earliest African-American professional blues singers, and one of the first generation of blues singers to record. The story of the film unfolds during a single afternoon, and focuses solely on the interactions between the different characters of the band, and Ma's entourage. It's a film that for all its context and historical relevance, fails to provide much in terms of dimension to who and what drives Ma's life. We get a glimpse into her longing to control her own art, and her challenges with race inequality throughout her life, but we never know much about her beyond that. Levee on the other hand, provides this lengthy monologue on his family's life, which in turn informs who he is and how he behaves, but the film and the director itself, while attempting to be emotionally bare and confessional, ends up showcasing its stage-driven nature. This aspect of the film is actually what removes me personally most from it: there's a theatrical nature to it, that makes this feel more like a polished stage performance, more so than an actual film. The film isn't raw enough to be almost documentary, raw and exposed, and it doesn't soar enough to illustrate the blues, the impact and poetry of music, or for that matter, what propels these characters to live in this particular art universe. It features a great ensemble of performers, with Viola Davis and Chadwick Boseman leading a great group of actors, but ultimately as a film, it just doesn't go beyond the illustrative. A missed opportunity.

I Am Woman

Movie Name: I Am Woman
Year of Release: 2019
Director: Unjoo Moon
Starring: Tilda Cobham-Hervey, Evan Peters, Danielle Macdonald, Chris Parnell, Matty Cardarople, Jordan Raskopoulos, Dusty Sorg, Gus Murray, Molly Broadstock, Rita Rani Ahuja
Genre: Drama
Score out of ten (whole numbers only): 3
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Synopsis and Review:

Another film to make its premiere on Netflix, after doing the circuit of Film Festivals in 2019. Much like many of the films that Netflix releases, it's another middling effort, which asks the question if their pursuit of content, isn't toppling their quality assessment of their purchases (and even of what they produce). The film follows the story of the iconic Helen Reddy, introducing us to her when she comes to New York in the late 60s, following her win on a talent show in her native Australia. Helen arrives with her young daughter, no work permit, in order to collect her prize, namely recording a single with Mercury Records. Turns out that goes nowhere, and she finds herself in New York, with little to no money. She decides to stay in NY and pursue her ambition of becoming a professional singer. While in NY she strikes a friendship with author/journalist Lillian Roxon, then a correspondent for The Sydney Morning Herald, who becomes a source of strength, but also someone who informs her about the women's liberation movement. She also meets Jeff Wald, then a secretary at the William Morris Agency, but who claims he could get her the exposure she needs to make it big. As they struggle with finances, they eventually decide to move to LA, and upon Helen's persistence and insistence, they finally get a shot at recording a single. As the 70s continue, Helen's fame grows exponentially, particularly when she composes the anthem "I Am Woman". While her professional career soars, parts of her personal life implode, particularly Jeff's further drug abuse and her alienation of close friends, in particular Lillian. 

"I Am Woman" is another music biopic, this time around focused on the career of an artist who is very associated with the Women's Liberation movement from the 70s, Helen Reddy. This political movement pops up throughout the film, but almost as a background motif or setting, never something that is clearly understood just how closely or for that  matter, how relevant it actually was for Helen. Unlike many biopics, this one doesn't showcase much of the main character's origins, focusing instead on Helen's climb to success, when she arrives in America and the hurdles she faces. It's for the most part, a very shallow film in terms of any dramatic aspects this person's life has ever experienced. Whatever slight friction, or challenges Helen faces, they're quickly brushed aside (even Jeff's drug issues, or their money woes). The film ultimately lacks a stronger script and point of view from the director. It feels like an homage, more so than an actual film with real characters, something that actually documents Helen's ascension, and also her descent from popularity and her choices to move on with her life (or for that matter to understand what she did with her life). Whereas Rupert Goold's "Judy" gave enough insight to the challenges of Judy Garland's last living years, this film tries to capture a much larger canvas, and in the end, feels generic, soporific and almost like a made for TV film. Evan Peters once again plays a perpetually damaged character, with Danielle Macdonald making for the most interesting performance of the group. Forgettable.

Soul

Movie Name: Soul
Year of Release: 2020
Director: Pete Docter, Kemp Powers
Starring: Jamie Foxx, Tina Fey, Graham Norton, Rachel House, Alice Braga, Richard Ayoade, Phylicia Rashad, Donnell Rawlings, Questlove, Angela Bassett, Cora Champommier, Margo Hall, Daveed Diggs, Rhodessa Jones, Wes Studi
Genre: Animation, Comedy
Score out of ten (whole numbers only): 8
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Synopsis and Review:

Studio Pixar and director Pete Docter are back, following their winning combination for "Monsters Inc.", "Up" and "Inside Out". This time around the story focuses on Joe Gardner, a music school teacher, whose main dream has always been to play with a jazz band. One day Joe finds out about auditions to play with the Dorothea Williams band, and he aces the audition securing a spot to play with her band. Sadly as he goes to the event, he suffers an accident which leaves him close to death. When that happens, his soul/essence, finds itself going to the "Great Beyond". Joe however refuses to accept this bleak outcome, particularly as he was about to catch his big break, for which he flees, and finds himself on the "Great Before". There, being confused by a mentor, he is assigned to train 22, a cynical soul who can't seem to find meaning and purpose no matter what mentor is assigned to her. They both accidentally find themselves back on Earth, with 22 now inhabiting Joe's body, and Joe living within the body of a therapy cat. As they both struggle with this, they both come to realize hidden truths they never wanted to face, all the while Terry, an accountant who keeps track of souls who are going to the "Great Beyond", suddenly realizes Joe's amiss, and comes to Earth to track both Joe and 22.

It goes without saying that each original release hailing from Pixar is something to celebrate (the quality concerning the output of their sequels is another story altogether). This time around they (Pete Docter, Kemp Powers and their Pixar team), tackle what could have been a difficult topic for children, namely death, and find a way of making it about souls going on a journey to the unknown. They ultimately side step religion altogether, and make a film about the joys of living, friendship, sacrifice and the love of music (& Jazz in particular). It's a film that while not perfectly balanced as "Inside Out" was, particularly the slapstick when Joe and 22 come back to Earth, where one can't help but get a feeling of an almost too perfect life for Joe the teacher (and where the fact that he doesn't have a family or lives by his own is left somewhat open ended), it's still a film that soars. It soars particularly when the characters go to the Great Beyond, marrying this magic aspect of the unknown, with the abstraction of the character design and where the animation itself is simply astonishing. It's a film that is technically flawless, aesthetically stunning, featuring a terrific score from Trent Reznor and Atticus Ross (is there anything these two can't do), and with an impeccable voice talent, including Jamie Foxx, Tina Fey, Alice Braga and Graham Norton. A wonderful film worth watching!

Rebecca

Movie Name: Rebecca
Year of Release: 2020
Director: Ben Wheatley
Starring: Lily James, Armie Hammer, Kristin Scott Thomas, Ann Dowd, Keeley Hawes, Sam Riley, Tom Goodman-Hill, Bill Patterson, Mark Lewis Jones, Ashleigh Reynolds, Bryony Miller, Ben Crompton, John Hollingworth, Jane Lapotaire, Colin Bennett
Genre: Drama
Score out of ten (whole numbers only): 5
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Synopsis and Review:

Acclaimed British director Ben Wheatley has followed his "Happy New Year, Colin Burstead" with his first bigger budget endeavor, an adaptation of Daphe du Maurier's book, "Rebecca". The book property and its previous adaptation is of course well known for also being Alfred Hitchcock's first American film (premiered in 1940), which went on to win the Academy Award for best picture, on top of other numerous accolades. This adaptation, which is fairly faithful to the novel, takes place in the 30s/40s and finds the heroine meeting Maxim de Winter in Monte Carlo, while working as a companion for Mrs. Van Hopper. They are attracted to each other, and she soon learns Maxim is a widower. After a brief courtship, Maxim proposes to her, which she promptly accepts. After the wedding and the honeymoon, they return to Maxim's property in Cornwall, Manderley. The property is run by the strict Mrs. Danvers, who the heroine quickly discovers, continues to be immensely devoted to Maxim's first wife, Rebecca. Everywhere she goes, Mrs. de Winter becomes aware of how popular, beautiful and loved Rebecca was, including by Maxim's family, namely his grandmother. As Mrs. de Winter progressively realizes Mrs. Danvers is sabotaging her presence in the house, she also comes to terms with the fact that there's more to the whole story of Rebecca's death, than what initially was reported.

This adaptation of "Rebecca" manages to be stylish and also feel a bit rushed/unpolished. The film successfully builds up the relationship between Maxim and the unnamed heroine, with Mrs. de Winter character herself going through an actual arc through the entire narrative. We're firstly introduced to the character when she's under the oppressive authority of her American employer, and we witness how she flourishes with the attention of Maxim, only to fall under yet again, under the oppression of someone's presence, which comes in the shape of both Mrs. Danvers and the ghost of Rebecca. Towards the third act, the character finds an inner strength to fight for her wants and desires, which in reality makes her journey the most interesting one. Sadly for the supporting characters they're very much played in one register alone, including the immensely talented Kristin Scott Thomas and the always great Armie Hammer. Mrs. Danvers and her icy demeanor never truly cracks, while Maxim while anguished by guilt, never really acts as someone enamored. There are aspects to the film that are quite compelling, namely the detail about Maxim sleepwalking and the nightmares which plague the new Mrs. de Winter, however those are never really taken anywhere. Towards the third act, the film rushes into a criminal hunt, which robs the narrative of the crescendo which was building towards. Ultimately for all its style, it lacks some actual dramatic heft, one that takes it away from soap opera territory. Lily James manages to create a good character, even if lacks some nuance. The cinematography by Laurie Rose is fantastic, as is the score of the terrific Clint Mansell. While not a terrible film, it's not a memorable adaptation.

La Vita Davanti a Se/The Life Ahead

Movie Name: La Vita Davanti a Se/The Life Ahead
Year of Release: 2020
Director: Edoardo Ponti
Starring: Sophia Loren, Ibrahima Gueye, Renato Carpentieri, Iosif Diego Pirvu, Massimiliano Rossi, Abril Zamora, Babak Karimi
Genre: Drama
Score out of ten (whole numbers only): 6
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Synopsis and Review:

"The Life Ahead" is actress Sophia Loren's most recent work for the big screen since Rob Marshall's "Nine" which came out in 2009. Since then the actress acted in a made for TV film and a short, but this is her first protagonist role in quite some time, in a film coincidentally directed by her son Edoardo Ponti. The film, an adaptation of the novel "The Life Before Us" by Romain Gary, follows the story of Madam Rosa, who lives in southern Italy. She's an Holocaust survivor and also a former prostitute, who now makes ends meet by taking care of children of "working women". Her physician, Dr. Cohen asks her to take care of a young Senegalese boy, Momo who coincidentally just robbed her. Momo is getting tangled in some criminal activities, which coupled with his defensive behavior, immediately clashes with Madam Rosa's personality and expectations. Momo slowly discovers Madam Rosa has health issues, and also keeps a part of herself and her story secluded in the basement of the building, a room where she has saved artifacts and precious memories, a part of her own heritage. As their relationship evolves and becomes closer, the more Momo takes upon himself to also be a caregiver for Madam Rosa, soon realizing she fears ending up in a Hospital, and dying there, away from her home.

"The Life Ahead" while not priming for its originality, is nonetheless a film that manages to capture the relationship between these two lead characters and the microcosms of supporting characters quite well. The film definitely has certain aspects of Gus Van Sant's "Good Will Hunting" to it for instance (the rebel, working class lead who hides his vulnerability), but it allows for the relationship between the young Momo and Madam Rosa to evolve and for their roles to shift, essentially from protege to protector (and vice versa). Even if Madam Rosa's character is never fully explored as it should, nor Momo's for that matter, the film still manages to hold its interest, mostly because it attempts to capture a moment in time, the tribulations these characters go through in this particular period of their lives. The film does wrap itself up quite quickly, cutting away some interesting dramatic arcs it could depict, particularly towards the end of the narrative, but Sophia Loren manages to carry the film, creating Madam Rosa just with enough warmth, fragility and authority to capture everyone's attention. The supporting cast is equally solid, with Renator Carpentieri and Babak Karimi in particular providing good support. Worth watching.

When Harry Met Sally...

Movie Name: When Harry Met Sally...
Year of Release: 1989
Director: Rob Reiner
Starring: Billy Crystal, Meg Ryan, Carrie Fisher, Bruno Kirby, Lisa Jane Persky, Steven Ford, Harley Jane Kozak, Michelle Nicastro, Gretchen Palmer, Kevin Rooney
Genre: Comedy
Score out of ten (whole numbers only): 7
Watch it on Amazon

Synopsis and Review:

Following the well received "The Princess Bride", actor/writer/producer/director Rob Reiner, returned with what turned out to be one of the most iconic romantic comedies ever released. The film written by Nora Ephron (who by then had written two Mike Nichols's films, "Silkwood" and "Heartburn"), follows the story of Harry Burns and Sally Albright, who first meet in 1977 as they go on a road trip towards New York. Harry is at the time involved with Amanda, a friend of Sally's, and during their trip, Harrys sardonic wit and perspective on life doesn't gel with Sally's. After each one of them goes on their way, they are reunited years later at an airport, and coincidentally on the same flight. Sally is recently dating Joe, and Harry is engaged to be married to Helen. They once again don't gel with their opinions. A few more years go by, and this time around they are reunited in a bookstore, with Sally having just broken up with Joe and Harry about to get divorced. This time around, they take the time to get more acquainted and actually become friends. As they slowly get back into the dating game, they even try to fix each other up with their best friends, which turns out, fall for each other. As Sally hits an emotional rough patch upon learning of Joe's upcoming nuptials, Harry comforts her and things get even more intimate, which sends their relationship into uncharted territory.

"When Harry Met Sally..." has with time become associated not only with romantic comedies, but also with New York City itself. The film has a series of iconic moments, starting with the relationship between the acerbic and quick witted Harry, and the controlling and slightly high strung Sally, both of whom have an instant distaste for each other, but when learning more about each other, come to realize there's a lot more commonalities and interests between them than they initially thought of. The film has a series of tropes that have become associated with the genre, namely the third act, where the lead characters realize they are meant for each other, but one of them has to mature and actually see what's right in front of him. It's a film that features great chemistry and rapport between the leads, with Billy Crystal and Meg Ryan perfectly embodying these two characters, the same going for the supporting couple played to perfection by Carrie Fisher and Bruno Kirby (though Carrie Fisher's role almost feels like a continuation of her character April, which she played in Woody Allen's "Hannah and Her Sisters"). The cinematography from Barry Sonnenfeld (who would soon embark on a successful directorial career of his own) is fantastic, as is the score from the wonderful Marc Shaiman. Even if the film lacks a bit more dimension to its characters, particularly the supporting ones, it's nonetheless an entertaining, humorous and well observed comedy always worth revisiting.