gab-14712 Reviews

Stumptown: Family Ties (2019) Season 1, Episode 4

Thrilling, Fast-Paced Episode!

[9/10 · 21 March 2023]

Hold on to your popcorn because there is a lot that happens in "Family Ties." It is a direct continuation of the previous episode where Dex enlists the help of Artie Banks to get her PI license. We also learn more about Grey's past and how he fits in with his former boss, Wallace Kane. The forty minutes of the episode flew by thanks to the great performances and assured directing from Marc Buckland. My biggest takeaway is that Artie Banks may have a conscience after all. There is some important backstory and we learn that Banks is a former cop who stole money from the department for a life-saving medical surgery for his child, but the procedure failed resulting in the child's death. Banks turned to the dark side in order to hide his grief, but past feelings erupted when a child was kidnapped in this episode. Talk about a dark past, geez. Stumptown uses its secondary characters well here. Tookie, played by Adrian Martinez, is tasked to be a janitor (which he found to be racially insensitive) and Dex's little brother Ansel gets to hand Dex an assist. We also learn that Sue Lynn is a woman who does not mess around. The ending is great! Poor Grey...I wonder what will happen to him.

Wallace Kane is serving a life sentence in prison but manages to escape. Meanwhile, Dex is still going after Randall but is being thwarted every turn by Artie Banks. Sue Lynn warns Dex to back off because she partnered with Randall with building a school on her reservation. Banks does have a change of heart when he admits that Candace's daughter reminds him of his own dead child. Regarding the Kane case, it was shown that Hoffman was the one who put him away. His boss takes him off the case when he shows signs of obsession. Eventually, it is discovered that Randall is using the school to sell drugs which Sue Lynn had no idea. Banks and Dex form an uneasy alliance to take Randall down. Finally, Grey is abducted from his bar who needs to fulfill a debt to Kane.

Overall, this is a fast-paced episode that ended on a great cliffhanger. The show continues to pump humanity into the characters even if they don't seem likeable. Take Artie for example. He is a pompous doof and a thief, but one could argue his actions justify his sad past. Despite the brisk pace, there is plenty of fun here. The show is now getting into a groove and I am ready for more!

My Grade: A.

Stumptown: Rip City Dicks (2019) Season 1, Episode 3

People Are Not Who They Seem!

[8/10 · 21 March 2023]

"Rip City Dicks" is a reliably engaging episode of Stumptown. It does come across as a filler episode, but I mean that in a positive way. Characters are introduced and existing characters are developed in a way that will mean something further down the line. I found Dex's storyline fascinating. She actually lost her case because of her vulnerability. She cares too much about the people of the cases that she gets involved with. That is what the experienced yet double-crossing PI Artie Banks told her towards the end of the episode. I liked this character (who comes across as a bit smug) who is played by Donal Logue. It is almost like this character was plucked from a noir setting.

Using her skills of persuasion, Dex convinces a veteran PI named Artie Banks to take her on as his apprentice. Banks seems to sympathize with and has some modicum of respect for Dex. Their first case together involves a messy divorce between real estate tycoon Randall Tapper and his wife, Candace. Meanwhile, Hoffman investigates Grey over his alleged ties with his former and now deceased partner, Jack. Dex and Hoffman uses each other for dinner and sex to attempt to retrieve information about each other's respective cases. Dex's investigation has a major breakthrough when Tapper's girlfriend comes forward with a video proving his abuse. This is where Dex learns that Banks is playing both sides and she vows to go after him.

This was an entertaining episode with some fine character moments. I am definitely interested to learn more about Grey's past. Even though Banks eventually shows he is corrupt, he does shed truth on life as a PI and how one becomes a PI...such as being an alcoholic. I am also curious to see how Hoffman and Dex react to one another in forthcoming episodes especially with Grey lurking. Even though this is a bit of a filler episode, it is worth watching.

My Grade: B+

Ace in the Hole (1951)

A Strong, Relevant Film About the State of Journalism!

[9/10 · 15 March 2023]

In a world where the trades are able to get away with publishing nasty stories about celebrity breakups or political trades smear their opponents with loony nonsense, Billy Wilder's cynical, dark 1951 picture Ace in the Hole could not be more relevant in the modern world. Wilder spares no one in his biting, satirical portrayal of the American media institution, which may be a reason why the film received unfair negative reviews upon release. The good guys are the victims while the media and the public are the bad guys. Of course, the trades are the one who writes such sensational journalism. But who eats these stories up? The public! The public absolutely love the celebrity gossip or the next big tragedy. Much hasn't changed since 1951. In fact, with the advent of social media, sensation in the news has gotten way worse. Wilder's film is a tightly edited narrative with a strong screenplay and an excellent, fierce performance from Kirk Douglas.

Coming off the heels of Sunset Boulevard, Wilder was ready for the next big thing. With such a juicy story, there is no way he could have failed, right? Unfortunately, you would be wrong surmising such thoughts. Not only did it receive poor reviews upon release, but it was also labeled box office poison. Paramount changed the title to "The Big Carnival" to get more butts in the seats, but that ultimately failed. The studio took a portion of Wilder's cut from his next film to make up for the box office failure. I believe the media was tepid towards the film because Wilder went after everyone and did not hold back. Contemporary critics are much more favorable to the point where it can be considered an all-time classic. The easy way to view the narrative is to hold back any bias which can be an impossible thing. The story itself was inspired by tragic true events. Floyd Collins was trapped in a Kentucky cave and a reporter used the event to create a national sensation earning himself a Pulitzer Prize. The other event took place in 1949 when a young girl fell in a well in California and thousands of people showed up just to see what would happen. Both people died. I also think the film is incorrectly labeled a film-noir. Yes, there are some elements of the genre here, but I think it is just a film about poor journalism.

Charles Tatum (Kirk Douglas) is a very skilled reporter who has been fired from eleven major East Coast media outlets for various issues such as alcoholism. After a car accident in Albuquerque, New Mexico, he cons the local media office for a job that would help him return to the East Coast. His big break comes a year later when the owner of a trading post gets trapped in a cave. Tatum uses this opportunity to help him better his future. He realizes that the man could be rescued within a day but he comes up with a different plan of rescue so he can milk the story for as long as he can. This becomes a national media sensation as people from all over go to the desert to see everything happen with their own eyes. Here comes the cue for the popcorn and cotton candy vendors. Tatum has a problem on hand when he discovers that the owner's not-so-loving wife, Lorraine (Jan Sterling) has been taking cash from the register and is planning to ditch her husband. Not if Charles has anything to say about that!

Kirk Douglas is known for his good-guy roles, but he can put on a ferocious face when needed. This is one of his most savage, bitter roles. He truly sunk his teeth deep into the material and ran away with it. It was great watching him con the public (and the corrupt sheriff) with the trapped man, but I think even more impressive is the scenes where he conned the newspaper office into handing him a job. Jan Sterling also delivers a strong performance. She might have my favorite quote in the entire film, the one about why she doesn't go to church.

Ace in the Hole is a scornful, bitter film about the shoddiness of sensational journalism. Everyone likes a happy ending, but do not go looking for that here (Joseph Breen of the Hay's Code might have done a thing or two about that). Still, the events of this story is what happens often in the world today...when the media decides to make a huge story about nothing in the name of profit or bettering their careers. The film hit me straight on as Wilder makes no attempt to be subtle. There is a reason why I can't digest trades such as "US Weekly" whose only goal is to make a buck or two by spreading gossip about celebrities. Behind Wilder's masterful direction, Douglas's excellent performance, and great screenplay and editing, this film is another must-see from Billy Wilder's filmography.

My Grade: A-

Barton Fink (1991)

The First and Only Film to Win 3 Awards at Cannes!

[9/10 · 14 March 2023]

Upon initial viewing, I had no idea what to think about Barton Fink, yet another interesting film created by the dynamic duo known as the Coen Brothers. I thought it was weird, unsettling, and driven by its core performances from John Turturro and John Goodman. Yet the more I thought about the film, the more I began to understand the type of film it is. Like most films from the filmmaking brothers, this is not an "easy" watch. I would even dare call it inaccessible. The film is going to make you think. Even though the Coens openly admitted that they did not go into the film with allegorical thoughts in mind, it can be easy to suggest that they had some thoughts about fascism, or the bad side of Hollywood, or writing scripts for entertainment in general. The script is excellent. The characters are three-dimensional, and the actors breathe life into the words that were written for this film. I also really enjoyed the ending because that is what got me thinking more about the story. The directors left the film ambiguous for a reason. I know that frustrates people looking for a simple movie to watch on a rainy afternoon. Then again, this movie is not for you especially if you want to watch nothing but aimless blockbusters.

The script for this film actually came to be before Miller's Crossing came out. That particular film seemed to be giving the Coens a hard time trying to finish the script. The result was writer's block, which happens to be a main focus in this picture. This script was made with both Turturro and Goodman in mind and it served its purpose as a diversion allowing the 1990 gangster film to be completed. Both scripts are fantastic, by the way. It can be difficult to label the movie in terms of its genre as it is customary with the Coen's filmography. I think it is a dark comedy that blends elements from film-noir and horror. There is also a bit of Hitchcockian thriller I noticed. This film is also an example of a postmodernist feature. It subverted the audience's expectations by changing the narrative structure in a way to determine how far audiences are willing to suspend disbelief. Another goal of the genre, which works perfectly with this narrative, is to break down the division between high and low art. Barton Fink is a writer trying to write for "the common man," yet his first foray into Hollywood is to write a mainstream picture for a huge movie star with the goal of profit in mind rather than art.

The Coens had some people in mind that they based their characters off. The main person is playwright Clifford Odets. Odets was a politically-charged playwright who found success under the Broadway lights before moving to California for a movie career. The directors took inspiration from various Odets plays to give Mr. Fink his character traits. Another person they had in mind was William Faulkner who was a famous author and alcoholic. The casting of John Mahoney as Faulkner may have been pure coincidence but their face likenesses are striking. The studio head, Jack Lipnick (played brilliantly by Michael Lerner), is a combination of studio heads of the time such as Jack Warner. The Coens always seemed to have that one loud, crass person of authority that loom large over the picture. Michael Lerner is that guy here and I loved his portrayal. One of the scenes, where he has an army suit made for him, is one brilliant scene.

Set in the early 1940's as the Nazis were waging war in Europe, Barton Fink (John Turturro) is a successful yet idealistic playwright who moved to Hollywood to begin a career in the film industry. He is hired to write a script for the wrestling drama starring Wallace Beery for the eccentric Jack Lipnick (Michael Lerner), head of Capital Studios. He is unable to finish the screenplay because of a case of writer's block. He locks himself inside the seedy Hotel Earle, whose only inhabitant is the traveling insurance salesman, Charlie Meadows (John Goodman), a larger-than-life fellow. Fink may have no choice but to take inspiration from Meadows and a secretary of fellow writer W. P Mayhew (John Mahoney) who goes by the name of Audrey (Judy Davis). Very quickly does Barton Fink learn that Hollywood is ready to eat him up alive.

I loved the performances. Actors tend to develop eccentric personalities in any film the Coen Brothers make and this one is no exception. Turturro comes into own as the writer who is a bit of an oddball but trying to make a name for himself. I knew there was more than what meets the eye when it comes to Goodman's character. I liked where his character path went. Michael Lerner goes over-the-top as the studio head, a type of personality that you don't see in today's more corporate Hollywood. There are smaller performances so don't miss the blink-or-miss performance from Steve Buscemi.

Like everyone else, I was weirded out by Barton Fink upon initial viewing. I was not truly sure what kind of film it wanted to be. As the fires raged in the dumpy Hotel Earle as the film came to a close, I began to understand. The production design is excellent and I loved the comparisons between Hotel Earle and Lipnick's studio, a fair contrast of dark versus light. Carter Burwell's score fits the mood and is a good one. Barton Fink is not for everyone. It is not straightforward and will make you think about the characters and what they stand for. It is ironic that the Coens say how well Hollywood treated them yet they made a dark comedy about something completely opposite of their experiences. This is a demanding, exhilarating film and no one would expect less from the Coens.

My Grade: A-

Regarding Henry (1991)

Expected Better for a Mike Nichol's Drama!

[7/10 · 7 March 2023]

I really wanted to like Harrison Ford's drama Regarding Henry. It seemed like the perfect project for the action star. Coming off well-known action films such as Indiana Jones and Star Wars, time seemed ripe for Ford to tackle a meaty role from a big-name director with classics such as The Graduate to his name. Mike Nichols and Harrison Ford. Sounds like a film worth watching, right? Sadly, the answer is no. By all means the drama is not bad, but it is not the hard-hitting movie I expected. Imagine my surprise that the script was written by a very young J. J Abrams, the brains behind modern Star Wars and Star Trek. He, of course, would get better at writing films. This particular film felt like a sitcom with how the plot played out. Speaking of the plot, the well-intentioned plot is highly predictable, and I smelled the ending within the first few minutes. The most exciting part of the film happened in the first few minutes where Ford's character gets shot in the head. The rest of the film focuses on the character's rehabilitation process, both physically and as a person. The premise is basically that Ford's character goes from an unlikeable person to a caring one. Nichol's intentions are pure, but sadly gets bogged down in sentiment and cliches. Still, there is some good pleasure to have watching Ford tackle a hard-hitting subject. His performance is excellent.

Henry Turner (Harrison Ford) is known for being a tough, ruthless lawyer. He acts cold if not downright unlikable towards his wife, Sarah (Annette Bening) and daughter Rachel. Sarah, for so long, desires her husband's intimacy and feels like she exists in a prison. Everything changed during the one fateful night when Henry is shot in the head while buying cigarettes at a corner store during a robbery attempt (you may recognize John Leguizamo). Helped by the charismatic Bradley (Bill Nunn), Henry must learn how to properly function as a human again including regaining his speech skills. He also does not remember his life before he was shot. He became an entire new person much to the surprise of his wife and daughter.

The performances are what makes the film tolerable. Harrison Ford shows his acting range and proves he can act in serious drama. He was able to elevate his character slightly above the hokey cliches that was written for his character. Ford actually almost turned down the role having played a lawyer in his previous film. This proved different as he only was a lawyer for maybe ten minutes here. Annette Bening also deserves some credit in elevating a rather thankless role. This is one of the performances that got her recognized as a forceful newcomer actress in Hollywood.

Regarding Henry could have been better if there was a decent screenplay and better directorial choices. The film's ending is straight out of Nichol's The Graduate handbook yet that 1967 film did it better. There were some interesting twists that could have been better developed such as Henry's affair before his brain injury. There were some funny moments (although I am not sure how intentional the comedy is). The filmmakers did try to shove sentimentality down our throats at every chance they got. It was not earned. We should be thankful for Ford's and Bening's committed performances and Hans Zimmer's solid score. I hoped for better considering this is a Mike Nichols film, but it is still a watchable film with some good moments.

My Grade: C+

Terminator 2: Judgment Day (1991)

A Rare Sequel That's Better Than the First!

[10/10 · 20 February 2023]

One could say that it is a legendary feat for a sequel to be superior to the original. One might also say that James Cameron's Terminator 2: Judgement Day is one such film. That actually impresses me because the 1984 film is no slouch. It is an incredible horror/sci-fi classic that launched the respective Cameron's directing and Arnold Schwarzenegger's acting careers. The sequel took everything up a notch. While the original film was a more horror-based, contained story, the sequel is more about the intense action sequences and the incredible, earth-shattering special effects. In a way, T2 is similar to Jaws in how the film revolutionized moviegoing. Without Cameron's action masterpiece, there would be no effects-driven films like Jurassic Park. Say what you will about the laziness of filmmakers using special effects these days, but sometimes masterpieces such as this film comes along. In addition to great visual effects and makeup, this is also a storytelling triumph. Screenwriters Cameron and William Wisher came up with a way to invest in the characters giving them emotional character arcs. While Schwarzenegger's bot was a killer machine in the original, he was a father figure and protector to young John Connor. Meanwhile, Sarah Connor was anything but. She was hospitalized because of severe mental issues. Her understanding of how the world will come to be made her seemingly more machine than human. Cameron put some thought into his characters developing them into three-dimensional characters that we can all root for...except for Robert Patrick's T-1000 villain, a true technological wonder. The T-1000 is one of the best villains you will see in a movie. A true monster!

It surprised me that it took seven years for a sequel to be released considering the goodwill the first film received. The first film is still considered to be one of the best science-fiction films of all time. Why the long wait? Cameron was busy working on other films like Aliens (another sequel known for its well-developed female characters) and also both he and Schwarzenegger refused to work with Hemdale Film Corporation, which held the rights. They eventually sold the rights because of financial difficulties. Schwarzenegger worked with Carolco Pictures on Total Recall and convinced them to buy the rights. They teamed up with TriStar to secure funding and release. With a budget of $60 million and then some, the Terminator sequel was considered the most expensive independent film ever produced. Sometimes it is all about who holds the rights that determines whether a film gets made or not. Isn't studio politics fascinating? No one can deny that Cameron and his crew made every dollar count. It is still technically fascinating even by today's standards.

It has been a decade since the robot known as "The Terminator" went back in time to murder Sarah Connor (Linda Hamilton) and her unborn son. John Connor (Edward Furlong) is now ten, lives in a foster home, and has trouble with the law. Sarah is locked in an institution. Sarah may be mentally scarred but did she ever expect another killing machine back in her life? Skynet said otherwise. The company sends a T-1000 (Robert Patrick), a robot even more powerful than the 1984 Terminator, with a mission to kill John as a boy. Fortunately for John and his mother, another Terminator similar to the one that tried to kill them originally (played by Arnold Schwarzenegger) is sent back in time to help them fight for tomorrow.

One of the reasons why the sequel works is through the committed performances. It's no secret that James Cameron drives his actors to near complete exhaustion. Linda Hamilton complained about how she had to stay in shape and train like there was no tomorrow, yet her performance was incredible. Just like Ripley in Aliens, Hamilton plays a flawed, yet powerful figure. Her character kicked lots of butt in an era where men dominated the action scene, so it is lovely to see someone like Sarah Connor rise out of the ashes. Robert Patrick's villain is unforgettable. Patrick had to learn how to be emotionless for the role. Yet he also trained incredibly hard. He gained enough speed where he was able to catch up to Furlong on a dirtbike. Speaking of, Furlong was a great find. He had no acting experience leading up to this role, so Cameron felt that Furlong's portrayal of moodiness was more authentic. He and Schwarzenegger (who is great) have lovely scenes together. The one scene that stood out to me is young John Connor trying to teach the robot Spanish. I knew about that "Hasta La Vista" moment well before I saw the movie for the first time many years ago.

Terminator 2: Judgement Day is one of those rare sequels that are just as good as if not better than the original. There is just so much to like here from the monstrous villain to Linda Hamilton's buttkicking performance to the nonstop action and thrills. The final showdown is especially thrilling. Modern critics complain that this film is the beginning of the blockbuster cookie cutter experience that totally relies on CGI. While they are not entirely in the wrong, we get modern classics like this movie if done right. After all, James Cameron complimented the action plus the incredible CGI and makeup work with a screenplay that had developed characters and something to say. Before I forget, Brad Fiedel had another banging score as he did with the 1984 film. The Terminator theme gives me chills everytime.

My Grade: A+

Stumptown: Missed Connections (2019) Season 1, Episode 2

Was Great to Learn About Grey's and Dex's Past!

[9/10 · 26 January 2023]

After a strong premiere, Stumptown improves on itself with a very strong second episode. It builds on the information that was given to us in the first episode. One of my few complaints were that Jake Johnson's character was not up to snuff, especially compared to the other characters. Despite the charm, he was only seen as a potential love interest. Well, the writers must have heard my complaints. He and Dex were given a backstory about how they first met...which was a one-night stand. Given their platonic relationship in current day, it was clear that they did not have the spark. I thought it was a fun idea to develop a platonic, asexual relationship although I do not think that will continue. We also learn that Grey may have had a checkered past with the introduction of Austin Amelio's character. While the set pieces may be toned down in comparison to the premiere, the writers remain as ardent as ever to create strong characters. They also do a solid job developing the week-by-week case.

In "Missed Connections," we learn how Dex and Grey became friends six years earlier. Grey connects Dex with a scrawny man named Allen who offers to pay Dex some money if he can find a woman he met at a bar earlier and disappeared. Dex is able to locate Katrina but there is more than what meets the eye. Hoffman informs her that Katrina is a con artist. Meanwhile, someone from Grey's past enters his life again and asks for help. After he refused, Jack was found murdered. Hoffman's boss, Lt. Cosgrove advises Dex to apply for a license so she can legally work as a PI.

Overall, a fantastic episode that further develops the characters. We learn more about Grey and the type of man he is and what kind of friendship he has with Dex. As for the case of the week, it's a standard case but it also goes to show how desperate Dex is for money. The humor continues to shine, especially in the car! Who knows how long this joke can work but so far, it provided many laughs. The machine certainly has good taste in music!

My Grade: A-

Stumptown: Forget It Dex, It's Stumptown. (2019) Season 1, Episode 1

A Strong Start!

[8/10 · 26 January 2023]

I gotta say...I really liked the premiere episode of this private investigator series Stumptown. I was worried because the first ten minutes didn't really do it for me. Then I was able to warm up to Cobie Smulders's sarcastic, barely-able-to-do-her-job character, Dex. Her character, or the show itself, is nothing revolutionary but Smulders's charm is able to make her character easy to root for even if she makes bone-headed mistakes on the job or in her personal life. Her character is surrounded by a likable cast whom we mostly get to meet in this episode. Michael Ealy plays Detective Hoffman, an immediate romantic interest for Smulders. Jake Johnson plays Grey McConnell, her best friend and potential slow-burn romantic interest. His character is interesting enough, but is not fleshed out enough. Thankfully, Johnson is another underrated actor who knows how to be charming. The cast is rounded out by Camryn Manheim's Lt. Cosgrove, Tantoo Cardinal's Sue Lynn, and Cole Sibus, who plays Dex's younger brother with Down Syndrome's, Ansel. As a premiere, it is a responsibility for the showrunner to draw in a crowd with some big, flashy action setpieces. There is some here, but writer and executive producer Jason Richman is more interested in the characters and their personal relationships. Dex herself is bisexual, uses sex for means of pleasure (and doesn't care whether it's a dude or gal), and suffers from PTSD from her wartime experiences. So from the get-go, the main character is very interesting. Interesting, indeed!

From big-screen comic adventures (Marvel) to little-screen comic adventures (yes, this is based off a totally different kind of comic book), Smulders is able to grab your attention as Dex Parios whose life is in a downward spiral. She takes care of her younger brother, Ansel. Yet she is able to stay unemployed because of her PTSD issues. She wastes what little money she has on gambling. And she is barely competent as a PI. Her failures are what makes this show work. We get enough of people who solve mysteries or save the world with barely a scratch. Not Dex! She is hired by her ex-flame's mother, Sue Lynn to track down her granddaughter, Nina. She barely scrapes by, but she impresses enough people (ahem Detective Hoffman) where her services are retained on a case-by-case basis.

Stumptown has an impressive tongue-in-cheek attitude. Dex is an easy character to root for despite her shortcomings. She takes all her failures in stride and uses humor to help her cope. I already see the formation of a love triangle further down the road as that is an obvious path to take. The cliches prevalent in this series is elevated by strong performances and sharp writing. Some characters, mainly Jake Johnson's, do need to be further developed. But we are off to a strong start! And I like Dex's car! It knows how to play some awesome tunes.

My Grade: B+

The Great Silence (1968)

Klaus Kinski Legit Frightened Me!

[9/10 · 23 January 2023]

I have many thoughts about Sergio Corbucci's 1968 spaghetti western The Great Silence. It is a subversive western that is dark, dismal, and quite frankly has an ending that will blow your mind. People who grew up watching classic Hollywood was taken aback by its dark and intense ending which provides a good deal of emotion. Contemporary critics view the film as one of the best spaghetti westerns ever made not created by Sergio Leone...and he had some famous ones such as Django. The film did not have a true release in the United States because 20th Century Fox's Darryl D. Zanuck refused to screen the film because of its totally unexpected ending. It was released internationally and gained a following due to the use of international actors...mainly Germany's Klaus Kinski.

I mentioned in the previous paragraph how the film is known for being subversive. In the Western genre, people usually get a sense of what they want to see. The big, out-of-town hero comes into a town to save it from the bad guys and has a romance with one of the more important woman in town...usually a schoolteacher. Well, none of that happens here or at least not in the way expected. In terms of bounty hunters, many Westerns hold them with high esteem. In Corbucci's film, Kinski's character is dripping with evil. I liked how Corbucci changed things up with the setting. Many Westerns take place in the desert but here, he takes advantage of the snowy, desolate Utah mountains. The blood and violence is even more intense given the snowy setting. Also, there is an interracial romance unlike anything ever seen before. The white main character is a mute and begins an unlikely romance with a black woman, played brilliantly by Vonetta McGee, as they share a bond over loneliness and the people they lost in their lives. The romance is important as the film concludes because even for someone who has seen so many movies, I will still taken by surprise. Still, it's an incredible ending. Corbucci used his politics to create something new and subversive and still resonates today, more than a half-century later.

Loco (Klaus Kinski) leads a pack of bounty hunters that prey on any outlaw hiding in the snowy Utah mountains. Loco is known to show no mercy to his victims. Pauline's (Vonetta McGee) husband becomes the latest victim of Loco's. She decides to hire a gunman who goes by the name of Silence (Jean-Louis Trintignant) to hunt down Loco and exact her revenge. Silence has been, well...silent since he was a boy because he had his throat cut out. But as gunman, there is no better one around. However, everything he knows is about to be put to test.

By the late 1960's, casting actors who speak English in these types of movies have become common practice because it was believed that it helped improve international marketability. To bypass this need of an English-speaking actor, the Italian director decided to make his main character mute. Smart! Jean-Louis Trintignant did not need to use any words to convey his actions. His emotions on his scarred face and the way he draws his gun every single job says otherwise. He paired up well with Klaus Kinski who plays one of the better developed villains in this type of movie. Such an idea was rarely seen on screen in 1968 but Vonetta McGee was more than just a damsel in distress. She played a powerful woman seeking revenge and begins a steamy biracial romance in the process.

The Great Silence is a Western that is worth seeking out. It got a lot of attention internationally because of its unconventional, bleak ending. A happy ending was filmed but honestly it does not fit the story the way it was told. Sergio Corbucci directed his film with passion. Too bad it does not have the audience it deserved. In addition, he worked with composer Ennio Morricone to create yet another powerful score. When it was released, the film was heralded for going against type and it's all for the better. The excellent cinematography was able to capture the setting and use it for shock value when the time came. There were some minor issues. It was filmed as if it was a big-budget production but if you look closely, you may editing issues or maybe the sound/picture mixing is not 100%. Very minor when compared to a tight, explosive story that Corbucci gave us.

My Grade: A-

Robin Hood: Prince of Thieves (1991)

Alan Rickman Saves a Somewhat Middling Action Movie!

[8/10 · 24 December 2022]

Here we go with another adaptation of Robin Hood. The Robin Hood tale has been told many times over and over. The edition that made the biggest bucks at the box office is Kevin Reynolds's Robin Hood: Prince of Thieves. In my opinion, it barely squeaks by with a passing grade. There are moments of fun and lots of adventure. The action is pretty good and well-choreographed. It is certainly more graphic than I have imagined it would be. Most of the performances, especially those from Alan Rickman and Morgan Freeman, are good. I also consider Michael Kamen's score to be magnificent and one of his most epic, lushest scores. Even to this day, Bryan Adams's ballad "Everything I Do (I Do It for You) remains a popular, soulful hit. Unfortunately, there are some glaring issues. After Kevin Costner delivered an emotional engaging performance in Dance with Wolves, he delivers the complete opposite here. His accent would be right at home in LA, certainly not in medieval England. In addition, the screenplay is really silly. In fact, Rickman was allowed to come up with his own lines because he found the screenplay loathingly bad. I hope someone taught the screenwriters how to write good dialogue because many lines had me unintentionally laughing. I did like this version's interpretation of the legend. Robin Hood is portrayed as more serious, more socially conscious unlike the earlier Errol Flynn versions.

Pen Densham and his producing partner John Watson originally came up with the idea to create a version of Robin Hood who learned to be a more socially conscious person while imprisoned during the Crusades. The studio felt the screenplay was screaming with magic and was fast tracked into production to avoid clashes with dueling Robin Hood features. After all, the first one released is usually the winner as in the case of this feature (at least financially). Reynolds and Costner originally worked together on a smaller film seven years previously. Reynolds also assisted Costner during the challenging buffalo hunt scene in Dance with Wolves. Costner was going to turn down the film unless Reynolds was at the helm because he was more suited to direct the epic action. Production was quick because of Costner's hectic schedule. Most of the film was shot on location so the audience got to see some great shots of some English forests along Hadrian's Wall. A quick shout out to Douglas Milsome's exceptional cinematography. Sadly, Reynolds left the project at the tail end because of studio interference, which also explains the poor editing choices. The studio wanted to cut some Rickman scenes because they did not want him to overshadow Costner. I mean, didn't that happen anyway?

Robin Locksley (Kevin Costner) fighting for Richard the Lionheart (Sean Connery) in the Crusades returns to England after escaping from a dungeon along with his intelligent Moor friend Azeem (Morgan Freeman) who fights alongside Robin to pay off a debt. Robin learns that his father has been murdered by the evil, corrupt Sheriff of Nottingham (Alan Rickman). He flees to the Sherwood Forest where he vows to go after the Sheriff. With the help of his merry men that includes the likes of Will Scarlet (Christian Slater), they aim to take down the Sheriff and his political ambitions.

Costner has had better roles. Even if his accent is not bothersome, his performance just feels...off. He has no romantic chemistry with Marion (played good as possibly can by Mary Elizabeth Mastrantonio). It felt like they were familiar with the story and had to fall in love because that is necessary. The supporting cast is where the performances shine. Freeman fit right in with the tone. He used humor when appropriate and is a good friend to Robin Hood. Rickman outdoes everyone when he plays the villain, isn't that right? First in Die Hard, and now here. Rickman's interpretation of the Sheriff of Nottingham is the best part of the movie. He was evil....yet he was also hilarious. I am glad he got permission to create his own lines because they were much needed.

I thoroughly enjoyed Robin Hood: Prince of Thieves. Outside of Rickman's magnificent villainous performance, this version is rather forgettable. But it is fun to watch in the two plus hours on screen. Stay for the supporting performances, the action (especially the final action set piece), and Michael Kamen's awesome orchestral score. If only the screenplay was not dumb and Costner had a better lead performance, this might have been a classic. Might have been! Oh well, this is still plain ol' dumb fun.

My Grade: B-

Thelma & Louise (1991)

Ridley Scott's Best Film from the 90's!

[9/10 · 19 December 2022]

Thelma & Louise takes the road trip genre to a whole new level. Rather than follow the simple formula, Ridley Scott took the story and gave it an empowering, feminist angle that shows what women go through on a daily basis. For a film released in 1991, it is way ahead of its time. There are familiar beats (we meet the usual road trip types such as state troopers and Adrian Biddle's strong visual interpretation of the West), but Scott never allows the story to grow stale. We are taken on a journey that not only empowers, but also makes you laugh with some comedic dialogue gems and will also break your heart. The ending is now iconic in film history. For me, the ending was unexpected. As the Thunderbird was hurling itself to the cliff as Hans Zimmer's score swelled, a pit grew in my stomach. I grew to care about the two ladies that are the heart of the film. They are put into impossible (and downright criminal) situations, but the audience has no choice but to feel empathy for them. I understood what they went through and why they took this road trip in the first place. Some people complain that the film is a hit piece against men and then it makes all men look bad. I have a different view. Often, women are treated no better than housewives and are hardly given their own identities. This movie is about women finding themselves and can live their lives however they want. It is about taking control away from men. I say this as a man myself and a supporter of women rights. This film remains one of the strongest films that champions women.

Ridley Scott was coming off a bit of a dry period with mediocre-to-solid movies like Black Rain and Legend. His last truly great movie was 1982's Blade Runner. Nine years later, he can add another one to the "great" films that will be remembered. His production company was involved with the film early on, but he felt reluctant to direct even though he loved the script. The script was written by Callie Khouri that was inspired by her own experience and friendship with country singer Pam Tillis. She meant to have the film shot as a small, independent film but the involvement of Scott proved otherwise. Her script is incredible (as it did win an Academy Award for original screenplay) because she has a gift with dialogue. My favorite line is when Louise claims, "in the future, when a woman's crying like that, she isn't having any fun!" This line was meant to be hilarious (as it was) but also a stinging truth (also which it was). The screenplay was a match in heaven for Mr. Scott who directed it with love and compassion. The visuals are very strong, which should not be surprising for a road trip movie. The Western United States is one of the most beautiful places in the world. The film was shot on location in Moab, Utah which is close to some of my favorite places seen in the film such as Monument Valley and Arches National Park.

Thelma Dickinson (Geena Davis) and Louise Sawyer (Susan Sarandon) are best friends from Arkansas. Thelma fits your typical description of the housewife whose sole purpose is to make sure that her rug salesman husband, Darryl (Christopher McDonald) is happy. Yet, he terrifies her. Louise works as a diner waitress who is fed up with her love life as her musician boyfriend, Jimmy (Michael Madsen) is always on the road. The two women decide to take a fishing trip for the weekend. As they try to have some fun, things go very bad when a man tries to rape Thelma and Louise murders the man in the process, putting the two women on the run as they head west. They encounter many different people on the road including young drifter J. D. (Brad Pitt) who is able to satisfy Thelma's sexual desires. Still, they seemingly have no choice but to enter a life of crime. Hal (Harvey Keitel) is a detective empathetic to the women's plight. With everyone after them, including Thelma's crazy husband, what will happen?

The performances throughout are incredible. Without a doubt, this has to be the best performance both Davis and Sarandon have done. They were able to feed off each other's energy which is important in a high-octane road trip movie where many things go wrong. Both women were able to deliver the powerful dialogue. Their characters are highly developed. When the end of the movie came, you feel for these women after getting to know them very well. They just wanted to be treated like a normal human being. They are surrounded by an incredible supporting cast. Brad Pitt is a major find. His role is not large, but he stole each scene. Christopher McDonald is also a great find playing a role of a crazy husband searching for blood. They were great, but its important to know that this is the Davis and Sarandon show.

Thelma & Louise joins Alien and Blade Runner as one of the great films in Ridley Scott's filmography. I had no qualms...maybe some minor ones. The pacing can be slow at times but that is only a minor issue. Scott's film is one of the strongest, message-driven films about women and their livelihood. Many films that tackle these important issues are not as impactful. Davis and Sarandon gave us strong, female characters. To all the haters, try and understand that this is not 1950 anymore. Scott's movie is way ahead of its time and set forth the notion that female characters don't have to be a Ripley-type persona to be considered strong. That idea in itself broke conventions. If you were to subtract the feminist messages, the movie works very well as a road trip and a buddy movie.

My Grade: A-

Backdraft (1991)

A Visual and Auditory Feast That Needs to be Seen!

[8/10 · 16 December 2022]

Backdraft is a technical tour de force that must be seen on the biggest and loudest screen possible to get most out of the pyro techniques. The best part is watching the visual and audio splendor of the raging fires that seemingly has a mind of its own. You have to put realism on the backside because not everything will be realistic...not unless you want every firefighter to die from smoke inhalation within seconds. As an action movie, the effects are incredible. They still hold up many years later. Fire is a beast not to be trifled with and even the very best may fall victim to the unpredictability of the flames. The action is serviceable, and the effects are outstanding, but they could have been served better with an adequate screenplay. Gregory Widen's screenplay, to put quite bluntly, is not good. The characters are paper thin and the character's dilemmas with each other is something that has been done thousands of times before, often better. Two brothers at odds with one another and both have failing relationships that need to be mended? Yeah, never seen that before. In terms of the villain, I was able to guess who the culprit from the beginning. Luckily, Ron Howard is a capable director, and the actual performances are solid to great.

Say what you will about the messy screenplay, but at least the film is fun. Howard is known to direct more complex films like Parenthood. Perhaps he needed to make a movie where hardly any brainpower was needed. Allen Hall coordinated a team with many stunt performers and visual effects artists to make us feel as if we were surrounded by this raging inferno. What is truly impressive is how it feels like the characters are in the middle of the fire, ready to be killed without a moment's notice. Some trickery may be involved, but it's certainly not noticeable here. Everything just looks too real. Apparently, many of the actors performed their own stunts. In reality, such swarming fires would be ready to kill people like Kurt Russell whose character is fearless and dives into these burning buildings without a rational thought. Still, that's the name of the game. The fire scenes are breathtaking. In addition, Hans Zimmer created another killer score. He used Bruce Hornsby to invoke emotion. Yes, the show must go on!

The setting is in Chicago's Engine Company No. 17. Stephen McCaffrey (Kurt Russell) is the older veteran who raised his kid brother, Brian (William Baldwin) after Brian watched his father die as a hero combating flames. Fresh out of the fire academy, Brian joins his brother's company. Problem is, they hate each other. Stephen believes he is the true hero of the family. Stephen is also separated from his wife, Helen (Rebecca De Mornay) because he is too obsessed with his firefighter work. Brian's former girlfriend Jennifer (Jennifer Jason Leigh) works for an alderman running for mayor. When these mysterious, deadly fires break out, Brian is assigned to work with the fire inspector, Donald Rimgale (Robert De Niro) to determine if these fires were works of arson. The McCaffrey brothers may not like each other, but they may realize the importance of family soon enough.

The performances are excellent. The actors do amazing to elevate a poor script. Russell and Baldwin have great chemistry with each other. I understood each man's dilemma and what it meant for the older brother. I really liked Kurt Russell embodying the flames as if they were something harmless like water. It adds to the thrill. I wish Robert De Niro had more scenes. Same goes to Donald Sutherland who is important to the plot but only had two pivotal scenes. Then again, this movie is mostly a story about brotherhood. The entire arson plotline comes second.

There is no denying that Backdraft is a thrilling firefighter movie. The term "backdraft" means that the fire is so intense, it would immediately claim their victims. But the fire would be blown out in the process due to the sheer intensity of the initial blast. If you needed a reason to check out this Ron Howard movie, see it for the visual effects and the sound. Who gives a hoot about a bad screenplay when you can see a movie with such technical wizardry?

My Grade: B+

It (1990)

Tim Curry Gave Me Nightmares!

[8/10 · 13 December 2022]

As a child, the mini-series IT, based off the 1,300 page novel from author Stephen King, gave me nightmare after nightmare. Honestly, I only have one person to blame (other than King himself) and that is Tim Curry. Only Curry's flawless Pennywise performance would be enough to keep up the nightmares. He made me despise clowns for a long, long time! About the mini-series itself, it is a solid horror series. It is elevated by Curry's wicked performance, some strong scares (especially strong for a television production), and good performances from the majority of the child actors. Tommy Lee Wallace, who directed and wrote the screenplay, does a good job adapting the novel to the screen. There was so much he needed to cut from such an incredible novel with strong characterization. Sadly, some of the adult character plot points had to be removed. That said, Wallace was able to keep the strong centrality of Pennywise, which is important to the story whether it is on the page or screen. Split into two halves, the first half is the strongest with the child actors because of the character development and I found myself relating to the Loser's Club. Plus, Tim Curry put on a strong front throughout the first half. The back half of the mini-series is good, and it held my attention for the most part, but it is a step down. The less we say about the climax the better. In fact, I can hardly remember how this series ended. Let's keep it that way.

It is something of a minor miracle that this adaptation exists in the first place. In the late 80's-early 90's, many of Stephen King's film adaptations were critical or financial failures at the box office. People were losing interest in this visual medium based off the prolific author's works. On top of that, mini-series (especially horror) were rarely seen on television. There were strict broadcast rules because children have easier access to television than movies. One such rule is that blood cannot be flowing from a person, so the filmmakers had to work around that (and I think they did brilliantly). But times were a-changin! With the success of Twin Peaks and Tales of the Crypt, ABC thought it was time to bring the source material to life. George A. Romero was originally hired to direct but was replaced by Tommy Lee Wallace. A Romero version of the film would have been bonkers, but Wallace did a good job. Because the novel is so long, so many important plot points had to be cut, a "casualty of war" people deemed. Still, the essence of the film was saved.

It is the early 1960's in the peaceful town of Derry, Maine. It is a small, sleepy town where it rains a lot. There is just one...terrifying issue. There have been several cases of children disappearances. These preteen kids known as "The Loser's Club" have these horrifying, grim visions of Pennywise the Clown (Tim Curry) and they all agree to gang up to rid the town of this evil shapeshifter. Thirty years after their fateful encounter with the demon, the now full-grown adults return to Derry to stop this monster for all after more cases of children disappearing. Will they finally, once and for all, put an end to the creature known as "It?"

The casting was inspiring. Many of the actors had little to no horror experience. Some of the adult actors had connections with one another. Even if their characters are not particularly written or adapted well (sorry, Richie Tozier), the performances were more than competent. I particularly liked Richard Thomas as the stuttering Bill Denbrough. I liked Annette O'Toole as the only woman in the group, Beverly. As for the child actors, I liked young Seth Green. Despite some strong performances by recognizable faces, no one holds a candle to Tim Curry. Curry used a style of improvisation a la Robin Williams and he gave the clown a Bronx accent making it even weirder. Without Curry, this mini-series would have been dead in the water. The opening sequence alone was enough to give me crazy jitters. It took him more than three hours each day to get into the horrifying makeup. It's so worth seeing this character transformation.

Overall, IT is well worth the watch even if it is to see Tim Curry bring Pennywise to life. The clown gave me nightmares, but that is the only thing that is truly scary. Wallace was more interested in the drama reminiscent of the classic 1986 drama Stand by Me. That led to a decline in quality for the second half. Despite the television limitations, I think this was a mostly successful adaptation. I prefer the movie versions that were made nearly 30 years later, but Tim Curry is the one that made many, many children afraid of clowns for life.

My Grade: B.

Citizen Kane (1941)

An Incredible, Technical Triumph That Finally Got Its Reputation!

[9/10 · 4 December 2022]

It took me a long time to finally watch Orson Welles's Citizen Kane. I mean, it has the reputation as the greatest movie ever made. I did not want to ruin my perceived notion about this classic. I finally caved in, and I remember my thoughts as I watched the film and when it immediately ended. I was like, "this is good, but seriously the best movie ever?" Here is the thing. The movie kept replaying in my head for some time afterwards. I found myself thinking about how the film innovated cinema with its unique story structure, experimental cinematography, and strong performances from a cast that has never been in a motion picture before. The movie may not seem like a big deal to younger generations, but it was a huge deal in 1941. It paved a path for future filmmakers. When people like Steven Spielberg or Martin Scorsese or practically everyone who directed a film, they will always circle to Welles's first Hollywood picture. In the end, my thoughts kept circling around everything and what it meant for Hollywood and its future. I was surprised about one thing. I did not realize how dark the themes are especially given the propensity for a happy ending in classic Hollywood. Forget about a happy ending here.

Personally, I find it hard to believe this is Welles's first foray into Hollywood. He was very well-known in the world of theatre and he catapulted himself into freedom with his 1938 radio broadcast of War of the Worlds. People with pedigree such as William Wyler recruited him but to no avail. After failure of several plays and a lucrative contract from RKO he could not resist, he had no choice but to venture into Hollywood. He was given final cut privileges (something unheard of during this era) and the power to choose his own cast and crew (which in this case were nearly all newcomers to Hollywood). It took some time for this project to get off the ground. The project gained steam when Welles and screenwriter Herman J. Mankiewicz conceived the screenplay which Mankiewicz basing the film off William Randolph Hearst, a media magnate whom Mankiewicz despised. There was an incredible amount of time spent wondering who deserved credit for the screenplay, a question still talked about to this day. Regardless of screenplay credit, it is a really good screenplay that is not straightforward. The story is told in flashbacks and through different narrators. Even though the director and most of the principal cast were new to Hollywood, cinematographer Gregg Toland had the most experience. He chose this film because he was given freedom to experiment with his craft. His experimentation with lighting and lenses allowed the film to show off its use of deep focus, which means everything is in sharp focus. He also shot scenes with the ceiling in focus, an unorthodox method for this time. None of the technical or screenwriting aspects were new (you may recognize some methods in German Expressionist films). Its just that the methods were perfected in one single film shown to a wide audience.

Believe it or not, the film did not receive much hype in the beginning. In fact, it is even considered a box office failure. Some people laid the blame to a single person...William Randolph Hearst. He was livid that the film supposedly was based on his life. Leading a massive newspaper empire, he banned the film within his own conglomerate. Other theaters were scared to show the film because they did not want Hearst's newspapers to publicly chastise them. In the end, Hearst won. Citizen Kane was officially a bomb. It did receive good reviews and earned some Oscar nominations (and apparently was booed at the ceremony), but it did earn its contemporary reputation until the late 1950's. I really liked the film, but I found the drama surrounding the film even more interesting.

When Charles Foster Kane (Orson Welles) died, the leader of the large newspaper empire's life is told, in detail, by those who knew him. A newspaper reporter is interviewing people close to Kane to figure out the meaning of his final word, "Rosebud." Kane was sent to a boarding school at a young age and inherited a vast sum of money from his mother. He used the money to buy a newspaper. He and his good friend, Jedediah Leland (Joseph Cotten) had plans to run the paper and lead a good, fun life. That changed when Kane decided to run for political office and failed thus allowing his relationships to those closest to him to fall apart.

The cast is brand new to Hollywood, but you would not know it based on the performances. Many of the actors are well-known but in the world of theater. Cotton was actually a major Broadway star. Many of the actors worked under Welles. I do not want to go too much into performances, but some favorites were Cotton and also Dorothy Comingore as Susan Alexander Kane and Agnes Moorehead as Mary Kane.

Citizen Kane is an incredible film, a film rich with storytelling and technical triumphs. Toland's cinematography and Bernard Hermann's score are just some of the awesome technical feats that must have been so impressive in 1941 (and still is impressive nowadays). I can talk about the excellent sound design or the makeup work, but I am running out of word space. Is it the best movie ever? Maybe not to me, but it still ranks near the top. I just could not stop thinking about the movie and connecting the storylines to the present. I am glad the film got its recognition it deserved and was not consigned to the RKO vaults. I am fascinated by the film's production. It was doomed to fail...until it didn't. Bravo to Orson Welles in making a film that influenced a wide dearth of filmmakers that I love and adore today.

My Grade: A.

Defending Your Life (1991)

A Unique Approach About the Afterlife!

[8/10 · 6 November 2022]

Albert Brooks's comedy Defending Your Life is a thoughtful, amusing, and generally light-hearted film despite a topic that can be pretty grim depending on your view. There are movies that ask the question, "What happens when you die?" Some movies can be philosophical or even religious. Brooks, on the other hand, chose a different and more intelligent approach to the subject matter. He approached our heavenly adventures as a courtroom film with prosecutors and judges. A very unique spin that is designed to make you think. Brooks later said that he received letters from people whose relatives are dying or dying themselves, and this film made them feel better about their journey ahead. It does ask some questions that can hit home hard. Have you done enough with your life? Is there anything that you could have done better? With only one life given to you, you should live it to the fullest. That was the message that came across for me. The screenplay, written by Brooks, is amusing without many belly laughs (as his films rarely are). My only issue is that while the themes are hard-hitting, the screenplay screams these themes at us for the entire film it seems. I was curious about the outcome of the film's plot. I like its positive, satisfactory ending which is actually rare for a Brooks feature.

Daniel Miller (Albert Brooks) is a successful executive who is proud of his new BMW purchase. The car...and his life go kaboom when he plows into a bus when focusing on his Barbra Streisand album. He wakes up in this place called Judgement City. This city is similar to Earth except the weather is clear and anyone can eat as much food without gaining a pound. What's the catch? People are put on trial to decide whether to "move on" or "go back." Clips from the past are used for the trial and fear, rather than the commandments or laws, is the factor looked at in making any decision. Daniel's cheerful defense lawyer Bob Diamond (Rip Torn) assures him of the situation and that getting pass prosecutor Lena Foster (Lee Grant) will be no easy task. Then he meets Julia (Meryl Streep). Julia has better accommodations and is even on a first-name basis with her defense attorney which Daniel attributes for her living a better life. Yet, he falls in love with her. He is worried that she will "move on" but he will be sent back.

This is not a film about bad or good people. It is merely a study about how people live their lives and how they should approach their life. All the characters are very personable or interesting and each actor did a good job in their roles. Albert Brooks showed the most growth and you feel for his character as he goes through many emotions (and had a funny scene eating sushi alone). Even when she doesn't give all her best, it is a testament to Meryl Streep's acting skills that made her character one someone could connect with. Streep and Brooks worked so well together. Rip Torn had some of the best lines as I loved his explanation on how he uses every part of the brain.

Defending Your Life failed at the box office which isn't a surprise given the deep material. I commend Brooks for his wise courtroom approach and not being afraid to ask questions even if it can be constant. Brooks did not want to be religious in terms of tone, but rather philosophical. I bought the sparks between Brooks and Streep because both characters are interesting, and the romance angle gave a place for the film to go. It is not a popular movie, but some digging would give you an opportunity watch a good, unique film.

My Grade: B.

The Hard Way (1991)

Stay for James Woods and Michael J. Fox Banter with Each Other!

[8/10 · 31 October 2022]

I suppose The Hard Way is a better movie than I initially gave it props for. Yes, the plot is formulaic to the point where you are saying, "Are there any more ideas left in Hollywood?" I predicted nearly everything that happened, yet...I had fun. This action/comedy, which stars James Woods and Michael J. Fox as unlikely buddies, has lots of energy reminiscent of screwball comedies from the days of Old Hollywood. Both Fox and Woods work off one another and Daniel Pyne's/Lem Dobb's screenplay allows both actors some room to say and do crazy stuff. Admittedly, some of the lines are hilarious. The final half of the movie is about crazy action and special effects that rarely wants to let up. Think about the Mt. Rushmore scene in North by Northwest and change the setting to Times Square. As a New York resident, I think it is fun to see everyone's favorite tourist destination get leveled in some crazy action sequences. In an era where action films were at their best, this is a smaller, underrated one. John Badham, who is no stranger to genre pictures, delivers a film that is bursting with radiant energy, and that is able to overcome a predictable formula seen in buddy cop features.

Badham directed one of the more criminally underrated films of the 1980's, WarGames. He handled a relevant topic and handled it with grace and proved he could direct action scenes although I feel like I would not classify that film as an action film. He is back directing one of the underrated action films of the 90's that is at its best when it leans on its comedy for the first two-thirds. The final act is an action galore and it does lose some steam because the action, although professional looking (thanks to Donald McAlpine's sharp cinematography), Badham lets the action run too long. If 10-15 minutes were trimmed from the final runtime, we would have gotten ourselves something special. Alas, there is still much to enjoy here.

Nick Lang (Michael J. Fox) is a movie star who wants to break out of his "nice guy" image. In order to land a tougher role, he feels like it's important to learn from the real thing. One day while watching the news, he is in awe of NYPD Detective John Moss (James Woods) and his tough-guy persona. Moss is going after a serial killer named the Party Crasher (Stephen Lang) because he murders his victims at actual parties/discos. Moss's boss, Captain Brix (Delroy Lindo) is a huge fan of Lang's and pairs him up with Moss, who believes Lang is out of touch with reality. As Moss goes after the Wedding Crasher, the last thing he needs is an ultra-annoying sidekick. But, they may need each other more than the two men realize.

While it's nice to see James Woods play an angry, arrogant cop that spits a million words a minute, it is nothing new for him. I was more keenly interested to see how Michael J. Fox would fare in a role far from his spitting image. He isn't the nice kid from Back to the Future but the man who would find himself in the middle of gritty action while capable of delivering one-liners. Well, Fox delivered on doing something new, and his character is great! He had great comedic timing with Woods. The older actor actually admitted it was hard being mean to Fox because he is such a likable character. The cast is sprinkled with solid (if not limited) supporting roles. Lang is a tough villain known for his mayhem on the NYC streets. Annabella Sciorra is good as Moss's girlfriend. Delroy Lindo plays a great starstruck captain. Not to mention good turns from Christina Ricci and Luis Guzman.

The Hard Way is nothing special in terms of story. The plot is recycled from better action movies. Yet, Badham and his cast created an energetic film that works because of the comedic banter between James Woods and Michael J. Fox. The action is fun but it eventually grows a little stale. When people talk about action movies from the era, it is all about Die Hard or Lethal Weapon. I think people should include The Hard Way into the conversation even if it is not the very best. If anything, see it for Michael J. Fox.

My Grade: B-

The Doors (1991)

Val Kilmer Electrifies as the Legendary Jim Morrison!

[7/10 · 26 October 2022]

If you spoke to any hard-enthused hipster from the 1960's, you would learn what a legend Jim Morrison, the frontman of the rock'n'roll band The Doors, was. He was known for his onstage antics and he lived the life of the pill and the bottle until his untimely death at the age of 27. He left behind an amazing catalog of songs that people still listen to today. "The End" is an incredible rock song that became meaningful to me. For a long, long time, people have been trying to capitalize on this myth. Enter Oliver Stone, the man behind the hard-hitting Platoon and Born on the Fourth of July. Stone, for a long time, tried to make a biographical film about Morrison. I can't say I was particularly pleased with the final film. Stone indulges in Morrison's dark side for the entire time and makes him seem to be some crazy loon. Val Kilmer himself is electrifying as Morrison. He looks like and even sounds like Morrison. Unfortunately, he was let down by a shallow script, written by Stone himself. The surviving band members respected and even adored Kilmer's performance. Yet most of them criticized Stone's direction but none other than keyboardist Ray Manzarek who refused to even speak to Kilmer to help with the preparation. Many scenes that had Jim Morrison at his worst were exaggerated or even completely fabricated. That certainly angered the bandmates whom some even vouched for Stone to direct this film. While I may have no personal feelings towards Morrison in one way or another, the script is a disappointment. Thankfully, Kilmer does his best to pick up the slack.

In order to get the film in production, Stone had to get through lots of legal mumble jumble with the rights. For example, the parents of Pamela Courson (Jim's girlfriend) would not allow Stone to include Jim's poetry unless the director agreed not to blame Courson for Jim's eventual death. In reality, Courson is believed to have given the drugs that killed him to the man and she blamed herself. Within the bandmates themselves, there were conflicting views. Manzarek was ready to immortalize the band's accomplishments...but not with Stone at the helm. Conversely, guitarist Bobby Krieger did not want a biopic...unless Stone was directing. The subject was a hot commodity given that Scorsese and De Palma tried to get the rights to direct, but Stone won the day as he also crafted the script alongside Randall Johnson. I already said the script took certain (or many) liberties, but at least Stone kept the film visually interesting. The trip to the Mojave Desert is straight psychedelic. The concert scenes are visually (although not historically accurate) impressive.

Ray Manzarek (Kyle MacLachlan) and Jim Morrison (Val Kilmer) met at UCLA in 1965 and decided to form a rock band. With the additions of Bobby Krieger (Frank Whaley) and John Densmore (Kevin Dillon), the band known as The Doors formed. Jim became known for his controversial lyrics and his onstage hysterics, yet was undoubtedly charismatic despite an exorbitant amount of drug and alcohol use. Soon enough, the band is wondering what is happening to Jim. Jim is very popular with the general public but always had run-ins with the law. Sticking by Jim's side is his long-time girlfriend, Pamela Courson (Meg Ryan). But being a rock star, he indulges in a drug-induced affair with a reporter named Patricia Kennealy (Kathleen Quinlan).

Even though the script does not portray Jim Morrison in a positive light, you cannot deny how electric Val Kilmer's performance is. He spent hours and days learning 50 songs from the band although only 15 songs were used. He sang over Morrison's voice and the results were unreal. Not even the band was able to tell him apart. Meg Ryan is normally known for her lighter fare but I think she did a decent job tackling the juicy Pamela Courson role. You could probably call the film "Jim Morrison" and the title would stick because of how limited the screen time was for the band members. The respective actors did make their characters believable at least.

Overall, The Doors could have been much better if someone did not allow Oliver Stone to get swept away in his indulgences. I like most Stone films, but this is certainly a disappointment especially given Val Kilmer's commitment. Still, he visually made the film interesting. Kilmer is, by far, the best part of the movie. Playing a man like Jim Morrison who is nearly mythical is not an easy task. Listening to him belt out "Light My Fire" proves he was up for the mission. I wish Oliver Stone was.

My Grade: C.

Star Trek: Discovery: Will You Take My Hand? (2018) Season 1, Episode 15

Very Excited for Next Season!

[9/10 · 25 October 2022]

I seemed to like the season finale, "Will You Take My Hand?" better than most folks. Hope and inspiration has always been a cornerstone of this franchise and the episode, mainly towards the end, takes advantage of those feelings to deliver hopeful speech after speech. While well-intentioned, it does feel grating but it is necessary to have these speeches. People also didn't seem to like the absolute ending with the arrival of Christopher Pike and the U. S. S Enterprise, the only ship I have some familiarity with. Do we need to tread familiar ground? For me, I do not mind it. I want more adventures with Pike and the crew! I liked the visual scope of the episode. We were treated to an exploration of Qo'nos, the home planet of the Klingons. I was not surprised about the seedy, underground look. The creature design is also exemplary. I liked the character development of Burnham throughout the episode. She eventually becomes a hero, a complete turnaround from the first episode when she was in exile. She, of course, had to disobey orders yet again. Isn't that a good thing to happen in order to stop genocide?

The crew of Burnham, Tyler, Tilly, and Georgiou land on Qo'nos posing as traders. They landed near a volcano system that would allow them to use a drone to bomb the planet and annilihate all the people, thus effectively ending the war. Once Burnham discovers the drone is a hydro-bomb, she pleads with Admiral Cornwell to do the right thing and not bomb the planet. She goes against the Admiral's wishes and is able to convince Georgiou to hand over the detonator in exchange for her freedom. It is given to L'Rell which will be used to unite the Klingon houses. Tyler decides to go with L'Rell. When the U. S. S Discovery heads to Vulcan to pick up a new captain, they receive a distress call from the U. S. S Enterprise.

This season is a strong season that got me invested into the series. I have seen the later movies and some episodes of the older television shows, but this is what got me into the lore. Older Trekkies don't seem as happy about the show mainly because of its fast pace and more action. There are supposedly some timeline issues, but that does not affect me. The performances were excellent. Sonequa Martin-Green transformed into Burnham as the season went on. Honorables mentions are given to Michelle Yeoh as the evil (and good for one episode) Georgiou and Doug Jones as Saru, my favorite Kelpian. There were some story complications. The season was supposed to focus on the Klingon War but we seemed to have beamed right past it and it was tidied up like nothing, and was not a fan of the Burnham/Tyler romance angle. That said, I am very excited to see what's in store for next season.

My Grade: A-

Singin' in the Rain (1952)

Heartwarming Musical Classic About Unexpected Love!

[9/10 · 23 October 2022]

In one of the earlier films that Hollywood has made about itself, there is no other adjective that can be used to describe 1952's Singin' in the Rain except for delightful. When Gene Kelly stepped outside, oblivious to the rain, to joyfully declare his love for a gal, a big smile arose on my face. This lamppost scene is an iconic scene that every movie lover knows about. I have no idea why it took me so long to see the movie, but better late than never! For one hour and forty-three minutes, I was in a state of joy watching Gene Kelly, Donald O'Connor, and Debbie Reynolds work their magic. Considering this an Arthur Freed production, you are pretty much guaranteed that there will be great music, lavish sets/costumes, and pitch-perfect dance choreography. The music certainly wasn't new (as most of them were older Freed songs), but the song versions from this movie are certainly the most memorable. When I think about the title song, "Singin' in the Rain," I think about Gene Kelly singing it. The successful usage of the songs is impressive in my eyes because they were written two decades earlier, so they were not related to the actual story. Freed just wanted to make a movie that connected the backlog of songs he created. He hired Betty Comden and Adolph Green to be the connective tissue (writing the script) for the songs.

Freed wanted Stanley Donen to direct and Gene Kelly to star, but they were busy working on the 1951 Oscar-winning An American in Paris. Once their schedules cleared up, they were sent the script. Donen and Kelly were both enthusiastic and began to revise the script with their own inputs. Donen was ready to show off the state-of-the-art Technicolor that still looks impressive today. The production design and costumes were vibrant with the colors as everything is bright and jumps at you on the screen. The sound is also very good and it benefits from being an MGM musical. The songs that were performed were written by Freed decades earlier, right around the time talkies were the new thing in Hollywood, so they made sense to use. Some songs were original such as the Donald O'Connor scene-stealing song, "Make Em' Laugh."

This movie takes place in Hollywood as The Jazz Singer was making rounds as the movie that revolutionized cinema. This changed the acting profession for better or worse. People like Don Lockwood (Gene Kelly) are able to adapt because of a vaudeville background. Lockwood and his best friend, Cosmo Brown (Donald O'Connor) team up with the gorgeous actress Lina Lamont (Jean Hagen) to form a successful acting tandem. When Lockwood escaped from a gaggle of fans, he met an aspiring actress with a beautiful voice, Kathy Selden (Debbie Reynolds). Lamont is having trouble with the film transition because of her sharp voice. Lockwood and Cosmo made a decision to dub her voice using Kathy. When Lamont finds out about this, she becomes jealous and angry. The truth will be discovered when Kathy decides to sing for an audience.

The cast has such great chemistry with one another. In a way, that is surprising because Gene Kelly (who also co-directed the movie) worked the 19-year-old Reynolds very, very hard. She was an inexperienced dancer and she was forced to keep dancing until her feet bled. She became friends with Fred Astaire who taught her how to dance. I think she danced very well especially given who she was dancing with. Donald O'Connor had an intense, complicated sequence during "Make Em' Laugh," which is one of my favorite sequences. He was a man who smoked four packs of cigarettes a day and had to be hospitalized because this scene wore him out. Gene Kelly stuns with his flawless choreography. I thought An American in Paris was just a bit overrated, but Kelly was the reason why the film worked. He had a more agreeable story to work with and talented co-stars, but he still was the star of the show with his voice and dancing talents.

Singin' in the Rain is a film that ages like fine wine. People discover and fall in love with the film many, many years after it was released. It is a top-tier musical that features lots of A-talent on the top of their game. As a romantic comedy, it is an endearing one with fantastic chemistry between Kelly and Reynolds. Who needs umbrellas when you are celebrating love in the rain? There is such a warmth that Donen and the cast delivers and you instantly feel it. So many musicals and romantic comedies try to emulate this movie. Some come close, many do not. If there is a fault, it has to be predictability. That, however, is a fault of the genre. This is about the best you can get...with the addition of some excellent songs.

My Grade: A.

The Silence of the Lambs (1991)

Anthony Hopkins Plays the Best Villain of All Time!

[10/10 · 21 October 2022]

"A census taker once tried to test me. I ate his liver with some fava beans and a nice chianti."

If you so happen to be drinking a glass of chianti (or anything for that matter) when starting The Silence of the Lambs, you might want to think again. I have seen so many movies during my lifetime. I have seen enough crime thrillers with blood, guts, and then some so that I would be accustomed to anything that any filmmaker would throw at me. This 1991 film, that gave its credence to crime procedurals, still unnerves me every time I watch the movie. Anthony Hopkins delivers the creepiest, most villainous performance out of anyone that has ever been on screen...seriously. I even have goosebumps just writing these words. His presence is only known for about sixteen minutes, but his shadow exists even if his actual character is not around. The way Hopkins uses his voice, sounding like Katherine Hepburn trying to creep someone out, is unnatural and chilling. I also found the way he uses Jodie Foster's life story for some kind of twisted, internal pleasure incredibly chilling. When he escaped his confines, I felt very unsettled. I knew bad things were going to happen. It goes to show that horror/psychological thrillers do not need to rely on blood, guts, and jump scares for its scares. A character-driven story with a splash or two of realism can do the trick. I just hoped that no mass murderer was in hiding waiting to devour me. There is still plenty of violence, but only for the sake of moving the story along.

The movie was based on a very popular Thomas Harris novel. Gene Hackman originally had the rights and was going to direct and star as FBI Agent Jack Crawford, but left the project because he felt the story/themes were too gruesome. Jonathan Demme got the chance to direct the film after reading the novel. To this day, this is Demme's best film. He made some bold, fascinating choices in depicting the story. Demme and his screenwriters shocked the world in their depiction of serial killers. They used to be ugly, dumb brutes that only wore masks. Making the decision to have this man be of high intelligence with impeccable manners and a scary sense of reading people while being portrayed by an actor of excellent stature was something no one expected. On top of that, Hopkins won a well-deserved Academy Award. I shudder just thinking about when we see him for the first time. The audience is immediately given the information he is much, much more than the usual serial killer. In addition to the performances and direction, one can admit this is a well-made thriller production-wise. The cinematography and Howard Shore's musical cues stood out to me.

Buffalo Bill (Ted Levine) is a psychopath who kidnaps his victims and skins them alive. He also dresses as a woman because he feels like an entire new person like that. The agent in charge of finding this murderer, Jack Crawford (Scott Glenn) believes "it takes one to know one." He sent people to mass murderer already behind bars, Dr. Hannibal Lecter (Anthony Hopkins). Lecter either toys with them or sends them away. Crawford gets the idea to send a young, inexperienced female trainee, Clarice Starling (Jodie Foster). Lecter is known for eating his victims and is a highly intelligent person who is able to read people well. He will only help with the case if Clarice gives him information about her own life...no matter how private. This twisted relationship allows Clarice to confront her own demons...and an evil presence that is beyond evil.

I can gush about Hopkins's performance when talking about film in general. In a world where there are many iconic, amazing villains, Hopkins's Hannibal Lecter rises to the top. No one expected this performance. He does outshine Jodie Foster's strong performance. Foster is the film's heart. Her character is strong-willed and compliments Hopkins. They did not share many scenes together, but when they do share scenes, expect an acting powerhouse. A normal person would melt under Lecter's gaze, but Clarice surely did not. The supporting cast also did a good job (with Levine's Buffalo Bill getting some good moments).

The Silence of the Lambs is one of those rare films that won the top 5 Oscars (Picture, Actor, Actress. Director, Screenplay(Adapted)). It is deserving of that feat. The screenplay and taut direction are just some of the amazing things in addition to Hopkins's and Foster's respective performances. Not a straight horror film, but I went through emotions ranging from unsettled to terrified. Some scenes were flat out gruesome. Demme's film is considered a modern masterpiece. I think we can all agree there, especially after that ending!

My Grade: A+

L.A. Story (1991)

Steve Martin's Los Angeles Love Story!

[8/10 · 16 October 2022]

Many movies have been influenced by New York culture. New York is the big East Coast city that has been a setting for movies time after time. Why not give another city its due respect? That is what screenwriter and lead actor Steve Martin thought. His comedic takes on Los Angeles is spot on, at least according to my LA friends. I may not live in California. Heck, I have never been there. But some of the dear people in my life herald from this area, so I found comedic value. Sure, they played up the comedy with the freeway shootout and socially acceptable mugging bit. It's relatable comedy. I think New Yorkers will love the scenes with Patrick Stewart as the Maitre D at this upscale French restaurant. The food culture in both cities rings very true, even to this day more than thirty years after the movie was released.

When people visit LA or Hollywood for the first time, people expect to be in seventh heaven. Martin wants people to keep their ideas in check with his snide (and often hilarious) takes on Los Angeles. In addition to being a love letter of sorts toward the city, this movie works well as a fantasy romance. Sarah Jessica Parker's character, spelled in a very unique way, is a ball of energy. SanDeE* is her name. Love the spelling! As a fantasy, Martin's character is given wisdom and advice from a flashing construction sign. Honestly, I wish I could be given life advice that way. Martin spent seven years on-and-off writing the screenplay. The time was well spent learning the ins and outs of LA culture. And the use of Enya. Who doesn't love the soothing music of Enya. Director Mick Jackson effectively adapts Martin's screenplay to the big screen by combining fantasy and romance as if they were one.

Harris K. Telemacher (Steve Martin) is a painfully adept meteorologist. After all, a man who predicts the weather does not have to be the smartest one in a place where it is sunny 95% of the time. He feels bored at life and is wasted in a relationship with his girlfriend, Trudi. Once he realizes she is having an affair, he leaves her. He finds a spark when he meets English journalist Sara McDowell (Victoria Tennant) who is in town writing a story about LA culture. She is introduced by her ex-husband and Harris's friend, Roland (Richard E. Grant). Harris thinks that is the woman of his dreams but he feels like she is only interested in her ex. He dates the much younger model, SanDeE* (Sarah Jessica Parker) to get her attention. But the flashing signpost may be the key to Harris's love life and perhaps life in general.

This is Steve Martin's best comedy in some time. His character starts out obnoxious and a sense of dread built inside me. But over time, I became attached to his character as he tries to find his true love. Funnily enough, Martin was married to Victoria Tennant at the time. That would explain their chemistry with one another. Sarah Jessica Parker is a ball of energy and not the brightest bulb, but I dug her character. I loved Patrick Stewart and his restaurant scenes. His scenes were out of place for Stewart and had me in stitches. There are also a whole bunch of cameos which I will not spoil, but some of them are unexpected.

L. A. Story is Steve Martin's love story to the city of Los Angeles. Those invested in the food/art culture will find something to laugh at. The people in Southern California do love to sit outside and drink cappuccinos every day, right? Also, plastic surgery is apparently a thing here. I actually did not realize that. In addition to a story about the smoggy, traffic-infested city, it doubles as a mostly effective love story. It took some time to get invested in the love story, but I am glad I was able to.

My Grade: B+

White Fang (I) (1991)

A Heartwarming, Old-Fashioned Adventure!

[8/10 · 13 October 2022]

If you are craving an animal film, may I recommend Randal Kleiser's White Fang? It is based very loosely from the famous Jack London novel as the filmmakers took certain liberties which may have been for the best. The source material was mainly a comparison between dogs and humans with humans falling short of our favorite four-legged friends. This movie, on the other hand, is more of a human story. A story about the friendship of man and dog. It is a heartwarming thing watching this young man and this wolf-dog develop a deep relationship. This is the best part of the movie, watching the two creatures save each other. When the dog saves the human from a massive bear attack, I actually believed the dog could take on the bear. Look at the size of those massive fangs! The story itself is fairly predictable. I knew what was going to happen and how the film was going to end. The script could have been better. Thankfully the film works because of Kleiser's confident direction and the wonderful Ethan Hawke performance. And gosh, let's not forget about the breathtaking cinematography. Tony Pierce-Roberts uses his cameras effectively to capture incredible, vast Alaskan wilderness.

If you need a break from the never-ending glut of violent action films or mind-bending thrillers, this story is one the entire family can enjoy (because Disney!). As an animal lover who used to have a husky for the majority of my life, I needed to see this seemingly undervalued film. It's 1898, and Jack Conroy (Ethan Hawke) is a young prospector who travels the Yukon to find gold that his father promised. He joins two older prospectors (Klaus Maria Brandauer and Seymour Cassel) in the hunt for gold. He saves a wolf-dog from a cruel trainer thus the beginning of a friendship. His name, White Fang, was given to him because of his sharp teeth. White Fang was taken from Jack and trained to be an animal that viciously kills other dogs. Jack is going to have to save the dog before it is too late.

Ethan Hawke impressed me in 1989's Dead Poets Society. He uses that same charisma to make a believable character, one who matures as the movie goes on. Jed, of course is an animal actor, but he is a thing of beauty. A very majestic creature! Klaus Maria Brandauer does well in a supporting performance. He is a veteran prospector, a dreamer but also a hardened man. James Remar, folks, is my favorite villainous performance. He is not around often, but steals the show when he appears.

It's hard to believe Disney dumped White Fang in the dead of January. It is better than the credit it has been given. I had to do some digging to give the movie a proper watch. It's your typical human/animal relationship and admittedly does nothing new with the material, but it still manages to tug at the heartstrings...especially those who love animals (such as myself). There are some thrilling and surprisingly vicious moments (that bear attack and the dogfighting scenes). A good, old-fashioned picture about the friendship between a human and an animal.

My Grade: B.

Star Trek: Discovery: The War Without, the War Within (2018) Season 1, Episode 14

Starfleet Is Not Going Down Without A Fight!

[8/10 · 13 October 2022]

"The War Without, The War Within" is a decent episode that answers some hardpressed questions, yet also asks some more. It has the feeling of a Star Trek episode especially when Stamets uses science to come up with an idea on how to grow all the spores at once. The performances were fantastic all across the board. Jayne Brook had lots to work with as Admiral Cornwell had many important scenes. Michelle Yeoh continues to have the most impressive scenes as I continue to find Georgiou fascinating. She is involved in yet another twist, but this time she has to pretend to be the "real" Georgiou to lead a mission to the Klingon's home planet of Qo'noS. The visuals remain very strong as that has been the case each episode. I was not as enamored with the writing. The melodrama between Tyler and Burnham...is tiring. He even goes as far to say that Michael is partly to blame. Seriously? Writers, you can do better than that!

The Discovery quickly learns that the Klingons have achieved victory. Admiral Cornwell and Sarek informed the bridge that the Klingon houses continue to fight one another over the Federation assets. Cornwell takes control of the ship and takes them to the only safe headquarters beyond Earth, Starbase 1. Tyler has emergency surgery done by L'Rell to remove Voq. Tyler has his own personality but still retains Voq's memories. He tries to patch things up with Michael and the crew to little success. Stamets has a hard time facing Tyler which makes sense considering what happened to Culber. After it was discovered the Klingons conquered Starbase 1, Georgiou tells them that she conquered Qo'noS in the Mirror Universe. The motion has been set forth to replicate the same thing here.

For the most part, there is enough to like here. Do I get a feeling the Klingon War is being stretched? Yes, but we are given some incredible character depth from everyone. Other than the melodrama from a romance that was meh in the first place, the writers have done a great job expanding this world. The pace continues to be quick as usual, so expect many things to happen.

My Grade: B+

Star Trek: Discovery: What's Past Is Prologue (2018) Season 1, Episode 13

Twisty Episode!

[9/10 · 12 October 2022]

"What's Past is Prologue" (whose title is taken from a Shakespeare play), is a very fun episode. It can be labeled as a finale of sorts, because it is the final episode in the Mirror Universe. The events that occurred in this episode leads to a surprise ending. Courage and bravery are some of the themes at play here, especially considering this world is led by the fascist Terran Empire that only exists to subjugate non-humans into slavery and other horrible things. The chemistry between Sonequa Martin-Green and Michelle Yeoh continues to be one of my favorite things about this series. There was even a nice little twist for the Empress as she is taken back to the real world of our heroes. The action remains strong, even if people believe there is too much action for a Star Trek series. Honestly, I do not mind. And we say our farewells to Lorca who meets his maker from the hands of the Empress. We could have used more of Lorca. Jason Isaacs brought a certain sense of gravitas to the backstabbing character who was on his own mission. I felt bad for the crew of the U. S. S Discovery once they learned who the real Lorca is. It looks like Saru is gonna have to step up. He had some great moments of inspiration throughout.

With the help of Mirror Stamets, Lorca was able to free his old crew and take over the Charon. Both the Empress and Burnham were able to evade capture and Burnham was able to let the Discovery understand what was happening. They come up with a plan to create an explosion that will allow the real Stamets to use the mycelial network to take them back to their own world. Burnham and Georgiou are able to attack and defeat Lorca. Georgiou wanted to stay behind, but Michael decided to take the Empress with her. They arrive back to their normal world...nine months later and learn some unsettling news.

The ending surprised me. I did not think they would have a Klingon victory in this universe. There are some questions that I thought about. How will Georgiou take to the world of the Federation? The Federation's ideals and values are certainly different from what Mirror Georgiou is accustomed to. What about Ash? Michael's former lover is a Klingon...or at least was one. How will he play into all of what's happening?

My Grade: A.

City Lights (1931)

Chaplin's Romantic Side

[9/10 · 9 October 2022]

This is how you do a comedy that is timeless and heartfelt. Then again, Charlie Chaplin was a legend when it came to making these types of films. The Little Tramp is such an iconic character, even to this day, nearly a century after the Tramp was born in the mind of Chaplin. Chaplin knew how to work with the silent film format to deliver a moving, yet hilarious film. I never knew a silent film would be capable of having me bowled over in laughter. Yet, here we are. There is a reason why critics lauded City Lights as Chaplin's best film. I still think Modern Times is slightly better, but this 1931 feature is right up there. Some of the scenes are just so funny. My favorite sequence, which I am sure others can agree, is the boxing sequence. The Tramp uses a weird choreography to befuddle his opponent and the referee...while having the audience laugh their minds out. I also adored that spaghetti sequence. Finally, when compared to earlier films, Chaplin uses romance more effectively. Throughout the picture, it was easy to fall for a possible romance between the Tramp and the Blind Woman. The ending is heartfelt, moving, and one that is bound to put a smile on your face...even for the most cynical.

This is Chaplin's first film since the advent of sound in motion pictures. Chaplin is the only person who could have pulled this off because the Tramp is an iconic character which would only be ruined by sound. Unlike other films from the early sound era, Chaplin did not have to worry about complicated sets. The director never truly believed in the talkies, but he had earned enough goodwill in Hollywood to continue to make what he wanted to. He took that goodwill to make an impressive romantic comedy. Production was tough for him. He admitted that he became neurotic because of all the stress. He did not have good working relationships with his cast as he even fired his leading lady, Virginia Cherrill. He produced many rolls of film which indicated a lengthy production. In the end, it was all worth it. Chaplin considers this film to be his favorite out of all the ones he made. At one of the premieres, Albert Einstein was in attendance and was reportedly in tears by the end. That is a feat in itself.

The Little Tramp (Charlie Chaplin) lives in the big city. The film begins with a sequence with the homeless Tramp being bothersome during a statue unveiling. But he ends up having a large effect on some people's lives. First, he saves this drunk, wealthy man from killing himself. The man's attitude towards the Tramp changes depending on whether he is sober or not. He also has a profound effect on this blind woman who sells flowers and lives with her poor grandmother. He tries to find the money to recover her eyesight, but will she still love the Tramp after she realizes he is not a wealthy man like she believes?

Chaplin made a career playing the Little Tramp. It is easily his best role. The character stands out more here because Chaplin gave him depth. He is a sweet little man who remains hilarious as always...yet is given a romantic side that we truly never seen from him before. I felt for him going after this blind girl...and felt the pain when he realizes there could be a chance they will not end up together. The blind girl is played beautifully by Virginia Cherrill. She was plucked out of obscurity when Chaplin discovered her on a California beach set. She had some issues with Chaplin, but that did not seemingly affect her performance. Her nearsightedness was able to help her play a blind woman convincingly.

City Lights is a beautiful movie about love. In addition to a romantic side, Chaplin uses comedy just as well as ever. Not everything works, but the scenes that do work are to be forever remembered. The boxing sequence and the ending scene are immortal in terms of influence. Chaplin preferred to use live music in earlier films, so this was the first time he provided a score in any of his films...and it's a great one too. He minimized the use of subtitle cards because he felt the actor's expressions and movements said enough. With talkies now the main source of films, one would think it would be impossible to replicate the success of earlier films. Well, he ended up having the most financially successful and critically lauded film of his career. While not my personal favorite from him, it ranks near the top. It is a funny and heartfelt comedy...a proper comedy that will never be forgotten.

My Grade: A-