Humphrey Bogart’s Top 10 Films

humphreybogart.jpgby Jason Gordon

American Film Institute in 1999 as the greatest male star in the history of American cinema, Humphrey DeForest Bogart was perhaps the greatest star of Hollywood’s Golden era. When you start a debate on who the greatest actor of all-time is to a young group of people, it is doubtful the great Bogart’s name is mentioned. They will probably rattle off the great actors of the 90s and today, such as Leonardo DiCaprio or Tom Hanks. Appearing in 75 feature films, these actors don’t hold a candle to Bogart’s filmography. Bogart played primarily grizzled and dark characters, often acting in an understated manner. Any of the following films will showcase one of the world’s finest actors at the height of his talents.

  1. Casablanca

Generally considered Bogart’s greatest film, not much needs to be said about said about it as virtually all movie buffs have seen the story of bar owner Rick Blaine who operates the Rick’s Café Américain nightclub in the Moroccan capital of Casablanca during the early years of World War II.

  1. The Treasure of the Sierra Madre

Bogart was never darker as an actor than in his role as Fred C. Dobbs. Bogart’s character is the most venal of the three treasure hunters in this film, which is considered to be the precursor of crime-based morality tales.

  1. The Maltese Falcon

This film marks Bogart’s best portrayal of a private eye with the character of Sam Spade in an adaptation of the book by Dashiell Hammett. It’s also one of the rare occasions when a remake of a film is better than the original.

  1. In a Lonely Place

In a Lonely Place is the third film produced by Bogart. He plays Dixon Steele, a fading screenwriter who is a drinker with a dour personality, but who also is a perceptive judge of character. The film is also an attack on the darker side of Hollywood during the McCarthy era.

  1. The Big Sleep

The plot of the The Big Sleep is convoluted and somewhat unintelligible, however it’s a great atmospheric work, thick with intrigue. It’s the second of the Bogart-Lauren Bacall collaborations, with the latter acting as an equal to Bogart’s Philip Marlowe.

  1. The African Queen

Shot on location in the Congo and Uganda, The African Queen pits Bogart’s drunken boat captain Charlie Allnut against prim missionary Rose Sayer, played by Katherine Hepburn. This adventure classic proved to be the only time in his career where Bogart would win a Best Actor Oscar.

  1. Key Largo

Based on the play of the same name, Key Largo is the “hurricane movie” where Bogart’s character, Frank McCloud, is trapped inside a Florida hotel by Edward G. Robinson’s gangster, Johnny Rocco, as a tropical storm approaches. This work is considered one of the great classic film noirs of the 1940s.

  1. The Caine Mutiny

Made on a tight budget, The Caine Mutiny has become one of the all-time classic war dramas with the script exploring the mental health of Captain Philip Queeg. His performance of the neurotic Navy man, filled with fear and contradictions, may be the greatest work of the latter part of Bogart’s career.

  1. To Have and Have Not

Capitalizing on the success of Casablanca two years earlier, this film is a classic in its own right because of the number of Hollywood heavyweights who worked on this story of Harry Morgan, captain of a fishing boat in Martinique in 1940.

  1. Sabrina

This classic romantic comedy shows Bogart’s character actor skills pitting his Linus against the title character, played by Audrey Hepburn.

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Film Review: PATRIOTS DAY (USA 2016)

patriots_day.jpgDirector: Peter Berg
Writers: Peter Berg (screenplay), Matt Cook (screenplay)
Stars: Mark Wahlberg, Michelle Monaghan, J.K. Simmons

Review by Gilbert Seah

PATRIOTS DAY tells of the heroes behind the capture of the Boston marathon bombers. Arriving 3 years after the incident, the film is still as timely owing to similar terrorist attacks around the world – in Miami and Paris, just to name a few. In fact, the film also pays homage to the victims of those attacks as they are mentioned during the film’s closings credits.

The second film in less than year from director Peter Berg and actor Mark Wahlberg sees PATRIOTS DAY as an improvement with a more serious tone than the previous DEEPWATER HORIZON. More so, since the film is a re-creation of the Boston Marathon bombing on the holiday Patriots Day, which the title of the film derives from. It is the star vehicle again of Wahlberg and it is not surpassing he chose this role as Boston is the star’s hometown.

The film is an earnest account of Boston Police under Commissioner Ed Davis’s (John Goodman) actions in the events leading up to the 2013 Boston Marathon bombing and the aftermath, which includes the city-wide manhunt to find the terrorists behind it.

The film takes a while before establishing a sound footing. The first third of the film feels like the garbage that was in director Berg’s DEEPWATER HORIZON as in the scene where Wahlberg’s young daughter explains to him and wife how an oil rig could explode with a can of coke at the breakfast table. The family scenes of various characters at the film’s start sets the film up like a soap opera with the director like a traffic cop, but the film improves from there getting to the main business at hand.

The film’s best segments are those that involve the terrorists – as one is always curious of a world one knows very little of. The best of these is the interrogation segment where a lady expert is brought in to question the wife of the deceased bomber. One cannot help but admire the professionalism on display here – from the scripted questions to the suspenseful staging of this scene. The ultimate question that needs to be answered is “Is there another bomb?”

The film feels racist in the one scene with the asian whose car is hijacked by the terrorists. He speaks with a typical Chinese accent with all the ‘r’s pronounced as ‘l’s. But when the actual Chinese portrayed appears at the closing credits, he speaks with the same accent pronouncing all the ‘r’s as ‘l’s.

The purpose of the film is clearly a dedication to the strength and courage of the citizens of Boston from the law enforcement to the victims to the FBI. The last 10 minutes including the end credits are specially devoted for this purpose and though director Berg overdoes it, one can hardly complain over words like ”We consider ourselves not the victims of violence but the ambassadors of peace,’ voiced from the actual bomb victims.

Trailer: https://www.youtube.com/watch?v=pWPRxMj8Wl8

 

 

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Film Review: MONSTER TRUCKS (USA 2016)

monster_trucks_movie_poster.jpgDirector: Chris Wedge

Writers: Derek Connolly (screenplay), Matthew Robinson (story by)

Stars: Lucas Till, Jane Levy, Thomas Lennon

Review by Gilbert Seah

A monster truck is a vehicle (usually a pickup truck) that has been modified with a larger suspension and larger tires so as to compete in shows and mud bogs. While vacationing in New Brunswick years back, I was taken to a mud bog. It was the most boring time of that vacation. But there is no monster competition show in this film called MONSTER TRUCKS. But there is a real life monster living inside a truck, the one modified by the protagonist Tripp (Lucas Till) who drives it.

Looking for any way to get away from the life and town he was born into, Tripp Coley, a high school senior, builds a monster truck from bits and pieces of scrapped cars. After an accident at a nearby oil-drilling site displaces a strange and subterranean creature with a taste and a talent for speed who he names Creech, Tripp may have just found the key to getting out of town and a most unlikely friend. The rest of the film has Tripp rescuing the creature, embedded in his truck (don’t ask) and retiring it to its habitat, ET-style. The story was reported to originate from ex-Paramount President (reason he is now ex-President is obvious) and his 4-year old son.

Director Chris Wedge (who made ICE AGE and the forgettable animated features like EPIC and ROBOTS) appear to be just going through the motions with his latest feature. The film is cliched from start to finish. But the greatest fault of the film is the seriousness everyone seems to be taking of the material, despite the film’s really ridiculous plot of monsters surviving near oil wells and able to join in human beings and amalgamate with their trucks.

It is the same old cliched story of boy wanting to escape from small town with subplots of single mother trying to keep son in town; overbearing mother’s boyfriend (Barry Pepper) who must be the sheriff of the town; pining wannabe girlfriend; loner befriending monster and so on. With uninspired direction and writing, the film turns boring within the first 10 minutes. The silly message about caring for the environment does not help the film’s originally either.
Lucas Till (the X-MEN films and yes, in that teen awful film HANNAH MONTANA) is plain awful as the lead who appears o be hired for the job based on his looks. The sequence where he pretends to drive a truck in the garage proves how bad he is. Amy Ryan as is mother is totally wasted but Barry Pepper is at least watchable. Pepper is an actor from Vancouver and likely hired as the film was shot in the Vancouver Production Studios.

The film has so far garnered negative reviews (example 22% on Rotten Tomatoes as of time of writing). Paramount is reported to be taking a $115 write down for the film which cost $125 million to make, mostly for the special and CGI effects, which are the only impressive things about the film, despite looking silly (tentacles protruding from the body of the trucks). MONSTER TRUCKS turns out to be a big awful monster of a movie.

Trailer: https://www.youtube.com/watch?v=uQrj2M-2Uiw

 

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2017 GOLDEN GLOBES Summary

The 2017 Golden Globes Awards 2017 were held Sunday January 8th. Jimmy Fallon, the Tonight’s Show host is the MC of the Ceremonies held at the Beverly Hilton hotel in Beverly Hills.

Different, from the Academy Awards, of course, as this is a dinner/drinks even compared to the Oscars stage show. So there are no spectacular dance presentations for the Golden Globes. But the glamour is definitely still present.

Most noticeable this year is the hosting of Fallon taking over from Ricky Gervais. Gervais made fun of everyone while Fallon made fun of himself. But the biting really funny atmosphere developed by Gervais is sadly missing, while Fallon does do an admirable job.

As expected, it is LALA LAND all the way, the film winning in multiple categories as in Best Actor (Ryan Gosling), Actress (Emma Stone) and director Damien Chazeelle a well as Best Picture (Comedy or Musical) and others.

The lifetime achievement award went to Meryl Streep who gave a moving speech on journalism. But the Awards Best moment was the tribute given to the mother/daughter’s recent passing away Debbie Reynolds and carrie Fisher.

The Best Speech was probably delivered by Hugh kauri whose speech was referenced by three other winners.

My favourite win was French actress Isabelle Huppert for best Actress in her role in Paul Verhoeven’s ELLE. Unexpected was the win for MOONLIGHT over MANCHESTER BY THE SEA for Best Drama. But both are excellent films.

An overall enjoyable Golden Globes presentation, but I personally miss Ricky Gervais who always made me laugh out loud. Hope they bring him back!

LIST OF WINNERS

BEST MOTION PICTURE — DRAMA
Manchester by the Sea

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE — DRAMA
Isabelle Huppert, Elle

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE — DRAMA
Casey Affleck, Manchester by the Sea

BEST MOTION PICTURE — MUSICAL OR COMEDY
WINNER: La La Land

BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE — MUSICAL OR COMEDY
Emma Stone, La La Land

BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE — MUSICAL OR COMEDY
Ryan Gosling, La La Land

BEST MOTION PICTURE — ANIMATED
Zootopia

BEST FOREIGN LANGUAGE FILM
Elle — France

BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE IN ANY MOTION PICTURE
Viola Davis, Fences

BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE IN ANY MOTION PICTURE
Aaron Taylor-Johnson, Nocturnal Animals

BEST DIRECTOR — MOTION PICTURE
Damien Chazelle, La La Land

BEST SCREENPLAY — MOTION PICTURE
La La Land

BEST ORIGINAL SCORE — MOTION PICTURE
La La Land

2017_golden_globes.jpg

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Film Review: Mostly Sunny

mostly_sunny.jpgDirector: Dilip Mehta

Writers: Deepa Mehta, Dilip Mehta

Stars: Daniel Weber, Sunny Leone

Review by Gilbert Seah

 MOSTLY SUNNY is not the first documentary made on a porn star. Two of the most memorable documentaries made on a porn star are PORN STAR: THE LEGEND OF RON JEREMY in 2001 and SAGAT: THE DOCUMENTARY. Both of these films featured a male porn star, one an American and the other French. Both of the adult stars like SUNNY, became more famous than they ever imagined.
All the three films are radically different in the way they dealt with their subjects. RON JEREMY was well- known not because he was handsome or attractive but because he had an enormously huge tool that could be kept functioning for long periods of time. Despite the humorous treatment of Jeremy, the doc took quite a serious look at the underground pornography industry. SAGAT, only 80-minutes in length was as lively as its subject, Francois Sagat was. And Sagat is quite the showman. (I have seen him perform in Toronto during the Gay Pride Military Party where he was not too bashful to jerk-off onstage. But that doc treated the subject in dead seriousness, tracking Sagat’s rise to fame.

In MOSTLY SUNNY, Dilip Mehta (COOKING WITH STELLA) continues the lightness of his previous film with his portrait of Indian porn star Sunny Leone. For those unfamiliar, Sunny Leone is the most famous of all the porn stars in India and who has now ventured into Bollywood Cinema.

MOSTLY SUNNY is produced by Deepa Metha (FIRE, WATER, EARTH, MIDNIGHT’S CHILDREN, THE BEEBA BOYS) and her husband David Hamilton. For those wondering about the connection, Dilip is Deepa’s brother.

Those venturing to watch MOSTLY SUNNY should not expect too serious a film or a message or even controversial film. Metha’s treatment of his film and subject is as breezy as his subject Sunny Leone. Sunny is filmed in most scenes smiling or laughing. Even when talking about a serious topic like the reason her father chose to live in a small Ontario town of Sarnia, she is laughing and giggling. So, the subject of Sunny in the adult film industry, infuriating her parents and Indian community is treated as a brush off. Her fame in porn is also treated lightly. Those expecting to see Metha in any sex act in his doc will be disappointed, though there are a few nude pictures. The only one time Sunny gets really open, is when she tells the camera (through a past interview) that she is bisexual and got really excited when she shot a film segment in which the male came in both hers and another girls’ mouths. Metha shows more of Sunny in her non-porn Bollywood films than in her porn films.

The film runs at slightly over 80 minutes. Metha is short of material on his easy-going doc as evident in the segment where he tries to get any member of Sunny’s family still living in Sarnia to have a word or two to say to the camera.

As it turns out, Metha’s doc about a porn star is not really about a porn star – but about an ordinary hard-working Indian immigrant who just happens to turn out to be a porn star by accident. And it is not a bio-pic of Sunny either. Sunny is teated as mostly normal throughout the film, also marrying the one true love of her life – her manager who has accepted her past work. Perhaps a more appropriate title of the film wold be MOSTLY NORMAL.

Trailer: https://www.youtube.com/watch?v=fmC1DOLiCBg

 

 

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Film Review: MAPPLETHORPE: LOOK AT THE PICTURES

mapplethorpe_movie_posterDirectors: Fenton Bailey, Randy Barbato

Stars: Nancy Rooney, Harry Mapplethorpe, George Stack |

Review by Gilbert Seah

Robert Mapplethorpe. Artist or pornographer? Or a bit of both?
Using two retrospectives at LA’s Getty and LACMA museums as a backdrop, Randy Barbato and Fenton Bailey’s film profiles the controversial artist from early childhood, to his beginnings in NYC and his meteoric rise in the art world, to his untimely death in 1989. By then, audiences can decide on their own the answer to the question regarding the controversial artist.
They say that a documentary is only as interesting as its subject. No one could be as interesting as the late artist Robert Mapplethorpe who died from a complication of AIDS at age 42. His works and lifestyle are as intriguing as the man is beautiful and daring.

The subject is only shown in archive paintings and photographs. It is without argument that the man is extremely attractive. As in the words of Mapplethorpe’s ex-boyfriend, “Everyone liked him, men and women. Even dogs liked him.”

The film offers lots of talking heads, from Mapplethorpe’s family, friends and artists, possible since the subject is still ‘recent’, having only passed away un 1989. Unfortunately, the artist himself is not alive or is there any archive footage for him to have his say.

Mapplethorpe’s art doubtless shocked America. The images forces whoever’s looking at them to continually stare and be shocked at what they see – be it genitals, the naked body or bondage S&M. But Barbato and Bailey does not let their camera linger on the pictures. The images are shown fleetingly, perhaps to whet the audience’s appetite to want for more. The images are also explained in context by the talking head experts.

The directors do not offer a reason for Mapplethorpe’s lifestyle or art. But they deliver a good researched background of the artist, leaving the audience to determine for themselves the reason for the choices he made in his life. Robert is shown from his Catholic background as a boy who never failed to attend Sunday mass. His priest, who is still alive, also says a bit about the boy and how different he was. Surprising too, is Mapplethorpe’s first love, who is a female of the opposite sex. Patti Smith and Robert were very much in love, before Robert switched sides. Robert’s drug and decadent lifestyle is also mentioned in the film. A fair bit of screen time is also devoted to Robert and his long term partner and benefactor Sam Wagstaff.

The doc first premiered at Sundance Film Festival in January 2016, followed by the international premiere at the Berlin Film Festival in February, and a world television premiere on HBO in April. The film has been already released theatrically in the US and UK in April 2016. The reason the film is now being reviewed is that it will screen as part of the AGO (Art Gallery of Ontario) film series entitled ART ON SCREEN”, that begins January 18th, 2017.

Trailer: https://www.youtube.com/watch?v=KrVYqB0geMo

 

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Film Review: SILENCE. Directed by Martin Scorsese

silence_movie_poster.jpgDirector: Martin Scorsese

Writers: Jay Cocks (screenplay), Martin Scorsese (screenplay)

Stars: Andrew Garfield, Adam Driver, Liam Neeson

Review by Gilbert Seah

SILENCE. directed by Martin Scorsese and written by him and Jay Cocks is Scorsese’s labour of love. He was supposed to have made this film decades ago, but had to postpone the project many times owing to his obligation to direct other films. Finally, SILENCE is here, and despite all the hullabaloo, the film is surprisingly pristine and distant.

There is a lot of talk about the dedication and sacrifice the Jesuit priests went through. But the film never goes into the details of the source of this self-sacrifice. The only clue is the quoted scripture from Mark: 13, “Go ye into the world and preach the Gospel to the whole creation.” Apart from that, all the audience is given is lengthy talk of the priests insisting of going to Japan. There is one lengthy, unconvincing scene where priests Sebastião Rodrigues (Andrew Garfield) and Francisco Garrpe (Adam Driver) argue with their superior (Ciaran Hinds) to be given permission to travel to Japan to locate their mentor Father Cristóvão Ferreira (Liam Neeson).

The film, based upon the 1966 novel of the same name by Shūsaku Endō is set in the 17th century. The two main characters are the Portuguese Jesuit priests — Sebastião Rodrigues and Francisco Garrpe. They face violence and persecution when they travel to Japan to locate Father Cristóvão Ferreira, who has committed apostasy after being tortured. The story is set in the time of Kakure Kirishitan (“Hidden Christians”) which followed the defeat of the Shimabara Rebellion (1637–1638) of Japanese Roman Catholics against the Tokugawa shogunate.

SILENCE contains many awkward scenes, the funniest is the one which involves the act of apostasy. Apostasy is the formal disaffiliation from, or abandonment or renunciation of a religion by a person. The term is also used is used by sociologists to mean renunciation and criticism of, or opposition to, a person’s former religion, in a technical sense and without pejorative connotation. In the film, Father Ferreira apostates and talks about it. It is a hard word to pronounce and in that scene Neeson blows the pronunciation. It is a wonder why Scorsese did not cut that scene out of the film.

Another is the homo-erotic hugging of the two priests played by Driver and Garfield before they depart. Their odd look – as if they know what the scene could indicate but totally ignore the fact – is priceless. But the first scene with the torture of the priests by the Japanese soldiers using leaking ladles is quite ridiculous. I am sure the Japanese could have devised more torturous and less cumbersome instruments.

The film is shot in both English and Japanese. As the priests were Portuguese, whenever the actors speak English with a weird accent that is supposed to be Portuguese, The English is supped to stand for Portuguese. Fortunately, Japanese is left as Japanese. But these pose problems when in one scene pre sits asks: “Do you speak my language?” in English which stands for Portuguese.

The film contains too many set-up conversational pieces and laborious inquisitions for its own good. The lengthy 160 minute running time does not help either. SILENCE ends up a long, laborious and boring affair.

Trailer: https://www.youtube.com/watch?v=IqrgxZLd_gE 

 

 

 

 

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Year 2016 Poetry Contest (Winner gets poem made into film)

poetryfest's avatarPOETRY FESTIVAL. Submit to site for FREE. Submit for actor performance. Submit poem to be made into film.

Deadline January 10th. Submit a poem that’s about the YEAR 2016 and get it made into a movie. 

Accepting any poetry in any genre or length that’s about YEAR 2016 in any way.

All poems will be posted on this network. Over 95,000 unique visitors a day. The winning poem will have their poetry made into a movie. SPECIAL NOTE: Every single entry will get their poetry performed by a professional actor and made into a video.

The RULES are simple:

1. Write a POEM that’s about the  YEAR 2016. Send it to this contest for $20 and it will be POSTED on this site guaranteed for 100,000s to see. Plus, every entry will get their poetry performed at the festival and made into a video. (you own all rights to this poem and whenever you want it taken down, send us an email).

2. Email your POEM to submission@festivalforpoetry.com

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