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Film Review: RAISING ARIZONA, 1987

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Tribute review as it’s Ethan Coen’s birthday today.

RAISING ARIZONA MOVIE POSTER
RAISING ARIZONA
Movie Reviews

Directed by Joel and Ethan Coen
Starring: Nicolas Cage, Holly Hunter
Review by Andrew Rowe

SYNOPSIS:

When a childless couple of an ex-con and an ex-cop decide to help themselves to one of another family’s quintupelets, their lives get more complicated than they anticipated.

REVIEW:

10 minutes, that’s how long Raising Arizona rolls until the title card hits. If this sounds odd it is, but so is everything else about the Coen Brothers’ second film. As they’ve often done throughout their career, the brothers normally follow-up a serious film with a comedy. Fargo led to The Big Lebowski, No Country for Old Men led to Burn After Reading. With Raising Arizona the brothers had just come from the neo-noir Blood Simple, their first ever film. Where as that film dealt with deception and murder in the shadows of Texas, Raising Arizona basks in the sun with non-stop slapstick, silly fun.

Nicholas Cage stars as Hi, or H.I. if you’re talking to his friends. He’s a petty criminal who has a thing for robbing convenience stores with ammo-less guns. Because he doesn’t use armed weapons his jail sentences are always small in length, which allows for multiple visits. During these multiple visits he meets Ed, a policewoman played by Holly Hunter. Ed’s fiance leaves her, which opens up the door for Hi to reform and win her heart. This is when the Raising Arizona title card hits.

The unlikely couple moves into a trailer in the desert and realize they need something more in their life because they have too much love to give. After multiple attempts of conception, they learn that Ed is unable to bare children and due to Hi’s criminal record, unable to adopt. Devastated, hope arrives in the form of the ‘Arizona Quints’, 5 boys that are born to a locally famous unpainted furniture storeowner, Nathan Arizona.

Hi and Ed decide that abducting one of the boys for themselves is a good idea and do so. After welcoming the child into their home, Hi and Ed are greeted by two of Hi’s friends from prison, Gale and Evelle, John Goodman, and William Forsythe. The two inmates have broken out of prison because the institution no longer had anything to offer them. Against Ed’s wishes, the two fugitives stay at their home where they begin to influence Hi.

At this same time a heavily armed bounty hunter by the name of Leonard Smalls, “My friends call me Lenny… only I ain’t got no friends”, is on the hunt for the child. Blowing up bunny rabbits with grenades, Leonard is fear itself. Gale and Evelle eventually learn of the child’s actual identity and decide to turn him in for the reward money. Everyone collides on a strip in the middle of the desert highway that involves a bank robbery, gunfire, hand-to-hand combat, screeching tires, and a large explosion.

The script, written by the Coens possesses their trademark tongue-in-cheek dialogue as well as an explosive climax and slow burn denouement. No one writes stupid characters like the Coens do. These people that inhabit the film aren’t very bright, and it’s hard to believe anyone in the world could be of this level of intelligence, but the Coens draw you in, first making the world they live in real, then the characters, then the silly things they do. Besides the charming dialogue, there are so many ridiculous sight gags that you may not even catch them all the first time around.

Raising Arizona is arguably the craziest movie the Coen Brother’s have made in their three-decade career, and that’s saying a lot. The film acts as a live-action Saturday morning cartoon. Working for the second time with cinematographer Barry Sonnenfeld who had shot their debut film Blood Simple, the visuals on screen are closer to a Dr. Seuss book than any of the current film adaptations. Using his trademark wide angles, everything remains in focus allowing the viewer to fully appreciate the immaculate Art Direction. The camera also moves with the action at the right time giving certain scenes a feeling that the camera is a character in the film, namely a chase scene through a house, and a fistfight between two characters.

The actors do a tremendous job of bringing these cartoon characters to life. John Goodman who would go on to work with the Coens several more times is perfect as Gale, the harder of the two brothers and number one bad influence on Hi. Nicholas Cage and Holly Hunter have great comedic chemistry and give weight to characters that otherwise wouldn’t have much soul. Hi may just be a dummy, but he’s a dummy with a large heart that wants nothing more than for his Ed to be happy. He is like Bugs Bunny mixed with Wilde Coyote, he’ll get away from Elmer Fudd only to celebrate and have an anvil fall on his head. Randall “Tex” Cobb is a towering inferno on wheels, and makes lighting a match look almost as cool as Clint Eastwood.

It’s of course the Coens that bring it all together. The characters all seem real in this colorful world they’ve created. The slapstick is done wonderfully and gives you a nostalgic feeling of when these Buster Keaton-style comedies were king. It’s just a really fun movie that’ll have you laughing and shaking your head in tandem. This film is also the Coen’s most family friendly; it is almost Disney-like in some aspects.

The film’s innocence is something rarely seen in today’s crop of comedies as well as in the Coen’s filmography. It doesn’t feature as dark of humor or the violence that comes with most Coen Brothers’ films, but here that’s a good thing. The film is a great little gem that shouldn’t be missed.

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Film Review: GROUNDHOG DAY, 1993

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Tribute review as it’s Bill Murray’s birthday today! His best film.

GROUNDHOG DAY MOVIE POSTER
GROUNDHOG DAY, 1993
Classic Movie Review
Directed by Harold Ramis
Starring Bill Murray, Andie McDowell, Chris Elliott
Review by Russell Hill

SYNOPSIS:

A cynical television weatherman reporting on the annual festival finds himself experiencing the same day repeatedly, allowing him to change his life and try to win over the woman of his dreams.

REVIEW:

Criminally snubbed by the Oscars but now one of the most highly regarded movies, “Groundhog Day” is not like many comedies. Its blend of science fiction with comedy allows even the most die-hard Sci-Fi fan to enjoy the films rosy and comfortable narrative.

The protagonist of the film is Phil Connors (Murray). A weatherman at a reasonably successful cable company, he really is the epitome of a jerk. Despite his joking on-screen personality to those who watch his forecast, he mocks those who tries to establish any form of human contact with him. But when he is sent to report on Pennsylvania’s famous festival, he is to work with a new producer Rita (McDowell). Rita is the exact opposite of Phil. An optimistic, cultured individual, Phil takes an instant like to her. But how on earth would Phil ever tingle Rita’s heart strings?

The initial weather report goes well. All involved are happy, but for some reason they are stopped from returning to the station by a heavy snow storm and are forced to stay overnight in Punxsutaweny. The next day, Phil awakes to discover it is February 2nd once more. This is not right, Phil thinks. Maybe he dreamt it all. But what kind of dream is so vivid that he can remember the tiniest of details, from what the incredibly annoying yet likeable Ned Ryerson (Toblowsky) does for a living to what his ever-faithful cameraman Larry (Elliot) would say. And, it seems, only Phil appears to be experiencing this insane case of déjà vu.

The next day, Phil awakes and it happens again. Ned Ryerson is still annoying him, his foot for some reason finding the icy puddle of water and that darn groundhog being celebrated. What is Phil to do?

At first, thanks to some advice by some inebriated locals, Phil sees his situation as an advantage. His actions have no consequences, and thus goes on to do whatever the heck he likes. Stealing money, wooing complete strangers; no feat is impossible to achieve. However, despite all his tomfoolery, he finds that he still cannot achieve what he really wants; making Rita fall in love with him.

Despite his hard work, he finds that feat near on impossible. For what seems years for Phil, but only twenty-four hours for those enjoying the festivities, he fails. His thoughts turn suicidal. What is the point of life if I cannot share it with Rita, he thinks. But even dying is something he cannot achieve. Every morning he awakes just as he has done the previous countless other times. Screw it, he thinks. Rita’s always-ever pleasant nature convinces Phil that he has been blessed, and Phil goes out to do good for others, rather than for himself. But, despite his actions, will he ever become that better person Rita so obviously wants him to be?

Directed by Harold “Egon Spengler” Ramis, this film seems to have an appealing aspect for all. The good use of comedy, combined with the romantic sub-plot along with an added sprinkling of science fiction, mix well to create a high-quality comedy. As always, Murray is his usual brilliant self. Even when he has no dialogue, his facial reactions chuckle even the most placid of audiences. McDowell, who is not as bankable as Murray, delivers with her girl-next-door presence. It’s hard to believe that barely twelve months later, her role in “Four Weddings and a Funeral” would be rubbished and mocked for years to come. But here, she is as cute as a box of new-born puppies.

The surprise winner of the movie is Toblowsky. I was as surprised as the next person when I noticed that this actor, who takes each role seriously with not many laughs coming from him, seemingly relishing acting the part of the clown. How he ever achieves the same quality of “Ned, Ned Ryerson” each take is the mark of a great actor. As already mentioned, the reason why this film was snubbed by the Oscars remains a mystery. It’s not every film that has been recognised by spiritual leaders. Ramis mentions on the DVD commentary that he still receives letters congratulating him on directing such a positive movie showing that no matter how bad things are there is always another way out. Phil’s attempts to better himself are both humorous but informative as well; no matter how long it takes if there is something you would like to achieve it is possible. A message we can all take to heart.

Now fifteen years old, “Groundhog Day” is a hodgepodge of ideas that merge together to create an entertaining movie. Murray has never been at his comedic finest, and the films conclusion is justice to what Phil has experienced that leaves the audience with a rewarding feeling that seems to be lacking in most contemporary movies. Although Phil complains that other days in his life should have been repeated rather than February 2nd, I believe that the eventual outcome is most satisfying for him. A highly recommended movie that appeals to all members of the family.

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Film Review: WONDER BOYS, 2000

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Tribute review for director Curtis Hanson who died today at the age of 71. 

wonder_boys_posterWONDER BOYS, 2000
Movie Reviews

Directed by: Curtis Hanson
Starring: Michael Douglas, Frances McDormand, Robert Downey Jr., Tobey Maguire, Katie Holes, Rip Torn
Review by Jarred Thomas

SYNOPSIS:

English Professor, Grady Tripp, tries to deal with his wife leaving him, the arrival of his editor who has been waiting for his book for seven years, and the various problems that his friends and associates involve him in.

REVIEW:

Struggling Professor Grady Tripp (Douglas) is writing his second novel coming off the success of his first novel, The Arsonist’s Daughter. However, suffering from writer’s block, Tripp is unable to complete the second novel, and continues to add more pages to the already two thousand page novel. Meanwhile, he is having an affair with Sara Gaskell (McDormand) the wife of chairman of the English department, Walter. He struggles between confessing his love for Sara while also resolving issues with his current, and third wife Emily.

One of Tripp’s students, Hannah Green (Holmes) has a crush on him while another promising and talented student, James (Maguire) is having personal problems that are beginning to affect his work. To make matters worse, his editor, Terry Crabtree (Downey) arrives looking for information on Tripp’s second novel. There are many characters in Wonder Boys, all with unique and appealing personalities, but each one is given enough time to develop and the actors do an excellent job in fleshing the characters out.

The films eccentric dry humor is refreshing and captivating as the story unfolds and the quirky nature of everyone comes to surface for some entertaining moments. Crabtree in particular, played to perfection by Robert Downey Jr., is certainly one of the most complex individuals in the film. His frivolous and sarcastic nature only masks his depressed and insecure feelings towards himself. Tripp realizes that Crabtree is seen as a joke over at the company where he works because Tripp has yet to finish his book. So, everyone looks at Crabtree, Tripp’s editor, as a failure and company joke.

Katie Holmes does a nice job as well. Early in 2000 it seemed as if Holmes was appearing in a few indie pictures to boost her acting credits, and it worked. Three years later she was the lead in Pieces of April, a film about a woman preparing dinner for her family coming to visit her in her new apartment. Although it was quietly released, Holmes received critical praise. Another actor however with a stand out performance comes from Toby Maguire as the troubled James desperately seeking acceptance from his peers and more importantly his mentor Tripp.

The quirky and eccentric nature of James hides the mysterious parts of his life, which he keeps concealed from others despite their interests in trying to know him. James accompanies Tripp on his adventure to speak with Emily, and the pair bond over pot smoking and murdering the chairman dogs, but to be fair it was self defense; one of the funniest moments in the film. Maguire is an exceptional actor and it’s great to see him in films that allow his to show his talent. The relationship Tripp and James develop throughout the course of the film comes off sincere and genuine as the two connect on past circumstances that led them to where they are now.

The film during its release was well received with critical praise however it’s not well known despite the rave performances and excellent storytelling. Wonder Boys is one of those hidden gems that only a select few seemed to be aware of. Michael Douglas is not in a lot films these days and to see him in Wonder Boys is a reminder of his prowess as one of America’s greatest actors. Don’t forget, his father is Kirk Douglas.

While Wonder Boys may not be on the list of talked about or popular movies of the decade, it is certainly one of the best. Serious issues related to life are addressed but in a humorous dry manner with witty and quirky characters that are exciting and engaging to watch. Douglas and Downey play off each other perfectly as they become embroiled in a strange tale with comedy twists masking the serious ideas of the story about life. An excellent and well done film that deserves more attention for its engaging storytelling and compelling characters, Wonder Boys is a film that everyone should see at least once.

 

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Film Review: LA CONFIDENTIAL, 1997

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Tribute review for director Curtis Hanson who died today at the age of 71. 


la_confidential_poster.jpgLA CONFIDENTIAL, 1997
Movie Reviews

Directed by Curtis Hanson
Starring: Russell Crowe, Guy Pearce, Kevin Spacey, James Cromwell, Danny DeVito, Kim Basinger
Review by Brent Randall

SYNOPSIS:

The corruption existing within Los Angeles police force of the 1950s is exposed in this crime thriller.

WON 2 OSCARS – Best Supporting Actress (Basinger), Best Adapted Screenplay

REVIEW:

From the opening scene to the final credits, L.A. Confidential keeps you on the edge of your seat as it weaves through the murky waters of the Los Angeles police force. Set in the 1950s, the movie opens with discussing the wonders of Hollywood by showing a series of shots of the beach, the grand strand, and Hollywood, and how life in L.A. is better than anywhere on the planet, much less America, and the Los Angeles Police Department is the pride and joy of the City of Angels. After about five minutes of praising the city with a marvelous voice over from Sid Hudgens (Danny DeVito), Hudgens shifts gears and begins shedding light on the mobster, Mickey Cohen (Paul Guilfoyle), and how Cohen is pushing heroine through the city and causing chaos in a clean and pristine town.

At first, it seems that the police force is dead set on snuffing out the crime with the arrest of Mickey Cohen in the opening sequence with their brilliant detectives, Bud White (Russell Crowe), Jack Vincennes (Kevin Spacey), Ed Exley (Guy Pearce), and Captain Dudley Smith (James Cromwell). However, it is merely an illusion, and the corruption within the famous police department is quickly exposed. As the viewer, you get the sense early, all is not right within when a brawl breaks out between the inmates and the policeman on Christmas Eve. Personally, I thought it was brilliant to stage the fight on Christmas Eve, a time known for peace and joy, and the fight is one of the most vicious, realistic fights I have seen in recent films. Shortly after the fight, the event that sends everything in motion is a horrific set of murders that occurred at the infamous “Night Owl” restaurant. A blood bath that took place over a failed robbery attempt in Captain Smith’s account. Captain Smith, who is always trying to get justice, in his own words, “swiftly and merciless”, pins the murders on three young black men who had previous records . Smith feels no one would raise too many questions regarding these suspects, and they could shut the case for good.

However, Bud White and Ed Exley, while not choosing to work together for most of the film, know something stinks about The Night Owl investigation, and desire to find some air freshener to eliminate the “smell.” They employ the help of Detective Jack Vincennes, which is brilliantly performed by Kevin Spacey, and Lynn Bracken, a high class hooker, played by Kim Basinger in her best performance ever, in my opinion. We quickly learn that Bud White believes in justice, cares for women, has a major temper, and is loyal to the department. Exley, on the other hand, is a kiss up, but also believes in justice. Throughout the movie, it is easy to see why these two do not get along, but one quickly learns they have much more in common than originally thought, and they both prove to be honest and men of integrity. Russell Crowe (playing Bud White) and Guy Pearce (playing Ed Exley) both give brilliant performances, and makes one realize the line between right and wrong is very, very, complicated and sometimes justice is found on both sides of this proverbial line.

Bud White is probably, in my opinion, Crowe’s best roll to date. Not to take away anything from the movie Gladiator, but in L.A. Confidential, his character is not always right, he is not always wrong, but his quest for justice and righteousness gives the viewer a real sense of hope. Bud White is a character, as a human being, I can relate to. He is real, honest, has major flaws, but genuinely seeks the good in all and more importantly, the good within himself.

In fact, Bud White and the other character is what makes this film great. The story line is solid, but as the film progresses, you find yourself loving some, hating others, and not sure how to take the rest. Some represent the good in the world, Bud White. Others represent the evil in the world, Captain Dudley Smith. Some represent the people who look out for themselves as in Jack Vincennes, and then there is Lynn Bracken. In my opinion, she represents the hope we all have as humans for a brighter future, and that hope along with her brilliant acting might be why she took home the best supporting actress Oscar.

From scene to scene, and character to character, this film keeps probing deeper and deeper into corruption and darkness in search of hope, justice, and peace. It grips your the viewer’s emotions and takes you on a roller coaster ride. The acting is brilliant, and the stars (Kevin Spacey, Russell Crowe, Danny DeVito, Kim Basinger -just to name a few) are even brighter. It is a film that makes you want to search within yourself, question your own morality, and makes people realize that some of the worst enemies are the ones who appear to be friends, and vice versa. While it did not win best picture, (it was nominated and in my opinion, should have won!) it definitely qualifies as one of the best crime thrillers of all time.

 

 

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TIFF 2016 Movie Review: SADAKO VS KAYAKO (Japan 2016)

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Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2016. Go to TIFF 2016 Movie Reviews and read reviews of films showing at the festival.

sadako_v_kayako_poster.jpgSADAKO VS KAYAKO (Japan 2016) **
Directed by Kôji Shiraishi

Starring: Mizuki Yamamoto, Tina Tamashiro, Aimi Satsukawa |

Review by Gilbert Seah

Two iconic Japanese ghosts are thrown into the ring for a grudge match that’s the ultimate spectral showdown.

A more appropriate title would be THE RING VS THE GRUDGE. University students Yuri (Mizuki Yamamoto) and Natsumi (Aimi Satsukawa) buy an old VCR in order to transfer their home videos to DVD, but when Natsumi watches the dusty old tape found in the machine, she realizes she may have fallen victim to the curse that their urban-legends professor Morishige (Masahiro Komoto) is obsessed with.

Meanwhile, high-schooler Suzuka (Tina Tamashiro) is having dreams about a mysterious house down the street from her new home. Though warned not to enter the house lest she be killed by the Saeki family curse, she is soon drawn inside by the resident ghosts, Kayako and her son, Toshio.

The film is SADAKO VS KAYAKO. But the film does not turn out as well as it sounds. I am not a fan of mash-ups like BATMAN VS. SUPERMAN or COWBOYS VS ALIENS. They turn out too silly and never achieve much, the only exception being the excellent Japanese classic KING KONG VS GODZILLA.

Sadako exists mainly as hair coming out of the TV or video tape so a confrontation of hair against a white crawly ghoul might not amount to much.

Director Shiraishi spends too much time setting the stage for the fight and when it finally occurs, it is a disappointment.

See this only if you must!

Trailer: https://www.youtube.com/watch?v=uyLA6nfPvRo

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TIFF 2016 Movie Review: AFTER THE STORM (Japan 2016) ***

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Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2016. Go to TIFF 2016 Movie Reviews and read reviews of films showing at the festival.

after_the_storm_poster.jpg
AFTER THE STORM (Japan 2016) ***
Directed by Hirokazu Kore-eda

Starring: Hiroshi Abe, Yôko Maki, Taiyô Yoshizawa

Review by Gilbert Seah

AFTER THE STORM is Kore-da at his mildest ilmmaking. Don’t expect the drama of LIKE FATHER, LIKE SON or the imagination of AFTER LIFE his two best films. Yet AFTER THE STORM is not without its pleasures.

On the surface it is a simple film, a kind look at a loser. Ryota (Hiroshi Abe) is a failed writer, a third-rate detective, and a hardened gambler. As the film’s title seems to suggest, the salient moments of his life have already passed before the beginning of the story.

He won an important literary award when he was young, but his promising career vanished into thin air. Now, his father has died and his wife has left him. He adores his young son, but seems resigned to his position on the sidelines of the boy’s life.

One night, when a typhoon strikes, the broken family is forced to spend the night together at Ryota’s mother’s home. The ensuing interaction that is both bittersweet and tender forms the film’s highlight. “I never want to grow up to be like you.”, the son says. “I will always love them. They are my family.”

The father says at one point. Great performances here not only from Abe but from Kirin Kiki as Ryota’s mother, who is so funny she steals every scene she is in.

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

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TIFF 2016 Movie Review: Tereddut (Clair-obscur) (2016)

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Movie Reviews of films that will be playing at TIFF (Toronto International Film Festival) in 2016. Go to TIFF 2016 Movie Reviews and read reviews of films showing at the festival.

clair_obscur_poster.jpgCLAIR-OBSCUR (Turkey/Germany/Poland/France 2016) **
Directed by Yesim Ustaoglu

Starring: Mehmet Kurtulus, Metin Akdülger, Okan Yalabik

Review by Gilbert Seah

A female director’s film about two females. So expect a lot of feminine perspective to be presented in the story told. Turk director Yesim Ustaoglu offers a parallel study of two women — a psychiatrist with a long-time live-in partner and a wife in a conservative, nearly tyrannical household — in this study of the possibilities and limitations that exist for women in Turkey today.

A third through the film, their paths cross as the psychiatrist treats the other after a catastrophe.

Ustaoglu’s film clearly intends to show women’s hardships in terms of two different imprisonments of the two women. She succeeds in her tale of Elmas, the young abused new wife, but fails in the second tale of the psychiatrist.

The psychiatrist comes along as too smart and her arguments against her husband does not really feel genuine, as her husband could also feel himself used by her, as she did have an affair before the quarrel.

A mixed bag of emotions in this film, though the visuals are arresting.

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

 

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Film Review: A SPECIAL DAY, 1977

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Tribute review for Sophia Loren, born today at September 20th. 

A SPECIAL DAY, 1977
Movie Reviews

Directed by: Ettore Scola

Starring Sophia Loren, Marcello Mastrioanni, John Vernon,

Review by Leslie McMurtry

SYNOPSIS:

It’s a very special day in 1939—the day Hitler first visits Mussolini in Rome. The event has been marked by a massive Fascist party rally and parade, drawing everyone in the city. An entire tenement block leaves for the parade, except housewife Antonietta and unemployed radio announcer Gabriele. A chance meeting causes the pair to return to each other’s company over and over during the day and in the space of a few short hours, they have formed a very close and ultimately redemptive bond.

REVIEW:

Archival footage shows the arrival of Hitler and his highest-ranking Nazi cohorts by train and Mussolini’s Fascist army meeting and greeting them in Rome. A radio announcer gives full details of the historic event while giant swastikas float in the breeze, the streets choked with spectators. The announcer says that the Fascist forces are there in preparation for the next day, when an even bigger event will take place.

Daylight dawns over a tenement block in central Rome. The date is May 8, 1939—the day after the one the archival footage presented and the day of a huge Fascist party rally and parade. Pauletta (Françoise Berd), the caretaker of the block of flats, unveils a huge Nazi flag next to the Italian flag. In one of the flats, long-suffering mother and housewife Antonietta (Sophia Loren) goes from room to room, waking up all six of her children as well as her husband, Emanuele (John Vernon). It is nearly six, and if any of them are late for the rally, she doesn’t want them to complain to her. A flurry of activity results as the children, from little boy Vittorio to Antonietta’s surly and spoiled daughters Maria Luisa (Alessandra Mussolini) and Romana (Patricia Bazzo). Antonietta angrily discovers dirty pictures in the bed of Fabio (Maurizio Del Paoloantonio), but when she scolds him, he says that his father gave them to him.

Emanuele is a fervent Party member and exhorts his children to their patriotic duty as they have breakfast. Emanuele clearly has no respect for Antonietta, calling her lazy even though she has clearly gotten up hours before dawn to prepare the rest of the family. As the family make a mass exodus, in patriotic costume and their best clothes, streaming out into the courtyard with all the other families, Emanuele wonders that Antonietta doesn’t go to the rally. She says she has too much work to do. At last, the entire tenement empties, and only Antonietta and the caretaker are left in the silent building.

Or so she thinks. Going about her chores as if in a dream, Antonietta is flung into action when the family mynah bird flies out the window and across the courtyard to the flat opposite. Antonietta tries to signal to the man in the flat (Marcello Mastroianni), but he isn’t paying attention. Inside the flat, we see he has stacks of papers surrounding him as well as a gun. The impression is made that he is about to shoot himself. Antonietta arrives and asks for his help to rescue the bird. He helps her to rescue the bird and is relieved at the interruption. The loudspeaker radio announcer detailing every detail of the rally can be heard through every moment of the next few hours. Antonietta wants to make a quick getaway back to the safety of her flat, but the man introduces himself as Gabriele. Antonietta notices his copy of The Three Musketeers, which she accidentally confuses with The Four Musketeers, an extremely popular Italian radio serial of the time. Gabriele asks her to take the book with her, but she declines and leaves.

Gabriele receives a phone call from “Marco,” who it soon becomes clear is his absent lover. They argue and hint at a future that looks very bleak. Gabriele goes soon after to Antonietta’s flat and gives her the book anyway. He asks her for a cup of coffee, and she begins the long laborious process of hand grinding he beans. She takes the opportunity to try to tidy up and at the same time improve her appearance (she is dressed in an old housedress and dressing gown). They are interrupted by the arrival of Pauletta, who mean-spiritedly warns Antonietta against Gabriele. Gabriele decides he should probably leave, but Antonietta convinces him to stay for his coffee. She finds out that he is a radio announcer who was recently fired. He looks at the albums dedicated to Mussolini that she has put together, and he is both impressed and saddened by her devotion to “Il Duce.” She notes that she has six children and if she has a seventh the family will be eligible for the Large Family subsidy; as a bachelor, Gabriele has to pay a Celibacy Tax.

Pauletta interferes once again, intimating that Gabriele is not to be trusted because he is an antifascist. She also says Antonietta’s washing on the roof is dry. Antonietta says that he is in the flat fixing a light. Gabriele fixes the light but is rebuffed by Antonietta. She goes up to the roof to get her washing, while Gabriele follows her, ostensibly to avoid meeting Pauletta on his way back to his flat. Up on the roof, Gabriele surprises Antonietta by wrapping her up in a sheet, allowing her to laugh for the first time all day. Then she grows angry, saying that “all you men are the same,” and implies that Gabriele has only been after her to have a casual affair. Gabriele admits to her that the reason he was fired from the radio station was because of “degenerate behavior.” Antonietta gradually realizes that he means he has been ostracized for being gay—or “queer,” as he calls it. Gabriele is hurt by Antonietta’s attitude since has just bared his soul to her, and grows angry, attacking her and pretending to assault her. He chases her down the stairs and shouts for the entire complex to hear. Will the two remain friends on this special day? Or will scandal and unhappiness result when Emanuele and the children return?

A Special Day (Una giornata particolare in Italian) was nominated for two Oscars and two Palme D’Ors. It was a joint production with Canadian production company Canafox, and several of the actors, including the superb John Vernon, were Canadian. Set in one location and following the Aristotelian conceits of drama, it takes place in 24 hours. Its backdrop story is a dramatic and ominous one—Mussolini and Hitler and the takeover of Fascism—but its main story is a quiet and relatively uneventful one. Still, it is a powerful drama beautifully filmed by Scola and acted by the two leads.

Sophia Loren seems to have gone to extraordinary lengths to dull down her incredible good looks to exude Antonietta’s unhappiness. Trapped in a marriage to a cheating husband she doesn’t respect, her days filled endlessly with dreary chores, self-admittedly a woman of little education, she seems to go about in a perpetual cloud of exhaustion and tedium. We get this information, and the sense that her devotion to the Party and to radio are there because she has nothing else, mostly from the way Loren performs rather than the script. Mastroianni also beautifully underplays the erudition, the repression, and the extreme kindness at the heart of Gabriele’s character. For once in her life, Antonietta has found a man who doesn’t act like a man—that is, he cleans up after himself, he cooks, and he treats her as a human being rather than a housewife-robot. The two are trapped in different ways, and for that reason they create a unique bond that is touching to watch develop.

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Film Review: THE WOLF MAN, 1941

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Tribute review for Lon Chaney Jr., AKA – The Wolf Man, who died today on September 20th.

THE WOLF MAN MOVIETHE WOLF MAN, 1941
Movie Reviews

Directed by: George Waggner

Starring: Lon Chaney Jr., Claude Rains, Evelyn Ankers, Warren William, Bela Lugosi and Maria Ouspenskaya

Review by JR Kuzm

SYNOPSIS:

Upon the death of his brother, Larry Talbot returns from America to his ancestral home in Wales. He visits a gypsy camp with village girl Jenny Williams, who is attacked by Bela, a gypsy who has turned into a werewolf. Larry kills the werewolf but is bitten during the fight. Bela’s mother tells him that this will cause him to become a werewolf at each full moon. Larry confesses his plight to his unbelieving father, Sir John, who then joins the villagers in a hunt for the wolf. Larry, transformed by the full moon, heads for the forest and a fateful meeting with both Sir John and Gwen.

REVIEW:

After the sudden death of his brother, Lawrence Talbot (Lon Chaney Jr.) is called home to take on the family estate. Home is the Welsh country side and after a fight with his father, Sir John Talbot (Claude Rains), decided to move to America in order to study, but the death forced him home and to make amends with his father.

Upon his arrival, the two men act rather coy about their relationship and are obviously trying to find a common interest to talk about. The solution is resolved when Larry comes across a brand new telescope Sir John had recently installed. As Larry takes hi

Larry walks down to the village and enters the antique shop. The young girl greets him and ask if he needs any help with anything, Larry tells her that he is looking for a pair of earrings exactly like the pair the girl was putting away earlier. Not quite picking up on this yet, Larry tells her that he saw her through her window, at first upset, Larry sets the girl at ease with his charm. It is revealed that the girl is Gw

Even a man that is pure of heart

And says his prays by night

May become a wolf when the wolfbane blooms

And the autumn moon is bright

Larry asks Gwen if she would like to do something later, which she informs him that she and her friend Jenny are going to the Gypsy fortune tellers that night if he cared to go, which was a no brainer. So that night, Larry escorts the two young ladies to the Gypsy camp.

While Jenny is receiving her fortune telling, Larry and Gwen take a little walk through the forest. During her reading though, the Gypsy Bela (Bela Lugosi) sees a pentagram appear on Jenny’s hand. This symbol is only visible to a werewolf and appears on its next victim. Bela begs Jenny to run, so she does. While in the woods, Larry is moving in for a kiss when it is interrupted by Jenny’s scream. Larry rushes to her rescue to find her dead body being mauled b

Larry and Gwen take Jenny’s remains to Dr. Lloyd (Warren William) who tries, but is unable to do anything for Jenny. Larry also takes the police out to the spot where the attack happened, but when they got to the spot, there wasn’t the dead wolf lying thchecks him and discovers that his skull had been bashed in. The police believe what happened was that both Bela and Larry hear Jenny’s screams and rushed to the rescue and in the frenzy of a fight got confused and accidently killed Bela. Larry knows that She tells him that Bela was a werewolf and that Larry now carries the mark. At first Larry is skeptical but as he visits Bela tomb he comes to realize the curse he now bears.

Although the Talbot family is well respected in the area, the villagers have become cold and distance towards Larry believing that he is a murderer now, no scene shows this more than when Larry and Sir John go to church the following Sunday and the people jus

Later that night, while Larry is preparing for bed, he starts scratching all over his body. He removes his shoes and socks and sees them start to get hairy. He has transformed and leaps from his bedroom window. Peering from behind a tree, it is revealed th

The next morning, Larry is awaken from the sunlight shining on him. Not remembering a thing that had happened, he sees muddy footprints on his floor and starts to worry. It is at this time that his father comes in and tells him about the dead gravedigger, wsees him as the wolf and comes to his aide. She says a chant and Larry transform back to normal, but the next morning the villagers are much more scared and this compels the Talbots to join in on the posse. Before they head out though, Larry visits Gwen, th

So later that night, Larry transforms again, attacks and kills another man, while Gwen is running around the forest fearful for Larry’s safety, when she happens upon the wolf. The beast attacks her, Sir John hearing her screams comes to her aide. Carrying

Ten years after the success of Frankenstein and Dracula, a few years after what many believed to be end of the golden age for the monster movies, Universal, now considered mostly as a B studio released The Wolf Man. Not excepting it to be much of a success due to the recent failures that the genre had produced and the fact that the release date was just five days after the attack on Pearl Harbor, Universal was surprised to see that the movie was a runaway hit, quickly raising The Wolf Man to the third spot in the studios monster roster.

One reason for the movie’s success is due to its escapism affect it had on the public, who went to see the movie to forget about the drama that was happening in the real world. Another aspect that Universal did not count on was having Lon Chaney Jr as its

Just a few years prior Chaney Jr made himself a name in the industry for his performs in Of Mice and Men (1939), which many believe is the best supporting actor of that year, even though he was not even nominated. This though was his first big hit as the lead and it propelled him to the ranks of Lugosi and Karloff. Chaney would later say that the wolf man was

Outside of Chaney, the acting is pretty dull, once again, being perceived as a B picture, many of the actors were still novices, except for Rains who had just come off one Oscar nomination for his work in Mr. Smith goes to Washington (1939) and one year prior to his second nomination for Casablanca (1942).

The acting isn’t what the film is known from anyway though, it is the wolf makeup that the legendary Jack Pierce did that was the real star. Pierce, the wizard behind all the classic looks, spent four hours day applying the legendary look, many consider this as one of his best jobs.

Once again, although the acting in this movie for the most part isn’t very good, this is a film is a must for fans of the horror genre. As I have stated earlier, The Wolf Man has become the third most popular of the Universal monsters, so might as well see

 

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Movie Review: Spider-Man (2002)

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Tribute review for Rosemary Harris. Happy Birthday Today!

SPIDER-MAN MOVIE POSTER
SPIDER-MAN, 2002
Movie Reviews

Directed by Sam Raimi
Starring: Tobey Maguire, Kirsten Dunst, James Franco, Rosemary Harris, Willem Dafoe, Cliff Robertson and J.K. Simmons
Review by Andrew Kosarko

SYNOPSIS:

Orphaned at a young age, young Peter Parker was always some what of a nerd, living with his aunt and uncle. One day while attending a high school field trip to a science laboratory, Peter is bitten by a genetically enhanced super spider. The next morning, he awakes to some massive superhuman changes overtaking his body, allowing him to climb walls, shoot webs from his wrist and a super keen reflex ability. As any teen would, he attempts to abuse his new power to win points with a girl he’s in love with, Mary Jane Watson. Then, because of an indirect result of his greed, his uncle is shot and killed, leaving him with the knowledge that with his great power, comes great responsibility….

REVIEW:

Alright, let’s begin. I was never, ever a fan of Spider-man, nor Marvel for that matter. But I was pumped for this movie when I first saw the trailer where Spider-man webbed up a helicopter full of crooks between the Twin Towers. It gave me Goosebumps. And while I wasn’t a fan, I knew all about this character and his enemies. I got so jazzed seeing Easter eggs like “Otto Octavius” portrait in the background of the trailer. But it seemed no one around me was “pumped” about it. Then, the day the world stopped. September 11th. The world was in shock. Americans were in confusion. In the time that followed, little was accomplished in bringing those responsible to justice. People where discouraged. Their faith in justice, un-rewarded. All they wanted was a hero. Someone to stand against an unstoppable evil force, and triumph. And that man was Spider-man. I once took a History of film class. The one thing I took away from the lessons was that films have their success by the time they are created. Sure, stories, acting and a whole bunch of other things contribute to a great film. But timing is everything. Spider-man hit at just the right time.

The Story:

This film does a great job of just getting to the point. Within the first few minutes we meet all our central characters and the inciting incident is off and running. And it doesn’t stop. Complication leads to complication. But this film, compared with other films of it’s genre, is able to keep itself fun. You can actually enjoy every scene and not feel all too depressed or upset. Of course the scenes of death may lower the tone a bit, but joy wouldn’t feel as good if it wasn’t for pain. Catch my drift? The plot rarely gets off track and keeps in mind that it has to do two things at once; tell an origin story, and tell the story of a hero battling evil. Everything that happens develops both the plot and the characters in addition to their relationships with those around them. That right there folks, is how you tell a story.

Acting:

Now we’re going to run into some problems… Tobey Maguire – Peter Parker / Spider-man: Tobey’s 2nd best portrayal of the webslinger is in this film. He takes the cake in the second film, but this one was still strong. He’s able to play a lovable dorky nerd and a true bad ass when he wants to be. His emotional scenes with his Uncle Ben and Aunt May are always touching and some of his best work. But overall, as many others have said before me, it’s a tad “wooden” at times. The emotion comes and goes from him. I don’t think it’s a lack of effort on his part, just a style of acting he’s become accustomed to. It’s really just a nitpick to be honest.

Kirsten Dunst – Mary Jane Watson: Never since Smallville’s Lana Lang have I been so annoyed with a female lead in a super hero portrayal. There’s just something about her that makes me want to drive off a cliff. I’m not saying she’s a terrible actress because she can hit the mark (See: The Virgin Suicides). But I just don’t like her in this role. In an effort to make her an “independent, strong willed woman”. She just comes off as a pain. I’m all for strong women roles. Aunt May is a strong women role. But there’s some actresses that try to show “strong women” and just come off as annoying and bitchy. This is one of those portrayals.

James Franco – Harry Osbourn: Good stuff. I mean, there’s not much all for him to do right now. He’s just a spoiled rich kid who takes up with Peter because he’s outcast from the normal crowd. He does a good job of showing that there is a good side to him, but that he’s headed down the wrong path because of his father’s lead. Which, of course, brings us to…

Willem Dafoe – Normal Osbourn / Green Goblin: By far, one of the greatest villain portrayals ever. He’s crazy. No more explanation needed. When he slips from persona to persona he’s taken the job of working his eye movements differently, different posture, changing up his voice tone, and as my father always said about characters who wear masks in movies; “It’s all about the eyes.” Dafoe does an excellent job of helping to plant the seeds for Harry’s arc in later film as well.

Rosemary Harris / Cliff Robertson: Aunt May / Uncle Ben – this tag team is great. When one sets down the reigns of guiding Peter, the other picks them up in a beat. It’s the anatomy of a good couple. One that holds the same values. So not only is it believable when they guide Peter through his journey, but also makes them realistic characters. I could believe that these two were in love just by the way they compose themselves in scenes where the other is not there. Fantastic acting and characterization.

JK Simmons: JJ Jameson – had to mention this. BEST PART OF THE MOVIE EVER. If anyone ever got a comic book character more perfectly adapted it’s this one. Granted it’s not a prominent role, but still scene stealing none-the-less. Directing: Sam Raimi hit the mark on this film. It’s a perfect balance of tragedy, comedy drama and action. It has all the necessary requirements to please comic fans, movie fans, and the general audiences. The look of the film, the tone, just everything about it, while it doesn’t appeal to me personally, does work and coincide with one another. The hallmark of a good director is someone with a stylistic goal. Raimi never sways away or loses track of what he intended.

Cinematography:

Don Burgess – A great job. The swinging shots through the city are just amazing and everything is well captured and shot. The colors shine greatly like how a comic book film should. It’s not blatantly campy/comic booky ala Batman & Robin or Sin City, but it’s also not gritty and “realistic” as something like Batman Begins.

Production Design:

As cited above, everything is well done and put together. It combines the realistic feel it needs while still giving it that “comic book” style and edge.

Editing:

No real problems here. Nothing special either.

Score: Not Elfman’s greatest work, but he still shines. I’m not a personal fan of the theme for Spider-man that he came up, but it works. The strongest part of his score, in my opinion, is the sad scenes and the use of the piano and the strings. Very powerful stuff that is guaranteed to hit your heart when you’re watching it.

Special Effects:

Top notch. I mean, nothing has topped Jurassic Park in terms of CGI believability, but this doesn’t take you out of the movie or anything. It’s always enjoyable and fun.

In closing:

The movie is solid. It’s a good popcorn flick with a little swig of substance mixed in. It was what we needed in a tough time to give us all that hope that in the end, the good guy will win. Call it what you may. But I find it ironic that the first trailer focused on the WTC and then those terrible events happened, only to come back with the Spider-man movie and give people some hope again. So from me to those who made this film. Thank you. Your film was what we needed.

….oh, but really quick. Next time, do it without Macy Grey. Ok-thanx-bye.

 

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