Tag: Family

“Gladiator II” (2024) starring Paul Mescal, Denzel Washington, Pedro Pascal, Connie Nielsen, Joseph Quinn, & Fred Hechinger

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SPOILER ALERT: Don’t read this post if you haven’t seen, or don’t want to know, details from the movie Gladiator II (available on VOD).

After his home is conquered by the tyrannical emperors who now lead Rome, Lucius is forced to enter the Colosseum and must look to his past to find strength to return the glory of Rome to its people. -Synopsis

This sequel directed by Ridley Scott (and one of the most anticipated movies of 2024) is a hot mess! As we saw in promos/trailers, Paul Mescal (who plays the lead- Lucius) and Pedro Pascal (Gen. Acacius) do indeed look hot (esp. w/ those added muscles). However, as time went on, I got worried; Napoleon (2023) was also written by David Scarpa (pls get a new job)! I saw Gladiator II about 2 wks after its theatrical release; I’d planned to go during Thanksgiving break (but screenings were mostly full).

I re-watched Gladiator (2000) in mid-NOV; I was entertained (joke intended), though the SFX didn’t hold up. Crowe owned that role, as a LOT of critics/viewers noted (over 20+ yrs). As Maximus, he had a movie star presence/charisma and confident line delivery. FYI: The script was weak when filming began and there was much improv from the actors. As for the baddie, Commodus (Joaquin Phoenix) was a strong foil to Maximus (the man he felt usurped his role and his father’s love).

Macrinus [to Lucius]: You will be my instrument!

IF you’re a big fan of Denzel Washington (like me), you MAY enjoy some of this movie; the veteran actor plays Macrinus (a wealthy/charming owner of gladiators). He’ll remind you somewhat of Proximo (Oliver Reed) from the 1st movie; the actor (an alcoholic) died before filming ended. Lucilla (Connie Nielsen) and Gracchus (Sir Derek Jacobi at aged 85- wow) are the only returning characters; Crowe appears in flashbacks (archive footage). Pascal and Joseph Quinn (Emperor Geta) will also be seen in MCU’s Fantastic Four as Reed Richards (Mr. Fantastic) and Johnny Storm (The Human Torch). Quinn was cast after Barry Keoghan dropped out to work on an indie film instead (smart move).

The gates of hell are open night and day;

Smooth the descent, and easy is the way:

But to return, and view the cheerful skies,

In this the task and mighty labor lies.

-Lines from John Dryden’s 1697 English translation of Vergil’s epic poem Aeneid

The acting is ALL over the place; it’s as if Scott gave totally different guidance to each of the cast! Washington, Quinn, and Fred Hechinger (Caracalla- 2nd of the twin emperors) are having a fun time w/ their (scenery-chewing) acting. These twins don’t have strong motivations for why they act as they do (unlike Commodus); they act like crazed/drunken frat boys. Pascal is taking it all V seriously; Acacius comes off as weary, morose, and disillusioned w/ military life. I know some ppl liked his portrayal, BUT I wanted to see some charm. Nielsen doesn’t have a LOT to do (yet more than in original); I felt something was missing from Lucilla, though that mostly comes down to the writing. As for Mescal, it takes time for him to grow into his role, so that made me wonder ask: why didn’t Scott allow for more takes? As for the “rage” that Macrinus keeps mentioning, we don’t see much of that from Pascal. Was he miscast here (some have wondered)?

This sequel follows much too close to the original; there is even a graphic depicting key moments from that story in the opening credits. In the 3rd act, Maximus is referred to as Lucius’ father many times- I had to roll my eyes. Some fans wondered: since Maximus was so big on “honor,” why’d he cheat on his beloved wife (w/ whom he had a son nearly the same age as Lucius)!? For such a pricy movie, I expected the SFX to be much better! Many were cringing (or laughing) re: the (unrealistic) baboons, BUT that’s NOT the only case of shoddy effects work. The one-on-one fighting scenes, esp. the one w/ Mescal and the super-sized warrior in the emperors’ tent was V impressive. If anyone disses you for saying that The Last Duel was well-made, just point them to his epic disappointment!

Lucius: Know this: where death is, we are not. Where were are, death is not! By my sword, strength and honor!

There is some BTS controversy to explain, as those of you (like me) who’re always online MAY know. In May of 2023, Variety reported that Egyptian-Palestinian actress May Calamawy had been cast. Deadline Hollywood reported that Calamawy’s character would be V important to the story; Scott did a broad search before she was finally cast. She was featured in the official trailer, BUT for unknown reasons, she ended up w/ a non-speaking background role. Calamawy is NOT credited in the end credits and wasn’t part of the promo tour. Contrary to gossip on social media, she wasn’t replaced by Israeli actress Yuval Gonen, who plays Arishat (wife of Lucius).

[1] There seems to be a trend these days when making follow ups to beloved classics that you need to add more. More characters! More action! But that doesn’t always equal better. It’s almost like filmmakers these days think we’re stupid and want more of everything but all this does is sacrifice quality.

What made the original such a classic was the relatively simple plot, a protagonist you cared about and action that felt earned and impactful.

This one is so overstuffed it feels rushed. The plot feels like a lazy retread of the first but I didn’t care about any of the characters. Paul Mescal was so wooden it sounded like he was reading his lines. If this is how he acts, I really don’t see what all the fuss is about with him. Am I missing something?

[2] I approached this movie truly trying to give it a fair change on its own by not holding and comparing it too much to its original, But this movie just pulls of A Force Awakens and has 80% just recycled nostalgia bait its impossible to not compare them.

It recycles quotes, plot, narratives, even very same camera shots.

And yeah, alas, the first did absolutely everything, every single aspect better to much better and most definitely story/drama character wise. […]

This movie definitely looks glorious and expensive and had a big grandeur (although some CGI looked comically fake), but it fails to have a coherent driven plot.

[3] The “games” in the Colosseum are superbly presented and yes, exotic animals and water battles were really fought there in Roman times. The twin Emperors are superbly crazy… […] I was initially disappointed with Paul Mescal’s performance, but in hindsight I now wonder if it’s character rather than his performance that was disappointing. Hanno is no Maximus – no leader of men, no charismatic warrior – in fact he tells as much a number of times in the film. But maybe that’s Scott’s point this time? Even a simple soldier can achieve great things?

-Excerpts from IMDb reviews

Noir City DC 2024

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Introduction

Hey y’all, how is this Winter going (so far)? It’s NOT fun for me; I’m recovering from a bad cough/cold (after Thanksgiving). I’m also way behind on blog posts. As DC area noir-istas know, my local (AFI) theater had a festival in OCT; Eddie Muller (TCM) came to introduce the movies during the opening wknd. This yr, the festival had double features (2 movies) which revolved around the same themes; 5 out of the 6 noirs I saw were new to me.

Thanks for reading!

-EMMA

***

Union Station (1950) starring William Holden, Nancy Olsen, & Barry Fitzgerald

A secretary traveling from Connecticut to NYC, Joyce Willecombe (Nancy Olsen), grows suspicious of 2 men boarding her train. She is referred to Bill Calhoun (William Holden), head of the Union Station police; the no-nonsense Calhoun is initially skeptical, BUT the men (who escape) prove to be involved in a kidnapping case. Calhoun calls in his boss/mentor, Inspector Donnelly (Barry Fitzgerald), BUT the ruthless kidnappers stay one step ahead of them. Most of the action centers around busy/fast-paced Union Station.

Holden and Olson also co-starred in Sunset Boulevard in the same year- 1950. Joyce plays Calhoun’s conscience, concerned that the interests of the victim don’t get overlooked in the hunt for the criminals. This is a (lesser-known/low budget) film noir; Holden was on the cusp of stardom. This was Lyle Bettger’s 3rd film; he played a LOT of baddies in his career. The platinum-blonde/wide-eyed Jan Sterling has a small role as his (TOO loyal) gf. Fitzgerald (who always played Irish cops or priests) brings in the humor. You can find this noir on streaming services (or rent on YT).

Cairo Station (1958)

Qinawi (Youssef Chahine), a physically-challenged peddler who makes his living selling newspapers in the central Cairo train station, is obsessed w/ Hanuma (Hind Rustum), a curvy/pretty young woman who sells drinks. Hanuma treats Qinawi kindly and flirts w/ him re: a possible relationship. However, she’s already engaged to Abu Siri, a burly/macho porter struggling to unionize his fellow workers to combat their boss’ exploitative treatment. The movie has a large cast (portraying Egyptians of disparate classes) and does NOT fall easily into one genre. Some viewers commented that the climactic scenes reminded them of Hitchcock! Chahine (an Egyptian of Christian heritage) also wrote the story and served as director. If you’re familiar w/ the characterization, visual style, and themes often seen in Bollywood, you should check it out.

[1] The work sometimes recalls Jean Renoir’s “La Bete Humaine,” but with more attention to detail. […]

Let’s underline the importance of the wide screen, which makes the director look like an entomologist watching an ant hill with a magnifying glass…

[2] It’s not hard to see why “Cairo Station” was banned for 20 years in Egypt. It gained much recognition in Berlin, being nominated for the Golden Bear…

-Excerpts from IMDb reviews

***

Le Samourai (1967)

In Paris, Jef Costello (Alain Delon) is a solitary hit man who works under contract. He’s hired to kill the owner of a club, and soon becomes the prime suspect of that murder. His gf (Jane), one of her clients (Wiener), and the Black singer of the club (Valerie) are questioned by the police. Jef is chased by henchmen (sent by the same man who hired him) and by cops. He seeks out who has hired him to get revenge. There is NOT much of a plot, characters have little development, and there isn’t much dialogue. I heard of this film yrs. ago, BUT this was my 1st time seeing it. As Gen Z may say, this movie is “all about vibes.” Sorry IF you’re a fan of thing kind of stuff, BUT I didn’t connect w/ it.

This Gun for Hire (1942)

Hit man Philip Raven (Alan Ladd), is kind to kids and feeds stray cats. He kills a blackmailer and is paid off by Willard Gates (Laird Cregar) in “hot” (marked) money. Meanwhile, a young/blonde entertainer, Ellen Graham (Veronica Lake), gf of police Lt. Michael Crane (Robert Preston) is enlisted by a Senator to help investigate Gates. Raven, while seeking Gates, meets Ellen on a train. Their relationship gradually evolves from that of killer and (potential) victim to an uneasy alliance against a common enemy. This is a well-known/low budget noir which I’ve seen before (on the small screen); it’s a quick/well-paced watch.

***

They Made Me a Fugitive (1947)

In this British noir (from Brazilian director Alberto Cavalcanti), a frustrated/cynical former RAF pilot, Clem Morgan (Trevor Howard), joins a criminal gang led by a nasty character nicknamed Narcy (Griffith Jones). On his 1st break-in job, the getaway car crashes and ends up killing a cop. Quickly, Clem is framed as the driver and sent to jail. Seeking revenge, he escapes prison and heads for London. Along the way, he breaks into a suburban home; a housewife named Mrs. Fenshaw (Veda Hope) helps him out, then asks him to murder her husband. Upon reaching London, Clem is sheltered by a blonde/petite dancer named Sally Connor (Sally Gray), who falls for him. He confronts Narcy and the gang in an abandoned warehouse.

[1] There is more attention to sound and camera-work than I’ve noticed in most British movies from the end of the war until about 1956 or so. Warner Brothers gets a huge credit at the start… So, it’s British, but it has American and continental style. […]

It’s scarier than the American gangster movies of the late forties.

[2] The general gloominess (a mainstay of thrillers emanating from the post-war era) is leavened somewhat by its constant flurry of hard-boiled dialogue courtesy of screenwriter Noel Langley. […]

Still, perhaps my favorite scene in the entire film is Howard’s surreal encounter with the zombie-like Vida Hope – in whose household he stumbles while on the run; she turns out to be deranged, and even tries to talk our hero into murdering her alcoholic husband (Maurice Denham)!

-Excerpts from IMDb reviews

Aimless Bullet (1961)

A couple of yrs. after the war in Seoul, a 30-something accountant’s salary is TOO small for him to even get his cavity fixed. He must somehow provide for his PTSD-affected mother, his pregnant wife, a younger brother (who can’t get work after serving in the army), a younger sister (who sneaks out at night to sell herself to American GIs), and 2 young children. This movie was banned in Korea b/c it was so realistically stark in it’s post- war depiction. You could tell that the locations were real; we see urban offices, outdoor cafes (for tea and drinking away sorrows), slums (located on the hilly areas near the city). The character development was V good, though the pacing felt a bit slow at times.

This film is depressing and it drives slowly towards its conclusion. On the other hand, compared to the often over-the-top melodrama present in other films I’ve seen from the era, Obaltan is a stark contrast. Owing more to Italian Neorealism than Hollywood, the film has many moments of mundaneness and potentially existentialist commentary. That Obaltan means “the aimless bullet” should give that away from the start.

-Excerpt from IMDb review

“Hold on to Me Darling” at The Lucille Lortel Theatre (NYC): OCT 16th-DEC 22nd

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On learning of his mother’s death, country music icon Strings McCrane (Adam Driver) finds himself in an existential tailspin. The only way out, he decides, is to abandon superstardom in favor of the simple life, so he moves back to his hometown in Tennessee. The simple life turns out to be anything but simple in this brilliantly observed tragicomedy, as the consequences of Strings’ success and mind-bending effects of his fame prove all but impossible to outrun. -Synopsis

Hey y’all, I had a FAB wknd in NYC!!! On SAT night, I saw Adam Driver (my current fave actor, as regular readers know) in the play Hold on to Me Darling (written by Kenneth Lonergan)! The play has a limited engagement at The Lucille Lortel Theatre (West Village) until DEC 22nd; I set a reminder, got in the (online) queue, and (luckily) got my ticket in early AUG. In the past, Timothy Olyphant (Deadwood; Justified) played the lead role of country singer/actor Strings McCrane. Twitter was abuzz (earlier this Fall) after seeing a few photos of Olyphant in the role (incl. ones where he is wearing black boxers and socks). OMG, how was Adam going to look (some of us wondered)!? And more importantly, how were we super-fans (AKA rats) going to handle seeing him in-person!?

Let’s get the important stuff out of the way: Adam really is that tall (so towers over the supporting cast) and looks as (uniquely) gorgeous as in photos/movies. His hair is V dark/ thick; he is BOTH wide (note the shoulders) and slim (see waistline). Early in the 1st act, Strings strips down to his boxers and socks before getting a massage from Nancy (Heather Burns). Yup, Adam still has 6-pack abs! As the stage is small, he looms large as a (physical) presence and w/ (deep/baritone) voice. Strings has a Southern accent; fans/viewers from the region commented (online) that Adam did a good job w/ it. He plays the guitar, but Strings is TOO upset to sing much.

The story involves grief, regret, unresolved family issues, a love triangle, and the toxicity of fame (incl. loss of privacy and disconnection from everyday ppl). This play is V well-suited to Adam, as he shows his range; Strings goes from loud/domineering to more quiet/vulnerable (w/o missing a beat). Strings can be charming, yet also self-centered (after being a celeb so long). Adam is in every scene of the 2 act play, aside from one, in the 2 hr. 45 mins. play (which I thought was a BIT too long). Strings wants to regain closeness w/ his older brother, Duke (C.J. Wilson), a working-class family man who still lives in their hometown. He is reunited w/ his 2nd cousin twice removed, Essie (Adelaide Clemens), at his mother’s funeral; this actress has a strong resemblance to Michelle Williams. Essie was a close friend to this mom in recent yrs, so feels her loss deeply.

There are meta moments, such as Strings complaining to his assistant Jimmy (Keith Nobbs) re: “this goddamn space movie” he needs to shoot soon in Kansas City. When Rian Johnson (director of Star Wars: The Last Jedi) saw the play in previews, he laughed out loud at that line. There are many funny lines; I didn’t expect to laugh so much! Nancy compares Strings to a “sad, dark prince” (a la Kylo Ren); a viewer who saw the (previous) play wrote: “Lonergan changed a few lines to fit Adam.” In the final scene, we meet a (hitherto unseen) character named Mitch (Frank Wood); he and Strings have an emotional/powerful conversation (which made me a BIT teary). If you want to see more (incl. 2 vids I took at the stage door), then go to my Twitter/X account (knightleyemma)!

Links to Reviews:

Deadline

The Guardian

Vogue

Vulture

“The Best Years of Our Lives” (1946) starring Myrna Loy, Dana Andrews, Frederic March, Teresa Wright, Virginia Mayo, Cathy O’Donnell & Harold Russell

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Filled with all the love and warmth and joy. . .the human heart can hold! -A tagline for the film

This iconic movie (helmed by one of Hollywood’s famed/respected directors- William Wyler) centers on the re-adjustment of 3 Americans to everyday life after serving nearly 3 yrs. in WWII. Each man is from a separate age group, rank, and class, BUT quickly become close friends. Each faces a crisis which is a microcosm of the experiences of many IRL American veterans. Al Stephenson (Frederic March: 46 y.o.) returns to his wife Milly (Myrna Loy) and 2 kids: Peggy (Teresa Wright)- a nurse- and Rob- a HS student. Wyler modeled the reunion scene on his own homecoming to his wife. As a banker, Al finds it hard to reconcile his loyalties to ex-servicemen w/ doing “business as usual.” Fred Derry (Dana Andrews: 36 y.o.)- from the working class- finds it difficult to find a job, though he was decorated for heroism as a pilot. Fred can’t relate to the woman he hastily married, Marie (Virginia Mayo), before shipping out. Having lost both hands in a training accident, Homer Parrish (Harold Russell: a non-professional actor/amputee) is unsure IF his fiancee, Wilma (Cathy O’Donnell) will still love (or pity) him. This couple grew up next door to each other, yet find it hard to communicate now.

Rob: We’ve been having lectures in atomic energy at school, and Mr. McLaughlin, he’s our physics teacher, he says that we’ve reached a point where the whole human race has either got to find a way to live together, or else uhm…
Al: [with grim finality] Or else.

Wyler (a major in the Army Air Force), incorporated his own experiences into the film. He flew in B-17s in combat over Germany; later, he shot footage for documentary films. His hearing was permanently damaged when an anti-aircraft shell exploded near his plane while on a bombing raid. Wyler (often noted as “an actor’s director”) sat beneath the camera w/ a large set of headphones connected to an amplifier. The story grew out of a Time (July 1944) story re: Marines taking a train back home to New York from San Diego, and growing more quiet/nervous the closer they got. The screenplay was written by Stewart E. Sherwood (Rebecca; The Bishop’s Wife) and MacKinlay Kantor (Gun Crazy). Wyler wanted an unglamorous look; costumes came off the rack and were worn by the cast before filming and sets were built smaller than life-size. Wyler modeled (fictional) Boone City after Cincinnati; as seen by such things as the taco stand, filming was obviously in SoCal. The add further to the authenticity, the crew (props, grips, mixers, etc.) were recruited from WWII veterans.

The Best Years of Our Lives? More like the best movie of our lives! -Comment by podcaster/movie critic

Loy has top billing here, b/c she was the most famous among the cast at that time. This was a breakout role for Andrews; he gets to show his range (esp. in the last act). In one argument, Mayo (who lobbied hard for her role) bitterly comments: “I gave up the best years of my life, and what have you done?” Each actor does well, whether their role is big or just in one scene. This is one of the Oscar winners which is truly a classic you can’t miss! It’s a slice of life from the ’40s that is still relatable; you can see it w/ all ages. I was emotional watching this film, esp. in the scene btwn Homer and Wilma while he’s getting ready for bed (revealing his vulnerability). This is streaming for free, so check it out for yourself.

[1] The film epitomized both the dream and the reality of the post-war world. This intimate engagement with the psychological facts of American life gave it an almost universal audience. But, unlike contemporary and preceding “message” pictures, it was not a preachment. It showed Americans as they are, presented their problems as they themselves see them, and provided only such solutions, partial, temporary, personal, as they themselves would accept. The picture’s values are the values of the people in it.

[2] To me, watching this movie is like opening up a time capsule. I think in many ways “The Best Years of Our Lives” is probably one of the more fascinating character studies and it holds up extremely well as a look at life in the US in the mid-1940s after WWII. […]

This movie still packs a wallop and I’m very happy to read in other posts other users feeling of a movie that will definitely stand the test of time.

[3]“Best Years” has an unbelievable number of scenes that bring a tear to the eye or a lump to the throat, with only a couple of those being the result of sadness, and with most being caused by beautiful depictions of love, loyalty, pride, patriotism, or the overcoming of personal adversity.

-Excerpts from IMDb reviews

“Horizon: An American Saga – Chapter 1” (2024) starring Kevin Costner, Sienna Miller, & Sam Worthington

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The story of a nation unsettled. -Tagline

Hey y’all, can you believe it’s already SEPT (Fall)? Also, can y’all believe I wasted 3+ hrs. watching this Western (streaming on Max)!? It took me 2 nights to get through it last wk; I think this could be a cure for insomnia. As on viewer put it so clearly: “It felt like it belonged on TV as a miniseries in the late ’90s.” Actor/director/co-writer Kevin Costner reportedly spent a LOT of his own money to make this $100M movie. There are 2 more chapters being made; it’s NOT certain that those will get theatrical releases. I have to admit that I find Costner to be a limited actor (though I liked No Way Out and Bull Durham); I’ve also never seen his recent Paramount+ series- Yellowstone.

There a 3 or 4 separate groups (so far) that we meet in this sprawling/epic mess. The settings are several Western states in the time period of 1861-1865. The opening act is quite tense/exciting (I have to admit); Costner’s teen son (Hayes) plays a role. The 1st set of characters we meet incl. a mother, Frances Kittridge (Sienna Miller), her teen daughter Elizabeth (Georgia MacPhail), and a regiment of Union Army officers lead by Lt. Trent Gephart (Sam Worthington). I know what y’all are thinking: whoa, Worthington works outside of the Avatar franchise! The 2nd group are an Apache tribe going through division/conflict; 2 sons of a chief have differing views on how to deal w/ the White settlers (who are growing w/ each day). The 3rd grp incl. a horse trader, Hayes Ellison (Costner); he doesn’t ride into the story until 1 hr. goes by. He comes to a small mining town and meets a prostitute, Marigold (Abbey Lee), who is taking care of the baby of Ellen Harvey (Jenna Malone), while she goes on some business w/ her hubby (Michael Angarano). The 4th grp. is a wagon train heading to the (fictional) town of Horizon; these settlers are lead by Matthew Van Weyden (Luke Wilson). No, that is NOT a joke- they expect us to believe that Wilson belongs in a historical piece! There are 2 British/snobby/clueless marrieds who are objects of humor.

There are maybe 3 scenes which carry some interest, thanks to Danny Huston (a Union general), Michael Rooker (a Union officer), and Jamie Campbell Bower (a gunslinger/son of a crime family). Bower also the only actor who looks like he’s having fun w/ his baddie role. Huston seems to be a fan of Westerns; he recently played the mayor in The Dead Don’t Hurt (2023). Most of the dialogue here is SO cliched that it’d make a HS English teacher cringe. There is little to no character development, so we end up caring nothing re: the plight of these folks. Worst of all is the the editing; it is disjointed, so creates confusion in the audience! The music is TOO grand in scale for such a lame movie.

[1] Sorry, Mr. Costner, I cannot recall seeing a more disjointed 3-hr saga in my life. There’s no opportunity for character development or story continuity, and to be able to keep track of where all the characters are (some go missing without explanation) nope… You might need a spreadsheet to keep track.

[2] The US Army parts felt a little too modern. The use of the word “indigenous” just did not sound right for that time. Also we have never been shown US Army compassion from that time period before.

The playful addition of African Americans seems very modern as well. No doubt they were there, but living harmoniously with whites is hard to believe.

[3] I was particularly irritated by the inappropriate loud glorious/triumphant music played during the Indian village massacre and several more minute at the end. It really upset me they would play such music over the top of the horrific depictions of violence against innocent women and children. It was like they were celebrating it.

-Excerpts from IMDb reviews