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Movie reviews

“The Last Seduction” (1994) starring Linda Fiorentino, Peter Berg, & Bill Pullman

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Most People Have a Dark Side. She Had Nothing Else. -A tagline for the film

Bridget Gregory (Lina Fiorentino) has a lot going for her: she’s beautiful, intelligent, and married to a doctor in NYC. But, as her husband Clay (Bill Pullman- in a rare sketchy role) discovers, all of this is NOT enough. After persuading Clay to sell medicinal cocaine to some drug-dealers, she takes off w/ the money ($700K) and goes undercover (calling herself Wendy Kroy) in a small town upstate. Since Clay must pay off a loan shark who will otherwise injure him, he sends private detectives after her, trying to get the money. Bridget meets Mike Swale (Peter Berg- who became a director), a naive local who works as a claims adjuster; he falls for her fast and hard. She devises a plan to get rid of Clay- once and for all.

Frank Griffith (Bridget’s lawyer): Anyone check you for a heartbeat recently?

Director John Dahl initially saw this movie as more of a dark comedy than film noir. An early draft of the script was told from Mike’s POV. According to an interview w/ screenwriter Steve Barancik in Creative Screenwriting, ITC Entertainment execs thought The Last Seduction would be a typical “Skin-e-max” movie (seen on premium cable). One exec was upset when he viewed a scene in which Fiorentino wore a pair of suspenders instead of being totally topless. When viewing the dailies of the scene, the exec asked, “Are we making an art movie?!” He demanded that the scene be cut and made the main cast/crew pledge that they had no “artistic pretensions.” LOL! There are elements that look fresh, BUT a few outdated (possibly offensive) scenes.

Bridget Gregory: You’re my designated f**k.

Mike Swale: Designated f**k? Do they make cards for that? What if I want to be more than your designated f**k?

Bridget Gregory: Then I’ll designate someone else.

What I remember most about it was we were shooting it at the end of the night. We never got a chance to talk about how we were going to do it. By the time we got outside to shoot, it was like 5AM in the morning and the sun was coming up. We had no plan and I didn’t want to do something that looked embarrassing or stupid. I didn’t want to appear to be just this designated sex-toy without some plan. I was suggesting that we maybe come back another day to shoot. John Dahl was upset because he knew he didn’t have the time to come back, and I was being all nervous, and Linda was just smoking a cigarette, watching. After about ten minutes of me rambling on, she threw down the cigarette, looked at me, told me to shut the f**k up, take my pants down, and get up against the fence. She said, “John, get a camera,” and she climbed up on me against that fence and told John Dahl to shoot it, and that was the scene. She thought of it, she conceived it, she executed it. It was awesome. -Peter Berg, on the (infamous) chain-link fence scene

Bridget is a rare lead for Hollywood, as she’s an unapologetic female baddie character. She knows how to take charge at work and in the bedroom (or wherever she hooks up w/ men). Fans of Double Indemnity (one of the most well-known noir films) will notice homages here, esp. the hairstyle (long bob) worn by Bridget and the insurance angle. This was #5 on Roger Ebert’s list of the Best Films of 1994. Fiorentino was widely praised by critics, BUT was denied an Academy Award nom b/c this movie came out on TV (HBO) before its theatrical release. In today’s media landscape, we see the lines blurring btwn TV and movies. After its theatrical releases, movies (usually) will go to a streaming platform. This movie is available on several apps, incl. Freevee and PlutoTV.

[1] It’s surprisingly funny at times. It’s all attitude and Fiorentino is dripping in it. Her dialogue is neo-noir and snappy. I love the dark turns and her glee with making those turns.

[2] The plot is intricate with many twists and turns. The dialogue sounds like it came from a 1940s noir (updated with swearing) but this isn’t anything like those movies.

[3] Pullman was great as the reaper of retribution intent on giving evil for evil. Peter Berg may have stolen the show with his total inability to say no to his own destruction. It was hard to believe the abyss of stupidity these 2 dopes had the capacity to plumb. Guess that’s what happens when the little head takes over the thought processes for the big head, eh? The picture started out a little slow, but developed into a real blowout with a jaw dropping finale.

-Excerpts from IMDb reviews

“The Star” (1952) starring Bette Davis & Sterling Hayden

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The story of every woman who ever climbed the stairway to the stars…and found herself at the bottom looking up. Played, as it could only be, by the two-time winner of the Academy Award!

When the Hollywood star fades… the woman is born.

-Taglines for the film

Middle-aged former Oscar winner Margaret Elliot (Bette Davis at age 44) is a Hollywood has-been. Maggie hopes to resurrect her past stardom in a leading movie role. However, no job offers are coming and she’s broke (w/ creditors selling off most of her valuable personal items). A young ingenue (Barbara Lawrence) has been getting the types of roles Maggie played. Divorced from her successful/actor husband, Maggie shares joint custody of their 13 y.o. daughter, Gretchen (Natalie Wood ay just 13). Maggie is torn btwn her fear of age, devotion to her daughter, and drive to get back to where she belongs. She has an extended family that she had cared for financially, but is no longer able to do that. When it looks as if Maggie has hit rock bottom (spending a night in jail for a DUI), Jim Johannsen (Sterling Hayden at age 35 y.o.) re-enters her life. He is an old friend who got his big break in Hollywood b/c of Maggie’s notice. However, Jim soon came to the realization that he didn’t want to be an an actor. Jim works as a boat parts supplier/mechanic and lives a quiet/contented life.

Jim: You know, it’s funny, I was just thinking. Sailors are a lot like actors. With them it’s always the next ship and the next voyage, and with an actor it’s always the next part and the next picture… Always chasing rainbows.

This is a short (89 mins.) movie which packs a punch; it’s a must-see for fans of Davis and the classics! Some astute viewers said it was like a (dark) view into what could’ve happened to Margot Channing (Davis’ character in All About Eve). The director (Stuart Heisler) was on contract at Paramount (1940-1942), turning out mostly “B” movies. As a freelancer, he did a fine job w/ Storm Warning (1951) starring Ginger Rogers and Ronald Reagan. Here we have a no-frills (non-glam) style of directing, which suits the themes. The writers of the (terrific) screenplay (Dale Eunson and Katherine Albert) were a married pair. Hayden goes a great job in his (understated/good guy) role; his real life reflects that of Jim.

[1] This is worth seeing for Davis alone. She’s just great. She also gleefully said she modeled her character after Joan Crawford! OUCH!

[2] Ironic isn’t it, that Bette Davis would get a Best Actress Oscar nomination for a role in which she portrays a washed up actress? There’s a great “Sunset Boulevard” moment in the story when she affirms to her daughter Gretchen (Natalie Wood) , “…if you’re a star, you don’t stop being a star.”

[3] Hayden, of course, is at his sterling best; how nice to see him playing a tender, kindly role, for a change…

[4] “The Star” is a realistic look at the ego of someone who has been isolated from reality and surviving on her identity as a film star. Unlike her male counterparts, she has to face the passage of time, and she can’t. […] And although someone commented that this character is probably like Davis herself, yes and no. Davis was very smart in that she went into character roles – where every leading lady ends up eventually – comparatively early in her career.

-Excerpts from IMDb reviews

Women, Power, & Desire: “Impulse” (1990) & “Body of Evidence” (1992)

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Impact (1990) starring Theresa Russell, Jeff Fahey, & George Dzundza

She’s an undercover cop. Seduced by a fantasy. Trapped in a mystery. Led by a dangerous impulse. It’s easy to lose control. -Taglines for the film

This is a psychological thriller co-written by a woman (Leigh Chapman) and directed by a woman- Sondra Locke (who had a palimony suit against Clint Eastwood while making this film). I learned re: Locke’s and Eastwood’s (turbulent) relationship on a recent ep of the podcast You Must Remember This (hosted by Karina Longworth). Yikes, Eastwood does NOT come out looking good! It was V difficult for Locke (who worked as an actress on Eastwood’s projects) to get funding for this small-budget movie (distributed by Warner Bros). In some ways, it’s ahead of it’s time!

Lottie Mason (Russell) is an undercover cop in the LAPD; she’s tall, blonde, and tough (ONLY trusts in herself). Her boss, Lt. Joe Morgan (Dzundza), has been sexually harassing her; we learn this in an early scene. Her bills are piling up and she is TOO invested in her job. While Lottie is helping an ADA- Stan (Fahey)- set-up a drug buy w/ a witness he needs for a case, they become romantically involved. They have a love scene which is unusual for that era, as it’s mainly re: intense gazes (which build tension).

It’s rare (even today) to see a movie centered on a female cop; it has become common on TV/streaming shows. Impulse is gritty, moody, and Russell is believable as a street-smart/independent-minded woman (w/ a hidden soft side). Lottie’s nights of dealing w/ lowlifes has affected her personal life; her Vice assignments incl. impersonating streetwalkers and junkies. She has mandated therapy sessions w/ Dr. Gardner (Lynn Thigpen), where she admits to having a fantasy of losing control and acting on (darker) impulses. Though some viewers felt it was a BIT slow, I think fans of the noir genre or cop dramas may like it. Both Gene Siskel and Roger Ebert called this “a V good thriller.” You can see it on Freevee.)

Body of Evidence (1992) starring Madonna & Willem Dafoe

An act of love, or an act of murder? -Tagline for the film

An elderly millionaire in Portland is found dead of heart failure handcuffed to his bed; a home video of him and a woman is running in the background. When cocaine is found in his system, and his will leaves $8 million to this woman (his lover)- Rebecca Carlson (Madonna)- police arrest her on suspicion of murder. Her lawyer, Frank Dulaney (Dafoe), succumbs to her charms and they start a (reckless) affair. As new evidence turns up during trial, Frank begins to wonder if he’s defending a murderer. (I saw the R-rated version on Freevee; many yrs. ago, I saw it on cable.)

Frank Dulaney: It’s not a crime to be a great lay!

Robert Garrett: Well, sure. l’d have to have myself indicted.

Body of Evidence is often (negatively) compared to Basic Instinct; shooting began only 2 weeks after that film was released, so the similarities are probably coincidental. However, the huge success of Paul Verhoeven’s film could still have influenced the direction and editing. Madonna met w/ a (real-life) dominatrix, who taught her how to tie someone’s arms behind their back using a belt. Dafoe attended a criminal trial; it was interrupted when several people (incl. the judge and many jurors) recognized him and wanted to talk. This is on Roger Ebert’s 2005 list of his most hated films. If you enjoy comedy podcasts, check out the ep reviewing this movie on How Did This Get Made?

Frank Dulaney: Counsel for the Prosecution has already used this witness to establish the state of mind of the deceased. He opened the can, Your Honor.

Judge Burnham: And I do see worms crawling all around you, Mr. Garrett.

Madonna was the 1st choice to play Rebecca; producer Dino De Laurentiis purchased the script b/c he believed it was the perfect role for her. She has short/platinum hair, V pale (unflattering) makeup, red lipstick, and designer clothes. Madonna personally selected Dafoe as her co-star, BUT they have no romantic chemistry together! As many filmmakers have noted over the yrs, casting is V important. Also, where is the development of the characters!? Frank seems eager (quite early on) to do what Rebecca prefers. In one of the (later) steamy scenes, Dafoe looks hesitant (as if performing a chore). Madonna’s acting coach quit just before production began, claiming that “she thinks she knows everything.” As this movie will show, she is a V limited actress. The dialogue given to her is NO help at all! The movie’s (German) director, Uli Edel, said Madonna refused to be directed in the sex scenes. She insisted on pouring (real/hot) wax on Dafoe’s chest in (perhaps the most controversial) scene- ouch! To y’all younger gen viewers, little of this content will look daring.

I was too young to know better. It was the first time I’d been asked to get naked and it turned out to be completely extraneous and gratuitous. Ugh. It was a terrible film and a terrible performance by me. It was about nothing, and I didn’t need to be doing it. -Julianne Moore

Joe Mantegna (who plays prosecutor Robert Garrett) said filming the courtroom scenes was so tedious that 2 extras (jurors) fell asleep during Dafoe’s closing statement. Mantegna (always reliable) yelled at them to wake them up- LOL! The director doesn’t know how to make the trial visually interesting. The judge has lines which (in retrospect) are sassy/funny. Anne Archer does OK what little she is given. A young Julianne Moore plays Sharon (Frank’s wife); she runs a successful restaurant and is mom to a preteen son (seen in just one scene). Moore (who can tackle any role) later said she regretted taking this on; she was then new to movies. Frank Langella has a small/pivotal role as a man from Rebecca’s past. One of Madonna’s besties (actress Sandra Bernhard) was heard laughing at the premiere, commenting: “This is not a serious movie!”

[1] It is both as bad as you remember it, but somehow endlessly entertaining.

[2] The movie goes from the ridiculous to the sublime and every thing else in between, and by the time the movie is over, you feel like you went over Niagara Falls on a surf board.

[3] The courtroom and crime scenes is just background to what the movie is, Madonna in the bedroom.

[4] …might have been much more fun had it the slightest sense of humor. Alas, all the laughs here are unintentional, and the straight-faced actors just end up looking foolish. […] For camp-addicts, a hoot; all others beware.

-Excerpts from IMDb reviews

“The Outsider” (2002) starring Naomi Watts & Tim Daly

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Have y’all seen anything on Freevee? A few weekends ago, I came across this movie (which originally aired on Showtime). The Outsider (based on the novel by Penelope Williamson) is a Western/drama/romance set in the late 1880s; it was filmed in Australia. It is centered on the (forbidden) love btwn a widowed mother, Rebecca Yoder (Naomi Watts), from a (Mennonite-like) group and a gunslinger, Johnny Gault (Tim Daly), who she takes into her house after he is shot. Noah (Keth Carradine) is Rebecca’s friend/neighbor; he is a widower w/ a teen son. The community’s doctor is played by his (real-life) older brother, David Carradine. Fans of the LOTR trilogy will recognize the main villain, Mr. Hunter (John Noble- a veteran Aussie actor). The director (Randa Haines) has worked on several critically-acclaimed films.

This is NOT the typical (shoot ’em up) Western, though there are scenes of action. The scenery is V nice, though the sets, costumes, etc. are simple. Rebecca’s community members are called “the plain people” and they avoid confrontation and violence. In an early scene, we see what lead to the death of her husband. The townspeople try to take advantage of this peaceful community sometimes. The worst one of all is Mr. Hunter, a powerful/feared man who wants to expand his land holdings. About a year later, a man dressed in dusty/dark clothes stumbles onto her land w/ a bullet lodged in his gut. Quickly, Rebecca and her young son (Benjo) take him into their log cabin. Rebecca is shocked when she unwraps the guns, knives, and bullets that this man carried on his person. We wonder if this is a good man or one that is a criminal (who could cause her harm)! The doctor removes the bullet and predicts that the outsider will die soon. However, Rebecca is NOT convinced; she prays for his life and helps him recover (going out of her way).

Why would anyone want to cover up something so beautiful? -Johnny asks Rebecca (who covers her hair)

After a rocky start, Rebecca and Johnny get to know each other as he heals. She’s pleasantly surprised to know that he knows the Bible. Johnny appreciates her humor and humanity. Rebecca is more of a spiritual person; her view of religion consists of everything around her. When Johnny is chastised for playing music, he is playful/teasing w/ Rebecca, not angry. It turns out that Rebecca loves music, BUT it’s not allowed by her people. Rebecca is attracted to Johnny b/c he appreciates who she is. Yes, there are (typical) tropes you find in romance novels, BUT there are scenes that feel fresh and non-cliched. Even today, there are NOT many movies that focus on women’s desire! Watts (who is an Aussie) would go on to some big roles; she always gives a fine performance. Daly (an American; then known for light/comedic roles) gets to show his versatility. They have great chemistry together!

[1] Every so often, a movie comes along with an inspiring cast, a beautiful setting, dialogue that sounds like people talking, foreshadow that makes sense and characters that emote deep sympathy.

[2] For anyone that loves reading a good romance novel, this is the movie for you. […] Sexy, intelligent, believable characters, and a smoldering chemistry…

Tim Daly is fantastic in this film. …his character has a variety of facets which are explored in a realistic way.

[3] Tim Daly – who I had always considered as an actor in light comedy – was extremely impressive as a dark, possibly evil, character. In a movie that could have been just a mixture of Shane/Witness, it brought something new and impelling. It made you care…

-Excerpts from IMDb reviews

#Oscars: “Tar” (2022) starring Cate Blanchett, Noemie Merlant, Nina Hoss, Sophie Kauer, Mark Strong, & Julian Glover

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Set in the international world of Western classical music, the film centers on Lydia Tár, widely considered one of the greatest living composer-conductors and the very first female director of a major German orchestra. -Synopsis

Lydia Tár: Don’t be so eager to be offended. The narcissism of small differences leads to the most boring kind of conformity.

Conductor/composer Lydia Tár (Cate Blanchett), the first female principal music director of the Berlin Philharmonic, is at the top of her game. She is known as a trailblazer in the male-dominated classical music world. Lydia prepares for the release of her memoir while tackling work and family. She is preparing for one of her biggest challenges: a live recording of Mahler’s Symphony No. 5. However, forces she can’t control chip away at Lydia’s facade, revealing her dirty secrets and the corrupting nature of power. At the 95th Academy Awards, Tár received 6 noms: Best Picture, Best Director, Best Original Screenplay, Best Actress, Best Cinematography, and Best Editing.

Lydia Tár: You want to dance the mask, you must service the composer. You gotta sublimate yourself, your ego, and, yes, your identity. You must, in fact, stand in front of the public and God and obliterate yourself.

Writer/director Todd Field wrote the film specifically for Blanchett and wouldn’t have made the film w/o her; they previously planned to work on a different film that Field could not acquire financing for. Focus Features told Field that they would produce any film that he wanted as long as it was at a certain budget. Blanchett had to re-learn the piano, learned how to speak German, and learned how to conduct an orchestra for the role. Scenes of the orchestra playing are 100% real; Blanchett was actually conducting the Dresden Orchestra. Hungarian pianist and professor at the Hungarian Academy of Music, Emese Virág, helped Blanchett prepare for her role. To bring Tár’s (carefully cultivated) speaking voice into being, she listened to recordings of Susan Sontag.

Lydia Tár: Unfortunately, the architect of your soul appears to be social media.

Is this a real person!? You wouldn’t be alone in wondering this, like my friends and I did when we watched it (Amazon). Near the start of the movie, Tár (who is fictional) is interviewed by Adam Gopnik, a New Yorker reporter, in a V long scene supposed to be taking place at the mag’s annual festival. Her book is being published by Nan Talese at Doubleday. Tar’s suits are tailored by Egon Brandstetter, who plays himself. Even the young Russian cellist, Olga Metkina (Sophie Kauer), is played by a British-German musician who recently got into acting.

The very first scene we shot was a post-rehearsal scene… at the Dresden Philharmonie that’s supposed to be after the very first rehearsal that we see of the Mahler. It was the three of them, it was Cate Blanchett, Nina Hoss and Noémie Merlant, and I remember that first take, and it just, it took my breath away because that’s a part of filmmaking… It’s the magical part of filmmaking. It’s beyond the camera, it’s beyond the lighting, it’s beyond your lens choice, it’s beyond all of – art direction, everything else. It’s human beings in front of a camera that can do MAGICAL things. And that part of it felt like a long overdue homecoming. -Todd Field, on returning to feature filmmaking after 16 yrs.

Can you separate the art from the artist? During a lunch convo btwn Tar and her mentor/friend Andris Davis (Julian Glover), he mentions several real conductors: James Levine, Charles Dutoit, and Wilhelm Furtwängler. In 2017, Dutoit was accused of multiple sexual assaults over several decades; he resigned as artistic director/principal conductor of the Royal Philharmonic. In 2018, the Met announced that James Levine, their principal conductor since 1972, had been fired in the wake of multiple sexual assault allegations and investigations. Wilhelm Furtwängler was principal conductor of the Berlin Philharmonic (1922-1945); though he made symbolic nods toward independence, he was the most prominent conductor to remain in Germany during the Nazi regime and was known as Hitler’s favorite conductor.

She’s always been a key reference for me. I like to re-watch my favorite scenes of hers, sometimes right before I shoot a scene myself; not to copy her, just because it gives me energy. Working with her was mind-blowing. -Noemie Merlant

This film looks and sounds authentic; the viewer is taken (perhaps too deep) into the world of classical music. It’s obvious that Field was given a LOT of freedom to make his vision come to life. Yes, it’s V long (as w/ most movies lately); I think this is one of it’s few weaknesses. Blanchett continues to impress; she can truly play any role! All the supporting players do a fine job; the acting is subtle and realistic IMO. Merlant (who is French) continues to be one of the young’uns to watch; I think she did FAB in Portrait of a Lady on Fire (2019). I got a kick out of seeing Mark Strong (wearing a hairpiece) playing a wealthy businessman who is an insecure conductor. FYI: He is still my fave Mr. Knightley.

[1] Tár is a dense film. Thick with dialogue and emotional power. It’s also a bit tricky to get in to and might be a bit much for the casual viewer. That’s a shame though as it’s great.

[2] I seriously doubt that I’ll ever skip a Cate Blanchett movie. She’s won two Oscars and has been nominated six times. She’s consistently the best part of her movies, and often the best in a full year of movies. […] Ms. Blanchett is fascinating and mesmerizing to watch. She is at the top of her game playing a perfectionist who is at the top of her game. However, it’s clear this film isn’t likely to strike the right notes with mainstream audiences.

[3] The central topic emerges rather quickly (abuse of power), but there are diversions which support character development, yet drag on the narrative, which is probably why many reviews here find the film frustrating. […] Field expects viewers to interpret a lot on their own, which is bold and demanding, but with this approach it is crucial to keep focus on an underlying message, otherwise it gets lost. […] In conclusion, “Tár” has all the ingredients for a masterpiece – interesting characters, great performances, nice camerawork – but weak storytelling ultimately reduces the film’s potential.

[4] Near perfection from Blanchett. It’s a steamy, slow burn with a massive payoff, even at 150+ minutes. Cate Blanchett’s range of emotions exhibited through her acting is superb. The closeup orchestra rehearsal scenes are extraordinarily insightful for those who maybe have never been a part of a performing ensemble.

-Excerpts from IMDb reviews