Tag: Movies

Movie reviews

“Un coeur en hiver”/“A Heart in Winter” (1992) starring Daniel Auteuil, Emmanuelle Béart, & André Dussollier

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Stéphane is an emotionally distant but professionally dedicated violin restorer whose cold heart is tested when his employer’s new girlfriend, a beautiful violinist, falls for him. -Synopsis

Stephane (Daniel Auteil) is a restorer of violins; he works for Maxime (Andre Dussollier), who comes from a family known for craftsmanship. These men, though opposites, have built a successful working relationship. While the introverted/reserved Stephane (and his apprentices) work in the background, the extroverted/jovial Maxime charms their (high-maintenance) clients. One day, Maxime is excited to reveal a new/young/beautiful client, Camille (Beart), w/ whom he has fallen in love. Stephane gets to work improving Camille’s violin; she’ll be recording an album soon. One afternoon, Camille is distracted while she plays; Stephane is watching her so intently. When Maxime is busy, Camille seeks to draw Stephane out of his shell. At first, he doesn’t know how to respond; later on (after she has fallen hard for him), he coldly rejects her! Auteil (42 y.o.) and Beart (29 y.o.) were married during the time of filming; this adds another layer to the story.

This unique/thoughtful French film (which I learned about via a Facebook post) was nominated for a BAFTA (Best Film not in the English Language) in 1994. It was chosen to compete at the 49th Venice International Film Festival, where it won 4 awards (tying for the Silver Lion). This is the penultimate film of director Claude Sautet; he collaborated on the script w/ Jacques Fieschi. I will have to look up his other work, as I’d never heard of this filmmaker before. The screenplay is loosely based on the novella Princess Mary by Mikhail Lermontov. Béart learned to play the violin for the part; she took lessons for a year! You can see it on YouTube (4K version).

In typical (Hollywood) movies, the main character usually goes through change or growth; the more you see European films, you’ll notice that this is NOT always the case. This movie raises more questions than it answers, one astute viewer pointed out. Stephane (always dressed formally in suits) stays a mystery to us, as we don’t learn much re: his inner life. In the opening scenes, a voiceover is used; this is done perhaps to trick us into thinking we’ll get to know his mind. We see him having lunch and seeing movies w/ his bookseller friend, Helene; they have a connection of the mind. In the countryside, Stephane spends time w/ his former music teacher (a father figure). Some viewers thought Stephane was loyal to Maxime, so he didn’t want to get involved w/ Camille. Others questioned: Is Stephane even capable of love?

[1] I think it is an engaging and thoughtful movie – the kind that you keep thinking about, long after you have finished watching.

[2] This movie is about human psychology and love. These characters are tormented by a feeling of inadequacy, by strong unresolved love, and deep affection. It’s a modern Greek tragedy. It reminds us of the real human nature, un-linear, never simple. […] This movie manages to remind us this in the context of a difficult love story accompanied by one of the most beautiful scores ever.

[3] A character that holds a violin as if it were the most fragile item in the world, and yet does not hesitate to shatter a woman’s heart… But in the end, as he himself realizes, he is only destroying himself. This movie makes me fall in love with French cinema all over again.

-Excerpts from IMDb reviews

“Until They Sail” (1957) starring Jean Simmons, Joan Fontaine, Paul Newman, & Piper Laurie

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The genuine tugs at the heart are few and far between in this bittersweet but basically restrained chronicle. Robert Anderson’s adaptation… is honest and straightforward… Unfortunately there is a good deal of introspective soul-searching before this narrative arrives at its sad and happy endings. -Bosley Crowther (New York Times)

The film opens in a Christchurch, New Zealand courtroom, where testimony prompts Barbara Leslie (Jean Simmons) to flashback to the events that led to the trial. In 1939, Barbara and her sisters: Anne (Joan Fontaine), Delia (Piper Laurie), and Evelyn (Sandra Dee- just 14) live in a cottage in Christchurch. Most of the men, incl. their brother Kit and Barbara’s new husband Mark, are preparing to leave for WWII. Some time later, Delia announces her engagement to Phil “Shiner” Friskett (Wally Cassell); he is one of the city’s few remaining bachelors, though word of Kit’s death dampens the mood. Anne disapproves of the marriage, but Barbara defends Delia’s decision. Shiner is eventually drafted for war; Delia moves to Wellington to work for the navy. In 1942, several hundred U.S. Marines are shipped to New Zealand.

The film has moments of genuine tenderness and truth. -William K. Zinsser (New York Herald Tribune)

The screenplay was by Robert Anderson, based on a story by James A. Michener included in his 1951 anthology Return to Paradise. As fans of classics know, there are limits (and conventions) to the Hollywood studio system. The 1st thing you’ll need to ignore are the (wildly varied) accents of the sisters; we learn that Anne and Barbara attended school in England. The hairstyles and clothing worn by the women reflect the mid-1950s, NOT the early ’40s. There are a few scenes that come off as TOO melodramatic; others can drag on a BIT too long. However, the look of the film is lovely; it was shot in Cinemascope (or extra widescreen). The musical score by David Raksin suits the events V well.

This [pulls out a bottle of whiskey from glove compartment] is what I spend the night with… and no regrets. Oh, I get a gentlemanly hangover in the morning, but no regrets. And nobody gets hurt. -Jack explains to Barbara

U.S. servicemen married over 15,000 Australian and New Zealanders they met while stationed overseas in WWII. The War Brides Act of December 1945 required only proof of marriage to ensure legal migration to the US. Some modern sources est. the total war bride migration was one of the largest migrations to the country since the 1920s. Paul Newman (before fame; 3rd billed) accepted a supporting role only b/c Robert Wise was directing. I heard about this movie (via a Facebook post); I’d recommend it esp. to fans of Newman and Simmons. You can rent it on VOD; I saw it last week.

Newman plays Capt. Jack Harding, an alcohol-dependent/cynical/divorced Marine investigating prospective brides of soldiers. From the choices that Newman makes, you can see that acting is becoming more subtle in this time. As Barbara, Simmons is caring and empathetic to her sisters; she’s trying to live a “decent” life. One astute viewer noted that modern viewers (who’ve recently lived through the COVID-19 pandemic) may esp. relate to the loneliness experienced by the sisters in this movie. As Barbara tells Jack when they reconnect, her countrymen have been gone 3 yrs so far (1939-1942). I esp. liked how their connection grew (so it seems gradual/natural- NOT rushed); Newman and Simmons project intense chemistry!

[1] Not the best role of any of the principal actors’ careers, but definitely worth seeing, especially if you are drawn to WWII era dramas.

[2] Jean Simmons… is the counterpart for Paul Newman, who is the point man for the American presence (and the introduction to American men). […]

…even if this movie seems to follow some ordinary romantic path, you can’t help but feel, individually, for the four women wanting to not be alone. (It has some echo of “Little Women,” to me.) That’s the reason to hang in there. It takes time to get invested in the characters and their needs. Paul Newman is very good as usual, but more restrained than you might expect. Handsome, but without some kind of edge that made him bigger than life.

-Excerpts from IMDb reviews

#Oscars Best Picture Nominee: “Anora” (2024) starring Mikey Madison

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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 Anora (streaming on VOD).

Love is a hustle. -A tagline for the film

This is yet (another) movie that shows us the hard truth- ain’t NO man coming to save you! This is my 1st time watching a Sean Baker movie; he’s the writer, director, and editor of this (unusual) indie film. This film won the Palm d’Or at the 2024 Cannes Film Festival. The title character (who prefers to be called “Ani”) is played by Mikey Madison; I saw this actress in her supporting role in Once Upon a Time in Hollywood (2019). Ani is a 23 y.o. stripper (or sex worker) at a club in Manhattan; she’s a blend of sweet and tough (as several viewers noted). One night, the club’s manager pulls Ani aside to explain that a client wants to see someone who speaks Russian. Vanya (Mark Eydelshteyn) is a big spender/heavy drinker, though just 21 y.o. Since Ani’s grandma never learned English, they communicated in Russian. Ani quickly charms Vanya; soon, he invites her to his mansion. They seem to like each other, have some laughs, and end up in Vegas (w/ a group of his friends); of course, Anora is paid to act like a gf. Suddenly (after a week), Vanya proposes to Ani, and she says “yes!” Are they really in love? Is this a reckless decision they’ll come to regret?

Some viewers have compared this movie to Pretty Woman, BUT w/ a more gritty, dark, and realistic bent. The nudity (and intimate scenes) are also unlike ones you’d see in typical rom coms. This film takes an (unflinching) look at the issue of class; this is NOT often done in America. Honestly, I didn’t think much re: class/social differences until I lived in NYC myself. In once scene, Vanya (unlike Anora) doesn’t move his feet while his young maid (a Russian immigrant) is vacuuming; he continues to play video games. It turns out that Vanya is still an immature boy; his lifestyle is paid for by his wealthy/business-oriented parents (who live in Russia).

The 1st act has been described as a (high energy) rom com; the rest is slower w/ the tone of a dark comedy. It was refreshing to see areas of NYC that aren’t often in movies; Ani lives in Brighton Beach, Brooklyn (known for its large Russian population). We see Coney Island (nearly empty in Winter) and points of interest in Vegas (such as an iconic wedding chapel). Though Ani is the central (POV) character, the supporting characters (who work for Vanya’s parents) add flavor to the story. Toros (Karren Karagulian) is the priest who baptized Vanya; he’s one of the men responsible for watching out for Vanya. Igor (Yura Borisov) is a quiet/stoic young man who works as an enforcer. One astute movie critic noted that both Ani and Igor use their bodies in their work. What did you think of that (unexpected) last scene of the movie? I found myself getting a BIT emotional.

[1] Anora is a punch to the face of the traditional fairytale concept. It’s a realistic, violent, raw, funny, and ultimately sweet modern Cinderella story.

[2] Some films are completely made by their last scenes, and Anora is one of them. […]

…in the film’s final moments, we see all of that bravura fall away and Anora turn into a sobbing little girl when a character offers her a taste of genuine human kindness and affection.

[3] Once the first act concludes and the second act kicks in, there’s a striking shift in both tone and style that I honestly did not see coming.

The comedy is genuinely entertaining, with moments that will have you laughing out loud. Despite serious circumstances, the absurdity of the situations elicits laughter and chuckles.

[4] The storyline was predictable and uninspired, failing to hold my attention or evoke any emotional response. The characters lacked depth, making it impossible to connect with them or care about their journey.

-Excerpts from IMDb reviews

“Juror #2” (2024) starring Nicholas Hoult, Toni Collette, J.K. Simmons, Kiefer Sutherland, & Zoey Deutch

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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 Juror #2 (streaming on HBO MAX).

While serving as a juror in a high-profile murder trial, a family man finds himself struggling with a serious moral dilemma, one he could use to sway the jury verdict and potentially convict or free the wrong killer. -Synopsis

In Savannah, GA, Justin Kemp (British up-and-coming actor Nicholas Hoult) is a writer at a lifestyle mag who is called in for jury duty. He tries to get out of it, explaining to the judge (Amy Aquino) that his wife- Allison (Zoey Deutch)- is in the 3rd trimester of her pregnancy. The judge isn’t moved, noting that this won’t take more time than his (9-5) job. The case is the murder of a young woman, Kendall Carter (Francesca Eastwood); the defendant is her on-again/off again bf- James Sythe (Gabriel Basso). The prosecutor, Faith Killebrew (Toni Colette), is running to be DA; she’s V confident that this will be an open and shut case. She has a (friendly) rivalry w/ the defense attorney, Eric Resnick (Chris Messina). In flashbacks, we see that Justin- on the (stormy) night that Kendall died- hit something w/ his car!

Are y’all feeling nostalgic for those 1990s (EX: John Grisham) legal dramas? Then, this is (new-ish) movie (from Clint Eastwood- still working) is for you. I have to admit, the premise looked interesting, so I checked it out over the recent holiday break (on HBO MAX). Also, many critics/viewers have commented that (mid-budget) dramas like this for a grown-up audience are lacking from theaters in recent yrs. Don’t look for any big thrills or even much tension. This is a case of missed opportunities (directing choices) and lackluster dialogue (basic screenwriting). Even the musical score is nothing memorable.

This movie is also a reunion btwn. Hoult and his (onscreen) About a Boy (2002) mom- Collette. The actors are doing the best they can w/ the material; however, Collette’s Southern accent is a BIT uneven. The jury is V diverse (reflecting a mid-sized city in the modern era), BUT there is V little character development. Small roles are played by Kiefer Sutherland and J. K. Simmons; I guess LOT of actors want to work w/ Eastwood. You may’ve heard that there is an unexpected ending, BUT that can’t save the film.

[1] For one, the case itself seemed pretty weak to begin with. It was mostly circumstantial and no direct evidence linking the defendant to the crime.

[2] This cast is doing their best, but the material is so incredibly dumb. The elevator pitch of the plot is intriguing, but it’s got the silly execution of a CBS crime procedural.

I watched it for the cast, and for the moral dilemma and mystery of the premise, but the trailer had more actual plot clarity than the movie itself.

[3] I was surprised how 2D some of the characters on the jury were, and pretty simplistic and dated stereotypes.

-Excerpts from IMDb reviews

“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