Author: jbg

ONE DARK NIGHT (1982)

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Directed By: Tom McLoughlin

Written By: Tom McLoughlin and Michael Hawes 

Cinematography: Hal Trussell 

Editor: Michael Spence and Charles Tetoni 

Cast: Meg Tilly, Melissa Newman, Robin Evans, Leslie Speights, Elizabeth Daily, Donald Hotton, Adam West, David Mason Daniels, Kevin Peter Hall

As part of an initiation into a club called the Sisters, a young girl must spend the night in a mausoleum.

We might be judged better and find its audience because of the time that it was made in over the years found admiration for it, Writer Director, and as always, we respect things the older they get that doesn’t necessarily make them better, but if you find something in it that speaks to you or ahead of its time then it is worth admiration

strangely, this film feels like your typical drive-in fair and offers up something a little different

But it plays more like a 1980s typical horror film where more of the fascination is the culture of the times and what was allowed as this film is pretty clean. It does offer up to jump scares that are inspired but ultimately corny. 

The movie it’s all set up and then one stuff does happen. It is somewhat interesting but by that point, you might find yourself not really caring or excited just because something is finally happening. 

It’s a film. I would say that might be fine if you have younger children, except for drugs, but ultimately it feels like a film that’s more scary for younger children than maybe an adult audience.

There’s a reason it’s not particularly scary. Is there any excessive violence or exploit materials pretty basic a television truly isn’t really as offensive as the slang and verbal word juvenile could’ve been for school kids

as it feels like a movie, that’s dressed up for a younger audience where you’re thinking, oh man, we’re gonna see something that we shouldn’t have, and then by the end, you’re like that’s it could’ve easily watched this in one of our normal films only it shows itself to be that way almost like it’s a student with better production values

This is one of those films that even being under 90 minutes feels long

At least this film is pretty much a mostly female affair as far as the cast as they take center stage, and the few men in the film are more on the sidelines either watching or coming in at the last second trying to be heroic 

Even Adam West being in the cast here seems more for name and star recognition value than actually giving him much to do 

Sorry, if you were watching this film just for him as he is in it but he’s not in much of though it is one of the rare times where he is in a dramatic role 

Grade: C-

AXE (aka LISA LISA) (1972)

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Written & Directed By: Frederick R. Friedel 

Cinematography: Austin McKinney

Editor: Frederick R. Friedel and J.G. Patterson Jr.

Cast: Leslie Lee, Jack Canon, Ray Green, Frederick R. Friedel, Douglas Powers, Frank Jones, Carol Miller 

Three criminals on a murder spree arrive at a farmhouse, where a girl is living with her paralyzed grandfather.

This film also goes by the title, LISA, LISA is pretty much cut and dry as kind of a revenge tale. It’s barely over an hour, and today would’ve probably been an episode of an anthology series of horror. 

The film’s characters are pretty simple. They might remind some of the movie PEARL with the farm girl and the handicapped paraplegic father, and the dispensing of characters in particular with an axe

though here, pretty early, on all the victims are understandable while they are killed, as most are at least two of the three gangsters are pretty horrible from the beginning with one being maybe a little more sensitive and innocent, but the main two you won’t feel any sympathy for throughout, and they really bring about their demise on their own by their own actions

As they both try to sexually assault the main female character, at times, you also wonder if really the paraplegic father is playing along in a role to them, unfortunately, that twist does not come to a satisfying end 

The film is pretty dry and everybody gets what they deserve to a certain extent the only truly shocking part or more surprising part is the end that goes with just desserts but it’s not all that it’s not going to change your worldview or anything 

The film comes off as schlock and exploitation the more exploited towards violence, and I guess just sleazy characters, as the first half of the film feels almost like a music video, devoted to its soundtrack, which is mostly bongos that after a while gets very annoying as nothing really happens. Which was actually put together in only 8 hours.

if he becomes what you have to put your attention on to help guide you, but after a while, it becomes very annoying. 

The film at many times, tries to go for atmospheric to make it a little, more artistic or deeper than what it is.

This is from a classic, but if you’re just looking for something maybe to put on more in the background or research, the history of our might well be worth it as it is more odd than a necessary artifact to check out.

The writer and director even gives himself a co-starring role here truly showing that this was a passion project. It seems for him.

Grade: D+

SPACEMAN (2024)

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Directed By: Johan Renck

Written By: Colby Day

Based on The Book “Spaceman Of Bohemia” By Jaroslav Kalfar

Cinematography: Jakob Ihre 

Editor: John Axelrod, Scott Cummings, and Simon Smith 

Cast: Adam Sandler, Paul Dano, Carey Mulligan, Kunal Nayyar, Isabella Rosellini, Lena Olin, Marian Roden, Zuzona Stivinova, Petr Papanek, John Flanders

As an astronaut sent to the edge of the solar system to collect mysterious ancient dust finds his earthly life falling to pieces, he turns to the only voice that can help him try to put it back together. It just so happens to belong to a creature from the beginning of time lurking in the shadows of his ship.

This is an existential journey, a type of film that deals with loneliness and depression, and even though it takes place in outer space, it’s more about an inner journey than anything else.

So if you’re gonna do a movie that is practically mostly almost a one-man show where you spend time with the lead you’re going to want to cast an entertainer who here is trying to be more of a dramatic actor, but is definitely someone you know the audience is a fan of and identifies with Who they won’t mind spending time with throughout, even if he is not offering his usual type of performance.

Most are coming to this film for its star to see him in a different type of role, more dramatic than he takes from time to time, and not as rarely as before. 

The film like the character sounds downtrodden throughout 

Technically an art film is not bad and is actually impressive. It has plenty of artistic flourishes among the mundane story as the effects are, but this feels more like a Spotlight more focused on the character and his story. 

The film is about heart, but it feels like it lacks it, though Carey Mulligan seems to be the heart of the film and of the character’s existence, they are mainly kept apart most of the film.

As her character stays somewhat unsupported by him. The main problem with the film is that his character seems to be the same from beginning to end, even in the flashback so since she seems to be more lively, we never quite are sure why she fell for him, even though she explains it, but we never quite see it. so that this love story or romance kind of makes no sense as even when we see old pictures of them, it looks awkward and uncomfortable

The film might have been more noteworthy before streaming as it definitely would have probably made it to theaters with high hopes here it just seems like a regular expensive experiment or his yearly release through Netflix, focusing less on his usual type of comedies, yet still rocking his production companies, side project comedies. Shaking it up a bit with films like this.

The film is not as effective as it should be or tries to be it has good, technical filmmaking. It’s very meditative and slow as we live through his trauma

Love the cast, Carey Mulligan, Lena Olin, and Isabella Rossellini, who finally gets a role that is more than a minor one scene, the appearance of Kunal Nayyer. One just wishes they had more to do and a project that utilizes their talents more.

Nothing in particular makes this film noteworthy for all its peculiarities. It still feels oddly familiar as it is never quite warm, even when it wants you to feel something.

The one that makes the film and the characters come alive is a memory of a date at a public swimming pool.

Maybe if the film was more independent production, it would mean more as a project of passion to put all of a vision into, and it would feel like maybe a story that needed to be told. Here it comes across as entertainment that wants to have depth.

The second half of the film offers more heart. The film strives to be philosophical and romantic at heart. And after spending so much time, watching the film. You kind of surrender yourself to its charms, like Stockholm syndrome to make it feel like it was all worth it.

By the end In the film you can identify with him, but never quite feel anything. You wonder Is that the point?

Grade: C+

MASTER GARDNER (2023)

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Written & Directed By: Paul Schrader 

Cinematography: Alexander Dynan 

Editor: Benjamin Rodriguez Jr. 

Cast: Joel Edgerton, Sigourney Weaver, Quintessa Swindell, Esai Morales, Eduardo Losan, Victoria Hill, Amy Le, Matt Mercurio, Erika Ashley, Jared Bankens 

A meticulous horticulturist is devoted to tending the grounds of a beautiful estate and pandering to his employer, the wealthy dowager.

This is a strange film not in a bad way. It just feels strangely paste like everything feels slow but it also feels stately like it’s taking its time for everything to take effect maybe because it’s about gardening in the first place. It’s trying to set its seed and let it grow throughout the film. So that you finally will see what it grows into. 

It definitely feels like a Paul Schrader film especially his more recent work or later career work because it feels like each film takes a bit of the one before it and then either adds something to it and then the next film has things from the previous two films, and adds to it in its own way as I mean throughout pulse trader’s career. Most of his main characters have been journal enthusiasts. It gives us a way to have narration that is more of an inner monologue for the character.

As most of his films are character studies either way also, you know, they seem sad and their ways, because usually their older characters who have lived life and are now seeming to come towards the end of it, but they live by a strict set of rules codes until someone makes them break it for whatever reason Sometimes it’s usually revenge or if not revenge some kind of defense of someone they care about this film is no different

The only thing that is really different from his previous films is how there are a lot of unspoken matters at hand, and there is kind of a thriller element, the violence threat of the film. It seems comes from characters are just so minor that you’re never truly scared of them and you know that the League character can handle them very easily, but then again, that might be where it tries to be reality whereas most of the figures that were scared of in life are not the ones you would ever think of being big bags are villains and not to mention just because their small scale doesn’t mean that they can’t cause big problems or troubles Especially for the main character who is in hiding for the most part

Another strength of this film that ends up developing is his romance with his assistant, who happens to be African-American, which kind of messes up the ongoing relationship. He has with Sigourney Weaver, who already has a problem with his assistant and the way she talks to her, and now seemingly believes that she has taken his heart, and taken him from her bedroom Though, at times, it feels like Weaver’s character even though upper crust an upper class also might have a little change of racism herself when it comes to her granddaughter, as well as age jealousy

The reveal of the lead actor being a white supremacist gang member lets us know that he has a dangerous past and how he ended up where he is but it also lets us know as in the words of Liam Neeson. He is a man of certain skills even though it seems like when he was back with the gang he was drinking and drugging and reckless, and now he’s clearheaded And not reckless but can be dangerous and it feels sort of like he’s paying for his sins, especially as he works around a diverse crew and takes a shine, especially to an African-American young lady

Joel Egerton is excellent in the role of the master gardener. I just wish that the movie had more for him to do or more to challenge his character with because, by the time the third act comes around happily, this isn’t a film that is a thriller or has any real kind of action it’s more about consequences and decisions that are made, which is different for a modern film and dealing with the complexities of that but it also feels like a film that you’re waiting around to get started and it never quite does instead, you just flow with it.

And it’s own way. It feels more literary than visual, even though it is a film, and the dialogue isn’t always sparkling. 

It might also throw a little off that the granddaughter character comes across as so young and not that Egerton’s character is old, but noticeably older that it feels a little odd and cringe-inducing you’re glad that their characters have made this connection but also in the back of your mind, you’re wondering since he was separated from his family is this in its own way him taking her as a surrogate daughter, but then things turning sexual and romantic

I can see why Paul Schrader originally wanted Zendaya to play. The role is also another big name in the film and a less extreme version of her character on the show EUPHORIA, but she gets to stretch her dramatic muscles on the big screen that didn’t happen but she might’ve had more of a present as a character in the film, whereas Quintessa Swindell in the film, because you’re not quite sure where she’s really supposed to fit in other than being a new element into the ecosystem, that is this garden and household. Though it gives the actress the chance to show she can hold her own.

He might seek to put some seeds in her so that they can grow and have a new family. as the ending of this film is pretty cut and dry simplistic, and not as violent haphazard, or convoluted when it comes to the characters as some of his previous films and their characters by the end.

The film is perfectly fine and seems to survive in its own space though it’s not the most exciting movie it deserves to watch, but don’t expect that much 

Grade: C+

COUP DE TORCHON (Aka CLEAN SLATE) (1981)

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Directed By: Bertrand Tavernier 

Written By: Bertrand Tavernier and Jean Aurenche

Based On The Novel “Pop. 1280” By: Jim Thompson 

Cinematography: Pierre-William Glenn

Editor: Armand Psenny 

Cast: Philippe Noiret, Isabelle Huppert, Jean-Pierre Marielle, Stephane Andean, Eddy Mitchell, Guy Marchand, Irene Skobline, Michael Beaune, Jean Champion, Victor Garrivier 

1938, in a French-African colony. Lucien Cordier is the cop of this village, populated with blacks and a few whites (usually racialist and lustful). He is a washout, everyone (including his wife Huguette) humiliates him. He never arrests anyone and looks at elsewhere when a dirty trick occurs. But one day, he turns into a Machiavellian exterminating angel.

This film can be looked at as a bit experimental, as it is based on a pulp thriller set in the United States but this version of the story is played out internationally in Africa, amongst the French colonists who are in the country.

While in the African’s land and home, these French characters who are more invaders in their territory, still think of themselves as superior and treat the natives like savages even though more or less, the so-called civilized characters, truly act more savage and heinous than any of them.

There are very few likable characters throughout this film it’s just that it takes time to learn the despicable of each, and somehow they seem to outshine each other as the tail goes along.

The Protagonist is a police chief in the area, though he is very Azih, and not very effective. He is in a loveless marriage, and having a secret affair that it seems most snow about but certain people acknowledge, but others are shocked. 

The young married woman that he is having an affair with is played by a very young Isabelle Huppert. Their early scenes are certainly sexual, but not erotic, and certainly feel dirty.

Until the police officer truly shows his sociopathic and psychopathic sides. And he ends up murdering two local pimps and covering up their murders implicating a colleague for it, and it seems like after that he seems to start a domino effect of anyone in his life who bothers him or stands in his way him getting rid of for whatever reason, and with each murder, he seems to lose another piece of his soul which already seemed kind of worthless. 

On one end, you could see this as a kind of revenge tail of a meat character finally standing up for himself and getting revenge on those who either don’t think much of him or sell him short,  but you also must wonder at times was he planning this the whole time And was waiting for the time to strike or was he just finally pushed too far and decided to act when the opportunity presented itself.

By the end, he has his own kind of superiority over other characters as he began, he seems to have a plan, and along the way, his plans seem to be changing as does his mindset.

whereas the reason he was doing it, and he was doing it, for he seems to see their true side And see them for what they are and wants to test them to see if they are worthy, and commonly they fail. He is the most testable it becomes a crabs in a bucket situation.

At first, it seems that lust is what drives his character and money seems to others as the film goes along. He seems to lose faith in anything, and everything that he believes in.

His married lover, who his wife seems to know about yet sometimes seems shocked, and his wife’s so-called brother, a truly her lover, are all over each other, and his house tries to even threaten to blackmail him with this affair.

The only character throughout this film, who seems innocent or just doesn’t know any better is the schoolteacher who the detective is on and sometimes has conversations with.

Don’t get me wrong. This film is hard to sit through. Almost every character is racist and uses that kind of language as well as assaults plenty of black characters that just seem to go with the territory and how evil the characters are in the first place.

Moving the setting of the tale from a small town in Texas to a small town in Africa. It seems to match the territory and gives the tale a wider point of view of which to not only look at it but study it also. As it is similarly, dusty, dirty, remote, yet tranquil.

The film can feel detestable at once, but not keep your interest. Never quite knowing what is going to happen next. It almost feels like a mystery only It’s not a who done it and we are watching from the killer’s point of view.

All the characters are racist. Which fits the noir tale. Most of the characters are unlikeable and a nest of vipers waiting to strike first. It’s Very inventive taking the Jim Thompson tale and making it a more international tale. The film is fascinating.

Based on the novel POP. 1280 by Jim Thompson. which I haven’t read, but this feels a bit similar as far as main characters go to the main character from another Jim Harrison tale THE KILLER INSIDE ME. As both are sheriff’s and psychopathic sociopaths 

Grade: B

BACK TO BLACK (2024)

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Directed By: Sam Taylor-Johnson

Written By: Michael Greenhalgh

Cinematography: Polly Morgan

Editor: Laurence Johnson and Martin Walsh 

Cast: Marisa Abela, Eddie Marsan, Jack O’Connell, Lesley Manville, Juliet Cowan, Sam Buchanan, Anna Daras, Spike Fearn, Therica Wilson-Read 

A celebration of the most iconic – and much missed – homegrown star of the 21st century, BACK TO BLACK tells the extraordinary tale of Amy Winehouse. Painting a vivid, vibrant picture of the Camden streets she called home and capturing the struggles of global fame, BACK TO BLACK honors Amy’s artistry, wit, and honesty, as well as trying to understand her demons. An unflinching look at the modern celebrity machine and a powerful tribute to a once-in-a-generation talent.

I was probably always going to be harsh on this film as I am such a huge Amy Winehouse fan and I feel like the documentary. AMY is a definitive and informative statement when it comes to her life.

When it comes to biofilms the best, don’t try to tell the whole story they pick a certain period of the person’s life and fill the drama, even if the drama comes from their past. As Amy lived such a short life there might’ve been room to fit in from birth to her unfortunate death at 27

Even after all these years, it still feels too soon for a biofilm as the scars are still there. So I will say the film isn’t as bad as I thought.

Marisa Abela is the best thing about this movie. She is amazing and mimics her vocal style impressively. There are no problems with her performance.

What hurts the film? Is that even at just a little over two hours? It still feels rushed half the time where you can’t tell what part of her career she’s at times. It would also help the love interest at least the film. Would Moore sweep her off her feet and you could understand why she is so attracted to him other than similar interest. as it plays here, he always constantly seems like a walking red flag, even if he might have some raw sexuality or a danger about him, but it never comes across as convincing that she would just give herself so to this character

Another problem in the film is that we see that she gets depressed over the death of her grandmother and the volatile relationship she has with Blake, but it still never quite explains the other parts of the downward spiral. Yes, we can say depression, but it helps if we’re given more evidence instead of kind of just being told in one scene, or constantly being lonely, we need a little more to flash out and to believe in this more.

Sam Taylor Johnson directed the John Lennon bio film NOWHERE BOY, so this isn’t new territory for her she lands the plane so to speak when it comes to this film, but it is quite a bumpy ride with plenty of turbulence that is more not the adventure of the story or characters, but more in the way the story is told it tries to have a smoothness where it feels like it’s not even trying Standard something a little bit more a TV production than a cinematic vision.

As in the end, it plays more like a sad romantic, love story. That is almost one-sided, though there was definitely passion and emotion somewhere in there. 

One believes that if you are a Die Hard true fan of Amy Winehouse, you do not need to see this film. You should’ve already seen Amy but if you’re just curious as to ask her just a bio seems to be a trend. This feels more like a student rather than, someone who cares about getting the story straight and the facts down

Grade: C

PRISCILLA (2023)

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Written & Directed By: Sofia Coopola

Based on the Book “ELVIS AND ME” by: Priscilla Presley And Sandra Harmon

Cinematography: Philippe Le Sourd

Editor: Sarah Flack

Cast: Cailee Spaeny, Jacob Elordi, Ari Cohen, Dagmara Domincyzk, Tim Post, Lynne Griffin, Dan Beirne, Rodrigo Fernandez-Stoll, Dan Abramovici

When teenage Priscilla Beaulieu meets Elvis Presley, the man who is already a meteoric rock-and-roll superstar becomes someone entirely unexpected in private moments: a thrilling crush, an ally in loneliness, a vulnerable best friend.

An aesthetic to dig deeper into characters and moments lived in, not just the surface. A sensitive portrait or snapshot.

I get so excited about the new Sofia Coppola movies. While I enjoy her style, her movies I will admit at times aren’t the most exciting or action-packed. They are like stylistic recreations that are dramatized seem like recreations, and often feel humorous.

THE VIRGIN SUICIDES, LOST IN TRANSLATION, SOMEWHERE, and MARIE ANTOINETTE is her best and a kind of winning streak. The rest have had moments and pieces that are admirable it can be hit or miss even if beautifully filmed they are generally passable they can’t say that they are totally enjoy, they all make you think certainly are experiences in themselves.

In fact, some people will use that against her, saying that they are stylish live-action photo shoots to make her films easier to write off, though they do contain more than that you have to be willing to sit and experience them to finally discover it.

there is something about the everyday realities more than all the glitz and glamour that she tries to dissect looking to expose the truth maybe because she grew up on the other side within the fantasy of Fame so she knows it inside and out. She gets to see the power of fame and how it can easily corrupt, even those who are supposed to be Bastians of morality.

It Is a love story, but still showcasing a young lady a teenager who feels like she’s being groomed by a female, older established, and famous male, not only a star but an eventual icon.

There is expected to be an adult around them even though innocence is what seems to be the attraction for him.

The film is about her coming of age with life in this relationship, where she has to learn to gain her strength eventually and be independent from a more one-sided relationship.

The film is not a gossipy or sensationalistic account as that has never been Miss Coppola’s style. We already have many movies and documentaries about Elvis Presley Coppola seems to be trying to expose the more intimate portrait of a well-known love story, not focusing on the legend or his career as much as this is her story so that we can get a better understanding of where she’s at And had to go through.

As the domestication is more than anything, as we watch her, it shows like a little girl in a grown-up world, her being contained and cut off.

The film doesn’t have as many artistic flourishes and retro but is also kind of plain. It seems most of the movie takes place at Graceland.

Jacob Elordi is believable and gives an informed performance as Elvis Presley. he excels in the story of a relationship that offers snippets of his career So he gets to focus more on the dramatic side and charming side of Elvis not so much the showman or the performer. With him being cast in the old days, this might’ve been a starter film for him or a beefcake movie to test out a heartthrob and their box office strength but here it’s more artistic and not so much stunt, casting the film could easily be seen as movie material, made a bit more with depth and patience

Cailee Spaeny is as good as Priscilla in one of her first leading roles. She comes across, is fragile, believable, and strong in each iteration of Priscilla. Even if the performance doesn’t blow the audience away, it is more of an emotional one, as she is the one to take us through all of this, and who we care about.

I am more familiar with Priscilla Presley as an actress primarily from THE NAKED GUN movies so this film was actually kind of eye-opening for me. The film offers glimpses of what we know or what he is known for but shows what it was like to have to live with him through his crisis

We get to see romance from the beginning until the end, as it seems like at some point got tired, and the passion died. the passion died, we do see the introduction the first the seduction, the liking the falling in love the consideration of the marriage, The fights, and infidelity on his part.

This is a narrative a bit like the recent release, maestro seeing young love, but also as famous as maintained, and acquired how to affect a loved one behind the scenes, and how they learn to manage, staying more in the shadows, but still being a partner.

Also, it should be a given, and I love the soundtrack that doesn’t have that many Elvis Presley songs on it. It’s a return form for Sophia, Coppola, and Hits harder than one might expect at times and it still feels just a bit fluffy.

I remember when certain Directors had movies coming out part of the anticipation of a new release was the soundtracks not necessarily the scores, which one looked forward to unless it was done by a favorite like Jon Brion. Not even new music it was whatever classic or unknown songs or artists of the past they would use if it was a popular song, the Directors used it in such a way that you looked at an experience or listen to it differently than before if new to you you have obsessed over it like a brand new single hot off the presses.

Sofia Coppola still manages to do this, There’s a moment in the film where they listen to songs, and she says that the song lacks a catchiness to it, which is how some might feel, but this kept me thoroughly entertained and might be one of her more accessible films, though some will consider it a bit too slow for their taste.

It might represent the same old, which is successful, though, doesn’t end him to an audience as he comes across more as a time capsule, rather than changing with the times and him wanting to move on yet afraid. Just as his wife Priscilla has needs he seems to be deterred because it doesn’t fit in with what he knows especially during the 1960s a time of rapid change.

Ir Shows him learning and teaching himself having a rebellious attitude and learning independence. Even though the colonel shut him down, the same is happening with her. Only Elvis was doing it to her as they say hurt people hurt people, and then leaving her alone in a huge house to entertain herself, but not wanting her to mix too much with the staff, what was she to do?

Grade: B

FERRARI (2023)

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Directed By: Michael Mann

Written By: Troy Kennedy Martin

Based on the book “Enzo Ferrari: The Man, The Cars, The Races, The Machine” by: Brock Yates 

Cinematography: Erik Messerschmidt 

Editor: Pietro Scalia 

Cast: Adam Driver, Penelope Cruz, Patrick Dempsey, Shailene Woodley, Jack O’Connell, Gabriel Leone, Sarah Gadon, Michele Savoia, Valentina Belle, Tommaso Basili 

Set in the summer of 1957, with Enzo Ferrari’s auto empire in crisis, the ex-racer turned entrepreneur pushes himself and his drivers to the edge as they launch into the Mille Miglia, a treacherous 1,000-mile race across Italy.

Every holiday season, Adam Driver seems to cast a big project that might be questionable or controversial.

This film is a portrait of a certain time and the title character’s life that helps explain it and capsulate his past and present. That becomes exciting as its director, Michael Mann, and anyone who is a history aficionado of the title character.

Michael Mann seems to get older you notice that he has more interest in camaraderie and the definition of decision in a person’s life which is usually an older man looking back on life, he might identify more necessarily looking to or including the audience.

The film isn’t like the character reflecting on his life or on his last day or days before his death. It just focuses on a certain period in his life. The worst of times.

Penelope Cruz looks ravishing even here when they try to make her look plain. As she gives an exciting performance throughout the film, she has an international flavor with a jealous streak. As she gets older, she seems to become a more interesting actor, as she is no longer an ingenue, and the roles she gets are filled with more emotions and quite frankly seem to be a bit more juicy, even if not, necessarily the star or the damsel in distress.

I love Lady Gaga, but maybe her role in HOUSE OF GUCCI, if she was going to command the screen so much. She is one of the few notable things about this film. As she is so captivating, you can’t keep your eyes off of her. Takes with could’ve been a thankless role. It gives her something to do with plenty of dramatic territory and scenes. 

Shailene Woodley as the character’s unofficial mistress seems miscast, It could also be the writing as she’s never as interesting as the other characters and can’t seem to keep up with them either as even Sara Gadon playing one of Ferrari‘s drivers seems to have more of a dramatic and more to do or at least throughout.

Patrick Dempsey plays a supporting character. He is barely recognizable in the film. That was quite good.

The film is a Slow Burn. This film seems more for an audience of current enthusiasts or history fans who went to see the story you brought to life yet don’t like to read, maybe the film was meant for people to of the Ferrari car and Branding providing more insight and renewing interest. How he even views his drivers as disposable and wants to keep his brand pure, even though for success, he would have to dilute and make more cars essentially having to hand it over to another business to replicate more copies faster.

I wonder if the racing might’ve been more exciting watching in a theater. The film keeps feeling like it’s building towards something that never comes. Even if it seems like the race will be what this film will revolve around. It Never gets that exciting until a little twist, which is honestly the most shocking scene in the film and one of the best scenes of the film as it finally feels like something is happening.

The only time the film seems to come alive is in the scenes of Penelope Cruz and some of the car crashes.

This film feels like a brick, solid and heavy something to build upon or off of that never quite grows and needs more construction, though it is very well-made. It’s not that entertaining, It’s something to more admire than feel anything for.

The film is like a fine wine that has aged well. It looks luxurious. It looks delicious and refined and looks well made but when you finally go to taste it, it’s not what you expected, nor as good as it should be. Though I guess it comes down to Taste.

Grade: B- 

BARDO: FALSE CHRONICLES OF A HANDFUL OF TRUTHS (2022)

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Directed By: Alejandro G. Inarritu 

Written By: Alejandro G. Inarritu and Nicolas Giacabone 

Cinematography: Darius Khondji

Editor: Alejandro G. Inarritu and Monica Salazar 

Cast: Daniel Gimenez Cacho, Griselda Siciliani, Ximena Lamadrid, Iker Soriano, Francisco Rubio, Jay O. Sanders, Luis Coutulier, Andres Almeida, Clementina Guadarrara 

An acclaimed documentarian goes on an introspective journey through surreal dreamscapes to reconcile with the past, the present, and his Mexican identity.

This film is an epic self-indulgent, semi-autobiographical tale that has beautiful cinematography.

It’s a memoir that feels like confessions or inner thoughts of the writer and Director. Alejandro G. Inarritu

It’s a film that no one can come close to explaining it’s definitely a film more to experience, even for all of itself indulgent tendencies at times

It seems like a film, where no matter how many times you watch it you get something new each time or notice something that you never saw before, and have to watch it again to understand it on a deeper level.

As it feels like you haven’t seen everything or quite get it do you want to. No, it doesn’t leave you exhilarated like the film EVERYONE EVERYWHERE ALL AT ONCE but you want to keep on exploring and examining the film just like that one as it seems to capture you and its own mindset

The film offers plenty of surreal imagery. Though never quite as strange as something that would come from Alejandro Jodorowsky 

The film does offer a lot to take in that you will either love or hate. Some might not want to put up with the film as it will feel hollow for some without enough story or plot, which leaves it easy to get lost in or during. As we spend time with the main character. 

The film feels like Alejandro G. Inarritu in his Fellini period. Where not only is the film autobiographical but seems to express his feelings about life and filmmaking. As a Director has made, Hollywood films and manages to put a personal stamp on them.

These days you have to try harder to have a career of only artistic indulgent personal films to raise your profile not to mention get a chance to tell Bigger stories that he wants to

This film feels like Fellini’s spirit is alive, only not as scandalous, but the director obviously has a lot to get off his chest and themes he wants to explore. This is the closest we might ever get to visionary autobiography.

Grade: B 

PROM DATES (2024)

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Directed By: Kim O. Nguyen

Written By: D.J. Mausner

Cinematography: Bradford Lipson

Editor: Daniel Reitzenstein 

Cast: Julia Lester, Antonia Gentry, Kenny Ridwan, Jordan Buhat, JT Neal, Zion Moreno, Terry Hu, John Michael Higgins, Chelsea Handler, Arianna Rivas, Emery Kelly 

“Prom Dates” follows best friends Jess and Hannah, who made a pact at 13 to have the perfect senior prom. Despite the impending changes that college will bring over the next four years, the two are committed to honoring their prom pact. But with only 24 hours left before the big event, everything falls apart when they break up with each of their dates. Jess and Hannah are left with one night to find new dates and live out their middle-school fantasies.

Automatically other films will come to mind while you watch this film most likely BOOKSMART. as it has a kind of similar structure of seemingly two days and one wild night in between with two best friends seemingly on a mission that they are united in, but slowly reveal their insecurities and problems they separate goes in their own direction.

Booksmart is probably a better well-made version of the story. This film is the more over-the-top gross wacky, comedic brand that is actually pretty fun and funny. This might be considered a low-rent version, but it is still enjoyable. 

It comes across as more sexual also while having an open-minded pro-LGBTQ plus characters throughout. With a wild night of partying, booze, drugs, and sex in between yet, the film never becomes too exploitive and still manages to be over the edge and funny.

The two leads are great Antonia Gentry is the more conventional pretty girl who for some odd reason always comes across as desperate, even though she should be in control and Julia Lester as her best friend, the kind of tomboy lesbian who gets all the best physical comedy scenes also more of the gross humor, but becomes the most identifiable character throughout.

Throughout the film, they run into challenges, but failures that do help define the night and them, and truly show the resilience of the characters.

Even though the ending is a little unexpected and offers a few little twists that one didn’t see coming, but still makes the film worthwhile and feels a little more realistic and its depiction. 

A subplot that involves one of the character’s brother and a secret hook-up or romance is needed to help flesh out his character, but also just seems tacked on and unnecessary. 

I can definitely give the film points for having a diverse cast. even having comedian Chelsea Handler in an unnecessary cameo role that helps add star power to the film, but at least gives parental representative throughout other than the principal played by John Michael Higgins.

The main characters’ parents are largely absent throughout the film, which also seemingly gives them room to really have no boundaries as there is no nagging looking for them or wondering where they are, which is one of the only parts of the film that might feel a little bit unrealistic parts of the film that it tries to present.

This is definitely a modern film, but it kind of feels like a throwback, it doesn’t offend, but it also seems like the film isn’t afraid to for a scene to work.

It’s definitely worth checking out as you will definitely have a laugh with this coming-of-age film, but it’s not necessarily things you haven’t seen before.

Grade: B-