Category: Uncategorized

LOVE IN THE AFTERNOON (1972)

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Written & Directed by: Eric Rohmer 

Cinematography: Nestor Almendros

Editor: Cecile DeCugis

Cast: Bernard Verley, Zouzou, Francoise Verley, Daniel Ceccaldi, Malvina Penne, Babette Ferrier

The last of Rohmer’s Six Moral Tales. Frederic leads a bourgeois life; he is a partner in a small Paris office and is happily married to Helene, a teacher expecting her second child. In the afternoons, Frederic daydreams about other women, but has no intention of taking any action. One day, Chloe, who had been a mistress of an old friend, begins dropping by his office. They meet as friends, irregularly in the afternoons, till eventually Chloe decides to seduce Frederic, causing him a moral dilemma.

Though I knew most of the story beats, the film actually still lives up to the hype and still feels like a revelation as it is one of Eric Rohmer’s six Moral tales and I’ve only seen one previously. This definitely fits alongside it and is memorable.

Chris Rock’s version Is more gag-filled. You could see where there could be room for a bit more humor while trying to take a realistic look at a man in midlife crisis, not in a bad marriage but in a marriage where he’s standing bored and here comes temptation. Both versions are focused on a single narrative where things happen to shape the films and have a full cast. Though what allows the films to prosper is that no certain story ever rears its head, allowing the film to seem more random 

Zazou is perfectly cast as she appeared throughout the 60s and 70s and in many films. This seems to be the one that is the classic that she is remembered for so she does have that bit of a one and done screen present square she is just a goddess in this film, but not, like a I can if anything he is more the tease in there bombshell, but someone beautiful, but you could also see her as normal and it’s not only about. It’s the way her character comes across with her personality and her matter at first it seems more like she’s playing and then she actually does have a plan and admit to her feelings so it doesn’t always feel like she’s trying to con him and he is more the tease in their relationship and intimacy as she seems usually willing and he’s the one who’s always backing away in the moment or at the last minute

The film does offer some genuine, sexy scenes without actually showing any physical sexual scenes, but just the intimacy, the longing, the heat, the sexual energy, sometimes the blocking angles imposing, just add up to making this film, somewhat erotic even when it’s not trying to

Though through all of this, the film never feels quite horny. It has a sophistication, even though it’s clearly identifiable mainly Moore bourgeois and also offers the difference between being free spirited and responsible, running away in a fantasy and dream, but I also having to wake up to reality and responsibilities, the difference between what we’d like to do but in the end might be best for you. 

Shot by legendary Nestor Almendros, one can understand why, though at times the film takes place in closed-off, tight spaces. It still feels vivid and quite visual, especially when it comes to the angles.

This film more or less feels like a lighthearted, sometimes funny look at a midlife crisis of a man dealing with fantasy, desire, love and responsibility. It feels like a more serious, but not as overwrought Woody Allen film in the early stages of his career, as this film came along around the same time, so deals with a neurotic main character who seems more laid-back and tries to play it a little more cool when it comes to life in his decisions, 

after all he is and this film has more of European sensibilities of having emotions, but not being as hung up at least noticeably or visibly dealing with things as they come. Not treating life and people as something of pure fantasy. At least that is what the audience is led to believe by the cinema and on-screen pictures.

It’s much more formal and nuanced than most films with the same situations. Thigh, then again to heighten as a thriller or comedy, and here it is more or less presented for the characters and audience to decide where their loyalties lie.

It’s another film that seems more a study or a discussion piece while having full characters and not so much on action. 

When it comes to the character of Chloe, you can understand the temptation, but she is a bit weird as she is obviously beautiful, but at times or angles, looks more basic or normal. I guess it’s her personality, attitude and demeanor more than anything. Even though she is obviously attractive in her own way. As she is like a Monet, looks better far away, up close you see more of the cracks or the resentment.

In certain scenes, the film offers a hint of skin, touching, and flirting as the character slowly gets closer, she even declares to be in love with him as she can have him at any time, but she wants. He obviously wants her but resists. So that it is a constant tango between the two of them is sexy and sensual simply, but not gratuitous

The film is a middle-aged male fantasy that is granted and presented with the drama of the reality of it, especially when having second thoughts.

The film was remade. I THINK I LOVE MY WIFE, which was more comedic, but I liked when I saw it in theaters. I saw that film first before I saw this one, so this film feels quite familiar. Where is that film feels more like a crowd pleaser, both films, the main character, the main character comes across as a tease. 

The film is like a Woody Allen film without so much of the comedy and a much smaller cast. We’re only the leads are allowed to make moments.

THE CHUMSCRUBBER (2005)

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Directed By: Arie Posen 

Story By: Arie Posen and Zac Stanford 

Written By: Zac Stanford

Cinematography: Lawrence Sher 

Editor: William Scharf And Arthur Schmidt 

Cast: Jamie Bell, Camilla Belle, Justin Chatwin, Lou Taylor Pucci, Rory Culkin, Glenn Close, Carrie Anne Moss, Ralph Fiennes, Jason Isaacs, Lauren Holly, Caroline Goodall, William Fichtner, John Heard, Allison Janney, Rita Wilson 

a dark comedy about the lives of people who live in upper-class suburbia. It all begins when Dean Stiffle finds the body of his friend, Troy. He doesn’t bother telling any of the adults because he knows they won’t care. Everyone in town is too self-consumed to worry about anything else than themselves. And everybody is on some form of drug just to get themselves through the day. After Troy’s death, local drug dealers at the school run out of their stash. They convince Dean to get Troy’s stash or they are going to kill his brother that they kidnapped, but they grabbed the wrong kid.

This show is an intriguing failure that seems to be some sort of statement or satire on disaffected teens coming apart at the seams in suburbia after tranquilizing themselves on recreational drugs for so long that they seem to be scared of their own emotions. I wish the film played and explored more of what I just described.

Instead, the film seems more interested in the adult characters, who are not as deep and as types. This only makes their stories seem melodramatic or the product of a soap opera. Which makes one wonder how the film got such a powerful cast for a film that feels more like a desperate Housewives spin-off

The film seems to shy away from too much depth to focus more on the quirks and offbeat comedy.

The film is all surface but tries too hard at times to seem deep almost like a pretty girl reading an intellectual book and you notice over weeks each time you see her she is on the same page as she only does it for the attention or seems smarter than she might actually be

The ending feels too. The end feels too clean cut which one could see if this was based on pre-existing material but as it is an original production, it could’ve been worked on a bit more. It feels too self-serving, trying to please an audience instead of going for emotional truth.

It ends up playing more like a studio version of an independent coming-of-age film. With the parents so busy with themselves, they never pay attention to their own kids, even after one commits suicide, which might be blatant science for attention and help or even subconscious ones.. though the adults seem to anodize themselves with Work and each other as a form of hiding.

The film tries to tighten it like video games and not feeling real trying to achieve a numbness or doing things so that they can feel something. Not fall into the same traps and behavior as their parents, though it seems they easily follow suit.

Has a good score which other than the cast seems to be the most accomplished thing about it.

Grade: C

THE STONE TAPE (1972)

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Directed By: Peter Sasdy

Written By: Nigel Kneale

Editor: Geoff Higgs

Cast: Michael Bryant, Jane Asher, Iain Cuthbertson, Michael Bates, Reginald Marsh, Tom Chadbon, John Forgeham 

A research team from an electronics company moves into an old Victorian house to start work on finding a new recording medium. When team member Jill Greeley witnesses a ghost, team director Peter Brock decides not only to analyze the apparition, which he believes is a psychic impression trapped in a stone wall (dubbed a “stone tape”), but also to exorcise it–with terrifying results.

This is one of those slow films that ends up being more scientific throughout in terms of research and results, displaying that on the search for something supernatural. Keep in mind that this was originally a British television movie.

It’s not at all not only by today’s standards I can’t even imagine it being that scary back when it was made, but one was personally how the premises could be quite fearful.

We have seen this type of story before, but this was one of the earlier examples of that kind of film, which mainly focused on an investigation and the behind-the-scenes politics involved.

The editing and transitions in between scenes make one wonder if this was originally a TV movie.

By the end, it seems more effective as a story or book rather than a movie maybe because by now we have seen so many other films borrow elements and add to it to make it more entertaining or fill it out that it now feels more like a theatrical, dramatic interpretation or dramatization than anything else that seems like it would be more thrilling on the page rather than on the screen as the film presents there to be a great build-up for very little to happen.

For me, Jane Asher is barely recognizable from the Deep End to this film. In that film, she was the epitome of beauty and free love, but here, she seems more stodgy, quite a chameleon-like performance at least in my eyes.

Grade: C 

RITA, SUE AND BOB TOO (1987)

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Directed By: Alan Clarke

Written By: Andrea Dunbar (Based on her stage plays) 

Cinematography: Ivan Strasburg

Editor: Steve Singleton 

Cast: Siobhan Finnerman, Michelle Holmes, George Costigan, Lesley Sharp, Kuruinder Ghir, Willie Ross, Danny O’Dea 

Realistic story of working-class Yorkshire life, alternately serious and light-hearted, as two schoolgirls have a sexual fling with a married man.

This is a movie of its time and moment. A domestic drama and comedy of the working class that becomes a kind of sexual drama. We see each cohabitant’s personal lives and how their actions and situations shape their futures.

It offers a gritty and sometimes sad look with some laughs. No one is perfect or seems to make the so-called right decisions.  This is an early film of an example of polygamy. The film is definitely an uncomfortable experience to sit through.

While this film on the other hand could be a fantasy come true or a T&A sex comedy or even the basis of a porno. This film shows the pain this causes not only the people in their lives but how it affects each other and even the enjoyable moments of the Union are short-lived to non-existent.

It’s a character study at heart given just enough info that makes us angry at the characters but not hate them. As they seem to show humanity just when ready to write them off. As the younger female characters seem to know no better and go along for fun and something new. There are no ideals just dealing with each and the results of the situation.

Not glamorous, Warts and, all realness to it. It keeps you interested as none of the characters has it all figured out or any grand plan all have weaknesses, yet try to portray themselves as invincible. 

It offers a view of the future. Dealing with the best ways they can. A slice of life. Sticking mainly only to those in the love triangle. 

It doesn’t help that most of the characters come off as despicable, the young ladies get a bit more sympathy. It’s a little more obvious why and they have a chance to grow out of it. Bob comes across as miserable in a midlife crisis and not-capable of getting better.

Throughout the film, it feels like a downtrodden and depressing experience not only for the situations at hand but even looking at any possible future for the characters.

A film that wouldn’t be made today for many reasons. 

Grade: B-

FREMONT (2023)

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Edited & Directed By: Babak Jalali

Written By: Babak Jalali And Carolina Cavalli

Cinematography: Laura Valladao 

Cast: Anaita Wali Zara, Jeremy Allen White, Gregg Turkington, Hilda Schmelling 

Donya works for a Chinese fortune cookie factory. Formerly a translator for the U.S. military, she struggles to put her life back in order. In a moment of sudden revelation, she decides to send out a special message in a cookie.

Titled after the region in California. The film takes a poetic look at the region through the eyes of a recent immigrant Donya, who works in a fortune cookie factory.

She suffers from insomnia and we are introduced to the various characters in her new life and day-to-day encounters.

There are plenty of moments that are beautiful and off the wall. Anchored by humanity, soul, and deadpan humor that will remind the audience of the films of Jim Jarmusch 

Though this film isn’t as hip,  It’s Practically more suburban than urban. However, it does showcase all the character’s loneliness and their desire to seek out someone or others to connect and communicate with, who understands them. It can be a longing for home, community, or others even if just a single recognition. 

Which is where the film taps into a universal truth. Here etched across the screen in black and white that always offers a timelessness but also for as vivid as that can be. It also showcases the bland and colorless lives of these characters and their emotions. Which they all hold close to their chest. Rarely if ever an outburst. 

The film conserves its energy and never quite becomes vivid, but it stays of interest. More like watching an artist work on a still life you recognize but also is foreign to you at the same time. Where you want to explore.

The characters even with their various eccentricities feel real and with a cast full of lesser-known or first-time actors. Who have lived in faces. You are constantly aware you are watching a film. Even if for Its dreamlike nature, it feels close enough to reality for you to believe 

at this time seems to be getting more attention for the actor Jeremy Allen White being in the cast though his role is less supporting and bigger than a cameo and doesn’t come into the third act. However, if it helps get eyes on the film that helps.

Grade: C+

BLACKBERRY (2023)

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Directed By: Matt Johnson 

Written By: Matt Johnson And Matthew Miller 

Based on the Book: LOSING THE SIGNAL By: Jacquie McNish & Sean Silcoff

Cinematography: Jared Raab

Editor: Curt Lobb

Cast: Jay Baruchel, Glenn Hoverton, Matt Johnson, Martin Donovan, Saul Rubenik, Cary Elwes, Rich Sommer, Michael Ironside, SungWon Cho 

A company that toppled global giants before succumbing to the ruthlessly competitive forces of Silicon Valley. This is not a conventional tale of modern business failure by fraud and greed. The rise and fall of BlackBerry reveal the dangerous speed at which innovators race along the information superhighway.

This film isn’t as experimental as writer, Director costar Matt Johnson’s previous films. Though this one is more established it is still brimming with creative energy. 

Maybe, as this is based more on a true story rather than him making it up, so this demands to have a stronger narrative. Though he still finds a way to make it a little unconventional, more personal, and smaller scale taking place mostly in Canada.

No, he does get to keep a certain experimental style and more handheld camera work that gives Scenes More Intimacy and feels like a fly on the wall. It is an amazing true story. That goes into the whole corruption of the souls and values. To make the best product around. 

Though what most will be talking about when it comes to this film is actor Glenn Howerton’s performance mainly known for his performance in the Shell. It’s always Sunny in Philadelphia. Where he plays more of a narcissistic buffoon. Here he is a cold-blooded executive, who eventually becomes co-CEO of Blackberry and constantly seems angry and ruthless.

No, it is understandable, as he seems to be building this company as revenge for his recent termination, and believes in it so much that he is willing to risk his own future his mortgage to keep building this company so that even as Co-CEO he feels he is old, which is why he’s willing to even have to go through a legal means to keep this company growing.

What works is that he and Jay Baruchel’s characters are the Yin and Yang of each other who work side-by-side and off of each other, which helps the company work, but he has more influence over Baruchel character. 

As Baruchel’s character seems to slowly lose his morals and sense of character. Luckily, Baruchel holds his own in a more quiet, subdued way.

Matt Johnson plays more of a supporting character in the background that represents his past and moral center, which is why, when his character kind of accents the film, everything takes it down.

Grade: B+ 

SICK OF MYSELF (2023)

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Written, Directed & Edited By Kristoffer Borgli
Cinematography: Benjamin Loeb 

Cast: Kristine Kujath Thorp, Elrik Sabther, Fanny Vaager, Sarah Francesca Braenne, Fredrik Sternberg Ditlev-Simonsen, Andrea Braein Hovig, Steinar Klouman Hallert, Ingrid Vollan 

Increasingly overshadowed by her boyfriend’s recent rise to fame as a contemporary artist creating sculptures from stolen furniture, Signe hatches a vicious plan to reclaim her rightfully deserved attention within the milieu of Oslo’s cultural elite.

This seems to be a film that was built more to disrupt shock and be a bit bad taste. And achieve its goal somewhat, but not as strongly, as it seems to aim. As it feels like at the last minute, he decided to smooth some of those sharp edges.

I’ll be honest, I expected more from this film. More of a satire, or just in general more of having something to say.

Now it works and shocks the audience and stays in a black comedy. By presenting us with characters who are thoroughly unlikable. Exposing their constant need for attention, where it almost becomes an addiction, even if it’s just sympathetic. 

Some of the story elements still feel just a bit hard to believe, especially the fact that her boyfriend, who rarely seems to care, would have stuck with her throughout her supposed ordeal. As even if he was just staying with her to see her face, the filmmakers should have illustrated that a little more strongly.

The film doesn’t feel so far-fetched, especially in today’s social media-obsessed climate. Even surprisingly, the main character seems to keep their celebrity or popularity, more local and amongst physical friends no dreams of bigger prospects in aspects, even though there is no clear plan, necessarily as to where this is going to go, or when it will end.

This film had a chance to either be a character study while exploring a kind of sickness that is happening in some people currently or it could have just done the latter, and this is just one case of that addiction. 

Instead, it spreads itself thin and tries to do both, but it’s on the way failing both ends of the story or only skimming the surface. As it ends up, not being as deep or probing, has one might help.

It’s not even bother some that the lead characters are unlikable, but throughout most of the characters in the film are unlikable, even the ones who are supposedly of a good character or a moral center. Most others just appear throughout. 

The film tries to build scenes into either shock or like it’s building to this great punchline that never quite happens. 

The best moments actually are the fantasy scenes that she has where she more or less reveals herself and her thoughts than anything we have seen or even heard about her. One also wishes there were more body horror scenes as the film can be gross, but not as much as some might think.

It’s definitely a found film checkout as there can be some discussions afterward, but it’s not as strong as you believe it will be.

Grade: C+

CALVAIRE (2004)

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Directed By: Fabrice Du Welz
Written By: Fabrice Du Welz and Roman Protat
Cinematography: Benoit Debie
Editor: Sabine Hubeaux 

Cast: Laurent Lucas, Philippe Nahon, Brigitte Lehaie, Jean-Luc Couchard, Jackie Berroyer, Jo Priesta 

Marc, a traveling entertainer, is on his way home for Christmas when his van breaks down in the middle of a jerkwater town with some strange inhabitants.

This seems to be a film that expands on the scariest most memorable scenes of the Film, DELIVERANCE

The film illustrates how loneliness and the absence of a partner, particularly a woman, drives a small town mad. Is it a small town or are there different representations of one man?

Though against the other’s will.  it does at times, feel like the mechanic is a romantic in his own way.

The film comes off as eager to disturb and unsettled its audience 

While the film shocks, it’s slow as it takes its time to reveal and get to know the characters. Who you can tell he is quite disturbed by the appearance of the young man looking for his dog.

The main character seems to attract or cause desire, and those around him. Usually, it’s for his job as an entertainer so it seems to take a personal interest and his audience. 

By the end, it almost seems like karma has led him into this nightmare scenario, even though he hasn’t done anything to be hourly cruel.

This is why it sometimes feels like an extended TALES FROM THE CRYPT episode only cruel and with little to no humor, as well as no actual score with a mean-spirited comeuppance 

Some sequences are just bizarre that seem to come out of nowhere like the dancing at the bar that is strangely choreographed. Or the pig sequence in the barn, which is just downright nightmarish, but also hints of what might come. 

There are hints of bestiality abound as a given replacement for the absence of females in physical Ways, but also companionship whether that is meant to be symbolic or not that is how it comes off. It’s insulting, but also shows the growing nature of relationships with pets to take the place of what is absent in the person’s life

The film shows a disturbing and bloody nature that could be used to categorize the film as French extreme, one of the earliest examples of the genre. 

Oh, the film is dirty in all the more disturbing as it feels realistic and not like a slasher or meet-up horror scenario. 

It  takes place in a town that apparently only had one woman once, and wisely escaped if she had to go through half of what the leaders 

In the end, the film is a story of a man fighting for survival and Just unsettling, but in a familiar Milieu. 

This definitely seems made to appeal for a specialty cult audience

Grade: C

WOLFMAN’S GOT NARDS (2020)

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Directed By: Andre Gower 
Written By: Andre Gower & Henry Derron McComas 
Cinematography & Editor: Henry Derron McComas 

Featuring: Shane Black, Fred Dekker, Andre Gower, Ryan Lambert, Adam Green, Adam F. Goldberg, Seth Green, Chuck Russell, Joe Lynch, Diva Zappa. Zach Galligan, Kristina Klebe, Rebekah McKendry 

This documentary explores the power of cult film told through the lens of The Monster Squad (1987) and the impact it has on fans, cast and crew, and the industry.

This is a documentary about the film THE MONSTER SQUAD. The title comes from one of the more memorable lines of the movie. 

Though this documentary is about a little more than just that. It is about the film community in its own way. How a simple little film that actually bombed in theaters. Not only how to become a cult classic but how it affected the audience who discovered it. Whether when it was first released or later on cable, home video, DVD, or even just recently.

How a film can mean so much and hold so many memories that it becomes personal. Almost part of your DNA even though you weren’t involved. It feels distinct like it was part of your own childhood.

It not only follows the cast of the film. Finding out all the behind-the-scenes stories on the making of the film, but how it affected their careers and how the audience made the film not necessarily just be some job, but actually make it that much more special.

We catch up with the filmmakers and cast. The director of the documentary is also the star of THE MONSTER SQUAD. Andre Gower

We see and meet the fans of the film, go to the screenings, and get to know the audience. How they discovered the movie.

As THE MONSTER SQUAD is one of those movies that each generation seems to discover and pass it down to the next. It might be that the film’s audience is obviously kids and teenagers and it doesn’t talk down to them and for the most part, they are the protagonists. It’s a smart movie that wasn’t there to appeal to all or sell toys and products. It was an adventure with horror though still a rollicking fun movie. That unfortunately is rarely made these days. 

This is also a film that seems to not be talked about except by more film nerds. Even though it could easily be just as talked about as THE GOONIES. Though this film is treated like their dark weird cousin.

This is a movie I once loved as a kid. I even saw it twice in theaters. Though watching it now I can see its appeal and fun ideas. This is why I once loved it and still respect it to a degree, but it doesn’t pack as much of a punch for me. As it once did. As it’s not as magical to me these days but still enjoyable.

This is a documentary that is best to go into knowing or at least having seen the film it’s based on. You won’t get lost if you haven’t but it won’t be as strong and might miss a lot of what is being talked about. Though it is worth a watch to see how a film can bring people together and mean so much to them. While just trying to be entertaining.

Luckily this is not the typical behind-the-scenes documentary just for the fans, but really a love letter and document to the film and its everlasting impact. 

Grade: B-

FLIGHT 7500 (2014)

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Directed By: Takashi Shimizu
Written By: Craig Rosenberg 
Cinematography: David Tattersall
Editor: Sean Valla 

Cast: Ryan Kwanten, Amy Smart, Leslie Bibb, Jamie Chung, Scout Taylor-Compton, Jerry Ferrara, Christian Serratos, Johnathon Schaech, David Banner, Nicky Whelan 

Flight 7500 departs Los Angeles International Airport bound for Tokyo. As the overnight flight makes its way over the Pacific Ocean during its ten-hour course, the passengers encounter what appears to be a supernatural force in the cabin.

This is a movie that was filmed years ago and only is now getting released due to whatever reasons. This becomes obvious as the film goes along. 

This was a film I had my eye on over the years as the premise sounded interesting then the film seemed to disappear. 

The major problem with this film is that film is all built up almost like a prequel. Though seems to falter when it comes to an ending as it seems like the filmmakers were forced to change it or couldn’t come up with a satisfactory ending. 

As the ending seems to try to be profound, but then goes for a cliche cheap scare.

What the film has in its favor are recognizable actors. Which gets you excited about their appearance. Though here the film gives them random character roles for no reason as none of it makes a difference in the film. Or gives us a reason to care. Even in the film’s direction, it chooses to focus on characters randomly. Not Even as victims. So that while it might seem more realistic if this was a slasher film. The film ends up being it seems just as less than everything else in the film. 

Strangely though the film manages early on to play up the suspense and even some thrilling aspects from time to time throughout then after a certain point it just runs out of steam. As it then just seems to go in the wrong direction.

As the film has some moments of horror and seems to go that way. Then it seems to want to work off of some strange conspiracy and enlightening moments like some unused plots of the TELEVISION show LOST 

It is strange as even on the DVD it has previews for films coming out this year as well as films like THE LAST EXORCISM 2.

In the end, the film is not worth it. 

Grade: D+