Category: Uncategorized

SPARTAN (2004)

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Written & Directed By: David Mamet
Cinematography By: Juan Ruiz Anchia
Editor: Barbara Tulliver

Cast: Val Kilmer, Derek Luke, Kristen Bell, Tia Texada, Stephen Culp, Clark Gregg, Ed O’Neill, Aaron Stanford, Geoff Pierson, William H. Macy, Said Taghmaoui, Zosia Mamet

Maverick Ranger Scott, known for ruthless, unorthodox methods but good results, is called in to help the secret service after Washington big whig’s brat daughter is abducted while studying at Harvard. Scott quickly realizes the protection detail’s prime suspect, her boyfriend Michael Blake, is innocent and dumped her for being a drug-addicted slut. Next, he traces her to a bordello, only to realize the captors didn’t realize who she is but simply recruited her for the Middle Eastern white slavery market, and are likely to dispose of her rather than confront her father. But instead of the support expected in such a high-profile case, Scott gets orders to work in secret before the press catches on, and even finds his quest sabotaged.

This is a tight and taut film. Like a clock with airtight precision. It is also a strange film that has a rhythm and beat all its own.

It’s a top-notch thriller with a good story that plays small and close to the chest rather than a grand conspiracy blockbuster, but when you think you have it figured out. A twist you honestly didn’t see comes, then another one, then another one.

Truthfully I wouldn’t expect any less from playwright-writer-director David Mamet. Though I must say that while this is good. it is one of his lesser works. Which considering the excellent standing of his previous films isn’t bad.

His films specialize in sleight of hand movies. These days though he seems to take stories where you know and subvert them so you care more about the characters, their rapid-fire dialogue, and line delivery which have hidden meanings. Characters’ faces rarely betray emotion but do say so much with simple gestures and tone.

This film is noteworthy for a few reasons. It’s one of the closest Mamet will ever get to mainstream entertainment blockbuster type. Which is the direction. he has a top-notch low-key cast. Val Kilmer is the lead for one of the few times that a film he appears in makes it to the big screen. He really doesn’t get enough credit for how good an actor he is.

The film moves at a slow pace which adds to the slow burn of scenes, it is ultimately rewarding and gives the film more nuance. As it fleshes out characters. Which in other films would be strictly one-note. Mamet shows the procedures and what motivates their actions and reactions. So that you don’t get too far ahead of the lead, but doesn’t not leave you behind him in some scenes.

This film has action but is low on it. A fight scene for instance is started, but the camera stays on the face of Val Kilmer. while he watches it instead of on the actual action. So you can use your imagination to fill in the blanks while hearing it. Then you see the aftermath of the fight.

David Mamet performed rewrites during production using nothing more than a typewriter on a cardboard box between takes.

Except for a single day on a soundstage, the film was shot exclusively at practical locations.

Producer Art Linson and David Mamet were having lunch when Linson informed Mamet that he could not get anything more than a no-frills budget for the movie. Val Kilmer was literally at the next table. Linson knew Kilmer and asked him to come over, and they talked about the production. Kilmer was so impressed with the story and Mamet’s vision that he agreed to the role of giving a significant discount to facilitate Franchise Pictures giving a green-light to the production.

The film might be an acquired taste as I went to this film with one of my constant film companions my female cousin who was bored and really didn’t like the film. While I was quite captivated throughout

I don’t want to spoil too much, that would spoil the experience of seeing it with open eyes. Which I believe is where much of the film’s enjoyment lies.

One of the problems, with the film, is that one character does who is very close to the lead. When it happens he shows no emotions, but later when a character dies who the lead barely knows he tears up like a baby, delayed reaction as the person was hardly innocent. It feels out of place.

David Mamet incorporated a number of real-life experiences from various U.S. special forces members for the production, including Eric L. Haney who had served in highly classified operations during his 20-year military career. Haney’s experience included front-line combat units as a combat infantryman, as an Army Ranger, and as a founding operator within the elite Delta Force under Colonel Charlie Beckwith.

These experiences helped Haney effectively serve as a technical advisor, weapons expert, and actor’s mentor to Val Kilmer, ensuring that Kilmer reflected an accurate depiction of a special forces operative in every capacity. Haney retired as a highly decorated Sergeant Major, and his documented experience also includes security surveys, metro SWAT team arms training, oil company guard force management, executive protection, and the recovery of American children kidnapped and taken overseas.

The film never comes completely alive for all the thrills stays sedate and calm. While the size of production staying small and intimate brings a certain reality to the conspiracy it also feels like a letdown as the size of the story seems more on The scale of epic Or at least bigger proportions.

This is Mamet keeping his style for a major release that offers him a bigger palate. It actually reminds me of the minimalist style of Steven Soderbergh. I am surprised they never collaborated on a project.

 Grade: B

FOXCATCHER (2014)

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Directed By: Bennett Miller 
Written By: E. Max Frye and Dan Futterman 
 Cinematography By: Greg Fraser 
Editor: Jay Cassidy, Stuart Levy and Conor O’Neill 

Cast: Steve Carell, Channing Tatum, Mark Ruffalo, Sienna Miller, Vanessa Redgrave, Anthony Michael Hall, Guy Boyd, Brett Rice

The greatest Olympic Wrestling Champion brother team joins Team Foxcatcher led by multimillionaire sponsor John E. du Pont as they train for the 1988 games in Seoul – a union that leads to unlikely circumstances.

The film sets a brooding tone from the beginning, Which feels like the air has been let out of the room throughout the film.

Seeing the humiliation and what life is like in his brothers’ shadow. it seems is already its own tragedy of sorts. The story is told stilted yet matter-of-factly. While it seems each gesture even in behavior is presented almost under a microscope as its own action, As far as detail. Proving that in this film everything means something no matter how minor or even if dealt with in an off-handed way. So that the film feels more like a clinical behavioral study with precision angles.

I give the director Bennett Miller accolades for sticking with his singular vision for the film. His style helps not only define the film but showcases his style as well. Which seems to be more clinical and observational.

In this film, it is the deepest we have seen Channing Tatum ever and not quite surprisingly as good as 21 JUMP STREET. Where he proved he could be intentionally funny in a star-making turn. Here he plays the type of character you would expect, but rather than a general type of character here the film gives him nuances and a certain depth. Not letting him fall and not letting him avoid and go into his bag of tricks as an actor. You feel him really being open and raw in this performance. Having to truly work more than ever before in this role.

At first, Steve Carell seems like a stunt casting in his role. He seems to be trying to break out of strictly comedic roles here. Unfortunately, he seems to become more of a slave to the prosthetics used on him. It could also be that they were so distracting it’s hard to pay particular attention to the complexities of his performance. Though as with many comedic actors he plays well in the confines of drama as serious, disturbed, and strange. Almost feels like a Real-Life Version of the strange comedic character Dan Ackroyd played in NOTHING BUT TROUBLE only not as loud.

Just as in DAN IN REAL LIFE and SEEKING A FRIEND AT THE END OF THE WORLD playing a vulnerable character suits him and he attacks the role with more relish. He tries harder. Taking it as a challenge and running with it. More than he does with comedy, which is his natural talent, and more in his training. Not seeking to be one thing or play one note. Showing his range.

Mark Ruffalo is good though his character is already set up as a saint and martyr and he might be playing the person as he actually was. Good-hearted and that is what makes what happens so heartbreaking. Here he gives the character shades and is obviously important to the story. He seems to be the only character who has sense and is a sobering presence to the lunacy of the other main characters dementia of sorts. 

Before filming a particularly dark scene, Bennett Miller made Steve Carell write on a piece of paper the thing that he hates the most about himself and then put it in his pocket. Miller told Carell, “Just have it right there, and know that it’s in a place where, if I was a dick, I could just grab it.” According to Miller, the result is the favorite thing that he has put on film.

Because the project took so many years to get off the ground, many actors were considered for the lead roles. Heath Ledger, Ryan Gosling, and Bill Nighy were strongly considered for the lead roles in the early stages of production.

More is said in silence and behavior throughout the film. It’s like a tragic buddy film. As soon as the main character’s relationship is close but ambiguous and never quite fully explained but suggestions are made silently as to the lengths of it.

The film never seems to drop its air of impending doom and tragedy. Setting a chilly mood and tone that never lets up and leaves things implied rather than explained.

Both characters are in a struggle to define themselves and impress family and others by standing on their own and defining themselves separate from how others might see them. Most of all they seem desperate to prove to themselves that they are more than the roles they have been offered in life. Then living up to it. Though one brings it about himself and the person, he is trying to prove himself to is more himself than his brother who is already proud of him. The other seems lost in his own mind to define himself not by actual talent but by what he finds interest in. As he has been given mostly what he has ever wanted and seems not to be that successful at it. But he has a passion it seems to showcase actual work and/or talent.

Eventually, the film leads to strained relations that seem to revolve between the characters at different intervals that keep seeming to mount more and more that you can feel that it is going to surface and bubble over at some point.

When it does it does rather simply and more out of the blue rather than. A showcase or a spectacular scene. I guess it’s like the facts just random and ordinary.

According to Bennett Miller’s comments at screening, a rough cut of the film was more than four hours long.

Steve Carell claimed that according to director Bennett Miller’s wishes there was no joking between takes, and he did not socialize with the co-stars after work.

According to Steve Carell, the real John DuPont was known for even more outlandish behavior than what is shown in the film, but he and director Bennett Miller wanted his madness to be gradually revealed to the audience.

The third act of deep resentment festering until a final act that you know is coming. Though still feels surprising when it happens and is just as senseless in the act as in the reasons.

The film feels downtrodden. It is based on a true story and real events. Though it keeps the story singular. It also makes the film feel barren and an island in of itself.

Too much of the people who love the good life. Go to extremes to feel something new and different. That registers and that they grant in control of to feel accomplishment in themselves. Here no one gets what they set out for, and their grand plan seems to doom them all to places that might have been inevitable but none planned to end up that way.

It’s a tragedy that feels like a boom as it sets the mood. It seems to be more about what is written between the lines though tells you the story fully as it happens. Nothing feels hidden.

The film ultimately comes off as a bit disappointing as we wallow but are given hints yet no definitive answers. The film immerses us in the drama and relationships yet still keeps them in the shadows a bit.

Grade: B

THE ONE (2001)

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Directed By: James Wong 
Written By: James Wong &Glen Morgan 
Cinematography By: Robert McLachlan 
Editor: James Coblentz 


Cast: Jet Li, Carla Gugino, Delroy Lindo, Jason Statham, Dylan Bruno, James Morrisson, Dean Norris 

This movie postulates what if there is more than one universe. And that all of these universes are held together by one single stream of energy and that energy is equally distributed to every living in each universe and if one of these beings die, that energy is reallocated equally to each other surviving member. And with each allocation, a person becomes stronger. Now one universe has master the ability of crossing into another universe, and a man named Shulaw who believes that if he can kill all of his counterparts, he will become invincible, but there are those who believe that it might have detrimental effects, so try and stop him. Unfortunately, he just has one more person to kill, Gabe Law, but the officers follow Shulaw but Shulaw has committed some crimes and Gabe is accused and is wanted. But Gabe discovers that he has changed and only wants to kill Shulaw not realizing what could happen.

Even for experienced writer-directors James Wong and Glenn Morgan who were also showrunners for THE X-FILES, this film feels especially weak for a science-fiction tale though I realize it is more action. That element could have been played up more. I am not even blaming the lackluster effects. It’s just that everything about this film feels uninspired.
This is a film I have seen beige and pretty much forgotten about until I re-watched it recently and all the old feelings and impressions came rushing back.

It feels uninspired though it takes elements from a bunch of different sci-fi films it never settles to use any of those inspirations to come up with spent anything different and original. I can accept that.

It also seems like a film where the directors were either fans or in awe of the star of the film Jet-Li and seem to just hang back on film ad let him do what he does best. Which would be fine of hey a least set him up with scenes that were somewhat Interesting and set up the action so that we can be amazed by his skills.

For the martial arts aficionados: Jet Li uses two distinct kung fu styles when portraying Gabe and Yulaw. The evil Yulaw uses Xingyi Quan, or “Mind-Form Fist” (loosely translated). As can be seen, when he is training, it is a very linear, offensive style. Gabe on the other hand practices Bagua Zhang, or the “Eight Trigrams Palm”. It is characterized by open palm fighting, with circular footwork. Both styles are two of the three main “internal” styles of Chinese kung fu – the third being Taiji Quan (Tai Chi).

The film LETHAL WEAPON 4 did it and look at how. Underwhelming that film was. He only played a supporting part and amazed audiences with his martial arts skills so much that soon after he was making film after film in the United States though he Barry spoke any English and most of those films while disappointing at least knew how to use him to his advantage and have at least one memorable scene with him.

This is a shame as Jet-li never really found his niche in America sure he starred In many American films though he never found a project that really defined him nor pinpointed his skills. None were truly showcases or even highlights. They all looked kind of like bargain-basement productions and paired him with a musician of some kind. They also seemed more to advertise him to more of an urban audience. (CRADLE TO THE GRAVE, ROMEO MUST DIE) Though usually, the films were multiracial. Though the films he made just as always from overseas were usually excellent to passable (HERO, FEARLESS)

This film feels like it could have been written for any action star. To use their skills in the role only here it happened to be martial arts. Truly this could have started anyone that is how much the lead character and the villain have no real personality or general-purpose other than to fill out their roles and work within the mechanics of the film.

When Dwayne Johnson’s’ The Rock’ was attached to a star, this film was known as The Rock Movie. When he left to work on THE MUMMY RETURNS, it was listed for a short while as Untitled Sci-Fi Project, and when Jet Li came aboard, it became The One. Now I will admit I can be a snob and at times hard on the action, that might be because growing up with action films I grew used to them and I just can’t take the run of the mill. There must be something special or some kind of passion about the film for me I appreciate it. Even of the film is lackluster there must be something in it even iconic that might bring me memories of yesteryear ones. This one though truly feels like a waste of time and talent. That seemed doomed from the beginning.

Skip it

 Grade: F

CELESTE AND JESSE FOREVER (2012)

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Directed By: Lee Toland Krieger 
Written By: Rashida Jones & Will McCormack 
Cinematography By: David Lanzenberg 
Editor: Yana Gorskaya 

Cast: Rashida Jones, Andy Samberg, Ari Graynor, Eric Christian Olsen, Chris Messina, Emma Roberts, Elijah Wood, Rob Huebel, Will McCormack, Joel Michaely, Chris D’elia, Rich Sommer, Janel Parrish, Rebecca Dayan 

Celeste and Jesse have been best friends forever. They dated in high school, got married, and now they’re getting divorced. Their best friends don’t think they can maintain their friendship throughout the dissolution of their marriage, but Celeste and Jesse don’t think there will be a problem. But that’s before Jesse gets into a relationship that Celeste doesn’t think he can handle, and Celeste finds it harder to move on than she originally thought.

This is a hipster romantic comedy, because as it seems to use it’s style and story as a sense of individuality. It also feels pretty basic.

The film revolving around life after the happy ever after Scenario and dropping it from a dream-like existence to a harsh reality while keeping it light is a welcome touch.

I will admit a bias as to being a fan of Rashida Jones. Who is luminous and who I applaud for making her character kind of complex by being the controlling type and not apologizing for it. While also being brave enough to be fearless and show herself in a non-flattering light as well as displaying her character’s more embarrassing misdirections.

She co-wrote the screenplay which has her playing what seems to be her type in many of her roles, but here allows us to see the person and depth of that character for once. She really makes it work and come through.  This is one of the new breeds of romantic comedies that I am thankful for not swimming In sentimentality and having beats that feel real where you don’t know how to react and moments that feel truthful though through the whole endeavor the film keeps a light comedic tone.

It’s also nice to see Andy Samberg play more of a straight role and not be a goofy type. His humor here comes through but comes off as more charming than anything.

The subplot with Emma Roberts seems a little unnecessary as it feels more like satire and just needed a new character to kind of tell her about herself and for her to actually take it under consideration.

For all the winning pieces that the film has the one problem I have is the direction style while I applaud trying to make scenes moody and artistic. it also comes off as pretentious and distracting. Using a lot of styles when it’s not really needed comes off more like an extra dressing when not that much was needed. I could see if the material was thin or the film asked us to read more into it through visuals, but all we need is pretty much conveyed through action, dialogue, and performances.

So the camera work seems like it’s trying to cover up for something lacking which the film isn’t really. Maybe it was the director liking to have a bunch of coverage or having a chip on his shoulder trying to masquerade its Limited budget. Which is a game as I have enjoyed the director’s previous film THE VICIOUS KIND so much. He still has made a good movie here it just feels like he went a little overboard in trying to be subtle.

I like this film even at times when it feels like it is trying too hard to impress, where it seems nothing can be basic it all seems like it has to be cool for some kind of mass appeal to the audience. The film isn’t shallow, bit you will only discover that if you Give it a chance

Grade: B-

DUCK BUTTER (2018)

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Directed By: Miguel Arteta Written By: Miguel Arteta & Alia Shawkat Cinematography: Hillary Spera Editor: Christopher Donlon

Cast: Alia Shawkat, Laia Costa, Jay Duplass, Mark Duplass, Kumail Nanjiani, Lindsay Burdge, Mae Whitman, Hong Chau, Kate Berlant, Jenny O’Hara 

Two women, who are dissatisfied with the dishonesty they see in dating and relationships, decide to make a pact to spend 24 hours together hoping to find a new way to create intimacy.

This is a lesbian romance film that seems artsier. Where it seems like the actors get more outbid it than the audience.

While the film does offer a mismatched couple who affect each other in the end. By having one be the more negative over-thinker who is more afraid to try new things. Yet is an actress and the other a free spirit. Who seems to have no grounding. Whereby the end one is affected in a positive way the other in a more morose way. 

The aspect that the film offers is that these two characters hook up and decide on the morning to spend the next 24 hours together. After some initial conflict with the idea. The film explores the following 24 hours where they get to know one another, good and bad. 

It seems like they go through all the painful aspects and rewarding ones in the son of 24 hours. Which makes the film quirky. The characters and their problems always seem to bring it back to reality.

Even if it always has the aspect of a romantic and fantasy. The emotions at times are what ground it.

While Alia Shawkat is always interesting on screen and graduating to bigger roles. Here she is more nebbish, shy, neurotic, and a little depressed than every woman. Who hooks up with this beautiful free spirit played by the gorgeous Laia Costa who seems too good to be true and by the end. We do get to learn about each other a bit more and the dream girl still is unbelievable but at least we get to see her sweat (amongst other things)  and be human. 

Their relationship is believable and takes what most films would spread out over weeks and months and grounds it into the span of 48 hours for the characters. Where you feel that this is the first time they have ever been open not only with anyone else but maybe even themselves.

It’s an intriguing premise and I wish it had been more involving for the audience but while it offers some surprises. Again it is something that we have seen before and know where it is going. As it feels too familiar.

Not to mention interesting characters. You wish more happened or that they were a bit more interesting to keep your attention. This is why ever so often there is a sex scene between the two of them. Which are graphic yet erotic.

Which then seems to force the film into a third act. This reminds me of the movie CHASING AMY. Where a weird self-sabotage logic emerges and while it is understandable feels like a huge mistake out of nowhere. That is a challenge for the characters to one another where they both know will not have a happy ending so to speak 

Grade: C

EDGE OF SEVENTEEN (1998)

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Directed By: David Moreton Written By: Todd Stephens  Cinematography: Gina Degirolamo Editor: Tal Bel-David 

Cast: Chris Stafford, Tina Holmes, Lea DeLaria, Andersen Gabrych, Stephenie McVay

A gay teen finds out who he is and what he wants, who his friends are, and who loves him, in this autobiographical tale set in middle America in the 1980s. Growing up, learning about life, love, sex, friends, and lovers.

This is a coming-of-age story only about a gay teen. What is remarkable is not only when it was made making it an early LGBTQ film but the fact that it is a throwback where the movie takes place in 1984. As it marks the film both nostalgic and kind of fun.

It also feels may be more personal or a testament to that time period. Culture, style, and fashion.

The film feels with some material that might be different for coming of age tales like being introduced to certain sexual acts. Though it does allow for a fresh spin for lifestyles that Have been missing g from these sorts of films or been more relegated to side characters where we never get to see their exploration.

This is definitely an independent movie as the production does offer a smaller story and a tight budget. That leaves some details to be vague.

Unfortunately, the film also leaves some characters or relationships between the characters to be that way also at certain points, but it also helps drive home a certain reality for the film and its characters.

In truth, this is a film all about the lead. So while there is the heartbreaking relationship/friendship between the lead and his girl/friend where the film gives her point of view not too much but enough to understand her confusion and pain. Where the relationship at a certain point remains ambiguous. Though it shows deep emotions. The same can be said of his relationship with his mother who reacts honestly and not necessarily cookie-cutter good or evil. In many ways, her character is the heart of the film. 

It’s also nice to see Lea Delaria in an early role. Where it seems like she is just being herself, but also a guide for the main character.

It also presents what seems like it will be first love but more one-sided. As one seems like it’s love and the other looking for a seduction and hook up but not necessarily wanting all the responsibilities of a relationship. This is a story that mostly involves youth.

One of the film’s major strengths is that It’s not a movie where once he comes out he is persecuted nor is he celebrated. It deals with the complications of coming out with some good things and some bad, but a general sense that it will be ok for the character.

Grade: B-

THREESOME (1994)

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Written & Directed By: Andrew Fleming  Cinematography: Alexander Gruszynski  Editor: William C. Carruth 

Cast: Lara Flynn Boyle, Stephen Baldwin, Josh Charles, Alexis Arquette, Martha Gehman 

Eddy and Stuart share two-thirds of a dormitory suite. Due to bureaucratic error, a woman named Alex is added to their room. At first, relations among the three are tense. Soon, however, Alex falls for Eddy, and Stuart lusts after Alex. Eddy comes to realize not only that he’s gay, but that he’s attracted to Stuart. The three pledge not to act on any romantic (or lustful) feelings with each other, and become close friends . . . while bottling up a lot of sexual tension.

The film is a bit pretentious and naive but at the time one of the more relatable, humanistic, and provocative looks at a burgeoning gay man and his second life. As he slowly comes out. 

So you must give it credit for that and also after all these years. It’s a movie I might not think about often, but never completely forgot. Though at the time by the title you expect a sexual thriller or exploitation 

The gay sex scenes or more the title sex scenes are soft core and involve touching mroe than actual action. That comes off tame by today’s standards. Then again you have to look at the time period when it came out and what seemed like the powers that be thinking and level of acceptance.

The film plays like a coming of age relationship drama with some comedy but exploring sexuality at the same time. Though not as graphic as expected the heterosexual sex scenes are more graphic.

This love triangle tale has the feel of an indie film filled with artistic flourishes, That was advertised more as a studio film. Though a college story that feels like a perfect plot but sex seems to be the main interest. 

As for once from the perspective of a guy man and not necessarily a sexual one. As the film takes certain types and makes them human.

Surprisingly sensitive sexual type of softcore sex film  that you would commonly see on cable channels like Cinemax for over the next decade. That helped keep them in business but also feels Ike an artistic version of it.

Grade: B-

SERVICE (SERBIS) (2008)

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Directed By: Brillante Mendoza 
Written By: Armando Lao 
Story By: Armando Lao & Boots Agbayani Pastor 
Cinematography By: Odyssey Flores 
Editor: Claire Villa-Real 


 Cast: Gina Pareno, Jaclyn Jose, Julio Diaz, Kristoffer King, Dan Alvaro, Coco Martin, Mercedes Cabral 

A drama that follows the travails of the Pineda family in the Filipino city of Angeles. Bigamy, unwanted pregnancy, possible incest, and bothersome skin irritations are all part of their daily challenges, but the real “star” of the show is an enormous, dilapidated movie theater that doubles as family business and living space. At one time a prestige establishment, the theater now runs porn double bills and serves as a meeting ground for hustlers of every conceivable persuasion. The film captures the sordid, fetid atmosphere, interweaving various family subplots with the comings and goings of customers, thieves and even a runaway goat while enveloping the viewer in a maelstrom of sound, noise and continuous motion.

This is like Italian neo-realism only in the Philippines. The film-making is seamless almost like a documentary. The reason you know it’s not because little plot threads all come together in one day. The fact that the film takes place over one day doesn’t help.

As the movie goes I can’t say that you learn to like the characters. You Deal with them and see what they go through since they are the main protagonists.

The film Is about a family that runs a rundown porno theater that doubles as a place for hustlers to pick up a d be picked up. We more follow the in’s and outs of the duties and responsibilities that each member of the family must deal with which seems non-stop

Now, this is a true torture porn movie and it only Runs 85 minutes. It’s not a bad film, but after a while, it becomes hard to sit through all the hustle and bustle. They have to deal with and they manage to survive, but you have to remember. This is just an average day. Not like in horror movies where if you survive his you are safe or at least death comes eventually and relieves you of your pain.

Sitting here watching this film you remember that things are bad In Third-world countries like this and these people will most likely live their whole lives like this. And then pass it to the next generation. That is the true horror and nightmare of the situation.

The film. Is filled with gratuitous sex. Though that is clear in its background it is not the film’s focus. This is not a film that offers any hope or chance for some kind of change. It has a few, very few lighthearted moments.

The film gives you a glimpse into a foreign land and lifestyle that is gripping, but reminds you to be happy with what you have as it could be worse.

 Grade: B+

CHLOE (2009)

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Directed By: Atom Egoyan 
Written By: Erica Cressida Wilson 
Based on The Original Screenplay NATHALIE By: Anne Fontaine 
Cinematography By: Paul Sarossy 
Editor: Susan Shipton 
 
Cast: Julianne Moore, Liam Neeson, Amanda Seyfried, Max Thierot, Nina Dobrev

Catherine and David, she a doctor, he a professor, are at first glance the perfect couple. Happily married with a talented teenage son, they appear to have an idyllic life. But when David misses a flight and his surprise birthday party, Catherine’s long simmering suspicions rise to the surface. Suspecting infidelity, she decides to hire an escort to seduce her husband and test his loyalty. Catherine finds herself ‘directing’ Chloe’s encounters with David, and Chloe’s end of the bargain is to report back, the descriptions becoming increasingly graphic as the meetings multiply.

An emotional thriller, That comes off more like melodrama. The film is supposed to be erotic at times but always felt cold to the touch. All the time there never seems to be any passion or warmth between family and marriages, Not even in the love scenes. This is a constant problem. Not only in this film but a consistent one when it comes to the films of Atom Egoyan that I have seen.

He definitely has talent as a director. Though this is not the right project for him. He still in my opinion hasn’t found the right project to explore it. Not since EXOTICA at least. Even when it comes to his other films THE SWEET HEREAFTER. It’s more the story and material that I am impressed with than the direction. Julianne Moore gives a good tightly wound performance, It really is her movie.

The film after a certain point gets more and more ridiculous and becomes less an arty drama than another genre exercise altogether. Though the film does have a certain style. As well as a overwrought colorful palette of white in the backgrounds. Surprisingly this film was produced by Ivan Reitman. 

I know this is a remake of a French film. For some odd reason, this film gets lost in translation as the film has the right looks and visuals, but feels wrong or that is all flying on all the wrong cylinders. The home life of the central family of characters feels too liberal and too distant. The film falls apart since it is ill-fitting. While the story feels plausible and believable. The scene where it’s all explained just sounds ridiculous. Strangely it feels more like a chick flick. Then anything else with a little eroticism thrown in. 

The eroticism hangs like a cloud through the whole film though there is sensuality in parts yet lacks sex and skin on display. I think your enjoyment of the film will be measured by your attraction to Amanda Seyfried. 

Amanda Seyfried is sexy and a good enough actress, but it feels more like she is playing dress-up. She plays what she thinks is sexy or at least what she thinks sexy is. Without really knowing what is actually sexy, Erotic, or sensual.  The ending feels too theatrical. 

 Screenwriter Erica Cressida Wilson seems to usually write the screenplays for these types of films. Sexually Explicit but emotionally restricted characters bubbling under the surface with passion. She writes usually complex female character dramas with Projects like FUR and SECRETARY.  

Wait for Cable.   

GRADE: C-

PLAN B (2021)

~ jbg ~ Leave a comment

Directed By: Natalie Morales 
Written By: Joshua Levy & Prathiksha Srinivasan
Cinematography: Sandra Valde-Hansen 
Editor: Nathan Orloff 

Cast: Kuhoo Verma, Victoria Moroles, Michael Provost, Mason Cook, Jolly Abraham, Jacob Vargas, Myha’la Herrold, Rachel Dratch, Edi Patterson, Moses storm, Gus Birney, Jay Chandrasekhar, Timothy Granaderis 

Follows a straight-laced high school student and her slacker best friend who, after a regrettable first sexual encounter, have 24 hours to hunt down a Plan B pill in America’s heartland.

Will say that this is one of the better films that I have seen this year so far and definitely one that has made me laugh the hardest and most constantly.

While the film doesn’t reinvent the wheel it does offer a different point of view and protagonists that we rarely ever get to see in this kind of film.

While the characters are part of a certain culture more defined by their parents they are individuals and characters of their own. Though one of the funnier running gags is the paranoia of the Indian mafia (which is a network of Indian characters who all seem to know one another in some way and feed each other news or gossip)

The film is hilarious a lot of times but also exposes a lot of heart and while the main characters keep making a bunch of mistakes the film doesn’t portray them as dumb. They are just teenagers so that while they play it cool and like smart know it all they are more naive than anything.

It’s also a more female-focused and centered teen comedy that doesn’t make all the male characters into villains 

The film has a dirty side but also an innocence that has a few things to say. That luckily has an openness where it’s allowed to be funny and even when it does have something to say it is more subtle and doesn’t feel preachy.

The main characters being people of color is noteworthy but doesn’t take over the film. If anything it offers the audience a chance to see some of the usual hijinks From a different perspective and allows members of the audience to see themselves represented a bit more while also showing most of us to have the same problems and hang-ups. 

No characters in this film are flawless if anything the fact that most of them are flawed is what makes them more relatable and entertaining.

Even the more romantic chances for the characters are not what you would expect or go where you expect them to go. Leaving the film to be a little familiar but luckily a breath of fresh air. 

This is actress Natalie Morales’ directorial debut. She also wrote the script and with such a good debut i for one can’t wait to see more films from her in The future 

Grade: B+