FRESH HORSES (1988)

~ jbg ~ Leave a comment

Directed By: David Anspaugh 

Written By Larry Ketron 

Cinematography: Fred Murphy 

Editor: David Rosenbloom 

Cast: Andrew McCarthy, Molly Ringwald, Ben Stiller, Patti D’Arbanville, Viggo Mortensen, Molly Hagan, Doug Hutchinson, Leon Rossom, Marita Geraghty 

A college student from Cincinnati breaks off his engagement to his wealthy fiancée after falling in love with a girl from Kentucky. She claims to be 20, but he learns she is actually only 16 and already married.

The film gets to buy on its reunion of the two stars, Andrew McCarthy, and Molly Ringwald, again, a rich boy, who falls for a girl, who is considered the wrong side of the tracks only hear her character is full of misfortune and mystery, rather than upwardly, mobile and spunky as well as early appearances of Ben Stiller, Viggo Mortensen, and Doug Hutchinson 

By the end of the whole affair comes off as distracting from his ultimate fate and destiny. A doomed romance that is part of growing up for these characters. 

Based on an off-Broadway play the film comes across more as having the substance of a 1950s melodrama which would also explain the film’s appeal to me, which is Molly Ringwald, her best and most luscious ever on screen, playing a romantic lead, becoming across more as a femme fatale, maybe it’s the color palette of her pale skin with her enhanced red hair and also Her at the time more an adult role in growing perfectly into it. Like a Greta Garbo or no not as voluptuous as Bridget Bardot.

So that her looks and appeal in this film come across as like a 1950s silver screen siren where the film is classic because of the beauty of the star in the role which truly shows that either they were becoming a movie star or a movie star but you can’t remember much story-wise or plotline about the film but you can probably remember where you were and how it felt when you first saw this image or saw this felt

After all most of the films that we consider classic because they’re so well remembered, but yet we can’t remember half of their stories unless you’re a true film aficionado, but you remember the stars because films were notoriously all around better back then, or consider to be made better, as the stars supposedly had to have all the talents of being able to sing, dance and we the stars on-screen charisma liability with their personality rather than necessarily they’re acting skills. 

However, it also feels like a film where she was trying to show a more adult and artistic side. Showing she had grown up to a degree. Something we commonly see with child stars who want to be seen in a new or different light and sometimes choose extreme roles in subpar films, for the opportunity. Though at this point she had already done THE PICK UP ARTIST and 

FOR KEEPS. This was the first of her films with a new look. A kind of rebirth though in familiar territory with an old co-Star 

This film would’ve been perfectly fine back in the day as it resides any emotions and tries to rely on acting ability, but comes across more basing itself on star quality in a romance story with a color palette that represents the season

So watching it feels like how some migrate to woodlands to see the changing of the color of the leaves. Here you’re watching the film to watch your favorite teen actors kind of grow up or play more adult roles and see if they can pass the test.

Wow, they perfectly do OK in their rules. It does feel like Molly Ringwald is a little Miss Cass. She looks the part but something is off that just doesn’t make her feel correct in the role. She does the best she can, but there seems to be a lack of an edge when it comes to her performance. Though again you will remember her looks or her look in the film. 

Then, again, maybe that’s me as it is what I remember most of why I wanted to see the film and why time the time I might come back to the film

Ultimately watch this film mainly if you’re a completist you like a good romantic tragedy, or you could think of it as a continuation of PRETTY IN PINK, but only in the aftermath.

I can admit, it’s not the greatest movie, and Andrew McCarthy was brought in late, but offered fans of PRETTY IN PINK. A kind of reunion of the two actors, obviously in a vastly different film and in a more adult playground, definitely more dramatic a little bit out of range from their usual roles. 

I will say that I saw the film based on that coupling and also based on Molly Ringwald, looking exquisite in the trailers in the posters and watching the film. I was not fully satisfied or disappointed. It’s just that the film was so cold and didn’t have the warmth nor was it that interesting. Keep in mind I saw this as a teenager so it was very boring and even watching it today. It’s very tepid It’s one of those. I don’t know exactly what the reason for all of this is but OK Storytelling.

It had higher hopes especially coming from the director David Anspaugh. Whose film before this was the hit movie HOOSIERS 

Grade: C- 

TOTALLY KILLER (2023)

~ jbg ~ Leave a comment

Directed By: Nahnatchka Khan 

Written By: David Matalon, Sasha Perl-Raver and Jen D’Angelo

Story By: David Matalon and Sasha Perl-Raver

Cinematography: Judd Overton

Editor: Jeremy Cohen 

Cast: Kiernan Shipka, Olivia Holt, Lochlyn Munro, Julie Bowen, Randall Park, Charlie Gillespie, Troy L. Johnson, Liana Liberto, Kelcey Mawama, Stephi Chin-Salvo 

When the infamous “Sweet Sixteen Killer” returns 35 years after his first murder spree to claim another victim, 17-year-old Jamie accidentally travels back in time to 1987, determined to stop the killer before he can start.

A movie that one can easily see why there is a comparison with the film FINAL GIRLS. Both involve trying to save mothers from a killer having a serial killer who seems unstoppable and being sent into a different period of world.

Though Totally Killer has its own identity and a mystery more at its heart as well as back to the future time travel element.

This movie really makes no sense but it also doesn’t try too hard to. It’s silly and funny as well as fun. This by the end comes across as a guilty pleasure. It is a horror film but feels more like a comedic send-up of slasher films as well as time travel films with some graphic violence.

It’s simplistic but half the humor Is having a character with modern sensibilities dealing with the less politically correct attitude of the past. As well as the movie is a bit tongue-in-cheek and has a sense of humor about itself. Though staying on the ball when it comes to the story and plot. As well as characters.

Kiernan Shipka is good in the lead role being equally dramatic and comedic when need be. It’s also nice to see a film that is more diverse when it comes to casting and not making it a big deal or obvious. 

Director Nahnatchka Chan’s second movie after the surprise hit ALWAYS BE MY MAYBE also brings along that film’s star and co-screenwriter Randall Park to play a small, pivotal supporting role in the film. 

This plays more like a teen comedy and is a film you have to experience to get the most out of it. Talking or reading about it doesn’t do it full justice. It has the right campy attitude with enough rebelliousness and inside jokes from the culture of that era and movies.

In the end, it is a mystery that has you guessing. Though when all is revealed it doesn’t feel like it matters as much as it should. 

Grade: B- 

SUITABLE FLESH (2023)

~ jbg ~ Leave a comment

Directed By: Joe Lynch 

Written By: Dennis Paoli 

Based On The Short Story “The Thing On The Doorstep” By H.P. Lovecraft 

Cinematography: David Matthews 

Editor: Jack N. Gracie 

Cast: Heather Graham, Jonathan Schaech, Barbara Crampton, Bruce Davison, Judah Lewis 

A psychiatrist becomes obsessed with one of her young patients, who she later discovers is linked to an ancient curse.

This film has that 1990s straight-to-video feel. That felt like Russian roulette between what the poster and back art promised and what you actually got. You tried to look on the back of the video for pictures from the film to hedge your bets and guide your decision before you took it home crossed your fingers and hoped for the best.

It feels like setting that error too just going by the cell phones used throughout the film. 

What you get is an erotic thriller that has all the elements and the score of one that works as a horror, or thriller with a sense of humor about itself. That has loads of sex though isn’t particularly sexy even though lead Heather Graham usually is. You can also tell she is having fun in the role and fully letting loose.

As here she is sexy in offers glimpses of nudity, but never quite full, but it is in full control of her own sexuality throughout.

The film is filled with practical effects, and Gore that are impressive, even if the red when it comes to the blood is not quite right. so it feels like a Hammer or Giallo film where the blood never quite feels real, which also helps to make the film feel exactly like it is more of a fantasy rather than any kind of reality

Watching it with its fast paste, nutty and horny humor. It kept reminding me of the television show Chucky maybe as they both seem to be over the top and dark-humored and seem to pack themselves on the back for humor, which some might see as wrong. Who would be the totally wrong audience for this film? This one seems to revel in trouble.

Hate to reference another thing, but this also feels like a tale from the Crypt episode and long luckily, one of the good ones. Not as over-the-top as I was expecting. It still is quite the wild ride.

Throughout the film, there’s obviously a threat that literally will not die but as you watch the film, you’re not necessarily worried you’re kind of rooting for both sides in their own way as you just want this story to keep going into see where it’s gonna go.

Watching the film you do they have saved themselves of trouble by just cutting off the tongue of the villain which would’ve made things a lot more easier I believe but then again, there’d be no fail either and that would be a shame.

This is a film for those who, like to take risks with what they watch never quite knowing what they’re going to get but now it’s going to be something different in a bit down and dirty.

As though the film surroundings always try to look glitzy and high-end at heart is the trashy little film.

Grade: B- 

MEDUSA (2021)

~ jbg ~ Leave a comment

Written & Directed By: Anita Rocha De Silveira

Cinematography: Joao Atala

Editor: Marilia Moraes

Cast: Mari Oliveira, Lara Tremouroux, Joana Medeiros, Felipe Frazao, Bruna G, Bruna Linzmeyer, Thiago Fragoso, Joao Vithor Oliveira 

In order to resist temptation, Mariana and her girlfriends try their best to control everything and everyone around them. However, the day will come when the urge to scream will be stronger than it ever has been.

A futuristic film more in politics than actual science fiction. Set in a dystopian future in Brazil that seems pretty normal except for its extreme religious culture  The film shows the misogynistic nature of organized religious politics, and even vigilantism  trying to show that the freedoms we condemn actually can liberate us, and our more for the people than anything else

The beauty who is our lead after she gets scarred in retaliation from one of her victims in the attack it is the first time that she has been treated as less than and it’s quite eye-opening as then she learns sympathy as she becomes sympathetic, and her eyes are open to the injustices of the world.

Her beliefs unravel, as do her body and nature. Where she becomes a of rebellion. That begins to affect those around her in similar situations.

This then makes her separate from her vigilante group but also leads her to want to liberate more people, and slowly she is infecting her core group with thoughts and compassion, which seem to go against the heart of their faith and actions

As we wander throughout, is it a spiritual, awakening, or are more and more of the vigilante females getting possessed. 

The film offers an original voice and cinematic universe in a genre, offering that is a critique of the patriarchy and fascism

It does offer now lustrous world, so it never quite feels futuristic just a bit off or different and more puritanical. No, the film becomes more symbolic than exactly offering a point.

It’s stylistic and sensationalistic though for all this heavy substance, the film comes off a little too heavy-handed, and there is no sense of enjoyment. The film looks great, but beyond that, it never feels as strong or wonder us in meaning as it seems to struggle to show.

No, for a film that is about feminism it shows a lot of violence against them, which I guess is all a part of their age and the rage that is against them, and trying to keep them in their place. It bites off more than it can actually chew 

It also has a great soundtrack that can be mesmerizing and matches the camera work and rhythm of the scenes.

Grade: C+

FREMONT (2023)

~ jbg ~ Leave a comment

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+

LIMBO (2020)

~ jbg ~ Leave a comment

Written & Directed By: Ben Sharrock

Cinematography: Nick Cooke

Editor: Karel Dolak and Lucia Zucchetti 

Cast: Amir El-Masry, Vikash Bhai, Ola Orebiyi, Kwabena Ansah, Sidse Babett Knudsen, Kenneth Collard, Sanjeev Kohli, Cameron Fulton

Omar is a promising young musician. Separated from his Syrian family, he is stuck on a remote Scottish island awaiting the fate of his asylum request.

This is not going to be a movie for everybody. As the film takes its time and makes its way. 

At first, it feels like a movie that is styled like a Wes Anderson film. Just as offbeat as even the trailers make it come off that way. It only stays within that deadpan style for the first act of the film.

After that, the film maintains an eye and framing similar to that style. It gets deeper and more dramatic. The film still tries to communicate with Less dialogue and stays deadpan 

It finds it can say much with very few words and letting the still camera make every scene look like a painting and find beauty in the landscape. It also works almost Like a comic strip.

It also shows the absurdity of immigrant life. As they are being taught the customs of their new homeland. The lessons are condescending and humorous without the instructors fully realizing almost how insulting they are.

We get to meet and learn about all the various immigrants staying at this location and how the townsfolk react and treat them, but we mainly stay with Omar, who is usually unsmiling and quite serious.

As with many films about displacement and settling. The film offers some dry light humor and droll observations about all the cultures involved 

The film is constantly surprising but does move at its own pace. Once you get on its wavelength you are appreciative of Its style and story and eventually actually manages to affect you out of nowhere but you oddly knew it was coming. Which is similar to the plight of these characters.

This is a film that seems Like it’s not doing much but is telling a strong story. That might seem individual but can be universal. It feels quirky but uses that quality to let your guard down and let it in. Then it gives you heartbreak and drama. That lies in its heart. Luckily the ending gives us hope. 

Grade: B

THE ART OF SELF DEFENSE (2019)

~ jbg ~ Leave a comment

Written & Directed By: Riley Stearns

Cinematography: Michael Ragen

Editor: Sarah Beth Shapiro

Cast: Jesse Eisenberg, Alessandro Nivola, Imogen Poots, Steve Terada, David Zellner, Philip Andre Botello, Jason Burkey, Mike Brooks, CJ Rush

One night, Casey, a scrawny, bookish accountant, is beaten up for no apparent reason by a motorcycle gang. Traumatized, he sets out to ensure this doesn’t happen again. Then he stumbles across a karate school. He joins but progress is slow. Then the teacher starts to force him to be more aggressive.

This Seems more like an existential comedy of various tones that stay at a certain level no matter the emotion. 

How someone can get lost in a leader, hobby, or subculture that accepts you or makes you feel confident. How martial arts can have that hold on you and what happens if you take it too seriously and corn under the influence of a charismatic leader.

The film at times is homoerotic and misogynistic. As we watch an alpha must defeat before can move forward. The film keeps changing at first inspirational leader become a kind of enemy. Who by the end epitomizes the main character’s fear.

The characters all seem to some degree lost and lonely. Where it seems martial arts gives them not only purpose but a place to belong. Not To mention a discipline to follow that they lack. 

The film is an absurdist comedy that starts off in a recognizable reality but gets looser and crazier the longer it goes along.

The power of influence and what some people will do to stay in power to have that strength and feeling. As they might fail in other places. So that this is all they may have. 

Not to mention what it means to be an alpha in a society that seems to want most to be beta’s through that lust and desire to be the leader and it seems to control your own destiny. 

This is also a bone-dry comedy that gets outlandish but you follow it especially. As it always keeps its Composure and stays within its tone.

A very dry film that feels more like a cult novel than a natural film. As it all Comes together at first feels so distant and you want to know more about the characters. 

Grade: B- 

CAT PERSON (2023)

~ jbg ~ Leave a comment

Directed By: Susanna Fogel

Written By: Michelle Ashford

Based on the Short Story by: Kristen Roupenian

Cinematography: Manuel Billeter

Editor: Jacob Craycroft

Cast: Emilia Jones, Nicholas Braun, Geraldine Viswanathan, Isabella Rossellini, Hope Davis, Christopher Shyer, Liza Koshy, Fred Melamed, Donald Elise Watkins, Michael Gandolfini

When Margot, a college sophomore goes on a date with the older Robert, she finds that IRL Robert doesn’t live up to the Robert she has been flirting with over texts. A razor-sharp exploration of the horrors of dating.

Well, I am a big fan of the short story and the book it’s part of I was looking forward to this film, and it’s no surprise, that your pails and comparison, and is ultimately a disappointment compared to the original short story, which is more ambiguous, and might be one of the short story strength or as this film it’s hard to be ambiguous, totally and keep the audience interested and engaged not saying it’s impossibleit’s just that that quality was not expressed.

In the third act, it seems like the filmmaker and film decided to make a thriller or add thriller elements to the film kind of making all the paranoia and awkwardness she felt before come true but also since it’s based on a short story, the first half of the film is based on that actual story, and this is more where the filmmaker decided to go, maybe as a narrative choice, or to start to make the film, seem conventional, taking some sort of inspiration from the movie adaptation, wherein the third act it’s questionable but it becomes more conventional

As before this, the film seems more like an alien, awkward romance between two awkward people, one just beginning their adult and one well in the middle of it, and not seeming to have any anchors 

This film, a modern generation film, that certainly could open up many conversations, especially in a battle of the sexes and dating would’ve been a bit more interesting, and a third act tries to break up the monotony of that, but feels right and wrong at the same time 

As you can see, both sides of the story, though it doesn’t allow itself to get there. Some of the behavior is so extreme that you can’t truly forgive it or give the character credit.

There is a challenging and interesting movie very deep inside here. Fortunately, it just doesn’t seem to be well. Translated as the film is kind of a chore at times to sit through as you feel it length throughout.

Some scenes do work, but they’re also scenes that you look forward to and should be highlights that seem to fall short the intimate evening, for instance, is one of them.

While it tries to be moody. It also seems to decide to be one-sided and then in the end broaden up its view but onto with a few details and still Makes her justified in her beliefs. 

The film delves into the paranoia and boundaries of modern dating from a woman’s perspective. Especially for a young woman who is not as seasoned making her way through the world. 

Though watching it, I kept thinking how much different or even better it might have been if this was made by a director like Todd Solodnz as it has a kind of coldness to it, but then again a sense of belonging or wouldn’t have been seen differently if Geraldine Viswanathan who plays the main characters best friend, had played the main role. Would the film then explore not only different sexes but also different cultures?

Isabella Rossellini doesn’t even really need to be in this movie. As her role comes off as a cameo and maybe a star name to add to the cast for a bigger budget. 

This could have been a defining movie though unfortunately it does itself in and sells itself short. As it dulls any sharpness it might have and makes the proceedings dull all around for the most part. 

Grace:  C-

SHORTCOMINGS (2023)

~ jbg ~ Leave a comment

Directed By: Randall Park 

Written By & Based On The Graphic Novel By: Adrian Tomine 

Cinematography: Santiago Gonzalez 

Editor: Robert Nassau 

Cast: Justin H. Min, Ally Maki, Sherry Cola, Randall Park, Jacob Batalon, Tavi Gevinson, Debby Ryan, Sonoya Mizuno, Timothy Simons

Follows a trio of young, Bay Area urbanites–Ben Tanaka, Miko Hayashi, and Alice Kim–as they navigate a range of interpersonal relationships while traversing the country in search of the ideal connection.

This film is an anti-romantic comedy that is a breath of fresh air. As it is a movie after my own heart. Adapted from a graphic novel by Adrian Tomine 

The film offers a character-driven slice of life. That possesses a dry sense of humor. As it presents situations in the main character’s life. So that it feels more like a hangout movie. As we explore the character’s world, more witness his relationships.

How he complains and believes himself to be the victim always. Closing himself off from others and feelings in general. How he becomes his own worst enemy and slowly alienates others. Who actually wants to like him.

That ends up becoming a story of a kind of redemption or how a jerk finally wakes up to himself and his negative aura.

To give you an example of the main character imagine the worst film snob and magnify it as a personal outlook on most things. 

The film hits home as it is a reminder of sorts for one at a younger age. One would want to believe not as bad but plenty of aspects are personality. Though he is more successful relationship-wise and has more friends around him.

The film is dark-humored like a young Asian unsuccessful Larry David. Who you don’t root for or agree with. As we watch him go through interactions and her cross over and come to a head. 

The lead character is so Insufferable. Half of the entertainment is watching him fall off his high horse constantly. Especially as he starts to build any chances of hope. Then usually sabotages himself or his partners. Wake from any kind of charm ornament attention he was giving them.

This is the type of character who usually seems to be the hero of most relationship dramedies made by twenty-somethings. Whereas the world revolves around them and everyone else has the problem, not them.

Sherry Cola almost steals the whole film. Her character is reminiscent of her character in the film JOYRIDE only with more depth and sarcasm here. 

It’s nice to see the film take on racial politics but not be all about it and offer Asian American characters’ points of view and let them be more diverse and full.

Grade: B

BAD GUY (2001)

~ jbg ~ Leave a comment

Written & Directed By: Kim Ki-Duk

Cinematography: Chel-Hyeon Huang

Editor: Seong-Won Hang 

Cast: Cho Jae-Hyun, Won Seo, Yun-Tae Kim, Choi Deok-Moon, Yoon-Young Choi, Yoo-Jin Shin, Kim Jeong-Yeong, Min Nam-Keong 

An unfeeling gangster seeks to ruin the life of a young girl who rejected him. He forces her into prostitution and spies on her regularly, then he soon begins to fall for her.

Filmmaker, Kim Ki-Duk tends to make spiritual films that are love stories at heart. That sometimes can be character studies. 

Here with this early effort, he has made a disturbing romance of revenge that seems to test not only the character’s boundaries, but the audience as at first this film feels like it is born of shock, but reveals its softer edges amongst the chaos 

Where it feels like a dramatization of the psychology of someone caught in  Stockholm syndrome, or how a pimp unconventionally raptures a victim, to become a prostitute only here more against her will, and likes to watch her, but never dares to get intimate with her himself, nor really even touch or punisher, except for an initial case before this all started

His victimization of her at first feels like him trying to get back at her. The strange thing is that he dooms her to this lifestyle, though he doesn’t like to see her take any pleasure or pleasure. As she truly starts to succumb to her environment the lifestyle becomes second nature tour. Still, they build a bond through all the heartbreaks and interactions. 

There is plenty to go through, including her other suitors, including her managers, who begin to fall for her and try to help her escape. When she wants to though she realizes she has no one and nowhere to go back to, even if she did what would her future be 

This is where some questions when it comes to this film because she’s not long lost. She’s not that far from home it’s more the condition. She’s practically enslaved to pay off debt, and she ends up, making the best out of a messed up situation where the bond is seen more that she needs him more or less not necessarily to survive, but to make sense and have someone still feel something for her, other than lust.

At this point, she seems to forget all that she really knows and only knows this lifestyle but no one from her old life wanders and wonders where she is, and even when she does try to escape, she can’t think of where she’s going to go or what she’s going to do as her reputation is more in the dirt, because of debt, and stealing rather than prostitution.

The film also focuses on what seems to be his bad influence on others, that he seems to survive, but others seem like they tend to pay even though it is their own actions the only truly bad she has done is enslaving her, and all he shows kind of indifference Even when dealing with other gangsters who react violently toward him. It sets up many places to investigate side characters but stays only focused on the two leaves..

So while the film wants you to care about these characters, it’s very hard when the film seems to be brutal and very misogynistic for little to no reason. Now Wallet allows him to experiment into the very nature and different sides of love, even the unfair ones. It still comes across as disappointing in the end. luckily the filmmaker’s films became universally appealing.

Though maybe the movie is truly about these functional relationships we can criticize all we want, but we will never truly understand them. What makes them work what makes the people in them desire to stay together and be dependent on one another they have their reasons that only they understand, and in the end only make sense to themselves, maybe that’s the whole point of this film that no matter how angry disappointed we get it’s not meant for us to understand it just happens and this is a presentation of it.

Grade: C+