HOLLYWOOD ENDING (2002)

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Written & Directed By: Woody Allen
Cinematography: Wedigo Von Schultzendorff
Editor: Alisa Lepselter

Cast: Woody Allen, Tea Leoni, Treat Williams, George Hamilton, Debra Messing, Mark Rydell, Isaac Mizrahi, Erica Leerhsen, Aaron Stanford, Fred Melamed, Douglas McGrath, Lu Yu, Barney Chang, Marian Saldes, Tiffani Theissen, Greg Mottola, Mark Webber 

A director is forced to work with his ex-wife, who left him for the studio’s boss, bankrolling his new film. But the night before the first day of shooting, he develops a case of psychosomatic blindness.

This is where Woody Allen lost me after having a  period of disappointing films. At this point, I eagerly awaited every new film he had made since 1992. When I saw HUSBANDS & WIVES. Even though some were not as good as others I stayed loyal though I can admit to not seeing the previous two years’ films.

CURSE OF THE JADE SCORPION and SMALL TIME CROOKS even to the day that I am writing this review, but I took a chance on this film and saw it in theaters as I figured it would be a return to form in making fun of himself. That comes across as a tone-deaf parody of himself. 

Unfortunately, the jokes are stale and the situations Seem like a good setup but don’t ever come around to getting the best use out of them. It makes him seem out of touch to a certain extent and tries to portray youth he doesn’t exactly understand. Which is characterized by the character of his punk rock son who calls himself scumbag. 

There are plenty of Hollywood and anti-California Jokes but even the movie he is trying to make within the movie seems pretty bad.

The film feels almost like it was put together or written like a puzzle. Where it is trying to put itself together as it goes along. To kind of have a running theme and story.

It seems to try and spoof Allen himself with the preference of foreign-born cinematographers who speak little English. Which opens up the avenue of having to hire a translator. Who he confides in about his condition. Who pretty much is his confidante, but who he begins to have artistic conflicts with as the translator who is not into showbiz or movies. Becomes almost a co-director and has artistic opinions of his own. This could have been a great side story of giving more time to it, but sadly more wants to focus on past loves and mental trauma as well as blind director Jokes.

The film is one of the few of his films. At least at the time that felt like an assembly line production. He usually puts out a film a year, comes up with a story fast, and tries to build a screenplay around it without feeling it out or doing follow-up drafts. As it feels like he isn’t trying to have any interest in the material. This might have worked more in the ’80s or ’90s but when it came out it felt. I curated it without any nuance. Jaded for no real reason. Almost a Rushed homework assignment.

As always it feels like a prestige film but has little input and feels haphazardly put together. Especially when it comes to casting which seems very random. 

The romance in the middle of the film seems sloppy and unearned other than being entirely predictable. 

The film lives up to Its title, but overall the film deserved better and more. 

Grade: D

EMA (2019)

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Directed By: Pablo Larrain
Written By: Pablo Larrain, Giillermo Calderon and Alejandro Moreno
Cinematography: Sergio Armstrong 
Editor: Sebastian Sepulveda

Cast: Mariana Di Girolamo, Gael Garcia Bernal, Santiago Cabrera, Paola Giannini, Cristian Suarez, Giannina Fruttero 

A couple deals with the aftermath of an adoption that goes awry as their household falls apart.

Watching this film is more of an experience. the base there always seems to be a running rhythm or one that the film as well as its Characters seem to be running On.

How a beat builds, how it takes many different elements put together to make not only A song but even a bear which is the Love force the heartbeat of the entity known as music. The same can be said of life, art  and That is how this film Works 

At first, it seems like the main character is acting irrationally and randomly but as the film goes along we see how she is putting everything together to get what she wants essentially any kind of reward for all of those with who she is involving without their knowledge as to the overall goal.

For a film that seems to be about Mostly dancing there are no sustained long-term dance sequences. As some of the scenes are edited more briskly With plenty of cuts more like a music video. 

You believe everything to be random out of freedom then in the third act a reveal happens that brings it all Together. 

This is one of the horniest yet not erotic films I have seen recently. As it is erotic but doesn’t exactly aim in that direction. Though the characters seem more exhibitionist and more Hedonistic. As it seems to open itself and showcase open and polyamorous relationships 

As the film presents sex and sexuality as non-judge mental more open and quite naturalistic and feral. As more matter Of fact 

Grade: A

HOLLYWOOD STARGIRL (2022)

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Directed By: Julia Hart
Written By: Julia Hart & Jordan Horowitz 
Based On Characters from the novel STAR GIRL By: Jerry Spinelli 
Cinematography: Bryce Fortner 
Editor: Shayer Bhansali & Tracey Wadmore-Smith 

Cast: Grace VanderWall, Elijah Richardson, Judy Greer, Uma Thurman, Judd Hirsch, Tyrel Jackson Williams, Chris Williams, Al Madrigal, Nija Okoro, Sarayu Blue 

Stargirl Caraway as she journeys out of Mica into a bigger world of music, dreams and possibility.

while better made than the first film. As it seems to have a larger scope. it also seems to have lost a little of its heart. This one might be a bit better because you know what to expect throughout. 

As it tries to keep a positive and romantic tone. It still is paced morosely.

As even though it’s a kid’s film it feels like doom or the rig will get pulled under at any minute.

This one also benefits from a more well-known cast of supporting actors. Who gets more time to actually have their presence felt. Instead of the last film which focused primarily on the main couple. 

Star girl still seems to be a beacon of optimism And the guys she falls for seem to be the same type. Here she is not quite as mysterious. Not offering a surprising knowledge of music and classic hits. Though there are plenty of singing scenes.

Not quite a musical in the classic sense but more songs were performed without any choreography or dancing. The difference between seeing a performer and a show.

This film is also a romance but maybe as in the last film they spent more time on the romance and her doing the chasing while staying mysterious. This time around we get to know more about her and the romance just seems to happen. It’s sweet but doesn’t feel like it has as much depth this time around.

It pretty much goes through the numbers and is a sweet film. None of it is really believable but keeps your interest. Especially when it is more made to please its audience of Disney viewers 

Though everything feels rushed its pace is like molasses.

Grade: C

LISZTOMANIA (1975)

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Written & Directed By: Ken Russell Cinematography: Peter Suschitzky

Editor: Stuart Baird

Cast: Roger Daltrey, Paul Nicholas, Ringo Starr, Sara Kestelman, Rick Wakeman, Fiona Lewis, John Justin, Veronica Quilligan, Nell Campbell 

Composer and pianist Franz Liszt attempts to overcome his hedonistic life-style while repeatedly being drawn back into it by the many women in his life and fellow composer Richard Wagner.

This is a movie it has taken me a while to finally watch and its legend has only grown over the years. It’s writer Director Ken Russell’s second collaboration with The Who singer Roger Daltrey as his star.

This is definitely a film of its time period a very experimental look at the composer Franz Liszt. A very hedonistic film and the character 

The film sets the tone early as we are introduced to the character in the middle of a sexual seduction with a married woman. Whose encounter is interrupted by her husband and a sword fight happens meanwhile Liszt is mostly naked throughout. 

After that we kind of fast forward into little vignettes of surreality that happen throughout the film. W see him perform to roaring crowds of teen girls who all cry and want to touch him as he plays. That is where we are introduced to many composers but mostly It’s Richard Wagner who will become important later in his life and this film. 

Next, we see him in domesticity with his wife the woman from the opening scene. Here we see their life played out like a silent film homage to Charlie Chaplin and his leading ladies. Though we know the road and his hedonism will tear away from this seemingly love story bliss.

The early parts of the film play more like a traditional biofilm as far as pace and l learning about the character. Once he decides to become an abbey and therefore more religious while still maintaining His monstrous libido. The film takes a strange turn that allows for the return of Richard Wagner as a kind of vampire. Who decides to build his own Aryan Frankenstein

At that point, the film becomes more of a surreal fantasy film with history and politics thrown in. As with most Ken Russell films you never quite know what you are going to get, but it will be original and quite shocking. As he is a provocateur. 

He made many biographical films about composers. This is one of the mroe outrageous ones. Where he tries to make it fun and a kind fi satire. Though can admit at the beginning it is kind of slow but as the film goes along he keeps building the scenes and sets. So that by the end you can’t help but watch in awe. He doesn’t always hit his targets, but he gets close often. 

It’s hard to believe but at a certain point, the film becomes somewhat predictable for the most part. Though offers plenty of homages and allegories 

The music throughout is actually Franz Liszt’s compositions only with added lyrics to make them mroe modern songs that express emotions. Which isn’t needed and doesn’t exactly work. As it is like trying to update masterpieces.

This film doesn’t reach the heights of TOMMY, maybe because this film is forced to stay within certain boundaries when it comes to facts. While it doesn’t seem to have as much Joy and deeper meaning as that film. This is quite a nice attempt at offering something different and artistic. Even with the melancholy sadness that the film Carries at times 

Grade: C+

BLUES BROTHERS 2000 (1998)

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Directed By: John Landis
Written By: John Landis and Dan Aykroyd 
Cinematography: David Herrington 
Editor: Dale Beldin

Cast: Dan Aykroyd, John Goodman, Joe Morton, Nia Peeples, J Evan Bonifant, Frank Oz, Darrell Hammond, B.B. King, Junior Wells, Aretha Franklin, Matt Murphy, Erykah Badu, Johnny Lang, Eddie Floyd, Wilson Pickett, Eric Clapton, Steve Lawrence, John Popper, Sam Moore, Paul Shaffer, Clarence Clemmons, Issac Hayes, Bo Diddley

Elwood, the now lone “Blues Brother” finally released from prison, is once again enlisted by Sister Mary Stigmata in her latest crusade to raise funds for a children’s hospital. Once again hitting the road to re-unite the band and win the big prize at the New Orleans Battle of the Bands, Elwood is pursued cross-country by the cops, led by Cabel the Curtis’ son (and Elwood’s step-brother), the Russian Mafia, and a militia group. On his new “mission from God” Elwood enlists the help of a young orphan, and a strip club bartender.

I remember when I went to a screening of THE BLUES BROTHERS for a yearly Special festival that played at RADIO CITY MUSIC HALL. That was part of the movie street festival in years past. Where they would screen classic films as a double feature for one week. They showed a special message from Dan Aykroyd on this film’s set and to be prepared for another classic.

I was excited when the Film came out. It, unfortunately, fell Very short.

Watching a documentary on the artists or their performances would be more entertaining than unfortunately watching this film. 

How the mighty have fallen, this film feels strictly like a cash-in on the original and franchise.

All the things the first film does brilliantly. This film either repeats badly or just doesn’t know what to do with it. Even more disappointing is that the original film’s director came back to direct the film. Director John Landis 

This is why the films only have good scenes other than the Musical performances. Are the car chase scenes and even there the film seems to go over the top and ruins a good thing 

As the story is very thin and badly put together to the point it drags along and comes across as an afterthought.

Dan Aykroyd’s Character is just so unresponsive to most things. It doesn’t make his character interesting or entertaining and desperately needs to bounce off of someone. Even when there are two others who try. Leaving the audience just witnessing acts with no rhyme Or reason. Things just seem to happen and characters just seem to change magically all of a sudden. 

Joe Morton’s character for instance and John Goodman go through a total character change due to wardrobe changes. 

John Goodman is wasted as he has very little reason to be there and is given very little to actually do.

Truly the performance scenes Are the film’s only Saving grace. This is why most of the cast is made up of them performing and relegated to cameos.

Some are returning from the first film and others seem more who were more popular at the time and maybe missed being in the first film. As this film is mainly mostly a retread of the first film.

The film is way too long, and the jokes don’t work and never would. Unlike the musical scenes, the humor seems odd to base, like it was hilarious when conceiving but didn’t play well at all. 

If you must watch it. This is the Rare film where I say feel free to fast forward to the performances. If anything it reminds you of how good the original film was and how this film deserves its Legacy.

It is one of those projects that was good in theory but should have been shelved. It comes across as an almost kid-friendly Version of the first film.

Grade: D

FLUX GOURMET (2022)

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Written & Directed By: Peter Strickland
Cinematography: Tim Sidell
Editor: Matyas Feketem

Cast: Makis Papadimitriou, Fatma Mohamed, Asa Butterfield, Ariane Labed, Gwendoline Christie, Richard Bremmer

Set at an institute devoted to culinary and alimentary performance, a collective finds themselves embroiled in power struggles, artistic vendettas, and gastrointestinal disorders.

This feels like almost self-parody and wanting to say something about artistic institutions.
Though it almost feels that with each new film Of Writer-Director Peter Strickland. He goes step by step away from conformity and genre with Jisnfilms and into his own interests and inspirations showing himself to be a true auteur with any care to please his audience

As his films are always visually Stunning and captivating as far as production especially when it comes to surreal visions and the same Goes along with costuming

Whereas previous films seem to take aim at breaking down genres. This film Feels like a satire and exploration of the artistic creation of his own imagination. As at least this is captivating instead of confusing even if only visually and thematically

It is always a film That will Appeal to Or repulse the senses. Also offering a look at the absurdity of it and creation and expressing it. So beautiful that the Film Looks like it is Constantly Taking Place during a photoshoot.

I Don’t Understand what was going on half the time but I liked it and its Visuals if looking for some sense exactly This might not be the Film For you.

The power struggles involved in collaboration the drama inside of it and how your creation is perceived by the outside world as well as directing and guiding it For the best way for it to be remembered.

How Much even when you Investigate and try to examine the art or get to the heart of it. how easily it can be pulled into the creation and become a part of it. As you have input me can help shape it even just by being a witness and spreading the word about it affecting its development

As journalists can do in profiling a celebrity becoming Part Of Their Lives for Short Periods of Time but still having that experience and bonding for short periods of time. Persuasions participation, Now even when trying to be a fly On the wall and just document you Can’t help But be pulled into the orbit and be part of that universe

Where the Audiences appreciation and feedback we barely get Glimpses of and are more like a sexual orgy. Getting more and more absurd, not as strictly Over the top comedy, but more detached and obscure as it Goes along even as we learn more information about everybody.

Though constantly Stays avant-garde and close To its art-house roots

The film Almost Feels Like a chronicle of a band at each other’s throats as they try to make their next album and all The fears coming to a head during the process, especially when trying

To work It out with others you know so well and need one another but also desire space though feel like you are the only ones who know and understand one another.

Done it plenty of times but this time feels different and somehow more important. Always on the edge of the perverse and even fetishism

Just as the head of the institute comes across as either the Producer or record exec trying to shape the product and collective themselves while Trying To Be part of the creative process thing offering nothing of more creatively and if anything trying to water down or Make it

More accessible which goes against everything the collective seems to be about. Even if it means using seduction to get insider information and flip a member to have a person on the inside and being able to use them To spread their influence.

Each act seems to focus on a different member of the group or so it would seem as one character barely Gets center stage but is always shown and in the background and the character who seems to Come To More Prominence in the second act soon seems To be a major focus event high in the front act barely Spoke

Though the third act is the shortest maybe it makes sense that the character who It seems To focus on feels underserved throughout but is the glue practically the middle child Also the most Melodramatic. While the doctor represents the old-school Patriarchy.

The filmmaker Exerts himself as a filmmaker of His own unique vision and view.

How in art you Seem To reveal Yourself though only when it feels Personal do truly Realize maybe you revealed too much or See how Power and jealousy are at the heart of everything

Cooking Food Is its Own Art It takes Steps In the form Of Recipes and you are always struggling to get it right and is Essential in survival and is used by most as an expression of Care for health. Yet also is A process in which someone can be kissed and can mean something to so Many Others who follow and Look at it for insight.

You Can Also look at it as an examination of the relationship between the artist, the enthusiastic backers and Money men, fans, critics, and The Audience

High concept and our reporter man on the inside all of this half the time Of more insight into his farts and stomach problems rather than exposing his findings.

This film Was definitely an experience. Where it makes little sense to me. Though I admire the craft & stays interesting. Peter Strickland goes more into his artistic interests and visions. I look at this as a film about creation. Almost like a band trying to finish an album and what they have to face to finish. To truly reach their artistic vision and breakthrough

A movie only director Peter Strickland could make, sticking to his vision, interests, and instincts. Displaying his talent and unwavering in his direction. Even when it seems the film will go for conventional methods, it resists. Though dealt with seriously the film can be seen as a comedy of sorts. It’s not vague but has many ways of looking at it and finding definition in the details

Grade: B

WRONG TURN 4: BLOODY BEGINNINGS (2011)

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Written & Directed By: Declan O’Brien 
Based on characters created by: Alan McElroy
Cinematography: Michael Marshall 
Editor: Stein Myhrstad 

Cast: Jenny Pudavick, Tenika Davis, Kaitlyn Wong, Terra Vnesa, Sean Skene, Blane Cypurda, Dan Skene 

A group of college students gets lost in a storm during their snowmobiling trip and takes shelter in an abandoned sanitarium which, unbeknown to them, is home to three deformed cannibals.

While I enjoyed the first three films of this franchise. The first was a grisly run-of-the-mill horror film that felt like a B movie. The second one was more fun and had a sense of humor about itself. It Rarely took itself seriously and was more exploitive. The third tried to put a twisty action noir tale into the horror fold. Which was an interesting mash-up yet felt very dirty.

This is why this film is kind of a disappointment. Instead of going in a more creative direction. This film feels like it ran out of ideas before it even got started. Even though this film is a prequel to the first three. Which maybe should have stopped as a trilogy. 

The only new part of the film is that it is set in a huge seemingly abandoned hospital and in the snow. So there is less terrain to deal with and a single location. Most things about this film are bad, even the ending which one has seen before in the film 2000 MANIACS (The Remake) so it comes off derivative.

This film tends to focus more on the gore and torture aspect to a disgusting degree. That feels unnecessary knowing that the film doesn’t have much going for it in the form of the story. As it plays out like the storyline of the previous films only different in single locations as everyone is slowly hunted down. They even have two graphic sex scenes that while erotic and titillating feels out of place and unnecessary. Here again more bringing an exploitive sheen to the film. It truly is the only noteworthy part of the film.

The deaths while gory the effects at least seem to work. Whereas the Villains’ makeup looks like makeup and like they are just wearing masks.

Not that I’m complaining but making the human fondue. Just goes on too long. Making it distasteful as the whole film is the kills and sex scenes are just gratuitous. I understand you want things to stand out but it just seems too much. Not that I mind it but it advances nothing and makes you wonder how often lesbian characters need to have sex all the time. Sure it’s sexy but unnecessary

Trust me,  just skip it 

Grade: F

WRONG TURN 2: DEAD END (2007)

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Directed By: Joe Lynch
Written By: Al Septien & Turi Meyer
Based On Characters Created By: Alan McElroy
Cinematography: Robin Loewan 
Editor: Ed Marx

Cast: Erica Leerhsen, Henry Rollins, Texas Battle, Aleska Palladino, Daniella Alonso, Crystal Lowe, Ken Krizinger, Steve Braun, Kimberly Caldwell

A group of reality show contestants find themselves fighting for survival against a family of hideously deformed inbred cannibals who plan to ruthlessly butcher them all.

This is a straight-to-DVD sequel and just like the original no matter how gruesome the action and violence get you can’t take this film too seriously.

This sequel seems to revel more in everything the first one couldn’t show you. Here you get to see the full mutants a lot and often. You get to see a mutant birth, a mutant baby, and mutant sex. So here it is almost like mutant porn. As there is even a graphic oral sex scene between humans. Which was itself very shocking. In fact, it’s the most shocking thing in this whole movie. Which is one of the main reasons the movie might be unrated.

This film also seems to have fun with killing off people we would normally assume would survive. It also tries to be a satire on reality television. Even the. Had been done to death, especially with HALLOWEEN: RESURRECTION coming out around the same time.

The special effects are disappointing even with this film having a lower budget than the first. You can see the effects looking poor, but they still give it the old college try. Like the little engine that could the film rolls on with an I think I can attitude.

The film offers no performances of note. Other than following movies like SCREAM and having a star die in the opening moments. Who could have easily been a star of the film. To throw you off guard but you kind of expect it. As it allows their haters in the audience a sort of sick death wish and offers a cruel shock to that person’s fans.

This film again is more macabre fun than anything. Especially if you are a fan of horror with its nod to many classic and cult horror films it knows it will never be as good as. That tries to deepen the myth of these mutants and show more of their survival.

The film is obviously an homage to 1980’s horror films and sequels. 

Just like most sequels, it offers more of the same, only more extensive and more often. Sacrificing set-up as you know what is going to or supposed to happen and characters. As no characters ever really return for the sequels even if they survive.

 Grade: C

LAMB (2021)

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Directed By: Vladimar Johannson 
Written By: Vladimar Johnannson & Sjon 
Cinematography: Eli Arenson 
Editor: Agnieszka Glinska 

Cast: Noomi Rapace, Hilmir Snaer Guonason, Bjorn Hlymur Haraldsson 

A childless couple discovers a mysterious newborn on their farm in Iceland.

The film offers beautiful imagery and breathtaking landscapes that help set the mood of isolation and a  surreal story.

The film’s tone stays desolate and dry. So that while you might believe it to be a horror film at first. It goes more into fantasy and even some folklore.

It ends up being more of a domestic drama with an unforgettable ending as it builds an atmosphere and world around it. That offers very few answers or information and leaves quite a few questions of its own 

The film is surprisingly filled with tension at times and leaves itself heartbreaking. Though through it all the film is more than just its setup and premise. 

One can look at the story as one of Mother Nature offering a gift and if you betray her she will take retribution. As it seems to be in human nature to take things that we might believe belong to nature and think of ourselves as better than Nature and what we see as wildlife. Animals, Mammals as that is what also lead us to destroy our surroundings and in essence us or each other.

Can be seen as a kind of gentrification tale told by those in power. Who choose to take away from those who they feel are either lower class than them or who they see as not appreciating what they have the right way and that they know the right way to improve it. As they take what is special as their own. Leaving the youth confused about going against nature.

Those who are expecting or wanting a return are eliminated and seen as the enemy and made out to be evil. Even when they are seeking justice or when vengeance comes

Their reach might be over. But finally can understand the reasoning.

Noomi Rapace is on a roll this year with this film And the film THE TRIP. She is an actress who can say more with a look than with pages full Of dialogue. There aren’t a lot Of here. 

Grade: B-

SNOW WHITE: A TALE OF TERROR (1997)

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Directed By: Michael Cohn 
Written By: Tom Szollosi & Deborah Serra
Based on the story “SNOW WHITE & THE SEVEN DWARFS” By: Jacob Grimm & Wilhelm Grimm 
Cinematography: Mike Southon 
Editor: Ian Crafford 

Cast: Sigourney Weaver, Sam Neill, Monica Keena, Gil Bellows, David Conrad, Brian Glover, Anthony Brophy

In this dark take on the fairy tale, the growing hatred of a noblewoman, secretly a practitioner of the dark arts, for her stepdaughter, and the witch’s horrifying attempts to kill her.

Interesting telling and reversal of the well-known fairy tale. Here it is much darker.

Though made on a low budget makes it appears to be an affordable production of the tale. Where much of the budget seems to have gone into costumes and set design.

Sigourney Weaver is the only truly interesting performance in the film. They give her character an exciting arc. She blames Snow White for the deterioration of her wedding To her new husband by acting like a brat. Then causing the death of her unborn child. So she takes all of her rages out on Snow White. Getting revenge so that Snow White must flee to survive. She even seduces Snow white, intended..

It would have been interesting if the director decided to pull the film into a genre. Such as horror, action or even just plain old thriller, but he decides to keep it dramatic. 

Making the film seem more theatrical only on location. This brings no thrills to the film at all and ends up making it rather dull than anything else. 

Considering most of the audience knows the story. It would have been wise to add something surprising other than a fuller backstory for a character’s motivations. 

The film is in desperate need to entertain the audience and throw them off guard. As it seems to attempt that then gives up after that one twist. 

GRADE: F