THE NEW GUY (2002)

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Directed By: Ed Decter
Written By: David Kendall
Cinematography: Michael D. O’Shea
Editor: David Rennie 

Cast: DJ Qualls, Eliza Dushku, Zooey Deschanel, Parry Shen, Jerod Mixon, Sunny Mabrey, Ross Patterson, Lyle Lovett, Eddie Griffin, Ileana Douglas, Kurt fuller, Matt shogun, M.C. Gainey, Julius Carry, Geoffrey Lewis, Horatio Sanz, Gene Simmons, Kool Moe Dee, Tommy Lee, Henry Rollins, Jermaine Dupri, Jerry O’Connell, Charlie O’Connell, Tony Hawk, Rob Van Winkle 

A high school senior branded uncool in the ninth grade gets himself expelled so he changes his image to cool kid at the town’s other high school.

The film is strange as it is a teen comedy that seems at times to be more of a spoof. Then it just becomes more of a wacky comedy that comes off more as abstract and slapstick but still makes little sense.

Though considering it is directed by a noted comedy writer. Who coincidentally didn’t write the script. So that the film feels cut up from a decidedly longer and more coherent film. Though it doesn’t matter as this is a film you just watch and have fun with what it offers. 

It’s also a movie that is built to build off of trends of the time.

Which would explain the strange number of cameos by rock stars and skaters and recognizable celebrities playing themselves and others throughout for no real reason. 

Though it might hint at, What does end up being truthful about the movie is the character’s passion for music. As it seems to almost be their everything. 

For instance, Lyle Lovett’s Father character makes no sense at all, but he is in the movie throughout. As the Square dad who seems to try to relate and overreact  to his son and his actions 

While the film feels like it got cut to pieces as some storylines and characters disappear or are never resolved. So that instead of plot or character the film tries to give you a Greatest hits version of the story. 

Which makes it feel more like a Frankenstein of teen film cliches. You have seen before Only more heightened and campy comedically. There is even a scene where Eliza Dushku’s character goes to apologize to an old friend who she has shunned and snubbed only for that friend to say “I know” before she can say anything 

Most of the female roles here are more as sex objects and hook up’s. Even Dushku the female lead has two scenes of first her trying in various scantily Clad outfits like bikinis and another scene of her riding a mechanical bull suggestively. More for a male teenage audience. Though she is both the love interest and sex symbol of the film.

The film builds off star Dj Qualls fame from ROAD TRIP. As an early version of McLovin from SUPERBAD. As his character goes from

Dork to cool in a new attitude and look with a lot of Farrelly brothers style comedy. That is gross yet heartwarming and manages to win the Audience over.

The film gave DJ Qualls the rare odd Leading man role. Even if the film Tries to play like more of an ensemble at times. 

Sure the film’s humor is lowbrow but still comes off as innocent or like it doesn’t know any better. Though with it’s juvenile humor it’s

Perfect for its intended audience. Though definitely a testament to the time period in which it was made.

It is filled to the brim with what was hip, but trends change so fast that by the time the film Actually was released. It felt a little past its Time to the audience and worse the film is so low stakes. It doesn’t Make its Mark. 

If anything this movie is more. A guilty pleasure that gets by because of its Silly and fun attitude. This film is put together very loosely with plenty of gags meant to tie the story and characters together with a moral lesson of not labeling and not believing in whatever labels you are branded with. 

GRADE: C

TEACHERS (1984)

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Directed By: Arthur Hiller
Written By: W.R. McKinney
Cinematography: David M. Walsh 
Editor: Don Zimmerman 

Cast: Nick Nolte, Jobeth Williams, Judd Hirsch, Ralph Macchio, Allen Garfield, Lee Grant, Richard Mulligan, Laura Dern, Crispin Glover, Morgan Freeman, Steven Hill, William Schallert, Mary Alice, Anthony Heald Virginia Capers, Royal Dani, Art Metrano 

A teacher overcomes his frustration in a high-school full of flunkies. As he attempts to educate his students, he attempts to help them gets him into trouble with the school board, which only adds to his problems. With the support of his students, he beats the school board and his frustration.

This film is in the same vein as AND JUSTICE FOR ALL. Where it is a darkly satirical look at a system that wasn’t working. For that film, it was legal and the justice/court system. In this case public high school and just how dangerous it was for students and faculty. As you had kids who were uninterested and unmotivated. Teachers who were burnt out, scared, or don’t care and the unions and powers that be whose hands are tied or want them to do the best that they can with what they have yet offer no hope.

Now, while this film isn’t as sharp or necessarily as heavy as that film they do share a kinship. As well as with films like THE HOSPITAL and NETWORK (both of those written by Paddy Chayefsky) these are meant to be more ensemble films with a central figure in the lead who is riding on both sides until the end. Where they finally have to show where they stand and make some kind of difference even if ultimately lose.

This film is interesting as it can be funny. Especially pinpointing Richard Mulligan’s character, a teacher who gets into character to inspire his students and actually gets through to them. Before finding out he is an escaped mental patient.

What keeps the film lively is that one minute it can be gritty and dealt with seriously but then the next goes for a laugh that is more character-based comedy and less broad. 

Though there are many characters this film mainly focuses on Nick Nolte who is burnt out it actually seems to be the rare teacher who gives a damn. Though he wants to be a team player he has a reckless rebelliousness to him.

This role fits note to a The cuts an imposing figure but comes off quite intellectual. He is rugged throughout and tries his best but whenever he seems to be getting somewhere he has another bureaucratic door slammed in his face. This is a vintage performance from him where he is unpredictable but lively throughout. 

Nick Nolte is a famous actor. For me, he is an actor I discovered while looking for somebody else. He usually starred or Co-Starred in movies I initially watched for some other actor who was in the film for instance 48 HOURS I watched for Eddie Murphy and he co-Starred in it. I watched DOWN & OUT IN BEVERLY HILLS for Bette Midler he Co-Starred in it. I watched this film initially to see Ralph Macchio. He made this before KARATE KID, but I discovered it after he starred in that film.

The film has a recognizable cast. That looking back is impressive and all out to good use. The town of the film does become more serious after the death of a character.

Watching the film these days barely raises an eyebrow. But I remember when first seeing it felt scandalous like an expose almost. As it seems to try to shine a light on the problems of the then-current education system. Some of those problems still exist and some have gotten worse. It seems to try to take a bite but there is so much to chew it can only get to a certain amount of pieces presented.

This is a film that is worth watching to see how a film can make a point and bring up issues. By being gritty but also offering a light touch to round out and let the audience off somewhat. 

Grade: B

LOVE CRIME (2010)

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Directed By: Alain Corneau 
Written By: Alain Corneau & Nathalie Carter 
Cinematography By: Yves Angelo 
Editor: Thierry Derocles 

 Cast: Ludvine Sagnier, Kristen Scott Thomas

Ruthless executive Christine brings on Isabelle as her assistant, and she takes delight in toying with the young woman’s innocence. But when the protégé’s ideas become tempting enough for Christine to pass on as her own, she underestimates Isabelle’s ambition and cunning and the ground is set for all-out war. 

Even after watching the film haunts you. The characters and the images. It is predictable, but then throws quite a few twists at different times to keep you off its trail. Like a Hitchcock thriller that is not as concerned with shocks as with the story. It looks rather plain and matter of fact. Yet sharp that as the film progresses. 


Its story takes center stage and makes you focus on it and the actions of its characters. Though I find this film perfect. It is a film I would love to one day make a remake of only to pay tribute to the film and help it be discovered by more people. It seems Brian Depalma has beaten me to it. 

it’s a beautiful film that is no-frills at times it is minimal, but a film you must pay attention to through it.It constantly drops clues to remind you of things that you may have forgotten or inform you of details not previously shown. Even once you think it is over, the film throws another shock at you. Not like a horror film. But something a little more disturbing. 

 Ludvine Sagnier Lights up the screen. Her performance is amazing. As she is put through the wringer, She has a deadly innocence about her. She has an angelic look as she at first is a meek victim. Then becomes a fighter as the film moves along. It’s nice to see her play more than the sexy roles she constantly gets. 

 At first, I thought the film would be about power and office politics, Dirty Tricks. A battle of female empowerment. Then it becomes a crime thriller than an innocent proving film against time. 

Kristin Scott Thomas is English but speaks fluent french. That makes you believe she is a natural-born French woman.  

Everything about this movie is so shiny and clean. Like the directing and acting. The film is finely polished. I watched it on a whim and am glad about what we get in return. 
 

GRADE: A-

ARMY OF THIEVES (2021)

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Directed By: Matthias Schweighofer
Written By: Shay Hatten 
Story By: Zack Snyder & Shay Hatten
Based On Characters created by: Zack Snyder 
Cinematography: Bernhard Jasper 
Editor: Alexander Berner 

Cast: Matthias Schweighofer, Nathalie Emmanuel, Ruby O. Fee, Stuart Martin, Guz Khan, Jonathan Cohen, Noemie Nakai, Christian Steyer 

A prequel, set before the events of Army of the Dead, focuses on German safecracker Ludwig Dieter leading a group of aspiring thieves on a top-secret heist during the early stages of the zombie apocalypse.

A prequel that could have easily worked without being tied to ARMY OF THE DEAD the original movie or even including zombies in the background.

If anything, the ties of being in this franchise leave us knowing the main character’s fate. So we all know the ending, but this gives us an ending on a happier note. The film offers us some history of him. As well as letting us see more of a fan-favorite character. That also allows for world-building purposes in the franchise and the zombies give a kind of ticking time clock and a chance to see how the world deals with what seems like the American zombie outbreak. 

This film comes off as more highbrow and sophisticated. Definitely less violent and feels more creative and fun.

This film is more of a caper comedy and feels like an adventure with Less objectionable material. That feels more energetic and fun.

It definitely has a lot more fluff than anything of substance. Though it is overlong for no particular reason. you generally don’t Feel it

The film has minor stakes so you never can quite take it seriously. Nor does it ever become melodramatic. As the focus here is more sleight of hand and less testosterone-fueled action.

The film offers an interesting look at the typical action hero. Here the protagonist is more nerdish, awkward, and seen as feminine. Whereas though he might not be physically strong he at least is brave. Whereas the more common action hero proves to be emotionally weak and easily jealous which might lead to his downfall.

Nathalie Emmanuel prices to be the perfect femme fatale and general badass. Where you wish she was more of the lead here. Or at least wish there was more to her character than her outfits and vague history of her character. 

The caper sequences are sharp and exciting with the requisite tension. 

The film feels like it would be quite at home in an earlier decade. As it has the exuberance down, but never quite feels authentic or that it has any roots. It feels like an extension made for money and the life of the franchise rather than Actually being needed. It easily could have existed outside of the ARMY OF THE DEAD universe 

In The end One only wishes the film packed a tighter punch. As it more feels like practice jabs or at least felt more meaningful. Thought of looking for something more fluffy and entertaining this is the film for you. 

Grade: C+

WITHOUT REMORSE (2021)

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Directed By: Stefano Sellima
Written By: Taylor Sheridan & Will Staples 
Based On The Novel By: Tom Clancy 
Cinematography: Philippe Rousselot
Editor: Matthew Newman 

Cast: Michael B. Jordan, Jamie Bell, Jodie Turner-Smith, Guy Pearce, Lauren London, Cam Gigandet, Brett Gelman, Colman Domingo, Jacob Scipio, Todd Lasance 

An elite Navy SEAL, goes on a path to avenge his wife’s murder only to find himself inside of a larger conspiracy.

Considering the talent involved. This should have been a much better film. 

The film feels more like a revenge saga that happens to have espionage and the government more on its mind and just adds that revenge to make it more personal for the lead.

The film’s most memorable action sequences are shown in the trailer and seem to be used quickly within the film’s first hour.

This is a totally joyless film with no sense of fun or any real excitement. 

When it comes to most espionage films. I usually find myself confused and having to watch a few times to work out exactly what happened or went down. This film comes off as simplified or maybe as I get older I pay closer attention. This film feels way too simple.

The film runs into the Wonder Woman example of the hero being encouraged and supported. Only to find out by the end. He is the true enemy following the keep your friends close and your enemy closer mentality. The prick character thought out thought to be the villain is actually a red herring and the closest to an ally the main character might have.

Screenwriter Taylor Sheridan is used to writing these types of films but here he is working with previously written material. So he can only do so much.

The film has an epic story that feels more like it is told and is more compact than it should be.

Which considering director Stefano Sollima’s previous work. He seems to always make the focus sharp but seems to limit the action which feels all over the place as it feeds into a vast conspiracy that is international and worldwide, but by the end feels way too simplified and compact. 

Cinematographer Philippe Rousselot manages to make the images sumptuous enough that you can see the richness in the colors making everything vivid while being mysterious. 

The film keeps your interest but by the end doesn’t feel worth it. As there are way too many conveniences. It doesn’t help that star Michael B. Jordan and co-Star Jodie Turner-Smith feel like they are in two different films and most of us would rather be in the one she’s in. As it feels stronger like her performance. Whereas Michael B. Jordan comes off as a one-note. In pure action hero mode and not a charismatic one. Is that supposed to be for him to feel more realistic?

In the end, the film is entertaining enough but never feels like it goes far enough. So that by the end it is one of the few films made from Tom Clancy’s novels that feels small scale 

Grade: C-

LET HIM GO (2020)

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Written & Directed By: Thomas Bezucha
Based On The Novel By: Larry Watson
Cinematography: Guy Godfree
Editor: Jeffrey Ford & Meg Reticker

Cast: Diane Lane, Kevin Costner, Lesley Manville, Jeffrey Donovan, Kayli Carter, Booboo Stewart, Will Brittain, Greg Lawson, Ryan Bruce, Adam Stafford, Connor Mackay 

A retired sheriff and his wife, grieving over the death of their son, set out to find their only grandson.

The first half of the movie is more slow-burning, moving family drama built around a tragedy. That is better than one expects.

The film works as a new western. As it is a period tale with plenty of scenery of undisturbed landscapes. That slowly develops into a thriller of morals and honor. It even includes a Native American character. Who becomes a surrogate son for the main characters far away from home. 

Kevin Costner, we are used to this type of fun and role. As he more or less recently takes to roles that are more western influenced. So much so you wonder if he Is the new John Wayne or is he trying to be. Only less racist and a little more sensitive. Not to mention modern. Here he takes more of a back seat to Diane lane. Who is the true powerhouse throughout. Taking over scenes with a quiet dignity but ferocious spirit and manner. Costner ends up becoming her backup.

What Is interesting is that this is the type of film that Kevin Costner would usually Star in and direct back in the day. So while his appearance here isn’t surprising, which is how much he stays in the backseat rather than commanding scenes. Even if he becomes more active in the third act. 

They both display a fair amount of quiet acting that says so much and comes out of body language, facial gestures, and manners. 

Part of the interest In the first half is once they hit the road the people they meet along the way. Showing a kind of Americana. When it was changing and going dark. Hardening to a time of classical American values and idealism and their perversion of it. 

It’s also a nice reunion of sorts for Kevin Costner and Diane Lane last seen together in MAN OF STEEL. As the parents of Clark Kent/Superman making them the all-American mid-west couple. Here they are the same only as grandparents and their son went this time around.

Lesley Manville is deep in character and over the top memorable as the mama hen and main villain of the dangerous Weboy clan in this film and amongst the leads, she makes her mark and her presence felt. 

In fact, it might have been a little more interesting to see if the lebouf clan and how they operate. Their day-to-day operations and influence, but as they are talked about and built up as some kind of phantoms. They maintain an air of mystery and live up to their reputation and it makes the slow journey to them worth it. Even if they have mroe the unlikeable elements of the crime family in the film ANIMAL KINGDOM only less suggested incest. 

We barely get to know them personality-wise other than the matriarch and the family uncle, her consigliere of sorts. Who stands out. The uncle played by Jeffrey Donovan Whose character always offers a smile and a threatening manner. 

The film has many memorable scenes. Like the dinner scene at the weboy compound and we meet the family and it seems more a battle for power and strength over one another. Not necessarily physically but by implication. 

The Hotel room ambush is another striking scene that has shocking violence. That shows that this film is traditional but also kind of dark.

The film offers an ending that isn’t the massacre you might be expecting and still plays off not as satisfying as you might have hoped.  

GRADE: B

THE FROZEN GROUND (2013)

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Written & Directed By: Scott Walker 
Cinematography By: Patrick Murguia 
Editor: Sarah Boyd 

Cast: Nicolas Cage, John Cusack, Vanessa Hudgens, Dean Norris, Gia Mantegna, Brad William Henke, Curtis Jackson, Kevin Dunn, Radha Mitchell, Jodi Lyn O’Keefe

Alaska Trooper Jack Holcombe believes Robert Hansen is a serial killer who abducts young girls, tortures and sexually assaults them, then kills them. But Holcombe doesn’t have enough evidence to get a search warrant for Hansen’s premises. Holcombe knows that one victim, Cyndy Paulsen, somehow survived, so he decides to seek her help, but he finds that she’s now a junkie with trust issues. Holcombe has to earn her trust; meanwhile, Hansen is still hunting and killing girls.

The film luckily offers not as many Nicolas cage cliche freakouts as he plays his role here more straight and narrow.

John Cusack is the surprise here even though He plays it straight which might turn a typical audience away from the film as it isn’t going to have the payoff that is expected. He doesn’t really get to shine until the last act of the film. Before it is purely facial and physical. That makes you wonder if he is just a face to inhabit the Villain.

We follow not only the detective, but the killer a little less would have been nice to see the killer’s day-to-day life and see if it particularly tortures him like an addiction or if he had any questions about his actions.

We also follow the survivor played by Vanessa Hudgens as she tries to go on With her life with plenty of bumps along the way as the case isn’t publicized and she isn’t some celebrated victim or even protected. In fact, as she was previously a prostitute no one really takes her too seriously, and now has to go back to a dangerous lifestyle that got her nearly killed in the first place. She gives it her all, again might have been nice to see her try and go straight it get a better life. It’s strange but telling of the film’s quality and the changing face of distribution that while the film has a high caliber cast and director of today and not so long ago this film never made it to theaters and instead premiered on direct to DVD/streaming.

Though it’s off-putting funny when she begins to talk street-tough all of a sudden with a pimp. But at least she gives it an honest try and does not go into cliche. Though the bonding of the characters would have been nice gradual over time instead of exposing history all in one scene.

50 cent (credited under his real name Curtis Jackson) is also one of the film’s producers. Is getting to be a better actor playing the smarmy/seamier type of roles. Though his appearance is more of a surprise.

Though due to the casting we already know when the killer is and what we are to expect. It’s only in his they catch him. It’s less s thriller than trying to finally get him and for her to testify. Though in scenes with his family. You sense darkness and vitality about him.

The suspense comes in towards the third act. As it finally gets thrilling. As there is some before that but it truly intensifies in the last act.

The film taking place in such a remote land. Help make the action feel small scale even though tawdry. And as the film sticks to more of the real-life story. The film is absent of scenes of hunting or chases or even graphic violence. More focusing like a LAW & ORDER episode on catching the killer before he kills again. Rather than seeing his violent actions. Maybe as it is based on a true story they could only go with known Information and not flesh out the characters that the story could have had more than one would expect. The film doesn’t seem to break out of its own procedural ways. Should feel a bit bigger or more meaningful to a degree. The film keeps your interest but never truly engages you emotionally

In the final scenes, the suspense is felt as Cage gets frustrated as no evidence can be found. Which questioning him and keeps getting updates and upset. That is when the film manages to get a reaction out of the audience.

The film reminds me of the early days of so-called serial killing investigations. Before they were known to the general public. The hard work out in so that research was there and available for the private investigation Barely and at times In the film that comes in time and again. The ending hammers home the tragedy of the story for all of its entertainment

Grade: C

SHIVA BABY (2021)

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Written & Directed By: Emma Seligman
Cinematography: Maria Rusche
Editor: Hanna Park 

Cast: Rachel Sennot, Polly Draper, Molly Gordon, Fred Melamed, Dianna Agron, Jackie Hoffman, Danny Deferrari, Glynis Bell, 

At a Jewish funeral service with her parents, a college student runs into her sugar daddy.

The film works as a character piece. Even though it takes place mostly in one location and is full of colorful characters who add comedy and point of view to the story. It all centers around the main character played by Rachel Sennot in a subtle and ultimately powerful performance. As she is out under high pressure unknowingly in a continuous situation. She begins to unravel in all sorts of ways.

What makes the film so strong is that while there is comedy it plays almost like a horror film or thriller. As the score seems to help tighten the rope around the character and set in such a crowded space there are fewer and fewer places to turn.

Even as she is struggling to keep her sugar daddy who is far from a Prince Charming and the longer he stays at the party. The more his farm diminishes, but he is the only thing she had control over and loses him. She will feel like she has nothing. So she keeps trying harder and harder to lessen herself to keep and seduce him. 

As it seems scene to scene she is running out of places to hide or things to distract her as she gets more worried and more people to talk about her and the danger of her secrets being revealed. As she tries to make things seem normal.

Even as she tries to seduce a guy who is her sugar daddy back and you begin to wonder is it more about the power and strength as he isn’t all that appealing or beating the competition for him in his successful wife who seems to know more than she lets on. Or did she actually fall for him as something more than just a client?

Is she just desperate to keep the status quo as anything different would force her to grow up? As the man ends up not being all that appealing. Which one can tell early on before any revelations are brought to the table 

The whole cast is eye-opening, they are funny and emotional. Though Polly Draper as the roads mother has the right amount of emotions and judgment to be frustrating and sweet

Rachel Sennot as the lead is a revelation as she plays so many emotions and feelings all at once. Even though it is mostly through facial expressions and actions more than dialogue. Not to mention her natural beauty comes through when being plain but also wants to be looked upon with desire.

The film also offers us a bi-sexual lead where the film does have sex and sexual language the film doesn’t become all about or into about the character’s sexuality as their defining trait 

This film could have easily been more of a simple dramedy that would Feel more staged or at least stage-bound the way it is shown and protested here is short but keeps the audience on their toes as each revelation or emotion feels like a jump scare or is looked upon with dread. 

Though it offers up a few surprises, by the end it leaves the characters uncomfortable but in it’s own way a happy ending. 

Thankfully for all the awkwardness and Cringe-worthy conversations and situations that play like horror the film still has its fair share of laughs and humor.

Grade: B+

MERMAIDS (1990)

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 Directed By: Richard Benjamin 
Written By: June Roberts
Based on the book by: Patty Dann
Cinematography: Howard Atherton 
Editor: Jacqueline Cambas 

Cast: Cher, Bob Hoskins, Winona Ryder, Christina Ricci, Michael Schoeffling, Caroline McWilliams, Jan Miner 

An unconventional single mother relocates with her two daughters to a small Massachusetts town in 1963, where a number of events and relationships both challenge and strengthen their familial bonds.

Cher is the Star of the film even though the film is more centered around Winona Ryder’s character and is at heart a coming-of-age film. Her character ark is a kind of sneak attack where all of a sudden the supporting performance is actually the main one. By the end, we realize she is the film’s heart and soul. 

Here the main spectacle was supposed to be Cher as after all she is the star of the film and is center stage in all the advertisements but while she is healthy in the film she comes on strong at the beginning then becomes more of a supporting background performer. The nemesis to a certain degree of the protagonist is her daughter played by Winona Ryder.

This is a film that is dependent on each element. As only Cher had the star power and the cool to be the spectacle. She ends up doing good character work, but also she is the only person at the time who could play a fabulous independent female character. who is strong and knows what she wants and is not ostracized for it. Where it fits her personality to a t. It also allows for her to shine as a character and show more shades and a bit of vulnerability.

If anything I applaud this movie for its cast. Young Christina Ricci’s debut film and Bob Hoskins as Cher’s love interest and father figure to her daughters. A shoe salesman who is an artist at heart and open-minded, who tries to domesticate the family but not forcefully. He is understanding and a nice guy. Not to mention Michael Schoeffling is older, but kind of playing an older version of the same type of character he played in SIXTEEN CANDLES more of a mystery but genuinely a nice guy

Though Winona Ryder at large walks away with the whole film. Playing a teenage neurotic girl who also is the narrator and makes this almost a woody Allen Esque adventure in pursuing a crush. Only while the film seems that way it is about more than that. As she is driven by teenage angst and catholic religious obsession. Not to mention the changing and challenging times of the 1960s

Directed by Richard Benjamin who was a replacement for original director Lasse Hallstrom. and then Frank Oz. Before he finally came along. Whereas you could see Hallstrom’s version in your thoughts. Richard Benjamin’s direction is sensitive and strong.  Even more impressive that he was more of a last-minute replacement. One of his best-directed pictures. While some others came close this was truly his most heartwarming and dramatic that hit all the buttons. His best next to this movie MY FAVORITE YEAR.

By the end, the film shows how when young something can be an obsession you think about day and night but also how once something new comes along it can easily be dropped and forgotten entirely. It’s a quality of youth but might also be an inherited quality. 

Though this film at times might seem more formulaic, one quality the film possesses. Is that it feels lived in. It’s comfortable and feels more natural. The habitat of the characters is refreshing and gives the scenes so much more strength and allows them to be subtle when they need to be. 

The film even has a memorable soundtrack. Including the theme song which is a remake but sung by the star Cher. 

I will admit this is more of an underrated film that I have enjoyed ever since it came out. 

Grade: B

SWEETIE (1989)

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Directed By: Jane Campion
Written By Gerard Lee & Jane Campion
Cinematography: Sally Bongers 
Editor: Veronika Haussler 

Cast: Genevieve Lemon, Karen Colston, Tom Lycos, Jon Darling, Dorothy Barry

An introspective young woman’s life is upturned by the arrival of her maladjusted sister.

Not the first Jane campion movie I have seen but one of the few so far. Also, One that I have so far enjoyed the most. 

The film plays like an awkward comedy of dysfunctions more than anything else.

It has emotional hard-hitting moments but most of the film. While beautifully and symbolically filmed. The characters all come off as strange or off for the sake of the story more than naturally.

The title character comes off the maddest and while it seems has a mental illness. One wants to take her to a professional. So that she drives everyone around her mad. As they have to take care of her and know she will never see any of her behavior as wrong. Yet she still kind of fits in with the rest of the characters.

As the film is frantic but comes off as a rather dry romantic comedy. That seems more composed rather than written. As the romantic comedy storyline. Is only one of few that runs throughout but is affected by the behavior of the title character. 

The longer you spend with the characters the more you care and get more invested. The same can be said of the film the longer you watch the more you get used to it and find yourself brought into the film’s and characters’ world.

This is a film worth investing your time in. By the end, you feel like you were part of something special. 

Grade: B