BIG BULLY (1996)

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Directed By: Steve Miner 
Written By: Mark Steven Johnson 
Cinematography By: Daryn Okada 
Editor: Marshall Harvey 

Cast: Rick Moranis, Tom Arnold, Julianne Phillips, Faith Prince, Curtis Armstrong, Don Knotts, Jeffrey Tambor, Tony Pierce, Stuart Pankin, Blake Bashoff, Carol Kane, Cody McMains

David Leary was bullied by Rosco when he was in elementary school. But he got even on the day his parents moved out of town. Now twenty years later, David, who is a successful writer, is invited back to his home town to teach. Everything is great until Rosco, who is still in town, recognizes him. Now suddenly someone is playing mean practical jokes on him. Isn’t David a little too old to be running to the Principal saying “Rosco’s picking on me.” ?

This film reminds me of the Sunday afternoon family Films, Enchanting on that last day of rest where you are recovering from the day before. You don’ t want to waste the day yet want to go easy. Still want to remember every bit of it as you want it to go by slowly as you know what awaits the next day. Back to the rat race.

So films of this are not that good, but I find them relaxing. Not to vital. There are plenty of acclaimed films that go on this day to as they seem so sudden and important on a day full of rest that they stand out. I wish I could say which day I prefer to watch films as each day brings their own mood and a certain kind of magic to whatever you screen. They are like flavored some go better, but mixing and matching also works out well. Leading to strange and aquired tastes. That usually are memorable.

I only wish this film was better overall. It is done in a broad style and is high concept. Yet feels like it was done on a budget. Where things were supposed to be bigger and grander, but things got changed at the last minute and sent the production scrambling.

It sets up a romantic subplot only to sabotage it as a running gag, but then abandon it to a certain degree. Only to reignite it to tie a bow around the ending.

Now while the scenes of rivalry between the two leads are fun. They never seem to rise to a demented degree that is hinted at. It might be because this film is obviously intended for a more family friendly audience. Though it gets partially dark to a degree.

It would seem like perfect casting Tom Arnold as the bully and Rick Moranis as the victim who begins to strike back.

They both play to their strengths. That feels like it could have gotten more mileage if made today or even letting the actors go a little off script and improv their scenes. As they stick to the script they do what is required yet feel handcuffed to the script. Even when some flair is all that is needed to make the scenes feel more alive.

Considering it is directed by Steve Miner a noted horror director. This film could have easily gone a darker more terrifying way like the film NEXT DOOR by James Woods

Tom Arnold is a rare screen actor. He plays Midwest and hulking bullies well. Yet he can also play oversized nerdish characters. Either way the characters he plays are usually full of bluster and talk too much. Yet they always work. Just look at him in EXIT WOUNDS the Steven Seagal movie. OR FROM THE CRADLE 2 THE GRAVE with Dmx and Jet Li. Sure he has a type but he also plays that type extremely well. Though unfortunately he seems more judged for his past personal life and the manner in which he achieved fame and notoriety. Though if given the chance he proves to be quite humorous. Even if not quite over the top funny. He can also play drama look at the films animal factory where he plays his usual type and GARDENS OF THE NIGHT which is really stretch for him playing a mothering pedophile. To this day though not a huge hit, I am shocked he never played the bully in The Tim Allen film JOE SOMEBODY (no offense to Patrick Warburton who was good in that film)

Just as Arnold is good so is Rick Moranis who seemed to be stuck playing these type field though he is better then this one. Which might be one of the reason why he stepped away. Playing the same type on different films that offer no new directions for him. I don’t have to justify his talent as he has a more pedigree career that is evident in most of his roles. As he plays what is required but might be the most interesting character who you want to know more about as there seems to be more then what is shown. All due to his performance. Even if they come off as cliche. And he seemed to be the prototypical nerd stereotype, but also seems to have had been a prototype for the modern day hipster. Just look at half they hairdos he has in his films like STREETS OF FIRE and THE WILD LIFE. Including the fact that is his retirement he has become a noted musician with actual Grammy’s.

The only other cast member who really makes an impression are Curtis Armstrong as a fellow teacher with a nervous condition and Tony Pierce as Moranis’ fireman buddy Ulf, Who is obsessed with fire and flames.

At least the script gives a logical reason for all of the action as the characters slowly go back to their old roles. As Tom Arnold having become weak after going to juvenile jail for an innocent crime. Has been humbled and jot owed. But once his old victim comes back into town. He finds himself empowered and redirected. As he feels like a new man due to this change of events.

As Rick Moranis Ducks him due to a secret from then past he still feels guilty about. That is what keeps him scared at first. The. Finds the strength to fight back. This struggle is mirrors by the leads children basically mimicking this relationship only in reverse roles.

The film comes alive a few times. Especially whenever Moranis’s character is dealing with his old friends from grade school who are all grown up. Which again introduces something interesting then seems to abandon it. As it seems like there are some interesting ideas that are never explored or feel cut out to trim the fat. As this film barely makes ninety minutes. There were plans to do a sequel which never materialized.

The film isn’t deep but it is a nice time waster that you will forget immediately after watching it. If anything it’s a film to watch with your kids to teach a lesson about bullying. And it’s dangers

Grade: C

HAPPY HAPPY JOY JOY (2020)

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Directed by: Kimo Eastwood & Ron Cicero Cinematography: Kimo Eastwood

Editor: Ron Cicero, Kimo Eastwood, Sean Jarrett, Kevin Klquber & Christina Burchard

Appearances by: John Kricfalusi, Jack Black, Billy West, Billy Gibbons, Jim Ballantine, David Silverman, Robyn Byrd, Bobby Lee, Ed Ball, Bob Camp 

A documentary that explores the rise and fall of The Ren & Stimpy Show (1991) and its controversial creator, John Kricfalusi.

This film is a discovery. As going into it didn’t really know all the behind the scenes drama until mroe recently and shined a light on what really happened between Nickelodeon and REN & STIMPY show. A show I remember watching early in my teens and loving it for being Different and twisted.

Then when I found out it was created by the man behind THE NEW ADVENTURES OF MIGHTY MOUSE. An equally inappropriate animated show but not as bad. Though for a Saturday morning cartoon on a major network it was shocking. It was canceled quickly after an episode seems to imply that a character snorted cocaine.

There is good and bad in all of us, sometimes it tips to one side more than the other. This is A rise and fall story that seems to happen so fast after the initial success that the monster of ego grows so fast you can barely notice. Once you do It’s too late might be indebted and then all the other horrors of their personality come out.

This is a tale of a self destructive artist in the middle. Where for the viewer it seems to be another childhood nostalgic love tainted by controversy over who is behind it and his personal problems and bad behavior.

Though as the cartoon of REN & STIMPY was a little off and kind of naughty especially for the audience it was aimed at. We might think it was rebellious and getting away with stuff that we didn’t understand but knew was wrong or too grown up for us to understand. We look at it as something fans took to heart and a kind of avant garde and there is no denying the talent behind it, but again it becomes a tale of trying to separate the art from the artist though knowing that art couldn’t have been created by anyone else. Even though after time other stepped into help create it and keep that spirit alive.

The artist behind it all doesn’t offer as many excuses as he does in the article that comes to light later and highlighted in the film. That includes interviews from those who know him and even his victims. 

His behavior that is tied into his art seems to do be part of his personality or a disorder that allowed because of a narcissistic personality and plenty of enablers that came along with his success. Even as it hints that he had a rough upbringing that has shaped him and his personality.

Happy this documentary talks about the accusations that go along with his other problems. As an audience should rather find out and know this rather then keep praising blindly. Where eventually you can’t separate your fandom. As you have been indoctrinated and It’s too late as you until then you have been loyal, nostalgic and too content to part with it and separate yourself. Where you try to rationalize and separate the art from the artist. Something similar for some with directors like Roman Polanski or Woody Allen. 

Wish the documentary has gone into his tiger projects but would have gone against the nature of the subject this documentary raises and given him too much screen time making the film all about him and his portfolio and not the actual project that has given him the biggest platform.

The film tries to show the other artists, talents and executives on production teams creativity. As well as what they brought in on the show. Sure he was the creator and head artist/writer but they gave the show and characters soul, depth and humanity. As well as them all admitting he drove them to work harder and be better to make the best show they could.

We hear from his collaborators and other artists who were either fans, victims or witnesses and suspected things that might have happened or noticed inappropriate behavior or nature but were too scared to say anything. As they were all rebellious and misfit outsider going against true norm of the system. Only they didn’t go as far as him. 

So in the end the documentary shows both sides to him. The successful side that gained him fans, attention as well as notoriety. As well as the infamous dastardly bastard side where he used his success and fame to bully and fuel his Inappropriate fetishes with young women. Allowing him to be a sexual predator. We also get to see which side won out.This Documentary will rock your world if you like me weren’t exactly in the know about all the behind the scenes drama and revelations over the years.

Grade: B

A HIDDEN LIFE (2019)

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Written & Directed by: Terrence Malick

Cinematography: Joerg Widmer

Editor: Rehman Nizarali, Joe Gleason & Sebastian Jorsi 

Cast: August Diehl, Maria Simon, Karin Neuhauser, Tobias Moretti, Ulrich Matthias, Matthias Schoenaerts, Bruno Ganz, Michael Nyqvist 

Based on real events, A Hidden Life is the story of an unsung hero, Bl. Franz Jägerstätter, who refused to fight for the Nazis in World War II. When the Austrian peasant farmer is faced with the threat of execution for treason, it is his unwavering faith and his love for his wife, Fani, and children that keeps his spirit alive.

This film is a love story of life and family itself. 

One of the reasons this film is so much more enjoyable or ranks  above Terrence Malick’s more recent films is that it is not as abstract. Still visually beautiful but doesn’t rely on things such as narration and voice over to tell It’s Tale. It doesn’t feel like a puzzle to be be solved.

The film is a tragedy but it is a film full of life and excitement. As it slowly dwindles down to hopelessness but in there there is hope and a fulfillment of spirit.

It’s based on a true story and let’s the strength of character be told there. It doesn’t have as much existential and philosophical angst and questions. There is a strong story as well as telling a story based on actual things that happens and offers a look at a historical event. So that it feels stronger and put together like more of his classic films rather then KNIGHT OF CUPS, TREE OF LIFE  and SONG TO SONG story a lesser degree TO THE WONDER. Which felt like Director Malick run amuck with his creativity or his poetry period.

This film might be stronger as it is based on a true story and makes the director stay within certain guidelines. Where he has space can can’t deter too off or too free form. This works in his historical tales and adaptations of novels.

Like most of his films this film feels spiritual above all else. They feel like they are taking you on a journey even when they might not be moving anywhere and pretty much have the characters in their regular day to day activities

He makes films that are much more powerful on the big screen and feels like you can get into the same wavelength if you have no other option and are surrounded giving into it’s will so to speak.  Not letting it do so much of the storytelling. If there is it is in the form of letters bit inner thoughts 

It helps Fill in certain aspects of the story. That might not be that interesting to Show or out on screen. but it shouldn’t Take Over the narrative and do most of the work And allows for the philosophical standing up for one’s beliefs is at the heart of the story. 

When the modern intrudes in the ills classic way of life. How then religion chooses to respect those in power instead of staying by its principles.

It also feels like a film that hits harder and is more relatable in the current political and world climate. 

Grade: B+

THE BAND’S VISIT (2007)

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Written & Directed by: Eran Kolirin Cinematography: Shai Goldman

Editor: Arik Leibovitch

Cast: Sasson Gabai, Ronit Elkabatz, Saleh Bakri, Khalifa Najour, Rubi Moskovitz, Uri Gavriel, Hilla Sarjon 

A band comprised of members of the Egyptian police force head to Israel to play at the inaugural ceremony of an Arab arts center, only to find themselves lost in the wrong town.

It took me some time to finally watch this movie. Now I am kicking myself for talking so long. As this film is low key magical. That might be best to discover without knowing too much. Even as the title says it all.

The film sneaks up on you the more you spend time with the film and it’s characters. The more depth you realize and feel underneath all the layers That you are charmed. 

Yet the film is filled with a quiet dignity and sadness. That maintains a distance yet leaves itself at times to be vulnerable.

One of the characters realizes who they want to be but also realizes that he is set in his sadness and no matter how he tries he will never be brought out of it. So he focuses on career as that is all he has to the point of obsession and when he is partly separated. He can see what he is missing and is overcome by the kindness shown when he has not been. 

The woman who tries to help them on his travels and takes an interest in him particularly is the first person he has opened up to. As she seems bored in her day to day and him or at least breaking him might be the first amount of excitement she has had In a while. Even as she is more outgoing and extroverted.

The leader of the band refuses her advances and tries to set up a younger Many to carry out the passion he can’t for her physically.

This film hits you like an alcoholic drink that is caffeinated. Throws you off balance but you can’t help but pay attention.

The film takes it’s time as each of the members of the band goes on a visit and has their own little adventure. That would seem more like footnotes In most film, But all add up to a grand experience 

The film stays quirky yet always seems dipped in sadness. As most characters seem longing for something and that leading to them being stilted emotionally.

Used to a certain Comfort yet longing for more even if just a simple gesture. 

Like the music itself, the film has it’s own rhythm and it’s own beats that makes the film not only visually lyrical. It’s a masterpiece of it’s own. Especially as what seems to be said and done with so little. 

Grade: A

THE SITTER (2011)

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Directed By: David Gordon Green 
Written By: Brain Gatewood & Alessandro Tanaka 
Cinematography By: Tim Orr 
Editor: Craig Alpert

Cast: Jonah Hill, Ari Graynor, J.B. Smoove, Sam Rockwell, Method Man, Bruce Altman, Erin Daniels, Max Records, Samira Wiley

A comedy about a college student on suspension who is coaxed into babysitting the kids next door, though he is fully unprepared for the wild night ahead of him. 

This film is a Rated R ADVENTURES IN BABYSITTING remake almost. Though this is definitely dirtier and less heartwarming but still just as fun. 

The film is a major showcase for Jonah Hill. This is one of those films that your enjoyment depends upon. It’s comedic center and performance and luckily here you have a solid comedic lead with Jonah. The only problem is that he hasn’t defined his type yet. It works out in him giving more of an acting performance than a comedian’s performance where it just would feel like an extension of the comedian’s comic personality. 

He is still a bit shaky and unsteady but definitely finding his way and feeling himself. There is one thing i truly admire about Jonah hill is that with each project he takes on, he is hands-on throughout the production as far as writing and creativity. 

This was his last film before he lost a massive amount of weight. To me so far in his career, Jonah Hill has barely made a misstep. He even managed to make a dramatic turn in MONEYBALL. I didn’t think much of going in and ended up surprisingly loved it. Not only does he hit it out of the ballpark but he got an Oscar nomination. 
 
If you don’t like films that rely on stereotypes to a degree and children being exposed to bad language and inappropriate situations But also using it. This is not the film for you. Which might be why the film bombed. Its advertisement is full of kids. Which you would think would make it a movie that you could bring your kids to. Unfortunately, you can’t.

Which really makes you question is the film only funny because it’s pushing the limit and squeezing laughs out of it or is it just funny. In other words, is it success only shock value. 
The film barely got a good advertisement like they were just throwing it out, Made it just seem like it is only about a Male babysitter isn’t that funny. It has Jonah Hill looking shocked on a flyer for a babysitter asking “Would you trust this guy with your kids” 

I enjoyed the film more then I expected to because despite all of it’s nastiness, shocks, and familiarity. It also managed to have sensitivity and heart without selling out it’s cynicism. It’s a shame it bombed as it seems to be juvenile an off-kilter crowd pleaser. 
 
J.B. Smoove Plays his usual type of role but it works for the film and is hilarious and adds to his menacing character to a point considering the drug dealers He and Sam Rockwell play in the film are more comedic then threatening which makes them that much scarier as they are continually off-kilter. Sam Rockwell’s drug dealer and his harem of well-muscled men are inspired and definitely off-putting. As always Rockwell is an engaging performer who is good dramatically but kills in comedic roles. 

The film tries to play it both ways Between Cynical and heartwarming. Towards the end even though the film has mostly been playing by its own rules, it turns a bit sappy out of nowhere when all of a sudden the main character played by Jonah hill gaining Noble wisdom having all the answers and finally figuring out responsibility and when he should be taught a lesson and deal with his mistakes. 

He is let off and saved so that only for the grace of the script he would never truly learn his lesson as he gets away with almost everything without punishment. It’s a movie that is not meant to be a lesson know. I’m just saying. This film is a good rental. I only wish the running time was long to keep the film going. Yet it ends before it wears out it’s welcome.  


GRADE: B-

THE MASK (1994)

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Directed By: Chuck Russell 
Written By: Mike Werb 
Based on a Story by: Michael Fallon & Mark Verheiden 
Cinematography By: John R. Leonetti 
Editor: Arthur Coburn 

Cast: Jim Carrey, Cameron Diaz, Peter Greene, Amy Yasbeck, Richard Jeni, Joely Fisher, Peter Riegert 

Stanley Ipkiss is a bank clerk that is an incredibly nice man. Unfortunately, he is too nice for his own good and is a pushover when it comes to confrontations. After one of the worst days of his life, he finds a mask that depicts Loki, the Norse night god of mischief. Now, when he puts it on, he becomes his inner, self: a cartoony romantic wild man. However, a small time crime boss, Dorian Tyrel, comes across this character dubbed “The Mask” by the media. After Ipkiss’s alter ego indirectly kills his friend in crime, Tyrel now wants this green-faced goon destroyed.I remember going to see this film in movie theaters. 

Before this film I was never a big fan of Jim Carrey Really but this film made me a huge fan of his. Yet this film won me over and made me more aware of his comedic talents. 

It set’s itself up early as it revolves around a fantasy world and not a real city. So it stays true to it’s graphic novel roots a little. Though where as the graphic novel is more dark and cynical this film is fun and like a live action cartoon with the mask character. There are deaths in the film that seem to be more about cartoons then violence. That is the beauty of the film where it is more of a kid’s film at heart for adults that kids will naturally want to watch and enjoy. 

 Jim Carrey at least plays a double-sided character instead of him just riffing with his more physical comedy. He plays the shy nice Staley Ipkiss with as fuch energy and fervor as he pays the mask. Who seems to be like all the looney toons characters all rolled up into one. That is the element that attracted him to the role in the first place. He adds his own touches like the banana yellow suit he wears is based on the one his mother made when he first started to perform stand-up. He laso says the way he played the character is based on his father. 
 

The film is the acting debut of Cameron Diaz (Who was a last-minute replacement for Anna Nicole Smith) and she is the ultimate Femme Fatale as she has never looked as good as she looks here and never been as memorable. Once she comes onto the screen she has one of the most memorable entrances ever. 

There is a backward plot that involves the mask going against the mob and stealing the mobster’s girlfriend and just when they set up a romantic rival for Cameron Diaz they dump her just as soon so that our hero can get the girl who led him astray in the first place only in the movies kids. 

I wish This is a fun film that utilizes it’s special effects and they look good and natural not fake and too far out. The film is still relevant as it has aged well and is still fun to watch. It’s not quite the risky film that would be made today or even taken a chance of today I am glad it was made. 

It’s just the type of off-kilter movie that initially you would think would be more of a cult type project but with the addition of Jim Carrey A mainstream star it became a worldwide hit. Followed by an inferior sequel almost a decade later that was even more lighthearted then this film was.  

This film has a dark heart that is never given a chance to fully flow, it is more dressed up to make it more mainstream. It’s still a good film. A film where you wish you could have the masks and the power of it. Realizing that half the time how he overreacts to things and contorts is how you wish you could express yourself in similar situations. 

Chuck Russell directed this film and for all the verve and inventiveness he brings to this film. He didn’t bring any to his projects after this film. He had one of note before this that I really enjoyed THE BLOB and NIGHTMARE ON ELM STREET PART 3: DREAM WARRIORS 

GRADE: B

SHIRLEY (2020)

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Directed By: Josephine Decker

Written By: Sarah Gubbins & Susan Scarf Merrell

Cinematography: Sturla Brandth Grovlen Editor: David Berker

Cast: Elisabeth Moss, Logan Lerman, Michael Stahlbarg, Odessa Young, Robert Wuhl, Victoria Pedretti

As renowned for her morose nature as she is for her horror fiction, writer Shirley Jackson is crafting yet another masterpiece when the arrival of newlyweds Fred and Rose disrupt her creative process and marriage to literary critic – and philandering professor – Stanley Hyman. As Stanley spars to maintain academic dominance over his would-be protégé Fred, Rose attempts to dampen her own ambitions and adjust to married life while living under the roof of their fiery intellectual hosts with quicksilver loyalties and myriad neuroses. When the motives of Shirley’s literary muse prove elusive, Rose’s curiosity and trusting nature make her tender prey for a brilliant author whose only allegiance is to her work.

The leads can be cruel and vicious. But you still care about them.

As usual this is Elisabeth moss’s movie to rule over and blows most others off screen. So they are there to support and supply yet never makes as strong an impression on this bad journey as her. 

This is a film that is hard to describe as once you begin to watch you expect one thing and are bing lead to believe it will be and then slowly it gets you to care and invest and soo. You find yourself enchanted and before you know it you don’t knows here it has taken you but you feel uneasy yet mystified. Sort of like the Wiccan practices that are hinted at throughout but while the film Does seem to set a spell it is in the best way that enlivens the film.

It’s a drama is just turns into a thriller itself. In the beginning the film has disorienting camera angles that keeps us in the

Audience off center. As well as presenting is with a time period that might be foreign to us and a sudden sex scene that seems risqué for the period or at least surprising, it feels upfront and let’s us know to expect things like this. Though as these characters are introduced to these new surroundings and are so full of life. 

The camera is not handheld but always seems to be moving off center and going off on it’s own. Stylish one minute and abstract the next.

The film is haunting as everyone seems in on a secret or conspiring. Even everyday normal actions are scary or haunting with at atmosphere that feels strange or off. 

The film quickly becomes a disorienting mystery. As Shirley Jackson researches a true crime story to base her novel, but then adds elements of horror in the film. As it seems to add jump scares yet nothing out of the ordinary. As the film seems to cos tangly shift subtlety.

It keeps up this strange aura throughout. Including touchy feels flirtations that shirley’s husband keeps trying to have that is more like harassment. 

The men who seem to consider themselves in charge of the women in their lives and their wives. Before small supporting characters as the women grow closer, more in control and connection. In a certain madness that overtakes them. The junior professor comes off as a monster the most as he keeps trying to seem like he is this nice and caring guy but behind the scenes he is doubting, cheating and leaving her alone so that she feels alienated. 

The other wife’s husband looks up to Shirley’s husband as a mentor who can’t stand him really though allows himself to be a bad influence and follow in his philandering footsteps and arrogance.

The film ends up as a version of WHO’S AFRAID OF VIRGINIA WOLFF as it seems like the older couple is playing games and having fun with the younger couple while having a contempt for one another.

The film has plenty of sexual innuendo and behavior between the two. That seems innocent then Comes across as more powerful and manipulative.  Soon the two females find themselves In A strange cult to themselves with no name but a kind of relationship of beliefs.

She seems to be going crazy as Shirley towards the end as they seem to switch places mentally. Only Shirley is used to it and is more depressed. Where as the young wife seems to be losing her mind as to what is real and what isn’t. This is a first for her and it seems to make Shirley feel guilty as this reveal also helps explain a certain part of the beginning 

The film is an unraveling of who you don’t expect and ends up being haunted by her influence. As Shirley is unconventional and comes across as a witch which she calls herself.

You can see why Shirley is the way she is. She loves her life the way that she wants but Her husband loves off of her success and notoriety, but treats her as crazy and fragile. 

His constant cheating doesn’t help as it feeds his ego to make up that he isn’t a celebrated writer like his wife. 

Broken but knows herself and her strengths though struggles to get to the height of her talents. She feels guilty after the damage has been done. Though Her husband nothing seems to shock him. He is still there. 

It’s like a Bjork song by the end you don’t know what to make of it but you like it. It’s affected you and is like nothing else and it’s got rhythm Overall

In the end though in reviewing the book she has written it seems like they are more talking about the movie and drama we have just sat throughout what went down and what it took to get there. 

Grade: A

SEBERG (2019)

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Directed By: Benedict Andrews
Written By: Anna Whitehouse & Joe Shrapnel
Cinematography: Rachel Morrison
Editor: Pamela Martin


Cast: Kristen Stewart, Vince Vaughn, Jack O’Connell, Anthony Mackie, Zazie Beetz, Yvan Attal, Margaret Qualley, Colm Meaney, Stephen Root

Inspired by real events in the life of French New Wave icon Jean Seberg. In the late 1960s, Hoover’s FBI targeted her because of her political and romantic involvement with civil rights activist Hakim Jamal.


Kristen Stewart is the star spectacle of this movie that seems to be built like last year’s movie JUDY they won Renee Zellweger an Oscar a film meant to be a comeback of sorts and to show the movie going audience that Kristen Stewart is a strong actress by playing someone beloved from Hollywood or who is a cult star to certain audience members.


Here the film is more built around her and her character as well as performance but is given barely any room to standout or Flourish. As she never truly fully inhabits the role. As so many scenes she is in are dependent on her scene partners rather then her playing erratic and paranoid a few times.


This film is supposed to be an intimate portrait of a period in her life but barely has room To grow. Before it becomes more claustrophobic to illustrate her madness. As it more feels like a psychological thriller at certain points. Which makes the film feel more formulaic and suffers because of it.


In what should be shown in grand scale style feels independently small. Though the film is stylishly directed. Which only makes the flaws more evident. Which also reveals some of the films own clumsiness In handling some scenes and the material.


While the film shows the racist tactics used it also feels off note in it’s depiction of racism Making it feel a little prejudice itself.


The film Feels smaller scaled then it should. Can admit it helps to make the film feel more intimate and more A character study. Even as it seems to only examine one time in her life while filling. Us in other aspects. Though there even more in relaxed ways then having us know this helps paint the picture.


The film Also does itself no favors by giving us a sympathetic F.B.I. Agent as a dual protagonist. Because we are supposed to feel sorry and forgive him because he feels guilty and has a slightly bigger conscience then his partner and superiors but still can’t take back all the things he helped do. Not forced by the way but voluntarily. As he tries to act like he had nothing to do with it to a degree or he didn’t Know it would become this vicious? Though still well played earnestly by Jack O’Connell.


Putting her through all of this mainly because she supported the black panthers and helped about their cause and donations to them. As well as putting them in more of the public eye, but also making the powers that be seemingly jealous of her affair with one and spreading racist propaganda against her, him And the whole movement with glee.


Shocked to a degree that this film is so well cast for basically Non-Essential roles. Sure it adds star power to movies but they are given nothing to do. Though it might be as it gives the actors to play in something deemed at least a little more artistic then studio tent pole and franchise movies.


Which seems to be the mood here to be anti-establishment. Though even for such a tale of doom and gloom it still comes off more as a melodrama then compelling.


By the end the film feels defeated by itself.

Grade: C+

HOFFA (1992)

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Directed By: Danny DeVito

Written By: David Mamet

Cinematography: Stephen H. Burum

Editor: Lynzee Klingman & Ronald Roose Music by: David Newman

Cast: Jack Nicholson, Danny DeVito, Frank Whaley, Armand Assante, J.T. Walsh, John C. Reilly, Kevin Anderson, Robert Prosky, Cliff Gorman, Paul Guilfoyle, Karen Young, John P. Ryan

portrait of Teamsters Union leader Jimmy Hoffa, as seen through the eyes of his friend Bobby Ciaro. This film follows Hoffa’s struggle to shape America’s most influential labor union through his countless battles with the RTA. As he fights for workers’ rights, Hoffa locks horns with industry management, organized crime and Attorney General Robert Kennedy. In 1975, four years after serving his prison term, Hoffa disappears, in one of America’s most fascinating unsolved crime mysteries.

This is one of those films that should have been better. It’s built around a great performance by Jack Nicholson as usual. But that is really the only thing of note on this film other than maybe the ending.

As this should have been a slam dunk considering the casting and the behind the scenes talent. Especially a script by Noted Playwrite David Mamet. Whereas the film does have memorable lines. Just not necessarily quotable

The film was nominated for a special effects Oscar just for giving Jack Nicholson a fake nose.

At least Jack Nicholson gets to play an iconic character. While slowly becoming one himself as far as being an actor and movie star. That this film feels more like one of his lesser projects between the big noteworthy ones. The film certainly treats him As such and films him in the same way. 

Which makes the film seem more about Jack Nicholson and his iconography more than about Jimmy Hoffa who he is playing 

The film isn’t exactly a bio film, but begins from the viewpoint of a truck driver played by Danny Devito. Who also directs from his first meeting with the young Jimmy Hoffa as his fighting for union rights then follows them as he eventually becomes his bodyguard and right hand man until the end. Where we see the films conspiracy version of what happened to Jimmy Hoffa. Which is still a mystery. The film makes no judgements in fact it paints Hoffa as a hero. Even though he was corrupt and dealing with the mob.

When I was young I looked forward to seeing this movie. As I was a Danny Devito fan. As a short guy he was inspirational. As he never let his size define him and the characters he played or his talent. There were no roles earmarked for him, but he got them through talent and charisma. He even became a marquee star and a good director and businessman.

He achieves more than people give him credit for he is still someone I admire. As he still break conventions. He’s not a bad director but only a good one early in his directing career. He had success but after this film he seemed to lose his touch.

Here he has a grand operatic style with the camera. I guess to go with the epic story. He was envisioning that is well shot but in the end only comes off as ok. This film is an artistic peak for him. This is the most epic and strongest film Devito has directed. 

I like the fact that he is unpredictable in his career and always seems to choose his projects. Not based on previous expectations but breaking new ground. His Jersey films were the hot production office of hip 90’s indie film.

Grade: C+

OFFSIDE (2006)

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Directed & Edited By: Jafar Panahi
Written By: Jafar Panahi & Shadmehr Restin
Cinematography By: Yuval Berazani & Korosh Bozorgpour

Cast: Sima Mobarak-Shahi, Shayesteh Ireni, Ayda Sadeqi, Golanz Parmani, Mahnaz Zabini

 “Offside” is about a group of Iranian girls who attempts to enter Tehran’s Azadi Stadium dressed as boys in order to watch a big football match but some get caught and arrested. After the establishment of the Islamic Republic in Iran, women are not allowed to enter the stadiums. 

The women here are not very convincing dressed up as men, Some could pass. Here we follow a first-timer tries and is caught and detained with other women. We get to see their passion for the sport. The camaraderie that develops between them. The hypocrisy involved in this law prohibiting women. Which even some of the men attending the game see as stupid or don’t really care.

It’s rare the movie that can involve social commentary and still be a light-hearted comedy, But this movie succeeds and scores.

This film involves characters you grow to love and are astonished at their rebellious nature. For what can be a trivial pastime but they are willing to lay it all on the line for football or what we in America would call soccer. The beauty of this film is that even though it’s a dramedy. It feels more like a documentary due to the realness. The camera work and the fact that it was filmed during an actual world cup qualifying match.

There is nothing outrageous it is more the comedy that comes from real-life situations. I like the fact that the film doesn’t make anyone out to be evil or a villain. Even the guards who are there to reinforce the rules are three-dimensional characters. Not one-dimensional zealots, that you see a lot of times in a lot of other movies.

This is definitely a must-see. It’s not propaganda or a political film drowned in messages and symbolism. In fact if not for the politics involved this could be a nice breezy comedy. I mean it is rated PG after all.

An Addition to the home library.

GRADE: A