Tag: Adaptation

THE LAST VOYAGE OF THE DEMETER (2023)

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Directed By: Andre Ovredal

Written By: Bragi Schut Jr. And Zack Olkewicz

Based on Log Of The Demeter “DRACULA” By Bram Stoker

Cinematography: Tom Stern 

Editor: Julian Clarke, Patrick Larsgaard and Christian Wagner 

Cast: Corey Hawkins, Liam Cunningham, David Dastmalchain, Aisling Franciosi, Chris Walley, Jon jon Briones, Stefan Kepicic, Martin Furland 

A crew sailing from Varna (Bulgaria) by the Black Sea to England finds that they are carrying very dangerous cargo.

This is not a bad film, but it does feel like a lost opportunity where the audience keeps thinking how much better it could be if it used practical effects so there wasn’t so much CGI. Also if the movie was filmed on actual film and not digital, it wouldn’t look so dark and feel more of the period. And if it had been made in the 1980s, it would feel more like either an adaptation or a surprise filled with more imagination, and a studio would maybe Mohr put its full weight behind it either in theaters or even if it was a movie that was faded to end up straight to home video.

As it stands now, it feels too slick and not quite sincere enough to be a success which it should be. 

This is another film, directed by Andre Ovredal. Who adds a black lead to a supernatural historical tale. Which does add excitement and some color to the proceedings. Though here The film remains predictable.

I have seen some audience members attack the film because of the beginning And readers of Bram Stoker’s Dracula, the novel, which lets us know what happens or the fate of the crew and characters, but truthfully, that is what most slasher and horror films are guilty of we watch for the how wise and who’s we most likely what will happen? We just come to see how it happens, though. The same can be true of action films and sequels. Especially with stars and specialized starring in those types of films and playing virtually the same character or the same type. So picking on this film for the same reason feels like low-hanging fruit that you know coming in what it would be like and most likely that would be predictable. 

At least the screenwriters and filmmakers offer to flash out that chapter of the book and use their own imagination to ramp up, not only the characters and suspense but, ultimately their fates also try to create a claustrophobic atmosphere on the ship.

Stay entertaining, filled with characters that could have easily failed as this film obviously has passion and quality behind it.

Unfortunately, it comes off as a well-intentioned B-movie. With competing and battling accents among the actors to see who can be the most authentic to a certain rogue or region.

The film has a cast, and Cory Hawkins deserves more leading roles. As well as Aisling Franciosi who always seems to play characters who are surviving in pain.

Though the film seems to be trying to offer an origin to a franchise. we know unfortunately isn’t coming or the beginning of a fruitless search for justice. It’s a shame as the film has all the right ingredients. It’s just that the meal or main course isn’t as tasty as it should be. 

Grade: C

THE POSSESSED (1965)

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Directed By: Luigi Bazzoni and Franco Rossellini

Written By: Luigi Bazzoni, Franco Rossellini, Giulio Questi and Ernesto Gastoldi 

Based on the novel by: Giovanni Comisso

Cinematography: Leonida Barboni 

Editor: Nino Baragoli

Cast: Peter Baldwin, Salvo Randone, Valentina Cortese, Pia Lindstrom, Pier Giovanni Anchisi, Ennio Balbo, Verna Lisi, Philippe Leroy 

Famous writer Bernard travels to a small lakeside town for an off-season winter vacation. He checks into an old hotel owned by Enrico and his daughter Irma expecting to meet Tilde, the maid he had a crush on the last time he visited the town. However, he discovers that Tilde has committed suicide, and when he meets the local photographer, Bernard learns that she was pregnant. He becomes obsessed with finding out whether she really committed suicide and to guess what really happened. When Enrico’s son Mario and his wife Adriana arrive at the hotel, Bernard has daydreams about Tilde’s fate.

It’s true they don’t make films like these anymore and it’s a shame

This is a film. I have only heard about it recently. It’s a film. I am happy to have discovered it’s based on a true story. It might remind some viewers of Alfred Hitchcock’s Vertigo more for its obsession and mystery aspects than necessarily the filmmaking or direction.

Only here it’s an Italian film and it’s beautiful to look at and the woman at the center of the mystery is pretty though not as haunting as other heroines in this type of film.

Which has the main character, a photographer, and writer comes to town to look up a female whom he had an acquaintance and took pictures of the year before and might be hoping to romance only to find that she is dead and that it was murder. He finds himself obsessed with getting to the bottom of it, aided by the few friends in town who give him hints but never quite the full story. 

It’s a short film you can pretty much guess who the guilty is, though throughout there are plenty of twists and turns and revelations that you don’t quite see coming that even the audience is introduced to that the author has until certain aspects of the story come into play.

This isn’t a very romantic film, but it’s a film shot in black-and-white and looks beautiful and the film does stay haunting even after the ending is revealed and the third act is full of twist. The film isn’t as deep and penetrating as you hope it is quite a surprise for those who don’t know about this film that is worth seeking out.

This isn’t a super sleuth tail, nor is it a tale of unrepentant evil characters. As it unfolds It’s a story that feels all the more human and it fails with characters who are more three dimensional, and ultimately tragedy is a fulfilling film by the end. 

it can only go so many places, especially based on a true story. I can’t say it’s something you’ve never seen before but it is a story that will keep your interest. It not only focuses on the who but also the Y and the aftermath

Grade: B-

CITY HUNTER (1993)

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Written & Directed By: Jin Wong

Based on the Comic By: Tsukasa Hojo

Cast: Jackie Chan, Richard Norton, Gary Daniels, Joey Wang, Kumiko Goto, Ching My Yau, Leon Lai, Paul Sinn, Ken Lo, Tzui-Pin Wei 

A self-indulgent private investigator winds up on a cruise ship full of rich patrons, gorgeous women, murderous terrorists, and scarce food.

This film comes across more as a cartoon with the requisite sound effects and visual effects with over-the-top comic antics even fantasy sequences that at times are supposed to be sexy, but come across as silly.

As it is way more comedic than his usual films.

At least the camera barely stays still for any elongated scenes or pieces of time, though it outdoes shots for so-called style. 

The film feels like an indulgent 1980s fantasy film grounded in reality where the second half plays like the movie under siege, but there are plenty of comedic antics. In both parts

The problem with the film comes from the heart of the film, which is that Jackie Chan’s character is a great detective who seems very clumsy, daydreams a lot, and always seems to be after sexy women. He is helping to take care of his partner’s daughter. At first, it’s like they have more of an uncle-niece relationship at times, it seems like she wants to make him jealous by going on vacation with a cousin so that it may be a romance on her part towards him, but he also seems to show a certain jealousy when other men are interested in her and this seems to be part of the romantic comedy elements were a force of the movie.

it’s made all the more inappropriate seeming as the girl he is taking care of looks like a teenager as well as the girl whose case he is working and he is noticeably older than both of them so seeing him try to romance them in certain scenes feels very uncomfortable.

The film feels more trashy than the star’s usual fare. They will try to maintain innocence and say it’s all in good fun as it is a stupid comedy that’s more physical and less action and more stunts action. There is also more comedy and less stunt work.

There is no nudity but fixated on the female costar’s cleavage and body, and finding funny things to do with them and come across more as character traits than an actual character.  As there are many scenes where he seems, the female characters are groped for comedic effect that comes across as a little bit more exploitative. 

It also makes life seem cheap. As there is tons of abuse towards women played off more as comedic. This is horrible especially when the Supporting female characters here are actually more fun and funny than the main actor.

The film is a screwball comedy without a good script. Even the villains henchman here seem to be wearing uniforms that look like costumes left over from V: THE MINISERIES.

Again, at the halfway point, this movie turns into Under Siege, the dyslexic version. The second half of the film is better than the first half.

This seems like a role less significant for Jackie Chan as it seems or feels like almost anyone could have played it because of physical and comedic skills were why he was called and offered him a chance to play an actual role outside of his usual persona. 

It’s fascinating how ridiculous this film is especially anytime. Visual effects are used that feel more like a live-action comic book. 

It has strange bits of humor like a scene that has a street fighter-themed fight with various characters playing the video game characters. Do video game antics and sound effects. That comes across more as a parody.

Grade: C 

SPACEMAN (2024)

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Directed By: Johan Renck

Written By: Colby Day

Based on The Book “Spaceman Of Bohemia” By Jaroslav Kalfar

Cinematography: Jakob Ihre 

Editor: John Axelrod, Scott Cummings, and Simon Smith 

Cast: Adam Sandler, Paul Dano, Carey Mulligan, Kunal Nayyar, Isabella Rosellini, Lena Olin, Marian Roden, Zuzona Stivinova, Petr Papanek, John Flanders

As an astronaut sent to the edge of the solar system to collect mysterious ancient dust finds his earthly life falling to pieces, he turns to the only voice that can help him try to put it back together. It just so happens to belong to a creature from the beginning of time lurking in the shadows of his ship.

This is an existential journey, a type of film that deals with loneliness and depression, and even though it takes place in outer space, it’s more about an inner journey than anything else.

So if you’re gonna do a movie that is practically mostly almost a one-man show where you spend time with the lead you’re going to want to cast an entertainer who here is trying to be more of a dramatic actor, but is definitely someone you know the audience is a fan of and identifies with Who they won’t mind spending time with throughout, even if he is not offering his usual type of performance.

Most are coming to this film for its star to see him in a different type of role, more dramatic than he takes from time to time, and not as rarely as before. 

The film like the character sounds downtrodden throughout 

Technically an art film is not bad and is actually impressive. It has plenty of artistic flourishes among the mundane story as the effects are, but this feels more like a Spotlight more focused on the character and his story. 

The film is about heart, but it feels like it lacks it, though Carey Mulligan seems to be the heart of the film and of the character’s existence, they are mainly kept apart most of the film.

As her character stays somewhat unsupported by him. The main problem with the film is that his character seems to be the same from beginning to end, even in the flashback so since she seems to be more lively, we never quite are sure why she fell for him, even though she explains it, but we never quite see it. so that this love story or romance kind of makes no sense as even when we see old pictures of them, it looks awkward and uncomfortable

The film might have been more noteworthy before streaming as it definitely would have probably made it to theaters with high hopes here it just seems like a regular expensive experiment or his yearly release through Netflix, focusing less on his usual type of comedies, yet still rocking his production companies, side project comedies. Shaking it up a bit with films like this.

The film is not as effective as it should be or tries to be it has good, technical filmmaking. It’s very meditative and slow as we live through his trauma

Love the cast, Carey Mulligan, Lena Olin, and Isabella Rossellini, who finally gets a role that is more than a minor one scene, the appearance of Kunal Nayyer. One just wishes they had more to do and a project that utilizes their talents more.

Nothing in particular makes this film noteworthy for all its peculiarities. It still feels oddly familiar as it is never quite warm, even when it wants you to feel something.

The one that makes the film and the characters come alive is a memory of a date at a public swimming pool.

Maybe if the film was more independent production, it would mean more as a project of passion to put all of a vision into, and it would feel like maybe a story that needed to be told. Here it comes across as entertainment that wants to have depth.

The second half of the film offers more heart. The film strives to be philosophical and romantic at heart. And after spending so much time, watching the film. You kind of surrender yourself to its charms, like Stockholm syndrome to make it feel like it was all worth it.

By the end In the film you can identify with him, but never quite feel anything. You wonder Is that the point?

Grade: C+

COUP DE TORCHON (Aka CLEAN SLATE) (1981)

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Directed By: Bertrand Tavernier 

Written By: Bertrand Tavernier and Jean Aurenche

Based On The Novel “Pop. 1280” By: Jim Thompson 

Cinematography: Pierre-William Glenn

Editor: Armand Psenny 

Cast: Philippe Noiret, Isabelle Huppert, Jean-Pierre Marielle, Stephane Andean, Eddy Mitchell, Guy Marchand, Irene Skobline, Michael Beaune, Jean Champion, Victor Garrivier 

1938, in a French-African colony. Lucien Cordier is the cop of this village, populated with blacks and a few whites (usually racialist and lustful). He is a washout, everyone (including his wife Huguette) humiliates him. He never arrests anyone and looks at elsewhere when a dirty trick occurs. But one day, he turns into a Machiavellian exterminating angel.

This film can be looked at as a bit experimental, as it is based on a pulp thriller set in the United States but this version of the story is played out internationally in Africa, amongst the French colonists who are in the country.

While in the African’s land and home, these French characters who are more invaders in their territory, still think of themselves as superior and treat the natives like savages even though more or less, the so-called civilized characters, truly act more savage and heinous than any of them.

There are very few likable characters throughout this film it’s just that it takes time to learn the despicable of each, and somehow they seem to outshine each other as the tail goes along.

The Protagonist is a police chief in the area, though he is very Azih, and not very effective. He is in a loveless marriage, and having a secret affair that it seems most snow about but certain people acknowledge, but others are shocked. 

The young married woman that he is having an affair with is played by a very young Isabelle Huppert. Their early scenes are certainly sexual, but not erotic, and certainly feel dirty.

Until the police officer truly shows his sociopathic and psychopathic sides. And he ends up murdering two local pimps and covering up their murders implicating a colleague for it, and it seems like after that he seems to start a domino effect of anyone in his life who bothers him or stands in his way him getting rid of for whatever reason, and with each murder, he seems to lose another piece of his soul which already seemed kind of worthless. 

On one end, you could see this as a kind of revenge tail of a meat character finally standing up for himself and getting revenge on those who either don’t think much of him or sell him short,  but you also must wonder at times was he planning this the whole time And was waiting for the time to strike or was he just finally pushed too far and decided to act when the opportunity presented itself.

By the end, he has his own kind of superiority over other characters as he began, he seems to have a plan, and along the way, his plans seem to be changing as does his mindset.

whereas the reason he was doing it, and he was doing it, for he seems to see their true side And see them for what they are and wants to test them to see if they are worthy, and commonly they fail. He is the most testable it becomes a crabs in a bucket situation.

At first, it seems that lust is what drives his character and money seems to others as the film goes along. He seems to lose faith in anything, and everything that he believes in.

His married lover, who his wife seems to know about yet sometimes seems shocked, and his wife’s so-called brother, a truly her lover, are all over each other, and his house tries to even threaten to blackmail him with this affair.

The only character throughout this film, who seems innocent or just doesn’t know any better is the schoolteacher who the detective is on and sometimes has conversations with.

Don’t get me wrong. This film is hard to sit through. Almost every character is racist and uses that kind of language as well as assaults plenty of black characters that just seem to go with the territory and how evil the characters are in the first place.

Moving the setting of the tale from a small town in Texas to a small town in Africa. It seems to match the territory and gives the tale a wider point of view of which to not only look at it but study it also. As it is similarly, dusty, dirty, remote, yet tranquil.

The film can feel detestable at once, but not keep your interest. Never quite knowing what is going to happen next. It almost feels like a mystery only It’s not a who done it and we are watching from the killer’s point of view.

All the characters are racist. Which fits the noir tale. Most of the characters are unlikeable and a nest of vipers waiting to strike first. It’s Very inventive taking the Jim Thompson tale and making it a more international tale. The film is fascinating.

Based on the novel POP. 1280 by Jim Thompson. which I haven’t read, but this feels a bit similar as far as main characters go to the main character from another Jim Harrison tale THE KILLER INSIDE ME. As both are sheriff’s and psychopathic sociopaths 

Grade: B

PRISCILLA (2023)

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Written & Directed By: Sofia Coopola

Based on the Book “ELVIS AND ME” by: Priscilla Presley And Sandra Harmon

Cinematography: Philippe Le Sourd

Editor: Sarah Flack

Cast: Cailee Spaeny, Jacob Elordi, Ari Cohen, Dagmara Domincyzk, Tim Post, Lynne Griffin, Dan Beirne, Rodrigo Fernandez-Stoll, Dan Abramovici

When teenage Priscilla Beaulieu meets Elvis Presley, the man who is already a meteoric rock-and-roll superstar becomes someone entirely unexpected in private moments: a thrilling crush, an ally in loneliness, a vulnerable best friend.

An aesthetic to dig deeper into characters and moments lived in, not just the surface. A sensitive portrait or snapshot.

I get so excited about the new Sofia Coppola movies. While I enjoy her style, her movies I will admit at times aren’t the most exciting or action-packed. They are like stylistic recreations that are dramatized seem like recreations, and often feel humorous.

THE VIRGIN SUICIDES, LOST IN TRANSLATION, SOMEWHERE, and MARIE ANTOINETTE is her best and a kind of winning streak. The rest have had moments and pieces that are admirable it can be hit or miss even if beautifully filmed they are generally passable they can’t say that they are totally enjoy, they all make you think certainly are experiences in themselves.

In fact, some people will use that against her, saying that they are stylish live-action photo shoots to make her films easier to write off, though they do contain more than that you have to be willing to sit and experience them to finally discover it.

there is something about the everyday realities more than all the glitz and glamour that she tries to dissect looking to expose the truth maybe because she grew up on the other side within the fantasy of Fame so she knows it inside and out. She gets to see the power of fame and how it can easily corrupt, even those who are supposed to be Bastians of morality.

It Is a love story, but still showcasing a young lady a teenager who feels like she’s being groomed by a female, older established, and famous male, not only a star but an eventual icon.

There is expected to be an adult around them even though innocence is what seems to be the attraction for him.

The film is about her coming of age with life in this relationship, where she has to learn to gain her strength eventually and be independent from a more one-sided relationship.

The film is not a gossipy or sensationalistic account as that has never been Miss Coppola’s style. We already have many movies and documentaries about Elvis Presley Coppola seems to be trying to expose the more intimate portrait of a well-known love story, not focusing on the legend or his career as much as this is her story so that we can get a better understanding of where she’s at And had to go through.

As the domestication is more than anything, as we watch her, it shows like a little girl in a grown-up world, her being contained and cut off.

The film doesn’t have as many artistic flourishes and retro but is also kind of plain. It seems most of the movie takes place at Graceland.

Jacob Elordi is believable and gives an informed performance as Elvis Presley. he excels in the story of a relationship that offers snippets of his career So he gets to focus more on the dramatic side and charming side of Elvis not so much the showman or the performer. With him being cast in the old days, this might’ve been a starter film for him or a beefcake movie to test out a heartthrob and their box office strength but here it’s more artistic and not so much stunt, casting the film could easily be seen as movie material, made a bit more with depth and patience

Cailee Spaeny is as good as Priscilla in one of her first leading roles. She comes across, is fragile, believable, and strong in each iteration of Priscilla. Even if the performance doesn’t blow the audience away, it is more of an emotional one, as she is the one to take us through all of this, and who we care about.

I am more familiar with Priscilla Presley as an actress primarily from THE NAKED GUN movies so this film was actually kind of eye-opening for me. The film offers glimpses of what we know or what he is known for but shows what it was like to have to live with him through his crisis

We get to see romance from the beginning until the end, as it seems like at some point got tired, and the passion died. the passion died, we do see the introduction the first the seduction, the liking the falling in love the consideration of the marriage, The fights, and infidelity on his part.

This is a narrative a bit like the recent release, maestro seeing young love, but also as famous as maintained, and acquired how to affect a loved one behind the scenes, and how they learn to manage, staying more in the shadows, but still being a partner.

Also, it should be a given, and I love the soundtrack that doesn’t have that many Elvis Presley songs on it. It’s a return form for Sophia, Coppola, and Hits harder than one might expect at times and it still feels just a bit fluffy.

I remember when certain Directors had movies coming out part of the anticipation of a new release was the soundtracks not necessarily the scores, which one looked forward to unless it was done by a favorite like Jon Brion. Not even new music it was whatever classic or unknown songs or artists of the past they would use if it was a popular song, the Directors used it in such a way that you looked at an experience or listen to it differently than before if new to you you have obsessed over it like a brand new single hot off the presses.

Sofia Coppola still manages to do this, There’s a moment in the film where they listen to songs, and she says that the song lacks a catchiness to it, which is how some might feel, but this kept me thoroughly entertained and might be one of her more accessible films, though some will consider it a bit too slow for their taste.

It might represent the same old, which is successful, though, doesn’t end him to an audience as he comes across more as a time capsule, rather than changing with the times and him wanting to move on yet afraid. Just as his wife Priscilla has needs he seems to be deterred because it doesn’t fit in with what he knows especially during the 1960s a time of rapid change.

Ir Shows him learning and teaching himself having a rebellious attitude and learning independence. Even though the colonel shut him down, the same is happening with her. Only Elvis was doing it to her as they say hurt people hurt people, and then leaving her alone in a huge house to entertain herself, but not wanting her to mix too much with the staff, what was she to do?

Grade: B

FERRARI (2023)

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Directed By: Michael Mann

Written By: Troy Kennedy Martin

Based on the book “Enzo Ferrari: The Man, The Cars, The Races, The Machine” by: Brock Yates 

Cinematography: Erik Messerschmidt 

Editor: Pietro Scalia 

Cast: Adam Driver, Penelope Cruz, Patrick Dempsey, Shailene Woodley, Jack O’Connell, Gabriel Leone, Sarah Gadon, Michele Savoia, Valentina Belle, Tommaso Basili 

Set in the summer of 1957, with Enzo Ferrari’s auto empire in crisis, the ex-racer turned entrepreneur pushes himself and his drivers to the edge as they launch into the Mille Miglia, a treacherous 1,000-mile race across Italy.

Every holiday season, Adam Driver seems to cast a big project that might be questionable or controversial.

This film is a portrait of a certain time and the title character’s life that helps explain it and capsulate his past and present. That becomes exciting as its director, Michael Mann, and anyone who is a history aficionado of the title character.

Michael Mann seems to get older you notice that he has more interest in camaraderie and the definition of decision in a person’s life which is usually an older man looking back on life, he might identify more necessarily looking to or including the audience.

The film isn’t like the character reflecting on his life or on his last day or days before his death. It just focuses on a certain period in his life. The worst of times.

Penelope Cruz looks ravishing even here when they try to make her look plain. As she gives an exciting performance throughout the film, she has an international flavor with a jealous streak. As she gets older, she seems to become a more interesting actor, as she is no longer an ingenue, and the roles she gets are filled with more emotions and quite frankly seem to be a bit more juicy, even if not, necessarily the star or the damsel in distress.

I love Lady Gaga, but maybe her role in HOUSE OF GUCCI, if she was going to command the screen so much. She is one of the few notable things about this film. As she is so captivating, you can’t keep your eyes off of her. Takes with could’ve been a thankless role. It gives her something to do with plenty of dramatic territory and scenes. 

Shailene Woodley as the character’s unofficial mistress seems miscast, It could also be the writing as she’s never as interesting as the other characters and can’t seem to keep up with them either as even Sara Gadon playing one of Ferrari‘s drivers seems to have more of a dramatic and more to do or at least throughout.

Patrick Dempsey plays a supporting character. He is barely recognizable in the film. That was quite good.

The film is a Slow Burn. This film seems more for an audience of current enthusiasts or history fans who went to see the story you brought to life yet don’t like to read, maybe the film was meant for people to of the Ferrari car and Branding providing more insight and renewing interest. How he even views his drivers as disposable and wants to keep his brand pure, even though for success, he would have to dilute and make more cars essentially having to hand it over to another business to replicate more copies faster.

I wonder if the racing might’ve been more exciting watching in a theater. The film keeps feeling like it’s building towards something that never comes. Even if it seems like the race will be what this film will revolve around. It Never gets that exciting until a little twist, which is honestly the most shocking scene in the film and one of the best scenes of the film as it finally feels like something is happening.

The only time the film seems to come alive is in the scenes of Penelope Cruz and some of the car crashes.

This film feels like a brick, solid and heavy something to build upon or off of that never quite grows and needs more construction, though it is very well-made. It’s not that entertaining, It’s something to more admire than feel anything for.

The film is like a fine wine that has aged well. It looks luxurious. It looks delicious and refined and looks well made but when you finally go to taste it, it’s not what you expected, nor as good as it should be. Though I guess it comes down to Taste.

Grade: B- 

ALL OF US STRANGERS (2023)

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Written & Directed By: Andrew Haigh

Based on The Novel “STRANGERS” by: Taichi Yamada 

Cinematography: Jamie Ramsey 

Editor: Jonathan Alberts

Cast: Andrew Scott, Paul Mescal, Claire Foy, Jamie Bell

A screenwriter drawn back to his childhood home enters into a fledgling relationship with his downstairs neighbor while discovering a mysterious new way to heal from losing his parents 30 years ago.

First off before you even redistribute, this is a film that it’s best to go in blind to to get the most out of it. So please watch the film before you read this review as there will be some spoilers.

This is definitely a movie that would’ve been in my top five had I seen it in 2003 when it was released.

The film plays more like therapy sessions of unresolved issues that still exist, mentally, which can also be seen as a vivid confessional. Which might come across as a bit more theatrical or staged for some audience members. 

At heart, it’s a love story in the midst of all that develops like his relationship with his parents there’s an unknown history that is slowly brought to the forefront of its kind of acceptance, even though it does have its problems and issues by the end of the film it’s still heartbreaking nonetheless. As we witnessed the breakthrough more was revealed.

Director Andrew Haigh manages to make everything look like almost every frame could be a photograph in a museum.

Watching this film lead actor, Andrew Scott, as always can do no wrong as an actor for me at least he is similar to Sterling K. Brown, as he truly inhabits, their characters, deeper and deeper Sterling K is more of a chameleon who always has a different look with his roles and characters, Andrew Scott here the more his character opens up the more comfortable he becomes with himself, and also the more vivid the performance and memorable.

The director has a way of making the normal look extraordinary at times in simple ways.

It’s a story of nostalgia coming of age and finding peace within yourself as well as acceptance. 

At the end, it shows you can go home again not entirely. Always ghosts from the past waiting that need to be released no matter how much you want them to stay.

It’s truly hard to describe exactly the emotional strength of the film how powerful it is and where it leaves you at the end but it’s definitely worth watching. 

Grade: A 

THE MOD SQUAD (1999)

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Directed By: Scott Silver
Written By: Scott Silver, Stephen Kay and Kate Lanier
Based on characters created By: Buddy Ruskin
Cinematography: Ellen Kuras
Editor: Dorian Harris 

Cast: Giovanni Ribisi, Omar Epps, Claire Danes, Josh Brolin, Steve Harris, Richard Jenkins, Dennis Farina, Michael Lerner, Sam McMurray, Bodhi Elfman, Eddie Griffin, Holmes Osbourne, Toby Huss, Monet Mazur, Larry Brandenburg

Three troubled teens sent to jail are offered a deal to work with an undercover cop, uncover an intricate drug ring, and are caught in a deadly set-up. With cops on their trail, they have little time to solve the case and clear their names.

The nicest thing I can say about the movie is that they cast actors rather than stars. Even though they were trying to set up these up-and-coming to-be stars. Which actually gives the film, a little more authenticity, and credit than it probably deserves.

One of the problems with links character played by Omar Epps is that he’s just supposed to be the cool guy yet we rarely see him do anything that’s cool but as soon as he shows up his vibe, is that of the cool guy so you’re making the audience trust in assumption before actually exhibiting any of that type of behavior or action Which never really comes so it feels like a buildup only to be let down. Some might say is the same when it comes to this film though was there really any big demand for this film?

As it came out, remakes and reboots of old television series were kind of still successful, and a fad. Maybe the problem was it needed to tell the original story, but it also comes off as just another episode that could’ve been of the series.

As the villain seems to be a kingpin, but is a local kingpin, which realistically if you are kind of a side project, an undercover team makes sense, but it has all the excitement of taking down a local drug dealer now that really cinematic for an action film not real, even with all the intrigue that this film involves. 

I mean the film at least has all the villains as Caucasian, but then again, most of the characters are caucasian, with a sprinkling of minorities mostly African-Americans. So it makes clear who the audience source is for Home Truly is.

Now, here is where I get more into the problems of the film, which are overpowering. Any good takes the film might have. 

The film is kind of set up to fail as the most memorable character is taken away as Link was a cool and dangerous black guy from the show with an Afro here has Omar Epps with a regular haircut not particularly physically, scary, or too big. So that he resembles just a black guy without the Afro it feels like they are kind of castrated or circumcised. He has no iconic look, you know they could’ve at least made them bald (like hawk on SPENCER FOR HIRE) for here. He just comes off as normal and uninteresting.

Giovanni Ribisi is a good actor and his character is supposed to be a screwup, his overarching arc is supposed to finally by the end of the movie make good and become a kind of the facto leader. His loser status is so great that his parents don’t believe him have any faith in him or even really take him seriously. Plus at times he seems a little touched and this is supposed to be our hero of sorts and an ensemble. The closest thing we get to a leader or protagonist.

Claire Danes’ character Julie is an addict which makes her the most vulnerable and fragile of the team. Yet she was still hired to be undercover and strong enough for this job. Then her ex-boyfriend happens to be the villain. So she really has the most to lose here though is kind of treated as a damsel in distress rather than an Ingal part of the team I guess she is supposed to be the bait. Her character was kind of a sexpot here. She just seems to be kind of a basic normal girl who’s in the scene? Maybe it’s better as she doesn’t draw too much attention to herself. This would unfortunately be one of the last times she appeared in a studio film that was more after blockbuster viewers than anything else. 

Decided to revitalize the show as was common at times people recognize the name of the show, but at the time, not too many might’ve had memories of it as prime entertainment. On the plus side, you could write it without really copying it down too much but also there isn’t that huge of an audience either. Then the film stars are not unknown but no real stars they’re a more recognizable cast, which at least keeps the cost of the budget down but how is it going to make any money because it’s not like the film has two dramatic storylines it’s not that funny intentionally, and there are no real action sequences and the stakes aren’t big enough for you to really care or even be suspenseful. 

The film is supposed to be an ensemble, but the characters are separate through most, as each seems seduced or on their own separate adventure then they finally come together at the end. It feels like we should see them as a team, at least at first see how they work together, or at least the film could’ve shown how they learn to work together. Instead of just seeming like they separate stories, come together or cross paths at the end. The film is an origin story that should come off more as a film like THE DIRTY DOZEN as they are all ex-cons given a chance on a suicide mission who are forced together of sorts, to learn to make it as a team. They come off as a bunch of at the time hip club kids trying to solve a mystery that involves a conspiracy. If it was played that way with a bit more comedy and impressive action. The film could have worked 

Whereas you know, the enjoyment of this film is subjective as some might like, or enjoy, like a date or romance with a beauty that ends up, not working out in the end, or eventually, but good enough for the time being. Where it’s not right for some but good enough for others it all comes down to the right place at the right time, maybe something chemical or even the vibe. Unfortunately, this film just doesn’t seem to have exactly what it takes.

Grade: C- 

THE BRINK’S JOB (1978)

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Directed By: William Friedkin

Written By: Walon Green

Based on “BIG STICKUP AT BRINK’S” By: Noel Behn

Cinematography: Norman Leigh 

Editor: Bud Smith and Robert K. Lambert

Cast: Peter Falk, Peter Boyle, Allen Garfield, Gena Rowlands, Warren Oates, Paul Sorvino, Sheldon Leonard 

A fictional retelling of the infamous Boston Brink’s Company robbery on January 17th, 1950, of $2.7M, cost the American taxpayers $29M to apprehend the culprits with only $58,000 recovered.

The film feels fact-based and amazingly recreated, Sticking to the facts.  though it also feels like the film has no personality. Which is evident as neither do the characters. 

Just as the characters never come off as interesting just there to do a job or complete a mission no real character to them. As it’s supposed to be a comedy though the jokes are far away and many calamities happen in the caper. 

We never get to know any of the characters or their quirks to see how they might be funny or add to the proceedings. Even when given more of a comedic scenario. It feels so basic with no excitement that it just comes across as flat. 

Technically there is nothing wrong with it, But it comes and goes very easily without too much to remember. The cast is good, the production design is beautiful and the movie-making is good. It just feels like a project that was exactly where everyone did what was needed but nothing more or nothing less.

The film looks great from a production design stand pony and it feels like you are in that time. 

This was a film that was originally set up under director John Frankenheimer who left after problems with the studio. William Friedkin took over the project but threw out the original script and ordered a new one. So it wasn’t exactly a for-hire job. 

The film just seems to lack any spontaneity or any humor that many of the characters and situations the characters find themselves in and that the actors are clearly capable of but seem reigned in a bit. 

Grade: C