Tag: Biography

THE FIRE INSIDE (2024)

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Directed By: Rachel Morrison 

Written By: Barry Jenkins 

Cinematography: Tommy Daguanno and Rina Yang 

Editor: Harry Yoon

Cast: Ryan Destiny, Brian Tyree Henry, De’Andre Aziza, Idrissa Sanogo Bamba, Adam Clark, Olunike Adeliyi, Chrystian Buddington, Lanette Ware, Sarah Allen 

Claressa Shields becomes the first American woman to win a gold medal only to learn that not all dreams are created equal.

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That is truly what the film is about the passion that fires inside that won’t let you quit for any reason even when you try to walk away, there’s something that keeps bringing you back to it. That is what the film and the filmmakers tried to instill in this inspirational true story.

Though the second half of this film is more eventful. As well as the achievements of the person in real life this film is based upon. The film set up a strong foundation. Which we see as the discovery and maintenance of her drive and passion.

The film offers a look at her personal life, and those that she seeks out to support and those who truly support her. As the route, no character is one dimensional they managed to turn themselves around or show their true colors. 

In that way, the film already plays against the traditional where all of a sudden one character stays the same throughout except for one scene or one final act where all of a sudden they change it kind of an apology or change for the worse. 

The film is very inspiring, even showing what happens after initial success, and all the hoopla dies down. It shows how to maintain and find meaning afterwards, as well as the power of community when it comes to support in all different ways. 

The film is a familiar story of sports discipline and training and saving someone from a bleak future by fighting against all odds .

The film doesn’t have as much fighting scenes as he would expect as it is more dealing with the day-to-day drama of her life, and her family unit parental child bonding with her coach and his family, and the jealousy provides in her family who seemed dysfunctional they were always changing and evolving Usually for the better though there are some trials and tribulations for the worse.

No truthfully, it’s that drama that keeps the film afloat and keeps the audience interested as this is a film of hope and what can be achieved with hard work, finesse, and belief in oneself 

Grade: B- 

BACK TO BLACK (2024)

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Directed By: Sam Taylor-Johnson

Written By: Michael Greenhalgh

Cinematography: Polly Morgan

Editor: Laurence Johnson and Martin Walsh 

Cast: Marisa Abela, Eddie Marsan, Jack O’Connell, Lesley Manville, Juliet Cowan, Sam Buchanan, Anna Daras, Spike Fearn, Therica Wilson-Read 

A celebration of the most iconic – and much missed – homegrown star of the 21st century, BACK TO BLACK tells the extraordinary tale of Amy Winehouse. Painting a vivid, vibrant picture of the Camden streets she called home and capturing the struggles of global fame, BACK TO BLACK honors Amy’s artistry, wit, and honesty, as well as trying to understand her demons. An unflinching look at the modern celebrity machine and a powerful tribute to a once-in-a-generation talent.

I was probably always going to be harsh on this film as I am such a huge Amy Winehouse fan and I feel like the documentary. AMY is a definitive and informative statement when it comes to her life.

When it comes to biofilms the best, don’t try to tell the whole story they pick a certain period of the person’s life and fill the drama, even if the drama comes from their past. As Amy lived such a short life there might’ve been room to fit in from birth to her unfortunate death at 27

Even after all these years, it still feels too soon for a biofilm as the scars are still there. So I will say the film isn’t as bad as I thought.

Marisa Abela is the best thing about this movie. She is amazing and mimics her vocal style impressively. There are no problems with her performance.

What hurts the film? Is that even at just a little over two hours? It still feels rushed half the time where you can’t tell what part of her career she’s at times. It would also help the love interest at least the film. Would Moore sweep her off her feet and you could understand why she is so attracted to him other than similar interest. as it plays here, he always constantly seems like a walking red flag, even if he might have some raw sexuality or a danger about him, but it never comes across as convincing that she would just give herself so to this character

Another problem in the film is that we see that she gets depressed over the death of her grandmother and the volatile relationship she has with Blake, but it still never quite explains the other parts of the downward spiral. Yes, we can say depression, but it helps if we’re given more evidence instead of kind of just being told in one scene, or constantly being lonely, we need a little more to flash out and to believe in this more.

Sam Taylor Johnson directed the John Lennon bio film NOWHERE BOY, so this isn’t new territory for her she lands the plane so to speak when it comes to this film, but it is quite a bumpy ride with plenty of turbulence that is more not the adventure of the story or characters, but more in the way the story is told it tries to have a smoothness where it feels like it’s not even trying Standard something a little bit more a TV production than a cinematic vision.

As in the end, it plays more like a sad romantic, love story. That is almost one-sided, though there was definitely passion and emotion somewhere in there. 

One believes that if you are a Die Hard true fan of Amy Winehouse, you do not need to see this film. You should’ve already seen Amy but if you’re just curious as to ask her just a bio seems to be a trend. This feels more like a student rather than, someone who cares about getting the story straight and the facts down

Grade: C

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- 

DE-LOVELY (2004)

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Directed By: Irwin Winkler 
Written By: Jay Cocks 
Cinematography: Tony Pierce-Roberts 
Editor: Julie Monroe 

Cast: Kevin Kline, Ashley Judd, Jonathan Pryce, Kevin McKidd, Kevin McNally, Allen Corduner, James Wilby, Keith Allen, Taylor Hamilton, Angie Hill, Natalie Cole, Sheryl Crow, Elvis Costello, Robbie Williams, Alanis Morrisette

Inspecting a magical biographical stage musical, composer Cole Porter reviews his life and career with his wife, Linda.

This was a film it has taken me a while to watch. As I knew more about the soundtrack than the movie. It’s one of those I always meant to watch it eventually type of movies where you feel you have to be in a certain mood to watch or can never think of when specifically needing something new to watch. Not has it ever truly been recommended to me by anyone. So I finally decided to take the plunge.

The film feels like how I described it. It’s on and certainly entertaining and thinks of itself as smart. Though it never truly elicits any true emotions from the audience. So it never truly connects and comes across more as if you were watching a visual biography that tries to be flashy and inventive.

As the film and story are preset like Cole Porter is creating a musical of life and constantly having to deal with a director who has his own vision or wants even the harder more private stuff to be part of it. As they both look back upon his life from the director’s Chairs in the audience. 

The film is presented as a love story between Cole and his wife. Even as he is bi-sexual or more homosexual.

Kevin Kline shines in the main role. He is truly what makes the film Memorable. As he seems to go above and beyond to make it work. He already is usually one of the crowning achievements in any film. Only wished he would have had more starring roles when he was younger. Though it always seemed hard to find a place to put him in films. Which might be why he stuck more to theater over the years. He has a theatrical way of speaking at times, but so does John Lithgow, and look at how many legendary roles he held down. Though maybe only a few as the leading man. 

As they go through the numbers some are more stage-bound and others more in life outdoors. Though always feeling staged. As it stages at least half of its scenes in theaters of some kind. 

The film reminds the audience of ALL THAT JAZZ. Only that movie was based on and directed by its subject Bob Fosse. This film never quite ends up as warts and all, dramatic or hard-hitting. That film unfortunately never as inventive either. 

This film could work as a Broadway show all Its own. Though it never quite comes across as grand as it should. 

As it is based on a true story and biography. We all know what is going to happen. It telegraphs its moves at times in true dramatic cliches. Though comes across as quite elegant as a prestige film.

Irwin Winkler is the director and he isn’t bad here he just unfortunately makes the material feel basic. It never quite has the flair of the person it is based on. 

It’s a prestige project that tries to be playful. That is more meant for awards season. Yet not of that caliber. Though it is fun to see music superstars of the time period, singing classic songs. 

It’s a good presentation but never quite feels deep enough. For us to care or to be moved. Once it finally hits home and hard is at the end. You will come out of the film humming and singing and wanting to hear more of his songs.

Grade: C+

LISZTOMANIA (1975)

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Written & Directed By: Ken Russell Cinematography: Peter Suschitzky

Editor: Stuart Baird

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

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

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

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

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

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

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

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

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

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

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

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

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

Grade: C+

MOMMIE DEAREST (1981)

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Directed By: Frank Perry
Written By: Frank Perry, Frank Yablans, Tracy Hotchner & Robert Getchem 
Based on The Book by: Christina Crawford 
Cinematography: Paul Lohmann
Editor: Peter E. Berger 

Cast: Faye Dunaway, Diana Scarwid, Steve Forrest, Howard Da Silva, Rutanya Alda, Jocelyn Brando 

This is a mother and daughter tale and partial biography as it is more Christina Crawford’s story and memoir. 

This movie already has its own reputation. Mostly as a camp classic. Not that it seems like it was intended that way, which is what makes it more enjoyable overall is that this was done with an earnestness. Seeking to be a Hollywood tale based on a bestseller that qualifies more like gossip. More a supposed peek behind the scenes at a legendary actress that by today’s standards would have maybe been a tv-movie. This seems to be a blueprint for future films of this type.

One wonders if it was meant to be camp with Faye Dunaway’s look and some of the raised ridiculous melodrama of some scenes. It sometimes feels like an homage to the women of classic movies and the types of movies. Ms. Crawford made it throughout her career.

As his film goes behind the scenes but constantly seeks to have an aura of glamour. The film isn’t as grand as it presents itself. As it stays mostly indoors and feels like it takes place more on sets.

The film isn’t a biography of Joan Crawford, but more of Christina Crawford and her years spent with her adoptive mother. Based on her book which became a bestseller. As it is a gossip piece which I am sure has helped and hurt its reputation. These days there are so many books like this that they barely make an impact. 

What gives the film its luster is Faye Dunaway over the top but it seems pitch-perfect performance which has been the anchor and mascot for this film. It seems particularly when it comes to drag performers too. A sort of early inspiration. It might have partially damaged her career at the time, but she gives it her all and makes it memorable. As soon as you are done with the film. She is the one thing you probably won’t forget. She is at the center of it all.

No matter what happens or who she is in a scene with the film And scene is all about her. Diana Scarwid Co-Stars as Christina Crawford. Has to endure and stand up to her. She holds her own but is nowhere near as strong or powerful, but gets full credit for surviving and not backing down

So much so that you barely really notice a thing or anyone else. It is legendary in its own right as it is still talked about today next to her best-remembered performances in films such as NETWORK and BONNIE & CLYDE.

The scene that helped me discover camp and made me Laugh. While Christina is in boarding school and she ends up fooling around with a guy in a barn. (The teenagers are all played by adult actors who look too old) another girl discovers them and yells “I’m Gonna tell” is so ridiculous and the tone is so over the top. Almost what you would believe a 9-year-old would tell.

So many memorable scenes that are like the greatest hits of a sort with the forced haircut, the wire hangers meltdown, or the swimming race. 

The film is melodramatic, though as flagrant as she is her behavior is somewhat to be expected of what we know now 

While the film is fine at times it feels overwrought and downright dull as you wait for the next over-the-top thing to happen. 

Grade: B-

ALL EYEZ ON ME (2017)

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Directed By: Benny Boom
Written By: Jeremy Haft, Eddie Gonzalez & Steven Bagatourian
Cinematography: Peter Menzies Jr.
Editor: Joel Cox 

Cast: Demetrius Shipp Jr., Kat Graham, Hill Harper, Danai Gurira, Annie Ilonzeh, Lauren Cohan, Keith Robinson, Jamal Woolard, Cory Hardict, Clifton Powell, Jamie Hector, Deray Davis   

Tells the true and untold story of prolific rapper, actor, poet and activist Tupac Shakur. The film follows Shakur from his early days in New York City to his evolution into being one of the world’s most recognized and influential voices before his untimely death at the age of 25. Against all odds, Shakur’s raw talent, powerful lyrics and revolutionary mind-set propelled him into becoming a cultural icon whose legacy continues to grow long after his passing.

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