Tag: DRAMA

QUEER (2024)

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Directed by: Luca Guadagnino

Written By: Justin Kuritzkes

Based On The Novel By: William S. Burroughs 

Cinematography: Sayombhu Mukdeeprom 

Editor: Marco Costa 

Cast: Daniel Craig, Drew Starkey, Lesley Manville, Jason Schwartzman, Ariel Schulman, Andra Ursata, Omar Apollo, David Lowery

In 1950s Mexico City, an American immigrant in his late forties leads a solitary life amidst a small American community. However, the arrival of a young student stirs the man into finally establishing a meaningful connection with someone.

This is director Luca Guadagnino’s second film released this year and while not making its mark as strong as his previous film of the year CHALLENGERS. It does offer another look into relationships and the destructive characters within them. It’s also another random adaptation for the director. Making a film from a legendary cult writer and book.

It was like going on a trip that ends up more as a journey and never quite knowing where it will Lead. Then being a guest in this limited epic. While witnessing a love story you want to see work, but ultimately see the cracks and the doom, but still holding out hope.

This film seems to be like the author of the book William S. Burroughs’s writings that could be episodic linear more stream of consciousness at times and little short stories that didn’t really have plots and were more like chronicles, but with all the names changed.

As the film works in different stages, either way, we get to know the lead character played by Daniel Craig, and the fact that he just seems lonely in various ways he tries to rectify that through the company of others, both physically emotionally, and socially. With excessive alcohol and always a pistol by his side, truly his only constant companion. He is also a functioning junkie in the first part of the film. We see his romance with a young man and all his longing for this young man and how it plays out it’s truly beautiful how he tries to court him when we see vague images of what he wishes, he could do to him alone like touching his face in a movie theater or stroking his hair.

The next part of the film seems to focus more on the drug addiction of the character. Now he has fallen in love with this young man, and the young man seems somewhat interested in him, but is emotionally absent to him that’s deepening his drug addiction. 

The next part is when they decide to take a trip together on the search for an elusive flower, and that journey into the jungles and Amazon, and how once it does, it provides quite a unique experience that deepens both of them, but also the rest of the film is more Jumps around and it truly starts to get into the more surrealistic images and hallucinogenic images where it goes more for the visuals and at this point either you’re with the film or you’re not.

This is an easy film to try and break down and explain you can bring up certain plot points, and things that happen and still never quite get to the point of the film or what you’re watching those films as an audience member you have to experience it and come out with your own meaning like it or not. As with its author and his writing, it’s not easily explained.

The film just seems to go along on its own journey, never rushed and never quite on the path you expect but at heart it is a love story that no matter what is timeless and easily identifiable.

The soundtrack includes a lot of the music of NIRVANA and PRINCE. One wonders if it is partially because of the past collaborations between the author of the book and the film is based upon William S. Burroughs and NIRVANA lead singer Kurt Cobain, but also a way to show they art can be timeless. Especially if it evokes a certain mood and atmosphere that is personal, identifiable, and universal in a sense.

Just like the title most of us know what Queer means to most, but here while it has its brushes with what most believe. It also goes out of its way to not be easily definable. It can be a title but never quite an entire identity. As so many have their own definitions of it. So just like the characters this film refuses to be one thing or ride along one wavelength. 

Grade: B 

PARACHUTE (2023)

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Directed By: Brittany Snow 

Written By: Brittany Snow and Becca Gleason 

Editor: Henry Hayes and Matthew L. Weiss 

Cast: Courtney Eaton, Thomas Mann, Francesca Reale, Kid Cudi, Dave Bautista, Joel McHale, Gina Rodriguez, Jennifer Westfeldt, Kathryn Gallagher, Lukas Gage 

Follows Riley, who has recently been released from rehab after struggling with addictions to food and body image. She meets Ethan and finds herself navigating the line between love and a new addiction.

This film is the directorial debut of actress Brittany Snow and it’s a very accomplished debut as you think it’s going to be a typical twenty-something romance, It reveals itself to be much more.

As there is a romance, it’s also a character piece. That deals with damaged characters throughout and the person who chooses to be with this character and it helps, but it’s not the healthiest relationship for either.

As the film goes along, we see what might have helped to cause Riley the female lead character  problems, and issues, and throughout we see her getting better, but also how she kind of sabotages herself and how the man who is in love with her might actually be hurting her and himself by enabling her

It seems like they might be good for each other, but at the wrong time and in helping each other, they’re only digging themselves deeper into their own problems as their romance is never defined though obvious to all.

We also see how her problems affect those around her friends, family, and even associates.

As what starts off as typical slowly reveals its depths and though it might only offer sketches of certain side characters, it does offer a reality and a look at all of their lives and how they affect one another 

The film is more nourishing than one might expect as you come for something lighthearted, and you get something quite heavy, and the performances of the leads are just so devastating Eaton. This is the first time that I remember her in a leading role and quite strong and affecting and Thomas Mann , who I remember from many teenage or of age films really steps into his own as an actor and his lead in the leading role of the suitor who buries his own misery, trying to help others, but only sinks himself, and the others even lower by not truly allowing himself to be happy. Teaching the power of letting go.

This is definitely a film to check out and really live with as it’s not typical even the ending isn’t typical, but it feels true and Its Own Way, Earnest with ambiguity and hope.

Grade: B+

CRAZY EYES (2012)

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Directed By: Adam Sherman 

Written By: Adam Sherman, Dave Reeves and Rachel Hardisty 

Cinematography: Sharone Meir 

Editor: Sam Bauer 

Cast: Lukas Haas, Madeline Zima, Jake Busey, Tania Raymonde, Ray Wise, Valerie Mahaffey, Moran Atias, Ned Bellamy, Laura Piro, Regine Nehy 

Zach is guy for whom the party never ends. But when he meets the girl he nicknames “Crazy Eyes,” the inability to have her, combined with family matters, are signs that his idle life might be due for a change.

This seems like it’s supposed to be a romantic tale. While it has a good cast, by the end you dislike most of the characters.

It can be seen as one man’s journey to find the truth. He’s so unlikeable that it’s hard to truly feel sympathy or feelings for him.

The main character is a trust fund kid. Who is also a player and an alcoholic. Who knows and believes that all around him are only after him to support or pay for them. Which the movie shows to be true for the most part.

The film mainly revolves around his fascination with a woman who goes on dates, makes out with him, and constantly sleeps with him. Though there is no sex involved.

Which he seems to be determined to do. Though not above sleeping with other women while he tries to get her. She is a major drinker herself and seems to have mental problems. Though never clearly defined. They seem to support one another from their bad decisions to the next impulse.

They each have friends that revolve around them. Who are there only to bounce thoughts off of and show they know others who might be worse off than they are. A bartender and lingerie designer. Who seems more interested in the lead to find her dreams and lifestyle.

There is even a character who just seems to be here as eye candy and temptation but doesn’t come too much. As she is just another unlikeable character in the mix. We do get to meet his parents which offers some depth and a bit of an explanation. 

there is a kind of twist by the end that somehow makes all the characters seem worse and justifies the lead somewhat. Though leaves it open-ended as to what has changed if anything in his life. It offers one of the most unfortunately downtrodden and realistic endings. 

If it weren’t for the cast I don’t know if I would have bothered finishing the film. As it seems so far teaching and kind of like a tangent against Los Angeles and its bar culture to a degree. As well as relationships. The film is very misogynistic and angry. Even though it tries to seem laid back.

The directing is all over the place and dark. The lead always wants to go to the bar or for a drink as his come-ons seem a bit much and overbearing. Though while not against drugs his character mainly indulges in alcohol. This film feels like a lighter version of BARFLY. Without any of the charm.

Luckily for a film that seems focused on sex, there is very little of it or any nudity. Though that might be disappointing to some. At least it would serve as a distraction from what we have to sit through. It would also offer a release which this film seems dedicated to not delivering on any of its points. 

What is truly disappointing is the movie has the goods and talent to be a better film but seems like it’s so indulgent that it seems doomed to fail.

One wishes the movie was more about Madeline Zima’s character. 

Grade: D

TURTLES ALL THE WAY DOWN (2024)

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Directed By: Hannah Marks

Written By: Elizabeth Berger and Issac Aptaker

Based On The Novel By: John Green

Cinematography: Brian Burgoyne 

Editor: Andrea Bottigliero

Cast: Isabela Merced, Cree, Judy Reyes, Felix Mollard, Maliq Johnson, J. Smith-Cameron, Poorna Jagannathan, Tim Gooch, Hannah Marks, Debby Ryan 

Aza Holmes. It’s not easy being Aza, but she’s trying… trying to be a good daughter, a good friend, and a good student, all while navigating an endless barrage of invasive, obsessive thoughts that she cannot control. When she reconnects with Davis, her childhood crush, Aza is confronted with fundamental questions about her potential for love, happiness, friendship, and hope in the face of her mental illness.

A nice coming-of-age story that deals with mental health primarily OCD.

Though at times the film does feel a little wish fulfillment It does feel a bit more real emotionally than some of its peers.

What I really enjoyed is that the film starts off introducing the characters and giving us what looks to be a mystery and investigation and uses it as an introduction to take us on a different journey and a different type of film and story and then kind of bring it back to our initial adventure that closure but also further the other story that was in the middle.

It’s refreshing that all of these issues and drama are tackled with a cast. That is the verse, but the main characters are mostly of Hispanic origin so there are more people of color within this film.

One thing I have to credit is that this film is based on the book by John Green and I have not read this book. I have seen most of the film adaptations of his books and each one while summer better than the others. They have all been heart-wrenching and heartbreaking and well done and I feel it because his books are a wealth of material that is easily identifiable and have an everlasting ring of truth in tragedy is still uplifting and romantic.

One has to give Director Hannah Marks great as she is an actress and Director, and for someone so young has knocked it out of the park with the films that she has directed usually our stories are always so well acted quirky, and memorable that she is a great talent that deserves to recognize more.

No, it does show that maybe I’m getting older as the lead character’s best friend I found it continuously annoying and was glad half the time when she wasn’t in scenes, but by the end, her character is so so endearing that I couldn’t imagine the film without her character without her.

As these films used to be catnip for me, and I used to be one of the first people, crying and being emotional over these films and while it still gets to a part of me, I don’t find myself as emotionally invested as I used to. I still these types of films. 

What I appreciate is that there was no big cure at the end there’s an ending that works, but there’s also the truth about the condition and the characters in that it may never be solved. Simply, you have to keep living your life and deal with it as it comes.

It’s also the first time that maybe I’ve noticed where a romantic comedy kind of looks at the male love interest through a female gaze as they’re not the center of the story, but more towards the side and are unbelievably helpful and good-looking and are there to provide moral support and the film goes out of its way to make them just the perfect love interest for the character where they’re tall their good looking they’re rich they give them what any woman would want. 

The only thing in the way is the female character and confidence. So the male here is more in the role of the dream partner in the flesh and willing and waiting. While only having eyes for them.

Grade: B

FIRSTBORN (1984)

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Directed By Michael Apted

Written By: Ron Koslow 

Cinematography: Ralf D. Mode

Editor: Arthur Schmidt 

Cast: Peter Weller, Christopher Collet, Teri Garr, Corey Haim, Sarah Jessica Parker, Robert Downey Jr., Chris Gartin, James Harper, Josh Hamilton, J.D. Roth

Because he’s the oldest, Jake has been the man of the house, since his parents divorce. When Mom starts seeing Sam, who always seems to be trying some new way to get rich quick, and declares he’s the man of the house now, Jake puts up with it. Until he discovers Sam’s illegal activities.

Though I’m sure it was gripping when it came out watching this film now it isn’t bad, but it does come across more as an after-school special. That is a little bit more adult than the ones that played at the time. 

Times have changed as in the past films like these could be big dramatic films to make it to the big screen rather than being relegated more to television, movies, fair, or overly melodramatic lifetime movies now.

The film has plenty of great dramatic moments and slowly shows how the dysfunctional situation of this young man whose home is invaded by her mom’s drug-dealing boyfriend and who slowly destroys each member of his mom becoming more and more junkie his striking out in anger and becoming much more reclusive as he never wants to be at home. The young man himself slowly starting to lose his composure and his laid-back mentality. 

it’s fun to see Peter Weller in this role as you can understand his allure and how at first he seems kindhearted,  youthful, and A big talker. Slowly, we see him deflate, and how full of it he is he spends most of his days asleep watching television on their couch while their mother goes out and works. 

We also see her attention when it comes to common responsibilities. Like Cooking and cleaning paying bills on time, and being around. It’s ending is too tidy, but at least it shows or handset what went into all of the character’s decisions where the mother was dating a perfectly nice guy, but met this bad boy who is a little bit more exciting and has all these plans he has and is much better and I believe a bit younger Especially coming on the heels of her ex-husband getting remarried.

That is the only hard part of the film that it takes to believe and completely shows how out of the loop the ex-husband is that he’s always traveling and he calls his sons and cares about them to check up on them. It’s still distant by only phone he never physically comes to check up on them or hears of them and their problems at school. 

For the most part, the film does keep your interest as you want to see where it goes and how bad is it gonna go and in the third act you want to see how is it going to relieve itself? It never goes over the top in the violence or the dramatics, it keeps itself at a low simmer most of the time there’s nothing that really boils over until the end and even then it’s not as over the top as you would expect.

It’s nice to see Peter Weller, in an early dramatic role. The handsome troublesome hustler is just the wrong element in all of this.

Is the film debut of future teen idol, Corey Haim, and even in this role he’s got the dramatic goods and comes across his believable even if it’s a troubled child it’s a troubled child role. Even Robert Downey Jr. has a small role in this film as more of the flamboyant and punk friend of the lead character group.

Christopher Collet stayed in the lead and had a pretty good acting career, though this was one of his rare leading roles, he carried the film quite believably for the time. For a film that took place in a suburban area could call it a team with adult themes, but I guess you could also call it a troubled family film.

Not Too many surprises it’s worth a look looking for a more dramatic, overture, and film that is more hidden film than it is popular as I constantly got this film, confused with the more exploitative film SCREAM FOR HELP. This is more respectable and better made. Of course, for most audiences, there might be a feeling of having been there and done that while watching 

It doesn’t come across as anything special about the film though it’s a solid watch

Grade: C+

THE CHUMSCRUBBER (2005)

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Directed By: Arie Posen 

Story By: Arie Posen and Zac Stanford 

Written By: Zac Stanford

Cinematography: Lawrence Sher 

Editor: William Scharf And Arthur Schmidt 

Cast: Jamie Bell, Camilla Belle, Justin Chatwin, Lou Taylor Pucci, Rory Culkin, Glenn Close, Carrie Anne Moss, Ralph Fiennes, Jason Isaacs, Lauren Holly, Caroline Goodall, William Fichtner, John Heard, Allison Janney, Rita Wilson 

a dark comedy about the lives of people who live in upper-class suburbia. It all begins when Dean Stiffle finds the body of his friend, Troy. He doesn’t bother telling any of the adults because he knows they won’t care. Everyone in town is too self-consumed to worry about anything else than themselves. And everybody is on some form of drug just to get themselves through the day. After Troy’s death, local drug dealers at the school run out of their stash. They convince Dean to get Troy’s stash or they are going to kill his brother that they kidnapped, but they grabbed the wrong kid.

This show is an intriguing failure that seems to be some sort of statement or satire on disaffected teens coming apart at the seams in suburbia after tranquilizing themselves on recreational drugs for so long that they seem to be scared of their own emotions. I wish the film played and explored more of what I just described.

Instead, the film seems more interested in the adult characters, who are not as deep and as types. This only makes their stories seem melodramatic or the product of a soap opera. Which makes one wonder how the film got such a powerful cast for a film that feels more like a desperate Housewives spin-off

The film seems to shy away from too much depth to focus more on the quirks and offbeat comedy.

The film is all surface but tries too hard at times to seem deep almost like a pretty girl reading an intellectual book and you notice over weeks each time you see her she is on the same page as she only does it for the attention or seems smarter than she might actually be

The ending feels too. The end feels too clean cut which one could see if this was based on pre-existing material but as it is an original production, it could’ve been worked on a bit more. It feels too self-serving, trying to please an audience instead of going for emotional truth.

It ends up playing more like a studio version of an independent coming-of-age film. With the parents so busy with themselves, they never pay attention to their own kids, even after one commits suicide, which might be blatant science for attention and help or even subconscious ones.. though the adults seem to anodize themselves with Work and each other as a form of hiding.

The film tries to tighten it like video games and not feeling real trying to achieve a numbness or doing things so that they can feel something. Not fall into the same traps and behavior as their parents, though it seems they easily follow suit.

Has a good score which other than the cast seems to be the most accomplished thing about it.

Grade: C

JEFF OF THE CINEFILES & UNFINISHED BUSINESS: HALL OF FAME – FILE #0075: THE FAN (*DER FAN) (1982)

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Written & Directed By: Eckhart Schmidt 

Cinematography: Bernd Heini

Editor: Patricia Rommel and Raoul Sternberg 

Cast: Desiree Nosbusch, Bodo Staiger, Simone Brahmann, Jonas Vischer, Helga Tolle, Klaus Munster, Ian Moorse, Wilfried Blasberg 

The hero-worship that Simone has for a pop singer is built to a crescendo until she passes out when she finally sees him up-close in a crowd of fans pushing him for autographs. She is later shocked when he lets her know that he does not love her. In an instant, she is caught “in a trance” and feels a murderous urge that is bigger than the both of them.

This review is spoiler-heavy. it’s advisable to watch the film first as this is more a discussion than a review.

This is a film one has waited quite some time to find and finally watch. It’s a film that it heard about over the years and looked forward to then saw a very, simply not as some cinematic lost Grail.

It’s a nice switch from the usual fan films where it’s usually a male stalking a female or stalking another male making it more homoerotic for the ladder, but in the former and obsession that they try to turn erotic or romantic.

A story that works like a mixtape has a different cut or see as time goes by. It’s also set at a time place and culture around a music scene that was modern at the time and very specific. 

This film deals with the same only from a female fan stalking a male rockstar. The girl is a teenager, and by far is the more gruesome of any star obsession film, as this is more a psychological drama rather than an action thriller.  

It can also be seen at first as a coming of age story that Can be seen as a rite of passage a crush on a superstar that gets to be an obsession as a fan for a teenage girl.

It also dives more into the psychology of the obsession as since it’s an underage girl it is mostly thought that it’s puberty and emotions taking over but soon realizes that it’s nothing more than a crush and that it should be rather harmless this film and the character takes it more to an extreme.

The film shows the depth of fandom, but also obsession. Believing that she is the only one who knows and understands him and that all the others are just there more for the money and Fame.

The film is more psychological than physical love it or hate it. It’s a conversation starter. 

The main character doesn’t speak much, except in her letters to the star and in monologues. Desiree Nosbusch Gives an unforgettable performance as Simone.

The audience witnesses how unstable she is to a degree in her day-to-day life as her obsession takes over all of her thoughts and actions and she cares little about anything else.

The audience suspects where it will mostly go or what will happen as the film takes its time with the situation, especially once she finally gets to meet him.

We watch as she runs away into Wonderland and finds a monster of sorts and sheep’s clothing that she believes to be her prince.

We watch as she somehow Wills her fantasy to come true with interest, and then practically the unraveling of what she sees as a romance, and what he sees as a hook-up.

Which is like an artistic love scene presenting themselves to one another before it seems to take a turn, and after he gets what he wants and is ready to throw her away or dispose of her. It is in close-up as we are now in her fantasy or viewing it through that lens once the camera pulls back after we are brought into reality just as she is.

We know something will happen, but can’t predict how severe, especially without the innocent and clean or at least non-exploit of the movie has been up to this point. It’s had its rough edges, but it’s practically been more passive, which makes it all the more upsetting.

This is not the type of film where you are waiting for a demise or where the film gets you excited or expecting any sort of violence. The film seems a bit off at first, then gets disturbing and gruesome.

The film even early on makes a point of presenting Hand-holding as a sign of who cares and who doesn’t.

Nothing that happens seems to be premeditated. Some could argue. The actions are to happen in the heat of the moment or being so young and emotionally out of control. 

It seems to go way too far though we might understand her initial act, becomes a mix of saving herself, but also still having a sick obsession and sickness with this rockstar.

The film is not as violent or as expected, though it might be the cut I viewed.

There is only one part that is not that believable as it is too clean and too fast, which is devouring him a bit cannibalizing him or at least pieces of him or at least the essence of him as a goodbye or farewell. That’s where it goes overboard but smart and getting away with fashion. Even though that is probably one of the more memorable parts of the film.

She doesn’t seem to learn her lesson as she is still delusional by the end and blocking out her act and now might be delivering his child who she believes will be reborn.

The film also has long drawn shots, but little dialogue, a synth-pop score that gets into your head. that goes well with the action and ending as once you step away from this film it is certainly one that you won’t forget easily.

The film does seem to have 3 acts 

Act 1 – Introduction/desire 

Act 2 – meet & greet romance 

Act 3 – the aftermath 

Grade: B

THE FEELING THAT THE TIME FOR DOING SOMETHING HAS PASSED (2023)

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Written, Edited & Directed By: Joanna Arnow 

Cinematography: Barton Cortright 

Cast: Joanna Arnow, Scott Cohen, Babak Tafti, Michael Cyril Creighton, Alysia Reiner, Peter Vack, Parish Bradley, Rushi Birudala 

A mosaic-style comedy following the life of a woman as time passes in her long-term casual BDSM relationship, low-level corporate job, and quarrelsome Jewish family.

This film feels like a collection of mundane experiences suffered by the main character well, also letting the film is autobiographical as it is written and directed by its lead, and her parents play her parents, and friends fill out the cast. 

The film would seem to most like a sad, sad comedy that would feel like it follows in the footsteps of such filmmakers as Woody Allen and Todd Solondz where there might be a kind of sadness about the characters who either seem to be taken advantage of or bring on the bad things that happened to them somewhat punished by society. 

Only what’s different is The main character isn’t so much a victim as she seems to welcome it and seems content with her life, relationships, and situations. The film is just trying to show her reactions to the situation, she finds herself in and she comes across as one of the more normal characters as all the other characters come off as rather quirky or disturbed. 

The film also tries to present BDSM relationships in a droll way. As a tries to show modern dating with a dry sense of humor. That at times comes across as brutally honest, but with humor.

There’s a film that’s not gonna be for everybody. it might take a while for you to get on its wavelength but once you do, it’s smooth sailing as long as you are digging what you have seen so far.

Watching the film, it almost comes across as a visual journal of our lead character. Where she doesn’t try to sugarcoat or make anyone including herself look good it’s presented matter-of-factly, even allowing herself to be for half of the film. 

For some the film or the situations as depressing and almost like a form of degradation. Which, for most, it might be, but here it actually shows the characters enjoying themselves for the most part.

Think Lena Dunham and her early films and even girls only with no real group of friends so that the main focus is on her and some odd supporting characters. As the tone goes from absurd to reality. 

The film might throw some people off at first you just have to get into it sensibilities as it does showcase as sensitive charm many times and it’s style and tone.

It definitely shows a singular vision where the first half of the film is more random and the second half seems to get more into a plot, whereas the first half of the film is more showing her day-to-day life and seeing various people other than a recurring boyfriend like character, the second half focuses More on her, trying to maintain a relationship with a new guy who’s not used to her form where it feels like the film has shown enough of her background at that point so that we see the character and trust her alone and not reacting off of a series of familiar characters so the second half is kind of like seeing a normal character interact with her and how they react

This film really shocked me at how enjoyable it was and how much one could get into the film with just the nitty-gritty and didn’t need so much dressing or packaging around it is definitely to try and watch. In the end won’t say it’s necessarily rewarding but as a film fan her artistry while semi-autobiographical it’s also admirable.

One can’t wait to see more films and art by her.

Grade: A 

LOUSY CARTER (2023)

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Written & Directed By: Bob Byington 

Cinematography: Carmen Hilbert and Lauren Pruitt 

Editor: Kristie Boustedt 

Cast: David Krumholtz, Martin Starr, Luxy Banner, Olivia Thrilby, Jocelyn DeBoer, Stephen Root, Macon Blair, Andrew Bujalski 

Man-baby Lousy Carter struggles to complete his animated Nabokov adaptation, teaches a graduate seminar on The Great Gatsby, and sleeps with his best friend’s wife. He has six months to live.

Watching this film is kind of like reading a novella. It’s not quite 90 minutes well short of it but over an hour and is more of a character piece with a lead character who sets up most of the film entertainment as he seems to be a very morose and depressed guy, surrounded by characters who are supposed to be friends, family, and colleagues who don’t seem to really like him, but keep him around as they think they are better than him or to make themselves look better in some kind of light

Did I mention this is supposed to be a comedy, to tell the truth, if it wasn’t for the actors being so likable in their rules and this undercurrent of dead comedy throughout the film really wouldn’t work.

Though it has a charm to it, it is ultimately a tragedy of comedic proportions as the lead can’t seem to ever catch a break through his own stubbornness at times and he is dealt.

Even his ex-girlfriend doesn’t seem to be fond of them, nor the woman he is sleeping with even his student who seems to find a fascination in him as much as he finds a fascination in her there more to make herself feel better with his bad luck.

This is for the viewer who likes their comedy warped and sad but funny enough to keep from being down in the dumps and far from tragedy. 

Veteran character actor David Krumholtz in the rare leading role totally sells his character and the film and is what makes this film so watchable. It tries to take a stab at the intellectual college crowd, though offers a bleak outlook that is more humorous than depressing, which is what makes the film stable and keeps the audience engaged.

The film even offers a joke at the end for the audience and on the audience. 

Grade: B 

CRIMES OF THE HEART (1986)

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Directed By: Bruce Beresford 

Written By: Beth Hanley 

Cinematography: Dante Spinotti 

Editor: Anne Goursaud 

Cast: Diane Keaton, Tess Harper, Jessica Lange, Sissy Spacek, Sam Shepard, David Carpenter, Hurd Hatfield, Beeson Carroll  

Three sisters with quite different personalities and lives reunite when Babe, the youngest, has just shot her husband. Oldest sister Lenny takes care of their grandfather and is turning into an old maid. Meg, who aspires to make it in Hollywood as a singer and actress, has had a wild, man-filled life. Their reunion is joyful but also stirs up much tension.

This is one of those films that seems to be a claim for its time and while it’s not horrible, not a film can easily get into.

As the story is obviously based on a play and that they’re in lies the problem as lived in as the direction production design and dialogue, tries to feel the acting feels like it is more a writer’s invention rather than necessarily natural.

So that throughout while quirky and revelatory, and at times it might seem relatable. It always feels more like a production than anything that rings true. This can be fine but for such a film that wants us to feel down deep at times, it feels almost like a designing women episode that’s been extended.

Not to mention some of the stories, mindset, and plot lines that make up this film might’ve been passable and somewhat racy back then, but now it feels more taboo and unacceptable, and today’s climate.  

One can understand going for realism, but there is one scene in the use of racial language that just seems maybe natural for the character but just seems inappropriate for the film, and the mood and tone that it seems to be going for don’t sink into the film just throw it off at times. Same thing where Sam Shepard Dr. character has messed up teeth for no reason then to maybe make Shepard not seem like such a dreamboat and more like a regular character or a guy. You might wonder why when this film is hardly a bastion of realism half the time.

All the performances are great and Tess Harper, who got a Best Supporting Actress Academy Award nomination for the film truly does stand out as more of the thorn in the side of the characters a busybody, who is always opinionated and shockingly memorable. She is barely in the film. 

This film should be a great triumph with such dramatic actresses altogether on the big screen all at once such as Jessica Lang, Diane Keaton, and Sissy Spacek, and they all are given much to do and characterizations, but unfortunately, the film just doesn’t feel that big or special maybe that strength is that supposed to feel subtle. No, it doesn’t come off as satisfying, and by the end, it just feels like it just stops instead of having any real feeling of resolution.

Grade: C