Tag: DRAMA

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- 

BARDO: FALSE CHRONICLES OF A HANDFUL OF TRUTHS (2022)

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Directed By: Alejandro G. Inarritu 

Written By: Alejandro G. Inarritu and Nicolas Giacabone 

Cinematography: Darius Khondji

Editor: Alejandro G. Inarritu and Monica Salazar 

Cast: Daniel Gimenez Cacho, Griselda Siciliani, Ximena Lamadrid, Iker Soriano, Francisco Rubio, Jay O. Sanders, Luis Coutulier, Andres Almeida, Clementina Guadarrara 

An acclaimed documentarian goes on an introspective journey through surreal dreamscapes to reconcile with the past, the present, and his Mexican identity.

This film is an epic self-indulgent, semi-autobiographical tale that has beautiful cinematography.

It’s a memoir that feels like confessions or inner thoughts of the writer and Director. Alejandro G. Inarritu

It’s a film that no one can come close to explaining it’s definitely a film more to experience, even for all of itself indulgent tendencies at times

It seems like a film, where no matter how many times you watch it you get something new each time or notice something that you never saw before, and have to watch it again to understand it on a deeper level.

As it feels like you haven’t seen everything or quite get it do you want to. No, it doesn’t leave you exhilarated like the film EVERYONE EVERYWHERE ALL AT ONCE but you want to keep on exploring and examining the film just like that one as it seems to capture you and its own mindset

The film offers plenty of surreal imagery. Though never quite as strange as something that would come from Alejandro Jodorowsky 

The film does offer a lot to take in that you will either love or hate. Some might not want to put up with the film as it will feel hollow for some without enough story or plot, which leaves it easy to get lost in or during. As we spend time with the main character. 

The film feels like Alejandro G. Inarritu in his Fellini period. Where not only is the film autobiographical but seems to express his feelings about life and filmmaking. As a Director has made, Hollywood films and manages to put a personal stamp on them.

These days you have to try harder to have a career of only artistic indulgent personal films to raise your profile not to mention get a chance to tell Bigger stories that he wants to

This film feels like Fellini’s spirit is alive, only not as scandalous, but the director obviously has a lot to get off his chest and themes he wants to explore. This is the closest we might ever get to visionary autobiography.

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 

BLUE JEAN (2022)

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Written & Directed By: Georgia Oakley 

Cinematography: Victor Seguin

Editor: Izabella Curry 

Cast: Rosy McEwen, Kerrie Hayes, Lucy Halliday, Lydia Page, Amy Booth-Steel, Stacy Abalogun, Lainey Shaw, Farrah Cave

England, 1988 – Margaret Thatcher’s Conservative government is about to pass a law stigmatizing gays and lesbians, forcing Jean, a gym teacher, to live a double life. As pressure mounts from all sides, the arrival of a new girl at school catalyses a crisis that will challenge Jean to her core.

The film is about having to hide who you truly are, and the Lengths be forced to just to have peace in your life and peace of mind. 

As the main character sees a student of hers as a kind of kindred spirit, or a younger version of herself only much braver and not caring so much about what others think. However, she also feels the need kind of warn her and protect her against the problems, which she might be opening herself up to.

So that teacher is suspected of a rumor to be gay. She goes immediately into defense mode. alienates everyone around her and suspects that her student might be the one who is causing all of this suspicion. 

Even when she tries to act straight, it shows how bored she is and trapped, especially in a scene where she is stuck having a drink with coworkers, and there seems to be no escape yet when she’s out with her girlfriend or even her friends, we see how freeing and open they are.

The film is more about the teacher, but also the heart of the film is the student, just trying to live her life and seemingly being persecuted, especially by one girl at the school who kind of sets her up and definitely Hass to be one of the most villainous characters seen in a film in a while unexpectedly though, you also suspect that the villain might also actually be attracted herself to the other girl.

This is a film that is surprisingly affecting going in. You expect one thing, but by the end, you are just floored and are all excellent. The film is a tearjerker and kind of a heartbreaker but it’s also not an LGBTQ film that makes any character necessarily a martyr or makes the story come off more as traumatic than it needs to be.

There is tension throughout, and a lot of questioning of oneself morals and ethics in the people you surround yourself with add heart. It is also a film about embracing yourself, loving yourself, and truly letting others know your own definition, and not live up to theirs.

You must remember this film is based on recent political times not too long ago even though it works as a period piece there is still the history of prejudice and hatred that ran through countries’ governments and unfortunately people’s hearts and minds.

Grade: B 

BEFORE I CHANGE MY MIND (2022)

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Directed By: Trevor Anderson 

Written By: Trevor Anderson and Fish Griwkowsky

Cinematography: Wes Miron

Editor: Justin LaChance

Cast: Vaughn Murrae, Dominic Lippa, Lacey Oake, Shannon Blanchet, Matthew Rankin, Rohan Khane, Jhztyn Contado, Milana Bochiwski, Kaitlyn Haugen, Kristin Johnston

1987: While the other students wonder if new kid Robin is a boy or a girl, Robin forges a complicated bond with the school bully, making increasingly dangerous choices to fit in.

This is a coming-of-age tale involving, what seems to be an ambiguous character. That feels like a film that could have taken place in 1987 as just like the characters it’s awkward and seems a little directionless as far as characters go, but succeeds at building its own world.

The film is open-ended and doesn’t offer many answers, but it leaves you to make up your own mind and figure it out or come up with your own definitions and backstories. 

I give credit more truthful and not having the cookie-cutter kind of happy endings that usually come with this type of film.

The lead character is more of an outcast, because of the questionable sexuality, more than anything, rather than just some random quirk, and that would feel forced. the film feels mysterious, even to itself as it seems to float and its own haze, but presents a clear picture.

Also not the typical one minute and you could be enemies in the next either best of friends, or just plain old getting along 

Especially the contrast, between the main character and the Asian character, kind of discovering an identity of punk, and letting that be the definition to get help him through his alienation and pain, as others make fun of them and him being OK with it.

I also like that kind of delves into the parent’s and adults, life events to show them as characters who might be flawed and have their own problems just as the main character’s father might’ve moved on, but still isn’t ready to necessarily get into a relationship with someone new, and holding it together, is the best he can and then, when he finally does, it might not be the match that he or the audience had hoped for.

it’s a film that seems to keep on building, and by the end, some audience members might not be pleased with where it ends or how it ends but it does feel like a complete story and offers an ending. It’s just that you might want to see what happens after or find out where these characters go after the film has ended.

So not for everyone, there isn’t much I can see that would be offensive or alienating to a general audience.

Which shows to the audience strong, writing, and a strong story, even if led more by emotions than the filmmaking itself.

Grade: B 

MONICA (2022)

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Directed By: Andrea Pallaoro

Written By: Andrea Pallaoro and Orlando Tirado

Cinematography: Katelin Arizmendi 

Editor: Paola Freddi

Cast: Trace Lysette, Patricia Clarkson, Joshua Close, Adriana Barraza, Emily Browning, Bobby Easley

The intimate portrait of a woman who returns home to care for her dying mother. A delicate and nuanced story of a fractured family, the story explores universal themes of abandonment, aging, acceptance, and redemption.

This is a slow, strong, subtle-moving film. 

As we watch the pain, the main character goes through taking care of a mother who doesn’t remember who she is especially after she changes her sex. 

There is a lot said in the silence of this film that we are left to read into, guess, and infer. No, they clearly speak loud and clear even when subtle.

There are a lot of close-ups that reflect a familiar distance between the characters that keeps them apart or at a certain length as we can quite see them fully and framed, in quite a few scenes.

Most of the characters are seen at odd angles and revealed slowly and only important to the character of Monica and the story

Trace Lysette as the title character is the only one always in focus and fully framed. She is beautiful and penetrating in a powerful performance, full of anger, sadness, and ultimately confidence.

I will admit, I have followed Trace Lysette career for a while, and online, and admit, I am a fan so getting to see her starring in a film and knock it out of the park. Also getting to be luminous brave strong, a little romantic at first victim, standing her ground and becoming a winner.

We see the pain of her having to watch her mother deteriorate and also lavish, loving feelings on her brother about family and how it’s important hello even though her mother gave her up to a certain extent. While she is there and not recognized and is being treated like a stranger, which seems to be a special kind of torture, especially when caring for a loved one. 

Helping support is a kind of adversary that she keeps trying to please or find a connection with or hopes to start reconnecting with. Revealing herself to a family and a new identity, but with the same old history between them.

Like the title, the film stays tightly focused on her never really allowing that much room for other characters or quite a bigger picture.

It seems that throughout this film. When it rains it pours before Monica as bad things just keep seeming to happen one after the other. 

Rejected by an ex Who constantly keeps trying to reach out to she’s desperate to find connections when her family seems not able to. She even has a one-night stand with a rather random male just to feel some pleasure and have someone care and desire her. The character is not sexless. 

Patricia Clarkson plays the slowly dying mother, and she is good here as she’s always been a good actress but never gets enough credit or work.

The second half is more like all the characters getting to know each other and the family more.

For some reason, the film reminds me of a Bon Iver album, peaceful with some sharp notes with a certain calm that occasionally gets disrupted by reality and time. Though for the most part stays in Its own place.  Does the film never feel like it’s a conventional movie or like anyone is truly acting.

The film dives into the depths of the agony of losing a parent, especially the second time as the first time you were banished and abandoned.

The film ends up being a character about facing the past and informing the present. As you fall in love with the family as well as her the character who is quite the bombshell, but whose emotions or emotional landscape might seem closed at first, but is always open. I can’t say this is enough Ms. Lysette is definitely a star.

 this film is quite personal in its material and effective 

Grade: B

MUTT (2023)

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Written & Directed By: Vuk Lungulov-Klotz

Cinematography: Matthew Pothier

Editor: Adam Dicterow

Cast: Lio Mehiel, Cole Doman, Mimi Ryder, Alejandro Goic, Jasai Chase Owens, Jari Jones, Ben Groh, Sarah Herrman 

Over the course of a single hectic day in New York City, three people from Feña’s past are thrust back into his life: his foreign father, his straight ex-boyfriend, and his 13-year-old half-sister. Having lost touch since transitioning from female to male, Feña must navigate the new dynamics of these old relationships while tackling the day-to-day challenges that come with living a life in between.

I’m gonna speak from the heart as this film is not necessarily raw, but enough to make an impact.

Though it reminds me of it. It’s Not quite the independent film of the 1990s maybe as it was when I was younger I felt things differently. I might’ve been a bit more naive to get deeper into a film and its subjects.

I didn’t know the world as much. So to me, the art or artist Seemed more sincere didn’t seem like we had seen it all, and definitely didn’t notice all the influences.

Though the films all came from the same place of Earnestness, and honesty, no matter the subject matter and storytelling in cinema they just knew how to make it look bigger not to mention the strength of visuals that one can admire.

In my younger years, I would’ve been all over this film rooting for it talking about it, and supporting it. Needless to say, I’m a fan as the film brings me back to my independent cinema of New York City days when I was all over the latest and newest releases. 

As one, I’m always interested in different in the different outsiders experimental, humanized, and delving into the cultures that I am not naturally privileged to be in.

In this film, in each section or act, we get to see the lead character’s experience with someone close from their past as well as a snapshot of their current relationship and lifestyle. So that it is a film of reveals. A coming of age story and a coming-out story.

This is a film that offers some understanding and hope and is not trauma-inducing, even with its constant hardships for the character. the only brutality on screen truly is the emotional ones

The character isn’t perfect, but is trying to be themselves, and why the world makes it so hard for them to achieve. While trying to make up for their past and be a better person.

Grade: B+

MAKING LOVE (1982)

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Directed By: Arthur Hiller

Written By: Barry Sandler

Story By: A. Scott Berg

Cinematography: David M. Walsh 

Editor: William Reynolds 

Cast: Harry Hamlin, Michael Ontkean, Kate Jackson, Terry Kiser, Wendy Hiller, Arthur Hill, Nancy Olson, John Dukakis, Dennis Howard, Asher Brauner

Follows a young, idealistic married couple, Zach and Claire. They seem to be the perfect couple: college sweethearts with similar tastes and opinions, they are each very intelligent, sensitive, and caring individuals who can be both fun-loving and serious, in turn. Zach and Claire like one another as people as well as lovers. Each one is rising in his/her career and they talk about having kids someday; Claire, especially, wants them to have a boy and name him Rupert. When Zach meets a guy named Bart, Zach has a very personal human crisis: Is he happy?

This movie is a dramatic romance from each point of view in an unknowing love triangle. 

This is one of the first films to show, gay male characters in a loving relationship. And being intimate the development of their relationship from meeting to being charmed to seduction to finally consummating and having feelings for one another. That might be love or might not be.

No, they have great chemistry.

 There are no villains here as each has their reasons for what happens and gets to explain their point of view. Captures great character moments throughout. 

You feel sorry for Kate Jackson as she and Michael Ontkean seem like a perfect couple and truly did love one another.

You can definitely feel the love story and dynamics. It’s simple and plain yet has its own clean-cut basic style. That offers a no-frills and conventional film. which leads to some blandness at times. Which makes it come across as a television movie material. That was directed by Arthur Hiller who also directed the movie LOVE STORY might be one of the reasons why it feels this way.

Also brings you back to a time when if you had a big enough budget star and offered a hook that material could still make it to movie theaters even if it seemed like a controversial subject which was a selling point.

The movie goes along with Kate Jackson’s character gaining success as her relationship deteriorates, though that is not what drives her husband into an affair. Even before happy times to flirt with homosexual feelings, though it seemed like it was more out of frustration. With his lover, can’t seem to get it up with her. As it seems he’s a romantic, and he can only be intimate like the one who intrigues him or where his heart or attraction lies.

Kate Jackson is a powerhouse in her role going through so many emotions and situations and she is so fetchingly beautiful throughout.

This was something new and different to general audiences and offered some representation of a community. It’s not all lovey-dovey so much but offers real communication and emotions that take their time with the material.

In particular, I was taken by the character’s love of movies and references throughout On a Roof as a constant reference and character working in the entertainment business.

This is actually the best role. The two male leads have come and they come off as more natural than anything. 

There are some strange twists in the film, like one of the characters’ reluctance, and afraid of being emotionally available. His lover has admitted his truth and love virtually destroying his marriage, which seems to scare Harry Hamlin’s character, the single writer off, especially when we learn of his past that might have damaged him. 

The psychobabble at the end, manages to let out the feelings, but feels a bit of an overkill as it explains too much rather than ambiguous and lets us make our own decisions and information. It offers an explanation.

Didn’t expect it to be more meaningful.  it’s not a true romance or love story. As it allows the characters to open up about something allowing each other to be truthful. Even if it gets overly saccharine probably due to a sensitive subject at the time. Also not looking to. Offend offers a too-safe love triangle. Leaving it to be meaningful if not, a grand romantic tale.

The ending is heartbreaking. as her husband ends up being her first love and best friend and you don’t feel like she truly is over him but must go on with her life, Just as he has.

Grade: B