'The Great Wall' is the Dumbest Movie of 2017

by John Zenoni

 

Ok, well I have seen what has to be the most costly and yet dumbest - that might be harsh but not by much - movie of 2017 (so far, as we are still early in the year) and that is 'The Great Wall.' 

They say most movie stars have to have at least one major bomb in their career and this one is it for Matt Damon. I do not know how much was spent on this film but the scenes of the armies and their uniforms and formations are magnificent! The special effects not so much, I am disappointed to say. But the major downfall is the storyline and the acting. Matt Damon's character is so unbelievable and you never know from one scene to the next how he is going to sound as far as his dialect. His counterpart in the film is ok but somewhat annoying and Willem Dafoe, what a waste of a good actor and his talent. 

While the concept of this film was a good one, the execution was horrible. Do not waste your money on this film. It feels like a throwback to the 'B' rated movies you would see at the drive-in. What a stinker. Horrible.

Originally Posted 2/17/17


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"Frenzy" Review

 

by Daniel White

Who says you can't go home again? In Alfred Hitchcock's Frenzy (1972), the famed director returns to the London of his childhood. With portions of his penultimate film set in Covent Garden where his father worked as a green grocer, it's a fond tribute to the city. Above all, it's a rippingly good comic thriller. Released by Universal Pictures, the flick opens high above London. As the credits roll and the urgent music plays, we are propelled forward, under the Tower Bridge, to the banks of the Thames. There, the body of a naked woman floats. She has been strangled, with a tell tale neck tie wrapped around her throat.

Hitchcock was in his early seventies when he helmed Frenzy, an age when many of the great masters of cinema begin to lose their grip. But not Hitch, this is a skillfully executed piece of filmmaking, as taut and tightly-crafted as anything he ever directed. Hitchcock was never interested in mystery, we know who the killer is thirty minutes into the flick. No, in Frenzy, he plays upon a common theme of his: the wrong man.

Jon Finch is Richard Blaney, an angry young bloke who is prone to physical outbursts. Fired from his job as a barman, and down on his luck, Blaney becomes Scotland Yard's main suspect in the "Necktie Murders" when his ex-wife becomes the latest victim. Hunted by the police then framed by the real killer (Barry Foster), Blaney's fate is uncertain, right up until the final suspenseful moments of the movie.

Playwright Anthony Shaffer penned the screenplay and despite a couple of contrivances that stretch credulity, it is a sturdy framework from which the director can work his magic. All of the players are excellent, in particular the quirky Vivien Merchant, as a policeman's wife. She may serve up some hideous gourmet dishes that her husband (a wonderful Alec McCowen) can't stomach, but her intuition is spot on. But it is the Hitchcock touches that are most striking. Despite one ghastly on-screen killing, much of the film is played for gallows humor, including an extended grisly comic mishap set inside a lorry transporting potatoes.

Some may protest that drawn-out, explicit, and very disturbing murder. It is difficult to watch and had me squirming. But it is how Hitchcock treats the second murder that is superlative. The killer and the victim enter a flat together, we know what's about to happen. But instead of going in, Hitchcock pulls back, down the stairs and out into the street. He spares us another visual assault. It's a subtle, masterful piece of film work that brilliantly complements the previous display of violence.

I have often balked at the way cinema pundits have placed Alfred Hitchcock high atop a motion picture pedestal. But in watching Frenzy, even I have to admit: this guy was good!

Finally, I want to pay tribute to Billie Whitelaw, Jean Marsh, with a special shout out to Anna Massey and Barbara Leigh-Hunt. With an eerily appropriate musical score by Ron Goodwin, Frenzy is available on YouTube.

Tiny Lister's 6 Best Movies

 

Compton-born character actor Tommy "Tiny" Lister Jr. boasts a film career that spanned 32 years. Along the way, Lister also pulled double-duty as a professional wrestler throughout the 1980s and 90s. Though he's mostly known for his Friday character, Deebo, Lister appeared in an astounding 78 movies, 16 television shows and 14 music videos. Sadly, Lister passed away at his Marina del Rey, California home on December 10, 2020 after a battle with COVID-19. Tuck your chain and join us in celebrating Lister with his 6 best movies (and two videos).

The Boys - Happy 

(Lister cameos as a moving company employee in this 1989 video)

Michael Jackson - Remember the Time 

(Lister makes another cameo as an Egyptian palace 

guard who in this star-studded 1992 video)

6. Next Friday

Lister reprises his role as neighborhood bully, Deebo, in the first sequel to the classic movie Friday. Deebo and his brother make an prison escape following the events of the previous movie.

5. Never Die Alone

Lister appears in this film adaptation of a Donald Goines novel as Rockie.

4. A Thin Line Between Love and Hate

Lister appears as jealous boyfriend, Tyrone, who attacks Bobby Brown's character, Tee, after he gets too familiar with his girlfriend in this directorial debut by comedian Martin Lawrence.

3. Phat Beach

Lister uses his own nickname, Tiny, another jealous boyfriend, in this 1996 coming-of-age comedy.

2. The Dark Knight

Lister is a Gotham City inmate in this game-changing -- and Oscar-winning -- comic book movie about Batman. In a pivotal scene, Lister's character refuses to be manipulated into detonating a bomb on a boat-full of people by the Joker.

1. Friday

Lister debuts in his signature role, Deebo, in this classic film written by Ice Cube. Deebo, the neighborhood bully, terrorizes Cube's Craig and his best friend Smokey (and everybody else who lives on their street) over one long day.

Originally Posted 12/12/20

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"Parasite" Movie Review

by John Zenoni

Well I went into this film truly wanting to hate it because it won Best Picture of the year (beating out my personal fave “Joker”) and I can't believe it but it turned out to be one of the most original, well made, entertaining and flat-out brilliant movies I've seen in a long, long time. Don’t get me wrong, “Joker” is still an amazing piece of work in my opinion, but “Parasite” is a jaw-dropper for sure. Had this film come out last year or next, “Joker” would have won but I can understand now why “Parasite” did after having seen it myself.

***Spoilers***

First, let me start by saying that I was concerned about the film having subtitles, as I normally find that annoying. Not so in this case at all as the way the film starts made me forgot about them immediately.

The film is about a poor Korean family, the Kim’s, (unemployed parents and a son, daughter) who live in the slums and are struggling to make it day-by-day. While coming up with a plan to try and improve their lives, luck falls into their lap as the friend of the son happens to stop by and offers him the opportunity to tutor the daughter of a wealthy family, the Parks. Once the son gets into the home and impresses Mrs. Park, he comes up with a plan to get his sister in the house and after her follows the father and mother. I won't disclose how the story plays out, as it's absolutely brilliant but I will say that just when you think you're totally engaged in the film, a twist comes in and leaves you with your mouth open.

The film also does a great job of portraying the differences between the classes in society, where the poor are just wanting to have the basic things in life such as food, clothing, tv, etc. while those who are fortunate enough to be upper-class seem to take everything for granted. Of course, that's a general statement as not everyone is like this but the film gets a good point across.

The acting and action in this flawless film is top-notch. I can't find fault with any of the performances as they are amazing. It's a perfectly paced and directed film that I definitely plan on seeing again. To quote someone else, this is a perfect ‘...tragicomedy thriller film directed by Bong Joon-ho, who also co-wrote the screenplay with Han Jin-won.’

All I can say is that if you are a true film-lover, you have to see this one.

Originally Posted 2/25/20

"Hustlers" and the Art of Hypocrisy

Jennifer Lopez vehicle Hustlers is advertised as a celebration of women's empowerment and triumph over male exploitation. But the devil's in the details and the fact is that this movie based on a very true story features characters who drugged then robbed men. 

And one of the actresses, Grammy-winning rapper Belcalis "Cardi B" Almanzar, by her own admission, actually did drug then rob several men after luring them to motels with the promise of sex, during her days working as a stripper. After the three-year-old confession, made via an Instagram video, resurfaced, Cardi provided the dubious explanation that she did what she "had to do to survive." Many on social media have even compared Cardi's actions to those of disgraced comedian Bill Cosby, currently jailed for drugging and having sex with an unconscious woman in his home, and rapper William "Rick Ross" Roberts, who lost an endorsement deal with fitness apparel giant Reebok because of a song lyric describing drugging a woman in a nightclub. Commenters have asserted that a male in Cardi B's position would have been "cancelled" and prosecuted in the wake of a similar admission.

Aside from the obvious criminality -- and immorality -- involved, what makes Hustlers even more objectionable is the fact that the very acts that the movie seems to celebrate have been replicated in real life to lethal effect. This past August, alleged prostitute Angelina Barini was arrested in connection to the overdose death of a man whom she's accused of drugging and subsequently robbing. And authorities have connected Barini to two other drugging deaths, including that of New York City chef Andrea Zamperoni. Following her arrest, Barini admitted to police that she supplied the victim with the fentanyl that led to his demise. According to the medical examiner's office, GHB (informally known as "the date-rape drug"), cocaine and alcohol were found in Zamperoni's system. The NYPD is currently investigating Barini's possible connection to two additional drugging deaths as well, bringing the potential total to five.

While Joker star Joaquin Phoenix and director Todd Phillips have been inundated by questions regarding the "irresponsibility" of creating a film (which has yet to be seen by the general public) -- about a comic book character -- that may incite violence, Hustlers star Jennifer Lopez has been showered with praise and Oscar predictions ever since her movie's release -- and Cardi B remains on top of the charts.

So as critics continue to bemoan the potential for copycat violence inspired by Joker, they may wanna take another look at Hustlers. And rethink their celebration of its subject matter.

Originally Published 10/3/19

"He Who Gets Slapped" Review

 

by Daniel White

MGM has always fascinated me as a movie studio. It was known as the "Tiffany Studio" because of the glossy, glamorous and graceful quality of the films it produced. However, when "boy genius" Irving Thalberg was alive, the studio could, on occasion, "take a walk on the wild side." Louis B. Mayer may have been a firm proponent of taste and refinement, but wunderkind Irving had an affinity for the bizarre.

It was during his all too brief tenure at the studio that Lon Chaney's creepy tales of the macabre were released. Not to mention one of the most controversial movies of all time, Freaks (1932), and a personal favorite of mine, 1936's The Devil-Doll. Yes, MGM gave us Grand Hotel, but let's not forget its spasmodic flirtation with the Grand Guignol.

Directed by Victor Seastrom, He Who Gets Slapped (1924) was the first film made for the newly-formed company and it has Thalberg's quirky brand of aestheticism stamped all over it. An original, unusual flick, it is also rather disturbing. A study in masochism, it stars the aforementioned Chaney as a scientist who is ruined by his sponsor, a nefarious baron. Robbed of his life's work and his wife, he decides to join the circus and become a clown. But wait, it gets even weirder. Billed as He - Who Gets Slapped, his schtick as a clown consists of continually and constantly getting slapped by other clowns!

Humiliation as a theme for a film is odd, to say the least. It's a fascinating subject matter, akin to Murnau's The Last Laugh, released the same year. Chaney is amazing. A superb technician with a genius for pathos, his artistry remains unmatched in the history of cinema. Unfortunately, he made only one talkie, so his unique talents will go unnoticed by those who refuse to explore silent cinema. Silly, silly people.

He is ably supported by Norma Shearer and John Gilbert as the young lovers. Both actors were on the verge of super stardom, and by appearing in this prestige picture, the studio gave them the nudge they needed to get there. Of special interest is Shearer. She was not the prettiest gal in Hollywood, nor the most talented, but she was incredibly ambitious. And by marrying Thalberg three years later, she secured herself an unshakable position at MGM.

Irving Thalberg would finally succumb to the heart condition that had plagued him since childhood in 1937. And in a way, MGM would succumb too. Succumb to the blandness and need for conformity that defined Mayer. It's not for nothing that Dorothy Parker would refer to the studio as Metro Goldwyn Merde! Instead of Chaney and Tod Browning, there would be an endless parade of Andy Hardy sagas and Esther Williams swim-fests. Of course, enjoyable, exciting, and entertaining films would be produced, but nothing quite as quirky as when Irving Thalberg was kicking around.

He Who Gets Slapped is available on YouTube.

"Emily the Criminal" Review

 

by John Zenoni

Ok, who's ever heard of the movie, ‘Emily the Criminal?’ Yeah, that's what I thought. I hadn't either until I took a chance on it last night and needless to say, it was worth the risk. Not necessarily as an overall picture, but from the performances on display. The movie is about Emily (played by Aubrey Plaza, of ‘Parks and Recreation’ and ‘Legion’ fame), a young woman who is trying to catch a break and get a real, decent paying job to help pay her debt and student loans, but is constantly turned down due to a minor criminal record. One evening, covering a shift (food delivery) for a co-worker, he gives her a number to call to become a ’dummy shopper.’ What this entails is using fake credit cards provided by crooks to go and buy merchandise and return it to them (who in turn, resell it on the black market) for a pay of $200.00 (or higher, depending on the purchase). Needless to say, this quick way of making money becomes attractive to Emily and she begins to learn the business. She also becomes close to the crook who hired her, Youcef (played by Theo Rossi), and they quickly become an item. Without giving anything away, you can only imagine that things do not go exactly as Emily would like. But I will say I was somewhat surprised by the ending.

While the film does have some entertaining moments, it is by no means something one should see if looking to lift their spirits. However, the performances by Rossi and Plaza are very good. She was captivating in every scene she was in and was not someone you would want to mess with. I had never seen her previous work before but I will definitely watch her in any future films. She stole the show for sure!

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John's Micro-Review of "Infinity War"

by John Zenoni

Not having seen but perhaps one or two of the Marvel Comics action films, I was not sure what to expect going into the movie, “Avengers: Infinity Wars” but have to say I left having really enjoyed it. Was it the best film I have ever seen? Not by far. Was it a great popcorn flick? Absolutely! The action was non-stop and laughs pretty good. There were some ‘cheesy’ jokes and poor attempt at good humor at times, including a reference to DC, but overall it was still an entertaining film, and I did not know who half the characters were. With that being said, there were some who I really liked and others I could have done without. Rather than listing my favs, I will add to Ran's list and give my thoughts on who should go:

Nebula, anyone or anything associated with ‘Guardians of the Galaxy’ (I am sure I will get slammed for this but I don’t find the characters funny or entertaining), Dr. Strange (very annoying), Vision (what does he do?), and Loki! The other character I did not get was Peter Dinklage and his purpose. Not his best role, in my opinion. Now as far as the villains, Josh Brolin and his portrayal of Thanos was excellent. I left the theater actually looking forward to seeing what happens next but hopefully without the characters previously referenced.

Originally Posted 5/8/18

"Rebecca" Movie Review

 

by Daniel White

"Last night I dreamt I went to Manderley again."

One of the most famous lines in film, it is the first sentence in the wistful monologue that Joan Fontaine recites at the opening of Rebecca. Directed by Alfred Hitchcock, under the watchful eye of producer David O Selznick, Rebecca (1940) is an expertly-executed movie, as well-crafted as any flick made during the Golden Age of Hollywood. In fact, if one had to pick a film that exemplified the absolute best that Tinseltown had to offer in its glorious heyday, Rebecca would be the perfect choice. Perfect is the word I keep coming back to when thinking about Rebecca. Perfectly cast, perfectly scripted, perfectly directed. Nothing was left to chance here, and while some of you more adventurous souls might find that a bit dull, I appreciate the thoughtful care that went into making the movie.

Fontaine is very, very good as the unnamed timid soul who meets the brooding Maxim de Winter (Laurence Olivier) while on vacation in Monte Carlo. Working as a paid companion for the boorish Mrs. Van Hopper (the wonderfully repellent Florence Bates), she and de Winter fall in love and marry.

Olivier is unbelievably right for the role of de Winter. Mercurial, mysterious, and remote, I can't think of another actor who could have played it better. Though much fanfare went into the casting of the female lead, it's Olivier's Maxim that deserves special praise. Jimmy Stewart won the Academy Award for best actor that year for The Philadelphia Story, but Olivier gives the more nuanced performance.

Speaking of great performances, Judith Anderson is phenomenal as the lurking, sinister Mrs. Danvers. Whether shaming poor Joan into subservience or slyly coaxing her to suicide, Anderson puts the D in Diabolical. Again, while Jane Darwell deserved her supporting Oscar win for Ma Joad in The Grapes of Wrath, Ms. Anderson is every bit her antithetical equal.

This would be Hitchcock's directorial debut in America, the beginning of one of the most spectacular careers in Hollywood. Conversely, this was the pinnacle of Selznick's career. Rebecca would win best picture. He would never again achieve such dazzling success. Instead it was the onset of a long, slow, painful, and at times very public decline.

Besides the three main protagonists, the film boasts an incredibly rich supporting cast that includes Gladys Cooper, Nigel Bruce, Reginald Denny, and George Sanders at his noxious best. Whisked back to Manderley where she will do battle with the ghost of Rebecca, as well as her very much alive protectress, Mrs. Danvers, the second Mrs. de Winter will be tested, tormented, and tried. But will she triumph? Watch one of the soundest examples of Hollywood know how to receive the answer to that tantalizing question. Watch Rebecca!

With an intelligent, literate screenplay by Robert E. Sherwood and Joan Harrison, cinematography by George Barnes, and music by Franz Waxman, Rebecca is available on YouTube.

"Dolittle" Movie Review

by John Zenoni

I decided I needed to see a film that was lighthearted, carefree and didn't require too much thinking and ‘Dolittle’ fit the bill perfectly. While not a great film, it's actually not as bad as the scathing reviews from most critics are making it out to be. This is one I would definitely take my grandkids to see as the talking animals are the definite stars of the film and are enjoyable to watch.

The story itself is pretty solid and the acting is OK. Robert Downey, Jr. is pretty good in the title role of the physician who has the capability of talking to animals. The only issue I have is that he whispers most of his dialogue and I didn't care too much for his accent. But that's actually being overly critical for a film that really, in my opinion, is primarily to entertain kids and it does that quite well. I would even watch a follow up - which the ending does leave as a possibility - but doubt it will happen since the numbers don’t seem to be making this one a hit. That's unfortunate as this is definitely a good, clean, fun kids movie.

Originally Posted 1/20/20

Looking for Philip Marlowe in "The Falcon Takes Over"

 

by Daniel White

Who knew that roscoe was slang for a gun? I didn't, until I watched 1942's The Falcon Takes Over. Loosely based on Raymond Chandler's novel, Farewell My Lovely, it's a Philip Marlowe yarn that's been considerably altered to fit the broad, suave shoulders of the urbane George Sanders.

The third entry in the Falcon series, Sanders stars as the title character, Gay Lawrence. Sophisticated, debonair, and polished are three adjectives that could be used to describe the Falcon. They are not words one would EVER employ when summing up the character of Philip Marlowe. Directed by Irving Reis for RKO, the flick has been clipped, cut, and reconstituted to resemble an installment in the Falcon franchise. There is little of Chandler and none of Marlowe, but it's an enjoyable B programmer and generally pushes all the right buttons in a murder-mystery crime caper with plenty of comic overtones.

One surefire way to risk losing all things Chandler is to transport the story from L. A. to The Big Apple, which the filmmakers have done here. Sanders looks quite the dandy in his double-breasted overcoat and white scarf, sailing in and out of nightclubs. The switch also allows two of the greatest practitioners of the dese, dem, and dose style of speak to shine. Allen Jenkins and James Gleason practically steal every scene therein and collectively hamstring the flick. If The Falcon Takes Over had any pretense at being a film noir, these two Shamrock shticksters quickly put a stop to that.

A fervid fan of noir, I am well acquainted with 1944's Murder, My Sweet, which, like this flick, draws from the same source. So it is a bit disconcerting to find that film's memorable cast of characters sharing screen time with the likes of Sanders, Jenkins, and Gleason. It's an unlikely alliance, an improbable hybrid, yet one with definite possibilities.

A padded up Ward Bond appears as Moose Malloy and gets things off to a rollicking start by accosting Jenkins, then snapping the neck of some poor nightclub manager. A miscast Ann Revere gamely attempts to inhabit the grimy soul (and bathrobe) of Jessie Florian, while Turhan Bey barely registers as Jules Amthor. Hans Conried as the effete Marriot makes a lasting impression. His scenes with Sanders are memorable. Two of the screens greatest fops dueling to see who is the greater popinjay!

Lynn Bari scores as girl reporter, Ann Reardon. It's nice to see Bari, who often played hard-bitten broads, oozing with golly gee gumption. This is a fun film from an above-average serial highlighting the exploits of a gentleman detective (one would never call the Falcon a gumshoe or a shamus!), but it's far removed from Raymond Chandler's original intent. If you're jake with that, then why not climb on board and watch The Falcon Take(s) Over? With the diminutive Helen Gilbert as the treacherous Velma, The Falcon Takes Over is available on YouTube.

"Take a choice, sing or Sing Sing!"

"Three Billboards Outside Ebbing, Missouri" Movie Review

by John Zenoni

‘Three Billboards’ is an exceptional film all the way around, from the acting, scenery, dialogue to the music. It is a heartbreaking story but there are so many elements that touch on real life and hit home. It's funny, sad, life-affirming and emotional at the same time. It is very much an ‘R’ rated film and was hard to watch/listen to at times. The performances are excellent! Sam Rockwell is great at playing the slow, dim-witted police officer, Woody Harrelson is outstanding as the Chief of Police and while I have never really been a big fan of Frances McDormand, she captured me from the very opening scene - a real tour de force! Excellent!

Originally Posted 11/30/17

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"Fall" Review

 

by John Zenoni

It has been a long time since a movie has made me squirm and cause my blood pressure to rise like it did this evening but that is exactly what happened while watching the recently released film, ‘FALL.’ I never expected to be so engaged in this one but I have to admit it sucked me in and kept me on the edge of my seat. The thing is, the premise is pretty ludicrous and you know the things that happened could never have taken place in real life. But the scenery - especially the climbs and the heights the two main characters go to - causes anxiety and panic early on. And as the fear builds up you get to this crazy twist that throws you for a loop. Some people will be disappointed, perhaps even angry at it, but it worked for me.

The film is about a young woman, her husband and her best friend, who are on a climb when the husband has an accident and is killed early on in the film. Grieving since that incident, and not responding to her family (her father is played by Jeffrey Dean Morgan, of ‘The Walking Dead’ fame), suddenly her best friend shows up and wants to try and help her get over her loss. To do that, she proposes they do a climb on a 2,000 foot tall abandoned radio tower in the desert. Needless to say, not a very smart idea but it happens. It's during this climb that the best friends learn things about each other, some good and some not so good. I won’t reveal the big twist but while there's one thing that happened I suspected early on, the other definitely caught me off guard and was pretty good as part of the climax.

All I know is that the film confirmed one thing for me if nothing else and that is that I do not have any desire to be a climber.

#cinemafiends

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"The Brasher Doubloon" Movie Review

 

by Daniel White

"Lunatic! Lunatic! Lunatic!"

Based on the Raymond Chandler novel, The High Window, and directed by John Brahm for Twentieth Century Fox, I was surprised at how effective this 1947 Philip Marlowe flick proved to be. While Murder, My Sweet and The Big Sleep are touted as classics, this scrawny little step child is unfairly overlooked. Grimy, gritty, and just as pulpy as the previous two Marlowe movies mentioned (maybe even more so), The Brasher Doubloon deserves to be noticed.

The film opens with the cynical detective driving up to a Pasadena estate where he has been summoned by the formidable Mrs. Murdock (a fantastically fierce Florence Bates). Instructed by the demanding dragon lady to recover the rare, invaluable coin of the title, the irreverent gumshoe soon finds himself knee-deep in blackmail and murder, while romancing a dizzy, possibly duplicitous dame.

It's been a long time since I've read Raymond Chandler, but the dialogue here seemed as close to his style of writing as I remember. Yes, our leading man, Montgomery may be a bit too breezy (one critic called him "lightweight"), and not world-weary enough, but by the end of the movie, I came to appreciate his take on the shamus.

As for Nancy Guild ("rhymes with wild"), I thought her turn as the vague, anxious, possibly criminal Merle Davis excellent. She may not sizzle and smoke like Bacall or Claire Trevor, but she had me guessing up to the end. Is she or isn't she another Brigid O'Shaughnessy? Comparison may be the problem with the film and why it isn't better appreciated. A competent director who pales next to Howard Hawks. Two B-list actors with little luster, and a screenplay by a couple of relative unknowns. Any movie buff looking at those credentials might be inclined to dismiss the flick. But I'm here to tell you, The Brasher Doubloon is a worthy endeavor, near equal to any of the other Marlowe outings I've experienced.

It's got one of the creepiest cast of supporting players of any film-noir venture, several of them uncredited (who played the busted-eye, straw hat wearing Eddie?), and at 72 minutes, hums along nicely. It's a tight, compact murder mystery that resolves itself quite respectably. With Fritz Kortner, Roy Roberts, Marvin Miller, and Conrad Janis as Florence Bates sneering, sociopathic son, The Brasher Doubloon is available on YouTube.

Next up: Looking for Philip Marlowe

"Thirteen Lives" Review

 

by John Zenoni

If you want to watch a film that is based on a true story that will keep you on the edge of your seat, definitely watch Ron Howard’s latest, ‘Thirteen Lives.’ This is a great movie and I feel like one of Howard’s recent best. If you can do so, I recommend first watching the excellent documentary on which the story is based, ‘13 Lost: The Untold Story of the Thai Cave Rescue.’ Even if you are familiar with the story, about a group of young soccer players and their coach trapped in the Tham Luang cave in 2018, it is a great watch! Anyway, Howard’s film almost follows the documentary verbatim and as I was following along, I wasn't sure I would like it at first but in this case it works well.

The most amazing thing about the rescue is how intense and long it was and how many people had to be brought in (from many different countries) and what unusual circumstances they used to rescue the players and their coach. It really is a miracle anyone got out at all. Howard delivers from a directing standpoint and the cast is great, with solid performances by Colin Farrell, Vigo Mortensen, Joel Edgerton and Tom Bateman. This is a good one to watch!

#cinemafiends

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#13lostdocumentary

"If Beale Street Could Talk" Movie Review

If Beale Street Could Talk, an adaptation of William Baldwin's 1974 novel, is a love story, set not on the schmaltzy plains of romantic comedy but in the suffocating confines of the real world inhabited by poor African-Americans.

The couple, 22-year-old Alonzo "Fonny" Hunt and 19-year-old Clementine "Tish" Rivers, find their already beseiged dreams take a nosedive when Fonny is arrested and charged with rape. The two Harlem natives have known each other all of their lives and were best friends for years before realizing that they were in love. Tish knows that Fonny's innocent, not only because he's morally incapable of commiting such an act, but also because he was with her and a friend (Daniel) at the time that the assault took place. A racist police officer reported that he'd witnessed Fonny running from the scene of the crime before he apprehended him at his home -- an impossibility given the distance between apartments and times involved. However, the victim, Victoria Rios, subsequently picked Fonny out of a line-up.

To further complicate matters, Tish reveals that she's pregnant, which is very welcome, albeit frustrating news to Fonny, given that he's facing the prospect of only seeing his child during jail visits. With the support of her family, Tish delivers the news of her pregnancy to Fonny's family. While Fonny's father, Frank, is overjoyed at the prospect of becoming a grandfather, Fonny's sister and mother react negatively to the announcement and don't even bother to conceal their disdain for Tish. Mrs. Hunt even goes so far as to curse the unborn baby, which elicits a slap from Frank. Shortly after he leaves with Joseph (Tish's father) to celebrate at a bar, Frank's wife and daughters are unceremoniously excused from the Rivers' home.

Realizing that Fonny's legal defense will cost more money than they make at their respective jobs, Frank and Joseph decide to raise funds by stealing clothes and selling them.

As though things couldn't get any worse, the police arrest Daniel in an attempt to discourage him from testifying on Fonny's behalf. Then, Fonny's attorney learns that Victoria Rios has disappeared, and consequently, won't be available for him to cross-examine. Meanwhile, the horrors of jail are taking a toll on Fonny's morale and overall psyche.

After the families learn that Victoria has fled to her native Puerto Rico and raise enough money for the journey, Tish's mother, Sharon, follows her to the island. When Sharon finally speaks to Victoria it becomes clear that she never got a good look at her attacker. But she refuses to return to New York to testify. After Tish fills Fonny in on the situation, he decides to accept a plea deal. The film then flashes forward years later as Tish and Alonzo Jr. visit Fonny in prison.

The film maintains a dream-like quality throughout, which, because of the non-linear presentation of the story's events, often descends into nightmare. The euphoria is propelled, in part, by a sublime score. If Beale Street Could Talk is a period piece that offers an up-close-and-personal look at issues (namely, police corruption, institutional racism, a broken criminal justice system, sexual harassment and assault and false accusations) that plague us today.

Beale Street is remarkably similar to 2017's criminally underrated Crown Heights, based on the true story of Colin Warner, a New Yorker and African-American man who was wrongfully convicted of murder in 1980. Warner spent 20 years in prison before the efforts of his lifelong friend, Carl King, led to his release. Films like Crown Heights and Beale Street aren't similar due to Hollywood's age-old tendency towards exhaustive imitation but rather because the stories that they tell are, tragically, all too common.

Originally Posted 2/4/19

"John Wick 3: Parabellum" Movie Review

by John Zenoni

Well at least something finally put an end to the ‘Avengers: Endgame’ box office reign this past weekend and I can't believe it was a Keanu Reeves film. Yes, the latest installment in the John Wick series ('John Wick: Chapter 3 - Parabellum') outdid the Marvel movie in dollars this past weekend. Finally! Anyway, I must say that the rave reviews being given to the third film in the series certainly had to help push it’s way to the top of the box office and I can understand why. This is a great action film! While some of the scenes lasted just a little too long, and I will explain why, it still worked.

This latest in the series picks up just where the last one left off as John Wick is trying to escape after a huge contract is put out on him. He ends up ‘cashing’ in on some favors owed him to try and get away. All of the people he encounters are great in their roles, including Anjelica Huston (although not really in the film long enough), Lawrence Fishburne (always great no matter what role he plays), Mark Dacascos (who is excellent in his scenes with Reeves), Asia Kate Dillon (who works for the High Table), Ian McShane (great!), Lance Reddick (who is also excellent) and finally, Halle Berry, who, in my opinion, should have been in the film longer as she does a great job in this role.

While the storyline isn't the strongest, the film pulls you in from the beginning with its action scenes and makes you root for Wick all the way. I will say that they definitely push the boundaries with this film as far as violence and how people are taken care of so be prepared for that if you don’t like blood (and definitely don’t take kids). It's creative and the scenes are explosive! The only issue is, as referenced earlier, is that some of the fight scenes just go on and on and on. It makes you wonder how long they can keep it up, especially John Wick after having suffered just about every hit, stab, shot or kick possible - and don’t even get me started on the ending!

In the end though, this is an entertaining, popcorn worthy film! Go see it!

Originally Posted 5/19/19

Related:

"John Wick: Chapter 2" is Pure, Unadulterated Action

The Best TV of 2015

 

Marvel more than made up for 2003's Daredevil movie with a Netflix television adaptation -- and it only took 12 years. But the year's best crime-fighter happened to be DCI John Luther. Other than that, Community continued to reign supreme over all other sitcoms.

4. "Lawnmower Maintenance & Postnatal Care" (Community)

Abed and Annie let a desperate Britta move in. Britta later discovers that her friends have secretly been loaning her money given to them by her estranged parents. Meanwhile, Chang needs medical attention for a cat bite and Dean Pelton never wants to leave a virtual reality world.

This episode is frustrating because the main storyline (Britta's ordeal) is incredibly entertaining but the secondary plot (Dean Pelton's VR addiction) is tremendously lame.

Another low point is the dean's continued sexual harassment of Jeff. When Jeff threatens to beat Dean Pelton up, he responds, "I'll like it." 

3. "Ladders" (Community)

New Greendale executive, Francesca Dart, is ostracized for being cold, uptight, pompous and bossy. And Britta is despondent over her homelessness. But be warned: There's a stupid storyline about the group running a speakeasy under the school.

2. Daredevil

Marvel sucks at producing television. But Netflix is great at producing Marvel television. 

The Daredevil television series is likely what the Daredevil film adaptation would've been like had Ben Affleck directed, as opposed to merely starring in it. The show doesn't take its cues from the Marvel Cinematic Universe, but instead seemingly patterns itself after the best entrants in rival DC's filmography -- especially, the Dark Knight trilogy and Batman v. Superman. The difference is that while many people died in those films, they were rather bloodless affairs. Daredevil, on the other hand, has no qualms about showing graphic violence and the gore that results from it. 

Perhaps sensing his own limitations, attorney Matthew Murdock (Daredevil's real name) restricts his heroism to his own little part of New York City -- as opposed to his do-gooder peers, the globe-trotting Avengers.  

One very minor criticism is the presence of Joss Whedon-Scooby Gang-style interactions between the three youngest do-gooders on the series. Thankfully, this dynamic is short-lived. The only real flaw is the cringe-worthy costume that's introduced in the first season finale.

For 12 entire episodes Murdock prowled the Manhattan streets in a simple black shirt with matching pants, boots and make-shift mask. That understated ensemble was perfect for the purposes of rendering a believable human being who chooses to administer vigilante justice throughout Alicia Keys' home neighborhood, Hell's Kitchen. Then somewhere along the line, the show's creators apparently decided that loyalty to the source material was more important than artistic integrity and foisted a red-and-black clown suit on us. To their credit, there are plenty of in-show criticisms of the thing. The problem is, we still have to see it. 

1. Luther (Season 4)

Originally Posted 10/8/20