Category: Film Review

DOUBLE INDEMNITY – A REVIEW BY J.D. LAFRANCE

by J.D., posted in Film Review

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“It was a hot afternoon, and I can still remember the smell of honeysuckle all along that street. How could I have known that murder can sometimes smell like honeysuckle? Maybe you would have known Keyes the minute she mentioned accident insurance, but I didn’t. I felt like a million.” – Walter Neff

Adapted from the James M. Cain novella of the same name by Billy Wilder and acclaimed crime novelist Raymond Chandler (author of The Big Sleep), Double Indemnity (1944) is considered by many to be the quintessential film noir with its exquisite use of John F. Seitz’s atmospheric black and white cinematography – the use of shadows, silhouetted figures and darkness to convey a shadowy world of betrayal and murder (most famously, Venetian blind effects on walls or on characters’ faces so that it looks like the bars in a jail).

Walter Neff (Fred MacMurray) is a hot shot insurance salesman who falls for rich housewife, Phyllis Detrichson (Barbara Stanwyck) when she first appears to him clad only in a towel and asks, “Is there anything I can do?” which is a question loaded with suggestion. Neff is there under the pretense of renewing her husband’s automobile insurance. The dialogue between them crackles with delicious sexual tension as Phyllis draws Neff into her web, eventually convincing him to kill her husband and make it look like an accident so that she can collect the money.

Of course, it isn’t that easy and Neff’s friend and co-worker Barton Keyes (Edward G. Robinson), a persistent claims manager, investigates the case. Edward G. Robinson plays Keyes with grumpy charm, someone who isn’t happy unless he’s griping about phony claims and the foolhardiness of the company he works for. The exchanges between him and Fred MacMurray are priceless as their friendship permeates the snappy, sarcastic dialogue.

Phyllis is very unhappy and is drawn to her tryst with Neff because it is forbidden and their illegal plan excites her. Stanwyck’s character is an archetypal femme fatale: a scheming black widow that uses her sexual appeal to manipulate Neff into getting what she wants. Phyllis uses him and then gets rid of him once he outlives his usefulness. Stanwyck does a great job luring Neff with her faux vulnerability and slightly tawdry look (complete with trashy blond wig) and then coldly turns the screws on him at the crucial moment.

Up to that point, MacMurray had been known for starring in light comedies but was perfectly cast as the flawed salesman who falls for the wrong woman and finds that he’s capable of murder. It’s pretty easy to see why Neff falls for Phyllis – she’s beautiful and has access to a lot of money. The chemistry between him and Stanwyck is filled with all kinds of sexual tension – as much as they could sneak by the censors of the day and that’s part of the allure of the film: everything is suggested and nothing is explicit. For example, the husband’s murder is never shown just the sounds of him dying and shot of Phyllis’ face reacting (or rather not reacting) to what is happening that is very effective.

Looking at Double Indemnity now, it comes across as a fascinating snapshot of Los Angeles in the 1940s with its houses with classic Spanish architecture, when cars were all wonderfully big and stylish and men all wore hats. There are just enough location shots of the actual city mixed with studio interiors to convey a sense of place that doesn’t exist anymore.

PTS PRESENTS EDITOR’S SUITE HUGHES WINBORNE POWERCAST

by Frank Mengarelli, posted in Film Review, Interviews, Podcast

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image1Podcasting Them Softly is honored to present a discussion with feature film editor Hughes Winborne! Some of his credits include the Marvel blockbuster Guardians of the Galaxy, The Help, The Pursuit of Happyness, The Great Debaters, and Sling Blade. He won the Academy Award for his editing work on the 2005 film Crash, and this winter, his latest project, Fences, re-teams him with director and star Denzel Washington — the film looks absolutely fantastic and we can’t wait to see it. We hope you enjoy this informative and entertaining chat where we found out more about Hughes‘ process, his experiences, and some his inspirations. Enjoy!

TED DEMME’S THE REF — A REVIEW BY NICK CLEMENT

by nlclement, posted in Film Review

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This is one of my favorite Christmas-themed movies. It’s extremely underrated, totally cruel, and aggressively funny, and is easily the most off-beat item to carry the Don Simpson and Jerry Bruckheimer seal of approval (but why no lightning bolt logo?) Directed by Ted Demme, whose career and life were sadly cut way short when he tragically died in 2002, this was the first big project for comedian/actor Dennis Leary just as his legendary No Cure for Cancer stand-up tour was winding down; it’s a shame that the studio buried it without ever seemingly believing in it. Starring Kevin Spacey and Judy Davis as a wildly bitter and constantly bickering married couple who are taken hostage by a desperate criminal (Leary) on Christmas eve, this is one of those bile-spewing dark family comedies where everyone is an asshole and everyone loves telling everyone how much of an asshole they all are. Richard LaGravenese and his sister-in-law Marie Weiss wrote the caustic screenplay, which has lots of fun with the casually nasty scenario, while Leary painted a priceless portrait of a bumbling criminal who gets mixed up with the wrong family on the wrong night. Demme’s direction was on-point, the supporting cast thoroughly ace, and the coal-in-your-stocking attitude is the perfect antidote to all of the phony-happiness that this crass commercial season brings about. If only the film’s original, darker ending could see the light of day on a Special Edition Blu-ray…

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TRON: LEGACY – A REVIEW BY J.D. LAFRANCE

by J.D., posted in Film Review

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It has been over 30 years since Tron (1982) was released in theaters. Made on the cusp of the home computer revolution, the film was a simple good vs. evil parable that saw a disgraced computer programmer hack into the network of the corporation that fired him only to be zapped into cyberspace where he got to see how the other half lived. Tron was a modest success at the box office and resoundly trashed by critics. It seemed destined to become merely a footnote in cinematic history as one of the earliest examples of computer graphics in a Hollywood film. Over the years, it developed a decent cult following who dreamed of a sequel some day. That time finally came.

Hoping for a lucrative franchise that doesn’t involve pirates, Disney ponied up a considerable amount of money so that the filmmakers of Tron: Legacy (2010) were able to utilize the same kind of 3D digital cameras that were used to make Avatar (2009) and the CGI technology used to age Brad Pitt in The Curious Case of Benjamin Button (2008). And, in keeping with the original filmmakers hiring cutting edge composer Wendy Carlos, Tron: Legacy features an atmospheric score by hip electronica music duo Daft Punk. The end result is a stunning assault on the senses.

In 1989, hotshot programmer and CEO of Encom Kevin Flynn (Jeff Bridges) disappeared, leaving his young son Sam with his grandparents and no indication as to why he left. Since the death of his wife four years before, Flynn’s behavior had become increasingly erratic and he had become obsessed about a brave new world, a digital frontier that he had experienced in Tron. Sam (Garrett Hedlund) grows up to become a rebellious chip off the old block as he breaks into Encom just so he can publicly embarrass the company’s current CEO. Since Flynn’s absence, Encom has returned to its old, soulless ways much to the chagrin of his long-time friend and current board member Alan Bradley (Bruce Boxleitner). He informs Sam that he got a page from his father at the office in his old arcade.

Long shuttered and collecting dust, it is a cemetery for classic arcade games. Sam uncovers his father’s personal computer and before he knows it, he’s zapped into the computer world. Flynn’s prized program Clu (also Bridges) has taken over and rules the computer world with a fascist, iron fist. Flynn has become a fugitive and it’s up to Sam, with the help of a program named Quorra (Olivia Wilde), to make things right again.

Rather fittingly, the real world footage is shot in 2D but once we enter cyberspace, the film comes vividly to life with cutting edge 3D technology. Much of the iconography from the first film is present – the disc battle, light cycles, etc. – but amped up with The Matrix-like action sequences and three-dimensionalized. If there was ever a film would that begged to be given the 3D treatment it is this one. However, these effects aren’t that apparent or as frequent as one would hope which begs the question why even do it in the first place? Short answer: money. The filmmakers have basically taken the imagery of Tron and cranked it up to 11 – pure, unadulterated eye candy with things like dialogue and characterization taking a backseat. The attention paid to production and art design is phenomenal with all kinds of neon-drenched landscapes full of ambient sounds that will keep architecture buffs busy for years. That being said, the CG to recreate a younger version of Jeff Bridges, circa 1982, is distracting with its waxy, stiff look and dead, lifeless eyes, which, I guess, is appropriate for what is basically an evil clone of the real deal within the film.

Say what you will about the original Tron and its flaws but at least it was anchored by a playful and charismatic performance by Jeff Bridges who acted as the audience surrogate into a strange, new world. This time around, Garrett Hedlund takes on that role with limited success. The uninspired screenplay doesn’t do him any favors and so he does the best with what he was to work with, which admittedly isn’t all that much. Bridges plays a grizzled, burnt out version of his original character and with his beard and long hair it almost seems like the Dude from The Big Lebowski (1998) was zapped into the computer world. As if sensing this, Bridges even lets out a few Dudeisms at certain key moments in the film, which at least livens up the forgettable script.

Noted British actor Michael Sheen even shows up channeling David Bowie’s Ziggy Stardust persona as Castor, a preening, flamboyant host of a nightclub where Daft Punk have a cameo as DJs. Using these musicians to do the score for Tron: Legacy was a masterstroke and they seem like the logical evolutionary step from Wendy Carlos. However, those fans expecting them to recreate their trademark dance music might be disappointed as they opt for a more orchestral score that at times is reminiscent of early 1980s John Carpenter, in particular Escape from New York (1981), while also referencing Vangelis, Maurice Jarre and Hans Zimmer’s score for The Dark Knight (2008). Their finest moment comes during a battle at Castor’s club where Daft Punk gets to really show off their musical chops as they segue from ambient music to pulsating dance music to bombastic beats that accompany with the action. Along with Trent Reznor and Atticus Ross’ score for The Social Network (2010), theirs was one of the best soundtracks of that year.

maxresdefaultTron: Legacy replaces the “information just wants to be free” message of its predecessor with a “sins of the father” theme as Flynn attempts to stop Clu, his Frankensteinian creation, and repair the damage done between him and Sam. Tron: Legacy manages to make this world and its characters accessible to those not familiar with the first film by basically rehashing its plot, blow-by-blow, which may disappoint fans. However, it does feel like a continuation of the first film with all kinds of references to things that happened in it. There is also a rather nifty cameo by a notable character actor that hints at a possible villain for the next film, if this one makes enough money. Of course, there is the usual criticism that the dialogue is weak, the story is formulaic and there is a real lack of characterization – all issues critics had with the original film. Tron: Legacy certainly lacks in these areas also, but like the first film, the visuals are so impressive, so captivating in the way they immerse you in the computer world, that you tend to ignore the flaws, relax and enjoy the ride.

BRAD BIRD’S THE IRON GIANT — A REVIEW BY NICK CLEMENT

by nlclement, posted in Film Review

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Brad Bird’s wonderful film The Iron Giant has a ton of honest and genuine heart to match its retro animated style, and despite not finding a blockbuster theatrical audience, has become both a cult and family favorite for those looking for a film with a serious message and that still packs prime entertainment value. Released in 1999, The Iron Giant’s thoughtful screenplay by Tim McCanlies (based on the novel The Iron Man by Ted Hughes) is its greatest asset, and when combined with Bird’s astute visual sense, this Cold War-set fable about a boy who meets and saves a giant robot from outer space really takes flight as one of the more memorable hand-drawn pictures of the last 20 years.

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The voice-work is fabulous, with Vin Diesel’s imposing voice work a perfect match for the titular character, while Elie Marienthal, Jennifer Aniston, Christopher McDonald, Harry Connick, Jr., John Mahoney, M. Emmet Walsh, James Gammon, and Cloris Leachman all delivered fantastic vocal support that never felt at odds with the vintage aesthetic that Bird and his collaborators presented to the audience. Michael Kamen’s superb score pulls on the heartstrings and provides sonic adventure in equal measure. Filmmaker Joe Johnston assisted in the design of the robot.

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There’s a sense of innocence to both the narrative and the aesthetic that I’ve always found refreshing, and it’s no surprise that Bird’s live-action features (Mission: Impossible — Ghost Protocol and the underrated Tomorrowland) feel like films that embrace the anything-can-happen vibe that an animated film brings to the table. I’ll never understand why Warner Brothers would have spent the amount of money that they did on this film (reportedly between $70-80 million) to then just half-heartedly release it with a minimum of advertising outside of the key summer weekends or closer to the holidays.

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Rogue One: A Star Wars Story by Ben Cahlamer

by Ben Cahlamer, posted in Film Review

War.  Over the course of our history, we justify war to obtain that which we might not have access to, but need to survive.  In the eyes of others, we use war to protect the few resources we have from others. In the end, the more motivated group will overcome the meek.  For those standing up because it is right, it doesn’t mean that we must always bow down to the pressures of the powerful.  Sometimes, we find enough courage and conviction within our own morals to rightfully take back that which has been usurped. This is the basis for Gareth Edwards’ newest, but flawed entry into the Star Wars universe, “Rogue One”.

Word has reached the Rebellion that a cargo pilot defected with a message indicating the presence of a planet-killing weapon being developed by Imperial forces.  Wanting to authenticate the message, Gyn Erso (Felicity Jones) is coaxed into helping the Rebellion.  Joined by Cassian Andor (Diego Luna), they ultimately undertake a risky mission to retrieve the plans for this weapon.

The story, written by John Knoll and Gary Whitta (“After Earth”, “The Book of Eli”); screenplay by Chris Weitz and Tony Gilroy (the “Bourne” series)  is fun, but ultimately flawed as it tries to develop new characters while remaining relate able to the existing universe.

It was evident that the intention was to create a dark, espionage-style thriller within two threads:  the first to assemble the team, while the second to actually commit the deed.  The challenge is that the story starts off so slowly and disjointedly that by the time we get to the second, more impressive hour, we simply shouldn’t care.  The story does tie up its own loose ends, but it also creates more problems than it actually solves.

The characters service the script effectively.  However, the majority of the character’s motives were demurred by the action-oriented narrative.  Felicity Jones’ Gyn clashed with Diego Luna’s Cassian Andor.  Although their backgrounds are not similar, they do ultimately share the same path.  It isn’t until the second hour that we see Gyn become a leader.  Mads Mikkelson’s Galen was sharp; his purpose clear and he was able to parlay with Ben Mendelsohn’s Orson Krennic:  their egos each got the better of them, but their paths and functions were also very clear.  Donnie Yen’s Chirrut Imwe is a fun character, his presence a welcome, if sometimes irritating diversion while Jiang Wen’s Bazel Malbus looked stellar on the screen, but his purpose was ill-defined.  Although he grew the most and had the most to lose, Riz Ahmed’s Bodhi Rook was the most essential of the supporting characters.  Forest Whitaker always looks great on screen, however here his character only serves as a bridge and ultimately, an ineffective bridge between the first and second acts, and while the levity was welcome, Alan Tudyk’s K2SO was a bit over the top becoming repetitive, even in the third act.

Fortunately, the wizards behind the camera truly work their wonders in most quarters.  Costume Designers David Crossman and Glyn Dillon effectively bring us back into the Star Wars universe as does Doug Chaing and Neil Lamont’s stellar production design.

From the stages of Pinewood Studios outside London to multiple locations spanning Iceland, Maldives and Jordan, cinematographer Greig Fraser (“Zero Dark Thirty”, “Foxcatcher”, “Lion”) really stood up to the challenges in front of him, giving the film the visual grittiness it needed while conveying the timeless sense of the space battles that have come to be a trademark of the Star Wars universe.  In a key scene, Fraser’s use of lighting serves to throw off the viewer just enough to allow the special effects technicians to do their magic making the scene that much more effective.

Continuing in the grand tradition of delivering a visual impact, Industrial Light & Magic’s work on “Rogue One” is, without exception, the highlight of the movie.  From traditional model effects work to CGI landscapes, John Knoll, who also served as one of the film’s executive producers, was up to the task.  Without going into too much detail, he and the talented folks at Scanline, Hybride, The Third Floor and Disney Research are to be commended in the look and feel of the movie.

Michael Giacchino provided a more militaristic score, using some of John Williams’ existing themes while largely creating new music for this adventure, which works effectively.

As brilliant as the technicians behind the scenes were, editorially, the pacing and tone of the movie fell flat.  It took no less than three credited editors, John Gilroy, Colin Goudie and Jabez Olssen to bring the full narrative into its final form.  In a slightly lesser role, Stuart Baird was brought in to massage it even further.  Where the script narratively fumbled, the editing could not recover it fully, washing out characters and moments.

“Rogue One” brings together two separate parts of the Star Wars universe in an interesting and diverse way.  Its darker tone is welcome however the jumbled narrative and editing bring it crashing down.  Despite it being fun, its flaws are too numerous.  It is Recommended.

Ben Cahlamer, an aspiring film critic, is a new contributor to podcasting them softly.  Although he spends his time helping hotels to price their rooms, he appreciates the finer nuances of films.  He has been an avid Star Wars fan since he was born, having seen Return of the Jedi on the big screen three times in 1983 and continues to look forward to the future.

SEAN ELLIS’ ANTHROPOID — A REVIEW BY NICK CLEMENT

by nlclement, posted in Film Review

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Released in limited theatrical markets last August, the rather stunning WWII espionage thriller Anthropoid deserved a much higher profile. Co-written, produced, and directed by Sean Ellis (the brilliant Metro Manila), who also served as his own astute cinematographer and nimble camera operator, this riveting piece of work tells the true story of Operation Anthropoid, which centered on the assassination of Reinhard Heydrich, one of the chief architects of the Nazi’s Final Solution, and the harrowing battle that took place in the immediate aftermath. The always focused Cillian Murphy and fast-on-the-rise Jamie Dornan (similarly gruff and commanding in Netflix’s The Siege of Jadotville) are both excellent as the Czech soldiers who are sent into their occupied homeland with a dangerous mission in tow, and because I didn’t know anything about this particular story, I was continually left guessing as to how it would all play out, and if the dangerous plan would be successful.

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And from what I’ve been able to read about the production, Ellis and his creative team went to great lengths not to fudge the facts, making this story even more remarkable and sobering. Every film that’s based on actual events has to consider how to balance authenticity with poetic license, and in this sense, Anthropoid feels extremely well-calibrated. Ellis and co-writer Anthony Frewin keep the action moving for a tight two hours, with expert editor Richard Mettler’s judicious cutting keeping a fast but coherent pace, ratcheting up the intensity during the film’s bloody and forceful action sequences, especially during the protracted finale. The final 20 minutes amount to something of a tour de force of filmmaking, showcasing a large-scale shoot-out that gets up close and personal with the combatants on both sides, never shying away from any of the grim truths that the situation presented.

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Reportedly shot for $9 million and looking like it cost much more than that, Anthropoid’s production values are very robust, with Ellis’ tactile, hand-held camerawork producing the appropriate amount of necessary anxiety to heighten the already precarious mission, while the musical score by Robin Foster never overplayed anything, instead subtly ingratiating itself into the proceedings. The strong supporting cast includes Toby Jones, Charlotte Le Bon, Harry Lloyd, Anna Geislerova, and Bill Miner. Shot entirely in Prague and in many cases at the actual locations of the events depicted, Anthropoid never feels anything less than extremely confident about itself, with immaculate production design and art direction courtesy of Morgan Kennedy and Radek Hanak, respectively. Currently available on Blu-ray and via HD On Demand streaming options, it’s a shame that Anthropoid has quietly slipped by so many viewers, as it’s well worth checking out.

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STAR WARS POWERCAST EPISODE III

by Frank Mengarelli, posted in Film Review, Podcast, Star Wars

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ATTENTION SPOILERS.  SPOILERS.  SPOILERS.  Frank and Tim FINALLY did another STAR WARS podcast.  This time we speak about the new standalone film, ROGUE ONE: A STAR WARS STORY.  We dive in deep about the emotional impact, the cinematic influences, and where Disney takes the STAR WARS brand from here!

 

MATTHEW ROSS’ FRANK & LOLA — A REVIEW BY NICK CLEMENT

by nlclement, posted in Film Review

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Matthew Ross, a former reporter for Variety and editor of Filmmaker magazine, has crafted an intense psychosexual drama with Frank and Lola, a film that might not necessarily be as believable as it wants to think that it is, but at the same time, features extremely strong performances from Michael Shannon and Imogen Poots, with an interesting and sturdy supporting cast filling out the edges, including Michael Nyqvist, Justin Long, Rosanna Arquette (fantastic!), and Emmanuelle Devos. Currently available via HD Video On Demand platforms and playing in extremely limited release, Ross’ downbeat and provocative film hits some disturbing notes of male jealousy and female rage, all filtered through a seductive visual style thanks to bold lensing by Eric Koretz and drum-tight editing by Jennifer Lilly and Rebecca Rodriguez.

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The story centers on a hot and heavy relationship that builds between Shannon and Poots, and then comes crashing down when she strays, but for reasons that aren’t exactly so clear. I’m not sure if all of the story ingredients meshed perfectly; the film takes an interesting detour into revenge territory that was more emotionally interesting than logistically plausible. But Shannon is such a magnetic actor, with the ultimate thousand-yard stare that it becomes impossible to look away when he’s on screen. The sexy and alluring Poots yet again demonstrates range as an actress, giving a heavily internalized performance with moments of cathartic explosion that propels the sad and potentially dangerous narrative forward. This is a film that explores a relationship that becomes defined by infidelity and tragic events from the past, and how two people attempt to look to a better future together, all the while knowing that permanent damage has likely already been done.

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Netflix’s The OA: A Review by Nate Hill 

by natewatchescoolmovies, posted in Film Review

I always try to find unique and original projects when choosing films and shows to watch, for we live in a time where many titles you see out there are sequels, nostalgia reboots or spinoffs. These aren’t bad things per se, but it’s also important to break new ground and produce organic material, something which Netflix has a fairly glowing track record for. Tapping the creative well that is the mind of young female director/actress/producer Brit Marling, the platform has given her the chance to tell one of the most striking, beautiful and altogether astonishing pieces of work I’ve ever seen from the long form storytelling format. Earlier this year, Stranger Things knocked me flat, and recently Westworld has captivated my attention and imagination. But The OA has done something different for me; stirred my soul in a way that few creative pieces can, with a story so unpredictable that it starts to feel like the forces of nature at work, forking off into tributary sections of narrative that you would never, ever have been able to to surmise ahead of the reveals. 

  Now, something I’ll say right off the bat: This won’t be for everyone, and I predict many confused, bitter reviews. Such is the case with work that requires effort and clarity of attention from the viewer, as well as the key ingredient: objective thinking. This is both a scientific and spiritual story, bereft of any religious implicatioms, incredibly vague, esoteric and at times left open to interpretation, or clarification we will get from a second season, fingers crossed. 

  It starts off simply enough, with the return of a girl named Prairie (Marling) to the home she disappeared from seven ears prior. Mysteriously cured of childhood blindness and very secretive of the events which have befallen her, her loving parents (Scott Wilson and Alice Krige in knockout performances) are just happy to see her again. It’s here the story turns off it’s headlights and hurtles blind into the night, going to places you’d never have thought it would, let alone be explored in a mainstream network series. Marling and Co creator Zal Batmanglij (yes that’s his real name) have outdone themselves in the originality department, presenting ideas and questions so far from the norm of what we’re used to that their story really and truly feels unique from anything else we’ve ever seen. Marling is incandescent in the role, which requires her to go to some fairly tricky places in terms of acting, handling it with the shimmering grace of an angel. It’s difficult for me to say anymore because I want you to open up this gift of a story on your own, without anything to go on, but I must mention her co star Jason Isaacs, who plays a scientific man involved in her disappearance. He’s obsessed in a feverish, sick way, and in any other actor’s hands the character may have come across as too villainous or intense. Isaacs is an unheralded genius of the craft though, and despite the callous nature of the role, he seems more human, more grounded than most. 

  I really can’t tell you much more at this point, and what I’ve said so far is much less than I usually do in reviews, as far as plot goes. This is one to binge watch, one to let wash over you like a blanket of stars, and one to think long and deep about as soon as the credits of the last episode make themselves known. For the thinkers, the wonderers, the ones who ponder what’s out there and what may be in store for us way down the road of the cosmos, The OA is a blast of nutrition for the soul.