Casablanca

 

Casablanca, a 1942 war-time romantic drama, set against the backdrop of World War II. The film follows Rick Blaine, played by Humphrey Bogart, a cynical nightclub owner in Casablanca, whose past collides with his present when his former lover, Ilsa, played by Ingrid Bergman, walks back into his life with her new husband Victor Laszlo, played by Paul Henreid, seeking his help to escape the Nazis.

I felt like the film was quite timely in that it was released during World War II, I’m sure Casablanca resonated deeply with audiences at the time who were grappling with the realities of the global conflict. While it didn’t delve into the war's atrocities in detail, it effectively captured the moral complexities and sacrifices demanded by such a struggle. The plot was engaging, with a well-executed twist that kept me guessing until the end which cleverly paved the way for a sequel that unfortunately never materialized, but still added to the film's enduring mystique.

I didn’t realize until now that this film is a treasure trove of quotable lines. From the iconic "Here's looking at you, kid" to the wistful "We'll always have Paris," the film's dialogue has become ingrained in popular culture. These lines added a layer of memorability and emotional weight to the narrative.

The performances were also commendable, with Ingrid Bergman radiating a luminous quality and Humphrey Bogart delivering a nuanced portrayal, despite his somewhat peculiar vocal delivery. They had great chemistry and played well off of one another. The film does take a few missteps with regards to representation. While there was a touch of racial diversity, with the inclusion of Dooley Wilson as Sam, which may have been progressive for the 1940s, it felt inadequate considering the setting in North Africa. Additionally, a missed opportunity existed to explore the war's human cost in more depth.

Despite these shortcomings, Casablanca remains a captivating classic. The film's powerful themes, iconic lines, and strong performances continue to resonate with audiences today. For fans of classic Hollywood storytelling, wartime dramas, and timeless romances this could be a film for you.

Gentlemen Prefer Blondes

 

Gentlemen Prefer Blondes, is a 1953 musical comedy, staring Marilyn Monroe and Jane Russell. It follows Lorelei Lee played by Monroe, a beautiful but seemingly ditzy showgirl, and her best friend Dorothy Shaw played Russell, a more practical singer as they set sail on a cruise to Europe. Lorelei determined to land a wealthy husband and Dorothy seeking true love, embark on a journey filled with mishaps and romantic entanglements, all under the watchful eye of a private investigator hired by Lorelei's fiancé's suspicious father.

The plot was easy to follow and had a good twist at the end. Although unrealistic at times, it kept me engaged throughout. One of the highlights was in the costumes. They were timeless, bursting with color and glamour. The musical numbers also helped to add to the film's playful and lighthearted atmosphere.

Monroe delivered a captivating performance, embodying the iconic "dumb blonde" persona she would become known for. While her breathy, baby voice did start to annoy me after a while, her undeniable charisma and comedic timing still managed to shine through. I also appreciated that the film provided a subtle arc for her character, hinting at a deeper intelligence beneath the surface. For me the real star was Jane Russell. She was a force to be reckoned with as Dorothy. She was confident, funny, and possessed a clear sense of self, offering a refreshing counterpoint to Lorelei's naiveté. Their contrasting personalities helped to create a truly dynamic comedic duo. My only issue with the casting was the lack of racial diversity, which is an even more glaring issue by today's standards. Additionally, the portrayal of women, particularly Monroe's character, reinforced certain stereotypes that have been played out in today's lens.

Despite these shortcomings, Gentlemen Prefer Blondes remains an entertaining film. It's a charming snapshot of a bygone era, filled with humor, wit, and undeniable star power. For fans of classic musicals or of Monroe and Russell, this film is a delightful, though slightly flawed, diamond.

Road House (1989)

 

Road House, is a 1989 action flick starring Patrick Swayze as James Dalton, a bouncer with a mysterious past, hired to clean up the Double Deuce, a notoriously rowdy bar in a small Missouri town. Dalton's skills are put to the test as he clashes with a corrupt businessman and his goons.

The plot is straightforward and predictable. The story unfolds with little in the way of surprises, making the film feel formulaic. For fans of nostalgia, the film offers a trip back to a simpler time in action cinema, complete with overused catchphrases ("I thought you'd be bigger") and oddly placed humor. While some might appreciate its campy charm, those seeking a more suspenseful experience will likely be disappointed.

Swayze's portrayal of Dalton was entertaining. He was definitely a leading man for many years for a reason. He was charismatic and likeable in this role. There was however a missed opportunity in delving deeper into Dalton’s intellectual side. It was mentioned that he had a Ph.D. in Philosophy, but that remained largely unexplored. His interactions lacked the depth one might expect from such a well-educated individual. Sam Elliott delivered a believable and nuanced performance as Wade Garrett, Dalton’s friend, with a complicated past. The casting of a blind character was impressive for the time, helping to add a touch of diversity, but the overall lack of racial representation was noticeable. Additionally, the villains themselves are underwhelming, lacking the physical presence needed to be truly intimidating.

The film's biggest weakness lied in its action sequences. Once considered impressive, they now feel slow and uninspired, more akin to choreographed dance routines than realistic combat. Swayze's fight choreography, despite his character’s black belt in karate, lacked the crispness and power of modern action films.  

Overall, Road House offers a glimpse into a bygone era of cinema. While it holds a special place in the hearts of some, time hasn't been entirely kind to this cult classic. New viewers might find it lacking compared to more modern action fare. However, for those seeking a cheesy good time with a cult following and a charismatic performance by Sam Elliott, Road House might still hold some appeal.

Road House (2024)

 

Road House is the 2024 reimagining of the 1989 film of the same name starring Jake Gyllenhaal who steps into Patrick Swayze's shoes as Dalton, now an ex-UFC fighter who takes a job as a bouncer at a Florida Keys bar. Paradise quickly turns sour as he uncovers a seedy underbelly and clashes with the local thugs.

While predictable, the narrative provided a decent framework for the film's core elements, redemption and the importance of friendships and community. Throwing punches both old and new, this film offered a stylish but uneven experience. The film did manage to weave in some nostalgic elements such as borrowed lines and themes from the original to create a sense of familiarity for fans, but unfortunately they don't quite present a unique or clever narrative. 

The casting boasted a couple of bright spots. The inclusion of a diverse cast is a welcome update to the original film. Gyllenhaal did a decent job in the starring role as a man who was innately good but struggled with darkness in his past. Jessica Williams, who I recognized as Eulalie 'Lally' Hicks from Fantastic Beasts: The Secrets of Dumbledore, was a pleasant sight as Frankie. She was a strong and independent force as the owner of the Road House, giving a lot of confident and range. Arturo Castro shined as Moe, a biker with wit, providing much-needed comedic relief. On the other end of the spectrum, Conor McGregor's acting debut, particularly his "intense face" and exaggerated walk, were a painful miss that bordered on comedic unintentionally.

The fight choreography was undeniably more impressive than the 1989 original. The film delivered crisp, creative battles that were a thrill to watch, even if they occasionally strayed into unrealistic territory with their Fast & Furious-esque stunts. Additionally, the use of a first-person video game style cinematography during some fight scenes was an interesting choice, momentarily placing the viewer right in the middle of the action.

Overall, Road House was a mixed bag. While it captured some of the original film's charm and impressive action sequences, the script and some acting choices left much to be desired.

Origin

Origin, directed by Ava DuVernay, is a biographical film that delves into the profound impact of Isabel Wilkerson's groundbreaking book, Caste: The Origins of Our Discontents. The film isn't just a historical account; it's a deeply personal journey for Wilkerson, played by Aunjanue Ellis-Taylor.

The film's central theory, exploring the global phenomenon of caste systems, is undeniably thought-provoking. Wilkerson's travels to Germany, India, and the United States throughout the narrative provide a fascinating comparative lens, highlighting the insidious nature of societal hierarchies across cultures.

While the subject matter is heavy, the storytelling is far from dry. DuVernay expertly weaves together Wilkerson's research with glimpses into her personal life, creating a heartbreaking yet ultimately hopeful narrative. The film doesn't shy away from confronting the realities of prejudice and discrimination, but it also celebrates resilience and the pursuit of truth.

The performances elevate the film to another level with Ellis-Taylor leading the charge in her captivating portrayal of Wilkerson, capturing both her intellectual curiosity and her deep well of empathy. The supporting cast, including Jon Bernthal as Wilkerson's husband and Niecy Nash as her witty cousin Marion, added depth and warmth to the story. Their chemistry was undeniable, making the film's emotional core resonate all the more strongly.

While awards recognition did not reflect its merit, Origin deserved a place in the spotlight. It was more than just a biopic; it was a call to action, prompting viewers to confront societal inequalities and work towards a more just future.

Origin is a film that lingers long after the credits roll. It is a must-watch for those seeking a powerful and thought-provoking exploration of social structures, historical injustices, and the enduring human spirit.

Anatomy of a Fall

Anatomy of a Fall is a French legal drama directed by Justine Triet and starring Sandra Hüller. The film follows Sandra Voyter, a writer thrust into a chilling situation as she fights to clear her name after her husband's mysterious death.

The script was able to weave a captivating narrative that delved into the complexities of grief, suspicion, and the pursuit of truth. The film's decision to primarily be in French added a layer of authenticity to the story and helped to immerse me in the characters' world. Triet and co-writer Arthur Harari crafted a compelling story that unfolded with a steady pace, keeping me engaged and guessing until the very end. The narrative was easy to follow despite its complex subject matter, making it accessible to a broad audience.

The performances were nothing short of stellar. Sandra Hüller delivered a powerful and nuanced portrayal of Sandra, a woman grappling with the devastating loss of her husband while battling accusations that paint her as a potential murderer. She deserved all of the accolades she received during awards season. The supporting cast, including Swann Arlaud and Milo Machado-Graner, were equally impressive, bringing depth and believability to their respective roles. Even the guide dog Snoop, played by Messi, deserved and received recognition. He helped to show a layer of warmth and complexity to Sandra and Daniel's characters. Snoop wasn’t simply a background element; he became a vital part of the story.

The use of cinematography was noteworthy. At times, the film employed a handheld camera style, creating a sense of immediacy and mirroring the emotional turmoil felt by the characters. This technique added to the film's realism, blurring the lines between fiction and documentary-like objectivity.

In the end, Anatomy of a Fall succeeded as a thought-provoking and suspenseful film. It was a testament to the power of storytelling, gripping viewers with its exploration of how communication difficulties and complex relationships can fuel suspicion and drama.

Beetlejuice

 

Tim Burton's 1988 classic, Beetlejuice, follows a recently deceased couple, played by Alec Baldwin and Geena Davis, who find themselves tethered to their house as ghosts. Desiring privacy from the new, obnoxious inhabitants, played Catherine O'Hara and Jeffrey Jones, they summon the bio-exorcist Beetlejuice, played by Michael Keaton, a mischievous and devious entity with a fondness for chaos.

The plot was straightforward and engaging. Offering a darkly comedic exploration of the afterlife and the troubles of unwanted houseguests. While the film's charm remained undeniable, time has revealed a few wrinkles beneath the surface. While the core plot remained engaging, the humor might not resonate as strongly with modern audiences. The script felt like it could have been sharper, with jokes that might have landed perfectly in 1988 falling a bit flat today.

The film's visuals were quintessential Tim Burton. The stop-motion animation and quirky character designs are a treat for fans of his signature style. However, the 1988 special effects, while groundbreaking for their time, do not hold up for viewers accustomed to modern CGI. I look forward to the upcoming sequel, to see the updated visuals.

The performances were mostly strong. The chemistry between Baldwin and Davis as the deceased couple was endearing, and Catherine O'Hara defiantly stood out as the eccentric new homeowner. However, Michael Keaton's portrayal of Beetlejuice, while undeniably iconic, felt somewhat similar to his later role as Batman. Additionally, the romantic undercurrent between Beetlejuice and the young Lydia Deetz, played by Winona Ryder, was undeniably creepy in today's light.

The soundtrack was another highlight. It perfectly complemented the film's offbeat tone and added to its overall charm.

Overall, Beetlejuice was a nostalgic gem with a touch of decay. The film's visual style, quirky characters, and engaging plot remain entertaining. However, some aspects haven't aged as gracefully, with the humor feeling dated and the portrayal of a particular character relationship raising concerns. Despite these shortcomings, Beetlejuice is a significant entry in Tim Burton's filmography, a must-watch for fans of his unique aesthetic and dark humor.

Poor Things

 

Yorgos Lanthimos's Poor Things is a visually distinct and thematically ambitious film, drawing inspiration from the 1992 novel of the same name by Alasdair Gray. Set in the Victorian era, the story follows Bella Baxter, played by Emma Stone, a young woman brought back to life through unorthodox means. Free from societal constraints, she embarks on a whirlwind adventure, challenging the norms of her time and discovering her voice.

This visual storytelling was creative in the usage of black and white cinematography in the beginning. It created a unique and symbolic atmosphere with the gradual shift to color serving as a metaphor for Bella's increasing independence and exploration of the world. These themes along with the central twist, while intriguing, however were overshadowed by the eccentricity of its presentation.

I appreciated the diversity in the casting as it was a welcome aspect in a period piece. Stone delivered a fascinating performance, embodying the unique physicality and childlike naivety of Bella. Mark Ruffalo portrayed the contrasting worldliness and cynicism as her companion, while Willem Dafoe and Ramy Youssef represented the spectrum of human nature she encountered.

However, Poor Things stumbled in its narrative execution. While categorized as a "genre-defying" blend of sex comedy, gothic elements, and black humor, the film's pacing felt uneven. Despite its relatively short runtime, the unconventional storytelling and abundance of quirky characters left me feeling overwhelmed at times.

While the film's visual style and Stone's performance deserved some praise, Poor Things ultimately felt like a collection of interesting ideas that lacked a cohesive narrative flow. The abundance of awards recognition was a bit perplexing to me, including the Oscar win for Stone, simply because I felt like Lily Gladstone deserved it more for Killers of the Flower Moon. In the end, this movie was too bizarre for my taste and not one I’d watch again.

Some Like It Hot

 

Some Like It Hot is a romantic comedy starring Marilyn Monroe, Tony Curtis and Jack Lemmon, The film follows Joe and Jerry, played by Curtis and Lemmon respectively, two down-on-their-luck jazz musicians who witness a mob hit. Fearing for their lives, they flee Chicago disguised as women and join an all-female band heading for Florida.

Interestingly enough, the choice to do black-and-white cinematography in the late 1950s, was made to ensure the believability of the men's disguises, and to give it a timeless feel to the 1920s set film. I think the choice were able to accomplish both of those aspects.

When this film was realized in 1959 it pushed boundaries which was commendable. It challenged societal norms by showcasing men experiencing the objectification typically faced by women. This theme is one of the reasons the film was embraced by the LGBTQ+ community. While not explicitly stated, some interpreted the film's cross-dressing and homoerotic subtext as a covert nod to a marginalized identity.

I thought that the cast was entertaining and funny. Tony Curtis, Jack Lemmon, and Marilyn Monroe worked well off of one another, delivering iconic performances that have cemented the film's place in comedy history. One area where the film fell short however was its lack of racial diversity. A more inclusive cast would have further enriched the narrative and better reflected the realities of the time period.

Ultimately, Some Like It Hot was a comedic masterpiece with a surprising legacy. It's a film you can appreciate for its slapstick humor and iconic performances. With its progressive themes it was cultural touchstone that continues to spark conversation decades after its release.

Spiderhead

 

Spiderhead, is a Netflix original film, set in a futuristic prison. It follows two inmates, Jeff and Lizzy played by Miles Teller and Jurnee Smollett, who grapple with their pasts while being subjected to mind-altering drugs by the seemingly compassionate warden, Steve Abnesti played by Chris Hemsworth.

The plot was both engaging and it was easy to follow the emotional journeys of the characters along with the moral dilemmas they faced. I also thought that the twists were well-executed and further enhanced the narrative, leaving you satisfied after the credits roll.

The exploration of manipulation, human connections and ethics were central to the film's themes. Spiderhead cleverly portrayed the fine line between therapy and control, raising questions about free will and the principles of using mind-altering substances.

The soundtrack added a unique touch. The blend of classic funk added a layer of unexpected energy and intrigue to the film's atmosphere.

I appreciated the films diverse cast. Teller and Smollett had great chemistry and delivered compelling performances, showcasing the emotional struggles of their characters. Mark Paguio who played Steve Abnesti’s assistant, Mark Verlaine, also did a great job showcasing his internal crisis of conscience. For me Hemsworth stole the show as the mysterious Abnesti, a character whose charm masked a manipulative core. He masterfully navigated the duality of the character, blurring the lines between villain and visionary. I was also impressed that he was able to maintain an American accent throughout most of the film, which added to his characters authenticity.

While the film might not break new ground conceptually, its execution was commendable. The intriguing premise, strong performances, and thought-provoking themes made Spiderhead a worthwhile watch, especially for fans of psychological thrillers.