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Alfred Hitchcock: "Cary Grant is the only actor I ever loved in my whole life."
Billy Wilder: "Happiness is working with Jack Lemmon."
Stanley Kubrick: "There are very few directors, about whom you'd say you automatically have to see everything they do. I'd put Fellini, Bergman and David Lean at the head of my first list, and Truffaut at the head of the next level."
William Friedkin: “Just watch the films of Alfred Hitchcock. That’s all you need to know about how to make films. It’s what I did.”
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Summer Holiday (1948)
Small Town Dramas
This musical adaptation of Eugene O'Neill's "Ah, Wilderness!" takes place in the town of Dannville, where the senior class is about to move on with their lives, the fireworks are ready for the celebration of the Fourth, and class valedictorian Richard Miller (Mickey Rooney) is dealing with affairs of the heart.
The film begins with music-a sing-song introduction of the characters-which leads to the high school graduation ceremony, full of school spirit and traditional values.
Richard has his eye on Muriel McComber (Gloria DeHaven). Uncle Sid (Frank Morgan) has his eye on Cousin Lily (Agnes Moorehead), who spurns his attentions due to his love of the bottle.
This is a story of a family, a town, a way of life, and America itself. It is a reaffirmation of small-town values. This film comes on the heels of the Hardy Family series and, in many ways, mirrors those stories.
Dannville, surprisingly, has a dark side. Richard finds himself at the Dannville Saloon, where singer and temptress Belle (Marilyn Maxwell) threatens to educate him in the ways of sin. She delivers a strong performance that is captured in beautiful close-up.
This may be an uneven production, but it has many moments worthy of being watched.
Reality Bites (1994)
Life After College
This is Ben Stiller's big-screen directorial debut.
You don't have to like the characters in a film, but it helps. Here we have a group of Gen Xers who have "no role models or heroes." That is not an exciting place to start from, because there are role models everywhere for anyone who bothers to look. The tone that pervades in this film is a kind of nihilism. One can understand the disappointment of dreams unfulfilled, of tough job markets, of friends letting you down. But being too cool to care is not a good look.
The main character, Lelaina (Winona Ryder), is the valedictorian of her university class. She videos her friends and considers that a hobby which she might make into a vocation. Like most of her friends, she has an affinity for bad boys. Her best friend, Troy (Ethan Hawke), is unreliable, sarcastic to the point of being annoying, and a slacker. Vickie (Janeane Garofalo), her roommate, keeps a list of the guys she sleeps with (then ghosts).
The older adults in the film are vapid or hateful.
Troy, by the way, is very intelligent. Comparisons to (Good) Will Hunting come to mind, but Will has agency. Troy drifts. Will has intelligent conversations, sometimes, that mean something. Troy has sarcasm masquerading as conversation. In general, "Reality Bites" lacks the dialogue (conversations) that motivate and explain meaningful character changes, unlike other films perceived as generational, like "The Breakfast Club".
To sum up, this film does little to entertain or inspire. If it has a moral, it might be "surround yourself with people you would like to emulate", but I don't think the filmmakers recognized that concept.
For the average person, life has its tough moments. This film recognizes that, but it does not do much with that knowledge. It does, however, contain plenty of pop culture references, which can be fun to recognize.
In Person (1935)
No Phenom This Rom-com
This simple rom-com has to do with a popular actress, Carol Corliss (Ginger Rogers), who has been traumatized by overworking and an unruly mob, and so goes out in public in disguise. Her psychiatrist is trying to overcome her agoraphobia by gradually exposing her to the outside world. When she meets Emory Muir (George Brent) by happenstance, and overhears that he is taking a vacation at a remote cabin, she asks him to take her along. He agrees, not knowing of her stardom.
When they get to the cabin, he treats her indifferently, even when he discovers her true identity. Though she resists at first, she falls into a domesticity, obviously concerned about his feelings toward her. The romance hinges on believing that there is a spark between them, but there is little heat on the screen. Later, when they return to "civilization", they are forced to confront their feelings.
Ginger sings three songs and dances within the context of her stardom, but the core of the film is her portrayal of the non-star, when she uses the pseudonym Clara Colfax. There is a wackiness to the storyline that suggests screwball, but it never really rises to that level.
For my money, the best part of the film is her final song and dance, which is part of a film within the film. And it's not even a great song. There is the glamour that she exudes with virtually every film with Astaire.
As for George Brent, his character deprives him of any real chance to be adorable or dashing. He does a fine job, but one wonders how much difference it would make if the role were in the hands of someone like Astaire or even Jack Carson.
The Notebook (2004)
Dreams Of Summer Long Ago
Duke (James Garner) and Allie (Gena Rowlands) live in a home for patients with special needs. She suffers with advanced dementia and does not want to leave her room. When he begins reading to her, it distracts her from her situation, and she becomes engaged in the story.
The story is about the beginnings of a tempestuous relationship between a young lumberyard worker (Ryan Gosling as Noah) and a teenager (Rachel McAdams as Allie) who come from different sides of the tracks. It is 1940 and her wealthy family is spending the summer in Charleston. They talk about her life-long plans to attend college at one of the Seven Sisters. But when Noah enters her life, they wonder if it is merely a summer romance or a real threat to their aspirations.
The film starts a little slowly, but director Nick Cassavetes competently guides this romantic drama as it gains momentum. His mother, Gena, and James Garner provide a tender but tough representation of the heartbreak of dementia. Gosling and McAdams are believable as a tragic couple whose attraction seems fated by the stars, but doomed to fail. The photography is beautiful, as are the South Carolina locations.
The film's big surprise is not so surprising, but the ending still jerks the tears.
The Shop Around the Corner (1940)
Romance And The Shopworkers
Directed by Ernst Lubitsch, who called this his best film, this is the story of a romance against the backdrop of a Budapest gift shop. It is an inspired retelling of a play, and the basis for other versions on film and stage.
Lubitsch, who was Billy Wilder's inspiration, is coming off his brilliant "Ninotchka". Here, he gives us a subtle mixture of drama and comedy that somehow works. Technically, I enjoy his camerawork.
James Stewart and Margaret Sullavan star as Alfred Kralik and Klara Novak, who work on the sales staff of Matuschek's, owned by Hugo Matuschek (Frank Morgan). It is the Christmas season, and Mr. Matuschek is worried, as always, that his staff may not be giving their all, or that the competition is outperforming his little store. The pressures of the job are alleviated somewhat for Kralik and Novak, who are each involved in a budding romance by correspondence. Each of them is smitten by the florid phrases and noble-sounding philosophies of his or her amor de plume.
Stewart and Sullavan are surrounded by a wonderful cast. Every actor in the cast has moments of brilliance. And it seems like every part was perfectly cast.
This is nominally a Christmas film, but other versions have emphasized that aspect more. A musical version starring Judy Garland and Van Johnson was released in 1949. It is a lighter, more comedic version, and I prefer it slightly.
All the Brothers Were Valiant (1953)
"Promises Were Made To Be Broken"
This film is an adaptation of a novel. I have not read it, but it seems like a story of big action and big themes. It can be difficult to put such a story on film, but the filmmakers did a decent job of it.
It all begins when whaling captain Joel Shore returns home to New Bedford, after a lengthy expedition. He finds that Priscilla Holt (Ann Blyth) has grown into young womanhood, and he asks her to marry him before he takes to the sea again. She agrees, despite the fact that Joel might be gone for two or three years. He surprises her by refitting the captain's quarters of the Nathan Ross so that she can go with him. And they set to sea, where she learns about whaling and the dangers of sea life. Everything changes when they discover that Joel's older brother, Mark (Stewart Granger), who used to captain the Nathan Ross, is alive.
Much of the film consists of flashbacks of Mark's story. And then it picks up with Joel, Mark, and Priscilla back on the water, where complicated passions and differing purposes are dealt with. The ninety-five minutes of running time are filled to the brim with conflict and adventure, including a fight scene that is very worthy of the genre.
The acting, across the board, is good. Granger has the meatiest part, and he takes advantage of it. Watch for Lewis Stone in his last film appearance. And Keenan Wynn and James Whitmore, who tackle musical comedy in "Kiss Me Kate", soon after their appearance here.
Girl Happy (1965)
Poolside Romance And Rock And Roll
This Elvis musical follows the formula of his other films: music, girls, and fights. Here he plays Rusty Wells, a singer who travels to Ft. Lauderdale with his band on spring break. Big Frank (Harold J. Stone), the owner of the Chicago club where he performs, pays him to monitor the activities of his daughter, Valerie (Shelley Fabares), who is also headed to the Mecca of teen spring beach parties.
Also staying at their hotel is the curvaceous Deena (Mary Ann Mobley, who was Miss America 1959). She turns Rusty's head, and he ping-pongs between the two girls, until he finally decides which one should get all his attention.
This is the first of three films Elvis made with Fabares. Because of her role in TV's "The Donna Reed Show" and her prior release of a successful record, she was almost the distaff equivalent of Ricky Nelson. In this film, she shows herself to be a trooper, playing the good girl, but also the girl breaking out, including some dance moves reminiscent of Ann-Margret.
Elvis gets to sing plenty of songs, but none of them are hits. Because this film was released not long after the Beatles upended the American charts and scored with "A Hard Day's Night", Rusty's 4-man group is primarily seen with three guitars and a drum set. But these films fail to capture the ingenuity and excitement of the Beatles.
Watch for Jackie Coogan as a police sergeant. He is better known for "The Addams Family" and his work as a child star.
The Bachelor Father (1931)
A Lightweight Comedy
Baron Winterton (C. Aubrey Smith) decides to locate this three estranged children and invite them to live on his estate. He sends an aide to the United States to contact Tony Flagg (Marion Davies), daughter of a dancer now deceased, who is thrilled to come. When the three siblings arrive, they strike up a friendship. Now living in the lap of luxury, it is a "fish out of water" situation for the three---especially Tony, who is something of a wild child. Still, the Baron learns to loosen up and allow himself the enjoyment of their company. However, a complication arises that may jeopardize their newly-created family.
This is definitely a pre-Code film, considering that the three children were born out of wedlock. The Hays office mandated some changes in the script, but still there is ambiguity about the relationships that produced the Baron's progeny.
The story is play-based, and it shows. Also, the humor is not very subtle. Still, it is a cute film, and it is easy to like the characters.
Watch for Ray Milland, who is nearly unrecognizable as one of the three siblings.
Eternal Sunshine of the Spotless Mind (2004)
Charging Down The Rabbit Hole
It is always nice to watch Jim Carrey in a serious role. Here, he plays the part of Joel, who decides, on a whim, to skip work and take the train to Montauk. But wait. Is it really a whim? When he meets an interesting woman named Clementine (Kate Winslet), is it really chance?
Writer Charlie Kaufman has given us a story that challenges the viewer. The story is nonlinear. It plays with reality. Much of the action takes place in the brain of a character. In short, this is a very imaginative script. The wonder is that it remains coherent, if challenging.
Carrey and Winslet prove once again that they are dramatic chameleons. And we don't have to like everything about their characters to identify with them. We just know they feel authentic, they fit within this unusual narrative, and we want to follow them down the rabbit hole of the film's reality, even as it morphs and doubles back on itself.
It is a blessing to have creators who can take us on such creative journeys, where we confront ourselves and see the world as never before.
The Out of Towners (1970)
Oh My God, George!
Comedy is when something bad happens to someone else. At least that is one theory of humor. But there is certainly no arguing with Neil Simon when it comes to comedy. He wrote this one for the big screen, and it is all about misfortune.
George and Gwen Kellerman (Jack Lemmon and Sandy Dennis) travel from their home in Ohio to New York City so that George can be interviewed for a new, exciting position. He is the type of person who is very particular, so he has the minutiae of their schedule planned. But his schedule is derailed when their plane is put in a holding pattern due to traffic.
That is just the beginning of a domino effect that causes them inconvenience and heartache. Lemmon and Dennis are terrific at playing victims, though their characters handle misfortune in different ways. George, like an accountant, keeps a balance sheet of trespasses that the city inflicts on them. Gwen, the long-suffering wife who always tries to support George, is more pragmatic.
The script is Murphy's Law gone wild. Simon heaps problem on top of problem. And we, as the audience, can enjoy it all from an emotional distance.
To All a Good Night (2023)
Recommended
This is one of the best Hallmark holiday romances. All of the characters are very likable, and the story is well written.
Kimberley Sustad plays the part of Ceci, a photographer who recently lost her father. When a mysterious motorcyclist crashes near her family's property, she goes to his rescue. Mark Ghanime plays Sam, the motorcyclist who ends up in the hospital, wondering who his anonymous benefactor was. As it turns out, this is a story with plenty of mysteries.
Ceci has a ready wit. She spends time with Sam as he recuperates, and they exchange stories about their lives. He finds himself becoming more involved in the community, which helps him overcome some emotional issues. In the end, this film becomes a tearjerker in the best possible way, a life-affirming way. However, there is plenty of humor along the way, and some colorful characters (including a dog) keep things light.
Looking for Mr. Goodbar (1977)
An Obscured Message
Whether it wants to be or not, "Looking for Mr. Goodbar" is a cautionary tale.
It is the story of a teacher of deaf children, Theresa Dunn (Diane Keaton), who feels unfulfilled in her life and longs to become her own person. To that end, she begins cruising bars. She finds expression and freedom in her dalliances, but she seems drawn to men who are enigmatic or rebellious. What is she cruising for? Does she even know?
She seems oblivious to the dangers of her behavior. At the same time, danger has some draw for her. She does eschew any real, emotional connections in her nightly excursions.
Director Richard Brooks is no stranger to drama. And he wrote the screenplay. So it is safe to say the film is an expression of his vision. Whatever message he wished to convey is lost in the final product. Since the story is based on actual events, it may be seen merely as an interpretation of real happenings. The same questions could be asked of "In Cold Blood", which was met with critical acclaim.
Beat the Bridge (2024)
Lacks Energy
This gameshow pits a team of three players against "the bridge". There are four rounds of multiple choice questions, and the team gets money for each correct answer. To successfully traverse the bridge, you must answer seven consecutive questions, but if you miss three questions along the way, that attempt is over.
In round one, two of the players attempt to cross, one at a time. The questions for each player relate to a single subject.
In round two, the remaining player attempts to cross. There is a slight increase in difficulty and payouts for each round.
In round three, they can choose which player will tackle the subject.
In the final round, they try to traverse the bridge as a team, and there are ten steps instead of seven. Each question has a different subject. One player starts and continues until an erroneous answer, when the next player steps in, etc. But if all three of them get an incorrect answer, the game is over and the team settles for $1,000 (instead of the money they accumulated during play).
Cameron Mathison is a bubbly host. But there is no studio audience, making the game feel sterile.
As for the questions asked, they are slightly easy sometimes, and other times they are somewhat obscure.
Primrose Path (1940)
Surprisingly Good
"Primrose Path" has Ginger Rogers, at age 28, portraying a teenage girl named Ellie May Adams. As she wrote: "'Primrose Path' provided me with my first substantial dramatic role after Fred (Astaire) and I spread our individual wings professionally." It is what she had been longing for, and it marked a new career path.
Ellie May lives outside Monterey, California--an area known for its packing plants and its immigrant populations. Her family, which can be properly described as white trash, consists of her mother and grandmother, both prostitutes, her younger sister, and her alcoholic father, all living in the same grimy house. As she gets older, the women put pressure on her to begin making money, but she resists. Her mother is a partier who laughs a lot, content to live that lifestyle. The grandmother, though, is a bitter shrew who looks for opportunities to criticize everyone, especially Ellie's father, Homer (Miles Mander), who is educated and above the moral plane of the two matriarchs, though he is helplessly in the thrall of liquor. Ellie loves him, and his victimization by the two women hurts her even more than the personal attacks against her.
Then one day, seemingly on a whim, she breaks away due to the attentions of a man named Ed Wallace (Joel McCrea), who owns a diner/gas station down near the water. The balance of the film is about what happens to that relationship. Rogers turns in a great performance in this drama. Many have said that the Oscar she won for "Kitty Foyle" (also released in 1940) was really earned by her performance in "Primrose Path", and it was the risqué nature of this film, and its trouble with the censors, that prevented her from receiving an earlier nomination.
This film has plenty going for it. Besides Rogers' performance, it is blessed with a raft of remarkable parts. Marjorie Rambeau won the Oscar for her performance as the mother. Joel McCrea spreads his wings in his turn in a dramatic role that is not a western. Queenie Vassar as the grandmother and Joan Carroll as Honeybell, the younger sister, are impressive. And Miles Mander's performance as the father delivers a stellar performance. All are evidence of sensitive and intelligent direction by Gregory La Cava.
Catch 21 (2008)
Knowledge, Strategy, And Luck Of The Cards
You might think this is a simple show, since it is a variation on the game Blackjack, but it is more complex than that.
Three contestants face off, trying to get card hands that total as close to 21 as possible, without going over. But first they get a trivia question (multiple choice) to determine who gets control over the next card. Whoever has control can direct that card to his own hand or to a competitor's hand. The strategy is about maximizing your chances while trying to reduce your opponent's. And you can choose to freeze your hand, forcing your opponent(s) to score a better hand, or lose.
When only one contestant is left, he gets to play against the deck, trying to achieve a score of 21 in three separate hands. The top prize is $25,000, which is notable.
The level of the trivia questions is perfect: not too hard or too easy. The strategy in playing the cards is difficult enough that you will see mistakes in almost every episode.
Host Alfonso Ribeira and dealer Mikki Padilla have a positive vibe and vocally root for the contestants, making this a fun show that involves both knowledge and strategic choices.
On the 12th Date of Christmas (2020)
Fun To Watch
Tyler Hynes is a favorite of Hallmark fans, and this film feels like it was written with him in mind. He plays Aidan Walsh, a Chicago game creator who is rather set in his ways. When they ask him to work with newbie Jennifer Holloway (Mallory Jansen) on a major Christmas-themed project, he is less than enthused. Preferring to work on his own, he lets Jennifer drag him into a cooperative approach gradually. They develop a city-wide scavenger hunt based on the twelve days of Christmas.
Jansen is perfect as the bubbly yule-o-phile who cannot fathom why anyone would not be inspired by all things Christmas. And the supporting cast is strong.
Winnipeg does a good job substituting for Chicago, and the production values are as high as one expects for a Hallmark holiday romance.
Five golden rings plus two turtle doves equals seven stars for this entertaining holiday film.
Nikita (2010)
La Femme Fatale
This is a sexy and stylish series about a secret training school for assassins, run by the U. S. government. The organization, called Division, has gone rogue.
The narrative begins with parallel stories. Nikita (Maggie Q) is a former agent who broke the rules, then escaped the program, and is now hunted by Division. She has emerged from obscurity to take on those who once controlled her life.
At the same time, a new recruit named Alex (Lyndsy Fonseca) is beginning the lengthy training process at Division.
"Nikita" is a sophisticated revenge story that is sometimes violent, always interesting, with a strong cast and great production values. Maggie Q is fun to watch and believable as the super agent: smart, athletic, sexy.
The pilot contains a major plot twist that is central to the overall story.
June Bride (1948)
A Delightful Comedy
This rom-com features two actors who display their comic talents and do a fine job of it.
Robert Montgomery plays Carey Jackson, a writer whose position has been terminated. But they offer him a writing job at Home Life Magazine, a lifestyles monthly. It is not his cup of tea, but he accepts the position because he will be working for his ex-flame, Linda Gilman, played by Bette Davis.
The story revolves around the upcoming June publication in which they will feature a makeover of a small-town Indiana residence where the Brinkers live. It will coincide with the wedding of the Brinkers' older daughter, Jeanne (Barbara Bates), who will be marrying local boy Bud Mitchell (Raymond Roe).
Linda knows that Carey wants to rekindle their relationship, but she is still upset over the first time he walked away without a goodbye. She demands that their relationship be purely professional. With that in mind, the two head for Indiana to get the lay of the land before the remodeling team gets there.
They find a house filled with turn-of-the-century embellishments, curios and gimcracks. And Carey quickly susses out an angle for their story, with the help of the younger daughter, Boo (Betty Lynn). It seems that Jeanne might still carry a torch for Jim Mitchell (Ray Montgomery), the soldier who left her hanging.
Good, clever dialogue writing makes this film a joy to watch. And Montgomery and Davis make the most of the repartee. A strong supporting cast also takes advantage of their moments to shine.
Watch for Betty Lynn, who plays the part of Boo with ease. Many will recognize her as Thelma Lou, the Mayberry girlfriend of Barney Fife. George O'Hanlon, who plays Scott Davis, a member of Linda's team, will be recognizable to some as Joe Doakes, the character who peered from behind a giant 8 ball, and starred in so many shorts. He also voiced cartoon character George Jetson. And if you watch closely, you might notice Debbie Reynolds in her first film role.
Ray (2004)
Sex, Drugs, and R&B
This is a biopic about the life of musician Ray Charles. Any evaluation of the film must begin with the performance of Jamie Foxx, who completely embodies the talented musician. Whatever shortcomings the film might have, his performance makes the film a must-see.
Speaking of shortcomings, it should be stated that the film's narrative does not strictly follow the path of Charles' life. Most of what is depicted is true, like the death of his brother, the importance of his mother in his life, and the difficulties of life on the road. But his life was more complex. And his indiscretions---sexually and otherwise---are glossed over in this film by Taylor Hackford.
This is the story of a man leading a double life. He spent most of his time on the road. As a blind man, his true home was the keyboard, which is practically immutable.
Acting performances in the film are excellent. I particularly liked Sharon Warren's performance as Ray's mother, Della. Also noteworthy are C. J. Sanders as young Ray and Curtis Armstrong as Ahmet Ertegun.
The production values are high. The sound is excellent. And the film flows very well, even with the numerous flashbacks, which are integrated into the film flawlessly.
If you are a fan of Charles' music you should enjoy this film. But it is entertaining, no matter one's appreciation of his music.
No Hard Feelings (2023)
The Unseen Become Visible
Maddie Barker (Jennifer Lawrence) is having a bad summer. The Montauk native, who hates the influx of vacationers that descend on her beloved town every year, finds that her car is being repossessed. That will eliminate her second income as an Uber driver, so that she has to rely on her bartending job to cover her expenses. And she may have to sell the family house she cherishes. But she gets little sympathy from those who watch the early moments of this film, because she is a b****. She doesn't pay taxes, she hates all outsiders, and she ghosts all the men she dates.
Later, we find that she is a damaged person. But her desperate need for money leads her to a classified ad. A married couple will give her a car if she "dates" their socially awkward son without him knowing they set it up. The word "date" is a euphemism. It seems a little icky that this 32-year-old is going to educate this 19-year-old who is planning to attend Princeton in the fall, because his level of social maturity makes him seem like a 15-year-old.
This reminds me of "Risky Business", where a high school senior who wants to attend Princeton meets an older, more worldly woman who rocks his world. But the similarity ends there. The pathetically named Percy (Andrew Barth Feldman) is as shy as they come---a poster boy for the social anxieties of the youngest generation. He largely stays in his bedroom, and communicates via social media. His parents are worried (justifiably) that he will not be able to cope with Princeton life.
The relationship that develops between Maddie and Percy is interesting. It begins with her pushing hard for consummation of the contract, but as she comes to know the young man, it becomes more than a job. This is no "Summer of '42", but a level of tenderness develops and it feels more like a film by John Hughes. In the end, they learn from each other.
Give Lawrence credit for a brave portrayal. And Feldman portrays a character who grows, though I remember thinking in the early scenes that it would not be believable for this kid to change dramatically.
Freaks (2018)
An Excellent Tale
The early part of this film felt, to me, like a work by Stephen King. There is a mystery to it. The viewer tries to determine exactly what is happening on the screen, and a creepy tone pervades.
A young girl named Chloe (Lexy Kolker) and a man who is apparently her father (Emile Hirsch) live in a dilapidated house, cut off from the world. He warns her about dangers beyond their front door. He instructs her daily in how to lie, supposedly to protect herself. From what? Where exactly are they? Is he telling the truth? The questions mount until it all comes into focus.
Meanwhile, a strange old man (Bruce Dern) cruises the neighborhood in an ice cream truck. And Chloe seems to know more than she is lets on.
As the story develops, it feels like an episode of "The Twilight Zone". The film reveals itself slowly, until the full story is understood and there is real action. The final sections of the film are riveting. This is brave writing---to create such a complex narrative and to present it in a way that makes sense. The visual effects are excellent, helping the viewer to understand the full story and to enjoy the storytelling.
The cast is good. And Lexy Kolker delivers a powerhouse performance in her critical role.
At film's end, it felt like there was more story to tell. If only there had been a sequel.
Long Shot (2019)
Predictable Political Pap As Romance
This is supposed to be a rom-com, set against the backdrop of a political campaign. But rom-coms live or die based up the likability of their two lead characters.
Seth Rogen plays Fred Flarsky, a political writer who specializes in expletives. We first see him with a group of neo-Nazis he has infiltrated. They are portrayed as more stupid than dangerous. But they manage to bust his cover and he barely escapes by jumping through a window to the sidewalk below. It is not the only time Fred takes a fall that should be fatal in this film. Apparently, it is meant to be funny, like a cartoon fall.
Charlize Theron plays Charlotte Field, a Rhodes scholar who is U. S. Secretary of State. She is a political character in every sense of the word. She thinks of life in terms of polling and stances. Practically before the current president can finish telling her he will not be running for reelection, she has mapped a strategy to the oval office and assembled a team of image makers. She also takes a government jet on a whirlwind tour of nations to promote her new climate plan.
Viewers will decide whether or not they find these two characters likable. Fred Flarsky does not seem far removed from other crass characters played by Rogen in the past. And Charlotte Field seems reminiscent of other characters who have stooped to conquer charmless schlubs. To make these scenarios work, there needs to be charm. Think of Phil in "Groundhog Day", who grows into his charm.
As for the comedy, much of it is Roganesque, boner-centric humor that looks for laughs in race-based issues or bodily functions.
In one scene, Fred and Charlotte are laying waste to their working relationship, he saying she has sold out, and she saying he needs to do whatever is asked of him regardless of his principles. Then they stop to look at the aurora borealis, and miraculously they are happy again. Perhaps that is the fantasy this film is selling: that political operatives can subjugate their needs and values, look into each others' souls, and find fulfillment in superficialities.
Pictionary (2022)
Annoying
As a lover of game shows, I consider this the worst game show on TV. It is not because of host Jerry O'Connell's silly dances. Neither is it due to its low-budget approach to production and prizes.
The big problem is that O'Connell violates a basic tenet of all competition shows: he influences play. Maybe you have noticed that he often makes comments, like "this is a tough one". As contestants draw the clues, he frequently says "it's all there" or "you did a good job"-all of which can be clues to the guessers. Or if someone uses a specific color, he might indicate that it's a wise choice. These might seem like subtle or meaningless comments, but you would never hear Alex Trebek comment that a final jeopardy clue was obscure. Pat Sajak would never say that someone made a good choice in guessing a particular letter.
Frankly, I am surprised that they allow him to get away with his imprudent remarks. Avid game players are scrupulous about fairness, and the producers and broadcasters who are responsible for content must be well aware of the line that separates fair play from behaviors that can lead to major fines.
Bride Wars (2009)
Lacking Imagination
This is not a bad film, but it falls far short of its potential, given its two talented stars (Anne Hathaway as Emma, and Kate Hudson as Liv) who portray best friends who grow up sharing a dream of the perfect wedding.
When it comes time for their big days, a wedding planner makes a scheduling mistake, and they find themselves adversaries. Though they still love each other, their desire to realize their dreams overpowers their affection. What follows is a battle of "tit for tat".
The story is rather formulaic. And there are no surprises. And opportunities were missed that might have resulted in more entertainment. For example, in one scene, Anne Hathaway dances, but Kate Hudson just sits and watches her, despite the fact that Hudson can dance and it would have made more sense if the Liv character had done just that.
Also, since Hudson and Hathaway are both accomplished singers, one can imagine a scene that would involve singing, say a karaoke competition.
Dune: Part Two (2024)
Powerful Images, Powerful Themes
This sequel is a real accomplishment. Even more than the first film, it is a prime example of world creation, pulling the viewer into its reality. The word "spectacle" comes to mind repeatedly while watching this film. Time after time, the screen is filled with impressive images. And the photography is immersive.
I don't know which actor to single out, because the acting is solid across the board. I did, however, find the casting of Christopher Walken as the emperor a miscalculation, temporarily pulling me out of the story.
And the story is exhilarating. At one point near the end of the film, I actually got chills. The entire narrative is infused with the mythology of Dune, filled with prophesies and visions. And there is a romance in the midst of it all, against the backdrop of iconic religious motifs and dynamic technologies.
The ending is ripe for another sequel, and they say it will come. One can only hope it lives up to this episode.