Almost Famous (2000)

Tags

Comedy, Drama

Rock and roll was on a roll,
Exciting body, heart, and soul.
They played it loud to please the crowd,
Sublimely out of all control.

These kings of cool were glad to rule,
And much too groovy to be cruel.
Their fame would rise amid the highs
And make it wise to play the fool.

Each touring band that spanned the land
Had rabid fans at their command.
The highs and lies were some disguise
From what they did not understand:
The value of what’s close at hand.
_________________

MPAA rating: R (for much language and brief nudity)

This review is a last-minute addition to Rocktober, hosted by Carly Hearts Movies, celebrating the best (or worst) in rock-and-roll cinema. Being a big fan of Cameron Crowe’s Elizabethtown, I thought it was about time to explore one of his earlier films, and Rocktober helped decide which one it would be.

Rock and roll is a hard thing to quantify. Some love any reason to bang their heads and party; some are excessively picky about how they discern good music from populist trash; and some turn their noses up at its very nature of sex and drugs. Almost Famous captures all three viewpoints and so much else that makes rock both diverting and dangerous, all through the eyes of a fifteen-year-old fan based on Crowe himself.

Young William Miller (Patrick Fugit) loves rock music to the dread of his high-strung mother, whose overprotective opinions already drove away his rebellious older sister. Though teased for being the youngest in his grade, he listens and writes and eventually gets noticed, first by Creem Magazine (thanks to music critic Lester Bangs, played by Philip Seymour Hoffman), then by Rolling Stone, and William is whisked into the radical world of the backstage rock scene. His ticket in is the up-and-coming quartet Stillwater, led by Russell Hammond (Billy Crudup) and Jeff Bebe (Jason Lee), whom he accompanies on a cross-country tour.

Though William knows and admires the music, he is still an outsider and a journalist, “the enemy” as the band nicknames him, and he is able to objectively watch the world of rock music unfold before him, much like an uninitiated viewer. In addition to his trusty notepad, he is always “taking notes with his eyes,” as Russell says, observing the inner squabbling among the bandmates, the wild lives they lead while on tour, the frequent drug-induced stupidity, and the inner workings of these “swill merchants,” who talk frankly about the chicks and then wax philosophical about the brain vs. instinct.

Yet for all the talk of the music and the fans being everything, he also experiences firsthand the dark, false side of this world, in which not even William can remain clean. Everyone seems to be pretending they’re something better than they are. Stillwater grows to enjoy William’s tagging along, but they trust that he’ll clean up their messy shenanigans when it comes time to actually write the article about them. An entourage of dedicated fangirls called the Band Aids accompany the band everywhere they go, and despite their focus on sex and drugs rather than the music, they insist they’re not just ordinary groupies. One in particular known as Penny Lane (Oscar nominee Kate Hudson) puts much effort into her enigmatic persona, sure to be the life of the party. While William sees through most of these facades, even he pretends in order to be taken seriously by Rolling Stone. As much as everyone wants to be loved, too often people are used for the sake of “lifestyle maintenance.”

All this may make Almost Famous sound overly heavy, and while its dramatic moments are perceptive, there is just as much appealing comedy, from the eccentricities of William’s backstage acquaintances to the seriocomic emergency that prompts some unexpected honesty. I especially got a kick out of William’s mother (Frances McDormand), whose increasingly worried phone calls to check up on him are priceless.

Cameron Crowe obviously knows the ins and outs of the rock scene, and despite its dark side, he found the right balance of honesty and feel-good drama, along with a classic rock soundtrack that includes five original songs by Crowe, then-wife Nancy Wilson, and Peter Frampton. With his insightful, Oscar-winning screenplay, Crowe brings to life a world of “drunken buffoons” and making something “poetic” out of it. I still prefer Elizabethtown, but Almost Famous is an entertaining inside look at “the industry of cool.”

Best line: (Russell and a hotel clerk, to William) “Your mom kind of freaked me out.”

Rank: List-Worthy

© 2015 S. G. Liput

342 Followers and Counting

The Conjuring (2013)

Tags

Horror

Can you see it? Can you hear it?
Can you bear an evil spirit,
Claiming your home as its own
And wishing ill on all who near it?

Darkness deepens; who can light it?
Wrong runs rampant; who can right it?
One can’t stop a ghost alone
For only higher help can fight it.
________________

MPAA rating: R (only because it’s intense; the actual content is more like PG-13)

Since I don’t really celebrate Halloween anymore, I was tempted to avoid reviewing horror movies this month and leave them to the more experienced horror aficionados. (You know who you are.) Yet with my latest list of scary movies and that general Halloween “spirit”, I couldn’t stay away from such films entirely.

Upon release, The Conjuring was just one more horror movie, a genre I typically ignore nowadays. Putting director James Wan’s name on it may have excited Saw fans, but it only convinced me that it wasn’t for me. But then, I read some reviews, reviews that mentioned how this new movie recalls a time when horror didn’t mean inventing new ways to kill people, but rather focused on atmosphere and that creepy look-over-your-shoulder feeling. What’s more, I heard that religion was positively depicted as a weapon against evil, which seems to be more and more uncommon lately. So I gave The Conjuring a chance…alone…at night, which probably wasn’t the wisest thing to do.

The beginning starts out like an episode of The Twilight Zone or The Outer Limits, with some stupid twenty-somethings describing how they invited a presence to live in a doll, at which point this Annabelle becomes the kind of possessive plaything they can’t throw away. (The doll even got its own poorly received spinoff movie.) They get help from Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga), a Catholic couple who are described as demonologists, ghost hunters, or wackos but generally take these kinds of stories seriously when others won’t. They act as paranormal investigators, laymen who refer priests when an exorcism is needed and keep their own private Warehouse 13 of cursed items in a room in their house, which probably ought to be locked.

Cut then to the Perron family (led by Ron Livingston and Lili Taylor), who are moving into a nice, spacious, diabolical house, with no idea that a witch used to live there. Even with the few horror movies I’ve seen, I could tell that The Conjuring borrows from so many other movies that one might be tempted to call it derivative. Like Poltergeist, there’s a possessed doll, a don’t-look-under-the-bed scene, experts setting up surveillance technology, and a snowy television set (a brief but obvious reference). Like The Sixth Sense, the Perrons complain about the cold whenever spirits are about, and one scene is blatantly borrowed (hint: “Look what you made me do!”). Perhaps the closest similarity is with the original Amityville Horror. Both are based on true stories, creepy things happen at the same time every night, the family discovers a sealed room/basement, the dog reacts badly, the youngest daughter befriends an invisible playmate, and one parent is compelled to follow in another’s murderous footsteps. At the end, the Amityville story is even referenced as the Warrens’ next case, which they did indeed investigate.

Yet for all its appropriations from past horror, The Conjuring is arguably scarier than its predecessors, thanks to an overall atmosphere of dread. While there are some jump scares, more often the scary moments are drawn out, making you think something will happen and often going with a subtler but spookier option. The moody lighting and resourceful camerawork add to the film’s quality, making it no surprise that it became one of the most successful horror films ever. Ultimately, The Conjuring proves that filmmakers don’t need buckets of blood to frighten their audience; sometimes a pair of hands or a rocking chair or a door moving on its own will do the trick. Often the simpler scares are the more potent.

In addition, religion is positively portrayed, in contrast to The Amityville Horror, where the evil presence chases a priest away and later blinds him. As Ed Warren states, placing crucifixes around the house “pisses off” evil spirits, and though the Catholic bureaucracy is slow in responding to the Warrens’ pleas for an exorcism, the actual rite gets quite a reaction from the ghost and proves dominant when paired with the power of familial love. I personally found this to be refreshing and one of the film’s greatest strengths. Filmmakers are free to scare the crap out of moviegoers, but it’s less common for them to follow up the chills with a religious message and some assurance that good can still conquer evil. Bravo for that!

Best line: (closing note from the real Ed Warren) “Diabolical forces are formidable. These forces are eternal, and they exist today. The fairy tale is true. The devil exists. God exists. And for us, as people, our very destiny hinges upon which one we elect to follow.”

Rank: List-Worthy

© 2015 S. G. Liput

342 Followers and Counting

Halloween Kingathon – Misery (1990) From S.G. Liput

Here’s my second review for Rob and Darren’s October Kingathon. This time, it’s for Rob Reiner’s Misery, a great Stephen King film I probably should have reviewed long ago. Check out all the other King reviews from this month too!

Movie Reviews 101

Misery is review by S.G. Liput of Rhyme & Reason

Fans love to love the things they love

And laud those they’re enamored of

And worship every word they write

And watch their windows late at night

And read about their lives and likes

And help them when misfortune strikes

And care for them when they are hurt

And compliment and maybe flirt,

Encourage them to write their best

And punish them if they protest

And show them sides one does not show

And never ever let them go!

________________

MPAA rating: R

When I first counted down my top 365 films, I have no idea why I forgot Misery. Rob Reiner’s second adaptation of a Stephen King story (after Stand By Me) is among his best films and won Kathy Bates an Oscar for her progressively scary portrayal of crazed fan Annie Wilkes.

This wouldn’t be a…

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My Top Twelve Scary Movies

Tags

Horror, Lists

I’ve made no secret about the fact that I don’t really enjoy horror movies, and this is why I simply haven’t seen very many. I’m a stranger to zombies and body horror and slashers, and I don’t have much desire to change that. I suppose my aversion to the genre has three main reasons behind it.

First of all, though horror is among the most prolific of film categories, much of it is of low quality. I’ve read many more reviews of horror films than I’ve actually seen, and so many are described as stupid, boring, ridiculous, exploitative, and other less-than-appealing descriptors. I try to avoid bad films as a rule, so these kinds of reviews haven’t made me eager to broaden my horror palate. Secondly, the majority of horror focuses on evil and violence, often existing for no other reason than to dream up new ways of killing people (Saw, Final Destination, etc.). I believe that demons and dark forces are real, and I want to give depictions of them as little of my time as possible, particularly since the latest trend seems to be allowing evil to prevail in the end.

The third and final reason is the simple fact that I am a wuss. I can’t stand gore in regular movies, let alone scary ones, and I tend to have an active and easily troubled imagination. I mean, I remember being almost traumatized by an episode of the cartoon Courage the Cowardly Dog, which had this creepy mummy just standing there in the distance.

I just don’t think I can handle most of the disturbing content out there.

I can’t say that I don’t like all horror movies, since I have enough to make a list like this, but all this is to say that I’m very picky about my scary movies. I don’t mind being scared as long as it doesn’t cross my personal threshold and as long as there is some redeeming factor, such as artistry, great acting, or overall entertainment. For this list, I’m also avoiding any genre debates about what constitutes “horror” by making this a list of scary films, films that scared me but that I still found to be worthwhile. One good thing I can say for horror is that it can be educational, often showing viewers what not to do in a dangerous situation, so I’ll include lessons I learned along the way. If anyone knows of films like the ones below that I may enjoy, feel free to recommend others!

12. Twilight Zone: The Movie (1983)

One of the most obviously chilling aspects of this movie is that three people died during its production, actor Vic Morrow and two children, who were killed in an accident during the “Time Out” segment of this anthology. Oddly, this one and “Kick the Can” are the least scary, but there are plenty of unsettling moments, from the hitchhiker prologue (“You wanna see something really scary?”) to the remake of the classic episode “Nightmare at 20,000 Feet,” where John Lithgow really comes unhinged. It was the third segment, though, that frightened me the first time, in which Kathleen Quinlan witnesses the cartoonish yet hellish imagination of a reality-warping child. Cartoons aren’t supposed to be scary, right?

Worst scares: The TV demon, and Lithgow opening the plane window

Lesson learned: Don’t pick up hitchhikers that look like Dan Aykroyd.

11. I Am Legend (2007)

This may not seem like an obvious choice, but the abandoned New York in this Will Smith zombie-ish thriller is certainly unnerving, empty yet full of anticipation that something is out there. When Robert Neville is forced to follow his dog Sam into a dark building full of “Darkseeker” mutants, his first-person-shooter exploration is among the most intense scenes I’ve encountered. The final cut would have benefited from the happier alternate ending, but I Am Legend manages to be unexpectedly emotional in addition to tense. I might also include the only zombie film I’ve seen, World War Z, which is more action-oriented (and not gory) yet still manages some taut moments.

Worst scare: Exploring the pitch-black building

Lesson learned: If someone creates a cure for cancer, test it first! (Also, don’t yell at mannequins.)

10. Jurassic Park (1993)

This is the main reason I went with “scary” movies instead of “horror” movies. I’m fully aware that this isn’t horror, but who wasn’t scared by those raptors? My VC has mentioned how she was practically kicking the seat in front of her when Lex almost falls out of the air vent. Sometimes a thriller like Jurassic Park can keep you more on the edge of your seat than genuine horror and keep it a lot more fun. This also happens to be one of only two films at which I’ve caught myself nearly hyperventilating (the other was Oliver! Weird, I know, but I was a kid.)

Worst scare: Raptors in the kitchen

Lesson learned: Don’t spend millions to bring ancient predators back from the dead and then put ultimate power in an unreliable slob that looks like Wayne Knight!

9. Stephen King’s It (1990)

Based on the book by horror-meister Stephen King, the miniseries It features one of the most frightening characters around. Tim Curry as Pennywise the Dancing Clown has a vicious zeal that contrasts with his jolly appearance as he toys with and preys on the children of Derry, Maine. It isn’t as scary as a lot of other movies (and the ending may leave something to be desired), but after seeing It, it’s hard to look at clowns and storm drains the same way.

Worst scare: Holding hands in the sewer

Lesson learned: If you’re lucky enough to survive a child-eating monster and move away from it, don’t move back!

8. The Amityville Horror (1979)

One of the original famed haunted house movies, The Amityville Horror became popular largely due to its status as a “true story.” With so many uncomfortable events coinciding, it’s a convincingly eerie tale, with Josh Brolin and Margot Kidder playing a happily married couple threatened by a malicious house. The instances of horror are almost like a checklist of warning signs to watch out for when dealing with a haunted property, and the sinister finale goes all out, though I don’t typically like films where evil seems stronger than religion.

Worst scares: Babysitter in the closet, and “Get out!”

Lesson learned: If your new house attracts swarms of flies and if you discover a secret evil room and if your daughter befriends a pig demon, maybe you ought to MOVE before the walls start bleeding!

7. Signs (2002)

Despite M. Night Shyamalan’s declining reputation, I still consider his first three films outstanding. Signs is his take on the alien invasion but stays on a much more intimate level, focusing only on Mel Gibson’s rural family rather than the world at large. Despite light touches of humor, Signs has its fair share of frightening moments, both before and after Gibson’s Graham Hess tries to rationalize the strange events afoot. It’s an instance of what you don’t see being scarier than what you do, which happens to be what I prefer.

Worst scares: The corn field, and the TV reflection

Lesson learned: I don’t care if you are convinced it’s vandals; don’t go out in a corn field at night!

6. Poltergeist (1982)

Poltergeist was one of the first horror films I saw, and I still consider it somewhat of the gold standard of classic scares. It might have been higher on the list if I had fonder memories of it. I think I saw it too young, and that clown scene especially scared the you-know-what out of me. At the time, I was already nervous about what may be under the bed, and that jump scare was too much for me. Oh, and the rest, of course, was terrifying too: closets that suck you in, trees that suck you in, corpse-filled swimming pools that suck you in, ceilings that do the opposite. Not to mention, there’s the whole curse of actors dying afterward because the filmmakers used real skeletons. *Shiver* I’m so glad they did away with that snowy TV screen after midnight.

Worst scare: That clown!

Lesson learned: Don’t sleep with the TV on!

5. The Others (2001)

Everything seems creepier when it’s dark, and this Nicole Kidman ghost story has plenty of darkness. Kidman plays a mid-19^th century mother with two photosensitive children (the light can kill them), whom she shuts away in her large mansion for their own safety. The arrival of new servants brings much to light, so to speak, and the ultimate twist seems like something Shyamalan would have come up with. I often keep my doors shut to keep the cat out of certain rooms, and I’d be lying if I said those closed doors didn’t make me a tad nervous after seeing The Others.

Worst scare: The room of covered furniture

Lesson learned: Don’t get too isolated; the dead may be your only visitors. (Also, keep a shotgun handy. It’s comforting, if not effective.)

4. The Conjuring (2013)

One of the few modern horror films I’ve seen, The Conjuring lured me in thanks to positive reviews that mentioned potent scares and little gore. That’s exactly what it delivered, but I was also impressed at the level of director James Wan’s technical finesse and the Christian strength in the battle against a malevolent spirit infesting a Connecticut family’s house. There are many callbacks to films like Amityville and Poltergeist, but the chilling atmosphere surpasses them, making this possibly the scariest film I’ve seen. (I just like others more.) Nevertheless, the film ended with the right balance of dread and satisfaction and proved the profitability of well-done horror.

Worst scares: Anytime someone falls into the basement

Lesson learned: Never ever teach your children hide-and-clap!

3. The Shining (1980)

Not being a fan of Dr. Strangelove or 2001, I wasn’t convinced of Stanley Kubrick’s status as a master filmmaker until I saw his stab at horror. The Shining may have displeased Stephen King with all the changes to his book, but never has a hotel been scarier. Emptiness seems to be inherently frightening, especially when it drives Jack Nicholson psychotic as he works on his novel with only his wife and psychic son as company. Intriguingly ambiguous about whether there are ghosts or time travel at work, The Shining is technically and terrifyingly superb.

Worst scare: “Heeere’s Johnny!”

Lesson learned: “All work and no play makes Jack a dull boy.”

2. Alien (1979) and Aliens (1986)

I realize there is a debate over whether science fiction can truly constitute horror, but Alien seems like the perfect affirmation that yes, it can. Described as a “haunted house in space,” Ridley Scott’s first film in the variable franchise has more frights than many straight-up horrors, from the approaching beeps when tracking the creature to its unforgettable first appearance. Aliens is arguably even better, shifting to a more shoot-‘em-up style that amps up the action without sacrificing the shocks. Both films also cemented Sigourney Weaver’s standing as a leading heroine, and even if they’re probably the most violent films on this list, I find both watchably suspenseful in the best way.

Worst scares: Dallas in the tunnels, and Newt in the sewer

Lesson learned: Never trust the Company!

1. The Sixth Sense (1999)

Is The Sixth Sense the scariest film ever? No, but it’s a prime example of horror surpassing its own genre to become something thought-provoking, bittersweet, and still nail-biting. As M. Night Shyamalan’s first mainstream film, it also made him a household name. While it may be easy to dismiss it as a one-time twist film, the twist alone begs additional viewings, which then reveal the layers of emotion under the surface. The paranormal aspect impedes the human connections, between Bruce Willis and his wife and Cole and his mother, yet as both are resolved, a supernatural thriller becomes unusually satisfying. I hope Willis’s next collaboration with Shyamalan will be a return to this kind of film for both of them.

Worst scare: The tent ripping open

Lesson learned: Touch someone every now and then, just to be sure. (Also, keep your thermostat up.)

Runners-Up:

The Birds (1963) – Alfred Hitchcock’s avian revolution is a little too dated to be scary overall, but there is the jungle gym scene and the house siege that anticipated other home invasion movies.

Gremlins (1984) – This unconventional Christmas movie trades cute for scary with some dark comedy thrown in for good measure.

The Lost Boys (1987) – More violent than the other films here, yet I still enjoy it, mainly because this vampire flick doesn’t take itself too seriously.

Monster House (2006) – One of the few animated horrors, this somewhat intense film about a haunted house come to life becomes scarier when not even the grown-ups can stop it.

The Mummy (1999) and The Mummy Returns (2001) – I love these films, but the action has always superseded the horror aspect in my eyes, though the first especially has its alarming moments.

Prometheus (2012) – It may have disappointed a lot of people, but Prometheus served as a sufficiently taut prequel to the Alien franchise.

Psycho (1960) – The original and only slasher film I’ve seen, Psycho is buoyed by Hitchcock’s disorienting camerawork and Anthony Perkins’ sincere fiendishness.

Wait until Dark (1967) – Though most of this movie is more boring than thrilling, the ending really picks up, with one scare that even made my VC scream.

War of the Worlds (2005) – Another sci-fi film, Spielberg-style, with both action and some horrific sequences of mass murder.

Like I said, these films may seem pretty tame to the hard-core horror fans out there, but they take me to the edge of my comfort zone while allowing me to still enjoy the genre, which is exactly what scary films are supposed to do.

October Stephen King Blogathon – Day 17 – IT (1990) – Rhyme and Reason

Here’s my first review for the October Kingathon, hosted by MovieRob and Darren of Movie Reviews 101! Stephen King’s It has been scaring people for 25 years, and Pennywise has still got it.

MovieRob

For the next review for our October Kingathon, here’s a review of IT (1990) by SG of Rhyme and Reason.

Let’s see what he thought of this movie:

Thanks SG!!
___________________________________

Something is spoiling Derry with glee,
For children keep on disappearing.
I’m witnessing nightmares that no one can see,
And hearing things no one is hearing.

I’m taunted with promises that I will float
Like all the dead kids who submit,
But now I have friends with a chance yet remote
To finish the terrible It!
___________________

MPAA rating: Not Rated (should be PG-13)

I can just imagine Stephen King’s thought process for developing this story. “Let’s see. I’ve already given people reasons to fear hotels and St. Bernards and corn fields. What else can I ruin people’s perceptions of? I’ve got it: clowns! And why should I stop there? I’ll make the clown a mind manipulator and…

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Opinion Battles Round 13 Best Film Franchise

Be sure to stop on over at Movie Reviews 101 for the latest Opinion Battle, debating the best film franchise. I’m not alone in choosing the Star Wars saga, but pick your favorite!

Movie Reviews 101

Best Franchise

We all know there a plenty of film franchise out there but how many have managed to get over four films and still be worth watching? That is the question of this round picking our favourite film franchise that have four or more films.

For the next round we will be picking who we want to be the next James Bond, if you are interested in joining in email moviereviews101@yahoo.co.uk by 1^st November 2015

Darren – Movie Reviews 101

George A Romero’s Of the Dead Series (Night of the Living Dead, Dawn of the Dead, Day of the Dead, Land of the Dead, Diary of the Dead and Survival of the Dead)

When it has come to the zombie genre it has become slightly over saturated with films of the recent years but there is one man who has kept the genre strong and kept up with…

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VC Pick: Cousins (1989)

Tags

Comedy, Drama, Romance, VC Pick

Her husband cheated with his wife,
The ruiners of married life,
So Larry and Maria planned
To let them suffer doubt firsthand.

A walk and talk or two or three
Let friendship flourish fluently,
And is not romance at its best
When friendship fully has progressed?

A marriage undermined by lies
Will likely lead to compromise,
But truer love is worth a chance
To lose the doubt and share a dance.
______________________

MPAA rating: PG-13

This is a film my VC adores so I couldn’t put it off any longer. Seriously, it’s in her top 50, and while I’m not as much of a fan, I do agree that Joel Schumacher’s Cousins deserves more recognition. Based on the 1975 French film Cousin Cousine, this growing romance seems to both condemn and embrace marital infidelity while balancing the heavy stuff with playful interactions among an extended Polish-French family.

At Phil and Edie Kozinski’s middle-aged wedding, all manner of quirky relatives pour in, from a pair of overly critical slobs to an old lady who thinks Edie killed her last husband by feeding him too much butter. Among the extended kith are two couples, Larry and Tish (Ted Danson and Sean Young) and Tom and Maria (William Peterson and Isabella Rossellini). Larry and Maria happen to meet while looking for their respective spouses, and what could have remained familial rapport is strengthened by the mutual belief that their spouses are cheating with each other. Hoping to “get back” at Tish and Tom, Larry and Maria take walks, break fish, and revel in the knowledge that their spouses must be seething with jealousy. Nothing happens, but that’s not to say they don’t want it to. When their marriages are further strained, propriety finally takes a back seat, and a romance born from conversation and a personal connection is able to blossom.

Marriage is very much at the forefront. The progression of Larry and Maria’s relationship plays out against the diverse spectrum of their large family, from wedding to funeral to wedding. Charming subplots provide detached vignettes that still hold an air of romance, such as Larry’s father (Lloyd Bridges) in search of love with the help of his weird grandson (Keith Coogan). Ultimately, though, Larry and Maria must face the fact that they love each other and weigh that love against the strained marriages they already have.

My VC finds this film entirely romantic and enjoys the different kinds of marriages depicted, from the wedded bliss of the older couples to Larry and Tish, who share a bohemian spirit, to Tom and Maria, whose uneasy awareness of infidelity doesn’t foster the most loving home for their daughter. My VC also loves the lesson that you’re never too old to fall in love and get married, and she admires the fact that the protagonists actually care enough about their marriage to hesitate, unlike their unfaithful spouses.

As much as I wanted to love, love, love Cousins as much as my VC, it never rose above charming in my estimation. Thanks to a clever script and their unmistakable chemistry, Danson and Rossellini do make an appealing couple, and I had no problem with their initial plan against their unfaithful spouses. It all seemed rather innocent at first, but as much as I believed they were better off with each other, it’s hard for me to fully agree with cheating on cheaters, especially when their marriages might have stabilized without the added doubt. Even so, in the end, this is a film in which we recognize who is meant for whom, and we might as well enjoy watching the characters figure it out. If you don’t focus too hard on the failed marriages, the successful romances will leave you smiling.

Best line: (Aunt Sofia, who has been talking with Larry’s strange son Mitch throughout the film) “You still want to kill people?”   (Mitch) “Nah, they’re too stupid.”

Rank: List Runner-Up

© 2015 S. G. Liput

342 Followers and Counting

Being There (1979)

Tags

Comedy, Drama

Being there is everything,
To look and listen silently,
Even if you may not understand or feel the need to ponder.
Whether poor or richest king,
No good came from an absentee,
And though the wise may disagree, mere presence makes the heart grow fonder.
_________________

MPAA Rating: PG (PG-13 would be better)

Some actors trade in great early roles for lackluster later ones, but Peter Sellers went out on a high note in his last film released during his lifetime, Being There. A heavy mix of absurdist comedy and social drama, Being There seems to foreshadow Forrest Gump fifteen years later in placing an apparent moron in ever more unlikely and beneficial positions, even meeting the President. Whereas Forrest, though, was self-aware and achieved his status through action in addition to luck, Sellers as Chance the gardener goes literally from rags to riches through a series of ridiculous yet effective coincidences.

Kept in seclusion within a large townhouse, Chance knows nothing about the world except gardening and what he sees on television. He’s been cared for his entire life and is as helpless as he is oblivious. The reasons for his isolation and care by the wealthy “old man” are never made clear, but Chance is an afterthought when his benefactor dies. Thrust into the wilds of Washington, D.C., one would expect him to be either beaten up by punks as a weirdo or ignored to the point of death. (He can’t even prepare his own meals.) Yet against all probability, he ends up the guest of aging businessman Ben Rand (Oscar winner Melvyn Douglas), who sees unexpected wisdom in Chance’s clueless silences and vague gardening tips. With his passive demeanor and assumed sophistication, Chance captures the attention of the nation and of Rand’s wife Eve (Shirley MacLaine).

While the Oscar went to Douglas for his thoughtful performance as a dying millionaire, this is Sellers’ film. His presence is uncanny in its earnest simplicity. He smiles, he nods, he provides basic responses, and he remains entirely unmoved by his effect on others. While people are praising him or reminiscing to him or throwing themselves passionately at him, he stays placid and blank. Of course, this is where much of the humor comes from. Probably the funniest scene is a series of outtakes that play over the end credits, in which not even Sellers could utter his droll lines with a straight face. (He supposedly blamed this scene for his failure to win Best Actor, but I think Dustin Hoffman in Kramer vs. Kramer deserved to edge him out.) Indeed, Douglas and MacLaine turn in excellent performances as well, the latter offering a semi-explicit sex scene that is both awkward and hilarious. The film also stands out for its location shooting at the lavish Biltmore Estate in Asheville, North Carolina, which I recognized from my own visit to the grand property.

Being There becomes something a bit deeper in its final scenes, in which Chance begins to take on almost messianic qualities. With this, the filmmakers seem to be encouraging debate over the meaning of it all. Is it that the most important people achieve their status by their mere presence rather than their actions? Is it that simplicity and gentle innocence are so refreshing that they can get you further in life than the opposite? Shakespeare’s Macbeth said that life “is a tale told by an idiot,” so is Being There implying that only a complete idiot can effectively traverse it? Does the film mean to expose the inanity of business and power by comparing politics with nonsense? Yes to one or all, the film remains ripe for whatever interpretation you please. Films with this kind of ambiguity are rare and rarely as good as Being There.

Best line: (Chance, who is naturally misunderstood) “I like to watch.”

Rank: List-Worthy

© 2015 S. G. Liput

340 Followers and Counting

Quiz Show (1994)

Tags

Drama, History

Can you be sure of where you stand
And how you’ll keep your footing when
A bit of guile gets out of hand,
And lies are needed once again?

They say the truth can set you free,
But when has someone crossed the line
Of giving up on honesty
Because to err is not divine?

When baby steps grow up too fast
And liars find them ill-advised,
They see the slope that cannot last
Began when first they compromised.
________________

Rating: PG-13 (solely for language)

For a year like 1994 that had acclaimed films like Forrest Gump, The Shawshank Redemption, and Pulp Fiction, it’s not surprising that a good but lesser film would be swept under the rug, so to speak. With so many good films that year, Quiz Show remained an afterthought, both during the awards season and for my own to-watch list, even if it was directed by Robert Redford. This really is a shame because this is a potent exploration of intellectual and personal honesty and might have performed much better in a less competitive year (1996 perhaps).

Quiz Show is based on the memoir of Richard Goodwin, an investigator for the Legislative Oversight Committee of the House of Representatives back in the 1950s. Rob Morrow plays Goodwin in the film, a lawyer who notices some peculiarities on a popular quiz show called Twenty One and follows a hunch to investigate. Apparent genius and champion Herb Stempel (John Turturro) is told to take a dive by the show’s producers (David Paymer and Hank Azaria) and loses on an easy question to allow the advent of Charles Van Doren (Ralph Fiennes). As likable Van Doren’s star rises, Stempel is ignored as he alleges corruption on the supposedly upstanding quiz show. As the investigation progresses, ethics are stretched, and new information comes to light that blurs the lines of right and wrong.

Thanks to excellent casting, Turturro and Fiennes really steal the show here. The missing teeth and, shall we say, homely appearance of the former ideally casts him as the ugly step-contestant, while the verbal grace and perfect hair of the latter offer a striking contrast to his predecessor. It leaves no doubt as to the reasoning of the showrunners. To them, Stempel should be the pitiful reject who can’t cope with losing, and Van Doren should be the shining example of virtue and erudition. In the hands of a lesser filmmaker, Stempel might have become the browbeaten underdog and Van Doren the haughty record holder. Yet while these characterizations are somewhat true, there are many more nuances and complex motivations behind them.

Van Doren, in particular, is depicted as a right decent chap, one who values honesty and intelligence but edges down a slippery slope. Fame can be quite the drug. Why else do so many people do such stupid stunts and post them on the internet? Why else would a successful college professor risk his career for a game show? One might take comfort in the “no one will ever know” mentality, but Van Doren seemed from the start as someone to respond with the “I would know” answer and refuse. Yet the web is woven. He revels in his newfound popularity but buckles under the weight of his own complicity, all while remaining entirely likable, both to us and to Mr. Goodwin. Though liberties are said to have been taken with the details, the ethical conflict rings true for this true story. After all, game shows are still watched as a matter of trust that they aren’t rigged. (I remember when Ken Jennings lost shockingly to a one-night wonder on Jeopardy! several years back. He claims that he simply didn’t know the final question, but I still have my doubts, though I tend to think he might have gotten tired of it all and “taken a dive” on his own without any behind-the-scenes intervention.)

Redford paints the moral dilemmas with a steady hand and, like some statements during the Congressional hearings near the end, offers sympathy when proper and reproof when needed. Quiz Show’s strength is that it is far from black and white. Like other films such as The Prestige or Rashomon, there is no clear-cut good guy to root for, just many victims and varying levels of blame. In the end, justice may be said to be done, but not perfectly. Corporate string-pulling proves too persuasive, but Quiz Show isn’t just about an official scandal or the innate duplicity of show business. It’s about honesty, whether tested, lost, or regained.

Best line: (Herb Stempel, offering rugalach to Goodwin) “Come on, they’re a Jewish delicacy. Before Toby eats it.” (Toby Stempel, his wife) “I’m retaining water, for your information.”   (Herb) “You and the Grand Coulee Dam.”

Rank: List-Worthy

© 2015 S. G. Liput

341 Followers and Counting

Opinion Battles Round 12 Favourite Stephen King Adaption

Amid Darren and Rob’s October Kingathon, the latest Opinion Battle covers everyone’s favorite Stephen King adaptations. Since I’d already picked Shawshank in the past, I went with Rob Reiner’s Misery, the only King movie to win an Oscar. Vote for your favorite too!

Movie Reviews 101

Best Stephen King Adaptation

With Rob and myself doing the October Kingathon what better choice for the subject of this rounds Opinion Battles, we have such a range of genre to pick from even if I can have a good guess what everyone will be picking.

If you want to take part in the next round we will be picking Best Franchise with 4 or more films, email moviereviews101@yahoo.co.uk by 18^th October 2015

Darren – Movie Reviews 101

Stephen King’s IT (1990)

I have chosen this one because I like the idea of a horror film, I know there are others that could easily be picking like The Shinning, Carrie and I didn’t want t go drama however brilliant Shawshank, Stand By Me and The Stand are. I have pick this one because this is the one film that created a character in Pennywise that will forever haunt…

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