proud_luddite

Virgil Tibbs (Sidney Poitier) is a black detective from Philadelphia who, by various circumstances, ends up in a small bigoted town in Mississippi where he becomes involved in solving a recent murder. He and police chief Bill Gillespie (Rod Steiger), who is racist, have an intense working relationship while trying to solve the case.

This superb film is intense all the way through. Its story has just the right amount of complexity while always being understandable. (If only modern mysteries could have followed this formula.)

The performances of Poitier and Steiger, individually and as an ensemble, contribute greatly to the film's success. Poitier's character has exceptional strength, intelligence, and sophistication yet he can distinguish when he can safely use his strength and when he must acquiesce such as an early scene at a train station. During this intense moment, the only weapon he has is a silent glare which he uses perfectly (if looks could kill). As the police chief, Steiger raises his tone when needed but also knows when he must surrender to the detective while still appearing to be in charge.

Another interesting moment is when Virgil is mocked for correctly using the word 'whom' in a sentence when most people would have (incorrectly) used the word 'who' instead. As an aside, it is pleasant and rare when someone speaks this well even if it is fiction.

Poitier and Steiger have an interesting scene before the fascinating climax where there is almost a bonding regarding the loneliness of their chosen professions. And their final scene, again at the train station, is filled with so many unspoken words that are restrained. A gesture regarding a suitcase speaks volumes especially considering the racist atmosphere that surrounds them.

The two leads are part of an exceptional cast that also includes Warren Oates, Lee Grant, Larry Gates, James Patterson, Quentin Dean, Anthony James, Scott Wilson, and Beah Richards among others. And director Norman Jewison more than ably creates an intense atmosphere that surrounds the thriller. Yet further praise must be given to Quincy Jones for his great score. - dbamateurcritic

RATING: 10 out of 10

OUTSTANDING ACHIEVEMENTS:

Directing by Norman Jewison

Screenplay by Sterling Silliphant (based on the novel by John Ball)

Acting Ensemble.

Valentine Dussaut (Irène Jacob) is a university student / fashion model in Geneva. She is brought by circumstances to have a connection with a retired judge, Joseph Kern (Jean-Louis Trintignant), who has serious social problems.

Valentine and Joseph have associations with other interesting characters (including a pregnant dog) who together seem to live in an odd, fascinating, mysterious urban universe. The conversations among them reveal shock, mystery, and puzzle-solving which most other films would have revealed by action only. This unique style is one of the film's many praises. And the continuing connection of the seemingly odd pair is also touching.

A parallel story in the film involves Auguste (Jean-Pierre Lorit), a young law student who is in a very troubled relationship. This is similar to Valentine who is in a difficult long-distance relationship. Valentine has further troubles in her family of origin whose circumstances are less than ideal.

The mix of characters and their circumstances reflect much of life's yearnings, disappointments, and occasional happy moments with various coincidences and similarities that give the impression that all people are connected. The screenplay (by Krzsysztof Kieslowski, the film's director, and Krzsysztof Piesiwicz) shows compassion for their very flawed, very human characters.

"Three Colours: Red" is the last of a trilogy that is preceded by "Three Colours: Blue" and "Three Colours: White". To enjoy "Red", it is not necessary to have seen the other two except perhaps in regards to the final scene in "Red". But it is likely best to see them in order any way if you're like me. Also, I join the consensus that "Red" is the best film of the trilogy. - dbamateurcritic

RATING: 9 out of 10

OUTSTANDING ACHIEVEMENT: Directing by Krzsysztof Kieslowski.

Jang Hae-Jun (Park Hae-il) is one of two detectives assigned to investigate a murder in Busan, South Korea. During the investigation, he becomes infatuated with the murdered man's wife, Song Seo-rae (Tang Wei) who might also be a suspect in the murder. Further tension is caused by the fact that Hae-Jun is married.

While the two leads give fine performances individually, there is a lack of chemistry between them. It doesn't help that most of their communication is by text messaging. Texting is probably the way most people communicate in our modern world so in this way, the film is accurate in reflecting real life. But it comes off as dull when used so often in a movie.

Many scenes in the movie are mixed with opposite effects. The film has many scenes that are well directed (by Park Chan-wook) and there are good performances from all cast members as well. There is also a powerful ending. On the other hand, there are many other scenes that are too long and sometimes convoluted and confusing.

A mixed result overall. - dbamateurcritic.

Produced by the USA and Germany, this documentary highlights the career and life of the legendary British superstar David Bowie. The film mostly focusses on the time period from the early 1970s up until the early 1990s.

As the film begins by recalling the early 1970s, what a truly psychedelic vibe it creates. The era is greatly reflected with a superb mix of animated footage, actual footage (including live concerts) and song recordings. And of course, those special fashions of the early 70s! The unique mixing style continues throughout the film in later time periods and includes excerpts from classic movies.

The scenes of Bowie's musings of life are often fascinating though some of them could have been edited. During one scene, he seems to be encouraging how life should be for people. From today's perspective, this might seem inappropriate as it is coming from someone with great advantages and privileges; the average person could never be anywhere close to the life he was living. But it's important to keep in mind that this was expressed during an era when there was much less distance among the socioeconomic classes than there is now. So, the philosophy seems right for its time period.

In the end, the film seems perhaps a bit long but with its focus on such a fascinating subject, this seems to matter little. - dbamateurcritic.

Carl (Harrison Dickinson) and Yaya (Charlbi Dean) are a young attractive couple and both are models. Yaya is also a social media influencer. Due to their status and beauty, they are invited to join a luxury cruise (for free) where other passengers include the super-rich from various countries some of whom gained their wealth in very unethical ways. Later, certain passengers and staff of the sea vessel end up on an island fighting for survival. "Triangle of Sadness" is an international co-production.

This film has various extended scenes that feel uncomfortable at first but often end up as anything from intriguing to funny (very crude in one case). One such scene includes a wealthy Russian oligarch named Dimitry (Zlatko Buric) making an absurd demand upon the entire staff which is obeyed as the class distinction is very strong within the confined setting.

A puzzling scene involves Dimitry having a discussion with the yacht captain, Thomas (Woody Harrelson). During this discussion, Thomas' defense of socialism seems preachy and didactic. If writer/director Ruben Östlund were trying to make a point, subtlety would have been more effective. However, there is possibly a twist here. The preacher of socialism (Thomas) happens to be an drunken parasite who has an undeserved privilege of being at the top of a work hierarchy and whose second in command (Paula played by Vicki Berlin) is stuck to do much of his job as well as all of her own. Perhaps, having such a repulsive character preaching a certain ideology is Östlund's way of rejecting the ideology. But this is more than offset by the remainder of the plot which often skewers the vile hierarchies caused by capitalism. One such vile hierarchy is shown when Paula is leading her subordinates during a staff meeting.

As the film involves a major twist, character development is very fascinating in the final segment. The most intriguing of these changes is in the character of Abagail (Dolly De Leon) who is at the bottom of the socio-economic hierarchy as a staff member of the yacht but whose survival skills place her at the top of the hierarchy on the island. It could be easy to cheer for her except maybe for a certain advantage she grabs rather viciously.

The film ends with one of those moments of "OMG, how could you end it THERE?" with a potential plot twist that we don't even get to see. But with the chance to create the ending ourselves, this fascinating film still concludes well. - dbamateurcritic.

Based on the novel by Douglas Savage: in 1925 Montana, two families are amalgamated into the same household: the wealthy ranch-owning Burbank brothers Phil (Benedict Cumberbatch) and George (Jesse Plemons) plus the Gordon family who run an inn: widowed mother Rose (Kirsten Dunst) and her young adult son, Peter (Kodi Smit-McPhee). Phil's domineering, bullying personality intimidates other household members.

Jane Campion's directing and Ari Wegner's cinematography combine in a way that much of the photography - both interior and exterior - can elevate emotions. And the performances are very rich especially as some of the characters change significantly during the story: bullying Phil shows a kinder, warmer side in the film's second half as he mentors Peter (a small-framed and effeminate medical student) to develop ranch skills considered 'masculine'; Similarly, Peter changes as well during the dual character arc which also includes a few surprises; Rose's character also has an arc but it goes in a different direction: from someone who starts as self-caring and descends into self-destruction. George's character might be a bit under-developed compared to the others. As someone who is caring but also shows a social-climbing side, the film would have gained with a bit more emphasis on him. But this is a minor complaint.

Without revealing too much, there are some special scenes which also showcase the acting talent: Rose trying to practice a piano piece before a party (and Phil's unspoken intimidation coming from another room in the house) followed by the dinner party scene itself; a scene in which Phil and Peter are getting closer as Phil reveals details of his past; and an outburst cathartic scene by Phil near the end that shows Cumberbatch at his best.

The ending is fascinating though its lead-up has details that might not be obvious to those of us who are not so scientifically minded. Despite this, "The Power of the Dog" was still a very powerful movie experience. - dbamateurcritic

RATING: 9 our of 10

OUTSTANDING ACHIEVEMENTS: Acting by Benedict Cumberbatch (lead role) and Kirsten Dunst (supporting role)

Barkley and Lucy Cooper (played by Victor Moore and Beulah Bondi respectively) are an elderly couple who lose their home due to foreclosure. Four of their five children live nearby but none can accommodate both of them so they must separate and live in different children's homes. In their new residences, their presences cause tension. The film is based on the play of the same name by Helen Leary and Noah Leary and the novel "The Years Are So Long" by Josephine Lawrence.

There is so much to love about this film. For one thing, it seems to be a true reflection of life during the time it was released rather than the well-intended escapism created to distract film viewers from the troubles they were experiencing during the Depression. This includes the bold exposure of social-climbing ambition, too much busyness, and the cold indifference to the needs of the elderly. The film exposes 'family' in a way that is rare in films of its time period and it's not a glorious viewpoint. The movie is also pleasantly rare (for any time period) to focus on elderly people in lead roles.

During the separation, Lucy lives with their son (Thomas Mitchell), his wife (Fay Bainter) and shares a bedroom with their teenage daughter, Rhoda (Barbara Reed). The tensions in this situation are often funny and ironically, Lucy seems more appreciated by the family's maid (Louise Beavers) than by her relatives even though it's clear they are trying their best. One of the best scenes is a conversation in which Rhoda tries to force Lucy to "face facts". Lucy's response, flawed as it may seem, has its own logic for someone in her situation and with Bondi's great delivery with words from screenwriter Vina Delmar, this ends up as one of the film's most powerful scenes.

Barkley lives with their daughter, Cora (Elizabeth Risdon) and her husband (Ralph Remley). This situation is sometimes over-dramatized but not enough to lessen the film's impact overall. Cora's treatment of her father is monstrous, shrewish and seems unreasonable and too much at times. Luckily, Barkley has a better connection with a neighbourhood shopkeeper, Max Rubens (Maurice Moscovitch) who adds necessary warmth to a very cold atmosphere.

The film is at its best during its last half hour when Barkley and Lucy spend rare time together in New York including the hotel where they spent their honeymoon. Here, the two leads bond beautifully as they do their best to deny impending sadness and doom while doing their best with what time they can spend together. They connect so well that everyone they meet enjoys their presence and charm including one who seems contemptuous of the elderly at first but is believably won over by the pair. The final scene is most powerful and heartbreaking due to its restraint and withheld emotions. This is more truthful than a cathartic outburst could have been. And Bondi's facial expressions in the final frames are to be treasured.

This film is definitely Chicken Soup for the Soul - ironically as chicken soup is significant in one of the scenes. Director Leo McCarey has created a true treasure here. - dbamateurcritic

RATING: 10 out of 10

OUTSTANDING ACHIEVEMENTS:

• Directing by Leo McCarey
• Acting by Beulah Bondi and Victor Moore.

Based on the novel by Stephen King: Jack Torrance (Jack Nicholson) is a troubled writer who accepts a winter job as a caretaker at the Overlook Hotel in Colorado during the off-season. He is accompanied by his wife, Wendy (Shelley Duvall) and young son, Danny (Danny Lloyd) who has psychic abilities. During the stay, supernatural events occur that threatens Jack's sanity and the safety of Wendy and Danny.

The film's beginning includes a detailed, extended sequence of the Torrance family settling into the hotel before it officially closes to the public. There are many long shots of the camera following people from behind, leading them in the front with the camera moving backward, or occasionally moving sideways. These lingering shots create a mood to lure in viewers and more or less entrap them before the horror begins. Director Stanley Kubrick deserves kudos for this unique approach.

Nicholson is sometimes over the top but mostly gives a great performance in a challenging role - especially the first time he is seen in a mysterious bar. And his delivery of "Here's Johnny" is unforgettable. Duvall and Lloyd also give fine performances as people who will do anything to survive.

The supernatural elements in the story are occasionally confusing but overall, the story is thankfully uncomplicated for one with such ambition. With so much going for it including the amazing interiors of the hotel plus a thrilling climax involving an outdoor snow-filled hedge maze, "The Shining" rightly deserves its place among the greatest thrillers ever. - dbamateurcritic

RATING: 9 out of 10

OUTSTANDING ACHIEVEMENT: Directing by Stanley Kubrick.

Sophie (Frankie Corio) is an 11-year old Scottish girl who lives with her mother. Sophie and her father, Calum (Paul Mescal), who lives in London, travel to a Turkish resort for a vacation together. The film takes place during the 1990s.

This is a very highly acclaimed film that is loved by many so I feel badly about missing out on the enjoyment of it.

The bonding between father and daughter is moving but it doesn't seem to be enough to sustain the length of a movie. Subtlety is the formula in each scene. There is a lack of plot development which helps most movies maintain interest. And muddled, incomprehensible dialogue is a liability. An exception is a scene in which Calum recalls to Sophie a sad event when he was neglected by his parents. There are signs that Calum has a troubled life but this could have been further explored.

More can be appreciated when knowing important parts of the true-life story of writer/director Charlotte Wells and this is briefly explored by the film's end. But other directors have done better at using special techniques to make the apparently mundane anything from touching to fascinating. The technique of "Aftersun" is like watching the average home movies of someone we don't know. In fairness, the two lead actors play well together.

For most, this film was magnificent but unfortunately, I found it to be dull and disappointing. - dbamateurcritic.

Based on the novel by Bethan Roberts, the film takes place in two time periods: in the late 1950s, Patrick (David Dawson) is a museum creator in Brighton, England. He has a secret relationship with Tom (Harry Styles), a police officer who worries about losing his job if his homosexuality is known. Tom becomes engaged to teacher Marion (Emma Corrin) and the three become close friends... for a while. In the late 1990s, the same characters are played by Rupert Everett, Linus Roache, and Gina McKee respectively.

All six actors in both time frames do a great job and the film is directed with compassion by Michael Grandage.

In addition to the main stories, the story inadvertently focuses on what appears to be a contrast between two different planets: life in Britain for gay people in the 1950s vs. The 1990s. This is highlighted in a scene when Roache is at his best when Tom witnesses open affection between a gay male couple in public during the later time frame.

The film might have been more fulfilling if there were more explored about Marion's character in both time frames. There is also a scene in the 1950s when a secondary character comes out of the closet. The scene seems anachronistic as such information could not likely be revealed so casually during that time period without the fear of losing one's livelihood . But despite these misgivings, "My Policeman" is a very moving film. - dbamateurcritic.

A romantic comedy between two men in their forties in Manhattan: Bobby (Billy Eichner) is an outspoken curator of the new LGBTQ+ history museum; Aaron (Luke Macfarlane) is a lawyer who dreams of being a chocolatier. While the two are not relationship-seeking, their mutual attraction grows.

The humour of this film is its greatest asset: Eichner is hilarious as a mile-a-minute talker firing off some great lines (he's one of the film's writers along with Nicholas Stoller, the film's director). There are also enjoyable museum board meetings that take more than a few fun jabs at victim consciousness among modern activists. Like many other rom-coms, this one includes the conflicts of polar opposite personalities between the two leads. And there's more enjoyable mockery as the film takes on the dating and sex scenes in the gay world with flawed but funny personalities.

Outside the humour and sharp-tongued sarcasm, there is a warm side to the film (like other rom-coms). For "Bros", this is best shown during the conclusion with Eichner's monologue.

An enjoyable film overall. - dbamateurcritic.

Inspired by the 1935 French film "Fanfare of Love": Joe (Tony Curtis) and Jerry (Jack Lemmon) are struggling musicians in Chicago during the Prohibition era in the late 1920s. After unintentionally witnessing a crime, they have to hide by changing their names (and appearances) to Josephine and Daphne and join an all-female band that is on its way to Miami. Once in the band, both are smitten by the lead singer and ukulele player, Sugar Kane (Marilyn Monroe).

This film succeeds greatly as a mix of various genres and excelling in all of them: crime drama, love story, and ultimately one of the funniest comedies ever with many hilarious lines by screenwriters Billy Wilder (also the film's director) and I. A. L. Diamond. The film also includes a lot of fine music highlighted by Monroe's singing voice.

Among many things to love, the highlights include Curtis' female voice plus his ability to play three roles (he also plays a fake heir to an oil corporation in order to woo Sugar); Monroe's portrayal as someone so lovesick and vulnerable that she is totally unaware of the power of her goddess-like beauty; Lemmon's hyper-nervous energy and all the trouble that follows including being relentlessly chased by a millionaire named Osgood (Joe E. Brown, also hilarious) who is in love with "Daphne"; the night of tango dancing between Daphne and Osgood plus Daphne's recall of the events later that night to Joe; and ultimately, the overnight train trip from Chicago to Miami. The train scene has many moments of hilarity and shows Lemmon at his comical best. And its climactic ending is the icing on the cake.

Other performers in this great cast include George Raft as a crime boss, Joan Shawlee as the band leader, and Dave Barry as the band's manager.

A delight worthy of all its praises. - dbamateurcritic

RATING: 9 out of 10

OUTSTANDING ACHIEVEMENTS:

• Directing by Billy Wilder
• Acting Ensemble.

Based on the autobiographical novel by J. D. Vance (played by Gabriel Basso and Owen Asztalos in different time periods): J. D.'s early years in Middletown, Ohio are recalled living with a very dysfunctional mother (Amy Adams) and getting needed help from his maternal grandmother (Glenn Close).

Whether in the present tense (when J. D. is in university) or in the past tense (his early teen years in an economically struggling family and community), much of the story is very uncomfortable with repeated scenes of dysfunction without a break. The epilogue includes situations that would have been far less awkward to watch and the film would have been more balanced if such events were included in the narrative rather than just in the final summary.

Yet, the film is still a powerful drama with great performances from Adams and Close so it was worth the watch. - dbamateurcritic.

During the Vietnam War, five black American soldiers bonded. Together, they found gold bars and buried them with the intention of recovering them in the future. Decades later, four of the five friends return to Vietnam to recover the gold.

Occasionally, the film falls into a storyline that has been done before: a collective search for gold that creates tension and mistrust among the searchers ("Treasure of the Sierra Madre" is likely the best example for comparison). But despite the familiarity, the conclusion takes other directions including a fascinating climax co-ordinated by the always reliable Spike Lee who directed and co-wrote the film. Some of the outer-lying sub-stories could have been expanded were it not for the gold hunt main story and still made a great film as well but there is only so much time allowed. The final product of "Da 5 Bloods", gold story and all, is a grand experience.

Some of the most memorable moments include the tragedies and tensions involving landmines. And the greatest moment is a flashback scene involving Paul (Delroy Lindo), the most troubled and negatively affected of the war veterans; plus Norman (Chadwick Boseman), the only member of the quintet who does not appear in the current time period. This scene perfectly explains the future fates of both characters with a deep spiritual element as well. It is also beautifully acted.

Lee adds further to the film's impact by concluding with fascinating historical footage with informative histories before the closing credits. - dbamateurcritic

RATING: 8 out of 10

OUTSTANDING ACHIEVEMENT: Acting by Delroy Lindo.

Based on the fictional play by August Wilson: in Chicago during the summer of 1927, the legendary real-life blues singer Ma Rainey (Viola Davis) is set up for a recording session prepared by white producers. Among the tensions during the session: the band's very talented trumpeter, Levee Green (Chadwick Boseman) has ambitions of going solo.

The film uses advantages that that are an improvement on the play version. Editing reduces a long scene that involved a young man with a pronounced stutter doing a recorded intro. And two additional scenes (not in the play) add to the film's impact. One involved Ma's late arrival and all the chaos in the journey (in the play, this was only narrated after the arrival); and an extra scene tagged at the end adds to the overall impact regarding the racial tensions referred to in the story.

Another scene that was kept as is was Levee's narration of his family's tragic history and racial victimization. Screenwriter Ruben Santiago-Hudson and director George C. Wolfe were wise to keep this scene as it was without using a flashback device despite the scene's length. Why? Because Boseman was one of those performers who could be riveting even while reading an instruction manual. He is extremely powerful in this scene as he was in another one where he renounces the existence of God. His untimely death shortly before the film's release caused this brilliant performance to be his swan-song. A great loss, indeed.

Davis is also powerful in many scenes as a manipulative diva who knows her worth. She's at her best showing Ma's softer side when elaborating on the existence of the blues.

The dramatic ending might not have been necessary and it also leaves a very depressing feeling. But with so much going for it including costumes, cinematography, and set designs that beautifully recall the 1920s, "Ma Rainey's Black Bottom" is a standout film. - dbamateurcritic

RATING: 9 out of 10

OUTSTANDING ACHIEVEMENT: Acting by Chadwick Boseman.

Based on a true story: on a very hot day in August, 1972, Sonny (Al Pacino) and Sal (John Cazale) are reeling from a very botched robbery attempt at the First Brooklyn Savings Bank. They hold the bank staff hostage as they negotiate transportation to leave the USA.

Pacino's performance in this film could easily be used as a benchmark. There is so much to love with many special highlights. They include his many energetic scenes walking back and forth on the sidewalk in front of the bank as he is negotiating with the authorities. One of those scenes includes one of the best movie lines that is unlikely to show up on certain "Best Movie Quotes of All Time" due to its profanity. Hint: it follows a police sergeant (Charles Durning) asking Sonny why he has asked him to kiss him. The line is delivered with such Pacino panache that it is likely only this genius could get away with it.

Other scenes include Sonny dictating his will to one of the bank staff (sensitive and touching) and his one-on-one conversations with three different people in his life: his mother (Judith Malina); his wife (Susan Peretz); and his lover, Leon (Chris Sarandon). The latter conversation is rightly praised as one of the film's highlights. It was very rare at the time for man-to-man relationships to be portrayed seriously without being mocked. The same can be said of the characterization of Leon who has the intention of transitioning to a woman.

Director Sidney Lumet is at his best in this film as well with so much action seemingly taking place in real time. The film's beginning amazingly captures crowded chaos. And there is even comedy within the high drama. Some of the bank tellers seem to be thrilled at being part of the mayhem and media attention (Penelope Allen plays the head teller and has a few important scenes). In a fascinating way, the hostages bond with their captors.

The climactic powerful final scene, including its build-up, is the perfect conclusion for a perfect film. The cast is great and Lumet's direction is greatly aided by the editing by Dede Allen. - dbamateurcritic

RATING: 10 out of 10

OUTSTANDING ACHIEVEMENTS:

Directing by Sidney Lumet

Acting by Al Pacino

Editing by Dede Allen.

The lives, marriage, and careers of French volcano scientists Katia and Maurice Krafft are the subject of this documentary co-produced by the USA and Canada.

The film has fascinating biographies of the amazing Kraffts whose apparent callings were to live on the edge of life and to be with each other. And there is amazing footage of their expeditions. These stunning scenes make science exciting when we, the viewers, can actually see what is happening due to great risks by everyone involved to capture the footage. Seeing the footage makes the experience far more exhilarating than reading or hearing about it.

There can be a contrast with emotions felt in the film. The fascination of viewing the volcanic mountains in isolation changes to great concern when seeing the mountains' close proximity to residential areas. This is evident in segments in Columbia, the Philippines, and near Mount St. Helens in Washington state.

The conclusion is touching and emotional. It also would have been more so if spoilers were not revealed at the film's start - spoilers at least for those of us not familiar with the Kraffts. Regardless, "Fire of Love" is a very good film. - dbamateurcritic.

Based on the partly autobiographical stage musical by Jonathan Larson: the musical creator (Larson played by Andrew Garfield) is in the process of creating the musical "Superbia" and faces various ups and downs in life and in the theatre industry while in and out of the creative process. The story takes place in New York in the early 1990s.

Like "Cabaret" (released in 1972), TTB uses a device of songs being performed on stage in front of a live audience which reflect events of the main story interwoven with the story itself. The device works very well.

For those of us who lived through the 90s, the film is a great reminder of things good and bad. The passionate creativity is perfectly on display. But so is the unfortunate rampant materialism and consumerism of the time (which would accelerate toward our current times including phone addictions). This is best on display in some scenes in the second half involving Jon's friend Michael (Robin De Jesus) who left the creative scene and became successful in the corporate world. One hilarious scene involves a focus group followed by a more profound argument between the two long-time friends which reflect Michael's past struggle before making an important life change and changes yet to come.

The main story also includes breakout musical scenes. The standouts include "Sunday" (beautiful in many ways) and "Therapy" in which Jon is at a difficult point in his relationship with his girlfriend, Susan (Alexandra Shipp).

Garfield is phenomenal in the main role, perfectly conveying the hyper-stress that accompanies the demands of the creative process, financial difficulties, and conflicts in relationships. His is one of cinema's greatest performances in recent times. And director Lin-Manuel Miranda guides with the perfect combination of dynamism, energy, passion and imagination - all of them in great supply.

Without giving much away: Larson's struggles in the creative world, as depicted in this story, might explain what would happen a few years later which adds even more emotional weight to this excellent film.

One of the most under-rated films ever! - dbamateurcritic

RATING: 10 out of 10

OUTSTANDING ACHIEVEMENTS:

Directing by Lin-Manuel Miranda

Acting by Andrew Garfield.

Leda Caruso (Olivia Colman) is a middle-aged university professor and translator. While vacationing alone in Greece, she has encounters with hotel staff and other guests while recalling her past difficulties as a young mother. In flashback scenes, her younger self is played by Jessie Buckley.

Colman's performance is mixed but mostly good. Her facial expressions and vocal tones are powerful but there are too many instances of incoherent muttering.

There is an amazing resemblance between Colman and Buckley so credit must be given to the casting department as well as the performers themselves. But sadly, they are playing an unlikeable character whose oddities are not adequately explained. This is especially true in the current story involving Leda's connection with a young family who are staying in the same hotel. Without revealing much, her behaviour regarding a certain object indirectly causes torment to a young girl which causes distress to the girl's family. In Leda's final scene with the girl's mother, played by Dakota Johnson, Leda's chosen words are deliberately insensitive and arrogant - making her character even more loathsome.

There are times that the Johnson character, Nina, seems to have much in common with Leda especially regarding the difficulties of raising a young child. The film might have been more effective if Nina had been given more exposure. The same could be said of the general theme of being overwhelmed by parenthood and the occasional (or frequent) desire to escape it. Taking on such a daring topic is bold but unfortunately, the film falls short of its potential. - dbamateurcritic.

Sally Bowles (Liza Minnelli) is an American living in Berlin in 1931 and is a musical performer at the Kit Kat Klub. Brian Roberts (Michael York) is a British student and writer. He teaches English and lives in the same boarding house as Sally. As the two connect, the culture around them shifts with the gradual rise of the Nazi party. The film is based on the Broadway musical with songs by John Kander and Fred Ebb. The original material is from the novel "Goodbye to Berlin" by Christopher Isherwood.

"Cabaret" is an unusual musical in that the players do not break into song to advance the plot. Instead, whenever a dramatic shift takes place, the film moves to the Kit Kat Klub where a stage number parallels recent events. And every one of those numbers is brilliant. The first two numbers, "Willkommen" and "Mein Herr" are perfectly choreographed and edited. Minnelli is at her best with "Everybody Loves a Winner" and the film's title song. As the club's Master of Ceremonies, Joel Grey - whose performance is on the stage only (the only exception being a brief, silent facial exchange with Sally backstage) - has great moments as well. He is especially haunting with his delivery of the last line in "If You Could See Her Through My Eyes". Other great musical numbers include "Money, Money" and "Two Ladies".

In addition to the connection between Sally and Brian, another romance takes place between two of Brian's English students: Fritz (Fritz Wepper) and Natalia (Marisa Berenson). Fritz is a social climber of limited economic means and Natalia is a judicious member of a rich Jewish family. This secondary love story has a fascinating twist in the second half especially considering the rising tensions against Jews in Berlin at the time.

And Sally and Brian have an alluring twist as well when they both meet Maximilian (Helmut Griem), a baron who invites them to an elaborate estate on a weekend. The lightness and frivolity of this scene are matched with a later scene between the romantic leads in a room filled with lit candles including those placed on the inside of a disc while a record is playing. Minnelli and York are a great pair and the ups and downs of their relationship are excellently conveyed.

The film ends in a similar way it began but with major differences in mood and clientele in the club leaving a very foreboding feeling as to what is to come in Germany and Europe - something the audience already knows. This is expertly captured by director Bob Fosse who did a brilliant job overall in this very sophisticated film with a great cast.

A very unique musical and one of the best, too. - dbamateurcritic

RATING: 10 out of 10 (after six viewings)

OUTSTANDING ACHIEVEMENTS:

Directing by Bob Fosse

All musical numbers (Choreography by Bob Fosse; Songs by John Kander and Fred Ebb)

Cinematography, Editing, Set Design, and Costumes.

The title characters (played by Geena Davis and Susan Sarandon, respectively) are friends in Arkansas who set out for a weekend getaway. After a terribly unexpected set of events at the beginning of the trip, the two end up as fugitives fleeing the law.

The film's screenplay by Callie Khouri might have a few questionable quirks (why would 'smart' Louise leave an enormous responsibility to less-reliable Thelma - among a few other quirks) but the greatness of the story exceeds any flaws. In addition, the plot line has many fascinating segments and a powerful conclusion. While it is ultimately a drama, it has many comical lines and situations that could outdo many official comedies. And primarily, it draws rare attention to the plight of many women who live through the trauma of rape while believing that if the crime were reported to the police, there might be further trauma.

The two lead actresses are brilliant - not just individually but even more so as members of a two-part ensemble especially during their many conflicts. Sarandon has many scenes that show a deep intensity and bring out her very best. And Davis has fun as the character who changes the most throughout the film. As someone who seems klutzy (likely due to years of living with a nasty husband), she later shows an unusual competence as a criminal when necessary. During one scene, her advice to a police officer is not only the funniest line in the film, it is also seems to be a summation of the movie's main message.

"Thelma and Louise" could be compared to earlier classics like "Bonnie and Clyde" and "Butch Cassidy and the Sundance Kid". It is most powerful in its last forty-five minutes or so when doom seems to be catching up but not present yet. Here is where there is a gradual attitude of loosening the rules especially when dealing with a vulgar, obscene truck driver. There's nothing left to lose now: let's enjoy this for as long as we can. It's also touching to know that Thelma is experiencing real travel for the first time. The scenery in the US Southwest is astounding. The bond between the women is most powerful in the final scenes as well. The language is subtle and understated which has more impact than a bunch of "I love you" proclamations could ever have.

Director Ridley Scott does a superb job in pacing, intensity, subtlety, sensitivity, humour, and a very powerful conclusion (a scene involving a helicopter and a canyon horizon was brilliant). Some earlier scenes involving Louise and her boyfriend (Michael Madsen) are a touching contrast to the film's other scenes. And the use of subtle guitar music during scene changes was also very effective.

Always brilliant after every viewing. - dbamateurcritic

RATING: 10 out of 10 (after five viewings)

OUTSTANDING ACHIEVEMENTS:

Directing by Ridley Scott

Acting by Susan Sarandon and Geena Davis.

Based on the novel by Mario Puzo: in the post-war period of 1945 - 1955 in New York City, Vito Corleone (Marlon Brando) leads a criminal family business and is often at war with other Mafia families as well as other enemies. Vito's son, Michael (Al Pacino), wades into the family business and is groomed to eventually lead it.

Director Francis Ford Coppola co-wrote the screenplay with Puzo. The creative team does an excellent job in deceiving the viewer: while we can see that the family does terrible things, we can't help but sympathize with them occasionally especially as they are vulnerable to the acts of other criminal families and betrayals from within the clan. This works mainly due to many scenes involving extended family - the highlight being the enjoyable wedding scene at the film's beginning. The folks we see in such scenes seem to be likeable people.

The acting is brilliant overall with Brando and Pacino standing out. Brando gives a wide-ranging performance especially in the second half where he shows a more mellowing attitude compared to his ways in the first half. And there are many things to praise about Pacino - one of them being his ability to incite terror just by giving a still, brief glare. Pacino also carries the film's mid-section with a series of scenes involving a hospital, a restaurant, and Sicily in that order (a succinct summary). These segments, like others in the film, are intense with perfect build-ups.

The film's most powerful scene involves one where Michael is literally being a godfather at his nephew's baptism. The holy atmosphere of the event is contrasted, back and forth, with other scenes (involving family business) that are anything but holy. The polar opposites play brilliantly against each other in an almost sarcastic way.

And the film ends with a poignant scene between Michael and his wife, Kay (Diane Keaton), and a powerful closing image. A perfect ending for a perfect film.

In addition to the great performances of Pacino, Brando, and Keaton, the excellent cast also includes James Caan, Robert Duvall, Richard Castellano, Sterling Hayden, John Marley, Abe Vigoda, John Cazale, Talia Shire, Gianni Russo, Morgana King, Richard Conte, Lenny Montana and Simonetta Stefanelli.

"The Godfather" is considered outstanding by film critics as well as movie fans. Both groups are right. - dbamateurcritic

RATING: 10 out of 10 (after six viewings)

OUTSTANDING ACHIEVEMENTS:

Directing by Francis Ford Coppola

Acting Ensemble

Cinematography, Musical Score, Set Design (including the use of vintage cars), Costumes, and Editing.

Based on the novel by Patricia Highsmith: in the late 1950s, Tom Ripley (played by Matt Damon) is accidentally lured into the world of the upper class when he is paid to travel to Italy in order to convince Dickie Greenleaf (Jude Law), the son of a wealthy family, to halt his heathen lifestyle and return to the U. S. While acting out his assignment, Tom is intrigued by the high life (which has eluded him for most of his life) and becomes willing to do anything to maintain it.

There is glamour galore in this film: the styles of the late 50s; the jazz music of the same period; numerous locations that flaunt the art, architecture, streetscapes, landscapes, and seascapes of various locations in Italy; and the attractiveness of the three leads: Damon, Law, and Gwyneth Paltrow who plays Marge Sherwood - another young heathen from a rich American family who is also Dickie's girlfriend.

Director/writer Anthony Minghella seems as skilled as the main character in manipulation and trickery. We viewers often feel like cheering for Tom despite the fact that he does terrible things. We might cheer for him because he is of such modest means compared to the spoiled, rich brats in his presence. This is especially true of one of Dickie's friends played by Philip Seymour Hoffman. Full credit goes to Hoffman as his character oozes a repugnant, entitled arrogance that could make Satan smile.

Damon does well in the main role. He seems rightly insincere when he is faking and lying but this can be recognized only by the audience as the other characters don't yet see through him. Paltrow also gives an intense performance portraying someone who, in the final scenes, is burdened with frustration as she is smarter than the people around her who don't take her seriously.

The film's opening credit sequence is clever, unique, mysterious, and fascinating. Thankfully, this is a precursor for the remainder of the film. - dbamateurcritic

RATING: 9 out of 10

OUTSTANDING ACHIEVEMENT: Directing by Anthony Minghella.

Iowa farmer Ray Kinsella (Kevin Costner) receives supernatural inspirations to convert part of his cornfield into a baseball diamond which inspires more of the supernatural.

"Field of Dreams" has many unusual and fascinating twists that mix the spirit and physical worlds along with time travel. There is also an element that was relevant and current at the time: the lament for the loss of the mindset and values of the 1960s that became overwhelmed with the more commercial interests of the 1980s.

Ray's journey takes him to other parts of the U. S. where he meets some fascinating people. One of them is (apparently) a stand-in for author J. D. Salinger played by James Earl Jones. Jones is perfectly feisty and thoughtful in the role and shows a very believable transition in attitude within the story. There is also a graceful, gentle-spirited character played by Burt Lancaster who exudes an old-world elegance and charm of an earlier era that was diminishing at the time of the film's release and now no longer exists save for the few living centenarians (Lancaster was in his seventies at the time).

And then, there's the film's conclusion - the ultimate tear-jerker (with more than a bit of wailing) that succeeds profoundly mainly because of restraint.

A wonderful film at many levels by writer/director Phil Alden Robinson. - dbamateurcritic

RATING: 9 out of 10

OUTSTANDING ACHIEVEMENT: Screenplay by Phil Alden Robinson - based on the book by W. P. Kinsella.

In a Swedish townhouse community, Ove (Rolf Lassgard) is a long-time resident who is recently widowed. His grief only adds to his grouchy attitudes toward people who don't follow his standards of community living. His new neighbours are a young mixed-race family co-lead by Parvaneh (Bahar Pars), a pregnant immigrant from Iran.

Some of the best scenes in the film are those told in flashback as they explain how Ove developed such a negative attitude. The story (screenplay by Hannes Holm based on the book by Fredrik Backman) has a clever way of making us curious about finding the pieces of the past with various hints in the current story; and then satisfying our curiosity once such events are revealed in the parallel flashback story.

Parvaneh's character is a bit of an anomaly. She can sometimes be annoying and take Ove for granted. Yet, the story seems to imply that she is there to "humanize" him. This might have worked better if her character had been more developed. Instead, too much time is spent on other subplots, sideshows and other characters that end up overcrowding the narrative. Some of the subplots also seem to be resolved unusually quickly.

There seem to be messages like "you can't go through life alone" and themes of 'community values' which may be noble but their repetitions become didactic and annoyingly obvious and sentimental. Other themes work better such as the recurrence of administrators-from-hell ("whiteshirts" as Ove calls them), the insensitive bureaucrats that we can all recognize: Satan in multiple human forms.

The conclusion is touching as it makes us have a better understanding about people who appear grouchy. Also, Lassgard gives a fine performance. But overall, the movie was rather mixed. The dramatic scenes are much better than the comedy scenes. - dbamateurcritic.