Off the Black

Director: James Ponsoldt
Cast: Nick Nolte, Trevor Morgan, Rosemarie De Witt, Sally Kirkland, Timothy HUtton
Genre: Drama 2006
Running time: 90 mins.
Rating:★★★

Ray Cooke (Nick Nolte), a disheveled, grumpy high school umpire who forms an unlikely friendship with troubled teenager Dave Tibbel (Trevor Morgan), after he catches him vandalizing his home. A straightforward exchange, if Dave repairs the damage, Ray won't call the cops. It becomes an ever increasingly personal relationship and enables Dave to cope with his own distant father (Timothy Hutton). As they grow more dependent on each other, Ray asks Dave to go to his 40th high school reunion and pretend to be his son, a benevolent act of deception that winds up opening unexpected dimensions in the two men.

The fear of looking back on your life and feeling like it didn't amount to anything. That life couldn't get much worse, so you might as well dwell in the misery and let it swallow you up. What other choice do you have? To give the illusion, as well as attempting to lie to oneself, that you are. Why attempt to strive for a future? Especially, when your father or son is somewhat estranged. In a strange way, Ray (Nick Nolte) and Dave (Trevor Morgan) have this in common. The bond they form leading up to Ray's reunion and during, allow them to help each other deal with all of the skeletons in their closet and inner demons. A relationship that is probably the steadiest one that either of them will ever know. But is it enough, to save or revive them from their misery? To look outside of themselves?

The cinematography allows the audience to feel that they are just a fly on the wall, witnessing the struggle these two characters have with their own lives. The soundtrack is a little hokey, trying too hard to be a feel-good movie. My eyes felt like they were going to fall out of their socket with how hillbilly and torturous the choice of music was. The magnificent performances by both Nick Nolte and Trevor Morgan. The storyline felt a little cut short and underdeveloped, but the two actors made up for that

Night of the Comet

Director: Thom E. Eberhardt
Cast: Robert Beltran, Catherine Mary Stewart, Kelli Maroney, Sharon Farrell Mary Woronoy, Geoffrey Lewis
Genre: Comedy/Horror/Sci-fi 1984
Running time: 95 mins.
Rating:★


It's the first comet to buzz the planet in 65 million years, and everyone seems to be celebrating its imminent arrival! Everyone, that is, except for Regina Belmont (Catherine Mary Stewart), and her younger sister Samantha (Kelli Maroney). Two Valley gals who care more about meteoric fashion trends than celestial phenomena. But upon daybreak, when the girls discover that they're the only residents of Los Angeles whom the comet hasn't either disintegrated or turned into a zombie, they..well, they go shopping! But when their day of malling threatens to become a day of "the mauling", these two val gals flee with both killer zombies and blood-seeking scientists in hot pursuit!

A perfect example of why the eighties wasn't all that "fab." Poor scriptwriting, poorly casted, and "special effects" that make you want to gag. Oh this comet comes and then all you see are clothes lying around the city with red Kool-Aid dust where the head and limbs should be. It seems to me that there wasn't an evil alien comet disintegrating all these people, someone must have spiked the Kool-Aid and everyone decided to go streaking! What a load of crap! You don't understand why the two girls are in the locations as this going on! The film sort of explains, but not enough for the audience to care. Both Catherine Mary Stewart's and Kelli Marony's performances make Kristen Stewart seem like an Oscar winning actress!

When Did You Last See Your Father?

Director: Anand Tucker
Cast: Jim Broadbent, Colin Firth, Juliet Stevenson, Gina McKee, Sarah Lancashire, Elaine Cassidy, Clare Skinner
Genre: Biography/Drama 2007
Running time: 92 mins.
Rating:★★★

An accomplished writer and poet, Blake Morrison (Colin Firth) has come to his parents' home to spend the few final days with his dying father, Arthur (Jim Broadbent), a kindhearted but exasperating country doctor whose oftentimes boorish behavior has led to his son's increasing estrangement. Yet as Arthur slowly slips away, memories of their past (both good and bad), force Blake to accept the possibility that his "immortal, invincible, and infallible" father is, after all, only human. Adapted from the memoirs by Blake Morrison.

Wonderful use of warm and cool colors to bring you back and forth through Blake Morrison's (Colin Firth) memories of his life with his father (Jim Broadbent) with the days leading up to his father's dying days.  The warm and vibrant days, when Blake would try to rebel against his father's sometimes unconventional ways. Days when he would take risks and try to live on the "wild" side. The ever present, as the news of his father's struggle with cancer has turn to the worst, the blue and washed out undertones to illustrate the regret Blake's fractured relationship with his father, Arthur. How does one begin to glue back together the pieces with someone, who they spent a lifetime trying to runaway from that same person? How does go through life noticing everything going on and not being able to say anything because of how it may effect one's mother? Suppressed-unanswered questions of his father's choices and bad decisions that bring back some anger issues from his upbringing. Will he let those final days slip away before being able to say his final farewells to his father? What he soon discovers that with all of his father's faults and mistakes, they had some terrific and embarrassingly hilarious times together! Peace and forgiveness is made, perhaps not in the way Blake wanted, but in the way that nature allowed it.

The cinematography was beautifully done for even without the dialogue, soundtrack, or movement, you can still be struck to the core in awe and in love of your own father (biological or not). The growth and lavishness of the countryside to the cuts of man-made structures and roads, all illustrate all that was Blake's father and all the love his father gave him.

Killing Them Softly

Director: Andrew Dominik
Cast: Brad Pitt, Scott McNairy, James Gandolfini, Ray Liotta, Sam Shepard
Genre: Crime/Thriller 2012
Running time: 98 mins
Rating:★

Jackie Cogan, an enforcer for the Mob. Cogan must restore order in the criminal economy after a Mob protected card game is heisted by a group of inexperienced crooks.

Promises are made and interrupted by the filthy depression of reality is what I'm guessing the film is attempted to comment on with its radio-tuning-bad-reception opening credits. Right from the start, however, it is clear that the film is a Guy Ritchie-This is England rip off in the first interactions with mob/crooks-whatevers. Then there's blue-washed out undertones in the "slums" to give the illusion that its totally unique and "real." There's nothing unique or real about this film for it's strangely familiar. Nothing new. The scenery and the names of the characters perhaps, but not the situation or plot.

With a title like "Killing the Softly," it makes you wonder if they were trying to put some modern spin of the 1962 film, "Kiss Me, Deadly." Which, for those who are unaware of this film, is adaptation of a hard crime novel written by Mickey Spillane. I know its a stretch, but when see the title for this movie, it made me think of the film adaptation of Spillane's novel. Sexy, edgy, film noir, hard crime, cops, and robbers sort of thing. Of course, it wouldn't be a "mob" film without scenes with dark contrasts and red undertones! Good job for ripping off Francis Ford Coppola too (before I forget)! Scott McNairy portraying Frankie is copying Casey Affleck, which makes your ears bleed. Don't get me wrong, Casey Affleck is an amazing actor, but when someone, who clearly doesn't know how to act, copies a famous actor to give the illusion that they can act is pathetic.

Within the first ten minutes of the film, you already lose interest in the entire film. Which is ashamed because there is Brad Pitt, James Gandolfini, and Ray Liotta casted, which should make up for it. However, like previously stated, the film is such a drag that you don't stick around to see them appear on screen.

Jackie Brown

Director: Quentin Tarantino
Cast: Pam Grier, Samuel L. Jackson, Robert Forster, Michael Keaton, Bridget Fonda, Robert De Niro
Genre: Crime/Drama/Thriller 1997
Running time: 154 mins.
Rating:★★★★

What do a sexy stewardess (Pam Grier), a street-tough gun runner (Samuel L. Jackson), a lonely bail bondsman (Robert Forster), a shifty ex-con (Robert De Niro), an earnest federal agent (Michael Keaton) and a stoned-out beach bunny (Bridget Fonda) have in common? They're six players on the trail of a half million dollars in cash! The only questions are...who's going to get played...and who's going to make the big score?

The Graduate-like tribute in the film's opening scene with a very cool smooth soul track (in a traditional Tarantino fashion), introducing our foxy and a force to be reckoned with- main character, Jackie Brown (Pam Grier). As well as, characters that aren't written for screen in this brilliant-ordinarily-real manner (another of Tarantino fashion) that isn't exactly glorified, but a window into the lives of these people, if they did have a common goal. No pussy-footing around "racist"or "derogative" language, but straight forward interactions. Wonderfully casted and clear, but subtle references, especially in the cinematography, to films that Tarantino is inspired by or grew up watch, but using as a stepping ground to illustrate who he is as a director. As with most of his films, they speak for themselves and the more times you watch each one, the more you pick up on the subtle, but intentional visional, musical, and dialogual treasure troves. This film has the right amount of violence, wit, and sass with a glorious seventies' flare.

Hush

Director: Jonathan Darby
Cast: Jessica Lange, Gwyneth Paltrow, Jonathan Schaech, Nina Foch, Hal Holbrook
Genre: Drama/Thriller 1998
Running time: 96 mins. 
Rating:★★½

A young bride who becomes the emotional pawn of her controlling mother-in-law. Without family of her own, Helen (Gwyneth Paltrow) is initially charmed by her impressive in-law and the sprawling estate where she lives. But behind the storybook scene lie dangerous secrets and dark motives.

A merry-go-round music box and the lullaby, "Hush, Little Baby," as the opening sequence makes you believe there is innocence and maternal love. However, as the lullaby slowly fades away, faint-haunting piano score sneaks in, leading the audience that something aren't what they seem. A subtle precursor to what lies ahead for Helen (Gwyneth Paltrow). In the beginning, Helen seems like a collected, strong, and intelligent woman about to get back what she's always wanted, to have a family. Unaware is she of her soon to be mother-in-law, Martha has in store for her! A cat and mouse game that will give you the chills! Pop-up visits and mother dearest reveals her warning slowly that she will do anything to keep her baby boy (Jonathan Schaech) all to herself. Helen catches onto her mother-in-law coniving methods quick after the wedding. But when you wish for a better life, for a certain kind of life; selling your soul to get it, such as Martha did....well be careful what you wish for because sooner than later it will come back to bite you in the ass. A little Rosemary's Baby gone right.

Toast

Director: S.J. Clarkson
Cast: Helena Bonham Carter, Ken Scott, Victoria Hamilton, Freddie Highmore
Genre: Biography/Comedy/Drama 2010
Running time: 96 mins.
Rating:★★★

A look on the childhood, during 1960's Britain, of food writer Nigel Slater. Through tragedy and hardship, this journey into adulthood is whisked into culinary heaven from the tastes and smells that a young boy associates with along the way. Based on the award-winning memoir by Nigel Slater. Created and produced for television.

Though usually relating a movie as a TV movie is one of my favorite insults to use, the magic of this boy's desire to know how to cook transcends the insult into a fairy tale. Despite the lack of support from his parents, a mother whose specialty is toast and a father who is an arrogant ass, the small guidance of his gardener, Josh and his father's lover (pettily, I might add), his education and passion take off into a wonderful journey that you, the audience, can't wait to follow. It is comedic and endearing that his culinary experimentation really began as an attempt to make his father love him, which turns into away to escape from the people he doesn't want to be around at all, his father and Mrs. Potter (Helena Bonham Carter), and to keep the memory of his mother alive. Mrs. Potter is brass, comedic, and sadistically fantastic in her role in Nigel's life.

Love the use of washed out-muted yellows in the cinematography and costume design, allow you to feel like you're going back in time and understand what life must have been like for Nigel Slater as a child. But with the saying that "things have a funny way of working out," the fairy tale that is Slater's story and life coincidentally.....did!

12 Angry Men

Director: Sidney Lumet
Cast: Henry Fonda, Lee J. Cobb, Ed Begley, E.G. Marshall, Jack Warden, Martin Balsam, John Fiedler, Jack Klugman, Edward Binns, Joseph Sweeney, George Voskovec, Robert Webber
Genre: Drama 1957
Running time: 96 mins.
Rating:★★★★

Eleven jurors are convinced that the defendant is guilty of murder. The twelfth has no doubt of his innocence. How can this one man steer the others toward the same conclusion? It's a case of seemingly overwhelming evidence against a teenager accused of killing his father.

We know nothing about what happened during the trial. The evidence, the witnesses, nor the testimonies. What we do know is that the defendant is accused of murder and the life of this boy rests on the decision made from the twelve jurors. What we know about the case or what happened during the trial comes from the individual points of view from the jurors.

Eleven of the twelve men could care less about the accused boy. To them its a closed case, they just care about themselves and want to go home to enjoy their lives. Being on the jury makes them feel like gods or being able to watch gladiators fight. No real humanity in them, especially on an extremely hot day and being stuck in one room. Only one (Henry Fonda) has any compassion.

The film being in black and white beautifully sets the attitude of the majority of the jurors feel about the case. It also allows the audience to accept at first that the case is closed, but as Henry Fonda's character challenges the group of the possibility of the witnesses were mistaken. As the discussion continues, their cockiness are broken down with their insecurities and prejudices beginning to be revealed. Lastly, it didn't matter that you didn't know the names of the jurors for they could have represented any person put that position or dealing with similar psychological issues that lead to prejudice. It only takes one person to challenge the group and make those individuals look inside themselves and question why.

Salmon Fishing in the Yemen

Director: Lasse Hallström
Cast: Emily Blunt, Ewan McGregor, Kristen Scott Thomas, Amr Waked
Genre: Comedy/Drama/Romance 2011
Running time: 107 mins.
Rating:★★★

A visionary Sheikh (Amr Waked) believes his passion for the peaceful pastime of salmon fishing can enrich the lives of his people, and he dreams of bringing the sport of the not so fish-friendly desert. Willing to spare no expense, he instructs his representative (Emily Blunt) to turn the dream into reality, an extraordinary feat that will require the involvement of Britain's leading fisheries expert (Ewan McGregor), who happens to the project both absurd and unachievable. That is, until the Prime Minister's overzealous press secretary (Kristen Scott Thomas) latches onto it as a good will story. Now, this unlikely team will put it all on the line and embark on an upstream journey of faith and fish to prove the impossible, possible.

Harriet (Emily Blunt) and Fred (Ewan McGregor) couldn't be more different. The cinematography and costume design help to illustrate. Harriet is full of warmth, free-spirited, and optimism, while Fred is full of dullness, rigidness, and pestimism. When the two are forced to work on a impossible project to bring salmon to a hot desert area of Yemen for a positive political cover,  the two butt heads in the most enticing and comedic manner. Kristen Scott Thomas brings a blunt and quick-wittiness to her character, which carries comedic relief and guides the story forward. Especially when Harriet says "yes" and Fred says "no."

Amr Waked's character, Sheikh is a calm, intelligent, and visionary man whose confidence in the project makes you, the audience, and Fred (McGregor) to start believing in the unbelievable and challenging science for the better. He also shows how much Harriet and Fred do have in common, allowing the project to grow stronger and to allow them to find themselves again.

The scene where Fred is walking amongst the crowd and then turns around, going against the crowd, from a bird's eye view, subtly witty shot relatable to the salmon's journey. I will say the initial email, between the two main characters, being "typed" on the screen was a little too artsy-farty and over the top. Nevertheless, the film is delightful! And the landscapes span into the serene faith of.....well, fish!

The Innocents

Director: Jack Clayton
Cast: Deborah Kerr, Peter Wyngarde, Megs Jenkins, Michael Redgrave, Pamela Franklin, Martin Stephens
Genre: Horror 1961
Running time: 100 mins. 
Rating:★★★★

A chilling adaptation of Henry James' novella, The Turn of the Screw,  is one of the most frightening films ever made. Set in the nineteenth-century England, this gothic ghost story centers around a governess (Deborah Kerr) taking care of two orphans in a foreboding Victorian mansion. As eerie apparitions appear and the children's behavior becomes strange, the governess begins to wonder about the fate of the previous governess and her sadistic lover.

Those children are so innocence, they're sinister and unremorseful! They know how to turn the charming button just as easily as how to turn the eery button. An obsession with violence and death while able to have a convincing front of playfulness. Their new governess (Deborah Kerr) has so much unconditional love to give to these kids, but when strange occurrences begin, she suspects and fears something supernatural. You wonder, as she does, what influence her predecessor and lover has over the children, beyond their death? How alone is the governess in piecing together this horrific mystery? Entering the souls of the children and possessing them is the only way for the two deceased to be together thats a haunting thought. Eek!

Once heard that the use of white; whether clothing, animals, or flowers; that is an invitation or an indication of blood, horror, and violence to come. This film, for sure, plays on that. The slow transitions from one scene to the next to the point of transparency, allows for the evil more spine-chilling. The use of the candle stick being the only source of light is well done for you, like Kerr's character, is unsure of what is lurking around the corner. Lastly there is nothing creepier that the echo of two children, in unison, laughing in a large building.

The Helen Morgan Story

Director: Michael Curtiz
Cast: Ann Blyth, Paul Newman, Richard Carlson, Gene Evans, Alan King, Cara Wilson
Genre: Biography/Drama/Music 1957
Running time: 118 mins.
Rating:★½

Helen Morgan (Ann Blyth) has beauty, talent, success. Yet they mean nothing to her without the love of Larry Maddox (Paul Newman), the bootlegger who leads Helen on and drops her so often she finally hits bottom. Set in the roaring '20s, The Helen Morgan Story is also Maddox's story. Gogi Grant performs the vocals on signature Morgan tunes.

Comical '20s news story of how it was in this swinging time that somehow is illustrated in a 30 second span on train ride, where our heroine sheepishly makes her start towards the entertainment business. She is already "oh so excited", as she tries to subtly out stage her dancing with two other women, while Larry Maddox (Newman) is trying to sell land in Florida at a carnival. Because thats not convenient as a window of her determination to be a star and to the romance to come with Newman's character. I know its supposed to be a biography with some fictional embellishments, but come on! You can tell right away that this Maddox guy is a sleazy scumbag, but Paul Newman walks that fine line of charming and asinine beautifully. He forces himself on her and when he leaves her the next morning, Helen Morgan (Blyth) is naively heart-broken and feeling foolish. Wee wee wee....pfff! She so hungry to become a star that she keeps ignore his flaws. What unrealistic drama and "hardship" drag! Nevertheless, Newman gives Larry Maddox a suave, fast-talking, money-skeeming dick that you love to hate.

The cinematography is architecturally beautiful that plays with high/low contrasts and intentional what is in focus and what is blurred. The silhouette of the girl hanging herself was pleasantly subtle, Blyth's reaction to the death not so subtle. She over and under acts this role of Helen Morgan. The costume design, cinematography, and Paul Newman's performance is the only thing that makes up for it. But its no surprise that Newman stole the show, he's one of the greats of his era! Along with Marlon Brando, James Dean (yes, I'm including him. Punch me!), and Sidney Poitier, to name a few.

Hello I Must Be Going

Director: Todd Louiso
Cast: Melanie Lynskey, Blythe Danner, Christopher Abbott, John Rubinstein, Dan Futterman, Julie White
Genre: Comedy/Drama/Romance 2012
Running time: 94 mins.
Rating:★★½

Amy (Melanie Lynskey), a recent divorcée who seeks refuge in the suburban Connecticut home of her parents (Blythe Danner and John Rubinstein). Demoralized and directionless, Amy begins an affair with 19-year-old actor Jeremy (Christopher Abbott) that reignites her passion for life and jumpstarts her independence.

How could life get worse? Recently divorced, living back home, being woken up by table saws from her parent's house they are remodeling, unsupportive parents, and having old high school acquaintances with seemingly better lives, and stereo-typically Connecticut yuppies at dinner parties. Hiding like a hermit sounds like the best option for Amy. When she meets Jeremy (Christopher Abbott), Amy seems to have met her soulmate or at least someone who can relate to feeling small and insignificant. When it comes to romance, how much does age matters? Is age just a number? Similar to films like Harold and Maude and the Graduate, it discusses the questions, as well as making them: exciting, sexy, and dangerous. For the length of their affair, they are able to help each other deal with their issues, knowing what it's like to feel loved, and to be themselves.

Blythe Danner always seems to have a knack of portraying an uptight, insecure, and yuppie mother. I think the only role, that I've seen thus far, where she has played a power-house, caring, independent woman was in The Sisterhood of the Traveling Pants 2 (hate me if you will for it's one of my guilty pleasures). The artsy-fartsy hipster music score brings the film down and with one of the songs that I have nostalgic love for. Totally ruined!!

Brick Lane

Director: Sarah Gavron
Cast: Tannishtha Chatterjee, Satish Kaushik, Christopher Simpson, Zafreen
Genre: Drama 2007
Running time: 102 mins. 
Rating:★★★★


A young Bangladeshi woman, Nazneen (Tannishtha Chatterjee), arrives in 1980's London, leaving behind her beloved sister and home for an arranged marriage with the middle-aged Chanu (Satish Kaushik), she fears her soul is quietly dying. Her sister Hasina (Zafreen), meanwhile, continues to live a carefree life back in Bangladesh, stumbling from one adventure to the next. Nazneen struggles to accept her new lifestyle, and keeps her head down in spite of her predicament, but she's soon forced to confront her dreams when the hotheaded young Karim (Christopher Simpson) comes knocking at her door. Based on the best-selling novel by Monica Ali.

Is Nazneen able to indure what her mother could not? Can you escape the fate laid out for you?Very subtle visuals of her childhood and her mother's death, which has you empathize and hungering to follow Nazneen's journey from the start. How free and peaceful her childhood was. Then "gratefulness" of her father choose an educated middle-aged husband, but the audience can tell how trapped and weighted down like a ton of bricks her psyche is. Her letters from her sister is the only way Nazneen can fantasize about a different life. It is depressing to witness her husband boasting of giving his family of a great life, but in reality things are crumbling and false. One must ask, does our parent's/culture's traditions that have been forced on our upbringing, have to be forced on our children? Or can we choose to allow them to decide for themselves? But fantasizing only goes so far, the rest she has to do herself. It is through her relationship with Karim that she finds the inner strength to do so. Just because you had your own voice before doesn't mean you wouldn't have it again and through a long treacherous struggle, Nazneen finds that freedom with or without the need of the "required" man dictating her life.

Wonderfully casted and organic cinematography that allows follow in Nazeen's shoes, feel that you are as trapped as she is and desiring for independence. The film explores romance, soul searching, and cultural differences all through the eyes of Nazneen. Every aspect is well thought out, for even the smallest interaction on the street or picture on the wall plays a vital role in illustrating the story. The rushing of thoughts along with the rushing of past events, when Nazeen finally can't take living this surpressed-sheltered life is very organic, subtle, and powerful because you as the audience are feeling similarly. It doesn't matter if you're white, asian, black, or purple, man or woman, the story is relatable at all levels.

The Girl

Director: David Riker
Cast: Abbie Cornish, Will Patton, Geoffrey Rivas, Austin West
Genre: Drama 2012
Running time: 95 mins.
Rating:★★★★

Ashley (Abbie Cornish), a single mother trying to hold her life together after losing custody of her son. Desperate for cash, Ashley attempts to smuggle a Mexican family across the border. But when the crossing ends in tragedy, Ashley is stranded with a girl desperate to find her family. The harrowing and ultimately hopeful journey that ensues takes us deep into the heart of Mexico, and of a woman trying to make amends for her troubled past.

Whoo...this woman has a lot of pent up anger and trust issues! Abbie Cornish brings the spirit of the her character's troubled upbringing and passion through her eyes and performance. The feeling of feeling trapped and desiring to make a better life for her character and the son is heartbreaking. To imagine the law taking away someone's child because of economic circumstances and some choices is usually understandable because its in the child's best interest. However, when you are forced to see the struggle from the parent's point of view, especially with such a strong performance from Cornish, you empathize her character's helplessness and her endurance. Now, would I agree to help smuggle immigrants into the country, just from "What other choice do I have?" or  "How could it get any worse?" attitude, probably not. As the audience is allowed to walk in this woman's shoes, then one probably would. Relatable on some level, nothing went as plan and the woman is in turmoil and stuck with a child, Rosa, who desperately wants her mother. What becomes perfectly clear that her greatest opponent and ally to help her deal and overcome her issues toward salvation and rebirth, is this little girl.

The cinematography is very well thought out and beautifully executed. For instance, the scene when Ashley and her hick uneducated of a father drive down to Mexico and the audience is allowed to view the celebrating from the truck's window and side mirror. Another beautifully rendered scene is the moment Ashley finds out that Rosa's mother drowned during the crossing. You see hallway of the library pushing away as if to reveal the rush of fear bombard through her chest and almost knocking the wind out of her. Muted and washed out earth tones in the first half of the film, cleverly illustrates the woman's overall look on life. The film transitions into more illustrious and bold tones as the bond between Rosa and Ashley grow stronger, along with Ashley's outlook becomes filled with purpose, compassion, and optimism.

The Wrong Arm of the Law

Director: Cliff Owen
Cast: Peter Sellers, Lionel Jeffries, Bernard Cribbins, Nanette Newman
Genre: Crime/Comedy 1962
Running time: 94 mins.
Rating:★

Peter Sellers stars as Pearly Gates, the cockney kingpin of London's most efficient gang of thieves, organizing spectacular robberies from behind the front of the haute-couture dress salon. Everything goes well until the police start appearing after ever job to confiscate the loot. The astute Pearly realizes there's a traitor in his gang, an no one is above suspicion, not even his enticing girlfriend Valerie (Nanette Newman).

The "clever" who can out smart whom isn't so clever, especially when the dialogue and plot are utterly predictable. This film seems better suited as a Saturday morning kids' show! Which is ashame because Peter Sellers stars in it and is hardly worthy of his comedic talents. He's surrounded with "actors," whose performances are so root-canalingly painful that one believes that the casting director ran out of time, from the pressure of getting the picture done, and enticed common folk with the question of "How would like to become an actor?"

What brings the film down even more, making it an obvious low-budget landfill, is the sixties sitcom cinematography with severely high contrast and unpolished compositions.

Heavens Fall

Director: Terry Green
Cast: Timothy Hutton, Anthony Mackie, Leelee Sobieski, David Strathairn, Maury Chaykin, Joseph Lyle Taylor, B.J. Brit
Genre: Drama 2006
Running time: 105 mins.
Rating:★★★★

A tragic true story that began in the spring of 1931 when nine black men were pulled off an Alabama freight train and accused of raping two young white women. The nine young men quickly tried and sentenced to the electric chair. News of their convictions spread, forcing an appeal to the United States Supreme Court. New York attorney Sam Leibowitz (Timothy Hutton) traveled to Alabama in 1933 during segregation to defend the nine young men, setting in motion a legal battle that ultimately changed the lives of everyone involved as well as the American jurisprudence.

"These boys never even had a chance" (Sam Leibowitz played by Timothy Hutton). When the train arrives in Alabama, it seems like a welcoming delight....an ignorant not-so-welcoming delight. Its a black and white attitude where there seems to be no grey area to be found. As the trial continues, it becomes apparent that it is all a grey area. What is the truth and what is a lie? Who is the more uneducated and unethical race? Whose integrity and honor is going to be destroyed and hurt the most? And is the truth enough to save a man's life at this juncture in history? All these questions are brought up over the course of the film, while still leaving you to wonder how humanity can be so cruel? What fear and need to save one's own skin will lead one to lie at the expense of others' vitality. It is reassuring to know that there are people who are willing to fight for equality.

Wonderful use of earth tones and high contrasts in the cinematography. The costume design perfectly reflects the personality of the characters and it is enhanced by the strong performances of the actors.

The Blind Date

Director: Stanley Tucci
Cast: Patricia Clarkson, Stanley Tucci, Thijs Römer
Genre: Comedy/Drama/Romance 2007
Running time: 80 mins. 
Rating:★★★★

Based on the acclaimed film by Theo Van Gogh. Stanley Tucci and Patricia Clarkson play Don and Janna, an estranged married couple who, after suffering a tragedy, go on a series of "blind dates" to reignite their relationship. As the dates progress, Don and Janna reveal their pent-up emotional angst to each other, and wonder if their marriage can be saved.

Improve-blind date-role playing with your significant other seems a bit strange, when it isn't meant for the bedroom. You're unsure, as the audience, why they feel the need to put a variety of personal ads in the paper, meet each other, and act out different scenarios. The deeper meaning behind it doesn't make sense at first. Then there are moments where their daughter, unseen at all on screen, narrates questionably and frankly why she thinks her parents go on these series of "blind dates." But questions continue to be raised still as to the why?

The chemistry between Stanley Tucci and Patricia Clarkson is magnetizing and electricifying. You really feel the struggle of this couple desperately trying to make these "blind date" work on a therapeutic level. The shakiness of the camera at times or rather the rawness, that would normally have me calling it TV or Home movie quality, is irrelevant. Nor does it matter that the main and only location that this film takes place is in a bar. For the dialogue and strong performances, by both Tucci and Clarkson, captivates and commands your desire to discover the psychological and traumatic undertones behind this need for the "blind dates." It is the decisions made on a cinematic level that allows for this empathy and to witness this struggle back to salvation in their marriage.

When you learn what brought them to these games of the "blind dates," it almost reminds you of the similar tension between Richard Burton and Elizabeth Taylor in Who's Afraid of Virginia Wolfe. If they don't speak of the child, the loneliness and the loss won't exist or be forgotten.

Bottle Shock

Director: Randall Miller
Cast: Dennis Farina, Chris Pine, Bill Pullman, Alan Rickman, Freddy Rodriguez, Rachael Taylor, and Eliza Dushku
Genre: Comedy/Drama 2008
Running time: 109 mins.
Rating:★★ ½ 

It is 1979 in Napa Valley and for connoisseur Steven Spurrier (Alan Rickman), there's no finer art than French wine, despite rumors that the new California wine country holds the future of the vine. Positive the small Napa wineries are no match for established French vintages. Spurrier challenges the Americans to a blind tasting. But when he finds the valley full of ambitious and talented novice vintners like Jim Barrett (Bill Pullman) and his son Bo (Chris Pine), he realizes his publicity stunt may change the history of wine forever.

When you think you know the best or know it all, you leave yourself in complete ignorance and stubbornness. But when you finally allow yourself to embrace change or learn to take risks, true happiness and enlightenment are what follow. Most importantly, never give up to start anew! A delightfully hilarious film! Based on a true story.

The Accused

Director: Jonathan Kaplan
Cast: Kelly McGillis, Jodie Foster
Genre: Crime/Drama 1988
Running time: 110 mins.
Rating:★★★★

A hard-living, fiercely independent Sarah Tobias (Jodie Foster), who is gang-raped in the back of a neighborhood bar. But that is only the beginning of her ordeal. Now Sarah finds herself battling the legal system, not once but twice as she and her attorney (Kelly McGillis) go after both her attackers and the onlookers whose cheering fueled and encouraged the assault.

You never witness the rape. All you see is a very scared woman (Jodie Foster), barefooted and a torn shirt, running from the bar. A woman who has no supportive family members to turn to and a record. Then bringing in a lawyer (Kelly McGillis) who does like to lose a case, but isn't sure she has enough evidence, the audience feels as vulnerable and angry as Foster's character. As a woman, I feel very uncomfortable because its one of my biggest fears. Indeed, it differs because Foster's character has a record and not so reliable reputation, no woman should have to go through this sort of violation!

But you hear and see the truth, it is more terrifying than one can imagine! During the second trial, before deliberation, you wonder is it enough to save her? When you think there is no hope or anyone to believe in a victim thats when some peace and justice does come. A very heart wrenching and intense film! And you don't need to be a woman to feel violated yourself, while watching it!