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!