Month: March 2020

Today’s quick review: Room Service. Gordon Miller (Groucho Marx), a producer on the verge of launching his play, has been running the whole operation out of a hotel room—and on credit. But when Gregory Wagner (Donald MacBride) comes to collect on the troupe’s bill, Miller and his accomplices Binelli (Chico Marx) and Faker (Harpo Marx) must stall him long enough to find a backer who can pay off their debt and solve their money woes for good.

Room Service is a classic comedy from the Marx Brothers. Room Service sees the Brothers try every trick in the book to avoid getting kicked out of their hotel, including fast talk, flagrant lies, phony illnesses, and even kidnapping. The movie gets a lot out of this simple premise, but it never reaches the level of the Marx Brothers’ best. Room Service still provides some delightfully chaotic comedy, but it’s offset by a few noticeable shortcomings.

Room Service’s chief failing is that it doesn’t make the most of the Marx Brothers. Their unique talents only show up in small doses: an argument here, a bit of slapstick there, with no music in sight. The jokes lack their usual sharpness; few of the routines are memorable, and the timing feels sluggish. The inclusion of Leo Davis (Frank Albertson), the playwright, throws off the dynamic further as an unwilling partner in the Brothers’ schemes.

Even with these flaws, Room Service is an entertaining watch. The film weaves a suitably complicated web of chaos and chicanery. Just tracking all the schemes, lies, and deadlines will give most viewers plenty to do. The Brothers’ patter is still execellent, while the slapstick gives the film some needed variety. Room Service’s issues keep it from shining like it could have, but what’s there is enough to earn some honest laughter from the audience.

Watch Room Service when you’re in the mood for something light and mischievous. It makes a few key missteps, but solid fundamentals and three talented leads make it a worthwhile watch. Skip it if you prefer subtler comedy. For the Brothers at their best, try Duck Soup, Animal Crackers, or A Night at the Opera. For Marx Brothers films of similar caliber, try Go West or At the Circus. For a classic comedy focused on banter, try The Thin Man.

6.7 out of 10 on IMDB. I give it a 6.5 to 7.0 for decent comedy that’s missing some polish.

“This is just like television, only you can see much further.” —Chance

Today’s quick review: Being There. Chance (Peter Sellers), a dimwitted gardener, has spent his life within the sheltered confines of his employer’s estate. When the man dies and the lawyers take his home, Chance is left to fend for himself in a complex and uncaring world. Mistaken for a destitute businessman, he’s taken in by Eve (Shirley MacLaine) and Ben Rand (Melvyn Douglas), a wealthy couple who soon come to see him as an indispensable friend.

Being There is a classic comedy about a naive man and a case of mistaken identity. Chance has lived his whole life in one place and only knows about the outside world from television. His calm, earnest demeanor, expensive clothing, and enigmatic way of speaking let him inadvertently pass for a member of high society. What follows is a sweet, poignant story with excellent acting, a carefully balanced tone, and a deadpan sense of humor.

Being There avoids overplaying its hand. Chance is an unusually subdued role for Peter Sellers, drawing humor from innocence rather than slapstick or caricature. As a protagonist, Chance manages to be likable but not cloying, a peculiar character with good intentions and an unusual way of looking at the world. His odd behavior is mistaken for wisdom and a clever sense of humor by those around him, a mistake Chance is too dull to dispel.

Being There tempers its comedy with drama. Chance has a tragic side to his character. His mental deficiencies keep him from forming real relationships or understanding the world around him. He floats through life untouched by events that should be meaningful, carried along by a tide of serendipity. This aspect of Chance lets the film slip in some deeper observations about life, death, society, and the ways that humans interact with one another.

Watch Being There when you’re in the mood for a dry comedy with some substance. Being There carves out a peculiar niche for itself and fills it out well. How much you get out of the film will depend on how much you like its clueless main character and its tone. Those who prefer thoughtful comedies will find that it has both a creative premise and the craft to back it up. Those who prefer overt humor or an upbeat tone may want to look elsewhere.

For a classic comedy with a similar blend of low-stakes drama and dry humor, try The Graduate. For a more overt comedy with a similar case of mistaken identity, try The Man Who Knew Too Little. For a comedy adventure about a good-natured man with his head in the clouds, check out The Secret Life of Walter Mitty. For an awkward modern comedy about a sheltered young man forced into the real world, try Brigsby Bear.

8.0 out of 10 on IMDB. I give it a 7.5 for a likable main character and a pleasant blend of comedy and deeper meaning.

Today’s quick review: Mystic River. When his teenage daughter is murdered, Jimmy Markum (Sean Penn), a criminal turned family man, is reunited with two of his childhood friends: Sean Devine (Kevin Bacon), the detective in charge of the case, and Dave Boyle (Tim Robbins), one of the last people to see the girl alive. As Jimmy and Sean race each other to find the killer, the winding investigation dredges up dark secrets from their past.

Mystic River is a crime drama and mystery from director Clint Eastwood. Mystic River tells the story of three estranged friends who are brought back together by a shared tragedy. The core mystery of who killed Jimmy’s daughter feeds into a number of other, interlocking mysteries that give the viewer plenty to chew on. Apart from its excellent plot, Mystic River brings to bear crisp direction, sharp pacing, potent dramatic themes, and a talented cast.

Mystic River’s best feature is its plot. The movie does a skillful job of balancing its clues and its sense of mystery. At any given point in time, the audience has a clear picture of where Mystic River is going but no idea where it will end up. The audience is always one piece shy of completing the puzzle, and that missing piece always leads somewhere new. The result is a gripping, well-paced mystery that packs a couple of shocking twists.

Mystic River is also a study in the different courses a life can take. From their shared background, Jimmy, Sean, and Dave became very different people. Jimmy flirted with the criminal life before settling down, Sean made a name for himself in law enforcement, and Dave tried in vain to move past a childhood trauma. Their experiences and personalities factor into the plot in subtle ways and give the film rich, thematic material to work with.

Watch Mystic River when you’re in the mood for a crime drama with a bit of edge to it. Mystic River is a polished, intriguing movie that makes good on its premise and is well worth a watch for anyone who’s interested. Steer clear if you’re looking for a feel-good movie. For another crime drama based on a book by the same author, check out Gone Baby Gone. For a crime drama with a strong mystery, check out L.A. Confidential or The Usual Suspects.

8.0 out of 10 on IMDB. I give it a 7.5 to 8.0 for a haunting mystery.

Today’s quick review: Letters from Iwo Jima. In 1944, the Japanese military prepares for an American attack on the island of Iwo Jima, one of the last between American forces and the Japanese mainland. General Kuribayashi (Ken Watanabe) arrives on the island to coordinate its defenses according to his own unorthodox tactics. Meanwhile, Saigo (Kazunari Ninomiya) wrestles with his obligations as a soldier and his own desire to return home to his wife.

Letters from Iwo Jima is a historical war drama directed by Clint Eastwood. Letters from Iwo Jima depicts one of the bloodiest battles of World War II from the Japanese perspective. Robbed of air support and denied reinforcements, the soldiers of Iwo Jima face overwhelming odds in a fight to the death. The movie chronicles the Battle of Iwo Jima from several perspectives, offering an intimate look at the price of war in lives, toil, and humanity.

Letters from Iwo Jima uses two main characters, a general and a private, to capture the full breadth of the situation. General Kuribayashi’s perspective depicts the battle at a high level, a contest of troops, tactics, and logistics. Saigo’s complementary perspective shows what life is like on the front line, a medley of fear, danger, and hollow patriotism. They are backed by a wide supporting cast encompassing a variety of ranks and attitudes.

Letters from Iwo Jima explores the line between heroism and cowardice. The strict ethos of the Japanese military demands that its soldiers lay down their lives for their country, even when there is little to be gained from it. Kuribayashi struggles against this ideal for practical reasons: he needs his troops alive. Saigo’s concerns with it are more personal: surviving an already deadly battle amidst an army that seems determined to die.

Letters from Iwo Jima has the craftsmanship to match its ambition. The performances are strong all around, the themes are resonant, and the tone captures both the noble and the barbaric aspects of war. Letters from Iwo Jima is a mature movie that pays close attention to its characters and how they react to the trying situations they find themselves in. The movie accomplishes what it sets out to do; the only open variable is the viewer’s taste.

Letters from Iwo Jima is a must-see for fans of the war genre and a solid pick for anyone else. Its high quality and unique perspective make it one of the better films in a crowded genre. Steer clear if you’re looking for a less tragic war movie, or one from the American perspective. For a similarly personal, horrifying depiction of World War II, try Dunkirk. For a war movie about a Soviet sniper at the Battle of Stalingrad, try Enemy at the Gates.

7.9 out of 10 on IMDB. I give it a 7.5 to 8.0 for a meaningful story and top-notch quality.

Today’s quick review: Million Dollar Baby. Maggie Fitzgerald (Hilary Swank), an aspiring boxer with nothing to lose, wants nothing more than to box for Frankie Dunn (Clint Eastwood), an experienced trainer and manager. Thanks to her persistence and a little help from Frankie’s friend Eddie (Morgan Freeman), Frankie agrees to take Maggie on. But even with Frankie’s training, Maggie has her work cut out for her if she’s going to make it to the top.

Million Dollar Baby is a sports drama from director Clint Eastwood. Million Dollar Baby follows Maggie, a spirited but untrained boxer from a poor background, as she fights her way towards the world title. Guiding her along the way are Frankie, a cantankerous trainer overdue for a champion, and Eddie, a retired boxer and Frankie’s oldest friend. The movie offers a sober look at the world of boxing, the drive to succeed, and the price of success.

Million Dollar Baby earns the audience’s respect bit by bit. No single line, plot point, or character defines the movie, but each moment builds on the last until the audience cares deeply about the story. Maggie and Frankie are remarkably well developed characters, complete with noble traits and human faults, and their nuanced relationship forms the backbone of the movie. They are backed by a dramatic story with potent themes and a couple of surprises.

The film’s quality comes with a price: Million Dollar Baby is an extremely heavy watch. The story mixes uplifting moments with harsh realism. For every victory that Maggie earns, there’s a broken dream waiting in the shadows. Frankie is haunted by past mistakes and the prospect of repeating them, Eddie still has to live with the injury that ended his career, and Maggie must grapple with not only her boxing career but her future beyond the sport.

The end result is a powerful drama with top-notch craftsmanship. Million Dollar Baby has everything it needs in terms of acting, writing, direction, and overall polish to tell the story it wants to in an effective way. Those looking for an idealistic underdog story should steer clear. Those willing to take the defeat with the triumph should look no further. For a more uplifting story about boxing, check out Rocky or its sequels.

8.1 out of 10 on IMDB. I give it a 7.5 to 8.0 for honest, effective drama.

Today’s quick review: Gran Torino. Following the death of his wife, Walt Kowalski (Clint Eastwood), a Korean War veteran with a short temper, lives by himself in a neighborhood increasingly populated by Hmong immigrants. He earns the gratitude of his Asian neighbors when he drives off a local gang, sparking an unlikely friendship with Sue (Ahney Her). At Sue’s urging, Walt also takes Thao (Bee Vang), her unassertive teenage brother, under his wing.

Gran Torino is a drama starring and directed by Clint Eastwood. Gran Torino tells the story of a racially prejudiced old man and his evolving relationship with his immigrant neighbors. The film combines realistic characters, themes of friendship and responsibility, and a mundane but moving story to make for an oddly satisfying watch. A pure drama, Gran Torino accomplishes what it sets out to do without the crutches of comedy or action.

As much as anything, Gran Torino is a character study of Walt Kowalski. Proud, stubborn, and quick to judge, Walt is a hard man to get along with. Yet his rough exterior hides a complex character with deep-set values and a loyal heart. Walt develops respect for anyone who’s unwilling to take his barbs and slurs lying down, leading him to form a reluctant friendship with Sue, a Hmong woman who lives next door and has just as much backbone as he does.

The other major part of the movie is the relationship between Walt and Thao. Thao has the brains to go far, but his shy personality makes him an outcast in his community. Walt eventually agrees to mentor the boy, first by assigning him chores and then by imparting his hard-earned wisdom about life, responsibility, and masculinity. Their relationship forms the heart of the movie and gives Gran Torino much of its impact.

Watch Gran Torino when you’re in the mood for a serious, well-crafted reflection on life. Excellent character development and a couple of top-notch dramatic moments make Gran Torino well worth a watch, even for those who don’t normally go for drama. Steer clear if you’re looking for something light or action-packed. For a more upbeat story about a grumpy older man, check out Up. For an even more moving drama, try The Shawshank Redemption.

8.1 out of 10 on IMDB. I give it a 7.5 for complex characters and a moving story.

Today’s quick review: Changeling. In Los Angeles in 1928, Christine Collins (Angelina Joline) comes home from work one day to find that her son Walter has vanisheed without a trace. After months of searching, Captain J.J. Jones (Jeffrey Donovan) of the LAPD returns another boy to her, insisting he’s Walter, and declares the case closed. To get her real son back, Christine must take on a corrupt police force determined to avoid a scandal at all costs.

Changeling is a crime drama and mystery from director Clint Eastwood. Based on the true story of Christine Collins and her search for her missing son, Changeling addresses the fear, uncertainty, and hope of a missing child case, as well as the Kafkaesque danger of institutional corruption. The story won’t appeal to everybody, focused as it is on uncomfortable, real-world drama. But in terms of overall quality, Changeling has everything it needs.

Changeling focuses on two intertwining conflicts: Christine’s search for her missing son, and her fight with the LAPD after they return an impostor to her instead. Christine’s situation puts her at an extreme disadvantage. The Department is willing to stonewall her, threaten her, and trash her reputation to make the incident go away. Her chief ally in her fight is Reverend Briegleb (John Malkovich), a vocal critic of the LAPD.

Changeling backs its dramatic story with strong craftsmanship all around. Angelina Jolie delivers the performance that ties the film together, walking a thin line between despair and determination. The plot moves forward thanks to a balanced combination of lucky breaks, outside help, and Christine’s own persistence. The tone consists of a similar blend of helplessness and thin hope. Solid writing and direction complete the package.

Still, what Changeling has to offer won’t suit everyone. The viewer has to invest in Christine’s struggles for the drama to be effective, and in spite of the film’s best efforts, Christine and her missing boy simply won’t hold everyone’s attention. The plot also skews more passive than other crime dramas. There’s no single problem for Christine to solve, just a messy, hostile situation whose outcome is largely out of her hands.

Watch Changeling when you’re in the mood for a well-crafted drama with the ring of authenticity. Changeling does a skillful job of conveying its themes and capturing the drama of a police cover-up. Steer clear if you dislike true stories or prefer mysteries with a more active protagonist. For another missing child case, try Gone Baby Gone. For an Alfred Hitchcock movie with a similar sense of helplessness, try The Lady Vanishes.

7.8 out of 10 on IMDB. I give it a 7.0 to 7.5 for an open-ended mystery and an effective sense of helplessness; your score will vary.

Today’s quick review: Gone Baby Gone. When a young girl goes missing in Boston, the family hires private detective Patrick Kenzie (Casey Affleck) and his girlfriend Angie Gennaro (Michelle Monaghan) to find her. Captain Jack Doyle (Morgan Freeman), the officer in charge of the case, assigns Detective Remy Bressant (Ed Harris) to assist them. But with few leads to go on, the detectives must confront the possibility that the girl may be gone for good.

Gone Baby Gone is a crime drama and mystery from director Ben Affleck. Patrick’s investigation takes him through the underbelly of Boston as he searches for Amanda McCready, a girl who vanished from her home without a trace. Gone Baby Gone raises tough moral questions, packs a couple of excellent plot twists, and paints an uncomfortably realistic portrait of missing persons cases. However, its particular brand of drama won’t be to everyone’s taste.

Gone Baby Gone excels at a very specific kind of drama: the dread and uncertainty that accompany a missing child. Amanda’s disappearance not only drives the plot but pushes Patrick and Angie to the edge. Gone Baby Gone does not pull its punches, using pain, loss, and ambiguity to convey its themes. Its well-developed tone is backed by a couple of potent plot twists and gut-wrenching moral dilemmas that reward viewers who stick with its winding story.

The price for these strengths is a lopsided, oddly paced story. The plot has the same arrhythmic pacing and uncertainty that real-life missing persons cases do. The investigation goes through a few promising leads before hitting a brick wall, lying dormant for a while, and picking up again in a different direction. While the effect is intentional, it does give the story a stilted, discontinuous quality that not all viewers will find satisfying.

Watch Gone Baby Gone if you’re interested in a dark, realistic thriller with a keen sense of drama and some good twists. Gone Baby Gone hits the target it’s aiming for thanks to its tone, acting, and overall storytelling quality. However, the film will only appeal to some: those who prefer tidy plots, moral certainty, or adventure in their mystery will not get much out of it. Those who are curious will want to give it a shot.

For another ambiguous drama about a missing child, check out Changeling. For another Boston-based crime drama with more action, try The Departed or The Town. For a small-town investigation with a somber tone and similarly drastic twists, check out Insomnia. For a legal drama with a similar tone and even more drastic twists, check out Primal Fear.

7.7 out of 10 on IMDB. I give it a 7.0 to 7.5 for well-executed drama; your score will vary.

Today’s quick review: Murder on the Orient Express. The famed Belgian detective Hercule Poirot (Albert Finney) is bound for England aboard the Orient Express, a train that runs from Istanbul across Europe, when his talents are called on to solve the murder of one of the train’s passengers. As Poirot conducts his investigation, he uncovers a wealth of inexplicable evidence and a surprising number of connections to a kidnapping five years prior.

Murder on the Orient Express is a classic murder mystery based on the story by Agatha Christie. Taking place aboard a snowbound train, the film has Christie’s brilliant detective Poirot take on the case of a man stabbed to death under mysterious circumstances. The suspects include a British colonel (Sean Connery), a Swedish missionary (Ingrid Bergman), a talkative widow (Lauren Bacall), and the victim’s personal assistant (Anthony Perkins).

Murder on the Orient Express is a whodunit in the classic mold. Poirot has his hands full with a perplexing murder, a bevy of clues, and a dozen potential killers. There’s little in the way of personal drama, but plenty in the way of intrigue. Albert Finney cuts a vivid figure as Hercule Poirot, the fastidious, somewhat quirky, and insightful detective, and he’s backed by an accomplished supporting cast playing a wide range of roles.

The type of mystery won’t be to everyone’s liking. The twists and turns of the case are enough to pique the viewer’s interest but not enough to let them beat Poirot to the punch. Poirot knows more than he first lets on, while the viewer is left to play catch-up after a series of late-game revelations. Still, the facts of the case are interesting on their face, the overall execution is sound, and the resolution is unique and memorable.

Give Murder on the Orient Express a shot if you’re a fan of the mystery genre. Its solid execution and well-known story cement its status as a classic; how much overt enjoyment you get from the film will depend on your taste in mysteries. For an irreverent spoof of Agatha Christie-style mysteries, try Murder by Death. For another Agatha Christie adaptation, check out And Then There Were None.

7.3 out of 10 on IMDB. I give it a 7.0 for an enticing plot.

Today’s quick review: Three Days of the Condor. Joseph Turner (Robert Redford), an analyst for the CIA, is out to lunch when his office is raided and his coworkers murdered. Unsure of who to trust, Turner contacts Deputy Director Higgins (Cliff Robertson) to bring him in. But when Turner is betrayed, he’s forced to strike out on his own, relying on his own wits and the reluctant help of Kathy Hale (Faye Dunaway), a woman he carjacks, to survive.

Three Days of the Condor is a crime thriller that thrusts an ordinary analyst into the middle of a deadly cover-up. Robert Redford stars as Joseph Turner, the sole survivor of an attack on a CIA facility. Three Days of the Condor follows him as he tries to solve the puzzle of who had his coworkers killed and why, all while trying to stay one step ahead of Joubert (Max von Sydow), an assassin intent on finishing the job.

Three Days of the Condor is most notable for its plot. The reason behind the attack on Turner’s office gives the film a nice mystery to work with, while the power games and betrayal going on within the CIA give the film a persistent sense of paranoia. Turner makes for a well-balanced protagonist: far from an action hero, but just cunning enough to navigate the trap he’s in. The film also has a romance of sorts between Turner and his captive Hale.

However, Three Days of the Condor has a few aspects that keep it from being a universal hit. The action is tame by modern standards, but it serves its purpose. Turner is capable but not brilliant. The plot has some good twists but a somewhat mixed payoff, and the machinations of the CIA are too complex to easily track. The end result is a thriller with strong fundamentals, but whose overall appeal is dependent on taste.

Watch Three Days of the Condor when you’re in the mood for a competent thriller in the classic mold. It offers just enough of a mystery to make it an interesting watch. Skip it if you’re looking for modern-style action. For a lighter thriller with more of a romance, try The Saint. For a crime thriller in a similar mode, try The Fugitive. For a modern action thriller with a similar plot, try Safe House, Shooter, or The Bourne Identity.

7.5 out of 10 on IMDB. I give it a 7.0 for a solid plot that delivers what it promises.