CucFan Reviews

Center Stage: On Pointe (2016 TV Movie)

Can the next one be about Gwen, please!

[10/10 · 16 June 2017]

I enjoyed this film very much, although I was surprised that it premiered on Lifetime instead of Hallmark as it's very much a classic Hallmark movie. From the moment they show up at the camp, these dancers are in competition for a few spots in a newly-reorganized dance company that has been tasked with modernizing itself. I have to agree with some of the other reviewers that I was less impressed with the lead actress's dancing than that of Maude Green, Chloe Lukasiak, and the male dancers. The setting was gorgeous, filmed mostly in an architecturally-intriguing building deep in the forest (Cheakamus Centre in British Columbia, Canada). Competitive rivalries heat up among the ballet dancers as they try to assimilate the contemporary dance style the others are so naturally good at; meanwhile, the contemporary dancers are brushing up their ballet skills. Not having watched the first two movies in this series, I admit I looked forward to it for months solely because Chloe Lukasiak had been cast.

Lukasiak, as most know, was a featured lead dancer on "Dance Moms." On the show, she was often referred to as naturally gifted in ballet, with beautiful lines, legs and feet, as well as excellent technique that she had developed by training since the age of two years old. Her real-life training and experience were quite different from her character, Gwen, who is referred to as a "dance prodigy" yet is almost exclusively a contemporary dancer with not much training in other genres. At the same time she was asked to play Gwen as relatively new to ballet, she was also learning partner work in contemporary and ballet for the first time - in real life as well as in the script. I was pleased that Lukasiak did not disappoint in her dance ability and has been complimented often in reviews of this movie - even by people panning the movie itself - as a dancer who was talented and enjoyable to watch.

From its logical plot sequence to its beautiful setting, this was such an enjoyable movie. Everything was believable: the couples, the improvement as the dancers learned, and even the surprising conclusion of Gwen's company audition - written perfectly in case they want her as the lead in a fourth movie. Although I had prepared myself for her to have few scenes and lines, I was happily surprised when that wasn't the case and she was in so many scenes & danced so much. I was disappointed that she was not in the finale dance, though. Seeing her in ballet class en pointe made up for all that, though, as we fans have been waiting and longing to see that for years. What a treat this movie was for her fans! One thing that Lukasiak seems to bring everywhere she goes is a quiet glow, a sparkling light - and this was no exception. Visually and in contrast to the older, more serious dancers, Gwen added joy and enthusiasm to her scenes, and I found myself interested in the character herself, eager to see what she would do with her dance career, quite separate from the real-life Chloe I have come to respect and admire so much.

A Cowgirl's Story (2017)

Refreshing look at teen friendship, military families, and faith in God

[10/10 · 16 June 2017]

A thoughtful script, well-detailed atmosphere, and the drive to honor our active duty military provide the backdrop for this believable, worthy film.

Bailee Madison's Dusty Rhodes, full of action and optimism, is a peacemaker, wanting to make friends in her new high school. Somewhat inexplicably, she doesn't find other students like herself but seemingly becomes determined to win over a group of girls who drink and don't even like her at first. Dusty is resilient, determined, earnest, hard-working, and protective of others, with a strong faith in God, but she is growing up and finding that life isn't always fair or good. How could a loving God allow these things to happen? Why are good people allowed to suffer? How do we maintain our hope and keep our faith strong in today's world? These are tough questions, and Dusty finds her faith shaken.

Luckily, Dusty has a grandfather, played with warmth and gentleness by Pat Boone, and his wise counsel holds Dusty together. His scenes were my favorites, as his character had the strength to put things right and step up for the people who needed him. His gallant charm is the heart of the movie. As a bonus, older audience members will remember his teen idol years with fondness and enjoy his character in this.

The third lead character, Savannah, adds a touch of grit and realism to Dusty's life. Savannah, unlike Dusty, doesn't have a stable, loving family: her father was killed in the war three years earlier, and she can no longer make ends meet. As a result, they are losing their home. Bitter, yet drawn to Dusty's welcoming friendliness in spite of herself, Savannah throws herself into the equestrian drill team that Dusty wants to form, and the two become good friends, along with Savannah's clique and a boy who works at the ranch. Chloe Lukasiak (of TV's "Dance Moms") plays Savannah with just the right nuances, providing a necessary sharpness to a movie that is almost too sweet at times. As Dusty becomes intrigued with Savannah and wants to know her better, we see a complicated girl who has her guard up, tough one moment with a fragile smile the next as she tries to cope with her problems. Her bitterness, we learn, is justified, and there are a few unexpected twists as her story-line pays out. I was impressed with the fearless way Lukasiak, a relative newcomer to acting, was capable of showing multiple layers and subtext, sometime with just her eyes or small movements.

The ranch scenes lend a beautiful setting and atmosphere as we see the teens bonding into a tight pack while working together on their common goal. Dusty's relationship with her horse provides an outlet for her anxiety and grief about her parents' deployment. Filmed on a real working ranch in Southern California, the scenes provide a backdrop as a sweet romantic relationship begins for one of the girls, while the other one finds a mutual attraction almost derailed by thoughtless banter. The neighs of the horses and open skies make the viewer feel like we've actually been to this place, and we can easily see how its charm and beauty worked magic on this group of teens.

Another favorite scene of mine was the school dance, as we see the group together in a social setting...and realizing that it's cool to be nice, too.

The script, as well as the movie itself, should have premiered and found a home on the Hallmark Channel, OWN, Disney, or any inspirational/ family-friendly network. Church youth groups would get a lot from it. Best of all, it is appropriate for all ages from children to senior citizens - without being overly sappy or predictable. It is rare these days to find a film in which God and faith are so openly discussed, and I found it refreshing.

13 Going on 30 (2004)

Great movie with one big flaw

[10 January 2005]

Loved the movie, loved Jennifer Garner in it (she reminded me of Mary Tyler Moore), loved Andy Serkis, loved the resemblance between the child actors and their adult counterparts.

However, before I even saw it, I knew they'd screw up the cultural references, and they certainly did. Beginning with the "Head Over Heels" theme song and going right on through the entire movie, everything from the music to the wardrobe is set in 1982/83. Kissing Rick Springfield on the TV. Thriller. Pat Benatar's "Love Is A Battlefield." Wonderful for someone my age whose high school years have routinely been skipped over in movieland, falling somewhere between "Fast Times At Ridgemont High" and the John Hughes movies.

But not wonderful if anachronisms bother you. 1982/83 was my sophomore year of high school. People who were 13 in those years are 35 now, not 30. So, to get around this problem, cast a younger woman and have a catchy title, they did some fancy math to make Jenna 13 in 1987.

Someone majorly slipped up. If you can overlook this, it's a great movie.

How Green Was My Valley (1941)

a theory

[24 May 2004]

*may contain spoilers*

Someone else said below: "There is a curious "mistake" in the concluding minute of the movie. The father, Donald Crisp, has been killed in a mine accident, leaving the film to conclude in sadness. So we go to a flashback of how the valley once was green and everyone was young and happy. Suddenly we see the father walking with his young son (the film's narrator), limping and with a cane. Did he survive? How?"

At the end we are back in the present, when the child character is reminiscing about his life (his narration is concluding at this point). My theory is that the occasion for him narrating this story for us is that he is dying. Then, once his memories catch up with him and his narratino of them is over, he dies and is greeted in heaven by significant people from his past who have already died...Bronwyn, his sister, the preacher who helped him walk, his father, and last, his four older brothers. Just a theory. :)

Liked the movie, though it was a bit repetitious at times. Great dialogue, and very moving.

Salvation! (1987)

Viggo Fans - go ahead & rent it

[30 September 2002]

Crappy movie, yeah, but if you're a Viggo fan wondering if you should give this one a try, it's a definite yes. Plenty of attitude, weirdness and sexiness, and his motorcycle riding is pure sex on wheels. Curious about Exene? She plays the wife here. Beware - this character is a bit rednecky & mouthy, uses the f-word (and I'm not talking about the four letter one). Very strange to see him yelling, too.

The AristoCats (1970)

Weak, but kinda cool

[1 November 2000]

Try watching this not as a "Disney cartoon" but on a slightly different level, and it's got some brilliant stuff. Very weak plotwise, and dragged out a little too long, but Duchess is by far the most sophisticated Disney mother animal I've ever seen. She's a swinging single, nobody's pushover, flirty and not quite maternal - not nearly as naive as Lady/Perdita. Some of the dialogue is quite funny, especially that of Edgar the Butler. The scene with Uncle Waldo (the drunk goose) was one of the funniest I've seen in a "children's" cartoon.

Sgt. Pepper's Lonely Hearts Club Band (1978)

A splendid time is guaranteed - just relax

[10/10 · 8 March 2000]

I'll state it right up front: I like this movie. Always have, never been ashamed of it.

Looking at the film as an adult, I fully understand the criticism levelled at it, but I argue that it's a remarkably fun movie. As someone once famously said: Just look at that budget!

For one thing, the music is great. I happen to not feel very reverent at all about the Beatles, and I like most of these songs better on the soundtrack than by the Beatles. I got it on cassette in 1978, and I now own it on vinyl and CD as well. BTW, this particular cassette has the distinction of being an extremely LONG cassette, yet holding up better and sounding better, after all this time, than any other cassette I own. Not only that, but the movie has slightly different versions of some of the songs, giving fans even more to enjoy.

The characters are cliches, but it's easy to see that the actors were having fun with this, giving their all to it. It may seem at first that the only character allowed to have any shading of grey at all is the nefarious Dougie Shears, who is totally motivated by greed and lust until nearly the end of the movie when some sympathy is finally dragged out of him. But look at our heroes. Is it normal for "movie heroes" to get totally wasted, cheat on their girlfriends, etc? Yes, some of the acting is over-exaggerated, but that's all the actors had to work with - they were not allowed to speak. I think they did a great job, considering the insane plot they had to deal with.

And what a plot. I take my hat off to the person who created this plot out of 29 songs and somehow made it all into a halfway-coherent production. So much happens. Some of the situations are too absurd and/or symbolic for words - yet, doesn't that fit well with the Beatles and some of the songs that are used? Particularly funny is the sequence where the band begins their "difficult one-week climb from obscurity to stardom" -- all you can do is laugh. It's so big, and so soon, and so doomed. They don't just sell out 2 nights at the L.A. Forum, they sell out 37 nights! They don't just arrive at a record store, their limo pulls up at Tower Records and they are beset by fervently obsessed fans. And they become superstars only 36 minutes into the movie - that's only the beginning, folks. What happens next is a crazy mixed up mess that is full of brilliant comedic moments if you know where to look - as well as sometimes maudlin tragedy and surprising plot twists. At certain points, particularly during "Lucy In The Sky With Diamonds" or "Being For The Benefit of Mr. Kite," all you can do is sit back and shake your head in wonder that someone actually dreamed all of this up and had the nerve to take it literally.

The casting is remarkable as well - what other movie (besides, perhaps, "Tommy") has gotten this many big names together in roles that show off their talents in a way that fits the movie perfectly? Their fans should be more than pleased with their performances here, as each lends their unique individual stamp to their role. Alice Cooper's role as Father Sun is creepy with his proteges chanting their slogan strongly with overtones of Nazi Germany. Aerosmith is perfectly sleazy as the Future Villain Band (even if TPTB did originally have KISS in mind). And Steve Martin (the hottest comedian at the time) shines in the role of Dr. Maxwell. Sandy Farina ("come see the softer side of Sears") plays Strawberry's love for Billy wholeheartedly. Paul Nicholas is comical as the greedy Dougie who is there every step of the way to share in the band's success. Even the minor players throw themselves into their roles with abandon - BD Hoffler is truly smarmy, Lucy is openly lustful, and Mr. Mustard is the epitome of bumbling frustration and sometimes glee.

George Burns deserves a special nod for giving this movie its magic. As the narrating Mayor Kite, he goes about his business with subtle wit and aplomb. His good heart is apparent, and he gently tells us the story, infusing every one of his lines with just the right layering of style. You become aware of what kind of movie this will be as the orchestra lightly dances through "Fixing A Hole," and George sings, making his way up the gazebo steps in the dusk, the lamps lighting up behind him. The casting of the Sgt. Pepper band itself seems almost pre-destined -let's see, whom to cast for the four roles of the three Henderson brothers and their friend, Billy Shears? It's 1978 - how about the biggest name brother act in pop music and the man who was coming off a two year run as the biggest male solo artist in rock 'n roll? The Bee Gees and Peter Frampton perform together seamlessly, looking as though Frampton had been part of the group for years and years. Even with no dialogue, the Gibb brothers' individual personalities come through clearly, particularly Robin, who is always doing some little thing to be different and add humour to his scenes. Peter, in the lead role of Billy Shears, does a very credible job. Billy's initial innocent cheesiness gives way nearly immediately to a knowing air as he sings in the studio and bounces along, being careful not to drop his Heinekin bottle. We see his determination to save Heartland, lustful curiosity about Lucy, renewed devotion to Strawberry and joy in his band, along with complete heartbreak.

It's easy to enjoy this movie if you sit back, allow your mind to accept that there's magic involved, enjoy the music, appreciate what they were trying to do, and accept it for the rollercoaster ride that it is. There's enough romance, flirtation, guitars, and spandex to please any rock movie fan.

Most adults in the 70's grew up with the general opinion that the Beatles were special, and they seem to see this adaptation as an irreverent and sacrilegious affront to their sensibilities. They didn't like Peter Frampton and the Bee Gees being the Beatles. They didn't like the rest of the songs being performed by slick studio musicians. They didn't like it that some songs from the original Sgt. Pepper were left off while songs from Abbey Road and other Beatles albums were included. They didn't like the absurdity of some of what goes on (I argue that in this respect it's no different from some of the real Beatles movies, but I digress) - such as the magical poofing of them from their hot air balloon to an airplane or Mr. Mustard's shiny, black Computerettes. They didn't like the sappy romance. They just plain didn't like it. The truth is, fun or not, the movie is sometimes way too silly for anyone over age 10 to sit through without at least one cringe.

The only people who seem to have liked this movie: an audience, in 1978, of little girls approximately age 10-15, who liked the music and/or thought Peter Frampton was cute. And now we're all grown up. And some of us still think he was cute in it, but there's more to it than that. The truth is, it's a deliciously sharp poke at the rags to riches band cliches that we've all heard a million times. The more you watch it, the more subtle detail you see - things that you can't possibly take in upon one viewing. It's quite a trip. Bottom line - don't take it seriously, remember - it's a musical, a fantasy film. If you try hard, you can even get an anti-drug message out of it. Give it a rent, and don't allow yourself to dislike it just because everyone thinks you should. You might end up shaking your head in wonder that this movie actually got made and someone spent millions of dollars on it, but you might actually enjoy it.

The Best Little Whorehouse in Texas (1982)

Underrated and enjoyable film

[24 January 2000]

Sure, the movie shows some skin, but that's not all there is to it, so don't let the prospect of that keep you from watching this movie. There's much more to it than that. Sitting down to watch this film, you're immediately drawn in by one of the most ambitious parts of the film - the history of the Chicken Ranch, decade by decade, depicted with singing, dancing and huge productions that last only a moment, all set to the tune of "Twenty Fans" and narrated by Jim Nabors.

Some people would probably be surprised to find that this movie was nominated for Best Motion Picture - Comedy/Musical in the 1983 Golden Globe awards. Dolly Parton was also nominated for a Golden Globe award in the Best Actress - Comedy/Musical category, while Charles Durning, in his role of the Texas governor, was nominated (quite rightly) for an Academy Award for Best Actor In A Supporting Role.

The best thing about the film is the character of Miss Mona, played by Dolly Parton. I read that Barbara Mandrell or Crystal Gayle were also up for the part, but I can't imagine anyone else playing Miss Mona. You can't help liking Miss Mona - she's not like any prostitute or madam the 1982 movie-going public had ever seen. She's a ray of sunshine, totally forthright, honest, optimistic, generous, open-hearted and sweet. She even contributes heavily to local charities and causes, and one of her lines is "Well, I always just thought if you see somebody without a smile, give 'em yours!" As usual in her films, Parton, who is a singer/songwriter, not a trained actress, holds her own and more. Her entrance, singing "Lil' Ole Bitty Pissant Country Place" as she slowly walks down the stairs in that red dress, is something else. Throughout the movie, Miss Mona's fiery temper and tender heart provide some of the most authentic moments.

Reynolds plays the character his audience loves best - the smart ass. And he plays it very well. This movie shows him in the character of a sheriff, which must have been amusing to moviegoers accustomed to seeing him outrunning sheriffs and state police in his "Smokey & The Bandit" movies. Ed Earl is a typical Reynolds character - getting most of the funniest lines, cussing up a storm, getting philosophical in his semi-ignorant way and defending Miss Mona to the best of his hot-tempered ability.

Dom DeLuise plays the part of Melvin P. Thorpe to perfection, right down to the corset and the stuffed pants. He is a delight. Perfect comic timing. "Watchdog Report/Texas Has a Whorehouse in It" is a production number that is completely right for him.

Jim Nabors is, well, Jim Nabors. I still laugh thinking about the opening line of the movie, delivered in his "GOL-LEE" tone: "It was the nicest little whorehouse you ever saw!" Nabors plays Deputy Fred, who also narrates the movie.

Also of note is Charles Durning as the governor of Texas, who is perfect as he schmoozes and avoids the facts. It is no surprise to me that this actor, who has now made over 100 movies, was nominated for a Best Supporting Actor Oscar for this role. My favorite part of his brief airtime is the business with his cowboy hat (four or five times he puts his hat on sideways and then whirls to the side so that it falls correctly onto his head). His singing and dancing in "The Sidestep" pulls out no stops - you can't stop watching him. I couldn't help wondering how Steve Martin would have played this role, but Durning makes it his own.

The movie is, of course, a musical, and it was a musical before it was made into a movie - so we get lots of musical numbers, including one with the Aggie football team. If you like musicals, you will like this, because the songs were clearly written not to be hits, not to be videos, but to be part of a musical. Mona's Girls and the Aggies are not actors - they're extremely talented dancers, some of whom can sing.

The Aggies, who are supposed to be the Texas A & M football team, push their scenes to the limit. It does stretch dramatic license a bit when the football players have most of their clothes off and are dancing around the locker room - their physiques are clearly not football material - but no matter. Yee-haw!

Mona's girls have been chosen to represent many different physical types of women, and besides their obvious dancing talent, each gets a small solo (one or two lines) in one of the movie's final songs, "Hard Candy Christmas" (a song which sounds as if it was written by Parton but wasn't). This is, to me, the best song in the movie, and it's a shame that a different version was used on the soundtrack (in the movie, each girl sings a line or two, with Parton singing the choruses, but on the soundtrack version, Parton sings it all). Nothing against Parton, but I enjoyed hearing/seeing all the different reactions as expressed by their distinct voices as the girls faced their uncertain futures.

Parton also contributed two of her own original songs to the movie. "I Will Always Love You," which she originally wrote and released in 1974, became this film's love song and went to number one for a second time (of course, it went to number one again when covered by Whitney Houston in 1992. The other song that Dolly contributed is "Sneakin' Around" (a "9 to 5"-like duet between Parton and Reynolds). According to some information on the WWW, she also contributed other songs which were not used, including a song which she later re-wrote for "Rhinestone."

Looking back on this film from 18 years in the future, I'm sure that many people have a low opinion of it, but I think it's a classic. Supposedly based on a true story, this film invites you in and never lets you go, keeping you hooked with sharply written dialogue and fast-paced action. Once you start watching it, it's impossible to stop - some of the comedy is very subtle, and each performer seems perfectly cast and enthusiastically performs her or his role.

There aren't as many serious moments, but they are well-acted. Ed Earl and Miss Mona have a long-term relationship, spiced with something more perhaps? Miss Mona's face after her fight with Ed Earl conveys such weary hurt that you can't help wanting her to get a break. There's much more to this movie than Mona's girls. It's about friendship, tradition, honesty, promises and tolerance as well. Managing to express valid points and make a 1982 audience sympathize with prostitutes, it also manages to poke fun at society.

Sugar Town (1999)

Delightfully naughty fun

[5 March 1999]

Approaching this from the perspective of a fan of actor/singer Michael Des Barres, not to mention having been a Duran Duran fan for 9 years now, you could say I looked forward to this a little too much. It did not disappoint (with only a few minor quibbles, which I will discuss below).

No, it was entirely too satisfying...a bucket of popcorn with seriously evil amounts of heavenly butter. Combining a hip, witty edge with the jaded world of the rock 'n roll business, tons of in-jokes, delightfully shocking happenings, and down-to-earth connecting, it's like a backstage pass to the small soap-opera-like world the characters operate in.

The plot moves along quickly between groups of people, tied together by sex and business, and even the most surprising turn of events leaves the viewer thinking "of COURSE that's what would happen." Dialogue crackles with intensity, allowing the viewer to forget they're watching a movie and not eavesdropping on personal lives.

John Taylor, in his first lead role, was entirely believable in this almost-but-not-quite autobiographical role. Michael Des Barres was wickedly funny and sexy as Nick, totally perfect in every way, drug-free and decadent all at once. Beyond Michael and John, I must mention the warm-hearted portrayal by Rosanna Arquette, whose character I liked much more than I thought I would, the fanatically insane character played by Ally Sheedy, and the wonderfully intense performance by Vincent Berry as "Nerve."

Other plotlines tangled with these to tell one story, with heart-wrenching moments of temptation, humor, and that brilliant Los Angeles sunshine.

Okay, here come the quibbles: When Steve Jones turned down the part of "Jonesy," it diminished the impact of the role and the dynamic of the three men together as it could have been. Perhaps the character should have been renamed. Steve, Michael and John have been in bands together several times over the years (and how perfect it would be in real life to have a band with all three in it at once!) This is not to take away from Martin Kemp, who turned in an astonishing job in a role I would never have believed a man with his musical background could carry.

The other quibble is that it would have been cool to have a scene of the band performing, and not that drudgy icky song we're supposed to believe is theirs (no way, not after hearing what Michael, John & Steve were really capable of when they worked together - Power Station (J & M), Chequered Past & the Susspects (M & S) and Neurotic Outsiders (J & S). It would have been the ultimate. But perhaps I'm biased. :)

Anyway, all I can say is - can't wait to see it on the big screen as many times as I can!