Change Your Image
ScreenRiotPodcast
Ratings
Most Recently Rated
Lists
An error has ocurred. Please try againReviews
Hocus Pocus 2 (2022)
Screen Riot Podcast - Hocus Pocus 2 Review
Nineties kids such us as Screen Riot have fond memories of curling up on the couch and watching Disney's Hocus Pocus during Halloween. In fact, a few of us loved the movie so much that it is now a family tradition in our home with our own kids. Hocus Pocus 2 reignites that nostalgia with the same veracity as the original.
Twenty-nine years is a long time between a film and its sequel making it unlikely any of the original cast will reprise their roles. This makes Hocus Pocus 2 special in the fact that not just one, but four of the original cast have come back. Bette Midler has returned as the evil yet oddly likable Winnifred. Right by Winnie's side is her quirky sisters, Sarah and Mary played by Sarah Jessica Parker and Kathy Najimy respectively. And rounding off the returning cast is none other than Doug Jones as the misunderstood and far too easily silenced zombified Billy Butcherson.
The beginning of the film gives us a flashback to when the sisters were living in Salem as young girls. The actresses, Taylor Henderson (Winnie), Juju Journey Brener (Sarah), and Nina Kitchen (Mary) embraced their characters and were spot on. Unfortunately, the prequel scene worried some viewers that this was going to be the movie and introduced yet another witch briefly into the story. This distracted viewers from the overall mood film and made for a short but bumping beginning.
The meat of the movie however did not disappoint. It has the same feel and look as the first film with the same humor. We follow Becca, Whitney Peak (Molly's Game), and her best friend sidekick Izzy, Belissa Escobedo (Sex Appeal) as they unknowingly light a second black flame candle purposefully put in their hands by the local magic shop keep. This brings the Sanderson Sisters back for another attempt at eating a child to stay in the world of the living.
Now, just like in the first film, there are inconsistencies with the timeline. I am sure that the Sanderson Sisters had no idea about the word cowabunga or that a pair of Roombas were transportation for future witches. The latter is an especially sensitive topic in our video review.
Overall the film is nostalgic to those who grew up with the first film and is sure to be loved by a host of new viewers. But don't take our word for it, watch the film and our review and let us know your thoughts on our Facebook page!
Night of the Living Dead (1968)
Screen Riot Podcast - Night of the Living Dead (1968) Review
Screen Riot Score - 4.5/10
Lost Innocence
When George A. Romero's Night of the Living Dead arrived in theaters, it was shocking, to say the least. At that time horror films were laughable and a joy for all to watch, especially children. Little did we know that in less than two hours, the horror film genre's innocence would be forever lost.
A month into its existence, the MPAA rating system was only getting started. Viewers relied on local committees to rate the movies they watched. Most of these groups passed movies if there was no nudity. So, unsuspecting moviegoers munched on Cracker Jacks and guzzled down sodas, unaware of the horror that lay before them.
A Normal Opening
The film welcomed audiences with a typical opening scene in a cemetery. Johnny (Russell Streiner) and Barbara (Judith O'Dea), siblings, are visiting their father's grave. A ghoul attacks the pair with typical ghoul-like movements, of the time. Protecting his sister, Johnny dies, allowing Barbara to escape to a nearby farmhouse.
Joining her is Ben (Duane Jones), who begins barricading the windows and doors. Barbara, unable to help, stares on with fear. The pair are then surprised when a group emerges from the basement. Tom (Keith Wayne) and Judith (Judith Ridley) are a teen couple hiding there. With them are Harry (Karl Hardman) and Helen Cooper (Marilyn Eastman). The latter also have their unconscious daughter, Karen (Kyra Schon), in tow, who has a ghoul bite.
Human Barbecue
The action picks up when a TV news broadcast convinces the group to leave the house and escape to safety. Tom and Judith, assisted by Ben and Harry, make it to Ben's truck and drive to the farm's gas pump. This turns out to be an ill-fated attempt. Ben keeps the ghouls at bay with his torch but lights the truck on fire by accident. The truck explodes, killing the teens. Slowly, the ghouls make their way to the human barbecue and begin eating their flesh. They gnaw on the freshly cooked couple like it's just another day.
The real-life audience is no longer gorging themselves on snacks. They watch in silence, as Karen turns into a ghoul and kills her father. They turn away as she then takes a cement trowel to her mother's chest stabbing her mercilessly until she dies. Ben barricades himself in the basement and kills the girl and a reanimated Harry who has also turned into a ghoul.
The next morning Ben hears the commotion of a rescue party and exits the basement. Unfortunately, the rescuers mistake him for a ghoul and kill him through an open window.
Critical on the Critics
Our score of 4.5 considers the movie's place in history and its low-budget filmmaking. Just because a film had a low budget, it is not excused from its many issues. Bad acting, poor sound mixing, and a subpar script depreciate the quality of the movie. Many modern audiences won't watch films with this many problems.
Duane Jones and Karl Hardman are the only decent actors. The rest of the cast needs significant improvement. The sound mix is awful. Throughout the movie, birds, crickets, and other ambient noises drowned out the dialog. This is not how to mix a film. No aspiring filmmaker should look at this mix for inspiration. The script would not survive in modern times. For the 1968 audience, it was fine but modern audiences expect more. We expect dialog to flow and mirror real life. This script does neither.
Yet, we cannot ignore the film's place in horror movie history and cult status. Romero's script and creature development created our modern zombie lore. So ingrained is this that films that try to change the classic style rarely move on to more than one picture.
Critics will always love Night of the Living Dead and are largely responsible for its cult following. We do not love it like the others. Over the last 50 plus years, this movie has been positively critiqued thousands of times, leaving no room for argument in most circles. But, as a fan of the show, you know you get an honest review from the guys at Screen Riot regardless of what others think.
Enjoyed this Review? Consider visiting our YouTube Channel by searching Screen Riot!
The Power of the Dog (2021)
Screen Riot Podcast - The Power of the Dog (2021) Review
Screen Riot Score - 3.8/10
The Power of the Dog has gained critical acclaim since its release last November. Based on the novel by Thomas Savage, the film has 313 nominations and 249 wins thus far, worldwide. So, it is not surprising that it also has eleven Oscar nods. Jane Campion's first directorial outing since 2009, is almost guaranteed to take the top prize in 2022.
A Tormented Soul
Benedict Cumberbatch offers a stellar performance as Phil Burbank, a closeted homosexual ranch owner in 1925. Phil's repression and memory of his lost love and mentor, Bronco Henry, causes him to overcompensate his masculinity and create fear in those around him. One of these tormented souls is Phil's brother, George (Jesse Plemons), whom Phil calls "fatso" and generally mistreats. When George takes a wife, the "suicide widow" Rose Gordon (Kirsten Dunst), Phil rejoices in tormenting her into diving headfirst into a bourbon bottle.
A Sons Revenge
Along with George's marriage to Rose, he inherits a stepson, Peter (Kodi Smit-McPhee). Peter has a gentle effeminate nature and aspires to become a doctor. This is nectar for Phil's preverbal bee, and he pokes fun at the boy every chance he gets. He calls him half-baked and uses his paper flower creations to light his cigarettes. Peter takes the abuse until he sees his mother's alcoholism and deduces that Phil has caused it. He decides that he must do something to rid Rose of this stress so she can climb out of the bottle and return to her old self. Peter gains Phil's trust with a willingness to learn about ranching and subtle hints of romance. He then uses that trust to destroy Phil and rid his mother of her tormentor.
Is it Oscar Worthy?
Here at Screen Riot, we call it as we see it. If a score of 3.8 makes it seem like we do not agree with the film's Oscar worthiness, that would be correct. Though the film has Cumberbatch's performance, a decent musical score, and some good cinematography, it needs tightening in several areas and simply isn't impressive in others.
The run time of 2 hours 6 minutes feels like three hours. Several near-minute-long landscape shots and facial expressions of "tormented souls" grow boring. Our only guess is the filmmakers tried to make a John Ford western and failed.
The score is decent, but "Phil's theme" becomes repetitive. Since Phil is our main character, he is on screen for most of the movie. His theme should have been longer to accommodate his lengthy screen time. This would have allowed the editor to use different sections combating the repetitiveness. The Good, The Bad, and The Ugly is a prime example of this technique.
It is obvious that Jesse Plemons and Kirsten Dunst were not given much creative leeway. Their talent is squandered as one can replace them with other actors and the film does not lose anything. George and Rose would have had so much more life had the actors been able to use their craft in the film.
It is no surprise that The Power of the Dog is up for Best Picture. Even though we might not agree with the result, we will not be shocked if The Power of the Dog rides off into the sunset with Best Picture among many others.
Enjoyed this Review? Consider visiting our YouTube Channel by searching Screen Riot!
Ex Machina (2014)
Screen Riot Podcast - Ex Machina (2014) Review
Screen Riot Score - 8.8/10
In 1950 Alan Turing, considered to be the father of modern computer science, developed a test by which one could determine if a computer possesses artificial intelligence (AI). The test involves a human questioner, a human respondent, and a computer respondent. During several sessions, the questioner askes each a series of questions over an allotted time frame. After the questioning, the questioner must decide which is the human and which is the computer. If the questioner makes the correct determination in less than half of the sessions, the computer is said to have AI as it is "just as human" as the human subject.
God from the Machine
The Turing test serves as the basis for Alex Garland's Ex Machina. Domhnall Gleeson (About Time) plays Caleb, a computer programmer who wins a work competition. The prize is to spend a week at the estate of the company's owner with exclusive access to the boss man, Nathan. Expertly played by Oscar Isaac of Star Wars fame, Nathan is a reclusive, security-centric billionaire who built the fictional search engine called BlueBook, akin to the real-world Google. Using all his knowledge of coding, search engines, robotics, and AI, he has built the ultimate humanoid robot known as Ava.
Ava, played by the stunning Alicia Vikander (Tomb Raider 2018), is a marvel of robotics technology. With realistic skin, body movements, and emotion, one would easily mistake this machine for a real woman.
Robot Love
Nathan enlists Caleb to perform a one-on-one Turing test with Ava to see if her AI programming passes as human. Along the way, Ava and Caleb grow close to the point where, under cover of several power outages created by Ava, they fall in love and plan an escape. Unfortunately for Caleb, Ava only sees him as a means to an end and uses him to escape from Nathans's control. She ultimately kills Nathan and locks Caleb in the compound, seemingly forever.
The cinematography is exquisite throughout the film, using natural light and glass walls as part of the story. The stark contrast between the clear walls of Ava's room and the concrete walls of Caleb's room serve as metaphors for the character's inner struggles. Ava lives in a fishbowl-like room and knows only Nathan, her creator until she meets Caleb. This is much like a pet fish living day to day as a captive of their food bringer. Caleb stays in a small concrete-walled room. His only window is a view screen showing only cameras of Ava's room, his only way out.
The beauty of Ex Machina is its versatility. It can be enjoyed by casual moviegoers and critics alike. On the surface, the film is enjoyable, but it is so much more than the sum of its parts. Upon analyses, biblical, sociological, and ethical themes tug at our emotions, cause concern, and leave us wondering about humanity's future.
Enjoyed this Review? Consider visiting our YouTube Channel by searching Screen Riot!
The Dark (2018)
Screen Riot Podcast - The Dark (2018) Review
Screen Riot Score - 4.9/10
The success of The Walking Dead spawned a plethora of zombie movies over the past few years. Most have the same worn-out tropes while attempting to, by some miracle, be different from all the others. The Dark, written and directed by Justin P. Lange (The Seventh Day), breaks away from the norm and creates a whole new zombie movie.
The story follows Mina, an undead teen girl, and her journey from a ruthless killer who eats her victims back to a human girl. Along the way, she kills many while befriending and protecting Alex, a kidnaped and blinded teen boy with Stockholm syndrome. Together they journey through the dreaded forest named Devil's Den in search of a phone and food for Alex. Mina's journey brings her back to life, while Alex learns to trust someone other than his captor.
Intelligence not Jump Scares
The Dark is an unexpectedly quiet horror film relying more on the intelligence of its audience rather than jump scares and gore. The movie is a case study of surviving and coping with childhood trauma.
Toby Nichols (Trumbo) plays Alex, who has been blinded with fire by his kidnapper and abuser, Josef, played by Karl Markovics (The Grand Budapest Hotel). Alex has been with Josef so long he develops Stockholm syndrome, completely trusting him and following all the "rules."
Mina, played by Nadia Alexander (Blame), carries the film. She is a teenaged zombie seeking vengeance on the abuser who killed her. Mina's zombie-isms are drastically different from others. She can speak and can tell right from wrong. Unable to eat human food, she kills for sustenance and to protect herself and others. She is neither supernaturally fast nor zombie-trope slow yet can sneak up on her victims without a sound.
Surprisingly Beautiful
After killing Josef, Mina befriends Alex and ultimately sends him back to his parents. While doing this, she finds her humanity and ends up becoming a living, breathing girl.
The film is unique with a sad yet beautiful story. Mina and Alex have faced unimaginable abuse with no end in sight. But, by trusting each other, they find their path to healing.
Poorly Executed
Unfortunately, the movie falls apart in its execution. Mina's backstory is never fully realized, and Alex's story has a minimum explanation. Mina never kills her abuser, and those she kills are mostly innocent bystanders trying to help Alex. How did Mina become a zombie? Who knows? Why did she turn back human at the end? Your guess is as good a mine. There are so many holes left unfilled that one feels a bit cheated and perhaps lost when the credits roll.
Enjoyed this Review? Consider visiting our YouTube Channel by searching Screen Riot!
The Cowboys (1972)
Screen Riot Podcast - The Cowboys (1972) Review
Screen Riot Score - 6.8/10
When we think of westerns, we conjure images of high-noon shootouts, train robberies, cattle drives, and the dusty prairie-ridden cowpoke bellied up to the bar. Pairing two of the movie industry's concerns, working with kids and acting alongside a superstar, Mark Rydell's The Cowboys moves those issues aside with astounding success.
Gold Fever
John Wayne (True Grit) plays Wil Anderson, a 60-year-old cow rancher who must drive his herd 400 miles to the market. Unfortunately, the men in town catch gold fever and head out in search of riches. Wil's only option is to hire the schoolboys to help drive the herd.
Wil and the boys, along with their cook Jebediah Nightlinger (Rosco Lee Browne), make good time but have several issues along the way. One boy nearly downs while crossing a river while another is trampled to death by the herd. Overshadowing those incidents is Asa Watts (Bruce Dern) and his band of outlaws, who are hell-bent on stealing the herd.
Wil Anderson Dies
Late one evening, the outlaws surround the group's camp. Asa, sore from an earlier incident with Wil, fights with Wil and loses. Not to be shamed in front of his men, Asa shoot Will in the back and continues shooting until the pistol is empty. The men leave the camp, taking the herd with them.
The following day Wil Anderson dies from his injuries. The boys bury him, then they and Nightlinger hatch a plan to take revenge on the murders and take back the herd. They, of course, win the day, take the herd to market, and return home.
In a movie reminiscent of a mash-up between The Bad News Bears (1976) and Wagon Train (1957), John Wayne again proves why he is the master of Westerns. Only Wayne, with his commanding screen presence, could pull off working with several child actors and not fall into the background. As such, The Cowboys is a compelling coming-of-age story with all the action thrills we know and love from the old west.
Browne Steals the Show
A standout in this film is Rosco Lee Browne as Mr. Nightlinger. This character could have easily been the standard high-pitched or grumbling old man with a pot of beans, but Browne took a different approach. In doing so, he created a unique, memorable character and stayed on par with John Wayne. His stories and deep tone give Nightlinger screen presence and showcase Browne's command of his craft.
In the film, other actors making appearances are Robert Carradine (Revenge of the Nerds) as Slim and Slim Pickens (Blazing Saddles) as Anse the bartender. Both do good jobs in their roles but with too little screen time to impact the story.
With its blending of children, the classic western, and John Wayne, this unique film is one to add to the watch list.
Enjoyed this Review? Consider visiting our YouTube Channel by searching Screen Riot!
Assassins (1995)
Screen Riot Podcast - Assassins (1995) Review
Screen Riot Score - 3.8/10
The late Richard Donner (Lethal Weapon, Superman) directs Sylvester Stallone (Rocky) in the 1995 film Assassins. Supporting roles star Antonio Banderas (Desperado) and Julianne Moore (Hannibal). The film is a crime, action-drama that promised to be an exciting, fun-filled adventure. What viewers got was an action movie that keeps your attention without much going on.
An Assassin With a Heart
Veteran assassin Robert Rath (Stallone) is looking to retire. But, the allure of larger and larger payouts keeps him around. During the film's opening scene, Rath is walking through the swamp holding another gentleman at gunpoint. Through their dialog, we find out that this man is a fellow assassin that Rath is to kill. Rath allows the man to keep his dignity and take his own life rather than become a "mark." This kindness gives us an idea of what kind of man Rath is. Yes, he is an assassin, but he has a heart.
In his first hit of the movie, Rath is to take out a man at a funeral. Armed with his trusty silenced .22 caliber pistol hidden in an arm cast, he is about to pull the trigger when another assassin takes out his mark. Rath is furious about his stolen kill and attempts to kill this new foe until the cops arrive, arrest, and save the new hitman.
Elaborate Plan, Ultimately Flawed
Other action movie events happen, and the two assassins are in a race to steal back a computer disc. The disc has some vital information on it to the tune of a $2 million reward. Electra (Julianne Moore) has this disc and plans to sell it to some Dutchman through a scheme involving a radio-controlled toy truck in an AC duct.
After many more action movie events and lots of dead bodies later, the trio travel to Mexico for the final showdown. Rath and Electra plan to lure Bain into a trap by positioning Rath in the open, outside a bank, after collecting a $20 million reward. Rath knows Bain is a fan of history and will want to kill him as Rath killed another assassin fifteen years prior. Electra is to sit at an outside café and radio Rath updates. Once she sees Bain leave his sniper nest located in a dilapidated hotel, she is to race in and steal his rifle.
So, the plan is for a ditsy computer nerd lady (Electra) to steal a seasoned assassin's rifle. What could go wrong? Of course, she ends up falling through the rotting floor of the building before she gets the rifle.
Bulletproof Glass and Bombshells
There were many other moments in the movie where I had to suspend my disbelief. At one point, Stallone and Banderas are talking in a cab. Banderas points out that the taxi has bulletproof glass installed between the driver and the back seat. If so, this is the worst installed and thinnest bulletproof glass in existence. Stallone even hits the glass, and it breaks. Yeah, real bulletproof.
Another issue I have is when Rath discovers a bomb in a briefcase he picks up during a trade. Does he throw this out of the car window? Nope. He makes Electra drive to a dumpster to put it in.
For all the movie's faults, and there are many, the scenes with Stallone and Banderas are worth praising. The actors play off each other well and make these scenes enjoyable to watch. I wish there were more opportunities in the film for these two season actors to interact. If there were, the movie would have made its money back after 30 years.
Enjoyed this Review? Consider visiting our YouTube Channel by searching Screen Riot!
Ghostland (2018)
Screen Riot Podcast - Incident in a Ghostland (2018) Review
Screen Riot Score - 5.6/10
A Truly Disturbing Story
Written and directed by Pascal Laugier (Martyrs, The Tall Man), Incident in a Ghostland is a disturbing account of a mother and her two daughters' first night in their new, inherited home. The first thirty minutes of the film are filled with the typical introduction of characters. But this quickly escalates into a barrage of fast camera movements, jump scares, and all-out horror and confusion as the family of three falls victim to a blitzkrieg by two men resembling Marylin Manson and Butterbean, whom they encountered on the highway driving a candy truck. The three ladies live to tell the tale and move on with their lives, or so it seems.
The film then takes viewers 16-years into the future; the youngest daughter, Beth, played by Crystal Reed (Skyline), lives a successful life. She is married with a child and has become a very successful author, just like her idol, H. P. Lovecraft. Her life upends when she receives a call from her sister, Vera, played by Anastasia Phillips (Don't Talk to Irene), screaming about the incident, thinking it is still happening. Beth packs up and visits her mother and sister in the same house eerie home the horrors of her youth took place. We watch her reconnect with her mother and attempts a relationship either the mentally disturbed Vera, as she becomes more paranoid about her surroundings and situation.
Not So Ho-Hum Horror After All
Up until this point, the film is a somewhat systematic representation of a ho-hum horror film. That is until Vera finally breaks through to her sister, making her realize that they didn't beat the bad guys that night. Their mother is dead, and the pair have been held captive for the last 16-years. In her distraught state, Beth retreats into a fantasy world created in her mind out of images of her surroundings. Her husband and son, just old posters hanging on the wall beside the bed where she sleeps. Becoming an author was always her dream and so became her reality to escape the torcher that was real life.
The story escalates as a horror film should, with our heroines rising to escape their captors. Once they do, they run through the woods all night and find themselves in a middle of a freshly harvested field at twilight. Two state troopers drive by, see the girls, and stop to help. The male cop radios in the situation and goes into the field with his partner. Unfortunately, their heroic intervention proves to be their demise. Lurking in the shadows is the Marilyn Manson character who promptly kills both cops, ties up the girls in the back of the candy truck, and takes them back to the house. Other police officers then arrive at the home, kill both bad guys, and save the girls, who are now no longer adults. They are back to being teenagers!
The Film's Saving Grace
This twist is the only saving grace for the film. Not only were we living in Beth's fantasyland initially, but we have been living in it the entire time. Sixteen years have not passed; our main character's mental instability has merely duped the audience once again. This realization gives the audience that "ah-ha" moment needed to bring closure to the horrific story.
What this film does not do is leave anything to the imagination. Some scenes make you physically ill, and some make your heart weep for the characters and yourself for watching it occur. What is truly upsetting is realizing that all the trauma that these poor girls endure is meaningless. There is no reason given for the two insane men to attack the girls. Connect that with the fact that this type of heinous crime could happen in real life provides this movie with a long-lasting impact on those who watch.
Enjoyed this Review? Consider visiting our YouTube Channel by searching Screen Riot!
1917 (2019)
Screen Riot Podcast - 1917 (2019) Review
Screen Riot Score - 9.3/10
A Big Achievement for a Simple Story
1917 tells the story of two British soldier's race against time to stop a British regiment's attack on what their commander believes is a German retreat. The lives of 1600 of their countrymen, including Blake's brother, lay in the balance as the pair traverse the vast expanse of barbed wire, craters, and dead bodies known as no man's land and through dangerous enemy territory to secure an objective they may never reach.
Co-written and directed by Sam Mendes (Road to Perdition, Skyfall) and principal photography by the famed cinematographer Roger Deakins (Skyfall, No Country for Old Men), 1917 is a near-masterpiece of modern period cinema. Every great movie needs a good story, and it must be visually appealing. Add in a dose of a relatively seasoned lead cast and a sprinkling of high-profile supporting actors, and you have a recipe for success.
One of the creative aspects of this film seems odd at first but is ultimate genius. We start following Lance Corporal Blake, played by Dean-Charles Chapman (Game of Thrones). His commander orders him to select a buddy, Lance Corporal Schofield, played by George MacKay (11.22.63), to accompany him on his mission to traverse the battlefields to stop the British advance. Midway through their journey, however, Blake is stabbed to death by a downed German pilot he was attempting to assist. The story then picks up and follows Scofield to its conclusion. This change in lead actor is jarring but pushes the audience to invest even more in the story and gives the sense of being a participant in the action rather than just a viewer.
Big Name Actors, Small Roles
The cameos by Colin Firth (The King's Speech), Benedict Cumberbatch (The Imitation Game), Andrew Scott (Spectre), Richard Madden (Game of Thrones), and Mark Strong (Zero Dark Thirty) were all kept on the down-low until after the film premiered. Casting these actors in supporting roles and keeping their involvement under wraps helps the film stand on its own and more than likely attracted viewers who would otherwise not be inclined to watch a war movie.
The A-list of supporting actors did a fantastic job keeping a low profile during their scenes. They expertly downplayed their star in favor of creating something magical on-screen that made our two main actors shine bright and help propel this movie from good to great.
"1917" is A Beautiful Film
Another genius aspect of 1917 is the cinematography. The entire film only has eight camera edits and feels like one ever-moving shot. This camera movement makes the audience a character in the movie. We are a third, helpless team member, feeling every moment of our perilous journey to save our comrades. We can do nothing to save poor Blake but share in his pain and join in the despair of Schofield holding his dying friend. We are there with Scho running through the darkened, war-torn streets of Ecoust dodging every bullet and meeting the Germans in face-to-face combat. We help deliver that message to save men's lives and convey sorrow to Blake's brother about our friend's fate.
This is a feat of cinematography and the filmmaking process. Each shot must be painstakingly choreographed so the crew, actors, engineers, etc., can pull off the near impossible. The longest of these shots is eight minutes, complete with stunts, explosions, actor cues, camera handoffs, etc. It is truly amazing to watch.
1917 gets an A+ on all fronts and should be on everyone's list of movies to watch time and time again.
Enjoyed this Review? Consider visiting our YouTube Channel by searching Screen Riot!
Ocean's Eleven (1960)
Screen Riot Podcast - Ocean's 11 (1960) Review
Screen Riot Score - 5.1/10
The Sahara, the Riviera, Desert Inn, the Sands, the Flamingo.
Five Casinos, One Night
Danny Ocean (Frank Sinatra) has a straightforward mission. Rob five Las Vegas casinos on New Year's Eve. Luckily, he is a master thief, and with the help of ten of his WWII paratrooper pals, the plan can't fail. This ragtag team of raiders must overcome transportation hurdles and security measures while dodging ladies who swoon in their presence and those scorned of past betrayal.
Along with their financier, Spyros (Akim Tamiroff), Danny and Jimmy (Peter Lawford) have concocted an elaborate plan where teamwork and timing are key factors. Danny, the former captain of the 42nd Airborne Paratroopers, summons nine other members of his former company to assist with the caper.
Complicated, Yet Simple
The plan is as complicated as it is simple; knock out Las Vegas's power on New Year's Eve and rob the five largest casinos. To do this, Josh (Sammy Davis, Jr.) will cause a blackout by placing explosives on a critical power pole. Anthony, the group's electrician, is to rewire each casino's power box so the cashier's cages will unlock during the blackout. To do this, he must visit the casinos before New Year's Eve, locate the power box, and cross the light wires from the emergency motor to the cashier's cages. This way, when the motor kicks on, the cages will unlock all by themselves.
Once the blackout occurs and the cages open, the inside man at each casino, assisted by another crew member, will gather the cash into bags and place them in a garbage can outside. Josh, who just happens to be an expert garbage truck driver, will pick up the trash at each location and dump the garbage at the landfill, and hide the bags in a junk heap until the heat cools down from the heist.
The plan goes smoothly until Anthony drops dead while crossing the street of an apparent heart attack. Danny and Jimmy race to their friend, but it's too late. Danny is visibly distraught from losing a man but tells the other to stay the course.
Blackmail
Meanwhile, the police set up roadblocks, checking every car on the way out of town. By dawn, they still have not found the cash. So, the next morning, the casino bosses have a meeting to discuss their options. They end up hiring Duke Santos (Cesar Romero), who is intimately familiar with the crime trade, to find their money. Duke happens to be engaged to Jimmy's mother. After seeing Jimmy at a hotel, he puts two and two together, realizing that Danny and Jimmy stole the money. So, Duke does what every self-serving criminal would do. He tries to blackmail Danny and Jimmy into giving him a majority share of the loot to stay quiet. They refuse and vow to find a way to get their money out of Vegas without getting caught by the police or Duke.
Danny hatches a somewhat morbid plan. Since Anthony's body is being taken to his hometown by his widow, the crew recovers the money and hides it in Anthony's casket. This way, the casket gets loaded onto the train and scoots down the track out of town. They will simply follow and recover the money before he is buried.
Anthony's Widow Has Other Plans
She decides to have Anthony's funeral right there in Las Vegas. On the day of the funeral, the men gather on a single pew to pay their respects to their fallen comrade. Suddenly a quiet hissing sound begins to fill the chapel. The sound gets louder until it is a dull roar. Each man, one by one, turns to the man next to him, and like the telephone game, asks, "What is that noise?". When the question finally gets to the end of the line, the last guy replays, "He's being cremated." The telephone game starts again, and the news travels back up the line with looks is dismay on each man's face.
Not a Comedy by Today's Standards
With a simple plot and a cast consisting of Frank Sinatra, Dean Martin, Sammy Davis Jr., Peter Lawford, and Joey Bishop, this film should be an instant hit. Sadly, the movie didn't age well, and even the review from the New York Times in 1960 said, "Frank Sinatra, who is the power behind the picture, should have a couple of his merit badges taken away." I disagree with this assessment. However, listing this move as a comedy for today's audiences misses the mark.
A kind listener pointed out that many of the film's jokes and conversations were of topics current to 1960. That is the danger in comedy films, and unfortunately, Ocean's 11 fell into the trap. The reality with this film is that it's a buddy movie. It is not the traditional on-screen buddy movie but a movie where most of the cast are friends first and actors later. Peter Lawford brought the script to Frank Sinatra's attention, and they decided to make a move with their friends. Before which, Sinatra reportedly said, "Screw the movie, let's do the crime."
The Real Magic of Ocean's 11
That is the real magic of Ocean's 11. Where else in 1960 could an audience see five of the best entertainers for the price of a movie ticket? With performances by Sammy Davis, Jr. And Dean Martin, the audience gets a concert and a movie.
Though the comedy didn't hold up over time, the film leaves us with a sense of nostalgia. Long gone are the days of the suave singer, girl on each arm, the envy of all who meet him. Never again will the likes of Frank, Sammy, or Dean grace the stage and screen with the same magnetism. We shall forever be in awe of their music and fairytale lives, with hopes of returning to a day where the music was pure and honest.
Enjoyed this Review? Consider visiting our YouTube Channel by searching Screen Riot!
Arrival (2016)
Screen Riot Review - Arrival (2016) Review
Screen Riot Score - 8.4/10
The year 1902 saw the first Science Fiction film premiere, A Trip to the Moon, by French director Georges Méliès. For nearly 120 years, the Sci-Fi genre has woven fantastic stories of strange planets, alien races, and how humanity handles and learns from those interactions. Often, aliens visit earth bent on destruction, but sometimes they come with open arms of friendship. Denis Villeneuve's Arrival is one of the latter.
A Reluctant Hero
Through a stunning performance by Amy Adams, Arrival tells the story of Louise Banks (Amy Adams), a brilliant linguist recruited by the US military to investigate why the aliens have landed 12 ships on earth. Her mission is to communicate with the aliens whose spacecraft land at seemingly random locations on earth. Louise reluctantly takes on this challenge. Dreams and flashbacks of her daughter continuously plague her. During the film's opening scenes, we learn that Louise's daughter was a beautiful, creative, and sweet girl who grows into her teens but contracts a rare, incurable illness of which she dies. Louise frequently has these flashbacks, which provide a depressing yet welcome reprieve from the complex world of linguistics and military operations.
A Weapon?
After weeks of work, assisted by mathematician Ian Donnelly (Jeremy Renner), Louise figures out the Heptapods, affectionately nicknamed Abbott and Costello, use a written language, unlike any other to communicate. Through trial and error and no shortage of brilliance, the pair decipher the language. Abbot and Costello tell them they seek to give humanity a weapon. Of course, the military takes this as the threat until Louise explains, through a fictional history of the word kangaroo, that weapon could mean something different from our definition of the term. After 38 sessions with Abbott and Costello, they are no closer to determining what the weapon is or if it's a weapon at all.
Rouge Insurgents
After the 38th session, there is a sudden military movement. Several of the scientists and security assisting with the research storm the spacecraft and plant a bomb aboard. These rouge insurgents are met with resistance from military personnel. Concerned, Louise and Ian board the ship, ignorant of the danger aboard. All communication attempts with the Heptapods fail as they continuously ignore the pair and beat on the glass separator, attempting to point out the threat. Seeing they are not getting the message and knowing there is very little time left on the detonator, Abbot sprays out a collage of alien symbols and, through some unseen force, flings Ian and Louise down the hall and out of harm's way just as the bomb detonates.
All twelve ships change their positions from vertical to horizontal, signaling a defensive posture. This change in the norm triggers the Chinese General Shang (Tzi Ma) to start a counteroffensive. Seeing this danger and knowing the aliens mean no harm, Louise heads to the spacecraft by herself. Instead of entering through their usual entrance, an elevator descends for her. She arrives and enters into Abbot and Costello's environment. Once there, she meets Abbot, who is serval times larger than what she could see in the viewing window.
Where is Costello?
Abbott's friend is dead. Louise and Abbott mourn for Costello as Abbot shares with Louise why they have come to earth. He explains that his language is the weapon or gift they are giving humanity. Louise is the key to uniting humanity with the universe by deciphering and sharing language with humankind. Slowly Louise begins to see that understanding this universal language will empower society to think on a different level of consciousness, eliminating the need for war and other strife. Additionality, Abbot also has another motive. His race will need humanities assistance in the future, and humans need to understand the language to ensure his kind's survival.
Louise quickly leaves the ship and tries to have the military contact the other landing sites to tell them the news and stop the planned attack. She is shut down by classic military stubbornness, refusing to listen. Suddenly she has a flashback. This one is different. She is at a fancy ballroom party with sequins, dresses, tuxedos, and champagne. Confused, she takes in the sights and sounds. It is a party celebrating her and her book on the alien language. Out of the corner of her eye, she sees a man enter the room. She would know him anywhere, General Shang. She rushes to him. He greets her and expresses his gratitude to her for stopping his attack on the aliens. Confused, she asks him what she said to him to change his mind. He answers that she recited to him his wife's dying words.
Got to Act Fast
Louise snaps out of her flashback, steals a satellite phone, and calls the General on his private line. Angered, he starts to hang up as Louise starts telling him the words only he and his love shared on her death bed. The General signals his troops to stand down, and the alien ships dissolve into nothingness.
Arrival is an ambitious film with lofty goals, and it hits each one. Slow burning and deliberate with its delivery, the genius of this film is its subtlety. Amy Adams delivers a top-notch performance on which the film solely rests. Her ability to convey a wide range of emotions through facial expression is a testament to her mastery of the craft. Joined by Jeremy Renner, playing both fellow genius and ultimate love interest, the pair delivers one of the Sci-Fi genre's best performances.
Arrival is an Essay on How Language Shapes Reality
The original book, Story of Your Life, by Ted Chiang, is an essay on how language shapes reality. And, Eric Heisserer's (Bird Box, Lights Out) adapted screenplay is masterfully constructed. What may seem like a scary word, such as "weapon", may have a completely different meaning when translated into a foreign language. This reality gives credence to the quote, "We are a common people separated by language.".
Villeneuve does an excellent job bringing together top-notch off-screen talent to make this film a success. The cinematography of Bruce Young (Selma, Solo: A Star Wars Story) is spot on. Also, the compression by the late Jóhann Jóhannsson (Sicario, The Theory of Everything), is a perfect addition. Arrival leaves viewers with a sense of awe and inspiration that keeps views watching again and again. Like Abbot and Costello, we, too, are capable of understanding the world around us to better humanity. Motivation is the real magic of this film that will inspire those who watch for years to come.
Enjoyed this Review? Consider visiting our YouTube Channel by searching Screen Riot!
Jacob's Ladder (1990)
Screen Riot Podcast - Jacob's Ladder (1990) Review
Screen Riot Score - 7.5/10
Directed by Adrian Lune (Flashdance, Fatal Attraction) and starring Tim Robbins and Elizabeth Peña, Jacob's Ladder follows Jacob Singer (Robbins), a Vietnam veteran who is mourning the death of his youngest child. Simultaneously, he uncovers a potential conspiracy about the Army conducting drug testing on his unit during the war. This seemingly simple description is deceptive, just like the film. But with Joel Rubin's (Ghost, Deep Impact) screenplay, what seems like a simple plot is rooted heavily in Biblical lore. The meaning of the film is as varied as the emotions it leaves behind.
The film opens with a typical Vietnam landscape scene with choppers flying across the grasslands. Expecting to hear Credence Clearwater Revival or Buffalo Springfield's musical tones, we instead hear the somewhat melancholy melody of the movie's theme track. This juxtaposition tells the viewer that the film will not be typical, and that's not an empty promise.
Suddenly the Enemy Attacks
We are introduced to Jacob's Army unit, relaxing and bored with no enemy movement. Suddenly the enemy attacks and the fight begins. This fight would not be a typical shootout in the jungle as, one by one, each of the soldiers succumbs to fits of rage, uncontrollable seizures, or just freeze and revert to a childlike state. Seeing he cannot help his friends, Jacob runs into the jungle and is promptly stabbed in the chest with a bayonet by an unknown attacker. Then, as suddenly as the enemy attacked, viewers are thrust into a dirty subway car where Jacob is jolted awake. Oh, thank God that was a dream. Or was it.
Throughout the film, Jacob is troubled by flashbacks of Vietnam and those of his dead son. He also has surreal instances where he believes the Army is trying to kill him. He feels alone in this struggle until an old army buddy, Paul (Pruitt Taylor Vince), contacts him. Jacob meets Paul at a run-down bar to discuss what turns out to be the same issues Jacob is facing. They leave the bar, Paul gets in his car, and it explodes, throwing Jacob to the ground.
The Army Has To Pay
Jacob meets up with the rest of his former Army unit at Paul's funeral. They, too, are experiencing the same flashbacks and near-death experiences. After some convincing, the group decides the Army has to pay for what they did. The regroup and seek the council of Geary (Jason Alexander), a lawyer. Geary agrees to take the case but soon after calls Jacob to quit the job. He explains that the rest of the team pulled the plug and will not cooperate any longer. Jacob is then ignored by his buddies when he tries to find out why they backed out.
After this, Jacob goes through some twisted scenes. At one point, he goes to the hospital for surgery, but it's more an insane asylum than a care center. He also meets one of the "chemists" in charge of producing the drugs given to his unit in the war. This gentleman explains the drug testing, its outcome, and his remorse. This conversation forces Jacob to remember the bayonet attack, and we see that he wasn't attacked by the enemy, but by a man from his unit.
As the flashback subsides, Jacob now feels vindicated, and his mind becomes somewhat clear as he heads home. But this is not the home he has lived in during the film. Complete with a doorman and oak staircase, this luxurious apartment building is a far cry from the run-down apartment he shares with Jezzie. He calls out for his wife and sons several times. Hearing no answer, he plops down on the couch in despair and falls asleep. He awakes when he hears his son calling for him, but how can this be? Jacob moves to the staircase, where he sees his son wrapped in a glowing light emanating from the apartment's second floor. After an exchange of kind words, he and his son ascend the staircase.
Then, the scene cuts to Jacob lying on an Army surgical table, two doctors doing their best to save him. They fail. The camera pulls away, and the menology music of Jacob's Ladder plays softly as the audience tries to make sense of what they just witnessed.
A Great Cast of Characters
The film has many flashbacks to Vietnam and Jacob's son's death, and we meet a great cast of characters along the way. Ving Rhames, Jason Alexander, Pruitt Taylor Vince, and even a young Macaulay Culkin, make appearances and play their respective roles well. Standing out from those is the talented Elizabeth Pena as Jezzie, Jacob's live-in girlfriend. Her acting chops shine through as she expertly shifts from a loving girlfriend to a crazed demon and back to a caring girlfriend hell-bent on keeping Jacob alive. The on-screen chemistry between Robbins and Pena is spot on, making their relationship relatable to the audience.
The film's grittiness is reminiscent of a 1980's crime drama, most notably Angel Heart (1987), which you can catch our review of here. Jacob's Ladder provides viewers the ability to enjoy the movie on multiple levels. You can watch it strictly as a man's descent into madness. Of course, the ending will be strange for you with this mentality. If you get the Christian themes present, you're viewing is enriched and you have more of the movie to enjoy as intended by the writer. Still another level is attained if you know some history on the Vietnam War and the testing of soldiers. Jacob's Ladder is able to deliver multiple layers within each frame.
Technical Issues?
Conversely, there are times when the lighting is too dark and the camera movement too crazy to see what is going on in the scene. This issue is typical in lower budget films of the 70s and 80s, but not as common in the 90s. However, the audience may be able to see these elements as purposeful. Perhaps they were, drawing the audience more into Jacob's disorientation.
Despite technical issues with Jacob's Ladder, the film does not disappoint. The audience is genuinely concerned for Jacob and feels as confused as he does, forcing us to live the experience rather than just watch it. This is Jacob's Ladder's real magic that will keep audiences coming back for more and discussing the film for many more years.
Enjoyed this Review? Consider visiting our YouTube Channel by searching Screen Riot!
Tenet (2020)
Screen Riot Podcast - Tenet (2020) Review
Screen Riot Score - 6.6/10
"Don't try to understand it. Feel it" - Tenet (2020)
The movie quote takes the words right out of my mouth. Christopher Nolan's, Tenet is an action-packed, Sci-fi thriller with just enough Nolan nuances to leave audiences wanting just a bit more exposition. Of course, this is just like Nolan to leave viewers knowing they watched a good film but leaving the theater with more questions than answers. This is the magic of his films that keeps us coming back for more.
A Hero's Awakening
Tenet is the story of a man we know only as The Protagonist (John David Washington). Starting as a CIA agent infiltrating a Russian Opera house siege, the Protagonist is attempting to save a spy carrying radioactive material. While rescuing this individual he encounters a bullet that travels backward out of a bullet hole, past his head, and through the enemy agent behind him. We see that bullet travel into the barrel of a gun. The agent holding the gun turns and runs away and we see a keychain dangling from the backpack he is carrying.
Unfortunately, when he arrives at the getaway truck, he's ambushed and knocked unconscious. He wakes up in a train yard being tortured and decides to take the suicide pill his near-dead co-worker offers. Surprisingly, he wakes up in an infirmary being greeted by a man who tells him that the pill was a test of loyalty and offers him a new job. He is only able to arm the Protagonist with a word..."Tenet" and a sign (crossing the fingers of both hands together in front of your stomach).
The Protagonist somehow knows when cars are left specifically for him and what to do even when there seems to be no direction. The audience tends to accept this as the work of a spy. Then, he meets up with a scientist who tells him (and us!) about objects that have been reversed. She is the one who states the opening line of this review so eloquently.
Through a series of twists and turns, a bunch of cool spy stuff, a very tall blond, and confusing pseudoscience explanations, we ultimately learn that Sator (Kenneth Branagh), a Russian oligarch, is helping the people of the future as they attempt to send a doomsday device back in time to wipe out all of humanity to change their bleak future.
With the help of an agent named Neil (Robert Pattinson), the Protagonist defeats Sator, saves the world, and the tall blond, Kat (Elizabeth Debicki), of course.
For what should be obvious reasons, this is a very short synopsis. As stated, there are so many questions with this film that it is impossible to ask and answer all of them here. It's highly recommended you listen to our podcast review to more fully understand what takes place in this highly confusing movie.
While Nolan does a great job with his writing and filmmaking, viewers need a bit more explanation for scenes. He tries his best, color coding the different timelines and even inverting air flowing into the lungs, but it's ultimately not enough to quash the confusion.
While the movie has many positive aspects, the audio mix for this film is terrible.
The dynamic range is set so wide that it's near impossible to hear spoken words. Yet, the explosions are deafening. So be prepared. In a film that needs a great deal of exposition, audio is key and the editors just missed the mark.
Washington's acting is reminiscent of classic James Bond with all his swagger and class. An air of sophistication shines through whether he is trading blows with a foe or convincing a hardened criminal to trust him. It is doubtful that another actor would have embraced the character so willingly and thoroughly. If you like him in Ballers, you will love him in Tenet.
A pleasant surprise was Robert Pattinson in the role of Neil. He has come a long way from being a shiny vampire in the Twilight saga. Instead of glistening with glitter like mist, he is a pretty good action star glistening with only sweat. In a movie where the acting is just as important as the action, Pattinson does an excellent job.
The role of Sator is expertly played by Kenneth Branagh.
With each passing scene, Branagh takes Sator deeper and deeper into his troubled psychosis. Sator is determined to not only end the world for his future masters but also torture Kat, his all-but-estranged wife. Kat, determined to take control of her and her son's life, ultimately kills her husband in a very satisfying scene.
For those who like to escape into films and not think about them, this may not be your cup of tea. However, if you like to sit back, analyze, and dissect films, hold on to your hats because it's about to get real!
Enjoyed this Review? Consider visiting our YouTube Channel by searching Screen Riot!
Enemy at the Gates (2001)
Screen Riot Podcast - Enemy at the Gates (2001) Review
Screen Riot Score - 6.9/10
"I am a stone. I do not move. Very slowly, I put snow in my mouth, then he won't see my breath. I take my time. I let him come closer. I have only one bullet. I aim at his eye. Very gently, my finger presses on the trigger. I do not tremble. I have no fear..." - excerpt from Enemy at the Gates (2001)
Enemy at the Gates (2001), written and directed by Jean-Jacques Annaud, Enemy at the Gates is the compelling fictionalized account of Russian sniper Vasily Zaystsev during the WWII Nazi invasion of Stalingrad. The film follows Vasily (Jude Law) from his brutal arrival at Stalingrad where, as a rifle-less infantryman all the way to his successful assassination of Germany's most elite sniper Major Konig, played by the masterful Ed Harris.
A Brutal Beginning
As the film opens, we meet Vasily in a standing-room-only train car, making come hither faces at a beautiful young lady. A mixture of soldiers and civilians are onboard headed to an undisclosed location. The train stops at its destination and the civilians, including Vasily's eye candy, disembark. The train doors are then shut, locking the prisoners/soldiers inside. A large anti-aircraft gun is attached to the front-end of the locomotive to be pushed thus leading the charge to the front lines of Stalingrad.
As the train arrives at the banks of the Volga River, the men are ushered onto a boat and set sail to the bloody banks of destiny. During this voyage, audiences are introduced to the film's first enemy, zealous Red Army commanders. As the boats inch closer to the shores of Stalingrad the soldiers are bombarded by Nazi aircraft fire. Many die and some jump overboard despite being told by their superiors that they will be shot for desertion. These were not empty threats and many of Vasily's comrades were killed by their own countrymen.
Upon arriving ashore, every other soldier is given a rifle. The ones left rifle-less are given a box of ammo and told to pick up the rifle of the man in front when he dies, then continue on with the assault. Vasily, no rifle in hand, sprinted past machine gunners stationed behind the line to shoot those who retreated from battle. Either you die from enemy fire or Russian fire, your choice.
After his battle, we see what Vasily is made of.
With the battle quiet, we meet Russian Commissar Danilov (Joseph Fiennes) as his propaganda filled car is flipped and he is trapped in a dry fountain among dozens of dead men. He sees a Nazi general getting ready to take a shower amid the battle-scarred buildings. Unsteadily, Danilov takes aim with a rifle taken from a dead comrade. Vasily, expertly hiding beneath the dead, sees the difficulty his comrade is having, reveals himself, and offers to take the shot in Danilov's stead. He expertly waits for artillery explosions to mask his rifle noise and easily takes out all five Germans. This single act of expert marksmanship gives Commisar Danilov the idea to turn morale around for the Red Army. He takes pen to paper, writes, and publishes the heroic accounts of Vasily causing the Germans to send their best sniper to kill the Russian.
Admittedly I was apprehensive about pretty boy Jude Law being the main character of a WWII film. Let's face it, who thought the pretty boy who played a metrosexual tooling around New York on his Vespa in Alfie could pull off being a Russian sniper. Well, I am happy to say that my worries were completely unfounded. I can't imagine another actor playing Vasily.
His character is developed from a boy, bright-eyed and fresh off the farm, to a battle-hardened sniper. During which viewers are able to see Law's masterful skills as an actor. This was needed since Law was playing opposite Ed Harris.
The choice of Ed Harris for the role of Major Konig was genius.
It is said that the choice of both Harris and Law for this film was due to how they convey emotion with their eyes. Harris's performance and ability to covey a wide range of emotion from facial expressions is masterful, and thus, he stole every scene he was in.
The story has a love triangle woven into it for the romance lovers as well. Vasily and Danilov both fall for the beautiful Russian sniper Tania Chernova (Rachel Weisz). Not only is she a bright light among the rubble of war-torn Stalingrad but she is a college graduate to boot. Danilov sees Vasily's interest and quickly has her transferred to headquarters as a translator. However, she misses being part of the action and feels a sense of duty to return to the front. After returning to the action, she and Vasily's relationship develops to the point of an awkward sex scene. The scene could have been much shorter with no effect on the film's quality. The entire love triangle could be removed and the film still holds its own.
Another breakout performance in this film is the character of Sasha (Gabriel Thomson). Sasha is a 12-year old boy who expertly acts as a spy for the Russians through his provision of flawed intel to the Germans. Sasha spends time repairing and shining the German soldiers' boots. Specifically, Sasha shines Major Konig's boots. Sasha uses these moments as opportunities to feed Major Konig the intel, so Sasha lets slip how much he loves Vasily and that he knows him very well. Hearing this, Konig seizes what he thinks is an opportunity to exploit the young boy and offers him food and candy for more information on Vasily's movements. Of course, Sasha is happy to tell him where his friend will be and then immediately goes and tell Commissar Davilov where Konig will be hiding. This strategy ultimately leads to Sasha's demise. However, until Sasha is hung, viewers are treated to a great performance by a child actor.
Even though the story is firmly rooted in Soviet folklore and despite there being no record of a Major Konig ever existing, "Enemy at the Gates" stands the test of time as a war film for those who enjoy battles of intelligence and wits between two skilled foes, where only one can come out alive.
Enjoyed this Review? Consider visiting our YouTube Channel by searching Screen Riot!
The Bad News Bears (1976)
Screen Riot Podcast - The Bad News Bears (1976) Review
Screen Riot Score - 6.7/10
With pristine bats, gloves, hats, and uniforms, the boys of the Southern California Youth Baseball League were ready to start another year playing America's favorite pastime. But, when newly elected city councilman, Bob Whitewood (Ben Piazza), sues the league for excluding the Bears, the team for which his son plays, the league gives in and allows the Bears to participate. However, unbeknownst to the league, Whitewood has a ringer, his pool cleaner Morris Buttermaker (played by none other than the great Walter Matthau).
Buttermaker, an aging, drunken, washed-up minor leaguer is hired by the councilman to coach the Bears. Armed with his trusty cooler full of beer, a fifth of whiskey, and two ringers of his own, he leads this ragtag team of misfits to the championship game.
What makes "The Bad News Bears" such a popular baseball movie?
The movie's popularity, rewatchability, and longevity stem from its heart. If you dig beneath the surface and search for a deeper meaning, you will find it. Buttermaker, like many of Matthau's characters, is not likable in the least. He's a drunk who uses his influence over a former girlfriend's daughter and an impressionable boy to have them be his star players on the Bears. This not only leads to those two kids hating him but also the rest of the team. By the end of the film, he has manipulated the team, given them beer, driven drunk with them in the car, and passed out on the field while they practiced.
But, after an argument with Amanda (Tatum O'Neal), his heart softens, and you start to have some empathy for the character. Once Coach Turner (Vic Morrow), the coach of the rival team the Yankees, slaps his son across the face for refusing to follow an order, Buttermaker turns himself around and realizes that the game is just a game and the kids want to have fun just as much as they want to win.
Most of us who saw the film as kids remember it fondly because of this message.
However, this film has not aged well in terms of questionable content. I doubt the film would be able to garner anything less than an R, perhaps even an NC-17, from the current MPAA standards.
So, at first glance "The Bad News Bears" would seem like a family-friendly film, but it's not. Written by Bill Lancaster and directed by Michael Ritchie, this film takes viewers into the gritty reality of youth sports in all of its unsettling glory. The saying "boys will be boys" is perfectly applicable when one player, frustrated with his performance, strips down to his undies and scales a tree. Similarly, another player, seemingly disappointed with the diversity of the team, lays down a slew of racial epithets that would wind up on the cutting room floor today.
Couple that with Buttermaker driving the team around in his convertible, top-down, no seatbelts on, and while he drinks a beer, and the movie would be given some very harsh criticism in today's climate. And let's not forget that heartwarming scene after the Bears lose the Championship when Buttermaker hands out a consolation prize, ice-cold bottles of beer for his players to enjoy.
Is "The Bad News Bears" a great film?
Yes, as long as viewers realize that it was made during a different time. Also, one cannot think of this film in "The Mighty Ducks" terms. This is not a movie made for kids. This is a movie made to teach adults how to act responsibly toward one another, their children, and those under their tutelage.
Currently, there are not many movies being made today that can do so much with their message. Movie-going audiences want action and adventure, superheroes and villains, and movies that make them escape reality, instead of facing it head-on. Perhaps, one day, we will again be mature enough to escape into reality instead of run away from it.
Enjoyed this Review? Consider visiting our YouTube Channel by searching Screen Riot!
The Shootist (1976)
Screen Riot Podcast - The Shootist (1976) Review
Screen Riot Score - 7/10
This film stars John Wayne with his handpicked cast consisting of Lauren Bacall, Jimmy Stewart, and John Carradine promises to deliver a quality film and it hits its mark.
J. B. Brooks, (Wayne) rides into 1901 Carson City to find that he is a man out of time. The city has grown. A horse-drawn trolly rolls through the center of town, past telegraph poles and a mixture of pedestrians and motor cars. Brooks, mounted on his trusty steed Ole' Dollar, buys a newspaper and heads straight for his friend, Dr. Hostetler (Stewart).
Upon arrival, the Doc and Brooks reminisce of a bygone time when they were both in their prime before Brooks reveals the real reason for his visit. He wants his friend to take a look at him to confirm a diagnosis given to him by a sawbones in another town. Unfortunately, Dr. Hostetler confirms that the infamous gunfighter, his friend, is dying of inoperable cancer and has only weeks to live.
With his sittin' pillow and directions to the best inn in town, he sets off, determined to spend his last days in a comfy bed, reading a newspaper cover to cover for the first time, being looked after by the lady of the house while keeping his identity and condition a secret. It is not long after his arrival that he is found out and visited by the Marshall who, happy as a lark to hear Brooks is dying, spreads the word throughout the town.
Now, Brooks has a dilemma. With his condition known, he is now a target for every two-bit low-life and wannabe gunslinger looking to make a name for himself. So, he hatches a plan to go out on his terms, stubborn to end, like a gunfighter.
My Grandfather was a Big John Wayne Fan
Growing up, while channel surfing if he saw a John Wayne western the surfing immediately stopped and he settled in for the long haul. So needless to say, being a John Wayne fanboy is in my blood. When chosen to select a western for Screen Riot to review I could not have said "The Shootist" fast enough. This is one Wayne film I had not yet seen and was saving it for the show.
John Wayne's Final Film
"The Shootist" is John Wayne's final film and the parallels this movie makes with his real-life is astonishing. The legendary Wayne is 75 and has been an actor in radio and movies for 50 years. His film credits include Stagecoach, Red River, Rio Bravo, The Green Berets, True Grit, and many many more. There is no other like him still working in film.
Also, twelve years prior, Wayne was diagnosed and cured of lung cancer. Rumor has it that before the filming of "The Shootist" he was once again diagnosed with cancer. This time, of the stomach and he knew this was most likely going to be his last film. So, this film was to be a fitting end to a long, amazing career.
Happy Days and Thibido
Ron Howard feels out of place in this movie. There is just something wrong with Richie Cunningham (Happy Days) cussing and drinking whiskey. His voice and look are so out of place in this movie that it takes one out of the film and into a sock hop. Though Ron's Character Gillom Rogers, matures at the end of the film by killing, in self-defense, a man, the cleanness and stereotype of the actor weakens the film.
Marshall Thibido played by Harry Morgan feels equally out of place. Cornel Potter (M. A. S. H) laughing at and being joyful of a dying man is just plain wrong. The campy dialog which was written for the character drastically undercuts Mr. Morgan's talent as a seasoned actor.
These two characters make "The Shootist", at times, feel like a spaghetti western instead of a tried and true American saga.
Handpicked Actors
Most of the cast was handpick picked by The Duke himself. His scenes with Lauren Bacall, Jimmy Stewart, and Scatman Crothers are some of the best scenes ever filmed for a western.
Bacall, ever the lady, runs the inn with precision and sternness. Somehow J. B. Brooks, "a dangerous Shootist" softens her heart and by the end, she falls for him head over heels.
Wayne's scenes with Stewart are reminiscent of their partnership in "The Man Who Shot Liberty Valance". With the same grace, friendly, yet standoffishness they move like chess players cautious but ever knowing.
One of the best, supporting actors in western films is Scatman Crouthers and he rises to his full potential while playing against Wayne during their horse buying, wheeling, and dealing. The back and forth between the two puts a smile on the face and a sense of satisfaction to the film like a cherry on an ice cream Sunday.
A Different Kind if Western
Westerns are best know for their gritty take on the old west with good guys triumphant over the bad guys, on horseback through the desert, or a high noon shootout on the main street. This film has none of those.
This film has a heart like no other Western of its time. Brooks' need for a dignified yet meaningful death takes viewers away from the screen, into their hearts, and back again.
"The Shootist," tells the story of a bygone area and dignified way of life of the gunslinger who never killed anyone who didn't need killing, that only The Duke himself could accomplish. As kerosene lanterns gave way to electric lights and horses faded into dust from motor cars so does the classic western fade into our collective memories.
Enjoyed this Review? Consider visiting our YouTube Channel by searching Screen Riot!