Movie Review: Aftermath (2017)

Genre: Drama  

Director: Elliott Lester  

Starring: Arnold Schwarzenegger, Scoot McNairy, Maggie Grace  

Running Time: 92 minutes  

Synopsis: Air traffic controller Jake (Scoot McNairy) is on-duty and alone in the Columbus, Ohio control tower, and his divided attention contributes to a tragic mid-air collision. The victims include the wife and pregnant daughter of construction foreman Roman (Arnold Schwarzenegger). Both men's lives are changed forever, and Jake eventually relocates away from his wife (Maggie Grace) and young son. Roman sinks into a depression, and is determined to find someone to blame for his loss.

What Works Well: Inspired by the 2002 Überlingen mid-air collision, this is a heartfelt exploration of loss and grief. Jake is forced to live with the horrific consequences of one fateful shift, and Roman loses everything he ever cared for, without an apology from any source to lean on. Their subsequent trajectories pass through shock and untethering, both men seeking non-existent answers within the carnage of cruel fate. Arnold Schwarzenegger and Scoot McNairy find wounded humanity beneath standard victim definitions. 

What Does Not Work As Well: The grim emotional tone is set early, and remains entrenched throughout. Director Elliott Lester has to stretch the material over several emotionally redundant patches to fill the gap between crash and final resolution. Along the way, the accident investigation is short-changed into an insulting compensation offer delivered by sleazy airline executives.

Key Quote:

Roman: Look at this photo. I would like for someone to say that they're sorry for killing my family.

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Movie Review: Passion (2012)

Genre: Thriller  

Director: Brian De Palma  

Starring: Rachel McAdams, Noomi Rapace  

Running Time: 97 minutes  

Synopsis: Advertising executive Christine (Rachel McAdams) claims credit for a marketing campaign developed by her protégé Isabelle (Noomi Rapace). Both women are sleeping with the corrupt Dirk, while Isabelle's assistant Dani has her own agenda. With career ambitions at stake, the feud between Christine and Isabelle escalates to public humiliations, blackmail threats, substance abuse, and ultimately, murder.

What Works Well: The murder sequence is effectively staged side-by-side with a ballet performance.

What Does Not Work As Well: Director and writer Brian De Palma attempts to roll back the years to the 1980's era of erotic thrillers, but this flaccid effort is almost laughably inept. Unfortunately both Rachel McAdams and Noomi Rapace are miscast and poorly served by an inane script targeting smoldering intrigue but only finding logic gaps and superficial glitz barely concealing budget limitations. Somehow the idea of a lesbian romance is here still treated as dangerous, but even more archaic are the repeated rounds of was-it-all-a-dream wake-up moments, and the long-lost twin trope.

Key Quote:

Christine (to Isabelle): You're shocked because I took credit for your idea. Honestly, I would expect you to do the exact same thing in my place. 

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Movie Review: Wildlife (2018)

Genre: Coming-of-Age Drama  

Director: Paul Dano  

Starring: Jake Gyllenhaal, Carey Mulligan, Ed Oxenbould, Bill Camp  

Running Time: 104 minutes  

Synopsis: In rural Montana of 1960, Jerry (Jake Gyllenhaal) loses his golf course job, straining his marriage to Jeanette (Carey Mulligan). Their teenaged son Joe (Ed Oxenbould) observes his father slumping into a depression, forcing Jeanette to find employment as a swim instructor. Jerry then abandons the family altogether by accepting a low paying camp-based seasonal firefighting job, prompting Jeanette to welcome the attentions of auto dealership owner Miller (Bill Camp). Joe starts a part-time job at a photography studio and questions his role in this disintegrating family.

What Works Well: Paul Dano's directorial debut adapts Richard Ford's book into a thoughtful and beautifully acted drama centred on family unease, unmet expectations, and economic imperatives. The emotions are understated and organic, the script (co-written by Dano and Zoe Kazan) uncovering authentic emotions and grounded interactions, especially between an abandoned wife and her bewildered son. Diego Garcia's cinematography finds wonder in the Montana landscapes, and opts for a more static and quietly observational stance.

What Does Not Work As Well: The low-key story never threatens to expand beyond typical stresses fracturing a single small family, ultimately limiting the emotional resonance.

Key Quote:

Jeanette: I feel like I need to wake up, but I don't know what from or to.

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Movie Review: The Holcroft Covenant (1985)

Genre: Thriller  

Director: John Frankenheimer  

Starring: Michael Caine, Victoria Tennant, Anthony Andrews, Lilli Palmer, Michael Lonsdale  

Running Time: 112 minutes  

Synopsis: 40 years after the end of World War Two, American architect Noel Holcroft (Michael Caine) receives shocking news from Swiss lawyer Manfredi (Michael Lonsdale). Holcroft's birth father General Heinrich Clausen, a remorseful high-ranking Nazi commander, left Noel a $4.5 billion fund to administer for good causes. Noel has to find two other Nazi offspring to co-sign the covenant, but evil forces are already at work to seize the fortune and use it for a nefarious plot.

What Works Well: This adaptation of Robert Ludlum's book enjoys an intriguing initial set-up, placing a world-influencing sum of money tantalizingly within reach of an ordinary architect for the purpose of redressing Nazi horrors. The globe trotting across major cities (New York, London, Berlin, Geneva) adds breathless glitz to the sense of danger, and the cinemaphotography rides a wave of Dutch angles.

What Does Not Work As Well: A confusing muddle of chases, assassinations, kidnappings, and undefined shadowy figures erode the plot's credibility. The unsophisticated script lacks coherence, and drags in too many characters including Noel's mother (Lilli Palmer), another son of a Nazi General and his sister (Anthony Edwards and Victoria Tennant), a wheelchair-bound anti-Nazi, an MI5 operative, and countless faceless hitmen. Director John Frankenheimer leaves motivations and explanations hidden for far too long, and the decent ending cannot rescue the fragmented mess.

Key Quote:

Manfredi: The world is full of lunatics shooting each other in the streets.

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Movie Review: Raw Deal (1986)

Genre: Action  

Director: John Irvin  

Starring: Arnold Schwarzenegger, Kathryn Harrold, Sam Wanamaker, Ed Lauter, Robert Davi  

Running Time: 101 minutes  

Synopsis: Small-town Sheriff Mark Kaminski (Arnold Schwarzenegger) was previously booted out of the FBI for excessive brutality. Now goons working for mob leader Patrovita (Sam Wanamaker) kill an informant and several protection officers, including the son of FBI Agent Harry Shannon (Darren McGavin). He vows revenge and recruits Kaminski to infiltrate Patrovita's gang. Kaminski intends to prove his loyalty by disrupting the operation of rival mobster Lamanski, but a highly-placed mole will endanger the covert mission.

What Works Well: Arnold Schwarzenegger's sheer heft and presence adds a base standard of fun, although his acting is wooden and his line delivery stiff. The weapon-happy and over-the-top action scenes are frequent, loud, and sometimes knowingly wacky.

What Does Not Work As Well: This limited-budget Dino De Laurentiis production lacks style and polish, and would be utterly forgettable without Schwarzenegger. The plot is ludicrous, needlessly complex, and cluttered by too many interchangeable mobsters and tough-talking goons. Ed Lauter is a generic cop, Robert Davi is a hissing rival, and Kathryn Harrold is a token love interest with a gambling problem and an agenda. None of them leave any sort of lasting impression.

Key Quote:

Mark Kaminski (to his drunk wife): You should not drink and bake.

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Movie Review: Lady Chatterley's Lover (2022)

Genre: Romance  

Director: Laure de Clermont-Tonnerre  

Starring: Emma Corrin, Jack O'Connell, Joely Richardson  

Running Time: 127 minutes  

Synopsis: In England, Connie Reid (Emma Corrin) marries Sir Clifford Chatterley (Matthew Duckett) just before he heads off to World War I. He returns paralyzed from the waist down and unable to engage in sexual activity. The couple settle at Chatterley's lavish Wragby estate, and Clifford encourages Connie to discreetly get pregnant to produce an heir. When nurse Mrs. Bolton (Joely Richardson) arrives to look after Clifford, Connie is freed to explore her passion, and stumbles upon gamekeeper Oliver Mellors (Jack O'Connell), a war veteran with a broken marriage. Connie and Oliver embark on a torrid affair, with unexpected consequences.

What Works Well: The adaptation of the scandalous 1928 D.H. Lawrence novel is a visually rich romance, drawing beauty from secluded English countryside settings and a sense of wealth and privilege at the Chatterley estate. But loneliness and resentment also reside here, and act as triggers for Lady Chatterley to search for a lustful adventure. The sex scenes are frequent and daring, with Emma Corrin and Jack O'Connell generating heat as a couple from opposite sides of the social divide finding common ground (and almost all the sex takes place on the ground).

What Does Not Work As Well: Away from the sex and nudity, the pacing is languid and borders on sleepy, and the emotional tones are repetitively whiney. The transition from animalistic lust to wholesome love is unconvincing, as the script fails to traverse the canyon between satisfying physical needs and complementing lifelong desires. Side themes related to the residents of the nearby village (dependent on the Chatterley wealth), Clifford's drive to mechanize his coal mines, and his lack of empathy for miners, remain at the fragment level.

Key Quote:

Clifford: I've always cared for you, Connie.

Connie: Yes, cared for me. In the same way you care for your books and for your radio, but never in the ways I need you to.

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Movie Review: Come Back, Little Sheba (1952)

Genre: Drama  

Director: Daniel Mann  

Starring: Burt Lancaster, Shirley Booth, Terry Moore, Richard Jaeckel  

Running Time: 99 minutes  

Synopsis: Middle-aged childless couple Doc and Lola Delaney (Burt Lancaster and Shirley Booth) are stuck in a loveless marriage. He is a chiropractor and recovering alcoholic, while she is frumpy, lonely, and still grieving the disappearance of her dog Sheba. They rent a room in their house to vivacious college art student Marie (Terry Moore), who has a serious boyfriend back home but nevertheless starts flirting with classmate Turk (Richard Jaeckel). Marie's presence stirs up Doc's passion and upsets the household dynamics.

What Works Well: This adaptation of the William Inge stage play is an in-depth, soaked-to-the-soul exploration of loss. Doc and Lola have endured the loss of innocence, a lost child, the loss of her parents' support, the truncation of his career, and his descent into alcoholism. Now her dog's disappearance is a sad postscript residing on top of a cold marriage with a wrecked past and no present. Marie waltzes into this context full of vibrancy and hope, rocking Doc and Lola out of complacency and into emotional and unstable reactions. Director Daniel Mann creates dynamism through searing but understated character interactions, and Shirley Booth excels in translating her stage role to the screen, portraying Lola as a pathetically grating wife clinging to selected memories as a survival mechanism.

What Does Not Work As Well: Burt Lancaster's performance cannot be faulted, but his robust and confident screen persona is misaligned with Doc's fragile psychology.

Key Quote:

Doc: Alcoholics are mostly disappointed men.

Lola: Sure, I know...you was never disappointed, were you, Doc?

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Movie Review: The St. Valentine's Day Massacre (1967)

Genre: Historical Gangster Action  

Director: Roger Corman  

Starring: Jason Robards, George Segal, Ralph Meeker  

Running Time: 100 minutes  

Synopsis: It's 1929, and rival gangs vie for control of the lucrative illegal alcohol trade in Chicago. Al Capone (Jason Robards) is convinced his rival George "Bugs" Moran (Ralph Meeker) cannot be trusted, and flashbacks reveal the history of reprisal attacks between their syndicates. Capone now orders his henchman Jack McGurn (Clint Ritchie) to organize a hit on Moran, who is equally intent on eliminating Capone. The levels of violence increase as St. Valentine's Day approaches. 

What Works Well: Using a narration-heavy docudrama style, the plot is faithful to the known facts leading to the notorious abolition-era bloodbath. Working with a decent budget and for a major studio, director Roger Corman still adheres to an economical no-wasted-scenes ethos, and recreates the late 1920s with crisp sets filled with vintage cars and wardrobes. A drawn-out fight between gangster Peter Gusenberg (George Segal) and his moll (Jean Hale) is a treat, while Bruce Dern and Jack Nicholson appear in small roles.

What Does Not Work As Well: The story is limited in scope to violent gangsters intent on killing other violent gangsters, and boredom sets in early. Every character receives a dry staccato introduction (birth year, birth city, arrest record, marital status, gang role, cause and date of death), but none of them are afforded a soul or emotional depth. Jason Robards chews the scenery in several sputtering over-the-top scenes, while most of the other goons are interchangeable villains in suits. Despite the sparkling aesthetics, the visuals never escape the studio backlot. 

Key Quote:

"Bugs" Moran: I say it's time we put Capone and his bums out of business...for good.

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Movie Review: The Undefeated (1969)

Genre: Western  

Director: Andrew V. McLaglen  
Starring: John Wayne, Rock Hudson, Ben Johnson, Jan-Michael Vincent  
Running Time: 118 minutes  

Synopsis: After the end of the Civil War, Union Colonel John Henry Thomas (John Wayne) resigns from the military and leads his men on a round-up of 3,000 wild horses, intending to sell them to the army. Meanwhile, Confederate Colonel James Langdon (Rock Hudson) embarks on a journey to relocate his family and surviving soldiers to Mexico. Thomas is offered a better price to sell his horses in Mexico, and crosses paths with Langdon. The two former enemies have to cooperate to confront bandits and the murky alliances of an unfolding Mexican revolution.

What Works Well: This is a sturdy if unspectacular Western focusing on post-Civil War reconciliation, John Wayne and Rock Hudson representing the two sides of the conflict and developing a quick but still spiky rapport. The concept is extended to an inter-racial romance featuring Thomas' adopted Cherokee son and Langdon's daughter. Andrew V. McLaglen fills the screen with impressive shots of thousands of horses galloping to Hugo Montenegro's grandiose music score, and the final act surprisingly avoids genre cliches. 

What Does Not Work As Well: At 62-year-old, John Wayne mostly stands to the side and contributes quips and reaction shots. The bad guys are non-descript bandits and imported French troops, robbing the narrative of meaningful antagonists. The middle act is a low energy waiting game with not much plot advancement, and in the context of late 1960s westerns from Peckinpah and Leone, this one is almost quaint.

Key Quote:

James Langdon's sister-in-law Ann: You went out there to talk, why did you have to shoot the man?

John Henry Thomas: Conversation kinda dried up, ma'am.

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Movie Review: Judge Dredd (1995)

Genre: Science Fiction Action Thriller  

Director: Danny Cannon  

Starring: Sylvester Stallone, Armand Assante, Diane Lane, Max von Sydow, Rob Schneider, Jurgen Prochnow  

Running Time: 96 minutes  

Synopsis: In a dystopian future, humanity is packed into megacities to shelter from the devastated Cursed Earth. "Judges" act as police officers, juries, and executioners to try and keep the peace. Fearless Judge Joseph Dredd (Sylvester Stallone) is a protege of Chief Justice Fargo (Max von Sydow), whose rival Judge Griffin (Jurgen Prochnow) advocates for a stricter law-and-order agenda. Dredd is framed for murder, Fargo is sidelined, and Dredd's former partner Rico (Armand Assante) is unleashed to cause mayhem. With help from Judge Hershey (Diane Lane), Dredd has to exonerate himself and uncover a conspiracy involving his own past.

What Works Well: This comic book adaptation is packed full of special effects and quirky humour, and provides a sturdy platform for star Sylvester Stallone to deliver plenty of zingers. The plot is a familiar conflict between the light and dark sides of human aspirations, but never takes itself too seriously. Director Danny Cannon inserts action interludes at regular intervals to maintain momentum, with most of Rob Schneider's comic relief contributions landing just on the right side of the line separating entertaining from annoying.

What Does Not Work As Well: The visual style and star salaries appear to have consumed most of the budget, resulting in a short running time and a sense of muddled expediency. Ideas introduced but truncated include the complex relationship between Dredd and Rico, the rupture between Rico and Griffin, the genetic cloning sub-plot, and the role of Dr. Ilsa Hayden (Joan Chen). What remains is more a highlight reel than any attempt at serious world building or character depth.

Key Quote:

Rico (to Dredd): The only difference between us, Joseph, is you destroyed your life to embrace the law. And l destroyed the law to embrace life.

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