Sorry, Wrong Number

Tags

1940's, Anatole Litvak, Ann Richards, Barbara Stanwyck, Burt Lancaster, Ed Begley, Film Noir, Harold Vermilyea, Sorry Wrong Number, Thriller, Wendell Corey, William Conrad

Film Title

Sorry, Wrong Number

Director

Anatole Litvak

Starring

• Barbara Stanwyck as Leona Stevenson
• Burt Lancaster as Henry Stevenson
• Ann Richards as Sally Hunt Lord
• Wendell Corey as Dr. Alexander
• Harold Vermilyea as Waldo Evans
• Ed Begley as James Cotterell
• William Conrad as Morano

A well paced and inventively structured film noir thriller, Sorry, Wrong Number makes fantastic use of its setting and unfolding of dark mystery to form a tight and tense movie. Expanding on a famous radio play yet keeping a certain flair for drama in a limited setting, plus a fine cast headed by Barbara Stanwyck and Burt Lancaster, Sorry, Wrong Number is recommended viewing for noir and thriller fans who will no doubt find it very satisfying.

Leona Stevenson is a demanding, selfish heiress who is largely bed-ridden and when we meet her, alone in her Manhattan apartment. She gets more than she bargained for when she accidentally overhears a phone conversation(thanks to a telephone glitch) between two men, plotting and arranging a woman’s murder that very night. Leona has been trying to reach her husband Henry, who works for her father’s pharmaceutical chain, but hasn’t been able to locate. Panicking over the horrible plot she overhears, she becomes desperate to stop it happening. The fact that she only caught little bits of the conversation doesn’t help when she calls the police, due to a lack of clear evidence. Calling whoever she can think of for attempted help or news on Henry, through various flashbacks, revealing events and machinations fall into place regarding everyone it covers. We see Sally Hunt Lord, who was once romantically linked with Henry, Leona’s Doctor Alexander who holds important information about her, her controlling father James, a chemist named Waldo Evans, a mysterious gangster Morano and of course Henry himself, who we glimpse as feeling emasculated and weak thanks to his overbearing spouse. An underhand and malevolent scheme is also found here, but just how does it link to Leona and the planned murder? Growing more anxious and distressed as pieces slowly come into fruition but still remain confusing, Leona is left to decipher them before it is too late.

Anatole Litvak dials up the suspense with skill, letting the film play out largely in real-time and lets us discover many alarming things without spoon-feeding them to us. His control over ambience is also evident in how the mystery is gradually evinced and how it turns out differently than one might have wondered. Often times in some movies, flashbacks can often feel more than a bit redundant and overused. The same can’t be said of Sorry, Wrong Number, as the dips into the past are crucial to our understanding of the characters and their reasons for actions that may come back in some dark form. Sorry, Wrong Number provides a great exercise in visual style with panoramic and gliding camera shots that take in important details that tell parts of the story in a teasing but imperative way. The characters have a sense of change in them from the flashbacks to present, further giving a level of both distrust and curiosity. There is a heightened paranoia and isolation as Leona is prone to overreacting but thus time is telling the truth and all alone in her apartment. The home is often somewhere we consider safe which is reversed here. Then again, the nefarious and murky atmosphere of outside as the various facets of the puzzle come together is equally as dark. There is no real place of safety, which plays beautifully into the sinister heart of film noir and allows the film to have the feelings of a pitch-black noir. The twists are complex and unexpected, yet only sometimes confusing, thankfully the shocking nature of it all is intact and on display. Drama and genuine menace can be heard in the fine score by the amazing Franz Waxman, who really knew how to ramp up tension and suspense with his music.

Barbara Stanwyck impressively heads the cast as the pampered heiress Leona, whose night is turned into waking hours of terror once she hears the murder plot. Stanwyck strongly gets across the various mood swings and changes from past to present of the character, that are very intriguing to watch. Moving from self-absorbed and entitled to terrified and near mental collapse as everything unravels, Stanwyck covers it all with the assurance of the great pro she was. Her biggest achievement is that she telegraphs that Leona is not just some innocent victim in all of this, but a manipulative and petulant woman who we still feel some form of sympathy for in her time of horror. Burt Lancaster plays with his somewhat tough guy image to find something spineless and tired within husband Henry. While there is darkness to him, we aren’t quite sure to what extent it will emerge, mainly due to the excellence of Lancaster in the part. He may just be misunderstood or possibly to easily lead into something fishy , Lancaster suggests a mixture of both. There is a good ensemble of supporting characters played by great actors, who somehow or another slot into this mystery. Ann Richards is quietly convincing as a former flame of Henry’s, while Wendell Corey supplies us with much knowledge as the doctor. Probably the most sympathetic character is the chemist who is somehow sucked into the dark web of dealings, and played with understated gravitas by Harold Vermilyea. Ed Begley and William Conrad flesh out the other two people who have bearing on the complex story.

A tense and efficient noir, Sorry, Wrong Number is just the ticket for when you want some murky thriller of complex motives, nice performances and atmosphere to watch.

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The Nun’s Story

Tags

1950's, Audrey Hepburn, Beatrice Straight, Colleen Dewhurst, Dean Jagger, Drama, Edith Evans, Fred Zinnemann, Mildred Dunnock, Peggy Ashcroft, Peter Finch, The Nun's Story

Film Title

The Nun’s Story

Director

Fred Zinnemann

Starring

• Audrey Hepburn as Gabrielle van der Mal / Sister Luke
• Peter Finch as Dr. Fortunati
• Edith Evans as Reverend Mother Emmanuel
• Peggy Ashcroft as Mother Mathilde
• Mildred Dunnock as Sister Margharita
• Beatrice Straight as Mother Christophe
• Dean Jagger as Dr. van der Mal
• Colleen Dewhurst as Archangel Gabriel

A beautifully restrained yet quietly revealing look at the struggles of one nun and the personal battle with her spirited nature, The Nun’s Story is impressively moving and evocative in what it accomplishes. It holds your interest in how it delves into the life of a nun and owing to thoughtful direction from Fred Zinnemann and a simply luminous performance from Audrey Hepburn.

Gabrielle van der Mal is a vivacious young Belgian woman from a middle class family in the 1930’s. Her father is a prominent surgeon and Gabrielle hopes to one day be serving in the Congo. We meet her as she enters a Catholic Convent to become a nun. We witness the various facets of extensive training to be a nun over a couple of months, with each challenging Gabrielle more and more with her personal feelings. Eventually, she is made a nun and given the name Sister Luke. Yet she faces disappointments and disillusionment in many duties, and yearns to fulfill her dream of helping in the Congo. Although she distinguishes herself in the medical field, she is not allowed to feel pride for doing so as it is considered selfish rather than selfless. Despite this and spiritual as well as personal conflict, Sister Luke perseveres. She is briefly assigned to assist in a mental hospital, where she is nearly killed by a violently schizophrenic patient. Eventually she is rewarded with an assignment in the Congo, yet finds that she is treating the European patients rather than the natives. She assists the no-nonsense and atheist Dr. Fortunati in surgery, and they develop an at first strained but eventually respectful friendship. Fortunati can see that she is struggling with her religious turmoil and that he believes she is more cut out to be a nurse, rather than a nun. Yet desperate to prove herself, she excels but works herself too hard, contracting tuberculosis in the process. After getting better, she still has many questions about what her true calling is. But as her internal tribulation escalates and World War II nears, Sister Luke must ultimately decide whether she is really cut our to be a nun or whether she should leave.

Fred Zinnemann subtly yet with observant eyes directs this take of the complexities of oneself and the question of religion. His direction isn’t overly flashy but in keeping with the story, beautifully elegant and probing. That isn’t to say that the film isn’t beautifully shot( in fact, the juxtaposition between the cold confines of the convent and the supposed freedom of the Congo are gorgeously envisioned), but the main focus is on the human soul. It’s a drama but not one of overt and histrionic heights; more one of elegantly composed dilemmas and poignant questions. The Nun’s Story is endlessly fascinating in how it explores a world that is unseen by many and only really hinted at in other material. You feel like a fly on the wall watching as Sister Luke undergoes the tests that prove difficult in order to becoming a nun, with all the rituals and ceremonial acts ( the cutting of ones hair, the long periods of silence and shedding of the past) displayed in great detail for us to view. Many films are centred on nuns, but The Nun’s Story, with clear-eyed and objective execution, really finds both a strangeness and uniqueness in how these women dedicate their whole lives to religious servitude. It functions into how it might prove extremely trying for someone spirited and uncertain, like the major dilemma that Sister Luke finds herself in as she attempts to do good, but is ironically halted by her vows. Some movie fans may just believe that a film like this would be boring of just religious propaganda, but nothing could be further from the truth. If anything, The Nun’s Story offers up much food for thought on issues of personal freedom, obedience and the many factions of religion. It doesn’t take sides and favour one thing over the other, resulting in a rewarding and challenging film. And for a film that runs for two and a half hours, it is largely enthralling to watch. A few minor lulls can be forgotten due to the impactful power and grace of The Nun’s Story. Franz Waxman composes a beautiful score that is driven by emotion and soulfulness, that fits with both the revealing personal side of the film and the spiritual context.

One of the best things that The Nuns Story boasts is a touching performance by Audrey Hepburn. With a passion and desire to do well, we understand why Sister Luke would want to be a nun. But on the flip side, we witness her intense battle with adhering to obedience and the rigid vows she must live by, that is imbued with poise and expressive turmoil by Hepburn. Her performance is often one of quiet and thoughtful moments; but one where you can observe all the hardship, longing and fight of a woman attempting to fathom her way in what she wants to be her calling. Such luminous and subtle emotion come through powerfully from Audrey Hepburn in a moving performance that stands as one of her best. While everyone else is ideally cast in their parts, it is Audrey Hepburn you will remember the most for her emotion and clarity. Peter Finch excellently portrays the talented doctor in the Congo, who lends his thoughts to Sister Luke while gaining a new level of respect for her, despite their wide differences. Fleshing out the main supporting cast are a fine group of actresses as nuns of different authorities and temperaments that Sister Luke encounters. There is Edith Evans as the stern Reverend Mother who isn’t above feelings of care, Peggy Ashcroft as the largely content and experienced guide, Mildred Dunnock as one of the nuns who acts as the first teacher and Beatrice Straight as the kindest and most understanding of religious women. All of these actresses, regardless of how long they are on screen for, contribute nicely nuanced work, showing the different aspects of religious faith and devotion. The same excellence is also present with Dean Jagger as the devastated father who wants his daughter to succeed, but knows that she will find the life of a nun turbulent. And not forgetting Colleen Dewhurst, the embodiment of menace when playing a schizophrenic patient at the sanitarium.

Stirring and subtly powerful, The Nun’s Story is a film to treasure for how it deals with the dilemma of ones calling and for what is to me, one of Audrey Hepburn’s greatest performances.

Poison Ivy

Tags

1990's, Cheryl Ladd, Drama, Drew Barrymore, Erotic Thriller, Katt Shea, Poison Ivy, Sara Gilbert, Tom Skerritt

Film Title

Poison Ivy

Director

Katt Shea

Starring

• Drew Barrymore as Ivy
• Sara Gilbert as Sylvie Cooper
• Tom Skerritt as Darryl Cooper
• Cheryl Ladd as Georgie Cooper

A steamy and sinister erotic-thriller/drama, Poison Ivy is not the best of its kind, but is raised up a few notches by the presence of a seductive Drew Barrymore and a better than expected story. It can’t quite escape the B-movie trappings, but has enough things to bring it to a level of credit, no matter how flawed.

Sylvie Cooper is a wise cracking loner, who has a fractured relationship with both her parents and finds any way to push the boundaries with them. She most wants someone to spend time with who understands her personality. Her wish is seemingly granted when she meets Ivy; an entrancing blonde with a wild way about her. The alluring Ivy is at the school on a scholarship and hasn’t come from the happiest background. Both somewhat loners, Sylvie and Ivy bond and form a friendship. Sylvie invites Ivy to stay over in her large house, which becomes something of a permanent thing. Ivy loves spending time at Sylvie’s house and the security she believes it has. Ironically, Sylvie enjoys Ivy’s company because she is different and wild. Sylvie’s mother Georgie is dying of emphysema, while her dad Darryl is a worn out television presenter whose seen better days. Both parents take a liking to the vivacious Ivy; Georgie sees something of herself in the young, rebellious girl, while Darryl begins to develop salacious feelings for her, brought on by Ivy’s come hither wiles. Yet just being with family is not enough for Ivy, she wants to actually be a part of it. And through manipulative ways such as impressively seducing Darryl and charming Georgie, she sets her sights on her goal and raises her dark campaign insidiously. Sylvie grows suspicious of Ivy and her motives, but as she’s probably the only friend she has, clings to the only person she’s ever really related to in life. Soon Ivy’s plan gathers momentum and threatens to destroy Sylvie and her mother, in the hopes of gaining the family she never had and being in control.

Katt Shea has a stylish approach to the often lurid source material, yet finds other areas of character attention that are unexpected. There is a definitely a thriller element to Poison Ivy, similar to other films of the time that involved a home being engulfed by the pernicious influence of an outsider. While that is there, a drama is mainly prevalent in quite a lot of the movie, raising it up a few bars on the level of appreciation. A gorgeous lighting scheme contributes greatly to the mood at hand, one of darkness and sexuality in hues of moody blue and slithering gold. If there is anything you can’t deny about Poison Ivy( even though it is far from amazing) it’s that it turns up the heat without quite becoming x-rated. I mean just take the scene where Ivy seduces Darryl on the hood of his car as rain pours down. It’s sexy stuff that feels steamy yet not overly tawdry. As risible and melodramatic as some of the script gets, it is compensated for by the aura and attention its two protagonists. Both Sylvie and Ivy have their own issues and feelings of alienation to different degrees, which makes both relatable, even when Ivy’s darkness reveals itself. They are both mixed up so it isn’t really a surprise that they find some common ground, until obsession and a desire to usurp corrupts everything. I could have done with Poison Ivy being a bit longer than it’s relatively short running time. It did feel more than a tad rushed at various instances, with events lunging out rather than unfolding. Expansion may have been necessary to the film, yet for what it is, it does it with some style. A generously sinister music score of strings and saxophone is sultry and mysterious, much like the eponymous bad girl who takes centre stage.

The biggest asset to Poison Ivy is Drew Barrymore in the title role. At the time of the film, Barrymore was returning to acting after a much publicized battle with drugs and alcohol . Still aged only 17 and now clean, she managed to rebound thanks to this film and others that followed, paving the way for the bankable star we have today. Drew Barrymore really plays the seductive but not entirely unsympathetic Ivy excellently well; displaying an agreeable charm, hidden menace and touches of yearning. You genuinely buy the seemingly good girl/disturbed vixen act that Ivy has as it is so convincing, yet as played by Barrymore, the Lolita sex appeal comes out and a feeling of being mixed up and abandoned is ever-present. Ivy may be sinister and extremely manipulative in her actions, but she isn’t quite a one-dimensional monster. This is down to Barrymore, whose contradictions of allure, amiability and childlike craving are ideal for this part. Sara Gilbert is also solid in conveying awkwardness, snarky cynicism and a pang of alienation. Her playing of Sylvie as wanting to belong is another part of the film that keeps it from being just another trashy erotic film, mainly because it feels very natural and unaffected. Tom Skerritt and Cheryl Ladd are cast in the supporting parts of Sylvie’s unsuspecting parents, whose lives are wrecked by the consequences of Ivy’s actions . While neither role requires much of a dramatic stretch, both stars bring their game to the roles of philandering husband and dying, embittered mother.

A flawed movie but one with sufficient good areas( notably Barrymore and Gilbert), Poison Ivy is a cut above some erotic movies

Which Child Stars Who Went On To Adult Stardom Are Your Favourites?

Tags

Adult Stardom, Child Stars

It’s often said that child stars can go either way. They either go onto adult stardom or go down the route of self-destruction. Sometimes it can be a mix of the two, yet many can make it to adulthood notice successfully. But which of them that went on to adult stardom is your favourite? There are many to name, so here’s so examples that I would choose.

 

 

 

 

The Poseidon Adventure

Tags

1970's, Carol Lynley, Disaster Film, Eric Shea, Ernest Borgnine, Gene Hackman, Irwin Allen, Jack Albertson, Leslie Nielsen, Pamela Sue Martin, Red Buttons, Roddy McDowall, Ronald Neame, Shelley Winters, Stella Stevens, The Poseidon Adventure

Film Title

The Poseidon Adventure

Director

Ronald Neame

Starring

• Gene Hackman as Reverend Frank Scott
• Ernest Borgnine as Mike Rogo
• Red Buttons as James
• Stella Stevens as Linda Rogo
• Shelley Winters as Belle Rosen
• Jack Albertson as Manny Rosen
• Roddy McDowall as Acres
• Eric Shea as Robin Shelby
• Pamela Sue Martin as Susan Shelby
• Carol Lynley as Nonnie
• Leslie Nielsen as The Captain

A memorable example of the 70’s disaster movie, The Poseidon Adventure retains its suspense and danger with an all-star cast as the survivors of an overturned ocean liner   attempt to reach safety.

The S.S. Poseidon is a large ship that is making its way from New York to Athens, on what is believed to be its final voyage. The Captain of the ship is concerned about the fact that it’s carrying to heavy a load and knows that if anything where to go wrong while at sea, the ship would turn into a disaster. The new owners however don’t want to hear this and through blackmail forces the ship onward, heading towards a damaging fate. We are then introduced to the principal characters of the piece. Impassioned but unorthodox Reverend Frank Scott is being sent to a different parish for his views, which are mainly that he believes actions are how best to serve God, as opposed to prayer. Growling Detective Mike Rogo and his younger wife Linda, who he rescued from a life of prostitution. Lonely bachelor James Martin, who needs someone to take care of and fill the void of solitude. Middle aged Jewish and long married couple Belle and Manny Rosen, who are travelling to see their young Grandson for the first time. The observant waiter Acres who frequents the resident dining room. Teenager Susan Shelby and her younger, inquisitive brother Robin are travelling back to see their parents. And rounding out things is vulnerable lounge singer Nonnie. The spirit of New Year is in full swing for everyone, in an ironic twist of fate, disaster will soon be at hand. Just as everyone is welcoming in the New Year, a massive tidal wave strikes the ship causing it to capsize. With the Captain and main crew dead, panic sets in as the ship is now upside down. Scott has the right idea and persuades the aforementioned main characters to follow him to what he hopes is safety. Others stay behind believing they will be rescued in time, but Scott is not one to sit around and takes it upon himself to be leader of this band that agree to follow him. The mismatched group of survivors, lead by firebrand Reverend Scott, must now navigate their way through a labyrinth of hazardous corridors, flooded compartments and dangerous events if they are to have any hope of making it out of there alive.

Ronald Neame is in the director’s chair and his flair for drama is evident by how he gets some emotional chapters in among the action, with the characters you sympathise with more than others. Neame is the director and a very astute choice, but the biggest vision comes from the ambitious Irwin Allen, who became something of a pioneering producer with the cycle of well designed obstacle course that is as unpredictable as it is dangerous. The sets, specifically considering that everything is turned on its head, are crafted with immense skill and passion. And if you’re talking about set pieces that stuck in the memory, The Poseidon Adventure is fit to bursting. The first is when the tidal wave hits, which definitely sets the ball rolling and is followed by the survivors using a large Christmas tree on the first step to hopeful safety. Another memorable set piece is when the group must swim for a long period of time through a multitude of chambers to reach the next destination, which involves each holding their breath for longer than expected. There is genuine tension here and seeing when Scott becomes stuck and tenacious(despite her advancing years) swims to rescue him is pretty exhilarating to watch. While some of it creaks in the beginning, the main thing you go into movies like this for is the effects and excitement of it all. And while yes some of the characters aren’t that interesting, there are some parts and various characters that give off a real poignancy. There are some lulls in the action and the opening is a little slow, but once that wave hits, it’s a thrill a minute spectacle. With the production design, the direction of and the grandeur vision of producer Irwin Allen, The Poseidon Adventure definitely delivers on its title in terms of what it presents and the often tense but always engaging struggle for survival from the ragtag group. And as it isn’t an overly CGI fest, because that kind of technology wasn’t even around much at the time, the dangers and perils of the journey are rendered with a bit more grit than the average disaster epic. You can feel the arduous task that lies ahead of them as they attempted to reach the bottom of the hip, which is now ironically the top. Visual effects like explosions and if course the destructive tidal wave are used, but it’s the way that they are employed that ensure it doesn’t feel fake or patchy in the long run. Instead, full on adventure and excitement are the name of the game here and the effects that are used seamlessly give life to the perilous fight for survival. John Williams, one of my favourite film composers, gives a stirring sweep to the adventure at hand, while also pausing for some very moving moments.

A pretty talented ensemble cast play the remaining survivors of the disaster, with many game for the adventure and drama. Heading the cast is the ever excellent Gene Hackman as the passionate Reverend Scott; all unorthodox and unbridled determination and sense of leadership once the tragedy occurs. His ideas are dangerous but necessary as a man of action, as he figures out getting out alive is not going to be a piece of cake. Yet at the same time, Hackman imbues Scott with a potent care for the other survivors and how he really does think with faith, they can pull through instead of sitting around to die. It’s safe to say Hackman gives it his all as a religious man with different ideas, who keeps pushing on for the sake of others, even when faced with a seemingly impossible task. Ernest Borgnine is on typically imposing and bull-dog like form as the oppositional police detective, with a sense of authority that he feels threatened by Scott. A bruised sense of optimism comes courtesy of the delightful Red Buttons, who somehow tries to make the best of this dire situations with his sympathetic care. Stella Stevens has a lot of brassy and brash behaviour on show, playing the former good time girl making her way in a new lifestyle. Shelley Winters nicely plays the older Belle, whose gutsy gumption, sense of humour in crisis and selfless personality are balanced beautifully. The part requires Winters to show off considerable endurance, especially during the famous swimming rescue scene, a challenge the veteran actress rises to admirably as well as emotionally. Jack Albertson plays classily off Winters as her husband; there’s a simplicity and quiet certainty shared between them that is very special and sensitively handled. Roddy McDowall lends his talents to the proceedings well, while young Eric Shea is clearly having fun as the little boy whose interest in ships comes to be invaluable in the situations everyone is caught up in. The only two flaws in the cast are Pamela Sue Martin and Carol Lynley, who both come off as irritatingly whiny in the long run. There is a good cameo from Leslie Nielsen as the ill-fated captain of the vessel.

Thrilling and exciting, and not forgetting huge in terms of sheer spectacle, The Poseidon Adventure is the go to movie for an exhilarating example of a disaster flick that helped kick-start the boom in the genre.

Party of Five Season 3

Tags

1990's, Alexondra Lee, Jennifer Love Hewitt, Jeremy London, Lacey Chabert, Matthew Fox, Neve Campbell, Party of Five, Party of Five Season 3, Paula Devicq, Scott Wolf

We return to the dramas of the Salinger family in Party of Five Season 3 . With more strife and issues at play than ever before, Season 3 is probably the best season so far, due to the astonishing maturity and how it isn’t afraid to grapple with weighty and dark subject matter. Be aware, spoilers may follow in this review.

Bailey(Scott Wolf) has graduated high school and is heading to college nearby. The thing is he’s feeling lousy and worthless as his best friend Will is leaving for a better college. Also present are the latent feelings of being inadequate over opportunities he’s had to sacrifice, like using his money to pay for tuition to save the restaurant at the end of Season 2 and having to settle for a college closer to home. He moves into a dorm and meets free-spirited Callie(Alexondra Lee), who he impulsively sleeps with and deals with his own shortcomings. After dutiful girlfriend Sarah(Jennifer Love Hewitt) learns of this and saddened by is increasingly erratic behaviour, she breaks up with him. All of this spills into a dependence on alcohol that amounts to dangerous levels. Charlie(Matthew Fox) and Kirsten(Paula Devicq) are finally making another go of things and it looks pretty rosy for once. That is halted when it is revealed that Kirsten has manic depression which started after the botched wedding several months back. It comes to the surface when her dissertation reveals that she copied work from somewhere else, resulting in her losing her prized job and PhD that she worked hard for. She starts to slip worryingly into the wraps of depression and out of control as an unprepared Charlie flounders. Eventually, Kirsten’s parents arrive and after a tug of war with Charlie, she is taken away psychiatric help. This leaves Charlie deeply saddened and lost, though he finds some companionship in a social worker called Grace. Still it’s Kirsten that Charlie wants most of all. Julia’s(Neve Campbell) love life and future are in doubt, with Griffin(Jeremy London) bailing again(before returning late in the game with a more positive and driven attitude). With high school soon to be over, Julia reconsiders going to college and living up to the label of always by the bookish one in favour of something different. The only thing is she doesn’t know what to do, after being so well so for so long academically. Claudia(Lacey Chabert) begins to feel left out of things and as the family is at loggerheads, she tries to bring them back together( for the sake of youngest brother Owen who as a toddler needs looking after) even though it shouldn’t be her responsibility. All of these events combine and threaten to tear the once close family completely apart.

As I’ve covered in the past when discussing Party of Five, it is a show that works on the emotions well. Yet it doesn’t feel contrived or overly manipulative because of the clarity of writing and content. Season 3 is no exception, albeit that is traverses darker territory than before. The Kirsten depression story line is honest and heart wrenching to watch as she slips into darkness and is eventually taken away for help, which devastates Charlie. It’s sad because Charlie wants to deal with it himself but is clearly out of his depth, despite the fact that he wants to help. If you don’t shed tears when Kirsten is taken away for treatment, you clearly need to examine yourself.

And big praise should be extended to the dealing with of Bailey’s drinking arc; which gradually begins to unravel, as opposed to all at once. The fact that time is taken to establish the slope that Bailey goes down through one drink here and a knock that influences a binge there, is exemplary and believable in how it tackles the insidious effects of alcoholism. A massive wallop and clout comes through in Season 3, with Bailey’s story the most dramatically and challenging one. Take for example ‘The Intervention’, which for my money is the standout episode of not just this season, but so far the show. the family, along with Sarah and Grace, confront Bailey and attempt to make him realise his destructiveness and drink problem. A real gut punch is present as everything comes spilling out with the strained family trying to save one of their own, but who may be beyond the point of rescuing. Things don’t go as you think they might in this heartbreaking episode that feels like a stage play, through the enclosed setting that scarcely leaves the house and the sheer intensity of the piece. Trust me, this episode will emotionally exhaust you with how deeply it pierces and how it doesn’t take the easy way out. And what follows as Bailey endangers Sarah makes for equally soulful and shattering viewing.

All in all, Season 3 darkest and most mature season so far. It starts slightly slow and some of the sub plots don’t quite add much at first, but gets into the groove of things quickly and with a sensitivity that’s been its chief asset. it still retains some of the earnest humour it has always had, but Season 3 is by far the most emotionally and bleak series so far and all the better for that. By the far the biggest theme that permeates from Season 3 is change. Whether it be Bailey’s spiral to Charlie’s growing backbone and Claudia’s reluctant maturity, transformation and challenging growth are the name of the game. Heck, even slacker Griffin returns and adopts a more positive and hopeful attitude than his usual

Scott Wolf delivers his most impressive performance so far as Bailey, who goes from the fun yet mainly responsible sibling to pathetic and angry drunk in devastating fashion. He honestly conveys the descent and feeling of being worthless that Bailey feels, as he’s always been the one to help but never really thought of himself. The boiling frustration reaches a maximum when his drinking spins out of control and Wolf’s tragic and heartbreaking performance only adds to the dramatic intensity. Matthew Fox turns in a sympathetic portrayal if Charlie, who is finally getting to be responsible after so long being anything but. Fox finds a genuine care in Charlie, that despite his stubbornness and less than ideal sense of support in the past, is still very apparent as he fights to keep the family in one piece. Neve Campbell hits the effective beats of capricious and mixed up emotions excellently, showing Julia as wanting to change and feel some form of release. After being the studious sibling for a long, she wants to let her hair down and live in the moment. Lacey Chabert as Claudia grows up quicker and assume some control, albeit of the reluctant kind that any young kid shouldn’t have to deal with. It’s something that weighs heavy on Claudia and Lacey Chabert is heartbreaking and strikingly precocious in how she presents the unwanted responsibility that Claudia must take on to preserve her family. And damn if she isn’t emotionally convincing when the drama hits. Appearing largely in the first half of the season and making a big emotional impact is Paula Devicq playing the depressed Kirsten. Trust me when I say she inhabits that crippling impact of the condition with moving clarity and pain, that it doesn’t even feel like she’s acting sometimes. Genuine decency and a capacity for forgiveness can be difficult to portray without becoming parody, but Jennifer Love Hewitt beautifully finds a convincing way to do it as supportive Sarah. Even though Bailey hurts her, she still wants to help him as she knows there is good underneath his drunken state. Alexondra Lee successfully appears as the free-living Callie, who isn’t as uninhibited as she makes out and grows weary of Bailey’s drinking. Jeremy London finally gets to be a bit more than scowling and handsome, finding a desire within Griffin to finally make something of life and not just be a lay about.

A dark and dramatic third season, Party of Five is at the top of its game with powerful acting and genuine heft. This allows it to be the best season so far.

What are Your Favourites Movies Set in a Warm Climate?

Tags

Warm Climate

With the weather where I am roasting, I decided to ask about movies set in hot and humid times and places. Warmth and sunshine can be used for any number of genres for many reasons. It can signify romances, anger and even a bit of summer fun. So which movies set in heated places and times stand out to you? Believe me, there are a lot to take notice of.

Why Movies are So Important to Me

Tags

Importance of Movies

Movies are something I can’t imagine living without. They are so ingrained in me that they are almost lifeblood. OK, so that may be a bit of hyperbole, but still movies are special to me and always will be. This post is a very personal one for me to write because of how significant cinema is to me.

I can’t tell you when it was, but moving images have fascinated me for so long. There is a sort of magic to film that is difficult to articulate. It’s an immersive experience that can’t be rivaled and one that never gets old. Since I knew of cinema, my heart was pierced by its arrow into what is a fully fledged love.

There are many people I have to thank for their cinematic input in my life.

The first are my parents. My dad’s taste usually revolves around crime thrillers and true gangster movies( which was eye-opening as a kid when I’d sneakily catch moments I was too young for.) My mum has probably the most varied taste; she’s the only person I know who adores quaint period pieces and then in the next breath often brutal and psychological horror. I mean, it was my mother who introduced me to the Alien movies. These disparate tastes with both of my folks continues to impress and guide me in my cinematic adventures, even if their picks are varied to say the least. Id rather have my parents have unusual taste in movies than not, and if it weren’t for them, some of my love for cinema might not have formulated into what it is now. My younger brother too deserves a shout out for his science fiction and fantasy based preferences which had me knowing most of the dialogue from Star Wars and Jurassic Park as a kid.

Then there is my late Grandpa, who opened my eyes to the possibilities of cinema. He taught me the valuable lesson that newer movies aren’t always the best, and often the older a film is, the more excellent and influential it can be. He introduced me to many classics, he was a big lover of the sweeping Hollywood epic and old horror movies. I owe him a lot and though he is no longer with us, his influence on me is still potent. He was a truly amazing Grandpa.

Now onto my college teacher Mr. Albert. As a student of film, he had a vast knowledge of it and what he gave me was even more love for the cinematic arts than ever. He always got me to broaden my horizons and search out underrated movies, while teaching me the importance of behind the scenes work. His motto was looking outside the box is the key.

And finally, all of you wonderful bloggers out there continue to influence my movie watching. I couldn’t have asked for better people to follow me and make such cool recommendations on movies. Your support is a beautiful thing.

A so concludes my love letter to cinema.

 

Posts You Should Check Out Part 6

Tags

Posts You Should Check Out

It has been ages since my last one of these, but I’m back to spread the love once more.

The fantastic Steven wrote a sterling review of Wonder Woman that has me stoked for the movie.

Meg began a very spooky and atmospheric tale entitled The Neighbor, which will give you chills.

I hope to do more of these posts now that I’m back in the groove of things

Matilda

Tags

1990's, Danny DeVito, Embeth Davidtz, Fantasy, Mara Wilson, Matilda, Pam Ferris, Rhea Perlman, Roald Dahl

Film Title

Matilda

Director

Danny DeVito

Starring

• Mara Wilson as Matilda Wormwood
• Danny DeVito as Harry Wormwood
• Rhea Perlman as Zinnia Wormwood
• Embeth Davidtz as Miss Honey
• Pam Ferris as Miss Trunchbull

A glorious fantasy of a young girl discovering her talent for turning the tables on the unfair grown-ups in life, Matilda gets the right amount of dark humour and inspiring fun of kids taking control that Roald Dahl had in his book. This review will most likely be biased as I adored this movie growing up, but that’s why it’s perfect to review.

Matilda Wormwood somewhat stands out from her unappreciative and neglectful parents. Being a very bright girl with knowledge far beyond her tender six years, she craves learning and understanding. Unfortunately, she is cursed by a family of barbarians who don’t care about her; crooked father Harry, shallow mother Zinnia and utterly bratty brother Michael. They are addicted to television and their own selfishness to not notice the precocious daughter they have, leaving her to find company in books and knowledge from around the age of two. Out of anything, Matilda definitely wants to go to school. Yet upon finally attending school, she realises the unfairness of those older doesn’t just end at home. The principal Miss Trunchbull, is a monstrous bully who brutally keeps children in check with force, abuse and terror. Thankfully for bright Matilda, she meets the inspiring and lovely teacher Miss Honey, who understands her and treats her fairly unlike every other adult Matilda has encountered thus far. With Miss Honey in her corner and becoming something of a surrogate mother, Matilda blossoms. Yet Miss Trunchbull is having none of her spirited nature and takes it upon herself to especially humiliate Matilda. But lately, the wise and precocious girl has discovered that she possesses certain supernatural abilities that come into practice when she’s belittled or challenged by nasty adults. Soon, she finds a way to harness these powers to turn the tables on Trunchbull and her parents once and for all.

Danny DeVito utilities a sprightly and darkly mesmerising touch to the film, having a wide range of unusual angles place us in the position of children. Everything is rendered intimidating and strange by DeVito, which ties in with the story as it reaches magic levels of Matilda finally standing up for herself. this fun for kids to see a young person growing and getting her own back on those that have mistreated her and equally as entertaining for grown-ups to observe the gleefully dark and not sugar-coated content, which is faithful to the spirited imagination of Roald Dahl. While it deals with the feeling from children that adults don’t understand or respect them, Matilda fantastically exaggerates this(in keeping with the twisted fable from Dahl) which is satisfying and fits into a story of self-worth and having the power to manage some control and decision. I mean who wouldn’t want to get revenge on a bullying headmistress whose hobbies include throwing children over the garden fence for wearing pigtails, forcing them to gorge on an impossible cake or locking them in a nail filled cupboard known as The Chokey?. It’s the very oddball essence of Matilda that makes it such a good film; it often goes in different directions than you’d think for a film aimed at children and is very mature in passages. Matilda has humour, some frightening moments(make that all that involve the harridan of Trunchbull) and heart, best envisaged by the sparky and gifted protagonist whose powers lead to amusing and revenge filled mischief of the best kind. As I previously referenced, I had a big love if this movie as a kid. Visiting it as someone older, it still retained the kooky charm which I fondly remembered. A spirited score is just the ticket for the madcap content of Matilda, with unpredictable rhythms and puckish movements.

Mara Wilson is sublime as the special title character, whose vast intellect and power cause her to emerge as a likable lead and mature presence. Despite her tentative years, Wilson beautifully gets across Matilda’s love of learning, the wanting for someone understand her and her helpful and plucky personality that comes into play in nice fashion. I really can’t think of another person except Mara Wilson playing the role of Matilda so well and with such spirit. Danny DeVito also stars as Matilda’s low life father, with oily charm and rat like sneakiness. Complimenting him is his real life wife Rhea Perlman who is fabulously trashy as the bingo obsessed mother. Embeth Davidtz successfully makes Miss Honey a beacon of hope, yet never slips into overly saintly, due to a feeling of buried strength and having experienced the hardships of life. Yet the best performance in Matilda is the one given by Pam Ferris as the nasty Trunchbull. Ferris sinks her teeth into the part and brings it to furious and villainous life; making for a terrifying antagonist that everyone would fear if they were in her presence. There is a gleeful horror to Miss Trunchbull that Ferris plays to perfectly, ensuring that you really hate this woman and hope she gets some form of poetic justice at the hands of Matilda and her growing magical powers.

A fun and enjoyable not afraid to be dark and unusual, Matilda is a magical movie about how we can all be special and find a power within ourselves in life.