I went in to "Glass" expecting it to be a return to bland, bizarre form for M. Night Shyamalan. The reviews certainly seemed to indicate that. But instead, I was treated to a tense, atmospheric thrill that never dulled or became so bloated by Shyamalan's ego...up to a certain point. The film builds off of what made "Unbreakable" and "Split" so great, these larger-than-life characters, all performed wonderfully by Bruce Willis, James McAvoy and Samuel L. Jackson. It emulates the best of the Marvel movies by giving audience these personalities that beg for our attention, flaunting their egos and superiority at us. Any time these three are working off each other is well, especially between McAvoy and Jackson. However, people probably knew what to expect coming in to a Shyamalan movie, and what we get in the end is disappointing and rushed. But beyond this element that has been satirized to death, "Glass" is still a worthwhile movie for its wonderful performances and pitch-perfect atmosphere.
Final Grade: B-
I think it's safe to say that most films that attempt to deconstruct Hollywood and show its dark side to audiences owe everything to Robert Altman's "The Player," a film about a failing Hollywood studio executive (Tim Robbins) who keeps receiving death threats from someone he wronged a long time ago. While this film boasts one of the largest cast of celebrities ever assemeled, all because every one of these stars wanted to work with Altman, the true star here is the gripping screenplay. What could have been a lackluster thriller turned comedy set in Hollywood instead becomes an examination of Hollywood's own ego and the many moving pieces in that machine and we get to see how each of those pieces tick. From the marvelous opening tracking shot, showcasing a day in the life of this frustrated, bored executive, to the ending that brings everything together, there isn't a single dull moment from this Altman masterpiece.
Final Grade: A
Imagine if the Grinch was a drama critic. Now imagine that same critic broke his hip in your home and he blames you for it, so hedecides to subject you to his company until he is fully healed. This is the tragic comedy of "The Man Who Came to Dinner" - tragic for the family that has to live with this acerbic, angry critic Sheridan Whiteside (Monty Woolley), but a comedy for the audience as he takes every opportunity to throw a thesaurus' worth of insults at the family. This almost feels like a Shakesparian comedy at times, especially through Woolley's performance, practically bathing in the suffering of the family without ever coming across as maniacal. But when you throw in Bette Davis' role as his secreatary with a bite of her own, then you get a masterfully crafted film filled with wit, charm and even suspense.
Final Grade: A-
While the television show is more widely known these days, the movie it is based on, "MASH," should never be overlooked. While the plot is the same as the show and retains that dark comedy edge in the face of certain death, the film is stacked with big name actors, such as Donald Sutherland, Tom Skerritt, Elliott Gould, Robert Duvall, just to name a few. This should come as no surprise from a Robert Altman film, especially since the story is so loose and flows from one skit into the next, much like a television show. While this set up the blue print for the show, the atmosphere of "MASH" delivers by being bold, timeless and above all else, important. One of Robert Altman's best movies and possibly the best war comedy of all time.
Final Grade: A-
I like to think of "Mean Streets" as Martin Scorsese's dress rehearsal for "Goodfellas" - a tale of a young Italian-American in New York that dreams of making a name for himself in the mafia. Like so many of Scorsese's movies, the best part is the vibrant, lively city landscape, where every character feels like they have a life outside of the screen, and "Mean Streets" has all of that in spades. But the best part of this film is Robert De Niro's impressive ability to turn seemingly nothing into the most mesmerizing story you'll hear all day, blowing practically everything out of proportion but doing so with charm and grace that you can't help but hang on every word. A good example of early Scorsese filmmaking, especially for what was to come.
Final Grade: B-
"The Bachelor and the Bobby-Soxer" is both comforting and uncomfortable at the same time. The plot revolves around an artist (Cary Grant) that has this whole town wrapped around his finger until the local judge (Myrna Loy) sentences him to be the boyfriend of her 17-year old sister (Shirley Temple). While the film never crosses any lines, there's just something about Shirley Temple infatuated with Cary Grant that rubs me the wrong way, especially when Temple and Loy are supposed to be sisters. The film is at its best when Myrna Loy's strict, no-nonsense judge starts falling for the free-loving bachelor and the hilarity that ensues. While the ending feels a bit rushed and forced, this is ultimately a harmless screwball comedy.
Final Grade: B
Outside of documentaries, no other film has covered man overcoming the ferocity of nature quite as well as "Jeremiah Johnson." While the pace is deliberately slow, it takes this time to show the majesty and awe of these treacherous mountains and how one man (Robert Redford) conquers them with little more than his wits and determination. As simple as all that sounds, Redford's quiet and powerful performance makes this western surprisingly captivating. From the cinematography and soundtrack alone, you can understand why this loner would want go make a name for himself out in this wilderness. I'd recommend this to anyone who is a fan of nature or westerns, especially offbeat ones.
Final Grade: B+
