Tail_End_Charlie Reviews

Mary Queen of Scots (2018)

Not Fully Enthused, But it Has Some Good Elements

[11 February 2019]

While I cannot highly recommend this film, it does have it's strengths: a very fine cast, enriching music, lush set design, and gorgeous costumes. For me, the beautiful land of England and Scotland was a character unto itself. Other reviewers have pointed out several historical inaccuracies, and I would agree. One lovely scene which appealed to the viewer's empathy about the complexities of women actually never occurred in history. In some scenes, the writing was poignant and telling, but other scenarios were drawn out.

I felt the makeup for Robbie (as Queen Elizabeth) was rigorously good... her nose appeared real. On a minor tech note, Mary actually had hazel brown eyes, rather than blue, and contact lenses would have made her appearance more accurate. That said, I did like the very natural makeup for this character.

Life Itself (2018)

Meddlesome Narration and Predictabilty Will Turn Away Some Viewers

[31 January 2019]

Conceptually, this film explores a current trend (connections between disparate people). The cast is quite apt, particularly Issac, who was gifted with a substantial role. Banderas brings insightful subtly to his portrayal.

But something happened with the patchy writing and the ridiculous narration. I'm not complaining about the frequency of the narrator. I'm speaking to the overwrought editorial approach, while donning a wistful philosophical mask. The final portion of this film was anticlimatic and predictable. While I won't discourage viewers from seeing this, I can't enthusiastically recommend it.

The King (II) (2017)

Snappy Editing, Alongside a Bowl of Political Agenda

[29 January 2019]

Late one night, I came upon this little ditty on PBS, as the moon was about say adios. To echo what others have said, this film has an abundance of nice images, and it welcomes a plethora of comments from those who respected, love, and even pitied Elvis. There are some poignant moments from those who were close up to the King. One of the most touching moments comes when a contemporary musician feels such empathy for Elvis, that he can't help but shed painful tears.

As "GORTX" (and other reviewers) have wisely pointed out, the director felt compelled to connect some dots in a bit of a reckless way... particularly when he compares the dynamics of Elvis with today's political climate and the American Dream. When he does this, it somehow minimizes certain parts of the singer's dramatic narrative.

You'll will find some good stuff here, even if you think the political references are not justified. Try to absorb the lively rhythm and zesty imagery. Elvis had an easy charm and a distinct voice. His face was unusually striking. While his physicality might seem superficial, his looks served him well, and propelled his fame to a deeper level.

American Crime Story (2016– )

American Crime Story: Assassination of Gianni Versace - What a Frightening Ride

[14 January 2019]

I appreciated this 2018 season of American Crime Story more than anticipated. The writing supercedes most other series, because the writers doggedly escavate the background of each lead character. And what they reveal is fascinating. The story carries on at a nice pace, and thankfully it is absent of the redundancy which most series are plagued with. The direction, production design, and editing were also well done.

Darren Criss was quite convincing in the lead -- in fact, he was scary-good. This year, I'm happy to discover his fine work, along with Richard Madden (starred in another series, "Bodyguard") -- both are attractive in a typical way, which can limit the viewer's perceptions of their range... but they both blew it out of the water. Criss is deservedly winning various awards.

The rest of the Versace cast is quite committed, yet I felt the role of Donatella could have gone to someone like Lady Gaga (3/4 Italian). She is blessed with ample passion and vocal prowess -- I'm sure if she spoke (English) with an Italian accent, it would have been thoroughly convincing. Penelope tried her hardest, but I found that her natural Spanish accent was distracting.

American Crime Story: The Man Who Would Be Vogue (2018) Season 2, Episode 1

American Crime Story: Assassination of Gianni Versace - What a Frightening Ride

[14 January 2019]

I appreciated this season of American Crime Story more than anticipated. The writing supercedes most other series, because the writers doggedly escavate the background of each lead character. And what they reveal is fascinating. The story carries on at a nice pace, and thankfully it is absent of the redundancy which most series are plagued with. The direction, production design, and editing were also well done.

The only warning I would give: if you avoid series which reflect true-to-life violence, then take pause.

Darren Criss was quite convincing in the lead -- in fact, he was scary-good. This year, I'm happy to discover his fine work, along with Richard Madden (starred in another series, "Bodyguard") -- both are quite attractive in a typical way, and this can limit the viewer's perceptions of their range... but they both blew it out of the water. Criss is deservedly winning various awards.

The rest of the Versace cast is quite committed, yet I felt the role of Donatella should have gone to someone like Lady Gaga (who is 3/4 Italian). She is blessed with such passion and a vocal prowess, that I am sure if she spoke (English) with an Italian accent, it would have been thoroughly convincing. Penelope tried her hardest, but I did not buy it, and her Spanish accent was distracting.

All Is True (2018)

Pensive, Poignant, Satisfying

[9 January 2019]

I appreciated this thoughtful film, and Branagh did a marvelous job helming it while also portraying Shakespeare. Another reviewer scoffed at the historical inaccuracy due to the real-life age difference between Branagh and Dench. This chronology was not distracting to me, because both actors gave convincing portrayals. Costumes and set design were outstanding. The gorgeous English countryside stood in as another character, of sorts. During the pre-release screening (USA), the director revealed a fascinating fact: several of the interior scenes were lit by candles, absent of any set lights. I was taken by Branagh's passionate and studied approach to Shakespeare, and this film is a fine example.

Bohemian Rhapsody (2018)

Inspirational - These Songs Still Soar, After all these Years

[9 January 2019]

The cast is wonderful, and the writing is crisp. What really stood out for me were the plethora of songs included in the film, and the entire cast appeared convincing as they delivered the Queen soundtracks. Malek gave an outstanding, sensitive portrayal.

Atlanta (2016–2022)

Atlanta (Season 2) - Wonderful Cast, Solid Writing

[9 January 2019]

This series manages to be entertaining and meaningful. One of it's strongest qualities is how it riffs on life's absurdities. The casting is spot-on. Several episodes this season were quite poignant -- the scenarios reflected empathetic themes, and many viewers will be able to connect.

Genius (2017– )

Fascinating Ideas - Genius: Picasso

[25 December 2018]

An all-around good cast, with brilliant production design and costuming. The story was fairly good, but is somewhat predictable in how it depends on revealing well-worn cliches about struggling artists. This project would have been quite challenging to make--he lived a long time, and experienced a lot. I liked the ideas discussed in this series, and the fascinating historical references, illuminated by various characters.

I especially liked Knight in his role as the tormented Jacob, and Poésy was wonderful as Gilot... her understated portrayal was convincing. I have mixed feelings about Banderas in the lead, although he was clearly committed. Perhaps Diego Luna would have had a different take (a quieter intensity) if he had been cast, and he resembles Picasso a bit.

I generally don't complain about makeup, but when this film featured Picasso in his final years, his appearance did not look genuine, and it was distracting... a heavily made-up face decorated with lumps just does not do it. The real-life Picasso actually aged fairly well.

Green Book (2018)

Did the Filmmakers take a Short-Cut in Telling this Story?

[20 December 2018]

This film has some entertaining moments. It touched upon some important points, and the overall tone is fairly light. The production design and music are both outstanding in this film.

Here's what is disappointing: it seems that the Director and writers did not do due dilligence to make sure it would be a fairly accurate representation of Don Shirley. Recently, there have been complaints issued by several members of Shirley's family. They were not contacted for their contribution or their approval. Because Shirley was a private man, there are certain unknowns about his relationships. To go further, there seems to be strikingly different views on the relationship between Don Shirley and Tony "Lip" --- was their bond of friendship genuine, as the film presents? Or did this film take measures to pump-up-the-volume, to serve it's own interests? Others viewers might ask: why would a director or writer proceed with a project without making sincere efforts to communicate with surviving members of Shirley's family?

Lovely cast, although Mortensen (an outstanding actor) gave a over-the-top (sometimes cartoonish) delivery of a Bronx tough-guy with a soft heart. Mahershala (another very apt actor) was fully committed, but after seeing an online video of the "REAL Don Shirley", I have to wonder if Ali researched the persona of Shirley. The actor recently offered an apology to Shirley's family members, but if this project had been vetted out, some of these mishaps could have been avoided.

The Stranger (1946)

Worthwhile Film Noir, from Welles

[9 December 2018]

While I can't say this is one of my favorite Welles films, it was certainly worthwhile. Interesting casting choices, and I really liked Robinson and Young in their roles. The cinematography (gorgeous shadows) was helmed by the masterful Russell Metty, who had a mere 172 credits to his name.

There were a handful of moments which were fairly predictable, melodramatic, and unintentionally humorous. That said, the plot contained several quick turns and surprises. The writers did well to have several of the co-stars shine... I got a kick out of Billy House, who portrayed Mr. Potter.

While Welles committed to his role, I did not totally believe him in this persona. The music was a mixed bag, burdened by a heavy-handed volume, and stripped of nuance. Lastly, it seems somewhat daring to have done this film, shortly after the end of the Second World War.

Bodyguard (2018)

Standout Cast, Crisply Written

[9 December 2018]

I appreciated this well-written, riveting story. It's refreshing to see an intriguing story expressed in less than 8 episodes. The cast is marvelous, and the writer did well to give each co-star some of the limelight. I am hoping for a 2nd Season.

I had never seen Madden in a significant role (his perfunctory role in Cinderella got the short-shrift by the writers), and I am duly impressed with his chops. About a month after my review, Madden was awarded the Golden Globe for lead actor, and it is well deserved.

The music was taut, riveting, and similar in approach to "Mr. Robot" and "Homecoming". There was a significant amount of suspense throughout, but the final episode felt rushed, and the story ends on a typical note.

Dumplin' (2018)

Script Doc Needed for this Bland "Dumplin"

[9 December 2018]

Dolly Parton's wonderful songs (and her distinct voice) are the highlight of this film. That said, "Dumplin'" film feels like a low-risk, tv special, played at 8 pm. The script is overly-sentimental, and while the themes are worthy, the delivery felt flat.

Several characters who deserved to be fleshed out got the short-shrift. I'd like to see a more layered narrative of the lives of drag queens, apart from their entertainment value, but this film missed the mark. Even "Bo", the teenage hunk was reduced to a cardboard figure, imbued with cliched sound bites. Kathy Najimy (a fine actor) was given a perfunctory role, filled with animated actions.

If you want to see Aniston deliver a riveting portrayal, see the film "CAKE". Sadly, she is not believable in this role. Although "Patti Cake$ was not a great film, I enjoyed the performance of MacDonald more in that project. While "Dumplin" was not altogether terrible (most of the actors gave it their best), the script is in sore need of refinement and enriched characterizations.

Filmworker (2017)

Thoughtful Portrayal

[5 December 2018]

While I certainly appreciate Leon Vitali's dedication, I do have mixed feelings about why certain people put their own goals on hold for decades, in the service of their esteemed mentors. Vitali doggedly worked alongside the masterful Kubrick, accepting the responsibility for a wide array of tasks, including casting, distribution, graphics, and marketing. I did have hopes that this film would reveal an archival clip which featured SK and Vitali having an invigorating conversation. There are a number of interviews with industry pros who comment on the challenges of working with Kubrick, but I wonder if any of them ever took a risk to have a frank conversation with SK, regarding his meticulous demands. After reading some of the worthwhile reviews here, I recommend the astute thoughts from the reviewer known as "gortx".

Mozart in the Jungle (2014–2018)

This Show Grew On Me

[27 November 2018]

I was unsure about this show at first, but it grew on me. The writing in the final 4th season benefited from more layers. Especially liked the performances of Kirke and Burrows. Several other lead actors seemed over-stylized. Some of the most successful moments came when the plot explores moments of magical realism. The production design was outstanding, and the music choices were wonderful.

The Kominsky Method (2018–2021)

Insightful Writing, Very Apt Cast

[24 November 2018]

This show is better than anticipated. From the writer Chuck Lorre comes this dramedy which touches upon human concerns and foibles, in a genuinely earthy way. There's a spunky connection between the two friends (Douglas and Arkin), and their timing is spot-on. The 30 minute format is a good thing, and I wish more series would adopt this. I look forward to Season 2.

John Leguizamo's Road to Broadway (2018)

Bringing the Message Home, to a Certain Extent

[23 November 2018]

Years ago, I was blown away at witnessing John on stage, before he became famous. I still love his frenetic energy, wild dancing, and self-defecating humor. He brought up some fairly solid points in this presentation, but some issues were simpliflied, and a few of his rants became redundant. The ending was fine enough, but somewhat deflated.

Leguizamo's devoted audiences are generally the choir members who lean left. So, does John really need to overwork himself, as he attempts to rattle cages? If this performance had been 20 minutes shorter, I might have appreciated it even more. I'm no prude, but if John would reduce his profanity (not eliminate it), his message could reach even more people. I would recommend this, with the above reservations in mind.

The Ballad of Buster Scruggs (2018)

Hearty Vein of Gold

[23 November 2018]

Like many, I've seen my share of the Coen brothers' films, and this project was a very successful venture. Wonderful casting throughout, beautiful sets, and production design. The breathtaking landscapes serve as an apt counterpoint to the violence which happens within. The cinematography is spot on. Each tale reveals stylistic and absurd bits of treasure. I really like the format (short tales), and hopefully other filmmakers will follow suit.

The three tales which worked best: "Meal Ticket", "All Gold Canyon", and "The Gal Who Got Rattled". The writing was the most effectively layered in "...Rattled". All in all, this is one of my favorite films from the wild-and-wily Brothers Coen.

Outlaw King (2018)

An Important Era, and a Lovely Cast

[13 November 2018]

Better than anticipated, and recommended. This is one of Pine's finer roles... he revealed a compassionate, humble dignity. His Scottish accent was wonderfully rendered... but I'm guessing that people from that region might have wished for a thicker accent. Pugh also did well, and her understated strength hit home. The production design and costumes were quite convincing, and I appreciate that the entire film was shot in Scotland, and the filmmakers took care to honor the Scottish borders which existed at that time. Overall, the writing was fairly good, but seemed lackluster in some scenes. Certain reviewers feel that this might have been better as a miniseries. While I see their point, I feel that the 2 hour run time was sufficient to highlight the key events.

Homecoming (2018–2020)

Stellar Cast Brings this Odd Tale Home

[11 November 2018]

The entire cast was carefully selected for this fascinating show, which is one of the best from Amazon Prime. I like the idea of the half hour episodes, and hopefully other shows will be open to adopting this refreshing format. That said, the storyline in Season 1 dragged at times, and it could have been expressed in 6-8 episodes. As is true with Mr. Robot, the production design, deep shadows, and cinematography are awesome.

The frequent interjection of eclectic music can be manipulative at times, but I feel that the score is a character unto itself, which taunts and wrestles with the viewers. I look forward to Season 2.

At Eternity's Gate (2018)

Existential Themes, and a Riveting Cast

[8 November 2018]

This film succeeds in various ways: Dafoe delivers a marvelous portrayal of van Gogh, and Rupert Friend offers a dignified performance as Theo, his brother. The production design, costuming, and lush landscapes are all outstanding. As someone who has seen most of the films directed by Schnabel, I find him an insightful, astute director, yet I wish he would have introduced more nuance into certain scenes.

The invigorating piano score suffers from an overblown volume at various times. At the pre-release screening, more than a handful of people walked out of the film, midway. I think they were overwhelmed by a dizzy combination of loud music and jumpy, blurred camera techniques. As for me, the approach worked, adding a visceral punch.

Some of the dialogue was culled from Vincent's letters to his brother, and Dafoe rendered the text with a vulnerable immediacy. Several roles were aptly cast, but could have benefited from additional screen time: Isaac (as Gauguin), Almaric (Dr. Gachet), and Seigner (Madame Ginoux).

Food Evolution (2016)

Somewhat Recommended

[6 November 2018]

The film makes an effort to show both sides of this issue, but it leans towards arguments to support the potential benefits of GMOs. Like most all doc films, the bias comes across in the amount of footage highlighting certain viewpoints.

Did the filmmaker select the most astute anti-GMO people, to be as fair-handed as possible? Not at all. Most of the anti-GMO people in the film came across as preachy extremists. In one scene, there's a public debate between both sides, and the anti-GMO people resembled buffoons.

One thing the film did not seem to address: there are no studies on the long term effects of GMOs, many years after they're consumed. Because GMOs were introduced only about 23 years ago, I don't consider the current studies to be iron-clad.

I'm accustomed to Q&A sessions after screenings. But the brief verbal "survey" given by the Director came off as overly-simplistic, consisting of broad questions. When one viewer expressed his frustration about the film, the Director responded in a defensive tone. Perhaps he was burned out from battling complaints from all of the anti-GMO activists.

They'll Love Me When I'm Dead (2018)

Well, Well, Well -- Embittered Digs at Welles

[4 November 2018]

Clearly another reviewer and I disagree in our assessment of this film. I did find "The Other Side of the Wind" worthwhile, but I have mixed feelings about this skewed portrayal of this masterful filmmaker. Having said that, some of the old film clips were well-chosen.

On a logistical level, this film is not what one would expect... most all of the friends and colleagues become talking heads who are not individually identified, until the rolling credits, where a slew of names are lined up. That said, Peter B is easily recognized, and a few others' identities are inferred by their comments. When Oja speaks, you are left to imagine what she looks like nowadays... I presume that she insisted that her sound bites would not include visuals.

What disappointed me the most were the cynical snipes made about the approach and demeanor of Welles, from several people closely associated with him. Some of their barbed comments served to discount the great complexity of this man. I wonder if these folks had enough nerve to frankly state their views in front of his face while he was alive? One celebrity commented on his demanding preference for a particular snack food. On the surface, the remark said more about her.

It strikes me as ironic that one clip shows Welles speaking on the essential value of editing, yet this film has chosen to slice things up into brief sound bites. As a result, the tone of the interviewees resemble a bitter pill, as if to say: while we might recognize the genius of this man, the viewer would do well to witness his significant deficiencies.

There are cherry-picked clips which try to convince the viewer about Welles impulse to control the details. Newsflash: many great artists fall prey to obsessiveness. We see Welles give a specific note to Norman Foster on his delivery. Foster transformed the line in-a-flash, and it was vastly improved. If this film intended to cast a shadow on the esteemed artful nuances which Welles strove for, then it failed.

Each viewer will have a different take on this film. As for me, the approach and tone of this film left me feeling defensive, and a bit sad.

The Other Side of the Wind (2018)

Worth the Ride

[3 November 2018]

Other reviews have shed light on the challenges and controversy surrounding the creation of this film, so I will not cover that. The initial scenes are haphazard, but after a short while, the plot adopts a firmer grasp. Some scenes were shot in b/w, and other in color, and the mix of the various film stocks does work, for the most part. Shrewd, biting humor infuse the entire film, which skewers the Hollywood studio system and offers glimpses of hangers-on, while highlighting the sordid nature of fame.

Wonderful cast, with standout performances from Huston and Foster. Some of the the dialogue appeared improvised, and the energy was highly-charged. The upbeat jazz score by Michel Legrand was terrific. Overall, I enjoyed this wild ride. Even so, I wonder what would have happened if Welles would have had the funds to personally helm this film into full fruition? Did he genuinely intend for this film to be finished by someone else? What would have happened if it had been retained as a lengthy, experimental journey?

Beautiful Boy (I) (2018)

Important Themes, Wonderful Cast

[29 October 2018]

Other reviewers have given an apt overview of the storyline, so I will not repeat, except to say that this well-written story did feel a bit stagnant about halfway through. That said, the entire cast is up to the task. Before seeing this, I was already impressed with Chalamet's delivery in a handful of movies, and this is no different... he gives a very penetrating portrayal. Carrell hits some very good notes, and gives a relatable performance. The females roles were not given enough substance, but the actors still did well. There are some sad and disturbing moments in this. Overall, I recommend it.