frank56 Reviews

Prince of the City (1981)

Lumet's Masterpiece

[10/10 · 6 April 2020]

The late Sidney Lumet's gift for realism was grossly under appreciated - this film is epic in its excellence and the major reason is his theatrical approach. His casting of the finest actors of the New York stage filled the screen with realism that was new and unexpected at the time - that so much of modern works such as television now borrow from his style is proof. Treat Williams carries this multiple hour opus effortlessly as well as the late great Jerry Orbach and others who all present fully realized, unforgettable takes in real life people whose stories are told here. This classic is among my most prized in my vast film collection and it's an honor to see such excellent craftsmanship. Forget naysayers and just experience this phenomenal cinema work.

The Chosen (1981)

A key example of great 80's filmmaking

[1 November 2003]

I'm overjoyed that this excellent film is finally available on DVD. Robby Benson gives a performance that may finally receive the proper recognition. This is a story about friendship, true heart and life -- just see it and enjoy the richly developed performances and storytelling that unfold like a beautiful flower -- simply great.

The Twilight of the Golds (1996)

STRAIGHT TO THE HEART

[6 August 2003]

I've seen so many negative comments about this film, and I have none...I thought the acting, subject matter and direction was straightforward and thought provoking. The film's matter-of-fact tone about the possibility of determining orientation force the viewer to deal with the issues presented here, making the discussion intense. Performances all good here, and we're reminded of the acting power of both Brendan Fraser and Jennifer Beals, who thoroughly impressed me here, not to mention the film's biggest surprise, Garry Marshall, who turns in a really solid performance as their father. Seek this out and enjoy an intelligent, well done film.

25th Hour (2002)

HEIGHT OF HIS STORYTELLING POWERS

[19 January 2003]

Spike Lee continues to raise the bar of American film storytelling with 25th Hour. Lee trusts and invests deeply in character development, and it pays off in the film's dizzying world where friendship, family personal choices and love are all examined. Ed Norton turns in a another great performance, and the supporting actors are cast to perfection. Rosario Dawson is genuinely touching as Norton's girlfriend, as are Anna Paquin and Philip Seymour Hoffman, and Barry Pepper's performance is especially noteworthy as a longtime friend whose relationship is tested to the limit. Lee has learned that less is more (perhaps through the unflinching visions of his `Four Little Girls' documentary experience) and his understated directing is what makes this film work. Even his trademark touches are understated (a goateed Norton's paired with Rosario is a throwback to Lee's early pairing with Rosie Perez in `Do The Right Thing' and Paquin's dreamy clubwalk tracking shot is a Lee trademark as well). 25th Hour is truly Spike Lee's finest film (and two hours) to date.

Solaris (2002)

THE BOUNDARIES OF LOVE?

[3 December 2002]

Why is it that intelligent domestic films with a European sensibility so often fail with American audiences? The answer obviously lies in our society's apparent need to dismiss any thought-provoking film's ability to entertain, and Steven Soderberg's Solaris is one such effort.

My enjoyment of this 99 minutes of superb cinema lies in its living, breathing organic structure that mirrors the passion and unpredictability of true love. This film intends to appeal to an audience's sense of exploration and emotion on many levels, and not necessarily in one viewing. Immediate comparisons that come to mind are Ridley Scott's `Blade Runner', Steven Spielberg's `Minority Report' – even touches of director Nicolas Roeg's early works are present in the sometimes non-linear, flashback storytelling structure.

The ensemble casting and acting is fine throughout, particularly Viola Davis' sure portrayal of Helen Gordon, which brought to mind Sigourney Weaver's raw, emotional Ellen Ripley in 1979's `Alien'. The entire cast interacts with a sense as instinctual as a relay team passing a hand baton.

George Clooney's Chris Kelvin feels completely authentic, and his true believability and sense of emotional depth are at the core of what makes Solaris work. His other half in this worldly examination of love – actress Natascha McElhone - is perfectly cast as wife Rheaya Kelvin. Their chemistry facilitates the audience's need to believe in the intimacy of their relationship. The story cannot work without believing in this marriage, and the scenes that establish the union are truly naturalistic, almost voyeuristic in execution.

Solaris is forward thinking in everything it explores – Soderberg confidently tells this story with a knowing that audiences will catch up with his total senses storytelling style – if not now, certainly at some point in the not so distant future.

A Year in the Life (1987–1988)

I Knew It....

[18 June 2002]

The subject matter, acting and directing of this series were, in its time, on the level of cable television -- and I knew upon viewing it that it would never last. I've got every episode, including the miniseries on videocasette, but they are now very hard to watch (on the edge of extinction), but I still have a "Year in the Life" marathon about once a year when I feel like visiting this most interesting Seattle family. My favorite scene, and the crowning glory of this series was when Anne explains to Sunny that she was not responsible for a friend's suicide.....just excellent. I don't know if this will ever be run again, perhaps on cable...but someone send a shoutout because I will resubscribe to cable just to tape fresh copies of every episode....network television is rarely this excellent.

Come Undone (2000)

GETTING IT RIGHT

[23 January 2002]

Come Undone is a modern classic, done boy meets boy style -- this is a film that is completely unapologetic in the equal importance that lends itself to sincere love, even between two young men. My favorite moments are the silent ones in this film -- a glance of knowing, moments of pure passion and just being together -- this film shows the quiet moments of this romance in a most honest, excellent way. Stephen Rideau gives yet another completely realized performance as a young gay man who has lived a less than perfect life and knows his pure need for love. This is the kind of movie that can confirm and assure that love is important and deserved -- no matter who is your object of affection.

Love Jones (1997)

INTELLIGENT AND HEARTFELT

[3 December 2001]

Love Jones explores the passionate and intelligent sides of love, and it does so deliciously. Larenz Tate and Nia Long deliver performances as understated as the film's smart jazz and R&B soundtrack -- their approaches give their characters dimension and depth. But make no mistake -- this film offers elements of entertainment and political correctness in director Theodore Witcher's offering of multi-layered African-American characters. If comparisons must be made, Love Jones compares to the best in Woody Allen's Annie Hall and Manhattan, as those films explore desire and passion through words in addition to physical attractions. Recommend this film to the scores of filmgoers who missed its limited theatrical release -- better yet, serve it up as a first course conversation starter during your next gathering with friends. It's sure to spark equally passionate discussion, and that's always a good thing.

When a Man Loves a Woman (1994)

FACING THE TRUTH

[30 September 2001]

Simply put, When A Man Loves A Woman is the best story about family in America since Ordinary People and Shoot The Moon. If that sounds a bit overblown -- too bad, because it's true. As a self professed fan of foreign films, this film manages to take an honest look at alcoholism and relationships rarely seen in American films. The actors inhabit a whole life here -- they feel like a real family with entire past lives. Every actor hits the right tone -- Meg Ryan is commanding, Andy Garcia simply takes his time, as does Tina Majorino, who gives a performance alongside Haley Joel Osment's in The Sixth Sense. Another rare take the script accomplishes (with Garcia's considerable help)is conveying Michael's emotional life and struggles with loving his wife in an expected - a layer also unseen in American films. This story asks uneasy questions and dosen't always profess to know the answers -- and sometimes, that's all we have.

Days of Heaven (1978)

Love as Nature

[21 September 2001]

Perhaps my Midwest background and love of nature makes Days of Heaven one of my favorite films. Why? Because it mirrors life, full of ebbs and flows, lightness and dark, spiritually and emotionally. Bill, Abby and Linda are migrant workers on the run -- until they find themselves finishing the harvest season on fields owned by "The Farmer", played by Sam Shepherd. Relationships form and questions of truth and faithfullness abound -- as nature almost answers us. Richard Gere, Brooke Adams and Linda Manz give heartfelt performances that sometimes speak emotional volumes with a single glance. Two other elements play equal parts in this poetic tale -- the late Nestor Alemendros' amazing cinematography and Ennio Morricone's haunting score. Relax, feel and absorb director Terence Malick's style of storytelling -- you'll never take another film journey quite like this one.

Cinderella Liberty (1973)

GENUINE HEART

[21 September 2001]

Cinderella Liberty presents a world of lonely people looking for a little love in their lives. James Caan does a complete turnaround from his Godfather persona playing John Baggs, Jr. -- a sensitive, lovesick and positive sailor who backs into (or does it back into him?) the life of Maggie Paul (Marsha Mason), a pool playing barroom hustler with a biracial son, Doug (Kirk Calloway) whose tough exterior reveals a very sad and lonely boy. This comedy-drama creeps up on you like the love the characters feel for each is slowly realized. Excellent work by everyone here -- but this one bears a repeat watch for the work of Kirk Calloway, who is amazing as the boy and Eli Wallach, Baggs' alter-ego of a what lonely Navy life could hold for him. Look for this gem and go back to a time in film acting when real emotions were all the special effects needed to entertain and touch you.

Requiem for a Dream (2000)

Brillant. Period.

[22 October 2000]

This film's effect is blinding....you don't realize the impact of all you've seen until after the viewing experience. Though the content seems initially depressing, this film's draw is in the realistic portrayal of drug addiction's trance. Every character is caught in the trace, so much so that their inevitable downward spiral still catches us offguard. We are hopeful that some redemption takes place, but the director is brave enough to give us realistic resolutions that are, oddly enough, satisfying in their honesty. Every performance hits notes that are honest, subtle, overt....true life. Marlon Wayans' performance is so refreshing....there IS someone home....and he was finally given an opportunity to show a range of colors and emotions here...he deserves much praise for a great performance. Jared Leto, and, especially, Jennifer Connoly's performance, is heartbreaking. See this film, as hard as it may be to watch, it is an unforgettable experience. Thank God Ellen Burstyn has returned....bravo!

Punks (2000)

A solid first branch of queer cinema, literally a first.

[13 July 2000]

Punks attempts a daunting task -- staying true to the varied spirits of gay black males -- while staying accessible to a wide audience. The film introduces the audience to an entire spectrum of what it means to be a black gay male at this point in time and does so most assuredly. This film takes its place alongside other groundbreaking queer cinema such as "Parting Glances" but goes beyond that film in quality of its production. The cinematography, costumes and makeup are first rate and serve in and of themselves as character. The cast is simply a great group of actors who you cannot take your eyes off of. Rockmond Dunbar and Seth Gilliam give great lead performances as do Dwight Ewell (from "Chasing Amy" fame) and Jazzmun, who nearly steals the film. Director Patrik-Ian Polk wisely presents a balanced film that is humorous, thought provoking and disarming to any notion that the men in this contemporary West Hollywood are any less worth caring about simply because you've never taken the time to know them. Punks is an important film, one worth seeking out and supporting. Executive producers Kenneth "Babyface" and Tracy Edmonds are to be commended for providing the budget this film deserved. Check out "Punks".

Independence Day (1983)

A film about personal choices, ahead of its time.

[30 January 2000]

Independence Day unflinchingly looks at lifechoices, and their effects on both those that make them and the people that care about them. The cast is excellent, especially Dianne Wiest at Nancy. I saw this film the year it was released at the Seattle Film Festival and was caught offguard at the depth of emotion portrayed here. A great film that deserves some type of revival, as it provides a message that few would find argument with. Please see this film.

Poetic Justice (1993)

An overlooked, intelligently produced and directed film.

[31 December 1999]

I applaud John Singleton for being brave enough to film "Poetic Justice" -- it's a real triumph in presenting a story that looks beyond Hollywood's usual stereotypes of urban youth. If you are looking for a typical gang-bangin' shoot em up angry urban film...look elsewhere, because that genre is miles away from Singleton's storytelling. This film has precisely what black audiences say they are looking for - depth, real characters with a number of real layers....and yet people say they cannot get into this film. I say watch it and simply feel the messages being conveyed through the hearts of the characters. Tupac Shakur's performance saddens my heart....because he had so much potential as an actor as proven with his performance here. I was fortunate enough to actually meet and compliment him on this performance, which is at turns skillful and all his own. He had that quality that film actors envy in that the camera loved him. Janet Jackson gives a skilled performance as well, and the two have a natural chemistry that works here. This film is worth watching...it's one of my favorites.

Lady Sings the Blues (1972)

An amazing (and I do mean amazing) acting debut. End of story.

[1 December 1999]

Now that I am fortysomething (which amazes even me), I can look back and remember the Supremes final appearance on the Ed Sullivan show...and I can also remember Ed announcing that "Miss Ross is leaving the Supremes to pursue an acting career". An acting career....who does she think she is? I pondered this question for the longest time, and remained disappointed in Diana Ross until the very first moments of "Lady Sings the Blues", which play like a jazz tune that seems, at first, to make no sense until you as the listener finally tune into the music which actually made sense all along. Diana Ross dosen't so much act the part of Billie Holiday -- she crafts an unforgettable performance that both embodies the spirit of Holiday while also demonstrating the simplest but most complicated acting demands....she simply poses the question, "What if this were my life?". She produces an acting performance that, coupled with the personalized Holiday vocal interpretations, pull the audience into a deeper and deeper sense of completely going on the character's complete life journey -- you completely believe Ross is Holiday because she is so sure of herself -- SHE believes it -- completely. The story follows a typical formula, but the true reason to watch this film is the acting lesson that Ross teaches. Watch this one -- and learn a little something about craft -- from a master instructor, way ahead of her time.