“EMILY BRONTE’S WUTHERING HEIGHTS” (1992) Review

 

“EMILY BRONTE’S WUTHERING HEIGHTS” (1992) Review

I honestly do not know what to say about “EMILY BRONTE’S WUTHERING HEIGHTS”. I had heard so much about this adaptation of Emily Brontë’s 1847 novel. Yet, I have never seen it in the movie theaters. In fact, it took me a long time to finally come around viewing it. When I finally saw it, the movie produced a reaction I did not expect to experience. 

Unlike the more famous 1939 William Wyler film, “EMILY BRONTE’S WUTHERING HEIGHTS” proved to be an adaptation of Brontë’s entire novel. Unlike the famous Wyler film or the 1847 novel, this movie was set during the second half of the eighteenth century. Directed by Peter Kosminsky, the movie began with the arrival of a gentleman named Lockwood, who seeks to rent a Yorkshire estate called Thrushcross Grange from its owner – a middle-aged man named Heathcliff. The latter lives at another local estate called Wuthering Heights. While visiting Wuthering Heights, Lockwood has an encounter with what he believes is a ghost . . . the ghost of a woman named Cathy. This drives Heathcliff racing out of the manor house and housekeeper Nelly Dean to recount to Lockwood on what drove Heathcliff to behave in that manner.

The story jumps back to some twenty to thirty years later in which an earlier owner of Wuthering Heights, Thomas Earnshaw, returns from a trip to Liverpool with a young boy who or who might not be a gypsy in tow named Heathcliff. The latter manages to befriend Earnshaw’s daughter Catherine “Cathy”. However, Earnshaw’s son Hindley develops a deep dislike of the newcomer. He fears that Heathcliff has replaced him in his father’s affections. Several years later, Earnshaw dies. Hindley marries a woman named Frances and becomes the new owner of Wuthering Heights. He allows Heathcliff to remain at Wuthering Heights . . . but only as a servant. The one bright spot in Heathcliff’s life is his friendship with Cathy, which has developed into a romance between the pair. When Cathy and Heathcliff discover the Earnshaws’ neighbors, the Lintons, giving a party at Thrushcross Grange, Cathy is attacked by a dog when she and Heathcliff climb the garden wall. The Lintons take Cathy in to care for her and order Heathcliff to leave the Grange. Cathy becomes entranced by Edgar Linton, along his wealth and glamour; while Edgar falls in love with her. Edgar’s marriage proposal to Cathy and her acceptance leads to a major fallout between her and Heathcliff. The latter disappears without a trace for several years. And his return leads to jealousy, obsession and in the end, tragedy for him, the Earnshaws and the Lintons.

“EMILY BRONTE’S WUTHERING HEIGHTS” proved to be rather popular with moviegoers. Ralph Fiennes’ portrayal of the brooding Heathcliff and the film’s adaptation of the entire novel left this film highly regarded by fans of period dramas. On the other hand, the majority of films critics were not impressed with this movie. Why they felt this way about the movie? I have no idea. I have yet to read a single review written by a professional film critics. I am simply aware that “EMILY BRONTE’S WUTHERING HEIGHTS” was not that popular with them. While many movie fans are inclined to quickly accept the views of film critics, I decided to see the movie for myself and form my own judgement.

When I first saw this film, I was surprised that it was set during the late 1700s and around the beginning of the 1800s. James Acheson, who had designed the Oscar winning costume designs for 1988’s “DANGEROUS LIAISONS”, created the costumes for “WUTHERING HEIGHTS”. And frankly, I believe he did a marvelous job in re-creating the fashions for the movie’s setting as shown in the images below:

 

Another aspect of “WUTHERING HEIGHTS” that impressed me proved to be the performances. I do not know what led Peter Kominsky and the Casting Department to choose Ralph Fiennes for the role of Heathcliff, but I believe that fate or something divine led them to select the right actor for this role. Honestly, he did a fantastic job in portraying such an emotionally and morally chaotic character like Heathcliff. Some people were a bit put off by Juliette Binoche as both Cathy Henshaw and Catherine Linton. They had a trouble with her slight French accent. I have to be honest . . . I could barely notice her accent. But I thought she did an excellent job in portraying Cathy’s vain and capricious personality, along with daughter Catherine’s no-nonsense, yet compassionate nature. The movie also featured some excellent performances from Sophie Ward as Isabella Linton, Simon Shepherd as Edgar Linton, Janet McTeer as Nelly Dean, Jeremy Northam as Hindley Earnshaw, Jason Riddington as Hareton Earnshaw, and Jonathan Firth as Linton Heathcliff. Overall, I thought the cast was pretty solid.

And yet . . . I must confess that I am not a fan of this adaptation of Brontë’s 1847 novel. I honestly do not care that the movie was a faithful adaptation that covered not only Heathcliff and Cathy’s generation, but that of the younger generation. I am not a fan. One of my problems with this film was Kominsky’s direction. He did a fine job in directing the actors. But I found his overall direction of the film rather problematic. Quite frankly, I thought the entire movie seemed like a rush job. Perhaps he was hampered by Anne Devlin’s screenplay. The latter tried to shove Brontë’s entire narrative into a movie with a running time of one hour and forty-five minutes. I am sorry, but that did not work. Watching this film, I finally understood why William Wyler only shot the novel’s first half back in 1939.

Another major problem I had with the film is Brontë’s novel . . . or the second half. I am not a major fan of the 1847 novel. But if it had ended liked Wyler’s movie, I would have been satisfied. Personally, I have always found the second half of the novel rather boring; especially with Heathcliff running around like some damn mustache-twirling villain. And the taint of borderline incest certainly did not help, considering that Catherine Linton spent most of her screen time being torn between two men that happened to be her first cousins.

My final problems with “EMILY BRONTE’S WUTHERING HEIGHTS” are rather aesthetic. As much as I enjoyed James Acheson’s costumes, I cannot say the same about the hairstyles worn by the cast. Exactly who was in charge of the film’s hairstyles? Because that person seemed unable to surmise that the film was set in the late 18th century and the beginning of the 19th century. Some of the cast had modern hairstyles. And a good deal of the women cast members looked as if they were wearing rather bouffant wigs. One last problem I had with “WUTHERING HEIGHTS” was Mike Southon’s cinematography. I suppose the 1990s ushered in the age of naturalistic lighting for period dramas. The problem is that I could barely see a damn thing! Especially in the movie’s interior shots. I find it rather difficult to enjoy a movie or television production in which the lighting is so dark that I found myself depending more on the dialogue than the images on the screen. Worse, even some of the exterior shots seemed a little darker than usual. Was this a case of Southon adding to the film’s Gothic setting? I have no idea. And honestly, I do not care, considering that . . . again, I could barely see a damn thing.

I wish I could say that I enjoyed “EMILY BRONTE’S WUTHERING HEIGHTS”. I really do. There were some aspects of the film that I liked – namely James Acheson’s costumes and some first-rate performances from a cast led by Juliette Binoche and Ralph Fiennes. But I found the movie’s running time too short for an effective adaptation of Emily Brontë’s novel. Either the film should have been longer . . . or it should have followed the example of the 1939 film and only adapt the novel’s first half. Overall, I found this movie rather disappointing.

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“CHARLIE WILSON’S WAR” (2007) Review

 

“CHARLIE WILSON’S WAR” (2007) Review

Eleven years ago, I first learned about how a Texas congressman named Charlie Wilson led the effort to drive the Soviet Army from Afghanistan after nearly ten years. I learned about Operation Cyclone from the 2007 biopic, “CHARLIE WILSON’S WAR”

Operation Cyclone was the code name for the C.I.A. program to arm and finance the mujahideen in Afghanistan from 1979 to 1989, prior to and during the military intervention by the USSR in support of its client, the Democratic Republic of Afghanistan. The program leaned heavily towards supporting militant Islamic groups that were favored by the regime of Muhammad Zia-ul-Haq in neighboring Pakistan, instead of the less militant Afghan resistance groups that had also been fighting the pro-Marxist Democratic Republic of Afghanistan regime since before the Soviet invasion. Operation Cyclone proved to be one of the longest and most expensive covert CIA operations undertaken during the agency’s history.

Directed by Mike Nichols and based upon George Crile III’s 2003 book, “Charlie Wilson’s War: The Extraordinary Story of the Largest Covert Operation in History”“CHARLIE WILSON’S WAR” began in 1980, when Congressman Charles “Charlie” Wilson (D-Texas) became aware of the Soviet Union’s occupation of Afghanistan during to trip to Las Vegas. But it took an old friend of his, Texas socialite Joanne Herring, to encourage him to finally get involved with driving the Soviets out of Afghanistan. First, Wilson pays a visit to Afghanistan, where he visits a refugee camp and the country’s leader, President Zia-ul-Haq. Upon his return to the U.S., Wilson recruits the help of veteran C.I.A. agent Gust Avrakotos to help him kick start an operation that would provide aid – food, medical and especially military – to the Afghans. And finding military aid would mean enlisting support from both Israel and Egypt. At the same time, Wilson is forced to face a Federal investigation into allegations of his cocaine use, as part of a larger investigation into Congressional misconduct.

I must admit that I did not have a very high opinion of “TIMELESS” when I first saw it over ten years ago. I honestly did not know what to expect. I certainly did not expect a comedy-drama with a lot of wit and snappy one-liners. Or perhaps I was expecting something a little more . . . intense? Who knows. But looking back on the film, I finally realized that my opinion of it has increased over the years.

I enjoyed how the movie went to a great deal of effort to provide details of Wilson’s efforts to aid the Afghans, especially the Mujahidee (Afghanistan’s freedom fighters). Whether those details were historically accurate or not – I have not the foggiest idea. But I found Wilson’s efforts to find ways to provide aid and help the Afghans throw out the occupying Soviets without the rest of the world finding out about U.S. involvement very interesting . . . and rather amusing. This sequence of events included a rather humorous first meeting between Wilson and his C.I.A. liaison, Gust Avrakotos. Another aspect of the film that I found humorous were Wilson’s efforts to curb his friend Ms. Herring’s patriotic and religious fervor over the program – including one scene in which she bluntly assured her guests at a fund raiser that President Zia-ul-Haq was not responsible for the death of his predecessor, Zulfikar Ali Bhutto. For me, one of the film’s most interesting and hilarious scenes featured Wilson’s meeting with both Israeli and Egyptian representatives in order to acquire arms for the Mujahidee – a meeting that included an Arabic dance (belly dance) from the daughter of an American businessman.

Judging from the movie’s Oscar, Golden Globe and Screen Actors Guild nominations, one could see that “CHARLIE WILSON’S WAR” was not exactly a front-runner for Academy Award nominations during the 2007-2008 movie awards season Philip Seymour-Hoffman earned the majority of the film’s major nominations. Julia Roberts did earn a Golden Globe Awards, but nothing else. Did it deserve more acclamation? I do not know. Mike Nichols did a competent and entertaining job in allowing moviegoers peeks into C.I.A. policies, Washington and international politics. Tom Hanks, Julia Roberts and Philip Seymour Hoffman (as C.I.A. operative Gust Avrakotos) all gave excellent performances. Well . . . Hanks and Hoffman struck me as entertaining and excellent. But I really enjoyed Roberts’ performance as the colorful Houston socialite. It seemed a shame that she was only nominated for a Golden Globe Award. The movie also featured solid performances from Amy Adams, Ned Beatty, Om Puri, Christopher Denham, John Slattery, Ken Stott, Shaun Tolb, Peter Gerety and Emily Blunt.

But if I must be honest, the movie did not give me a charge. I enjoyed it very mcuh. I mean, I really found it entertaining. But I did not love “CHARLIE WILSON’S WAR”. I remember while leaving the theater following my first viewing of the film, I had this feeling that something was missing. I do not know. It could have been the unsatisfying ending, which I found to be rushed. It could have been James Newton Howard’s score that seemed too treacly for a borderline black comedy about a U.S. congressman, the C.I.A. and the Soviet Union’s occupation of Afghanistan. Or perhaps I found the movie’s ending even more treacly than its score. Either Nichols or the movie’s producers – Tom Hanks and Gary Goetzman – lacked the balls to portray the consequences of Operation Cyclone.

I cannot say that “CHARLIE WILSON’S WAR” was a great film. I do not know if I would regard it as one of Mike Nichols’ best efforts. But I found it very entertaining, thanks to Aaron Sorkin’s screenplay, Nichols’ direction and a first-rate cast led by Tom Hanks, Julia Roberts and Philip Seymour Hoffman. And if one is intrigued by a peek into American politics during the 1980s, I would highly recommend it.

“THE POST” (2017) Review

the-post

“THE POST” (2017) Review

When one thinks of Katharine GrahamBen Bradlee and The Washington Post; the Watergate scandal comes to mind. So, when I heard that filmmaker Steven Spielberg planned to do a movie about the famous newspaper’s connection to the “Pentagon Papers” . . . I was very surprised. 

As many know, the Pentagon Papers had originated as a U.S. Department of Defense sponsored report that depicted the history of the United States’ political and military involvement in Vietnam from 1945 to 1967. Sometime between 1969 and 1971, former military/RAND Corporation strategic analyst Daniel Ellsberg and RAND colleague Anthony Russo secretly made several copies of classified documents about the U.S. involvement in Vietnam since 1945 and submitted them in 1971 to The New York Times correspondent, Neil Sheehan. The Times eventually published the first excerpts of the classified documents on June 13, 1971. For years, I have been aware of The New York Times‘s connection to the Pentagon Papers. I had no idea that The Washington Post had played a major role in its publication, as well.

There have been several productions and documentaries about the Pentagon Papers. However, most of those productions centered around Daniel Ellsberg or The New York Times‘s roles in the documents. “THE POST” marked the first time in which any production has depicted The Washington Post‘s role. Many people, including employees from The New York Times, have questioned Spielberg’s decision to make a movie about The Post‘s connection to the Pentagon Papers. Some have accused Spielberg of giving credit for the documents’ initial publication to the The Washington Post. And yet, the movie made it perfectly clear that The New York Times was the first newspaper to do so. It even went out of its way to convey Post editor-in-chief Ben Bradlee’s frustration at The Times‘ journalistic coup.

Following The New York Times‘s publication of the Pentagon Papers’ first excerpts, the Nixon Administration, at the urging of Secretary of State Henry Kissenger, opposed the publication. Later, President Richard Nixon ordered Attorney General John Mitchell to obtain a Federal court injunction, forcing The Times to cease publication after three articles. While The New York Times prepared a legal battle with the Attorney General’s office, Post assistant editor Ben Bagkikian tracks down Ellsberg as the source of the leak. Ellsberg provides Bagdikian with copies of the same material given to The Times, who turns them in to Bradlee. The movie’s real drama ensues when the newspaper’s owner, Katherine Graham, finds herself torn between Bradlee’s urging to publish the documents and the newspaper’s board of directors and attorneys, urging her not to.

I had at least two problems with “THE POST”. I am certain that others had more problems, but I could only think of two. I had a problem with Janusz Kamiński’s cinematography. I realize that the man is a legend in the Hollywood industry. And I have been more than impressed with some of his past work – many of it for Steven Spielberg’s movies. But I did not like his photography in “THE POST”. I disliked the film’s grainy and slightly transparent photography. I do not know the reasons behind Spielberg and Kamiński’s decision to shoot the movie in this style. I do know that I found it unappealing.

My second problem with the film centered around Spielberg’s directorial style. In other words, his penchant for sentimentality nearly made the film’s last ten minutes slightly hard for me to swallow. I refer to the scene in which one of the reporters read aloud the Supreme Court’s decision to allow both The Washington Post and The New York Times, along with any other newspaper, to continue publishing the Pentagon Papers. It simply was not a matter of actress Carrie Coon reading the Court’s decision out loud. Spielberg emphasized the profoundness of the moment with John Williams’ maudlin score wailing in the background. A rather teeth clenching moment for me.

Otherwise, I enjoyed the movie very much. Superficially, “THE POST” did not seem that original to me. When one has seen the likes of “ALL THE PRESIDENT’S MEN” and “SPOTLIGHT”, what is so different between them and “THE POST”. But there was a difference. For the movie’s real heart focused upon owner Katherine Graham and her conflict over whether or not to allow the next excerpts of the Pentagon Papers to be published. And what made this even more interesting is the woman’s character.

If one had read Graham’s memoir, “Personal History”, one would learn that for years, she had suffered from an inferiority complex since childhood, due to her strained relationship with her more assertive mother. In fact, her father, who was the newspaper’s original owner, had handed over the newspaper to her husband, Philip Graham, instead of her. And she saw nothing wrong with her father’s decision. Following her husband’s death, Graham found herself publisher of The Post. During the movie’s setting – June 1971 – not only did Graham found herself dealing with Ben Bradlee’s urgent demand that the newspaper publishes the Pentagon Papers, but also with the newspaper’s stock market launch. Even worse, Graham also found herself facing a board of directors who did not take her seriously as The Post‘s publisher.

So in the end, “THE POST” was more than about the Papers itself and the question of the United States’ involvement in the Vietnam War. It seemed to be about how an unpopular war had an indirect impact upon a woman’s life through a political scandal. The movie also seemed to be about a struggle between the media’s belief in free press in order to inform the people and the government’s belief in its right to control what the people should know. In a way, the Vietnam War and Daniel Ellsberg’s release of the Pentagon Papers established The Washington Post‘s rise as an important national newspaper. And it opened the public’s eyes about the U.S. government’s involvement in Vietnam – something that had been hidden from the government for over two decades. The war and Ellsberg also kick started Katherine Graham’s elevation as a newspaper publisher willing to take a risk for an important news story and of her self-esteem. Spielberg’s movie could have simply been about The New York Times‘s scoop with its publication of the first excerpts of the Pentagon Papers and its battle with the Nixon Administration. But as I have earlier pointed out, his narrative has been seen in past productions.

Aside from my disappointment with Kamiński’s cinematography, there were other aspects of “THE POST” I admired. I certainly had no problems with Rick Carter’s production designs. One, he did an admirable job of re-creating Washington D.C. and New York City circa 1971. And I was especially impressed that both Carter and set decorator Rena DeAngelo’s recreation of The Washington Post‘s newsroom was as accurate as possible. I had learned that the newsroom depicted in the 1976 movie, “ALL THE PRESIDENT’S MEN” was slightly larger. Apparently, sometime between the newspaper’s coverage of the Pentagon Papers and Watergate, its newsroom had been renovated and enlarged. Good catch on Carter and DeAngelo’s part. Hollywood icon Ann Roth designed the costumes for the film and I must say that I was impressed. I was not impressed because I found her costumes dazzling or memorable. I was impressed because Roth, who had also served as costume designer for three of director Anthony Maghella’s films, perfectly captured the fashion styles of the conservative Washington political set of the early 1970s.

Both Meryl Streep and Tom Hanks earned acting nominations – for their portrayals of Katherine Graham and Ben Bradlee. Streep is the only one who earned an Academy Award nod. I am a little conflicted about it. On one hand, I cannot deny that the two leads gave very good performances. Streep did an excellent job in conveying Graham’s emotional growth into her role as her late husband’s successor as owner of The Washington Post. And Hanks was first-rate as the ambitious and tenacious Bradlee, who saw The Post‘s acquisition of more excerpts from the Pentagon Papers as a step into transforming the newspaper as a major national periodical. The movie also featured an interesting performance from Bob Odenkirk, who portrayed Ben Bagkikian, the assistant editor who had decided to set out and find Ellsberg after the Attorney General’s Office forced The New York Times to cease publication of the Papers. Another interesting performance came from Bruce Greenwood, whose portrayal of the besieged former Secretary of Defense Robert McNamara really impressed me.

I was surprised to discover that “THE POST” won a Best Ensemble award from the Detroit Film Critics Society. But you know what? Perhaps I should not have been that surprised. With a cast that included Carrie Coon, David Cross and Philip Casnoff; I really enjoyed those scenes featuring Bradlee with his senior staff, whether they were discussing or examining the Pentagon Papers. The movie also featured solid performances from Bradley Whitford, Sarah Poulson, Matthew Rhys, Michael Stulhbarg, Alison Brie, Jesse Plemmons, Pat Healy, and Zach Woods.

I can honestly say that I would not regard “THE POST” as one of my top five favorite movies directed by Steven Spielberg. In fact, I am not sure if I would regard it as one of his best films. But the movie proved to be one of my favorites released in 2017, thanks to Spielberg’s direction, a first-rate screenplay written by Liz Hannah and Josh Singer, and an excellent cast led by Meryl Streep and Tom Hanks. I have a feeling that it is one movie that I would never get tired of watching.

“I, TONYA” (2017) Review

 

“I, TONYA” (2017) Review

Like others who had grown up in the mid-to-late 20th century, I remember the sports scandal that surrounded Olympic figure skaters, Nancy Kerrigan and Tonya Harding. The media wallowed in the scandal on television screens, newspapers and magazines. It all culminated when both women participated in the 1994 Winter Olympics Games in Lillehammer, Norway.

Several months after the ’94 Olympic Games, NBC aired the 1994 television movie, “TONYA AND NANCY: THE INSIDE STORY”. Actually, the television movie appeared two months after the Lillehammer games. Did I see it? No. In fact, I did not even bother to watch the two skaters’ compete in the Olympic Games. I barely gave Harding or Kerrigan a thought through those years in which the scandal was mentioned or spoofed in a series of television episodes, movies, songs and documentaries. However, during the fall of 2017, I found myself watching the trailer for biopic about Harding called “I, TONYA”. The trailer seemed so intriguing and somewhat off-the-wall that for the first time in twenty-three years, I found myself intrigued by the subject and decided to watch it.

Directed by Craig Gillespie and written by Steven Rogers (one of the film’s co-producers), “I, TONYA” is basically a biography about Tonya Harding and her connection to the January 6, 1994 attack on rival Nancy Kerrigan. To be honest, Kerrigan played a supporting role – and not a very big one – in this biopic. This movie was all about Tonya. Starring Margot Robbie in the title role, “I, TONYA” followed Harding’s life from the age of four to the immediate aftermath of the Lillehammer Games. The movie was written a mockumentary style that featured fictional interviews of Harding and others who had a major role in her life:

*Ex-husband Jeff Gillooly
*LaVona Golden, Tonya’s husband
*Diane Rawlinson, Tonya’s first and last skating coach
*Shawn Eckhardt, Gillooly’s close friend and Tonya’s so-called bodyguard
*Martin Maddox, a fictional character who is basically a composite of many television producers that exploited the 1994 scandal

Ironically, Nancy Kerrigan is the only major character in this movie who was not interviewed. Perhaps Gillespie and Robbie, who served as one of the film’s other three producers, felt that the real Kerrigan would be offended at the thought of her cinematic counterpart being featured as a supporting character in a film about Harding. Judging from Kerrigan’s reaction to the movie, they were right. Another aspect of this film that I found surprising is that it was basically a biopic about Harding. The latter did not share top billing with her rival in this film, unlike the 1994 television film. It turns out that screenwriter/co-producer Steven Rogers found Harding’s personal life more complex and compelling. He also noticed that both Harding and her ex-husband, Jeff Gillooly, had very conflicting accounts of what really happened with Kerrigan and realized this would make an interesting narrative for a film.

Was “I, TONYA” an interesting film? Well . . . yes. Yes, it was. But it had its flaws. Actually, I could only find one major flaw in the film’s narrative. For a film that allegedly was supposed to be about Harding from the viewpoints of several people, it seemed to me that aside from trainer Diane Rawlinson, only Harding’s point-of-view really seemed to matter. Or the one audiences were expected to take seriously. Most of Jeff Gillooly’s account of his relationship with Harding were portrayed with a grain of salt. At the same time, audiences were expected to accept his account of his relationship with Shawn Eckhardt as the real deal. This . . . contradiction seemed a bit hard to swallow at times. Look . . . I realize that Tonya Harding is at the center of this tale. But if one is going to utilize the narration of more than one character, all viewpoints should be equally judged on whether to take them seriously or not.

But you know what? I still found “I, TONYA” rather interesting. I also found it entertaining. One, screenwriter Steven Rogers and director Craig Gillespie took what could have been a basic Hollywood biopic and created what turned out to be one of the most original and somewhat bizarre film biographies I have ever seen, hands down. As I had earlier pointed out, Rogers and Gillespie utilized the “mockdocumentary” style to include scenes that feature interviews of the main characters. I thought this movie device was utilized with great wit, along with a dash of dark humor and great satisfaction for me. This was especially the case when both the screenwriter and director used it to break the “fourth wall” – a narrative device used when a character breaks away from the story to address the audience.

Many people have wondered why Rogers had focused his screenplay on Tonya Harding. Why not write a movie about both Harding and Nancy Kerrigan? Well . . . as I had earlier pointed out, such a story had already been told in that 1994 NBC television movie I had earlier mentioned. Rogers could have done a movie about Kerrigan and her family’s struggles to support her skating career. It probably would have been a very uplifiting film. But if one looks into Harding’s personal history . . . well, I might as well be frank . . . it is the stuff from which movie biopics are made. Between Harding’s contentious and abusive relationships with both her mother La Vona Golden and first husband Jeff Gillooly, her earthy and frank personality and her more aggressive and modern style of skating that led her to clash with the judges . . . I mean, honestly, can you really blame both Steven Rogers and Craig Gillespie for choosing to do a movie about her? I certainly cannot. Between the off-the-wall directorial style that Gillespie had utilized and Rogers’ sharp screenplay, is it any wonder that I found this movie so fascinating to watch?

What I found even more fascinating is that the movie put the screws to everyone – Harding’s mother, ex-husband, his friend Shawn Eckhardt, the men recruited to attack Kerrigan, the ice skating organizations (both national and international) and yes . . . even Harding herself. Whenever the script had the former ice skating making excuses for some of her questionable actions, it also revealed her excuses or comments as lies. But the most interesting moment occurred when Harding (as narrator) turned to the camera and made this comment about the media and the public’s reaction to her legal travails:

” It was like being abused all over again. Only this time it was by you. All of you. You’re all my attackers too.”

Now . . . one could dismiss this as petulant complaining from the leading character’s part. Perhaps it is. Perhaps it is not. But I could not help thinking there was a great deal of truth in those words. As much as the media and the public loves worshiping a celebrity, once the latter slips or make a mistake, both will bash or drag that celebrity through the mud for as long as they can. It almost seemed as if they revel in that celebrity’s misfortune. Like I said, Harding and those close to her were not the only ones skewered in this film.

In order to make a movie work, one needs a first-rate story, director and cast. “I, TONYA” was very lucky to have Steven Rogers and Craig Gillespie as its screenwriter and director. It was also blessed with a first-rate cast. The movie featured solid performances from the likes of Julianne Nicholson, Mckenna Grace, the very entertaining Bobby Cannavale, Bojana Novakovic and Caitlin Carver. However, the performances that really impressed me came from four people – Margot Robbie, Sebastian Stan, Paul Walter Hauser and Allison Janney.

Paul Walter Hauser gave a very funny performance as the clueless Shawn Eckhardt, whose enthusiasm toward his role as Harding’s “bodyguard” may have led him to go too far. Sebastian Stan gave a very complex performance as Harding’s first husband, Jeff Gillooly. Stan portrayed his character with a combination of quiet charm and violent intensity. Frankly, he should have been nominated for his performance. The wonderful Allison Janney won both a Golden Globe Award and an Academy Award for her portrayal of Harding’s sharp-tongued and abrasive mother, La Vona Golden. I could never decide whether the character was funny or horrifying. But thanks to Janney’s performance, she was very interesting. Margot Robbie (who also served as one of the film’s producers) is the last actress I could see portraying Tonya Harding. If I must be blunt, she is taller and better looking than the Olympic skater. And yet . . . she gave one of the best performances of her career (so far) as the ambitious and aggressive Harding. I really admire how Robbie managed to convey so many aspects of the skater’s personality without being overwhelmed. She really earned her Golden Globe and Oscar nominations.

Aside from the story, the direction and performances, there were other aspects of “I, TONYA” that I admired. My mind was not particularly blown away by Nicolas Karakatsanis’ cinematography. But I thought his work served both the film’s story and setting rather well. I could also say the same about Jennifer Johnson’s costume designs, which more than an adequate job of serving both the film’s late 20th century setting and Harding’s historic skating costumes. I do not recall Peter Nashel’s score. But I must admit that I admire how he utilize well known tunes from the late 20th century throughout the film. The one technical aspect of “I, TONYA” that I truly admired was Tatiana S. Riegel’s editing. I thought she did a superb job in the way she shaped Harding’s tale from Gillespie’s narrators, fourth walls and sequences on the ice rink. For her work, Riegel earned an Academy Award nomination for Best Editing and won the American Cinema Editors Award for Best Edited Feature Film – Comedy or Musical.

I never thought I would find myself watching a movie about Olympic ice skater, Tonya Harding. Hell, I never thought I would end up enjoying it. Yet, I did enjoy “I, TONYA” very much. I thought it was one of the most bizarre and fascinating biopics I have ever seen. In fact, thanks to director Craig Gillespie, screenwriter Steven Rogers and a superb cast led by Margot Robbie, “I, TONYA” proved to be one of my favorite movies of 2017.

 

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“There’s no such thing as truth. It’s bullshit. Everyone has their own truth, and life just does whatever the fuck it wants.”

Top Ten Favorite Movies Set During the 1500s

Below is a list of my favorite movies set during the 1500s: 

 

TOP TEN FAVORITE MOVIES SET DURING THE 1500s

1. “The Sea Hawk” (1940) – Errol Flynn starred in this exciting, but loose adaptation of Rafael Sabatini’s 1915 novel about an Elizabethan privateer. Directed by Michael Curtiz, the movie starred Brenda Marshall and Henry Daniell.

2. “Shakespeare in Love” (1998) – John Madden directed this Best Picture winner about how an imaginary love affair between playwright William Shakespeare and a wealthy merchant’s daughter that led to his creation of “Romeo and Juliet”. Joseph Fiennes and Oscar winner Gwyneth Paltrow starred.

3. “Anne of the Thousand Days” (1969) – Richard Burton and Oscar nominee Geneviève Bujold starred in this historical drama about Anne Boleyn’s relationship with King Henry VIII of England. Charles Jarrott directed.

4. “A Man for All Seasons” (1966) – Oscar winner Fred Zinnemann directed this Best Picture winner, an adaptation of Robert Bolt’s play about the final years of Sir Thomas More, Henry VIII’s Lord Chancellor. Oscar winner Paul Scofield starred.

5. “Captain From Castile” (1947) – Tyrone Power starred in this adaptation of Samuel Shellabarger’s 1945 novel about a Spanish nobleman’s experiences during the Spanish Inquisition and Hernan Cortez’s conquest of the Aztecs in Mexico. Directed by Henry King, the movie co-starred Jean Peters and Cesar Romero.

6. “The Private Lives of Elizabeth and Essex” (1939) – Bette Davis, Errol Flynn and Olivia de Havilland starred in this adaptation of Maxwell Anderson’s 1930 Broadway play, “Elizabeth the Queen”, a fictionalized account of the relationship between Queen Elizabeth I and the 2nd Earl of Essex. Michael Curtiz directed.

7. “Elizabeth” (1998) – Golden Globe winner Cate Blanchett starred in this highly fictionalized account of the early years of Elizabeth I’s reign. Directed by Shekhar Kapur, the movie co-starred Geoffrey Rush, Joseph Fiennes and Richard Attenborough.

8. “Ever After” (1998) – Drew Barrymore starred in this loose adaptation of “Cinderella”. Directed by Andy Tennant, the movie co-starred Anjelica Houston and Dougray Scott.

9. “Mary, Queen of Scotland” (1971) – Vanessa Redgrave starred in this biopic about the life of Queen Mary of Scotland. Directed by Charles Jarrott, the movie co-starred Timothy Dalton, Nigel Davenport and Glenda Jackson.

10. “Anonymous” (2011) – Roland Emmerich directed this interesting and highly fictionalized biopic about Elizabethan courtier, Edward de Vere, 17th Earl of Oxford. The movie starred Rhys Ifans, Vanessa Redgrave, Joely Richardson and David Thewlis.

Second Look: “MANDINGO” (1975)

 

SECOND LOOK: “MANDINGO” (1975)

About forty-three years ago, Paramount Pictures released an adaptation of Kyle Onscott’s 1957 novel of the Old South, ”MANDINGO”. This movie, which has developed a reputation as lurid, exploitive and racist, is considered to be one of the worst films to be released in the 1970s. Directed by Richard Fleischer, it starred Perry King, Ken Norton, James Mason, Brenda Sykes, Susan George and Ben Masters. 

However, there are recent film critics who refuse to dismiss ”MANDINGO” as simply lurid trash. They contend that despite its melodramatic tone, the movie offered a portrait of the antebellum South that may have been a lot more accurate than shown in Hollywood movies before or since. I have found two articles on the movie you might find interesting:

““Expect the Truth”: Exploiting History with Mandingo 

NOTCOMING.COM: “Mandingo”

“The Greatest Film About Race Ever Filmed in Hollywood”: Richard Fleischer’s Mandingo

“SLIFR: ‘Mandingo'”

“MANDINGO” (1975) Images

 

 

 

 

 

 

 

 

 

 

 

 

“STAR WARS: EPISODE VIII – THE LAST JEDI” (2017) Review

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“STAR WARS: EPISODE VIII – THE LAST JEDI” (2017) Review

Following the success of the Disney Studios’ first hit STAR WARS film, “STAR WARS: EPISODE VII – THE FORCE AWAKENS”, I had assumed that producer-director J.J. Abrams would helm the next chapter in the franchise’s Sequel Trilogy. I was eventually surprised to learn that Lucasfilm president, Kathleen Kennedy, hired writer-director Rian Johnson to both write and direct “EPISODE VIII”

My positive reaction to the news about Johnson being hired by Lucasfilm originated with my reaction to his 2012 film, “LOOPER”. I found Johnson’s 2012 film to be original, ambiguous and well written, if not perfect. I had hoped Johnson would create a better STAR WARS film than J.J. Abrams, who was the creator behind the 2015 movie. Then the movie hit the theaters in December 2017 and I was relieved by the high level acclaim it had received from the critics.

Titled “STAR WARS: EPISODE VIII – THE LAST JEDI”, this 2017 movie picked up immediately after the last scene of the previous Sequel film. Well . . . almost. Actually, “THE LAST JEDI” about an hour before “THE FORCE AWAKENS” ended, or around the same time. The movie opened with the Resistance forces abandoning their base on D’Qar during an attack by the First Order. Resistance pilot Poe Dameron disobeyed General Leia Organa’s order to retreat and led a costly counterattack that destroyed a First Order dreadnought, but following the Resistance’s escape into hyperspace, the First Order managed to track them using a code and continue its attacks. Leia demoted Poe for disobeying her order and leading many of their pilots to their deaths. Following another attack by the First Order, Leia is seriously injured, leaving the Resistance leadership in the hands of her second-in-command, Vice-Admiral Holdo. Meanwhile, Rey, Chewbacca and R2-D2’s arrived at Ahch-To. Rey tried to recruit Jedi Master Luke Skywalker to help his sister Leia and the Resistance. But Luke; disillusioned over his failure to successfully mentor his nephew, Ben Solo aka Kylo Ren; refused to leave Ahch-To. He also refused to train Rey in the ways of the Force. Initially.

Following the opening battle between the Resistance and the First Order, former stormtrooper Finn recovered from the wound he had suffered in “THE FORCE AWAKENS”. He discovered that Rey was missing and that the fleeing Resistance was being tracked by the Force Order. Fearful that Rey might return and find herself in a tenuous situation, Finn decided to leave and track her down. Only he was stopped by a maintenance worker named Rose Tico. Grieving over her sister, who had been one of the bomber pilots killed in the opening, Rose believed that Finn was defecting. Once she realized otherwise; she, Finn and Poe devised a secret mission to find a code breaker to disable the First Order’s tracking device. Not long after Rey began her training under Luke, she discovers that she has a Force bond with her enemy, Kylo Ren. And without bothering to tell Luke, Rey and Ren begin communicating with each other.

I have to be brutally honest. I did not like “THE FORCE AWAKENS”. Not really. I thought the 2015 movie suffered from too many plot holes and felt like a remake of the 1977 movie, “STAR WARS: EPISODE IV – A NEW HOPE”. Being a fan of Rian Johnson’s 2012 movie, “LOOPER”, I had high expectations for “STAR WARS: EPISODE VIII – THE LAST JEDI”. I hoped that the film would improve J.J. Abrams’ work on the previous film. Fortunately, I found a good deal to admire about the film.

One of the aspects of “THE LAST JEDI” that I truly admired was its visual style. I had nothing against the 2015 movie’s visual style. But if I must be honest, “THE LAST JEDI” took it to another level. Steve Yedlin’s photography struck me as sharp and colorful in scenes that featured the movie’s opening battle; and the duel inside the throne room, aboard Snoke’s starship the Supremacy. Yedlin’s photography assumed a rich and sleek style in the Cantonica sequence that featured the Canto Bight casino and the escaped animals chase scenes, as shown below:

 

However, Yedlin’s photography would have been something of a waste, if it were not for Rick Heinrichs’ production designs and the Art Direction team led by Kevin Jenkins. This was especially the case in Snoke’s blood red throne room aboard the Supremacy, Luke Skywalker’s habitat on Ahch-To and . . . of course, the Canto Bight Casino. What can I say? I really enjoyed the visual aspects of that scene. Between the photography, the visual design and the whole elegant, yet corrupt atmosphere of the scene; I have not been this impressed by a visual setting in a “STAR WARS” scene since the Outlander Club sequence in 2002’s “STAR WARS: EPISODE II – ATTACK OF THE CLONES”.

If I must be honest, I never really had a problem with the acting in “THE FORCE AWAKENS’. Nor did I have a problem with the performances in “THE LAST JEDI”. In fact, I would go as far to say that the performances of three cast members actually improved. One of them was veteran actress, Carrie Fisher. As many know, Fisher passed away during the last week of December 2016. I must admit that I was not that impressed by her portrayal of the aging Leia Organa Solo in “THE FORCE AWAKENS”. In “THE LAST JEDI”, she managed to regain a good of her sharp and natural style, despite being missing from the film’s middle acts. Another improvement came from Domhnall Gleeson’s portrayal of General Armitage Hux, a high-ranking commander of the First Order. Personally, I found his performance in “THE LAST JEDI” rather strident. A bit of that stridency managed to manifest in the film’s first twenty minutes; but otherwise, Gleeson’s performance struck me as good deal more subtle. I thought Gleeson did a first-rate job in conveying Hux’s negative realization that an overemotional man child had become his new leader. Daisy Ridley’s portrayal of the former scavenger/potential Jedi Rey struck me as an improvement over her performance in “THE FORCE AWAKENS”. Her performance struck me as a lot less labored and more subtle – especially in her scenes with Mark Hamill. However, I still believe that her best performance, so far, was the 2017 Agatha Christie movie, “MURDER ON THE ORIENT EXPRESS”.

However, those performances from other returning cast members were just as first-rate as they were in “THE FORCE AWAKENS”. Oscar Isaac finally received more scenes to strut his stuff as energetic Resistance X-wing pilot and squadron commander, Poe Dameron. Granted, there were moments when he came off as a bit too energetic. Otherwise, I had no problems with his acting. I can also say the same about Adam Driver’s portrayal of the villainous Force user, Kylo Ren aka Ben Solo. I have a confession to make. I do not like the Kylo Ren character. But I do believe that Driver provided some excellent acting in this film and did his very best in injecting as much ambiguity as director Rian Johnson would allow. I had feared that when given full reign, Andy Serkis’ voice performance as Supreme Leader Snoke, would go over-the-top. Well, in the Snoke’s throne room scene, it nearly did. But in the end, Serkis eventually kept his performance under control and gave a very sinister performance. Lupita Nyong’o returned to provide the voice of Maz Kanata, the former pilot and smuggler who owned a tavern on Takadona. Her role in “THE LAST JEDI” was brief, the actress provided one of my favorite moments in the film as her character provided information about a code breaker to Finn, Poe and Rose; while fighting off a “union dispute” in the middle of a hologram transmission. As usual, Nyong’o was wonderful. I read somewhere that Johnson had originally planned for the Finn character to remain in a coma throughout most of the film. Eventually, Leia came very close in experiencing that fate. Thankfully, actor John Boyega did not have spend most of the movie lying on a bed or platform. Instead, audiences got to, once again, enjoy Boyega engage in his own kind of magic, as the movie sent his character, former stormtrooper Finn, into new adventures.

“THE LAST JEDI” featured first-rate performances from newcomers like Laura Dern, Kelly Marie Tran, Benicio del Toro and yes, even Mark Hamill. Vice-Admiral Amilyn Holdo is another character that I am not particularly fond of. But I must that actress Laura Dern gave her usual competent performance as the Resistance leader forced to step in when Leia fell into a coma. Benicio del Toro gave a very sly and entertaining performance as a sly and treacherous codebreaker found himself a prisoner on Canto Bight. Kelly Marie Tran proved to be the newest addition to the Star Wars mythos as a Resistance mechanic named Rose Tico, who found herself grieving her sister Paige, following the latter’s death around the film’s beginning. Tran gave a very strong performance as the emotional, yet strong-willed and determined Rose. She also managed to form a solid screen chemistry with Boyega and Isaac. Technically, “THE LAST JEDI” proved to be Hamill’s second appearance in the Sequel Trilogy. However, he only appeared briefly in the 2015’s last scene without any dialogue. Thankfully, Hamill was able to strut his stuff as the older and somewhat embittered Luke Skywalker. Although his characterization in this film proved to be controversial, I cannot deny that Hamill gave a superb performance, as usual. It seemed a pity that he never had any scenes with Boyega. I would have given my right arm to watch those two share a scene together.

Is there anything else about “THE LAST JEDI” that I enjoyed? Honestly? No. Despite the fine performances, the excellent photography and superb production and art designs, I was not impressed by the movie. In fact, my opinion of the film proved to be lower than my feelings about “THE FORCE AWAKENS”. And I never thought that would be possible. I had two major problems about the film – the narrative and characterizations written by the director, Rian Johnson.

One of the main problems I had with “THE LAST JEDI” proved the length of time between it and “THE FORCE AWAKENS”. Judging from the film’s opening, the Resistance had fled its base on D’Qar and engaged in that opening battle against the First Order before Rey, Chewbacca and R2-D2 arrived on Ahch-To. Why did Johnson decide to begin the movie with such a small time frame? I have no idea. But thanks to this time frame, I found some of the events in the movie rather questionable.

According to the film’s opening crawl, the First Order had “decimated” the Republic and took military control of the galaxy. I found this hard to swallow. Yes, the First Order used their Star Killer weapon to destroy the New Republic’s capital and a few planets in the same system. But the Republic was spread all over the galaxy. Also, the First Order had suffered two major defeats near the end of “THE FORCE AWAKENS” – at Takodana, where it was searching for the BB-8 droid and the map to Luke Skywalker; and the destruction of the Star Killer weapon and its base. The last defeat proved to be a severe one for the First Order. Why would the entire galaxy surrender to the First Order when its super weapon, the Star Killer base and God knows how many troops and personnel were destroyed by the Resistance? I can understand the First Order licking its wounds and eventually conquering the rest of the Republic and going after the Resistance – but not so damn soon. Not within a space of one or two days.

The time frame produced another problem. After Snoke had punished General Hux for the Resistance’s destruction of the First Order’s new starship, the Dreadnought; the general informed his leader that he had used a new tracking device to follow the Resistance fleet through hyperspace. How exactly did this happen? When did Hux find the time – between the First Order’s defeat at Takodano, the destruction of the Star Killer’s base and the Resistance’s abandonment of their D’Qar base – to connect a tracking device to the Resistance convoy? When? I checked the Wookiepedia website on this hyperspace tracker, I discovered that it simply provided nothing more than a vague description. The website also failed to describe how Hux managed to have it planted in the first place. That is when I began to wonder if this tracking device was nothing more than a deus ex machina created by Johnson to keep the First Order on the heels of the Resistance fleet.

I have other problems regarding the First Order’s pursuit of the Resistance. One, how did the Resistance’s bomber fleets managed to drop bombs on the the dreadnought ship . . . in space . . . where there is no gravity? Would it have not been more sufficient for them to use the torpedo launchers of their X-wing fighter ships? Once the First Order managed to somewhat catch up with the Resistance fleet, it just basically kept its distance, while taking potshots at various Resistance ships; claiming that their enemy moved too fast for them to sufficiently destroy its convoy. What???? Did Hux fail to notice that the Resistance convoy was not particularly moving that fast? And whether the Resistance convoy was moving too fast or not, neither Hux, Snoke or Kylo Ren even bother to consider ordering part of the First Order’s fleet to jump into light speed ahead of the Resistance . . . and box the latter into a trap?

Rian Johnson’s handling of the Resistance proved to be equally problematic. A conflict has developed among the franchise’s fans on who was right – General Leia Organa or Commander Poe Dameron – regarding the bombing of the First Order’s dreadnought. Poe’s determination to destroy the dreadnought led to the destruction of Resistance’s bomber squad. On the other hand, if the dreadnought had continued to exist, who knows what would have hap . . . You know what? I do not give a shit one way or the other. I do not care. I found other things to complain about this story arc. I understood why Poe Dameron had blatantly ignored Leia’s order to retreat at the movie’s beginning. I do not understand why Paige Tico and the other bomber pilots did not follow her order. Surely, they had overheard Leia’s retreat order over the fleet’s communications system. And yet . . . like Poe, they ignored her order. And then we have Leia’s “Mary Poppins” moment, after the bridge of her flagship was destroyed. You know . . . the scene in which she used the Force to float back to her ship, after she and Admiral Ackbar (we hardly knew you pal!) were blown into space. I cannot believe that one of my last visions of Carrie Fisher on the screen was that ludicrous moment. God!

After Leia became incapacitated, Vice-Admiral Holdo took command of the Resistance. Chances are that Poe and some other members of the Resistance would have refrained from staging a mutiny . . . and sending Finn and Rose Tico on that mission to Canto Bight, if Holdo had informed everyone about hers and Leia’s plan to evade the First Order in thie first place. Only she did not. When she finally did, Poe and a few others dismissed it as cowardly and decided to stage a mutiny. This “mutiny” eventually led to Finn and Rose’s mission to search for a master code breaker at the Canto Bight Casino. I have one or two problems with this scenario. One, I could not understand why Holdo kept the evacuation plans a secret for so long, since it did not require a “need-to-know” reason. And two, why did Holdo wait so long to set hers and Leia’s plans in motion? Not only did I find this delay unnecessary, it allowed other factors in the story – Finn and Rose’s Canto Bight mission to affect the actual evacuation. One could dismiss this as an example of Holdo’s personality flaws. But the timing of this story arc makes it difficult for me to do this.

Leia and Holdo’s evacuation plan and gas lighting of Poe were not the only problems I had with their characters. I also had a problem with their costumes. Do not get me wrong, I found the costumes designed by Michael Kaplan rather elegant and lovely, as shown below:

 

But I could not help but wonder why both women wore outfits suited for dinner reception, a party or even a political meeting (in the STAR WARS universe). Their outfits seemed unsuited for military commanders in the field . . . especially military commanders who were attempting to guarantee the survival of those under them, in the middle of a life or death situation. Was this Kaplan’s attempt to outshine Trisha Biggar’s designs from the Prequel Trilogy. Who knows? Who knows? His costumes worked in the Canto Bight casino scenes. But they simply did not work for Leia and Holdo, who were not in elegant situations like the casino during this film.

Speaking of the Canto Bight mission . . . I honestly do not know what to say. It was such a crap fest to me. The only aspect of that mission that I enjoyed were the visual designs for the sequence. Otherwise, this whole story arc was marred by bad writing. Poe’s opposition to Holdo’s evacuation plan led him to send Finn, Rose and BB-8 to find someone who could break the code to the First Order’s tracking device, a master code breaker who hung out at the Canto Bight casino on Cantonica. So what happened? The pair landed their transport on a private beach and ended up getting arrested at the casino for illegal parking. Arrested . . . for illegal parking? Unable to contact the code breaker, due to being incarcerated behind bars, Finn and Rose met another prisoner named D.J., who claimed to be a code breaker. When he broke them out of jail, they recruited him to help the Resistance break the code . . . instead of returning to the casino in order to find the Master Code Breaker they had originally spotted. After the trio and BB-8 board Snoke’s ship, the Supremacy; Finn and Rose are betrayed by D.J., who also spilled the Resistance’s plans to escape from Leia’s cruiser via cloaked transport ships. Except . . . wait. How in the hell did D.J. know about that plan? He could not have learned everything about it from Finn and Rose, who only knew that Holdo and Leia had plans to evacuate. But they knew nothing about the transport ships being cloaked or that Holdo planned to send the Resistance to Crait. Hell, not even Poe knew the specific details, until he woke up aboard one the transports after being stunned by Leia. How did D.J. learn about Leia and Holdo’s complete plan?

I found something else rather odd about the Canto Bight mission. Finn and Rose were able to escape from Leia’s cruiser undetected and head for Cantonica in a cloaked transport ship. This sounds strangely similar to Leia and Holdo’s evacuation plan. I have already pointed out that the entire Resistance personnel could have done this and rendezvous at an arranged location a lot earlier in the story, instead of waiting until the last of the Resistance fleet was close to Crait. If Poe was able to help Finn and Rose slip away from both the Resistance convoy and the First Order fleet, why did he continue to oppose Leia and Holdo’s evacuation plan. Why did Poe believe that the evacuation plan was so cowardly (eyeroll) that he set in motion that ridiculous Canto Bight mission? I mean . . . honestly, Finn and Rose’s successful evasion of the First Order’s fleet and the Resistance convoy should have made him realize that Holdo’s plan – well, most of it – was pretty sound.

Another aspect of the Canto Bight story arc that I disliked was Rose’s revelations about the casino’s use of slave labor and the owners’ profiting from the conflict between the Resistance and the First Order, as arms dealers. Apparently, this entire story arc was created by Johnson for Finn to learn a valuable lesson about greed and corruption, enabling him to understand about what the Resistance is fighting against and drop his “selfish” concerns about Rey. WHAT . . . UTTER . . . BULLSHIT!!! There was nothing wrong with Finn being concerned about Rey not walking into the current conflict between the Resistance and the First Order. And there was no need for him to learn any damn lesson. And I sure as hell did not appreciate watching Rose lecture Finn about the evils of corruption, let alone slavery. You know, originally I thought she and had been a former slave herself. Then I checked Wikipedia and discovered that Rose and her sister Paige had been smuggled off their homeworld by their parents, before they could be snatched by the First Order and forced into slavery. So, why did Johnson believe it was necessary for her to lecture Finn about slavery, when the latter had been enslaved by the First Order ever since he was an infant? If anyone was qualified to give that speech, it was Finn.

The Canto Bight sequence did not feature the only problematic scene between Finn and Rose for me. Another occurred during the Resistance’s defense against an attack by the First Order at an old Rebel Alliance base on Crait, near the film’s finale. In one scene, the remaining Reisistance fighters – which included Finn, Poe and Rose – charged at the incoming First Order forces in order to give the others time to make their escape. While the surviving fighters broke off from the charge, Finn decided to make a suicidal charge against the First Order siege cannon that threatened to break into the base. And guess what happened? Rose stopped Finn’s charge. And what was her reason? Well . . . let me quote her:

“We’re going to win this war not by fighting what we hate, but saving what we love!”

What . . . in . . . the . . . hell??? Let me get this straight. According to Johnson, it was fine for Vice-Admiral Holdo to sacrifice herself to prevent the fleeing Resistance from being destroyed before they could reach Crait. But Finn was not allowed to sacrifice himself against the First Order’s siege cannon, because . . . why again? Hatred? What made Rose believe that Finn’s actions were all about hatred for the First Order? And when did Johnson convey the idea that Finn’s suicidal charge was all about hatred on his part? And why did Johnson keep creating scenes that gave Rose an opportunity to lecture Finn for the slimmest of reasons? Or decide that she knew better than him? Were the Canto Bight casino and Crait scenes indicative of some racism on Johnson’s part? Is he just another person who regards people of color, especially those of African descent, as childlike? I wonder.

Then we come to Rey’s experiences with Luke Skywalker on Ahch-To. Most critics of “THE LAST JEDI” tend to focus most of their complaints about the Canto Bight mission. My strongest complaints against the film are all about Rey’s experiences from start to finish. Judging from the first scene between Rey and Luke Skywalker, I got the impression that Johnson had written his own version of Luke’s first meeting with Yoda in “STAR WARS: EPISODE V – THE EMPIRE STRIKES BACK”. Actually, this scene was one of many that seemed to remakes of those from the 1980 film and “STAR WARS: EPISODE VI – RETURN OF THE JEDI”. I do not know how to describe Rey’s first two days on Ahch-To. Unlike many other fans of the franchise, I had no problems with Luke tossing away his/Anakin’s old lightsaber that he had lost on Bespin. As far as I am concerned, it should have remained lost. However, I noticed that Luke’s initial rejection of Rey as a padawan struck me as a lot crueler than Yoda’s initial rejection some thirty or so years before. Actually, I was not that impressed by the dynamic between Rey and Luke. I hate to say this, but Daisy Ridley and Mark Hamill’s on-screen chemistry did not seem that interesting to me. There was another problem in this story arc. Rey ended up receiving very little training in the Force. How long did Luke train Rey? What? A few hours, before it was interrupted by Rey’s discovery of the whole Luke-Kylo Ren mess? It seemed like it. There was one scene that featured Luke milking a rather . . . busty alien called Thala-Siren that just . . . I found this just as embarrassing as Leia’s Mary Poppins moment. It did not help that the creature’s udders resembled those of women. Oh God. Also . . . is it just me or Luke did not seem like himself? He seemed rather cynical, in compare to his younger self. And snarky. Luke seemed more like the younger Leia and Han . . . or Mark Hamill. I understand the circumstances that led Luke to his exile and how it may have emotionally damaged him. But his refusal to leave Ahch-To in order to help Leia . . . just did not feel right. I just cannot see him initially refusing to help his own sister, whose life was endangered.

But that was nothing, until the movie revealed what led to Luke’s estrangement from his nephew, Kylo Ren. Rey learned from the latter that Luke had a vision of his nephew/padawan causing a great deal of destruction and briefly considered killing the sleeping Ben. Although he relented, Kylo/Ben woke up and spotted Luke with his lightsaber drawn. An enraged Ben killed Luke’s loyal padawans in retaliation and joined the First Order, because he felt betrayed. Let me make this clear. I am aware that Luke is capable of terrible deeds or allowing his anger to get the best of him. These traits were apparent in both “STAR WARS: EPISODE IV – A NEW HOPE” and “RETURN OF THE JEDI” when Luke had engaged in bouts of murderous rage. But to deliberately contemplate murdering his own nephew, because he had visions of a destructive future from the latter or Snoke’s influence? Luke Skywalker? I simply do not see it. He is not Obi-Wan Kenobi, who has proven to be not being above doing or suggesting something terrible for the greater good. Luke has always struck me as the type who needed to have his emotional buttons pushed in order for him to commit a terrible deed.

While most detractors of “THE LAST JEDI” had a problem with Luke’s characterization, I had an even bigger problem with Rey’s . . . and the story arc she shared with Kylo Ren. What in the hell was Rian Johnson thinking? He managed to create another story arc that I believe was marred by the time span between “THE FORCE AWAKENS” and “THE LAST JEDI”. The whole Rey-Kylo Ren story seemed wrong within the Sequel Trilogy’s time frame. As I had earlier pointed out, not long after Rey had began her brief training into the Force under Luke, she discovered that some mental Force bond had developed between her and the man who nearly killed her, Kylo Ren aka Ben Solo. This . . . Force bond led Rey to discover what Luke had nearly did to Ren. And this, along with her telepathic conversations with Luke’s nephew and visions of him being redeemed convinced Rey that it was necessary to travel to Snoke’s ship, the Supremacy, and save Kylo Ren and convince him to give up evil; evoking memories of Luke’s attempt to save his father, Anakin Skywalker, in “RETURN OF THE JEDI”.

When I watched as Rey decided to travel into “the bowels of evil” in order to save an overprivileged and murderous man child from himself and Snoke, I could not help but indulge in a massive face palm. Or groan. This was just simply ridiculous to me. Was I really expected to accept that Rey had developed compassion or any other kind positive feelings for Kylo Ren two to three days after what he tried to do to her in “THE FORCE AWAKENS”? Does anyone realize how unrealistic that is from an emotional point-of-view? After all, only two or three days had passed since Rey had witnessed or experienced the following in “THE FORCE AWAKENS”:

*Kylo Ren kidnapped Rey during the First Order’s attack on Takodana.
*As he had done earlier to Poe Dameron, Kylo Ren tried to violate Rey’s mind in order to learn Luke’s whereabouts, using telepathy. Only she managed to defend herself using the same method.
*Rey, Finn and Chewbacca witnessed Kylo Ren’s murder of his father, Han Solo.
*Kylo Ren tried to injure or kill Rey by tossing her into a tree, near the Star Killer base.
*Kylo Ren maimed Finn during a light saber duel.
*Rey engaged in her own light saber duel against Kylo Ren, in which she managed to wound him.

During Rey and Kylo Ren’s telepathic interactions in “THE LAST JEDI”, she managed to develop compassion for him. And I am at a loss at why she would do this over a person, who had caused so much harm to her and those she cared about . . . in such a short period of time. When Rey asked Kylo Ren why he murdered his father, the latter explained – in a scene in which he was shirtless (a massive eyeroll) – that trying to cut out any sense of emotional attachment. WHAT IN THE HELL???? That was his excuse? And she bought it? And when Rey questioned Kylo Ren’s murder of Luke’s loyal padawans, he revealed how Luke had contemplated on killing him. Never mind that I believed this did not jibe with Luke’s personality. This was a lame excuse on Kylo Ren’s part. Those padawans had not played a role in Luke’s brief contemplation to commit murder. Those padawans had done nothing to Kylo Ren or anyone he may have cared about. And yet . . . Rey failed to continue questioning Kylo Ren’s murders. She expressed anger at Luke’s behavior, which I do not blame her. But she also decided to use this and Luke’s reluctance to save his nephew as an excuse to surrender to Snoke in an effort to save Kylo Ren, someone who had wronged her and those whom she cared about . . . VERY RECENTLY. As far as Rey knew, Kylo Ren was not related to her and a long period of time had not passed between “THE FORCE AWAKENS” and “THE LAST JEDI”.

Another problem seemed to manifest this story arc – namely Rey’s visions of Kylo Ren’s future. I am not claiming that he was redeemable. But did Rey ever consider that her visions had been manipulated in the first place? Did she ever consider that her telepathic bond was manipulated, which the movie later confirmed during Snoke’s monologuing? I realize that Rey was somewhat naive. But considering her recent past experience with Kylo Ren attempting to violate her mind, she never considered that this might be another attempt? Or that he had successfully found a way to violate her mind and try to manipulate her? Apparently not. Instead, Rey simply jumped up and rushed to Snoke’s ship in an effort to “save” Kylo Ren. It seemed obvious that Johnson had set up this whole scenario in order to plagiarize the Palpatine throne scene from “RETURN OF THE JEDI”. Unfortunately for me, it failed on so many levels. Worse, it made Rey looked like “the Idiot of the Galaxy”. This entire story arc struck me as incredibly stupid.

One could say that Rey’s stupidity in the above scenario finally erased the Mary Sue label from her character. Perhaps. There was also the fact that in compare to Snoke, her mastery of the Force was a joke. He handled her like a toy doll in the Supremacy throne room sequence. And yet, she was able to master the Force with easy in other scenes. The movie’s novelization, written by Jason Fry, explained that the telepathic connection that Rey had unexpectedly formed with Kylo Ren enabled her to learn his skills with the Force. In other words, Rey is the “STAR WARS” version of Chuck Bartowski from the NBC series, “CHUCK”. For me, this was one of the most idiotic and lazy piece of writing that I have ever encountered in a movie or novel. To make matters works, the movie’s ending revealed that Rey had stolen Luke’s ancient Jedi texts. This seemed to be a hint that she will continue her Jedi studies using those texts. Jesus Christ! This scenario had failed when an Extended Universe (EU) novel used it to explain Luke’s development of his Force skills in “RETURN OF THE JEDI” after failing to return to Yoda on Dagobah for more training. This scenario strikes me as even more ludicrous, considering that Rey’s actual training lasted a hell of a lot shorter than Luke’s.

Rey also continued to display her Force skills in a lightsaber fight scene that featured her and Kylo Ren against Snoke’s guards. However, since the latter were not Force users, I would equate this scene with Obi-Wan Kenobi’s duel against General Grievous in “STAR WARS: EPISODE III – REVENGE OF THE SITH”. Utterly irrelevant. And to be honest, both Daisy Ridley and Adam Driver seemed like more proficient duelists in a You Tube video clip that featured them practicing the fight than they did in the movie. Whoever handled the lightsaber choreography for this film need more lessons on how to stage a fight between swordsmen.

Before Rey had made her escape from Snoke’s starship, Kylo Ren revealed to her that her parents were two-bit junk dealers on Jakku, who had sold her into slavery for drinking money. He did this in an effort to emotionally isolate her and manipulate her into serving his desires. Now, if what he said about Rey’s parents are true, who had abandoned Rey on Jakku and left the planet? If the people who had abandoned Rey on Jakku were her parents, then they had sold her for more than drinking money. Also, how and when did Rey ceased to be a slave? I read somewhere that Rian Johnson made Rey unrelated to the Skywalker family because he wanted to move the saga away from them. When I heard this . . . Jesus Christ! Do Disney and Lucasfilm even know what what the hell they are doing? If the main protagonists for the Sequel Trilogy are not supposed to be members of the Skywalker family, then why . . . regard . . . this . . . particular . . . trilogy as part of the Skywalker Family Saga in the first damn place? Why not simply regard this trilogy as something other than a part of the Skywalker family saga and utilize characters from the previous two trilogies as minor supporting characters – like 2016’s “ROGUE ONE”?

There were other characterizations that proved problematic to me. Many of the saga’s fans had complained about Snoke’s death and the fact that his background was never revealed or explored. I had no problem with this for two reasons. One, Palpatine’s background was never revealed until the Prequel Trilogy. Unless Lucasfilm plans to release films that featured Snoke’s backstory or the rise of the First Order, I must admit that as a character, he was a waste of time. And two, I am not a fan of Snoke. Despite Any Serkis’ excellent voice performance, Snoke struck me a ham-fisted and one-dimensional version of Palpatine. I could blame J.J. Abrams, who created the character in the first place. But the real blame lies on Rian Johnson’s shoulders, who had transformed the character from a somewhat mysterious villain to a one-dimensional remake of one of the best movie villains I have ever seen on screen.

Captain Phasma has to be one of the most wasted characters I have ever encountered in the science-fiction/fantasy genre. This character, who happened to be commander of the First Order’s stormtroopers, had less development than some of the one-shot villains in the saga. Hell, even General Grievous, whom I have always harbored a low opinion, was better written than her. Poor Gwendoline Christie. It was bad enough that Abrams wasted her character in “THE FORCE AWAKENS” by failing to show her in action. When she was finally featured in an action sequence in “THE LAST JEDI” – a control baton duel against Finn aboard Snoke’s ship – she was quickly killed off. And she was dispatched rather fast, due to . . . you know what? I do not know. I do not know why Johnson had shortened the Finn/Captain Phasma duel to such a ridiculously short length. I have come to the conclusion that Phasma was, in the end, a wasted character. If there was a character even more wasted than Captain Phasma, it was Admiral Ackbar, who had also appeared in both “RETURN OF THE JEDI” and “THE FORCE AWAKENS”. The Mon Calamari military commander was unceremoniously killed by the same blast that nearly killed Leia . . . before he even had the opportunity to utter a line. God, what a waste! Although Chewbacca was utilized more than Admiral Ackbar, his character had been reduced to a comic relief arc and a species called the Porg on Ach-To and Rey’s personal chauffeur. Despite having more screen time, poor Chewbacca proved to be wasted just as much as Phasma and Ackbar.

A relative of mine had pointed out that what made “THE LAST JEDI” unique was that it featured how the theme of failure in a STAR WARS movie. Others had pointed out that Rian Johnson managed to present a movie with a subversive narrative. I say bullshit to that. “THE EMPIRE STRIKES BACK” was the first STAR WARS movie that featured the failures of its protagonists. It was also the first film that subverted the mythos of the saga that Lucas had created. And guess what? The Prequel Trilogy was basically one long saga on how Anakin Skywalker, the Jedi and the Galactic Republic failed themselves. Also, the last third of “RETURN OF THE JEDI”, the Prequel Trilogy and “ROGUE ONE” were other movies that subverted the saga’s mythos. Rian Johnson had not created anything new. Not really. Also, both George Lucas and Gareth Edwards did all of this with better writing.

There were aspects of “STAR WARS: EPISODE VIII – THE LAST JEDI” that impressed me. I thought the film’s performances from a cast led by Mark Hamill, Daisy Ridley and John Boyega were either competent or first-rate. And I was more than impressed by the movie’s production values. But overall, I found “THE LAST JEDI” to be a major disappointment. And a great deal of this disappointment came from Rian Johnson’s screenplay – both the film’s narrative and characterizations. In fact, I dislike this film a lot more than I did “STAR WARS: EPISODE VII – THE FORCE AWAKENS”. I understand that J.J. Abrams, who had directed the Sequel Trilogy’s first film, will direct its third and final movie, “EPISODE IX”. Even if this movie proved to be enjoyable, I do not think it can save this new trilogy as a whole. After two very disappointing movies, the STAR WARS Sequel Trilogy has proven to be a disaster in my eyes.

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