“THE LAST TYCOON” (2016-2017) Episodes Ranking

Below is my ranking of the episodes from “THE LAST TYCOON”, Amazon Studios’ 2016-2017 loose adaptation of F. Scott Fitzgerald’s 1941 unfinished novel that was published posthumously. Developed by Billy Ray, the limited series starred Matt Bomer as Monroe Stahr:

“THE LAST TYCOON” (2016-2017) EPISODES RANKING

1. (1.08) “An Enemy Among Us” – While production chief Monroe Stahr commence upon a campaign to secure Brady-American Pictures first Oscar nominations, studio chief Pat Brady seeks for a solution to balance the studio’s account books and get the Board of Directors off his back. Meanwhile, starlet-to-be Kathleen Moore plots to escape from her dangerous deception.

2. (1.03) “More Stars Than There Are in Heaven” – Brady proves his worth as studio chief as he plans to woo film star Margo Taft to sign up with Brady-American. Due to the loan he had given Brady, MGM studio boss Louis B. Mayer tries to interfere in the studio’s projects. Brady’s daughter Celia forms a connection with office boy Max Miner. And Monroe’s relationship with Kathleen blossoms.

3. (1.09) “Oscar, Oscar, Oscar” – In this season finale that focuses on the Academy Awards ceremony, Brady makes a decision that causes a rift between him and Monroe and Celia. Monroe and Kathleen grapple with the emotional fallout of her deception.

4. (1.06) “A Brady-American Christmas” – During the Christmas holiday, Stahr encourages Kathleen to join Fritz Lang’s secluded rehearsal, leaving him alone on Christmas Eve. Brady schemes to boost ticket sales for “Angels on the Avenue”. Celia and Max are brought closer by tragedy.

5. (1.01) “Pilot” – The series premiere and pilot introduces Monroe as Brady-American Pictures’ production chief, who constantly clashes with Brady over the content of the studio’s films, fends of Celia’s infatuation with him and falls in love with Kathleen, whose nationality reminds him of his late wife, Minna Davis.

6. (1.06) “Eine Kleine Reichmusik” – Stahr orchestrates an extravagant Hollywood party that masks a secret agenda involving Austrian-Jewish musicians. Brady continues to courts Margo Taft to become Brady-American’s permanent leading lady. And Celia becomes aware of director Fritz Lang’s provocative private life.

7. (1.04) “Burying the Boy Genius” – The death of MGM production chief Irving Thalberg sends shock waves throughout the Hollywood industry and leaves Brady pondering over Monroe’s shaky health. Meanwhile, the latter risks his budding relationship with Kathleen to save a movie and Brady American.

8. (1.07) “A More Perfect Union” – Brady hatches a bold business ploy that has sweeping consequences for the studio’s employees and forces Monroe to contain the repercussions. Kathleen struggles to manage her tangled web of half-truths.

9. (1.02) “Nobody Recasts Like Monroe” – Monroe continues his pursuit of Kathleen, who rejects the idea of being a replacement for Minna. Pat Brady’s pet project has a devastating debut, forcing him to accept Monroe’s help. Celia gets cozy in her role as producer, so Hackett takes it upon himself to give her an education.

Favorite Television Productions Set in the 1930s

Below is a list of my favorite television productions (so far) that are set in the 1930s:

 

 

 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1930s

1. “Agatha Christie’s Poirot” (1989-2013) – David Suchet starred as Agatha Chrsitie’s most famous sleuth, Hercule Poirot, in this long-running series that adapted her Poirot novels and short stories.

2. “Moviola: The Scarlett O’Hara War” (1980) – Tony Curtis starred as David O. Selznick in the second episode of the miniseries, “Moviola”. The television movie featured Selznick’s search for the right actress to portray the leading character in his movie adaptation of “Gone With the Wind”.

3. “Edward & Mrs. Simpson” (1978) – Edward Fox and Cynthia Harris starred the 1978 adaptation of the events leading to the 1936 abdication of King Edward VIII of Great Britain. The seven-part miniseries was based upon Frances Donaldson’s 1974 biography.

4. “Mildred Pierce” – Todd Haynes directed and co-wrote this television adaptation of James M. Cain’s 1940 novel about a middle-class divorcee, who struggles to maintain her family’s position during the Great Depression and earn her narcissist older daughter’s respect. Emmy winners Kate Winslet, Guy Pearce and Emmy nominee Evan Rachel Wood starred.

5. “Upstairs, Downstairs” (2010-2012) – Heidi Thomas created this continuation of the 1971-1975 series about the Hollands and their servants, the new inhabitants at old Bellamy residence at 105 Eaton Place. Jean Marsh, Keely Hawes, Ed Stoppard and Claire Foy starred.

6. “And Then There Were None” (2015) – Sarah Phelps produced and wrote this television adaptation of Agatha Christie’s 1939 novel. Craig Viveiros directed.

7. “The Last Tycoon” (2016-2017) – Billy Ray created this television adaptation of F. Scott Fitzgerald’s unfinished novel about a Hollywood producer during the mid-1930s. Matt Bomer starred.

8. “Indian Summers” (2015-2016) – Paul Rutman created this series about the British community’s summer residence at Simla during the British Raj of the 1930s. The series starred Henry Lloyd-Hughes, Nikesh Patel, Jemima West and Julie Walters.

9. “Damnation” (2017-2018) Tony Tost created this series about the labor conflicts in the Midwest, during the Great Depression. Killian Scott and Logan Marshall-Green starred.

10. “The Lot” (1999-2001) – This series centered around a fictional movie studio called Sylver Screen Pictures during the late 1930s. The series was created by Rick Mitz.

“THE MAGNIFICENT SEVEN” (2016) Review

“THE MAGNIFICENT SEVEN” (2016) Review

When I first learned that there was to be another remake of the 1954 movie, “SEVEN SAMAURAI”, I nearly groaned with displeasure. Worse, the movie would not only be a remake of the Japanese film, but an even closer remake of the 1960 film that had re-staged the story as a Western. I have always been leery of remakes, even if some proved to be pretty damn good. But I was more than leery of this particular film.

The reason behind my leeriness is that I am not a fan of the 1960 film. I tried to be. Honest I did. But there was something about it – the performances of the lead, if I must be honest – that I found somewhat off putting. I also feared that I would face the same in this latest adaptation, but with even less success.

“THE MAGNIFICENT SEVEN” – or this version – begins in 1879 when a corrupt industrialist named Bartholomew Bogue and his men besiege the mining town of Rose Creek, California and slaughters a group of locals led by Matthew Cullen, when they attempt to stand up to him and his attempt to coerce them into selling their land to him. Matthew’s wife, Emma Cullen, and her friend Teddy Q ride to the nearest town in search of someone who can help them. They come upon Union Army veteran and warrant officer Sam Chisholm, who initially declines their proposal, until he learns of Bogue’s involvement. Chisholm sets out to recruit a group of gunslingers who can help him battle the powerful businessman:

*Joshua Faraday – a gambler and explosives man who takes on the job to rid himself of debt

*Goodnight Robicheaux – a Confederate veteran and sharpshooter who is haunted by his past

*Billy Rocks – an East Asian immigrant assassin with a talent for knives and Goodnight’s close companion

*Vasquez – a Mexican outlaw who is also a wanted fugitive

*Jack Horne, a religious mountain man/tracker

*Red Harvest – an exiled Comanche warrior and youngest of the group

Chisholm and his colleagues manage to rid Rose Creek of Bogue’s men. But knowing that the businessman would be determine to strike back with a bigger force, the seven riders set out to prepare the town’s citizens for what might prove to be an ugly, minor war.

I never really had any intention of seeing this new “THE MAGNIFICENT SEVEN” in the movie theaters, considering my views of the 1960 film. But a relative of mine convinced me to give it a chance. And I did. There were some aspects of the movie that I found questionable. Well . . . two, if I must be honest. I wonder why screenwriters Nic Pizzolatto and Richard Wenk had portrayed the Red Harvest character as a Comanche. The latter lived along the Southern Plains that stretched between Nebraska and Northern Texas. Why not portray Red Harvest from a region a bit closer to the movie’s setting – like the Paitue, the Ute or the Pomo? I also had a problem with some of Merissa Lombardo’s costume designs. Some . . . not all of them. I found her costumes for the main male characters to be spot on. Lombardo’s costumes for each male character not only clicked with the time period – late 1870s – but also with each character. But her costumes for the Emma Cullen character, proved to be a problem for me. They struck me as unnecessarily revealing for the wife-later-widow of a respected man from the late 19th century. Emma Cullen is not a 19th century prostitute. Why on earth did Lombardo come close to dressing her as one, as shown in the images below?

Despite these quibbles, I enjoyed “THE MAGNIFICENT SEVEN”. Very much. The movie was not an exact replica of “SEVEN SAMURAI” or the 1960 film, “THE MAGNIFICENT SEVEN”. And that is a good thing. I would have preferred to watch director Antoine Fuqua’s personal version, instead of a carbon copy of either the original 1954 film or the 1960 Western. More importantly, I simply preferred his version over the other two films. Yes, I have seen both the 1954 and 1960 films. I am certain that many film goers and critics loved them. Unfortunately, my memories of the 1954 film is vague and I am simply not a fan of the 1960 remake. Fuqua and screenwriters Pizzolatto and Wenk managed to maintain my interest in the story, thanks to the former’s energetic direction and a screenplay that struck me as well paced. I noticed that this version did not include the seven gunmen being chased out of town by the villain before returning for a final showdown. Instead, Pizzolatto and Wenk further explored the seven protagonists’ efforts to help Rose Creek’s citizens prepare for Bogue’s retaliation.

The movie also featured some outstanding action sequences, thanks to Fuqua’s tight direction. Considering his past work in movies like “TRAINING DAY”, “SHOOTER” and “OLYMPUS HAS FALLEN”, I should not be surprised. There were a few actions sequences that I had enjoyed, including Rose Creek citizens’ tragic encounter with Bartholomew Bogue’s men, which set off the plot; Sam Chisholm’s brief, yet violent encounter with a handful of fugitives early in the movie; and the seven mercenaries’ first conflict with some of Bogue’s men. But for me, the movie’s pièce de résistance proved to be the final battle in Rose Creek. It was well shot action sequence as far as I am concerned. What am I saying? Well shot? Hell, I found it exciting, tense, tragic, euphoric and . . . yes, well shot. I found it very impressive and dramatically satisfying.

When I learned that the movie was shot in both Arizona and New Mexico, I was not surprised. It seemed apparent to me that a good deal of “THE MAGNIFICENT SEVEN” was shot in both the northern and central regions of both states. What took me by surprise was the fact that the movie was also shot in Baton Rouge, Louisiana. When? Which scenes were shot in Baton Rouge? For the likes of me, I just do not know. Which only tells me that production designer Derek R. Hill really did his job of converting the Baton Rouge location to 19th century California. I also felt that Mauro Fiore’s cinematography gave support to Hill’s work and made the film look sharp and very colorful.

Now some are probably wondering how can I like this movie so much, yet harbor such lukewarm feelings toward the 1960 version. For me, the huge difference between the two movies proved to be the cast. Yes, I am aware that the 1960 version featured the likes of Yul Brenner, Steve McQueen and others who were just becoming famous. But the main reason why I always had a problem with this version is that most of the leads – with the exception of one or two – spent most of the film standing around or posing, trying to look “cool” or “iconic”. I found myself wondering if most of them were preparing for an audition for the role of James Bond. I found this most annoying. Thankfully, the cast of this version came off as a lot more earthy. Natural. Instead of “icons of cool”, the leads seemed more human.

The one actor whose performance seemed to closely resemble those from the 1960 cast was Denzel Washington, who portrayed the lead, Sam Chisholm. I suppose it would be natural, considering that he was not only the lead, but the oldest in the bunch. But even Washington’s performance had a paternal air that I never saw in Yul Brenner’s performance. More importantly, his character’s arc had a major twist that I should have seen coming after he was first introduced. Chris Pratt portrayed the group’s trickster – a gambler/womanizer named Josh Farady. I must admit that when I first learned that Pratt would be in this film, I just could not imagine it. Not by a long shot. But it did not take long for me to not only accept Pratt’s presence in the film, but end up being very impressed by the way he mixed both comedy and drama in his performance. Ethan Hawke also combined both comedy and drama in his portrayal of former Confederate sharpshooter, Goodnight Robicheaux. But his character had a bit more pathos, due to being haunted by his experiences during the Civil War. And this gave Hawke the opportunity to give one of the movie’s best performances.

Vincent D’Onofrio gave a very colorful and entertaining performance as the former religious trapper Jack Horne, who interestingly enough, was the only one of the seven men who came close to having a love interest. I was very impressed Lee Byung-hun’s sardonic portrayal of Robicheaux’s companion, the knife-throwing Billy Rocks. After seeing Haley Bennett’s intense portrayal of the revenge seeking widow, Emma Cullen, I could see why the actress has been recently making a name for herself with critics. Manuel Garcia-Rulfo proved to be just as colorful and entertaining as D’Onofrio as the wanted outlaw, Vasquez. Martin Sensmeier gave an intense, yet cool performance as the group’s youngest member, a Comanche warrior named Red Harvest. Matt Bomer gave a solid performance in the film’s first fifteen minutes or so as Rose Creek citizen, Matthew Cullen, whose death helped set the plot in motion. And the role of Bartholomew Bogue (my God, that name!) became another of Peter Sarsgaard’s gallery of interesting characters. Mind you, his intense portrayal of the villainous businessman was not as humorous as Eli Wallach’s more witty villain from the 1960 film, but it was a lot more off-kilter and just as interesting.

Despite one or two quibbles, I enjoyed “THE MAGNIFICENT SEVEN” very much. As I have stated earlier, I found this surprising considering my lukewarm opinion of the 1960 predecessor. Director Antoine Fuqua did a great job of creating his own adaptation of the 1954 movie, “SEVEN SAMAURAI”. And he had ample support from an entertaining screenplay written by Nic Pizzolatto and Richard Wenk, along with an excellent cast led by Denzel Washington, Chris Pratt and Ethan Hawke.

“THE NICE GUYS” (2016) Review

 

“THE NICE GUYS” (2016) Review
The 2016 summer movie season proved to be not as impressive as I had originally thought it would be. I cannot recall a remake of television or previous movie with an original twist. Worst, many of the movies seemed to be nothing more than sequels. And if I must be brutally frank, not very good ones. But I have only come across two movies that struck me as completely original. One of them is the period action comedy, “THE NICE GUYS”.

Co-written and directed by Shane Black, “THE NICE GUYS” told the story of a down-on-his-luck private investigator and an enforcer investigating two cases that might have a connection with each other – the death of a fading porn star and a missing young woman, who happens to be the daughter of a U.S. Justice Department official. Set in Los Angeles circa 1977, “THE NICE GUYS” began with a young boy witnessing the death of fading porn star Misty Mountains in a car crash in the Hollywood Hills. Later, Misty’s aunt, Mrs. Glen, hires private eye Holland March to find her, claiming that she is still alive. Despite feeling skeptical of Mrs. Glen’s claim, Holland takes the case and discovers that a young woman named Amelia Kutner is connected to Misty. Unbeknownst to him, an enforcer named Jackson Healy has been hired by Amanda, who does not want to be found, to intimidate March into staying away from her. But when two thugs try to coerce Jackson into revealing Amelia’s whereabouts, he teams up with Holland and the latter’s young daughter Holly to find Amelia before the thugs do. The duo’s investigation lead them into the world of Los Angeles’ pornography industry and a scandal surrounding the automobile industry.

“THE NICE GUYS” was not a major box office hit. It barely made a profit, if I must be brutally honest. This is a pity, because I believe Shane Black not only directed, but co-wrote – with Anthony Bagarozzi – a first-rate action comedy. There were a few aspects of “THE NICE GUYS” that I found unappealing. One, I was a little taken aback that the main villains behind the murders committed in the movie and involved in the automobile scandal did not face any justice. Perhaps I should not have been surprised, considering that the main villains were a cabal of businessmen in the Detroit automobile industry. I mean, honestly, Black and Bagarozzi could have provided the movie with a more distinct main villain and saved an ending like this for a drama like 1974’s “CHINATOWN”, instead of an action comedy. And two, for a movie set in the late 1970s, one aspect struck me as anachronistic – namely the Judith Kutner character portrayed by Kim Basinger. What else can I say? Basinger looked like an early 21st century woman who had time traveled back to 1977, thanks to her anachronistic hairstyle. Visually, the actress stuck out like a sore thumb.

Thankfully, there was a lot more to admire about “THE NICE GUYS”. Shane Black and Anthony Bagorozzi really did themselves proud. Who else could write a comedic story about a group of people in the porn industry, using the power of film – a “porn” flick called “How Do You Like My Car, Big Boy?” to expose the shady dealings of a cabal of Detroit automobile makers; toss in an alcoholic private investigator, a burly and somewhat violent enforcer, the former’s 12 year-old daughter; and set all of this in 1977 Los Angeles? By all of the laws of nature (and writing), this should not have worked. But it did . . . beautifully. This movie featured some interesting and off-the-wall scenes that included Jackson and Holland’s first violent meeting, their search for the missing Amelia at a wild party held by a pornography producer in the Hollywood Hills, and that crazy finale at the L.A. Auto Show.

“THE NICE GUYS” also featured some first-rate action sequences. Among my favorites are the screen fights that featured Russell Crowe, Keith David and in the first one, Beau Knapp. I would include Ryan Gosling, but his character did not strike me as an effective brawler, just a person who falls from high places, while in a state of intoxication. The movie also featured a first-rate scene in which the Jackson Healey and Holland March characters have a deadly shoot-out in front of the March home with a psychotic hit man named John Boy (a name that requires a photograph of actor Matt Bomer and an article on its own). But once again, the auto show sequence tops it all with some first-rate action that include a major brawl and an intense shoot out.

Being a period piece, “THE NICE GUYS” is a colorful movie to look at, thanks to contributions from the crew. I love sharp color in my films, especially if they are period pieces. And I am happy to say that Philippe Rousselot’s photography not only satisfied me color wise, but also gave the movie a late 1970s sheen that I have not seen in a long time. I noticed that some of his exterior shots were filmed in close-ups. And I cannot help but wonder if he had done this, because the movie was partially shot in Atlanta, Georgia. Also contributing to the movie’s late 1970s look was Richard Bridgland’s production designs. Speaking as a person who remembered that era (and location) very well, I have to give Bridgland kudos for doing an excellent job in re-creating that era. I also have to say the same about David Utley’s art direction. I was also impressed by Kym Barrett’s costume designs. As shown in the images below, I found them very colorful and spot-on:

I cannot help but wonder if Russell Crowe’s character had become attached to that faux leather jacket. The actor wore it throughout the film. Although David Buckley and John Ottman provided a solid score for the movie, I really enjoyed the variety of songs from the mid-to-late 1970s that were included. This especially seemed to be the case during the porn producer’s party that featured a band playing Earth, Wind and Fire tunes. Be still my heart!

“THE NICE GUYS” also featured some solid and outstanding performances. Murielle Telio, Beau Knapp, Ty Simpkins (who had worked with Black in “IRON MAN 3”), Lois Smith, Margaret Qualley, Jack Kilmer, and Gil Gerard (“BUCK ROGERS IN THE 25TH CENTURY” anyone?) all gave some pretty solid performances. I can also say the same about Kim Basinger, who portrayed a very pragmatic, yet emotionally intense Federal prosecutor named Judith Kuttner.

But I was really impressed by the likes of Matt Bomer, who gave a really intense performance as the rather scary hit man, John Boy. It was nice to see Bomer portray a character so completely different from what he usually does. Yaya DaCosta was equally intense, yet very seductive as Tally, secretary to Kim Basinger’s Judith Kuttner. I thought she did a great job in conveying all of the interesting traits of Tally – friendly, sexy, intense and dangerous. Keith David had the unenviable task of being one of the few sane characters in this crazy film, while portraying a Detroit-born hit man nicknamed “Older Guy”. However, I nearly fell off my seat, while laughing at one scene in which he expressed dismay to Holland for allowing young Holly’s presence in the case. Speaking of Holly, the filmmakers cast young Australian actress Angourie Rice to portray Holland’s pragmatic and brainy daughter, who also served as the leads’ conscience. Not only did she give a first-rate performance, Rice managed to keep up with the likes of Russell Crowe and Ryan Gosling with ease.

Russell Crowe’s Jackson Healey more or less played straight man to Ryan Gosling’s zany Holland March; and I have to give him kudos for being up to the task. It is not an easy job playing straight man to the clown, considering that people are more inclined to pay attention to the latter. But Crowe not only did his job, he also beautifully brought alive a very interesting character in his own right, enforcer Jackson Healey, a dependable guy who has this little penchant for unnecessarily using excessive violence to solve certain situations. And he really clicked with Ryan Gosling, who had the good luck to portray the hapless and alcoholic private investigator Holland March. The interesting thing about Holland is that he is not dumb at all. In fact, he is actually a perceptive investigator who is good at his job, when he is not inebriated, not trying to cheat his clients, wallowing in his infatuation of the mysterious Tally or too intent on saving his own skin. I have to say that Holland March has become one of my favorite Ryan Gosling roles of all time. And one of the funniest I have ever viewed on the silver screen. What else is there to say?

What a shame that the public did not embrace “THE NICE GUYS”. But it does not matter in the end. At least for me. I can think of numerous films that I loved, but were not exactly box office hits. Right now, “THE NICE GUYS” has become one of those films. It is sooooo fun to watch, thanks to a great, but not perfect script; sharp direction by Shane Black; and a marvelous cast led by a very talented duo, Russell Crowe and Ryan Gosling. This movie will go down as one of my favorites from 2016.