PARTHENOPE (2024)

 

Written & Directed By: Paolo Sorrentino 

Cinematography: Daria D’Antonio 

Editor: Cristiano Travaglioli 

Cast: Celeste Dalla Porta, Silvio Orlando, Gary Oldman, Peppe Lanzetta, Dario Aita, Marlon Joubert, Luisa Ranieri, Isabella Ferrari

A woman born in the sea of Naples in 1950 searches for happiness over the long summers of her youth, falling in love with her home city and its many memorable characters.

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Director Paolo Sorrentino knows how to make things beautiful. He knows how to bring out natural beauty and what others might overlook this film, which looks more like a commercial at times with its images and characters, reminding one a film such as Terence Malik in this world there’s a visuals could be distracting , but also seem to be part of the storytelling as this film seems to more be about atmosphere and culture than anything else.

While this film is an epic in itself. It’s not as flashy as his previous films. As it is broad but feels a bit more modest and gritty. 

The lead character Parthenope played elegantly by Celeste Dalla Porta. which also has the name of the title was born in the sea. She seems to represent Naples, Italy itself, naturally, beautiful, and island separated from the rest of the world who either stare or wish to be near she must pay a price for her beauty as it causes Corruptions breakdowns, false promises, flirtations all around her as it tries to be itself, but at times can’t be selfish or all consuming not knowing its own power and strength and influence over others

The film provides many metaphors, but like it subject, it feels shallow and a bit too in love with itself as there is substance that doesn’t feel like it digs deep enough? As the audience takes us along its many paths. Though seems to get lost in itself. 

The subjects of the film, the director has explored before and deeper so much more so that this film that tries to be artistic comes across a little bit more mainstream, even with all of its indulgences

Gary Oldman is a selling point in his small role is writer, John Cheever, who you hope would help shape the story or being an interesting chapter as she would become amuse of his, but he seems more to help the film’s box office and as the only American character going with a recognizable screen presents Though seems more there as a memento or a devotion, a testament to the times

The lead actress is certainly beautiful and has a passing resemblance to actress Mia Sara she does what is expected of her as she continuously looks glamorous in bikinis and evening dresses, but through her journeys and some growth, you wish the film brought into focus more of the side characters like her acting teacher who shows up to give lessons, but truly proves to be nothing but smoke and mirrors

It feels like the film  MALENA by Giuseppe Tonratore as the film continuously focuses on her beauty, even when trying to show her as a full character whereas in that film, it humanized the title character, but we more got to see her from others point of view here the title character gets all these opportunities and meet so many influential characters because of her beauty and youth and constantly trying to figure everything out around her which also leads too many tragedies as she know so many

So that this film becomes a historic look at a beautiful woman overtime as well as the changing of the times of Italy that serves as a fictional biography of sorts. A romantic look back that surprisingly has little sex and isn’t as exploited as the directors previous films could be, but there does feel Like for all the access in this film. There’s also an emptiness to it.

Still a film to see, but not needed to be so lengthy when there isn’t that much to say 

Grade: B- 

FEDORA (1978)

 

Directed By: Billy Wilder

Written By: Billy Wilder & I.A.L. Diamond 

Based On a Story By: Tom Tyron 

Cinematography: Gerry Fisher 

Editor: Stefan Arnstein and Frederic Steinkamp 

Cast: William Holden, Marthe Keller, Hildegard Knef, Jose Ferrer, Frances Sternhagen, Mario Adorf, Stephen Collins, Henry Fonda, Michael York 

Famous film star Fedora has died. At her funeral, movie producer Barry Detweiler recalls how only two weeks previously, after much difficulty, he approached her and asked her to star in a movie of his. The encounter revealed some disturbing things about her life, and now more will be revealed after her death.

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This was unfortunately Billy Wilder’s last produced film. Where he had his long time co-writer I. A. L. Diamond riding with him. What a film to go out on though. 

Surprisingly, it’s not a comedy. It’s actually a drama that works as a companion piece with his classic Sunset Boulevard for some people. The movie will not rise to the occasion or reputation of that film, even with both films having William Holden as one of the main stars. 

Fedora is a different animal as it’s kind of a detective story and a mystery yet not the traditional one where we do into the past and current state finding out about a character in their history as well as a film that has something to say about Fame stardom Hollywood movies character And identity as well as beauty

Just like Sunset Boulevard a love letter to the industry that at that point for Billy Wilder was passing him by and putting him out to pasture, but he wanted to show he still had what it took and wanted to take or tell a grand powerful story while also having a cynical side 

This film is more intimate, even though it’s sad Moore in the Greek islands so while it should be epic and scope, he manages to make it feel a little more personal, a little more private, even when dealing with a Hollywood star 

That is what also sent to Sunset Boulevard, as we have an aging legendary actress who has become reclusive and might be delusional, who still believes her own Fame and the people around her, enable it, even though it might lead to her destruction mentally 

And also involves William Holden‘s character, desperate to find the star and trying to hang his own Fame or come back on her cocktails, though through investigation and revelations becomes a lot closer than he ever expected to come to her, and she has quite her own story to tell that he must discover Rather than it being told directly

It works like a detective, nor even though most of the scenes take place and playing daylight in the way that the Moor investigates in the more that he thinks he knows the more is actually revealed sometimes directly, but also sometimes subtly for the audience to discover just as he does so in that way, it feels kind of interactive, but it also feels like an ode to glamour that at the time was disappearing, they send off to classic films, classic Hollywood and thinking behind it. It actually ends up being a perfect swan song for Billy Wilder, who still even after this film, was trying to get films made in this new Hollywood, but couldn’t get hired no matter how eager he wants to work, used up and thrown away, which can be set of the main character in this town that’s the theme feels more autobiographical

For him 

It’s a beautiful prince of filmmaking that feels like it’s from a timeless bygone era. As they do my make films like these anymore 

Grade: B+

CONTEMPT (1963)

 

Directed By: Jean-Luc Godard

Written by & based on the novel “IL DISPREZZO” By: Alberto Moravia

Cinematography: Raoul Coutard

Editor: Agnes Guillemot 

Cast: Jack Planace, Brigitte Bardot, Fritz Lang, Michel Piccoli, Giorgia Moll

A French writer's marriage deteriorates while working on Fritz Lang's version of "The Odyssey", as his wife accuses him of using her to court favor with the film's brash American producer.

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Tortured Myself again, by watching another Jean Luc-Godard From my Criterion Collection, sight unseen.

I know how dour that already sounds. You just have to know that me and Jon Luc Godard films have had a love-hate relationship. I have actually liked and enjoyed some films that I didn’t expect while other films that are considered classics I found rather boring noteworthy for different reasons.

I like the ideas of Jean-Luc Godard, in his style though the films not necessarily as much at times they work, but usually not at least for me as they become statements which might have worked at the time as bold but now come across as pretentious, cinematic, theatrical games, there is a living quality to them in an absurd quality, as they are usually quite beautiful, but leaves the audience lost to find their own way, which is commendable, if not having

I will say watching the movie is like reading a classic book you don’t like and wonder why so many do as it feels more like an assignment that you’re determined to finish 

This is one of those movies where you’re going to come up with your own theory or understanding of it so I’m only gonna present my interpretation.

Now it’s always entertaining watching a younger Jack Palance in a film, as well as young women, riding bicycles in skirts. Though watching Fritz Lang steal the movie in his scenes was worth it

It is another movie of Brigitte Bardot being torn supposedly between Teague lovers neither of which is seem a good choice, but one is better than the other and her never having chemistry who is the one who is older, has more money and seems more want her only physically.

This film is a satire film making, but it seems to turn more into a domestic drama romance of a deteriorating marriage.Even as it explores the themes of selling out or staying, true to your principles.

That was it’s a beautiful locations still end up being a hang out movie that is in the middle of paradise yet everyone is oblivious to the beauty of their surroundings or they’ve been there so long that it is normal to them, though the film still manage to showcase the beauty and appeal of Brigitte Bardot and it seems like while everybody in the film can see her beauty she is like the background to them. They’ve grown so used to her that it’s normal, but will still contest her. Well, the film and filmmaker bathe her and loving light as well as give her a meaty challenging role. Though questionable if you might actually like her by the end

One can say that at least she gets to play full character other than just a fantasy or an object of beauty pretty much a bombshell, though she does Grace the poster, so it she did help sell tickets for this phone as next to Jack Palance she’s the biggest name in the film and of course Fritz Lang. No, she seems to be the entrance or introduction for us to the Phil as the camera lingers on her

Throughout the film, we see the games that all the characters seem to be playing weather in love relationships filmmaking financing.

Now one can see where Martin Scorsese got part of his score of CASNO from. It gets  annoying a bit at times watching its source play throughout. The score “ST. MATTHEW PASSION BMV 244/PART TWO: WIR SETZEN UNS MIT TRANEN NEIDER”’By Johann Sebastian Bach 

Which leads me to wonder Did he use it to subconsciously say that all these characters are in this Idyllic Wonderland in that they are alienated from it due to mounting domestic pressures & alienation from one another

Didn’t expect this to become one of Godard Morchella Ching films even though it’s seams like most of them are as the film deals with alien nation. It almost feels more like a Michelangelo Antonioni film only no not as long, and this seem to have more of a cruel, ending the natural ending.

In the end, I have no problem, admitting maybe I didn’t quite get it as much as others did as I loved the concepts and drama that was introduced that lead to discussions and conversations even after you watch the film no again I can’t say I enjoyed it, or necessarily would need to watch it again

IL POSTO (1961)

 

Directed By: Ermando Olmi 

Written By: Ermando Olmi And Ettore Lombardo 

Cinematography: Lambert Caimi 

Editor: Carla Colombo 

Cast: Lordana Detto, Sandro Panseri 

Bursting with big dreams and plans, an Italian teen goes to Milan to work in a big impersonal corporate office, where he becomes disillusioned and drained of all his individualism.

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This classic masterpiece of Italian film is full of great moments. As it seems focused on two characters in particular, thst the film takes its time in introducing individually and to one another, but by the end becomes more of an ensemble.

The film tries more to be a docu-drama to make it feel more realistic which is why there are barely any credits. 

The film definitely paints a picture of a culture, time period and of business. How the film introduces us to individuals but by the end they become part of the system and almost nameless. Even though they all ah e their own conflicts and personalities. Though become defined by their jobs only. Another cog in the bureaucratic machine 

The black and white photography throughout gives the film and the tale a timeless nature. As it is a story we have seen many times but different locations and circumstances. As it tries to tell a tale of what seems like first love as an adult, but will it ever get that far or only stay a flirtation. Like when you see someone interesting randomly I. Travel or at an event. Where you seem to hit it off but will you ever see each other again or get a chance to let one another know how you truly feel about them after a few chance encounters. 

It offers the beginning of a romance that never quite starts. That gets lost amongst the many other responsibilities that are forced upon you. As you enter adulthood. 

The promise of something better thst never quite seems to come. While In The heartless system that seems to have bring them together, but also keeps them apart 

As In The beginning interviews it seems to be the go ahead and the beginning. As they are separated yet full of promise. Which leads to uncertainty. As there are no real duties and have nothing but time filled with hope. As he gets busier he manages to see her again. There is promise when she begs him to be at a New Year’s Eve party that she will be attending.

When we get to the party where him and a bunch of different characters t about heartbreak, but learn how to open themselves up to one another and manage to save the evening. Which leads to an ending of uncertainty and unresolved emotions. Where we hope for the best, but prepare for the worst.

Grade: A- 

A WORKING MAN (2025)

 

Directed By: David Ayer

Written By: David Ayer and Sylvester Stallone 

Based on the book “Levon’s Trade” by: Chuck Dixon

Cinematography: Shawn White 

Editor: Fred Raskin 

Cast: Jason Statham, Jason Flemyng, Michael Pena, David Harbour, Arianna Rivas, Merab Ninidze, Maximilian Osinski, Cokey Falcon

Levon Cade left his profession behind to work construction and be a good dad to his daughter. But when a local girl vanishes, he's asked to return to the skills that made him a mythic figure in the shadowy world of counter-terrorism.

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Jason Statham and his movies are becoming almost an annual offering to audiences and cinemas 

They are usually the same type of action thriller with a similar character who has a dark past and is seeking vengeance or justice for someone close to him. He is usually trying to live a normal life, but forced to use his past skills. 

One of the reasons why these films are successful as they fulfill a niche sort of like in the past when Liam Neeson would have his older character action thrillers or even when we have had we weaknesses for certain stars like Jackie Chan and his family, action, comedy errors or imports that were usually filmed in Canada and heavily voiceover or when jet Lee had a bit of a resurgence in the United States and he starred in a bunch of disposable action thrillers that made respectable box office

what helps with Jason Statham is there even though he plays the similar roles he also showed in spy in a general that he has a sense of humor about himself and other than these movies he seems to stay away for media. It’s rare that you see him being interviewed on a show you don’t see him out and about at public events offering sound like that could get him judged or he seems to keep to himself so that he remains a mistake that no matter what side of the political spectrum you’re on you don’t mind him.

he’s the action hero that most men wanna be especially older men who just want their action, film, simple and violent and for women he provides to look of an older handsome in shape, gentleman, daddy, so to speak the strong and silent type who has a British accent, so makes him a little bit of an international Playboy also 

this is all to say that this film plays pretty basic and like the usual Jason Statham action thrillers only this is more disappointing because there doesn’t seem to be a sense of fun about it. It’s pretty straightforward and for all it’s dark elements. It never seems to show it in execution 

most of the characters that he encounters along the way, even the villains are kind of forgettable. He seems to be facing kind of the same villains that Denzel, Washington faced in the equalizer, the Russian mob only again whereas in the equalizer, they were really no threat to Denzel and he disposed of them without breaking a sweat here Jason Statham it’s a little moist, but still breaks. No sweat eliminating not the entire rushing but a fraction of it.

Due to them, kidnapping his bosses daughter, as part of a sexual trafficking ring, and then killing anybody who comes into his path, a few of whom are Russian mob family members 

The action sequences here are more gunplay than hand to hand combat that Statham is more known for. We also get a glimpse of his past and that his character suffers from PTSD so that this adventure actually helps solve it because he can get out his frustrations and feelings through the violence..

David Harbour earns his check and a supporting role that is more as a friend and advisory than him actually seeing any action sequences himself so that he fills out the role of another big name being in the cast that also usually accompany Jason Statham movies. Such as his character  having a child. Usually a daughter.

so as you can see this film is not only a by the numbers, action film, but also a buy the numbers for adjacent Statham film. It hits all the familiar beats. You know what’s gonna happen before it does and ends pretty much as expected so it really offers no surprise and as long as you’re fine with that, you shouldn’t be disappointed , but looking for more this is not the film for you

he pretty much takes on all the action other than when he finally does fine the daughter she gets to have a bit of her own revenge, but even the usual flashy henchman in this home who do you think are gonna be bad asses and being a final fight with Statham, they are dispatched so quickly and so easily. It was like they were giving a grand presentation only to be barely a warm-up at it reminds one of the assassins and Keanu and how ridiculous ridiculously over the top they were.

Another factor that leads to further disappointment with this film is there a David Ayer directed it now he didn’t write it. He is more of a noted Screenwriter and director who usually offers more gritty action in crime films. This seemed more by the book and slick then actually having anything noteworthy. 

This film actually makes their last collaboration, the beekeeper a damn near masterpiece. as at least I fell offered up what was expected, but had a hint of fun. This is more dour than it needs to be.

But that is also the magic of Jason Statham‘s longevity that usually there will be a couple of really bad films, but then he’ll shock you with one that’s genuinely decent or even good that it renews your faith in him.

What is surprising is that not only was this shot back to back? Was David Ayer and Jason Statham’s film THE BEEKEEPER but at this film was also written by his former costar Sylvester Stallone and David Ayer together. As this was supposed to be the start of a franchise based on the character from writer, Chuck Hogan’s book series based on the character, Levon Helm.

That Sylvester Stallone originally won to produce as a television series before they decided to make this film, even with state of not even being their first choice Liam Neeson was

Grade: C