A Reel Opinion: The Top 10 Biggest Cinematic Disappointments of the Millennium

There is little doubt that the last 11 or 12 months have been very disappointing for those of us who love the silver screen. A pandemic that was left unchecked has led to our beloved movie theatres shuttered, some perhaps for good. Movies that have been released have gone scatter-shot to god-knows-what streaming service, making for a full year of a cinematic letdown. It almost seems like a perfect cap to the last 20 years, as this millennium has certainly produced more than one soul-crushing disappointment; movies that we dearly looked forward to and were let down. With that, comes Reel Speak’s Top 10 Biggest Disappointments of the Millennium. 

 

Although we have been treated to many great films in the last 20 years, there have been many heartbreakers in that same amount of time. Why so many? Franchises are the first stop; with superhero films taking priority and their sheer number dominating everything. Many sequels and prequels have fallen short, as the X-MEN franchise found out, and Warner Brothers has been stumbling all over the place in their attempts to build a franchise on the DC Comics brand. Outside of the masks and capes, even the most artful of filmmakers have let us down. Martin Scorsese gave us the well-intentioned yet unfocused and bizarre HUGO (2011), Oliver Stone brought in the epic yet messy ALEXANDER (2004), Peter Jackson came up woefully short with his HOBBIT trilogy, Steven Spielberg has been all over the map (we’ll get to him later), and who knows what Tim Burton keeps trying to do.  

 

Which ones have been the most disappointing? The films that never met our expectations are a fair start; even if our expectations were too high, we still at least expect a good movie. Sequels and prequels that fail to live up to the standard set by their predecessors definitely fit the bill…even if we judge them by their own merits. The biggest disappointments are the ones that simply did not add up to their parts; the ones that should have, and could have been better than what they were. 

 

So prepare to have your soul crushed again…

 

 

 

10. TOY STORY 4 (2019)

After the absolute perfect ending that was graced upon us by TOY STORY 3 (2010), there seemed no need to continue more toy stories with Woody and Buzz. After the outrageous ending of TOY STORY 4, there was reason to feel ripped off. The fourth film in the beloved franchise that has become a cultural icon wrapped the story of Woody and Buzz in an unsatisfying way that contradicted the perfection of TOY STORY 3 and the characters themselves. We knew there was no need for this movie to exist, but we put our faith in Pixar, and they ripped that faith into pieces. 

 

9. INHERENT VICE (2014)

Joaquin Phoenix plays a private eye who gets mixed up in three intertwined cases. Reel Speak gave this film a favorable review in 2014, and this Blogger stands by it, but this has become the one film in Paul Thomas Anderson’s impressive filmography that is tough to revisit. Based on the dense novel by Thomas Pynchon, it is by no means a terrible movie, but the plot is tough to follow, and not even the characters seem to know what is going on. After the high standards that Anderson set for himself with his consecutive masterpieces THERE WILL BE BLOOD (2007) and THE MASTER (2012), we expected better than this. 

 

8. MAN OF STEEL (2013)

After a seven-year absence from the big screen, audiences were ready to welcome Superman back, but what we got was not the Superman we were used to. Directed by Zack Snyder and produced by Christopher Nolan, this Superman was far from the flag-waving boy scout, and was instead a mopey miserable shit. Even if audiences got past that (most didn’t), the last half-hour of the film was a convoluted assault of CGI noise that was redundant to the point of nausea. What broke most expectations were the masterful trailers that were released in the buildup towards release…some of the best we’ve seen in this millennium. There have been worse movies based on DC Comics, but this one set a low bar that the franchise has yet to recover from. 

 

7. X-MEN ORIGINS: WOLVERINE (2009)

Speaking of masterful trailers, the first trailer for this X-MEN prequel had audiences primed and ready for Hugh Jackman to return as The Wolverine. The X-MEN franchise ignited the current age of cinematic superheroes in 2000, and then delivered the fantastic X2 in 2002. The third film in 2006 was a disappointment, but hopes were high for Jackman in his first solo outing as the clawed, self-healing mutant to right the ship. Unfortunately, we got a ridiculous CGI mess where famous comic characters were treated like crap. The term “cartoonish” often gets used when describing bad CGI, but in this instance, there was no other word to describe it…with Wolvie’s claws looking like he fell out of a ROGER RABBIT movie. 

 

6. WARCRAFT (2016)

A war film can be many things; bloody, horrible, inspirational, and even funny…but one thing it can never be is dull. Based on the popular long-running fantasy video game series involving wizards, elves, and orcs, WARCRAFT was not only dreadfully boring, but overcomplicated with no energy or sense of fun. The casting choices were also bizarre; with actors who were way too young to be playing wizards and kings looking like they were in a high school production. 

 

5. SPIDER-MAN 3 (2007)

X-MEN may have started the cinematic superhero engine in 2000, but it was Sam Raimi’s two SPIDER-MAN films in 2002 and 2004 that kicked it into high gear. The second film was fantastic (still considered to be one of the best of the genre today), and expectations were high for a third outing with everyone’s favorite neighborhood web-slinger. But thanks to meddling from parent studio Sony Pictures, and maybe fatigue from Raimi and his cast, SPIDER-MAN 3 suffered from one too many villains and some ridiculous set-pieces. 

 

4. THE BIRTH OF A NATION (2016)

The idea behind Nate Parker’s slave-era drama wasn’t just to tell the true story of an 1831 slave rebellion, but to reclaim the iconic title from the 1915 racially-insensitive film where the KKK are the heroes. The new version was hyped as an Oscar favorite (it won nothing), and a future American classic (it wasn’t). What we got instead was a shockingly bad film that looked like it was cobbled together by amateurs; choppy editing, incomplete scenes, and an overall bland presentation. And it’s biggest failure was that it drew even more attention to the 1915 film. 

 

3. THE EXPENDABLES (2010)

Nostalgia-driven movies have been very popular in the last decade, and the idea of bringing together some of the most legendary action-heroes of the action-heavy 1980’s was very exciting. Sylvester Stallone directed and brought in Dolph Lundgren, Jet Li, Bruce Willis, Mickey Rourke, and Arnold Schwarzenegger...among others. But the production couldn’t seem to get everyone on set at the same time, and most of the screen-time was spent on the next-generation of action stars…which was not what we were promised. The action was dumb even for 1980’s standards, and by the time we got to the gawd-awful piece of stinking monkey-shit THE EXPENDABLES 3 (2014), the bar had been set lower than mud. 

 

2. PROMETHEUS (2012)

In 1979, director Ridley Scott delivered one of best horror films of all time, ALIENS. This 2012 film attempted to bring the creation of the famous xenomorph creature to the screen; backed by a Biblical-like story that spanned thousands of years and messed with the origins of mankind. Grand ideas are at play, but the execution was clumsy and stupid. Characters do things that make no sense, and the film’s own logic and rules are ignored because the script just has to get from place to place. Not only disappointing because Sir Ridley was behind the wheel, but also because the film’s gorgeous look was wasted. 

 

1. INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008)

Indiana Jones. We always knew that he would come walking back through our door. Seeing the man in the hat with the bullwhip return, along with creators Steven Spielberg and George Lucas, was one of the most exciting prospects of the millennium. The return of our favorite swashbuckling archeologist (reprised by Harrison Ford), for the first time since 1989 was hyped by an excellent trailer, and hopes were high. And then the movie started. The film was dragged down by lousy CGI, idiotic happenings, and a plotline of Indy chasing aliens that just didn’t sit right. Even if we get past all that, the fatal flaw of CRYSTAL SKULL can be found in its script. Doctor Jones, as a character of the innocent 1950’s, has no idea that he’s chasing aliens, but modern audiences understood that right away…which means we were all just sitting around waiting for dumbass Indy to catch up. No mystery, no intrigue, no fun.  CRYSTAL SKULL crushed our souls, which is the last thing we ever want from our beloved Indiana Jones.

Reel Speak's Top 10 Biggest Cinematic Disappointments of the Millennium 

1. INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL
2. PROMETHEUS
3. THE EXPENDABLES
4. THE BIRTH OF A NATION
5. SPIDER-MAN 3
6. WARCRAFT
7. X-MEN ORIGINS: WOLVERINE
8. MAN OF STEEL
9. INHERENT VICE
10. TOY STORY 4

Special thanks to Jim Catizone, friend of the Blog, for suggesting this topic. 

A Reel Retro Review: 3 GODFATHERS (1948)

Reel Speak’s Retro Reviews will randomly review a classic film from the TCM library every week, with the intention of introducing some overlooked and perhaps forgotten screen gems from the past to those of us who may be unfamiliar or unawares of their existence. 

Taking inspiration from Bible stories for a film can always be a good start. Biblical stories have those common themes and plots that reach us on a primordial level, and can make any piece of cinema have familiar territory. One such example is John Ford’s 1948 Western, 3 GODFATHERS. 

 

Three outlaws; Bob Hightower (John Wayne), Pete (Pedro Armendariz), and The Abilene Kid (Harry Carey Jr.), rob a bank and flee into the desert. They come upon a ransacked wagon, where a dying woman gives birth. Pursued by a posse and with miles between them and a water source, the three new godfathers try to fulfill their promise to be guardians to the child. 

 

Directed by John Ford and based on the 1913 novelette The Three Godfathers by Peter B. Kyne, 3 GODFATHERS is a loose retelling of the story of The Three Wise Men in the American Old West. The film is not shy about its inspiration; the characters directly reference their similarities to the Wise Men, and the town they decide to seek refuge has the on-the-nose name of New Jerusalem. While the three outlaws bumble about trying to figure out how to do basic care such as changing, dressing, and feeding a baby…they face the harsh Arizona desert with a posse blocking their way to any water source. 

 

While the plot is basic (save the baby), the film moves thanks to the strong personalities of the godfathers. Hightower is the rough and tough leader of the trio, Pete is the only one with any experience with babies, and the Kid has an innocent streak in him which pushes him to do the right thing. Conflicts and dire circumstances arise, and the simple stakes of saving the child are elevated with each passing scene. 

 

Director John Ford, who made a career out of the Old West, films a great looking movie and keeps the pacing tight. Humor and drama are nicely balanced, and the score by Richard Hageman is excellent. Ford gets great performances out of his cast; Wayne is his usual tough-guy self, and Harry Carey Jr., in only his sixth picture, nearly steals the show. 

 

Most modern film fans will immediately compare 3 GODFATHERS to the 1987 comedy classic         THREE MEN AND A BABY. Which is fair, even though the former film strikes a much more serious tone. Its Biblical inspirations are worn heavily on its sleeve and may draw a groan or two, but overall the film shows just how well an old story can be made anew. 

 

BOTTOM LINE: See it 

 

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The film is dedicated to Harry Carey (father to Carey, Jr.), who starred in John Ford’s earlier films…including the first version of the story for the screen; a 1916 silent film. Ford remade that film in 1919 with Carey; another silent version which is lost today. 

 

 

A Reel Birthday

 This month marks Reel Speak’s 11^th anniversary. 

 

It was February of 2010. Netflix was still putting DVD’s in the mail,  James Cameron’s AVATAR was about to be the biggest box office earner of all time, the 82^nd Academy Awards were on their way to declaring Kathryn Bigelow’s THE HURT LOCKER as the Best Picture of 2009, and Martin Scorsese was ready to release his fourth consecutive film with Leonardo DiCaprio with SHUTTER ISLAND. 

 

Also in that month, I, this Blogger, had an idea. An idea to share my love for cinema with the rest of the world. It was a love affair that began in 1977 with STAR WARS, which grew and expanded over the years into all forms of celluloid-storytelling; sci-fi, horror, Westerns, fantasy, action, comedy, drama, arthouse, and high-fantasy…I could never get enough. The movies were a bonding element for family and friends, and much time was spent on barstools and living room couches debating, arguing, and discussing the movies, characters, stories, and quotes that we loved and hated. From Han to Rey, from Indy to Chief Brody, from Corleone to Plainview, from Superman to Iron Man…cinema had no limits for me. 

 

In the early goings of 2010, it was time to share that love beyond the barstools; to make that first step into a larger world. On February 24^th of that year, the first introductory blog post went up. That same day, the first film review was posted: SHUTTER ISLAND. 

 

In the last year, the film industry has changed drastically. The mishandled pandemic has shuttered our beloved movie theatres, some of them for good…leading some films to land scatter-shot on what seems like a thousand different streaming services. It’s been a challenge to keep up with what has been released, and even though cinema may be changing forever within the next year, this Blogger’s love for film remains. This annual birthday blog; a list of direct and in-direct film references, serves as a summation of all the things that keep Reel Speak going. It’s a peek behind the curtain of this blog, and a re-affirmation for me. 

 

WHY I LOVE THE MOVIES

 

20. Because the trick is not minding that it hurts. 

19. Because if they catch you, they will kill you. But first, they must catch you. 

18. Because a Jaguar Shark ate my best friend. 

17. Because we will not walk in fear of one another. 

16. Because of John Williams.

15. Because I have been, and always shall be your friend. 

14. Because what we do in life echoes in eternity. 

13. Because Red October was hunted.

12. Because the only Virtue is Vengeance. A Vendetta. 

11. Because Crom laughs at your four winds! 

10. Because it’s a wonderful night for Oscar.

9. Because they made me an offer I couldn’t refuse.

8. Because “I love you”, and “I know”.

7. Because if someone asks me if I’m a god, I say yes.

6. Because I will drink your milkshake.

5. Because every man dies, not every man really lives. 

4. Because they needed a bigger boat.

3. Because there had to be snakes.

2. Because the Fellowship will not fail. 

1. Because the Force will be with you, Always. 

 

A Reel Retro Review: MURDER BY DECREE (1979)

Reel Speak’s Retro Reviews will randomly review a classic film from the TCM library every week, with the intention of introducing some overlooked and perhaps forgotten screen gems from the past to those of us who may be unfamiliar or unawares of their existence. 

 

After the passing of the late great Christopher Plummer (HERE), Reel Speak blogged on the best films the actor has appeared in (HERE). One of those films was Plummer’s 1979 turn as Sherlock Holmes in Bob Clark’s MURDER BY DECREE. 

 

The world-famous detective Sherlock Holmes (Plummer), and his partner Dr. John Watson (James Mason), take on the case of Jack the Ripper; a serial killer murdering prostitutes all over the Whitechapel district of London. 

 

Directed by Bob Clark and not based any writings of Holmes creator Sir Arthur Conan Doyle, MURDER BY DECREE follows Holmes and Watson as they journey into London’s underground in search of the killer that has so far baffled police. The odds are against them, as Holmes is often thwarted by a Sir Charles (Anthony Quayle), the head of the investigation on the police-side who wants nothing to do with outside-help…despite Holmes’ extensive history of solving un-solvable crimes. 

 

The film is an early battle of Holmes’ un-traditional methods of problem-solving vs. the establishments’ idea of police-work (antiquated even for its time), and while we do see Holmes practicing his expected talents of observation and deduction, MURDER BY DECREE does go into some unexpected territory, which includes a medium (Donald Sutherland), who has had visions of the murders, a woman (Genevieve Bujold), locked up in a mental institution, and a grand conspiracy leading all the way to the highest authorities in London. It’s a complicated road-map to follow, but by the time Holmes does his big reveal at the end, it all comes together nicely 

 

Director Bob Clark makes the London of old look like a scary place, most especially the impoverished areas. The film is shot and cut tightly, and even the places that drag a little still remain interesting. The biggest surprise is the portrayal of Holmes. Where nearly every version of the character on the screen shows the man as cold and robotic, Christopher Plummer plays him closer to a human being; prone to emotional outbursts in fits of joy or even rage. James Mason is excellent at Watson, and Donald Sutherland’s turn as the psychic medium is one of his oddest film appearances. 

 

Sherlock Holmes in cinema has had many forms to choose from. The most well-regarded are the Basil Rathbone films that ran from 1939 to 1946, and the worst being the Guy Ritchie-directed abominations from 2009 to 2011. MURDER BY DECREE falls somewhere in-between in terms of quality. It is a treat to see Holmes as a human being, and Plummer is perfect in the role. It’s plot may be a bit too complicated, but those who hang around with it will be rewarded. 

 

BOTTOM LINE:  See it 

 

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Reel Facts: Director Bob Clark would go on to direct A CHRISTMAS STORY (1983). Actress Tedde Moore, who would appear as Miss Shields (Ralphie’s teacher) in that film, appears in MURDER BY DECREE as the psychic’s wife. This was actually Christopher Plummer’s second appearance as Sherlock Holmes, with the first being the 1977 British/Canadian TV-film SILVER BLAZE. 

 

 

 

 

 

A Reel Opinion: The Top 10 Best Christopher Plummer Films

Last week, the world was saddened by the passing of acting legend Christopher Plummer at the age of 91 (read Reel Speak’s obit HERE). Over the course of nearly six decades, the Canadian-born actor made an impression on the stage, small-screen, and silver screen…accumulating several nominations and awards while making an impression on everyone every time he appeared. Looking back on a great career of anyone always brings a discovery of hidden and forgotten movies, which brings us to Reel Speak’s Top 10 Best Christopher Plummer Films. 

 

Since his big-screen debut in 1958 with STAGE STRUCK, Plummer has been fearless in his selection of films…crossing into nearly every genre and getting better as he got older. He played Rudyard Kipling opposite Sean Connery and Michael Caine in the adventure-epic THE MAN WHO WOULD BE KING (1975). He played with comedy with Dan Aykroyd and Tom Hanks in DRAGNET (1987), lent his voice to the wonderful world of Disney in AN AMERICAN TAIL (1986), took part in history with MALCOLM X (1992), dabbled in horror with WOLF (1994), sent Nic Cage on his way in NATIONAL TREASURE (2004), colonized America in Terrence Malick’s THE NEW WORLD (2005), and had a great performance in David Fincher’s re-adaptation of THE GIRL WITH THE DRAGON TATTOO (2011). The films that make this Blogger’s list are not just the ones where Plummer gave a great performance (he always did), but the ones that have stood the test of time and are overall very good movies. He did not need to have the lead role to qualify. If one is interested in looking back at his career...these are the 10 films to start with. 

 

 

 

So let’s get the game afoot…

 

 

 

10. MURDER BY DECREE (1979)

This was the second time Plummer donned the hunting-cap of famed detective Sherlock Holmes, this time hunting Jack the Ripper. Directed by Bob Clark of A CHRISTMAS STORY (1983), this version of Holmes is more emotional and caring than earlier, or even later versions, and while that may be a departure from the Holmes of the books, it made for a character that audiences could finally relate to. Plummer fits the part well, and the real-life mystery is one of the better Holmes adventures not based on the original texts. 

 

 

 

9. UP (2009)

Plummer often gets overlooked for his part in this gem from Disney/Pixar, which follows a lonely old man who sets out on a journey to fulfill a promise made to his dearly departed wife. Plummer provides the voice of a renowned explorer and one-time hero who turns villainous, and even though we don’t see Plummer on screen, the energy behind his voice makes the character real. An emotional wallop, it is the second film in history to earn nominations for Best Animated Feature and Best Picture. 

 

 

 

8. STAR TREK VI: THE UNDISCOVERED COUNTRY (1991)

In this final film starring the cast of the original series, the crew of the famed USS Enterprise is chosen to lead a diplomatic mission as the barriers between the Federation and the Klingon empire finally falls. Inspired by the fall of the Berlin Wall, this Blogger always felt the concept of this film was better than the execution, but Plummer is one of the highlights. Plummer dons the heavy makeup and menacing eyepatch as one of those Klingon bastards, and reaches back into his Shakespeare roots to help build one of the most memorable TREK bad guys. 

 

 

 

7. SOMEWHERE IN TIME (1980)

The late great Christopher Reeve plays a playwright who journeys back in time to find love with an actress, played by Jane Seymour. Plummer comes into the story as an adversary, keeping the two lovers apart no matter what. Plummer always played a villain well, and this was one role that is often overlooked. A heartbreaker of a film which at the time featured two heartthrobs in Seymour and Reeves, with John Barry’s magnificent score still remembered to this day. 

 

 

6. KNIVES OUT (2019)

In this mystery-thriller written and directed by Rian Johnson, Plummer plays the patriarch of a wealthy and dysfunctional family who turns up dead. Daniel Craig comes in as the lead detective, and is backed up by the impressive ensemble cast of Chris Evans, Ana de Armas, Jamie Lee Curtis, Michael Shannon, Don Johnson, and Toni Collette…for starters. Packed with twists and turns and inspired performances by all, KNIVES OUT earned its right to be called one of the best films of 2019. 

 

 

 

5. INSIDE MAN (2006)

Spike Lee helms this thriller where a team of bank robbers, led by Clive Owen, raid a bank and take everyone hostage. Denzel Washington, Chiwetel Ejofor, and Willem Dafoe come in as the cops on the case…but that doesn’t even begin to cover it. Plummer plays the owner of the bank who hires a power broker, played by Jodie Foster, to protect his secrets within the bank’s vaults. A twist on the cops-and-robbers genre with several surprises and layers of trickery, it is arguably Spike Lee’s best film. 

 

 

 

4. BEGINNERS (2010)

Plummer took home the Oscar for Best Supporting Actor in this comedy-drama, playing Hal, a gay father who came out to his son, played by Ewan McGregor. Relevant in today’s age and in any era, the film is based on a true story and is an emotional gut-punch in more ways than one. Unfolding in a series of interconnected flashbacks, BEGINNERS puts the pieces together of Hal’s life in a writing and editing masterpiece. 

 

 

 

3. A BEAUTIFUL MIND (2001)

Ron Howard directed this Best Picture winner about the real life story of John Nash; a brilliant paranoid schizophrenic (Russell Crowe) and his battles to overcome his delusional episodes to become a Nobel Prize winner. Plummer has a small part as the doctor trying to treat Nash, but he makes an impression and represents one way Nash could take to overcome his condition. One of Ron Howard’s best films and an impactful, revealing look at mental illness. 

 

 

2. THE INSIDER (1999)

One legend plays another in this Michael Mann film. Plummer plays CBS journalist Mike Wallace in this drama which looks at the 1996 CBS 60 Minutes segment about a whistleblower in the tobacco industry. Plummer is perfectly cast as Wallace, and is joined by fellow heavyweights Al Pacino and Russell Crowe in a well-crafted film that drives home the importance of good journalism. 

 

 

 

1. THE SOUND OF MUSIC (1965)

This may seem like the obvious choice, but it’s obvious for all the right reasons. This Robert Wise-directed classic and Best Picture winner made an overnight star out of Plummer, as he sang and strummed his way into history. A cultural smash that has hung around for over five decades, THE SOUND OF MUSIC follows the von Trapp family, led by Plummer’s ramrod of a father; a father whose heart is softened by the arrival of a new governess, played by the queen Julie Andrews. The family must endure their changing times as WWII rages around them, and sort themselves out as Plummer’s Captain realizes what he has been missing. Plummer is charming, even when he’s being stern, and is well-matched with Andrews.  Although the actor himself despised the film (he softened on it over the years), it is the one he is often recalled with. It would be unfair to say that Plummer never made a movie as good as THE SOUND OF MUSIC over 50 years, but it would be difficult to find one that is more iconic.

REEL SPEAKS' TOP 10 BEST CHRISTOPHER PLUMMER FILMS

1. THE SOUND OF MUSIC
2. THE INSIDER
3. A BEAUTIFUL MIND
4. BEGINNERS
5. INSIDE MAN
6. KNIVES OUT
7. SOMEWHERE IN TIME
8. STAR TREK VI: THE UNDISCOVERED COUNTRY
9. UP
10. MURDER BY DECREE

A Reel Retro Review: SUMMERTIME (1955)

Reel Speak’s Retro Reviews will randomly review a classic film from the TCM library every week, with the intention of introducing some overlooked and perhaps forgotten screen gems from the past to those of us who may be unfamiliar or unawares of their existence. 

No director in cinema history had a three-movie stretch like David Lean; starting with THE BRIDGE ON THE RIVER KWAI (1957), followed up by LAWRENCE OF ARABIA (1962), and then DOCTOR ZHIVAGO (1965)…three epic films that gobbled up awards and are now considered to be some of the best of all time. With such an impressive hat-trick, it can be a treat to look back on Lean’s smaller, more intimate works…with one fine example his 1955 romance, SUMMERTIME. 

 

Jane (Katharine Hepburn), is an un-married, middle-aged woman taking a holiday alone in Venice. Content with being by herself, she runs into Renato (Rossano Brazzi) a local shopowner…and they start a romance. 

 

Based on the play The Time of Cuckoo by Arthur Laurents, and the last film by Lean before his trifecta of epics, SUMMERTIME begins with a lonely, yet resolute main character in Jane, who has resigned herself to a lifetime of solitude. Her encounter with Renato and his effect on her catches her off guard, and it takes her a while to come around to the summertime romance. 

 

Things eventually get complicated when Renato is revealed to be married, yet separated from his wife. There is an element of male infidelity going on here, as Jane also makes brief acquaintances with an American couple where the husband (Darren McGavin), starts his own love affair while on vacation. Despite this theme, SUMMERTIME is very much Jane’s story, as she slowly transitions from being closed off and alone to open and ready to take on new relationships. 

 

Filmed on location in Venice, Lean photographs the city beautifully. The fine details of the architecture are stunning, even though the camera never seems to go much further than the well-known tourist destinations. Still, there is a fair amount of time spent on capturing the sprit, character, and culture of the city. The banter between Jane and Renato is playful at first but eventually confrontational and the scenes between the two are full of fireworks.  Although a few of them drag on way too long, they are done in single, impressive takes which puts the pressure on the performers. 

 

And those performers rise up to the pressure. Katharine Hepburn is magnificent, and her chemistry with Rossano Brazzi lights up the screen. Darren McGavin, years before he would take on the role of the Old Man in A CHRISTMAS STORY (1983), has a very small role but it is still fun to see him before he started sending profanities into space over Lake Michigan. 

 

The ending of SUMMERTIME doesn’t give us the standard Hollywood sunset-ending, and is instead rooted in reality. Lean offers Jane not a happy ending, but with the tools necessary to take on a new season of her life. SUMMERTIME may not be mentioned amongst the greatest of the David Lean filmography, but it is still a worthwhile trip. 

 

BOTTOM LINE: See it 

 

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Reel Facts: SUMMERTIME was nominated for two Oscars; Best Actress for Hepburn and Best Director for Lean. Lean loved Venice so much he made it his second home. Rossano Brazzi would later appear in THE ITALIAN JOB (1969), and had a stint in the horror genre; appearing in FRANKENSTEIN’S CASTLE OF FREAKS (1974), DRACULA IN THE PROVINCESS (1975), and OMEN III: THE FINAL CONFLICT (1981). 

 

 

 

 

Christopher Plummer 1929 - 2021

 Actor Christopher Plummer has passed away at 91. 

 

Born Arthur Christopher Orme Plummer in Toronto, Canada…he made his stage debut in a 1948 production of Cymbeline at the Canadian Repertory Theater in Ottawa, followed by a CBC TV production of Othello. After moving to New York in the early 1950’s, he worked in live television before his Broadway debut in The Starcross Story. In 1956 he earned acclaim when he became the first Canadian to lead a production, when he was cast in Henry V in the Strafford Festival. 

 

His film debut came in STAGE STRUCK in 1958, but it was in 1965 when he was cast as Captain von Trapp in Robert Wise’s Best Picture winner, THE SOUND OF MUSIC…opposite Julie Andrews, where he reached wider audiences and international fame. 

 

While continuing to work on the stage and in several Shakespeare productions, he continued to appear in films for the next five decades. He would appear as Rudyard Kipling opposite Sean Connery and Michael Caine in the epic THE MAN WHO WOULD BE KING (1975), and other notables such as WATERLOO (1970), THE RETURN OF THE PINK PANTHER (1975), ACES HIGH (1976), SOMEWHERE IN TIME (1980), AN AMERICAN TALE (1986), DRAGNET (1987), STAR TREK VI: THE UNDISCOVERED COUNTRY (1991), MALCOLM X (1992), 12 MONKEYS (1995), THE INSIDER (1999), A BEAUTIFUL MIND (2001), NATIONAL TREASURE (2004), A NEW WORLD (2005), INSIDE MAN (2006), Pixar’s UP (2009), THE GIRL WITH THE DRAGON TATTOO (2011), and KNIVES OUT (2019). In 2010, he became the oldest person to win an acting award when he won the Oscar for Best Supporting Actor for his part in BEGINNERS, at the age of 82. In 2018, at the age of 88, he became the oldest person to be nominated when received a nod for Best Supporting Actor for his part in Ridley Scott’s ALL THE MONEY IN THE WORLD. 

 

His accolades would include his Oscar, two Primetime Emmys, two Tony’s, a Golden Globe, a Screen Actors Guild Award, and a British Academy Film Award. He is one of the few performers to receive the Triple Crown of Acting, and the only Canadian. 

 

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Christopher Plummer has been described as an imposing presence on the screen, with a voice that resonated and had the ability to polish mirrors. From the stage to the small screen to the silver screen, Plummer made impressions by way of villains, hard-men, and men of deep honor. He stretched his talent into zany comedy (DRAGNET), to animation (UP), to science fiction (STAR TREK), to serious drama (BEGINNERS), showing his deep range over the course of 60 years. For most of us, he has been there our entire lives…and his parting will be like the absence of music in our houses. Perhaps his character’s line in THE SOUND OF MUSIC of, “you brought music back into the house” sums up the effect he has on us when he appears on screen. 

 

 

A Reel 25: BOTTLE ROCKET

 “On the run from Johnny Law. Ain’t no trip to Cleveland!” 

 

This month marks the 25^th anniversary of BOTTLE ROCKET. 

 

The feature debut of stylish and acclaimed director Wes Anderson, BOTTLE ROCKET was a remake of Anderson’s own short film of the same name, which was produced in 1992 and released two years later. The feature tells the story of Anthony (Luke Wilson), and Dignan (Owen Wilson), who decide to become professional thieves. They recruit Bob (Robert Musgrave), their rich friend as the getaway-car driver, and the three set off on a road trip where they hope to begin a crime spree that would impress Mr. Henry (James Caan), a part-time kinda-sorta mob boss. 

 

Filmed in and around Dallas, Fort Worth, and Hillsboro, Texas…BOTTLE ROCKET was filmed on a tight budget. It was co-written by Owen Wilson, who along with his brother Luke, would be making their acting debuts (the two had also appeared in the short film). A third Wilson brother, Andrew, also appears in the film. The cast would be rounded out by Lumi Cavazos, a love interest for Luke Wilson’s character. 

 

The storyline would move more into a comedy than a crime film, as the three main characters are completely un-equipped and un-prepared to begin a life of crime. The three are complicated characters; rejects that can’t help but to turn to the outlaw life. 

 

BOTTLE ROCKET was a commercial failure but it was the springboard for Wes Anderson’s career, who earned attention from critics. Famed director Martin Scorsese would later name the film as one of his favorites of the 1990’s. 

 

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For many fans of Wes Anderson, whose unique style is like none of his peers, our introduction to him didn’t come until 2001, when his acclaimed third feature, THE ROYAL TENENBAUMS, earned a wide release. Looking back at BOTTLE ROCKET, it’s a film that works very well despite obvious limitations on budget…and it’s clear that Anderson was still finding his way as a director. By shooting on-location in real-life settings (bookstores, warehouses, motels), the film lacks that wonderful set design that his films are known for…but his special touch in dialogue, banter between characters, and establishing situations are there. BOTTLE ROCKET may not be considered to be the amongst the best of Anderson’s works, but it is the launching pad for what would come over the next 25 years. 

 

“You know Jonathan…the world needs dreamers.”