jcoffee02 Reviews

Becoming Iconic (2018)

Migraine Time

[4/10 · 17 February 2024]

I'd agree with the other, lone review as of this writing that Jonathan Baker wore out his welcome very quickly. If they wanted to direct a profile of a very determined, 'fearless' wannabe director, great, call it the Jonathan Baker Story. But I was drawn to the doc by the other, experienced directors featured.

It was a diverse group, and I enjoyed their articulate testimonials of how they broke into directing, each entering from a different aspect of filmmaking (acting, commercials, documentaries). Expanded, they would make interesting lectures in a film school series.

Unfortunately, the insights were sliced and diced into 20-second snippets and - because we all know people talking is boring - blasts of light would assault you to signal another cut. It had the effect of when you change direction while driving and BOOM the sun hits you and you reach for the visor while you pray for the spots to go away.

And if that wasn't sufficiently migraine-inducing, jarring videos would play on 'screens' behind the speaker, the movement meant to provide some stimulation, but actually distracted and annoyed.

Couldn't watch it, unfortunately. Probably the best approach would be to acclimate your ear to the subjects' voices and then play the audio.

Good luck with that directing thing.

Every Night's a Saturday Night (2018)

A Texas Tornado

[9/10 · 14 February 2024]

Bobby Keys was one of those legendary sidemen who.added an extra dimension of energy and soul to recordings by some of the biggest performers of the 70s (mostly). Unlike the session men in major recording centers, Keys took to the road with many of the acts he played with, which exposed him to the hedonistic side of touring, but also provided a lot of material for outrageous stories of life on the road. (Bobby Whitlock in particular has a great one with accompanying commentary by Jim Keltner.)

You can almost trace the history of rock by tracking Keys' career, beginning with the tail end of the first generation of rockers (Buddy Knox, Buddy Holly, Bobby Vee) through the 70s and beyond, when things became both more corporate and decadent. Keys helped bridge the two generations by bringing the fire to the slicker, multi-tracked productions.

There were ups and downs over the years, but the doc doesn't dwell on the low points. This makes for a more positive experience and also sets it apart from an oft-repeated trope in these films.

Another positive is how Keith Richard came through for his old pal when Keys was climbing his way back up from one of those low points. He stuck by him when others wouldn't and that says a lot about his character, as well as Keys' vital contribution to the Stones' sound.

There are a lot of great Keys tenor solos on a lot of records (as well as the unison riffs he and Jim Price created on records by Harry Nilsson, the Stones, Delaney & Bonnie, etc.), but a few that stand out include 'Live with Me' and 'Brown Sugar' by the Stones, and my favorite, 'Slunky' on Clapton's first LP. If you need a nudge to decide whether to watch the doc (or read the excellent book of the same title), listening to these tracks might persuade you.

Bob Servant (2014)

More Laughs per Minute

[9/10 · 17 January 2024]

There is an art to executing a well-crafted, half-hour situational comedy, and Bob Servant is a shining example of just such a thing.

The writing is phenomenal with a laugh in nearly every line. Belly-laugh laughs. A simple, uncluttered concept with a minimum of characters. Not a mean bone in its body. Uplifting, yes, but not squishy, not in the least.

And the cast. Those who only know Brian Cox as his Logan Roy incarnation (who is, frankly, a very unfunny fellow) are in for a treat as Cox unleashes his massive comedy chops as the titular character. An unabashed chewer of scenery, Cox never once falters in keeping this character afloat while driving the humor. It is a thing to behold.

His co-star, Jonathan Watson, is the perfect foil, an understated straight man, serving up pitches that Cox knocks out of the park. There are a handful of uncredited talents who help make this a very fun affair.

Now showing on Britbox with hardly a hint of promotion, I hope that like-minded Brian Cox completists find their way to this series. It's one of his best performances, and that's saying a great deal.

Wayne Shorter: Zero Gravity (2023– )

Wake Up & Dream

[10/10 · 21 October 2023]

So glad this wasn't one of those quickie projects with a bunch of critics & peripheral personages pontificating on this extra ordinary man and musician. The musicians who weighed in are top caliber (too may to mention), friends and, best of all, Wayne Shorter himself who demonstrates with his ruminations what everbody says throughout the doc: he's a visionary who dwells on another plane.

Anyone who appreciates music, even those who aren't jazz fans, will find a lot to unpack here. Shorter refused to be button-holed into categories, and his life avoids the typical jazz player's trajectories (addictions & other destructive behavior, selling out to stay relevant, etc.). Act 2 focuses on his mid-career with heartbreaking personal losses, and hearing how he came through it is inspirational.

But Act 3 (post-Weather Report, with which I wasn't that familiar) is an uplifting, glorious final act that brings tears of joy and a smile that lingers long after the doc ends. Hopefully, afterward, folks will check out those Blue Note solo albums, the early Weather Reports and, especially, his quartet and solo projects. They'll be thankful they did.

Show Me the Picture: The Story of Jim Marshall (2019)

Right Place at the Right Time

[9/10 · 5 August 2023]

As a teen, I'd noticed the name Jim Marshal in countless magazine photo credits, album credits and, especially, that iconic, B&W Hendrix poster on my bedroom wall.

There were others: Moby Grape's first album with Don Stevenson flipping the bird; Johnny Cash flipping the bird; Grace and Janis sitting side by side. This film offers some insight into how he was able to get such great shots. It wasn't about technique, though that was a part of it. It was about the trust between the subject and the photographer which resulted in honest, candid pictures.

One interviewee said that his pictures (like the one of Duane Allman playing guitar in a bathroom) made it feel as if there were only one person in the room, as if the shot had just materialized. Another said Marshall got 'inside' the shot by getting so close to the subject. These observations may seem to contradict each other, but they don't. They're both right.

Marshall is not a warm & fuzzy sorta guy, but if he were, we probably wouldn't be watching this documentary. But here we are, and it's a fascinating lens through which we get to share or re-experience those images that added a dimension to the music we loved.

Shut Eye (2016–2017)

A Series with No Finish

[7/10 · 22 May 2023]

This show had everything going for it: a fantastic cast, interesting characters and unique settings ranging from L. A. strip malls to palatial gangster domiciles. The Roma criminal culture had the potential to be a fertile hotbed of ideas second only to the Italian families depicted in The Godfather.

Notice that I said 'almost everything.' The writing was the fatal flaw in this production. Oh, the writers could spin dialogue effortlessly detailing the ins and outs of con games and self-help philosophies, and they were adept at setting up new plot threads, forcing characters to self-destruct and resurrect every other episode.

Where they failed was in resolving those threads, and that includes both season endings, the latter of which leads me to suspect they anticipated a 3rd season, but it was not to be. So after investing almost 20 hours in this series, you're left with all these unresolved situations they'd created. The cast is literally sitting in an emergency room staring blankly at each other as if they'd just realized their efforts were for naught. They, too, had been let down by the writers.

Special mention of Isabella Rosselini. She brings to the screen a completely fleshed out comedic character with a dash of menace and a splash of theatricality. Totally charming and definitely the highlight of the series, though Jeffrey Donovan proved his endurance by making his dialogue-heavy character convincing and likeable, and KaDee Strickland made you simultaneously love and hate her character in a performance that isn't to be found in the pages of the script. Like some sort of gollum, she willed Linda to take on a life of her own.

Miriam Margolyes: Almost Australian (2020)

It's about people. Real people.

[10/10 · 8 May 2023]

I couldn't believe the initial 6 reviews entered for this series. It appears that there was a contest to see who could sling the most mud the quickest. Their political and cultural biases were easily apparent. It's a shame that they think this is the best forum to express their bitterness and lack of empathy.

Unfortunately, I've only seen the first episode. I really prefer to watch the whole series before rating or commenting, but the thought of people turning away from this brilliant show due to the unfairly negative scores prompted me to do so right away.

I'm familiar with with Miriam from the Miss Fischer series and several movies, so her celebrity enticed me to tune in, as well as being a fan of Australian movies & culture. But this was much more than a travelogue. Yes, she does cover a lot of ground (20,000 km in the first show), but it's her interaction with people that is really enlightening and endearing.

Don't know how they uncovered many of the subjects, but all are gems. Real people telling their stories as only they can. I don't care if they're representative or not; it's their individuality that matters. Dare anyone to watch this without misting up, unless you're one of those heartless sort, like the Original Six I mentioned earlier.

I find Miriam's personality to be very funny & very honest. Maybe some don't care for those attributes. I am looking forward to watching the remaining episodes, and I hope to track down some of the other series she's hosted.

Legends (2014–2015)

Like Night and Day

[8/10 · 4 May 2023]

The key (and challenge) to enjoying this series is to endure Season 1 (which gradually improves with each episode) in order to bask in the glory of Season 2.

Not that the first season doesn't have some positives. We slowly peel away the layers of Sean Bean's character(s), and though there's more than a passing resemblance to Jason Bourne, Sean Bean manages to hold it all together and make Martin Odum believable.

The supporting cast is pretty weak, but that's mostly due to the poor quality of writing. Jargon-heavy dialogue substitutes for character depth and cliches abound. I was ready to pull the plug if I had to watch one more scene with Sean apologizing to his estranged son for missing a promised activity, or being upbraided by his ex-wife for popping up announced. Really lazy writing.

But everything changes in Season 2. New showrunner, new writers, new locations & new characters, all much improved. The European setting wraps the show in that familiar post-Cold War ambience that marks the best spy thrillers. There's no more of the quick-cut, pseudo-edgy, L. A. glam vibe. No terrorist-of-the-week conceit, either. The Muslim recruit thread is handled in a manner that enlightens rather than sensationalizes a convert, and more time is taken characters to make them three dimensional.

All in all, an excellent salvage effort for what could have been a forgettable series. Makes you wonder if there's any way a third season could be had.

Once Were Brothers (2019)

The Gospel According to Robertson

[6/10 · 7 April 2023]

They say history is written by the victors, and in the case of the history of The Band, this tale is told by the last man standing, Robbie Robertson. (Garth Hudson is still around, but doesn't participate, which is telling.)

Apparently, Scorsese felt that his earlier concert film, The Last Waltz, didn't adequately sing enough of Robertson's praises (at the expense of the other members); now, as producer, he brings us another installment of Robbie's hagiography in narrative form.

It's definitely a tale worth telling, and the photos and abbreviated unreleased tunes are a treat for the fans. It's just too bad that other members weren't here to contribute, much as they did in the making of The Band's best songs.

That void is filled by Robbie's wife, some of the crewmembers, a couple of photographers, and a few of Robbie's famous musician buddies. Not the most impartial witnesses, in my mind.

Some of the criticisms Levon Helm claimed in his autobiography are addressed, charitably and in a respectful manner so as not to appear to be speaking ill of the dead, but the dismissal of his claims are slightly condescending and dismissive, the bitter ravings of an envious, drug-addled, damaged man.

Regarding those contributions by the other band members (categorized as merely arrangements to Robertson's songs), one only has to listen to 'Chest Fever,' credited solely to Robertson. Did Robertson write that organ intro? Did the bridge and vocal harmonies spring fully formed from Robertson's mind? Doubtful. One could find many such examples, especially on the first two records.

One only has to witness Robertson's sparse catalog since The Band's demise to realize how much he needed those guys to breathe life into his compositions.

Maybe someday Garth will tell his side of the story. I hope a couple of talented filmmakers will find that worthy of preserving for posterity.

Walmart: The Box (I) (2018 Video)

Commerce and Art

[5/10 · 16 March 2023]

Well, I think it was wonderful that WalMart should commission three short films (miniatures, really) for the occasion of the Oscars. Even better, the retail behemoth selected young, upcoming female directors eager to showcase their talents to a captive audience.

The unstated theme of this project was How WalMart Improves the Lives of Families All Over the World, a challenging subject to address within the one minute running time, but Ms. Meyers managed to pack a lot into her contribution. Mostly relying on stock images (a family Christmas scene, an old person riding a cart, a baby crying in a mother's arms as she leafs through racks of sweat pants), this montage covers a lot of territory.

(I felt that WalMart's sporting goods section may have been given short shrift, given that more firearms enthusiasts buy their weapons at WalMart than any other retailer, but I suspect that this ad, I mean film, was likely tested with focus groups and scored low on the Warm & Fuzzy Index.)

I predict a bright future for Ms. Meyers. She has shown a remarkable savvy for offering the Familiar, the Simple, and the Predictable in her imagery and story. Critics may scoff, but if the public didn't crave the Normal and Safe, would WalMart even exist?

Out of Sight (1998)

2 Stars Off for Steve Zahn

[6/10 · 11 March 2023]

Finally caught this movie. Big Soderberg fan. Especially his quirkier efforts, like Bubble and Schizopolis, though his slicker flicks like Traffic and The Limey are favorites. And who can fault The Knick? He's bound to have a few clunkers in the mix, like The Informant and Oceans 12, but with a batting average like his, digging into all his filmography seems worthwhile.

Out of Sight holds up pretty well 25 years later. Light, breezy, fast-paced and with a fantastic cast. Which brings me to Steve Zahn.

To be fair, perhaps he was typecast by some of his earlier, successful roles. The Stoner. The Hipster. The Doofus. And I assume there was such a character in Leonard's book. But every time he showed his face, I was ready to abort. Same thing happened with Treme. Big David Simon fan. Interesting story. But thanks to Zahn's White Fanboy Who Really Gets the N. O. culture, I had to bail.

Like Clooney's character stated, "Every time he opens his mouth, I want to punch him out."

Maybe that proves his acting ability. He's really got that kind of role nailed. Could be he's just a doofus, though. He managed to stink up a Christian Bale/Werner Herzog movie for christsake.

Maybe when he gets a little older, he'll attempt to challenge himself by doing something different. I don't know what he's been waiting for. I'm not holding my breath. A one-trick pony that I will continue to try to avoid.

Your Place or Mine (2023)

Going Through the Motions

[3/10 · 11 February 2023]

Maintaining a taste for romantic comedies is a difficult endeavor as one matures beyond the peak dating years. Just as some younger movie goers thrive on CGI effects and buckets of blood to penetrate their game benumbed consciousness, so too do couples engaged in weekend mating rituals require a form of cinematic foreplay to.stir the embers.

What they don't want is a cynical, formulaic attempt by actors experienced and MATURE enough to know better than to unleash this sort of swill on an unsuspecting public hoping for some light, but honest Valentines entertainment.

By no means as painfully bad as Reese's This Means War, it still makes you wonder why RW finds it necessary to indulge in this kind of crapola. There was a reason why their red carpet promotion looked more like a police line-up. They knew this film didn't work, but what the hell? It was only Netflix, after all, a captive audience of subscribers.

RW probably already has her next Oscar bait contender in the works. The check has been cashed. Life is good. But the folks who watched this will remember. The next time she asks, "Do you know who I am?" we'll say, "Yes. You made that ultra-crap rom-com Your Face or Mine.

Play Misty for Me (1971)

Not one of Clint's best

[5/10 · 11 January 2023]

Sorry loyal Clint fans, but much of his 70s stuff does not hold up to the test of time. Misty is one such item, though most of the Dirty Harrys have also aged badly.

The problem? Clint always had a tin ear for dialogue. Much is made of how Clint could always bring a movie on budget and on time, but paying for a couple more drafts of this script would have been worth it. Clint was probably just glad that his lines were short and simple.

I'd cut him some slack for being his virgin directorial debut, but everything else is very professional: photography, editing, locations, pace, acting. No complaints. But the dialogue will make you cringe.

You've been warned.

Fire Music (2021)

An excellent doc covering an important era of music.

[10/10 · 6 December 2022]

This is an excellent overview of the Avant Garde jazz movement, covering key figures in the late 50s and 60s (Coleman, Coltrane, Ayler) to the next generation of the 70s and the pollination of Europe. I'd have liked to have seen Britain better represented (no mention of Keith Tippett or his cohorts), but that could be a film unto itself.

The talking heads involved are tolerable, knowledgeable, and many were in the thick of things when this music was birthed. (Thankfully, Wynton Marsalis is nowhere to be seen or heard.) Incisive observations from Carla Bley and Ornette Coleman regarding the hardships the musicians endured, as well as why they chose this difficult path, but expressed in non-academic terms.

The performance excerpts are well chosen (especially the Albert Ayler piece) and should whet listeners' appetites for more. Presently available to view via the Criterion Channel.

The Offer (2022)

Self-congratulatory Circle Jerk

[1/10 · 29 April 2022]

In a recent interview, Coppola claimed to have never seen Al Ruddy on the set. So, despite the shill-scented max ratings offered by anonymous fan boys, this is a questionable enterprise attempting to add luster to Paramount's image, but only managing to tarnish it instead.

Vera: Witness (2021) Season 11, Episode 1

Strictly By The Numbers Episode

[5/10 · 2 March 2022]

It's as if this season opener was deliberately stripped of any of the charm for which the series is renowned. The focus was purely on the case at hand with Vera tromping toward one red herring after another. There was no development provided for any of the other characters; in fact, it resembled an episode of. The Closer: a squad room of detectives scratching their asses, providing random updates as if they're expecting a gold star from their boss, and asking dull-witted questions which Vera duly answers. I felt embarrassed for the supporting cast. Hope it improves.

Low Winter Sun (2013)

Superior Crime Drama

[10/10 · 31 December 2021]

I'd have to put this series right up there with one of the better seasons of The Wire. Compelling performances by a great cast led by Mark Strong and Lennie James. Production values are first-rate, creating a blighted Detroit that is rich with rot and atmosphere, almost a character unto itself.

By the way, anyone who bails on a series after viewing only one of ten episodes is unworthy of reviewing it. You've made your judgment already, but you are not qualified to evaluate or rate a series you never even watched. Sorry it didn't meet the expectations you envisioned; perhaps you should write that screenplay yourself and allow others willing to put more effort into it to enjoy a well-written series.

Leo the Last (1970)

Marcello the Magnificent

[7/10 · 19 December 2021]

Yes, it's a weird movie filled with 60s/70s excess & exuberance of the sort Boorman later displayed in Zardoz. But it's a fun movie if you go along for the ride. Marcello alone is worth the time spent. His English is serviceable, but Marcello's comedic skills are not limited to language. His childlike expressions & physicality are formidable. It's not Divorce, Italian Style, but it's pretty damn good.

Period of Adjustment (1962)

A Christmas Story, Tennessee Style

[7/10 · 26 November 2021]

What a little gem of a comedy! The Southern accents of the principals requires a bit of warming to, but the clever, hip dialogue wouldn't flow as it does without it. It wouldn't be Tennessee Williams without dissecting the characters' underlying sexual issues, but that exploration is what elevates this above sitcom level contrivances.

Tony. Franciosa is the real surprise here, but John McGiver & Mabel Anderson shine as his in-laws, and Lois Nettleton morphs into the heart of the movie by the ending.

An unconventional Christmas tale, but one worth watching any time of year.

Trespass Against Us (I) (2016)

Inspired

[9/10 · 24 November 2021]

Shockingly original. Uncompromising to the bitter end, yet uplifting in a strange way. Great characters. Too many laughs to count. Anyone who accuses this film of being 'slow' or 'disappointing' probably lives on a sugar diet of Twinkies washed down with syrupy Slurpees, and would probably prefer the CGI -laden whiz-bang of recycled Marvel fare than a character study of this quality.

Hitchcock (2012)

Too Much Hitchcock, or Maybe Too Little

[5/10 · 18 October 2021]

This was a worthy tale to tell, both the making of Psycho and Hitch's personal/working relationship with his wife,Alma. Unfortunately, the details were abbreviated in order to make room for Hopkins' largely inconsequential scenes impersonating Hitchcock. Hopkins had successfully approximated Richard Nixon years earlier, but here the prosthetics don't work (that nose made him look like The Penguin) and the voice and accent he used was far closer to Michael Caine than Hitchcock.

Not only does the story get short-changed in order to allow Hopkins more than ample screen time, but the talented supporting cast (Johansson, Collette, Wincott, and. Stuhlbarg) are all little more than caricatures. Helen Mirren holds her own admirably and Danny Huston was allowed room to flesh out what was basically a one-note character.

The Cold Blue (2018)

Tales from the Greatest Generation

[10/10 · 8 October 2021]

This film focuses on the men who served in the 8th Air Force and their missions flying B-17 bombers during WWII. Any philosophical arguments concerning the right or wrong of their mission is theoretical in hindsight, and pales in the focus of the men portrayed, risking everything to thwart Hitler's design for world domination.

The restored footage and commentary by the last of the participants makes this documentary one of a kind and, possibly, the last of its kind.

Richard Thompson's understated score still manages to bring a sense of majesty and introspection to the images. The soundtrack is well worth a listen, as is the Making Of feature detailing the restoration process.

Peggy Seeger: A Kind of Exile (1971)

Never seen it; probably never will

[10/10 · 6 October 2021]

This documentary does exist, but it's nearly impossible to find. However, if it captures the courage of Peggy Seeger and exposes the vindictiveness of the US government's treatment of her, it's deserving of the highest rating.

The Campaign (2012)

Deserving of wider recognition

[9/10 · 4 October 2021]

Great cast and more laughs per minute than any other Ferrell flick. Brilliant satire with an underlying positive message. Puts to shame Sorkin's bloated, pompous pretentious attempts to do likewise.

Promising Young Woman (2020)

Shallow Fluff...and not in a good way.

[4/10 · 2 October 2021]

A lot was made of a hapless professional reviewer who opined that Mulligan was 'miscast' for this part. Personally, Ithought she was too young for her take in Collateral as a cynical, world-weary detective when she was barely thirty. She looked a little old for this part, but fine, let her stretch, maybe she'll nab that Oscar & recognition she appears to crave. But the main problem with PYW is the godawful writing. Superficial characters mouthing light, empty cliches, this is barely a step above teen horror fare. The premise is threadbare and, again, adolescent in execution. The writers apparently recognize a good movie when they see one; there are references to Lobster and Night of the Hunter. Maybe they need to immerse themselves in further research before taking pen to paper again. For all our sakes.