Recently on our Youtube Channel, we've featured a few Thrift Hauls and DVD Unboxings including box sets, television series, blu-rays, even books on film and VHS. Here's a round up of our affordable finds!
Showing posts with label Gerard Butler. Show all posts
Showing posts with label Gerard Butler. Show all posts
22 July 2022
DVD Video Hauls!
21 February 2022
Classic Critiques at InSession Film!
It's time for another round up of our Classic Movie Reviews, Essentials Countdowns, and Op-Ed Analysis featured at InSession Film!
Op-Ed: The Elusive Non-Western John Wayne
Op-Ed: Peter Cushing and Christopher Lee Non-Horror Recommendations
Classic Film Review: The Little Foxes
Classic Film Review: Mr. Blandings Builds His Dream House
Op-Ed: Revisiting Pierce Brosnan as James Bond
Op-Ed: Revisiting Sean Connery as James Bond
Top Ten Essentials: Gerard Butler
13 November 2020
Our Gerard Butler Reviews!
Our Gerard Butler Reviews
by Kristin Battestella
It's time for another birthday rundown – this time for our Scorpio Spartan Gerard Butler!
Dear Frankie / Dear Frankie: Spoiler Edition
300 / 300 DVD Review / 300: The Stelios Edition
07 February 2020
Best of the Decade: 2000-2010!
It's the Best of the Decade: 2000-2010!
No. That's not a typo.
Is
the old decade actually over and are we really
in the new one yet? We know the aughts are in the books, so to avoid
all the recent Y2K20 is it or isn't, let's instead look back at some
of I Think, Therefore I
Review's favorite
films from 2000 to 2010...
Or
should that be 1999-2009? It was actually kind of tough to find a
worthy list for this, as many of the movies initially included from
memory did turn out to be from 1998 or 99 and 2011 or 12. As it
happens, we also didn't review a lot of the big hits and many good
films are certainly missing, but here's a rundown of our memorable
horror and indie analysis nonetheless along with a few television
hits and actor bonuses. Because why not?
Our
2000-2010 Favorites in Chronological Order include:
Television
Favorites from the Decade include: Enterprise,
Merlin,
The
Tudors, and Wallander
Actor
who Started the Decade Well but has Faltered since: Gerard
Butler
Actor
who Ended the Decade Well but has since Faltered: Michael
Fassbender
Actor
who Started the Decade Great and is Going Strong despite Numerous Onscreen Deaths: Sean
Bean
Best Most Favoritistist Movie of 2000 Not Yet Reviewed: Memento,
people, Memento.
Honorable
Mentions from 2011: Coriolanus,
The
Deep Blue Sea, Hysteria,
Jane
Eyre, X-Men:
First Class
I
Think, Therefore I Review began
as the blog home for previously published reviews and reprinted
critiques by horror author Kristin Battestella. Naturally older
articles linked here may be out of date and codes or formatting may
be broken. Please excuse any errors and remember our Best Of Lists
will generally only include films, shows, books, or music previously
reviewed at I
Think, Therefore I Review.
18 December 2018
Gods of Egypt
Too
Many Glaring Marks Hamper Gods of Egypt (not just the White Washing)
by
Kristin Battestella
Thief
Bek (Brenton Thwaites) helps the exiled god Horus (Nikolaj
Coster-Waldau) reclaim his Eye from the the evil God of the Desert
Set (Gerard Butler) in order to save his girlfriend Zaya (Courtney
Eaton) from the underworld. Along the way, both mortals and gods face
several fantastical obstacles and adventures as they seek the help of
Ra (Geoffrey Rush). Unfortunately, thanks to an abundance of poor
pacing and inferior special effects that can't compensate for the
muddled storytelling, pondering mythology, and misguided point of
view; the white washing controversy from director Alex Proyas'
(The Crow) 2016 Gods of Egypt is
just one of many problems.
An
opening prologue and panoramic special effects are nothing but empty
show when Gods of Egypt needed
to start its story with either
the gods themselves or
the mortal quest. Instead, the omnipresent narration from our thief
knows more about the gods then they do, leaving the tale padded with
messy embellishments, unreliability excuses, superfluous scenes, and
epic fakery. Assassination coups in front of the gasping crowd seem
more like a play the gods put on for mere mortals – CGI gold birds
and black jackals parkour in a reason-less fight because Gods of
Egypt didn't begin at the right point in the story and then
compounds the timeline further by restarting a year later.
Transparent graphics and always on the move cameras call attention to
themselves – every scene is panning and sweeping with people coming
or going but the visual distractions don't disguise the muddled
storytelling or the jarring, unrealistic,
embarrassing, and noticeably pale casting. Poor writing from
Matt Sazama and Burk Sharpless (of Dracula Untold and
The Last Witch Hunter infamy)
likewise dumbs down the mythical and over-relies on effects rather
than explaining its world or developing any characters – leaving
Gods of Egypt a loosely
strung together montage of random cool scenes featuring a
magic carpet ride spaceship, underworld deserts, serpents chases,
temple gauntlets, and talking rock monsters. It takes an hour for the
mortal to round up the gods for some risky mission...because they
couldn't unite and do it themselves? What should be a straightforward
quest treads tires thanks to a lot of walking here or there with no
idea where the inept heroes are going or why. Viewers can't take the
fantastic risks seriously amid the quips, cliches, and convenient in
the nick of time actions leaving no weight or consequences. Serious
deaths are short or quickly forgotten unless there's a need for
underworld special effects, which kind of copy Lord of the Rings.
Are they trying to get back Horus' Eye? Are they trying to save the
gal who's actually doing alright in the underworld? Are they trying
to stop Set from being bad ass? Whatever the messy crusade, a literal
deus ex machina from Ra leaves no point to it any of it.
Apparently
personal vengeance isn't enough motivation for Nikolaj
Coster-Waldau's Horus. After he's usurped, he drinks over it until
our thief comes along to inspire him to make jokes while running away
from CGI serpents. There's no room to breath life into the character,
and despite this apparent star vehicle, there's more for Nikolaj fans
on Game of Thrones.
Gerard Butler (300)
has a great introduction as Set, but when he opens his mouth that
lovely Scottish lilt becomes laughably out of place. His scenes seem
like they are from a different movie, and Set only interacts with
everyone else in a few scenes. For
supposedly being the villain who rules over all in fear, most of
Set's speeches are sarcastic quips on said badassery, and he doesn't
actually do a whole lot beyond changing what he wants and why from
scene to scene. Brenton Thwaites (Oculus)
is a thief but also a
lover – a blasé cool cat who thinks he's better than the gods.
Bek's narrative frame and speaking out loud when he's alone is purely
to hit the audience on the head, and it's the wrong perspective on
the story for us to follow him. Bek's stealing the Eye of Horus for
his dead babe is a more important story than the vengeful gods?
Really? This entire storyline could have been red penciled to
strengthen the core, for rather than any god realizing his humanity
redemption arc, the story unbelievably bends to suit Bek's good at
everything Mary Sue. Sadly, Chadwick Boseman (Black
Panther) as Thoth – the
God of Wisdom who's more camp like Vanity Smurf rather than clever –
appears once an hour in Gods
of Egypt to kneel to the
white people and joke about liking big butts and he cannot lie. Yes,
seriously. Horus' lover Hathor is played by Elodie Young (Daredevil),
and she looks too young indeed as she easily passes between the gods
to help or hinder when convenient. Courtney Eaton (Mad
Max: Fury Road) likewise
wears inaccurate but skin bearing costumes as the sacrificial
girlfriend used for man pain, and Bek isn't even that broken up over
her because he can talk to her in the underworld and really just
wants to trick the gods into bringing her back. Rufus Sewell (Tristan and Isolde) is here too as
Set's creeper architect, and Geoffrey Rush's (Elizabeth: The Golden Age) Ra is some
kind of Lear meets Gandalf because the all seeing, all knowing ruler
of all Egypt above and below is an old, bald, white guy. Gods
of Egypt has
a large and big name ensemble that deserved more but unfortunately,
everyone here is hopelessly out of place.
Gods
of Egypt has epic music,
fiery motifs, giant gods, and traditional Egyptian iconography. The
picture is bright and colorful with golden palaces and steamy reds.
Unfortunately, all the sweeping comes in wide pans and distance
shots. The chariot escapes, fatal arrows, fake jungles, and slow
motion is down right laughable, and Gods of Egypt will
look very, very bad within five years thanks to the poor graphics.
It's obvious these visuals, regal dangers, and any sexiness are toned
down for mainstream appeal, but the overdone CGI close ups make it
seem as if all the people were filmed at different times and then
inserted into the frame together. Slowed panoramas show one good
action move, but then the rest of the fight choreography is a whole
lot of nothing leaps or parry embellishments. People fly through the
air or slam against the walls as the camera follows their swoops up,
down, or sideways, and it all makes Gods of Egypt look
too fake and fantastic – doubly so when again considering how the
point of view unevenly or conveniently goes back and forth between
mortals experiencing the fantastic and gods coming down from high.
The eponymous folks die pretty darn easy and the Mary Sue nobodies
achieve some really unbelievable feats! If every slow motion moment
spectacle was cut from Gods of Egypt, you'd
save fifteen minutes, no lie, as the continued over-reliance on
special effects borders on a partially animated feature culminating
in big battles and more slow motion falling without the people or
gods having learned a thing. I want to skip over all the weak
incidental CGI transitions, which can't build a world better than the
simplicity of courtly strife nor compensate for the poor
storytelling.
Had
Gods of Egypt been firm in
its own myth and magic and took a stance on whether this was
going to be about gods or men, it might have been really cool.
Instead the picture is presented from the wrong perspective at
the wrong point in the story and doesn't put on the right point of
view thanks to graphics being more important than the personal quest
making it impossible to suspend viewer belief. Gods of Egypt's
two hours plus never develops the world into one deserving of
that time and remains ridiculously overlong for a thrill ride action
adventure. Embarrassingly white, modern, and out of place people
contribute to the glaring storytelling problems. Rather than any
rewrite clarification on its mythology or a more multi ethnic cast,
Gods of Egypt underestimates our knowledge of omnipresent
Egyptian lore with its superficial spectacle bang for its blockbuster
buck, expecting viewers to go along with the poor slight of hand when
300 (which Hollywood is
apparently still trying to recreate) and
Stargate did it
better. Unfortunately, Gods of Egypt is
painfully unaware that the audience won't sit still for frustratingly
bad visuals, jarring whitewashing, noticeable movie machinations, and
no clear story.
12 August 2018
Geostorm
Geostorm
Undermines Its Own Potential
by
Kristin Battestella
Independence Day writer Dean Devlin's
2017 directorial debut Geostorm undermines
its own science fiction disaster movie possibilities with
trite characterizations and convoluted conspiracies.
Dutch
Boy satellite creator Jake Lawson (Gerard Butler) is called back to
the space station he designed by his brother Assistant Secretary of
State Max Lawson (Jim Sturgess) when the climate control systems that
previously saved the planet malfunction – perhaps due to a
saboteur. Weather all over the planet is drastically changing,
leading to natural disasters and more catastrophes. Jake performs
perilous space walks to root out the satellite's virus and uncover
the onboard culprit while Max and his Secret Service agent fiancee
Sarah Wilson (Abbie Cornish) investigate which of their superiors is
behind the plot, be it President Andrew Palma (Andy Garcia) or
Secretary of State Leonard Dekkom (Ed Harris).
Despite
thunder, lighting, droughts, and hurricanes leading to planetary
destruction, the opening of Geostorm
is
already problematic thanks to a juvenile
narration with overly serious enunciation and extra emphasis that's
almost laughable when viewers today have already experienced enough
catastrophes. The audience plays catch up on the initial disasters
necessitating this weather control as senate committees argue over
who's in charge after the fact before changing their tune fifteen
minutes later. Then, Geostorm
restarts
again
three years on with the politicians still arguing after the satellite
malfunctions when meeting
the global scientists coming together to build a climate control
satellite in the first place would have been a better place to begin.
Learning the science on how all this might be possible is more
entertaining than a kid explaining why the system is called Dutch Boy
as if that's all we need to know to suspend our disbelief, and
Geostorm plumb
takes place at the wrong point in the story. Intriguing space station
sabotage, airlock disasters, and hidden files are put on hold as
Geostorm jumps
from location to location to show eggs sizzling on the sidewalk or
anonymous people outrunning lava in the streets. Possible
moles, cover ups, and whispers of critical failure are less dangerous
when such important information comes by phone, and the dialogue is
so millennial they talk about how millennial they are. Geostorm
needs
to be cool or sarcastic because it is so afraid to be dramatic lest
it be perceived as boring or slow. Massive equipment run amok set
pieces are okay, however scientists with evidence add better depth
than high tech screens or corrupted gear, and Geostorm
cuts
away from risky upside
down spacewalks for ominous jerks on earth stealing White House
servers – deflating its story about a weather satellite saving the
planet from disaster when it should never leave the space station's
tampering and gunpoint confrontations. Granted, bullets in an
airtight environment are problematic, too, but so is having the
system's access codes hinge on the current president's thumbprint. Of
course America would do everything to keep a weather control
satellite system from being turned over to international power.
Revealing that as some secret shock just so one can kidnap the
president in an orange mini cab and drive backwards while shooting at
the pursuing bad guys unfortunately makes Geostorm
laughably
inferior to the Cobra
Commander's Weather Dominator on G.I.
Joe.
Throw
away lines about being born in the UK but raised in the US don't let
the bearded Gerard Butler (300)
use his full Scottish burr, but he's entitled to some sassy after
having saved the day by designing Dutch Boy. Jake is angry at the red
tape and scoffs when his undermining brother needs his help. He's sad
to leave his daughter with tearful promises, but Jake's happy to be
back in business onboard the station. He's cocky but takes charge,
knowing how to put what's wrong right whether it's revealing secret
codes or getting physical with the bad guys. Jake acts tough but is
also a big softy, and Geostorm
should
have focused on the space heroics at its core. Likewise Talitha
Bateman (Annabelle:
Creation)
as Jake's daughter Hannah should have been more involved or not been
in Geostorm at
all. She says don't treat me like a child when she totally behaves
like one, and after the annoying narration and early departures,
she's only seen briefly watching the drama on the television before
ending Geostorm with
another hamfisted voiceover.
Jim Sturgess' Max (Across
the Universe) is also an
unlikable hypocrite screwing his brother when it suits him before
quoting him to the committees and buttering Jake up so he'll return
to the project from which Max excised him. His cryptic calls in the
night, snooping about security clearances, and trite hacking
exposition muddle the picture with brotherly angst and motherly
manpain, and I suspect Geostorm
may
have been better if his entire subplot were removed. It never
feels as if he genuinely cares – Max wants to be in charge so he
can dispense information to his big brother in an I know something
you don't know ego trip. The characters work together because the
picture says so, and Max's beady eyes won't let viewers forget his
selfish motivation.
Whether
she's obvious in being suspect or going rogue when it matters, Abby
Cornish's (Elizabeth: The Golden Age) Secret Service agent is
not believable either. She's portrayed as a poor at her job and
introduces herself as Max's fiancee as if their lack of chemistry is
more important than her work. Although he's also presented as
suspicious and wants this climate satellite fixed because it's an
election year, I'd be here for Andy Garcia (The Godfather Part
III) as President Andrew Palma if Geostorm didn't
blatantly play into his red herring. Ed Harris (Appaloosa)
likewise seems stiffer than usual as the Secretary of State
orchestrating events behind the scenes. Familiar back and forths on
men playing god with no real reason
for the villain to be so evil become a cop out for the sci-fi
disaster. It'd be great to see
Harris scene chewing in a no holds barred drama about a
corrupt politician's rise to power– but it doesn't belong in
Geostorm. All this action was
over a crooked politician? As they sing in Newsies,
“That ain't news no more!” Rather than providing sophisticated
technological insights or intelligent, realistic dialogue; numerous
cliché characters litter Geostorm, too,
including the geeky but
hip black lesbian hacker and the nerdy Asian guy in glasses. Such
utilitarian roles are only here because the personnel had to be, and
making those placeholder characters minorities creates false
diversity onscreen. There's a Mexican scientist who gets blown out
the airlock, a French astronaut with a swarthy accent, a sassy
British programmer, and a shopworn betrayer motivated solely by
money. These characters are often seen and not heard, as if the flags
on their sleeves are enough to hit home that international feeling.
'Scusi?
The
storm clouds, satellite images, weather graphics, and frozen eerie in
the wrong environment can be great. Spacesuits, weightlessness, solar
panels, and spacial switchboards invoke the sci-fi mood amid
countdowns and power reboots while the futuristic yet old fashioned
shuttle launches sentimentally recall those vintage NASA flights we
don't see anymore. However,
Geostorm has
an unrealistic and jarring digital
gradient, as if the print has been through too many filters and we
can see the Photoshop. Lighting changes as people stand near windows
in separate cross coverage are apparent, and up close shots almost
look like graphics themselves – overlays hiding if actors weren't
in the same place at the same time with Ed Harris particularly
appearing as if he was digitally inserted into his scenes. Where
space should be drifting or quiet, Geostorm's
look
is both stilted and fast with hip music and cool action giving no
pause for the audience to awe. Every
scene transition is an unnecessary establishing pan – we don't need
the obviously fake D.C. townhouse swoop when we know the character
inside is earthbound. Such expensive but poor shots make Geostorm
look
wasteful on top of uneven sound and contemporary redundancy.
Characters say silly things about Chromebooks, but will Chromebooks
still be around in seven years?
It might have been neat to only see the natural disasters from the
space station's point of view as crew tap into satellite footage or
watch the global devastation from above– as compared to the typical
in your face disaster action with babes outrunning snow on the beach.
Fittingly, the trailers on the Geostorm
rental disc also look the same with fast editing and that
boom...boom....boom...
music. From ominous set
ups, cool slow mo action, silent money shots, and a comedic stinger;
Ready Player One, Tomb
Raider, Justice League, and
Blade Runner 2049
become
a seven minute advertisement for one long interchangeable CGI fest.
In a world where all
films use the same CGI company and trailers follow a broad, formulaic
pattern, there was one man who could save the movie marketing
industry from itself. His name: Don LaFontaine...
Viewers
can tell Geostorm had multiple writers and re-shoots with a
different director across two years, as it really is two movies in
one. Audiences looking for science fiction will be frustrated by the
pedestrian conspiracies – that's not what it says on the tin so
expecting one movie and getting another is not a pleasant surprise.
The messy script and faulty framework provide humorless flavor to the
popcorn, and shoehorned plots with unnecessary characters detract
from the disaster action. Geostorm was
already up against the wall with shuffling release dates; it's tough
to enjoy such weather fantastics after so many real natural
disasters, and the tacked on White House conspiracy is now tone deaf,
too. Although fun for fans of the cast or those seeking late night
action kicks, Geostorm doesn't
embrace its entertaining space station moments, remaining
cliché and cynical when viewers are in desperate need of a feel
good, heroic piece.
14 November 2017
Top Ten: Gerard Butler!
Welcome
to our new Top Tens series in celebration of I
Think, Therefore I Review's
Tenth Anniversary! These monthly lists will highlight special themes
and topics from our extensive archive of reviews.
This
time
I Think, Therefore I Review presents
in chronological order...
Our
Top Ten Gerard Butler Films!
I
Think, Therefore I Review began
as the blog home for previously published reviews and reprinted
critiques by horror author Kristin Battestella. Naturally older
articles linked here may be out of date and codes or formatting may
be broken. Please excuse any errors and remember our Top Tens will
generally only include films, shows, books, or music previously
reviewed at I
Think, Therefore I Review.
13 January 2017
Top Ten: Dracula!
Welcome
to our new Top Tens series in celebration of I
Think, Therefore I Review's Tenth Anniversary! These
monthly lists will highlight special themes and topics from our
extensive archive of reviews.
This
time I Think, Therefore I Review presents in chronological
order...
Our
Top Ten Dracula Appearances!
I
Think, Therefore I Review began as the blog home for
previously published reviews and reprinted critiques by horror author
Kristin Battestella. Naturally older articles linked here may be out
of date and codes or formatting may be broken. Please excuse any
errors and remember our Top Tens will generally only include films,
shows, books, or music previously reviewed at I
Think, Therefore I Review.
26 August 2014
Dear Frankie
Dear Frankie A Stunning Little Picture
By
Kristin Battestella
Although
it gets me every time and by the end I’m cursing at it for making me weep like
a blubbering child, I never get tired of watching the endearing 2004 family
drama Dear Frankie.
Young
Frankie’s (Jack McElhone) dad has been perpetually away at sea but writes
letters to his son sharing his location and adventures. Frankie, his mother
Lizzie Morrison (Emily Mortimer) and her mother Nell (Mary Riggans) soon move
to a new Scottish seaside town, where after receiving a letter from the other
side of the world, less than friendly schoolmates surprisingly inform Frankie
that his father’s ship will be in port soon. How can this be? Unbeknownst to
her son, Lizzie has been writing the letters through a secret post office box
after leaving her violent husband almost a decade ago. Desperate to maintain
the charade and not hurt Frankie, Lizzie and her new downstairs neighbor and
coworker Marie (Sharon Small) hire a Stranger (Gerard Butler) to pretend to be
Frankie’s father for a day. Frankie can best his friends for the weekend the
ship is docked, and then the Stranger will be on his way. However, the new
emotions and bonds formed between the isolated family and the mysterious
Stranger may be stronger than any of them anticipated.
Debut
director Shona Auerbach and writer Andrea Gibb’s (AfterLife) tale may not technically pass the Bechdel test, for the
women of Dear Frankie do spent a
significant amount of time discussing ex-husbands and strange men with no pasts
but romantic potential. However, the majority of conversations are about the
impact of fathers, brothers, and sons – which isn’t exactly the same thing as
chicks giggling over a man. Dear Frankie is
very feminine in this honest look at how the male familial relationships have
effected these women in largely negative ways. However, the beautiful dynamics
between fathers and sons also lend a masculine appeal, and tender simple acts
of kindness that turn into significant life altering events are never remiss. Neighbors
willing to help new tenants, a kindly sister-in-law forced to represent the
beastly, a gentle Stranger treading lightly on an special situation – each
character in Dear Frankie has far
reaching impacts at varying degrees of emotion or pain, yet most recognize the
right thing to do. Smart dialogue does double duty in many places, as adults
speak for the eponymous deaf boy and say something about themselves in the
process. “I thought you had the one day? This is the second half of it.” Will
this be the second half of their lives finally starting fresh? Abuses are not
seen but strongly felt and visually suggested through angry shouts, hands
afraid to touch, and literal running away, further raising the subtext and
layers here.
The
onscreen newspaper says Emily Mortimer’s (Lovely
and Amazing) Lizzie is 28 and her son Frankie is nine and a half – obviously,
she was pregnant and married fairly young and has spent almost all of her adult
life gun shy and on the run. Along with the pressure of keeping up this ruse
for her son and doing the best she can as a single parent, she has understandably
fearful and stunted perceptions. Mortimer brings excellent sitting alone on a
park bench all night despair as Lizzie seems unable to prevent the shattering
of her son’s world. She’s desperate enough to have a completely un-background
checked Stranger spend the day with her son, but the seemingly alarming
prospect of allowing anyone into their small world helps her overcome her fears.
The Stranger is correct in saying she gave him the right to sweep into their
lives and that she has to trust someone – he sees this as the moment for which
Lizzie and Frankie have both waited. Lizzie opens up by sharing Frankie’s photos
and letters – the only way she can hear her son – plus her written responses,
but she insists there will be nothing beyond business. She doesn’t quite know
how to come out of her shell and won’t take the Stranger’s compliments.
However, it’s wonderfully endearing to see the more traditional moments like
brushing her hair, putting on nail polish, and dressing up return to her sense
of being. Lizzie is pleasantly surprised by how easily the Stranger fits into
their life, and the subtle looks, touches, pretense that isn’t really pretense,
and silent performance from Mortimer are spot on. Lizzie tells Frankie she’s
the parent who has been there and she’s entitled to something. Will she be
burned again? Perhaps, but the slow letting her guard down excellence from
Mortimer anchors Dear Frankie beautifully.
While
Lizzie keeps all her stuff in her bag ready to move on, the Stranger’s bag is
empty and ready to be filled, and anyone who thinks Gerard Butler isn’t worthy
of his near top actor status should see Dear
Frankie. If Chasing Mavericks was
a personal father/son movie for him, then imagine this filming a stone’s throw
from his Scottish roots, Butler’s
being raised by a single mother, and the hearing troubles in his own youth. Amid
a film so full of tender performances and endearing, memorable moments, Butler
still almost steals this show with physical movements, incredible silent facial
reactions, and tear inducing drama. Through his soft spoken delivery and
excellent dialogue, the audience must infer, deduce, and speculate. The
nameless Stranger never directly says anything about his life, but he has
earned some silver at his temples and seems to have a past that he too is ready
to leave behind. The Stranger wears the same clothes for his entire visit, and
I’ll even acquiesce in my Butler
beard preference because this close shave and regular look feel so natural for Dear Frankie. Nowadays it is either
tabloid notoriety or bad romantic comedies and poorly received films with Butler. However, Dear Frankie proves that not only can he
put a lot of performance in what is technically a little amount of material,
but he irrefutably shines when the tale gives him the room to dig deep and
bring forth those personal Method connections. I’m biased toward my favorite
actor Montgomery Clift, who was notoriously intense and Method onscreen and off
much to the torment of his directors, but I never in a million years thought
that I would ever talk about Gerard Butler and Montgomery Clift in the same
breath until I saw Dear Frankie. I do
honestly like Butler,
but it’s downright infuriating to see he is capable of something like this when
he makes so many inferior pictures. Does he not give himself the credit, just
take the paychecks as they come, or is he not seeing the right scripts?
Somebody give this man another film like Dear
Frankie, please! Why, why is
Gerard Butler making crap comedies when he can make films like this? (And I know I said that exact same thing in my Coriolanus review. So please, scriptwriters, directors,
casting agents, somebody, anybody, pretty
pleasssseee cast this man in something of merit!)
Dear Frankie
may seem like a woman’s film or a man’s bonding event but it also appeals to
young audiences thanks to the titular, pint sized protagonist and his adorable
little friends. Ironically, however, the story is not all about Frankie as it
may initially seem. Certainly Jack McElhone (Stacked) is immediately lovable, and the audience is as equally
charmed as those onscreen, but despite some scene stealing work, Frankie is
most brilliant when he’s a growing, un-stagnant counterbalance catalyst for his
mother. McElhone and Mortimer have some beautiful scenes together, too, and
McElhone holds his own with the adult ensemble. Likewise, the late Mary Riggans
(Take the High Road) as pesky mom Nell
only wants the best for her daughter and grandson, and Riggans does well in a
difficult fearfully protective yet uplifting and loving supporting role to
anchor Lizzie. Sharon Small (Inspector
Lynley Mysteries) as Marie is also a kind, intriguing lady. She seems wild
at times, imperfect sure, yet she’s doing all right with her own business. She doesn’t
have to be kind to the new girl in town, give her a job, feed Frankie, or help
broker The Stranger. It would have been easier to put her head in the sand and
never say anything to them as we so often do today. For whatever reason, out of
kindness or her own relatable sympathies, Marie recognizes a woman in need and wonderfully
does the right thing. Sister in law Anne Marie Timoney (Taggart) unfortunately has the small but critical and unenviable role
as the go between contact for Lizzie. She completely understands why she left
and doesn’t blame these circumstances on Lizzie at all. However, that doesn’t
make her man in the middle trying to do what’s right an easy position, and a
final act conflict does wonders for Dear
Frankie.
Perhaps
the decidedly hometown Scottish setting and accents may not be for everyone,
but I’ll be darn Dear Frankie is
perfectly steeped in quaint, authentic locations. Yes, the behind the times,
lower quality of life living may seem sparse to spoiled Stateside audiences,
too, and beyond the Macarena, the music will also be dated and unfamiliar. Thankfully,
those music montages match the emotional tone and wonderfully reflect the niceties
to be found in a simple, paired down existence – skipping stones along the
shore, going for ice cream, roaming harbors with cool ships, and visiting exotic
aquariums at the local pet shop. Though the essential to the plot deafness in Dear Frankie may not be all that accurate
– I myself have known deaf and hard of hearing persons who make more sounds and
talking attempts instead of being almost exclusively silent – the warmth here
forgives the artistic license. Dear
Frankie looks cold due to its windy, wet settings and locals bundled up in
shabby sweaters, layers, and somewhat ugly clothes. However, these dressings
also smartly represent the bulky, to be shed barriers surrounding these lovely
characters. Dear Frankie’s aesthetics
make the viewer want to come inside for tea or fish and chips, sing a song, and
stay awhile regardless of the difficult situation.
I
can talk a lot more about this movie or write more than I’ve written – and
there’s a separate spoiler analysis essay following below this review proper,
too! Simply put, however, Dear Frankie is
a must see picture that moves you and makes you think. One should definitely
have multiple rewatches to catch each subtlety, and like a well done treasured
book, enjoy discovering something new each time. As in life, not everything is
answered nice and tidy for the audience, yet viewers young and old can come
away from Dear Frankie satisfied in
mind and soul with every time.
Dear Frankie: Spoiler Edition!
Dear Frankie, The Spoiler Fest!
By
Kristin Battestella
Are
you ready for a new spoiled filled and conjecture laden analysis on the 2004
charmer Dear Frankie?
This
is your last call to stay with my straight laced review here before getting
down and deep with the lingering juicy and thought provoking this lovely little
film provides!
1. When does Frankie know The Stranger
isn’t his Father?
Young
Frankie seems to immediately know something isn’t right when he reads and
crumbles the newspaper in his pocket, and most likely has his suspicions
confirmed when he gets home and checks his now unrealistic map. He has to make
the bet with his friends to save face, but he’s angry on his way home, running
up the stairs and tracing the boat motif on the wall as he goes up in physical
representation of his silent realization – they have been the ones on the move,
not the Accra
ship he’s read about in his letters. He later writes a letter, perhaps coming
to terms with it by saying he understands if his dad can’t get shore leave but
hopes he’ll be at the soccer trials nonetheless. Is this Frankie’s way of
asking for his mother’s help? He knows the truth, but not the why and is
reluctant to look in his mother’s locked closet for answers. She’s loves him and has gone through so much
trouble – Frankie wants an explanation, but doesn’t want to hurt her. He even
says right from the beginning that he knows about the boat and thinks that his
dad just doesn’t want to see him. Later, Frankie also writes that he suspected
his dad may have been sick a long time already and either can’t or won’t see
them. He also suspects that they moved there because his mom wanted to have his
dad find them, suggesting that he has already let go and now it’s her turn to
leave the past. He writes his shortest letter to accompany the drawing he knows
is going to his real dying father. At that point he has apparently known for
awhile, and has already forgiven his dad.
It’s
also possible that Marie tells Frankie everything when he runs out on the
morning before the Stranger’s arrival, or he may tell her he knows and they all
go along with it for Lizzie’s sake. Either way, Frankie knows all along the Stranger
is not his dad, but he loves the book and is impressed with the lengths taken
for this new charade. The Stranger has taken the time to read his letters,
doesn’t eat fish at Frankie’s behest, and willingly helps win his bets. The
dear boy wants to enjoy the illusion for the day, and writes to Marie on her
order pad that this is his dad, perhaps telling her he is pleased with the
Stranger and agrees with the matchmaking possibility. We don’t hear their
conversation, but Frankie was probably the one who wanted the Stranger to take
him the dock and as close to the ship as he would get. The Stranger gives
himself away as a non-seaman by saying “go on” instead of ‘onboard,’ but is
also implying he would break the ship’s rules and take Frankie aboard if he so
desired. Frankie in turn, keeps the skipping rock rather than tossing it in new
appreciation of the Stranger’s devoted efforts. Honestly, it’s not a case of when Frankie
knew, it’s why we ever thought he was so fooled because the charm of Dear Frankie had us fooled.
2. Why do they have the second day with
The Stranger?
It
is the Stranger, not Frankie who suggests the idea of a second day with all
three of them, and Frankie looks over their stair railing while the Stranger
talks to his grandmother – knowing Lizzie was not at home because she was
following them throughout their day. The Stranger has asked Frankie to
chaperone a new date – they have had their day to resolve his bet and now it is
her turn. This notion certainly confirms Frankie has known all along, for his
mother said his father would see him, but not her. Now, however, the Stranger
has asked for more time for all of them together and she is dressing up and
wearing make up for their afternoon. Where Nell had always spoken ill of his
father before, she now sits on the bed with Frankie and compliments the
skipping rock his “daddy” gave him. She wears her hair in rollers, puts on nail
polish, and has a girl’s moment with her daughter as if all is well again.
Until the ill news about the real dad Davey has her symbolically wiping off
that polish thereafter.
The
Stranger also tells Frankie he is in charge for the second day, and the boy sits
the adults next to each other whenever possible, runs ahead as they walk
together, has them eat from the same snack bag, and even rolls his eyes at the
way they are looking but not looking at each other. He nudges Marie into making
them stay for the dance, and Lizzie plays with her wedding ring several times.
She is definitely thinking about the possibilities of the Stranger despite her insistence
to the contrary. Frankie also seems to pick up on the fact that Marie’s
boyfriend and the Stranger have already met – he gives a thumbs up when the men
comment about all the beers they can drink. Is it a coincidence that they sing
Lizzie’s favorite song at the dance? Of course not, and the music fades out because
we are seeing and hearing Frankie’s perspective of his ‘parents’ dancing and falling
in love.
Frankie
may even pretend to be asleep so he can be carried by the Stranger. He stresses
that he wants him to come back, not his real dad, and gives him the sea horse
to remember their moment at the aquarium together. The Stranger answers he
doesn’t know if he’s coming back – not because he and Frankie haven’t bonded or
that the Stranger doesn’t want to, but because Lizzie has to make the call. She
has to make the first romantic strides. Rather than saying something like ‘I
love you, son,’ the Stranger says, “We are all connected,” confirming if Frankie
had any doubts about him not being he real father. They both know they are not
united by blood or law but have connected over this time, and hopefully that
will be enough for her, too. That unforgettable doorway minute, the way the
Stranger waves goodbye at the window, even Nell seems sad over her cigarette
the next morning – it’s clear no one wants the Stranger to leave but not the
week before they had been running from Frankie’s dad. Clearly, a new page has
been turned for not just Frankie, but now Lizzie as well.
3. What did the Stranger actually do?
Was
the Stranger truly a sailor with a ship soon departing? Probably not, although
he does claim to have business at the docks. Is it some nefarious cargo perhaps?
He repeatedly claims that his ship sails on Monday, but that doesn’t necessarily
mean he is setting sail. The Stranger
drinks Americano coffee and doesn’t quite dress like a sailor or merchant man
either. He obviously pays the man to stand on the ship, for though it’s not
subtitled, you can hear someone yell something like ‘Hey! Who’s that?’ when the
Stranger waves from the Accra.
He maintains he’s not a betting man, but he makes several bets just like
Frankie and insists on not revealing his own history even when Lizzie says
their arrangement has changed. He seems to agree on the change as well, even
though he initially only expected a paying job for a day. He picks up the baby
photo of Frankie, is almost overcome by Frankie’s reaction to his gift book,
and feels uncomfortable fully embracing him despite his apparent success at the
fatherly ruse. Did he loose a child perhaps? How did Marie know to set up her
brother with Lizzie unless she knew they might share a similar pain and healing
need? The Stranger stares at Frankie, studies his face against the fish tank, and
enjoys experiencing these childhood races and simplicities. Were these
opportunities previously taken from him? Marie says Lizzie need not fear that
the Stranger will take Frankie from her, but he has no problem interacting with
the boy. Yes, the Stranger forgets Frankie is deaf from time to time but he
doesn’t go out of his way to treat him differently, either. The Stranger also doesn’t
seem to need the money, as he buys the book, tips the dock man, and pays for
all the food and beers before he secretly gives Lizzie back her unopened money
envelopes. Why does he let her think he was doing it for the pay alone, to keep
up the pretense that her ruse is a success? He and Marie cover up on the beer
and cigarettes mistake and tell Lizzie what she wants to hear. In the end, does
it matter who he was before? Now he is everything Lizzie and Frankie want him
to be.
4. Does the Stranger come back to
Lizzie and Frankie?
Frankie
takes down his map and throws the skipping stone away after his last letter,
meaning they are all starting fresh without the previous charade. Why does the
Stranger even go at all? Lizzie was still technically married, and perhaps the
Stranger did have business that needed to be attended to, but these are small
hurdles compared to what Lizzie and Frankie have already overcome. They need to
grieve for Davey briefly, close the final chapter on the bleak past before
facing the bright future. When the Stranger returns, he will do so as himself
totally, without Frankie’s real father overshadowing them. Lizzie tells the
dying Davey that Frankie has a new father and waits until he is dead before
asking Marie who the Stranger was. She closes her post office box thereafter, and
is surprised to find Frankie’s letter to the Stranger there. How else was the
boy to share his thoughts on the matter? He wanted his mom to know and sends
the picture for her – he also posted the letter on his own, proving he knew she
was the one who handled them previously. Frankie addresses the last letter with
“thanks for the book…Ma and I had a shock… Your friend, Frankie.” He has let go
of his real father, the Accra
illusion, and now remains open to a future with the Stranger. Mother and son
now sit hopefully in wait, with Lizzie having accepted that she doesn’t have to
be both parents any longer. Sniff sniff.
5. Why, why have the director and writer not done a sequel to Dear Frankie or made more films?
Beat
the $%^@ out of me but I wish they would!
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