License to Wed (2007)

We see it's not such a good idea to stop communicating with someone you plan on marrying in this rather formulated romantic comedy. John Krasinski plays Ben, who - in the first ten minutes of the film - embarrasses himself in front of, meets, dates, embarrasses himself some more in front of, and gets engaged to Sadie, played by Mandy Moore.

After Ben proposes, they apparently have 5 seconds in which to decide where they will get married. Ben wants to have a destination wedding while Sadie wants to get married in a church she hasn't even attended in 10 years, but alas, it's part of her typical wedding plan concocted in childhood. From there on, Sadie's not a team player and thus it's harder and harder for Moore to make her sympathetic.

To top it off, the church requires a pre-wedding course run by the incredibly creepy Rev. Frank, played by Robin Williams. Not-so-hilarious antics ensue as they go through Frank's tests - the most creepy and disturbing of all involving robotic twin babies.

The movie becomes increasingly uncomfortable and brushes against the point where you just want to shut off the movie. The ending's predictable, but if you like to know where your movie is going at all times and like only like to be surprised by new heights of corny line delivery, it'll be just right. Bottom line: Kransinski manages to hold his own. Williams stretches his creepy muscles. And it's nice to see cast member from The Office outside of The Office.

Rating: 2/5
Recommended for: Fans of predictable romantic comedy and adults who haven't realized it's pretty important to communicate with your significant other.

Extended Review: Rev. Frank's sidekick minister-in-training seriously gives the best line deliveries and may very well be the best part of the movie. The kid totally commits to the character/performance. Meanwhile you can't tell if his mentor, Rev. Frank, wants to see Sadie & Ben fail, just enjoys watching people fail, or seriously wants to prepare them but just is incredibly socially awkward. Sadly the film does venture into reality in some of its couples' behavior. There are also plenty of bridezillas out there who've had a dream wedding planned all her life and she's not about to let anything or anyone (like the person she's marrying) get in her way. More of the film's uncomfortableness comes from the fact that Mandy Moore plays this role. She's normally so darn likeable and in those few cases she's not supposed to be, you even like to not like her. Here, you don't really like her, but you don't like that you don't like her. Sort of like this film.

Notorious (1946)

Alfred Hitchcock directs Ingrid Bergman, Cary Grant, and Claude Rains in this 1946 film-noir thriller. Good news for the squeamish and jumpy: There are no birds pecking anyone, no one being attacked in a shower, no one almost gets mowed down by a plane, and it won't make you dizzy.

Bergman is Alicia, the daughter of a former Nazi, asked by US agent T.R. Devlin (Cary Grant) to spy on some of her father's former friends in Brazil. She leads a willy-nilly life and harbors a bit of guilt over her father's actions, so she drops everything and goes with it. It just so happens that the leader of these "friends", Alexander Sebastian, was once in love with Alicia, so it's pretty easy for her to slip into their group and the next thing she (and the audience) knows he's asking her to marry him. Continuing with her "oh what the heck" attitude, she goes with that too. Alexander's mother suspects something's strange about Alicia that moment she walks in and eventually Alexander comes to be of that opinion too.

So what does a man with a shady past and present do when he figures out he's married to a spy? It's where the movie really gets interesting and the audience feels any investment in the characters start to mature. Alicia definitely isn't the gun-toting, rip-line-using, bustier-wearing Mrs. Smith of the 2005 Jolie-Pitt spy flick. She's in over her head with absolutely no training. Her only back-up is Devlin, who can't tell if she's taking the mission seriously or not and isn't sure if he can get her out before it's too late.

On the other team, we have the elderly Mrs. Sebastian who seems to be just waiting for a chance to put cruel words to actions, and her son, who has the wealth and network to do almost whatever he wants. Even though there's clearly a limited window for everyone involved, the film's pacing doesn't seem to speed up at all which serves to double the tension and make the conclusion all the more dramatic.

Rating: 4/5
Recommended for: Everyone over age 12, even if you don't usually like Hitchcock films

Extended review: Ok. I'll concede this: sending someone on a mission as a spy with no training and no exit plan doesn't seem that realistic. Perhaps that way they thought Alicia would seem more natural/less suspicious? Devlin does a good job of sliding into the scene next to her as an old friend but she meets with him so often right in broad daylight of course it eventually makes people wonder. It's probably why I didn't find myself that involved in the film until she's figured out. As Alicia slowly dies, you think Devlin will figure it out and save the day, but instead, in a moment of great irony, Alicia's well-known drinking habit is what stops Devlin from really checking in to why she seems a bit off. When Devlin finally comes to check on her the slow rescue right in front of the bad guys still infuses a little doubt that she'll be saved. Hitchcock has done something great here with expectations. You expect sneaking and running and you get slowly stepping and eye-to-eye confrontation. Questions of Devlin's aptitude are put to rest when he finally manages not only to save her, but stick Alexander in a no-win situation that'll prove to be his undoing. Cary Grant pulls it off so suavely that you may think he's not such a poor agent after all.

Pittsburgh (2006)

Jeff Goldblum stars in this 2006 mockumentary of sorts of a Pittsburgh production of The Music Man. I say mockumentary of sorts because it's treated like a documentary, yet not taken as seriously as real one, and yet isn't funny and silly like a standard mockumentary.

In the movie, Goldblum plays himself - although it's not clear if the character is really him or a stereotype of him created by the roles for which he's known. He goes back to his hometown of Pittsburgh to star in a regional production of The Music Man because his actress fiancee needs a visa to stay in the country. It's a promising premise but it falls out of focus. Side stories of Goldblum's friends, Illeana Douglas and Ed Begley Jr., jump in from time to time. Goldblum's convinced them to join the show too, but we see a lot more of their non-acting life, than their work in the show - which may leave the viewer wondering why the other actors are there. Additionally, Goldblum's "creative differences" with the show's director make you more worried about the poor people paying to see the show than laughing at their exchanges.

Rating: 1/5
Recommended for: People who'd watch Jeff Goldblum in anything or would like to relive being in a production of The Music Man


Extended Review: I usually enjoy Jeff Goldblum. His roles in Jurassic Park and Life Aquatic are thoroughly enjoyable. The problem is Goldblum's Harold Hill is Dr. Ian Malcom with a bit more caffiene in his system. Harold Hill is a fly-by-the-seat of his pants wheeler and dealer, not droll, agitated, and squirmy. The difference between this and the comedy of a Christopher Guest mockumentary is the Guest characters usually think they're doing a great job and just go with the flow. The more trouble Goldblum has with the show, the more he wants to distance himself from it and even goes as far as telling a hotel staff member that the show probably won't go well on opening night. That may be real, but it's not funny.

Alice Adams (1935)

Katharine Hepburn stars in this 1935 film about a family divided by social aspirations. Father, Virgil, and son, Walter, are complacent with their middle-class status while daughter, Alice, quietly yearns to have the life of her richer friends, and her mother is quite vocal about Alice deserving those "better" things.

Despite a history of being snubbed due to her socio-economic status, Alice manages to attract the attention of the well-to-do Arthur Russell. Alice's mother is determined to impress Arthur to make sure he doesn't run away - even if it means pushing the family past the brink of patience. Hepburn shines in this role and practically floats through the film. It's almost hard to believe any man would walk past her without looking. Despite the strong materialism and fixed gender roles, it's rather easy to have sympathy for Alice; she's trying so hard to be liked. And despite all her efforts, everything hinges around a dinner that leaves everyone sweating - figuratively and literally.

Rating:3.5/5
Recommended for: People ages 18 and up - not because of anything obscene... it just might bore younglings.

Extended Review: The dinner scene makes the film. You know going into it that it won't go that well. Yet as one thing goes wrong on top of another, each makes you cringe a little more. Alice sees it all too and walks the thin line of trying to save the day, and thus the relationship with Arthur, and giving in all together. Because of the time period, it's pretty hard to tell if Arthur's being silent to let her speak or if he really appreciates the out being handed to him. You find out soon enough though.
Nothing special to report on the cinematography. Additionally, the black and white film itself left me wanting more. I felt like the differences between the Adams and the other families cold have really been highlighted with color. Of course, at that time it wasn't really an option and the film succeeds in still physically illustrating the difference.

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The Opening Shot

Yes, it's the opening shot of The Closing Shot: Movie Reviews.
I'm your reviewer, The Movielyst.
Here's my format:

1) A basic review complete with a rating and suggested audience/recommendations for watching.

2) The occasional more in-depth, probably spoiler-filled commentary-the Extended Review.


I've lost track of how many times people have asked me why I can't just watch a movie like a normal person. To me, the story is always quite important, but there's so many more elements that go into making a movie. The wrong lighting or a poor song choice can easily shatter a moment as much as a bad acting choice. And when elements like those work just right... most people don't even notice them - which is how it should work but it's nice to appreciate that as well.

The closing shot of a movie is the last visual impression a movie-watcher sees of the movie. It's the film's goodbye. Some movies have beautiful closing shots that make you want to chase after it and beg the movie not to end. And some movies have a boy wizard riding a broom freeze-framed.

Yes, it's true; I have a least favorite type of closing shot.

But this is also my closing shot... or rather my parting shot at each movie after I watch it.

Enjoy.