Reviews

This is a reboot/sequel to the popular '70s series "Upstairs, Downstairs." Like its predecessor, takes a closer look at the lives, work and passions of both the wealthy English nobility (upstairs) and their servants (downstairs) in a posh London home. Here, the family is Sir Hallam (Ed Stoppard) and Lady Agnes Holland, and it's set from 1936-1939 as World War II threatens. Season 1 is very short--only 3 episodes--but features a sparkling blend of humor, romance and tragedy. Agnes (played beautifully and sympathetically by Keeley Hawes, who masters both the funny and sad scenes) is struggling with fertility, Hallam is worried about the threat of the Nazis, the hunky chauffeur is dallying with both the British Union of Fascists and Agnes' wild, devious sister, Lady Persephone (Claire Foy, who looks gorgeous in '30s clothes, hair and makeup). Secrets are revealed among both the residents of upstairs and downstairs. There are brief appearances by real-life figures as well, including Edward VIII and his then-mistress Wallis Simpson, and his brother, George, Duke of Kent, who becomes a recurring character (played very sympathetically by Blake Ritson). We see that the upper classes can get away with a lot of misbehavior that would ruin the lives and careers of those in service.

Season 1 benefits greatly from the presence of Dame Eileen Atkins as Sir Hallam's mother, and I read that she opted out of Season 2 because she didn't like the quality of the scripts. She was wise to do so. Season 2, with twice as many episodes as Season 1, veers into soap opera as war approaches. There is far more tragedy and sadness in the characters' lives that deflates the ebullience of Season 1. The writers must have a fascination with Sir Oswald and Lady Diana Mosley (nee Mitford), and I was left wondering why they didn't write a biopic series about them instead.

Throughout, the best aspects of the series are the gorgeous costumes, set designs and music, the gleaming 1930s roadster cars, the wild 1930s champagne and martini soirees, and formal dinner parties with famous guests. But some of the storylines, even when loosely based on history, seem jumbled and hard to believe.

I wish Hollywood studios produced more films like "The Iron Claw," the gut-wrenching, powerful and sad story of the Von Erich family of professional wrestlers. Huge leap for star Zac Efron, who built up his physique to resemble Kevin Von Erich, and is at times macho, stoic, achingly mournful, and a decent, loving husband and father. Kevin and his brothers are devoted to each other and to the somewhat warped vision of their authoritarian father, who relentlessly pushes his sons past the brink of sanity and physical health to fulfill his championship dreams. There are several scenes that illustrate how hard they train and push their bodies to the brink to get that edge.

The young actors who play Kevin's brothers are all very good and capture the look, voice and physical swagger of working-class Texas jocks in the '70s and '80s. This was an era when wrestling on TV was hugely popular entertainment -- the wrestlers were big celebrities-- and macho guys did keg stands and got into brawls at parties. The emotional bond between the brothers is obvious, and is the focus of several very poignant scenes.

Lily James plays Pam, Kevin's wife, as a fairly grounded, loving and devoted partner who struggles to keep her family afloat and thriving. Maura Tierney is the Von Erichs' (real name Adkisson) mother, a deeply religious woman who shelves her bitterness about the path her husband chose for their family until it becomes just too much to bear.

In some ways, "The Iron Claw" is a glimpse of America's recent past, a still very familiar society to many of us, before political correctness and the incessant public sharing of every emotion, opinion and personal idiosyncrasy on social media. These are physically powerful men who are at times stoic, and nonetheless struggle with their emotional pain because they feel they have to suppress it to remain manly, strong and stalwart. Yet, I think viewers will admire them more than seeing characters blab on and on about their many insecurities and petty gripes. Efron's Kevin, especially, struggles with personal demons and great loss, but does so in a very dignified way that is bracing and moving. I'd recommend this film to anyone who remembers this era or anyone interested in a serious, powerful drama.

"The Man From Snowy River" is a classic Western set in the wild, mountainous frontier country of Australia in the 19th century. This movie, which has become a bit of a cult classic, is a coming of age adventure tale based on a famous poem by Banjo Patterson. Young Jim Craig (hunky Tom Burlinson) grew up in rugged Snowy River, ranching a small herd of cattle at a remote station with his father. A herd of feral horses known as the Brumbys causes the tragic death of Jim's father as the movie opens. Jim, a skilled horseman, travels to the low country and finds work as a ranch hand for wealthy Harrison (Kirk Douglas). Oddly, Jim has been close to a grizzled, peg-legged and unsuccessful gold miner called Spur who is also played by Douglas. Clearly, the two men are twin brothers who wound up on very different paths in life.

Jim quickly proves his mettle with the horses and cattle on the ranch. He also sparks a romantic attraction with Jessica, the feisty, well educated daughter of wealthy Harrison, who wants her to settle down with a rich husband and content herself with being a wife and mother. Jessica isn't so sure-she wants to choose her own future.

"The Man From Snowy River" is an old-fashioned western adventure story with spectacular mountain scenery, soaring soundtrack, absolutely thrilling horse riding action, and a compelling romance. Burlinson's Jim is a decent, proud, headstrong young hero who must prove himself through skill, dedication and judgment. I would judge this film as "family friendly," with no cursing, nudity or gore, but adults will find it very entertaining too. Bonus: If you're a horse lover, this film will surely become one of your favorites.

"The Wedding Date" is a formulaic rom com/chivk flick starring Debra Messing as Kat, a beautiful, sharp NYC woman who was recently dumped by her English fiancé. Kat is about to fly across the pond to be maid of honor at her younger sister's posh UK wedding, and her ex is the best man-awkward! She doesn't want to show up to the affair solo, so she plunks down $6,000 to hire a smooth, elegant escort named Nick (Dermot Mulroney in expensive suits) to play the role of her new (fake) boyfriend. Of course, sparks fly.

The upscale country wedding is a perfect backdrop for a rom com, but the story is a bit implausible. Messing's Kat is portrayed as a neurotic bundle of nerves around Nick and her jerk of an ex, but it's not really funny. A modern, single businesswoman hiring an escort for a wedding trip seems a little desperate. Amy Adams is great as the spoiled bride who is used to getting all the attention and slack for bitchy behavior. Mulroney is gorgeous and very likable as Nick, and you can see anyone falling for him, but the clunky script doesn't really make it work as well as it should. It's a cute film but shallow-fine for a rainy weekend on the couch.

Director Joe Wright seems to enjoy creating adaptations of classic novels that are modernized in jarring ways. His 2005 version of Jane Austen's Pride and Prejudice is no different. Keira Knightley as Elizabeth Bennet, one of the most beloved heroines of English literature, is sharp-witted and feisty, but her hairstyles, costumes and overall presentation-she never wears gloves and rarely a hat or bonnet, both being standard attire for a woman of her class while out in public-are just wrong. Lizzie wears the ugliest, shabbiest dresses in most scenes, including olive drab, brown and gray gowns that appear to made of sack cloth. The Bennets are minor rural gentry and somewhat cash-strapped compared to Messrs Darcy and Bingley, but their home, Longbourne, is presented as a raucous farm, with hogs running through the interior in one scene.

I believe that modern viewers would be able to understand that young genteel ladies of that period would have dressed formally, not like today's more "let it all hang out" casual at all times. The men never wear hats. Caroline Bingley is shown at a ball in a shockingly skimpy gown with spaghetti straps. I don't think any lady in Austen's time wore anything like that-indeed, I'm not sure dressmakers even knew how to make a dress like that at the time. Again, these are small details that are nonetheless jarring.

Still, this version of Pride and Prejudice does introduce young, modern viewers who have not read Austen or any classic literature to a world and values that may be quite alien to them. Unlike other reviewers, I think Knightley and Matthew MacFadyen have good chemistry, although in the earlier scenes of the film, they are both quite unpleasant! But true love finds a way. The cinematography and musical score are beautiful and enhance the movie to a great degree.

"North and South" is based on the Victorian era novel by Elizabeth Gaskell that focuses on the dramatic social impact of the Industrial Revolution on northern England. The story is based in fictional Milton, a stand-in for mid-19th century Manchester. Young, idealistic and rather sheltered Margaret Hale relocates to Milton with her parents, including a dissenting pastor father who has left a comfortable post and lifestyle in a leafy Hampshire village, uprooting his family to follow his conscience. The Hales are now in "reduced circumstances," but certainly very well off compared to the poor mill workers Margaret meets in Milton. She befriends a working-class family led by Higgins, the leader of a new union who is planning a strike. The cotton mill at the center of the drama is owned by John Thornton, a self-made man supporting his widowed mother and ditzy sister in fine, nouveau riche style. John is stern at first, proud, confident and even rigid in his opposition to negotiations with his workers. He's also strong and very handsome in a brooding way. Both he and Margaret fall for each other, but they're stubborn and self-righteous, and there are the usual misunderstandings and plot obstacles in their path to love. As a viewer, you hope these two can somehow work it out.

Of the excellent supporting cast, Sinead Cusack as John's rather possessive and critical mother, Tim Piggott-Smith as Margaret's loving and learned father, and Brendan Coyle (later famous as Bates on "Downton Abbey") as the union leader Higgins all stand out. The costumes and set design all evoke the period well.

"North and South" is most successful at examining the rapid changes industrialization brings to England, the burgeoning labor movement fighting for better working conditions and wages, and the cultural clash between the more genteel South (exemplified by the Hales) and the harder-edged industrial North (the new-money entrepreneurs in "trade" like the Thorntons).

Margaret is also a bit of a proto-feminist. You could see her as a suffragette a few decades later in her life. Some of the plot twists are abrupt, and seem a little forced and implausible. I agree with other reviewers that the series modernizes a key romantic interaction between Margaret and John in a jarring way. I think the director felt modern audiences need classic Victorian novels to be spiced up. That's common in recent screen adaptations of this type. But it's well acted, great cast, and tells a compelling story.

"Season of the Witch" is an entertaining horror/action movie set in 14th century Europe, with a.solid supernatural story and plenty of scary moments. Veteran stars Nicolas Cage and Ron Perlman play disillusioned, but seasoned and skilled knights who tire of the slaughter of the Crusades and seek a way to return to normal life. However, upon returning to Europe from the Levant, they find the Black Death raging. They're imprisoned after a fracas and are given a chance to get out of prison by escorting a witch (Claire Foy in a hypnotic performance) to trial in another city. There are some creepy thrills and lively swordplay along the way. The lighting and scenery are pretty dark and grim, and you're not sure who are the good guys and who are evil. This movie would be a good choice of flick for a rainy Saturday night in, and especially at Halloween. It was better than I expected, with a solid story and plenty of suspense.

"The Cutting Edge" is a classic early '90s rom-com with just enough sexual innuendo to appeal to grownups, but not explicit at all. It's set in the world of competitive figure skating. Doug Dorsey (D. B. Sweeney) is a working-class Minnesota guy whose dream of playing pro hockey is dashed when he suffers an injury in the '88 Calgary Olympics. He still has exceptional skating skills, so an emigre Russian coach recruits him to try out as a pairs skating partner to spoiled, wealthy diva Kate Moseley (Moira Kelly), who has discarded or repelled every other possibility.

Dorsey is a tough-talking jock whose initial impression of figure skating is that it's nothing but silliness in sequins. But he quickly takes to the sport when he realizes the skill and strength involved, and he can't resist the bigger challenge: clicking with haughty, difficult prima donna Kate both on and off the ice. This unlikely pair generate plenty of sparks and slowly get past their emotional armor, with lots of witty banter and athletic battles on the practice rink as they pursue Olympic gold and fall for each other along the way. The two leads have good chemistry, and the supporting cast is very effective.

Some parts of the movie look a little low budget and slightly dated (lots of big moussed-up hair and shoulder pads!), but this is a charming, funny sports/love story that also digs into deeper themes, such as the sacrifices made by young, driven (or pushed by their families?) athletes and the difficult choices they make on the road to glory. If you like figure skating, and many people do, you will love "The Cutting Edge," but if you just like a nice rom-com, it's worth a viewing too.

I recently watched the restored version of Alfred Hitchcock's "Vertigo." The plot, which has some puzzling holes, follows John "Scottie" Ferguson (James Stewart) as a retired San Francisco police detective who grapples with crippling acrophobia, vertigo and guilt after a rooftop chase of a suspect results in a fellow cop's death. Scottie spends time with his ex-fiancee and best buddy, Midge (Barbara Bel Geddes in a very underrated performance), an independent, successful commercial artist who still pines for him.

With little to do with his time, Scottie takes on a private eye gig to follow the gorgeous young wife of a wealthy college chum, Gavin Elster, who has suspicions about what she's doing all day long. It appears that the young, glamorous Madeleine (Kim Novak) is obsessed with her dead great-grandmother, Carlotta, who committed suicide and became an old San Francisco legend. Scottie follows Madeleine as she visits Carlotta's grave at a picturesque Spanish mission churchyard and her portrait in the museum. Naturally, Scottie falls madly in love with the ethereal, elegant and haunted Madeleine, and becomes obsessed with her, with disastrous results all around.

"Vertigo" explores mental illness, obsession and the dark, destructive side of sexual attraction. Scottie's phobias (fear of heights and fear of falling) and his vertigo are major plot elements, crippling him emotionally and cutting his career short -- in effect, emasculating him. He seems energized by his passion for Madeleine, but it actually clouds his judgment and causes him more pain.

The elements that stood out for me were stylistic, especially Hitchcock's very deliberate manipulation of light and color. When Midge and Scottie visit a bookstore to ask the owner, a local historian, what he knows about Madeleine's ancestor, the lighting gradually darkens to the point where you can hardly see the three actors, then brightens again once they step outside, although at dusk. There is a famous shot of Kim Novak walking out of a hotel bathroom, perfectly dressed and coiffed, where she is bathed in eerie green light from the neon sign outside. The camera is placed from Scottie's viewpoint, and we sense that he has given himself over to his obsession and idealization of this woman. There is a wild, colorful, animated dream sequence which seems dated now, but at the time, would have been rather avant-garde.

Hitchcock also made the most of the spectacular settings of 1950s San Francisco, with many of its striking landmarks (Coit Tower, Golden Gate Bridge, Muir Woods, the Palace of the Legion of Honor) as sites for important plot twists. In a film about obsession, detachment from reality and dreams, San Francisco seems like a film set dreamed up by an artist, but of course, all these places are real.

The plot has some serious holes, including the characters' motivations. You would have to overlook that and simply enjoy the languid beauty of the cinematography, and the exploration of obsession and other psychological themes.

Also, Stewart's age was an issue for me in this role. Stewart looks too old to be a romantic partner for Novak in this film, although I thought they made a cute, quirky couple in the comedy "Bell, Book and Candle," where he was a publishing executive -- more of a worldly, attractive figure than a San Fran cop who had to take early retirement because of his fear of heights and can't even buy you drinks at the Top of the Mark. He looks old enough to be retired from the police force because, well, he was at retirement age for a cop. He and Midge talk about how they had dated in college, but Midge looks much younger than him. In fact, Bel Geddes was 14 years younger than Stewart.

The films of that era often paired young actresses with established male actors old enough to be their fathers, and it doesn't always resonate with modern audiences in my opinion. In some films, it makes more sense that the "ingenue" would fall for a powerful, wealthy and sophisticated older man, but in other films, it just feels a bit creepy. It works better if the script actually acknowledges the age difference.

"Women in Love" is based on D. H. Lawrence's novel of four young people searching for love, passion and the meaning of life in post-WWI Northern England. It's a period of great social changes, including the erosion of class barriers, loosening of sexual mores, and economic opportunities for women.

Gudrun (Glenda Jackson) is more intelligent and stronger of character than her sweet, traditionally pretty sister Ursula. Both are schoolteachers who are part of an emerging middle class making a living off their intellectual abilities, and Gudrun is also a talented artist. Gudrun declares her ambivalence about love and men, but becomes involved in a toxic, torrid relationship with wealthy coal mine owner Gerald (Oliver Reed), who is at turns controlling, desperately needy for love and commitment, and violent.

Ursula openly yearns for traditional love and marriage, to the point of tedium. She falls for handsome school inspector Rupert (Alan Bates), and they begin a relationship. Ursula is constantly whining and begging Rupert for commitment, and becomes hysterical and annoying at some points in the film. Rupert spends a lot of time expounding on his philosophical views of the meaning of life and whatever love means. These are the weakest parts of the film, although I think many viewers could relate to this type of relationship.

This film has become well known for its graphic nudity and depictions of sex, and director Ken Russell seems to go for sensationalism at any opportunity, when subtlety would be more powerful. We also see the physical and emotional intensity of the friendship between Rupert and Gerald, truly a homoerotic bromance that fascinates the viewer.

"Women in Love" may be the best film of Russell, who is a middling if prolific director known for his lurid, occasionally cartoonish portrayals of sexuality and passion. Some of the scenes set in lush Yorkshire pastures and forests are absolutely beautiful. But the explorations of the relationships between these four characters, and indeed the character expositions altogether, are too shallow and muddled. We are left to assume what makes them tick, if anything. But, this is an entertaining and interesting film that shows us society at a point of dramatic change and how these social changes affect individuals simply seeking love.

"The Body" is a fairly entertaining suspense drama set in the crosshairs of religious, political, ethno-cultural tension, Jerusalem. Archaeologist Sharon Golban, played by Olivia Williams, is a UK-born Jewish oleh who married an Israeli military officer, now deceased, who discovers a 1st century AD tomb that contains the skeletal remains of a crucified man. Because the nature of the wounds detected on the remains and other artifacts in the tomb, she and archeologist/priest Father Lavelle (Derek Jacobi) believe it may be the remains of Christ. At the Vatican, a deeply concerned cardinal (John Wood) assigns priest/historian Fr. Matt Gutierrez (Antonio Banderas) to go to Israel to investigate. The cardinal strongly insists that the young, idealistic priest debunk the theory and preserve the traditional tale of the Resurrection as gospel.

"The Body" seems low-budget in its sets, lighting and cinematography, but the cast features several well-known, respected actors who turn in good performances. The script seems a bit thin, with lots of cultural and religious stereotypes and plot twists that are too obvious. However, it's entertaining and touches on timeless, meaningful themes. What preserves our faith? How much faith must we place in historical accounts to support that faith? How is faith jeopardized by religious organizations holding too much power? And, hey, this film tosses the Israeli-Palestinian political conflict into the mix to ramp up the volatility even more.

I found both Banderas and Williams likable in their roles, and if you're willing to suspend a bit of disbelief when the script stretches too thin, "The Body" is an interesting weeknight watch.

I enjoyed "Mary Shelley" as a fairly historically accurate (with a few things left out as most biopics do) biographical film about the author of "Frankenstein" and as a romance. Elle Fanning, an American actress from Conyers, GA, does a fine job portraying Mary Wollstonecraft Godwin (later Mary Shelley) in her teenage years, when she was the well-educated and beloved daughter of famous philosopher, writer and bookseller William Godwin and his late, first wife, Mary Wollstonecraft, who was an influential writer and author of "The Vindication of the Rights of Woman," a groundbreaking feminist book.

This film portrays the young Mary as idealistic and passionate, yearning to make her mark as a writer in the style of her late mother whom she never knew, and to win the admiration of her beloved father. Mary clashes with her more traditional stepmother, Mary Clairmont, and bonds with her stepsister, the equally passionate and idealistic Clair Clairmont. Mary is sent to study in Scotland, where she meets the handsome, talented young poet Percy Bysshe Shelley, and they fall madly in love. Alas, Shelley is already married, though unhappily, and has a child.

This film is set in the early 19th century, the time period when the British Romantic poets, writers and artists set society's restrictive standards ablaze by embracing free love, adulterous affairs, atheism, class equality, and other ideas we now take for granted. Mary's late mother shocked the society of her own time by having children out of wedlock and writing about feminism, and this film casts young Mary as fully eager to follow in her footsteps. She and Shelley famously (infamously?) ran off together, had a baby, and wound up spending the cold and dark summer of 1816 (the Year Without a Summer due to the eruption of Mount Tambora) with the legendary poet Lord Byron in a villa on Lake Geneva, with Clair in tow. There, they swapped ghost stories (and fellow guest Dr. John Polidori wrote his book "The Vampyre"), drank a lot and made mad, passionate love. Here, Mary Shelley was inspired to write "Frankenstein," which is not a great literary work at all, but has become a durable bestseller and spawned numerous movies both good and terrible.

The film mostly focuses on young Mary's maturing process and her most influential relationships: with her famous father, her stepsister Clair, and poet Shelley, all of which have their ups and downs. Elle Fanning does a very good job portraying the young writer as feisty, idealistic (at first), and determined to make her own mark and to love deeply. We see how turbulent and passionate the relationship of Mary and Percy was--their road as a couple was a bumpy one, although they loved each other deeply---and how hard she worked to become a published writer in her own right. It's also a look at early feminism in a society that simply wasn't ready to accept it.

I thought the cast was all very good, but Tom Sturridge was too hammy as Lord Byron (I guess he couldn't resist). All in all, an enjoyable biography and historical romance.

"Bell, Book and Candle" is an entertaining, if somewhat predictable '50s romantic comedy with all the trappings of that era: Stylish set decoration, chic costumes, perfect hair and makeup on the glamorous star Kim Novak, no more sex on screen than fairly chaste kisses and hugs, horn-heavy jazz soundtrack, and a strong message that love works best when the lady submits to a traditional path and a strong, professional, tall man.

The twist of this amusing romp is that it's about witches and warlocks living and practicing their craft (although the spells cast are mostly benign and one step above card tricks) in 1950s Greenwich Village. Novak plays Gillian, a contemporary witch with an anthropology degree from Wellesley who owns an art gallery specializing in African masks and sculpture. She lives in a lovely, compact flat behind the shop with her cat, Pyewacket, who is also her familiar, an animal who helps her cast spells. Gillian's aunt, Queenie (Elsa Lanchester) and bongo-playing brother, Nicky (Jack Lemmon) are also witches, and their local haunt is a speakeasy/jazz club called the Zodiac.

Gillian tries to avoid using her powers and do things naturally, but she has a mild crush on the older book publisher who lives upstairs, Shep Henderson, played by Jimmy Stewart in comedic mode. Still, she doesn't need to cast a spell to intrigue Shep, and he shows up at the Zodiac one night, obviously curious about Gillian and her more bohemian lifestyle and interests. Unfortunately, Shep comes accompanied by his fiancee, Merle, who was Gillian's nemesis in college. Should Gillian tap into her magical skills to lure Shep away from haughty Merle and walk on the wild side with her instead? The road to love is never smooth or simple, even for witches. This movie inspired "Bewitched" and probably "Practical Magic" decades later. Supposedly, the author of the play it was based on was using witches and warlocks as a metaphor for gay people living in Greenwich Village who were unable to live and love openly in this often brutally conservative '50s period.

Some of the funnier bits involve Ernie Kovacs as a rumpled, bourbon-swilling author who is researching a new book on witches in Manhattan, and Hermione Gingold as the leader of the local coven and brewer of magical concoctions.

"Bell, Book and Candle" may seem very restrained to modern viewers, and Gillian seems "bohemian" or counterculture to the very square, tradition-minded Shep and sneering snob Merle, mostly because she lives alone, owns her own business, walks around her own apartment barefoot, and wears slinky black outfits (with an ultrachic leopard wrap and red stilletto heels, no less) to the jazz club. To us, she's gorgeous, beautifully dressed, well educated and well read, self-sufficient and successful.

Some reviewers said that the romantic pairing of Novak and Stewart doesn't work due to their age difference, but I can see why Gillian would be attracted to the establishment guy Shep. He represents the successful man in the suit and tie with the big office and secretary. As a witch always viewed as bohemian, odd or counterculture in the very conservative 40s and 50s, he may have been a symbol of something unattainable or even just different from the guys around her. And she loosens him up a bit, too. Does Gillian have to change to fit into Shep's world and experience true, fulfilling love? Sadly, that's the message in rom-coms of this time period. He may tempt her to walk a more straight-and-narrow, "human" path, but I think she loosens him up a bit, too.

I was a teenager in the '80s when "Tequila Sunrise" was released, so I watched it again recently to see how the movie looks and feels so many years later. It's a standard film noir tale with a classic love triangle: Nick (Kurt Russell) the LA narcotics detective trying to take down a major international drug dealing ring; Jo Ann (Michelle Pfeiffer), an elegant, beautiful restaurateur who caters to the city's wealthy, including drug dealers, although she has no idea; and Mac (Mel Gibson), one of those successful and polished drug dealers who's trying to get out of the racket to raise his young son on the beach.

The story by Academy Award-winning writer of "Chinatown" (possibly the greatest American film ever) Robert Towne is entertaining, although seems dated in its dialogue and situations--the criminals seem too congenial and almost upstanding in their moral code. The corrupt LA cops may seem more realistic by comparison. The action scenes are entertaining and the plot keeps you engaged enough all the way through.

But the main hook of "Tequila Sunrise" is the love story between Nick, Jo Ann and Mac--Nick and Mac being close high school chums who still try to look out for each other, although both are in love with Jo Ann, who is the epitome of late '80s beauty and allure. She is intelligent, decent, professional and kind. So, there is the conflict that drives the story. The tasteful love scenes are very stereotypically '80s, complete with quick cutting, soft lighting and soaring saxophone solos by David Sanborn.

One reaction I had (a pleasant one) was that the three stars were absolutely attractive and gorgeous, but did not look fake like today's standard--they all had real teeth, skin, bodies and hair. What passes for beautiful or sexy today often seems quite plastic. Pfeiffer is so alluring as Jo Ann, but she wears elegant business suits or cocktail dresses at work and softly draped casual clothing in scenes outside of work. "Sexy" fashion doesn't have to be skin tight, ripped or overly revealing.

This movie was popcorn-fare enjoyable, if dated and a bit silly at times. If you are feeling nostalgic for the 80s, this one will be right for you.

I admit that I am a fan of the 1967 John Schlesinger version of "Far From the Madding Crowd," and I loved Thomas Hardy's novel. This 2015 version by Thomas Vinterberg is well made, and its strongest points are the beautiful rural settings, accurate period sets, dreamy lighting and musical score. The script stays true to the story and includes many of the most memorable lines of dialogue. The film moves at a quick clip, and perhaps feels rushed at times, particularly the scenes involving Bathsheba, Frank and Fanny.

The 2015 cast doesn't seem to compare to those of the 1967 version, although Matthias Schoenaerts as Gabriel Oak, Carey Mulligan as Bathsheba Everdene, and Michael Sheen as Boldwood are all fine actors who perform these very familiar roles with sincerity and depth. Tom Sturridge is a weak link for sure; he seems like such a childish jerk and it's hard to imagine why he's attractive to so many women, at least compared to Terence Stamp in the '67 film. The '67 cast was superior in every way, but this one is a very enjoyable version of the classic story, especially if you haven't seen the earlier version.

I enjoyed this series as an attempt to discuss the history of American fashion design in the 20th and early 21st century, with appealing commentary by experts like Tim Gunn, Christie Brinkley, Jeffrey Banks, Norma Kamali, etc. However, I felt that the series was uneven and rushed through particular eras that would have been so interesting to explore. Little to say about American fashion in the '50s except "oh, it was the Cold War and Red Scare, so everyone was afraid to break conservative fashion rules. All the women were housewives who wore dresses to vacuum the house, men all wore boring grey suits, except the beatniks who were cool." That's nonsense. There were very interesting innovations and trends in that era of women's fashion, as well as influencers and the first supermodels. The series seemed in a rush to get to the '60s & '70s.

The first part of the series opener was so promising, with a deeper dive into the evolving American fashion manufacturing industry, retail and marketing innovations, but it felt rushed and uneven. Have to blame the show runners for that.

Entertaining '70s feminist drama about the tough choices women often make when it comes to life, love, motherhood and career, set in the highly demanding world of elite ballet. You can enjoy this movie without any knowledge of dance. The two stars, Shirley MacLaine and Anne Bancroft, are longtime close friends and former rivals, both professionally and in their love lives. Twenty years earlier, each made a tough choice: pursue a career as a prima ballerina or become a mother. Bancroft's Emma chose ballet, but fame demands huge sacrifices and now, in her 40s, she's worn out and only offered "older" roles. MacLaine's DeeDee has three kids and a successful dance studio out of the spotlight, and her daughter Emilia is poised to be the next big ballet star. Both women grapple with regrets, dreams and jealousies that provide heaps of tension between them. Watch "The Turning Point" for fine acting, soapy love scenes and passionate arguments, a glimpse at the competitive world of ballet, and a thoughtful examination of the choices we (especially women with talent) make in a career-driven world.

"Agatha" tells the story of what may have happened in the 1920s when famous murder mystery novelist Agatha Christie went missing for eleven days, triggering a nationwide search for her by police and frenzied media coverage. Vanessa Redgrave plays Christie at her lowest moment: She has discovered that her husband, Archie, is cheating on her with his secretary and wants a divorce. This legendary actress shows us how distraught and anguished she was at this time, as well as insecure about her attractiveness (although Redgrave is stunning) and aging, and as calculating as we expect from this legendary mystery writer.

Dustin Hoffman (who also produced) plays celebrity American columnist Wally Stanton, who is a huge fan of Christie's books and doggedly searches for her to unearth the truth and get the scoop for his column. Timothy Dalton (Redgrave's real-life partner) plays the handsome but somewhat odious Archie. The rest of the supporting cast is good as well.

It's an entertaining movie, seems quick paced and even a bit short, with the classic '20s costumes and emerging technologies playing their own part in the suspense. One amusing detail: Redgrave was one of that era's tallest actresses, and she plays opposite Hoffman, a very short actor. I think the oddness of it works, because it's not the usual movie stereotype. Christie here seems like an aging woman who's unsure of herself, while Stanton is the most confident and assertive guy you've ever seen.

I remember seeing "Gregory's Girl" on American cable TV in the '80s, when this charming Scottish indie romantic comedy was a critical success. I just caught it again on a streaming app-on Valentine's Day, no less. Perfect choice.

Gregory is a lanky, gawky, vivacious and funny teenager in a planned suburban community on the edges of 1980 Glasgow. He's sprouted up five inches in the past year, so he's still not used to his new body. It shows in his football skills, so his frustrated coach moves him into goal and holds a tryout for a new player who can lead the team and score. The winning addition to the team is Dorothy, a confident, athletic blonde girl who is the first female player in the squad's history. Gregory develops an instant, all-consuming crush on the much more poised Dorothy. Will his attempts to win her love succeed? The outcome isn't what you may expect, but it all rings very true and sweetly to anyone who has been a teenager.

"Gregory's Girl" had a very low budget, but that doesn't diminish the quality of the film or its mostly novice (at the time) cast. Some of the best and funniest scenes are Gregory discussing dating and career future plans with his mates (most of them as gawky as him), but especially the sweet conversations he has with his 10-year-old sister Madeline, who schools him on how to dress to impress on a date.

Don't miss this charming film that will transport you back to the '80s! A much simpler time to be a teen.

I saw the original "Death on the Nile" starring Peter Ustinov as Hercule Poirot, so that may have influenced my reaction to this new, glossy, yet jarringly unrealistic version. Many people complained about the excessive use of CGI, and it does make the film feel fake. I guess they couldn't film in Egypt?

But the most unsatisfying aspects were the revisions to Christie's well-loved original story and characters, including Poirot himself. The tacked-on prologue and epilogue seem completely unnecessary and incongruous with Poirot's character and backstory as created by the novelist. Whatever. I've come to expect this from Hollywood. They can't just do a remake that's true to the source material, even when it's so familiar to millions of readers.

As for the cast, I felt Annette Bening's performance was the best, and I was impressed with comedian Russell Brand playing a dramatic role. I hope he does more! Emma Mackey, Armie Hammer and Gal Gadot come off as cartoonishly two-dimensional characters. They look great, but very shallow. The whole movie just doesn't ring true at all. There are details which seem implausible in a 1930s setting, including the glam female ship's crew members in shorts....in Egypt? Be truer to the period to retain the audience's belief in your story.

I enjoyed this two-season series version of "The Forsyte Saga" for its entertainment value and some fine acting performances, notably Damian Lewis as the central character, Soames Forsyte, Rupert Graves as his cousin Young Jolyon, Corin Redgrave as Uncle Jolyon, and Amanda Root as Winifred. At times, I found the characters' efforts to find love and happiness in their personal and family lives-often unsuccessfully-quite moving and relatable, although the story is set more than a century ago. The second series tended to devolve into soap opera-style melodrama before bringing the storylines and characters' journeys to a more believable, satisfying close.

I found Soames very much a man of his station and time who not only sought an elegant wife to be his partner in society but with whom to create a family. He states throughout his desire to love and be loved, and to have children, but he's derided as cold, possessive, shallow, repressed, imperious and controlling-several of his relatives find him odious. Yet, Soames as portrayed by Lewis is a tragic figure, a man of deep passion and emotion who struggles to find romantic love. He has loving, caring relationships with his mother, sister, and especially, his daughter, but his wives tend to view him as a source of income. He's supposed to be a cold fish? In fact, he battles his own emotions throughout the story. I felt pity for him, even though I know you're supposed to find him monstrous. I found his character quite believable, actually.

Like some other commenters, I also had some issues with the casting of Gina McKee as Irene. It's hard to believe that most of the men in the story are lusting after her. A fine actress, but I don't see her stirring up that much male passion, sorry! She's more believable later in the series as the older, wise and patient mother Irene than as the beguiling teenager she's supposed to be at the beginning.

The third movie in the Fantastic Beasts series, "The Secrets of Dumbledore," is rather dull compared with the previous installments. The costumes, set design and visual effects are eye-catching, but these do not make up for the boring, repetitive storyline. There is literally no story arc or character development. The Queenie/Jacob love story is the only interesting plot line, so a movie just about them would have been more compelling to me. There are lots of good-looking stars who seem very uninspired. I admire Mads Mikkelsen, but he was very subdued and dull as Grindlewald compared to Johnny Depp-so even the main villain character came off as a bore. All involved in this production could have done a better job.

"Gaslit" has a high-quality cast and production values, capturing the look and mood of the early '70s. But the tone is off-putting. Many scenes are played as broad farce, as if most of the key figures in the Watergate scandal were buffoons. These were corrupt people who made terrible blunders, but they were not all a bunch of clowns.

I think Sean Penn is very good as John Mitchell, but Julia Roberts could have put more a little more energy into her portrayal of Martha Mitchell, who was very flamboyant, colorful and opinionated. Dan Stevens as John Dean is a weak spot. He makes Dean seem very silly and clueless, and looks too hipster. These were Republicans! "Gaslit" explores an interesting episode in American political history, and includes many key facts, but the tone makes it seem a bit too much like a caricature.