Showing posts with label Jennifer Beals. Show all posts
Showing posts with label Jennifer Beals. Show all posts

Friday, 28 October 2022

Movie Review: Flashdance (1983)

A dance musical drama and romance, Flashdance is full of performance highlights at the expense of narrative substance.

In Pittsburgh, Alexandra "Alex" Owens (Jennifer Beals) is a steel mill welder by day and a nightclub dancer by night. Encouraged by her elderly friend Hanna (Lilia Skala), she dreams of entering the ballet academy, but having never received formal training she is intimidated by the haughty attitudes.

Alex catches the attention of her boss Nick Hurley (Michael Nouri) and they start a romance. Meanwhile her best friend Jeanie (Sunny Johnson) attempts to qualify for a figure skating competition, and falls into the clutches of a tacky strip club owner Richie (Kyle T. Heffner). Jealousies develop between Alex and Nick as she struggles to pursue her dream.

More a cultural phenomenon than a serious movie, Flashdance left an outsized legacy. Leg warmers, off-the-shoulder T-shirts, Alex's cool but outsized warehouse digs, her cute pitbull terrier, and the dextrous remove-the-bra trick are instantly recognizable cinematic landmarks. Director Adrian Lyne strings together a succession of electrifying music videos spiked with strobes, silhouettes, and hyperactive camera work, Giorgio Moroder provides the iconic music, and the images achieve eternal recognition. With Marine Jahan executing Alex's dances, the chair, lightbulbs, and water dump of He's A Dream, the audition performance of Flashdance...What A Feeling, and the thighs-like-a-machine Maniac are the stuff of legend, as is Cynthia Rhodes' stunning Manhunt.

The story does not matter, which is just as well, as the plot is essentially non-existent. The romance is embarrassingly clunky and the ballet school audition is simplistic chase-your-passion tripe. Consistent with characters who exist in a void, the script by Tom Hedley and Joe Eszterhas never bothers to explain why an independent and free-spirited modern dancer would ever want to subject herself to the stuffiness of a ballet institution. 

Jennifer Beals was catapulted into overnight stardom and delivers a delightfully alluring performance, despite only contributing close-ups to the dances. Michael Nouri barely registers, but Kyle T. Heffner achieves fingernails-on-a-chalkboard effectiveness as the worst kind of sleazeball. Jeanie's story suspiciously mimics filler material, while Cynthia Rhodes deserves more screen time.

Flashdance is a most honest title: plenty of flash, plenty of dance, and precious little else. 



All Ace Black Movie Blog reviews are here.

Tuesday, 30 August 2022

Movie Review: Devil In A Blue Dress (1995)

A neo-noir crime thriller, Devil In A Blue Dress enjoys exquisite period details and a suitably convoluted mystery.

The setting is Los Angeles in 1948. Recently unemployed machinist Easy Rawlings (Denzel Washington) is desperate to keep up with his mortgage payments. He accepts a seemingly simple job from DeWitt Albright (Tom Sizemore) to locate a missing woman called Daphne Monet (Jennifer Beals), who is known to frequent Black nightclubs. Daphne is the girlfriend of politician Todd Carter, who dropped out of the mayoral race when she disappeared.

Easy connects with nightclub regular Coretta, who informs him Daphne is hanging out with a thug called Frank Green. Soon thereafter Coretta is found dead and Easy is a prime murder suspect. His life gets more complicated when Daphne surprisingly contacts him and together they visit the home of the sleazy Richard McGee. Easy also has an unsettling encounter with Matthew Terell (Maury Chaykin), the other candidate for mayor. As the dead bodies start accumulating, Easy calls upon his Texas-based friend Mouse (Don Cheadle) to join him in LA.

Evoking Raymond Chandler's sordid stories, Devil In A Blue Dress adds racial tensions to the familiar mix of sex, blackmail, and murder most foul. Writer and director Carl Franklin dreams up an almost-impossible-to-follow but still captivating story where power, politics, exploitation, and sleaze intermingle, every minor character matters, and everyone is corrupt at heart and working hard to hide it. Action, mood, seductiveness, and hints of humour maintain equilibrium.

In this world Black and white coexist uneasily. Albright specifically hires Easy because Daphne is known to frequent Black clubs. The police pester Easy more than necessary because of his colour, and the difficulties experienced by a Black man trying to ease into post-war middle class prosperity are never far from the surface. More subtle racial prejudices emerge as the layers of the mystery are peeled.

The plot is strong, but the film is also a visual treat. Franklin creates a bustling Los Angeles teeming with activity, the energy palpable in both the exterior and interior scenes. Era wardrobes and autos dress up the sets with impeccable taste, yellow-browns dominating the palette as a reminder of the always nearby desert.

Despite the narrative strength and stellar production design, weaknesses are also on display. A lot of the dialogue is mumbled, and too many key actions take place off-screen and are described rather than displayed. Everyone is willing to pay Easy plenty of money to locate Daphne, but she never seems that difficult to find. Jennifer Beals does not settle in the central femme fatale role, and is rarely able to project the necessary allure.

As an average but resourceful army veteran turned detective, Denzel Washington grounds the action, his acting better than the zing-free narration. Don Cheadle enters proceeding quite late, but leaves a wacky impression as the trigger-happy but none-too-bright Mouse. Devil In A Blue Dress is filled with oddballs up to no good, and looking good doing it.



All Ace Black Movie Blog reviews are here.

Tuesday, 17 November 2020

The Movies Of Jennifer Beals






















All movies starring Jennifer Beals and reviewed on the Ace Black Movie Blog are linked below:






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The Movie Star Index is here.

Friday, 30 December 2011

Movie Review: The Anniversary Party (2001)


A fictional peak inside the private lives of Hollywood's elite, co-directors and co-stars Jennifer Jason Leigh and Alan Cumming invite everyone to have a look at what happens at a house party for the rich and famous. The Anniversary Party has a fine ensemble cast and sizzles in patches, but cannot fully sustain the thrust of its intriguing premise.

Hollywood couple Sally (Leigh) and Joe (Cumming) are throwing a party to celebrate their sixth anniversary, although they only just got back together after Joe's latest rehab stint. Sally is an actress, although her age is beginning to work against her, and Joe is a best selling author who is embarking on his first directing assignment to transform his novel into a film. The tension between them is already high, since Joe selected young emerging starlet Skye Davidson (Gwyneth Paltrow) instead of Sally to play the leading role in the film -- and to make matters worse, Joe invited Skye to the party.

Other invitees include neighbours Ryan and Monica, who are not part of the Hollywood social scene but very much a thorn in the side of Sally and Joe due to their complaints about the incessant barking of Joe's dog. Actor Cal (Kevin Kline) and his wife Sophia (Phoebe Cates), director Mac (John C. Reilly) and his wife Clair (Jane Adams), and photographer Gina (Jennifer Beals) are among the many other guests. Cal, an aging actor himself, is Sally's latest co-star and struggling to still be considered for younger roles. Sophia is Sally's best friend and quite content at having abandoned an acting career. Mac is directing Sally's latest movie, and his wife Clair appears to be strung out on something. Gina is Joe's close confidant, and clearly her simmering presence makes Sally uncomfortable.

As the evening unfolds, everyone tries to pretend to be having a good time, but a strong current of tension crackles under the surface. When Skye unpacks Ecstasy tablet for the enjoyment of all, most inhibitions are lost and many hurtful truths are unleashed.

In a nod to the close ties between fact and fiction that permeate through The Anniversary Party, Phoebe Cates pretty much plays herself. She is Leigh's close friend in real life, and like her character Sophia, Cates left the acting industry early and came out of retirement for this role.

The first half of The Anniversary Party provides a glimpse into the social life of Hollywood's rich and famous, and unsurprisingly, they are an unrefined, vacuous, catty and self-obsessed group, which means plenty of fun. Arguments about a dog barking, rehab, and the latest ego-inflating projects dominate the conversation, with some overly pretentious discussion of Russian literature doing nothing to break through the dense superficiality.

Once the Ecstasy comes out, The Anniversary Party loses its way, and the second half of the movie stumbles around looking for a purpose. The attendees scatter into aimless groups and the delicious discomfort of the earlier encounters dissipates. A contrived near-drowning and the search for a missing dog further dilute the remaining energy, although the film does regain its nerve in enough time to allow Leigh and Cumming to enjoy a cleansing shouting match. The final act features an off-camera tragedy that revives the pulse of the movie, but it's a bit late to recapture the emotional momentum.

The always delightfully unpredictable Jennifer Jason Leigh avoids placing herself fully in the middle of her own movie but still emerges with the best performance from a crowded field. Leigh's dark expressions provide ample warning that although Sally starts the party in a bad mood, it's only getting worse as the evening unravels, as both her relationship and career receive rude awakenings before dawn.

As her husband Joe, Alan Cumming absorbs the fakery of Hollywood's fleeting obsession with the latest boy wonder, a man who is today's toast of a town that celebrates recovering heroes while eagerly anticipating their next crash.

The Anniversary Party is a voyeuristic invitation that is difficult to resist. As with most parties, some parts of the evening do drag, but the gathering is certainly worth dropping in on.






All Ace Black Blog Movie Reviews are here.


Sunday, 20 March 2011

Movie Review: The Book Of Eli (2010)


A post-apocalyptic survival movie, The Book Of Eli creates and sustains a foreboding mood of hostility, as desperate survivors start the process of scratching out new ways of living on a destroyed planet.

In unexplained circumstances that appear to be the result of a nuclear holocaust, the world has been destroyed. The sun is too bright, there is a shortage of clean water, money has been replaced by bartering, and the landscape is littered with crushed infrastructure. Eli (Denzel Washington) is a well-armed survivor and combat expert, and possesses the last remaining copy of the Bible. He is determined to walk west to an undefined destination, fighting off marauders who threaten him along the way.

Eli arrives at a small settlement being run by Carnegie (Gary Oldman). Vicious enforcers and biker patrols do Carnegie's dirty work, while he keeps the blind Claudia (Jennifer Beals) and her daughter Solara (Mila Kunis) as his slaves. Carnegie is desperate to get his hands on Eli's Bible, to expand his influence. Eli is equally sure that Carnegie is not deserving of the book. Carnegie unleashes his thugs at Eli, who has to find a way to survive and continue his mysterious journey westwards.

Borrowing heavily from the stunning look of the Fallout 3 video game and reviving many elements from Mad Max 2: The Road Warrior (1981), The Book Of Eli succeeds in portraying a post-civilized world, where the few survivors have defaulted to animalistic behaviour, and the rebooting of civilization at rudimentary settlements does not look pretty.

Washington gives Eli enough humanity to provide hope for a better future, but this optimism is countered by Oldman's portrayal of Carnegie, who leaves no doubt that humans, given the opportunity, will indeed repeat all the same major mistakes that lead to the path of utter destruction.

The Hughes brothers Albert and Allen direct with considerable panache, and as they steer The Book Of Eli towards its clever final twist, they seize opportunities for entertaining showboating, always finding the most engaging camera angles. In one sequence, Eli and Solara are inside a house besieged by Carnegie's men: the ensuing shootout features mesmerizing camerawork, a smooth ballet of captivating lens movement. There is undoubted Sergio Leone influence at play, and the soundtrack hints at it with the subtle whistling of Ennio Morricone music.

The Book Of Eli is an artistically rich imagining of a bleak future. Humans may be heading towards mutually assured destruction, but they are determined to create good entertainment along the way.






All Ace Black Blog Movie Reviews are here.