FlixChatter Review: HOUSE OF GUCCI (2021)

House of Gucci is scandalous family feud set in the world of haute couture… a sensational story ripe for a cinematic adaptation. Apparently Ridley Scott has been wanting to film this since the book of the same name by Sara Gay Forden was released in 2000, which centers on the brutal murder of the heir of the Gucci fortune, Maurizio Gucci, by his ex-wife, Patrizia Reggiani. 

The film opens with a shot of Maurizio (Adam Driver), the heir of the Gucci fortune, looking dapper in a gray wool suit and oversized Aviators sitting at a Roman cafe. He rides a bicycle on cobblestone streets to his office and about to climb up the steps … well, the story then rewinds back as to the pivotal moment where it all began. You could say Maurizio and Patrizia’s romance began with a ‘meet cute’ at a costume party … I really think it wasn’t so much Maurizio’s looks that attracted her, but her eyes lights up when he said his name… ‘it was a name that sounded so sweet…’ indeed, Gucci is synonymous with wealth, style and power. The whirlwind romance doesn’t begin immediately, but after a bit of stalking, even down to the library where Maurizio was doing his research for his law degree, he finally falls for her… hook line and sinker.

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The first act establishes the two contrasting backgrounds of the two doomed lovers. Though not exactly poor (her stepfather actually owns a pretty successful trucking business), Patrizia always dreams of living the high life. Maurizio on the other hand, who’s been a Gucci all his life, seems unfazed by it all and was set on becoming a lawyer. In fact, he’s content with working at Patrizia’s trucking company when his snobbish, former silent-actor father Rodolfo (Jeremy Irons) cuts him out of the family for wanting to marry someone he deems unworthy and a gold digger. There’s a scene in the car with Patrizia where Maurizio scoffs at his dad for living in the past and that his grandpa Guccio Gucci who first started the company in Florence, started out as a bellhop London’s Savoy Hotel.

It’s Maurizio’s uncle Aldo (Al Pacino) who actually courts Maurizio into the family business, preferring his favorite nephew over his ‘idiot’ son Paolo (Jared Leto) who just never measures up to his father’s standards. The two brothers own half of the Gucci shares each but they clearly have differing visions for the company. In one of the meet ups, Rodolfo insists on quality-over-quantity and adamantly refuses the lucrative globalization approach Aldo is keen on. ‘No malls’ Rodolfo says to Aldo who really just wants to milk the business for all its worth.

Scott captures the lavish lifestyle and glamour of the ultra rich family… the set pieces, clothes, etc. were meticulously designed and they’re fun to watch. At one point, Aldo throws a lavish party on the patio of his 16th Century historical palazzo overlooking Lake Como. It’s enough to get one intoxicated by the glam, glitzy, decadent life of the ultra rich… Patrizia is practically tipsy over being a part of the Gucci family.

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The first act starts out quite well-paced, with a good sense of intrigue and fun. There’s even hilarious moments such as the loud wham-bam, jack-hammer style sex scene in a cramped office… the full-on campiness is quite amusing as it transitions to an elegant wedding in a church set to George Michael’s FAITH. I don’t mind the anachronism style, though those songs got me somewhat nostalgic and took me out of the movie a bit.

The fairy-tale life of being a Gucci queen seems to be within reach for Patrizia, especially after Maurizio inherits his father’s fortune following his death. I think the film would’ve been more effective if it knows just exactly which Gucci tale it wants to tell. Screenwriters Becky Johnston and Roberto Bentivegna starts out as focusing on the Maurizio/Patricia romance and their rise to power, which eventually tears them apart. As the film progresses, it concerns itself too much with the business side of the fashion label.

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It loses its narrative focus about midway through, thanks to its kitchen-sink storytelling approach, trying to cram as many intersecting storylines from how the cheap fake products are devaluing the Gucci brand to Paolo’s grand ambition to start his own label. The film glaringly forgets about Patrizia early in the third act during its repeated narrative detours, as it was too preoccupied with the battle between father-vs-son-vs-cousin subplot in the race to lead the company. ‘It’s time to take out the trash…’ Patrizia says at one point. If only that’d be applied to the film itself, which could use a much tighter editing scissor to trim its fat.

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The performances did keep me engaged though it’s pretty uneven. Even from its trailer, you know it’s Lady Gaga‘s movie. She totally owns it with her undeniable screen presence, there’s a gleam of madness in her eyes right from the moment she meets Maurizio and wants him all to herself. It helps that her character has the strongest arc in the film… she’s a driven woman who knows exactly what she wants and her narcissistic & overbearing personality clearly drives her husband away.

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Adam Driver is mesmerizing as Maurizio, displaying a disquieting restlessness in a subtle yet effective performance. Despite Maurizio being underwritten, Driver manages to elevate the character and makes him more than one-dimensional. Plus he looks like a bazillion dollars in those sharp suits and the way he carries himself. There’s a hint of ruthless ambition seething underneath his calm demeanor, but there’s almost no transition from the mild-mannered, passive guy to a callous, spendthrift, power-hungry douchebag. Even the romance between him and his mistress Paola Franchi (Camille Cottin) has zero sparks and seems inconsequential despite its actual impact in the real story. Having seen how fiery Cottin is in the Call My Agent! series, this role is such a waste of her talents.

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I was hoping for something indelible when Patrizia, in a blood-red ski outfit, sits down next to Paola and delivers threatening lines like ‘I subscribe to unconventional punishment.’ Disappointingly, the whole thing goes down in an unremarkable way. Same with the ‘Father, Son and House of Gucci’ scene when Paolo asks Patrizia if she can keep a secret… it looks so deliriously juicy in the trailer, but it doesn’t have the same impact in the film.

Speaking of which, Jared Leto in a fat suit and prosthetic makeup is too busy chewing the scenery to portray someone resembling a real person. Don’t get me wrong, I think he’s done a good job here portraying the much-maligned Paolo who never gets to spread his creative wings. I just think he veers way over the top in his boorish performance that the character becomes a complete caricature. I suppose Leto often goes well above and beyond the call of duty whenever he portrays a real person, though I wonder if he does it for the attention more so than a dedication to his craft.

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Interestingly enough, Jeremy Irons and Al Pacino seem to have similar approaches as the actors playing their respective sons… Irons is all sinister sneering with simmering rage like Driver, while Pacino hams it up with exaggerated hand gestures that reminds me a bit of his performance in Scent Of A Woman. Salma Hayek looks like she’s having more fun here than in Eternals in a small role as a a high-society psychic who becomes close friends with Patrizia. It’s quite ironic to see her as the least wealthy character given that Hayek’s husband actually owns the Gucci brand now.

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As for the accents–everyone adopts a quasi Italian accent to varying degrees. I guess it’s to be expected as Scott never really concerns himself with getting the accents right for his characters. I mean, Russell Crowe’s Maximus is supposed to be a Spaniard in Gladiator but he speaks with more of a British accent, same with all the characters in The Last Duel who’re all supposed to be French.

In terms of direction, I have to admit that House of Gucci doesn’t feel like a Ridley Scott movie compared to his last film released this year, The Last of Duel. I’ve mentioned the script’s lack of focus, which leads to scenes feeling disjointed as some scenes get cut short as another 90s song starts again. Despite the fabulous European locations, the cinematography by Dariusz Wolski isn’t all that remarkable… I can’t even name a single one perfect shot from this movie. Neither is the music by Harry Gregson-Williams, all I remember are the 90s songs, I bet much of the large budget goes towards song licensing.

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The style MVP is definitely costume designer Janty Yates in creating the 90s looks befitting of the fashion-centric movie. I enjoy seeing the various suits and outfits worn by the cast, especially Driver who undergoes quite a style transformation from the dweeby sweaters in his college years to the sharp bespoke suits as Maurizio gains more power and drowns in debt.

It’s a testament to this outlandish tale that I still find the movie quite immersive despite its flaws. I was absorbed in the wild, crazy ride throughout its 2 hours 37 min running time. It actually took me a few days to ‘recover’ from this story, as I watched all kinds of YouTube videos about the Gucci family following the film. It is so tragic that the once-unrivaled fashion empire that’s been created three quarter of a century ago ends up being destroyed by its own family rivalry. Truth really is stranger than fiction!

Given how sensational this story is, you’d think the film would’ve been more impactful and indelible. If it were a meticulously-tailored bespoke suit, House of Gucci seems to have all the right material to put it together. Alas, the execution (no pun intended) doesn’t quite measure up.

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Have you seen HOUSE OF GUCCI? Well, what did YOU think?

This Just In! HOUSE OF GUCCI trailer 2

Ok, I rarely post a movie trailers more than once, but I’ve been quite obsessed with the first trailer of HOUSE OF GUCCI that dropped last July. I think that first trailer shows just how a well-made preview can REALLY make a huge impact. I had forgotten the movie is even coming out this year, but as soon as I saw the trailer, it jumped to my most-anticipated holiday movie!!

I’ve mentioned in the previous trailer post about the plot… but here it is again:

Spanning three decades of love, betrayal, decadence, revenge, and ultimately murder, we see what a name means, what it’s worth, and how far a family will go for control.

The story is based on a book of the same name by Sara Gay Forden, she has covered the Italian fashion industry from Milan for more than 15 years. Her book centers on the brutal 1995 murder of Maurizio Gucci (Driver), the grandson of the Gucci company founder, by his ex-wife, Patrizia Reggiani.

Given my crushing for Adam Driver, I’m obviously giddy that I’ll be seeing him in another new movie this year… What inspired casting to have the Midwestern-raised actor as Italian royalty, after playing a French knight in The Last Duel, no less. Hey, why not? He looks as perfectly natural riding a horse as he is driving a Lamborghini Countach. Adam can play anything, in any accent, he’s just THAT good.

But even from these trailers, it’s clear this is a Lady Gaga film… her presence is magnetic and undeniable even amongst a throng of mostly-male ensemble cast. I’ve loved her performance in A Star Is Born, but she looks like she’s really having a good time here and it shows. Will there be another Best Actress Oscar nomination coming her way? My gut says yes, I think she’d be competing with Kristen Stewart for her portrayal as Lady Diana in SPENCER.

Glad to see Jack Huston in a small supporting role as well, He’s a terrific actor who’s kind of underrated, so I’m always happy to see him pop up every now and again.

This movie arrives just in time for THANKSGIVING on November 24, it’ll be the perfect movie to watch with your whole family (the more dysfunctional the better, ha!) I’m waiting with bated breath for the press screening, I’d even take a half day off if it’s during the day!!

The ensemble cast is amazing! In the supporting roles we’ve got Al Pacino, Jared Leto, Jeremy Irons, and Salma Hayek. I’m also excited to see Camille Cottin (one of my faves in Call My Agent!), I sure hope this one will be a hit for Ridley Scott, as The Last Duel ends up being a box office dud. For sure this looks like a far more entertaining and fun movie to watch in the more stylish, colorful world of the 80s instead of the morose, titanium-gray Medieval times!

Now, back to Adam… I cannot wait to see him trade those silver armor with luxurious, nicely-cut suits and those fabulous oversized aviator specs. He looks like a million bucks as Maurizio Gucci!!

Whoever cuts these trailers ought to get some awards, I’ve watched the first one countless times and this one is just as great. LOVE the use of another iconic 80s song, this time EurythmicsSweet Dreams (Are Made of This) which perfectly captures the glamor, madness, power and the sweet sound of GUCCI, of course it’s all fun and games until someone decides to ‘take out the trash.’

House of Gucci will be released on November 24.


What do you think of the second trailer? 

FlixChatter Review: The Last Duel (2021)

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I have a thing for Medieval stories. In fact, a few years ago, I was quite obsessed with the Wars of the Roses after seeing The White Queen miniseries. So when the first trailer of The Last Duel first came out, naturally I was intrigued! As a big fan of Gladiator, I know Ridley Scott can mount spectacular battle sequences so this is definitely right up his alley, but this time he tackles something that’s based on a true story. It’s worth noting that the film marks a reunion of Matt Damon and Ben Affleck, both behind the scenes as screenwriters, as well as on screen as co-stars. The two besties collaborated with Nicole Holofcener in adapting Eric Jager’s 2004 book titled The Last Duel: A True Story of Trial by Combat in Medieval France. 

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For a film titled The Last Duel, obviously one expects a ton of gritty battle sequences and that is precisely what we get. The looks of the movie resembles to Scott’s 2010 Robin Hood with the steel gray tones that evokes a moody, atmospheric but also downright miserable feeling. Life was hard back then surely, with rampant bloody wars fought by power-hungry men. Jean de Carrouges (Damon) is always present figure in many of those wars–he’s the Medieval Jason Bourne with equal ferocity and fighting skills. On one of his rare off days, however, Jean meets Marguerite (Jodie Comer), the beautiful daughter of Sir Robert de Thibouville (Nathaniel Parker), a Norman lord who’s considered a traitor by some, as he’s gone against the French king in a few territorial conflicts. Given his financial troubles, marrying Marguerite would be beneficial as it comes with a rather sizable dowry which includes a desirable piece of land in Normandy.

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For a while Jean and Marguerite live a nice quiet life, that is until Count Pierre d’Alençon (Affleck) who somehow bears resentment towards Jean demands that he pays off his debt. Pierre sends his squire Jacques Le Gris (Adam Driver) to do his bidding, and soon Jacques practically becomes not only his party buddy but also his accountant. Despite having fought together in battles, there seems to be tension between Jean and Jacques, which only intensifies the more Jacques gains favors from Pierre.

The film’s title refers to the last legally sanctioned duel in France’s history, which took place following Marguerite’s claim that Jacques had raped her while she was alone in her estate. Out of anger, Jean challenges Jacques to trial by combat despite King Charles VI court’s warning that if he loses, not only would he be killed but Marquerite would also be burned alive as his loss is considered that her accusation is false. As I mentioned before, life was hard back then, but it’s even harder for women in Medieval times. The Last Duel is perhaps the first big-budget, Medieval ‘Me-Too’ film with a woman’s story at the center and her narrative is what drives the main events throughout the film.

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The film is broken down into 3 chapters to show different viewpoints from the three main characters, starting with Jean, Jacques and lastly, Marguerite. The multiple-chapters concept itself is intriguing, as it potentially allows viewers to immerse themselves in the story. However, the execution can also become a distraction. The way Scott sets it up here, at its best, it enables me to analyze the story from different angles. For example, when we see the story told from Jean’s perspective, he paints himself as a good guy who’s victimized by Pierre and Jacques. But once we see Marguerite’s POV, it’s apparent he’s no saint and that his sense of righteousness and entitlement is what brings him and his wife into the mess they’re in.

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At its worst however, this verbose narrative style prolongs the film’s already bloated running time and becomes annoyingly-repetitive. It doesn’t help matters that the way the most horrific scene is filmed is seen twice!! It’s bad enough that I had to see a woman being brutalized, but I feel that the way the scene was directed lacks sensitivity as it ends up glorifying the perpetrator in the act. There’s that term ‘the female gaze’ and it would have really been beneficial having a woman’s influence in filming THAT scene, especially the second time that scene is shown, which is supposed to be viewed from Marguerite’s perspective. I really think the scene should’ve been ‘seen’ from her eyes… putting the audience in her shoes as she experiences such a heinous act done to her, but instead we see the perpetrator’s face in the throes of ecstasy, twice! From a director who’s been said to be a feminist-ally (after all he gave us Alien and Thelma & Louise), I expected more from him in this regard.

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In terms of performances, Jodie Comer is a a standout amongst the mostly-male cast. Having enjoyed seeing her in the Killing Eve series and in Free Guy recently, she displays a terrific range as a dramatic actress. She’s got such strong screen presence and has the nuance and subtleties as Marguerite endures not only her husband’s callous insensitivity, but also the rejection from her own mother-in-law and girlfriends for coming out about being raped. The script does a good job showing the impossible situation women in the Middle Ages found themselves in when it comes to sexuality and their own bodies.

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As for besties Damon and Affleck, I actually find their casting (and haircuts) a bit distracting here. The fact that the script makes Pierre so unfairly mean to Jean seems amusing given that they’re best friends. I’m glad Affleck didn’t end up playing Jacques as seeing the two duel to the death (Batman VS Bourne) would definitely take me out of the movie! It’s amusing to see Affleck as a comic relief of sort, it helps to have some moments of levity given the sense of dread surrounds the movie. As for Damon, his physical prowess is on display once again with all the fighting scenes he got to do. He still manages to make it believable that he could tackle someone bigger and 13 years his junior like Driver.

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Speaking of Adam Driver, the prolific actor is no stranger for playing unsympathetic characters, but he takes that despicable factor up a notch here. His Jacques is the kind of man who has a warped sense of morality and entitlement, someone who thinks that even doing something as horrible as taking a woman by force is completely justified. Even amongst a long list of terrible characters he’s portrayed, I think Jacques is right up there. In fact, as a big fan of his, I’d say his performance here just might cure me of my infatuation with him, ahah. Of course that is a testament to his strength as an actor and his screen presence is undeniable.

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In terms of action, I’d say the 82-year-old filmmaker’s still got it and his direction big battle scenes are perhaps the best in the business. All the war and fight scenes have such a high degree of realism—Scott and his DP Dariusz Wolski stage those scenes in such a visceral way. I remember the rush of the Germania battle sequence in the opening scene of Gladiator, with the horses galloping and soldiers clashing into each other on muddy grounds with swords/axes clanging. I felt the same way watching the battles in this one, down to the vicious, high-stakes climactic duel to the death that takes my breath away.

Given just how much armors these two guys put on, under lesser direction it’d be like seeing two giant tin cans whacking each other. But the fight scenes are dynamically-choreographed where you can really see what’s going on and they’re fused with real tension and suspense. The costumes, set pieces and locations all help create an authentic depiction of Medieval France. Harry Gregson-Williams‘s music perfectly complements the look and events in the film without overpowering it.

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What you won’t find authentic would be the accents. Most of the actors use whatever accent they want, only Comer and a few of the British supporting cast actually speak with British accents. Apparently Comer helped Affleck with his dialect, while Damon and Driver sound pretty much like themselves with a few ‘British sounding’ moments few and far between. To be fair though, all of the characters are French anyway so even if they ALL sound British, it still wouldn’t be authentic.

Overall, The Last Duel is a competently-made film, but I couldn’t really give it high marks for the main issues I’ve mentioned, which I think detracts from the progressive female-empowerment theme. If you’re a fan of Sir Ridley or any of the cast, I still highly recommend this one. For sure, the epic action sequences did not disappoint and truly lived up to its title.

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Have you seen THE LAST DUEL? Well, what did YOU think?

The Flix List: List of Misfires from big-name stars/filmmakers that I enjoyed

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Many film fans get excited when a film with big named stars or director or both are attached to a project. We assume that the film will be great and studio executives thinks it will be a box office gold and/or Oscar contender during the awards season. Unfortunately, most films with an all-starred cast or famed directors tends to disappoint and forgotten once it hits theaters. Below are some of the misfire films that included big named stars and/or directors and I really enjoyed all of them. By no means that I think these are great films, I do think they’re above average that has potential to be great films.

1. The Counselor (2013)

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When this film was announced, it was met with excitement by many film fans (including yours truly) since it’s the first script written by famed author Cormac McCarthy and Ridley Scott quickly signed on to direct it. The news got even better when the all-star cast was announced. How can a film that stars Brad Pitt, Michael Fassbender, Cameron Diaz and Javier Bardem and a talented director like Ridley Scott fail? The studio thought this was going to be an Oscar contender, so they opened the film in the prime award season in the fall of 2013, but it was met with dismal reviews and failed at the box office.



So, what went wrong with this film? I think the script is the main problem here. McCarthy is a great novel writer but his screenplay for this film needed a lot of revisions. The dialogs were spoken like something from his novels and while it worked in the printed form, it needed some revisions to make it work as a screenplay. I’m quite surprised that Ridley Scott shot the film with this script. I don’t think it’s a bad movie but with a refined script, it could’ve been something special. I still enjoyed the heck out of this film though.

2. ALIEN 3 (1992)

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I was hesitant to include this one since David Fincher was still a young and upcoming director when he made this film. And because of this film’s failure, it almost destroys his career in Hollywood. But he bounced back a few years later with SE7EN and he’s been an A-list director ever since, so I think it’s fair to include it here. This film has a long development history, there were many versions of the scripts that were pitched, and a lot of directors were considered to take on the project.

Fox scheduled the film to open in the summer of 1992 and put a pressure on the film’s producers to get the film made or risk it being cancelled. The producers needed someone to come in and just make the approved script comes to life and decided to hire a young no-name director. Fincher at the time has been directing popular music videos for famous singers such as Madonna and George Michael. You can read more about behind the scenes making of this film here. While this film didn’t come close to the first two films, it’s still a visual feast that would’ve been great had Fincher was able to make it the way he envisioned it.

3. Meet Joe Black (1998)

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Brad Pitt became a super star in the 1990s thanks to hits like Se7en, The Legends of the Falls, Interview with the Vampire and 12 Monkeys. Hoping to cash in on his minted super star status, Universal Studios decided to cast him in a big budget romantic drama (reportedly this film cost around $90mil), alongside another big star at the time, Anthony Hopkins. The studio even believed it’s going to be an Oscar contender by opening it in the prime awards month of November. It was directed by Martin Brest, whose previous films including Beverly Hills Cop, Midnight Run and Scent of a Woman were box office hits and well received by critics.

Unfortunately, the film was met with terrible reviews, and it became one of the biggest bombs of that year. I took my then girlfriend to see it since she’s a big Brad Pitt fan, she fell asleep halfway through, but I totally dug the film. I still think it’s one of the best romantic dramas that I’ve ever seen. I do think that it’s way too long and the ending was kind of weak. But I enjoyed the performances by the actors, the score by Thomas Newman and the beautiful production design.

4. The Bonfire of Vanities (1990)

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Based on a popular book and starring 3 of the biggest movie stars at the time and a hot director behind the cameras. This film was supposed to be slam dunk hit for the studio. Tom Hanks was on a roll with hits like Big and Turner & Hooch. Bruce Willis just came off of the Die Hard hits and Melanie Griffith struck gold with Working Girl. I was too young to remember much about this film when it came out, but I do remember seeing tons and tons of commercials promoting it. Warner Bros. thought that it was going to be a box office gold and Oscar contender by opening it on Christmas week. Just like every other film on this list, it was met with terrible reviews and became one of the biggest box bombs of the 90s.

Because of its reputation, I didn’t see this film until I was in college and to my surprise, I really enjoyed it.

The film has some issues of course, mainly Willis. He’s total miscast here, and you can tell he’s way out of his elements in that role. Hanks and Griffith on the hand, I thought they were great in their respective roles. Hanks and Willis were able to recover their career after this film’s failure. Even director Brian De Palma bounced back a few years later with Mission: Impossible. The only career casualty here is Melanie Griffith. While she headlined a lot of films in the 90s, she never regains her box office star status after this film.

5. The Last Action Hero (1993)

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Arnold Schwarzenegger was on top of the world in the late 80s and early 90s. With four box office hits in a row, Twins, Total Recall, Kindergarten Cop and T2: Judgement Day, everyone predicted that his next film will be a massive hit. It was announced that his next big film will be called Last Action Hero and John McTiernan, director of Die Hard and The Hunt for Red October, has signed on to direct the picture. Since T2 was still in everyone’s mind, many of us were excited for this film and with McTiernan behind the cameras, what could go wrong right?

Well sadly, a lot of things went wrong with this film.

It was advertised as a straight up action/adventure but when people saw it, the film turned out to be an action/comedy. Worst was that McTiernan just don’t have the chops to do comedy. The action scenes were great but when it comes comedic tone, everything fell flat. I still enjoyed the film, but I was let down when I saw in theater. Apparently, the screenplay was written for Steven Spielberg, and he was interested in directing it. But then he read a script for another film that came out in same summer of 1993, Jurassic Park and took that job instead. Maybe the film would’ve worked better with Spielberg at the helms. Sadly, we will never know. Along with Waterworld, this film became one of the biggest box office disasters of the 1990s.

6. The Devil’s Own (1997)

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Brad Pitt has starred in a lot of misfires in his career, and I have three of them on my list here. This project started out as a mid-size budget production, but its budget ballooned up to over $100mil by the time the production wrapped. According to many reports, Pitt loved the script so much that he personally pitched it to the studio, and they agreed to put it into production. Then Harrison Ford got a hold of the script and wants to be in it. Apparently, his role in the script was a secondary character but the studio demanded a rewrite so Ford can be the lead. Of course, this made Brad Pitt very angry, he assumes he’s going to be the only big star in the film. 

Around this time, Ford was still a major box office draw, and his star power outshines the younger Pitt. Pitt apparently was so pissed that he wanted to leave the film during the shoot but was threatened with a lawsuit by the studio, so he stayed.

Originally the film was supposed to open in the awards season of 1996 but got push to spring of 1997. Once it finally opened, it was dead on arrival. The bad press surrounding the production of the film were all over the internet and the film itself wasn’t that great. The main problem with the film is that it couldn’t decide if it’s supposed to be drama or action and they tried to have it both ways. I still think it’s a decent thriller and I’ve enjoyed it even more when I watched it again in later years.

7. The Midnight Sky (2020)

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The most recent film on the list and my personal disappointment of last year. I reviewed the film back in the winter, you can read here. Based on an excellent novel called Good Morning, Midnight. When the film version was announced, I was very excited, although I was skeptical when George Clooney was going to direct it along with being the lead. But he did direct some good movies in the past so I thought it could work. Even Netflix put a lot of trust in Clooney but giving him over $100mil to make the film and scheduled it to come out during the awards season last year.

Unfortunately, they miss an opportunity on making a great space adventure with this one. I’ve said many times, a more well-seasoned and talented director should’ve been hired to helm this picture. There are enough ingredients for this one to be a special picture, but Clooney just couldn’t deliver.

– Post by Ted Saydalavong


Those are some of the misfires that I enjoyed; do you have any other films that you would add to this list? 

This Just In! Ridley Scott’s HOUSE OF GUCCI trailer

Dayum, Sir Ridley Scott is one busy filmmaker!! I feel like I’ve been posting his film just the other day, The Last Duel, and I’m feeling de-ja-vu as we’ve got Adam Driver in the lead role once again. Eccellente! I think Adam should be in EVERY MOVIE, ehm. 

Full synopsis:

Spanning three decades of love, betrayal, decadence, revenge, and ultimately murder, we see what a name means, what it’s worth, and how far a family will go for control.

Woo wee!! That’s one heck of a stylish trailer, it even starts out like a flashy Gucci commercial. I love Blondie’s Heart Of Glass song and now it’s stuck in my brain all over again. These fashion houses sure have real-life drama as intricate and juicy as their haute couture creations. The story is based on a book of the same name by Sara Gay Forden, she has covered the Italian fashion industry from Milan for more than 15 years. Her book centers on the brutal 1995 murder of Maurizio Gucci (Driver), the grandson of the Gucci company founder, by his ex-wife.

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Truth is stranger than fiction. I was actually just reading about what happened to Maurizio Gucci not too long ago, and his former wife Patrizia Reggiani (Lady Gaga) who served in jail for 18 years for hiring the hitman to kill him. Can’t say I have much sympathy for Maurizio though, as reportedly he left Patricia for a much younger woman, Paola Franchi (Camille Cottin) and lied that he was going on a business trip. Interesting to see Driver being cast as a narcissistic, cheating husband once again as he seems like a real nice bloke in real life. Clearly acting as someone opposite from you is far more fun.

I’ve been doing an Adam Driver marathon lately (which I’ll blog about in a couple of days!) so I’m super excited to see more of him in two highly-anticipated movies later this year! I love how he continually switch things up, this role can’t be more different from the one he’s doing in The Last Duel.

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I almost didn’t recognize Jared Leto and Jeremy Irons if it weren’t for the character posters, wow! Gaga is chewing the scenery as Patrizia, that last part of the trailer… ‘Father, Son and House of Gucci’ is a hoot! Per IMDb trivia, a slew of actresses the likes of Angelina Jolie, Anne Hathaway, Marion Cotillard, Penélope Cruz, Margot Robbie and Natalie Portman were considered for the role before Gaga was cast. I was really impressed with her in A Star Is Born, and this looks like a role she’s born to play. 

The star-studded cast also includes Al Pacino as the patriarch of the fashion empire, as well as Salma Hayek as Pina Auriemma, the clairvoyant friend of Patrizia who helped organized the hit on Maurizio. It’s inspired casting given Hayek is the wife of François-Henri Pinault, the billionaire Kering CEO who now owns the the Gucci brand.

I think since the on-set photos were circulating on social media back in Spring, practically everyone just became obsessed w/ this movie. I tried not to look at too many set photos and keep my enthusiasm in check until we actually see a trailer. Well now I am officially intrigued, I’ve seen this trailer a bazillion times in under two hours, ahah! 

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But apparently not everyone is enthused about this movie, according to AP News, the Gucci family isn’t keen on the movie, one of Maurizio’s cousins was quoted as saying that it was “… stealing the identity of a family to make a profit, to increase the income of the Hollywood system.” It’s always tricky to portray such a larger-than-life story based on a real family, though given the notoriety surrounding Maurizio’s murder, this is certainly the kind of twisted, glittering tale made for Tinseltown. Surely we can expect glamorous European locations, glitzy parties, fabulous fashion in this movie to go along with the wild and dark side of life in excess.

House of Gucci will be released on November 24.


What do you think of the trailer? 

This Just In! Ridley Scott’s THE LAST DUEL trailer

Oohhh, what have we here? It’s been a while since I heard news about this medieval drama directed by Ridley Scott. Production was delayed in the Spring of 2020 due to what else, the Coronavirus pandemic. What’s most notable about it is that it features the reunion of Oscar-winning BFFs Ben Affleck and Matt Damon, both as screenwriters AND co-stars.

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Nicole Holofcener is also credited for writing the script, she’s too was Oscar-nominated for her screenplay Can You Ever Forgive Me? in 2019. Billed as a historical drama, the story is based on The Last Duel: A True Story of Trial by Combat in Medieval France, a 2004 book by American author Eric Jager which chronicles the last officially recognized judicial duel fought in France.

Full synopsis:

In 14th-century France, Marguerite de Thibouville claims she’s been raped by her husband’s best friend Jacques Le Gris. Her husband, knight Jean de Carrouges challenges his friend and squire, to trial by combat. It is the last legally sanctioned duel in France’s history.

It’s surely tough being a woman in the Middle Ages where as one female character puts it ‘The truth does not matter, there’s only the power of men.’ So for Marguerite to come forward with such a despicable accusation, she is also risking her own life as if her husband lost the duel, she would have been burned at the stake as punishment for her false accusation.

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I’m a big fan of period pieces, so this is SO right up my alley. Of course given the huge-budget for Hollywood epics, star power matter more than historical accuracy, hence not a single French actor (or even French-speaking ones) in the main cast. Apparently Damon and Affleck were supposed to play the duelist Jean and Jacques, but Adam Driver ended up being cast in Affleck’s role because of scheduling conflict with his commitment to Adrian Lyne‘s Deep Water. That would’ve been a boon for the marketing department as the two lead characters were former best-friends-turned-enemies. They also have matching bad-movie-hairstyle here, complete with bleached blond hair and… Medieval mullets? New hair memes beckons!

I LOVE Jodie Comer since Killing Eve and I also loved her in The White Princess as Elizabeth of York, so this is certainly isn’t her first foray into historical dramas. ’tis also the year for long-haired Adam Driver and I’m SO here for it!! I’m seeing ANNETTE next week (wahoo!!) and for sure I’ll be seeing this on the big screen later this Fall! In fact, he’ll have TWO films coming out this Fall that’s both directed by Ridley-Scott, the other one is the highly-anticipated House Of Gucci

The unstoppable 84-year-old British filmmaker is no stranger to historical epics, apparently his directorial debut The Duellists (1977) is also a duel between two people that’s also set in France. His longtime collaborator Dariusz Wolsk (Prometheus, The Counselor, The Martian) is back as cinematographer. The visuals look appropriately dirty, gritty and dark, a la Gladiator and Robin Hood, with filming locations include France and Ireland.

The Last Duel opens in theaters nationwide on October 15.


What do you think of the trailer? 

FlixChatter Review – ALIEN: Covenant (2017)

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When Ridley Scott announced that he’s going back to the Alien franchise again 5 years ago, many fans were very excited. Even though he didn’t say it at the time, 2012’s Prometheus was a prequel to his original Alien film. There were quite a lot of excitement for Scott’s first sci-fi picture in many years but when Prometheus finally opened, it was met with mixed reviews, modest box office results and divided many fans of the franchise. Now instead of trying to say the new film isn’t related to the Alien world, Scott decided to go full Alien mode in this new sequel.

It’s a decade after the events of the previous film, a new crew in a spaceship full of colonists are heading to a distant planet to find a new home for humans and preserve our race. While all the human crew members were in hyper sleep, a cyborg named Walter (Michael Fassbender) had to wake them all up because the ship ran into some troubles. Unfortunately, the ship’s captain was killed during the commotion and his second in command named Oram (Billy Crudup) must man up and be the leader of the crew.

We get the sense that the crew don’t have much respect for Oram and he certainly doesn’t have respect of the captain’s wife named Daniels (Katherine Waterston). While trying to fix the ship, the crew received a signal from near by planet and Oram decided to investigate. Daniels opposed his decision, she believes they should head to their original destination but Oram believes this new planet could be their new home because it has the same atmosphere as earth. Of course when the crew landed on this new planet, they were met with menace and many won’t survive.

As far as story goes, this sequel didn’t really offer anything new. I thought the script by John Logan and Dante Harper didn’t really do a good job of creating these new characters, with exception of Fassbender’s David/Walter, we didn’t really know much about any of the characters. Oram and Daniels are very interesting individuals but they weren’t given much to do. When Daniels was thrust into the hero mode, to me it just felt off because she really didn’t have much to do in the first half of the film. Maybe an earlier draft of the script may have fleshed out these characters much better, but the shooting script didn’t do a good job of it.

Since he got top billing, Fassbender was the main star of the film and he excels here in a duo role. Walter is new cyborg who wants to protect the crew while David has evolved into something more menacing. Waterston’s Daniels is supposed to be the new Ripley but her character was so underwritten that I don’t really care for her. The same could be said for other characters in the film. In fact, I thought it’s kind of weird seeing Danny McBride in a non-comedic role. Not sure what the casting director was thinking when they cast him.

This is Scott’s third time doing an Alien picture so from technical stand point, it’s flawless. Although, some of the CGI aliens looked way too fake. I thought some of the alien creatures from the original film looked much scarier than in this film. Scott staged some cool frantic action sequences and didn’t backdown on the gore. He said he wanted to scare people in this new film, I don’t think he achieved that but I appreciated his effort. Scott also wanted to give some sort of shout outs to the previous films in the franchise, fans will recognize similar sequences from Cameron’s Aliens and Fincher’s Alien 3.

Despite its underdeveloped characters, I still thought it’s an entertaining picture. I wanted to see something new for a sixth film in the franchise but what we got here is just another summer spectacle that feels like it’s been there done that. It looks great and I’m sure fans of the franchise will be entertained by it.

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So have you seen Alien: Covenant? Well, what did you think?