Take 3: Small Island Review

On September 6, 2026 By 18cinemalaneLeave a comment

I’ve brought it to my own attention how, in the eight years 18 Cinema Lane has existed, I have never reviewed any program from PBS Masterpiece. While I have brought up Miss Scarlet in the past, I didn’t review any episodes of the show. So, I chose to write about the mini-series, Small Island, with one reason being to make up for lost time. The other reason is because I wanted to write about one of the projects from Naomie Harris’ filmography, in honor of her birthday. Five years ago, when I created a post about The We Heart Pirates Week Tag, I mentioned how Calypso/Tia Dalma is my favorite character from a pirate movie. I explained Naomie’s portrayal of Calypso/Tia Dalma is one of the reasons why Calypso/Tia Dalma is a favorite character of mine. To show my gratitude as a fan, I checked out Small Island, especially since I have been meaning to see this mini-series for several years. As I just mentioned in this introduction, Small Island is a mini-series. Yet, on IMDB, the official run-time is an hour and thirty minutes, which is the typical run-time of a television movie. Therefore, I will refer to Small Island as a film/mini-series or a movie/mini-series for the sake of this review.

*Small Island* poster created by BBC Television, British Broadcasting Corporation (BBC), Ruby Films, BBC One, Masterpiece Theatre, PBS Video, and Public Broadcasting Service (PBS)

Things I liked about the film/mini-series:

The acting: Whether in the Pirates of the Caribbean trilogy, the Jame Bond franchise, or in Small Island, Naomie Harris goes above and beyond when it comes to her performance. This is achieved due to how fluid her acting abilities are. That fluidity allowed her portrayal of Hortense Roberts, as well as the story surrounding Hortense, to be compelling. A great example is when Hortense receives a letter after class. As she’s reading the letter in question, Hortense is excited to hear word about a man she cares about named Michael. Her eyes light up with joy and her mouth is presented in a smile. But while she’s reading the letter, Hortense realizes it contains some troubling news. This causes Hortense to turn her mouth in a slight frown and her eyes to appear worried. But Hortense quickly goes back to looking happy, giving a brave face to the woman who gave Hortense the letter. The aforementioned fluidity of Naomie’s performance helped Hortense’s transition between emotions appear seamless!

While I’m still on the subject of Naomie’s performance, I want to talk about her on-screen chemistry with David Oyelowo! In Small Island, David portrays Hortense’s husband, Gilbert Joseph. The strength of Naomie’s and David’s acting abilities effectively showcased Hortense and Gilbert’s relationship blossoming over the course of the film/mini-series. One of their best scenes together takes place after Hortense encounters a setback. After being told her teaching qualifications from Jamaica aren’t eligible in the United Kingdom, Hortense tearfully explains her dilemma to Gilbert. She even confesses how she mistook a storage closet for an exit. With a smile on his face and jovial demeanor, Gilbert points out how disorganized the storage closet was as Hortense describes what she saw in it. As their conversation continues, Gilbert makes Hortense feel better when he suggests they face their problems like the British do: drink tea. This scene is a perfect example of how Hortense and Gilbert brought out the best in each other, with Naomie’s and David’s acting talents successfully presenting that idea in Small Island!

Another strong performance in Small Island came from Ruth Wilson! Her portrayal of Queenie Bligh was captivating due to her strong adaptability. In one great example, Queenie is distraught over the passing of her aunt, Dorothy. At Dorothy’s funeral reception, Queenie’s mother questions what her daughter’s future will look like. This questioning causes Queenie to adopt an overwhelming sense of anxiety in her eyes. But when Bernard (portrayed by Benedict Cumberbatch) confidently proclaims he and Queenie will soon get married, Barnard’s confidence rubs off on Queenie. She then carries herself confidently as well, complete with her eyes displaying a look of determination. Similar to what I said about Naomie’s performance, Ruth’s performance in Small Island helped make Queenie’s part of the story engaging because of how seamless transitions between emotions were!

Historical accuracy: Even though I haven’t seen many programs from PBS Masterpiece, the ones I have seen have showcased historical accuracy as one of their major strengths. Small Island contributes to that strength, as the creative team behind the movie/mini-series prioritized how their production looked and felt. I’ve brought up before on 18 Cinema Lane the idea of “illusion of immersion”. One of the ways this idea is achieved, as demonstrated within Small Island, is the attention to detail. Dainty lace gloves and simple, yet elegant, pearl necklaces within Hortense’s wardrobe emphasize the conservative style women embraced in the 1940s. The shape of milk bottles reminds the audience how families in the ‘40s had milk delivered to their homes. Even the colors and fonts on items such as a box of cereal or a postcard help viewers feel transported to another time and place. Though the details I mentioned were small, the creative team’s efforts to make them and everything surrounding them appear historically accurate shows the care they placed into Small Island.

Use of piano music: Because this detail is smaller compared to other strengths in Small Island, I wanted to point it out so it didn’t become overlooked. In some scenes, the use of piano music not only emotionally elevated a given scene, it also made the scene itself feel more complete. When Hortense leaves home in order to attend college, the moment is intended to be sad, as Hortense departs from the place where she grew up. Playing over that scene is piano music with a touch of sadness woven through it, emphasizing the feelings Hortense is experiencing without utilizing dialogue. Later in Small Island, Queenie and Michael (the same Michael I referenced earlier in this review) share a discussion about hummingbirds. As Michael describes a hummingbird to Queenie, soft piano music can be heard. The gentleness of the music actually compliments the gentle nature of hummingbirds. It also highlights the tenderness shared between Queenie and Michael.

Since I’m reviewing *Small Island* on Naomie Harris’ birthday, I thought including a picture of her character, Hortense Roberts, in this review made sense. Image created by BBC Television, British Broadcasting Corporation (BBC), Ruby Films, BBC One, Masterpiece Theatre, PBS Video, and Public Broadcasting Service (PBS)

What I didn’t like about the film/mini-series:

The underutilization of Benedict Cumberbatch: Like I mentioned earlier in this review, Benedict Cumberbatch portrays Bernard, a man who desires to marry Queenie. In fact, Benedict is one of the top billed actors in Small Island. This detail led me to believe his acting talents would be utilized to their fullest extent. But throughout the hour and thirty-minute presentation, Benedict only appeared in a handful of scenes. Contextually speaking, I understand why he was in the film/mini-series for a shorter amount of time. But as someone who has only seen Benedict’s performances in Avengers: Infinity War and Avengers: Endgame, I was disappointed to see Benedict and his acting talents underutilized.

Scene transitions feeling contextually and emotionally abrupt: Small Island juggles the stories of five key characters. The script bounces between the past and present in order to explain how these characters’ paths cross. But sometimes, mostly in the first half of Small Island, the transition between scenes felt contextually and emotionally abrupt, partly due to the abundance of stories. In the scene I brought up earlier in this review, where Hortense receives a letter about Michael’s whereabouts, the scene ends with Hortense screaming and sobbing over the potential fate of Michael. The next scene shows Gilbert and Queenie sharing tea while waiting for Queenie’s father-in-law, Arthur, to show up. This scene between Queenie and Gilbert is more emotionally light than Hortense’s scene, with very little time for the audience to sit with the characters’ emotions. Even though Small Island utilizes on-screen text and a voice-over, these resources weren’t consistently used in the movie/mini-series. If they had, some moments wouldn’t feel emotionally jarring and a bit confusing.

Competing stories in the first half: When I just talked about scene transitions feeling contextually and emotionally abrupt in Small Island, I brought up how the script bounces between the past and present in order to explain how the characters’ paths cross. Two interconnecting stories are Queenie’s and Hortense’s. The dream Hortense works toward of becoming a teacher in England provided an engaging story for her. Meanwhile, Queenie’s decision to “seize the day” also gave her an interesting story. But Hortense and Queenie spend the majority of Small Island’s first half carrying on separate stories, not really crossing paths until the second half. This creative decision made Queenie’s and Hortense’s story feel like they competed against one another for screen time, especially since Small Island only had an hour and thirty-minutes (not to mention split into two parts) to tell their story. As I watched Small Island, I sometimes found myself wondering why the movie/mini-series wasn’t just about Hortense’s story. This is because I initially believed Hortense’s and Queenie’s story were strong enough to stand on their own. However, when Queenie’s and Hortense’s path intertwines, their stories become more complimentary of one another.

Sketch of London image created by Archjoe at freepik.com. <a href=’https://www.freepik.com/free-vector/hand-drawn-houses-of-parliament_1133950.htm’>Designed by Archjoe</a>. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by Archjoe – Freepik.com</a>. Image found at freepik.com.

My overall impression:

2026 has become one of the best years for movies on 18 Cinema Lane. This is because I’ve seen more movies I’ve enjoyed than not. Small Island is one of the titles that has contributed to 2026 being a good year, as it is a film/mini-series that got better the longer I watched it! Like other PBS Masterpiece programs I’ve seen, the historical accuracy in Small Island successfully achieved the illusion of immersion due to the care placed in attention to detail. The acting also helped Small Island become an entertaining presentation. Even creative decisions like the use of piano music showcased how the creative team put genuine effort into how their production looked, felt, and sounded. However, there were flaws that held Small Island back from being a stronger picture. Some scene transitions felt contextually and emotionally abrupt. I also didn’t like how Benedict Cumberbatch’s acting talents were underutilized. It didn’t help as well how, in the first half of Small Island, Hortense’s and Queenie’s story felt more competitive than complimentary. But despite these flaws, I would recommend Small Island, especially if you want to check out more projects from PBS Masterpiece and/or Naomie Harris’ filmography!

Overall score: 7.6 out of 10

Have you seen Small Island? Are there any titles from PBS Masterpiece you’d like to see? Let me know in the comment section below!

Have fun at the movies!

Sally Silverscreen

Take 3: Murder on the Orient Express (1974) Review

On August 29, 2026 By 18cinemalane6 Comments

For The 8^th Wonderful Ingrid Bergman Blogathon, I had two movie options for this review; Murder on the Orient Express and Cactus Flower. With both films recommended by this blogathon’s creator (Virginie from The Wonderful World of Cinema), I selected the 1974 mystery picture. Though this is the first time I’ve seen this version of Murder on the Orient Express, this is not the first time I’ve seen any adaptation of this story. Years ago, I saw the 2017 version of Murder on the Orient Express. Though I thought the film was fine, I was not a fan of the movie’s ending. Since then, I have searched for an Agatha Christie adaptation I like. But, as of 2026, the only ones I’ve seen have been either ok or decent. Will this version of Murder on the Orient Express change this pattern? Keep reading my review in order to solve this mystery!

*Murder on the Orient Express* poster created by EMI Film Distributors, G. W. Films Limited, StudioCanal International, Anglo-EMI Film Distributors, and Paramount Pictures

Things I liked about the film:

The distinctness of the characters: On the poster for Murder on the Orient Express, a quote states the movie is “the who’s who in the whodunit!”. This quote is placed in the center of the poster, boasting the ensemble cast working together to carry the story. But the ensemble cast in Murder on the Orient Express portrays a collection of characters with distinct characteristics, personalities, and backstories. While the screenwriting contributes to this strength, the acting performances also deserve praise. The anxious look in Ingrid Bergman’s eyes and the way her face always appears fearful allows her character, Greta Ohlsson, to seem less confident than Lauren Bacall’s character, Mrs. Harriet Belinda Hubbard. The outspoken persona of Harriet helps the audience tell her and Greta apart. Some of the performances not only allowed characters to be memorable, it also allowed actors to work with different material than in other projects they starred in. Anthony Perkins is known to many film fans as Norman Bates in Psycho. The most memorable aspect of that character is the sinister stare he gives the camera (and audience), emphasizing the disturbing persona bubbling under the surface. But in Murder on the Orient Express, he portrays a secretary named Hector McQueen. He sometimes appears unsure of himself, but not to the same degree as Greta. Hector’s personality appears more easy-going, always finding a way to help his boss, Ratchett. His genuine smile and business-like way he carries himself lets the other characters (and the audience) know how seriously he takes his job. Anthony’s performance in Murder on the Orient Express was quite different from his performance in Psycho, showing off how capable he is of effectively portraying a different type of character.

Interior design of the boat: On his way to the titular Orient Express, Hercule Poirot (the protagonist of Murder on the Orient Express) boards a luxurious boat. Despite this boat appearing in only a handful of scenes, the interior design left a strong impression on me because of how gorgeous it was! Railings surrounding the dining space were constructed in what looks like golden metal, the zigzag design giving off the impression of shiny lightning bolts. Gold is also used in other pieces of décor, from giant palm tree lamps to a golden based dish that sat on a table. I recall seeing large red and green gemstones brightly glistening on wall sconces, providing a burst of color to the dining space. Green foliage is strategically placed throughout the set, achieving the illusion of a private oasis on the water. Because the interior design was aesthetically pleasing to the eye, I wish this boat was featured on screen longer in Murder on the Orient Express!

How blue light was used: Lighting is an important component of any film, as film is a visual medium. Not only can it help the audience see what’s happening on screen, it can also be utilized in creative ways, such as to emphasize a specific part of the story. Throughout Murder on the Orient Express, blue light was incorporated into the production. Toward the beginning of the movie, a blue glow covered landscapes, indicating the early morning hours the story is taking place in. Then, when a murder is discovered on the Orient Express, a blue light shines in the room the body was found in. This moment is what sparks Hercule’s investigation, a significant turning point in the script. The interesting ways blue light was woven into Murder on the Orient Express were such memorable creative choices!

The 8^th Wonderful Ingrid Bergman Blogathon banner created by Virginie from The Wonderful World of Cinema

What I didn’t like about the film:

Keeping track of who’s who: Because Murder on the Orient Express contains an ensemble cast, they are a larger group of characters for the audience to keep track of. Distinct characteristics, personalities, and backstories certainly help viewers tell these characters apart. But in the case of the 1974 picture, the characters don’t consistently interact with one another. That’s because Hercule is interrogating each character about the story’s mystery. When a character was referenced in another character’s recollection, it took a little while for me to remember which character was being brought up. Some of my focus on the story was taken away due to more time being spent on figuring out who was who.

A dialogue heavy story: In any movie, dialogue plays a key role in the story. When it comes to the mystery genre, dialogue may contain clues, details about potential suspects, and important information relevant to the case. But if a movie, let alone one from the mystery genre, is heavy on the dialogue, it forces the audience to actively pay attention to what is happening on screen. If they don’t, they’ll miss important context, which will lead to frustration and confusion. Murder on the Orient Express is a dialogue heavy story, with the majority of the mystery contained within the dialogue. While there are physical clues woven into the movie, the script’s emphasis rests in the conversations among the characters. The priority placed on the dialogue actually took away some of the story’s sense of urgency. Instead of watching a detective race against the clock to stop a murderer, Murder on the Orient Express shows Hercule taking his time discussing the case with each passenger. This weaker sense of urgency kind of made Murder on the Orient Express feel longer than its two hour and eight-minute run-time.

The ending: For this part of my review, I will spoil Murder on the Orient Express. If you haven’t seen this movie and are planning on watching it, skip ahead to the part of my review titled, “My overall impression”.

At the beginning of Murder on the Orient Express, a collection of newspaper articles and spliced together scenes reveal the kidnapping and murder of a little girl named Daisy Armstrong. Five years later, Hercule discovers a passenger named Ratchett (his real name is Lanfranco Cassetti) was responsible for the kidnapping and murder of Daisy. Hercule learns over the course of the story that Ratchett’s/Lanfranco’s actions created a domino effect of tragedy for those directly connected to the Armstrong family, which happens to be all of the passengers on the Orient Express. Fueled by revenge, each passenger plays a role in murdering Ratchett/Lanfranco. After figuring out the truth, Hercule decides to tell the police a different explanation for how Ratchett/Lanfranco died, claiming this explanation is “simpler”. Following Hercule’s decision, the passengers are shown hugging one another and toasting champagne, with joyous music playing over the scene. I recognize what Murder on the Orient Express was trying to say; actions have consequences. Ratchett/Lanfranco definitely should have faced the consequences for his horrible actions, with his comeuppance emphasizing that message. However, Hercule’s decision to stay quiet about what the passengers did prevents them from facing the consequences of their actions. That creative choice made the film’s message incredibly inconsistent. Plus, the addition of hugging, champagne toasting, and joyous music downplays the severity of the passengers’ actions.

Railway Train image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-vector/hand-drawn-train-retro-background_1112415.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by Freepik</a>. Image found at freepik.com.

My overall impression:

Have you ever watched an adaptation and felt like you ended up seeing the same movie twice? That’s kind of how I feel about the 1974 version of Murder on the Orient Express. As I stated in this review’s introduction, I had seen the 2017 adaptation prior to checking out the film from 1974. Other than casting and stylistic choices, both presentations follow the same story patterns. They even have an ending I wasn’t a fan of. However, both movies do have their strengths. Specifically speaking about 1974’s Murder on the Orient Express, the acting talents from every cast member, as well as the screenwriting, helped the characters be memorably distinct from one another. The multi-purpose way blue light was incorporated into the film was creative. Even the interior design of a boat Hercule briefly boarded left a beautifully strong impression. But if you’ve seen Murder on the Orient Express from 1974, you’ve already seen the version from 2017, and vice versa.

Overall score: 7 out of 10

Have you seen 1974’s Murder on the Orient Express? What’s your favorite movie from Ingrid Bergman’s filmography? Please let me know in the comment section below!

Have fun at the movies!

Sally Silverscreen

Take 3: Baseball Girl Review

On August 23, 2026August 25, 2026 By 18cinemalaneLeave a comment

August’s theme for Genre Grandeur is “about the American Pastime Sport Baseball”. While researching titles for this edition of the blogging event, I came across a film that gave me an opportunity I couldn’t pass up. In the eight years 18 Cinema Lane has existed, I have never seen a Korean movie, let alone reviewed one. So, when I discovered the South Korean movie, Baseball Girl, I found a way to continue expanding my cinematic horizons! Though international films are not as frequently reviewed as other genres on 18 Cinema Lane, I do try to make an effort to cover these types of films on my blog from time to time. This is the reason why, on my Year-Long Bingo Card, there is a square labeled “International movie”. So far, I’ve written about two movies that would be classified as an international movie; Aladdin and the Forty Thieves and Autumn Sonata. While Aladdin and the Forty Thieves left me wondering “what the heck did I just watch?”, Autumn Sonata became one of the best movies I’ve seen this year, so far. Where will Baseball Girl rank compared to the two aforementioned titles? Before the first pitch is thrown, let’s begin this review!

*Baseball Girl* poster created by Korean Academy of Film Arts, Longride, and Echelon Studios

Things I liked about the film:

The acting: When I reviewed 1985’s Mask, I praised the strength of the acting performances, as the genuineness of each actor’s portrayal made me feel like I was watching people living their lives instead of actors portraying another person. This is exactly how I felt while watching Baseball Girl! The story of the protagonist, Joo Soo-in, attempting to become drafted in the world of professional baseball is “slice-of-life”. However, the genuineness and honesty of Lee Joo-young’s performance, as well as the rest of the cast’s performances, made the movie compelling. In a scene where Lee Joo-young’s character, Joo Soo-in, is practicing her pitching, she becomes frustrated over experiencing a setback. She looks at her coach, Choi Jin-tae, with an almost defeated look in her eyes. Joo Soo-in even has a slight frown on her face, continuing to appear discouraged. But after Choi Jin-tae shows Joo Soo-in how to effectively throw a knuckleball, frustration transforms into determination. A sharp sense of focus shines in Joo Soo-in’s eyes as she throws a successful knuckleball. When she realizes Choi Jin-tae’s advice worked, Joo Soo-in appears surprised and excited, with a radiant smile on her face this time. The believability of Lee Joo-young’s portrayal of Joo Soo-in effectively encouraged me to root for Baseball Girl’s protagonist and her efforts to make her dream come true!

Speaking of Choi Jin-tae, I want to talk about Lee Jun-hyuk’s performance! One of those most believable scenes in Baseball Girl is when Choi Jin-tae is introduced to Joo Soo-in’s team for the first time. There’s an awkwardness that covers Choi Jin-tae’s persona. He folds his hands in front of himself and his shoulders almost appear tense. Choi Jin-tae’s eyes go from looking at the ground to looking at each player’s face on the team. Though he seems nervous about this new chapter in his career, his face indicates how he’s trying to take in these unfamiliar sights. As I said earlier in this review, the genuineness of each actor’s portrayal made me feel like I was watching people living their lives instead of actors portraying another person. The strength of Lee Jun-hyuk’s acting abilities helped make this illusion work!

Yeom Hye-ran portrays Joo Soo-in’s mother, Sin Hae-sook. She has her doubts over whether Joo Soo-in can become the professional baseball player she dreams of being. However, Sin Hae-sook’s reasons are more practical, especially considering she has her own struggles to deal with. At one point in Baseball Girl, Sin Hae-sook receives horrible news about her husband. Her eyes are downcast as the severity of the news settles in. A mixture of confusion, fear, and sadness paints Sin Hae-sook’s face. She even purses her lips as she’s thinking about what her next choices will be. I was so engaged in the story, as well as Yeom Hye-ran’s performance, it was easy to forget I was watching an actress portray a character. The strong quality of Yeom Hye-ran’s acting talents helped create an enjoyable movie-viewing experience for me!

Honesty about sports: In Baseball Girl, Joo Soo-in aspires to play baseball professionally. But some of the people around her have their concerns about how reality could prevent this dream from coming true. One of these concerns is Joo Soo-in’s skills and talents on the field potentially appearing weaker compared to other athletes. Sports films will, typically, emphasize messages of how dreams will come true if you believe in yourself hard enough and how quitting is equivalent to failing. Even Joo Soo-in herself carries the mindset of refusing to give up until she’s tried her best. But the aforementioned concerns about reality preventing the dream from coming to fruition gave Baseball Girl’s creative team an opportunity to incorporate honesty about sports, especially professional aspirations, into the script. Joo Soo-in tries so hard to appear impressive for team scouts and agents that not only does she cause her hands to bleed, she, at one point in the movie, almost passes out after jogging laps during practice. This determination worries her coaches, with their concerns of potential future injuries making them consider encouraging Joo Soo-in to take up handball instead. The honesty within Baseball Girl’s script also addresses how successful athletes use their strengths to their advantage. In her attempts to impress scouts and agents from professional teams, Joo Soo-in tries to increase her pitch speed. When these attempts don’t work, her coach, Choi Jin-tae, instructs Joo Soo-in to focus on her spin rate. That underutilized skill of hers allowed her to throw knuckleballs to disrupt a batter’s ability to hit the ball. Joo Soo-in’s strength helped her stand out as an athlete as well as showed Baseball Girl’s audience how finding an individual solution that works can help pursue a dream.

Use of music: Music can be an effective and powerful tool. If utilized well, music makes a scene’s intended tone or mood heightened, helping the atmosphere, character’s emotions, and that specific part of the story radiate off the screen. The creative team behind Baseball Girl displayed a strong understanding for how and when to incorporate music into their production. Whether Choi Jin-tae is reading Joo Soo-in’s athletic file or when Joo Soo-in is practicing a new throwing technique for the first time, calm piano music plays over the scene. Because this type of music is heard at moments when a breakthrough takes place in the story, the feeling of hope and optimism is elevated. Synth-pop music can be heard during a training montage. The synth-pop fades in at the beginning of the montage and ends after the montage concludes. This emphasizes the thrill and excitement that comes from watching an athlete, Joo Soo-in in this case, get one step closer to reaching their goals. The synth-pop sound also adds a burst of energy to the montage. With how well music was woven into Baseball Girl, it allowed me to stay invested in what was happening in the film!

Close-up image of baseball in glove created by magnific at magnific.com.

What I didn’t like about the film:

Lack of lighting: While the lack of lighting in Baseball Girl wasn’t a consistent issue, I noticed it enough times where I couldn’t overlook the flaw. One reason for the lack of lighting in a few scenes is the reliance on a scene’s natural lighting, which appeared to come from the early morning hours. In a scene where Joo Soo-in jogs around a small perimeter, the only light comes from the blue and light peach of the sky. But this creative choice made it difficult for me to see Joo Soo-in. In fact, for the majority of that scene, I could only hear Joo Soo-in jogging. It took me a little while to figure out what was happening on screen because of the lack of lighting.

Unresolved story threads: Remember when I mentioned earlier in this review how Sin Hae-sook receives horrible news about her husband? That news was her husband’s arrest over allegedly cheating on an exam. But after Sin Hae-sook learns why her husband is in trouble, this part of the story isn’t resolved. In fact, it’s never brought up again in the movie. I recognize this conflict was supposed to create tension within Joo Soo-in’s family. However, I wish closure was provided about whether Sin Hae-sook’s husband was truly in trouble. This is just one example of a story thread in Baseball Girl that wasn’t resolved.

An underutilized character: One of Joo Soo-in’s friends in Baseball Girl is Han Bang-geul. Similar to Joo Soo-in, Han Bang-geul works toward her dream. But in her case, she dreams of becoming a professional dancer. While visiting her friend at a dance studio, Joo Soo-in notices Janggu and Hanbok located in the background. Han Bang-geul explains to Joo Soo-in how the dance studio teaches traditional dance, but claims the lack of interest from prospective students. This piece of dialogue led me to believe that, maybe, Han Bang-geul would adapt her dream to become a professional dancer of a traditional dance form. But as the movie progressed, Han Bang-geul and her story were underutilized. Her quest in pursuing her dream didn’t receive a satisfying conclusion due to how much time was focused on Joo Soo-in’s professional baseball pursuits. Plus, there’s only so much story you can tell in an hour and forty-five minutes. I wish Han Bang-geul was utilized more in Baseball Girl because I found her story just as interesting as Joo Soo-in’s story.

South Korea travel image created by macrovector at magnific.com.

My overall impression:

Like I said in the introduction of this review, August’s theme for Genre Grandeur is “about the American Pastime Sport Baseball”. But as my selection for the blogathon, Baseball Girl, proves, baseball has become more global over time. Baseball Girl also proves that, no matter where you’re from, the values of honesty, hard work, and perseverance can be appreciated. The story of Joo Soo-in and her dream of becoming a professional baseball player is not only character driven and “slice of life”, it burns slowly as well. However, the strength of the cast’s acting abilities and the honesty about sports woven into the script make Baseball Girl a compelling and engaging film! These highlights, along with the creative team’s use of music, helped me stay invested in what was happening on screen. But there were a few times when it was difficult to see what was on screen due to lack of lighting. The movie contained unresolved story threads as well as an underutilized character. Despite these flaws, Baseball Girl brings a unique perspective not just to the table of baseball films, but also to the table of sports films. I would recommend this movie, especially if you’re interested in checking out Korean cinema!

Overall score: 7.4-7.5 out of 10

Have you seen Baseball Girl? Which baseball films do you think are worth checking out? Let me know in the comment section below!

Have fun on the baseball field!

Sally Silverscreen

Take 3: Mr. & Mrs. Smith (1941) Review

On August 2, 2026 By 18cinemalane5 Comments

I am back from a two-week hiatus to deliver a brand-new review for The 4^th Master of Suspense Blogathon! As a consistent participant in this event, I wanted to, once again, broaden my cinematic horizons by writing about another film from Alfred Hitchcock’s filmography. Before joining the blogathon, I remembered how Patricia (from Caftan Woman) recommended the 1941 movie, Mr. & Mrs. Smith, to me. This year’s edition of the Master of Suspense Blogathon gave me the perfect excuse to, finally, check the film out! Mr. & Mrs. Smith is now the seventh movie from Alfred’s filmography I’ve reviewed. However, most of his films covered on 18 Cinema Lane have been, in my opinion, just ok. Will the 1941 picture stand out among this aforementioned collection? Solve this mystery by reading my review!

*Mr. & Mrs. Smith* (1941) poster created by RKO Radio Pictures

Things I liked about the film:

The acting: In Mr. & Mrs. Smith, Carole Lombard portrays the titular Mrs. Smith, Ann Smith/Krausheimer. One aspect of Carole’s performance I liked was how expressive it was! A great example is present during a conversation Ann shares with her husband, David, toward the beginning of the movie. When Ann asks David if he’d marry her if he had a chance to do it again, she appears hopeful. A smile can be seen on Ann’s face and there’s a bright shine in her eyes, paired alongside her easy-going demeanor. But when David matter-of-factly answers Ann’s question by saying, “No”, Ann’s attitude completely changes. Not only do her eyes adopt a “thousand-yard stare”, her mouth is also slightly turned into a frown. Though Ann tries to mask her disappointment by bouncing back to her easy-going demeanor, her facial expressions perfectly capture what’s in her mind and heart.

Robert Montgomery portrays David Smith, the titular Mr. Smith in the 1941 movie. Similar to Carole’s performance, Robert effectively utilized facial expressions to convey emotions, feelings, and thoughts. While he’s at his office, David calls Ann about their upcoming dinner plans. During his conversation with Ann, the combination of David’s smile, playful glances, and a flirty hint in his voice showcases how much he loves his wife. Meanwhile, Jack Carson’s portrayal of Chuck “Chucky” Benson was a standout! Despite appearing in only three scenes, Chuck became memorable due to the consistent charisma and confidence Jack brought to his character. The scene where Chuck calls Gloria and Gertrude/Gertie is such a great example of how distinct Chuck’s personality is compared to David’s, as David’s awkward phone call emphasizes Chuck’s head-strong confidence.

The on-screen chemistry of Carole Lombard and Robert Montgomery: As I already mentioned in this review, David and Ann are the titular Mr. and Mrs. Smith. From the very beginning of the story, it is evident there is true love between them. This is because Robert and Carole’s on-screen chemistry successfully convinces the audience their characters are not only married, but also in love! When David and Ann cuddle together one morning, David holds Ann in a gentle embrace. Their relaxed body language perfectly captures the comfort they share in their relationship. As David asks her questions, Ann simply nods her head and moves her eyebrows. His tone of voice is calm, emphasizing the gentleness of David and Ann’s interaction. This is a very romantic moment because there’s a sense of tenderness, understanding, and respect between them. But because of the story’s conflict, Ann and David share so few romantic moments together, making me wish they had received more in the script.

Jeff’s apartment: One evening in Mr. & Mrs. Smith, David’s friend, Jeff, takes Ann to the 1939 New York World’s Fair. Due to the rain they endure, they go to Jeff’s apartment to escape the cold. When I first saw his apartment on screen, I did not expect it to look the way it did. Because Jeff is a lawyer who appears to enjoy the finer things in life, such as classy suits and fancy restaurants like The Florida Club, I imagined his apartment consisting of dark wood walls, richly upholstered furniture, and maybe a large painting of a horse. But when Jeff’s apartment appeared on screen, it was very bright. The space was surrounded in light colored wood walls. Not only were there light-colored curtains hanging by the windows, there was plenty of lighting featured throughout Jeff’s apartment. Table lamps, dark metal wall sconces, and a dark metal sconced chandelier contribute to the apartment’s brightness. A light-colored fireplace hearth is nicely paired with a darker marble. At least six built-in bookshelves compliment the space, adding a sense of coziness. These combined elements not only make Jeff’s apartment look like a visually appealing cozy cottage, the set design subverted my expectations as well!

The 4th Master Of Suspense Blogathon banner created by Maddy from Classic Film And TV Corner

What I didn’t like about the film:

Lack of open communication: Toward the beginning of Mr. & Mrs. Smith, David and Ann establish how they are honest with each other and respect one another, showcasing how open communication is a key component of their relationship. But the conflict of the 1941 movie revolves around how Ann and David aren’t officially married due to a misunderstanding with their marriage license. While David tries to persuade Ann to remarry him, Ann desires to move on and fall in love in another man. This difference in perspective was caused by Ann believing David wasn’t honest about the conflict with her. If they had openly communicated to each other similar to how they did toward the beginning of Mr. & Mrs. Smith, Ann and David would have saved so much time and frustration. David and Ann being unable to see eye to eye feels almost like part of their relationship was deceptive.

A prolonged conflict: I’ve mentioned in the past how I’m not a fan of Hallmark films where the story features a character who says they’re going to do something, but spends most of the story not doing the thing they said they were going to do. 1941’s Mr. & Mrs. Smith adopts this exact type of story. As I’ve already said in this review, the conflict revolves around how Ann and David aren’t officially married due to a misunderstanding with their marriage license. At first, David and Ann express a strong interest in getting remarried. But they spend most of the movie’s hour and thirty-five-minute run-time doing everything but that. Because Ann and David stopped prioritizing their desire to get remarried, Mr. & Mrs. Smith’s conflict felt prolonged. It also kind of felt like David and Ann took longer than necessary to reach the intended point.

A rushed ending: I’m not going to spoil 1941’s Mr. & Mrs. Smith, in case any of my readers haven’t seen this movie yet. But what I will say is the ending was, in my opinion, rushed. Like I just said in my review, Ann and David spend most of the movie’s hour and thirty-five-minute run-time doing everything but getting remarried. This creative decision made Mr. & Mrs. Smith’s conflict feel prolonged. While that conflict receives a resolution, it doesn’t happen until the last fifteen minutes of the film. Plus, it was wrapped up too quickly to the point it doesn’t feel satisfying or earned. In fact, I was caught off guard by how rushed the ending was, especially since Alfred Hitchcock is a director who, usually, knows how to conclude a story.

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My overall impression:

In my opinion, Alfred Hitchcock’s filmography fluctuates in quality. While I’d say Strangers on a Train is my favorite film directed by Alfred, I was not a fan of The 39 Steps. For me, Mr. & Mrs. Smith falls somewhere in the middle. The acting was solid from the entire cast, especially when it came to the performances of Carole Lombard, Robert Montgomery, and Jack Carson. I liked Robert and Carole’s on-screen chemistry so much, I wish David and Ann had received more romantic moments together. Not only did Jeff’s apartment look visually appealing, it also subverted my expectations. But what hurt Mr. & Mrs. Smith was prolonging the conflict to the point of rushing the ending. It didn’t help how, more often than not, Ann and David lacked open communication, contributing to the story’s prolonged conflict. However, I appreciate Alfred’s attempt at telling a type of story outside his claim to fame. While Mr. & Mrs. Smith wasn’t a suspenseful picture, it did hold my intrigue, as I wanted to know what would happen next.

Overall score: 6 out of 10

Have you seen 1941’s Mr. & Mrs. Smith? Which film from Alfred Hitchcock’s filmography do you wish I’d review? Please tell me in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Hamlet (2000) Review

On July 19, 2026 By 18cinemalane10 Comments

Among the three times I’ve participated in the Classic Literature on Film Blogathon, I reviewed To Kill a Mockingbird, 1948’s The Three Musketeers, and The Grapes of Wrath. Looking back on these selections, I’m surprised I haven’t chosen a title from William Shakespeare sooner. In fact, as of July, 2026, the only Shakespeare adaptation I covered on 18 Cinema Lane (so far) is the 2000 film, Romeo Must Die, which I reviewed all the way back in 2019. So, you could say another article about a Shakespeare adaptation is long overdue. Because it fits the criteria for the Classic Literature on Film Blogathon and because it was recommended by Hamlette (from Hamlette’s Soliloquy), I will review the 2000 television movie, Hamlet! Similar to Romeo Must Die, the TV film version of Hamlet is a “modern” adaptation of a famous William Shakespeare story. But this time, the production “is revisioned in America at the turn of the 20^th Century” (according to IMDB). Did I enjoy watching Hamlet as much as or more than Romeo Must Die? Thanks for joining me for this review, as we’re now about to answer that question!

*Hamlet* (2000) poster created by Hallmark Entertainment, Spare Room Productions, Artisan Home Entertainment, Cowboy Booking International, and Lions Gate Films Home Entertainment

Things I liked about the film:

The acting: Campbell Scott portrays Hamlet in the 2000 adaptation of William Shakespeare’s story. If I could describe Campbell’s performance in one word, it would be ‘fluid’! During the famous “To be or not to be” monologue, Campbell adopts a variety of facial expressions, vocal inflections, emotions through the eyes, and even movements of the head to showcase Hamlet’s ever-changing mood. Not only that, Campbell’s transitions between emotions are so effortless, Hamlet possesses a captivating presence within the movie. Ophelia also has a captivating presence in Hamlet! Portrayed by LisaGay Hamilton, Ophelia’s expressions of emotion always appeared genuine. A great example is when she is sharing her concerns about Hamlet with her father, Polonius. With a furrow in her brow and speaking carefully in a calm yet concerned voice, Ophelia gives her father (and the audience) a reason to take note of her serious observations. Blair Brown delivers a strong performance as well, portraying Hamlet’s mother, Gertrude! Whether frightened by the horrifying emotional deterioration of her son to her joy as she awaits the start of a play, Blair carries her character so believably, it was easy to forget I was watching an actress portray a character. What worked in her performance’s favor was her understanding of how and when to utilize emotions to her advantage. Even though I liked the three performances mentioned, I thought the cast as a whole was strong!

The set design: The original source material of Hamlet revolves around royalty. This component of the text was translated to the 2000 adaptation, as Hamlet and his family are sometimes referred to by their royal titles. Since the majority of this film version of Hamlet takes place within Hamlet’s family’s home, the set design effectively represented their opulence. Home décor pieces, like gold sconces, rich wood furniture, and ornate rugs, found their place throughout the story. Chairs boasted intricately woven designs, appearing as their own form of art. Carved detailing was present on a wooden staircase, a stone fireplace, and even on a ceiling in one scene. Smaller pieces of set design were not overlooked either, such as a burning piece of paper being placed on a silver platter. Not only did Hamlet’s set design make its project visually elegant, it complimented Shakespeare’s source material as well!

Use of music: When a movie’s creative team incorporates music into their project, the intended mood of a given scene can be elevated. This is how the creative team behind Hamlet approached the musical element of the 2000 adaptation. Whenever a suspenseful moment took place, such as the ghost of Hamlet’s father suddenly appearing, the rhythmic sound of drums played in the background. Because the sound of the drums was loud and with the drums possessing a quicker rhythm, the feelings of fear, confusion, and even irritation rose among the characters who could visualize the ghost for themselves. Raised adrenaline from the audience can also happen because of the drum music’s incorporation within Hamlet. That music contributes to a viewer’s feeling of being on the edge of the seat, eager to discover what will happen next!

The 2026 Classic Literature on Film Blogathon banner created by Paul from Silver Screen Classics.

What I didn’t like about the film:

Shakespearian speech in a “modern” story: As I mentioned in my Romeo Must Die review, I was not a fan of Romeo + Juliet. The reason is how the characters adopt Shakespearian speech while the movie appears to take place in 1995-1996. The 2000 adaptation of Hamlet makes the same creative choice. Like I brought up in this review’s introduction, Hamlet “is revisioned in America at the turn of the 20^th Century”. So, the references to kings, Denmark, and Norway don’t make sense. Having the characters speak in the Shakespearian manner sounds jarring, as it breaks the illusion of immersion of the late 1800s to early 1900s presented on screen. Because I don’t hear Shakespearian speech often, I not only had to actively pay attention to what was happening in the film (or else I would have missed important context), I was sometimes confused by what the characters were saying. This aspect of the project became a frustrating part of my movie-viewing experience.

Forgotten storylines: Ophelia’s brother, Laertes, desires to travel to France. Even though their father, Polonius, allows Laertes to journey to France, he has his doubts of whether his son will behave himself in a gentlemanly fashion while there. This storyline from Hamlet became forgotten as the film progressed. That was due to the script prioritizing Hamlet’s downward spiral. Even though Laertes returns later in the movie, his trip to France wasn’t brought up. I was disappointed Laertes’ French travels didn’t play a bigger role in the 2000 adaptation of Hamlet, as there was potential for that narrative to be intriguing. However, I’m not sure how much influence Laertes’ adventure through France had in the original source material.

The run-time: The Hamlet adaptation from 2000 received a run-time of two hours and fifty-eight minutes (according to IMDB). Similar to my thoughts on Gods and Generals and The Assassination of Jesse James by the Coward Robert Ford, Hamlet’s run-time could certainly be felt. The pace of Hamlet is mostly slower, with a few action-packed, suspenseful scenes incorporated into the story. That, along with the movie’s two hour and fifty-eight-minute run-time, makes the 2000 adaptation feel unnecessarily stretched out. Like my experience watching The Assassination of Jesse James by the Coward Robert Ford, I was zoning in and out while watching Hamlet, trying not to fall asleep during this movie-viewing experience. Had the 2000 adaptation of Hamlet been split into two parts, like Hallmark’s 2004 adaptation of Frankenstein, the movie wouldn’t run the risk of feeling like an endurance test.

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My overall impression:

To review or not to review, that is the question (ok, I couldn’t resist making that reference, especially in this review). Back in 2019, I shared in my Romeo Must Die review how much I liked that film. Because it was a “modern” adaptation of Romeo and Juliet featuring martial arts, the 2000 movie was successfully able to create a unique version of William Shakespeare’s story. Seven years later, after watching the 2000 adaptation of Hamlet, I find the picture just ok. The creative team behind Hamlet had visual ambition, setting their interpretation “in America at the turn of the 20^th Century”. This ambition could be seen in the set and costume design, attempting to bring the late 1800s to early 1900s back to life through elegance and historical accuracy. But having the characters adopt Shakespearian speech breaks that illusion of immersion. Having a two hour and fifty-eight-minute run-time also negatively impacts the film’s chances for rewatchability. However, the cast as a whole gave strong performances, with everyone doing a good job, acting wise, with the material they received. The movie itself is also a competently made project, incorporating elements that enhanced the movie-viewing experience, such as the use of music. But at the end of the year, when I look back on the movies I’ve seen (and even reviewed), the adaptation of Hamlet from 2000 will not be a film I reflect on as fondly as other films.

Overall score: 6-6.1 out of 10

Have you seen the 2000 adaptation of Hamlet? Are there any “modern” adaptations of William Shakespeare’s stories you’d like to check out? Please share your thoughts in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Tombstone Review

On July 11, 2026 By 18cinemalane2 Comments

When an actor or actress is celebrating a birthday, I will sometimes write about a project from their filmography and publish that article on their birthday. This has given me an excuse to check out a movie or television show I haven’t seen before. Because July 11^th is Stephen Lang’s birthday, I found a perfect opportunity to finally see the 1993 western, Tombstone! This is a movie I not only have heard of before, I have heard the movie receive consistent praise over the years. It’s even earned the coveted title of “classic” within the western genre. Though I have covered some movies from this particular genre on 18 Cinema Lane, I had no idea how Tombstone was going to stand out among those other titles. Now that I’ve seen the 1993 picture, I found an answer to that question. But you have to read my review to discover what that answer is!

*Tombstone* poster created by Hollywood Pictures, Cinergi Pictures Entertainment, Alphaville Films, and Buena Vista Pictures Distribution

Things I liked about the film:

Historical accuracy: In my recent review of Young Washington, I praised the film’s creative team for effectively executing their project’s historical accuracy. Because of how well-done that storytelling element was, the creative team behind Young Washington successfully created an illusion of immersion. Tombstone also possessed the illusion of immersion due to the efforts of that movie’s creative team. From the construction of the town itself to the artwork on a wall at the Bird Cage Theatre, the appearance of the film and its finer details effectively reflect Tombstone’s respective time period of the late 1800s. An example of how this particular time period was brought back to life was through the characters’ wardrobe. In a scene where Wyatt Earp goes for a horse ride with Josephine, Josephine wears elegant yet practical riding attire. Sporting a black tailored jacket and a long black skirt, she adds a black and white polka dot scarf as well as a black top hat adorned with black and white ribbons. Finishing the ensemble is a pair of simple black gloves. Josephine even rode side-saddle, what would have been the appropriate way for a woman to ride a horse at that time. The example I presented in this review visually represents the research and attention to detail that went into Tombstone’s presentation!

Interconnected stories: Tombstone is a movie known for its large cast of characters. At the beginning of the film, the characters are shown engaging in their own separate part of the story. Whether it’s the Cowboys rudely interrupting a wedding or Doc Holliday winning a poker game, the first minutes of Tombstone let the audience know everyone who is featured in the movie has an important role to play. As the film progresses, each separate story becomes interconnected. Characters who may seem like strangers are actually revealed to be friends. The actions caused by one character greatly impact another character. And crossed paths develop consequences. These interconnections between characters allowed on-screen interactions to contain a strong sense of intrigue. That intrigue kept me invested in what was happening in Tombstone!

The acting: Because Stephen Lang is the reason why I’m reviewing Tombstone, I have to talk about his performance first. Though he appeared in the film for a limited period of time as Ike Clanton, Stephen’s portrayal was very memorable! This memorability was due to his expressiveness and animated reactions. Yet, Stephen’s animation never came across as over-the-top or too “cartoony”. Instead, he effectively utilized a variety of emotions which helped him stand out among the ensemble cast. One of Stephen’s best moments in Tombstone is when Ike is watching a play involving Faust, the confused look on Ike’s face appearing completely genuine. I also liked Sam Elliott’s portrayal of Virgil Earp, Wyatt’s brother. In a scene where Virgil receives bad medical related news, a combination of fear, anger, and sadness are present in his eyes, through the frown on his mouth, and even within the muscle control throughout his face. Virgil’s wife, Allie (portrayed by Paula Malcomson), is also upset by the news Virgil receives. Her tear-streaked face says so much without saying anything at all. Even as she yells at Wyatt, the anger in her voice holds an intensity that forces Wyatt (and the audience) to take her seriously. But besides these three performances I brought up, the cast as a whole gave solid portrayals throughout Tombstone!

Since I’m reviewing *Tombstone* on Stephen Lang’s birthday, I thought including a picture of his character, Ike Clanton, in this review made sense. Screenshot taken by me, Sally Silverscreen.

What I didn’t like about the film:

Glossed over parts of the story: There were a few parts of Tombstone’s story that became glossed over as the movie progressed. One of those glossed over parts involved Wyatt’s wife, Mattie. Toward the beginning of the film, Mattie seeks to receive laudanum in order to cure a headache. Yet, she refuses to visit a doctor when Wyatt suggests it. Later in the movie, Mattie is seen drinking a bottle of opium. These displayed behaviors imply she is battling an addiction. But none of the other characters, including Wyatt, address Mattie’s concerning issue. In historical/period stories like Tombstone, a storyline involving addiction will sometimes be woven into the script. Usually, these storylines will not only be addressed in that respective story, they will also be treated with a sense of respect, as addiction is a serious, real-world topic. With everything said, I wish Mattie’s part of the story had received some more attention within Tombstone’s overarching story.

The underutilization of Billy Zane: In movies containing ensemble casts, an actor or actress may sometimes become underutilized due to how much screen-time the cast needs to share. The case of Tombstone shows Billy Zane as an underrated performer within the film. Portraying a stage actor named Mr. Fabian, Mr. Fabian represents something beautiful that came to the ugliness of Tombstone, according to Josephine. Billy’s appearances in Tombstone were so limited, he was present in only three scenes within the first half of the movie. He doesn’t show up in the film again until toward the end of the story, when the actions of the Cowboys and Wyatt’s group have taken their toll on Mr. Fabian. Taking Josephine’s words into consideration, I was disappointed Mr. Fabian wasn’t utilized more in the story, as a way to achieve peace within Tombstone. But I guess as a stage actor, there was only so much he could have done to find a solution to the town’s conflict.

Half of the story feeling “slice of life”: The overarching conflict of Tombstone involves the Cowboys and Wyatt alongside his brothers and Doc fighting over control of Tombstone. But this conflict doesn’t really become the story’s central focus until the second half of the movie. In the film’s first half, the emphasis is placed on the “slice of life” aspect of the characters residing in Tombstone. While it was interesting to catch a glimpse of life within the late 1800s, the intrigue wasn’t as consistent in the movie’s first half as it was in the second half. In fact, as I watching the first half of Tombstone, I honestly wondered why this story wasn’t a television show instead of a movie?

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My overall impression:

As I said in the introduction of this review, I chose to write about Tombstone in honor of Stephen Lang’s birthday. Therefore, I was looking forward to seeing his performance in this movie. While I did witness a very memorable portrayal of Ike Clanton, there is so much more this film gave me. The cast as a whole was strong, which made each performance enjoyable to watch. The research and attention to detail put into Tombstone’s historical accuracy allowed the movie’s creative team to achieve an illusion of immersion. Interconnections between characters’ stories added intrigue to characters’ on-screen interactions. Though the film gave me an enjoyable movie-viewing experience, there were flaws that held it back from being stronger. I wish the overarching story had consistently focused on the conflict for control over Tombstone. I also wish Mattie’s part of the story had received some more attention in the script. Seeing Billy Zane’s talents become underutilized was disappointing as well. But despite these flaws, I can recognize why Tombstone is highly regarded by fans of the western genre!

Overall score 7.3-7.4 out of 10

Have you seen Tombstone? Are there any films from the western genre you’d like to see me review? Let me know in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Young Washington Review

On July 9, 2026 By 18cinemalaneLeave a comment

2026 marks the 250^th birthday of the United States of America’s founding. Because of this major milestone, MovieRob selected July’s Genre Grandeur theme as “Red, White and Blue Movies”. This means a chosen film has to deal “with The American Revolution, American Patriotism or related to the 4^th itself”. For my selection, Young Washington, I had planned to publish my review on July 4^th. But because of my schedule at the time, I didn’t get the chance to see the 2026 picture as soon as I had hoped. Now that I’ve seen the movie, I can finally post my review for MovieRob’s Genre Grandeur Blogathon! As I already mentioned in this introduction, a chosen film for the event had to deal “with The American Revolution”. When George Washington appears in entertainment media revolving around this period in history, the story itself focuses on what led up to the signing of The Declaration of Independence. In Young Washington, however, the story explores the events that shaped George into the leader history remembers him as today. Reflecting on The American Revolution related pieces of entertainment media I’ve seen, heard, or read, Young Washington’s approach to this specific time period seems to have addressed a creative void.

*Young Washington* poster created by Wonder Project, 2521 Entertainment, Angel, Provident Films, Radar Pictures, Red 56, Ten Ton Studio, and Wild Atlantic Pictures

Things I liked about the film:

Incorporation of the story’s natural landscape: IMDB lists Ireland as Young Washington’s primary filming location. Yet the story is set in Virginia. Since the majority of the movie takes place outdoors, the forest landscape of America’s tenth state was given center-stage through long and medium shots. Clear blue waters, rolling green hills, and what appears to be pine trees literally and figuratively represent the “calm before the storm”, as the Ohio Territories are at the center of a major conflict. This same landscape was also shown at different times of the day as well as in different climates. On a few occasions, snow covered the forest floor and trees. Paired with a gray-blue sky, this landscape visually presented a peaceful environment, despite the uncertainty this type of terrain brings. The incorporation of Young Washington’s natural landscape added natural beauty to the film. This creative decision also reminded me of Europe’s natural landscape receiving importance in I Am David, showing a side of the United States of America that could be easily taken for granted.

The acting: As I just mentioned in this review, the Ohio Territories are at the center of a major conflict in Young Washington. The reason is because the French desire to claim the land as their own. In order to convince the French to leave, George is tasked with persuading a French military officer named Joseph Jumonville. In a scene where George negotiates with Joseph, Joseph, at first, appears very jovial. His huge smile, jolly demeanor, and laughter gives George (and the audience) the impression things will go George’s way. But as soon as George addresses the French residing on the Ohio Territories, Joseph’s attitude immediately changes. His intense stare and sharp tone of voice lets George (as well as the audience) know he means business. Joseph’s change in attitude causes a shift in the scene’s atmosphere, raising the stakes of the situation. Despite having a limited presence in Young Washington, Joseph became such a memorable part of the movie! That’s because the actor who portrayed Joseph, Clement Toyon, gave a performance that was captivating due to his flawless transition between attitudes. With that said, I wish Joseph made a few more appearances in the film.

While George and a surveyor named Christopher are surveying the Ohio Territories, they cross paths with Half-King Tanacharison. Similar to Joseph Jumonville, Half-King Tanacharison appears in Young Washington for a limited period of time. Also similar to Clement Toyon’s portrayal of Joseph, Half-King Tanacharison was so memorable because of Ryan Begay’s performance! Whenever he showed up in the story, Half-King Tanacharison carried himself with a strong confidence, his demeanor letting others know how he should be taken seriously. At the same time, Half-King Tanacharison carried a gentleness which emphasized how he was a leader who sought fairness. These combined characteristics in demeanor allowed Ryan’s performance to contain a commanding presence. Because we’re on the subject of leaders, I must talk about William Franklyn-Miller’s portrayal of George Washington! Like I said about Liev Schreiber’s portrayal of Orson Welles in RKO 281 and Tom Hulce’s portrayal of Amadeus in Amadeus, William brought humanity back to George’s name by finding the heart of the “genius” and putting some genuine emotion behind it. What I also liked about William’s performance is how it possessed a strong sense of realism. This element didn’t show an actor portraying a historical figure, but, instead, a young man becoming the leader he was destined to be. Working in William’s favor as well is his understanding how to utilize emotion and when to increase or decrease the intensity of those emotions.

Historical accuracy: Filmmakers have the ability to create the illusion of immersion. This illusion makes the audience feel immersed in a movie’s world, giving them a reason to stay invested in the story. One way to achieve the illusion of immersion is through historical accuracy. When a film’s creative team adopts that element of storytelling, research and attention to detail must be prioritized in order to effectively bring the chosen time period back to life. While watching Young Washington, the historical accuracy could be seen as well as felt! One of my favorite examples is when George attends a party at the Belvoir plantation. Every room within the plantation is lit by candles. Throughout scenes taking place at the plantation, the lighting was consistently dim. Looking back on the movies I’ve seen (and even reviewed) relying on historical accuracy, I never thought about how a film’s lighting could affect a film’s historical accuracy, let alone illusion of immersion. The example I brought up of the dim lighting in Young Washington allows the audience to grasp how different lighting options were in the 1700s.

The dialogue: An underrated film-making element is the quality of a script’s dialogue. If the dialogue among a movie’s characters is good, it can become a memorable component of the movie itself. As I watched Young Washington, there was dialogue that stood out to me because of how good it was! When George applies for the British Army, he is ultimately rejected due to his social status. To prove his worth, George presents his collection of quotes he wrote down while being tutored by his half-brother, Lawrence. But George is told how an imitation of great men doesn’t make him one. This quote not only encourages George to forge his own path in life, it also foreshadows George’s future. Earlier in the story, Lawrence teaches George how to play chess. During the lesson, Lawrence says how a pawn can take a king. This quote was, once again, clever foreshadowing, as George’s role in the American Revolution helped the Thirteen Colonies break away from a king ruled government to form the United States of America. The two examples of dialogue I presented in this review show how much thought and effort went into the screenwriting as well as how the dialogue was delivered!

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What I didn’t like about the film:

Inconsistent incorporation of subtitles: Earlier in this review, I brought up how George and Christopher cross paths with Half-King Tanacharison while surveying the Ohio Territories. Christopher and Half-King Tanacharison share a conversation, despite never meeting before. Half-King Tanacharison and Christopher’s conversation is not in English, yet no subtitles appear on the screen during their conversation. But any other time characters speak to one another in a language that isn’t English, subtitles are present on the screen. This inconsistency became noticeable to me by the third non-English conversation characters shared in Young Washington.

A missing “And then what happened” segment: In movies based on true stories, there is sometimes a segment toward the end of the movie explaining what happened to the story’s key individuals after the events presented in the movie. But Young Washington lacked this kind of segment. Toward the end of the 2026 film, on-screen text reveals a few of the events leading up to the signing of the Declaration of Independence. However, what happened to key people from Young Washington, like Sally Cary, David Frisk, and even Robert Dinwiddie, was not brought up. This creative decision left me disappointed, as I wanted to know more about the people in the story.

Some underutilized talent: Before watching Young Washington, I knew Kelsey Grammer starred in the movie. From what I remember, he was heavily featured in the movie’s marketing. At the end of the film, Kelsey himself delivered a message on the film’s importance. Yet he appeared in Young Washington in two scenes as Lord Fairfax. One of my family members almost forgot Kelsey was cast in the movie due to his very limited screen-time. While I understand why Kelsey starred in the film for a short period of time, this was one example where, to me, talent was underutilized.

Since colonial style hats were worn throughout *Young Washington*, including a photo of the small colonial style hat from my Oh Lil Christmas Tree collection made sense. Screenshot taken by me, Sally Silverscreen.

My overall impression:

The best way I can describe Young Washington is a “hero’s journey” woven into a history lesson. Throughout the 2026 movie, the audience sees George experience both trials and triumphs. What the audience of Young Washington also sees is solid acting performances, immersive historical accuracy, and a beautiful forest landscape. They can hear dialogue that is well written and delivered, as well as good messages and themes. Another strength of Young Washington is the ebb and flow between action-heavy, suspenseful scenes and quieter, slower-paced scenes. This ebb and flow maintained the story’s intrigue, keeping me invested in what was happening on screen. There are flaws within the 2026 picture, like inconsistent incorporation of subtitles and some underutilized talent. But, in my opinion, there’s a lot Young Washington got right when it comes to film-making. Now that we’re at the halfway point of 2026, I can honestly say I’ve seen more movies, so far, I liked than didn’t. Young Washington is one of those films belonging to the first category of movies I liked!

Overall score: 8 out of 10

Have you seen Young Washington? Is there a movie set around the American Revolution you like? Please tell me in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Playing with Fire (1985) Review

On July 4, 2026August 8, 2026 By 18cinemalaneLeave a comment

Have you come across a movie that fell into your lap at the right place and time? That’s what happened before I reviewed the 1985 television film, Playing with Fire. This is a movie I not only had never seen, I had never heard of. But that changed when I listened to the Telehell Podcast episode, ‘The Top 8 Darkest Moments in Kids TV Cartoons’, as the upcoming episode about Playing with Fire was advertised at the end of the episode about the darkest moments from kids TV cartoons. According to Telehell’s episode, ‘Prologue of Fire (“Playing with Fire” PREVIEW)’, the 1985 movie was considered “lost media” up until 2024. As someone interested in the subject of “lost media”, I think it’s worth celebrating when a sought-after piece of “lost media” like Playing with Fire not only gets found, but is also archived on Youtube. For any “lost media” that was eventually found, however, one has to wonder why it was “lost” in the first place? In this review of Playing with Fire, I hope to find an answer to that question!

*Playing with Fire* (1985) poster created by New World Television, Zephyr Productions, and National Broadcasting Company (NBC)

Things I liked about the film:

Characters who subvert expectations: In Playing with Fire, Mike Harris is a friend of the protagonist, David. Based on his personality and appearance, Mike would be considered a “bully” in other ‘80s entertainment media. Throughout the 1985 movie, he teases David, pulls pranks, and doesn’t seem to take school seriously. But when David starts a fire in a trash can (because he was upset Mike wouldn’t play basketball with him), Mike pulled David away from the fire as well as encouraged David to pull their school’s fire alarm in order to get help. Mike even warns a fellow student named Pamela about David’s issues. These actions and choices help Mike subvert expectations, showing the audience how, despite his initial introduction, he actually cares about David’s wellbeing.

Entertainment media from the ‘80s that revolves around younger characters will sometimes feature a school principal who is a stickler for the rules. This creative decision may be made to either emphasize how much “cooler” the younger characters are or to show how the principal is holding the younger characters back from being themselves. But in Playing with Fire, Principal Sweeney subverts those aforementioned expectations. In a meeting between Principal Sweeney and David’s parents, Principal Sweeney acknowledges how intelligent David is. He’s also brutally honest about how it’s the responsibility of David’s parents to help David with his problems. Principal Sweeney even puts David on probation in an attempt to assist David in resolving his issues. Because of the subversion of expectations, Principal Sweeney is presented as a character who actually prioritizes the wellbeing of all his students.

The role of Fire Chief Walker: Throughout Playing with Fire, Fire Chief Walker tries to solve the mystery of who started a series of fires around his neighborhood. He wants David to admit he’s responsible for creating the fires. But Fire Chief Walker doesn’t want David to tell the truth in order to arrest him. Instead, he believes David is worth saving. Fire Chief Walker encourages David’s family to seek out family counselling, in order to help them solve their personal problems. He also encourages David to talk to his parents about how he feels, acknowledging how David is causing fires for a reason. It would have been easy for the creative team behind Playing with Fire to show their protagonist simply facing the consequences of his actions. Instead, the role of Fire Chief Walker shows how there is more than one way to solve a problem, with a way being getting to the heart of an issue to resolve it as well as preventing it from escalating.

Showing the reasons behind the behavior: The synopsis for Playing with Fire on IMDB gives David the label of “teenage arsonist”, due to how often he starts fires. The creative team behind the movie could have focused on David’s problematic behavior in order to give their project “shock value”. But instead, the script emphasizes the reasons behind the behavior. Sparks fly (literally and figuratively) due to David’s parents having marital issues. These issues cause a domino effect in David’s life, from failing grades at school to becoming easily angry. Starting fires is a manifestation of David’s unresolved feelings toward the problems within David’s parents’ marriage. By showing the reasons behind David’s behavior, the creative team behind Playing with Fire gives their audience a reason to empathize with David and his family.

Campfire with marshmellows and shooting stars image created by macrovector at freepik.com.

What I didn’t like about the film:

David as a static character: As I already mentioned in this review, showing the reasons behind David’s behavior gives the audience a reason to empathize with David and his family. But for the majority of Playing with Fire, David remained a static character. He doesn’t come to terms with his decision to start fires until an hour and forty-seven minutes into an hour and fifty-five-minute movie. This means he spends more time remaining bitter and angry about the problems in his life instead of transforming his life for the better over the course of the story. I recognize resolving problems like David’s takes time. But the static status of David held back his character development.

Fire related scenes feeling like PSAs: David starts multiple fires over the course of Playing with Fire. While these moments are frightening due to how dangerous they are, it felt like the story shifted to present a somewhat subtle PSA (public service announcement) about fire safety. One way this feeling is achieved is how causes of fire or safety measures are heavily emphasized. In a scene where David causes his first fire within his home, his mother asks him how the fire started. David explains how an overloaded electrical socket was likely the cause, followed by a close-up shot of an overloaded electrical socket. This approach to the fire related scenes made the overall movie kind of seem like an “afterschool special”.

The disappearance of Mike and Pamela: Like I mentioned earlier in this review, Mike is a friend of David who actually cares about his friend’s wellbeing. Pamela is also a friend of David, someone who kind of understands how David feels due to her parents’ divorce. Both of these characters were interesting. While Mike was subverting expectations, I wanted to see where Pamela’s character development went as the story progressed. But Pamela and Mike disappear from the story after about the film’s halfway point. Even though Pamela returns toward the end of Playing with Fire, she’s only on screen for almost four minutes. I wish Mike and Pamela played a more consistent role in the story, as they could have represented what to do if someone is afraid to speak up or doesn’t know how to help a loved one.

Breaking heart image created by Kjpargeter at freepik.com. <a href=’https://www.freepik.com/free-vector/broken-heart-valentine-background_1041991.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by Kjpargeter – Freepik.com</a>. Image found at freepik.com.

My overall impression:

In the introduction of my review, I said I hoped to find an answer to the question of how Playing with Fire became “lost” in the first place. Now that I’ve seen the movie for myself, I think the movie just, simply, fell through the cracks of time. The way I feel about the 1985 movie is similar to the way I felt about the 1988 television film, Dance ‘Til Dawn; it didn’t go above and beyond enough to be considered good or great, but it wasn’t offensive enough to be bad or even disappointing. While there were elements of Playing with Fire I liked, such as how showing the reasons behind David’s behavior gives the audience a reason to empathize with David and his family, there were flaws that held the movie back from being a stronger picture. Some of these flaws include keeping David a static character for the majority of the movie, fire related scenes feeling like somewhat subtle PSAs, and Mike and Pamela disappearing from the story. At best, Playing with Fire is ok. It seems like the creative team behind the 1985 presentation had their hearts in the right place. But, at worst, the film feels like an hour and fifty-five-minute PSA about fire safety. There was even a video message at the end of Playing with Fire where Gary Coleman (the actor who portrayed David) explains the dangers of arson. With everything said, it’ll be interesting to hear what the consensus will be for the movie on the Telehell Podcast.

Overall score: 6-6.1 out of 10

Have you seen Playing with Fire? Is there a piece of “lost media” you’d like to see become discovered? Let me know in the comment section!

Have fun at the movies!

Sally Silverscreen

If you want to check out the podcast episodes I referenced in this review, visit the Youtube channel, Telehell Podcast, and listen to the episodes, ‘The Top 8 Darkest Moments in Kids TV Cartoons’ and ‘Prologue of Fire (“Playing with Fire” PREVIEW)’.

Take 3: The Assassination of Jesse James by the Coward Robert Ford Review

On June 25, 2026 By 18cinemalane8 Comments

June’s theme for Genre Grandeur is “Movies With Genre Bending themes”. I spent a lot of time researching potential titles due to how specific this theme is. But with this month’s Genre Grandeur overlapping with the Legends of Western Cinema Week Blogathon, I chose the 2007 movie, The Assassination of Jesse James by the Coward Robert Ford. According to an article of The 10 Best Genre-Bending Movies Of All Time from the website, Taste of Cinema, “What makes the film [The Assassination of Jesse James by the Coward Robert Ford] one of the true genre-bending westerns is how it chooses to present it mythology of the west”. The author of the article, Mark Serravalle, explained how “The characters are more life-like and complicated than how they are made out in the stories that are told about them”. I will admit that, even though I’ve heard of him, I know very little about Jesse James. In fact, the titles I’ve selected for past Legends of Western Cinema Week Blogathons have revolved around either fictional or fictionalized stories. Therefore, reviewing The Assassination of Jesse James by the Coward Robert Ford is not only a learning opportunity for 18 Cinema Lane, it’s allowing my blog to travel newer paths within the realm of blogathons.

*The Assassination of Jesse James by the Coward Robert Ford* poster created by Warner Bros., Virtual Studios, Scott Free Productions, Plan B Entertainment, Alberta Film Entertainment, and Warner Bros. Pictures International

Things I liked about the film:

The acting: The Assassination of Jesse James by the Coward Robert Ford received two nominations at the 80^th Academy Awards. One of those nominations was given to Casey Affleck for his portrayal of the titular Robert Ford. Looking back on the 2007 movie, I can agree with the Academy’s decision! What I liked about Casey’s performance is his ability to say so much without saying anything at all. A perfect example is when Robert is reflecting on the similarities he and Jesse share. Throughout this recollection, Robert appears disappointed and even defeated. His eyes and the slight frown his mouth adopts give these feelings away. But every now and then, a smile shows up on Robert’s face and his eyebrows even move upwards. This moment effectively illustrates how Robert has become disillusioned by the reality of who Jesse really is, yet fondly remembers his fabricated image of him.

If I had to be brutally honest, I think Brad Pitt should have been nominated for his portrayal of Jesse James. This is because, through his acting talents, Brad presented Jesse as the opposite of what one might expect. When it comes to legendary figures like Jesse James, presentations of being “larger than life” and a “showman” could give the impression Jesse was an untouchable, unstoppable force. But Brad’s portrayal of Jesse emphasizes the human he was; capable of feeling fear, making mistakes, and constantly looking over his shoulder. A perfect example of this point is when Jesse is interrogating Robert’s cousin, Albert. When Albert claims he doesn’t know Robert’s whereabouts, Jesse beats Albert up because he thinks Albert is lying. During the beating, the anger on Jesse’s face is very evident. But as he realizes Albert is, indeed, telling the truth, Jesse’s face quickly goes from angry to confused. He adopts a “thousand yard stare” as well as a look of disbelief, wondering how he could be so wrong. Several minutes later, as he’s preparing to leave on horseback, Jesse bursts into tears, realizing he just crossed a line.

The cast of The Assassination of Jesse James by the Coward Robert Ford gave performances that were well-done. However, I was pleasantly surprised to see Jeremy Renner star in the film as Wood Hite! Before reviewing the 2007 film, I had seen Jeremy’s portrayal of Clint Barton/Hawkeye throughout the Marvel Cinematic Universe (MCU) and his portrayal of Aaron Cross from The Bourne Legacy. But what was different about Jeremy’s portrayal of Wood is how he had to rely more on emotion in order to carry the character through the story. During an exchange between Wood and Robert, Wood shares how his mother is Jesse’s father’s sister. He tries to use his familial connection as leverage against Robert, smugly smiling and his tone of voice sounding very arrogant. When Robert questions this familial connection, Wood’s face quickly changes to a look of shock. His tone of voice becomes defensive and his eyes grow wide. This example shows how, even though Jeremy appeared in The Assassination of Jesse James by the Coward Robert Ford for a limited period of time, the versatility of his acting talents were on full display!

The cinematography: Remember when I said The Assassination of Jesse James by the Coward Robert Ford received two nominations at the 80^th Academy Awards? Well, the other nomination was given to Roger Deakins for the Cinematography category. Once again, this is a decision I agree with the Academy on! Two of the best examples of the cinematography’s mastery in The Assassination of Jesse James by the Coward Robert Ford happens during a train robbery taking place toward the beginning of the movie. When the train stops right in front of Jesse, only the train’s front light is shining. White smoke forms around both the train and Jesse. Because of the minimal lighting, Jesse is presented as a silhouette. He’s presented as a silhouette again when he’s walking beside the train, emerging from the aforementioned white smoke. Only the light from the train’s window illuminates the scene, giving the scene itself a warm, orange glow. Through the cinematography, these two examples elaborate how Jesse was depicted by those who didn’t know him well; a mysterious myth who seized the attention of others.

More unique ideas brought to the Western genre’s table: It seems like the two most common settings in the Western genre are deserts and plains. But what if I told you a forest is where parts of The Assassination of Jesse James by the Coward Robert Ford take place? While there were plains in the 2007 film, I’d argue forests were featured in the story the most. Because forests are usually not known for being a Western genre location, The Assassination of Jesse James by the Coward Robert Ford brings something more unique to the genre’s table. In Western genre films revolving around legendary figures like Jesse James, the script typically focuses on the prime of the figure’s life, highlighting the most exciting, thrilling parts of their story. But The Assassination of Jesse James by the Coward Robert Ford showcases Jesse and his gang’s life after crime. Even the train robbery I referenced earlier was not presented as a thrilling, exciting event. Instead, that train robbery is shown as a scary event full of uncertainty, fear, and even violence. These screenwriting choices gave the 2007 movie a sense of honesty that isn’t always found in the Western genre.

Legends of Western Cinema Week banner created by Hamlette from Hamlette’s Soliloquy and Heidi from Along the Brandywine

What I didn’t like about the film:

The run-time: As listed on IMDB, The Assassination of Jesse James by the Coward Robert Ford’s run-time is two-hours and forty-minutes. Similar to my thoughts about Gods and Generals’s run-time, the 2007 film’s run-time can definitely be felt. The story of Jesse James and his gang’s life after crime is told at a slower pace. That paired with the aforementioned run-time causes The Assassination of Jesse James by the Coward Robert Ford to feel unnecessarily stretched out. I found myself zoning in and out while watching the movie, concerned I’d fall asleep during my movie-viewing experience. One solution to this flaw would have been to trim scenes that linger, such as a scene where Jesse stares at his brother, Frank, for what seems like a minute.

A somewhat misleading title: When I recently reviewed The Naked Jungle, I criticized the movie for its somewhat misleading title. Even though the titular jungle played a role in the story, it didn’t appear until about the last forty minutes of the hour and thirty-five minute film. The Assassination of Jesse James by the Coward Robert Ford possesses the same flaw. Based on the title alone, one would believe the titular event would serve as the story’s primary focus. But that event doesn’t end up happening until the film’s last twenty-seven minutes. This means during The Assassination of Jesse James by the Coward Robert Ford’s two-hour and forty-minute run-time, most of that time is spent leading up to the event itself. The audience is forced to wait over two hours for Jesse’s other shoe to drop.

The dialect: The Assassination of Jesse James by the Coward Robert Ford takes place during the late 1800s. This setting in time encouraged the film’s creative team to adopt historical accuracy. While that aspect of filmmaking was achieved visually, it was also achieved vocally, as the cast spoke with the dialect (as well as the dialogue) of the story’s time. Despite these historically accurate achievements, there were times I found it difficult to understand what the characters were saying. Because I don’t hear that dialect (and dialogue) consistently, I was forced to actively pay attention to what was being said. Otherwise, there’s a good chance I would have missed important context.

Sheriff badge image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-vector/brown-cowboy-label-set_1543252.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/vintage”>Vintage vector created by Freepik</a>. Image found at freepik.com.

My overall impression:

The more I think about The Assassination of Jesse James by the Coward Robert Ford, the more it reminds me of Gods and Generals and The Naked Jungle. Not only does the 2007 movie possess a run-time that is, in my opinion, too long (like Gods and Generals), its title is also somewhat misleading (like The Naked Jungle). While I appreciate the creative team’s efforts to make their film look and sound historically accurate, I sometimes found it difficult to understand what the characters were saying. But despite these flaws, it’s evident there was merit put toward the project. Besides the historically accurate appearance of The Assassination of Jesse James by the Coward Robert Ford, the cinematography made the film visually interesting. The train robbery scene proves how the movie’s creative team took advantage of film’s visual medium to present their intended ideas. The cast as a whole gave good performances, especially Casey Affleck, Brad Pitt, and Jeremy Renner. But what I appreciate the most about The Assassination of Jesse James by the Coward Robert Ford is how more unique ideas were brought to the table of the Western genre. From setting parts of the story in a forest to showcasing Jesse and his gang’s life after crime, these creative choices prevent the Western genre from becoming stagnant. It also illustrates how creatively diverse the Western genre can be.

Overall score: 6 out of 10

Have you seen The Assassination of Jesse James by the Coward Robert Ford? What creatively unique ideas from the Western genre have stood out to you? Let me know in the comment section below!

Have fun at the movies!

Sally Silverscreen

Here’s the link to the article I referenced in this review if you’re interested in reading it: https://www.tasteofcinema.com/2023/the-10-best-genre-bending-movies-of-all-time/

Take 3: The Naked Jungle (1954) Review

On June 21, 2026June 22, 2026 By 18cinemalane2 Comments

This is my third time participating in the Luso World Cinema Blogathon. Back in 2021, I wrote about the 2005 film, Ladies in Lavender, which I thought was just ok. Then last year, I reviewed Jasmine Guy’s episodes of Touched by An Angel. While the episodes, “Sympathy for the Devil” and “Lost and Found”, were fine, “Clipped Wings” became my least favorite Touched by An Angel episode reviewed on 18 Cinema Lane, so far. But these previous entries for the Luso World Cinema Blogathon were chosen based on a particular actor’s or actress’s involvement in a project. For this year’s event, I decided to select a movie based on its location. Therefore, I picked the 1954 film, The Naked Jungle! According to the criteria for the Luso World Cinema Blogathon, The Naked Jungle takes place in Brazil. The movie was also recommended to me by Maddy (from Maddy Loves Her Classic Films). Both Charlton Heston and Eleanor Parker are no strangers to 18 Cinema Lane. Not only have I covered 1959’s Ben-Hur, I’ve also written about Interrupted Melody, The Man with the Golden Arm, and Return to Peyton Place!

*The Naked Jungle* (1954) poster created by Paramount Pictures

Things I liked about the film:

The acting: In this review’s introduction, I stated how both Charlton Heston and Eleanor Parker are no strangers to 18 Cinema Lane. After reviewing three of Eleanor’s movies, what I’ve noticed is how Eleanor uses emotion to her advantage. Despite only writing about one of Charlton’s films, Ben-Hur, I can appreciate the consistency of his acting strengths. These compliments can be applied to Eleanor’s and Charlton’s portrayal of Joanna and Christopher in The Naked Jungle! Throughout the 1954 picture, Christopher is a stoic man who prioritizes his plantation. So, when Joanna comes into his life, he carries frustration, pride, and even entitlement in his eyes, through his voice, as well as his body language. Meanwhile, Joanna is a sweet and gentle woman who is open-minded to her new life with Christopher. But when Christopher becomes argumentative with her, Joanna shows little to no fear, effortlessly replacing sweetness with fierce confidence. Because of how strong both Charlton’s and Eleanor’s performance was, their characters were interesting to watch! One of my favorite scenes in The Naked Jungle is when Joanna meets a Commissioner who happened to board the same boat as her. Portrayed by William Conrad, the Commissioner had the charisma and friendly personality to brighten up a room. I could even sense nice on-screen chemistry between William and Eleanor. These factors made me look forward to scenes featuring the Commissioner!

The set design: When it comes to set design, sometimes less is more. This was definitely the case for The Naked Jungle! My favorite set was Joanna’s room because of how pops of color were incorporated into the space. Standing out against the white walls and shutters were gold sconces, dark wood furniture, and bright hued chairs. The vanity area was, in my opinion, the most impressive! An ornate, gold mirror proudly hung on the wall. Right underneath the mirror was a dark wood vanity table, nicely complimenting the mirror’s shiny frame. A chair with green cushions provided a visually appealing bridge between the darker and brighter hues. Though all the pieces of décor were simplistic in design, the overall room presented an elegant, classy, and timeless space!

The dialogue: I sometimes come across films where some of the dialogue is so clever, it sticks in my memory. The Naked Jungle happens to be one of those films! An example of memorably clever dialogue is when Joanna arrives in Brazil for the first time. As Christopher’s “number one man”, Incacha, introduces himself, even bringing up his title, Joanna addresses herself as Christopher’s “number one wife”, as she desperately wants to know where her husband is. The quick response and immediate play on words make this response cordial and somewhat hilarious. Another great example arrives after Joanna and Christopher meet. When Christopher tells Joanna how the tropics have their own schedule, Joanna asks, “What time is bedtime”? Christopher replies by saying, “Whenever you wish, madam”. Joanna then tells Christopher with a hint of playful sarcasm, “I wouldn’t want to upset your schedule”. This comeback works because of the screenwriting and Eleanor’s performance!

6th Luso World Cinema Blogathon banner created by Le from Crítica Retro and Beth Ann from Spellbound With Beth Ann

What I didn’t like about the film:

Lack of on-screen chemistry: As I previously talked about in this review, I liked the acting performances of Charlton Heston and Eleanor Parker. But what I didn’t like about their portrayals of Christopher and Joanna was their lack of on-screen chemistry. In this case, the fault lies in the screenwriters. Not only was the relationship between Joanna and Christopher tense, this tension between them lasted the majority of the movie. By the time Christopher and Joanna finally got around to appreciating the other’s company, this renewal of chemistry came too little too late. That writing choice made it difficult, for me, to determine if Charlton and Eleanor truly possessed any on-screen chemistry.

The “locals” as background characters: “Locals” of the story’s Brazilian setting make appearances throughout The Naked Jungle. But these “locals” aren’t given much to do in the story. Among them was a gentleman who not only possessed Mayan ancestry within his family tree, he also carried around a small head known as his “treasure”. Because of these details, I thought he’d make a fascinating addition to The Naked Jungle’s script, using his family history and maybe even his “treasure” to help resolve the film’s overarching conflict. Unfortunately, this gentleman barely said anything in the one scene he was featured in. Even Incacha, the “number one man” of Christopher, receives a smaller role within the script. Despite dealing with a personal conflict of his own, that conflict has little bearing over the movie’s plot. I was disappointed by the creative decision to turn the “locals” into background characters. This is because their inclusion in the film made me want to learn more about their culture and perspective.

A somewhat misleading title and synopsis: According to The Naked Jungle’s synopsis on IMDB, “a 2-mile-wide, 20-mile-long column of army ants” plan to destroy anything in their path, including Christopher’s plantation. With a movie titled, The Naked Jungle, one would think the titular jungle would play a significant role in the story. But the jungle doesn’t actually appear in the movie until about the last forty minutes. Meanwhile, the “army ants” I previously brought up aren’t shown on screen until about the last thirty minutes of the movie. Keeping in mind The Naked Jungle has a run-time of an hour and thirty-five minutes, this means the majority of the script prioritizes the tension between Christopher and Joanna. These creative choices I talked about make the title and synopsis seem kind of misleading.

String of musical notes image created by Freepik at freepik.com. <a href=’https://www.freepik.com/free-vector/pentagram-vector_710290.htm’>Designed by Freepik</a> <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by Freepik</a>. Image found at freepik.com.

My overall impression:

Have you ever seen a movie where it wasn’t bad, but it just didn’t meet or exceed your expectations? That’s how I felt after watching The Naked Jungle. Before reviewing the 1954 film, I expected a story where a husband and wife worked together to solve the problem of an ant infestation. But what I got instead was a movie that prioritized the tense relationship of Joanna and Christopher, the aforementioned husband and wife. While there was an ant infestation and the titular jungle did play a role in the story, these parts of the script didn’t arrive until toward the end of the movie. But as I waited for these arrivals, I came to appreciate certain aspects of The Naked Jungle. Not only did I like the “less is more” approach to the set design, I also liked how clever some of the dialogue was. I even liked the acting performances, including those from Eleanor and Charlton. When it comes to The Naked Jungle, however, I was left desiring more. Maybe I’ll review a film where the “locals” are given center stage.

Overall score: 6 out of 10

Have you seen The Naked Jungle? Is there a movie from Charlton Heston’s and/or Eleanor Parker’s filmography you’d like to see me review next? Please tell me in the comment section!

Have fun at the movies!

Sally Silverscreen