Tag: movies

I Participated in the Murder, She Wrote Cookalong + Episode Review!

On By 18cinemalane5 Comments

I first discovered the Murder, She Wrote Cookalong on Wide Screen World. At the time, I thought, “What’s a cookalong”? I learned from Rich, the creator of the aforementioned blog, that a cookalong is pretty much a blogathon. Only this time, participants are required to cook a meal from a list of pre-selected recipes. Since I’ve never heard of on event like this before, I decided to join in on the fun! Out of all the recipes that were selected by Jenny, the creator of the cookalong and the blog, Silver Screen Suppers, I chose to make Martha Scott’s Coffee Ice Cream a la Star! After picking this recipe, I discovered that Martha Scott starred in 1959’s Ben-Hur, the movie that I reviewed back in January. The episode that Martha Scott guest-starred on, “The Days Dwindle Down”, was requested by Robin from Pop Culture Reverie. So, I was very excited to create this dessert and talk about this episode! Since the recipe itself is so short, I decided to review Martha’s episode of Murder, She Wrote. But first, let’s showcase the reason why this article exists: the step to step instructions of how to make the Coffee Ice Cream a la Star!

Murder She Wrote Cookalong banner
Murder, She Wrote Cookalong banner created by Jenny from Silver Screen Suppers. Image found at https://www.silverscreensuppers.com/the-murder-she-wrote-cookalong.

Martha Scott’s Coffee Ice Cream a la Star

(all of the pictures in this part are screenshots I took with my phone)

Ingredients

  • Vanilla Ice Cream
  • Instant Coffee

Step 1. Leave vanilla ice cream out of the freezer until it is slightly soft.

Step 2. Put 2 pt. of vanilla ice cream into a bowl

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Step 3. Take another bowl and put 4 teasp. of instant coffee in it.

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Step 4. Put a few tablesp. of ice cream into the same bowl as the instant coffee.

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Step 5. Mix the ice cream and the instant coffee with an electric mixer. After pouring the blend into the bowl with the vanilla ice cream, mix the batch with the electric mixer. It’s important to not let the ice cream melt.

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Step 6. Pour the blend into an ice cube tray. After that, place the tray in the freezer until the serving is consistent.

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I tasted the dessert before I put it in the freezer and I absolutely enjoyed it! It reminded me of a milkshake style coffee drink found in cafes or created by national chain coffee companies. I’m very thankful that I picked this recipe because it was not only easy to make, but it also tasted so good! Now onto the second part of this post, my review of “The Days Dwindle Down”!

Episode Name: The Days Dwindle Down

Season 3, Episode 21

Premiere Date: April 19th, 1987

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Unlike other episodes of Murder, She Wrote, this intro had a lighter tone and style. Screenshot taken by me, Sally Silverscreen.
What I liked about this episode:

Before watching “The Days Dwindle Down”, I was told, by Robin, that this episode was a “sequel” to the 1949 movie, Strange Bargain. I had planned to watch the film prior to the episode. However, I was unable to rent the movie. Fortunately, clips from Strange Bargain were incorporated into “The Days Dwindle Down” as a way to explain what was happening on screen. This helped eliminate any confusion for audience members, like myself, who are not familiar with this story. The movie clips themselves were placed at moments that made sense within the context of the overall narrative. It never felt like Murder, She Wrote was trying to capitalize on the pre-existing material. The way the movie’s story was treated as an event from Jessica’s world and not as a film was very creative.

What I didn’t like about this episode:

The mystery within “The Days Dwindle Down” was a cold case. This means that the climatic moments of this story have already happened. The chosen direction of this episode caused the mystery to not feel as interactive as mysteries from other episodes. Very few clues were featured and the story was dialogue-heavy. While Jessica’s interactions with each suspect played an important role in this narrative, the overall mystery felt observant rather than engaging.

The mystery itself:

As I just said, the mystery in this episode was a cold case. While this type of mystery had its flaws, I liked seeing Murder, She Wrote take a creative risk. In most episodes, the mystery takes place in present time, while a good portion of the story revolves around answering the question of “whodunit”. “The Days Dwindle Down” focused on figuring out the truth behind the mystery’s final verdict. This made the story very unique from others on the show. It also brought a sense of variety to Jessica’s overarching narrative.

The other factors from this episode:

  • In “The Days Dwindle Down”, there was a brief discussion about justice and trying to achieve that idea. Murder, She Wrote is not known for introducing thought-provoking dialogue and encouraging conversation. But the way this concept was incorporated into the story brought some interest into the episode.
  • If you read my post called “Sally Watches…Murder, She Wrote”, you would know how impressed I was by the locations featured in the episodes. The Jarvis house is yet another location that looked appealing on screen. The interior of this house was eye-catching as well, appropriately fitting the role of a regal style for a wealthier group of people. Whoever scouted locations for this show deserves a Lifetime Achievement Award!
  • I like how some of the original cast members from Strange Bargain appeared in this episode! It gave this story a sense of authenticity and it satisfies the role of a continuation.

My overall thoughts:

I found myself liking “The Days Dwindle Down” more than I thought I would! This episode told a type of story that isn’t often found on Murder, She Wrote. Yet, it made this chapter of Jessica’s journey interesting and, at times, thought-provoking. I’ve never seen a tv show try to incorporate a movie into an episode’s story where the movie itself was not treated as a movie, but rather as a part of the tv show’s world. But it helped make “The Days Dwindle Down” stand out from the other episodes. As much as I enjoyed watching this mystery upfold, I’ll be one of the first people to admit it wasn’t perfect. The biggest flaw was how it wasn’t interactive. Despite this, I think this is one of the best episodes I’ve ever seen!

Rating: 4.5 out of 5

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The Jarvis house was so large in scale, that it couldn’t fit in one frame. However, this doesn’t take away it’s grandiose nature, with both interior and exterior. Screenshot taken by me, Sally Silverscreen.

Have fun at the movies!

Sally Silverscreen

Take 3: Stepping Out Review

On By 18cinemalane10 Comments

Shelley Winters is an actress that I was familiar with before joining The Shelley Winters Blogathon. I’ve seen The Diary of Anne Frank, What’s the Matter with Helen?, and Lolita. But out of those three movies, her most memorable role is Helen from What’s the Matter with Helen?. Shelley was able to bring a very haunting element to that character, giving the audience a reason to feel uneasy toward her. As I searched through her IMDB filmography, I came across a film called Stepping Out. When I read the synopsis, it sounded like a very sweet story. Because of this, I choose the 1991 picture for my entry in the blogathon. When it comes to blogathons, I rarely have an opportunity to review musical films. In fact, the last movie musical I reviewed was Summer Magic for A Month Without the Code back in August. I also learned that Stepping Out was based on a pre-existing play. If I hadn’t watched a Youtube video where Gene Siskel and Robert Ebert talk about their least favorite films of 1991, I wouldn’t have discovered this valuable piece of information.

Stepping Out poster
Stepping Out poster created by Paramount Pictures. Image found at en.wikipedia.org/wiki/File:SteppingOutFilmPoster.jpg

Things I liked about the film:

The acting: As I said in my I Remember Mama review, every actor and actress is expected to bring the best of their acting talents in an ensemble cast. With confidence, I can say that all of the actors and actresses in Stepping Out did a fantastic job in their roles! The chemistry between all of the characters was strong, making their relationships feel believable. Andi, portrayed by Sheila McCarthy, and Geoffrey, portrayed by Bill Irwin, are a perfect example of this. During the duration of the film, Andi and Bill develop a friendship that survives outside of the studio setting. Their interactions give the audience the impression that they truly care about one another. Though her role in this movie was smaller than in other movies, Shelley Winters had a memorable on-screen appearance! Her performance was consistent and her sense of humor was subtle yet effective. I also liked hearing her singing performance when she shared, in one scene, that it was Irving Berlin’s birthday. Despite her limited amount of screen-time, Shelley still found a way to make a big impact in this story!

 

The film’s sweeter moments: Throughout the film, there were sweet, light-hearted moments that I enjoyed seeing. Anytime Mavis encouraged her students and tried to help them become the best dancers they could be, it was very refreshing to see a teacher figure with realistic goals. Even when there were obstacles within the dancing lessons, the students were able to find moments of positivity and humor. One example is when there was a mix-up with their costume hats. It was also nice to see the students trying to help each other outside of the studio environment. When Maxine offers Rose’s son a job, it shows the team dynamic that Mavis strives for during the movie. It also displays how the characters are able to put the needs of others before their own.

 

The dance numbers: Seeing the dance numbers in Stepping Out was a highlight! Since the story revolves around Mavis and her students, all of the dance numbers are performed by them. Despite this, they are all entertaining! Whether it was Mavis’ solo or the group numbers that appeared toward the end of the film, these dance numbers were well choregraphed. It also helps that a good percentage of this cast had Broadway experience prior to appearing in Stepping Out. Their experience and performance related knowledge worked in their favor, as it brought a sense of realism to the dance numbers.

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Masks of comedy and tragedy images created by freepik at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by freepik – http://www.freepik.com</a>. Image found at freepik.com.

What I didn’t like about the film:

Some characters receiving more character development than others: In Stepping Out, I found that some characters received more character development than others. Two examples are Andi and Mrs. Fraser. This story gave Andi a fully developed back-story. Meanwhile, Mrs. Fraser’s back-story resides in only two sentences. There are even some characters that don’t receive any character development. Dorothy, portrayed by Andrea Martin, is one of them. I understand that in an ensemble cast, it’s not easy providing a story and character development to every character. But, for me, it left more to be desired.

 

Some under-utilized actors: I noticed within this cast that some of the actors were under-utilized. One of these actors is Geza Kovacs, who I talked about in my editorial, “Why Jiggy Nye is Not an Effective Villian in Felicity: An American Girl Adventure”. In his role as a club manager named Jerry, he did a good job with the material he was given. However, he was only in the film for two scenes. I know that this particular character didn’t provide as much to the story as other characters did. But I find it frustrating when talented actors and actresses aren’t given an opportunity to fully utilize their talents.

 

A weaker second half: While watching this movie, I felt the second half was weaker than the first half. This is because some parts of the story were drawn out more than others. A good example is Andi’s story. As I stated before, Andi is a character that received a well-developed back-story. However, it was drawn-out longer than it should have been. To me, this issue is the result of the run-time and a script that wasn’t as tightly written. Even though the film’s second half contained two very entertaining dance numbers, the story itself could have been stronger from start to finish.

Shelley Winters Blogathon banner
The Shelley Winters Blogathon banner created by Erica from Poppity Talks Classic Film and Gill from Realweegiemidget Reviews. Image found at https://poppitytalksclassicfilm.wordpress.com/2019/07/30/announcing-the-shelley-winters-blogathon/.

My overall impression:

Stepping Out made me feel the exact same way that Moulin Rouge! did. The film had sweet moments and other factors that I liked. But the story as a whole could have been stronger. Some of the downfalls include select characters receiving well-written backstories, some under-utilized actors, and a script that’s not as tightly written as it could have been. However, these elements did not make this movie one of the worst I’ve seen this year. Even though this project had its flaws, the cast, as a whole, shines in the spotlight! This is especially true for Shelley Winters! When we think about actresses who’ve graced the silver screen, Shelley, to me, seems like one of the underrated ones. I don’t hear her name being added to the conversation as I do for other starlets, such as Audrey Hepburn and Bette Davis. But during my year of blogging, I learned that this is the reason why blogathons exist. These events provide a platform to talk about almost anything and everything, so it’s great to see blogathons take the time to give lesser known stars and other movie related topics their “standing ovation”.

 

Overall score: 6.5 out of 10

 

Have you seen any of Shelley’s films? If so, which one is your favorite? Share your thoughts in the comment section!

 

Have fun at the movies!

Sally Silverscreen

 

If you want to check out the video that I referenced in this review, type “SISKEL & EBERT: The Worst Movies of 1991” into Youtube’s search bar. Just to let you know, there is some language and suggestive topics discussed in this video. The segment about Stepping Out starts at 6:55 and ends at 8:33.

Word on the Street: Spider-Man to remain in MCU

On By 18cinemalane3 Comments

I first learned about this news on the blog, Annlyel Online. After that, other people starting talking about the story. Since I haven’t written a follow-up Word on the Street post in quite a while, I decided to discuss the latest news about the world’s neighborhood Marvel hero. Yesterday, on September 27th, both The Hollywood Reporter and Variety broke the news that Spider-Man was, indeed, staying put in the Marvel Cinematic Universe. Variety provided details about the new deal between Disney and Sony, stating that it “was signed late on Thursday night”. This new deal reveals that “Disney will receive roughly 25% of the profits”. This sounds like an increase from the 5% that I talked about in my Word on the Street story last month. Also revealed was how “Disney will retain its merchandising rights and will put up roughly a quarter of the financing”. In both articles from The Hollywood Reporter and Variety, a new Spider-Man movie was announced, with the project given a release date of July 16th, 2021. Because of this deal, Spider-Man is also scheduled for one additional movie within the MCU. I’m not as educated about the business-side of the movie industry as I am with other aspects of it. But, to me, I find myself feeling skeptical about how quickly this issue was resolved. Legitimizing business transactions, creating negotiations that are suitable for all parties involved, and greenlighting a movie takes time. However, all of these things were able to be taken care of in only a month.

Avengers Endgame Spider Man poster
Avengers: Endgame Spider Man poster created by The Walt Disney Company and Marvel Studios. © Disney•Pixar. All rights reserved. Marvel and Avengers Characters: ©2017 Marvel. Image found at https://www.marvel.com/articles/movies/mcu-heroes-unveil-avengers-endgame-character-posters

When this story was first published, I listened to several perspectives on this particular topic. One of them belonged to Kneon from Clownfish TV, who I mentioned in one of my Word on the Street stories last month. He brought up some points about the story that I find myself agreeing with. In his video, “Spider-Man STAYS in the MCU…for now”, Kneon says that he feels Spider-Man “has been relegated to sidekick status” during his existence in the MCU. This I agree with, as it seems like Peter Parker has become a sort of “little brother” to the other heroes. The character’s youth doesn’t help his case. In Avengers: Infinity War and Avengers: Endgame, Spider-Man was only given a limited amount of screen-time and was one of the heroes who became “dusted”. Kneon also expressed his concerns about Spider-Man’s future in the Marvel Cinematic Universe, stating that he feels the studio’s new phase “does not seem to be very, um, hospitable to Marvel’s old school heroes”. This is yet another point that I agree with. If you read my spoiler-zone review of Avengers: Endgame, you would know how disappointed I was when Bucky didn’t have anything new or interesting added to his story in preparation for the show, The Falcon & the Winter Soldier. In that review, I said that “In the scene where Steve gives Sam the shield, it almost seemed like Bucky was an afterthought, as he was standing in the distance and watching everything going on in front of him”. Since then, it seems like the studio sees Bucky and his fans as afterthoughts, as Marvel and Disney haven’t really made a strong effort to get the fans excited for the show. Something that I’ve been thinking about because of this story is how no new “faces” of the MCU have been officially established. From Phases 1 through 3, the three “faces” of the Marvel Cinematic Universe were Iron Man, Captain America, and Thor. In Avengers: Endgame and beyond, these new “faces” were not named. Some people have speculated that it could be Spider-Man. But, after hearing Disney and Sony’s new deal, that idea may be in question.

 

How do you feel about Spider-Man remaining in the MCU? Which movie do you think he’ll appear in? Let me know in the comment section!

 

Have fun at the movies!

Sally Silverscreen

 

If you want to check out the references I mentioned in this story, you can type “Spider-Man STAYS in the MCU…for now” in Youtube’s search bar or visit Clownfish TV’s official Youtube channel. You can also visit these links:

https://variety.com/2019/film/news/sony-marvel-tom-holland-spider-man-1203351489/

https://www.hollywoodreporter.com/heat-vision/spider-man-shocker-disney-sony-striking-deal-new-movie-1243777

Breaking News: Spider-Man is Back in the MCU!

Take 3: Caesar and Cleopatra Review + 140 Follower Thank You

On By 18cinemalane8 Comments

September has been a weird month for 18 Cinema Lane. The movies that I’ve reviewed have either been period films or films with a release date from the 1940s. In October, I will try to review movies that are outside of these cinematic realms. But for this blog follower dedication review, I have chosen a movie that was released in September of 1946. According to Wikipedia, Caesar and Cleopatra was released in September of 1946 in both the United States and the United Kingdom. So, this is the film I have chosen for this review. When it comes to this particular cinematic story, I have heard of the version starring Richard Burton and Elizabeth Taylor. But I had never heard of the 1946 film until I was researching movies for this specific post. The only film of Vivien Leigh’s that I’ve seen is Gone with the Wind. Despite the fact that I was not a fan of that movie, I wanted to give other movies starring Vivien a chance.

Caesar and Cleopatra poster
Caesar and Cleopatra created by Gabriel Pascal Productions, Eagle-Lion Films, and United Artists. Image found at https://www.imdb.com/title/tt0038390/?ref_=nv_sr_1?ref_=nv_sr_1.

Things I liked about the film:

The acting: The acting performances in Caesar and Cleopatra were pretty good! Claude Rains did a great job at bringing his character to life! Creating a character that appears both likable and unlikable is not an easy feat. By adopting a persona that was both charming and cunning, Claude was able to present Caesar as being likable enough to form relationships and alliances, but unlikable enough to show how self-centered this character truly is. Despite having a limited amount of screen-time, Apollodorus quickly became my favorite character in this movie! This is because Stewart Granger, the actor who portrayed this character, was so expressive and animated. Because of applying these elements to his performance, Stewart’s portrayal of Apollodorus was such a joy to watch.

 

The set designs: I really liked seeing the sets throughout this movie! They made this cinematic world feel larger-than-life and epic because of how grand they were in size. These sets appeared historically accurate, showing the level of detail that the film’s creative team applied to this part of the project. The craftsmanship of the sets was truly remarkable, with Cleopatra’s palace being a good example of this. All of these factors helped make the scenery feel immersive, like the audience can see themselves entering that world. The sets were so impressive, that they were visually appealing!

 

The costumes: Caesar and Cleopatra was presented in Technicolor, so the costumes were showcased in the way they were meant to be seen. These costumes were as stunning as the cinematic world where they resided in! The characters were clothed in bright colors, helping to make the costumes eye-catching and vibrant. Even outfits that were mostly white had a splash of color incorporated into them. The use of metals was also interesting, as it ended up complimenting the outfits. One example was Apollodorus’ blue outfit that had gold embroidery. There was one scene where Britannus explains to Cleopatra why he wears the color blue. This explanation provided some interesting insight that isn’t always found when it comes to a film’s costume designs.

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Illustration of Egyptian sphinx image created by Freepik at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by freepik – http://www.freepik.com</a>. Image found at freepik.com.

What I didn’t like about the film:

Cleopatra’s character development: When I think of Cleopatra, I think of a woman who has the skills and intelligence to lead a kingdom. While watching Vivien’s performance, there were times when she brought my idea of this historical figure to life. But there were also times when it felt like Vivien was trying to recreate her portrayal of Scarlett O’Hara. I recognize that she was making the best of the material she was given. However, I think the film’s creative team was attempting to take advantage of the popularity and success of Gone with the Wind. If this was their intention, the decision caused Cleopatra’s character development to come across as inconsistent.

 

The run-time: Caesar and Cleopatra is a film that is over two hours. Because of this, it caused the movie to feel longer than it might have been intended. The run-time also made some scenes feel drawn out for the sake of satisfying the film’s run-time. One example was when the Roman army met the King of Egypt. The conversations featured in this script also seemed longer than they needed to be. If Caesar and Cleopatra was under two hours, maybe an hour and fifty minutes, then the story would have moved at a faster pace.

 

Lots of dialogue-heavy scenes: In this movie, there’s a war taking place between Rome and other countries, including Egypt. However, the majority of the story focuses on the characters having conversations with one another. As I’ve already mentioned, these conversations felt longer than they needed to be. Because of the number of dialogue-heavy scenes, it created an imbalance between these scenes and any scenes that were action-heavy. The scenes that involved action were far and few between. Moments of suspense were also subdued. A perfect example of this is when Alexandria’s library was on fire. I understand that this film was created during the Breen Code era. But it doesn’t mean that project shouldn’t have action, especially if the story calls for it.

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Chariot statue from the Roman Empire image created by Michel Meynsbrughen at freeimages.com. “FreeImages.com/Michel Meynsbrughen.”

My overall impression:

As I mentioned in my review, Gone with the Wind became a very successful and popular movie. When this happens, other studios will try to recreate that success. But not every movie can recapture that accomplishment that the previous title had reached. Caesar and Cleopatra is a perfect example of this situation. While the movie was just ok, it feels like it tried to take advantage of Gone with the Wind’s popularity. From Vivien’s reenactment of Scarlett O’Hara to the story being more dialogue-heavy, this film wasn’t able to be its own project. Despite this, there were factors within the film that I liked. Some of them were the costumes and the sets. Because this is the only cinematic version of this story that I’ve seen, I don’t have anything to compare this project to. But I’m glad that I chose this film for my 140 blog follower dedication review. To each and every one of my followers, thank you for choosing to support 18 Cinema Lane! Your interest in this blog means a lot to me.

 

Overall score: 6 out of 10

 

What are your thoughts on this review? Do you like films that feature a historical approach to the story? Share your thoughts in the comment section!

 

Have fun at the movies!

Sally Silverscreen

Take 3: I Remember Mama Review

On By 18cinemalaneLeave a comment

Earlier this month, MovieRob, from the blog, MovieRob, invited me to join the monthly blogathon called Genre Grandeur. This is a monthly blogathon where different themes are chosen by various bloggers. Since I’ve never participated in Genre Grandeur before, I decided to give it a try. September’s theme, as chosen by Carl, from Listening to Film, is Ensemble Movies. Like with any blogathon, I take the time to pick a film that is the right option for me and that could bring something unique to the table of the blogathon. While searching through lists of the “best” ensemble movies, I discovered that I Remember Mama would be classified as an “ensemble film”. Because I already had this movie on my DVR, I figured this would be the perfect movie for me to review for Genre Grandeur! The goal of this blogathon is to share your favorite film from the chosen genre. This was my first time watching the movie, so my review is meant to determine if I Remember Mama could be a favorite ensemble project.

I Remember Mama poster
I Remember Mama poster created by RKO Radio Pictures. Image found at http://www.tcm.com/tcmdb/title/2237/I-Remember-Mama/#.

Things I liked about the film:

The acting: In any ensemble film, every actor and actress is expected to bring the best of their acting talents to the screen. That’s exactly what happened in I Remember Mama! In this film, all the cast members pulled off an excellent performance! Irene Dunne may be the lead actress, but she never overshadows anyone. Instead, her performance compliments the other performers. Irene was very expressive, sometimes relying on expressions more than actual dialogue. However, this aspect helped make the performance appear more emotional and realistic. Fans of The Waltons would recognize Ellen Corby as Esther “Grandma” Walton. Her portrayal of Aunt Trina highlights how versatile her acting abilities are. She effectively brings a personality that stands out from the other aunts in this cinematic family. Ellen also did a good job at carrying a Norwegian accent. Her performance is an example of how great an ensemble film can be, as it celebrates the cast as a whole instead of a select few.

 

The cinematography: I Remember Mama is a film that I was not expecting to see interesting cinematography in. But, as I watched the film, I was pleasantly surprised by how creative and visually appealing it really was. One common trick was how mirrors were used in a given scene. A perfect example is when Katrin begins to narrate her story. As the story starts, the mirror that is in Katrin’s room turns into a window as the audience enters the first flashback. Close-ups of people’s faces were also commonly used throughout this film. In one scene, Uncle Chris’ face is presented as a close-up when he tells his nieces to move out of his way. Because of the use of this cinematography trick, it reinforces the idea that this character is “scary”, a description that other family members gave him.

 

The messages and themes: Throughout this story, I found several messages and themes that resonated beyond the screen. Selflessness is just one example of an overarching theme that is relatable for a variety of audience members. Whether it’s Mama/Marta putting the needs of her family before her own or Uncle Chris looking after his grand-nephew while he’s in the hospital, it goes to show just how far this on-screen family will go to provide happiness and well-being for each other. The effects of one’s actions is a very important message in I Remember Mama. An example that really highlights this point is when the family has to deal with an injured cat. I’m not going to spoil this point of the film, in case you haven’t seen this movie yet. But all I’ll say is that it has a profound effect on one of the characters.

Painted Cup of Coffee with Natural Coffee Beans on a Chalkboard.
Coffee cup drawing image created by Valeria_aksakova at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background image created by Valeria_aksakova – Freepik.com</a>. <a href=’https://www.freepik.com/free-photo/painted-cup-of-coffee-with-natural-coffee-beans-on-a-chalkboard_1013935.htm’>Designed by Freepik</a>. Image found at freepik.com.

What I didn’t like about the film:

Some characters get under-utilized more than others: While having an ensemble cast does have its advantages, it also has its flaws. A flaw in I Remember Mama’s cast is how some characters are under-utilized more than others. Even though most of the story revolves around Mama and Aunt Trina gets her own subplot, Aunt Jenny and Aunt Sigrid aren’t given much to do within the story. Throughout the film, each daughter in the Hanson family shares a teachable moment with their mother. Nels, the only son in the family, is never shown sharing one of these moments. Arne, one of Uncle Chris’ grand-nephews, isn’t seen interacting with many of the characters. While he does spend time with this uncle, during a stay in the hospital, he doesn’t receive a subplot.

 

Having difficulty understanding the accents: In I Remember Mama, most of the older characters speak with a Norwegian accent. That’s because some of them immigrated to the United States prior to the events that take place in the movie. All of the actors did a great job at pulling off this accent! However, there were times when I found it difficult to understand what they were trying to say. This is because I’m not used to hearing Norwegian accents in film, so this flaw is my fault as a viewer.

Norway Map Touristic Symbols Isometric Poster
Norway’s past and present image created by Macrovector at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/poster”>Poster vector created by macrovector – http://www.freepik.com</a>. Image found at freepik.com.

My overall impression:

Before I share my final thoughts on I Remember Mama, I want to thank MovieRob for inviting me to join Genre Grandeur! When I first discovered genre grandeurs, I thought it was an overwhelmingly analytical process. But the more I learned about it, the more I realized how simple the process really was. I’m glad that I was able to provide my insight to the blogathon’s overarching topic. Speaking of this topic, I’m now going to talk about my thoughts on I Remember Mama! This film was better than I expected it to be! It’s a movie I’ve heard about before, but had never taken the time to see. Because of this Genre Grandeur, I was given a good excuse to finally watch it! I Remember Mama is a story that is engaging and relatable. What helps make this movie memorable is the cast and the cinematography. Since I found this movie to be so good, it definitely has become a favorite when it comes to “ensemble films”!

 

Overall score: 8 out of 10

 

Do you like genre guesstimations? Would you like me to participate in the next one? Please tell me in the comment section!

 

Have fun at the movies!

Sally Silverscreen

Take 3: The Sky’s the Limit Review + 135 Follower Thank You

On By 18cinemalaneLeave a comment

Thank you to all of my followers that helped 18 Cinema Lane reach this milestone! If it weren’t for you, this blog would have never reached 135 followers in only one year! So, like before, it’s time for another blog follower dedication review! This time, I’m going to talk about a film that was released in September of 1943. The Sky’s the Limit is the only film from this time period that I was able to rent, so that’s the film that I have chosen. I have a confession to make: up until this point, I have never seen a movie where Fred Astaire made an on-screen appearance. I am familiar with who Fred is as a performer, so it’s hard to believe that this is the first of his films that I’ve seen. Choosing this film seems fitting for this particular review.

The Sky's the Limit poster
The Sky’s the Limit poster created by RKO Radio Pictures. Image found at https://www.imdb.com/title/tt0036363/?ref_=nv_sr_1?ref_=nv_sr_1.

Things I liked about the film:

The acting: Like I mentioned in the introduction, this was the first film of Fred Astaire’s that I’ve seen. Despite this, I was very impressed with his performance! His presentation was very natural and believable, helping him bring a certain amount of charm to his character. Before watching The Sky’s the Limit, I had no idea that Fred could sing. His singing and dancing talents added uniqueness to his on-screen presence. Another performance that I was impressed by was Joan Leslie’s! Joan made her character well-rounded because of the various emotions and behaviors she adopted. I was also pleasantly surprised by her singing and dancing abilities! By incorporating those elements to her role, it made her performance that much more enjoyable!

 

The on-screen chemistry: Not only did Fred and Joan deliver good performances individually, they also presented good performances as an on-screen pair! Throughout the film, their characters appeared to truly like each other. Moments where Fred and Joan spent time together represent the sweeter parts of the movie. While the relationship of the characters gradually developed, this aspect was portrayed in a way that felt believable. The fact that Fred and Joan’s acting talents were similar worked in their favor. It made their performances complement one another!

 

The dance numbers: Whenever Fred Astaire is cast in a movie, it’s almost guaranteed that there will be, at least, one dance number. In The Sky’s the Limit, Fred performed one dance solo and two dance duets with Joan Leslie. These performances were very well choreographed, appearing flawless and captivating. All of those hours of practice seemed to pay off. Fred and Joan also looked like they having fun during their performances! When a dancer looks like they’re enjoying what they’re doing, it helps the enjoyment factor of the dance number!

Six designs of military airplane
Military plane image created by Brgfx at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by brgfx – http://www.freepik.com</a>. Image found at freepik.com.

What I didn’t like about the film:

The plot: You’re probably thinking, “If you didn’t like the plot, then why did you watch this movie?” The plot itself wasn’t bad, but it was too straight-forward for my liking. Before watching The Sky’s the Limit, I assumed that the protagonist would face one hilarious situation after another in order to resolve the conflict. However, no efforts were made to find a solution to the conflict. There were very few humorous moments in the film as well. This story took itself more seriously than I think it should have. It seemed to forget that “comedy” was a part of its identity.

 

The limited amount of dance numbers: When I found out that Fred Astaire would be starring in the film and that it was classified as a “musical”, I was expecting the movie to be filled with singing and dancing. In this hour and thirty-minute picture, there were only three dance numbers, with the first one appearing about forty minutes into the film. When a movie’s creative team hires an actor with more than one talent, they should help that actor use their talents to the fullest extent. This is especially true when the movie is labeled as a “musical”. If this doesn’t happen, it makes the actor appear under-utilized.

 

No consequences: As I said in the introduction, The Sky’s the Limit was released in 1943. This means that the film premiered during the Breen Code era. But when Fred Astaire’s character never faced any consequences for his actions and choices, I was shocked that the people behind the Breen Code would find this part of the story to be acceptable. One example is when Fred’s character is upset over a break-up. This causes him to destroy a restaurant’s bar by breaking drinking glasses and throwing a bar stool at the mirrored background. All that happens is Fred paying for his drink and acting as if nothing out of the ordinary had happened. Because he never owned up to his mistakes, I found it difficult to root for his character.

Dancing Pairs 2 Retro Cartoon Templates
Couple performing the waltz image created by Macrovector at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by macrovector – http://www.freepik.com</a>. Image found at freepik.com.

My overall impression:

I can’t believe that I hadn’t seen any of Fred Astaire’s movies until now! That’s a great thing about this blog, as it gives me an excuse to introduce myself to films that I might not have seen otherwise. Now that I’ve shared what I liked and didn’t like about the movie, I can now tell you my honest opinion about it. Personally, I found the film to be just ok. It’s definitely not one of the worst films I’ve seen this year. But, it’s not one of the best films I’ve seen this year either, as it hasn’t aged as well as other projects from that decade. Despite this, I’m still glad I gave this movie a chance! Something that I have said before was how you never know if a film will be good or bad unless you watch it. This is certainly the case for my experience seeing The Sky’s the Limit. Once again, thank you to all of my followers! If it weren’t for you, this review wouldn’t exist.

 

Overall score: 6.1 out of 10

 

What are your thoughts on my review? Are you looking forward to my next movie review? Please tell me in the comment section!

 

Have fun at the movies!

Sally Silverscreen

Siskel and Ebert at the Blogathon is here!

On By 18cinemalane14 Comments

Welcome to my very first blogathon, Siskel and Ebert at the Blogathon! For five days, blogathon participants will share a variety of topics related to Gene Siskel and/or Roger Ebert. All of those posts will be listed on this community post, separated by the categories that were established in the announcement post that was published back in May. Every participant worked very hard on their article, so be sure to check out as many posts as you’d like!

Siskel and Ebert Profile banner
Created by me, Sally Silverscreen, on Adobe Spark.

Collection of Participants

Category A

18 Cinema Lane — Roger Ebert’s Movie Yearbooks: How Relevant are They Anyway?

Silver Screenings — Roger Ebert’s Landmarks of 20th Century Cinema

The Movie Shelf Reviews — Siskel & Ebert Blogathon: The Critic — “Siskel & Ebert & Jay & Alice”

 

Category B

Critica Retro — Z (1969)

Realweegiemidget Reviews — FILMS…Prizzi’s Honor (1985)

Dubsism — Movies Everybody Loves That I Hate: Episode 5 — “Casino”

The Midnite Drive-In — Make Room for Hannibal

Taking Up Room — Go Ask Shirlee

Pure Entertainment Preservation Society — 52 Code Films — Week #38: “A Star is Born” from 1954; “The Brightest Star” for “Siskel and Ebert at the Blogathon”

Category D

MovieRob — The Siskel and Ebert At The Blogathon – Opportunity Knocks (1990)

The Siskel and Ebert At The Blogathon – About Last Night (1986)

The Siskel and Ebert At The Blogathon – Rookie of the Year (1993)

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Created by me, Sally Silverscreen, on Adobe Spark.

Roger Ebert’s Movie Yearbooks: How Relevant are They Anyway?

On By 18cinemalane5 Comments

Found in cardboard boxes at garage sales. Seen on shelves at a used book store. Appearing on Amazon’s and Ebay’s pages. Roger Ebert’s Movie Yearbooks, or sometimes known as Roger Ebert’s Movie Home/Video Companion, are records of years gone by. Showcasing movies that have already premiered, the books feature reviews and other movie related material from Roger Ebert himself. From the mid ‘80s to the early 2010s, these yearbooks provided an overview of any given movie year. They correlated with Roger and Gene Siskel’s show, At The Movies. But for the majority of the 2010s, a movie yearbook has not been published. Also, it seems like this concept is not as talked about as it once was. Is this idea that Roger created still relevant anymore? Does it still have a place in our current day and time? This editorial will explore the arguments for and against the revival of the movie yearbook. I will also share my thoughts on the argument as a whole. Since today is the first day of Siskel and Ebert at the Blogathon, let the blogathon begin!

Siskel and Ebert Movie Theater banner
Created by me, Sally Silverscreen, on Adobe Spark.

How Roger’s Movie Yearbooks Are Still Relevent

What do putting up Christmas trees, going trick or treating, and watching the ball drop in Times Square on New Year’s have in common? All of these activities are rooted in tradition. Because these activities have become cherished for many people, they are put into practice year after year. For approximately three decades, Roger Ebert shared his thoughts, opinions, and insight about movies and other subjects related to that topic through his movie yearbooks. Throughout his career and reputation, Roger gained the likeability and respect of his audience. Because he became a cherished figure in the movie community, the publication of his movie yearbooks turned into a tradition. What helped was having continuous segments on his shows with Gene Siskel, such as episodes dedicated to the best and worst movies in a given year. Because these segments took place every year, it helped the show’s audience associate tradition with Roger Ebert.

 

When I think of a “yearbook”, I picture a hardcover book given at the end of a school year, filled with pictures and short, but thorough explanations about those photos. As I conducted my research about Roger Ebert’s movie yearbooks, I discovered that they did not fit my definition of a “yearbook”. These books are a collection of reviews, interviews, and essays. Despite this, a traditional “yearbook” and Roger Ebert’s movie yearbooks do share one major similarity: they are a collection of records and reflections. A typical school yearbook focuses on the memories and events of a particular school year, reflecting on things such as various school subjects or graduating classes. This publication is usually more visual, where photos are used to tell the story and express ideas. In Roger Ebert’s case, he chose a more verbal approach when it came to the creation of his movie yearbooks. Since movies are a visual medium and images like movie stills and award winners can be found in other publications, pictures are not necessary for these particular books of Roger’s. All of these books discuss the movie year prior to the book’s release. For example, Roger Ebert’s movie yearbook from 1999 will talk about movies from 1998. Like a school yearbook, Roger’s movie yearbooks are a singular place where his collective story can be presented.

 

Another important component to a yearbook, whether it be a movie yearbook or one from school, is how it creates a shared experience amongst its audience. Because the subject of movies and school is so broad, readers are able to find something in the text that they can relate to. Within the movie yearbooks, Roger Ebert reviews a variety of films that were theatrically released. Different studios and genres are represented throughout the publication. Because of the yearbook’s broad range of movies, there’s a chance that the material is appealing to almost everyone. On his shows with Gene Siskel and in his movie yearbooks, Roger would talk about whether he liked or disliked a particular film. Since they talked about movies that were theatrically released, meaning they are easily accessible for the majority of their audience, a shared experience was allowed to talk place. Just one example is when both Gene and Siskel reviewed the movie, Jurassic Park. This is a movie that a large number of people have seen, so it feels like people watching or reading their review can join a shared conversation.

 

During the run of Siskel and Ebert’s television shows, as well as their careers, both Gene and Roger created a legacy that outlasted their lives. By reviewing films and making those thoughts accessible to their audience, who also happen to be potential movie-goers, they helped create the concept of movie related entertainment. Gene and Roger also showed that anyone could articulate their thoughts and opinions on film. This contribution has been appreciated by fans and members of the movie community, even encouraging them to become movie critics themselves. Roger’s movie yearbooks make up a part of his legacy, proving to be an essential piece of movie related literature. This concept of looking back on a given movie year through text is something that would continue to be beneficial to movie fans and fellow critics. It may even help make the movie community a better place.

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The cover of Roger Ebert’s first movie yearbook, Robert Ebert’s Movie Home Companion. Screenshot taken by me, Sally Silverscreen.

How Roger’s Movie Yearbooks Are Not Relevant Anymore

The last movie yearbook to be published was Roger Ebert’s Movie Yearbook 2013, which covers the movie years of 2010 to mid-2012. This is because Roger Ebert passed away on April 4th, 2013. Because of this, the movie community lost one of the most unique perspectives in film critic history. It also means that new movie related content from Roger can never be created, since the work would not come directly from him. Making a book called “Roger Ebert’s Movie Yearbook” and not having Roger involved in the project kind of defeats the purpose. Carrying on one of Roger’s long running book series without his consent also seems disrespectful. Sure, we could guess what Roger would think of movies released after April 2013. But it’s better to know than take a guess.

 

When Roger Ebert passed away six years ago, the world lost one of the faces of the movie community. The other face of the movie community, Gene Siskel, passed away twenty years ago. This means that the movie community currently does not have any one person that represents them. Gene and Roger earned their titles through their appearances on their television shows. Since their first show, Sneak Previews, premiered in 1975, there were not as many voices in the movie community as there are today. Because more people have joined this community, it would be difficult to choose a new representative. How would this person be chosen? What credentials would give this person the title? Who would nominate this person? So many factors would play a role when trying to make a decision like this. But the one question that should be asked is “Does the movie community really need a new representative”?

 

With the invention of the internet and social media, more people have been given the opportunity to share their thoughts on film. Blogs, websites, and even Youtube channels have provided platforms for more voices to be heard. These inventions helped the movie community grow, gaining more members now than when Gene and Roger first appeared on Sneak Previews. If the concept of the movie yearbook were to come back, it would be difficult to determine whose opinions get included. Do you choose the people who are associated with movie related companies or Youtubers with smaller channels? What about bloggers, would their thoughts be incorporated in the yearbook too? The website, rogerebert.com, is a place where multiple film critics can share their thoughts in one place. Would these people have a say in who’s cinematic thoughts are welcome? The very first movie yearbook from Roger Ebert, titled Roger Ebert’s Movie Home Companion, was released in 1985. Because the internet and social media weren’t big factors like they are today, the people associated with coordinating Roger Ebert’s movie yearbooks didn’t have to think about these things. But the landscape of the movie community has expanded in the 21st century.

 

Not only has the internet and social media provided a platform for more members of the movie community, they’ve also presented information in a shorter amount of time. Today, movie reviews are uploaded to the internet days, sometimes even weeks, before a movie’s premiere. Some quick searching will lead any movie fan to a wide variety of reviews and other movie related content from multiple authors. Our digital age has produced e-books, making it easier for readers to download many different stories. With these new elements that the movie community has gained, the idea of putting a movie yearbook to print comes into question. Why not just create an e-book version of this project? Wouldn’t it be easier to put all this content on a website? Another concern that needs to be addressed is whether people would pay for a collection of information when they can receive it for free in places that have internet access. When Roger Ebert’s movie yearbooks were published, most of his audience didn’t have the internet. They relied on his books, articles, and television programs when they wanted to hear what he had to say. Today there’s rogerebert.com, a website that provides reviews and movie related articles at a faster pace. They give this information straight to their audience, eliminating the process of company publishing and book binding.

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The cover of Roger Ebert’s last movie yearbook, Robert Ebert’s Movie Yearbook 2013. Screenshot taken by me, Sally Silverscreen.

My Thoughts on Roger Ebert’s Movie Yearbooks

There’s no denying that Roger Ebert played a huge role in the movie community’s foundation. His thoughts and opinions on film helped many people become film critics of their own, instead of simply accepting the role of movie consumer. Something that made this goal a reality was the publication of Roger Ebert’s movie yearbooks. These books allowed Roger’s audience to reminiscence over films they’ve seen or heard about, as well as reflect on the topics of the featured interviews and essays. After the publication of Roger Ebert’s Movie Yearbook 2013 and Roger Ebert’s death, the world stopped receiving the wise and knowledgeable insight that could have easily been taken for granted. The concept of the movie yearbook is an interesting one, beneficial for all members of the movie community. I, as a movie blogger and member of the movie community, would love to see this concept brought back into publication. However, before this idea could be executed again, several important questions would need to be answered. From selecting the people who would contribute to the yearbook to which medium would host the project, these factors could affect the return of Roger Ebert’s long running series. A series that became a tradition because of one cherished individual. But all traditions start somewhere, and if they’re worth it, should be put into practice for many years and generations to come.

 

Have fun at the blogathon!

Sally Silverscreen

 

If you would like to check out this editorial’s references, here are the links:

https://en.wikipedia.org/wiki/Roger_Ebert

https://www.goodreads.com/book/show/15010613-roger-ebert-s-movie-yearbook-2013?from_search=true

https://www.rogerebert.com/about

The Top 10 Worst Clichés from Hallmark Movies

On By 18cinemalane7 Comments

Last month, when I released my review of Swept from the Sea, it became my 250th published post! As I made that realization, I knew that I had to do something to commemorate the occasion. My most popular post on 18 Cinema Lane is my list of “The Top 10 Worst Hallmark Movies of All Time”, with 3,019 views and counting! Because this particular list brings readers and followers to my blog, I thought it would be fitting to create a similar post. While other people on the internet have talked about worst clichés from a variety of genres, I have never seen anyone discuss the worst clichés from Hallmark movies. That’s where this list comes in, as I talk about the clichés that I am not a fan of seeing in Hallmark’s films. These clichés are not the worst because the clichés themselves are bad, but because they are poorly or overly used. My list is in no way meant to be mean-spirited or negative. Also, this list will not include a Dishonorable Mentions section, unlike my aforementioned post. Before I begin, I just wanted to say that the clichés I’ve selected are based on my opinion.

Unhappy woman holding trash with disgusting smell
Taking out the trash photo created by Katemangostar at freepik.com. <a href=’https://www.freepik.com/free-photo/unhappy-woman-holding-trash-with-disgusting-smell_1305783.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/person”>Person image created by Katemangostar – Freepik.com</a>. Image found on freepik.com.
  1. The “we’re not together” cliché

This cliché has been found in movies from Hallmark Channel and Hallmark Movies & Mysteries. Either the male and female protagonist tells someone that they’re not together after someone assumes that they’re dating or they try to convince people that they’re not in a relationship. The way these characters share their relationship status comes across like they’re embarrassed by the possibility of being mistaken for a couple. A recent example of this is one of the latest mystery films, Witness to Murder: A Darrow Mystery. I’m not as bothered by this cliché as I am with the other ones on this list, hence the reason why it’s featured at number ten. But, whenever this cliché is included, it seems like the characters are making a big deal over nothing. In real life, I’m pretty sure that these individuals would just tell others about the state of their relationship in the calmest and honest way possible.

 

  1. The “moving out of the way for an oncoming vehicle” cliché

In most films on Hallmark Movies & Mysteries, the protagonist is in danger of getting hit by an oncoming vehicle. Fortunately, they are rescued just in time by being pushed out of the vehicle’s way. I understand that a moment like this is meant to create suspense for the story. But this cliché makes the protagonist look like they are willing to overlook simple and important safety precautions, such as looking both ways before crossing the street. Throughout the Aurora Teagarden series, the audience has come to know the titular character as an intelligent detective. But, when the “moving out of the way for an oncoming vehicle” cliché was incorporated into Aurora Teagarden Mysteries: An Inheritance to Die For, it makes it seem like her intelligence is being belittled to a certain extent.

 

  1. The “it’s not what you think” cliché

This cliché can usually be found in Hallmark Channel movies. Either the male or female protagonist will overhear pieces of a conversation or discover small tidbits of information, causing them to assume the worst. Instead of having a civil and respectful conversation with the other person, they will accuse that person of something they didn’t do and distance themselves from them. More often than not, the person who became upset has those feelings for ridiculous reasons. Fortunately, there are Hallmark movies that try to use this cliché in a way that complements the story. Two good examples are Easter Under Wraps and Rome in Love, where the people who discover the information have a legitimate reason to be upset. It’s also understandable how someone could get upset by the information that the movie presents. While I’m still not a fan of this cliché, I’m always appreciative when a cliché is not just put in a movie for the sake of being there.

 

  1. The “male and female protagonist always fall in love with each other” cliché

While I’m not bothered by this cliché like I am with others on the list, the idea of the male and female protagonist always falling in love with each other is kind of getting repetitive. As soon as you see the movie poster, you know how the relationship will turn out. One of my favorite Hallmark movies is This Magic Moment. In that film, the male protagonist falls in love with the main female supporting character, who happens to be his childhood best friend. Meanwhile, the female protagonist ends up becoming single at the end of the movie, a decision that she’s perfectly content with. I really wish that Hallmark would incorporate more surprises like that. Whether they tell a similar story to This Magic Moment or having the female protagonist fall in love with the main male supporting character, the story would be a breath of fresh air.

 

  1. The “protagonist’s ex showing up unannounced” cliché

A Hallmark Channel movie that adopts this cliché is The Story of Us. In this film, the protagonist’s ex, portrayed by Sam Page, showed up unannounced in her life. That aspect of the story worked, especially since Sam Page’s character was the male protagonist. This allowed both of the protagonists to reconnect as a couple as well as giving the audience an opportunity to watch their relationship grow. But the protagonist’s other ex, a dentist who moved away to Texas, also shows up unannounced. For me, this part of the film didn’t work because it didn’t feel like it went anywhere. It was a waste of a character and subplot, especially since we knew that the female protagonist, portrayed by Maggie Lawson, had no intention of pursuing a relationship with him. This is not the first Hallmark movie to feature this cliché and it’s highly likely not going to be the last. But I still feel that if the male or female protagonist has no plans to get back together with their ex, then the cliché is pointless.

Aurora Teagarden 11 poster
Aurora Teagarden Mysteries: An Inheritance to Die For poster created by Hallmark Movies & Mysteries and Crown Media Family Networks. Image found at https://www.crownmediapress.com/Shows/PRShowDetail?SiteID=143&FeedBoxID=845&NodeID=307&ShowType=&ShowTitle=Aurora+Teagarden+Mysteries+An+Inheritance+to+Die+For.
  1. The “planning a wedding in an unrealistic time period” cliché

Throughout my one year of blogging, this cliché is the one that I’ve probably talked about the most. As the cliché’s title indicates, it’s when an engaged couple decides to plan a wedding in an unrealistic time period, just so they won’t have to wait so long to get married. I find this cliché to not only be unrealistic, but also unhealthy. Weddings have the ability to cause stress and anxiety, yet every time this cliché is incorporated into a film, these aspects of wedding planning never get talked about. I’d like to see a Hallmark movie address how not everyone can plan such a large-scale event in six months or less. But, until then, Hallmark has created movies that effectively use this cliché in a way that fits within that cinematic world. Two examples are Wedding of Dreams and The Good Witch’s Gift, where the engaged couple has the money and resources that allow them to plan a wedding in a short amount of time. What also works in these movies’ favor is how this cliché is not the primary focus of the story. They include other interesting subplots to help move the plot along.

 

  1. The “business person is a jerk and/or out of touch” cliché

Whenever this cliché appears in a Hallmark film, I noticed that it’s mostly the businessmen who are dating the female protagonist that embody this cliché. Either they don’t act as nice as the male protagonist or they are “out of touch” with what’s important to the female protagonist. Because of this, the female protagonist ends up not falling in love with them. The reason why this cliché is placed higher than others on my list is how outdated it seems. After receiving films like the All of My Heart trilogy and Love Unleashed, the “business person is a jerk/out of touch” cliché doesn’t really feel like it has a purpose anymore. It also seems like this character’s sole purpose is to make the male protagonist look better in the eyes of the female protagonist. I’m surprised that Hallmark still adopts this cliché from time to time, especially since the Hallmark company is run by business people. I doubt that they would want to see their profession portrayed in a negative light.

 

  1. The “building condos is bad” cliché

Despite the many years that I’ve spent watching Hallmark movies, I’ve never understood the purpose of this cliché. In films that incorporate this cliché, the people in a small town are mad because a beloved piece of land or business will be replaced by a series of condos. The person planning on building the condos is either the film’s villain or just an antagonist. When this cliché was placed in Aurora Teagarden Mysteries: A Very Foul Play, it felt out of place. While it only played a minor role in the movie, it didn’t have any significance on the plot. Why would anyone be against the building of condos? Condos would create homes, which would also create a place for someone to belong and spend time with family. These ideas have been promoted by Hallmark for years, so having a cliché that contradicts that seems strange. I am waiting for the day when Hallmark makes a movie where the protagonist or a member of the protagonist’s family happily lives in a condo.

 

  1. The “royal movie” clichés

You’re probably wondering how I’m able to get away with putting so many clichés in one spot. Well, when it comes to Hallmark’s “royal” movies, these clichés usually come in a set. From the European prince with a British accent to the royal family not approving of the relationship between their family member and a “commoner”, these clichés make me discouraged by Hallmark’s lack of creativity. In an editorial called, “When Creativity is Squandered: The Wasted Potential on Hallmark’s Good Witch”, I talked about how these clichés prevented an episode of Good Witch from reaching its creative potential. The effects of these movies are now spilling into the television shows, holding the screenwriters back from exploring different methods of story-telling. My favorite movie from 2018 was Royally Ever After. One of the reasons is how this movie used as few “royal movie” clichés as possible. The creative team’s desire to move away from most of these clichés made the movie such a pleasant surprise for me. When Hallmark has created about twelve of these movies and about one or two of them actually try something new, that looks like a pretty bad track record.

 

  1. The “woman from the city coming back to her small hometown” cliché

Out of all the clichés that Hallmark includes in their movies, this is the one that is probably used the most. It’s as predictable as it sounds; a woman who currently lives in the city goes back to her small hometown for a variety of reasons. Once there, she realizes that she’d rather stay in her small hometown than go back to the city. I’m guessing that this cliché was once an important plot component before it received its current status. Whenever it’s included in a film, it makes that picture ten times more predictable. Even though this cliché can be found in a variety of Hallmark’s films, I’ve mostly seen it within their Christmas movies, with Christmas Wonderland being a recent example. I doubt that the “woman from the city coming back to her small hometown” cliché will go away anytime soon. But it would be nice if Hallmark explored other stories from different perspectives.

Royally Ever After poster
Royally Ever After poster created by Crown Media Family Networks and Hallmark Channel. Image found at https://www.crownmediapress.com/Shows/PRShowDetail?SiteID=142&FeedBoxID=845&NodeID=302&ShowType=&ShowTitle=Royally%20Ever%20After&IsSeries=False.

What are your thoughts on my list? Which cliché from a Hallmark movie is your least favorite? Share your thoughts in the comment section!

 

Have fun at the movies!

Sally Silverscreen

The Conclusion to My Bonus Double Feature

On By 18cinemalane2 Comments

Well, here we are. The conclusion of this double feature has finally arrived! At the start of this project, my goal was to figure out which adaptation of The Secret Garden was the best one. After reading the book, I watched and analyzed three of the most well-known film versions of this story. Now that we’re at the end of this double feature, it’s time for me to evaluate my results!

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I know I’m featuring the photo from the Double Feature Introduction post. But, I figured it would fit appropriately with the context of this post’s topic. Screenshot taken by me, Sally Silverscreen.
In the video, “Talking Anne with an E (Spoilers)”, Rachel and Amber, who are also hosts of Hallmarkies Podcast, share their thoughts on Netflix’s adaptation of Anne of Green Gables. During this discussion, Amber was saying how the film or television adaptation of this story is “not the end all, be all of Anne”. What she meant by this was that there is much more to the source material than just the first book, Anne of Green Gables. Other stories and characters from this series are just as important as the content that is considered when it comes to adaptations. Amber’s beliefs can also be applied to my double feature. No matter how many adaptations are made, they should never be a replacement for the source material. Each adaptation has a different creative team associated with it, so the beliefs about which elements are worth including in the movie are going to vary. With that said, I think that both the 1987 Hallmark Hall of Fame presentation and the 1993 version are the best adaptations of The Secret Garden! Both of these films have their fair share of similarities and differences. But I found them to be close enough to the book where I was satisfied. As a film, however, I would prefer the one from 1993 over the Hallmark Hall of Fame movie. While the 1987 production was good, it felt a little too drawn-out. I also think that Kate Maberly did a better job at portraying Mary than Gennie James did. Since I now found the answer to a question that I’ve wanted to find for years, I can honestly say that my mission is finally accomplished.

 

Have fun at the movies!

Sally Silverscreen

 

If you want to read the other posts from this double feature, go to these links:

An Introduction to My Bonus Double Feature

My Bonus Double Feature Has Arrived!

If you want to watch the video that I referenced in this post, type “Talking Anne with an E (Spoilers)” into Youtube’s search bar or visit the Youtube channel, Rachel’s Reviews.