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Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Tag Archives: Glenn Plummer

Imperial Dreams (2017)

Like Poetic Justice, except not at all.

Fresh out of prison for a gun-assault charge, Bambi (John Boyega) is ready to make a change in his life. However, the life that he left behind isn’t willing to let him go. With his son’s mom (Keke Palmer), in prison, there’s no one really to care for him, which leaves Bambi up to the task. But taking care and keeping watch over your son is one thing – keeping a stable roof over him, is a whole other completely. After Bambi refuses to help his cousin go to Portland and beat out an assault charge, his uncle (Glenn Plummer) kicks him out of the house and on the street, where Bambi and his son will have to make due with what they’ve got. In this case, it’s the car, so they begin to start calling that home, while Bambi is out looking for a job. And since Bambi is an accomplished poet, he hopes that he’ll be able to make it big somehow through that. Little does Bambi know that the streets are unforgiving to you, no matter who, or what you are.

What a swimfan.

Imperial Dreams is a movie that’s clearly set in today’s day and age, very relevant, and deals with a lot of important issues of race, gender, class, wealth, and economics, that are very hot-button now, as we speak. So why does it feel like a product of the 90’s? It’s odd, because while the “hood” subgenre of film isn’t necessarily a dated one, but it still feels like something of yesteryear, when G-funk and Dr. Dre was blasted on every car-stereo. But now, many, many years later, Imperial Dreams, while feeling like a movie made, and taking place in, the 90’s, still hits the right emotional spots that it means to, mostly because the world hasn’t changed all that much.

Okay, maybe it has. But not in the important ways it’s supposed to, anyway.

See. with Imperial Dreams, co-writer/director Malik Vitthal gets across the notion that it doesn’t matter if you’ve changed your act and have decided to become a full-fledged, law abiding citizen – if you’re young, black, poor, and ever been convicted of a crime, then guess what? There’s no future for you. Sorry. It’s a shame and it’s a sad world that we live in, but of course, it is the world and it’s one that many young, black, and/or poor ex-felons face.

But it shouldn’t sound like Vitthal is preaching here, because rather than getting on his soapbox and letting the world know his thoughts and feelings on classicism and the way the government continuously lets down its black and impoverished citizens, he tells a story that may seem to descriptive and specific to really connect to anyone, but it still somehow does. Bambi’s story involves a lot of heartbreak, death, sadness and most importantly, anger, but it doesn’t ever seem like it wants to be about any of those things, as much as it wants to be about just not giving up and trying your absolute hardest to fulfill your dreams. Sounds cheesy, I know, but in the context of the movie, it works and it makes you feel more and more for Bambi altogether.

Which is also to say that John Boyega is quite good in the role. While we have yet to fully see his talents on-display yet in a movie dedicated to exposing them, Boyega shows that he’s got a certain presence to him that keeps him interesting, even when it seems like his character could lapse into convention. Through the whole movie, Bambi remains an angry, frustrated and sometimes tortured soul, but he keeps on trying and there’s something about that spirit of his that’s, at the very least, inspirational. But like I said, it’s not as corny as I make it sound and it helps that Boyega is here to help this character out when he needs it the most.

Unfortunately, Bambi’s about the only character here that isn’t a total and absolute cliché and it’s what brings the movie down a whole notch.

Yup. Sons look like fathers. Shocking.

See, while the movie is smart about knowing and understanding these conventions of a hood movie, the characters seem to prove otherwise. For instance, Bambi’s brother is a young kid who’s future’s looking bright and beautiful, with a college scholarship and close relationship to the church. But for some reason, the movie changes its tune about halfway through and decides to make him something of a hard-ass that doesn’t want these things anymore and is, all of a sudden, ready to ruin his life for one stupid act. Doesn’t make much sense and eventually, all of the flip-flopping around gets confusing.

Same goes with Bambi’s uncle, as played by Glenn Plummer (in an obvious nod to South Central), who seems like he was ripped out of Don’t Be a Menace, thrown in here, and never told that what he was working with here was meant to be serious. It helps that Plummer’s a talented actor, but even some of the lines he has to work with, don’t always connect and seem genuine. They just seem like notes and beats these kinds of movies are supposed to touch on and use and well, it’s a bit silly.

Still though, there’s a heart and soul here that, above all other flaws, still gets itself across.

Consensus: With a good performance from Boyega in the lead and a heartfelt message about overcoming all adversity, Imperial Dreams gets by on its heart, as much as it gets taken down by its sometimes conventional and formulaic script.

7 / 10

“Listen to me, son. No spoilers.”

Photos Courtesy of: Collider, High Snobiety, Slash Film

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Frankie and Johnny (1991)

It’s always those ex-cons who will steal your heart away. Literally.

After Johnny (Al Pacino) gets released from prison following a small, but still effective forgery charge, he quickly lands a job as a short-order cook at a New York diner, where he hopes to not just get his feet back on the ground, but go back to living the kind of fun and exciting life that he was living before he was sent to the clink. And he finds that with waitress Cora (Kate Nelligan), who he actually has something of a brief fling with; while she wants it and expects it to be more, little does Cora know that Johnny wants Cora’s friend and fellow waitress Frankie (Michelle Pfeiffer). Due to a long, checkered history with men, love and relationships, Frankie’s not all that interested in any of the advances Johnny makes towards her. While she finds him charming and handsome, she mostly wants to focus on herself now at this stage in her life, and not worry about somebody else tying her down. But eventually, Frankie gives in and decides to give Johnny a chance after all, which is when the sparks begin to fly and, all of a sudden, Frankie finds herself in something that she may not be able to get herself out of.

Oh, Al. So weird.

Oh, Al. So weird.

You wouldn’t know it or expect it, but Frankie and Johnny will sneak up on ya. While Garry Marshall has never been considered the most subtle director out there, he does something neat and interesting here with Frankie and Johnny in that he just allows for the story to tell itself out, piece by piece, little by little, so that by the end, we not only feel like we got the full story of these people, but also had a nice little slice of life that we may not have been able to get anywhere else. There’s a certain sense that Marshall enjoys these characters just as much as we do, so instead of rushing the plot and making everything seem like it has to go somewhere, Marshall takes a step back, relaxes and allows for everything to just speak for itself.

And also, for Al Pacino to ad-lib his rump off.

But hey, who’s better at ad-libbing and making stuff up on the fly than Al Pacino? Nobody, that’s who! While watching Pacino play around with this character of Johnny, you get the idea that he saw the script, saw it as another romantic-dramedy that women and their mothers will all go out to see, but also saw a sweet paycheck involved, so instead of passing on it, he decided to just have some fun. After all, when you’re as wildly talented as Al Pacino, who is going to tell you what you can and cannot do when it comes to how you approach a role?

Maybe Marshall had an issue with Pacino seeming as if he’s making everything up on the fly here, or maybe he didn’t, but either way, it kind of works. It not only adds a certain level of excitement and personality to this character, but makes him seem a lot odder than the script may have originally made him out to be. So rarely do we see rom-coms, or better yet, movies where one of the leads may not be perfectly sane; while they’re not clinically insane, or tearing at the walls, they’re still a bit loopy and seem as if they’re somewhere else completely. As Johnny, whether intentional or not, Pacino is able to make this seemingly ordinary character have a little bit of a personality that has him go far and beyond just another dude. He’s a bit off, he’s a bit cooky, but because he’s Al Pacino’s, he’s pretty damn fun and sincere, too.

That’s why, whenever he’s together with Michelle Pfeiffer’s Frankie, magic definitely occurs. Pfeiffer is a great actress and saying so isn’t all that ground-breaking, but it truly is great to see her take on a role that could have been so boring and uninteresting, if not given the right amount of tender love and care. Pfeiffer connects with some raw energy within Frankie, where we initially seem a quiet, reserved and seemingly tough girl who doesn’t care about those around her all that much, and doesn’t have any need for a man or love in her life. But as the movie rolls on, we get to know and see more of this character than ever before, and it’s these moments of sweet human emotion that really make Pfeiffer’s performance something great.

I'd take Hector as my boss any day of the week. Except for Fridays.

I’d take Hector as my boss any day of the week. Except for Fridays.

And together, yes, Pacino and Pfeiffer are quite solid.

I know I’m putting an awful lot of emphasis on the relationship and the performances between these two stars, but really, that’s all that Frankie and Johnny is – an opportunity to see a romantic-dramedy in which Al Pacino and Michelle Pfeiffer act alongside one another. It’s enjoyable because they’re both great actors and it works as a romance because Marshall pays more attention to the smaller details of these character’s lives and makes us actually feel like we know them, as well as those around them. Even a few brief scenes with the wonderful likes of Nathan Lane and Hector Elizondo, while small in hindsight, do so much in making us feel like we are one step closer to these characters and the world that they’ve created for themselves. Everyone is just a normal, everyday person and it’s believable, as well as charming and breezy.

Sure, the movie gets darker and a lot sadder by the end, but it still works because it goes to show you that you don’t need to force the central romance down our throats to make it work. Sometimes, all you need is a good cast, solid attention to detail, and a believable bit of chemistry that can make it all come together.

Take notes, present-day Garry Marshall.

Consensus: With two great performances from Pfeiffer and Pacino, Frankie and Johnny rises above the usual romantic-dramedy threshold and is a lot funnier, sweeter and emotional.

7.5 / 10

It's love. Without cocaine. Or gangs. Or Tony Montana.

It’s love. Without cocaine. Or gangs. Or Tony Montana.

Photos Courtesy of: Gareth Rhodes Film Reviews, Fanpop, Living Cinema