Ishtar.

Review #2248: Ishtar.

Cast: 

Dustin Hoffman (Chuck Clarke), Warren Beatty (Lyle Rogers), Isabelle Adjani (Shirra Assel), Charles Grodin (Jim Harrison), Jack Weston (Marty Freed), Carol Kane (Carol), Tess Harper (Willa Rogers), Aharon Ipalé (Emir Yousef), Fred Melamed (the Caid of Assari), Fuad Hageb (Abdul), David Margulies (Mr. Clarke) and Rose Arrick (Mrs. Clarke) Written and Directed by Elaine May.

Review: 

"Well, oddly enough when I made this movie, Ronald Reagan was president and there was Iran-Contra, we were supporting Iran and Iraq. We put in Saddam. We had taken out the Shah. Khomeini was there. I remember looking at Ronald Reagan and thinking—I’m qualifying this, this was just an idea, I didn’t really believe it—I thought, he’s from Hollywood, he’s a really nice man. It’s possible the only movie he’s ever seen about the Middle East are the road movies with Hope and Crosby, and I thought I would make that movie....If all of the people who hate Ishtar had seen it, I would be a rich woman today."

To put it mildly, Ishtar landed like a smelly fish being thrown onto a wedding party with audiences at large. There's plenty to say about Elaine May beyond just saying this is (currently) her last film as a feature director. The Philadelphia native was the child of actors that had their own Yiddish theater company. Not surprisingly, she got into acting, which eventually led her to meeting Mike Nichols. The two collaborated with each other in improvisational comedy that led to them doing their own standup team that ran for a few years (resulting in Grammy Awards) before they went their own ways. After a handful of years in acting and theatre work, May became a director with A New Leaf in 1971. The Heartbreak Kid (1972) is arguably her most noted film, but Micky and Nicky (1976) endured enough trouble that she did not have her cut of the film shown to the public until after the film already died in theaters. So, a decade later, May was essentially given a chance to direct again because of her help in writing on Heaven Can Wait (1978) and Reds (1981), which each had Warren Beatty as star and director. So yes, Beatty would produce the film (believing that May never had a good producer behind her) to go along with starring alongside Hoffman, who happened to have the help of May in (uncredited) work on Tootsie (1982) and eventually went along with being in the film despite his misgivings about the script (specifically when the film shifts from New York to Morocco for "these guys who think they're Simon and Garfunkel"). While the movie was a flop, May has continued to write (such as the 1996 Nichols comedy The Birdcage) and occasionally act into her nineties.

Maybe it works better for those more familiar with road movies. The film is basically a riff on the seven Road to... films that featured Bing Crosby, Bob Hope & Dorothy Lamour from 1940 to 1962. Those were comedies that were more about gags (and the occasional song) than plot (which could have differing professions from film to film such as sailor playboys on an island or inept vaudevillians dealing with evil hypnotists). Of course, maybe I'm not as familiar with Hoffman or Beatty in films. Maybe it just was a bit too subtle for its time. Maybe, maybe, maybe, nah, this movie just wasn't for me. Honestly, I tried to give the movie a fair shake, but really it just wasn't that funny. It lumbers in the time between the start and actually getting to Ishtar with songs that totally supposed to be funny by being terrible (as written by Paul Williams, who you would remember from stuff such as A Star Is Born [1976]). But all I see is a movie that drones and drones until the only thing that matters by the end of its time in the sand and bland is being thankful you aren't stuck watching it further. You can try to mine humor all one wants in uncomfortable neurotic weirdos, you just have to *be funny* about it. Strangely, it reminded me of Spies Like Us (released two years earlier as its own homage to the Road films, complete with having Hope in a cameo), which also wasn't exactly great in, well, the comedy (of course, it didn't stop others from making their own Road homages, as evidenced by The Road to El Dorado [2000]). Hoffman and Beatty have mostly stuck with the film in terms of defending it (for the most part) with the former calling it "a B-minus, C-plus comedy". And there are people that have raised the film up as not being just a noted flop that probably did find something worthwhile in its comedy involving second-rate musicians that fulfill themselves in their craft. The attempts at showing the "creative process" must be how people who don't care for watching movies about making movies feel.

The chemistry of the trio just isn't there to inspire anything on the level beyond looking at the sand and the ideas of trying to say something about the politics around the people thinking about the Middle East that just seems middling. Adjani bumbles around in a silly getup (get it? short hair?) that benefits no one in actual presence, and the only funny one really is Grodin, because he always seems on point for understated amusement (or Weston, who is seldom seen). Even at 107 minutes, it just feels hollow and middle-ground, never actually getting a rise by the time it goes to what surely seemed funny for its climax of essentially saying, yes, you too can sing all you want and be a name if you happen to have leverage. As a whole, the negative buzz around the film didn't lend it many favors back then, and maybe there really will be a push a few more years down the line to really rehabilitate the movie as a hidden gem, but I am not one of those people. Encounter at your own curiosity of a film that is not nearly what you might think it is, for better or worse.

Overall, I give it 6 out of 10 stars.

Next up: let's do a second chance for something that actually is good...Hudson Hawk.

Rain Man.

Review #1488: Rain Man.

Cast:
Dustin Hoffman (Raymond "Ray" Babbitt), Tom Cruise (Charles "Charlie" Babbitt), Valeria Golino (Susanna), Jerry Molen (Dr. Bruner), Ralph Seymour (Lenny), Michael D. Roberts (Vern), Bonnie Hunt (Sally Dibbs), Beth Grant (Mother at Farm House), and Lucinda Jenney (Iris) Directed by Barry Levinson (#383 - The Natural and #561 - Diner)

Review:
"On a day-to-day basis, he's like an actor who's making his first movie, with the enthusiasm and energy to want to make things happen and try things and experiment."

Winners can come out of nowhere when it comes to film, and it takes several individuals and some luck to really make something meaningful. Rain Man is no exception. Its director was Barry Levinson. He started his way in show business through writing for comedy and variety shows, most notably for The Carol Burnett Show. He soon moved to writing for films, collaborating with others on a few films such as Street Girls (1975), Silent Movie (1976), and ...And Justice for All (1979). He made his directorial debut in features with Diner (1982), which he drew from experiences living in Baltimore, Maryland. The film found first life with the script of Barry Morrow, who had met Kim Peek, a megasavant that had exceptional memory on a considerable scale but also social difficulties. He had previously known Bill Sackter, a mentally disabled man that had spent 44 years in a mental institution for those thought a "burden on society" before working his way through a variety of jobs that led to the two meeting and eventually becoming Sackter's guardian. Both of these individuals played inspiration in Morrow's writing, which later had screenplay contributions by Ronald Bass (who finished just before a writer's strike). Three directors came and went before Levinson signed on, which included Martin Brest, Steven Spielberg, and Sydney Pollack. Hoffman would study Peek along with spending time with autistic individuals (coincidentally, he had worked at the New York Psychiatric Institute as a young adult) and compiling notes. Oddly enough, he actually wanted to quit early into filming, believing the early rushes to be his worst work.

Sometimes a film really does just find the proper road to one's heart. It was a good film in a year with other good movies that found an audience (whether it's your favorite film of that particular year or not is up to you). What we have here is a road movie, but it is one with two enterprising stars spending time with each other with a meaningful and fairly-guided foundation that achieves a majority of what it aims as a story of bonding. I think we all know at one least one person like Raymond or Charlie in our lives (I used to have an autistic friend myself), and it is watching their journey of discovery that makes something more than what could have been exploited for elaboration or over-sentiment- in other words, it's a movie about people that would've either been an interesting consideration in a previous decade or overanalyzed in a later one (now we might just yammer on about how not all autistic people are savants, which misses the whole point of daring to make a film about someone like Raymond in the first place). We first start with Cruise, enterprising and alluringly arrogant in dealing with others that make an interesting performance for the yuppie crowd that grows with you. Hoffman, with a quieter voice and a bit of a shuffled walk that makes a worthwhile performance of someone in the spectrum of life different from what we know that we care to appreciate over the course of the film, being in his own world that we can understand about. The film is really just for these two, but Golino makes a fair impression regardless. What matters most to the film in holding up is how we feel about this particular duo and their journey together as human beings. For the most part, the film works in that regard, going from place to place with little moments of appreciation we feel about these folks. They go through different but similar pathways on the long winding road without becoming a lightning rod for stereotypes and ableist bleating. Probably the most effective sequence is the dance sequence, where they just share a moment as brothers shuffling their feet. By the time they finish their quiet but meaningful last words with each other, we might reflect ourselves on what it really means to know someone and maybe smile a bit.

Overall, I give it 8 out of 10 stars.

Straw Dogs.

Review #1439: Straw Dogs.

Cast: 
Dustin Hoffman (David Sumner), Susan George (Amy Sumner), Peter Vaughan (Tom Hedden), T. P. McKenna (Major John Scott), Del Henney (Charlie Venner), Jim Norton (Chris Cawsey), Donald Webster (Phil Riddaway), Ken Hutchison (Norman Scutt), Len Jones (Bobby Hedden), Sally Thomsett (Janice Hedden), Robert Keegan (Harry Ware), Peter Arne (John Niles), and David Warner (Henry Niles) Directed by Sam Peckinpah (#590 - Ride the High Country, #591 - The Wild Bunch, and #944 - Pat Garrett and Billy the Kid)

Review: 
"Well, killing a man isn't clean and quick and simple. It's bloody and awful. And maybe if enough people come to realize that shooting somebody isn't just fun and games, maybe we'll get somewhere."

Sam Peckinpah was a combative troubled man, but he sure was a director with potential that had the capability to make a film worth watching and discussing in all of its nitty gritty details, which is why he would soon earn the nickname "Bloody Sam". He spent his young years spending time with his brother and grandfather on a ranch doing activities such as trapping before serving in the US Marine Corps. He studied drama and history while in college in Fresno, California and became interested in directing by the time of graduation in 1948 and subsequent attendance of the University of Southern California for the next four years. He drifted between jobs such as stagehand and theater work before getting his first film credit as dialogue coach for Don Siegel's Riot in Cell Block 11 (1954). Over the next few years, he would work in television, ranging from Gunsmoke to The Rifleman. In 1960, he would create The Westerner, which he would write (or direct) for eight of its thirteen episode run while also serving as producer. He stated that he wanted to "create a truly realistic saddle bum of the west." While the show wasn't successful, he was given a chance to direct a feature film with star Brian Keith in The Deadly Companions (1961), which he was tasked only to direct and not be involved with writing. His next film in Ride the High Country (1962) received more attention. He was a combative man that could be prone to mean streaks and self-destructive behavior along with visual talent that served to make a career with plenty of ups and downs. Years of addiction and hard living led to his death in 1984 at the age of 59, but he managed to have snagged one final directing job with The Osterman Weekend, which bookended a career in which he had written and directed twelve of his fourteen films, with his notable films being The Wild Bunch (1969), Pat Garrett and Billy the Kid (1973; its restoration has received praise in recent years), Bring Me the Head of Alfredo Garcia (1974, which he said was the only film released the way he wanted), and Convoy (1978, his biggest audience success).

The film was very loosely based on the novel The Siege of Trencher's Farm by Gordon Williams. The only key thing that they share is the siege for the climax, where even the names and motivations of the main characters are different. Perhaps it isn't surprising as Peckinpah described it as a "rotten book" that he and David Zelag Goodman had to make something out of, where even the title was changed (straw dogs are ceremonial figures made out of straw used in ancient China usually thrown away after being used). This is a complicated film to think about. On the one hand, the climax does prove shocking and provocative in its edge of violence that make for a tremendously grimy twenty minutes. On the other hand, it is also one of those films where one really needs to have the patience to sit through such a visceral film of human nature when one is threatened within. This might be a shock, but the violence isn't the part I have a contention with when it comes to this film. Honestly The Wild Bunch seemed a bit more shocking in its power with depicting violence, and that was two years prior. Maybe it just depends on how many films one watches over the years, particularly when it comes to films about people pushed a bit too far. While there was a mix of conventional films of musicals and dramas, 1971 also featured provocative works such as The French Connection, Dirty Harry, and A Clockwork Orange. If you want to leave a film with feelings of discomfort, Straw Dogs sure seems prescient for that requirement, and perhaps it serves as a precursor to the following decades when it comes to grim films that might have their audience flinch first. Whether the film is trying to make a statement about violence or about physicality vs. intellect when faced with savagery or something about the nature of man within classes, I must admit that it is moderately successful in driving its viewer up the wall in curiosity at what they see and think whether they are gnashing their teeth or not.

Hoffman is an interesting choice for a pacifist-on-paper role, which proves to a fine turn with plenty of dedication that never seems inauthentic despite playing such a bully in sheep's clothing. Of all of these murky characters, it proves to be George that proves the warmest to follow with, where we care about her sincerity about who she is to herself and others, which results in pain alongside everybody else. Among the mix of European character actors that make up the rest of the film, Vaughan serves the best in displaying bitter edge within a hard life while McKenna makes for passive authority. It should prove no surprise that the film was given a short stick by critics in its time, with the original 117 minute version even having a few cuts made with regards to the rape scene (the second one was just as controversial). Perhaps it really isn't surprising that a remake would be done four decades later, which apparently seemed to emphasize the violence, which seems like a mistake. I can't say I really liked the film, but I understand it. While this is certainly a film with plenty of unsettling images that make for a gloomy little film, it does a fair job in building its tension within its beasts of human nature that make it worth a discussion in Peckinpah's library of work, for better or worse.

Overall, I give it 7 out of 10 stars.

Midnight Cowboy.

Review #1431: Midnight Cowboy.

Cast: 
Jon Voight (Joe Buck), Dustin Hoffman (Enrico Salvatore "Ratso" Rizzo), Sylvia Miles (Cass), John McGiver (Mr. O'Daniel), Brenda Vaccaro (Shirley), Barnard Hughes (Towny), Ruth White (Sally Buck), Jennifer Salt (Annie), and Gilman Rankin (Woodsy Niles) Directed by John Schlesinger.

Review: 
"I like making films that have question marks in them and are not all tied up beautifully with a pink ribbon, even though that's what the audience seems to want, and if you give it to them there's more assurance of commercial success, perhaps. But that's never the way I've seen life or reflected life in what I want to put on the screen."

If there was ever a time for a film to come out with a sense of grimy honesty and capable performances to make a tale of New York City from its lower edges come alive, Midnight Cowboy is definitely the film to do it. The changing of the times in what content could be touched upon or shown in films led at last to an film rating system by the Motion Picture Association of America in 1968, which had found initial ratings in G (General), M (Mature), R (Restricted), and X (no admissions under 16, adults-only). This film is known as the first and only X-rated film to have won an Academy Award for Best Picture, although it should be noted that it was later reclassified under the R-rating with no edits done. With that said, it should be no surprise to see such a provocative film come from British actor-turned-director (both feature and short films) John Schlesinger, who made his mark with urban dramas such as A Kind of Loving (1962), Billy Liar (1963), and Darling (1965). Accompanying him is Jon Voight, who had just two film credits before taking on this film and the effort to play a Texan (with the native New Yorker studying tapes of Texans incessantly) and Dustin Hoffman, a method actor that became part of a new generation of actors with versatile performances of varying vulnerability (he convinced the filmmakers to do the film by going out in a dirty coat and blending in with the surroundings). This was an adaptation of the 1965 novel of the same name from James Leo Herlihy. Responsible for the adaptation to film was Waldo Salt, who found a way to shift focus from the first half to the second half of the novel through flash-present sequences that would show the past of the main character through the eyes of a present scene as memories (shown either in color or in black-in-white). Despite anxiety over what people would think of it before release, Schlesinger ultimately felt that he made a film that while it couldn't be made today, captured a "mixture of desperation and humor which I found all along Forty-Second Street." Accordingly, both Salt and Schlesinger would win Academy Awards for their work on this film.

It is clear to see how one made such an interesting film that lurks in the cesspool with such tremendous acting from its main stars with a lasting power of sorts in detailing the underbelly of a city with misfits that make try to forge their way in the big city. There is a tender story worth viewing with Voight and Hoffman that reaches out to the loner in us, the person who yearns for more than what we see in the mirror or what we see in our soul. Hoffman achieves a grand scuzzy quality to his role, one that seeps into the underside without seeming comprised of any frills or distractions to make us believe anything other that we hear and see of him. He is the man perpetually on the outside of even marginal living, selling a character that you might bat an eye at if he was just "walkin' here". Voight matches in line with a curiosity and dandy nature as a would-be hustler that makes for a stirring performance in his pursuit to find somewhere (or someone) to belong with, and the scenes with Hoffman are the most dynamically compelling in interest, particularly when the film starts rolling down to the end of its 113 minute run-time. They may snipe at each other and they may both have plenty of trouble with a city like no other, but there is still a level of warmth beneath all the cold, which is still something to look back upon. A group of eccentrics make for an interesting supporting cast, each of whom get their own little scene with Voight, for which McGiver does the quirkiest and most interesting one as a gay religious fanatic. The film clicks more often than not as a gritty piece of work that breaks innocence of a dream into several little pieces to dissect. It is a tender and somber film to its fateful end, hustling about with no compromises but hard-life choices to make that leave its viewer with something to think about as a key piece of its time and a highlight for its stars that make it a daring and welcome film for those are mature enough for it.

Overall, I give it 9 out of 10 stars.

Movie Night: The Graduate.

Review #550: The Graduate.

Cast
Anne Bancroft (Mrs. Robinson), Dustin Hoffman (Benjamin Braddock), Katharine Ross (Elaine Robinson), William Daniels (Mr. Braddock), Murray Hamilton (Mr. Robinson), and Elizabeth Wilson (Mrs. Braddock) Directed by Mike Nichols (#175 - Who's Afraid of Virginia Woolf?)

Review
The Graduate is a cornerstone of the 1960's, a representation of the good and the bad of that era, a movie timelessly stuck in that era. But is the movie itself as great as some like to call it? Not quite. While it is a well made movie, the movie has one sad flaw that still would've happened with or without Hoffman: The flaw is Braddock himself. It is hard to care about this character, about what he does, or in this case, doesn't. Mrs. Robinson is both a timeless character and the best character to watch in the movie because her story is more interesting to watch, she's a character who basically represents someone who settled for someone she didn't love, and how it's too late for her, stuck in a loveless marriage, and that's where Ben enters the picture. He...is hard to care about due to his insecurities, the fact he stalks a girl all the way to college...and the fact his "I don't know what to do" is not exactly compelling as compared to Bancroft's character. Are the actors any good? Yea, they are. They are perfectly cast in their roles, and they work well together, even the supporting actors. The ending to the movie is both ironic yet poignant, with these two one-date characters together, not knowing of their future, and also stuck, much like Bancroft. Is this a classic? It could be argued that it is a classic, it certainly is entertaining at times (Especially with that soundtrack by Simon & Garfunkel), and the actors are good. It all depends on what you want, which I hope isn't plastics.

EDITORIAL: I'd like to note that this is the 550th review, which wasn't given the whole Countdown like other landmark reviews. You might be wondering why. I simply didn't care enough to want to do the whole Countdown stuff again, not after all I tried to do with the Metropolis (#500) stuff. I haven't had as much energy to care about doing countdowns, though my energy for this show is somewhat there, I feel like I'm doing this more for myself then for others, like I'm talking to an empty audience, and the lack of care for a Countdown was just my laziness. Am I taking a break from reviewing? No, though it wouldn't hurt to try and stop and think about why I do this show. It's not like I've been bogged down with little to review, I actually do have a backlog of films I want to watch and review, I just don't feel like these reviews have had much interest from anyone other then just me. Am I right, or am I just slightly delusional after watching a depressing film such as The Graduate? Is this just for my own enjoyment, or is do any of you readers enjoy these reviews? I'm not considering ending this show, I just feel that I wanted to ask this question, a little musing of mine. If you actually do read this and care, I'd like to see a comment or two, just so my musing proves incorrect.

Overall, I give it 8 out of 10 stars.

Movie Night: Kung Fu Panda 2.

Review #486: Kung Fu Panda 2.

Cast
Jack Black (Po), Angelina Jolie (Tigress), Gary Oldman (Lord Shen), David Cross (Crane), Jackie Chan (Monkey), Seth Rogen (Mantis), Lucy Liu (Viper), Dustin Hoffman (Master Shifu), James Hong (Mr. Ping), Michelle Yeoh (Soothsayer), Danny McBride (Wolf Boss), Dennis Haysbert (Master Storming Ox), Jean-Claude Van Damme (Master Croc), and Victor Garber (Master Thundering Rhino) Directed by Jennifer Yuh Nelson.

Review
Naturally, there is a sequel, given the first film's massive success. The film take a somewhat darker turn, but it works well to the film's advantage. Jack Black once again is effective, and he certainly leaves a good impression. The rest of the cast, especially Gary Oldman do good, and Oldman arguably does a better job portraying a villain then Ian McShane in the first film. The story is fine, and the animation is good, especially the animation during the flashback scenes. The action is good, and the comedy is nice, and this is a very effective film that leaves you yearn for more, especially with that ending, which is always welcome with me.

Overall, I give it 8 out of 10 stars.

Movie Night: Kung Fu Panda.

Review #485: Kung Fu Panda.

Cast
Jack Black (Po), Angelina Jolie (Tigress), Dustin Hoffman (Master Shifu), Ian McShane (Tai Lung), Jackie Chan (Monkey), Lucy Liu (Viper), Seth Rogen (Mantis), David Cross (Crane), Randall Duk Kim (Master Oogway), James Hong (Mr. Ping), Dan Fogler (Zeng), and Michael Clarke Duncan (Commander Vachir) Directed by John Stevenson and Mark Osborne.

Review
This may sound a bit odd, but this is the 16th DreamWorks Animation film I've reviewed, perhaps in some way that makes a whole deal of sense, because the films always had a hook to keep my interest, and kept me intrigued. Well, most of the films (I'm looking at you, Shark Tale and Shrek the Third), not all, but a very big majority always had a sense of fun with fine animation. This I'm happy to say, continues that trend. Jack Black does a very fine job, but he's not the only one, even Dustin Hoffman gets in on the laughs, with him and Black having very effective scenes that contribute to a very fun film. The animation is breathtakingly nice to look at, DreamWorks Animation, no matter what decade, always did seem to keep up and look excellent (with one notable exception, of course). The villain is excellent, though seeing him not as much as everyone else is fine with me. This is a fun film that goes along extremely well, is fun for everyone, and overall, it's just a grand hallmark for DreamWorks Animation, once again. Now then, what's next?

Overall, I give it 9 out of 10 stars.

Movie Night: Dick Tracy.

Review #205: Dick Tracy.

Cast
Warren Beatty (Dick Tracy), Al Pacino (Bigboy Caprice), Madonna (Breathless Mahoney), Glenne Headly (Tess Trueheart), Charlie Korsmo (The Kid/Dick Tracy Jr.), Seymour Cassel (Sam Catchun), Charles Durning (Chief Brandon), Dick Van Dyke (John Fletcher), Dustin Hoffman (Mumbles), and William Forsythe (Flattop) Directed by Warren Beatty.

Review
First off, this film is adapted from the comic strip (about a detective who fights crime against various villains) created by Chester Gould in 1931. This already had a few adaptations to films, radio, comic, TV, and novels. Anyway, this film has some similarities to Batman, which had been released a year earlier. Both have dark elements, riveting action, and even the same composer (Danny Elfman) The colors and style in this film are excellent, you see a limited but comic like feel invoked all around. The acting is good, but the fact there is an all star cast in the first place is more interesting. It has good makeup (that garnered an Oscar) The hype for the film might've been a bit much (again sounding familiar to Batman...). The story isn't as developed as Batman, but this film still has enough colors and fun to keep you interested and entertained. The sad thing is that after over 20 years, There have been 0 sequels (though Beatty has recently got the rights back, but he is 75, there's that obstacle), but either way, this is something that will be remembered for being a decent film.

Overall, I give it 8 out of 10 stars.

Movie Night: Tootsie.

Review #084: Tootsie.

Cast
Dustin Hoffman (Michael Dorsey / Dorothy Michaels / Emily Kimberly / Edward Kimberly), Jessica Lange (Julie Nichols / Nurse Charles), Teri Garr (Sandra "Sandy" Lester), Dabney Coleman (Ron Carlisle, The Soap Opera Director), Bill Murray (Jeff Slater, Michael's Room-Mate), Charles Durning (Leslie "Les" Nichols, Julie's Father), Sydney Pollack (George Fields, Michael's Talent Agent), George Gaynes (John Van-Horn / Dr. Medford Brewster), Geena Davis (April Page), Doris Belack (Rita Marshall), Lynne Thigpen (Jo), and Estelle Getty (The Middle Aged Woman) Directed by Sidney Pollack.

Review
This is one of those classic comedies that always leaves a imprint on you, if not a memory of it. This was my first time watching it, and I feel the film works well. The acting is good, so good for Jessica Lange that she won an Oscar for Best Supporting Actress, actually the whole thing got Oscar Nominations all aroung the board, winning just one. The film is balenced as it is a good film to watch all around.

Overall, I give it 8 out of 10 stars.