The Shawshank Redemption.

Review #1506: The Shawshank Redemption.

Cast: 
Tim Robbins (Andy Dufresne), Morgan Freeman (Ellis Boyd "Red" Redding), Bob Gunton (Samuel Norton), William Sadler (Heywood), Clancy Brown (Byron Hadley), Gil Bellows (Tommy Williams), James Whitmore (Brooks Hatlen), and Mark Rolston (Bogs Diamond) Written and Directed by Frank Darabont.

Review: 
"I really don't think you can get tired of the kind of loving reaction that people have for this movie. It seems to have become its own ambassador to the world. It does mean something to people, and that's so fantastic to me. How many people have even one thing like that in their lives?"

Sometimes a film can have all the right pieces fall into all of the right places. Cast, writing, direction, and several other aspects are important to making something that one would hope will find an audience in some way, and The Shawshank Redemption is no different. The man responsible for doing the film in the way it is in script adaptation and direction is Frank Darabont, making his theatrical feature debut. He was inspired to venture into film through his youth after seeing THX 1138 (1971). He went from jobs at the Grauman's Egyptian Theatre to production assistant on small production films. He made his first attempt at filmmaking with the short film The Woman in the Room in 1983 (based on the short story of the same name written by Stephen King, who granted permission for him to make the film), which was later described by King "clearly the best of the short films made from my stuff." He dabbled in writing scripts alongside production work before getting a break with being asked to become a writing partner with Chuck Russell to try and develop a script remake of The Blob. After doing a script worthy enough to try and pitch to shop around, they were approached to quickly re-write a script together with Russell serving as director. That film, A Nightmare on Elm Street 3: Dream Warriors, proved a hit with audiences and helped them get further opportunities in films (such as the subsequent 1988 remake of The Blob). It was King's appreciation of what Darabont had done with his short story that helped in King giving him rights to do a film of one of his novellas (Rita Hayworth and Shawshank Redemption, written originally in 1982 as part of Different Seasons), although it would take a few years before Darabont would get around to developing the project (the script however took just a few weeks), with Castle Rock Entertainment serving to help in making the film. The founder of that company, Rob Reiner was deeply interested in doing the project for himself (with Tom Cruise in mind for one of the lead roles), but Darabont held firm to directing the film for himself.

I think most of us have a grasp on how well-regarded this film has become over the past 25 years. It wasn't the hugest hit with audiences at the time of release (this was the year of Forrest Gump and Pulp Fiction), but video release and numerous television showings have helped spread the film into a phenomenon that certainly seems suited for any curious audience viewer. It has an appeal that can seemingly reach any person that sees it because of how much of it can resonate with a viewer. We all have our moments when we need to seek out some sort of hope or redemption, whether through some sort of tough situation or for ourselves. Fear can keep us in line in many ways, but it is what we do with that challenge that makes life worth living to pull through. It has a great sense of sensitivity and movement that we can cling to almost immediately with the way it moves along with pace and sensibility to go along with some entertaining performances through its cast. Robbins moves with a shuffled pace that certainly stands different from the others in our main setting in how we observe him in his routine of endurance and capability to stroll through routine without fail. Freeman is our observer and eyes for the film (along with narrator) that we appreciate almost immediately in his terrific honesty and weary reflection that never wavers in conviction or in method. Gunton proves exquisite in his time handled on screen in perfectly controlled form of hypocrisy and manner of authority that sells his moments with Robbins or with others with no trouble at all. Sadler and Whitmore lend a supporting hand to the scope of the surroundings with charm and sobering stature, respectively (the latter's scene out of his prison at long last is likely one of the best poignant moments of the film). Brown rounds out the group with tremendous intimidating stature that is effective in driving the oppressive elements of the main setting down with ease. Beyond its great cast and well-done direction is a great look captured by Roger Deakins in cinematography to go with the sound stage sets (to go alongside exteriors of the real Ohio State Reformatory in Mansfield) that makes its message all the more useful and strong. With a 142 minute run-time that goes along like prose in building its atmosphere to all the points it desires with relentless honesty that makes its climax all the more rewarding. For some, it may very well be one of the greatest films ever, but it most definitely can be agreed by most to be one for the ages in hope and usefulness to view for themselves.

Overall, I give it 10 out of 10 stars.

Scary Stories to Tell in the Dark.

Review #1260: Scary Stories to Tell in the Dark.

Cast: 
Zoe Margaret Colletti (Stella Nicholls), Michael Garza (Ramón Morales), Gabriel Rush (Auggie Hilderbrandt), Dean Norris (Roy Nicholls), Gil Bellows (Chief Turner), Lorraine Toussaint (Lou Lou), Austin Zajur (Chuck Steinberg), Natalie Ganzhorn (Ruth), Austin Abrams (Tommy), and Kathleen Pollard (Sarah Bellows) Directed by André Øvredal.

Review: 
Horror can certainly be affecting for its audience, whether young or old. If anyone can speak to being scared, children certainly have plenty of stories to tell, even after they grow up. This is a film adaptation of the story collection of the same name (consisting of three short books that contained 25 stories each released from 1981 to 1991) that was written by Alvin Schwartz and illustrated by Stephen Gammell. I have a vague memory of checking out one of the books as a child, with one certain story lingering through involving a hook. One notable contributor to the film is Guillermo del Toro, who helped produced and co-write the story for the film, which has a modest budget of $25 million and a group of young leads that headline a film taking elements from the books into one cohesive narrative (as opposed to an anthology film). The final result is a decent movie, having a few scares that will work for its target audience of folks looking for some scares whether they know about these familiar monsters or not. Within its main group of castmates, there certainly isn't a weak link among the kids when it needs to focus on moments besides being scared; Colletti carries the film with charm and resourcefulness that makes her well to follow along with right from the get-go. Garza does just fine with following along without becoming too much of a quiet outlier to the film's detriment. Rush and Zajur contribute to a laugh or two as the other cogs in the film's young core (which also features brief moments for Toussaint and Abrams, albeit in the first half) that play just okay. On the whole, while the film doesn't have enough characters to really make for the possibility of a substantial bodycount, at least one does find themselves having a little investment into where the film will go without just waiting for a monster to show up. Of the ones that do appear, I would say that the Jangly Man is probably the most creepy, although there isn't a weak link in the weird bunch. The 1968 setting was a bit of a surprise, but at least it does utilize it to make a few timely scenes stick out just well without just seeming pointless. The narrative that is built around these monsters (and the stories that they come from) is decent, built on safe foundations without bordering on too many cliches to make things less than compelling, where the chills don't become withheld because of weak storytelling. It does set up some bait for the possibility of further tales, and I find that to be something I can look forward to without much hesitation. Whether accompanied with loyal friends or not, this will prove worthy for a look.

Overall, I give it 7 out of 10 stars.