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As I was watching, I thought oh no, this is a "bad-B" movie. I thought this because I'd never seen the main actor, Kevin Makely, before, the type of film seemed "cheap," and the plot was moving very VERY slowly. Then I started thinking this isn't a piece of inferior gunk, it's just different, probably best categorized as an independent film. Once I shifted perspective and took it for what it was, I began to appreciate the quality. The cast does have familiar faces in it (Bruce Dern, Mira Sorvino, Wes Studi, Jeff Fahey.) What it does do is slow the pacing down enough to give the actors time enough to show their stuff.

Now, on to the plot. The main character is a Pinkerton agent, Detective Matthias Breecher, who has been hired by a Senator to hunt down 3 Confederate war criminals from the Civil War. He is a man of great integrity and is committed to the task. The plot revolves around the search for the 3 and his adventures along the way.

I've got 4 main sources for movies now, other than going to a theater: 1) netflix streaming; 2) netflix discs; 3) the library; and 4) Family Video. I try to obtain through free sources first. This was one I requisitioned from #2. I think I found it through looking for Armie Hammer movies. The plot sounded intriguing, but there was some apprehension that the subject matter would be a little dry. Final Portrait, although certainly not an action movie or thriller, had plenty happening with the talented ensemble.

Where do I begin with what shaped up to be a first class film?

First and foremost, is there any denying that Armie Hammer (playing James Lord, a real life art-lover and model for the 'final portrait' painted by Alberto Giacometti) has the perfect male form? Armie plays a relatively minor role, but he is the most active figure in it; mostly coming and going from the studio, where he sits immobile for varying lengths of time, over a number of days, as a model for the master sculptor (and painter.) That said, as the inveterate voyeur that I am, simply watching him move from place to place, as well as the closeup camera shots of that beautiful visage, is a joy to behold. Character James Lord is a rather shallow young man, irritating in that he feels his time is more precious than it is and ends up putting the master under pressure to get the portrait finished.

Next is how Geoffrey Rush channels Alberto Giacometti. I'm not sure if he watched film clips, read biographies, interviewed those who knew Master Giacometti well, or if he pulled him back from the great beyond, but watching Rush, in every aspect of his mannerisms, it was difficult to believe it was acting. Giacometti was an odd duck, an artistic genius who was driven by demons of what may have been a tortured childhood (haven't read much on him up to now) and appears to be in a dissociated state. This state pervades his every waking moment to some degree. At the same time, the wise and alert artist/sage, is lurking in his consciousness, ready to jump out at often perfect moments. Giacometti is driven to do what he does. There are few things in his world that allow the torturers to put down their tools.

The relationship between artist and model is a complex one; watching it unfold is enjoyable. Although artist has the upper hand - the painting won't be created without him! - he is not irresponsible in holding his model captive. I don't want to give away any more about it than that.

The studio in Paris (really filmed in London, but altered with CGI to look like Paris -from imdb) is another star of the show. Most of the film takes place there and it's a work of art in and of itself. The studio is part of a lovely broken down compound where the artist, his wife, and his brother all live.

The supporting cast of his wife, Annette (played by Sylvie Testud); brother, Diego (played by Tony Shalhoub); and girlfriend, Caroline (played by Clemence Poesy) exist within the confines of the compound for the most part and weave a believable world within it. Giacometti is the sun - albeit often a sun in eclipse - upon which they all revolve.

Reading the above, you may get a feeling that Final Portrait is gloom and doom. It isn't. It's very easy to empathize with each of the characters. You will feel Lord's growing anxiety, Giacometti's fatalism, Annette's resignation, Diego's acceptance, and Caroline's awareness of her role in the older artist's life. Many times the players are able to laugh at life and many times the viewer will laugh at the players even when they aren't.

Stanley Tucci directs (his first movie where he directs without acting in it, per imdb).

Up until last night, I'd never heard of Rocco Siffredi. Maybe that's because I don't watch pornography, Italian porn in particular. Last night, after re-watching the final episode of the 3rd season of Peaky Blinders, then deciding not to begin season 4, I browsed netflix for something different. It took at least 15 minutes of indecisiveness before coming across Rocco. The "jacket" is him, standing nude, somewhat like the photo above, but full body, excluding genitalia. Reading the blurb, it says Rocco is, "showcased in this documentary that shadows the legendary performer during his final year in front of the camera." I thought what the heck, this is New Year's Eve, I'm having a few drinks instead of going out and risking car accidents and drunk driving charges, and there should be a fun element to the evening - how do these sound for rationalizations to give myself permission to watch it - so I clicked "play".

The film globe-trots between porn sets in Italy and in parts of California. It is very matter-of-fact about the porn industry, where it appears to want to portray all of the females as happy, well-adjusted, and just jumping for the chance to be pounded in every orifice, slapped around, etc. Likewise the porn producers are all gentlemen, would never think of sampling the merchandise, and have noble ideals when it comes to plot lines, etc. That's a conversation for another day. To watch Rocco, those thoughts must be suspended, like when you watch a Star Wars movie.

The star of the film, and not just because he's hung like a horse, is Rocco. It must be stated here that there are literally only 2 or 3 shots of Rocco's substantial package. Along with globe-trotting porn sets, it intersperses business with the human being behind the legend. Rocco the husband, the father, the son. His remembrances from childhood that certainly contributed to the career line he chose for himself and has continued until recently. What is impossible to ignore is the humanity behind the appendage. Rocco's personality is what makes him the star that he is.

The latter part of the documentary focuses on Rocco's decision to stop making porn movies and who he wants starring with him in his final film. Kelly Stafford, from England, is the chosen one. There's a very interesting discussion that takes place on the road trip with Rocco, his cousin, Gabriele Galeta, who is Rocco's cousin/best friend/director/cameraman, and Kelly on the way to the studio about dominance, submissiveness, etc.

There isn't a lot of nudity in Rocco. There are tastefully edited scenes around the porn itself, and I don't remember much, if any, swearing. You might say why watch a movie about a porn star if none of these things are in it? Why? Because Rocco is in almost every shot and Rocco is a God. Or, if not a God, at minimum he's a fallen angel.