Brian Sieck
Brian has been working for Movies Unlimited since 1998. He has a Music & Video Business degree and has contributed writing to various forms of media. He also considers himself a pop-culture junkie, amateur poker player, and a hardcore sports fan.
Brian's Posts
Brian Sieck | Staff Notes
I’ve always been a believer in separating life from art, and naturally, from film in particular. The movies of Leni Riefenstahl should be preserved, no one should be made to feel guilty about seeing a film from Victor Salva or Roman Polanski, and folks such as Charlie Sheen, Tom Sizemore, and even Lindsay Lohan, no matter how troubled they may be, deserve to have careers as long as they can keep it together for production. Therefore, in light of recent events surrounding the off-camera persona of one Mel Gibson, I was extremely interested in checking out his much-maligned new film, co-starring and directed by Jodie Foster, The Beaver. A total box office flop, taking in under a million bucks (even though its release was limited, which also could have had something to do with Gibson’s actions), The Beaver was considered a complete mess of a movie upon its unveiling. But, I couldn’t escape the feeling that much of the reason for this negative response was the result of ill-timed events that had nothing to do with the movie itself (despite its wacky premise) and people’s dismissal of Gibson. The actual reviews were widely mixed, with even those who had positive things to say refusing to give it full praise. So, with the film recently coming to DVD, I decided to take a look at it, to determine whether the panning of The Beaver is fully deserved.
Brian Sieck | First Viewing Experiences
In 2008, the Library of Congress chose to preserve A Face In The Crowd in the U.S. National Film Registry for being “culturally, historically, or aesthetically significant.” Well, that could be the understatement of the 21st century. I couldn’t escape the feeling while watching controversial director Elia Kazan’s production— about a media sensation that goes haywire—for the first time, that the film was not only incredibly prophetic, but is still oddly relevant to this day, especially considering the current state of quasi-celebrity status in America and the overwhelming power of our media-driven culture. Who ever would have guessed that a 1957 Andy Griffith, in his film debut, as the lead would provide the ultimate cautionary tale about believing too fervently in one’s own hype? But maybe I’m once again getting a little ahead of myself.
Brian Sieck | Staff Notes
Yes, it’s summertime, which means it’s the season for the big blockbusters such as Captain America: The First Avenger, Rise of the Planet of the Apes, and the latest Harry Potter movie. They’re grandiose, popular movies that everyone knows about and that many people will see, just like all the big-budgeted, powerhouse films that have preceded them throughout the years from Gone With The Wind to Avatar. That’s all well and good. Many blockbusters are fine films. However, there are literally thousands of films produced every year that a lot of folks will never know about that are truly worthwhile productions. They don’t become popular for a variety of reasons, like a limited theatrical run (or none at all), a lack of support in the media, or just that there’s a modicum of bona fide big-name “movie stars” in the release. But, that doesn’t mean these films are necessarily any less vital or entertaining, regardless of what some people may believe. Therefore, from time to time I’m going to point out some films that may not be in the general public’s consciousness that were truly solid offerings. Here are a few under the radar gems that I discovered only recently:
Jason Marcewicz and Brian Sieck | Character Witness

Time again for you to be the judge. In this court of opinion Brian Sieck and Jason Marcewicz take turns defending two notable roles by Chevy Chase. Brian Sieck is character witness for Clark Griswold. Brian will detail exactly why Clark is more a fan favorite than Irwin “Fletch” Fletcher. Jason, of course, will have something to say about this in his character witness rebuttal. Please be seated. Arguments will now be heard…
Brian Sieck | Staff Notes
Remember in elementary school when everyone would come back from summer vacation, and the teacher would make all the students either write an essay or give an oral presentation on how they spent the previous months free of having to worry about long division, the capital of Pennsylvania, or the gross lunch lady with the mole on her face? Well, that’s kind of the idea here, but this little feature will be a preface, not an epilogue. That’s right, at the conclusion of business on July 15, yours truly will be on vacation for the first time in 2 1/2 years. What will I be doing? Will I travel to exotic locales such as the Caribbean? Miami? Las Vegas? Boise…? No, film fans, I will most likely be sitting on my couch catching up on my stories. What that means exactly is that I will be spending a majority of the week indulging in my favorite pastime: watching movies, of course.
Jason Marcewicz and Brian Sieck | Character Witness

This is the debut article of a new MovieFanFare feature we’re calling Character Witness. Here’s how it works: We pick an actor who is known for not one but two recurring characters—in this case Clint Eastwood’s portrayal of spaghetti western icon The Man With No Name and no-nonsense detective “Dirty” Harry Callahan. Then two MovieFanFare bloggers take sides, becoming character witnesses for each. The writers must deliver a sound defense, making capable & persuasive arguments about why each is more memorable/beloved/respected than the other. Readers can weigh in below in the comments section, judging which blogger was the better witness and ultimately rendering their own verdict about who they think is the better character. Court is in session.
Brian Sieck | First Viewing Experiences
OK, so this could be considered part two of my tribute to director Sidney Lumet. After skimming the late, great auteur’s filmography for my last piece, I realized that 1960’s The Fugitive Kind was one of his early films that I somehow missed. Being that it also featured the powerhouse performer known as Marlon Brando, I immediately decided that this was a problem that needed to be remedied. It’s an adaptation of yet another Tennessee Williams play, Orpheus Descending, which is actually a reworking of his previous failed stage production called Battle of Angels that was based on the Orpheus of Greek mythology. It just goes to show that all art stems from something else. Anyway, I know very little about the original play, but supposedly Lumet’s film version is incredibly different in a variety of ways (even though Williams also adapted the screenplay with Meade Roberts), and whether that’s a good thing or a bad thing is unknown to me. Nevertheless, the movie is certainly worth examining for several reasons, including the various stories surrounding the production and how Lumet felt about his end product, in addition to the material itself.
Brian Sieck | Staff Notes
Hello, film fans. We’re fresh off of the Memorial Day weekend, and yours truly needs to get something off of his chest. It has been almost two months now since the passing of industry luminary, Sidney Lumet, one of the greatest directors in the history of film… in my ever so humble opinion. He may not have had quite the reputation or track record of a Scorsese, or a Spielberg, but he was a true master and he deserves to be mentioned right up there with them. Unfortunately, with the exception of a fine tribute on the TCM channel, Lumet’s career and impressive body of work has not been met with much… well, fanfare, since his passing. Sure, it was reported amongst all the usual news outlets. A google of his name will result in the usual obits from The New York Times, etc. But, unless it’s just my imagination, there really hasn’t been a proper celebration of his films. It just bothers me that, even before his death, Lumet never really got the credit or press I felt he deserved. He would always be discussed as a brilliant filmmaker, don’t get me wrong, but it even took the Academy of Motion Picture Arts and Sciences until 2005 to award Lumet an honorary Oscar, which to their credit they appropriately called a “consolation prize for a lifetime of neglect.” Therefore, I’ve decided to pay my respects to the late grand auteur with this little piece. However, this time, instead of just running down a laundry list of his incredible work, I’m going to briefly discuss a pair of Lumet’s films—that I got acquainted with over the holiday weekend—that he did with one of his biggest collaborators, Sean Connery.
Brian Sieck | Staff Notes
Quite a while back, yours truly went on a mini-rant to tell Hollywood that it was officially enough with the remakes. After all, the particularly recent proliferation of constant re-workings and re-imaginings in the movie business is enough to drive one mad. This is especially true when any efforts to produce original and worthwhile films are eschewed in favor of this practice, which is what often seems to be the case. However, my desperate and futile pleas went obviously and unsurprisingly unheeded, as specifically evidenced by the news of upcoming releases such as Straw Dogs and Red Dawn, which really caused me to bristle. This got me to thinking: Are there any remakes that are indeed better than the original?
Brian Sieck | Staff Notes
Yes friends, it’s time for another list, and it’s bound to be a grand and verbose one at that. I’m just kidding… kind of. But I promise I’ll try to be as concise as possible. Anyway, writers write. At least, that’s what people tell me, and over the course of my tenure writing for this blog, I’ve done a fair amount of punching the keyboard. It has made me begin to relate to the whole mindset and process that professional and renowned wordsmiths go through. Furthermore, it got me to thinking about the various authors, both real and fictional, that have been covered in films. Therefore, I decided to dig through the archives to discover the best of the bunch and was a bit surprised to find an embarrassment of riches. It was actually incredibly difficult to whittle the list of worthwhile movies on the subject down to a manageable number, and I wasn’t even able to see every film that I wanted to experience! However, once I set this little project into motion I really didn’t want to abort the mission. So, it’s with that in mind that I would like to present ten of the best productions dealing with artists of the written word (maybe with a few extras thrown in).
Brian Sieck | First Viewing Experiences
Believe it or not, yours truly actually had this planned well before the unfortunate passing of Ms. Elizabeth Taylor. A co-worker strongly recommended the film to me a while back, and it sounded like something right up my alley, so after some time I finally got around to giving it a shot just a few days before Taylor passed. Better late than never, I suppose. It’s strange how coincidences like that occur sometimes. Anyway, as a young man, my only awareness of Taylor was that of the odd old lady who married a laughable amount of times and palled around with Michael Jackson. It wasn’t until later that I discovered and appreciated that she was a serious dramatic actress with an immense amount of talent. Additionally, any old film that was considered controversial for its day always intrigues me, and 1959’s Suddenly, Last Summer surely raised eyebrows, as subjects such as mental illness and taboo sexual practices were certainly areas where people just didn’t go back then. But, I’m getting ahead of myself. It’s sufficient to state that it’s about time I give the film its due.
Brian Sieck | Staff Notes
OK, so Charlie Sheen is supposedly a warlock with tiger blood and Adonis DNA… and a huge problem. Various media outlets have scandalously bombarded audiences with the popular actor’s recent travails over the past few weeks so much so that, unless one has been living out their days in solitary confinement, or sitting through endless perpetual viewings of Navy SEALs, it’s difficult to get away from. In fact, the coverage of these current events has reached such a point of saturation that for many this “news story” is pretty much over and will live on as nothing more than a curious tidbit of pop culture. However, it’s clear that Mr. Sheen has a dilemma on his hands. Exactly what that trouble is isn’t really for any non-medical-industry professional to say, even though it seems obvious to most that he’s at least suffering mentally. But, the question, at least for film buffs, becomes: Does it really matter?