Movie Review ~ Stan & Ollie


The Facts
:

Synopsis: Laurel and Hardy, the world’s most famous comedy duo, attempt to reignite their film careers as they embark on what becomes their swan song – a grueling theatre tour of post-war Britain.

Stars: John C. Reilly, Steve Coogan, Shirley Henderson, Nina Arianda, Danny Huston

Director: Jon S. Baird

Rated: PG

Running Length: 97 minutes

TMMM Score: (6/10)

Review: With a total of 107 movies to their name, the comedy duo Laurel & Hardy were kings of comedy in the late 1920’s through the late 1940’s, the golden age of Hollywood.  While both men had established careers apart from one another, it was only when they were paired up at the famed Hal Roach film studio that their stardom went through the roof and they became the stuff of legend.  Though they maybe aren’t remembered by name quite as much as the other comedic acts at the time like Abbott and Costello or The Three Stooges, it only takes seeing an image of Stan Laurel and Oliver Hardy and you instantly are familiar with their style of slapstick comedy.

It’s surprising to me that the story of these two men has taken so long to get to the screen and now that it has it’s arrived as a small but sturdy film focusing on the later lives of the pair as they attempt a comeback tour through England in 1953.  Far from their youth and out of practice with each other, the trip proves to be eye-opening in examining their personal and professional relationship and forces them to confront long-held grudges they’ve never really gotten over.

With a career as long and varied as the one Laurel & Hardy had, screenwriter Jeff Pope (Philomena) was wise in focusing in on just one chapter in their story.  The film buff in me would have loved a longer tale that showed us the early Hollywood years that led up to this comeback tour which proved to be the last time the two men would work together, but perhaps that’s too tall an order for a feature film and might find itself better suited as a series down the road.  Pope traces the two men as their tour starts out small but gathers steam as the has-been stars get their spark back and begin to pack in theaters throughout Britain at a time when the country needed a laugh.

Casting was crucial in pulling off this piece and director Jon S. Baird tapped the right people for the job.  As Stan Laurel, Steve Coogan (Night at the Museum: Secret of the Tomb) has moments when he looks eerily like the gangly goofball with the flat face and slinking shoulders that stands in stark opposition to the somber fellow Laurel is painted as being offstage.  John C. Reilly (Holmes & Watson) plays his counterpart wearing a fat suit and convincingly real latex prosthetic to enhance his chin and jowls.  Though he doesn’t have the same ringer look that Coogan does, Reilly doesn’t let the make-up do the work for him (I’m talking to you Christian Bale in Vice) and brings the physicality of the rotund comedian out to strong results. The men are backed up by two ladies that often steal the movie right out from under them.  Nina Arianda (Florence Foster Jenkins) is a hoot as Laurel’s brash Russian wife that hogs the spotlight and then there’s Shirley Henderson (Anna Karenina) showing quiet grace playing Hardy’s concerned wife.

At 97 minutes, the movie feels longer than it actually is because it’s ever so slightly on the slow side.  I hate to say it but it even devolves into a rather dull film around the halfway mark when it starts to fall into a familiar biopic formula where conflict is introduced in preparation for a reconciliation right before the credits roll.  The period settings are spot-on and if you’re a fan of the duo then you’re in for some delightful moments where portions or their act are nicely recreated by Coogan and Reilly.  I just wish the movie exuded the same kind of spritely spirit Laurel & Hardy were able to convey in their work.

Movie Review ~ Glass

1


The Facts
:

Synopsis: Security guard David Dunn uses his supernatural abilities to track Kevin Wendell Crumb, a disturbed man who has twenty-four personalities.

Stars: Bruce Willis, Samuel L. Jackson, James McAvoy, Anya Taylor-Joy, Sarah Paulson, Spencer Treat Clark

Director: M. Night Shyamalan

Rated: PG-13

Running Length: 129 minutes

TMMM Score: (5/10)

Review: Seeing that this is a spoiler-free zone I have to say up front that while you’re not going to get much in the way of big reveals when it comes to Glass, it’s impossible to talk about the movie at all if you haven’t seen the two films that came before.  So if you haven’t seen Unbreakable or Split and don’t want to know key plot points, now is the time to turn back.

We good?

Okay…let’s get on with it.

Director M. Night Shyamalan is famous for his twist endings that send the movie and audience into a tail spin right at the conclusion, calling into question everything we’ve been watching for the previous two hours.  At first, it was a fun parlor game to predict what he had up his sleeve until it became evident that the twist was both the most interesting thing about the film and its downfall.  At the end of Split, Shyamalan lobbed a soft curveball at us before the credits but then laid out a whopper when he brought back Bruce Willis’ character from Unbreakable for a brief scene that suggested the two movies had a common bond that would become evident in a future film.

With the unexpected success of Split (not to mention 2015’s scary romp The Visit) Shyamalan was able to parlay his renewed good standing in Hollywood and his hefty profits into capping off a trilogy supposedly always at the back of his brain.  That seems like a convenient way to pat yourself on the back in hindsight but, okay, let’s just go with the claim that Shyamalan always imagined he’d make Unbreakable, Split, and Glass as a trio of films that suggested real life superheroes and mega villains truly did walk among us.

So where did we leave off with the previous films?  At the end of Unbreakable, David Dunn (Willis, Looper) had just accepted his developing powers that gave him the ability to see the bad deeds of others just by touch while his body proved to be indestructible.  At the same time, the mysterious Mr. Glass, (Samuel L. Jackson, The Hateful Eight) with a rare disorder that caused his bones to break with the greatest of ease, showed his true colors as a master criminal that orchestrated multiple catastrophic events in an attempt to find a man like Dunn to be his foe.  Shyamalan’s late-breaking twist gave way to an abysmal wrap-up via on screen text that did no one any favors.

The last time we saw Kevin, James McAvoy’s (Trance) disturbed Split character with dissociative identity disorder, he had transformed into a 24th personality known as The Beast.  Though his kidnapping victim Casey (Anya Taylor-Joy, The VVitch) managed to escape, The Beast has joined with the rest of the angrier personalities within Kevin to form The Horde and has continued to hunt young girls that are “unbroken”.  Casey’s recovery has included fleeing her abusive uncle, taking up residence with a foster family, and attending the same school as Dunn’s son, Joseph ( Spencer Treat Clark, The Town that Dreaded Sundown)

The movie begins with Dunn doling out vigilante justice as The Overseer in a very Michael Myers stalker-ish way, with his ultimate goal to hunt down The Horde and find a new batch of missing girls.  When Dunn and Kevin are captured by the ambitious Dr. Ellie Staple (Sarah Paulson, 12 Years a Slave) and brought to a remote psychiatric hospital for testing, Dunn is reunited with Mr. Glass who has been waiting over a decade to initiate the next phase in his evil plan.

I wish I could say that Glass is the amped-up finale it’s being advertised as but sadly it’s a movie that coasts instead of soars.  While the first third of the film creates some genuine interest as we see the characters from previous films crossover, it quickly devolves into talky repetition that feels indulgent on several levels.  Shyamalan can’t quite get out of his own way where the crux of the story lies, falling into a black hole of superhero mythos he can’t adequately tie into the action onscreen.  The finale especially feels like a convergence of so many ideas that aren’t fully realized, making it all feel slightly half-baked and not as satisfying as I would have liked.

While I genuinely like all the actors in the movie, I struggle with praise for any of them here.  McAvoy has the showiest role…and he knows it.  Wheras in Split the shifts between Kevin’s multiple personalities seemed like an actor exercising considerable control in delineation of characters, in Glass we get to meet even more of the alters and that starts to trip up McAvoy early on.  With Shyamalan giving him far too much room to play, the performance feels overworked.  You’d be forgiven if you forget Willis is in the movie, he’s so low-key Paulson practically has to shake him awake in their scenes and he outright disappears for a long stretch in the middle section of the film.  Jackson seems to having more fun than the rest, if only Mr. Glass had been giving any new defining character trait in this film…but it’s just a repeat of work that’s been done 19 years ago.

This is all too bad because the film is rather well made thanks to thoughtfully constructed scenes by cinematographer Mike Gioulakis.  Let it also never be said that Shyamalan doesn’t fill the screen with visual clues for audiences to pick up on along the way.  Even working with a smaller budget, Shyamalan has stretched his coin with intelligence, spending the money on important visual effects and keeping the location shooting to a minimum.  What they didn’t spend money on?  A decent make-up artist.  Poor Charlayne Woodard looks like she’s melting under her old-age make-up as Jackson’s mother – we never forget the actress is five years younger than that actor playing her son.

As with most Shyamalan films, the filmmaker rounds out Glass with a coda to send audiences out with more to think about and I have to give some credit to the director for finding a way to get us back in his corner right at the very end.  It’s not quite enough to make the movie a true success but it doesn’t shatter the film experience completely.