Movie Review ~ Bad Moms

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The Facts
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Synopsis: When three overworked and under-appreciated moms are pushed beyond their limits, they ditch their conventional responsibilities for a jolt of long overdue freedom, fun, and comedic self-indulgence.

Stars: Mila Kunis, Kristen Bell, Kathryn Hahn, Jay Hernandez, Annie Mumolo, Jada Pinkett Smith, Christina Applegate, David Walton

Director: Jon Lucas, Scott Moore

Rated: R

Running Length: 101 minutes

TMMM Score: (3/10)

Review: Man, 2016 has just not been a great year for mom movies.  I’m barely over April’s otherworldly awful Mother’s Day (RIP Garry Marshall) and now Bad Moms has been plunked down on our cinematic doorstep like a heap of garbage.  Not only is the movie tone-deaf, stupid, tiring, and boring, but the way it squanders the talent of every single cast member is really something for the record books. Like the recent Ghostbusters reboot, here is a movie that doesn’t know what to do with its perfectly capable but script stymied stars.

The first hurdle to overcome is buying the fact that 32-year-old Mila Kunis (Ted) has a 12-year-old.  Yeah, I know mathematically it works but throughout the film when sharing scenes with her two awkward children (that look nothing like her in the slightest) she looks like their babysitter instead of their mom.

Kunis is Amy, a hard-working mother of two who manages to get everything done without any help from her slacker husband or her emotionally stunted (read: awful and spoiled) tykes.  In addition to her mom duties, her part-time job for a coffee company has her putting in 40+ hours a week.  So it’s easy to see why she’s just a tad stressed when Gwyneth, the head of the PTA (a disappointingly comatose Christina Applegate, Vacation) and her two cronies (Jada Pinkett Smith and Annie Mumalo, Joy) puts a target on her for bringing store-bought food to the school bake-sale.  Working with two other PTA-averse moms (Kristen Bell, The Boss and Kathryn Hahan, Bad Words), Amy decides to challenge Gwyneth in the upcoming PTA election.

That’s pretty much all she wrote folks, or in this case all he wrote or, more to the point, all they wrote because director/screenwriters Jon Lucas and Scott Moore don’t bother to do anything original or, I dunno, funny with this material.  Though Bell’s hapless simp is fleetingly amusing and Hahn gets in some dandy zingers clearly ad libbed on the spot, the bulk of the film is an astoundingly lame exercise in men writing about the secret life of moms.  For example, take Jada Pinkett Smith’s (Magic Mike XXL) uptight Stepford wife remarking after oogling dad-hunk Jay Hernandez (Suicide Squad), that she’d “let him put it in my”…well, I’ll let you fill in the location.  That’s literally one of Pinkett Smith’s first and only lines in the film…what an impression.

Make no mistake about it, I have no objection to a movie going crass in style.  Plenty others have shown they can do it well but here it’s so uncomfortable to witness you’ll be tempted to watch certain scenes through splayed fingers normally reserved for horror movies.  Hahn knows her way around raunchy material but even she looks like she’s totally over her dialogue comprised mostly of F-bombs and synonyms for the female anatomy.  Kunis is pleasant enough but seems out of place with Bell and Hahn…I would have loved to see her switch roles with Applegate because both actresses seem to be pining to be playing any other role than their own.

At 101 minutes the film could be a good 10 minutes shorter without the numerous slo-mo scenes of bad mom debauchery.  The first time it’s used to good effect in a late-night grocery store rampage but it soon wears out its welcome, as does the tendency to blast a pop song every three minutes to punctuate scene shifts.  It’s a sloppy movie that comes in well below the taste level I’d expect of this group of otherwise pleasant actors.

As much as I disliked this film on the whole, I have to say the end credits may just be the best I’ve seen all year.  Interviews with Kunis, Bell, Hahn, Pinkettt Smith, Applegate, and Mumalo sitting next to their real life moms provides more laughs and heart than the preceding 98 minutes.  What a shame Lucas and Moore didn’t start with these interviews and find some inspiration for the screen moms they created.  Maybe they would have been more than just male cartoon visions of what moms look and sound like.

Movie Review ~ Joy

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The Facts:

Synopsis: Joy is the story of a family across four generations and the woman who rises to become founder and matriarch of a powerful family business dynasty.

Stars: Jennifer Lawrence, Robert De Niro, Édgar Ramírez, Diane Ladd, Virginia Madsen, Isabella Rossellini, Elisabeth Röhm, Bradley Cooper

Director: David O. Russell

Rated: PG-13

Running Length: 124 minutes

Trailer Review: Here

TMMM Score: (6/10)

Review:  The good news to report about Joy is that it’s eons better than American Hustle, the last film that teamed up director David O. Russell with Jennifer Lawrence, Bradley Cooper, and Robert De Niro.  The bad news is that, like American Hustle, it’s largely a watch it and forget it kind of experience with only Lawrence’s performance lingering in the memory after the credits have rolled and the lights have come up.

Working with the same three actors for his last three pictures, one could argue that Russell is gathering a bit of a cinematic repertory of talent that he finds a way to plug into his films.  That’s an interesting concept and one I’m not totally opposed to, but the problem arises when the roles being offered to these stars don’t fit them, forcing them to be the square peg valiantly sucking in their guts to fit into Russell’s round hole.

Touted as being “loosely” based on the life of Joy Mangano (c’mon Russell, it’s either based on her life or it isn’t…you can’t ride the middle ground), Joy is all over the map when it comes to its narrative.  Much of the movie is recounted by Joy’s grandmother (a divine Diane Ladd)…except when it’s not.  Long stretches of the movie go by without the grandmother’s guiding voice so the narrative device becomes a tool to assist in transitions when simple filmmaking alone can’t do the trick.

Mangano’s life plays like an ‘80s sitcom: she’s a divorcee living in her mother’s house and her ex-husband (Édgar Ramírez, Point Break) lives in the basement.  Her mom (Virginia Madsen) hides away from the world, losing herself in her soap operas (hilariously recreated by the likes of Susan Lucci and Donna Mills) and letting her daughter do most of the household upkeep.  When Joy’s hot-tempered father (De Niro, Cape Fear) moves in after his longtime girlfriend kicks him out, the dynamic of the already erratic household is thrown into disarray.

The first hour or so of Joy is an awkward mix of family situational comedy and pallid drama.  Joy’s airline job is going nowhere and her attempts at promoting a new kind of mop of her own invention isn’t attracting any business.  When her dad starts dating a rich Italian widow (Isabella Rossellini, Enemy), Joy sees a potential investor for her creation and enters into a business deal with the woman, along with her father and half-sister (Elisabeth Röhm)

It isn’t until Joy winds up in the offices of upstart company QVC that the movie starts to take some kind of shape.  Meeting the brainchild behind the business (Bradley Cooper, American Sniper), she’s encouraged to go big with her idea, leading to her becoming the first “real” person to pitch a product on the network.  The scene where Joy first appears in front of the camera to demonstrate her Miracle Mop was the only time in the entire movie that I felt something magical was happening.  That’s largely due to Lawrence’s ability to shed the skins of her previous roles and totally disappear into this woman.  A relatively short scene, it’s stuck with me in the weeks since I first saw it.

Sadly, the film reaches its peak at that moment and the rest of the time is spent tracking Joy’s bumpy ride to the top, complete with epic failures and miracle reversals of fortune.  How much of it is actually accurate I couldn’t tell you but in the eyes of Russell and co-writer Annie Mumalo (This is 40) the journey is one of pure will and unflinching drive.

The main issue I had with the movie is also the one thing that makes it worth seeing…Jennifer Lawrence.  Though she’s entirely believable as a young mother looking to make ends meet, she becomes less successful as the years go by and her character has to move into the early stages of midlife.  By the time we see her in a power suit and French manicure, all plausibility has left the room and it comes across as a great actress playing dress-up for her favorite director.  I know Lawrence and Russell have a deep fondness for each other, but both need to see that there are limits to the roles they can work on together.

The story being told here is interesting and the actors are attention-grabbing in and of themselves.  Yet something kept everything from gelling in a way that made a lasting impression.  Russell is known for his quirky tone and unexpected performances…it’s why Silver Linings Playbook worked so damn well…but his two follow-up films haven’t been able to latch onto that same magic.

The Silver Bullet ~ Joy

Joy

Synopsis: Joy is the story of a family across four generations and the woman who rises to become founder and matriarch of a powerful family business dynasty.

Release Date:  December 25, 2015

Thoughts: Here’s the deal: I loved Silver Linings Playbook, the first film that brought together Jennifer Lawrence (X-Men: Days of Future Past), Bradley Cooper (Aloha), and director David O. Russell and I hated American Hustle, the film that reunited the three.  So my interest in Joy is marked with more than a little trepidation.  On the one hand, it places the best thing about Playbook and Hustle (Lawrence) front and center, telling the true life tale of the woman that invented the Miracle Mop.  On the other, I’d hate to see it drown in its own love of self which was what torpedoed Hustle for me.  It looks like a wild ride, one everyone in Hollywood is waiting for to see if Lawrence finds herself in the Oscar race yet again.