Movie Review ~ kid 90

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The Facts
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Synopsis: As a teenager in the ‘90s, Soleil Moon Frye carried a video camera everywhere she went. She documented hundreds of hours of footage and then locked it away for over 20 years.

Stars: Soleil Moon Frye, David Arquette, Stephen Dorff, Balthazar Getty, Mark-Paul Gosselaar, Brian Austin Green, Tori Leonard, Heather McComb

Director: Soleil Moon Frye

Rated: NR

Running Length: 71 minutes

TMMM Score: (7/10)

Review:  Although I know now there was a lot going on the world I wasn’t aware of when I was a young child in the early ‘80s, it holds so many warm memories of growing up that I’d be lying if I said I wouldn’t want to go back and relive that time of my life.  Yes, the fashion was “truly outrageous”, the hairstyles were ghastly (or was that just mine?), and taste in general leaned toward gaudy excess but…what fun it all was!  Moving into the ‘90s is when reality started to set in for my sphere of consciousness and more self-awareness led to less freedom of expression.  You can see the shift in movies, television, and music as well, especially as the early part of the decade gave way to the mid ‘90s. When I tell you that I love the ‘80s it’s only because my current relationship with the ‘90s is…complicated.

A documentary like Hulu’s Kid 90 is both a blessing and a curse for someone like me who devoured pop culture throughout the ‘80s and ‘90s because it allows me to marvel at the stars I used to think were the “cool kids” but also feel the sting seeing the flip side to what all that adoration can do to someone so young.  While we’ve read many a cautionary tale of brilliant artists that have been taken too soon, either by accident, by their own purposeful hand, or through the overindulgence in substances that led to their eventual demise, it was always different when it was an actor your own age because it was often your first reality check with mortality.

Directed by and largely framed within the context of the life and career of child star Soleil Moon Frye who broke big early on with her starring role on Punky Brewster, it begins with Frye recounting her trajectory to fame and interspersing interviews she conducted with her old Hollywood friends throughout.  While it may have been obnoxious to her friends and family back then, Frye carried her video camera with her everywhere and has hundreds of hours of footage of the people she hung out with, and many of them happen to be stars we were used to seeing on hit television shows and blockbuster movies.  Seen at their unfiltered best and most at-ease worst, Frye isn’t out to shame anyone for their actions from years ago (mostly, more on that later) but more to just document what life was like off set when the professional cameras weren’t rolling.

What struck me most was the lack of female friends Frye has throughout the years.  While we see several during the course of the movie, Frye mostly hung around with guys and a number of the films divergent themes cover her romances that either soured or faded.  In the final act, she bravely recounts for the first time on camera an act of sexual violence toward her at an early age and the impact that had on her relationships for the ensuing years.  There’s also closure to be found in brief passages with some exes and hoped for loves that doesn’t feel stagey or forced in any way. More often than not, it feels as if everyone is happy to be walking down memory lane with a friendly companion, one that knows the pitfalls and won’t let them be hurt or led onto dangerous ground.

Once Frye gets to the segment showing just how many of these teen and young adults she knew and captured in her video memories didn’t live to see their thirtieth birthday, the sweetness of the nostalgia turns to sadness. What a shame that for whatever reason they didn’t make it and it’s no good now relitigating who is to blame because decades have passed.  That seems to be Frye’s take on the situation as well and where she finds herself as Punky Brewster begins a revival on television.  In the end, Kid 90 feels like a brisk, tightly edited way to put a few of the demons that have been circling her to rest, giving her control of the narrative as is her right, while at the same time honoring a generation that grew up in the public eye.

Movie Review ~ The Judge

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The Facts:

Synopsis: Big city lawyer Hank Palmer returns to his childhood home where his father, the town’s judge, is suspected of murder. Hank sets out to discover the truth and, along the way, reconnects with his estranged family.

Stars: Robert Downey Jr., Robert Duvall, Vera Farmiga, Vincent D’Onofrio, Jeremy Strong, Dax Shephard, Billy Bob Thornton, Ken Howard, Emma Tremblay, Balthazar Getty, David Krumholtz, Sarah Lancaster, Grace Zabriskie, Denis O’Hare

Director: David Dobkin

Rated: R

Running Length: 141 minutes

Trailer Review: Here

TMMM Score: (2/10)

Review: I can imagine the script for The Judge came together by accident.  Perhaps a pair of screenwriters were both walking around a local coffee shop with two scripts, one was about a big city lawyer defending his estranged father on a murder charge and the other was about a hot-shot attorney who retreats home after discovering his wife was cheating on him.  Maybe the two writers stumbled into one another, sending their loose-leafed scripts up in the air in a flurry of white paper and when they picked themselves up they couldn’t discern what pages belonged to which script so they decided to just combine them and sell the unified work as The Judge.

I mean, that’s one theory right?  And it’s a lot more acceptable than knowing full well and good that The Judge was no accident, made with purpose. No amount of revisionist history can save this film from being one of the worst motion pictures in my recent memory, squandering the talents of its able-bodied cast for 141 of the most ghastly minutes you’ll spend in a theater this year.

Reminding me a lot of the equally awkward This Is Where I Leave You, The Judge miraculously ups the unpleasantness factor by offering not one moment that feels genuine; at least This Is Where I Leave You had a few redeeming qualities about it …and was forty minutes shorter.

Seeing early trailers, I thought The Judge held some promise considering the pairing of two Roberts in a courtroom drama.  Robert Downey Jr. (Iron Man, Iron Man 2, Iron Man 3) seemed like the perfect actor to be matched with Oscar winner Robert Duvall (Tender Mercies, The Paper) and sparks were expected to fly.  I’m not sure any combination of actors could have risen above the tone-deaf script that veers schizophrenically from comedy to drama, never succeeding in either arena.

Returning to his all-American hometown after his mother’s unexpected death, legal eagle Hank (Downey Jr., looking disturbingly skeletal…where’s the full faced lad from Less than Zero?) clashes with his father (Duvall), a respected town judge.  As he reconnects with his brothers (Vincent D’Onofrio and Jeremy Strong) and an old flame (Vera Farmiga, The Conjuring, totally wasted though she’s miscast in the first place), he’s drawn deeper into the unresolved past with his dad after the judge is arrested on suspicion of murder and put on trail by a vengeful prosecutor (Billy Bob Thornton, wearing a Colonel Sanders wig and flashing his receding gum line every chance he gets).

Now I’m not going to deny that there’s a good idea somewhere in the plot and perhaps if director David Dobkin wasn’t so interested in wringing the ever loving emotional life out of every single scene then The Judge may have fared better overall, serving as a minor distraction for Downey Jr. between his Marvel superhero commitments.

Nearing the end of this folly, I turned to my companion and exclaimed “There are so many emotions in this movie!” and it’s the God’s honest truth.  No emotional well is left undrained by Dobkin and co. as they move us through self-serving scene after self-serving scene.  I began to wonder if the entire movie wasn’t some elaborate prank where every acting clip shown on the Oscars wasn’t recreated in one film. There are courtroom confessions, tender moments bizarrely played out in front of masses of people, tough good-byes, difficult hellos, old wounds reopened, and healing apologies delivered as one single tear rolls down a cheek.  It’s all simply too much.

It’s an ugly film too. When the backdrops aren’t horribly digitally inserted the film takes place in houses, bars, and courtrooms that have “natural” light coming through the windows by way of 1000 watt search lights, suggesting cinematographer Janusz Kaminski (Lincoln) has shot the movie like a Christopher Nolan directed episode of Judge Judy.

Culminating in a borderline offensive finale that wears its manipulation as a badge of honor, I can’t recommend enough steering clear of this mish-mash of a missed opportunity.

The Silver Bullet ~ The Judge

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Synopsis: Big city lawyer Hank Palmer returns to his childhood home where his father, the town’s judge, is suspected of murder. Hank sets out to discover the truth and, along the way, reconnects with his estranged family.

Release Date: October 10, 2014

Thoughts: Though I’ve seen the poster and the trailer for The Judge several times now, I still fight with telling myself that it’s not the latest adaptation of a John Grisham thriller…not that the preview doesn’t suggest something similar to Grisham’s sweaty courtroom dramas that were all the rage in the mid-90s. With a nicely meaty role, star Robert Downey Jr. (The Avengers) ,may have found a nice antidote to the Iron Man/Sherlock Holmes track he’s been on for the last few years. Paired with Oscar winner Robert Duvall (Tender Mercies), I’m looking forward to seeing the two generationally different actors work alongside one another.