Movie Review ~ Superintelligence

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The Facts
:

Synopsis: When an all-powerful Superintelligence chooses to study the most average person on Earth, the fate of the world hangs in the balance.

Stars: Melissa McCarthy, James Corden, Bobby Cannavale, Brian Tyree Henry, Jean Smart, Michael Beach, Karan Soni

Director: Ben Falcone

Rated: PG

Running Length: 106 minutes

TMMM Score: (6.5/10)

Review:  On a late-night last week it was getting close to one in the morning and the internet went out at my home and you’d think the stone age had started anew.  Nothing worked.  I couldn’t watch TV, I couldn’t access the internet and instead of, y’know sleeping, I spent about thirty agitated minutes trying to figure out what the problem was because I just couldn’t go on not knowing if I’d once again be hooked up to the net.  It’s tiny incidents like this and full-scale freak-outs such as when YouTube or another major website goes down that shows you just how much the public is relying on computers and artificial intelligence as well as how much of our information we put in the hands of non-human entities.  I’m not easily sucked into doomsday conspiracies but that’s something to be worried about should anything happen and we lose all of that data in some catastrophic event.

Thankfully, I’m not reviewing some Gerard Butler-esque movie where just such an event occurs but Superintelligence, a genial comedy starring Melissa McCarthy arriving on HBO Max just in time for Thanksgiving.  The film, written by Steve Mallory (Life of the Party) and directed by McCarthy’s husband Ben Falcone (Office Christmas Party) who also has a small supporting role, is another theatrical casualty of the pandemic now making its debut on a streaming service.  I actually only heard about its existence a few weeks back, it wasn’t even on my radar until the premiere on HBO Max was announced but then again, marketing on films sort of stopped all together back in April.  While several titles bypassing a run in cinemas would certainly play better on the big screen, this is one I think might have actually benefitted from this type of modified rollout.

Former corporate bigwig Carol Peters (McCarthy, The Boss) left her high paying job that felt unfulfilling in favor of work with non-profits that she could do some good for.  At the start of the film, she seems a bit aimless and unsure of what to do next, a state of affairs that confuses her close friend Dennis (Brian Tyree Henry, If Beale Street Could Talk) and perplexes a former co-worker (Jessica St. Clair, Like a Boss) who offers Carol a job at a brainless dating corporation.  Things take a strange turn when Carol wakes to the voice of James Corden (Into the Woods) speaking to her through a variety of different devices within her home and self-identifying as an artificial intelligence who prefers to be referred to as Superintelligence.  Controlling not just her electronics but stoplights, ATMs, cars, and ambient sound in restaurants, Superintelligence has chosen Carol as a case study because it has deemed her the most average person in the world.

From its short scope, Superintelligence has seen the destruction the world has caused and thinks there is no hope for humanity and wants Carol to prove it wrong.  Speaking in the voice of James Corden (and occasionally appearing as him in TV monitors) is meant as a way to come across as non-threatening and the AI even hilariously changes to a voice of an Oscar-winning actress for Dennis when Carol lets him in on her newfound follower.  It has given Carol three days to prove things aren’t as bad as they seem before it saves, enslaves, or destroys the world so for the next three days we ride along with Carol and Superintelligence as they give Carol a make-over and try to get her back-together with her ex-boyfriend (Bobby Cannavale, Annie) that she rather mysteriously broke up with.  They’ll also continue to avoid federal agents authorized by the President (Jean Smart, A Simple Favor, looking quite Hilary Clinton-y) to quarantine this virus.

About as good-natured as any McCarthy film has been, this is a welcome PG addition to her list of titles on IMDb and one that is likely fine for family viewing.  There’s no real villain in the piece and the stakes are never high enough to ramp up any palpable tension or suspense.  While that may leave Mallory’s script a little on the shallow side, it does give Falcone and McCarthy room to breathe and find their sweet spot to be, well, sweeter than normal.  There’s far less of the tendency to make McCarthy’s character the physical manifestation of a crude punchline by tossing her down a flight of stairs or some other painful-looking fall we’re supposed to laugh at.  The one bit of physical comedy we do see is used to good effect, showing the husband and wife team are learning less is more.

One still wishes for a bit of surprise at some point in the movie.  There were moments throughout the final act where I kept waiting for some twist or readjustment of the narrative that would alter where we thought we were headed but, alas, Mallory’s script is just a straight line from start to stop without any creative detours.  I guess that’s what allows McCarthy to shine the brightest (and she’s wonderful here, looking great and at her most relaxed) while at the same time piecing together her relationship with Cannavale who I liked but often feels like he’s attempting to match McCarthy’s goofy charm and comes off just goofy.  He works better when he’s simply sincere…anything more than that and it feels staged.  You’d think a movie on this scale with this type of talent would have something in the way of a ending to match such a high concept so the curious lack of that full bodied feeling of storytelling is noticeable.

This is the fourth film McCarthy and Falcone have worked on together and it’s their most effortless to date.  Considering where they started, the rancid Tammy, and then looking at Superintelligence it feels like a totally different duo.  Though overlong in my book, this is light entertainment that is easily watched and enjoyed with little to be gained in the process.  Sometimes, that’s totally OK.  It would pair nicely after your Thanksgiving meal when you’re full and need to rest in the glow of family togetherness.

Movie Review ~ Can You Ever Forgive Me?

The Facts:

Synopsis: When Lee Israel falls out of step with current tastes, she turns her art form to deception.

Stars: Melissa McCarthy, Richard E. Grant, Dolly Wells, Jane Curtin, Ben Falcone, Anna Deavere Smith, Stephen Spinella

Director: Marielle Heller

Rated: R

Running Length: 106 minutes

TMMM Score: (8/10)

Review:  I know we’re always supposed to be able to gaze beyond the actor and see them for more than their past roles but there was a moment in Can You Ever Forgive Me? that I looked at its star Melissa McCarthy and marveled that this was the same actress that frantically pooped in a sink in her Oscar nominated turn in Bridesmaids.  Though McCarthy has spent the years after her nomination in mostly comedic roles (Tammy, The Boss, The Heat, Life of the Party), she takes a striking detour for this true story based on the autobiography of author Lee Israel.  Gone (mostly) are the overzealous line readings desperate for laughs and the physical humor that had her laughing before we could.  In its place is an honesty McCarthy hasn’t yet showed on screen but is wholly appreciated.

In 1991 Lee Israel was a struggling writer of biographies.  Though she was a New York Times bestselling author, she’s suffering from a serious case of writer’s block and her agent (a brilliantly sardonic Jane Curtin) finally levels with her that ‘no one wants a biography on Fanny Brice’.  If Israel can’t find another topic to write about (and fix her brusque personality at the same time) her agent can no longer advocate for her with publishing houses.  Faced with unpaid rent and a sick cat, Lee resorts to selling a personal letter she received from Katherine Hepburn to a local collector, Anna (Dolly Wells, Bridget Jones’ Baby). When she comes across several letters stashed away in her materials on Fanny Brice and then nabs some more cash for those, Israel comes up with a plan.  She can use her own literary talents to falsify personal letters from celebrities and sell them to the collector willing to pay cash.  Soon, she’s writing in the style of Noël Coward, Dorothy Parker, and Marlene Dietrich and seeing her bills disappear.  Looping in sometime friend and drinking buddy Jack Hock (Richard E. Grant, The Nutcracker and the Four Realms) to her scheme, her ambitions get loftier even while her grand plan starts to crumble around her.

Director Marielle Heller (Diary of a Teenage Girl) really gets the aesthetic of the material and creates a rather sad view of New York in the early ‘90s.  There’s little color to the film and it’s mostly played out in bars, bookshops, and apartments that have the kind of authenticity often difficult to convey on film.  She’s aided by the marvelous script from Jeff Whitty and Nicole Holofcener (Enough Said) who hone in on the personal problems the otherwise verbose Israel kept packed away.  There’s hardly one false or extraneous line of dialogue here, the hallmark of a well-crafted screenplay.  Adding to the atmosphere is Nate Heller’s jazz infused score that manages to mirror the inner thoughts of our characters and sets them to orchestral music.

In her mousy brown bowl cut and dull clothes that feel like constraining armor, McCarthy totally disappears into Israel and turns in her most accomplished work to date.  Israel was an out lesbian unlucky in love (largely by her own doing) and the mature unexpected flirtation between Israel and Anna will have you rooting for her not to mess it up.  By all accounts Israel kept most people at an arm’s length and a conversation with her former lover (the fantastic Anna Deavere Smith) gives great insight into what it was like to be her partner.  All of these nuanced moments are handled expertly by McCarthy.

As Jack Hock, Grant also has several brilliant moments to shine. Whether its smooth talking his way into Israel’s inner circle of one or sweet-talking collectors into buying Israel’s fake letters once they refuse to buy from her directly, he’s utterly captivating.  With his purring voice and steely eyes, Grant’s Hock is always playing either for fun or for his own benefit.  When Hock makes an honest mistake and gets upbraided by Israel for it, you can see the hurt and embarrassment he feels at failing a person he considered a friend.

In fact, Can You Ever Forvgive Me? doesn’t have one bad performance in the bunch.  Even the smallest roles are cast to perfection and many familiar character actors pop up in small parts.  I especially liked Curtin’s beleaguered agent who is maybe too nice to fully give Israel the boot but doesn’t hold back when giving her honest advice.  Then there’s Wells as the sensitive Anna who takes a liking to Israel, willing to look beyond the rough exterior and hoping to get a glance at what’s underneath.

I went into the movie not totally sure what ended up to the real Israel and I’d advise you to do the same.  Not knowing creates some genuine tension and I found myself unbelievably rooting for her to get away with it all because McCarthy has moved us to be squarely on her side.  This is a crowded year for acting recognition and while Grant is sure to get an Oscar nomination for his supporting turn it’s not a sure thing that McCarthy will be on the final list for Best Actress.  That would be a shame because, like Bridesmaids, this is a chance to reward an actress for bringing an unexpected performance to the screen.

Movie Review ~ Life of the Party

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The Facts
:

Synopsis: After her husband abruptly asks for a divorce, a middle-aged mother returns to college in order to complete her degree.

Stars: Melissa McCarthy, Gillian Jacobs, Maya Rudolph, Julie Bowen, Matt Walsh, Molly Gordon, Stephen Root, Jacki Weaver, Adria Arjona, Debby Ryan, Luke Benward, Jessie Ennis, Heidi Gardner

Director: Ben Falcone

Rated: PG-13

Running Length: 105 minutes

Trailer Review: Here

TMMM Score: (6.5/10)

Review: I’ve got good news and bad news for you if you’re considering making a trip to the movies to see Life of the Party this Mother’s Day weekend. The bad news is that most of the jokes have been spoiled for you in the previews, the good news is that the two best jokes haven’t. A semi-refreshing twist on the old fish-out-of-water/parent-going-back-to-school storyline, this isn’t a movie out to reinvent the comedic wheel but it does manage to capably overcome initial tone problems. What results is a sweet, if completely predictable, comedy that has its heart and brain in the right place.

The third collaboration between star Melissa McCarthy and husband Ben Falcone (What to Expect When You’re Expecting), Life of the Party represents the best of their work together so far. Their first outing was 2014’s Tammy, a movie so godawful I don’t permit its name to be uttered in my presence. They bounced back in 2016 with The Boss, which found more humor, less aggravation, and an overall better script. Writing together allows the couple to play off McCarthy’s strengths but continues to show Falcone’s weakness as a director – I’d love to see what another director would do with one of their screenplays.

Frumpy housewife Deanna (McCarthy, Spy) and her husband Dan (Matt Walsh, Into the Storm) have just dropped their daughter Maddie (Molly Gordon, Love the Coopers) off for her last year of college when Dan announces he wants a divorce. He’s fallen in love with a realtor (Julie Bowen) and is selling their house, leaving Deanna without a home or an income. In a surge of confidence, Deanna decides to reenroll at the same college she dropped out of in her senior year 20 years earlier…the college her daughter now attends.

Going back to school to finish her archeology degree, Deanna finds that while the times have changed the people getting the college experience haven’t. There’s still the mean girl (Debby Ryan) who tears down anything she doesn’t deem cool, the parties are drunken ragers, the sorority sisters have the same doubt about their futures, and Deanna’s fear of public speaking hasn’t dissipated over the last two decades. That proves especially hard during the film’s funniest sequence by far, when Deanna has to give an oral presentation that quickly devolves into a sweaty, knee-buckling, nightmare.

Still, a few things in her homecoming to co-ed life catch her off-guard. Unexpected bonding with her daughter tops the list as well as a realization she can reclaim some of the years she feels were spent in a troubled marriage by returning to finish what she started. Then there’s the romance with Jack (Luke Benward), a younger frat boy which takes some surprisingly genuine turns as the movie progresses. Eventually, even with one nice twist involving Jack, the movie works toward its predictable conclusion yet even though you know where it’s all heading it’s not hard in the least to sit back and be entertained.

That’s not to say the movie doesn’t have moments that call for a markdown on the final grade. As is usually the case with these McCarthy/Falcone features, there’s an overabundance of periphery characters that serve no purpose to any of the characters or the story. Usually friends (or family!) of the director and star, these annoying additions pad the running time and bring down some of the solid funny framework that has been created. Even the usually dependable Maya Rudolph (The Way Way Back) is given far too long a leash as Deanna’s friend – I almost wonder what things would have looked like had Rudolph and the tightly wound and miscast Bowen had swapped roles. There’s also at least one too many sorority sisters for my money. And Deanna’s parents (Jacki Weaver, Stoker, and Stephen Root, Trumbo) could have been removed all together and no one would have been the wiser.

You also have to ding the couple for not editing their films better or providing information to fill in large gaps that go unexplained. It’s never clear until far too late how Deanna is paying for college or what hoops she had to jump through to get back to her studies in less than several weeks. Timelines are also fuzzy, with events either happening too close together or too spaced out and, as with most college movies, everyone seems to only go to one class or not attend at all.

Yet the film is getting high marks from me because even with all these nitpicks, there’s a certain whiff of clean air and good intentions that keep this one afloat. McCarthy again carries an entire film on her shoulders and while that might get exhausting after a while she’s got the boundless energy to pull out all the stops when called upon to do so. While she’s never one to shy away from physical stunts, this is another pleasant example of McCarthy’s continued maturing as a performer with her comedy coming from situational happenstance instead of corporeal humor. Whether she’s dancing in ‘80s-inspired couture, trashing a wedding reception, or performing alongside a pop star’s amusing cameo, there’s always a human being underneath it all.

The Silver Bullet ~ Life of the Party

Synopsis: When her husband suddenly dumps her, longtime dedicated housewife Deanna turns regret into re-set by going back to college – landing in the same class and school as her daughter.

Release Date: May 11, 2018

Thoughts: The smartest thing the makers of Life of the Party did was refrain from including the phrase “From the folks that brought you Tammy!” in their marketing materials.  Yes, Melissa McCarthy (Spy) has reteamed with her husband Ben Falcone (Office Christmas Party) on another comedy but this one looks considerably less revolting…so there’s a glimmer of funny hope to be had.  Reteaming for the third time (2016’s The Boss was another step in the right direction) Falcone directs a script he and McCarthy co-wrote and while it may seem a bit like the sorta-classic Rodney Dangerfield 1986 comedy Back to School, McCarthy has put her own shine on things.  No McCarthy vehicle is complete without a scene of her getting knocked down and the trailer gets that one out of the way immediately so…spoiler alert!  McCarthy’s been absent since the female-led Ghostbusters fizzled in 2016 but if Life of the Party is as lively as it looks it could get her back in Hollywood’s good graces.

Movie Review ~ The Boss

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The Facts:

Synopsis: A titan of industry is sent to prison after she’s caught for insider trading. When she emerges ready to rebrand herself as America’s latest sweetheart, not everyone she screwed over is so quick to forgive and forget.

Stars: Melissa McCarthy, Kristen Bell, Peter Dinklage, Kathy Bates, Ella Anderson, Tyler Labine, Cecily Strong, Timothy Simons

Director: Ben Falcone

Rated: R

Running Length: 99 minutes

TMMM Score: (6/10)

Review: I think I’ve finally figured out what makes a Melissa McCarthy movie good…humanity. After grimacing through The Heat and fighting the urge to flee from Tammy, I started coming around to McCarthy again in 2015’s Spy. Now comes The Boss and though early previews were, I admit, fairly entertaining with some laughs on a level that few trailers can drum up, I was still mighty suspicious. McCarthy was re-teaming with her husband, Ben Falcone, who would direct her in a film from a script the two of them wrote with Steve Mallory. Could it be another Tammy waiting to happen?

Thankfully, it’s not and it’s largely because, like Spy, McCarthy’s isn’t playing a dim-wit monster that growls and gnaws her way through the film. No, she’s playing an actual human being that’s drawn with some fairly nuanced broad strokes. Though it’s far from being the kind of solid material that earned her an Oscar nomination in Bridesmaids, The Boss finds McCarthy continuing her ascent into figuring out what kind of roles she not only succeeds with, but that audiences respond favorably to. As in Tammy, she’s playing a fairly irksome character, but it’s one grounded in a kind of savvy reality that Tammy never could capture.

Abandoned at birth and by several adoptive families along the way, Michelle Darnell (McCarthy) has risen to the top as a motivational guru that prides herself on empowering women to take what they want without apologizing for it. Her past disappointments in people have kept her cold though, and she’s brazenly rough with anyone that tries to get close. Her long-suffering assistant Claire (Kristen Bell, Frozen) is tired of her antics but as a single mom she needs the job, no matter how frustrating her employer is.

When an old-flame now business rival of Michelle’s (Peter Dinklage, Pixels) turns her over to the government for insider trading, Michelle loses everything as she spends six months in jail for her crimes. After she gets out, she moves-in with Claire and her young daughter Rachel (Ella Anderson) and before long has started her own empire to rival a Girl Scout-like troupe.

Performance wise, as I said before McCarthy resists the urge to snarl her way through the movie in favor of showing that Darnell’s nastiness comes from a place of personal protection…if she makes sure people know she doesn’t give two hoots, then they can’t hurt her.  As is typical, McCarthy isn’t afraid to throw herself into the physical comedy bits, which means that Darnell trips and crashes down stairs, gets tossed into a wall by a sleeper sofa, and brawls with a gaggle of young girls and their mothers.

Bell does exasperated well and plays nicely as second banana and straight woman to McCarthy.  The actresses have a nice rapport and during the gag reel at the end of the movie they seem like they genuinely like each other as well.  There’s nice supporting turns from Anderson as one of the rare child actors that can actually act without being obnoxiously precocious and Tyler Labine (Monsters University) makes for a nice romantic interest for Bell, though the film really doesn’t need the extra distraction.  Kathy Bates (Titanic) shared the best scene with McCarthy in Tammy and parlays that into a brief but memorable cameo as a former mentor of Darnell’s. I feel like there was more of Bates performance left on the cutting room floor, but I guess we’ll have to wait for some deleted scenes to see if it was wise to excise them.

I’m going to go on record now and say that I do not now and have not ever liked Dinklage.  His mock seriousness only goes so far and while I gave him some slack in Pixels, he’s easily the worst thing about The Boss.  Playing a mix of Derek Zoolander and Dr. Evil, Dinklage is in a totally different movie and doesn’t seem to care. Seeing the impish Dinklage fawning over the large and in charge McCarthy is more of a sight gag than anything else and it’s one that wears off almost immediately.

Though the film doesn’t overstay it’s welcome, it could be 15 minutes shorter and exist as a much tighter comedy…but too often McCarthy, Falcone, and Mallory don’t know when to quit or cut as gags go on too long and some conflated dramatic tension is introduced for no real reason other than because the Screenwriting 101 book must have said so. When the film hits its target, it’s a solid bullseye for laughs but when it misses it’s mark it starts to be the worst thing a comedy can be…boring.

The Boss isn’t as fun as Spy but it does have its moments where the time spent feels worth it. If anything, it shows that McCarthy is capable of writing herself a character that’s from planet earth.  It’s silly entertainment…but it’s entertainment all the same.

Movie Review ~ Tammy

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The Facts:

Synopsis: After losing her job and learning that her husband has been unfaithful, a woman hits the road with her profane, hard-drinking grandmother.

Stars: Melissa McCarthy, Susan Sarandon, Allison Janney, Gary Cole, Mark Duplass, Toni Collette, Nat Faxon, Dan Aykroyd, Kathy Bates, Sandra Oh

Director: Ben Falcone

Rated: R

Running Length: 96 minutes

Trailer Review: Here

TMMM Score: (0/10)

Review: There’s a special place in cinema hell for movies like Tammy. Movies so bad, so rancidly unfunny that shelf space has been reserved for them in the fiery pit right next to most Adam Sandler films, Xanadu, Exit to Eden, Cool as Ice, This is 40, and Nacho Libre. What earns Tammy higher honors than most is how it squanders every single thing it has going for it: a popular (if fatally misused) lead, a stellar cast of gifted comedy veterans and/or Oscar winners, and a prime summer spot from a top studio. Yet it’s all for naught as the movie starts off bad and only gets worse over the next punishing 90 minutes.

It’s way past April Fool’s Day but go ahead and send your worst enemy to see Tammy anyway, preferably at an evening show where they’ll shell out nearly $20 to suffer through the unbalanced comedic misery. For you see, Tammy is the awful gift that keeps on giving; never once taking into consideration that it has no laughs, no likable characters, and is as unpleasant as a Silkwood shower after a bad sunburn.

The movie is downright uncomfortable from the get go as it opens on an unkempt Melissa McCarthy driving to work while stuffing potato chips into her mouth and then running over a deer that she then tries to resuscitate. Bloody and covered in animal mess, Tammy eventually shows up to work where her boss (Ben Falcone, Enough Said, McCarthy’s true partner in film crime seeing that he’s not only her husband but the co-writer and director) promptly fires her. Before you can say “It can’t get worse, can it?” it does when Tammy arrives home to find her husband (Nat Faxon, The Way Way Back) having a romantic dinner with a neighbor (Toni Collette, Muriel’s Wedding). Faxon and Collette’s few scenes are so under rehearsed and awkward that my only conclusion is that they must have been visiting the set for the day and did this under duress or as a favor.

With no job and no husband, Tammy walks a few paces down the block to her parents’ house where she has a brief encounter with her unsympathetic mom (Allison Janney, Bad Words, only 11 years older than McCarthy) before heading off on a sorta road trip with her boozy grandmother (Susan Sarandon, Cloud Atlas, 13 years older than Janney). Sarandon was a last minute replacement for Shirley MacLaine and evidently no one bothered to redesign any costumes or wigs because Sarandon looks positively awful…and younger than Janney. With no old age make-up to be seen and the kind of grey mop of a crazy cat lady wig usually reserved for a haunted house, Sarandon may be the least convincing old person ever seen on screen. The Oscar winner is usually pretty game for anything but McCarthy and Falcone’s script is so unfocused that she’s never afforded the opportunity to really make something of her aging alcoholic granny.

No, instead of trying to instill some life into the tired old road trip formula, McCarthy and Falcone manage to find new ways to make traveling cross country boring as hell. The problem is that McCarthy keeps attempting to beat everyone to a certain punchline…and in doing so winds up making it worse for herself. Instead of this being the kind of R-rated female-driven raunch fest that’s made a comeback in the last several years, it’s a painfully dull series of scenes featuring McCarthy’s buffoonish and grating style of comedy. Where is the winning sincerity that made her an overnight star (and an unlikely but deserving Oscar nominee) in Bridesmaids? Instead of continuing on that route of using her comedic skills for good, she’s been wasting her gifts in garbage like Identity Thief, The Heat, and cameos (This is 40, The Hangover Part III) meant to be funny that come off as irritating.

Everything about McCarthy’s performance seems familiar…mostly because it’s just a rehash of the simpleton characters she’s played onscreen and in increasingly slack appearances as host of Saturday Night Live. There was a time when I thought McCarthy had it all in the bag, but it’s becoming crystal clear that she’s a comic with limited longevity even though her off screen persona suggests someone you want to have an 80s style sleepover with. McCarthy (and the audience) deserves better than this…but as the co-writer and producer of Tammy she can’t blame anyone but herself.

The one redeeming piece of Tammy is a heart to heart scene between McCarthy and Kathy Bates (Titanic, playing a wise old lesbian) that, though remarkably genuine, comes too late in the game to change my overall feeling toward the picture. The scene offered a glimmer of the poignant comedy I think McCarthy may have at one time been aiming for but it’s gone in a flash in favor of more inane dialogue and slapdash film-making.

Truly terrible, Tammy is another nail in McCarthy’s career coffin she appears to be more than happy to be lying in. It’s the kind of film where you sink lower and lower in your seat the more banal it becomes. The audience I saw the film with started off laughing heartily but soon trailed off into sparse uncomfortable titters as everyone became aware just how rotten it all was. I can’t imagine I’ll see a worse film in 2014 and think that anyone that makes it to the end deserves some sort of certificate of achievement. Avoid at all possible costs (but do take my advice and send your nemesis to a midnight screening).

Movie Review ~ Enough Said

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The Facts:

Synopsis: A divorced woman who decides to pursue the man she’s interested in learns he’s her new friend’s ex-husband.

Stars: Julia Louis-Dreyfus, James Gandolfini, Catherine Keener, Toni Collette, Ben Falcone, Eve Hewson, Tavi Gevinson, Tracey Fairaway

Director: Nicole Holofcener

Rated: PG-13

Running Length: 99 minutes

Trailer Review: Here

TMMM Score: (7/10)

Review: Are you as weary as I am with the slate of romantic comedies that have been released in the last several years?  If so then Enough Said may be the movie that could cure your blues.  A wise film for mature adults made by mature adults, this is a sweetly winning romantic comedy that goes against some of your typical Hollywood norms.  The leads aren’t your traditional bankable hot/buff stars likely to be featured on the cover of US Weekly the same week their film opens in the #1 spot at the box office, nor are they especially bankable…certain death when it comes to major movie studios.

Director Nicole Holofcener knows her way around awkwardly real situations and displays again here what she does best: showing real life people in real life situations reacting believably.  So the result is a film that feels very naturalistic and true to the predicaments we find ourselves in…especially where romance is involved.

I always find it odd that Julia Louis-Drefyus hasn’t become a bigger movie star…then again perhaps her sly talent for wry comedy is perhaps better suited for the small screen where actors can get away with her brand of sharply observed comedic beats.  Movies don’t often give comedic actresses the chance to display the kind of range that Louis-Dreyfus gets to take on here, especially those that are primarily known for their television work.

Even more of a surprise is the late James Gandolfini (Zero Dark Thirty) in his first lead in a romantic film.  Showing teddy bear-ish warmth and sensitivity that’s a far cry from the gruff mob men that made him such an in demand character actor, he fits right into the sweatpants of the character Holofcener has written.  It’s a shame that it took so long for Gandolifni to get a role like this because he’s really quite good, effectively navigating some emotions that until now had gone undocumented on the big or small screens.  The chemistry displayed between Gandolfini and Louis-Dreyfus is strong, and even better its believable unlike so many movies (like the recent Thanks For Sharing) that can’t muster up the same in their interactions between characters.

The supporting cast is also uniformly strong, if a bit tangential to the overall arc of the film.  Catherine Keener (Peace, Love, and Misunderstanding) is her usual acerbic self as a new friend to Louis-Dreyfus and the ex-wife of Gandolfini.  It’s nice to see her playing a woman that comes across as a self-centered bitch but who we gradually come to see is just hopelessly lonely and desperate for attention.  Toni Collette (The Way Way Back, Muriel’s Wedding) and Ben Falcone (What to Expect When You’re Expecting) pop up as friends of Louis-Dreyfus with marital issues of their own.

All the characters are really just swimming around in the same universe as Louis-Dreyfus because it’s really her movie.  What I liked so much about the film and what others may find frustrating is that there’s not a lot of follow through or wrap up when it comes to these secondary characters.  Even the central plot involving Louis-Dreyfus and Gandolfini isn’t fully completed by the final reel…but that’s the beauty of what Holofcener achieves in her films.  She allows us to peek in on the lives of people to see what makes them tick…we don’t’ necessarily need to know where they came from or where they’re going but instead she wants us to focus on the here and now.  As in life, some things come to their own natural conclusions while other events need a little time to sink in before they can find resolution.

With two strong lead performances and a general bucking of the status-quo for these types of films, Enough Said is a nice breath of fresh air…and another winning film from the observant eye/mind of Nicole Holofcener.

The Silver Bullet ~ Enough Said

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Synopsis: A divorced woman who decides to pursue the man she’s interested in learns he’s her new friend’s ex-husband.

Release Date:  September 20, 2013

Thoughts:  The sudden death of James Gandolfini (Zero Dark Thirty) in June is something that many fans can’t quite wrap their heads around quite yet.  Gandolfini’s tough guy persona kept him from getting roles with a softer edge…which is why Enough Said has caught my eye.  It’s not just because it stars the invaluable (and undervalued) Julia Louis-Dreyfus and features Toni Collette (Muriel’s Wedding, The Way, Way Back) in a supporting role but because it’s Gandolfini’s last film…and it’s a mature romantic comedy. Writer/director Nicole Holofcener has been delivering solidly for nearly two decades yet while she’s popular in the indie film niche she’s yet to truly break into mainstream fare.  Enough Said is probably too small of a film to help make that leap but the public’s love for Gandolfini will get more than the usual amount of people to check this one out…myself included.