Synopsis: Dom Toretto and his family are targeted by the vengeful son of drug kingpin Hernan Reyes. Stars: Vin Diesel, Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Jason Momoa, Nathalie Emmanuel, Jordana Brewster, John Cena, Jason Statham, Sung Kang, Alan Ritchson, Daniela Melchoir, Scott Eastwood, Helen Mirren, Charlize Theron, Brie Larson, Rita Moreno Director: Louis Leterrier Rated: PG-13 Running Length: 141 minutes TMMM Score: (8/10) Review: After a four-year gap between the eighth and ninth entries (partly because of the pandemic), it’s great to be back behind the cinematic wheel of the Fast and Furious family saga for their tenth time around the track, barely twenty-fourth months after the last breathless conclusion. Plenty has happened during that time, with Fast X’s initial director (and long-time franchise helmer/writer) Justin Lin exiting due to conflict with star Vin Diesel and announcing that the series was headed for its final laps. Set to conclude with a 12th film that gives audiences plenty of time to gear up their goodbyes and the filmmakers to go out with a sonic boom…it all starts with the uproariously entertaining Fast X.
This series has always rewarded fans deeply entrenched in the films, so the more you know about the previous installments, the better. That’s particularly beneficial for Fast X, which begins with the heist finale of 2010’s Fast Five that ended the life of drug lord Hernan Reyes (Joaquim de Almeida). A little ret-con work has been done to insert new shots of Hernan’s son, Dante (Jason Momoa, Aquaman), who witnesses his father’s death and vows pain and suffering on all involved.
A decade later, Dom (Diesel, Riddick) and his wife Letty (Michelle Rodriguez, She Dies Tomorrow) are again adjusting to a quieter life living under the radar and staying out of trouble. Raising Dom’s son (Leo Abelo Perry) in the stable family environment Dom and his siblings Mia (Jordana Brewster, Furious 7) and Jakob (John Cena, Vacation Friends) didn’t have is the priority. However, it becomes tricky to do so when the past doesn’t leave them alone. An unexpected visit from nemesis Cipher (Charlize Theron, Bombshell), who turns up on Dom and Letty’s doorstep bruised and bloodied, warns of the danger heading their way.
That deadly threat is Dante Reyes, seeking costly revenge on Dom and others that played a part in his father’s death. A flashy big baddie with a bark as bad as his bite, Dante plays a ruthless game with Dom and his gang introduced with a mission in Rome that goes awry for Roman (Tyrese Gibson, Fast & Furious 6), Tej (Chris “Ludacris” Bridges, End of the Road), Han (Sung Kang, Raya and the Last Dragon), and Ramsey (Nathalie Emmanuel, Army of Thieves) and culminates with a high-speed chase through Portugal’s highways, tunnels, and over a dam. In between, we visit Rio de Janeiro and Antarctica and get a few excellent surprise appearances along the way I wouldn’t dare spoil for you.
While it sets the stage for Fast 11 in 2025 (which will probably feel like a bridge to Fast 12 shortly after), there’s an undeniable surge of power in Fast X that hasn’t been felt in a few chapters of this saga. Maybe it’s new director Louis Leterrier (Now You See Me) bringing his typically breathless directing pace out in full force, or it could be that the cast is just primed and ready to party, but Fast X is in a constant state of motion that never lets up.
Let’s talk about that cast, shall we? While Diesel is an immovable object at this point (the voice is so low I had to take a lozenge halfway through in solidarity) who never, not once, gets his white shirt dirty, he surrounds himself with a splendid supporting troupe that continues to hone their characters to a fine polish. Rodriguez is the consistent MVP of the group, bringing more pathos to a once-throwaway role than it initially deserved. I still am crossing my fingers for some one-off installment for Gibson, Bridges, and Emmanuel – all three have demonstrated they are a terrific trio that could hold their own like Jason Statham (Spy) and Dwayne Johnson (Jungle Cruise) did in Fast & Furious Presents: Hobbs & Shaw. A brief cameo from Helen Mirren (Hitchcock) as Statham’s mum is about on par with the early appearance of Rita Moreno (West Side Story) as Dom’s grandmother, who pops in to talk about, what else? family.
Newcomer Alan Ritchson (Ghosts of War) as a gruff agent now in charge of calling the shots, taking over for Mr. Nobody (Kurt Russell) and Little Nobody (Scott Eastwood, The Longest Ride), has the appropriate muscle-bulk to play Gun Show Grunt with the gang but can be a bit one note. Daniela Melchoir (Guardians of the Galaxy Vol. 3), as a new racer that crosses paths with Dom and Dante, feels a bit shoehorned in, but not as much as Oscar-winner Brie Larson (Captain Marvel) does in a head-scratcher of a role. Playing another government agent that feels like she’s there only to solve some script problems, Larson also doesn’t seem to understand what she’s there to do either. It’s a strange appearance.
Strange doesn’t even begin to describe what Momoa is doing…but it works much better for his job. Momoa is by far the best villain yet in these films and almost instantly becomes a character you’re desperate to see more of, even if you know his presence means terrible news for our good guys. Choices that wouldn’t work on any other actor work brilliantly in Momoa’s large, capable hands, and there’s not one frame of the film where he isn’t in complete command of the proceedings. It’s such a scene-stealing role that I’m shocked Diesel let him get away with it, knowing how Diesel likes to be the center of attention. The one-liners and line readings are perfectly molded to the character, and if the role weren’t written with Momoa in mind, I’d love to know who else was considered for the part.
True, Fast X doesn’t have as high an incredulity factor as previous installments (spoiler alert: no one goes into orbit), but that doesn’t mean the stunts performed are any less jaw-dropping. Our audience still whooped and clapped throughout and appropriately went nuts for a finale (and post-credit sequence) that will send you out of the theater buzzing on a “did they just do that to us?” high. Buckle up for this one because it is an adrenaline-fueled ride that doesn’t bother ever to hit the brakes on its audience.
Synopsis: Best friends Sophie and Agatha find themselves on opposing sides of an epic battle when they’re swept away into an enchanted school where aspiring heroes and villains are trained to protect the balance between Good and Evil. Stars: Sophia Anne Caruso, Sofia Wylie, Laurence Fishburne, Michelle Yeoh, Jamie Flatters, Kit Young, Peter Serafinowicz, Kerry Washington, Charlize Theron Director: Paul Feig Rated: PG-13 Running Length: 148 minutes TMMM Score: (8/10) Review: As the story goes, author Soman Chainani grew up watching Disney movies on the small TV his family owned. All that he knew of fairytale lore and legend, he learned from watching these celebrated (but often, uh, Disney-fied) retellings of classic stories passed down throughout time. When Chainani was in college, he was exposed to the origins of his favorite fairy tales as he read the works of authors like The Brothers Grimm, Charles Perrault, and Hans Christian Andersen. Dark and twisted messages regarding morality and conscience permeated these tomes, surprising Chainani, who was used to seeing the characters refracted through a much more sanitized lens.
Eventually, Chainani would pen the 2013 novel The School for Good and Evil blending his childhood memories and college learnings. A worldwide bestseller, The School for Good and Evil spawned five sequels, each earning praise from critics and readers for their creative narrative and world-building. All present to the bookworm as hefty reading assignments, with the first novel coming in around 550 paperback pages. It’s no wonder that at two hours and twenty-eight minutes, director Paul Feig’s new Netflix film based on that novel is epically long and respectably ambitious.
A sprawling chronicle of the School for Good and Evil, we’d be here forever if I were to attempt the kind of plot analysis I usually do. Hence, skimming the surface for the essential highlights of the episodic fantasy is helpful. Twin brothers Rhian & Rafal (Kit Young) represent the Good and Evil that exist in the world. Locked in constant brotherly battle, one cannot live without the other, and Good always seems to triumph over its more enterprising counterpart. When Evil makes a play for control, it creates a schism that sets the two factions at odds, and their School is truly divided between the Evil (aka the Nevers, who don’t get a happy ending) and the Good (or the Evers, who we all know live happily ever after).
Sometime later, in the village of Gavaldon, two best friends, Sophie (Sophia Anne Caruso, Broadway’s Beetlejuice) and Agatha (Sofia Wylie), are intelligent teens seen as outcasts for their desire to want something more than their poor provincial lives. Sophie sees herself living in the pages of the dreamy fantasies she picks up from her local bookstore, while Agatha has the gift for mixing potions and other witchy business. It’s Sophie’s dream to go to the School for Good and Evil, and when a wish cast into a special tree comes true, she winds up bringing Agatha along. However, things don’t go as planned, and when it’s time to be placed in schools, Sophie gets dropped into the Evil School and Agatha the Good.
The bulk of the film follows the young ladies as they try to prove to the headmaster (Laurence Fishburne, The Mule) and Deans in both schools, Lady Lesso (Charlize Theron, Bombshell) and Professor Dovey (Kerry Washington, Django Unchained), that they need to be switched back. Yet the more they stick around, meet their fellow students, and explore the powers they come to harness, the more they see that perhaps the selection process wasn’t so flawed after all. When a handsome prince (Jamie Flatters) comes between them, friendship is tested, as is loyalty to the true spirit of goodness that exists in us all.
Starting with Bridesmaids in 2011, director Feig has consistently created movies centered around women who feel inclusive of everyone. He’s directed big-budget entertainment before, but nothing approaches the level seen in The School for Good and Evil. Visually, the movie is dazzling with special effects that seem to spring out from the screen with vibrant colors and a shimmer. It’s restrained enough not to feel like the actors are living in a cartoon but fantastical in composition to place you in a world far removed from anything you’ve seen before. The clothing may be a bit costume party at times but complemented with interesting make-up (one startling transformation at the end is mighty impressive), it tends to work with cohesion. A lesser director could let all of these technical elements get in the way of the story, but Feig knows how to achieve a measured balance.
Of course, it doesn’t hurt to have some heavy hitters like Theron, Washington, and Fishburne to rely on, either. While the stars are legitimate supporting players in contrast to Caruso and Wylie’s leading roles, each leaves a distinct impression while onscreen. Despite giving off mega Wicked vibes throughout (try to put that musical out of your brain until that arrives in 2024), the two competing magic-makers are matched well and should each find a nice fanbase out of their work. Caruso was a powerhouse onstage when I saw her in Beetlejuice, but it can come off a bit too knowing here. Wylie’s character is designed to be likable, and it’s not hard for the actress to come out on top either.
With more books to adapt, I’m hoping this isn’t the last visit to the School for anyone involved. Being so episodic, I’m curious why this wasn’t made into a straight series for Netflix because four episodes would have allowed the story to move along at a slightly less breathless pace. I’m guessing the star salaries worked out better for a longer film, but there were more nooks and crannies of School I would have liked to explore. As presented, attending The School for Good and Evil is an excellent elective homework assignment.
Synopsis: To reclaim their spooky family bond Morticia and Gomez decide to cram Wednesday, Pugsley, Uncle Fester and the crew into their haunted camper and hit the road for one last miserable family vacation. What could possibly go wrong?
Stars: Oscar Isaac, Charlize Theron, Chloë Grace Moretz, Nick Kroll, Javon ‘Wanna’ Walton, Bette Midler, Wallace Shawn, Snoop Dogg, Bill Hader
Director: Greg Tiernan, Conrad Vernon
Rated: PG
Running Length: 93 minutes
TMMM Score: (7/10)
Review: My my, doesn’t it seem like we were just singing this theme song and snapping our fingers? It was only two Halloweens ago that the animated reimagining of The Addams Family was released to theaters and even though it took in 100 million at the box office, that doesn’t necessarily guarantee a sequel in this fickle market. However, MGM must have looked at the receipts and their upcoming schedule and figured that it was worth the bet and greenlit the follow-up almost as soon as the original was released. Good thing they did, too, because now The Addams Family 2 has arrived in time for Halloween 2021 as theaters are opening up more and also releasing this to streaming services so it can be viewed at home as a safe alternative.
I had my reservations about the first film, having come of age with the live-action films of the early ‘90s starring Raul Julia and Angelica Huston as the dark heads of a strange family of characters. My overly precious feelings were broken down just a tad by the friendly good-nature vibe created by directors Conrad Vernon (Kung Fun Panda 2) and Greg Tiernan (Sausage Party) and despite some, let’s just say it, ugly animation, it was a mostly harmless exercise in update for generational purposes. My parents’ generation had their version of the family created by Charles Addams, I had mine, now a new crop could have theirs.
The directors have returned with a sequel that scores higher because it’s less about re-telling an origin story and more about getting into the fun adventure of it all, exploring the dynamics of family (even the kookiest and spookiest) in between wild bits involving tourism throughout the U.S. Coming out of a summer in which many people re-discovered the simplicity of the road trip, it could very well speak to families that dealt with similar issues of cramped quarters and too much togetherness, while highlighting the overall value of these moments you can never get back if you pass them up.
Wednesday Addams (Chloë Grace Moretz, Suspiria) is aghast when everyone receives a participation ribbon at the school science fair. She had, after all, worked hard and believes in rewarding that effort with…some kind of prize. The sponsor of the competition, Cyrus Strange (Bill Hader, It Chapter Two), agrees and is impressed enough with her invention that swaps human personalities with those of other animals that he asks her to share the creation with him. She politely declines but it gets her thinking about her place within her own family, leading her into a glum (or glummer) state. Mother Morticia (Charlize Theron, Bombshell) thinks a road trip that forces them all to spend more time together might break Wednesday out of her funk and encourage more interaction with the rest of the family.
Leaving Grandma (Bette Midler, Hocus Pocus) behind to watch the mansion (she immediately begins planning parties and charging admission), the Addams set off to familiar points of interest on a cross-country journey. A stop at Niagara Falls means someone is going over in a barrel, then there’s the Alamo, Grand Canyon, etc. etc. all given to some kind of foible, often related to Uncle Fester (Nick Kroll, Vacation). There’s another reason why Morticia and Gomez (Oscar Isaac, Annihilation) decided to head out of town quickly…but I think I’ll keep that bit of news under wraps and let the viewer find that out on their own. All I’ll say is that it’s a plot turn and resolution we’ve seen countless times before but given an Addams twist and then another flip for good measure. No points for originality at the outset but I’ll toss some back for having fun.
If the animation has improved greatly from the first film, the voice talent has slipped a notch or two. Perhaps the voices were done differently than they were previously when all the actors could be in the same room but it has the feeling of no one being in close proximity when they laid down their voice tracks. Theron sounded sleepy enough in the first film but for the sequel it’s as if she’s at the stage where one eye is completely closed and the other has an eyebrow raised so high to keep the eyelid up just one fraction of an inch. Someone needs to call Huston and give Theron some pointers – she’s too good an actress to biff this classic vamp of a character. Moretz seems to be following suit in the snooze-button department. Even Isaac as the excitable Gomez comes across as lacking that pizzazz that makes the role such a flavor burst for any actor taking it on. There’s just a curious lack of connection anywhere and for a movie in which the main theme is bonding with one another, it only sticks out more.
Look, these are all things that adults are going to pick up on more than a kid. In fact, maybe I just need to write a review from a kid’s perspective and call it a day.
I liked The Addams Family 2 because it was funny, colorful, and I ate a handful of candy while I watched it.
Synopsis: Dominic Toretto and his crew battle the most skilled assassin and high-performance driver they’ve ever encountered: his forsaken brother.
Stars: Vin Diesel, Michelle Rodriguez, Jordana Brewster, Tyrese Gibson, Ludacris, Nathalie Emmanuel, John Cena, Charlize Theron, Sung Kang, Helen Mirren, Kurt Russell, Lucas Black, Finn Cole, Vinnie Bennett
Director: Justin Lin
Rated: PG-13
Running Length: 143 minutes
TMMM Score: (7/10)
Review: Oh my, my! Can 20 years have flown by so fast? The biggest thing I remember about 2001’s The Fast & The Furious is that on the way to the screening a rock hit my windshield and sent a huge crack through it and I obsessively thought about it during the whole movie, clouding my vision of what would kick off a multi-billion dollar franchise. The second film two years later came out on what was then the biggest screen in my state but after that the movies in the Fast saga have tended to blend together, creating a bit of a mish mash in my head of plot lines and characters. For a time, each entry built upon its predecessor and gained an edge, but they’ve never not been entertaining in one way or another. Part of the fun is the way the series is willing to go over the top to please its devoted audience.
While fans have waited longer for a sequel before, they’ve been positively chomping at the bit to get behind the wheel of F9: The Fast Saga, which was delayed a full year when it became one of the first films to commit to pushing their release date when the pandemic hit in early 2020. And really, watching one of these adrenaline-fueled action pics in a theater is truly the only way to see them…at least for the first viewing. Car stunt wise, I’m not sure that F9: The Fast Saga is the biggest the series has had to offer but the entire experience is certainly the furthest over-the-edge the unexpectedly hearty epic has to offer. It’s also completely ridiculous and pushes credulity so far even ride or die fans might need to pull of for a breather.
After a flashback opening set far enough back in time that the film opens with Universal’s older logo (a nice little thrill for this nostalgia hound), we’re back in the present to find Dom (Vin Diesel, Riddick) and Letty (Michelle Rodriguez, She Dies Tomorrow) living the quiet life on a farm with Dom’s young son. Out of “the life” long enough to mention it and then in the next scene have some old friends stop by to pull them back in for a rescue mission, the two leave their peaceful retirement behind and enter into a deadly operation that puts Dom face to face with his past.
As with most of the Fast films, it pays to know the history of the franchise and the various characters that have floated in and out because a number of them zoom through. Charlize Theron (Bombshell), Kurt Russell (Backdraft), Helen Mirren (The Good Liar), and Shea Wingham (The Quarry) are just a few previous players who make an appearance, along with several more whom I won’t reveal in order to keep some surprises for you to discover. New to the racetrack is John Cena (Bumblebee) as Dom’s younger brother (this ain’t no spoiler) and due to their complicated history there’s more than a little sibling rivalry going on between the two that has led to the men operating on opposite sides of the law. Cena (who looks two and a half times as large as Diesel) sort of works perfectly in the film, obviously meant to fill a gap that The Rock left when he and Jason Statham were spun-off into 2019’s Fast & Furious Presents: Hobbs & Shaw. Cena may still have room to grow in the acting department but so did Diesel when he started back in the day and even he’s still finding the right gear to operate in.
By this stage, the plots are almost beside the point, seeing that we know each film is but a pit stop in an apparently never-ending highway of crazy. Multiple times during this ninth outing I had to stifle a ‘bu**ls**it!’ from coming out of my mouth (and actually let one slip out) because what screenwriters Daniel Casey and Justin Lin (Star Trek Beyond) have come up with strains at the very limits of disbelief and it’s only because audiences are in the ninth go-around of this journey that they’ll likely absolve the filmmakers of some of the audacious flights of fancy they send Dom and his gang on or superhuman strength they imbue them with. At the very least, you have to get some credit for not rolling your eyes all the way around in their sockets for Diesel making it through nearly the entire film wearing the crispest white T-Shirt you’ve ever seen and never see it get a mark on it. I couldn’t walk through an airtight box of air without getting it stained somehow yet this racer can flip his car and send it soaring over bridges and escape without barely a smudge? Or a tear?
The rest of the group is accounted for and giving their same best pedal to the metal, with Rodriguez again finding more soul to her character than I ever could have thought way back when it was a one-note second banana that nearly exited before a miraculous resurrection. I’m shocked Tyrese Gibson (Fast & Furious 6) and Ludacris haven’t also found themselves in their own film because their chemistry is locked and loaded – it’s time for them to branch out. She’s featured much less in this one but Theron (sporting a haircut even worse than the last film) revels in her villainy, understanding completely the role she’s tasked with. Jordana Brewster (Furious 7) gets roped in for more action, and it makes more sense because this one involves her two brothers and not just taking the place for her husband, Brian (the late Paul Walker). While it is noble the filmmakers chose not to write Walker’s character out of the picture after his tragic death, it is becoming odd that they are continuing to pretend he’s still alive…going so far as to show Brian’s car driving around but not Walker driving it.
I haven’t done a full re-watch of the series yet and I think before the inevitable F10 it’s time for me to get around to that. Timelines and storylines have all zig-zagged around so much that it’s beginning to get hard to track who is coming and going but as long as there is gas in the tank and air in the tires, this box office speedster is unstoppable. It might not make any kind of logical sense, but F9: The Fast Saga has made the lengthy wait worth it for legions of its admirers.
Review: I’m sure it’s because I’m a lifelong MN but I still recall that night in 1989 when Gretchen Carlson from Anoka won the Miss America pageant after impressing the judges with her talent (violin), poise, and that aquamarine gown. I always felt that MNs should stick together and since I rooted for her so vehemently to win I obviously thought we were best friends so I was dismayed when Carlson turned up on the Fox news network in a morning show that routinely spoke out against issues that I felt strongly about. Now I didn’t follow Carlson’s career closely, mind you, but the station was always in the media for something and she seemed to be at the center of attention – so when she was fired it wasn’t just big national news, it was buzzed about in the local press as well.
Carlson is one of a handful of familiar Fox faces that are featured in Bombshell, a true-ish account of the lawsuit Carlson initiated against her former boss and how it turned into a media frenzy that topped a once-solid empire. Yet from the outset it’s hard to view Bombshell and not address the elephant in the room: Fox News was and is a hugely problematic news outlet with anchors known for stirring the pot, making uninformed statements, introducing unsubstantiated facts, and orchestrating countless take downs of anyone that doesn’t share the agenda they’re pushing. An already uneasy world has been made more dangerous by the untruths they perpetrate – and now we’re supposed to sit in a theater for two hours and watch beautiful female employees at Fox sob about internal misconduct without also examining the fuel they added to their company bonfire? It’s a hard place to get to for some, but I found my way into this world thanks to stellar performances, a sharp script, and assured direction.
As the primary elections are ramping up in 2015, anchor Megyn Kelly (Charlize Theron, Atomic Blonde) prepares for the Republican Party presidential debate and doesn’t shy away from asking then-candidate Donald Trump about his poor history with women, welcoming a firestorm of criticism but drawing huge ratings for her network. This pleases her boss Roger Ailes (a sublimely slimy John Lithgow, Pet Sematary) but makes life with her children and husband (Mark Duplass, Tammy) fraught with anxiety. In the same period, on-air reporter Gretchen Carlson (Nicole Kidman, The Goldfinch) struggles with her own show, thought of to her as a demotion from her prime spot as the third member of Fox and Friends. Seeing the writing on the wall, she engages with lawyers to discuss her options on suing Ailes for harassment should he fire her, willing to bring up his sordid history of propositioning female employees for sexual favors.
It seems Ailes has a long reputation of harassment that is popular knowledge among the staff, save for fresh face Kayla (Margot Robie, I, Tonya) who falls into his trap fairly quickly, with her co-worker Jess (Kate McKinnon, Yesterday) unable to warn her in time. When Carlson is ousted and brings her lawsuit into the public, will the other women at the network stand with her or stay loyal to the powerful man that holds their jobs in his hands? Played out over a span of a year and a few months, the case develops into something bigger when respected people like Kelly stay silent instead of picking a side – leading some to ask if Kelly wasn’t another victim of Ailes, benefited from their relationship…or both.
Working from a script by Oscar-winner Charles Randolph (The Big Short), director Jay Roach (Trumbo) uses some clever ways to introduce us to the behind the scenes happenings at the network. A guided tour of the building by Megyn is a good way to give us a lay of the land, separating the executives from the anchors and the anchors from the assistants, etc. etc. Roach and Randolph aren’t above having actors stop and address the camera directly, though they wisely use that oft-employed tactic sparingly so when it happens it has a greater impact. Key people are identified by name throughout and the movie takes considered steps to let us know these are actors playing real people…there is a message before the studio logo, before the cast list in the closing credits, and again at the end of the movie — so they mean business.
It’s the casting where Roach really hit gold. As Kelly, Theron has again gone through a transformation right before our eyes into a completely different person. It’s admittedly harder to see at the beginning when Kelly’s hair was longer but when the short style arrives, watch out, because Theron is on the money with Kelly’s voice, mannerisms, and, with the assistance of Kazu Hiro’s (and Oscar winner for Darkest Hour in 2018) expert prosthetics, an uncanny ringer for the real person. Though she never met Kelly before making the movie, Theron seems to understand her and what motivated her forward, giving her complexities that maybe are a bit generous at times. Kelly was always a slight enigma, that’s partly why she struggled when she moved to NBC news, and failed to connect with a broader audience…Theron perhaps warms us up to her too much. Kidman doesn’t look much like Carlson but with her big hair and pursed lips she has the determined look of a woman smart enough to get her ducks lined up in a row and so resourceful no one even knew the ducks were there to begin with.
Robie’s character is a composite of several different producers at Fox News so she has a bit more leeway to create the role from the top down. After scoring high marks with a fantastic dialogue-free scene earlier this summer in Once Upon a Time in Hollywood, she tops that one with a hard to watch passage with Lithgow as Ailes. Watching her face go through a range of emotions is gut-wrenching but Robie doesn’t overplay it, it’s devastating enough as it is. Her best scenes, though, are with McKinnon who finally shows up in a movie ready to take things seriously. By far her best work to date, McKinnon leaves her goofy shtick at the Saturday Night Live studios and works hard to be a part of the success of the film rather than being the source of the problem.
Roach has filled the rest of the cast with a truckload of amazing character actors playing a number of familiar faces from the network and the world of entertainment. I won’t spoil them all but special mention just has to be made for Allana Ubach’s (Gloria Bell) incredible work as Judge Jeanine Pirro – it’s so close to the real thing your skin starts to crawl until you realize it’s just Ubach under all that makeup.
I still struggled with the whole Fox News of it all, though, and it took me until my second viewing and a lengthy discussion with my partner afterward to lock into what the film was missing that would have helped it along a bit more. There’s no character present that stands in opposition to Fox News or its anchors before all of this happens, only people that turn against the women after they come forward. So we never know if they are shunning the women themselves or the women because they work at Fox News. Having some semblance of accountability for actions before all of the harassment business came to light would, I think, ease some of the discomfort people are feeling after seeing the movie.
Hard to deny, though, that Bombshell isn’t a slick piece of entertainment with an important, but not uncommon story to tell. Closing with a dynamite new song from Regina Spektor, “One Little Soldier”, that sadly didn’t make the Oscar shortlist, my hope is that audiences (even the MN ones!) can put aside their differences of opinion and take the movie for what it’s trying to say. It’s not about politics, it’s not men vs. women, it’s about saying something. Or, as Carlson says, ‘Someone has to speak up. Someone has to get mad.’
Synopsis: Members of the mysterious and spooky Addams family are readily preparing for a visit from their even creepier relatives. But trouble soon arises when a shady TV personality realizes that the Addams’ eerie hilltop mansion is standing in the way of her dream to sell all the houses in the neighborhood.
Stars: Oscar Isaac, Charlize Theron, Chloë Grace Moretz, Finn Wolfhard, Nick Kroll, Bette Midler, Allison Janney, Elise Fisher
Director: Conrad Vernon, Greg Tiernan
Rated: PG
Running Length: 87 minutes
TMMM Score: (5.5/10)
Review: I have to admit when it was announced an animated reboot of The Addams Family was on its way to theaters…it happened. It was a long time coming and always inevitable…but it happened. I turned into one of those people that suddenly became overly protective of what had come before, treating it as some precious commodity that was untouchable. How could they think of making another movie without the likes of Angelica Huston, Christina Ricci, or the late Raul Julia? And animated? True, the two live-action films were cartoon-y in their own way and The Addams Family had already been seen on the small screen as colorful cells on Saturday mornings for young audiences but I just didn’t want this particular property messed with. Plus, this world that was created by cartoonist Charles Addams in 1938 was so smartly macabre I wanted it kept the way it was and left uncorrupted.
After what seems like a long path to movie theaters, The Addams Family has arrived with excellent timing as a Halloween outing option, though I was dismayed to see numerous parents ushering their young tykes into Joker playing next door instead. It’s a mixed bag of a movie with some good elements in the form of spirited vocal performances and a droll script with a good message of acceptance that has a few genuine laugh out loud lines. On the other hand, the animation is particularly ugly and off-putting, which in some cases may have been the point but largely was just bad design.
Part origin story (which I quite liked), we see how The Addams Family made their way to live in an abandoned asylum on the top of a hill in New Jersey. Gomez (Oscar Isaac, A Most Violent Year, an excellent successor to Raul Julia) and Morticia (Charlize Theron, Atomic Blonde, curiously less successful) have raised their children Wednesday (Chloë Grace Moretz, Greta), and Pugsley (Finn Wolfhard, The Goldfinch) in relative isolation, keeping them away from the rest of the world that was so cruel to them when they were young. The family is preparing for a gathering of the entire Addams clan for Pugsley’s mazurka, a sword-dance his father has been trying to teach him that is of little interest to the mischievous imp. Preferring to play with bombs instead of blades, father and son can’t quite connect on this important upcoming event. At the same time, when a bubbly big-haired TV makeover host (Allison Janney, I, Tonya) comes knocking hoping to re-do the gloomy Addams manse to fit in with the entire town of Assimilation she has just made-over, Wednesday becomes more curious with life outside their small lot and asks Morticia to go school and not be “home caged” anymore, a request that causes the blood to drain into Morticia’s face, one of several funny visual gags.
The bulk of the film is taken up by these two competing storylines revolving around the children, with equal time given to both. When the family begins to arrive and Pugsley gets put in the spotlight, it gives the animators room to create more peculiar Addams relations that would likely have pleased their original creator. Though he seemed popular with the crowd when I saw the film, I could have done with far less of Uncle Fester…but maybe it was just the way Nick Kroll (Vacation) has voiced him like he has a numb tongue that started to grate on me after a while. I got a kick out of Bette Midler (Hocus Pocus) as Grandma and you can judge for yourself if Snoop Dogg (Pitch Perfect 2) earns his credit for voicing Cousin Itt. There’s plenty of visual flair to these larger animated scenes, aided a bit by the 3D upgrade I sprung for which added some extra depth to the expansive Addams mansion.
I just couldn’t quite get over how grotesque most of the animation so often looked. Apart from The Addams Family who have their own ghoulish glow about them, the rest of the townspeople are all spindly legged monstrosities that are really off-putting. Perhaps that’s what the team was going for, to show some parallels between the family and the townspeople that judge them but…I just don’t quite buy that easy out. There’s just too many hastily rendered faces with eyes that are so close together you can count them as one and mouths that look like stop signs. Speaking of disturbing, there’s far too many moments where sharp objects (arrows, swords) either enter the mouth, the head, or the back…it’s nearly all with Uncle Fester so it’s a gag but it was over-the-top for my taste.
In all honesty, I should have been able to let go a little more from the outset because so much time had passed between the last live-action film released theatrically (Addams Family Values in 1993) and this new one from directors Conrad Vernon (Kung Fun Panda 2) and Greg Tiernan (Sausage Party). An entirely different generation has emerged and deserved being introduced to their own version of The Addams Family like I was back in 1991 when the first movie came out. It inspired me to look back at the original television series and the original Charles Addams cartoons and might do the same for some kids today as well. I’m glad this option is available in theaters now to encourage a family night out at the movies, parents can take their kids to this one without much concern.
Synopsis: A few women decide to take on Fox News boss Roger Ailes and the toxic male culture he presided over at the network.
Release Date: December 20, 2019
Thoughts: In case anyone was worried the 2019 competing projects surrounding the scandal at Fox News would create a Volcano vs. Dante’s Peak situation, it’s safe to say the muted reception of Showtime’s The Loudest Voice is a good indicator Bombshell may strike gold this December. Though boasting Noami Watts as anchor Gretchen Carlson and disgraced CEO Russell Crowe as Roger Ailes, the Showtime limited series was a non-event and has barely made headlines. Counter that with the, let’s just say it, riveting teaser trailer for Bombshell in which Oscar winners Charlize Theron (Atomic Blonde) as Megyn Kelly and Nicole Kidman (Boy Erased) as Carlson share elevator space with Oscar nominee Margot Robbie (I, Tonya) as Kayla Pospisil and you can see why pundits are wondering if the Best Actress statue might have to be divided into thirds this year. Theron, in particular, looks eerily like her real-life counterpart…I’m dying to see how this movie turns out.
Synopsis: An unemployed journalist battered by his own misfortune endeavors to pursue his childhood crush and babysitter, who now happens to be one of the most powerful and unattainable women on the planet.
Stars: Charlize Theron, Seth Rogen, O’Shea Jackson Jr., Andy Serkis, June Diane Raphael, Alexander Skarsgård, Ravi Patel, Bob Odenkirk, Randall Park
Director: Jonathan Levine
Rated: R
Running Length: 125 minutes
TMMM Score: (7/10)
Review: Don’t look now, but we may actually be in a small scale renaissance of the mid-range romantic comedy. There were rumblings that it was coming back when last year’s Crazy Rich Asians made a splash, only to be followed by the popular streaming releases like To All the Boys I’ve Loved Before and The Set Up. So far this year, we’ve had the modest hit Isn’t it Romantic and soon after Long Shot’s May release there’s still The Sun is Also a Star to look forward to and Last Christmas for the holidays…plus several more Netflix offerings along the way. It’s not a full scale rebirth of the genre but it definitely gets a healthy dose of mouth-to-mouth resuscitation courtesy of Seth Rogen and Charlize Theron in Long Shot.
Originally conceived as more low-brow comedy titled Flarsky, the script from Dan Sterling attracted the attention of Seth Rogen after it got good buzz on The Blacklist, the infamous Hollywood insider-y annual survey of the “most liked” motion picture screenplays not yet produced. Rogen brought in screenwriter Liz Hannah (The Post) who gave the film a good polish, making the starring female role more of real person and creating more equality between the lead protagonists. With a new title and Rogen’s friend Jonathan Levine (Warm Bodies) in the director’s seat all they needed was a star. And boy did they get one.
Charlize Theron (Mad Max: Fury Road) is the real reason you should be buying a ticket to see Long Shot and is the film’s not-so-secret weapon. Sure, you may be a fan of Rogen, romantic comedies, or just need a solid two hour film that is worth your time but Theron is by far the main selling point Long Shot has to offer. Already adept at playing any genre she’s thrown into, Theron dives headfirst into a role that requires the actress to convince us her gorgeous buttoned-up Secretary of State could fall for Rogen’s lumpy (but lovable) political journalist, all while keeping her composure as she plots out an environmental treaty to lay the groundwork for her presidential run.
Recently fired from his grassroots publication, Fred Flarsky (Rogen, This is the End) is drowning his sorrows with his best friend (O’Shea Jackson Jr., Straight Outta Compton) at an upscale benefit when he runs into his old babysitter Charlotte Field (Theron). Flarsky may have written a few popular pieces on the internet but Field has done considerably better for herself; she’s the youngest Secretary of State under a dim bulb President (Bob Odenkirk, Nebraska) who was elected after playing the Commander in Chief on TV for years. When the President decides not to run again and offers to endorse Field, she gets early reports (from a too-brief cameo by Lisa Kudrow, Friends with Kids) that the public doesn’t think she has a sense of humor. Running into Flarsky and reading his material gives her an idea: why not hire this guy who knew her back in the day and see if he can punch up her image?
For Field, this starts as a business proposition. For Flarsky, this is a chance to get closer to a girl he has had a crush on since he was a pre-teen. Even more than that, he believes in her as a politician and gets behind her as a potential presidential nominee. As they make their way around the globe gathering support for her environmental protection plan, the two get closer…much to the horror of her staff members (June Diane Raphael, Girl Most Likely and Ravi Patel, Master of None) until they become an unlikely item.
It really is on Theron to sell us on her character falling for Fred and Rogen and Levine help her get there (with no small assistance from Hannah’s script) by keeping Charlotte aware of their differences but following her heart anyway. That’s what makes it all work because, unlike other Rogen vehicles where he’s paired with beauties just…because, here he initially winds up with the girl by winning over her brain first before anything physical happens.
Clocking in a tad over two hours, the movie comes in just a hair too long and a wiser editor could have excised more of Jackson’s unnecessary scenes as Fred’s friend that don’t wind up informing the action on anything we don’t already know. As good as Raphael and Patel are, they only work in small doses and their business could be trimmed as well because we really want more time with Theron and, to a slightly lesser extent, Rogen. I can’t forget to mention Andy Serkis (Black Panther) popping up in a truly bizarre role as a publishing magnate with ties to Charlotte and Fred. It’s not that the role is bizarre, it’s that Serkis is under heavy layers of make-up to render him unrecognizable. Why?
The film almost makes it across the finish line without resorting to gross out gags but can’t resist a fairly atrocious bit of toilet humor that cheapens things up at the wrong time. Honestly, I get why they inserted it in the grand scheme of things but it sinks the film to a different level that I thought it was rising above. Still, that and a rather perfunctory ending can’t erase the fun of the previous 100 or so minutes and any movie that prominently features Roxette’s mega-anthem “It Must Have Been Love” on more than one occasion already scores high in my book.
Synopsis: An undercover MI6 agent is sent to Berlin during the Cold War to investigate the murder of a fellow agent and recover a missing list of double agents.
Stars: Charlize Theron, James McAvoy, John Goodman, Til Schweiger, Eddie Marsan, Sofia Boutella, Toby Jones, Attila Árpa, Jóhannes Haukur Jóhannesson
Director: David Leitch
Rated: R
Running Length: 115 minutes
TMMM Score: (8.5/10)
Review: Pity the fool that crosses MI6 agent Lorraine Broughton and pity any audience member that second guesses the Oscar winner that plays her. Producer and star Charlize Theron (Prometheus) has fashioned a whopper of a role for herself and assembled a crack team of players to go along for the arse-kicking adrenaline-fueled ride. Even if Atomic Blonde doesn’t necessarily turn the Cold War spy thriller on its head, it sure gives it a helluva decent set of stylish somersaults.
Based on The Coldest City, a 2012 graphic novel written by Anthony Johnston and illustrated by Sam Hart, Atomic Blonde is set in November 1989 during the days leading up to the fall of the Berlin Wall. This is no history lesson, though, as is pointed out at the beginning of the pretzel-like plot in the center of the action film. A MI6 agent stationed in Germany has been tasked with retrieving a watch with a list of double agents that could out several spies. When he’s killed in action, his old flame/colleague (Theron) is been sent behind enemy lines to finish the job and find a double agent plaguing the agency.
Lorraine is barely out of the airport before she’s battling KGB agents aiming to take her out, sparring with a MI6 superior (James McAvoy, Split) who may be harboring rogue notions, and rendezvous-ing with a French beauty (Sofia Boutella, TheMummy) with secrets of her own. All is not what is seems, however, as the twists start to come fast and furious during the final half of the picture. Told in flashback by a battered and bruised Lorraine to two high-ranking officials (Toby Jones, Muppets Most Wantedand John Goodman, Patriots Day), Kurt Johnstad’s screenplay sometimes zigs when it should zag but overall it packs the requisite punch.
Speaking of punches…whoa. Theron’s action sequences are of the intensely old-school rock ‘em and sock ‘em variety and they are downright thrilling. Early toussels in a car winding through a tunnel, an apartment complex, and a stylishly cinematic brawl staged in a, well, a cinema are mere appetizing morsels for the extended battle royale grand feast. Following Lorraine as she attempts to keep a key witness alive, director David Leitch (John Wick) makes the rumble in the East Berlin jungle look like it was shot in one long take by cleverly disguising his cuts. It’s not a showcase only for the filmmaker, though, as Theron smashingly bashes her way through a bunch of hapless goons down staircases and through abandoned rooms to a pulsing soundtrack of mid to late ‘80s classics. Taking her licking, she keeps on ticking and gets believably shell-shocked, bloodied, and winded along the way. Theron trained intensely for this role and it shows with every punch landed and every powerful kick to the chest she delivers, so much so that it’s hard to see when her stunt double steps in.
Were Theron not a producer of Atomic Blonde, I may have questioned some of the more risqué elements to the film as a product of some male ADHD fantasy featuring women in low cut blouses, high cut lingerie, or nothing at all. However, it doesn’t feel wholly exploitative but likely in line with the source material and period setting…but on the other hand a little Theron on Boutella action has an sizable erotic charge in even its most chaste moments.
While we’re on the subject, poor Boutella is in her second summer film of 2017 that fails to capitalize on her engaging appeal. After her mummy character played second banana to Tom Cruise in June she ends July without getting much to do but bed Theron and provide some necessary expository dialogue. I kept waiting for her to pop in to help Theron out but, alas, the only one that seems to show up is McAvoy and his over-the-top shenanigans.
In films such as these where it’s essential for key plot points to be manipulated throughout so the twists, when revealed, have a greater “gotcha” vibe there never seems to be a satisfying resolution. Thankfully, though Atomic Blonde has two endings too many the one it does close up shop on is a solid rounding off of any rough edges that remained. A prequel graphic novel was released in 2016 so should this one detonate positively with audiences, it’s possible we’ll see Theron back in action in no time. I’d welcome the return sooner rather than later.
We did it! We made it through another summer and while the outdoor heat wasn’t too bad (in Minnesota, at least) the box office was on fire.
I’ll admit that I indulged in summer fun a bit more than I should, distracting me from reviewing some key movies over the last three months so I wanted to take this opportunity to relive the summer of 2015, mentioning my thoughts on the movies that got away and analyzing the winners and losers by month and overall.
So sit back, relax, and enjoy the ride read.
Traditionally, August is the month when the wind-down begins. It never has any of the big tent pole pictures featured earlier in the summer and it can be a time when studios try to burn off some troubled pictures or try to skillfully position a sleeper hit. This August for sure had its share of high and low points, much like the summer that it capped off. I was still in frolic mode so didn’t get to as many reviews as I had wanted but sitting here now, in still sunny September, it’s time to review the movies I missed!
Movie Review ~ Shaun the Sheep Movie The Facts: Synopsis: When Shaun decides to take the day off and have some fun, he gets a little more action than he bargained for. A mix up with the Farmer, a caravan and a very steep hill lead them all to the Big City and it’s up to Shaun and the flock to return everyone safely to the green grass of home. Stars: Justin Fletcher, John Sparkes, Omid Djalili, Kate Harbour, Tim Hands, Andy Nyman, Simon Greenall, Emma Tate Director: Mark Burton, Richard Starzak Rated: PG Running Length: 85 minutes TMMM Score: (7/10) Review: I’m not saying that the U.S. doesn’t churn out a fine slate of family friendly films…but there’s a certain aura around the British imports that seem to work time and time again. Like Paddington earlier this year, Shaun the Sheep Movie was an unexpected delight, 85 minutes of smart comedy that’s deep enough for adults to not need a lobotomy to enjoy and zany enough to keep the attention of young tykes. Remarkable when you consider there’s not any dialogue in the movie aside from some rumbles and grumbles from human and animal characters, it’s a big screen adventure adapted from a popular television show. I wasn’t sure what to expect but I was surprisingly entertained and quite impressed by the stop-motion animation. The film didn’t have great marketing so it slipped by most people but if it’s at your bargain movie theater, pack those kids up in your minivan and get to it…or treat yourself to a solo show.
Movie Review ~ Dark Places The Facts: Synopsis: Libby Day was only seven years old when her family was brutally murdered in their rural Kansas farmhouse. Twenty-five years later, she agrees to revisit the crime and uncovers the wrenching truths that led up to that tragic night. Stars: Charlize Theron, Drea de Matteo, Nicholas Hoult, Christina Hendricks, Chloe Grace Moretz, Corey Stoll, Sterling Jerins, Tye Sheridan, Shannon Kook Director: Gilles Paquet-Brenner Rated: R Running Length: 113 minutes TMMM Score: (3/10) Review: With the huge success of Gillian Flynn’s third novel Gone Girland seeing how fast the movie rights were snapped up, it’s only natural that her other two other books would take a similar path. Dark Places is the first of these to hit theaters (Sharp Objects is arriving as a television movie) and it shows one of two things, either the third time was the charm for Flynn or something was lost in translation. Full disclosure, I haven’t read the book but I’m inclined to think that it’s the fault of the screenwriter because there are so many hazardous movie mistakes only a Hollywood writer could make. Though the mystery of a decades old killing spree coming back to haunt the sole survivor is initially intriguing, it quickly dissolves into a sticky mess that makes less sense the more secrets are revealed. It also doesn’t help that it’s badly miscast, with the usually impressive Charlize Theron relying on her ever-present trucker hat to do most of the acting for her…or maybe to hide her embarrassment at being looped into this turkey. Though it boasts a cast that typically gets the job done, no one quite seems to know what they’re doing…as if they hadn’t read the book before undertaking their scenes. The only worthwhile performance is Christina Hendricks as Theron’s murdered mom, bringing some dignity to a role that, as written, doesn’t earn it.
Movie Review ~ Fantastic Four The Facts: Synopsis: Four young outsiders teleport to an alternate and dangerous universe which alters their physical form in shocking ways. The four must learn to harness their new abilities and work together to save Earth from a former friend turned enemy. Stars: Michael B. Jordan, Miles Teller, Kate Mara, Jamie Bell, Toby Kebbell, Tim Blake Nelson, Reg E. Cathey Director: Josh Trank Rated: PG-13 Running Length: 100 minutes TMMM Score: (4/10) Review: Well, what can I saw bout the Fantastic Four that hasn’t been said (loudly) already? Is it a lousy movie? Yeah, probably. Could it have been better? After two attempts to bring these characters to the big screen I’m not sure we’ll ever get a decent adaptation. What went so wrong? If you believe the outspoken director, it was studio interference that took his movie from a rich origin story to an overstuffed thundercloud of action movie clichés and fairly terrible special effects. If you are to believe the studio, it was that director Josh Trank (who debuted with the surprise hit Chronicle) disconnected from the material, a development that was costing time and money. Watching the film with this knowledge you can see the moment that something went awry. Because the thing is, the first 20-30 minutes of Fantastic Four is quite good, sensitive even. It’s a slow start and, let’s face it, audiences these days don’t want a slow start. They want their action and they want it now. The studio was happy to oblige and when it becomes a standard summer superhero movie my interest took a nosedive and it became a waiting game of the good guys defeating the bad guys so I could go home. I think the colossal outcry from fans and critics was a little on the dramatic side, even for a superhero film, but it’s not wholly unwarranted.
Movie Review ~ Ricki and the Flash The Facts: Synopsis: A musician who gave up everything for her dream of rock-and-roll stardom returns home, looking to make things right with her family. Stars: Meryl Streep, Kevin Kline, Sebastian Stan, Mamie Gummer, Audra McDonald, Rick Springfield Director: Jonathan Demme Rated: PG-13 Running Length: 102 minutes Trailer Review:Here TMMM Score: (6.5/10) Review: So we’ve all long agreed to the fact that Meryl Streep can do no wrong. You can love her for it or hate her for it, but she never fails to impressive me with each new role she takes on. From starring in The Iron Lady to taking a supporting role (cameo, really) in The Homesman, Streep seems to take a role if it speaks to her, no matter the size or commitment. It’s not hard to see why she was attracted to the rough rocker Ricki with her tattoos and braided hair, here was another opportunity for Streep to strip away the classical actress aura and go barefoot into the wild. She’s ably aided by Diablo Cody’s middling script, Jonathan Demme’s careful direction, and a supporting cast that don’t just play second fiddle to Streep’s lead guitar. I think there’s one too many musical numbers allowed to play longer than they should and Cody’s dialogue doesn’t have the snap that it used to. The whole thing is worth it though for a stellar scene between Streep and Audra McDonald, the new wife of Streep’s ex-husband. A sparring match spoken with calm and some care, the two women have an electricity between them that the film needed more of. It falls apart swiftly in its second half, but it’s not a totally out of tune affair.
Movie Review ~ The Man from U.N.C.L.E. The Facts: Synopsis: In the early 1960s, CIA agent Napoleon Solo and KGB operative Illya Kuryakin participate in a joint mission against a mysterious criminal organization, which is working to proliferate nuclear weapons. Stars: Henry Cavill, Armie Hammer, Alicia Vikander, Elizabeth Debicki, Jared Harris, Hugh Grant Director: Guy Ritchie Rated: PG-13 Running Length: 116 minutes TMMM Score: (7.5/10) Review: I never watched the television series on which this cool-as-can-be spy movie was based on but I’m pretty sure there weren’t the same amount of homoerotic jokes during the weekly adventures of Solo and Kuryakin. While I feel that director Guy Ritchie relied a bit too heavily on his similar experience at the helm of two Sherlock Holmes films, he brings his A game to this big screen adaption, sparing no expense when it came to production design. And that’s a good thing because though it’s never truly predictable, the plot is pretty thin. So it’s up to Ritchie and his cast to sell the film and they are more than up for the challenge. Henry Cavill (Man of Steel) is perfectly cast as the smooth Solo and he’s well matched with Armie Hammer’s (Mirror Mirror) simmering Kuryakin. The two trade barbs rich with double entendre while protecting Alicia Vikander (The Danish Girl) from falling into the hands of a sinister villainess (the scene stealing Elizabeth Debicki, The Great Gastby). The film looks and sounds amazing, here’s hoping costume designer Joanna Johnston gets an Oscar nomination for her impeccable suits and stunning dresses.
Movie Review ~ End of the Tour The Facts: Synopsis: The story of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took place right after the 1996 publication of Wallace’s groundbreaking epic novel, ‘Infinite Jest.’ Stars: Jesse Eisenberg, Jason Segel, Joan Cusack, Mamie Gummer, Anna Chlumsky, Mickey Sumner Director: James Ponsoldt Rated: R Running Length: 106 minutes TMMM Score: (8/10) Review: I never thought I’d say the words “potential Oscar nominee Jason Segel” in a work of non-fiction…but then again I didn’t think two-time Oscar nominee Jonah Hill was possible either and look what happened there. Yes, Segel’s work as tormented writer David Foster Wallace is worthy of acclaim as the actor digs deep within and bypasses his comedic instincts to find the truth of the man behind the epic novel Infinite Jest. Jesse Eisenberg (who also pops up in American Ultra) turns in strong work as well, though he’s really just a prop for Segel to react off of. Their five day road trip interview for Rolling Stone is the basis for the movie and it leads the men and the audience into interesting territory. It’s a movie you watch once, appreciate, then file away as something you can recommend to people and feel like you’ve done them a favor. One thing that must be said…Eisenberg needs to learn how to smoke a cigarette. Here and in American Ultra he looks a child does when they are mimicking their parent. Many things about Eisenberg annoy me and this is just another thing to add to the list.
Movie Review ~ The Diary of a Teenage Girl The Facts: Synopsis: A teen artist living in 1970s San Francisco enters into an affair with her mother’s boyfriend. Stars: Bel Powley, Alexander Skarsgård, Christopher Meloni, Kristen Wiig Director: Marielle Heller Rated: R Running Length: 102 minutes TMMM Score: (7.5/10) Review: It’s nice to go into a movie with only a basic logline and a list of the actors featured. I didn’t know what to expect from The Diary of a Teenage Girl but whatever I thought, the movie surprised me in the best ways. The story of a young girl’s sexual awakening in San Francisco is gloriously set in the mid ‘70s, an era of freedom and discovery. While some may be off put by the relationship between an older man and an underage girl (star-in-the-making Bel Powley is older than she looks, thankfully), they’d be missing the point of Phoebe Gloeckner’s autobiographical graphic novel on which the film is based. It’s a frank flick that frequently finds its actors in the buff but doesn’t feel gratuitous because these characters are coming into themselves, marveling at a new experience they never knew existed. I appreciated that the film pulled no punches in showing nudity and discussing sexual situations and director Marielle Heller shows respect for all people involved. It’s a bold film with animated sequences, a killer soundtrack, and splendid performances.
The dog days of summer brought three other notable releases to theaters, though I’m guessing by the poor box office returns of two of them that the studios (and actors) wish the films had just quietly gone away.
I hadn’t heard a thing about American Ultra until two weeks before it was due to arrive, strange considering it starred Kirsten Stewart and Jesse Eisenberg. The two aren’t serious box office draws but they do have a fanbase that might have helped build more buzz for the stoner comedy. Not that it would have made the film any better because at its best it was a mildly diverting mix of comedy and gratuitous violence and at its worst it was a merely the thing you watched because you’d seen everything else at the theater and wanted some time in the air conditioning. It’s bad when you don’t know what the movie is about, but it’s worse when it feels like the filmmakers don’t have a clue either.
I’ve gone on record as no fan of director Noah Baumbach and very on the fence for actress Greta Gerwig so I wasn’t at all looking forward to their latest collaboration, Mistress America. Once again, the universe has a way of loving to see me humbled and I emerged from the screening not only in a damn fine mood but the desire to see it again. That rarely happens with any movie, let alone a Baumbach/Gerwig joint so that should tell you something about the quality of this movie that is firmly in a New York state of mind. Sure, it has its share of problems but they don’t ultimately detract from the overall enjoyment the film brings.
Finally, there’s the sad, sad case of We Are Your Friends, Zac Efron’s latest attempt to be a serious dramatic actor. While I think it’s Efron’s best dramatic performance to date and didn’t totally hate the film, audiences sure did and it became the third biggest box office failure of all time…pretty stunning considering how many other bad movies have been released and made at least a few million during its opening weekend. I think the film got a bum rap and just was released at the wrong time, but it should hopefully send a message to Efron that he needs to spend some time figuring out exactly where his place is in Hollywood because he is, like his character here, totally lost.
