Synopsis: When a new toy called “Forky” joins Woody and the gang, a road trip alongside old and new friends reveals how big the world can be for a toy.
Stars: Tom Hanks, Tim Allen, Annie Potts, Christina Hendricks, Keanu Reeves, Joan Cusack, Lori Alan, Blake Clark, Estelle Harris
Director: Josh Cooley
Running Length: 100 minutes
TMMM Score: (8.5/10)
Review: I’m pretty sure most audiences, like me, thought this toy box was closed for good. After changing the face of computer animation with the release of Toy Story in 1995, Pixar followed their original story up with two sequels that managed to improve exponentially on their predecessors. Culminating in 2010 with the beloved, three-hanky Toy Story 3, favorite toys Woody and Buzz Lightyear had a fantastic send-off that was just about the most perfect ending to a story you could ask for. At the time, everyone involved said three films was the limit and they were done with the Toy Story franchise…but a few box office duds and less successful sequels to other popular titles ‘inspired’ the animators at Pixar to come up Toy Story 4.
Usually, in these seemingly desperate situations no good can come of the product that’s created and I braced myself going into Toy Story 4 for a sequel that didn’t measure up. The news at the outset is that no, Toy Story 4 is not as winning as the previous film nor does it have the same complexities that made that last chapter mean so much to adults as well as kids. However, the moment I stopped trying to compare this film to the one that came before I sort of released any tension I had going in and was easily won over. This relatively uncomplicated, but very entertaining, entry gives audiences everything they want. From the characters major and minor we love, to the dizzying hijinks that have become a staple of the prime Pixar pictures, Toy Story 4 works like gangbusters when the gang is all together.
At the end of Toy Story 3, Andy left his prized toys with toddler Bonnie when he went off to college and as this film opens the toys are enjoying their rebooted life with a new child. True, not all of them get the same play time as others, namely Woody (Tom Hanks, Sully) who nicely abdicates his sheriff duties to Jessie (Joan Cusack, Working Girl) because Bonnie prefers her. With Bonnie set to begin Kindergarten, Woody steals away in her backpack to keep an eye on her should she need any comfort and bears witness to the creation of a new toy, Forky (Tony Hale, American Ultra). A crude construction from a spork, pipe cleaners, and popsicle sticks, he becomes Bonnie’s new favorite though the recently born toy keeps trying to pitch himself into any available waste paper bin because he only thinks of himself as “trash”.
With Woody busy trying to keep Forky from going out with the garbage, the rest of the toys take a minor backseat to the action until Bonnie and her parents take a small road trip before school officially begins. It’s here the movie really begins after a half hour of funny, if a tad bit staid, sequences with Woody and the group. Though I’m sure Forky will become a popular toy with fans and the deeper meaning to his metaphysical questioning of life will inspire numerous think pieces, I found this first act of the movie a wee bit ungainly. To me, Forky and his desperate attemps to run away became an annoyance…and I wondered why all the toys just didn’t let him be on his merry way. Again, while on the early stages of the road trip, Forky makes a run for it and Woody follows, eventually winding up in an second-hand antique store lorded over by a Gabby Gabby doll (Christina Hendricks, The Neon Demon) and her ventriloquist dummy minions (scary!) with designs on Woody’s voicebox.
The antique shop and the traveling carnival that sits right outside the store provides Pixar people ample space to let their imaginations run wild and they have a ball creating a host of new toys and gadgets for our stalwarts to interact with. I had forgotten that Bo Peep (Annie Potts, Ghostbusters) hadn’t been in the last film and it was nice to see her move into a leading role as the female foil to Woody. Having been given away by her previous owner, Bo Peep (and her sheep) have been living as lost toys for seven years and show Woody the ways of the wild and help him break into the antique shop to look for Forky. These movies have always been quite targeted to boys and though the introduction of Jessie in the second film was meant to balance things out it never truly felt like an equal distribution of material. That error seems to have been nicely righted here by fleshing out Bo Peep as an independent toy capable of more than just tending sheep.
In addition to Gabby Gabby who is perhaps more than just merely a villain but a toy aching for feeling the same love and belonging the others have felt, there’s a Canadian stunt toy (Keanu Reeves, Parenthood) with an inferiority complex, and a set of plush animals (voiced by Keegan-Michael Key, Tomorrowland and Jordan Peele, Us) stitched together at the hand to provide some fine comedic support. The plush toys especially get in some howlingly funny bits, as much as the film made kids in my screening laugh I don’t think I’ve heard adults laugh louder or longer in a movie in quite some time. If there’s one toy that gets short shrift, it’s Buzz (Tim Allen) who has some late-breaking action but is sidelined in the memorable moments field for much of the film.
Watching the movie, I was reminded again at just how incredible the advancements Pixar has made. The animation here is photo-realistic at times and quite stunning to behold. Some animals look real and most vistas appear as if they have been snapped right from a postcard. If you look at the original Toy Story now you can see where the animation has room to grow but comparing that to this is showing how a company has evolved fantastically over the years. Couple that with action sequences crafted with clockwork precision that best any number of live-action summer blockbusters and you have a movie that has laser eye for detail down to the most minuscule of properties.
I’m hearing again this will be the last Toy Story film and the creators have definitely given us another ending that feels like it…but never count out another adventure if the story is right. It took nine years for this fourth film to be made and the release date comes almost five years after it was originally announced. So, it’s obvious the studio took its time in creating the film and releasing it only when it was perfected. Let’s hope if there is another tale to be told, the same care is taken when Woody, Buzz, and Bo Peep ride again.
Synopsis: When her boyfriend dumps her, Emily persuades her ultra-cautious mom to accompany her on a vacation to Ecuador.
Release Date: May 12, 2017
Thoughts: 15 years. That’s how long it’s been since Goldie Hawn (Deceived) has been seen on the big screen (not counting midnight screenings of Death Becomes Her at revival houses) and for a Hawn fan like me, that’s far too long. The Goldie drought will end this Mother’s Day as the Oscar winning comedienne teams up with Amy Schumer (Trainwreck) in Snatched, a mother-daughter comedy directed by Jonathan Levine (Warm Bodies). While the optimist in me is hoping for the best, Schumer’s ascent to bona-fide leading lady hasn’t been totally proven and I wasn’t a fan of screenwriter Katie Dippold’s previous buddy film The Heat. Also, remember the last time we were excited for a road-trip movie with a star that now makes infrequent appearances in movies? Yeah…we wound up with The Guilt Trip. The humor looks sophomoric and the production a bit on the cheap…but I’m interested to see what silly sparks Hawn and Schumer can make.
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.
Synopsis: When a military general inherits a toy making company and begins making war toys, his employees band together to stop him before he ruins the name of Zevo Toys forever.
Release Date: December 18, 1992
Thoughts: With the tragic passing of Robin Williams this week, I’ve seen a lot of people bringing up some of his more underappreciated film roles and thought I’d toss one out there as well. For every Mrs. Doubtfire Williams had a Bicentennial Man, for every Jumanji there was a What Dreams May Come, with each Dead Poets Society there was a Lee Daniels’ The Butler…the list goes on. 1992’s Toys is an oddball film to be sure that still doesn’t quite work for me but there’s something about the Oscar nominated design and the balanced performance of Williams that helps the movie click on more than a few occasions. I can’t imagine anyone else playing Williams’ zany role with quite the same amount of sensitivity – give this one a whirl and see how a good Williams can overcome a bad script.
Synopsis: A midwestern teacher questions his sexuality after a former student makes a comment about him at the Academy Awards.
Stars: Kevin Kline, Joan Cusack, Tom Selleck, Matt Dillon, Debbie Reynolds, Wilford Brimley, Bob Newhart, Gregory Jbara, Shaw Hatosy, Zak Orth, Lauren Ambrose, Alexandra Holden
Director: Frank Oz
Running Length: 92 minutes
TMMM Score: (3/10)
Review: Here’s a case of a movie with a preview and a set-up that works better than the film itself. The premise of a small town teacher being outed at a national level by a former student nearly on the eve of his wedding has comic mileage written all over it. The problem is the movie itself is so silly, so frustrating, so not satisfying that it trumps any positivity you had for the film going in. Though I’ve tried on more than one occasion to find some appreciation for In & Out since it was released in 1997 the appeal of this movie still escapes me.
Maybe it’s because the movie takes place in what could best be described as an alternate reality…an oddball version of the modern world as we know it. That’s not entirely by accident, I don’t think, but is a by-product of writer Paul Rudnick’s kooky style that may work for some films (Jeffrey, The Addams Family) but really fail him when going for a more (ahem) straight-forward tale.
Hey, this is the movies so there’s something to be said for some suspension of disbelief but In & Out pushes the line too far…starting with an Oscar ceremony that defies description. Rudnick is known for his playful skewering of Hollywood and its vain nature under his pseudonym Libby Gelman-Waxner and he goes for broke in showcasing Hollywood’s biggest night as a name-dropping, in-joke telling, overblown affair.
When mega star (and judging from the clips mega-untalented) Cameron Drake (Dillon) outs his high school teacher Howard Brackett (Kevin Kline) when he accepts his Best Actor Oscar it sends Howard’s small town life into chaos as the gossip hungry media descend on his quaint town just as he’s preparing to be married to his seriously patient fiancé (Cusack, Working Girl). A beloved teacher and member of the community, everyone seems to turn their back on Howard when the gay rumors start flying.
This is what really makes me mad about the movie. Yes, I see that Rudnick is trying to make a point about acceptance but having an entire town turn into ignorant cartoons (“Did this Barbra Streisand do something to you?”) is icky to watch. Even if this was released in 1997, I think the world was a little farther along in acceptance at that time. The way that this tight-knit community cold shoulders Howard is not funny, it’s unsettling.
To be fair, the film does have a few nice moments…notably Cusack’s profanity laced tirade late in the film that probably earned her her Oscar nomination. There’s also a too short scene between the older women of the town (including Debbie Reynolds as Kline’s mother) discussing some of their secrets they haven’t shared. While it’s nice to see rugged star Tom Selleck play against type, there’s no explanation as to why his Hollywood reporter character is granted access to film anywhere he pleases…including Howard’s wedding and a graduation ceremony that he’d have no business being at.
The whole affair as directed by Frank Oz is merely in service to Rudnick’s clumsily executed plot that puts people where they need to be for no other reason than it’s what Rudnick wanted. There are some serious continuity problems as it relates to cross country travel and the movie seems to exist without any observance of days of the week.
Even with likable lead Kline and a few sly turns by a cast packed with trusted character actors, this film stinks…though I’ve tried to wake up and smell the roses a few times the smell of failed opportunity is still all over the movie.
Synopsis: A teddy bear, a mechanical mouse, and a marionette join forces to save their kidnapped friend, Buttercup the doll, from the denizens of the Land of Evil.
Release Date: September 7, 2012
Thoughts: Sandwiched in-between recent stop motion features like ParaNorman and the upcoming Frankenweenie, Toys in the Attic is a blend of live action and stop motion from Prague that has gained quite a following on its native soil since its release in 2009. Redubbing the movie with familiar (and interesting) American actors, the film looks a bit shabby but not lacking in the charm department. This could be a nicely curious flick for those that miss the Toy Story characters
Synopsis: When a secretary’s idea is stolen by her boss, she seizes an opportunity to steal it back by pretending she has her boss’s job.
Stars: Melanie Griffith, Harrison Ford, Sigourney Weaver, Joan Cusack, Alec Baldwin
Director: Mike Nichols
Running Length: 113 minutes
TMMM Score: (10/10)
Review: I’m often asked for recommendations on favorite movies and I find the question to be hard to answer in a straightforward manner. Certain movies are favorites depending on my mood or because they provoke a feeling in me that I crave. Then there are the movies that work for me on any occasion, ones I will stop and watch if I see them on TV, ones that excite me to show to others. These particular kinds of movies are rare in my world but Working Girl sits high up on that list. Here is a film that, though set in the late 80s in a NYC that doesn’t exist today, still resonates and inspires with its winning cast and assured direction.
It’s no secret that the 1980s represented a different mentality for much of America when it came to money. Films like Wall Street showed a darker side of the streets of NYC but the skyscrapers that set the scene for Working Girl are no less gritty. It’s right in the middle of the power suits having power lunches that we meet Tess McGill (Griffith)…the working girl of the title. Hailing from Staten Island, Tess has the drive and ambition to go far but seems to be held back by a variety of circumstances. The movie wisely doesn’t try to justify why she’s as smart as we think she is…though we do hear that she’s applied to apprenticeship programs for various Wall Street conglomerates but is stuck in red tape.
Losing yet another job she lands an assignment working for Katharine Parker (Weaver), a new financial executive with an icy demeanor beneath her porcelain smile. When the two meet you can see both intelligent women sizing the other up and deciding on their next moves. When Tess shares an idea with Katharine that seems to go nowhere, she thinks nothing of it until Katharine breaks a leg on holiday and Tess discovers Katharine’s intentions to use the idea as her own. Taking on the role of an executive in Katharine’s office, Tess teams up with a businessman (Ford) to parlay the idea into a million dollar deal. Add some romantic entanglements that don’t distract from the central story and you have a movie package that fires on all cylinders.
At first glance, the plot for Working Girl with its mistaken identity foibles reads like an episode of sitcom but it’s through the dialogue, performances, and unobtrusive direction of Nichols that makes this a home run. The script provided by Kevin Wade is filled with memorable lines and a focused ensemble of characters that are played by many actors that would go on to have long careers of their own (Kevin Spacey, Oliver Platt, etc).
Baldwin had a pretty great 1988 considering that Working Girl was his fifth movie released that year (She’s Having a Baby, Beetlejuice, Married to the Mob, and Talk Radio were the others). Baldwin draws on his good looks and snake-ish charm to play Griffith’s cheating boyfriend. Though a minor character, the film provides him with a nice arc and a justified wrap-up that gels well with the rest of the picture.
Nominated for Best Supporting Actress, Cusack is a riot as Griffith’s best friend. A working girl herself, Cusack seems more content to let her friend dream big and support her while she rises to the top. I’m pretty sure that Cusack steals every scene she’s in and even when she’s not onscreen she’s left an impression — check out the secretaries on Griffith’s floor near the end of the film and try to spot the differences in their appearance.
By this point Ford was an A-List star that undeservedly gets top billing. Though his contributions are great and his playing against type is smart, this film belongs to the ladies and even he seems to know it. Ford was just moving into the stage of his career where he wanted to distance himself from the Han Solo and Indiana Jones type of roles and Working Girl was his first honest trek into lighter fare – a place he wouldn’t go to again until 1995’s remake of Sabrina. Still, his handsome presence works perfectly and he’s smashing in the role.
This brings us to the two ladies that really run this ship. Equally excellent in roles that couldn’t be more perfect for them, Weaver and Griffith deservedly were nominated for Oscars for their career-high work. I don’t think Griffith has been better before or after and she’s certainly never looked as fresh as she does here. Her transition from confident big-haired New Yawk-er to confident faux executive is believable and metered enough to see that she’s learning as she goes along. While she’s always wanted this break, when she actually gets the chance to succeed she’s afraid to take it because for so long people have told her she couldn’t have it. It’s an affirming performance and one that inspires me every time I see it. What sets this apart for similar movies/television shows is that it’s not even about Griffith being a female, it’s all about status. This could have easily (but less successfully) reversed the genders with the same effect – though you know it would have been a raunchy comedy instead of a whip-smart satire.
Weaver was outright robbed of an Oscar for her clever and incredibly funny turn as the wicked executive. I’m not even sure the character is a villain, actually. She makes some questionable choices, yes, but remember this takes place at a time when women executives were just coming into fashion. Weaver’s Katharine probably had to break through her own glass ceiling and make concessions of her own…still in a few key moments Weaver’s dark side is revealed and it’s equal parts hilarious and scary. I can only guess that Cusack’s nomination in the same category split the votes, sending the Oscar home with Geena Davis…but it’s hard to deny that Weaver was heads and tails better than the rest in her category. It probably didn’t help that she was also nominated as Best Actress for Gorillas in the Mist the same year.
Aside from his casting and naturally effortless directing style, Nichols (who also was nominated as Best Director) brought Carly Simon aboard to collaborate on the soundtrack. Simon’s Oscar winning “Let the River Run” is the underscore for much of the film as well as starting and ending the picture. An instant battle-cry anthem for the nine-to-fivers of the world it’s a song that I go back to often when I need some verve or a way to start the day/week off right. In fact, I would say that after Dolly Parton’s “9 to 5” it’s one of the best song to get ready for work to.
If you haven’t seen this film or haven’t re-visited it in a while do yourself a favor and seek it out. Working Girl is the full package – a Best Picture nominee that’s a completely satisfying film from beginning to end. The final five minutes of the film continues to choke me up — I can’t recall a movie that ends on such a perfect note and leaves the viewer feeling as if they too can pick themselves up by their bootstraps and tackle any obstacle that may be in their way. The tagline for the film really says it all “For anyone who’s ever won. For anyone who’s ever lost. And for everyone that’s still in there trying.” Indeed.