Movie Review ~ Frankie


The Facts
:

Synopsis: Three generations grappling with a life-changing experience during one day of a vacation in Sintra, Portugal, a historic town known for its dense gardens and fairy-tale villas and palaces.

Stars: Isabelle Huppert, Marisa Tomei, Brendan Gleeson, Greg Kinnear, Ariyon Bakare, Vinette Robinson, Pascal Greggory, Jérémie Renier

Director: Ira Sachs

Rated: PG-13

Running Length: 98 minutes

TMMM Score: (4/10)

Review:  Maybe it’s an only child thing.  Movies that revolve around family conflict tend to just zoom on by me with little effect, rarely landing with any kind of weight.  I’ve discussed this with those that come from large families with siblings and been told that it’s because as an only child I haven’t had that experience dealing with the kind of dynamics that exist when there are other personalities to take into account.  In my family, it was just the three of us so there was little room for gambit when you wanted something or were frustrated – everything was always out in the open.  So it’s tough for me to watch “family drama” films whether they’re good (August: Osage County) or bad (This is Where I Leave You) and find a thread to grab onto. That could be why I found it almost impossible to engage with Frankie, even though I’m a fan of the director and the majority of the cast.

At this point, I’m interested in anything Isabelle Huppert (Greta) shows up in, with the actress finding her ways to intriguing roles if not fully satisfying films.  Her Oscar-nomination for Elle was a deserved turning point in recognition of a long career of bold choices and she’s continuing to show up in curious places.  Then there’s Marisa Tomei (Love the Coopers), Brendan Gleeson (Paddington 2), and Greg Kinnear (I Don’t Know How She Does It), three more actors who have amassed an impressive list of credits on IMDb with both mainstream films and indie flicks.  With writer/director Ira Sachs guiding them all, this seemed like a pleasant gathering of talents; however like the titular character it’s a movie that keeps you at arm’s length and rarely allows you to see underneath its hard shell.

Set over the course of one day, Frankie centers around the family and close friends of celebrated actress Françoise “Frankie” Crémont (Huppert) who are gathered in a picturesque town in Portugal.  Even though they are in paradise, emotional baggage is being unpacked as the movie opens.  Frankie’s daughter (Vinette Robinson) is grappling with a marriage that may have run its course and her son (Jérémie Renier) has once again fallen in love with the wrong woman and is despondent.  Her ex-husband (Pascal Greggory) has stayed in the picture, though he hasn’t quite given up wanting to care for his former spouse.  That extra attention doesn’t seem to bother her current husband (Gleeson) because nothing seems to truly turn him askew.  Things get more complicated with the arrival of Frankie’s former make-up artist Ilene (Tomei) who has invited her friend Gary (Kinnear) along which throws a wrench (delicately) into a grand scheme Frankie has been working on.

Frankie is really just a series of conversations between characters, rarely more than two people at a time.  While this allows for some freely interesting insight at first (and blessedly Huppert is allowed to speak in French to those that communicate likewise), by the time the movie is half over you find yourself longing for something of import to happen or be revealed out of these exchanges.  Many of these dialogues are inward musings spoken aloud that another person just happens to be there for, they rarely are as revealing or revelatory as they may have been intended to be and, honestly, it often comes across as shallow whining from the privileged upper class.  That would be fine, if only there was a balance to show the movie understood it was commenting on that position of opportunity.  It becomes obvious early on why Frankie has gathered these people together so there’s not some big awful secret waiting to be revealed, but the slow turning of the wheels feels overly laborious for the usually smooth sailing writing of Sachs and his co-writer Mauricio Zacharias.

As a writer and director, Sachs has shown in his previous work to have a finely tuned ear for how real people speak and, flawed though they may be, has presented them with some wholeness to them.  When I interviewed him in 2014 for the release of his wonderful movie Love is Strange, he spoke of wanting to present characters with a certain humility about them that reflects their class and age and I can see some of that intention present in the outlines of the characters in Frankie.  What I didn’t find was anything more than those outlines underneath it all.  It’s a curious circumstance, to be in this beautiful setting with such an appealing cast but not be able to generate any kind of emotional resonance from anything you’re hearing.  It doesn’t help the actors don’t seem to know quite how to sell it either, with Huppert appearing distant and not in the way I think Sachs intends her to be.  Only Tomei feels like she’s at peace and she brings a noted warmth to all of her scenes.  It’s a mixed bag from everyone else, especially out of sync with everything else are scenes with Frankie’s granddaughter and a local boy that catches her eye.

There’s a shot in Frankie where all the characters trek to look out on the edge of a cliff into the vast openeness of the sea.  With so much to admire, so much to think about, and so much to take in, they barely stay for a moment before turning back and walking back from where they came and where they are comfortable.  That’s a lot like Frankie the film.  A lot of effort is spent getting to a place that should be a thing of beauty, only to turn around and head back without taking time to think about what we’re looking at.

Movie Review ~ Spider-Man: Far From Home


The Facts
:

Synopsis: After the events of Avengers: Endgame, Peter Parker and his friends go on summer vacation to Europe and there Peter finds himself trying to save his friends against a villain known as Mysterio.

Stars: Tom Holland, Jake Gyllenhaal, Zendaya, Marisa Tomei, Samuel L. Jackson, Cobie Smulders, Jacob Batalon, J.B. Smoove,

Director: Jon Watts

Rated: PG-13

Running Length: 129 minutes

TMMM Score: (7/10)

Review:  In some ways, Spider-Man: Far From Home was always bound to be disappointing.  Being the follow-up to the biggest movie on the planet and arriving barely two months after it’s release is an unenviable position.  Here’s the kicker, though.  If you believe the trade papers then it seems Sony, which still owns the rights to Spider-Man and has loaned him out to Marvel Studios for his work in Captain America: Civil War, Avengers: Infinity War, and Avengers: Endgame, actually pushed to have this particular release date so close to the final Avengers film.  It’s a strange strategy because everyone is bound to compare this to the juggernaut last chapter of Iron Man and his team which is still playing in many theaters and is even being re-released with new footage around the same time Spider-Man is swinging into cinemas.

Yet here we are, with another comic book superhero movie and, if you count the Oscar-winning Spider-Man: Into the Spider-Verse, our fourth big-screen appearance of Spider-Man in a year.  Sony is playing chicken with audiences and betting they aren’t suffering from Spidey fatigue yet and based on the genial but oddly underwhelming Spider-Man: Far From Home I’m guessing they made the right call at express shipping this next chapter into theaters right in time for the July 4th holiday.  Though flawed in the action department and failing to provide a showcase for an A-list actor trying his hand at playing an evil genius villain, the film succeeds best when it focuses on the people and not the effects.

As this site is spoiler-free as much as possible, a caveat that while the plot secrets of Spider-Man: Far From Home will remain hidden there are elements from Avengers: Endgame I’ll have to discuss.

So, if you don’t want the end of Avengers: Endgame spoiled for you then it’s best to turn back now.

You ready?

You sure?

OK.

Seriously.  This is your last chance.

I’m going to spoil something, don’t be mad.

OK…here we go.

Picking up where Avengers: Endgame left off, Peter Parker (Tom Holland, The Impossible) is still mourning the deaths of Captain America, Black Widow, Vision, and his mentor Tony Stark/Iron Man.  With the rest of the Avengers dispersed on their own missions around the world and in other galaxies, Peter is getting back to a routine in school and making the occasional appearance as Spider-Man to help raise funds with his Aunt May (Marisa Tomei, The Paper) to support the population vaporized in The Snap that were returned in what came to be known as The Blip.  As the school year winds to a close, Peter and his best friend Ned (Jacob Batalon) prepare for their science trip abroad which will take them across Europe.  Ned is looking forward to spending time with his friend as bachelors overseas while Peter is more interested in getting closer to MJ (Zendaya, The Greatest Showman).

The group has barely arrived in Venice when the floating city is attacked by one of four elementals, a creature made of water that goes about destroying everything in its path.  Before Peter can jump into action and save the day, Quentin Beck (Jake Gyllenhaal, Prisoners) appears and helps vanquish the threat with some marginal assistance from your friendly traveling neighborhood Spider-Man.  Recruited by Nick Fury (Samuel L. Jackson, Shaft), Beck teams up with Peter to take on the final elemental who is due to show up in Prague, where Fury reroutes Peter’s class trip (though what his school is doing in Europe is a mystery, it’s never clear why they’ve traveled overseas) so he can believably stay part of the action.  Dubbed Mysterio by the press, Beck quickly (too quickly) becomes a new Stark-ish figure to Peter, establishing a trust that hides a darker agenda.  When Beck’s true nature is revealed it’s up to Peter and his friends (including Jon Favreau, The Wolf of Wall Street, as Tony Stark’s former bodyguard) to eventually save London and its key landmarks from danger.

What may surprise viewers is how long director Jon Watts takes to get to the first round of action in the film.  Aside from a very brief prologue there’s not another major action scene for nearly a half hour and, truthfully, I didn’t mind at all.  The characters established so well in Spider-Man: Homecoming have been brought back fully realized and we’re dropped right back into their mix without much adjustment needed.  When the action does start, in that first battle in Venice, the film gets less interesting almost immediately and it’s because we’re focused less on the people and more on the sturm und drang of it all.  It doesn’t help the action sequences are curiously flat and rarely edge-of-your-seat exciting like previous Marvel (and Sony Spider-Man) films have been.  Even the effects seem off and uneven, like the film wasn’t quite ready by time it had to go to theaters.

Another stumbling block is, surprisingly, Gyllenhaal as Beck/Mysterio.  I had high hopes for the actor entering this universe and lending some of his trademark intensity to a character.  Usually, Gyllenhaal has an interesting way into inhabiting whatever role he’s taking on but he was either stymied by the studio heads or just opted for the wrong approach because he’s dramatically inert here.  Watch the movie and see if you can spot how many times Gyllenhaal moves throughout – you rarely seem him walking or making any kind of actionable movement, the majority of his performance he’s sitting or standing still.  It’s like he was performing injured or filming his scenes in one soundstage over the course of two days.  What should have been a nice match of actor and fan favorite villain was a whiff and a miss for me, extra disappointing because I am a big fan of the actor.

The movie is saved in no small part due to the performances given by Holland and Zendaya, both of whom were appealing in their first film paired together but now have honest to goodness chemistry that is entirely palpable.  In Holland, we finally have a Spider-Man/Peter Parker that feels like he’s the right age and the actor plays him as more than an angsty teen longing to be more than the sum of his Spidey parts.  He knows the great responsibility he has and understands why Tony chose him, but doesn’t want to continue to miss out on the life that doesn’t include inter-galactic wars and infinity stones.  Zendaya isn’t your cookie-cutter MJ and mores the better.  I like her awkwardness and affinity for the darker side of history.  Like she did with Zac Efron in The Greatest Showman, she plays well off her costar and helps them to shine.

Based on the reactions of the audience at my screening, maybe I’m the one that’s fatigued at the present moment with these films.  Perhaps my attraction to the pieces of Spider-Man: Far From Home that had nothing to do with action or effects say something about were my attention is at this point and time.  I still don’t think Gyllenhaal is doing anywhere near his best work and the previous Spider-Man film was, in my opinion, more focused, unexpected, and heads and tails more entertaining from start to finish.  We’re all trained by this point to stay through the credits but the mid-credit stinger and post-credit scene are absolutely essential.  The final scene actually changes something about the movie entirely – don’t miss it or you’ve missed a huge piece of the story.

Movie Review ~ Spider-Man: Homecoming


The Facts
:

Synopsis: Several months after the events of Captain America: Civil War, Peter Parker tries to balance his life as an ordinary high school student in New York City while fighting crime as his superhero alter ego Spider-Man.

Stars: Tom Holland, Michael Keaton, Zendaya Coleman, Marisa Tomei, Jacob Batalon, Laura Harrier, Robert Downey Jr., Jon Favreau, Donald Glover, Tyne Daly

Director: Jon Watts

Rated: PG-13

Running Length: 133 minutes

TMMM Score: (8.5/10)

Review: Another Spider-Man restage?  Really?  A big collective groan was heard from fanboys and girls around the world when Sony decided to reboot their prized web-slinger back in 2012 with The Amazing Spider-Man.  That film and its 2014 sequel (The Amazing Spider-Man 2), while solidifying the rising popularity of stars Andrew Garfield and Emma stone, never fully justified its back to the drawing board feel.  So when Marvel Studios came to Sony with an offer to join creative forces and bring Spidey into the Marvel universe where he belonged, it was an offer they really had no right to refuse.  Still, with a new superhero movie seemingly released every other week, did the world need to get to know Spider-Man all over again?

The answer, dear friendly neighborhood readers, was a resounding yes.  Spider-Man: Homecoming is just the reenergizing kick in the pants Marvel was needing after a string of well received but oddly bland sequels (Avengers: Age of Ultron) and iffy first outings (Doctor Strange, Ant-Man).  Best of all, it’s so tonally different than the original trilogy and recent two entries that it should keep fans of that canon at bay.  Even better news, it’s not an origin story!

If you missed either The Avengers, its sequel, or Captain America: Civil War like my movie mate did, you may be a little lost in the first moments of this new Spidey adventure.  The brief prologue recaps Spider-Man’s introduction to The Avengers in Civil War from his wide-eyed teenage perspective and quickly brings you up to speed while setting the whiz-bang pace at the same time.  It also lays the groundwork for why it’s main bad guy went so rogue.

After his brief foray into the superhero big leagues, Peter Parker (Tom Holland, The Impossible) gets grounded by Tony Stark (Robert Downey Jr., The Judge, looking guiltier than ever at continuing to collect a paycheck) and put under the watchful eye of Happy Hogan (Jon Favreau, Entourage) who quickly loses interest in the teen.  Not one to let his new heroic muscles go unstretched, Peter sets about “saving” residents of his Queens borough neighborhood, whether they like it or not.  Often causing more trouble than preventing it, Peter stumbles upon a group of thugs led by Adrian Toomes (Michael Keaton, Need for Speed), all of whom are clearly up to no good.

A disgruntled former blue-collar union man, Toomes has used his skills and a few alien power sources he’s scrounged together to fashion a set of wings (complimented by a bad ass bomber jacket) that take him sky high.  As Peter gets closer to finding out the truth behind Toomes/The Vulture, he comes up against not only his most powerful villain yet but runs afoul of his ally Stark in the process.

At 133 minutes, there’s a lot to cram in and thankfully the large handful of credited screenwriters have decided to forgo retelling how Peter got his powers and waste little time with introductions.  This being a summer tentpole film for Sony and Marvel and in the wake of the critical and financial success of DC Comics stellar Wonder Woman, a lot was riding on this entry.  Those studio exces can breathe a sigh of relief because from the nicely drawn characters to several impressive action sequences, this is a film that constantly and consistently delivers the goods.

Director Jon Watts (Clown) joins a curious list of “out of the box” choices to direct a movie of this size.  Known for his work in independent films, it’s obvious from the small details Watts adds into the film (like including a bit of Japanese war history on the wall of an otherwise innocuous school official, giving even a minor character a backstory) that he was the right choice for the job.  It’s a fast, funny film that felt unpredictable even though it’s part of the most predictable genre being produced today.

Nailing down the perfect star to play Peter Parker was no small task but Sony struck gold with Holland who, though 21, feels like the first actor to successfully play a believable 15-year-old.  With Holland’s dance training (he was Billy Elliot in the London stage show) and his well-documented tremendous athleticism, he’s able to bring the character forward rather than get lost within the costume and pristine visual effects.  Sharing the screen with scenery chewers like Downey Jr. and Keaton isn’t for the faint of heart but Holland more than holds his own.

Speaking of Keaton, it’s such fun to see him play a bad guy. With his devilish grin and arched eyebrows, he gives Toomes a pulse along with ample brainwaves.  I always respond to villains that aren’t out to take over the world but to reclaim what they think was taken from them and Toomes joins a long list of Spider-Man foes that have personal reasons for going bad. Zendaya Coleman, Marisa Tomei (Love the Coopers), Jacob Batalon, and Laura Harrier round out the cast and all (but especially Batalon) make for a strong support system for Peter and the film.

With a few unexpected twists (there’s at least two reveals I didn’t see coming) and edge of your seat thrills that are sure to inspire furious popcorn munching, Spider-Man: Homecoming is worth your time and your attention.  If your Spidey senses aren’t tingling from the opening logos played over the old-school title tune, they will be once Holland and company get down to business.  This being a Marvel movie, you gotta stay until the very end for one of the more meta post credit sequences to date.

Movie Review ~ Captain America: Civil War

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The Facts
:

Synopsis: Political interference in the Avengers’ activities causes a rift between former allies Captain America and Iron Man.

Stars: Chris Evans, Robert Downey Jr., Scarlett Johansson, Sebastian Stan, Anthony Mackie, Emily VanCamp, Don Cheadle, Jeremy Renner, Chadwick Boseman, Paul Bettany, Elizabeth Olsen, Paul Rudd, Frank Grillo, William Hurt, Daniel Brühl, Tom Holland, Marisa Tomei

Director: Anthony & Joe Russo

Rated: PG-13

Running Length: 146 minutes

Trailer Review: Here

TMMM Score: (8.5/10)

Review: With the release of Captain America: Civil War we’re now 13 movies deep into the Marvel Cinematic Universe and no one would blame you if you think all the Marvel films are starting to blend into one another.  Before taking in the screening of CA:CW I was chatting with a friend, mentally trying to put together what events happened in which film and who was introduced when. I’m not as devout a fanboy to pull the connections out of thin air so it took me a while and in all honesty to full enjoy the offerings in CA:CW you’ll want to go back and re-watch 2014’s Captain America: The Winter Soldier and 2015’s Avengers: Age of Ultron.  I made the mistake of not revisiting the earlier films and paid the price, too often playing catch-up.

So let’s just assume you’re up to speed with the goings on involving our superheroes, namely Captain America/Steve Rogers (Chris Evans, The Iceman), Iron Man/Tony Stark (Robert Downey, Jr., The Judge), & Black Widow/Natasha Romanoff (Scarlett Johansson, Her).  Opening with a boffo action/chase sequence that finds Captain America, Black Widow, Wanda/Scarlet Witch (Elizabeth Olsen, Godzilla), and Falcon/Sam Wilson (Anthony Mackie, Pain & Gain) stopping the theft of an infectious disease, the group winds up inadvertently bringing about the deaths of innocent civilians.  The ramifications for their mission, compounded by the previous massive destruction seen at the end of Avengers: Age of Ultron is cause for the US Government (led by a mostly awake William Hurt, The Doctor) to step in, attempting to regulate the Avengers with the help of the United Nations.

While most of the team is willing to go along with being governed, Captain America is wary of signing his name for fear of being unable to help whomever and whenever he pleases (and interesting reversal for a man once used as wartime propaganda).  When his friend Bucky Barns (Sebastian Stan, Ricki and the Flash), aka the Winter Soldier, is possibly framed for a bombing at a peaceful meeting of foreign dignitaries, Captain America goes against his fellow Avengers and sets out to clear Bucky’s name while avoiding his former allies.  Add into that some secrets from the past that link Iron Man to the Winter Soldier and a mysterious man (Daniel Brühl, Rush) with a bone to  pick with our heroes,  and you have a globe-hopping film that alternates between vengeance and allegiance.

I’m not going to lie, there’s a whole lot going on here but directors Anthony Russo and Joe Russo (returning to the director’s chair after Captain America: The Winter Soldier and getting ready to direct the final two-part Avengers finale) and screenwriters Christopher Markus and Stephen McFeely manage to juggle the characters, action, and multiple plotlines with striking ease.  Even Joss Whedon, who so memorably delivered The Avengers with nice complexity, couldn’t produce a follow-up that flowed as well as CA:CW does.

You may not remember every little Easter Egg that pops up and the action scenes may be slightly overwhelming but it’s never a chore to keep up with the pace.  Okay, it’s about 15 minutes too long (it’s the longest Marvel film to date) and the performances tend to be on the stoically self-aware side (especially from Downey Jr. who seems to be going after a special Oscar for eye acting) but it’s the kind of crowd-pleasing adventure that audiences went looking for in Avengers: Age of Ultron.

What’s nice to report here too is that some of the most exciting parts of the film haven’t been spoiled in trailers…in fact some sequences from the trailers have been edited to REMOVE spoiler characters and developments.  Marvel has a way with the element of giddy unexpected surprises and there are several neat-o secrets waiting for you.

Aside from the actors mentioned above, special shout-outs go to Chadwick Boseman (Get on Up) as Black Panther and Tom Holland (The Impossible) as Spider-Man.  A reboot of a reboot of Spider-Man was of little interest to me but Holland’s introduction gives my Spidey senses hope that another take on the web slinging hero isn’t the worst idea in the world. If the character feels like a late addition to the mix, it’s because the deal to bring Spider-Man over to Marvel from his home at Sony didn’t happen until the eleventh hour, necessitating some obvious Spidey shoe-horning to take place. Boseman, as an African prince seeking justice for a fallen family member, is a cool addition to the group and a post-credit scene (the first of two) gives us a small idea of where he may turn up next.  Jeremy Renner’s (The Bourne Legacy) Hawkeye, Don Cheadle’s (Flight) War Machine, Paul Bettany’s (Mortdecai) Vision, and Paul Rudd’s (Wanderlust) Scott Lang/Ant-Man all have their moment of glory though this is ultimately Captain America’s movie so enjoy them while they’re there (especially Rudd’s cameo which is better than a lot of Ant-Man).

With the uptick of comic book movies arriving in theaters, a small backlash is developing and I think it’s mostly out of overall fatigue.  With each new Marvel movie, it’s becoming almost a necessity to go back and review everything that came before…something that’s good for movie theaters and their marathon screenings but bad for audiences that don’t have the time to devote hours and hours to do their homework.  Recent failures like 2015’s Fantastic Four reboot and the critical disappointment in Batman v Superman: Dawn of Justice (for the record, I liked it, get over it) might have given the Marvel studio heads a moment of fear.  Yet their output is just continually in another league than their competitors and their juggernaut franchise lives to fight another day with Doctor Strange arriving before 2016 is over.

Check out my reviews of these other Marvel movies: Iron Man, Iron Man 2, Iron Man 3, Thor, Thor: The Dark World, Captain America: The First Avenger, Captain America: The Winter Solider, Guardians of the Galaxy, Ant-Man, & Avengers: Age of Ultron.

Movie Review ~ The Big Short

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The Facts:

Synopsis: Four outsiders in the world of high-finance who predicted the credit and housing bubble collapse of the mid-2000s decide to take on the big banks for their lack of foresight and greed.

Stars: Steve Carell, Christian Bale, Ryan Gosling, Marisa Tomei, Melissa Leo, Brad Pitt, Rafe Spall, Tracy Letts, John Magaro, Jeremy Strong, Byron Mann, Finn Wittrock, Hamish Linklater

Director: Adam McKay

Rated: R

Running Length: 130 minutes

Trailer Review: Here

TMMM Score: (7.5/10)

Review:  Want to do something nice for your stockbroker this holiday weekend?  Ask them to accompany you to a screening of The Big Short, pay their way in, and then when it’s over ask them to explain the film to you.  Yes, this true story of the bursting of the housing market bubble is a dense watch and would benefit from studying a textbook beforehand…but at the same times it’s a riotously funny and routinely ribald comedy more entertaining than it has any right to be.

Though I’m not normally a fan of director Adam McKay (Anchorman 2: The Legend Continues), he’s turned in his most timely and mature work to date, juggling multiple storylines and characters over several years without ever losing the thread of what a tremendous disaster this downfall was to the economy.  Adapted by McKay and co-writer Charles Randolph from the book by Michael Lewis, The Big Short is big on market-savvy terms, facts, and figures but short on overall time to explain everything along the way.

Following four distinct sets of characters of various stature that overlap throughout the years, it’s a movie you have to buckle up and into from the beginning.  I was worried early on that I was going to wind up emerging as a true dumb dumb, never truly grasping the enormity of the situation or how things got as bad as it did.  Thankfully, McKay’s script had the foresight to predict this and employs a clever means to explain things in terms that the average Joe (me!) can understand.  I won’t spoil some of this surprisingly adept tactics for you, but I will say that it involves celebrities playing themselves breaking the fourth wall to speak directly to us.

McKay was lucky to gather the high-caliber cast he did.  It’s mostly a boys club here with the likes of Steve Carell (Foxcatcher), Ryan Gosling (The Place Beyond the Pines), Christian Bale (Out of the Furnace), and Brad Pitt (World War Z) taking on roles of those involved to varying degrees of seeing a problem on the horizon and then deliberately setting up the market to fail so they can profit.  Moral quandaries are few with only Carell standing up for the littler guy, gaining a conscience that stands him apart from his cut-throat colleagues.

In the supporting department, Marisa Tomei (Love the Coopers) is appreciated as always as Carell’s wife and even the usually campy Melissa Leo (Olympus Has Fallen) channels her natural tendency to overplay things into a dandy of a cameo as a Wall Street player conducting a meeting from behind some Mr. Magoo-ish optometrist shades.  Strong turns from Rafe Spall (Prometheus), Hamish Linklater (Magic in the Moonlight), and Finn Wittrock (Unbroken) round out a uniformly strong ensemble.

Though it deals with events that led to the ruin of many (mostly middle to lower class households), the film is surprisingly engaging and entertaining.  It feels like the movie that The Wolf of Wall Street thought it was behind all of the showboating performances and excessive running time.  The Big Short is still too long at 130 minutes but unlike Wolf, it gives the audience someone (anyone) to relate to.

The market is slowly building itself up again but if the final moments of the film are any indication, this is a problem that isn’t totally vanquished…making the movie ultimately a cautionary tale of unfettered greed and unregulated ambition.

Movie Review ~ Love the Coopers

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The Facts:

Synopsis: When four generations of the Cooper clan come together for their annual Christmas Eve celebration, a series of unexpected visitors and unlikely events turn the night upside down, leading them all toward a surprising rediscovery of family bonds and the spirit of the holiday

Stars: Alan Arkin, John Goodman, Ed Helms, Diane Keaton, Jake Lacy, Anthony Mackie, Amanda Seyfried, June Squibb, Marisa Tomei, Olivia Wilde

Director: Jessie Nelson

Rated: PG-13

Running Length: 107 minutes

TMMM Score: (1/10)

Review: Hold on a sec, allow me to get into full Ebenezer Scrooge mode because have I got a whopper of a turkey for you. Normally, I truly feel like the last two months of the year are, as the song says, the most wonderful time of the year. It’s a time to reunite with family, practice being ok with giving instead of receiving, and hauling out classic holiday films made more enjoyable on snowy days and chilly nights. Arriving like a lump of coal in a moldy old fruitcake, Love the Coopers is not only the worst holiday film in recent memory but one of the worst offerings of 2015. Yes, I’m counting the endless TV movies featuring a department store Santa Claus helping an exasperated female executive find love with a burly man we all know is perfect for her.

Picture a movie where every single character is miserable. They don’t like their family, they can’t stand their friends, they basically hate their lives. Now imagine its set during Christmas and filled with every lame joke in the holiday handbook, from family secrets spilling out during a disastrous dinner table scene to irascible old fogies that turn wise when the movie needs a moral.

Screenwriter Steven Rogers (who, after viewing his credits on IMDb, seems to specialize in saccharine nonsensical dramedies) sketches the film as an ensemble affair with multiple storylines playing out (more like wearing out) during one jam packed day.

There’s Eleanor (Olivia Wilde, The Lazarus Effect), who’d rather hang out at the airport bar than head home, befriending a military man (Jake Lacy, Carol, the only bright spot in the movie) before convincing him to come home with her and pretend to be her boyfriend. Ruby (Amanda Seyfried, Lovelace), a diner waitress that feels a kinship with the cantankerous old coot (Alan Arkin, Indian Summer) that frequents her section. Hank (Ed Helms, Vacation) is trying to find a way to tell his estranged wife (Alex Borstein, A Million Ways to Die in the West) that he’s lost his job and can’t afford to buy presents for their kids. Emma (Marisa Tomei, Trainwreck) is a kleptomaniac taken on the longest drive in the history of ever by a policeman with a Big Secret (Anthony Mackie, Pain & Gain).

Then we have Diane Keaton (And So It Goes) and John Goodman (Argo) as the heads of the family who can’t seem to get out of the rut they’ve been wallowing in for years. Keaton seems resigned to live in the shadow of a career that’s left her in the dust and Goodman must have needed the money to buy clothes in light of his recent weight loss. Oh…and I can’t leave out June Squibb (Nebraska, in a role I’m sure Betty White turned down) as a forgetful aunt that’s just a set-up for various sight gags and fart jokes. There’s also a narrator to the film, a device employed not only as an opportunity for a famous comedian to provide a voice for but to be a part of a twist reveal that most awake audience members will figure out early on.

The last film director Jessie Nelson released was I Am Sam in 2001 and it’s painfully obvious the dormant decade between the two films wasn’t spent in a graduate film school seeing that the film is an awkward mix of false emotional peaks and ill-conceived bits of comedy that makes the running length feel neverending. The tipping point for me was a dreadful family sing-a-long with Helms and Arkin strumming away at their guitars without the vaguest hint of knowing irony. Another particularly painful passage was the aforementioned police car ride where Tomei tries to psychoanalyze stoic cop Mackie, leading to a left-field admission that’s not only offensive but downright tacky.

Love the Coopers seems destined to be that awful holiday entertainment that that one good friend of yours (hopefully not a loved one) claims to be their ‘favorite’ film and forces you to watch with them. Take my advice and resist the urge to bask in the glow of doing something kind for others and think only of yourself…and stay far away from this stinker.

The Silver Bullet ~ The Big Short

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Synopsis: When four outsiders saw what the big banks, media and government refused to, the global collapse of the economy, they had an idea: The Big Short. Their bold investment leads them into the dark underbelly of modern banking where they must question everyone and everything.

Release Date: December 11, 2015

Thoughts: It’s an interesting move that Paramount Pictures decided to release this heavy hitter smack dab in the midst of a busy holiday movie season. That means they think they have a winner on their hands in this true-life tale, a bit of counterprogramming to the more obvious Oscar bait flicks that are being readied for the end of the year. If I’m being honest (and I always am), I’m a bit exhausted with these corporate level endeavors about the failure of big business. Like the wearying The Wolf of Wall Street, The Big Short isn’t lacking in star-power thanks to producer and star Brad Pitt (World War Z) looping in the likes of Ryan Gosling (The Place Beyond the Pines), Steve Carell (Foxcatcher), and Christian Bale (Out of the Furnace). Still, I desperately hope it has a snap, purpose, and isn’t just another showcase for big stars saying big things about big problems.

 

 

Mid-Day Mini ~ The Paper

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The Facts:

Synopsis: Henry Hackett is the editor of a New York City tabloid. A workaholic who loves his job, the long hours and low pay are leading to discontent until a hot story soon confronts Henry with tough decisions over the course of one 24 hour period.

Stars: Michael Keaton, Robert Duvall, Glenn Close, Marisa Tomei, Randy Quaid, Jason Robards, Jason Alexander, Lynne Thigpen

Director: Ron Howard

Rated: R

Running Length: 112 minutes

TMMM Score: (7.5/10)

Review:  In between period pieces Far and Away and Apollo 13, director Ron Howard (Parenthood, Backdraft) delivered this fast-moving and involving comedy-drama that takes place over 24 hours and focuses in on the goings-on at a NYC daily newspaper.   Not a high-class publication like the New York Times but maybe just above the near tabloid nature of the New York Post, the newspaper at the center of The Paper is struggling and its editor (Keaton) is thinking about the future.  With a pregnant wife (Oscar-winner Tomei), a crazed reporter (Quaid who we all know now is crazed in real life), a jaded colleague (Close, Albert Nobbs), and a veteran boss (Duvall, Tender Mercies, Jack Reacher) to juggle on a daily basis he burns the midnight oil thanks to Coke (the drink, not the powder) and gumption.

When a murder takes place and two youths are jailed it seems like any other story…until Keaton’s character begins to do some actual reporting and begins to see that things aren’t as cut and dry as they appear to be.  With a deadline looming and Close’s character breathing down his neck, the film keeps Keaton plowing on without getting much of a breather.

This is a solid film with good, easy performances and a better than average script thanks to David Koepp (Jurassic Park) and his brother Stephen.  Howard does what he does best and lets the movie develop naturally, placing most of the responsibility on his trusted star Keaton who doesn’t disappoint.  Close, too, is very effective as a dragon lady that’s talked about a lot before we finally see her.  When she does appear, Howard presents her in such a way that the first frame tells us everything we heard about her is right on the money.  Duvall and Tomei also turn in fine performances, navigating some cliché material with ease.

Aside from our above the title leads, Howard once again shows strength in casting by filling the newsroom and outside colleagues with strong character actors.  The late great Thigpen has a small role as Keaton’s secretary but makes the most out of her scenes…this is what true renaissance man/woman acting is all about.

Though print news is clearly dying off, The Paper is no period piece when viewed from an online, tech-savvy perspective.  True, some elements are clearly dated but the pursuit of the truth in the face of the grinding engine of economics still has an impact on our society today.  If you’ve never seen this one or haven’t revisited it in a while, check it out again.  It’s no classic but it’s a nice representation of the talent of all involved.