31 Days to Scare ~ The Temp (1993)

The Facts:

Synopsis: A troubled businessman’s life is upturned after the arrival of a mysterious female temp worker in his office.

Stars: Timothy Hutton, Lara Flynn Boyle, Dwight Schultz, Oliver Platt, Steven Weber, Colleen Flynn, Faye Dunaway, Scott Coffey, Dakin Matthews, Maura Tierney, Lin Shaye

Director: Tom Holland

Rated: R

Running Length: 96 minutes

TMMM Score: (5.5/10)

Review:  Tell me if this sounds familiar to you (and if not, humor me).  You’re at home, eaten a nice meal, and are ready for dessert.  You go to the freezer, get out a batch of ice cream that already has a flavor profile…let’s say, Peanut Butter Cup.  Tonight, though, Peanut Butter Cup alone isn’t good enough.  You go to your cupboard and add some M&M’s, a few mini marshmallows, maybe some actual peanut butter cups to gild the lily, and then top it off with some chocolate syrup and whipped cream.  By the time you’re done, there’s this strange creation in front of you that doesn’t resemble what you started with and when you bite into it…you wish you had just left it alone.

That’s sort of what I feel like when thinking about The Temp, the goofy thriller that came out on my birthday in 1993 and made back just a paltry 1/3 of it’s 15-million-dollar budget.  With a strong director (Tom Holland of Thinner & Child’s Play), two Oscar winning actors (Timothy Hutton and Faye Dunaway) and a number of rising stars in its cast, not to mention it’s perfect for the early ‘90s pseudo-suspense set-up, The Temp should have been an easy score for Paramount Pictures.  However, if you read up on the film and even just watching it through, you can tell that it’s been royally messed with on its way to release and either maneuvered into the half-hearted attempt it is, or torpedoed from something more sinister which it feels like it wanted to be.

Of all the offices to stage a murder mystery, a cookie company in Oregon would be the last thing I would think of but that’s exactly where screenwriters Kevin Falls and Tom Engleman post Peter Derns (Hutton, Ordinary People) as a divorced dad with anger management issues recently returned to work after suffering a bit of a breakdown. With his company about to be taken over by a larger corporation looking to trim the executive roster as a cost-saving measure, his paranoid nature is back on high alert almost instantly. To make matters even worse, his personal assistant (Scott Coffey, It Takes Three) just left for paternity leave, and he’s left scrambling to please his own boss (Faye Dunaway, Eyes of Laura Mars, wild-eyed and sweat-lipped from the downbeat) with little notice.

He’s not on his own for long, because he’s soon assigned a temporary assistant, the well-educated Kris (Lara Flynn Boyle, Poltergeist III) who time and time again proves to be Peter’s saving grace.  There’s clearly some kind of electric connection between the two and whatever flirting goes on between them remains on the up and up. This is especially good considering that when his full-time assistant returns Kris has endeared herself enough to stick around and begins to rise up the ranks of the company rather quickly.  So quickly, in fact, that it comes on the heels of a suspicious number of accidents, deaths, and exposed secrets about executives, suggesting that someone on the inside might be making it easy for Kris to have a path forward.  Is it Kris herself or someone else with a vested interest in seeing the others around her fail?

In our current era of #MeToo and understanding more about gender politics in the office workplace, The Temp actually becomes an interesting watch through a more experienced lens.  I’m sure the movie couldn’t have been written exactly as-is now…but could it remain just slightly altered and be more effective?  Possibly.  It’s a shame that it seemed to go through so many test screenings and alterations in post-production.  The well-known tale is the entire final act was reshot, much to the anger of Dunaway who refused to film certain scenes and to the overall confusion of audiences.  What’s there now seems incongruous with the rest of the movie, turning into a half-baked Hitchcock film when it never expressed any interest in being up until that point. 

What it had shown some curiously in exploring were a few nasty deaths and Holland’s expertise in building tension as we waited for some bad things to happen to the employees and friends of Peter. (Look for Single White Female’s Steven Weber, Oliver Platt from Flatliners, and Beautiful Boy’s Maura Tierney in the cast as well.)  One such incident is bloody memorable even today (two words: Paper Shredder) and if The Temp had been more adventurous in exploring those kinds of shocking moments, perhaps it would have been promoted more in theaters from a box office dud to minor success.  It also might have helped Boyle break out more as a film star because while she had notoriety on TV and minor roles in films, leading lady status sadly evaded her.  Hutton and especially Dunaway look embarrassed to be in this by the end, but Boyle stands by the movie throughout, which in a strange way works for her character as well.    

Movie Review ~ Beautiful Boy


The Facts
:

Synopsis:  Based on the best-selling pair of memoirs from father and son David and Nic Sheff, Beautiful Boy chronicles the heartbreaking and inspiring experience of survival, relapse, and recovery in a family coping with addiction over many years.

Stars: Steve Carell, Timothée Chalamet, Maura Tierney, Kaitlyn Dever, Amy Ryan

Director: Felix Van Groeningen

Rated: R

Running Length: 120 minutes

TMMM Score: (6.5/10)

Review: After so many landmark films about the perils of addiction have been made featuring numerous memorable performances, it takes a special story not to mention top flight actors and on-the-ball filmmakers to make the case for another entry. What is different about this story that sets it apart from what has come before? Where and what is the message? Is there a lesson to be learned? A final thought to hold tight to? It’s an uphill battle of questions for even the most talented of professionals to answer which is why the final take-away from Beautiful Boy is that it’s a respectably well made film of a story that feels too familiar.

Based on the popular memoirs from journalist David Sheff and his son Nic Sheff, Beautiful Boy documents the journey both men go through as they deal with Nic’s addiction to alcohol and drugs. A child of divorce, Nic was a bright young man who became entangled with narcotics at a young age and continued to use through his attempts at going to college and after his various stints in rehab. Bouncing between his parents that tried in their own flawed way to pull their son out of his darkness, Nic (Timothée Chalamet, Call Me By Your Name) continually hit rock bottom but couldn’t stay sober for long stretches of time. He becomes homeless, despondent, overdoses, and watches as friends (some of whom he brought into his drug orbit) overdose as well. It’s a pattern that repeats itself often throughout the film, to intentionally maddening results for David (Steve Carell, Foxcatcher), his wife (Maura Tierny, Insomnia), and his ex-wife (Amy Ryan, Goosebumps)

Chronicling this frustrating journey, screenwriter Luke Davies (Lion) effectively blends elements from both memoirs that give a narrative through line but never truly fleshes out the lasting effects Nic’s addiction has on the two men and the people in their lives.   I almost wish they had chosen one perspective to focus on and stuck with that or done a better job at sectioning off David’s story and telling that in parallel to Nic’s side of things at the same time. As it stands, we get bits of pieces of this long road the Sheff family traveled without being able to stop and explore the territory.

Directed by Felix Van Groeningen (director of the stunning Oscar nominated The Broken Circle Breakdown), the movie is slow to get started but does have some highly effective moments when it starts to cut its own path. We’ve all seen movies about addiction but the recovery aspect isn’t something covered in detail that often. The film works best when we see Nic on the other side of his binges and trying to put his life back together. These passages work so well because when he eventually falls victim to his addictions again we feel that grief right along with everyone else. When David finally stops trying to aggressively parent Nic and treats him like an adult with consequences, it’s a powerful moment for him (and the actor playing him) – I wish there were more moments like this throughout the movie but they are few and far between.

As indicated, the performances are good but not totally revelatory. While I applaud Chalamet’s approach to the role I didn’t fully find myself immersed in his performance as I thought I would. So unforgettable in his Oscar-nominated role in Call Me By Your Name, his work here feels like aspiring actor effort instead of fully formed. He hits the notes and looks the part but doesn’t quite deliver from the inside. I have much the same issue with Carrell, though the comedic actor fares better because he’s given a less obvious arc toward ownership of his shortcomings to help his son. Carrell has more moments to shine and work though some of the pain David experienced as he struggles to be a considerate parent to his troubled son but also an attentive father to Nic’s young half siblings.   Ryan and especially Tierney provide strong support as well as the maternal figures in Nic (and, let’s be honest, David’s) life.

It’s Oscar season so it’s not hard to see why Beautiful Boy is being released near the end of the year. It feels like Oscar material that we’re supposed to like because it has so many prestige people involved. It’s a good film and one I’d ultimately recommend, but in several key areas it misses the mark to be something to consider in the “best of” lists critics and audiences are starting to make for themselves.