Movie Review ~ House of Gucci

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The Facts:

Synopsis: When Patrizia Reggiani, an outsider from humble beginnings, marries into the Gucci family, her unbridled ambition begins to unravel their legacy and triggers a reckless spiral of betrayal, decadence, revenge, and ultimately…murder.

Stars: Lady Gaga, Adam Driver, Jared Leto, Jeremy Irons, Al Pacino, Salma Hayek, Camille Cottin, Jack Huston, Reeve Carney

Director: Ridley Scott

Rated: R

Running Length: 158 minutes

Trailer Review: Here

TMMM Score: (5/10)

Review:  If you had asked me (or many Hollywood odds-makers) a few months ago about Ridley Scott’s chances in 2021 for finally snagging that elusive Best Director Oscar he’s been chasing for years, I would have likely told you that with two high profile films releasing within the last quarter of the year he was sure to get in for at least one.  Well, despite October’s The Last Duel being quite impressive and receiving fairly good reviews from critics, the studio made a critical blunder by opening it the same weekend the repulsive Halloween Kills came out and it tanked…big time.  Now Scott is back with House of Gucci, his second time at bat this year and it’s an even bigger project (the Knights of the Middle Ages never stood a chance against Scheming Italian Fashion Designers) so the stakes are higher. 

What we have here is a limited series for TV/streaming that happens to be a nearly three-hour movie.  So, somewhere along the line a serious error was made and the script by Becky Johnston and Roberto Bentivegna based off of the book by Sara Gay Forden was sent to MGM’s film division instead of its television extension.  That’s the only reason I can think of for why Scott’s film has such a sprawling enormity that it eventually creates a black hole where the final act should be.  I have nothing against a movie with a butt numbing running time and have been known to turn up my nose at those who want every movie to be 90 minutes.  The thing is this, some movies have to carry a longer running length for a variety of reasons.  What they also need to have is, well, an ending and that’s what House of Gucci sorely lacks.  An ending.

Let’s back up almost three hours to the beginning of the film, when the future looked a little brighter for Scott and company.  Maurizio Gucci (Adam Driver, Annette) is out for his morning routine when he encounters a man that will change the destiny of his family and the Gucci clothing line forever.  We’ll have to wait decades (in movie time) to find out precisely what that is because we flashback to an earlier period when Maurizio wasn’t involved with his family business but instead preferred to go through life without having his legacy define him.  The moniker definitely was attractive to Patrizia Reggiani (Lady Gaga, A Star is Born), a 22-year-old who met him at a party and cleverly positioned herself in his life so in the end he couldn’t say no to a relationship, and eventual marriage, to her.  Despite the protestations of his father (Jeremy Irons, Assassin’s Creed) who believed his son’s fiancé to be a gold-digger, Maurizio was so taken with the woman that he willingly gave up his father’s favor for her.

It was years later, and on Patrizia’s behest, that Maurizio’s uncle Aldo Gucci (Al Pacino, The Irishman) convinced his nephew to come back into the fold and take his rightful place in the line of Gucci royalty.  Once Maurizio was in, so was Patrizia…and that’s when the couple began cleaning house.  Targeting relatives they had once used as pawns, like black sheep Paolo (Jared Leto, The Little Things), Patrizia and Maurizio began to recreate Gucci as the luxury brand it would eventually become…but not under their regime.  Overzealous with their power and spending, the couple would go through rocky times, eventually leading Patrizia down a deadly path. 

The question most will be interested in will be how Lady Gaga’s sophomore effort in a feature film fares compared to her Oscar-nominated turn in A Star is Born.  There was a stretch of time where many thought the singer would win the award for her truly star-making performance but it’s this follow-up which is the real test.  The result? A solid B.  She attacks the role full on and you can tell she takes her job seriously, but the intensity of the acting is all over the map from scene to scene.  Part of the blame could fall on Scott for not reeling her in a bit more and helping her understand emotional arc, but by the end she’s almost deliriously wild-eyed to the point of hilarity.  It doesn’t help the scene in question (it’s with Salma Hayek where both are trying to be incognito) is laughably bad in general but her acting here only makes it stand out that much more.

Others in the cast sort of exist in her wake, with only Leto and Pacino surfacing occasionally to tell us they are also in the movie.  For as much churn as Leto seems to stir up any time he’s in a movie, he’s an immersive actor like few are.  Unrecognizable in heavy prosthetics and a fat suit, he doesn’t let the make-up do the acting for him…this is all Leto and it’s without question the best thing in the movie.  Pacino exists in an area between Leto and Gaga, sometimes he’s on the money, other times he’s overblown.  Either version of him worked for me.  Driver is surprisingly beige in the role, failing to bring much life to the part.  Maybe he was just adrift in the sea of Gaga and didn’t have much of a life raft?  Bless her heart but Hayek (Eternals) is playing such a terrible role, terribly written and terribly filmed, and the actress does her best to make something of it.  Alas, blood from a stone.  Blood from a stone.

Scott’s film painstakingly recreates the period in which all of these infamous events take place, down to the décor and couture that were de rigueur.  The fierce attention to detail is a dream to watch and from a production standpoint House of Gucci is a huge success on a scale of moviemaking with a capital “M”.  You would expect nothing less of Scott who is a master at this type of product.  Unfortunately, all the intricate features in the world can’t save some silly side characters and acting that grows increasingly campier (including the accents) as the film progresses.  Then there’s the jittery ending which barely exists, made more disappointing because it’s handled so poorly, and you have a movie that begins by making quite the impression but leaves a bad taste in your mouth by the end. 

Movie Review ~ Valley Girl (2020)


The Facts
:

Synopsis: A valley girl and a punk rocker from the city defy their parents and friends to stay together.

Stars: Jessica Rothe, Josh Whitehouse, Mae Whitman, Judy Greer, Rob Huebel, Chloe Bennet, Ashleigh Murray, Jessie Ennis, Logan Paul, Alicia Silverstone

Director: Rachel Lee Goldenberg

Rated: PG-13

Running Length: 102 minutes

Trailer Review: Here

TMMM Score: (7.5/10)

Review: I hadn’t thought about the original Valley Girl for quite a long time.  The 1983 indie comedy was made for peanuts but went on to gross a tidy sum at the box office, inspiring a new wave of vernacular and introducing a stellar soundtrack on top of it all.  Oh, and it also gave leading man Nicolas Cage (Color Out of Space) his first taste of Hollywood hunkdom…a title well-earned as the rock n’ roll Romeo to Deborah Foreman’s Juliet of the California valley.  The film is firmly considered a cult classic and, watching it again recently I was reminded how much of a time capsule it is while remarkably remaining timeless at the same time.  It’s a strong, funny, touching film.

So when the first preview popped up for this remake I, like I’m sure many others did, wondered “why now?” and “who gave them the right”…you know, your typical rumble and grumble any time a new version of a old chestnut is announced.  Originally filmed two years ago but with its released delayed until now, that didn’t put a lot of confidence in this musical (yes, you heard that right, musical) reworking of Valley Girl so I was prepared to grit my teeth through another uninspired rehash of something that worked just fine. Now, I’m not sure if it’s because the quarantine blues are getting to me but I have to tell you…this is one totally tripindicular remake and exactly the kind of shot in the arm delight I needed.

The story is essentially the same.  It’s 1980-something and Julie Richmond (Jessica Rothe, Happy Death Day, Happy Death Day 2 U) is a high-school senior living a pastel colored, mall-going life with her equally side-ponied friends.  Between stops at The Limited and days at the beach, they plan for life at community college and talk boys and fashion.  Yet Julie longs for something more…even just over the hills of the valley into Hollywood…something her plastic friends scoff at.  Then she meets rocker Randy (Josh Whitehouse) at a costume party (you’ll want to have your pause/rewind button handy to catch the brilliantly referential attire the kids are wearing) and her world is opened up to a new beat.

As Randy and Julie grow closer, she drifts away from her friends and the path she thought she was originally headed for.  This causes unplanned relationship cracks not just for Julie but for Randy and his bandmates (The Perks of Being a Wallflower’s Mae Whitman and Mario Revolori) and it’s a credit to Amy Talkington’s script that more time is given in this remake in fleshing out the lives of both Julie and Randy.  In the original, all Randy had was Julie so his love felt a little desperate…now he has some ambition of his own outside of their relationship so you get the impression his eggs aren’t all in one glittery basket.  In the end, Julie and Randy need to figure out if their love is strong enough to rise above the naysayers and make the leap forward together.

Set to a hefty score of familiar 80s tunes, this is a jukebox musical that is pretty much nonstop fun.  I spent most of the film wondering why this hadn’t been turned into a stage musical already (something I also wondered while watching Moonstruck recently, too) because it translates into a musical with smooth ease.  Opening with a candy colored dance at the mall ain’t a bad way to kick things off and it’s followed by head bopping musical numbers staged at the beach, an aerobics studio, and a roller rink, among others.  Director Rachel Lee Goldenberg leans into the 80s setting and campy nature but avoids falling into the trap of making it overly goofy.  The costumes may be turned up to 12 but that doesn’t mean the dialogue and performances have to follow suit.  That’s why you easily forgive some of the plot contrivances that get you from point A to point B.  What always has held me back from fully embracing the 1983 film was that there never seemed to be a lot of reason behind actions — here we get to know each character a bit more so every cliche plot device thrown at us goes down a little easier because by the time it arrives we understand people a little bit better.  It’s not deep stuff but it helps things out more than you can imagine.

Like the previous incarnation, the film thrives on the charisma of its leading actors and Rothe and Whitehouse make a charming couple, with good singing voices to match their movie star looks.  The screenplay gives Randy a female companion to make it less a boys v girls standoff and while Whitman plays off Whitehouse nicely I missed the interesting male dynamic created between Cage and Cameron Dye from the original.  As Rothe’s gal pals, Chloe Bennet, Ashleigh Murray, and Jessie Ennis (Life of the Party), may get less arcs than their previous counterparts but what they lack in development they gain in song with Bennet and Murray getting full out musical numbers and Ennis having a sweet presence on screen.  The film is bookended with Alicia Silverstone (The Lodge) as an older Julie recounting her younger days to her teenage daughter and while I loved seeing 90s star Silverstone popping up and can see why the framework was used, every time the movie went back to her it took me out of things a little bit. Special note, keep your eyes open for cameos from two stars from the original…both used in nice moments that make you go “Was that?  Really?  No!  Yes?  Maybe!  It was!”.

At this point of the #StayHome #StayHealthy quarantine days I’m starting to feel a little blue, if I’m being perfectly honest, and I felt like this movie came along at just the right time.  Like the original movie, it’s not going to change the world in any major way but for 90 or so odd minutes it gets the job done and does it with a totally rad amount of good will and heart.  Best of all, it pays extremely decent homage to its predecessor without sullying our fond memories of it.  Take on this one…

31 Days to Scare ~ The Addams Family (2019)

The Facts:

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.