Movie Review ~ Four Good Days

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The Facts:  

Synopsis: A mother helps her daughter work through four crucial days of recovery from substance abuse. 

Stars: Mila Kunis, Glenn Close, Stephen Root, Joshua Leonard, Rebecca Field, Chad Lindberg, Michael Hyatt, Sam Hennings 

Director: Rodrigo García 

Rated: R 

Running Length: 100 minutes 

TMMM Score: (7/10) 

Review:  Bless her long-suffering Oscar-less heart but Glenn Close is a trooper, ain’t she?  An eight-time Academy Award nominee, Close has had the good fortune to land meaty roles in more than a few unforgettable classics and deservedly earned her polite accolades for her efforts.  What she hasn’t brought home yet is that one piece of golden hardware many think she’s toiled long enough for.  While she could have won it early on for her supporting work in The Big Chill or in a more daring choice like Fatal Attraction, she very nearly grazed the glory in 2017 with The Wife.  That film definitely wasn’t her best work but the general consensus was that she was good enough to make the honor not feel totally like a sympathy nod.  Then along comes Hillbilly Elegy and a less subtle role Close seemed to gnaw on hoping it would attract the right kind of attention.  Sadly, again it was not meant to be.

While Close continues to hold out hope of a Sunset Boulevard musical film adaptation (for real, get going on that Hollywood! Close will devour that role and give you the Oscar performance you’ve been wanting all along!), until that happens, we’ll have to settle for seeing her in smaller titles like Four Good Days, rolling into theaters this weekend.  An indie drama centered on drug addiction that could have gone so maudlin and wrong it winds up being a better showcase for Close than Hillbilly Elegy ever hoped to be.  Heck, she even gets to wear another slightly questionable wig and manages to pull it off.

Close stars in this adaptation of an article from the Washington Post penned by Pulitzer Prize winning journalist Eli Saslow.  Though it changes the names and location of that original piece, by and large it sticks fairly close to the true story of a heroin-addicted daughter (Mila Kunis, Bad Moms) who returns home to her mother (Close, Guardians of the Galaxy) seeking shelter where she can detox.  Having been on this ride before with her daughter (thirteen times, we later learn), Deb initially refuses to let Molly back into her life or into her home but after some convincing that Molly is serious about her choice, she drops her off at rehab and hopes this will be the stay that takes.

Coming out of detox, Molly is told about a treatment that would be able to combat the sensation of getting high, a shot given once a month but only if the person has no drugs currently in their system.  To be safe, the doctor wants her to wait another four days to let her last fix work its way out.  Needing a place to stay so she doesn’t relapse in that short time, Deb agrees to let her stay with her and and her new husband (Stephen Root, Bombshell) and mother and daughter spend the next several days reconnecting over past traumas and mending bridges both had a say in tearing down.

Those expecting Four Good Days to be one of those Lifetime Television Movies will be in for a nice surprise because Saslow and co-writer/director Rodrigo García’s script isn’t as one dimensional as it might appear to be.  Yes, it practically goes through a checklist of required items in these sort of films (parent doesn’t trust, parent learns to trust, parent gets burned, child feels bad, everyone cries, lessons are learned) and there’s enough motivational quotes to make a slew of school cafeteria posters, but there’s a deeper being worked through that’s far thornier.  In addition to showing us the outcome of years of addiction, García (Albert Nobbs) is also addressing issues of enablement and accountability and that’s what winds up setting Four Good Days apart from the crowd and giving its two leading actresses many opportunities to shine.

What has always been so depressing about Close not winning an Oscar all this time is that she easily was first runner up for a number of these races.  Her training and commitment to the work makes her an ideal actress to convey empathy we can relate to.  I wouldn’t call her character dowdy but Close clearly understands where this part-time esthetician chooses to direct her energy and so we feel every weight she carries around from her life so far.  I’ve always had a fondness for Kunis (another actress that nearly made it to the Oscars with her role in 2010’s Black Swan) and am glad to see her turn up so successful in a part that is saddled with a lot of extra business which might overtake someone unable to handle it all.  The hair, the gait, not to mention the teeth (oh, the teeth!), could have all been pieces Kunis used to do the work for her but she goes beyond those outward tools and finds Molly from within.  Watch for the moment when her two young children are visiting and she’s playing a video game with her son that gets heated.  There’s a moment shared between the two of them that could go either way and you hold your breath because you know what’s she’s feeling and how she wants to react…Kunis shows it all in the smallest flutter of her eyes and doesn’t have to say a word. 

Together, Close and Kunis are dynamite and, as I imagine it would be for their characters, it’s hard for anyone else to get between them.  Root’s role is reduced to pretty much a cameo and you’ll start to wonder if Close is still married because he vanishes for so long.  There’s a nice, but brief, scene between Deb and her other daughter (Carla Gallo, We Bought A Zoo) and the contrast between their relationship and the one she has with Molly is clearly defined by Saslow and García but not in a cloying way.  There’s a number of good supporting performances, actually, even down to Michael Hyatt (The Little Things) as a member of Deb’s support group for mothers of addicts.

Released by a small studio with little advance fanfare, Four Good Days is the type of film I wish Close would be championed for and encouraged to make more of.  Same goes for Kunis.  Close has more experience in this arena but the realism without heaps of sentimentality is a refreshing change of pace for family dramas centered on drug abuse.  Ending with a Diane Warren song (another Oscar nominee for a song from The Life Ahead that went home empty-handed this year) sung by Reba McIntire that’s pretty much in line with most Warren ballads of late, the entire movie exceeds expectations with both actresses making it absolutely worth a watch.

Movie Review ~ A Bad Moms Christmas


The Facts
:

Synopsis: A Bad Moms Christmas follows our three under-appreciated and over-burdened women as they rebel against the challenges and expectations of the Super Bowl for moms: Christmas. And if creating a more perfect holidays for their families wasn’t hard enough, they have to do all of that while hosting and entertaining their own mothers.

Stars: Mila Kunis, Kristen Bell, Kathryn Hahn, Jay Hernandez, Christine Baranski, Susan Sarandon, Cheryl Hines, Peter Gallagher, Justin Hartley

Director: Jon Lucas, Scott Moore

Rated: R

Running Length: 104 minutes

TMMM Score: (2/10)

Review: It’s a good thing for the filmmakers of A Bad Moms Christmas that I’m not in charge of the naughty or nice list because it would be coal for all if I had my way. What a stupid piece of trash this one is, so lame-brained and barely breathing that I’m amazed it was produced and released at all. It exists for no one other than the tax write-off seeking producers and holiday cash starved actors willing to lower themselves to the level of writer/directors Jon Lucas and Scott Moore (Office Christmas Party).  I didn’t care much for 2016’s Bad Moms (actually, I didn’t care for it at all) so when it became a sleeper summer hit and this holiday-themed sequel was fast-tracked I must admit I was curious to see what new shenanigans the ladies would get up to. Turns out it’s just more of the same inane antics that are really just barely-there ideas for vignettes weakly strung together to create a 104-minute film. A very long 104-minute film.

As in the original film, the lives of these women are scripted entirely by the male writer and directors and I’d love to hear what their moms and wives think about their take on the mother’s role in the Christmas season. Lucas and Moore seem to believe that all mothers hate the holidays because it’s nothing but endless amounts of work for them with no thanks and certainly no fun. They are forced to put up a tree, decorate the house, buy presents, wrap presents, cook, clean, host parties, and do it all with a fake smile plastered on their face. At least that’s how Mila Kunis’ Amy tells us it is as she narrates the opening of the film that shows the aftermath of the holidays.  As a camel saunters by, she promises to tell us how she wound up with her house destroyed.  Sigh…if we must.

Flashing back through the six days leading to Christmas, we meet up again with Amy, her children, and her new boyfriend (Jay Hernandez, Suicide Squad) as they prepare for the arrival of Amy’s shrill mother (Christine Baranski, Into the Woods) and milquetoast dad (Peter Gallagher, Hello, My Name is Doris). Across town, Kiki (Kristen Bell, Frozen) is surprised that her smother-mother (Cheryl Hines, Wilson) has showed up three days early while Carla (Kathryn Hahn, We’re the Millers) is shocked her free-wheelin’ mama (Susan Sarandon, Tammy) has showed up at all. Kunis (Ted), Bell, and Hahn share precious few scenes together with Lucas and Moore opening up their world a bit more now that they have more characters to juggle. That means kids and males are left in the dust as the moms and daughters work out their issues as the holidays get closer.

There’s so much to dislike about this movie. From the extremely long leash the filmmakers give the usually funny foul-mouthed Hahn to ham it up while waxing the testicles of a ‘sexy’ Santa (Justin Hartley, who we’re forced to watch poorly strip-tease THREE times during the course of the film), to the uncomfortably ugly way that Baranski and Kunis spar over everything from décor to holiday spirit, to Bell blindly ignoring the fact that her mom is maybe so clingy because she’s completely alone and has no friends of her own.

Straining to see some good, I will say that though Baranski has fashioned her entire career on playing these types of frigid shrews, she gets some of the best moments in the movie with her deadpan reactions and sharp comebacks. They even let her sing a bit during a too-long caroling scene that at least serves as an opportunity to bring back the sorely missed Christina Applegate (Vacation) for a brief cameo. I also enjoyed Sarandon’s crass take on an aging biker chick that barely realizes she’s a grandma and the best passage of the entire film is when all three moms gather together to work out their woes.

At the end of the first film there was an excellent scene during the credits where the actresses and their real moms were interviewed. It was by far the best part of that whole movie and I was halfway looking forward to something similar here. Unfortunately, all that’s available during the credits is an exhaustive dance sequence clumsily filmed against a green screen. It’s just another example of the hap-hazard filmmaking that brought A Bad Moms Christmas to our cinematic mantle. My advice would be to throw this one into the fire and ask Santa to bring you a real comedy for the holidays instead.

Movie Review ~ Bad Moms

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bad_moms
The Facts
:

Synopsis: When three overworked and under-appreciated moms are pushed beyond their limits, they ditch their conventional responsibilities for a jolt of long overdue freedom, fun, and comedic self-indulgence.

Stars: Mila Kunis, Kristen Bell, Kathryn Hahn, Jay Hernandez, Annie Mumolo, Jada Pinkett Smith, Christina Applegate, David Walton

Director: Jon Lucas, Scott Moore

Rated: R

Running Length: 101 minutes

TMMM Score: (3/10)

Review: Man, 2016 has just not been a great year for mom movies.  I’m barely over April’s otherworldly awful Mother’s Day (RIP Garry Marshall) and now Bad Moms has been plunked down on our cinematic doorstep like a heap of garbage.  Not only is the movie tone-deaf, stupid, tiring, and boring, but the way it squanders the talent of every single cast member is really something for the record books. Like the recent Ghostbusters reboot, here is a movie that doesn’t know what to do with its perfectly capable but script stymied stars.

The first hurdle to overcome is buying the fact that 32-year-old Mila Kunis (Ted) has a 12-year-old.  Yeah, I know mathematically it works but throughout the film when sharing scenes with her two awkward children (that look nothing like her in the slightest) she looks like their babysitter instead of their mom.

Kunis is Amy, a hard-working mother of two who manages to get everything done without any help from her slacker husband or her emotionally stunted (read: awful and spoiled) tykes.  In addition to her mom duties, her part-time job for a coffee company has her putting in 40+ hours a week.  So it’s easy to see why she’s just a tad stressed when Gwyneth, the head of the PTA (a disappointingly comatose Christina Applegate, Vacation) and her two cronies (Jada Pinkett Smith and Annie Mumalo, Joy) puts a target on her for bringing store-bought food to the school bake-sale.  Working with two other PTA-averse moms (Kristen Bell, The Boss and Kathryn Hahan, Bad Words), Amy decides to challenge Gwyneth in the upcoming PTA election.

That’s pretty much all she wrote folks, or in this case all he wrote or, more to the point, all they wrote because director/screenwriters Jon Lucas and Scott Moore don’t bother to do anything original or, I dunno, funny with this material.  Though Bell’s hapless simp is fleetingly amusing and Hahn gets in some dandy zingers clearly ad libbed on the spot, the bulk of the film is an astoundingly lame exercise in men writing about the secret life of moms.  For example, take Jada Pinkett Smith’s (Magic Mike XXL) uptight Stepford wife remarking after oogling dad-hunk Jay Hernandez (Suicide Squad), that she’d “let him put it in my”…well, I’ll let you fill in the location.  That’s literally one of Pinkett Smith’s first and only lines in the film…what an impression.

Make no mistake about it, I have no objection to a movie going crass in style.  Plenty others have shown they can do it well but here it’s so uncomfortable to witness you’ll be tempted to watch certain scenes through splayed fingers normally reserved for horror movies.  Hahn knows her way around raunchy material but even she looks like she’s totally over her dialogue comprised mostly of F-bombs and synonyms for the female anatomy.  Kunis is pleasant enough but seems out of place with Bell and Hahn…I would have loved to see her switch roles with Applegate because both actresses seem to be pining to be playing any other role than their own.

At 101 minutes the film could be a good 10 minutes shorter without the numerous slo-mo scenes of bad mom debauchery.  The first time it’s used to good effect in a late-night grocery store rampage but it soon wears out its welcome, as does the tendency to blast a pop song every three minutes to punctuate scene shifts.  It’s a sloppy movie that comes in well below the taste level I’d expect of this group of otherwise pleasant actors.

As much as I disliked this film on the whole, I have to say the end credits may just be the best I’ve seen all year.  Interviews with Kunis, Bell, Hahn, Pinkettt Smith, Applegate, and Mumalo sitting next to their real life moms provides more laughs and heart than the preceding 98 minutes.  What a shame Lucas and Moore didn’t start with these interviews and find some inspiration for the screen moms they created.  Maybe they would have been more than just male cartoon visions of what moms look and sound like.

The Silver Bullet ~ Jupiter Ascending

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Synopsis: In a universe where humans are near the bottom of the evolutionary ladder, a young destitute human woman is targeted for assassination by the Queen of the Universe because her very existence threatens to end the Queen’s reign.

Release Date:  July 25, 2014

Thoughts: A whole lotta people didn’t get Cloud Atlas, the 2012 film directed by siblings Andy and Lana Wachowski and Tom Tykwer.  I found that epic to be quite ambitious in scope and idea and a film that resisted the urge to be classified in any one genre.  It was a haunting film that gave some very good actors the chance to do something different and signaled a nice return for the Wachowski’s who had seen their star fade with the lackluster sequels to The Matrix and the utter failure of the candy colored trippy Speed Racer.  Even though I wasn’t a fan of the Matrix follow-ups and I needed a week’s worth of Advil after seeing Speed Racer in IMAX, I’ve always appreciated the cinematic flair in which the brother and sister assemble their films.

That’s why it’s nice to see that a little more than two years after Cloud Atlas they’re back (sans Tykwer) for a new space odyssey.  Even if the movie looks a tad more standard that what Cloud Atlas had to offer, it’s still a helluva lot more intriguing than any number of summer movies with big robots and umpteenth sequels to fading franchises.  I’m not totally sold on the assembled cast but Channing Tatum (Magic Mike) and Mila Kunis (Oz The Great and Powerful) are hot stuff and Tatum at least is a huge draw.  Jury’s still out if this will continue the Wachowski’s ascent back into the A-List but this first look indicates they’re on their way.

Movie Review ~ Oz The Great and Powerful

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The Facts:

Synopsis: A small-time magician arrives in an enchanted land and is forced to decide if he will be a good man or a great one.

Stars: James Franco, Mila Kunis, Rachel Weisz, Michelle Williams, Zach Braff, Joey King, Bruce Campbell

Director: Sam Raimi

Rated: PG

Running Length: 130 minutes

Trailer Review: Here and Here

TMMM Score: (7.5/10)

Review:  When this project was first announced I remember being both horrified and excited at the prospect of a prequel to The Wizard of Oz.  The horrified part of me couldn’t imagine why a studio would want to get within ten feet of one of the most beloved films in history.  Excitement came from the rundown of talented artists that would be bringing Oz to life for Walt Disney Studios: director Raimi, composer, Danny Elfman, screenwriter David Lindsay-Abaire, and an award winning crew of visual effects craftspeople.

So even if the final project isn’t everything some dreamed it would be, the more I think about Oz the Great and Powerful (and I have found it on my mind a lot in the week since I’ve seen it) the more I appreciated it.

Getting right down to it, this prequel to the events that take place before Dorothy drops in is really just a re-telling of that later story but with the would-be Wizard taking the place of the girl in blue gingham and ruby red slippers.  The film opens on a county fair where magician Oz (a miscast Franco…more on him later) is wowing the small town crowd with his tricks.  Not a bad magician, he has no heart so he can never be truly great…and to top it all off he’s a blowhard lacking in the charm department.

It’s not long before a twister tunnels by and sweeps Oz away in a hot air balloon to the magical land of…well…Oz.  It’s a sign!  At least that’s what naïve witch Theodora (a marginally miscast Kunis…more on HER later) thinks when she witnesses Oz fall from the sky.  Taking him to meet her sister Evanora (a perfectly cast Weisz), Oz eventually finds himself on the hunt for the Wicked Witch terrorizing the land with her flying baboons.  Along the way he’ll meet another witch or two (one of the green variety) and learn a thing or two about friendship, honesty, and finds out there’s more to his magic than meets the eye.

That’s the gist of things and fans of The Wizard of Oz (either the movie or L. Frank Baum’s library of Oz-ian tomes) need not fret that this film will sully the image of Oz…that will surely be done by 2014’s Legend’s of Oz: Dorothy’s Return.  Like the stage musical Wicked, this movie connects a few of the dots to its 1939 predecessor and those paying careful attention will see that the filmmakers have inserted a number of references to the previous film like using magical Oz-ian characters as Kansas counterparts .

Two bits of casting have received the most attention since the film was released and I can’t say that some of the gripes haven’t been justified.  Franco is simply not the man for the job here and he’s painfully miscast as Oz.  When you consider Robert Downey Jr. and Johnny Depp were the first choices for the wizard an extra pang hits you for the performance that might have been.  Kunis (Ted) isn’t as bad as the reviews say but she struggles quite a bit for at least the first 2/3 of the film.  I felt she got better as her character progressed but it never really lands like it should.

The good news is that Weisz and Williams are so good as Evanora and Glinda that you almost forget they are sharing scenes with lackluster partners.  Weisz wipes the floor with them all, though, in a cleverly coy role rife with lip smacking and glinting eyes.  She’s the one actor that doesn’t let the sumptuous effects dictate her performance.  Williams is strong too but at times it felt like she hadn’t fully shed her Marilyn Monroe persona as Glinda the Good (or is she?)  Braff and King steal their fair share of scenes in dual roles and Raimi peppers his supporting cases with journeymen actors from his stable.

Effects-wise, Oz looks incredible.  Produced by the same team that brought us the mind-crushingly awful Alice in Wonderland reboot a few years back, they’ve wisely stayed away from that super fake looking Wonderland world for a slightly more realized take on Oz.  It’s still too CGI heavy for me but there’s no denying that the movie is a true feast for the eyes.  Elfman’s score doesn’t stray too far from his norm of notes but he’s tailored it to whip up some magical moments of his own.

Very rarely do I find that 3D is really worth the upcharge but Oz is a film that really should be seen through a pair of 3D glasses.  The opening shots in glorious black and white are presented in a small aspect ratio (picture size), emulating a film from that era.  The 3D is purposely less “deep” in these shots to play in nice contrast with the added depth once we get to the Technicolor Oz.  Though prices for the 3D experience have risen, this is one film that’s more than worth it.

When the screening I saw was through, I wasn’t quite ready to make a final call on what I thought of the film but found that it was on my mind often in the following days.  No, it’s not a perfect film or the most original storyline…but it’s a visually arresting wonder that impressed me the longer it lingered in my memory.  Rumor is that plans are afoot for another sequel and based on what I saw here, I wouldn’t be opposed to it.  Would it be weird to recast Franco, though?

The Silver Bullet ~ Oz: The Great and Powerful – Trailer #2

Synopsis: How the Wizard arrived in Oz and became the ruler. A prequel to The Wonderful Wizard of Oz.

Release Date:  March 8, 2013

Thoughts: As I mentioned in my review of the teaser trailer for Oz: The Great and Powerful, I’m getting a strong vibe of revisionism along the lines of Tim Burton’s misguided Alice in Wonderland.  Still, the Oz books have a wealth of adventure to them and I’m interested to see what screenwriters Mitchell Kapner and whip smart playwright David Lindsay-Abaire bring forth.  The visuals certainly look stunning and never underestimate the power of Oz…though with this trailer I’m officially on the fence about the value of Franco’s contribution to the film.  He’s such a modern style actor that I’m not convinced (yet) he’s the man who would be Oz.  Thankfully, he’s backed up by a trio of dependable ladies (Rachel Weisz, Michelle Williams, and Mila Kunis) that should even things out.  Director Sam Raimi has worked wonders in film storytelling in the past – he might be the true man behind the curtain of the success or failure of the film.