Movie Review ~ The Fabelmans

The Facts:

Synopsis: Growing up in post-World War II era Arizona, from age seven to eighteen, young Sammy Fabelman aspires to become a film director as he reaches adolescence. But he soon discovers a shattering secret about his dysfunctional family and explores how the power of films can help him see the truth.
Stars: Gabriel LaBelle, Michelle Williams, Paul Dano, Seth Rogen, Judd Hirsch, Mateo Zoryon Francis-DeFord, Jeannie Berlin, Robin Bartlett, Julia Butters, Sam Rechner, Oakes Fegley, Chloe East
Director: Steven Spielberg
Rated: PG-13
Running Length: 151 minutes
TMMM Score: (7/10)
Review:  Let’s get this straight. To me, Steven Spielberg is the most outstanding director of all time. Stop right there. I don’t want you to get out your well-worn movie journals or pull up your bookmarked film history pages that point to other celebrated directors whose films helped shape cinema as we know it today. For this guy right here (I stopped typing and pointed to myself), Spielberg is just the #1; thank you, and goodnight. It’s not just the JAWS of it all (the best movie ever made, you’re welcome), but his career has taken him through many different genres and styles. His constant need to innovate and create has kept him at the forefront of film and made him a game-changer. We flock to see his movies in the theater because he makes them for that theatrical experience. He made the best film of last year, West Side Story, fulfilling his long-held desire to make a musical, and some argue it surpassed the Oscar-winning original.

It’s a shame West Side Story didn’t repeat that acclaim at the box office and with awards, but it was, to me, a culmination of his work up until that point. The cinematography, score, screenwriting, technical elements, and directing all came together into one cohesive unit to create that modern masterpiece. What could follow that? The answer is arriving in theaters in time for Thanksgiving, and it’s The Fabelmans, a sometimes loosely autobiographical and often strikingly accurate portrayal of Spielberg’s life growing up and his family’s influence, specifically his mother. There’s already a lot of churn that the film will earn Spielberg his third Best Director Oscar (his last was 1999’s Saving Private Ryan) and that it’s currently the one to beat for Best Picture. But…is it?

You’re talking to a hardcore Spielberg fan here. Someone that will fondly bring up 1989’s Always in the same conversation as 2002’s Minority Report and who thinks 1991’s Hook continues to be overlooked all these years later. So, take it from this fan when I tell you that as moving and laudable as The Fabelmans is, there’s something oddly formal about it that also kept me about ten paces away from it. Part of that emotional lengthening is wrapped up in the very plot of the film. Still, it goes beyond that to a more significant issue with the screenplay (co-written with Pulitzer Prize winner Tony Kushner) and its structure which is episodic as the years go by yet strangely frozen in time.

Spielberg opens his movie with young Sammy Fabelman (Mateo Zoryon Francis-DeFord) having to be talked into a theater playing 1952’s The Greatest Show on Earth by his beleaguered parents. He’s at an age where theatrical movies are still intangible, he fears the big images about to tower before him. After, on the drive home, the wide-eyed boy has been changed for the better and sets out to recreate the film’s famous train crash with his Hanukkah gifts of toy train cars that form a large locomotive. That’s not enough; mother Mitzi (Michelle Williams, Venom: Let There Be Carnage) recognizes that. So, she borrows her husband Burt’s camera and lets Sammy film the crash so he can watch it repeatedly. And a filmmaker was born.

As Sammy grows up (eventually played for most of the film by Gabriel LaBelle, The Predator), he and his camera witness a tidal wave of change in the people and places around him. Family dynamics that went over his head as a child can now be replayed and reexamined frame by frame, driving a wedge between Sammy and his parents as a pair and individually. He trusts his mother to care for them but can’t reconcile a betrayal that goes unspoken, and he laments that his father (Paul Dano, The Batman) has blinders on for more than just what his children take an interest in. Joining a new suburban high school only intensifies his feeling of being an outsider, made more apparent when he’s targeted by bigots and begins dating an ultra-Christian girl that can’t keep her hands off him.

There’s a lot of movie to go around in The Fabelmans, so you can understand how audiences feel like they’ve walked away richly rewarded with various dynamic scenes and performances. And Spielberg’s eye for detail and knowledge of technique put the film on a completely different plane of existence. It’s beautiful to look at, and the production design should win the Oscar now and be done with it. Newcomer LaBelle is a true discovery as Sammy, taking us through complex emotional arcs without much set-up from Kushner or Spielberg’s script. No one is incredibly well served by some of the dialogue, which never sounds like anyone other than a Pulitzer Prize winner wrote it. There’s one scene between Sammy and his younger sister Reggie (Julia Butters, Once Upon a Time…in Hollywood) that sounds like a conversation between two Central Park intellectuals on their way to a be-in. While it works better for Judd Hirsch’s (Ordinary People) hysterical cameo and some of Dano’s excellent work, Kusher’s phrasing doesn’t sound right coming out of teens/youngsters, and they occupy much of the latter half of the film.

The end of the finale credits for West Side Story had a simple message, “For Dad,” and it does not surprise The Fabelmans ends with a similar message to Spielberg’s mother. Williams is playing the cinematic realization of Spielberg’s mother, so a gentle touch is granted the character, even when confronted with behavior that may get a more dramatic hand if the story hadn’t been so personal. The extent of Mitzi’s close friendship with Burt’s co-worker Bennie (Seth Rogen, Sausage Party) is hinted at, but Spielberg stops short of clarifying or speculating too much. In many ways, that’s admirable. A son wants to honor his mother by telling her story but doesn’t want to create trouble in the telling. Williams is on board with this and gives Mitzi that inner glow that radiates into her castmates. It’s not the slam-dunk award-winning role I was hoping for, so her competition need not worry, but it’s yet another sign Williams will be one of our lasting talents.

I’ve sat with the film for a few weeks now and hoped I’d want to see it again immediately, but it hasn’t hit me yet. There’s not a Spielberg film out there I wouldn’t watch again (actually, sorry, Bridge of Spies is a pass), and I’m sure I’ll meet up with The Fabelmans again, and I hope next time I’ll come away feeling closer to them than I did the first time. For now, you go on ahead and see if you get along with them better than I did.

Movie Review ~ Chip ‘n’ Dale: Rescue Rangers

The Facts:

Synopsis: Thirty years after their popular television show ended, chipmunks Chip and Dale live very different lives. When a cast member from the original series mysteriously disappears, the pair must reunite to save their friend.
Stars: John Mulaney, Andy Samberg, Will Arnett, Eric Bana, Keegan-Michael Key, Seth Rogen, J.K. Simmons, KiKi Layne, Flula Borg, Dennis Haysbert
Director: Akiva Schaffer
Rated: PG
Running Length: 97 minutes
TMMM Score: (8/10)
Review: It’s hard to believe it now, but the original run of Chip’ n Dale: Rescue Rangers on The Disney Channel was just three “seasons” that ran a little over a year, starting in 1989. That was prime time for me, and I vividly recall that whole cartoon programming block on the popular premium channel. Once it entered syndication, it would often air with DuckTales (another favorite) and TaleSpin (take it or leave it), but with the two chipmunks long being a favorite of mine since tiny tyke-hood, I was hooked on everything Chip ‘n Dale: Rescue Rangers was serving up. As Disney+ enters its newest evolution in reexamining its content library, there’s been a trend in remaking or rebooting to varying degrees of success. 

This past Christmas, a low-down dirty shame of a movie came out called Home Sweet Home Alone. Daring to advertise itself with the tagline “Holiday Classics Were Meant to Be Broken” and break them, they sure did. A travesty of a reboot (or continuation, it was never clear), it was a dismal mess and didn’t bode well for any future project that might be coming down the pike. You’d imagine the blood draining out of my face when I saw the poster directly above this review for Chip ‘n Dale: Rescue Rangers. “It’s not a reboot, it’s a comeback.” Here they go again with a clever tagline that kicked up some dirt at reboots while jockeying for a place on a higher bar. Disney was setting itself up for the same failure as before, right?

Initially, I was going to put on Chip’ n Dale: Rescue Rangers for background noise in my hotel room during an out-of-town work trip. It wasn’t one I was totally duty-bound to review, so… what’s the harm in just having it playing on the side? Then something strange happened. The film began, and I started laughing at jokes that I would never have understood fully as a kid, but I completely LOL-ed at them because they were specifically targeted at adults that were kids at the time the original series was released. Writers Dan Gregor (Dolittle) and Doug Mand appear to have been given carte blanche to give a highly detailed take on an animated children’s show and turn it into an Easter Egg hunt for big kids that now have a mortgage to pay.

The world of Chip ‘n Dale: Rescue Rangers is similar to the Toon Town of Who Framed Roger Rabbit?, with animated and live-action characters interacting normally. Cartoons are filmed like regular movies, and if you have the right amount of money, hand-drawn animated figures can “upgrade” themselves to computer-generated versions in order to stay relevant in the looks-obsessed society of today. Before we get to the present, we look back at the past with Dale’s (Andy Samberg, Palm Springs) voiceover telling the origin story of how he met Chip (John Mulaney, Spider-Man: Into the Spider-Verse) in grade school when both were social outcasts. Teaming up to become a comedy duo, they took their act to Hollywood, where they eventually landed a plum gig on, what else, Chip’ n Dale: Rescue Rangers. When Dale gets tired of playing the silly second banana to Chip, he makes a play for solo fame but loses both of their careers in doing so.

Thirty years later, someone has been stealing famous cartoon characters and selling them to the black market as digitally altered bootlegs. When old castmate Monterey Jack (Eric Bana, The Finest Hours) vanishes after reuniting the two former friends, the odd couple will need to put aside their past differences and use their fictitious crime-solving techniques in a real-world setting. Working with a disgraced detective (KiKi Layne, If Beale Street Could Talk) to elude an underbelly of criminal older toons (one that “won’t grow up” sure did) while trying to locate their friend, the duo meets up with familiar faces from their glory days as well as blink-and-you missed-them famous cartoons that will consistently surprise you.

This rollicking plot bursting with creativity at every turn is great news for long-time fans like me who leave the 97-minute film with a boost but might be problematic for parents trying to introduce their kids to their chipmunk chums from yesteryear. There are far too many “inside baseball” jokes that won’t resonate with children that don’t remember waiting a whole week for the next episode of a show that you couldn’t start over again immediately. Chock full of connections to many early ’90s cultural touchstones which brought me glee, I couldn’t help but wonder what an oddity this would feel like to someone with no frame of reference.

Chip ‘n Dale: Rescue Rangers is a fun ride, engineered for an audience mature enough to get the rapid-fire nostalgia-rich jokes but not too mature to avoid taking a chance on a reboot, sorry, a comeback of Chip ‘n Dale: Rescue Rangers in the first place. The solid, sensible voice work from Mulaney and Samberg gives the furry stars the type of personalities you might have anticipated them having were they to have offscreen personas. Finally, director Akiva Schaffer (Popstar: Never Stop Never Stopping) stays mindful of plot and pacing, never letting the comedic action linger too long in one place. Far better than you’d expect and one I’m more than open to revisiting, Chip’ n Dale: Rescue Rangers isn’t one to let slip through the cracks.

Movie Review ~ The Lion King (2019)


The Facts
:

Synopsis: After the murder of his father, a young lion prince flees his kingdom only to learn the true meaning of responsibility and bravery.

Stars: Donald Glover, James Earl Jones, Billy Eichner, Seth Rogen, John Oliver, Alfre Woodard, Beyonce Knowles, Chiwetel Ejiofor, JD McCrary, Shahadi Wright Joseph, John Kani, Florence Kasumba, Eric Andre, Keegan-Michael Key

Director: Jon Favreau

Rated: PG

Running Length: 118 minutes

TMMM Score: (6.5/10)

Review: There seem to be two camps of Disney animation aficionados. The first feel the studio hit its apex of its second golden age of hand-drawn animation in 1991 with Beauty & the Beast and the other side believe the tipping point was 1994 with the release of The Lion King. Both are a little right because each represent new advances not just in animation but in storytelling and musicality. Fans of the The Lion King are many and while I don’t count myself as one of the ride-or-die devotees of this Hamlet in the Serengeti tale I do appreciate it’s mature themes and humanistic approach to life and loss.

Even though I don’t find the film to be as precious as others, I was considerably surprised Disney would take the risk of adding this beloved classic to their growing roster of revisited films for a new generation.  It was easy to get Cinderella to go to the ball, Aladdin to find his magic lamp, and Pete’s Dragon was downright delightful…though it was considerably harder to convince audiences to see Dumbo take flight. Even so, how would they capture life in the African veldt in a somewhat realistic way? Going off of the success of the photorealistic computer generated animals created for 2016’s The Jungle Book, Disney handed the reins to back to director Jon Favreau and asked him to fully immerse himself in the technology to bring The Lion King to life.

Frankly, while the film is gorgeous to look at and makes the transition to screen far better than any other 2019 release has, it’s ultimately a bit of a pointless endeavor due to it being a nearly shot for shot remake of the animated original with very little creativity added in. At times, the film is frustratingly stuck in 1994, completely ignoring all of the new music added into the subsequent 1997 behemoth Broadway musical and many of its wise decisions in narrative structure. Once I resigned myself to it being so furiously beholden to the original film, I was able to settle in and admittedly got swept up in some of the grand scale of majesty, both visual and emotional, on display.

I have a feeling there will be a lot of audience members coming out of this 2019 retelling of The Lion King looking for someone to blame for the film not living up to their expectations so I’m going to run down the list of blame-ees to see if we can’t land on a culprit.

Blame Jon Favreau (Spider-Man: Far From Home). This one’s easy. Blame the director who brought only a concept to the table. Yes, the technology for The Jungle Book was a massive undertaking and the results quite splendid but the same magic doesn’t translate here. Going for realism over fantasy limits the film with rules in ways the animated one didn’t have to abide by. There’s little ingenuity to how the movie is constructed, with much of it, including the still goose-bump inducing ‘Circle of Life’ opening (sung by long time London Rafiki Brown Lindiwe Mkhize), just a complete copy of the first film.  I’m familiar enough with that opening sequence to recognize similar focus pulls and camera zooms so I’d love to see the two sequences side by side to see how close they are to each other. I’m a bit taken aback at how frightening Favreau let this one get. Animals that were slightly menacing as animated cells are positively terrifying when realistically rendered – parents should take note of the trio of teeth gnashing hyenas that are decidedly not played for laughs. There’s an attack/chase scene in this that rivaled Crawl for it’s tension and element of surprise.

Blame Julie Taymor. Poor Taymor has long been a scapegoat in the industry so why not throw her to the aforementioned hyenas here as well, right? I guess you could say she “ruined” The Lion King for multiple generations by creating such an unforgettable Broadway musical out of the original material. With brilliant costumes, soaring additional music, and a genius creativity flowing through each and every nook and cranny it set a new standard for what was possible in translating a film to stage.   Actually, she did what I feel the studio should have done here and that is to take the original film, retain the best parts about it and make something equally amazing out of it that lets both exist independently of the other. That doesn’t happen here. I can’t imagine people will be more inclined to watch this 2019 version over the 1994 original and then only if they couldn’t get tickets to the Broadway show.

Blame the cast. While it was nice to hear James Earl Jones (Rogue One: A Star Wars Story) back as Mufasa and Billy Eichner is dang delight as Timon, much of the casting falls flat. What’s worse, several of the actors just plain and simple can’t sing. As perfect a villain voice as Chiwetel Ejiofor (Secret in Their Eyes) provides as Scar, his speak-singing his way through a stupefyingingly truncated ‘Be Prepared’ and unsure high notes are a real bummer. As Pumbaa, Seth Rogen (Sausage Party) is the worst offender and while the part doesn’t require a good voice it at least requires someone to stay on pitch. Donald Glover (The Martian) is also a bit of a dud as the adult Simba showing little fire while Beyonce Knowles-Carter’s Nala (Dreamgirls) doesn’t exactly sound like she’s part of a regal pride of lionesses.  Everyone sounds like they’ve just been woken up from a nap, the lions were definitely sleeping tonight before recording their lines.

Blame the Disney executives. Here is where I think we have our winner, the big baddie of them all. Though this can’t be called a live-action remake seeing that the entire film is computer-generated, it represents another attempt by Disney to again cannibalize their catalog. For what purpose? The argument I’ve heard is that “every generation deserves their version of these stories” but that’s just…stupid. By signing off on giving The Lion King a CGI upgrade but not bothering to incorporate any of the new music (aside from Beyonce’s incredibly mediocre Oscar-bait single which has no place in the film) or making inventive creative choices they’ve not provided a purpose for the movie to exist other than lining their purses.  At its best, this new Lion King takes flight because of the durability of the source material and at it’s worst it’s merely a product crafted mindlessly for consumption with a pretty awful Elton John sung tacked into the credits for good measure.

Yet I’m still encouraging people to see this film and will likely see it again myself in theaters.  It’s absolutely better than the dull Dumbo and wooden Aladdin and operates on a different scale of filmmaking.  When all is said and done, the bottom line is that the movie is incredible to look at and what works the best is what has made The Lion King a classic since it was first released 25 years ago. The songs from Elton John and Tim Rice are melodic and will stick in your head, Hans Zimmer’s score is rousing, and the storyline of parental loss and finding strength within is as resonant as ever. I’ve listened to the soundtrack now a few times since seeing the movie and still get chills when the chorus of ‘Circle of Life’ fully kick in. No improvement on the original was needed to reinforce those feelings, though.

Movie Review ~ Long Shot


The Facts
:

Synopsis: An unemployed journalist battered by his own misfortune endeavors to pursue his childhood crush and babysitter, who now happens to be one of the most powerful and unattainable women on the planet.

Stars: Charlize Theron, Seth Rogen, O’Shea Jackson Jr., Andy Serkis, June Diane Raphael, Alexander Skarsgård, Ravi Patel, Bob Odenkirk, Randall Park

Director: Jonathan Levine

Rated: R

Running Length: 125 minutes

TMMM Score: (7/10)

Review: Don’t look now, but we may actually be in a small scale renaissance of the mid-range romantic comedy. There were rumblings that it was coming back when last year’s Crazy Rich Asians made a splash, only to be followed by the popular streaming releases like To All the Boys I’ve Loved Before and The Set Up. So far this year, we’ve had the modest hit Isn’t it Romantic and soon after Long Shot’s May release there’s still The Sun is Also a Star to look forward to and Last Christmas for the holidays…plus several more Netflix offerings along the way. It’s not a full scale rebirth of the genre but it definitely gets a healthy dose of mouth-to-mouth resuscitation courtesy of Seth Rogen and Charlize Theron in Long Shot.

Originally conceived as more low-brow comedy titled Flarsky, the script from Dan Sterling attracted the attention of Seth Rogen after it got good buzz on The Blacklist, the infamous Hollywood insider-y annual survey of the “most liked” motion picture screenplays not yet produced. Rogen brought in screenwriter Liz Hannah (The Post) who gave the film a good polish, making the starring female role more of real person and creating more equality between the lead protagonists. With a new title and Rogen’s friend Jonathan Levine (Warm Bodies) in the director’s seat all they needed was a star. And boy did they get one.

Charlize Theron (Mad Max: Fury Road) is the real reason you should be buying a ticket to see Long Shot and is the film’s not-so-secret weapon. Sure, you may be a fan of Rogen, romantic comedies, or just need a solid two hour film that is worth your time but Theron is by far the main selling point Long Shot has to offer. Already adept at playing any genre she’s thrown into, Theron dives headfirst into a role that requires the actress to convince us her gorgeous buttoned-up Secretary of State could fall for Rogen’s lumpy (but lovable) political journalist, all while keeping her composure as she plots out an environmental treaty to lay the groundwork for her presidential run.

Recently fired from his grassroots publication, Fred Flarsky (Rogen, This is the End) is drowning his sorrows with his best friend (O’Shea Jackson Jr., Straight Outta Compton) at an upscale benefit when he runs into his old babysitter Charlotte Field (Theron). Flarsky may have written a few popular pieces on the internet but Field has done considerably better for herself; she’s the youngest Secretary of State under a dim bulb President (Bob Odenkirk, Nebraska) who was elected after playing the Commander in Chief on TV for years. When the President decides not to run again and offers to endorse Field, she gets early reports (from a too-brief cameo by Lisa Kudrow, Friends with Kids) that the public doesn’t think she has a sense of humor. Running into Flarsky and reading his material gives her an idea: why not hire this guy who knew her back in the day and see if he can punch up her image?

For Field, this starts as a business proposition. For Flarsky, this is a chance to get closer to a girl he has had a crush on since he was a pre-teen. Even more than that, he believes in her as a politician and gets behind her as a potential presidential nominee. As they make their way around the globe gathering support for her environmental protection plan, the two get closer…much to the horror of her staff members (June Diane Raphael, Girl Most Likely and Ravi Patel, Master of None) until they become an unlikely item.

It really is on Theron to sell us on her character falling for Fred and Rogen and Levine help her get there (with no small assistance from Hannah’s script) by keeping Charlotte aware of their differences but following her heart anyway. That’s what makes it all work because, unlike other Rogen vehicles where he’s paired with beauties just…because, here he initially winds up with the girl by winning over her brain first before anything physical happens.

Clocking in a tad over two hours, the movie comes in just a hair too long and a wiser editor could have excised more of Jackson’s unnecessary scenes as Fred’s friend that don’t wind up informing the action on anything we don’t already know. As good as Raphael and Patel are, they only work in small doses and their business could be trimmed as well because we really want more time with Theron and, to a slightly lesser extent, Rogen.  I can’t forget to mention Andy Serkis (Black Panther) popping up in a truly bizarre role as a publishing magnate with ties to Charlotte and Fred.  It’s not that the role is bizarre, it’s that Serkis is under heavy layers of make-up to render him unrecognizable.  Why?

The film almost makes it across the finish line without resorting to gross out gags but can’t resist a fairly atrocious bit of toilet humor that cheapens things up at the wrong time. Honestly, I get why they inserted it in the grand scheme of things but it sinks the film to a different level that I thought it was rising above.  Still, that and a rather perfunctory ending can’t erase the fun of the previous 100 or so minutes and any movie that prominently features Roxette’s mega-anthem “It Must Have Been Love” on more than one occasion already scores high in my book.

Movie Review ~ The Disaster Artist

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The Facts
:

Synopsis: When Greg Sestero, an aspiring film actor, meets the weird and mysterious Tommy Wiseau in an acting class, they form a unique friendship and travel to Hollywood to make their dreams come true.

Stars: James Franco, Dave Franco, Seth Rogen, Zac Efron, Josh Hutcherson, Kate Upton, Ari Graynor, Jacki Weaver, Hannibal Buress, Andrew Santino, Alison Brie, Sharon Stone

Director: James Franco

Rated: R

Running Length: 104 minutes

TMMM Score: (8/10)

Review:  There’s a classic movie theater in my town that used to show the best Midnight Movies.  Before they went digital, they often featured classic movies from the ‘70s and ‘80s in all their celluloid glory.  It was at this theater I saw a print of Adventures in Babysitting, Friday the 13th, The Breakfast Club, and introduced several horrified friends to Showgirls.  Then the financial realities of shipping film stock and the public need for crystal clear projections led the theater to remodel and slowly eliminate these wonderfully nostalgic screenings.  While The Rocky Horror Picture Show and Serenity remained bewildering stalwarts on the roster, another movie started to be featured that I’d never heard of and didn’t have any interest in seeing.  This movie was The Room.

Released in 2003 and now regarded as one of the worst movies ever made, I didn’t experience The Room until about a month ago at a screening organized in anticipation of the release of The Disaster Artist.  If you’ve never seen the movie, I highly encourage you to take it in at a theater with an audience of like-minded adults.  The crowd I saw it with were experienced in the jaw-dropping insanity of writer/director Tommy Wiseau’s crazy drama and their reactions pushed the overall viewing of the movie into one of my favorite nights in a theater of 2017.  Yes, the movie is terrible but it’s so joyful in its awfulness that its impossible not to be hypnotized by it.  I can’t imagine watching it at home with friends or, worse, alone.  It’s meant to be seen in the theater.

Working with a script from Scott Neustadter and Michael H. Weber, adapted from a book written by The Room’s original co-star Greg Sestero (played here by Dave Franco, Now You See Me), director James Franco has turned in a loony albeit quite entertaining film that feels like his most sophisticated exercise to date.  Franco (Sausage Party) not only excels behind the scenes, but it’s been years since he’s been as good in front of the camera as he is playing Wiseu, nailing the mysterious man’s personal tics and hard to place accent.

Charting the development of the film from Sestero’s point of view through its troubled creation to opening night, James Franco has surrounded himself with some of the best and brightest up and coming stars of today as well as featuring cameos from a treasure trove of Hollywood royalty.  One minute Zac Efron (The Greatest Showman) is turning up in a brief role as a hysterically memorable character from The Room and then Sharon Stone (Lovelace) appears as Sestero’s man-eating agent.  Keep your eyes out for Melanie Griffith and Bryan Cranston, too!  It’s so chock full of famous faces I’ll likely need to see it a second time to catch everyone that floats by onscreen.

This is a film aimed squarely at fans of The Room so better do your homework before trekking to the theater to see it.  Scenes, performances, and situations are painstakingly recreated as evidenced in the credits which put the original film and this tribute side by side to show how close Franco got to shot for shot perfection.  Going in with no working knowledge of the film that inspired it will likely cause most of the jokes to go whizzing past, robbing you of the plethora of fun to be had.  Some theaters are doing a double-feature and I’d suggest seeking those out and making a crazy night of it!

I don’t think anyone that heard Franco was making The Disaster Artist ever could have predicted it would come off so well, much less be in the running for several major Oscar nominations in mid-January.  When you think about it, though, making a film about the making of the world’s worst movie is something that seems right up Franco’s alley.  The eccentric actor seems like he’d be a kindred spirit of Wiseau and Franco never seems to shy away from challenging material…the more meta the betta, er, better.

Movie Review ~ Sausage Party

sausage_party_ver2

The Facts:

Synopsis: A sausage strives to discover the truth about his existence

Stars: Seth Rogen, Kristen Wiig, Salma Hayek, Edward Norton, David Krumholtz, Nick Kroll, Michael Cera, James Franco, Jonah Hill, Craig Robinson, Bill Hader, Anders Holm, Paul Rudd, Danny McBride

Director: Conrad Vernon, Greg Tiernan

Rated: R

Running Length: 89 minutes

TMMM Score: (7.5/10)

Review: The team behind Sausage Party are funny guys…no, really, they are.  The trouble is, they have trouble with starring in movies that are actually…y’know…funny.  At least to me.  Saying this animated R-rated raunch fest is from the team that made 2013’s This is the End didn’t exactly inspire me to be counting down the days to its release.  If anything, it made me dread the day I had to sit in a theater and listen to Seth Rogen play a foul-mouthed but well-meaning hot dog looking to become one with a bun voiced by Kristen Wiig.

Maybe it was a wise choice for the folks behind the Sausage Party screening to give everyone over 21 a free drink because when the movie started my belly was warm with a concoction called Meat Juice (Jägermeister, Grapefruit Juice, Orange Juice, Soda, and Lime…overall as gross as it sounds) and I was feeling a nice little buzz.  It weakened my defenses, I think, because not only did I laugh harder than I thought I would but I wound up enjoying it for all of its surreally filthy fun.

It doesn’t take long for the first F-bomb to be dropped as a grocery store and its products awake for another day in paradise. In a 4th of July display, a package of hot dogs sits next to a bag of buns and wiener Frank (Rogen, The Guilt Trip) waxes vulgar of what he’d like to do to bun Brenda (Wiig, Ghostbusters). Anatomical questions aside, you just have to go with the fact that these food products are horned up, crude, and disarmingly pleasant even when spouting nasty thoughts.  I mean, when the main villain is a douche (literally) you have to step back and remember that you signed up for this one and love it for all its gross out rough edges.

Written by Rogen and three of his collaborators, the film becomes a journey of food understanding its place in the great circle of life and taking a stand against the “gods” (humans) that aren’t coming in to save them but to devour them.  Trust me, it will make your look at everything from bubble gum to toilet paper in a different light.  You’ll still use them…but once you’ve seen a face on a used prophylactic you just can’t return to the real world unscathed.

Directors Conrad Vernon and Greg Tiernan have brought together a most impressive list of voice talent too.  In addition to Rogen & Wiig, there’s Salma Hayek (Savages), Edward Norton (The Grand Budapest Hotel), David Krumholtz (Hail, Caesar!), Nick Kroll (Vacation), Michael Cera, James Franco (Homefront), Jonah Hill (The Wolf of Wall Street), Craig Robinson (Get On Up), Bill Hader (Inside Out), Anders Holm (The Intern), Paul Rudd (Wanderlust), and Danny McBride (Aloha).

A good 10 minutes too long, the film, um, climaxes with an orgy so grotesquely dirty that it makes the one in Caligula look like a trip down the yellow brick road.  That bravado in going so low is what made me respect the film and its creators because it takes more than a rude mind to get to the places that this one does.  It goes without saying that if you’re a parent and you bring your child to this you are absolutely terrible but adults looking for a summer comedy that actually provides laughs have found a feast.

The Silver Bullet ~ The Night Before

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Synopsis: In New York City for their annual tradition of Christmas Eve debauchery, three lifelong best friends set out to find the Holy Grail of Christmas parties since their yearly reunion might be coming to an end.

Release Date:  November 25, 2015

Thoughts: I think I’m really getting old…because at one time I think this trailer might have generated some excitement in my movie-going bones.  As it is, it looks like another exhaustive exercise in excess from the team that brought you This Is The End, Neighbors, and (shudder) The Interview.  As annoying as Seth Rogen (The Guilt Trip) is, I know that he’s capable of more than these types of dumb-ass stoner roles and I surely know that Joseph Gordon-Levitt (Don Jon) can do better.  Rogen and Gordon-Levitt reteam with their 50/50 director Jonathan Levine (Warm Bodies) for this act-your-age comedy and Anthony Mackie (Pain & Gain) completes the triumvirate of stars.  This foul-mouthed red-band trailer lets us know that audiences are in for some drug-fueled ribaldry this holiday season…joy to the world.  Wake me up when these three actors find a worthier project to peddle their wares in.

The Silver Bullet ~ Steve Jobs

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Synopsis: Set backstage at three iconic product launches and ending in 1998 with the unveiling of the iMac, the film takes us behind the scenes of the digital revolution to paint an intimate portrait of the brilliant man at its epicenter.

Release Date:  October 9, 2015

Thoughts: Less than two years after another biopic of the late Apple wunderkind was released, another look into the life of Steve Jobs is coming our way.  After the cool reception and workmanlike effort of Jobs, I was wondering if we actually needed another film on the same life so soon.  Turns out, we did.

The first trailer for Steve Jobs is out and looks like something to get, if not excited by, then overly interested in.  Directed by Danny Boyle (Trance) from a script penned by Aaron Sorkin (The Social Network), the film is comprised of just three scenes set at the unveiling of key products that Jobs had a hand in creating.  A bold structure to be sure but it’s different enough than the earlier film that any comparison will hopefully just be on who did the better interpretation of several key characters.  Though Leonardo DiCaprio (The Wolf of Wall Street) was set to reteam with his The Beach director Boyle, another film (Revenant) took him from the project.  Replacing him is Michael Fassbender (Prometheus) and he looks like a better fit anyway…and let’s not forget Kate Winslet (Divergent), Seth Rogen (The Guilt Trip), and Sorkin favorite Jeff Daniels (Arachnophobia) are part of the team as well.

The Silver Bullet ~ The Interview

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Synopsis: Dave Skylark and his producer Aaron Rapoport run the popular celebrity tabloid TV show “Skylark Tonight.” When they discover that North Korean dictator Kim Jong-un is a fan of the show, they land an interview with him in an attempt to legitimize themselves as journalists.

Release Date:  December 25, 2014

Thoughts: Back in June of this year, The Interview was already in hot water.  A news agency in North Korea vowed retaliation against the studio distributing the comedy (Sony/Columbia), warning all involved of their plans.  Sony, undeterred from any potential backlash and encouraged by positive test screenings moved the release date from an early October bow to prime holiday real estate: Christmas Day.  In the last few weeks it seems the promise from North Korea was made good on when Sony suffered a massive hack of their internal e-mails, exposing the inner dealings of studio heads and filmmakers to public embarrassment.

Though deep down I secretly hope this is all a massive prank to promote the film, one has to wonder how worth the risk the film will end up being.  Even considering that I’m not a huge fan of James Franco (Oz, The Great and Powerful) or Seth Rogen (This Is The End) I have to say that the sheer audacity of the offensive premise of The Interview earns them some small credit in my book.  Will Sony be laughing all the way to the bank with egg on their face?

The Silver Bullet ~ Neighbors (2014) – Red Band Trailer

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Synopsis: A couple with a newborn baby face unexpected difficulties after they are forced to live next to a fraternity house.

Release Date: May 9, 2014

Thoughts: Ok…I admit it.  I laughed.  There…you got it out of me.  Even though this isn’t being released until May of 2014, the first trailer for Neighbors made its debut with more than enough laughs to make up for last year’s This is the End (sorry, I just didn’t like it).  Seth Rogen (The Guilt Trip) and Rose Byrne (Insidious: Chapter 2) find themselves living next door to a rowdy frat house lead by Zac Efron (The Lucky One) in all his shirtless glory.  It should be nice to see Efron take on a role that doesn’t require him to take himself quite so seriously as an actor and Rogen and Byrne could probably do these roles in their sleep.  After viewing this red-band (read, not safe for work) trailer and knowing this comes courtesy of director Nicholas Stoller (The Five-Year Engagement) you can count on plenty of raunchy humor that’s hopefully backed up by some honestly funny bits.