Waiting for Guffman-1996

Director-Christopher Guest

Starring-Christopher Guest, Eugene Levy, Catherine O’Hara

Scott’s Review #1,145

Reviewed May 24, 2021

Grade: B+

Somehow mocking local community theater troupes with questionable talent couldn’t be funnier with the right premise and an outstanding cast. The added fun of midwestern traditions like barbeques and good manners and spot-on imitations put on display for humor works well. They should be celebrated and appreciated in Waiting for Guffman (1996).

The hysterical Best in Show (2000) is probably my favorite Christopher Guest film but Waiting for Guffman is a hoot and hollering good time. The ‘B+’ rating comes largely because Guffman is an opening act to the fab Best in Show. They can easily be watched back to back and perhaps should for further cherishing.

When the town of Blaine, Missouri approaches its sesquicentennial, the residents decide to celebrate by performing a musical revue called “Red, White, and Blaine.” Flamboyant director Corky St. Clair (Christopher Guest) is determined to return to Broadway success by casting untalented but passionate individuals to perform. Eugene Levy, Fred Willard, Catherine O’Hara play the main cast members.

When Corky reveals that influential theater agent Mort Guffman will attend the opening, the cast is convinced that they will be rewarded with accolades and appearances on the Broadway stage if they perform successfully. They become titillated, flustered, and manic as the pressure of opening night approaches.

I daresay, some folks from the midwest United States or those faithful to the local theater may not enjoy Wating for Guffman but I sure did. Most of the characters are written as buffoons and lacking any talent. The hysterics come because they think that they actually possess what they lack.

The aforementioned Guest, Levy, Willard, and O’Hara work so well together they are the reason Waiting for Guffman is so damned funny! The comic timing between the actors is flawless and timed perfectly.

Levy and O’Hara appeared together in the Canadian television sketch comedy series SCTV in the 1970s and 1980s before hitting the jackpot with the television series Schitt’s Creek in later years so a fun thing to do is watch them in whatever they appear in together.

They are that good!

There abound many stereotypes in Waiting for Guffman since Corky is written as a walking gay stereotype with mascara and flamboyancy. The irony is that he reportedly has a wife who is never seen so the audience can draw their own conclusions.

Given the casting and the director, Christopher Guest takes on acting and directing duties, the experience is the largely improvisational and witty result.  Guest treats his actors, and himself, to famous Director Robert Altman’s mantra of letting his actors release and act on their own terms, presumably knowing the characters better than anyone else.

The tactic works. Too often comedies are stagey and situations forced in an attempt to make the viewer laugh because he or she thinks they are supposed to laugh. My favorite characters unsurprisingly are Ron and Sheila Albertson (Willard and O’Hara) as travel agents/amateur performers. They are zany and unpredictable and their antics cannot be superseded by anyone else.

Recommended mostly for the artistic and the improv comedy crowd. The spoofs are all over the place and fans of documentaries and talent shows can appreciate the gags.

Waiting for Guffman (1996) targets an intelligent audience craving fresh and original comedy. Being a cinema fan largely immersed in drama and horror, I was won over nonetheless. The only drawback is the film pales in comparison to the brilliant Best in Show (2000) with largely the same cast and tone, but still should be watched.

Booksmart-2019

Director-Olivia Wilde

Starring-Beanie Feldstein, Kaitlyn Dever

Scott’s Review #1,113

Reviewed February 17, 2021

Grade: A-

I usually avoid teenage coming-of-age comedies or more to the point, being not of that demographic, they are not usually even on my radar. The only reason I saw Booksmart (2019) is but for the Independent Spirit Award it won and the Golden Globe nomination it achieved. Still, I was skeptical of what the appeal of two female teenaged bookworms who decide to become party animals would have on me.

Boy, was I wrong? The film is a fabulous and fast-paced experience that I enjoyed immensely.

Director, Olivia Wilde, in her very first effort, believe it or not, delivers the goods. She takes a genre absolutely told to death and knocks it on its keester offering a fresh and creative spin on a tried and true formula that feels anything but formulaic. There is diversity, inclusiveness, and heart for miles without the feeling that these add-ons were done intentionally for a modern spin.

Before I get carried away too much Wilde carefully keeps the standard moments of teenage angst, rejection, breakups, and makeups, and there are one or two of the commonplace high school “types”- loner, jock, weirdo, etc. but evident is a strong LGBTQ+ stronghold including one of the main female characters. Booksmart sure feels authentic to me.

Molly (Beanie Feldstein) and Amy are forever friends. The girl’s study, they giggle, they hang-out, and they tell each other about their problems, sexual and otherwise. The kicker is that Molly is straight and Amy is gay. Amy is happily “out” and nobody gives a damn. Her parents, played in small but juicy parts by Will Forte and Lisa Kudrow are hilarious and progressive in their approach to understand a gay child. They incorrectly assume that Molly and Amy are a couple which the girls use to their advantage.

Anyway, Amy and Molly are intelligent and anticipate graduation day and going off to great schools. Once they realize that their fellow students who in their minds slack off and party are also going off to Ivy League schools, they panic. They realize they have wasted four years studying and decide to let finally let their hair down the night before graduation, intent on attending a popular boy’s (and Molly’s crush) party.

The situations the duo get themselves into are clever and witty and the most fun of the film. Feldstein and Dever have exceptional chemistry and I bought them as best friends from the moment of their first scene. When they have a knock-down, drag-out argument towards the end of the film it’s acting at its finest, which made me feel proud. I admire young talent with great acting chops and pride in their craft and Feldstein and Dever both have it.

Wilde peppers much of the film with hip and trendy pop songs that surprisingly enhance rather than slow down or take away from the viewer enjoyment. The lyrics match the specific events of the particular scene.

The romanticism is pivotal as the crushes Molly and Amy have are not necessarily who they wind up with at the end of the film, which naturally culminates on graduation day. I love how their ceremony includes no parents.

The creativity within Booksmart is admirable. When Molly and Amy trip on a hallucinogenic they accidentally ingest they imagine they are barbie dolls. The scene is laden with hilarity as they bend and twist and turn. Later, Molly imagines a dance with Nick amid a colorful, slow-motion sequence that is beautiful, while Amy has an awkward unexpected sexual experience with a mean girl.

Booksmart (2019) is quite R-rated almost shockingly so, which is not a negative. In fact, it’s a positive. Too many films of this ilk try to soften how teenagers really speak and the feelings they really have which are usually sexual. It’s raunchy and definitely not for the younger teen set but mature audiences will reminiscence about their own high school days.

Independent Spirit Award Nominations: Best First Feature (won)

Calendar Girls-2003

Director-Nigel Cole

Starring-Helen Mirren, Julie Walters, Penelope Wilton

Scott’s Review #1,090

Reviewed December 11, 2020

Grade: B+

A clever female version of The Full Monty (1997), the middle-aged bordering on senior citizen characters, nudity comparisons notwithstanding, Calendar Girls (2003) has standard similarities. The film is a light-hearted affair, charming and fun with positive and inspiring messages about friendship and helping with cancer research.

How can a film like this not bring a smile to the viewer’s face? It did to mine.

That said, it’s hardly high drama or material that requires much thought or dissection. I’d wager to say you only need to see it once. There lies a situational or clichéd theme as the women face the standard and guessable awkward moments, but the film entertains in style.

Calendar Girls is based on a true story adding merit, appreciation, and endearing quality. It’s a feel-good film if there ever was one which is just fine in this case. The film was a box-office smash, and why not? It’s a comically robust experience.

A likable group of “women of a certain age” conspire to launch a calendar, bearing their best assets for all to see. Before this sounds too scandalous or corny, the ladies do it for a good cause and not for any titillating pleasure. The women are British and, while attractive, are average-looking gals with womanly figures. These tidbits lead to humorous and embarrassing situations as some of the women are more modest than others especially laid parallel to the conservative and crusty town that they live in. This leads to shocks among the prudish townspeople.

Chris (Helen Mirren) and Annie (Julie Walters) are best friends. When Annie’s husband dies of leukemia, they conjure up an idea of creating a nude calendar, where women pose while doing traditional duties like baking and knitting. The proceeds will go to research for the deadly disease. Unexpectedly, Chris and Annie, along with others from the Women’s Institute in which they are members, achieve worldwide success even invited to Los Angeles to appear on television’s The Tonight Show with Jay Leno.

The women clash due to their success and differing lifestyle directions, before reconciling and deciding that their ordinary lives aren’t so bad. They happily resume their nice lives away from the spotlight.

The comparisons to The Full Monty must be mentioned because they are so obvious. Whereas the men in The Full Monty strip on stage, the women prefer more modesty, nestled behind calendars for safety, but both groups hail from the English countryside and are regular folk. Since nudity is the word of the day, both groups possess average bodies and are championing worthy causes. Like it or not, this setup produces giggles.

The “calendar girls” are a relatable group that is a marketing genius and allows the film to achieve much merit. Who would care if a bunch of supermodels posed nude while baking cookies? No, the everywoman factor is sky-high, allowing the film to be appreciated and savored.

Because Mirren and Walters, two respected British actresses appear in Calendar Girls, there is an added respectability. After all, would either choose a project less than credible? The obvious answer is they make the film better than it might have been. Penelope Wilton does too. There is a classiness the ladies bring so that we can sink into our theater seats and revel in the good-natured comedy, assuring ourselves we are seeing something of quality too.

Calendar Girls (2003) is so like The Full Monty that they ought to be watched back to back. Perhaps a naughty night in, with a bottle of wine and some cheese, ready to embark on delights and jolly laughs.

Adventureland-2009

Director-Greg Mottola

Starring-Jesse Eisenberg, Kristen Stewart

Scott’s Review #1,066

Reviewed October 1, 2020

Grade: B-

Adventureland (2009) is a cute film. That may seem like a compliment, but it’s not. There is nothing wrong with this film, but it’s a rather safe experience. In a word, it is fine, nothing more, nothing less.

It plays like a romantic comedy and is mixed with a coming-of-age theme about two young adults merging from kid to adulthood. It’s a story that most of us can appreciate though it’s been done too many times in cinema for this film to do much more with. The selling point is the excellent acting.

The theme park (aka Adventureland) and the nostalgic 1980’s time period is a nice touch though it feels like a 2009 film with the actors fitted into retro costumes and hairstyles. Greg Mottola directed Superbad in 2007 so you can see the influence. He has a knack for directing films with a light comedic touch that will appeal to young adults going through some angst or young, blossoming feelings of love.

The stars of the film, Jesse Eisenberg and Kristen Stewart, terrific actors in their own regard, have little chemistry together and that weakens the picture. They are helped immensely by a talented supporting cast, who pick up the slack and improve the film.

Bill Hader, Kristen Wiig, Wendie Malick, and Ryan Reynolds give a comic boost to the events. Unfortunately, despite positive trimmings, the film feels like your standard, every day, independent comedy with little left to separate it from other contemporaries. It just has big stars.

Likable James Brennan (Eisenberg) anticipates a fabulous trip to Europe after graduating from Oberlin College, having earned it for his achievements. Unfortunately, his parents Mr. and Mrs. Brennan (Jack Gilpin and Malick) break the bad news to him. They are in dire financial straits and can no longer support him. He must get a part-time job immediately. The disappointing news disappointed me as well. I was savoring a nice adventure in London, Paris, and Rome. Sadly, the rest of the film takes place in an amusement park in Pennsylvania.

Predictably, Mottola, who wrote the screenplay as well, offers banal and stereotypical characters such as Mike Connell (Reynolds), the resident mechanic, who is a rival for the affections of Em (Stewart), the love interest of James. Thrown into the mix are various characters who are a bitch, a sarcastic college student, and a nerd. And, for good measure, James is a virgin. Naturally. The film nosedives with some slapstick humor and misunderstandings worthy of American Pie (1999).

When Adventureland was made Eisenberg was on the brink of breaking out into a fantastic role in The Social Network (2010) that garnered him an Oscar nomination and credibility. Stewart, meanwhile, was in the middle of her Twilight (2008-2012) years which made her a household name but was undoubtedly creatively very unfulfilling. This film is a reminder that actors need to work and make the best of the material they are given.

Truth be told, the main attraction of watching Adventureland is to sit back and admire what was to become of Stewart and Eisenberg. Since the film’s release in 2009, they have traversed meatier and better projects. Eisenberg has a Tom Hanks or a James Stewart likeability. He is someone to who the average young male can relate to and the problems that James must face could easily be challenges the viewer might also have.

In the case of Stewart, what a star this girl is with the right roles. Since 2012 she has declined roles in big-budget films in favor of independent productions for the next few years. She took on a terrific supporting role in the drama Still Alice (2014) as a troubled daughter. Still young, the future looks very bright for the talented actress.

But, back to Adventureland (2009). This film is only suggested for a glimpse at the early work of Eisenberg and Stewart. Two young stars who went on to enormous critical cinematic success.

Eighth Grade-2018

Director-Bo Burnham

Starring-Elsie Fisher, Josh Hamilton

Scott’s Review #935

Reviewed August 27, 2018

Grade: A-

Occasionally, a film rich with authenticity and pure honesty comes along, and Eighth Grade (2018) is one of those films. Bursting with a lead character who brings a genuine sincerity to a complex role, director Bo Burnham gets the best out of emerging talent, Elsie Fisher, in an autobiographical story about teenage angst and awkwardness that nearly everyone can recollect from those hated middle school years.

The coming-of-age story follows the life and struggles of an eighth-grader, Kayla Day (Fisher), during her last week of classes before graduating to high school. She struggles with severe social anxiety but produces secret YouTube videos as she provides life advice to both herself and her audience. She has a clingy relationship with her sometimes overbearing father, Mark (Josh Hamilton), who adores her but is careful to also provide Kayla with freedom and balance, her mother apparently out of the picture.

Eighth Grade feels fresh and rich with good, old-fashioned, non-cliched scenes, as audiences fall in love with Kayla and her trials and tribulations. In a lesser film, attempting to appeal to the masses, the stereotypes would abound, but this film is going for intelligent writing. The scenes range from touching to comical to frightening- a tender father and daughter talk over a campfire provides layers of character development to both Kayla and Mark as an understanding is realized.

As Kayla ogles over her classmate Aiden, voted student with the nicest eyes, to Kayla’s demoralizing win for quietest student, she bravely attempts to get to know the boy. Realizing to win his heart she must provide dirty pictures of herself or perform lewd acts, she hilariously watches oral sex tutorials and nearly practices on a banana in a scene rivaling any from the crude American Pie (1998). To expand on this, the audience will experience concern for Kayla as she winds up in the backseat of a strange boy’s car, encouraged to take off her top, going rapidly from comedy to alarm.

Enough cannot be said for the casting of Fisher as Kayla. Reportedly seen on a real-life YouTube channel, Burnham plucked the fledgling young actress from the ranks of the unknown. The bright young star is sure to be the next big thing with her innocent yet brazen teenage looks- she is only sixteen after all! With pimples and a pretty face, she admires yet despises popular kids and resorts to telling one off. Fisher gives Kayla sass and poise mixed with her anti-socialism.

Befriended by a pretty and popular high-school student assigned to be her buddy, Kayla awakens with gusto, finally seeing there may be life after middle school, and maybe, just maybe high school will not be as torturous as earlier years. A cute add-on is the adorable relationship that develops in the film’s final act between Kayla and just as awkward Gabe. They dine over chicken nuggets and bond over a nerdy television show they both love.

Deserving of accolades is Hamilton in the more difficult than one might realize role of the father of a thirteen-year-old. Smart is how the film shares his perspective on current events. He can be daring as he enters Kayla’s room to nearly catch her practicing her kissing technique, or creepy, as when he follows Kayla to the mall to see her new friends. His deep affection and admiration for her, though, provide a deep warmth seldom seen in teenage films.

Burnham is careful not to stifle the film with fluff or redundancy, instead making the film timely and relevant. The incorporation of the internet, text messaging and the never-ending use of smartphones makes any older viewer realize that over ninety percent of thirteen-year-olds use these devices and social media is the new normal. The sobering realization is that painful teenage experiences do not end when the three o’clock school bell signals the end of the day.

When the students endure a drill to practice measures to survive a school shooting attack, the reality hits home that this is now also a part of a teenager’s everyday life. American life for the young has changed immensely since most of us were of this age and Burnham does a bang-up job of reinforcing the importance of this.

Whether the viewer is elderly or middle-aged, has fond memories of middle school or cringes at the thought, yearbooks safely packed up in boxes to bury the memories, every viewer can take something away from Eighth Grade (2018). Excellent casting and an infusion of several cross genres into this film make it a fresh and memorable independent comedy/drama deserving of a watch.

Independent Spirit Award Nominations: Best Feature, Best Female Lead-Elsie Fisher, Best Supporting Male-Josh Hamilton, Best First Screenplay (won)

Lady Bird-2017

Director-Greta Gerwig

Starring-Saoirse Ronan, Laurie Metcalf

Scott’s Review #700

Reviewed November 28, 2017

Grade: A

Lady Bird is a 2017 independent film release and a wonderful effort by actor turned writer/director, Greta Gerwig, in her solo directorial debut. No stranger to the indie syndicate herself. Gerwig puts her own unique stamp on the film with a rich, female centered perspective that works quite well and that is seeping with charm and wit. Worth noting is how the story is a semi-autobiography-one based on Gerwig’s own life and her stormy dealings with her own mother. The story is well-written, well-paced, and empathetic as the audience views a slice of life through the eyes of a restless yet kindly teenager on the cusp of womanhood.

Saoirse Ronan gives a bravura performance in the title role. Her given birth name being Christine, she defiantly changes it to Lady Bird, in a show of adolescent independence, and much to her parents, Marion and Larry’s (Laurie Metcalf and Tracy Letts ) chagrin. Christine lives in suburban Sacramento, California, and yearns for a more exciting life in New York City, and far away from what she considers Dullsville, USA. Now in her senior year- attending a Catholic high school-Christine applies to college after college, hoping to escape her daily dilemmas. Christine’s best friend Julie and somewhat boyfriend Danny (Lucas Hedges) are along for the ride. The time period is 2002- shortly after 9/11.

The brightest moments in Lady Bird are the scenes between Christine and her mother, which are plentiful. The chemistry between Ronan and Metcalf is wonderful and I truly buy them as a real mother/daughter duo, warts and all. They fight, make up, get on each others nerves, fight, cry, make up, etc. I especially love their knock down-drag-outs, as each actress stands her ground while allowing the other room to shine- feeding off of each other. My favorite Metcalf scene occurs while she is alone- having gotten into a tiff with Christine and giving her the silent treatment while Christine flies to New York, Marion reconsiders as she melts into a ball of tears while she drives away- regretting her decision and missing her daughter already. Metcalf fills the scene with emotional layers as she does not speak- we simply watch in awe as her facial expressions tell everything.

Comparably, Ronan- likely to receive her third Oscar nomination at the ripe old age of twenty three (Atonement and Brooklyn are the other nods), successfully gives a layered performance of a teenage girl struggling with her identity and restless to see different worlds and get out of what she sees as a bland city. Of Irish decent, Ronan is remarkable in her portrayal of a California girl- sometimes selfish, sometimes sarcastic, but always likable and empathetic.

In fact, the casting from top to bottom is wonderful as the supporting players lend added meat to the story. Christine’s best friend, Julie, played by young upstart Beanie Feldstein (Jonah Hill’s sister) is compelling as the lovable, chubby, and nerdy theater geek. Letts is perfect as Christine’s father, depressed at losing his job in the tough economy and having to compete with young talent as he sees his career slip away. Legendary actress, Lois Smith, adds heart to the role of Sister Sarah Joan- a by the book nun, who proves to be a cool, old chick. Finally, Hedges, seemingly in every film in 2016-2017, is emotionally resounding as Danny, the troubled boyfriend of Christine- struggling with his sexuality.

Gerwig simply does it all with this piece of film- she directs and writes, scripting both laugh out line moments and eliciting heartfelt emotion from her enchanted audience. A hilarious scene occurs as Christine attends a dreary class assembly- an anti-abortion themed one- by a woman who almost did not exist, but for her mother’s decision not to have an abortion. When a bored Christine icily points out that had the woman’s mother had the abortion, she would not be forced to sit through the assembly, it is a laugh out loud moment.

Lady Bird, thanks to a fantastic writer and director, and superlative casting, is a film that has it all- heart, emotion, humor, and great acting. The film is intelligently written and forces the audience to quite willingly embrace its characters. Gerwig carves a story, perhaps done many times before in film, but with a fresh and energetic feel to it.

Oscar Nominations: Best Picture, Best Director-Greta Gerwig, Best Actress-Saoirse Ronan, Best Supporting Actress-Laurie Metcalf, Best Original Screenplay

Independent Spirit Award Nominations: Best Feature, Best Female Lead-Saoirse Ronan, Best Supporting Female-Laurie Metcalf, Best Screenplay (won)