Category Archives: Mila Kunis

2010 Films, Barbara Hershey, Best Film of the Year, Darren Aronofsky, Mila Kunis, Natalie Portman, Thriller, Vincent Cassel, Winona Ryder

Black Swan-2010

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Black Swan-2010

Director Darren Aronofsky

Starring Natalie Portman, Winona Ryder, Barbara Hershey

Scott’s Review #735

Reviewed March 22, 2018

Grade: A

Darren Aronofsky, the director famous for the psychological and bizarre, most notably 2000’s Requiem for a Dream, 20008’s The Wrestler, and 2017’s mother!, can easily add 2010’s Black Swan to this category as he weaves an unsettling tale involving the world of ballet centered around the Tchaikovsky work Swan Lake.

The film is dark, eerie, perverse, and utterly mind-blowing in its creativity- in short, Black Swan is a masterpiece.

The film reaped several Academy Award nominations including a win for Natalie Portman as Best Actress.

In the competitive New York City ballet company, art director, Thomas Leroy (Vincent Cassel), is preparing to open the season with the compelling and difficult, Swan Lake.

Deemed “too old”, star ballerina Beth McIntyre (Winona Ryder) is forced into retirement, much to her chagrin, allowing others to audition for the coveted lead role.

Aspiring talent, Nina Sayers (Portman) gives a flawless audition as the White Swan but lacks the depth to succeed as the Black Swan. Despite this point, Nina wins the role and slowly becomes psychotic as she begins to embody the Black Swan in her quest for perfection.

Center stage, Portman embodies her character with mystique as we never know if she is living her dual role or if someone is messing with her.

As strange events begin to occur, Nina is insecure and on edge throughout- as she desperately wants to give testament to White Swan/Black Swan she does not feel confident in the skin of Black Swan and she eventually teeters toward the edge of insanity.

Deserving the Oscar statuette she won, Portman delivers the best role of her career.

Black Swan would not have been the success that it was without the talents of the three most prominent supporting characters- Cassel, Mila Kunis (at the time unknown), as Lily/Black Swan, and legendary talent Barbara Hershey as Nina’s the supportive yet haggard mother, Erica.

Just as Nina grows both suspicious of and distrustful of each of these character’s motivations, so does the audience.

Is Lily a trusted friend? What does Nina know of her? Is Cassel’s Thomas manipulating Nina for a great performance or does he have sexual designs on her?

Is Erica a loyal confidante, a jealous bitch, vengeful about her stalled career?

The final scene of the film is a masterpiece in itself and perfectly wraps up the film in a perplexing, grotesque style. As the big night finally arrives and doubt is cast on whether or not Nina will perform successfully, the entire scene is a riveting, climactic experience.

One will never forget the final shot of Nina, gushing with blood, and a grimace caked in stage makeup, as she professes a perfect performance to her musical director and castmates.

With this scene, we are left wondering whether she will ever recover from this performance.

The fabulous musical score is haunting and effective and each piece is perfectly placed within the appropriate scene. The heavy use of violins gives the soundtrack a frightening, almost horrific screeching quality, and the Chemical Brothers’ electronic songs, importantly used during Nina and Lily’s wild night out clubbing, are tremendously effective.

The 1948 masterpiece The Red Shoes, directed by the controversial Michael Powell, must have been an influence on Aronofsky.

Both contain similar subject matters of ballet and dancing on the edge of sanity, I can hardly think of two better films to serve as companion pieces, watched in tandem, than these two timeless greats.

Darren Aronofsky, along with a perfectly cast company with stellar, bombastic actors, and a classical music score by the great Tchaikovsky, with electronic elements mixed in, delivers a piece that works in spades.

2010’s chilling Black Swan is a modern-day classic that will be discussed as much as it is remembered as an incredibly important film.

Oscar Nominations: 1 win-Best Picture, Best Director-Darren Aronofsky, Best Actress-Natalie Portman (won), Best Cinematography, Best Film Editing

Independent Spirit Award Nominations: 4 wins-Best Feature (won), Best Director-Darren Aronofsky (won), Best Female Lead-Natalie Portman (won), Best Cinematography (won)

2016 Films, Christina Applegate, Comedy, David Walton, Jada Pinkett Smith, Jay Hernandez, Jon Lucas, Kathryn Hahn, Kristen Bell, Lowest Rated Films, Martha Stewart, Mila Kunis, Scott Moore, Wanda Sykes, Wendell Pierce

Bad Moms-2016

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Bad Moms-2016

Director Jon Lucas, Scott Moore

Starring Mila Kunis, Kristen Bell, Kathryn Hahn

Scott’s Review #706

Reviewed December 20, 2017

Grade: D+

Bad Moms (2016) tries to do for women what The Hangover (2009) did for men and create a raunchy, R-rated party romp that haggard mothers everywhere can relate to and appreciate.

The film’s billboard displays the three main characters boozing it up under the caption “Party Like a Mother.” Perhaps since I am not a mother, I did not entirely gravitate toward this film, but Bad Moms fell flat for me despite a smidgen of mild laughs.

Primarily because of tired characters, gimmicky situations, and an over-the-top tone.

The film, written by the same individuals who wrote The Hangover, is a direct ripoff with a different gender in the driver’s seat.

The central character is Amy Mitchell (Mila Kunis), a thirty-two-year-old mother of two who is living a busy life in the Chicago suburbs.

Considered “old” by her hipster boss and with a porn-obsessed husband, she runs around frazzled and behind schedule most of the time.

After a particularly hairy day, Amy abruptly quits the school PTA run by militant Gwendolyn (Christina Applegate). She befriends fellow moms, sex-crazed Carla (Kathryn Hahn) and timid Kiki (Kristen Bell).

After she incites Gwendolyn’s wrath, Amy decides enough is enough and embarks on a plot to win the PTA presidency while dumping her husband and dating a hunky widower, Jessie (Jay Hernandez).

Admittedly, Kunis is very likable as Amy. She’s an incredible, energetic chick who most would love to befriend, and we empathize with her predicaments and schedule.

But this can only go so far in a comedic film. The setup pieces and the supporting characters are too plot-driven and lack authenticity. The result is little more than one root-able character.

As an actress, Applegate is quite capable, but Gwendolyn, the transparent foil, is primarily written as a cartoon character. Her bitchy comments to her underlings, who inexplicably are afraid to cross her, seem too staged.

Jada Pinkett Smith, in need of a paycheck, is disposable as “second in command” crony Stacy. Furthermore, Amy’s husband, Mike (David Walton), is portrayed mainly as a buffoon and childlike.

The point of these character examples is to stress that the film contains too many caricatures rather than characters. 

An irritating quality of Bad Moms that I cannot shake is that the film is written and directed by a duo of men! Jon Lucas and Scott Moore are the individuals in question, and the fact that the film, painted as a female empowerment story, is not written by females is almost unforgivable.

A case in point involves a bathroom scene where the ladies discuss uncircumcised penises, a dumb scene if you ask me, that is lousy taste considering men wrote and directed it.

In this day and age of Harvey Weinstein sexual harassment suits bubbling to the surface, the scene seems icky. It should not be this hard to find women to write for other women.

Of the additional trio of females, Kathryn Hahn’s Carla has a few funny scenes but is written as so sex-obsessed that it is impossible to take the character seriously, and the same goes for Bell’s Kiki.

When mousy Kiki finally lays down the law and tells her boorish husband to deal with their kids, it is meant to be a rah-rah moment, but instead becomes eye-rolling. Not the best actress in the world, Bell continues to get roles like this in sub-par films.

An attempt by filmmakers to make a girl film on par with male-driven raunchy comedies thrust on moviegoers over the years, Bad Moms (2016) comes across as too unoriginal and too desperate for laughs.

Undoubtedly hoping to win over the same audiences who flocked to the last funny female-driven comedy hit, 2011 Bridesmaids, the film falls flat and lacks genuine fun.

Kunis’s lead role and the sweet romance her character shares with Hernandez’s Jessie slightly bolster this.

2010 Films, Comedy, Common, Gal Gadot, James Franco, Jon Bernthal, Kristen Wiig, Lowest Rated Films, Mark Ruffalo, Mark Wahlberg, Mila Kunis, Nick Kroll, Ray Liotta, Romantic Comedy, Samantha Bee, Shawn Levy, Steve Carell, Taraji P. Henson, Tina Fey, William Fichtner

Date Night-2010

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Date Night-2010

Director Shawn Levy

Starring Steve Carell, Tina Fey, Mark Wahlberg

Scott’s Review #481

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Reviewed September 17, 2016

Grade: D+

Date Night is a perfect example of mediocrity in modern filmmaking.

We have two current comedic actors here- Steve Carrell and Tina Fey- circa 2010- at the top of their game.

The filmmaker’s idea is to pair these two and make an appealing romantic comedy appealing to the masses.

The main issue with this film is that the result is generic and quite an average offering.

And the entire film is incredibly plot-driven with no character development to speak of. If I am being too harsh, admittedly there is rather nice chemistry between the two leads, but it is wasted because of sloppy writing.

A couple from the New Jersey burbs, Carrell and Fey portray husband and wife, Phil and Claire Foster. Saddled with two kids and their romance reaching dullsville, Phil decides to take Claire to a ritzy Manhattan restaurant.

When they arrive, they cannot get a table but pretend to be another couple (the Tripplehorns) to obtain their table after the other couple’s no-shows. This leads to a tale of mistaken identity as the Tripplehorns possess a flash drive that a mobster (Ray Liotta) wants.

This then leads to a chase throughout Manhattan to outrun and outwit their pursuers. Wahlberg plays a hunky client of Claire’s, always shirtless, who is meant to threaten Phil and Claire’s marriage.

Several others of the current Hollywood elite- Kristen Wiig, James Franco, Mila Kunis, and Mark Ruffalo, make small and somewhat pointless appearances. Specifically, Franco and Kunis as a stoner-type bickering couple are silly and unnecessary to the story.

Carrell and Fey are quite funny as individuals and as a duo- Date Night, though, does not capitalize on nor showcase their respective talents. The film tries too hard to come up with scenario after scenario of the two on the run and encountering one problematic situation after another.

As the plot of Date Night wears on, I find myself noticing that each situation that occurs is a measure of convenience.

Conveniently, Claire has a client in town (Wahlberg), who is a security expert. They go to him for help and, predictably, his hunkiness bothers Phil and piques Claire’s interest- though of course, we know full well Phil and Claire will end up together- that is how these mainstream films go.

In another scene. Phil and Claire can break into an office building unnoticed, trigger the alarms, conveniently find a needed file, and escape, miraculously all before the police arrive minutes later.

Very plot-driven.

The lead actors in Date Night are appealing and even charming together, but the silly, inane plot makes it unappealing to watch and the slew of stars that somebody decided would be a great addition to a lukewarm film is odd.

The roles written have little bearing on the central plot so it was apparent why they were added.

Date Night (2010) is a film we have seen time and time again with other actors in similar roles.

2013 Films, Adventure, Fantasy, James Franco, Michelle Williams, Mila Kunis, Rachel Weisz, Robert Stromberg, Sam Raimi, Zach Braff

Oz The Great and Powerful-2013

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Oz The Great and Powerful-2013

Director Sam Raimi

Starring James Franco, Mila Kunis

Scott’s Review #433

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Reviewed June 30, 2016

Grade: B

Being a huge fan of the original The Wizard of Oz epic classic in 1939, I was interested in seeing this extension of the original version.

While it has its moments of charm and good old-fashioned adventure, it is ultimately good, but nothing great.

James Franco is fantastic as the Wizard of Oz, the highest point of the film,  and has great charisma in the role. He brings a fun flair and is quite appealing.

The witch characters are okay, but not terribly interesting or deeply explored. Further character depth might have been helpful as I did not notice much-rooting value for either of them.

On a positive note, I loved the first sequence, which was in black and white, true to the original, and the twister scene is impressively done.

The set/art design in this sequence and once the setting was Oz were beautifully done.

Toward the end of the film, though, the story becomes more of a silly fantasy action series that draws away from the heart of the original.

The first half of Oz The Great and Powerful (2013) excels, while the second half disappoints.

2012 Films, Bill Smitrovich, Comedy, Giovanni Ribisi, Joel McHale, Lowest Rated Films, Mark Wahlberg, Mila Kunis, Norah Jones, Patrick Stewart, Ryan Reynolds, Seth MacFarlane, Ted Danson, Tom Skerritt

Ted-2012

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Ted-2012

Director Seth MacFarlane

Starring Mark Wahlberg, Mila Kunis

Scott’s Review #428

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Reviewed June 21, 2016

Grade: D-

So many times I will watch a comedy deemed “the funniest movie of the year”, or some other touting, and be disappointed in it.

This is the case with Ted (2012).

To be fair to the creators, I did enjoy the 1980s references, and the teddy bear has a charming, gruff, witty, crude personality that was funny at times, but that’s it for the positives.

The main storyline (a loyal male slacker with a successful girlfriend) has been done to death and this was one of the most predictable, sappy movie endings I’ve ever seen so I don’t get why people think it is so great.

Think happily ever after, as if the result was ever in question.

Ted was filled with stereotypical characters, specifically Asian stereotypes, and a myriad of dumb situations.

The actors could handle stronger material.

Raunchy comedies need not have a surprise ending, but the sappy love story was too lame to take at times. At least the film should have taken some risks and given an edge to it.

And the lord helps us if there is an inevitable sequel to Ted (2012).

Oscar Nominations: Best Original Song-“Everybody Needs a Best Friend”

2014 Films, Ashton Kutcher, Bobby Cannavale, Bobby Moynihan, Cameron Diaz, Children, Comedy, Jamie Foxx, Lowest Rated Films, Michael J. Fox, Mila Kunis, Musical, Musical Comedy, Patricia Clarkson, Quvenzhané Wallis, Rihanna, Rose Byrne, Will Gluck

Annie-2014

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Annie-2014

Director Will Gluck

Starring Quvenzhane Wallis, Jamie Foxx

Scott’s Review #231

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Reviewed March 25, 2015

Grade: D-

The latest remake of the film version of Annie, the last film production in 1982, though at least one variation in television exists, and all based on the Broadway hit of the same name, is a saccharin-laden mess of a film.

Annie stars Quvenzhane Wallis, Jamie Foxx, and Cameron Diaz as Annie, William Sparks (changed from Daddy Warbucks), and Miss Hannigan, respectively, and features Rose Byrne and Bobby Cannavale in supporting roles.

Let me begin with the one redeeming quality of the film, though admittedly a bit of a stretch. I found the musical numbers okay, not great, but far from the worst parts of the film.

The numbers are remixed into hip-hop-type songs with a trendy approach, presumably to add a modern element. While not great, some songs are catchy and not dreadful, especially “It’s A Hard Knock Life” over the closing credits.

Whether the actors sing their songs is another question, which I might not want to know the answer to.

The rest of Annie is terrible.

The casting is poor. Wallis, very believable in Beasts of the Southern Wild (2012), portrays Annie as an intelligent, social-climbing child and I sensed awkwardness to the part. Regardless it did not work.

I did not buy her in the role and how she was awarded a Golden Globe nomination for Best Actress in a Musical Comedy speaks volumes for the limited choices in 2014.

Jamie Foxx completely phones in his performance as Cell-phone technical mogul, running for mayor, William Sparks. Why the film changed the character from Daddy Warbucks is a mystery. He is unbelievable as a germaphobe, an aggressive yet sensitive, powerful man who amazingly develops a soft spot for Annie.

Cameron Diaz completely overacts and turns Miss Hannigan into an obnoxious, hysterical shrew, who towards the end of the movie somehow “turns good”, with no real motivation for doing so.

Rose Byrne and Bobby Cannavale give uninteresting, very one-note performances in their respective roles of Sparks’s assistant, love interest, and right-hand man.

The film chooses to change so many aspects of the original stage version of Annie, that it is barely recognizable.

It takes place in present times rather than the Depression-era 1930s, Annie is no longer an orphan but is in foster care. Miss Hannigan’s first name is changed to Colleen instead of Agatha and now a former pop performer whose career subsequently died.

Hannigan’s brother Rooster and his girlfriend Lily are not featured at all.

The story has zero interest and zero believability.

But the worst part of the film is the corniness of it. It is so overwrought with contrived scenes that it is tough to take seriously.

At a Mayoral function, Annie (an untrained singer) suddenly leaps onstage and belts out a perfectly sung, choreographed number melting the hearts of the wealthy powerhouses in attendance.

The film is pure fantasy with no realism to speak of.

Miss Hannigan fosters an apartment full of children that she hates, to collect $150 a week, but her apartment is pretty spacious and beautiful by Manhattan standards.

The film contains one inconsistency after another and is a horrendous modern take of a long-loved treasure, the 2014 version of Annie should be seen once, snarled at, and put back on the shelf, and forgotten for good.