Category Archives: Anne Fletcher

2005 Films, Action, Adam Shankman, Anne Fletcher, Brad Garrett, Brittany Snow, Carol Kane, Comedy, Disney, Faith Ford, Lauren Graham, Tate Donovan, Vin Diesel

The Pacifier-2005

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The Pacifier-2005

Director Adam Shankman

Starring Vin Diesel, Lauren Graham

Scott’s Review #1,251

Reviewed May 1, 2022

Grade: C

The Pacifier (2005) is the kind of film that has been made for decades in one form or another. The setup is familiar and puts its macho movie star in situations that go against type or are deemed a bit feminine, and lightweight, all for the sake of a laugh.

As far back as the 1950s when Jack Lemmon and Tony Curtis donned lady’s clothing in Some Like it Hot (1959), to Michael Keaton in Mr. Mom (1983), to the 1990s when Arnold Schwarzenegger entertained audiences in Kindergarten Cop (1995), there is a pattern to follow.

And those are just decent films.

In 2005, the sexy Vin Diesel was one of the highest-grossing leading men in Hollywood churning out hits like Boiler Room (2000) and The Fast and the Furious (2001) to rabid audiences.

Known primarily for his action films, someone had the bright idea to domesticate the muscular star and put him in a situation where he would comically change baby diapers or vacuum a living room.

Unfortunately, The Pacifier is juvenile in nearly every way with canned gags and predictability for miles. Diesel is terrific to look at but isn’t the best actor in the world which causes the film to lose credibility.

Despite cliche after cliche and ridiculous situations, the film occasionally will elicit a chuckle or two from anyone brave enough to watch it.

That’s mostly because Diesel is willing to emerge in one scene covered in shit.

But don’t expect much more from The Pacifier.

Shane Wolfe (Diesel) is an elite Navy SEAL with muscles and charisma for miles. He is the type of man who would run into a fire and save a baby or swim out to sea to save a drowning child.

One day he makes a grave error in judgment when he fails to keep scientist Howard Plummer (Tate Donovan) safe from assassination and the man is killed.

Riddled with guilt, he is assigned to protect Plummer’s five children when the mother played by Faith Ford needs to leave the country temporarily. The kids include rebellious Zoe (Brittany Snow), Seth (Max Thieriot), and clingy Lulu (Morgan York).

The kid’s pet duck is along for the ride pushing the seasoned veteran to his breaking point.

Predictably, when Shane is not busy tending to the kids there is a secret project contained somewhere in the household that he must uncover.

Of course, a film like The Pacifier requires some romance so the inclusion of Principal Claire Fletcher (Lauren Graham) is for the sole purpose of having someone for Shane to fall in love with.

There is not great chemistry between Diesel and Graham so I wasn’t invested in them. The casting of the children is so one-dimensional with standard characteristics that it would be easy to laugh at.

I chose not to do this but rather strove to find something enjoyable in The Pacifier.

It’s a cute film but it’s so mainstream, dull, fluffy, and whatever generic adjective one would choose to describe it that it deserves the bland grade of C I am awarding it.

Diesel is the only appealing factor to The Pacifier.

Why make the bad guys as stereotypical as possible? They are North Korean and the ‘twist’ that Shane’s boss is in cahoots with them is as surprising as realizing the two-week-old Chinese leftovers in the fridge have gone bad.

The film has a small comparison to the superior The Sound of Music (1965) which the filmmakers must have realized since they incorporate it into the story. The kids that Shane is in charge of are behaving badly and attempting to play a practical joke on him.

In the end, there is a chase sequence, a reveal, peril, and a happy ending in more or less that order.

The Pacifier (2005) is a Disney film so there is a safe, family-friendly vibe throughout. It marginally entertains largely on the strength of Diesel.

He is sexy, and macho, and provides enough charisma to forget the bevy of standard gags and silly situations that he, and the audience, must endure.

2005 Films, Anne Fletcher, Catherine Keener, Comedy, Elizabeth Banks, Jane Lynch, Jonah Hill, Judd Apatow, Kevin Hart, Leslie Mann, Mindy Kaling, Paul Rudd, Romantic Comedy, Seth Rogen, Steve Carell, Stormy Daniels

The 40-Year-Old Virgin-2005

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The 40-Year-Old Virgin-2005

Director Judd Apatow

Starring Steve Carell, Catherine Keener, Paul Rudd

Scott’s Review #1,214

Reviewed December 31, 2021

Grade: B-

I am not a fan of director/producer Judd Apatow. His brand of silly comedy that includes objectification of women, homophobic language, and plain old unfunny attempts at slapstick comedy doesn’t go very far or sit particularly well with me.

His directorial debut is The 40-Year-Old Virgin (2005) which contains a fresh feeling and would ultimately lead to less worthy efforts like Knocked Up (2007) and This is 40 (2012).

Admittedly, the title alone had me and many others brimming with curiosity.

The freshness is mostly because of leading actor Steve Carell in a role that would propel him to film stardom and much better roles in the future.

So, I guess The 40-Year-Old Virgin deserves credit for that.

Typically, in Apatow’s films, the female characters are written as uptight, shrewish, and bitchy whereas the male characters are goofy and fun-loving. The audience is ‘supposed’ to root for the men and dislike the women.

The 40-Year-Old Virgin is no exception.

Still, the film does have a sweet-natured and innocent feeling amid the stereotypes, potty jokes, and obscenity that lie within. We root for the underdog to succeed in life and champion his plight despite it being a carnal and sexual one.

Andy Stitzer (Carell) is a tender yet socially inept man who works a lowly job at a big-box store. Single and living alone, 40-year-old Andy whiles away the days playing video games and admiring his action-figure collection. He is your classic, lovable nerd.

He harbors an embarrassing secret.

Despite his age, Andy has never engaged in sex, so his friends, including his closest friend David (Paul Rudd), encourage Andy to lose his virginity.

While attempting to get over his awkwardness around female customers, Andy meets a local shop owner Trish (Catherine Keener), and they begin an early romance.

With any Apatow film, the rest is highly predictable and the blueprint is formulaic and easy to figure out.

Andy will face humiliation due to his predicament and because of the bumbling yet good intentions of David and his other friend Cal, played by Seth Rogen.

He will inevitably have awkward encounters with a few other female characters, in this case, the aggressive Beth, played by Elizabeth Banks, before finding love with the ‘good girl’ Trish.

They will ride off into the sunset to live happily ever after. Spoiler alert- they have sex!

The best, and arguably only good part of The 40-Year-Old Virgin is Carell’s Andy. The character brings a warmth and a vulnerability that causes the audience to sympathize with his plight. While the majority of the viewers will not relate to being a virgin at his age they can at least relate to having an embarrassing issue to deal with.

I am glad that this film led to meatier roles for Carell. Foxcatcher (2014) and his storied role as Michael Scott in television’s The Office (2005-2013) immediately spring to mind.

Keener, mostly known for her dramatic rather than comedic roles is decent as the main love interest, Trish.

She, like Andy, is a rootable character though we don’t know too much about her. She is fond of Andy so, therefore, we like her and hope she takes Andy’s cherry.

The rest of The 40-Year-Old Virgin is riddled with standard comic setups and situations. When Andy slips and reveals his virginity by the next day his entire store knows his secret. From there, the insulting additions of a transvestite prostitute and a weird speed dating situation arise.

We know all along that Trish is the girl he will be with.

Apatow unwisely gives an interminable two-hour and thirteen-minute running time to his film which feels too long for a situation comedy.

One hour and thirty minutes would have been ideal and more desirable.

The 40-Year-Old Virgin (2005) is not the worst offender of the Apatow collection but it lacks any surprises or attempts at diversity.

It’s a perfect example of a tried and true adult sex romp with, thankfully, a likable central character.

2007 Films, Adam Shankman, Allison Janney, Amanda Bynes, Anne Fletcher, Brittany Snow, Christopher Walken, Comedy, Jerry Stiller, John Travolta, John Waters, Michelle Pfeiffer, Musical, Musical Comedy, Nikki Blonsky, Queen Latifah, Ricki Lake, Romantic Comedy, Zac Efron

Hairspray-2007

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Hairspray-2007

Director Adam Shankman

Starring Nikki Blonsky, John Travolta, Christopher Walken

Scott’s Review #1,095

Reviewed December 28, 2020

Grade: B+

Hairspray (2007) is a fun film, without being superfluous. The third incarnation of the musical treat doesn’t disappoint, offering a brighter production.

A safer affair than the 1988 escapade directed by naughty filmmaker John Waters, it’s nonetheless not a “watered” version either. It loses none of the charm that the original had and includes plenty of big-name stars.

In short, it’s a solid summer popcorn flick with sing-along tunes and a cool vibe.

The important message of racial relations is not lost nor dismissed.

The setting is early 1960s Baltimore, Maryland, a city rife with racial problems representing the entire United States during that decade.

Our star, Tracy Turnblad (Nikki Blonsky) is a chubby, bubbly, sixteen-year-old, who wants nothing more than to trudge through the school day and come home and indulge in her favorite television show, The Corny Collins Show, a popular local dance competition.

Tracy auditions for a spot on the show, and wins. She became an overnight celebrity, a trendsetter in dance, fun, and fashion. She and her fans hope that her new status as a teen sensation is enough to topple Corny’s reigning dance queen, Amber von Tussle (Brittany Snow), and bring racial integration to the show.

Amber’s racist mother, Velma (Michelle Pfeiffer) manages the television station and thwarts Tracy’s efforts, leading to tension and a dance competition between Tracy and Amber.

The casting is a big part of the success. Blonsky, making her film debut, carries the film flawlessly. Both energetic and empathetic, she is the perfect girl next door and relatable for any young girl who is not a stick figure.

More broadly, she represents anybody who feels like a misfit or is put upon for not being classified as perfect. Her joy and sincerity as she sings and dances to “Good Morning, Baltimore” and “I Can Hear the Bells” is infectious and makes her a perfect protagonist.

The supporting cast is delightful and laden with A-list Hollywood stars having a ball with their over-the-top roles.

My favorite is John Travolta as Tracy’s mother and compadre, Edna. Fans of Hairspray know that Edna is always cast with a male actor in drag and Travolta is fantastic. His mannish body and movements only make the character more fun and fabulous.

And with his beehive hairdo and pink ribbon he is so darn cute!

Tracy’s father, Wilbur, is played by Christopher Walken. His love for his wife and daughter is sweet. Pfeiffer fuels her one-note character with venom as the racist woman gets her just due.

Director, Adam Shankman, puts the focus on the musical numbers, and that’s just fine. For added pleasure, he includes both John Waters and Rikki Lake (the original Tracy) in cameo roles, which is a treat for anyone who has seen the original.

The best numbers occur when the entire company joins in, especially the wonderful finale, “You Can’t Stop the Beat”. Besides being musically contagious, the song sends an important message of progression and embracing change.

Despite the fluffy trimmings, the important message of racial inequality is not overlooked, nor does it feel dated in the year 2007.

Racism is still an issue. Justifiably so, the racist characters like Velma and Prudence Pingleton (Allison Janney) look ridiculous with outrageous fear for anyone different than themselves.

Tracy and her friends champion causes like racism, integration, and being true to oneself, which are themes at the heart of the film, along with the merry songs.

While I still prefer the 1988 version of Hairspray for more seediness and a colder vibe, Hairspray (2007) is a colorful rendition that exposes a new generation to the chirpy and danceable tunes while maintaining the important themes.

It’s a family-friendly affair and a very funny experience without sacrificing any credibility.

1997 Films, Anne Fletcher, Best Picture Oscar Winners, Billy Zane, Disaster, Epic, Gloria Stuart, James Cameron, Kate Winslet, Kathy Bates, Leonardo DiCaprio, Romantic Drama, Scott's Top 100 Films

Titanic-1997

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Titanic-1997

Director James Cameron

Starring Leonardo DiCaprio, Kate Winslet

Top 100 Films #49

Scott’s Review #327

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Reviewed January 6, 2016

Grade: A

1997’s Titanic is a sweeping, gorgeous epic, directed by James Cameron, that is perfection at every level. This film has it all: romance, disaster, gorgeous art direction, and flawless attention to detail.

The film will make you laugh, cry, and fall in love with the characters, despite knowing the inevitable outcome. The film is based on the real-life sinking of the RMS Titanic in 1912 after the ship tragically collided with an iceberg.

I have witnessed this film be derided for being a “chick flick” or too “sappy”, but I vehemently disagree and feel it is a classic for the ages.

Titanic successfully re-invented the Hollywood epic.

Jack Dawkins (Leonardo DiCaprio) is a penniless artist who meets high-class socialite Rose DeWitt (Kate Winslet) aboard the luxurious Titanic, headed from the coast of England to the United States on its maiden voyage.

Rose is engaged to cagey Cal Hockley (Billy Zane).

Depressed, Rose contemplates diving overboard to her death, but Jack saves her and convinces her otherwise. They spend time together and he draws her portrait. As their romance blossoms, Cal catches on and plots revenge.

In the mix is Rose’s snobbish mother, Ruth, played by Frances Fisher.

The main theme of the film is social class and the difference that separates the haves from the have-nots.

James Cameron desired perfection from this film and he sure got what he wanted. Every detail of Titanic is flawless and historically accurate, from the dining room silverware to the costumes to the set pieces barely visible in the background.

Cameron even had a replica of the original Titanic built for filming purposes- with limitations, but what a vast undertaking this must have been. That, along with the smoldering romance between Jack and Rose, is what makes Titanic one of my favorite films.

Two fantastic scenes are when Jack is taken under the wing of Molly Brown, played by Kathy Bates. Molly is not the snob that many of the other upper class is, and lends Jack a tuxedo so that he will look dapper for Rose. She also tenderly teaches him the appropriate way to use silverware.

Tragically, the other scene is more melancholy- a gorgeous classical piece plays in the background as the vast ship is engulfed in water and slowly sinks, causing many deaths.

At well over three hours in length, the conclusion of the film is quite sprawling- and one has the feeling of being aboard the ship. By this time I was invested in the characters, both lead and supporting and the tragedy that ensues is both a marvel and heart-wrenching.

Titanic (1997) is a film that simply must be viewed on the big screen for full effect, and is a timeless masterpiece that has aged perfectly.

Oscar Nominations: 10 wins-Best Picture (won), Best Director-James Cameron (won), Best Actress-Kate Winslet, Best Supporting Actress-Gloria Stuart, Best Original Dramatic Score (won), Best Original Song-“My Heart Will Go On”, Best Sound Effects Editing (won), Best Sound (won), Best Art Direction (won), Best Cinematography (won), Best Makeup, Best Costume Design (won), Best Film Editing (won), Best Visual Effects (won)

1997 Films, Alfred Molina, Anne Fletcher, Best Film of the Year, Burt Reynolds, Don Cheadle, Drama, Heather Graham, Independent, Independent Drama, John C. Reilly, Julianne Moore, Luis Guzman, Mark Wahlberg, Melora Walters, Paul Thomas Anderson, Philip Baker Hall, Philip Seymour Hoffman, Scott's Top 100 Films, William H. Macy

Boogie Nights-1997

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Boogie Nights-1997

Director Paul Thomas Anderson

Starring Mark Wahlberg, Burt Reynolds

Top 100 Films #21

Scott’s Review #312

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Reviewed December 31, 2015

Grade: A

Boogie Nights (1997) is a fantastic film about the pornography industry (The Golden Age of Porn) of the 1970s and 1980s and does a wonderful job of portraying the characters as human beings with feelings and emotions, rather than as nymphomaniacs or perverts.

They bond with one another as a family- a group of misfits striving to survive. This and many other reasons are why Boogie Nights is one of my favorite films of all time.

Written, produced, and directed by Paul Thomas Anderson (Magnolia-1999, There Will Be Blood-2007, Inherent Vice-2014), he is a champion at exploring the underbelly of society and flawed and desperate characters.

Boogie Nights is no different.

The dysfunctional family is the common theme of the film. Most of his characters are not happy people, but they are survivors and desperately look for a piece of happiness.

Many in his cast of Boogie Nights also appear in Magnolia. Mark Wahlberg (Eddie/Dirk Diggler), Burt Reynolds (Jack Horner), Julianne Moore (Maggie), Don Cheadle (Buck), William H. Macy (Little Bill), John C. Reilly (Reed Rothchild), Heather Graham (Rollergirl), Philip Seymour Hoffman (Scotty), Malora Walters (Jessie), and Alfred Molina (Rahad Jackson), round out the large cast.

The setting of the film in Los Angeles and the period runs from 1977-1984. Though only seven years take place, much happens to most of the characters during this time and we experience their trials and tribulations.

The unique thing about Boogie Nights is that I care about every character, thanks to great writing and fantastic acting. They succeeded in obtaining my empathy for them. Boogie Nights is an extremely character-driven film, which is an enormous part of its brilliance.

The cast is an ensemble one, but the main character is Eddie Adams, a high school dropout, who we meet working as a dishwasher at a nightclub. He has an abusive mother who kicks him out of the house, leading him to audition for and move in with Jack Horner.

Jack is a patriarch type, who shares a house with Maggie, the matriarch of the household, and roller girl, a fellow high school dropout always wearing roller skates. Eddie’s talent is his large “manhood”.

We watch Eddie, at first shy and polite, rise to superstardom in the porn industry, becoming rich and living a lavish, drug-fueled, lifestyle, where his ego gets the best of him. He, like many of the characters, hit rough times as the early 1980’s shift to videotape was the death of many 1970’s porn actors careers.

The musical soundtrack is very important to the success of Boogie Nights. Many scenes contain songs that were hits of the time or prior, including “Sister Christian”, “Jessie’s Girl”, “God Only Knows”, “Got to Give it Up”, “Ain’t No Stoppin’ Us Now”, and countless others- so much so that the soundtrack is almost a character of the film and we look forward to hearing what song might be featured next.

At one point later in the film, circa 1983, as things begin to spiral out of control for many of the characters- the musical score turns ominous with low bass music, a nighttime setting, the lighting becomes darker, and several stories begin to intersect on one late L.A. night on the streets.

Jack, filming a scene in a limousine starring Rollergirl and a young college jock they pick up off the streets, Dirk-forced to prostitute himself for $10 to a young man in a pickup truck, and Buck-who innocently stops to buy doughnuts for his very pregnant wife Jessie.

Each of these stories ends in brutal violence and the tone is crucial to the success of the scenes. This lengthy scene reminds me quite a bit of a Quentin Tarantino scene in its macabre tone.

Particular favorite scenes include the heartbreaking scene when Maggie loses custody of her son, the New Year’s Eve party at Jack’s house, and the ill-fated drug sale at Rahad Jackson’s.

Each is heartbreaking, powerful, fraught with tension, or otherwise empathetic to the characters, which makes them each quite powerful in different ways.

Induced in the drug sale scene is some black comedy- Rahad’s presumed Chinese houseboy has a fetish for firecrackers, which startle Dirk, Reed, and Todd, as the fear of possible gunshots fills the air. Maggie’s sob scene elicits viewer emotion as we cry with her, and the New Year’s Eve turn of events involving Scotty and Little Bill is tragic.

Boogie Nights (1997) is one of my favorite films because it contains brilliant writing, characters who are fleshed out, damaged, and human, a killer soundtrack, and a dark, mysterious industry (porn) that is both misunderstood and categorized.

Thanks to director, Anderson, we see the people within this lifestyle as real people, with issues, but also with full hearts and kindness.

Oscar Nominations: Best Supporting Actor-Burt Reynolds, Best Supporting Actress-Julianne Moore, Best Screenplay Written Directly for the Screen

2012 Films, Adam Scott, Anne Fletcher, Barbra Streisand, Comedy, Dale Dickey, Kathy Najimy, Seth Rogen

The Guilt Trip-2012

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The Guilt Trip-2012

Director Anne Fletcher

Starring Seth Rogan, Barbra Streisand

Scott’s Review #89

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Reviewed July 3, 2014

Grade: C+

The Guilt Trip (2012) is a lightweight, fun piece of fluff.

It stars Seth Rogan as a thirty-something single guy from New Jersey with a Jewish (in every clichéd way) overbearing mother played by Barbra Streisand.

Through circumstances from his job, they are forced to take a road trip cross country to California where they are to meet a long-lost beau of hers.

If not for the talents and humor of Barbra Streisand, this movie would have been a dud. It’s a dumb movie, but Streisand plays her overbearing, annoying character to the hilt and makes her loveable.

There is nice chemistry between Streisand and Rogan, though frankly, I wonder why Streisand has turned to mindless comedy over more highbrow film work.

Rogan plays a character he has played time and time again in these types of films.

The film screams predictable throughout as with similar road trip comedies, they encounter all of the United States’ geographical stereotypes (cowboys, steakhouses, bull-riding, etc.).

A dumb film made somewhat enjoyable by the two leads.