Category Archives: Comedy

2017 Films, Comedy, Daniel Zovatto, Independent, Independent Comedy, Saoirse Ronan, Stephen McKinley Henderson, Timothée Chalamet

Lady Bird-2017

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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 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 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 is 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 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 makeup, get on each other’s nerves, fight, cry, makeup, 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 descent, Ronan is remarkable in her portrayal of a California girl- sometimes selfish, sometimes sarcastic, but always likable and empathetic.

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 its 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)

2006 Films, Abigail Breslin, Alan Arkin, Best Feature- Independent Spirit Award Winners, Bryan Cranston, Comedy, Greg Kinnear, Independent, Independent Comedy, Jonathan Dayton, Paul Dano, Steve Carell, Toni Collette, Valerie Faris

Little Miss Sunshine-2006

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Little Miss Sunshine-2006

Director Jonathan Dayton, Valerie Faris

Starring Greg Kinnear, Steve Carell

Scott’s Review #697

Reviewed November 23, 2017

Grade: A

A film that became a sleeper hit at the time of release in 2006 and went on the achieve recognition with year-end award honors galore, Little Miss Sunshine holds up quite well after over ten years since its debut.

Combining family humor with heart, audiences will fall in love with the antics of the dysfunctional Hoover family, warts and all, as they strive to persevere endless obstacles to enable precociously, seven-year-old daughter, Olive, a chance at competing in a beauty pageant hundreds of miles away.

The film is a comedic treat with charm and contains uproarious fun.

Directors  (and husband and wife team) Jonathan Dayton and Valerie Faris start right to work kicking off the humor in style as the one hour and forty-one-minute film introduces depressed Uncle Frank (Steve Carell) to the rest of the Hoovers as he comes to live with the family after a failed suicide attempt.

Frank, who is gay and has recently been dumped, is Sheryl Hoover’s (Toni Collette) brother and has a dry sense of humor.

He fits in well with the other peculiar members of the clan- Dad Richard (Greg Kinnear), a struggling motivational speaker, Grandpa Edwin, a vulgar, irritable man, brother Dwayne, angry and refusing to speak, and finally, pudgy-faced, Olive.

The brightest spots in Little Miss Sunshine are the exceptional writing and the nuanced, non-one-dimensional characters. Each character is both good yet troubled in their way and the overall message of the film is an important one.

The plot of the film encompasses a beauty queen pageant and the lifestyle this involves- hypocrisy and plastic nature is the main theme.

When the family stops at a roadside cafe for breakfast, Olive hungrily orders ice cream and is shamed by a member of the family- she must watch her figure, she is told.

Other members instead encouraged Olive to be herself.

Little Miss Sunshine poses an interesting dissection of the pressures very young people face to be perfect, especially in the beauty pageant business, and the message society sends.

Shocking is a scene where many of the contestants, all under the age of ten, appear in sexy, glamorous makeup, and bikinis.

Little Miss Sunshine is a very funny film and this undoubtedly is due to the chemistry that exists among the cast of talented actors. Quite the ensemble, all five of the principal characters have an interesting relationship with each other.

Too many film comedies suffer immensely from forced jokes or typical “set-up” style humor, plot devices created to elicit a response from the audience- which I call “dumbing down”.

Little Miss Sunshine, however, feels authentic and fresh- a situation becomes funny because there is an honest reaction by the characters.

The film is a slice of the life experience of an average blue-collar family.

A standout scene to mention is the hysterical one in which the Hoovers are pulled over by a highway police officer. To say nothing of the fact that the Hoovers are “escorting” a corpse to their destination, along with pornographic magazines, their classic, beat-up, yellow Volkswagen bus barely runs and contains a malfunctioning horn that beeps at inopportune times.

These hilarious scenes work on all levels as the comic timing is palpable and leads to a laugh-out-loud response.

Furthermore, the climactic “beauty pageant” scene is fraught with physical humor.

Olive, the oddball in a group of hypersexualized, young starlets, takes inspiration from her grandfather to simply “be herself”. She does so in a hilarious version of “Super Freak” that is R-rated, both shocking the audience and celebrated by others- specifically her entire family.

Olive successfully proves that she can be herself and happily does so.

How wonderful and refreshing to find a comedy with honest, ample humor and real integrity that can shine many years after its first release and retain the richness and zest that originally captured legions of viewers.

As proven over time with many independent films, wonderful writing and directors sharing a vision, go a long way in achieving a quality piece of filmmaking.

Oscar Nominations: 2 wins-Best Picture, Best Supporting Actor-Alan Arkin (won), Best Supporting Actress-Abigail Breslin, Best Original Screenplay (won)

Independent Spirit Award Nominations: 4 wins-Best Feature (won), Best Director-Jonathan Dayton and Valerie Faris (won), Best Supporting Male-Alan Arkin (won), Paul Dano, Best First Screenplay (won)

1953 Films, Audrey Hepburn, Comedy, Eddie Albert, Gregory Peck, Romantic Comedy, William Wyler

Roman Holiday-1953

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Roman Holiday-1953

Director William Wyler

Starring Gregory Peck, Audrey Hepburn

Scott’s Review #694

Reviewed October 26, 2017

Grade: B+

Roman Holiday, released in 1953, was a box office hit, pleasing legions of fans at the time, and a critical darling.

The film reaped Academy Award nominations, including the coveted Best Actress statuette for a young Audrey Hepburn.

A happy, uplifting story, the film is not diminished by Cinderella in the reverse storyline but rather is a charming, romantic experience immersing itself in pleasing locales of the cultural city of Rome.

Admittedly, Roman Holiday is an example of a film in which I preferred the latter half to the former, but it set the bar high in the romantic comedy genre.

Our heroine, Princess Ann (Hepburn), has it all glamorous life, gorgeous clothes, and assistants tending to her every need and want. However, she is unhappy and trapped in a rigid life that lacks freedoms or decisions, to say nothing of the fun. She catches glimpses of party-goers reveling in each night from her expansive palace window.

Simply put, she is lonely and unfulfilled.

When she sees an opportunity to escape her life for a night, she snatches it and stumbles upon an American reporter, Joe Bradley (Peck). Despite their differing backgrounds, they fall madly in love.

At first, I found something missing in the film, and the chemistry between Peck and Hepburn did not immediately embrace me. As the duo meets Ann, who is drunk from sleeping pills, and Joe is the ultimate nice guy who allows her to sleep in his apartment, the story seems lagging and lacks a good punch.

The pair drives around Rome on a scooter and acts childish and silly. Ann acts girlish because fun is an entirely new concept to her. At this point, the film is reasonable but little more than a farce.

As Roman Holiday progresses, primarily through the final act, the film sheds some of its light skin and becomes much more poignant and meaningful.

Ann and Joe, while in love, realize they will not and cannot embark on a fairy tale ending, which truthfully, would have made Roman Holiday little more than a standard romantic comedy we have all seen before- you know the type- boy meets girl, roadblocks persist, boy whisks girl away and rides off into the sunset together.

While not a dark film, it goes deeper than a transparent, predictable ending.

Related to this point is that Roman Holiday contains a realness that sets it apart from many films undoubtedly drawn from it. Still, unlike this film, it leans into contrived or predictable situations.

As Joe and Ann fall in love, the audience falls in love with them. The main plot hurdle—Joe’s temptation to profit from Ann once he realizes her true identity after a sought-after interview—is earnestly handled without pretension.

Other similar films ought to take note of this.

Indeed, the historic and culturally relevant locales of Rome are a significant selling point of the film, and if these scenes had been shot on a movie set, a lack of authenticity would undoubtedly have emerged.

Instead, we are treated to such fabulous location sequences as the Colosseum, the Tiber River, the Trevi Fountain, and Piazza Venezia. Such a delight is the long sequence of Roman escapades as Joe and Ann traverse the city in giddy bliss.

It is enjoyable to see how Roman Holiday contains no real villain.

There are no physical hurdles to the duo’s relationship—no outside forces plotting to keep Joe and Ann apart, other than their lifestyles. Ann lives in a world of royalty and pampering, but Joe is an everyman, so the chances of living happily ever after are slim.

Film lovers intent on discovering one of the early romantic comedies—one could argue that It Happened One Night (1934) was the first—should watch a feel-good Hollywood classic from 1953. It is rich in honesty, good humor, and raw emotion without being too heavy a melodrama.

After a mediocre start, the film finishes with gusto.

Oscar Nominations: 3 wins-Best Motion Picture, Best Director-William Wyler, Best Actress-Audrey Hepburn (won), Best Supporting Actor-Eddie Albert, Best Screenplay, Best Story (won), Best Art Direction, Black and White, Best Cinematography, Black and White, Best Costume Design, Black-and-White (won), Best Film Editing

2007 Films, Bruce Willis, Comedy, Ethan Maniquis, Fergie, Freddy Rodriguez, Horror, Horror-Comedy, Josh Brolin, Michael Parks, Quentin Tarantino, Robert Rodriguez, Rose McGowan, Tom Savini

Grindhouse: Planet Terror-2007

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Grindhouse: Planet Terror-2007

Director Robert Rodriguez

Starring Rose McGowan, Freddy Rodriguez

Scott’s Review #692

Reviewed October 15, 2017

Grade: B-

The umbrella title of “Grindhouse” is part of a 2007 double-feature, one film directed by Quentin Tarantino (Death Proof), and the other directed by Robert Rodriguez (Planet Terror).

The gimmick was part of an attempt at something novel and also book-ending fictional trailers within the films. The term “grindhouse” refers to a cinematic specialty of either B movies or exploitation films- largely during the 1970s.

While Planet Terror gets credit for being unique and fun, it is oftentimes too cartoon-like and rather over the top throughout.

The premise of Planet Terror is not one to be taken seriously- as our heroine, Cherry Darling (Rose McGowan), quits her stripper job vowing to move on to bigger and better things, she runs into her ex-boyfriend, El Wray (Freddie Rodriguez), and the two teams up to lead a group of rebels, who are fleeing for their lives after a vicious zombie outbreak.

The attack was caused by a group of military officials, led by the vicious Lieutenant Muldoon (Bruce Willis).

The film contains an undeniable retro feel- the sets and the props traverse back to the 1970s in style and look, however, characters do use cellular phones.

Rodriguez attempts to make the film an homage or a throwback to a different time in cinema- this feat is quite impressive and the film is a marvel from a stylized perspective.

Another positive is that the film is reminiscent, by the camera styles and angles, of an actual 1970s film, with grainy elements and a comforting old-style texture, which works.

The plot, though, is the source of frustration, and many aspects of the film are just plain silly. The actors play way over the top as they were probably directed by Rodriguez to do, but the result is too much like watching a cartoon rather than a piece of art.

Rodriguez appears to be copying many aspects of Quentin Tarantino films- specifically, the mixture of violence with camp, although these attempts do not always work.

The acting and casting are fine. Bruce Willis shines in the lead villain role and plays demented to the hilt. Unquestionably “borrowed” by Rodriguez through Tarantino, Willis, who was dynamic in Pulp Fiction, knows how to do his thing well in films such as this.

Muldoon is quite a different character than boxer Butch Coolidge in 1994’s masterpiece, Pulp Fiction, but the acting style is the same.

Stars such as Josh Brolin, Kurt Russell, and Rosario Dawson also make appearances so the film is assuredly a star-studded affair.

The casting of McGowan and Freddy Rodriguez as the leads is acceptable and the pair make a decent screen coupling. Still, her artificial leg which doubles as a deadly machine gun, and his maniacal persona seem somewhat forced and, again, way over the top.

Planet Terror was a moderate box office success upon release in 2007, but watching the film in 2017, ten years later, unfortunately, some of the clusters have been tarnished and the gimmick is not as catchy as at the time of release.

Still, a decent offering in the horror, cartoon, and campy genres, but much better films exist, like anything by Tarantino.

1998 Films, Brad Dourif, Comedy, Dark Comedy, Horror, Horror-Camp, Horror-Comedy, Jennifer Tilly, John Ritter, Katherine Hiegl, Kathy Najimy, Lowest Rated Films

Bride of Chucky-1998

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Bride of Chucky-1998

Director Ronny Yu

Starring Jennifer Tilly, Brad Dourif

Scott’s Review #680

Reviewed September 11, 2017

Grade: D+

Bride of Chucky (1998) is the fourth installment in the famed late 1980s Child’s Play hit franchise. The late 1980s was not the best time for the horror genre in general, but the film was quite the highlight in a slew of duds.

By this time in the series, (1998), the child/victim of the doll premise is dropped in favor of dark humor, thus the series immerses itself more into the horror-comedy arena.

A treat is the inclusion of a fantastic hard rock soundtrack led by the Rob Zombie classic, Living Dead Girl, adding some points to the film’s final grade, otherwise have been more dismal.

The film is not great and I find perverse pleasure in reviewing poor films. However, Bride of Chucky does have its place- as a late Saturday night viewing choice amid strong cocktails it contains a certain charm.

Not to be taken seriously, the placement of a love interest for Chucky gives the film macabre romantic humor.

Still, the film suffers from lackluster acting and quickly turns into drivel by the time the credits finally roll.

The action picks up from where Child’s Play 3 leaves off and the appearance of Chucky is now weathered and stitched giving the doll a more gruesome and maniacal look- this works given the elimination of a child lead character.

Left for evidence in a police compound, Chucky is stolen by Tiffany Valentine, played by Jennifer Tilly. The girlfriend of a deceased serial killer, Tiffany is convinced that the spirit of her boyfriend exists within Chucky and she is determined to bring him back to life using a voodoo ritual.

When the act finally works, Chucky and Tiffany reunite, but shortly afterward, Tiffany is also turned into a doll and the duo sets out on a killing spree.

The best aspect of the film is the camaraderie between Tilly and actor Brad Dourif, who voices Chucky. The duo has a light, comic banter that is fun to watch, as well as fantastic chemistry.

Granted the actors only voice the dolls for a small part of the film, but their back-and-forth works well.

This is what makes Bride of Chucky tongue in cheek- let’s face it, with talking dolls as your main characters, director Ronny Yu wisely avoids making the killings too grisly or heavy-handed, but rather, frequently uses quips and one-liners throughout the film.

As Chucky and Tiffany slice and dice their way to Hackensack, New Jersey, their motivations are to embody a neighborhood boy, Jesse, and his girlfriend Jade, played by a young Katherine Heigl.

Along the trek, the foursome is faced with ludicrous obstacles, such as the brief introduction of a con artist couple who meet their doom by flying shards of glass after stealing Jesse’s money.

The side story of Jade’s overprotective police chief Uncle, played by a miscast John Ritter, does not work at all. His schemes to plant marijuana in Jesse’s van are little more than plot-driven machinations to advance the thin plot.

The characters of Jesse and Jade are trivial and secondary and Heigl’s acting is particularly garish to say nothing of the lack of any chemistry between Heigl and actor Nick Stabile.

Heigl seems to wear a pout throughout the entire film. But, not to worry, these characters are as meaningless as all the others.

The gimmick ending, surely meant to “spawn” yet another sequel is as interesting as it is grotesque and a small highlight in a poor film.

Bride of Chucky (1998) provides a nice lineage to the history of the franchise, a killer musical score, and decent chemistry among the leads, but also suffers a similar fate to many horror films, especially sequels- poor acting, a silly tone, and no character development.

2016 Films, Adam Scott, Bradley Whitford, Chris Kelly, Comedy, Drama, Independent, Independent Comedy, Independent Drama, Jesse Plemons, June Squibb, LGBTQ+ Comedy, LGBTQ+ Films, Molly Shannon, Paul Dooley

Other People-2016

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Other People-2016

Director Chris Kelly

Starring Jesse Plemons, Molly Shannon

Scott’s Review #676

Reviewed August 24, 2017

Grade: B+

2016’s recipient of numerous Independent Film award nominations is equal parts a touching drama and equal parts witty comedy, providing a film experience that crosses more than one genre.

Is it a heavy drama or is it a comedic achievement?

Without being sappy or overindulgent, Other People is a film that will elicit laughs and tears from viewers fortunate enough to see it. The subject is a tough one- a woman dying of cancer.

The title, in which one character states he always thought cancer was something that happened to “other people” is poignant.

Jesse Plemons and Molly Shannon play son and mother. The film is both written and directed by Chris Kelly.

The very first scene is a confusing one and caught me off guard. We see the entire Mulcahey clan- father Norman (Bradley Whitford), three kids, David (Plemons), Alex, and Rebeccah, along with their dead mother Joanne (Shannon), all lying in the same bed, sobbing and clutching hands.

Joanne has just succumbed to her battle with cancer. This powerful opening scene, also the final scene, sets the tone as Kelly, works his way back, beginning a year before the important “death scene”.

Cancer is a tough subject to cover in film, especially going the comedy/drama route.

The sensitive filmmaker must be careful not to trivialize the subject matter with too many comedic elements or heavy drama. Kelly successfully mixes humor and drama well so it works as a cross-genre film.

He achieves this with capable talents like Plemons and Shannon. They share tremendous chemistry in every scene they appear in together.

Scenes that show David and Joanne crying in each other’s arms work as well as others, such as when David takes a giddy Joanne to meet his comedy friends.

Most impressive is that the story in Other People is largely autobiographical. Kelly, a gay man like the character of David, moved from New York City to Sacramento, California, to tend to his ailing mother, who had also died from cancer.

Actress Shannon reminded him so much of her that he had the fortune of casting the talented lady in his film- the part originally slated to go to Sissy Spacek instead.

Mixed in with Joanne’s battle with cancer is a nice story about David. A gay man, David has broken up with his boyfriend Paul, previously living together on the East Coast (though still pretending to spare Joanne worry), and returning to the West Coast.

Over the next year, we see Joanne and Norman slowly come to terms with David’s sexuality. The turbulent father/son relationship is explored during the film as Norman, initially hesitant to meet David’s boyfriend, Paul, pays for his airline ticket to attend Joanne’s funeral.

A slight miss with the film is the Norman/David dynamic.

Other than a few hints of Norman encouraging David’s struggling writing career and his obsession with David joining the gym and boxing, it is not clear what issue he takes with his son being gay or why he is uncomfortable with it. Besides the family being rather conservative no other reason is given.

David’s sisters and grandparents do not seem to take issue with David’s sexuality, though it is not made certain if the grandparents are even aware of it. Is it a machismo thing with Norman?

This part of the story is unclear.

Still, Other People (2016) is a good, small, indie film, rich with crisp, sharp writing and a tragic “year in the life of a cancer patient” along with good family drama and the relationships that abound when a family comes together and unites based on a health threat.

The film is nothing that has not been done before, but thanks to good direction, a thoughtful, nuanced approach, and one character’s sexuality mixed in, the film feels quite fresh.

Independent Spirit Award Nominations: 1 win-Best Male Lead-Jesse Plemons, Best Supporting Female-Molly Shannon (won), Best First Screenplay, Best First Feature

2004 Films, Comedy, Jaime King, Jennifer Carpenter, John Heard, Keenen Ivory Wayans, Lowest Rated Films, Marlon Wayans, Shawn Wayans, Terry Crews

White Chicks-2004

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White Chicks-2004

Director Keenen Ivory Wayans

Starring Shawn Wayans, Marlon Wayans

Scott’s Review #647

Reviewed May 29, 2017

Grade: D

Anything but high art, though at the time of release (2004), seeming like a clever, yet silly, slapstick farce, White Chicks was a film that I found rather enjoyable.

Watching the film in 2017, some thirteen years later, however, the film feels dated beyond belief and as dumb as can be.

The film also contains Paris Hilton’s gimmick characters and racial overtones that were lost on me when I first saw the film.

Influenced by the drag comedy (and classic) from 1959, Some Like It Hot, the premise sounds interesting and comical.

Kevin and Marcus Copeland (played by the comical Wayans brothers) are a pair of black,  masculine, F.B.I. agents who bungle an undercover investigation and are given one last chance to redeem themselves before being booted from the bureau for good.

They are assigned the task of protecting the mega-rich cruise-line heiresses Brittany and Tiffany Wilson, who are in town (at the Hamptons) from a planned kidnapping plot over Labor Day weekend.

Kevin and Marcus don blonde wigs, and freakish makeup, and awkwardly pose as the Wilson sisters to save their jobs.

As the story goes on, Kevin and Marcus (as Brittany and Tiffany) develop relationships with various characters including millionaire Latrell Spencer (Terry Crews), who takes an interest in Marcus (thinking he is Tiffany, and white).

Other antics occur as the “girls” try their best to form friendships with the heiress’s snotty friends as they attempt to foil the kidnapping plot.

Similarities to the classic Wilder hit, Some Like It Hot, are tough not to notice, and director, Keenen Ivory Wayans, is smart to borrow from a film considered one of the greatest comedies of all time.

Just as Joe and Jerry (Tony Curtis and Jack Lemmon) go on the lam to escape mafia figures out of desperation, Kevin and Marcus are desperate to keep their jobs, causing both sets of “impersonators”, to suffer from dire circumstances.

Also worth mentioning are similar conclusions in both films as love interest Osgood Fielding III, also a millionaire, as is Spencer in White Chicks, each is not phased by the “big reveal” as the men are de-masked as actually being males.

Clever in 2004, the incorporation of celebrity Paris Hilton, in 2017 now all but faded, seems dated and of the past. In real life being a hotel heiress, characters Brittany and Tiffany (cruise line heiresses) mirror Hilton as spoiled, self-centered, and oblivious to everyone around her.

The aspect was a good idea at the time of the release of the film, but now is irrelevant, not even as a nostalgia gag- perhaps in the year 2037 White Chicks might be appreciated more, but I would not hold my breath.

The overall tone of White Chicks is also fraught with silliness and with one gag after another. Rather than being believable as females, the Wayans brothers look downright frightening and robotic as Brittany and Tiffany.

In comedies, suspension of disbelief is required, but the producers should have done a bit more to feminize the characters instead of playing them as goofs.

The ending of the film is no-frills and formulaic with no real twist or surprise ending to speak of. The ridiculous misunderstandings with Kevin and Marcus’s real significant others, foolishly believing the men are having affairs with other women seem forced and amateurish.

Predictably, when the men profess their love for the girls earnestly, they fall for it hook, line, and sinker and the film wraps in disappointing, standard fashion.

Cute and fresh feeling at the time, White Chicks (2004) now feels stale and tired with racial overtones, deemed amusing back in the day, but now seems mean-spirited and unnecessary.

The film is an attempt at recreating a classic comedy for a younger audience, but I would recommend seeing the original Some Like It Hot (1959) instead- it is much more enjoyable.

2016 Films, Ben Whishaw, Colin Farrell, Comedy, Dark Comedy, Drama, John C. Reilly, Léa Seydoux, Olivia Colman, Rachel Weisz, Romantic Drama, Satire, Yorgos Lanthimos

The Lobster-2016

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The Lobster-2016

Director Yorgos Lanthimos

Starring Colin Farrell, Rachel Weisz

Scott’s Review #635

Reviewed April 20, 2017

Grade: A-

One thing is sure about the puzzling 2016 film The Lobster: It is a film worthy of discussion long after the end credits roll and will leave the viewer pondering its many facets—a great movie to dissect.

This in itself is worth recognition and praise for the power of the film- so many questions abound.

I was immediately struck by how heavily The Lobster contains primary subject matter influences from “message novels” (and films) such as Brave New World, 1984, and A Clockwork Orange, as well as creative, stylistic recent film influences from The Grand Budapest Hotel (2014) and the Moonrise Kingdom (2012).

The story begins outside of Dublin, where David (Colin Farrell) has recently been dumped by his wife in favor of another man.

Now single, he is whisked away by authorities to a luxurious hotel in the woods, where he (and the other guests) are given forty-five days to find a suitable romantic partner, or else they will be turned into an animal of their choice.

David is accompanied by his brother, now a dog, and has decided that he should be turned and that he will become a lobster because he loves the sea, and they tend to live to be over one hundred years old.

The hotel management adheres to strict rules- no masturbation, mandatory temptations by hotel employees, and a strange outdoor hunting game where the guests hunt other guests to win extra days extended to their stays.

As David befriends fellow hotel guests, he is conflicted and desperate to find a mate. Events take a surprising turn when circumstances allow the rules to change for him, and he becomes involved with a short-sighted woman (Weisz).

The film’s plot is strange beyond belief yet incredibly creative and thought-provoking. The subject matter is pure dystopian- a facility, presumably controlled by the government, with a rebel group intent on ruining the “status quo.”

Suddenly, an odd little secret romance between David and Shortsighted Woman appears, beginning only during the film’s final act.

One aspect of the film that I found interesting was the odd monotone dialogue the characters used. They were almost matter-of-fact in whatever they said, even while expressing anger.

This peculiarity perplexed me, but the more I think about it, the more this decision makes the film dark-humored and dry with wry wit.

Another interesting nuance to the film is the multitude of quirky characters, many of whom are mainly referred to by their nicknames. Lisping Man, Limping Man, and Nosebleed Woman, to name a few.

And what viewer would not spend the film’s duration imagining which animal he or she would desire to be turned into and why?

My favorite aspect of the film is the offbeat performance by Colin Farrell- typically a rugged sex symbol, he goes against the grain and plays a pudgy, socially awkward, insecure man, but all the while instilling the character with enough warmth and likability to make the character work- and his chemistry with Rachel Weisz is fantastic.

This turns the strange dark comedy into a peculiar romantic drama.

A beautiful forest becomes the backdrop for a large part of the film, as does the city of Dublin itself, contrasting the film in nuanced ways. Combined with the lavish hotel, the film achieves several different settings for the action, each meaningful in its own right.

Without giving anything away, the conclusion of the film- the final scene in particular- is gruesome in what goes through the viewer’s mind, and the resolution is unclear.

Does David do it, or doesn’t he? Much of the film is open to one’s interpretation and imagination.

Black humor and cynicism are significant components of The Lobster, a thinking man’s movie. I continue to think of this film as I write this review.

The film is filled with originality and thought, which is a tremendous positive. Confusing and mind-blowing? For sure. A run-of-the-mill film? Not.

The Lobster (2016) is a film that gives no answers and is not an easy watch but an achievement in film creativity- something sorely needed.

Oscar Nominations: Best Original Screenplay

1973 Films, Comedy, Diane Keaton, Woody Allen

Sleeper-1973

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Sleeper-1973

Director Woody Allen

Starring Woody Allen, Diane Keaton

Scott’s Review #631

Reviewed April 5, 2017

Grade: B

One of the earliest of Woody Allen’s enormous list of films that he both directed and starred in, 1973’s Sleeper is a comedic, science-fiction film, and a blueprint for future Allen masterpieces, such as Manhattan (1979) and Annie Hall (1977).

While this film has moments of intelligence and clever dialogue, it too often teeters into straight-up slapstick and silliness to be held in the same esteem as the aforementioned richer films.

Rather it is a juvenile effort as compared to masterpieces to follow, but admittedly with some laughs and creative moments. Sleeper is the first of several to pair Allen with longtime co-star, Diane Keaton.

Allen portrays Miles Monroe, a nerdy jazz musician, and owner of the “Happy Carrot” health-food store in Greenwich Village, New York City sometime in the then present time of the 1970s.

In the hospital for routine surgery, he is cryogenically frozen for two hundred years, waking up in an otherworldly police state and frazzled beyond belief.

The scientists who revive him are part of a rebellion and beg Miles to assist them as they are taken into police custody, pleading with him to search for a secret plan known only as the “Aries Project”.

Miles then poses as a robotic butler and goes to work for Luna (Keaton), a spoiled, bitchy, socialite. The duo ultimately bonded together and spent the rest of the film outrunning and outsmarting their pursuers.

Sleeper succeeds as a novel story, one filled with unique and interesting gadgets from a futuristic world, with clever, witty, crisp dialogue and odes to the past world, now deemed irrelevant.

Amusing are scenes when scientists explain that natural foods and products, at one time thought to be healthy and natural, are not so much.

This makes the world that Miles is used to seem silly and superfluous in their minds.

I also enjoyed the physical humor that the film contains, as when Miles (as his robotic persona) serves dinner to a sophisticated group of Luna’s friends, accidentally destroying their expensive outerwear in a garbage incinerator as well as botching dinner.

As all of the attendees are high on hallucinogenic drugs (including Miles), they fail to realize that he is a human being- they dance with glee and stumble around in a haze, largely unaware of their surroundings.

This is one of the best scenes in the film.

The plot itself is fairly predictable though and almost forced. Miles and Luna are the couples we root for in the film, the introduction of a handsome rebel leader, Erno Windt (John Beck) doesn’t stand a chance and is somewhat of a foil for them.

Much of the time, the pair are on the run and sparring with each other. The actors involved have wonderful chemistry with each other, but the central story is not the strongest suit- rather, the weird and unique gadgets and intricacies of the film, are.

Albeit, an introduction for anyone intrigued by the comic genius that is Woody Allen, other polished Allen gems are a better start than this early offering, but that is not to say Sleeper (1973) is not a good, entertaining film, with imagination, merely that it lacks all of the elements to rank it among other Woody Allen greats.

2010 Films, Comedy, Doug Langway, Independent, Independent Comedy, LGBTQ+ Comedy, LGBTQ+ Films

BearCity-2010

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BearCity-2010

Director Douglas Langway

Starring Joe Conti, Stephen Guarino

Scott’s Review #626

Reviewed March 19, 2017

Grade: B

BearCity is a small, independent, LGBT, coming-of-age film that tells of a young man living in New York City, and his exploration of a sub-culture within the LGBT community and the subsequent romance that follows.

The film is a comedy and has a “Sex in the City” or “Queer as Folk” approach to its storytelling- a group of close-knit friends and raunchy and gratuitous to be sure.

The budget is very small and some aspects are rather amateurish, but the film is enjoyable, especially for those exposed to the LGBT lifestyle.

The film is not heavy nor are any of the characters dealing with “coming out” issues, but rather it is a fun sex comedy romp.

Our central character, Tyler (Joe Conti), is a young man in his twenties, an aspiring actor, who moves to New York City to pursue his career, with a mind for casual dating.

His roommates encourage him to date Abercrombie and Fitch types, but Tyler comes to realize he prefers “bear” types- mature, hairy men.

On the sly, he begins to pursue this subculture and makes many friends. The apple of his eye, handsome Roger (Gerald McCullough) is a popular mature man, distinguished in the bear circle, and risks his reputation with “the bears” by falling in love with Tyler.

The two men spend the greater part of the film conquering their respective fears and finding their way into each other’s arms in a predictable ending.

BearCity is a fun farce and nothing very heavy and the feature of a strong circle of friends is a nice, positive portrayal- all of the friends connect well and stick by each other through thick and thin.

Comical sub-plots abound such as one couple (Brent and Fred) awkward parlay into the world of threesomes with unsuccessful results.

Another bear who is unemployed, and grossly obese, decides to undergo weight loss surgery much to the chagrin of his hunky boyfriend.

The main story though belongs to Tyler and Roger and their inevitable reunion can be seen miles away. The film throws various hurdles in their ways, such as a third-person briefly dating Roger, or Roger’s commitment issues, but the climax of the film will be no surprise to anyone.

Tyler and Roger make a nice couple as a whole, but perplexing is how the film makes Roger the undisputed leader of the bear group when he is a lean, muscular man- not a “bear” at all!

This is odd to me, but BearCity is so light-hearted that I suppose I can let this detail slide in favor of a good romance.

Critically, the film is nice but quite amateurish, and super low-budget. The acting, especially by some of the supporting characters (the pre-surgery guy’s boyfriend is the most glaring example), is not great.

I half-expected him to accidentally look at the camera.

Additionally, the film has a low-budget look and feel, which on one level is fine, but combined with the not-so-stellar acting, enhances the inexperience of the cast and crew. The film is tough to take too seriously- if this is even the intention of the filmmakers.

The film is a logistical treat for anyone privy to popular gay hangouts in New York City- specifically The Eagle and The Ramrod, both locales are featured prominently, and the use of many real-life people who hang out at those establishments are used throughout the production.

BearCity (2010) is not a bad experience and a film that is light and comical within the LGBT community seems rather fresh compared to the myriad of dramatic and heavy films that exist.

At the same time, the film teeters towards goofy too much with more than one silly, sex-crazed, stereotypical gay man, that it almost gives a bad impression, so the film has mixed results for me.

2015 Films, Alexander Skarsgård, Bel Powley, Christopher Meloni, Comedy, Drama, Independent, Independent Drama, Kristen Wiig, Marielle Heller

The Diary of a Teenage Girl-2015

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The Diary of a Teenage Girl-2015

Director Marielle Heller

Starring Bel Powley, Alexander Skarsgard, Kristen Wiig

Scott’s Review #614

Reviewed February 2, 2017

Grade: A-

I was not sure what I expected from the Independent Spirit award-winning film, Diary of a Teenage Girl (2015).

I surmised that I would be treated to a light-hearted, yet well-written coming-of-age story, but the film is much darker than I would have thought, and this is a plus.

The film is edgy.

There is so much depth to the central characters and an incredibly complex performance by newcomer, Bel Powley in the title role.

Stars Kristen Wiig and Alexander Skarsgard also give tremendous performances.

The film is based on the graphic novel The Diary of a Teenage Girl: An Account in Words and Pictures by Phoebe Gloeckner.

Set in 1976 in San Francisco, a time filled with hippies, drugs, music, and life, fifteen-year-old Minnie, an aspiring comic book writer, is as insecure as any typical fifteen-year-old is.

With wide eyes and stringy hair, she is cute, but rather quirky looking, not the prettiest girl in her class, and records her deepest thoughts into a cassette recorder. Minnie is intelligent and worldly, accepting of alternative lifestyles and drugs.

She is wise well beyond her years.

Minnie’s mother Charlotte (Wiig), lives a bohemian lifestyle, constantly partying and losing jobs, and is divorced from Minnie’s and sister Gretel’s affluent, but mostly absent father, Pascal (Christopher Meloni).

The girls refer to him as “Pascal” instead of “Dad”, which he hates. Determined to lose her virginity, Minnie is man crazy and develops a sweet relationship with her mother’s boyfriend, Monroe (Skarsgard).

Things begin slowly but develop into a full-blown sexual relationship. A controversial piece to the story is that Monroe is thirty-five years old- Minnie is only fifteen. Both Monroe’s and Minnie’s feelings are challenged due to circumstances and Minnie’s emotions spiral out of control.

The subject matter of The Diary of a Teenage Girl will undoubtedly be off-putting for many folks as the actions are technically statutory rape.

The film never goes in that direction.

Rather, director Marielle Heller crafts a tender story of young love, and when there is too much drama comic relief is added.

Monroe is never the aggressor and Minnie is. She is a young girl who knows what she wants.

Since the director is female there is no hint of Minnie being taken advantage of or regretting her affair- the film is not about this.

Rather, it is about a young girl with blooming sexuality and emotions finding herself in the world. I admire this left-of-center approach to the story immensely.

Other aspects of the film may be too much for some. Minnie and her best friend pretend to be prostitutes and orally service two young men in the men’s room on a lark.

Later, Charlotte uses filthy language to describe Monroe’s and Minnie’s relationship.

The film is not safe, but daring and honest. I admire its courage.

Enough cannot be said for the three principal actors in Diary of a Teenage Girl. Bel Powley is a find!

Nominated for an Independent Spirit award, this amazing young actress should have been recognized by the Academy Awards, but she no doubt has many years and films ahead of her.

She is a “regular girl” type and reminds me of actress Lena Dunham in her looks and her rich delivery.

Kristen Wiig is fantastic and is evolving into a great dramatic actress. As Charlotte, Wiig is wonderfully insecure and an offbeat mother. She does not discipline, but rather befriends her daughters, showering them with hugs and kisses and giving vulnerable neediness to the character.

Wiig, dynamite in the comedy/drama The Skeleton Twins (2014), has embraced small, but important indie films, and kudos to her for this.

Lastly, Skarsgard, mainly known as HBO’s villainous Eric on True Blood, is as inspiring as Monroe.

Providing his character with sympathy and humanity (tough when having an affair with a teenage girl who also happens to be your girlfriend’s daughter), Skarsgard evokes so much emotion into the role that you almost root for Monroe and Minnie before remembering that she is too emotionally fragile.

Skarsgard is brilliant in Monroe’s breakdown scene. I hope audiences see him in more of these complex roles as he is far more than a hunky actor.

Diary of a Teenage Girl (2015) intersperses graphic novel/animated elements into the story told from the perspective of Minnie and the character narrates parts of the film.

This authentic story is not only for teenagers but for smart thinkers and anyone who has ever been over their heads in the emotions of love.

Independent Spirit Award Nominations: 1 win-Best Female Lead-Bel Powley, Best First Screenplay, Best First Feature (won)

1987 Films, Albert Brooks, Comedy, Holly Hunter, Jack Nicholson, James L. Brooks, Joan Cusack, John Cusack, Lois Chiles, Romantic Comedy, William Hurt

Broadcast News-1987

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Broadcast News-1987

Director James L. Brooks

Starring William Hurt, Holly Hunter

Scott’s Review #602

Reviewed January 11, 2017

Grade: B

Broadcast News is a 1987 feature film that admittedly is an intelligently written romantic comedy. It was rewarded with several Academy Awards nominations, in what has been known to be a bleak year for the film industry.

That being said, I found the overall result of the film to be a decent experience, but certainly nothing fantastic. I was left with the feeling that it was “okay”.

I do not think it was good enough to warrant Oscar nominations, but it was enjoyable all the same.

The principal characters are interesting enough, albeit safe.

The film centers around three television news people- a neurotic news producer (Holly Hunter), a reporter (Albert Brooks), and his rival (William Hurt).

All of them are ambitious and determined to climb the ladder of success in their Washington D.C. base.

The film explores the relationships between the characters.

As stated, there is nothing wrong with the film. I would have expected a bit more- perhaps a deeper or darker story- instead, despite some witty dialogue, the film is largely a safe, predictable journey.

Oscar Nominations: Best Picture, Best Actor-William Hurt, Best Actress-Holly Hunter, Best Supporting Actor-Albert Brooks, Best Screenplay Written Directly for the Screen, Best Cinematography, Best Film Editing

1992 Films, Andie MacDowell, Best Feature- Independent Spirit Award Winners, Bruce Willis, Comedy, Dark Comedy, Dean Stockwell, Drama, Gary Busey, Gina Gershon, Independent, Independent Drama, Jeff Goldblum, Joel Grey, Julia Roberts, Lyle Lovett, Nick Nolte, Paul Dooley, Peter Gallagher, Ray Walston, Richard E. Grant, Robert Altman, Robert Wagner, Satire, Scott Glenn, Sydney Pollack, Tim Robbins, Vincent D'Onofrio, Whoopi Goldberg

The Player-1992

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The Player-1992

Director Robert Altman

Starring Tim Robbins, Peter Gallagher

Scott’s Review #601

Reviewed January 11, 2017

Grade: A

The Player (1992) ranks up there with other Robert Altman classics such as Gosford Park (2001), Nashville (1975), and Short Cuts (1993).

The film is an excellent piece of Hollywood satire and centers around a jaded movie executive, played by Tim Robbins, who does an incredible job with his role.

Robbins plays Griffin Mill, a man with no scruples. Feeling usurped by a younger executive, played by Peter Gallagher, as well as receiving death threats, he goes on the hunt for the person he feels responsible for, which leads to murder.

The audience is unsure whether to love or hate Mill, thanks to Robbin’s performance. He is snarky, but also vulnerable and a tad sympathetic.

The film contains a slew of real Hollywood celebrities (Cher, Malcolm McDowell, Bruce Willis) playing themselves and is largely improvised (as many of Altman’s films are).

Whoopi Goldberg and Lyle Lovett star as odd police detectives.

The plot is nothing that hasn’t been done before, but it’s the realness and the direction that make this movie a must-see, especially for Robert Altman fans.

The Player (1992) is a hidden gem.

Oscar Nominations: Best Director-Robert Altman, Best Screenplay Based on Material Previously Produced or Published, Best Film Editing

Independent Spirit Award Nominations: 1 win-Best Feature (won)

2008 Films, Comedy, Horror, Horror Zombie, Horror-Camp, Horror-Comedy, Jenna Jameson, Robert Englund

Zombie Strippers-2008

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Zombie Strippers-2008

Director Jay Lee

Starring Jenna Jameson, Robert Englund

Scott’s Review #599

Reviewed January 10, 2017

Grade: C-

Zombie Strippers (2008) is so filled with campy moments and so over-the-top, that it’s a film that is impossible to remotely take seriously.

As they say, there is a time and a place for everything, and this includes films.

It is completely a cheesy, campy B minus horror film.

The story, if one can call it that, involves a small strip club, in Nebraska, in the middle of nowhere. The star stripper is played by former adult film star, Jenna Jameson, who, I am pretty certain, was not hired for her acting talents.

One day, a government-controlled virus is released by the government, causing Jameson’s character to be transformed into a flesh-eating zombie.

The motivation is not there, and, who cares anyway?

This is not the film to watch for a compelling plot.

The acting all around in the film is poor, and the story is completely unrealistic-laced with stereotypes galore. However, how nice to see horror legend, Robert Englund (Nightmare on Elm Street-1984) in a prominent role, even in a bad film.

Also deserving of credit is the makeup and prop department, having a small budget, for making the film look better than it might have.

If you are looking for a cheesy, after-midnight, and after-a-few-drinks fun film, this is it. Otherwise, don’t waste your time.

2008 Films, Action, Alicia Silverstone, Ben Stiller, Bill Hader, Comedy, Jack Black, Jason Bateman, Jennifer Love Hewitt, Jon Voight, Justin Theroux, Lance Bass, Lowest Rated Films, Martin Lawrence, Matthew McConaughey, Nick Nolte, Robert Downey Jr., Satire, Sean Penn, Tobey Maguire, Tom Cruise, Tyra Banks

Tropic Thunder-2008

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Tropic Thunder-2008

Director Ben Stiller

Starring Ben Stiller, Robert Downey, Jr.

Scott’s Review #593

Reviewed January 8, 2017

Grade: D-

Tropic Thunder (2008) was a ridiculous film that I found to be harsh, tedious, and very loud. Attempting to be a satire of sorts, it fails on almost every level.

The main issue was with the characters, who are abrasive and unlikable.

The only redeeming qualities are Robert Downey Jr.’s and Tom Cruise’s portrayals, though they both play idiotic characters.

The plot is something of an ode to 1979’s Apocalypse Now, in that the plot throws back to the Vietnam war.

A group of narcissistic actors is filming a Vietnam memoir on location in the jungles of Southeast Asia when they are abandoned and forced to fend for themselves amid a group of drug lords.

The film’s attempt at humor fell flat for me. It just seemed like a group of crazed guys running around the jungle acting wild and the film held little point for me.

Cruise’s part was interesting but way too small.

Directed by, and starring Ben Stiller, who should stick to acting (if that).

How Downey, Jr. scored an Oscar nomination for this drivel is beyond me- despite his acting being one of the better efforts in the film.

Oscar Nominations: Best Supporting Actor-Robert Downey Jr.

2009 Films, Bradley Cooper, Carrot Top, Comedy, Ed Helms, Heather Graham, Jeffrey Tambor, Jon Lucas, Ken Jeong, Mike Tyson, Scott Moore, Todd Phillips, Wayne Newton, Zach Galifianakis

The Hangover-2009

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The Hangover-2009

Director Todd Phillips

Starring Bradley Cooper. Ed Helms, Zach Galifianakis

Scott’s Review #590

Reviewed January 7, 2017

Grade: B+

It was not my idea to see this particular film- the raunchy, mindless “guy” films have always seemed lackluster and cheesy to me, but I confess to finding The Hangover (2009), a novel and entertaining, summer blockbuster film.

I did not expect much from this film but instead found it comical and fun.

It has the “dumb frat boy/jock” shenanigans, and not much thought is needed, but it is good old boy entertainment.

Similar to the American Pie films of the 1990s in which a group of guys finds themselves mixed up in amusing, and sometimes humiliating situations, after a night of boozing, The Hangover has a likable cast led by, then up and coming star Bradley Cooper.

What sets The Hangover apart is the great chemistry among the cast (Ed Helms, and Zach Galifianakis, specifically) that other flaws or generic writing can be overlooked or forgotten altogether.

The group goes from one hysterical situation to another.

Set in Las Vegas (a great decision), three men awake to find the groom missing after a night of debauchery- they are there to celebrate via a wild bachelor party.

In their hotel room are a tiger and a six-month-old baby and they have no idea how either has gotten there.

From this point, the film goes back to the arrival of the gang and the events that transpired leading up to the hotel room acquisitions.

This is fun and keeps the audience engaged in the hi-jinks.

The Hangover (2009) was followed by the inevitable two sequels, neither of which was as good or as successful at the box office to the surprise of nobody except maybe movie studio executives.

2009 Films, Amy Adams, Biography, Chris Messina, Comedy, Dan Aykroyd, Drama, Jane Lynch, Mary Kay Place, Meryl Streep, Nora Ephron, Stanley Tucci

Julie & Julia-2009

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Julie & Julia-2009

Director Nora Ephron

Starring Meryl Streep, Amy Adams

Scott’s Review #588

Reviewed January 7, 2017

Grade: A-

Julie & Julia (2009) is a darling film about cooking that centers and centers on the legendary chef Julia Child. It is for the foodie or culinary geek in all of us.

The film is lighthearted and will ruffle no feathers, but it is a delicious well-told treat.

The film tells of the life of Julia Child (Meryl Streep), at one time an aspiring chef, contrasted with the life of a young New Yorker, blogger Julie Powell (Amy Adams), who is determined to cook all five hundred twenty-four recipes in Child’s famous cookbook, Mastering the Art of French Cooking, within one year.

The film, of course, would not be half as good without the amazing talents of Streep, who portrays Julia Child herself. All of Julia Child’s personality characteristics are portrayed exceptionally well by Streep.

Her laugh, voice, and zest for life, are all perfect. Of course, since Streep is not nearly as tall a woman as Child was, liberties had to be taken by way of camera trickery.

Regardless of Streep’s performance, props for a nice performance by Adams, too.

Julie & Julia (2009) is a cute, charming, light, fun movie. I thoroughly recommend it.

Oscar Nominations: Best Actress-Meryl Streep

2009 Films, Abigail Breslin, Amber Heard, Bill Murray, Comedy, Dark Comedy, Emma Stone, Jesse Eisenberg, Ruben Fleischer, Woody Harrelson

Zombieland-2009

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Zombieland-2009

Director Ruben Fleischer

Starring Jesse Eisenberg, Woody Harrelson

Scott’s Review #586

Reviewed January 6, 2017

Grade: B

Zombieland (2009) is a fun, entertaining, popcorn-style flick. The film is not designed to be taken very seriously given the subject matter of zombies- nor should it.

Rather, the film goes over the top frequently to elicit a good time and plays for laughs. Sometimes it is successful, adding dark comedy to the story, other times the film comes across as silly.

The story takes place during a time when zombies have overtaken the world, and humans are left to fend for themselves and survive.

The film is a more cartoon version of the popular television series, The Walking Dead, despite pre-dating it. It lacks the heavy drama of the series.

Still, for 2009, the film is a novel idea and the movie works more often than not.

Woody Harrelson is amusing and charismatic. Jesse Eisenberg is falling into the Ben Stiller and Will Farrell trap of playing the same character over and over again, and I am personally a big fan of Abigail Breslin and she does not disappoint in this film.

Zombieland (2009) will likely only be remembered as a fun midnight, Saturday night fluff film if that.

2016 Films, Comedy, Ryan Guzman, Zoey Deutch

Everybody Wants Some!!-2016

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Everybody Wants Some!!-2016

Director-Richard Linklater

Starring Blake Jenner, Zoey Deutch

Scott’s Review #585

Reviewed January 5, 2017

Grade: A-

A follow-up to the successful 2014 film Boyhood, directed by Richard Linklater, Everybody Wants Some!! is another slice of life story with interesting characters, trials and tribulations, and a coming of age theme centering around the main character’s struggles to identify with themselves and each other.

Like Boyhood, a timeline is used, but instead of taking place over seventeen or so years, it takes place throughout a long weekend preceding the start of the college semester- a blissful, yet melancholy time for many.

The setting is steamy Texas in the late summer of 1980.

A few freshman baseball prospects, superstar athletes in high school, but unknown here, move into a large house inhabited by other baseball players all hoping to make it to the majors.

The college is fictional but is a Southeast Texas Cherokees team. The main character, freshman Jake, arrives to find a bevy of drunken jocks carousing for a good time. He bonds with the other guys, but is more introspective and complex, and embarks on a flirtation with a theater student, Beverly, while also connecting with various other jocks with whom he lives.

The film is successful in that it is a quiet story, Linklater, similar to Boyhood, chooses to focus on relationships and good storytelling rather than big bombastic moments or cliched stereotypes. We simply observe a large group of acquaintances living life and getting to know each other, having fun, rather than taking life too seriously.

At the same time worrying over their futures and choosing to live for the moment, not knowing what tomorrow will bring- they are stuck in a moment in time.

The musical soundtrack is wonderful- interspersing 1980’s bands like Van Halen (known for the title song), Pat Benatar, Devo, and a myriad of others while mixing in classic artists like Neil Young and Led Zeppelin. The film focuses on a bonanza of rock n roll history.

Everybody Wants Some!! is well written and intelligent. Fellow intellectual jock, Willoughby, neither he nor Jake quite fitting in with the other, loud and self-centered jocks, forge a close friendship, discussing intricate aspects of rock songs by Led Zeppelin, and dissecting the arrangements and simply talking about life, rather than guzzling beer and chasing girls.

Ironically, Linklater chooses to have Willoughby diss Van Halen as a corporate rock band, despite branding the title name of the film.

One may argue that nothing happens throughout the film, but that is the beauty, and what makes it work as an honest, truthful piece of filmmaking.

How novel that the film does not contain any contrived plot devices intended to create tension between the characters- the film simply is, and that is the beauty of it.

Everybody Wants Some!! is intended to be observed.

The romance between Jake and Beverly is sweet and unassuming. They come from different backgrounds- he a jock, she a theater major, yet they connect innocently.

The film displays different social groups coming together- a major accomplishment of the film. We witness the jocks attend a theater-style party and enjoy themselves.

The film successfully merges differing social groups as one, but the key here is that the film never does this in a contrived manner- it simply happens organically.

Some complaint about the age of some of the actors- many considerably older than teenage years- donning wigs, but that did not bother me. I enjoyed the maturity of the seasoned actors in these roles.

Linklater is a modern director daring to tell interesting stories about ordinary individuals with who the audience can immediately identify and that is what makes him a worthy talent of today.

2009 Films, Adam Arkin, Coen Brothers, Comedy, Dark Comedy, Independent, Independent Comedy, Michael Stuhlbarg, Richard Kind

A Serious Man-2009

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A Serious Man-2009

Director Joel Coen, Ethan Coen

Starring Michael Stuhlbarg

Scott’s Review #582

Reviewed January 4, 2017

Grade: B

A Serious Man (2009) is a quirky, odd film that is a character study.

Directed by the Coen brothers who typically have an offbeat style to their films (No Country For Old Men-2007, and Fargo-1996 spring to mind), A Serious Man is no different, offering wonderful, richly written supporting characters.

The film, however, lacks the violence of other Coen Brothers films, instead, adding more humorous situations and an overall comical premise.

It tells the story of a Jewish Professor, Larry Gopnik (Michael Stuhlbarg), living in the 1960s, and has a string of bad luck. People close to Larry begin to drop dead all around him and he seems cursed with a string of bad luck.

The film centers around how he deals with crisis after crisis.

The first half of the film admittedly drags a bit, but the second part picks up nicely. The plot suddenly comes to a head rather quickly.

To stress, A Serious Man is a witty, dark comedy, so much of the dialogue is either tongue-in-cheek or dry.

The rabbis that Larry meets, combined with his son Danny and wife Judith are very funny and well-carved-out characters, many certain “types”.

The character of Larry also contained elements of the Larry David character on TV’s Curb Your Enthusiasm.

Also, for those cinema lovers who pay close attention to or have an appreciation for good set design, the film captures the 1960’s style (dress, furniture, cars), perfectly.

Oscar Nominations: Best Picture, Best Original Screenplay

Independent Spirit Award Nominations: 2 wins-Best Director-Joel and Ethan Coen, Best Cinematography (won), Robert Altman Award (won)

1955 Films, Arthur O'Connell, Betty Field, Comedy, Drama, Elizabeth Wilson, Joshua Logan, Kim Novak, Nick Adams, Romantic Comedy, Romantic Drama, Rosalind Russell, Susan Strasberg, William Holden

Picnic-1955

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Picnic-1955

Director Joshua Logan

Starring William Holden, Kim Novak

Scott’s Review #550

Reviewed December 19, 2016

Grade: A-

Picnic is a classic 1955 film that is wonderful to watch over Labor Day weekend or anytime during the humid summer season.

The film perfectly depicts summertime in a tiny town in Kansas. It is a slice-of-life story about life in middle America during the 1950s, trials and tribulations notwithstanding.

William Holden stars as a “wrong side of the tracks” type of guy who arrives in a quiet Kansas town on Labor Day weekend, disrupting the town events and causing scandals for the townspeople.

He is a hunky former college football player and exudes sexuality.

He then falls in love with his best friend’s girlfriend, Madge Owens, played by Kim Novak. The chemistry between the two stars is the film’s main appeal.

The supporting cast makes this film unique (Arthur O’Connell and Rosalind Russell star as townspeople who are in a relationship of their own).

Picnic also contains a gorgeous and lovely musical score, precisely “Theme from Picnic” and “Moonglow”.

It is shot on location in Kansas, mostly in and around Hutchinson, and is considered classic summer enjoyment.

Based on the Pulitzer-award-winning play.

Oscar Nominations: 2 wins-Best Motion Picture, Best Director-Joshua Logan, Best Supporting Actor-Arthur O’Connell, Best Scoring of a Dramatic or Comedy Picture, Best Art Direction, Color (won), Best Film Editing (won)

1978 Films, Carol Burnett, Comedy, Dennis Franz, Gary Sinise, Geraldine Chaplin, Independent, Independent Comedy, John Malkovich, Laurie Metcalf, Lillian Gish, Mia Farrow, Paul Dooley, Robert Altman, Satire

A Wedding-1978

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A Wedding-1978

Director Robert Altman

Starring Carol Burnett, Mia Farrow, Paul Dooley

Scott’s Review #539

Reviewed December 17, 2016

Grade: A

A Wedding (1978) is an obscure, brilliant gem penned and directed by Robert Altman- a film genius and one of my most adored directors.

I love most of his movies and A Wedding is no exception. The creative way that Altman weaves intersecting storylines and dialogue, thereby creating a real-life tone, gives immense realism to his films.

In A Wedding, he takes a basic life event and turns it into a well-nuanced, fascinating, comical, yet dramatic story.

He is known for having enormous casts (in A Wedding it is forty-eight principles), but every character serves a purpose.

The viewer will feel that they are a fly on the wall of a real wedding.

Altman’s actors primarily improvise the dialogue, speaking at the same time, bringing a realistic edge. I adore this quality.

The film is a satire- people either love or loathe attending weddings and Altman’s film caters to the latter. He creates a setting, from the ceremony to the reception, riddled with awkward moments, and social guffaws.

In pure satirical, soap opera fashion, two wealthy families gather at a lavish estate for the ceremony to commence. Hilarity ensues when the corpse of the matriarch of one family lies in her bed, nobody realizing she is dead.

Other hi-jinks, such as the revelation of a nude, life-size portrait of the bride, the caterer falling ill, and a tornado wreaking havoc.

Slowly, secrets are revealed by the families, as the alcohol flows and the characters become involved in the perilous situations.

Altman does it again as he creates a masterpiece based on real-life situations that most can relate to.

1977 Films, Camp, Comedy, Dark Comedy, Edith Massey, Independent, Independent Comedy, John Waters, Mink Stole

Desperate Living-1977

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Desperate Living-1977

Director John Waters

Starring Mink Stole, Liz Renay

Scott’s Review #534

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Reviewed December 4, 2016

Grade: B

Desperate Living (1977) will not be everyone’s cup of tea. It is a raunchy, late-night comedy, similar to other John Waters-directed cult classics.

This one, however, suffers from the absence of Waters staple, Divine, who did not appear due to scheduling conflicts.

For this glaring omission, Desperate Living is not the greatest of the Waters films, but it is a fun experience all the same.

The film has choruses of political satire, specifically fascism, and overthrowing the government.

Mink Stole (Peggy Gravel) takes on the lead role as a crazed, mentally unhinged, neurotic woman on the lam with her maid, Grizelda, after they accidentally cause the death of Peggy’s husband.

Peggy has been in and out of mental hospitals and is clearly off her rocker as she yells at neighbors about communism.

After an encounter with a lewd police officer, the duo is banished to Mortville, a town filled with outcasts and social deviants. They align with others in the town to overthrow the tyrannical Queen Carlotta, played by Waters fixture Edith Massey.

Carlotta plots to spread rabies throughout the community and is at war with her daughter, Princess Coo Coo.

The issue with Desperate Living is the absence of Divine, originally set to play Mole McHenry, a self-loathing female wrestler, determined to receive a sex change operation.

One imagines the Divine in this important role, which was played by Susan Lowe, a capable star, but no Divine. With Divine in the part, the hilarious possibilities are endless.

Mink Stole carries the movie well, but traditionally being a supporting player in Waters’s films, is not quite the star the film needs to be a true success.

This is not to say that the film is a dud- it is entertaining and will please most Waters fans. It contains gross-out moments and vulgarity from the very first scene- as the opening credits roll, we see a roasted rat, daintily displayed on good china, on an eloquent dinner table, presumably to be served.

Later, Carlotta meets her fate by being roasted, pig style, on a spit with an apple in her mouth. Another character is executed by being shot in the anus. The offensive moments never end!

There also exists a quite controversial scene that I am surprised made the final cut. Peggy, already in a frazzled state due to a neighbor boy accidentally shooting out her bedroom window, is shocked to find another boy playing “doctor” with a little girl in her downstairs basement.

Both children are completely naked, leaving not much to the imagination. This scene is tough to watch as one wonders what the child actors thought of all of this.

I have never viewed another scene quite like this in film.

Otherwise, Desperate Living is filled with cartoon-like characters, lots of sexually deviant leather men, grizzled men with facial hair, and other odd-looking characters, making up the community of Mortville.

Water’s set creations for the exterior scenes of the town are great using mainly cardboard and rubbish he found throughout Baltimore where the film was shot, the sets show a bleak yet colorful underworld.

Desperate Living (1977) is a raunchy good time with over-the-top acting, trash-filled moments, and laugh-out-loud fun.

The lack of any Divine makes it not the first offering to watch from the Waters collection. Pink Flamingos (1972) and Female Trouble (1974) would take that honor.

2010 Films, Animated, Children, Chris Renaud, Comedy, Jason Segel, Julie Andrews, Kristen Wiig, Pierre Coffin, Steve Carell

Despicable Me-2010

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Despicable Me-2010

Director Pierre Coffin, Chris Renaud

Starring Steve Carell, Jason Segel

Scott’s Review #526

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Reviewed November 25, 2016

Grade: B-

My immediate reaction upon seeing Despicable Me (2010) is that it’s a cute film, just custom-made for the masses- children and families alike. This is fine, but I was honestly hoping for something a bit edgier or of more substance, but I did enjoy it at the same time.

The film is a fun, family-style affair for all ages with a nice story.

It tells of a villain, named Gru, who is in competition with other super-villains and hatches a plan to shrink and steal the moon.

He is reformed through three orphans (Margo, Edith, and Agnes) he first uses in his plan, but later comes to love and eventually adopts.

The orphans predictably reform Gru and bring out the nice man within him.

They change his life for the better.

There is nothing wrong with this film, nor is there anything tremendous about it either. I know some people loved it.

To me, Despicable Me (2010) was decent, but I wanted a bit more and perhaps a more complex or interesting plot, but that is just my taste talking.

2010 Films, Andy Fickman, Betty White, Catherine Bach, Cloris Leachman, Comedy, Daryl Hall, Dwayne Johnson, Jamie Lee Curtis, John Oates, Kristen Bell, Kristin Chenoweth, Reginald VelJohnson, Sigourney Weaver

You Again-2010

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You Again-2010

Director Alan Fickman

Starring Kristen Bell, Jamie Lee Curtis, Sigourney Weaver

Scott’s Review #510

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Reviewed November 4, 2016

Grade: C

If not for the cast (Jamie Lee Curtis, Betty White, and Sigourney Weaver) You Again (2010) would have been a bad experience and a dimwitted, by-the-numbers comedy, but the talent involved has helped matters greatly.

This is not meant to parlay much credit to the film.

As it is, it is not a great film, and quite silly and dumb, but the cast successfully turns it into a light, fun, dumb movie instead of solely drivel- with a less likable cast this would have undoubtedly been the case.

Bell is not my favorite actress, but alas she seems to be currently receiving star turns in these types of films.

The premise is basic and tried and true- A twenty-eight-year-old “beautiful” woman (Kristen Bell) who was an ugly duckling in high school, returns to her hometown for her brother’s wedding and his fiancé turns out to be her high school nemesis.

It is a standard Hollywood comedy cliched with typical gags, and a “we have seen this before” story.

A gripe- Kristen Bell is a cute, sort of all-American, girl next door, but I would be remiss if I did not point out she is not the beauty they make her out to be.

Thanks to the aforementioned cast, and the wit that Curtis and Weaver bring to their rivalry (as mothers of the respective fiancé and Bell’s character- they were high school rivals a generation before), You Again (2010) does get some meager credit.

Not much, but some.