Category Archives: Comedy

1972 Films, Comedy, Dark Comedy, Satire

Bone-1972

March 12, 2021 scottmet99 Leave a comment

Bone-1972

Director Larry Cohen

Starring Yaphet Kotto, Andrew Duggan, Joyce Van Patten

Scott’s Review #1,121

Reviewed March 12, 2021

Grade: B+

It’s tough to review a film like Bone (1972) because it’s a tough film to categorize. Is it a satire, or does it dissect racism and classism?

The truth is, it does all of the above and offers a bizarre, jagged cinematic experience that will leave the viewer perplexed, scratching their head, and ruminating about it long after the credits roll.

I was originally expecting Bone to be a 1970s exploitation film, but it’s not that at all.

One lazy sunny day, in Los Angeles’s illustrious Beverly Hills, local salesman Bill (Andrew Duggan) and his wife Bernadette (Joyce Van Patten) bicker beside their luscious pool.

They are horrified when they realize a filthy rat has become stuck in the filter. This provides some symbolism as the film chugs along. When they rush to call the exterminator, a threatening black man named Bone (Yaphet Kotto) suddenly appears.

Frightened, they first assume he is with the exterminator company, but when he terrorizes them with the now-dead rat, they offer him money to leave. While they search for banking materials, Bone realizes that Bernadette and Bill are not as wealthy as their appearances suggest.

Bone sends Bill to the bank to withdraw cash, or else he will rape and beat Bernadette. At the same time, Bernadette becomes suspicious of Bill’s financial intentions.

There are moments in the film that left me feeling like I was watching something bizarre or nonsensical. I’m still not sure what the opening scene of Bill filming a television commercial featuring cars involved in wrecks with dead bodies inside meant.

The images are bloody and horrific- artistic, but unclear is the message.

The conclusion is also unclear. When one character appears to murder another, a third character vanishes. Naming the characters would ruin the story, but suffice it to say that one may wonder whether the entire film was a dream.

The realization that Bill and Bernadette make individually is that they don’t care for one another and would happily leave the other to die. We know little about their life before, but assume, while rich, they live a life of boredom, each yearning for some spice.

How many nights does Bernadette sit alone by the pool, drowning her sorrows in Chardonnay?

Yaphet Kotto is wonderfully cast. Soon to be well-known as a James Bond villain in Live and Let Die (1973), his character in Bone starts as menacing and slowly becomes sympathetic, almost relatable.

When he reveals to Bernadette that he cannot maintain an erection unless he is raping someone, the thought is sickening, but he also appears vulnerable and feeble.

He gradually becomes my favorite character of the three, whereas in a conventional film, he would be the one not to root for.

Bill’s experiences are a mind-fuck.

Tasked with withdrawing money from his bank to save his wife, he thinks why should I? He meets a gregarious woman at a bar, played by Brett Somers, and a chatty young woman online at the bank, who beds him and makes him a salted steak.

They frolic away the afternoon as, for all he knows, his wife could be dead!

The issues of classism and racism are the meat and potatoes of Bone, and where the film succeeds. We feel the pain of Bone when he, as a black man, must stand out like a sore thumb in swanky Beverly Hills.

He has had to struggle for every crumb he has gotten, while spoiled brats like Bill and Bernadette get everything and work half as hard. It’s not fair, and the audience is meant to empathize with him.

Larry Cohen, well-known for the low-budget campy circuit, creates a perplexing project with added black comedy. The rat, the chatty girl, the X-Ray lady, everyone in the film is wacko!

Bone (1972) is a weird film that I don’t know what to make of. I took it as a glimpse into social issues, and I loved the food references, the steak, and eggs, mostly.

The plot and conclusion will leave you wondering, but I guess that’s better than forgetting the film five minutes later. I’m still trying to make heads or tails of it.

2004 Films, Comedy, Drama, Independent, Independent Comedy, Independent Drama, Religious, Tearjerkers

Saint Ralph-2004

March 3, 2021 scottmet99 Leave a comment

Saint Ralph-2004

Director Michael McGowan

Starring Adam Butcher, Campbell Scott

Scott’s Review #1,118

Reviewed March 3, 2021

Grade: C

Saint Ralph (2004) is an indie drama that is overly sentimental and includes too many standard plot points.

This makes the film ho-hum and extremely cliched.

It feels like the attempt was to create a major studio film in independent clothes, but without the grit afforded most indies.

There are plenty of standard setups and by-the-numbers follow-through, rather than anything different or fresh.

The film is too charming, safe, and feel-good for my tastes. Maybe there are just too many similar movies made, so it doesn’t stand out very well.

And since it’s an indie, shouldn’t it strive for more edginess?

The message is meant to inspire, and in a way it does, but that only goes so far.

Saint Ralph is a story of a young man triumphing over insurmountable odds- wonderful but unrealistic.

The religious elements of faith, miracles, and the Catholic high school are lost on me, but some may champion those elements better.

I did enjoy the 1950s time period and its share of decade trimmings and set pieces, yet too often they feel stagey, and any authenticity doesn’t feel fresh.

Rather, like actors clad in period clothing.

The lead kid who plays Ralph (Adam Butcher) isn’t impressive enough, though Campbell Scott, who plays a priest with more wisdom than he probably should have, is the best thing about Saint Ralph.

If I’m being harsh, it’s unintentional, but Saint Ralph is a film I’ve forgotten about a day or so after seeing it. I like a film that sticks with me and makes me think about, and Saint Ralph just ain’t it.

It’s classified as a tear-jerker, and I didn’t shed one.

Ralph is a troubled kid. His father died in World War II, and his mother lies ill in a coma. He smokes and masturbates, resulting in adult intervention by way of strict Father Fitzpatrick (Gordon Pinsent) and kindly Father Hibbert (Campbell Scott).

He is encouraged to run in the upcoming Boston Marathon, and he trains mightily with the right encouragement.

He feels that if he trains hard and wins the marathon, his mother will be granted a miracle by God, wake up from her coma, and live happily ever after.

I won’t spoil the ending, but the conclusion will satisfy pious audiences.

I embrace films that feature a character championing certain hardships, and Saint Ralph does contain a youthful innocence and earnestness that holds some appeal.

I felt myself rooting for him to overcome his problems. No kid deserves those hardships.

The weakness is that I felt manipulated. Since the intention was to root for Ralph, it was clear where the film was headed, and the predictability was at an all-time high.

The training sequences are reminiscent of any sports film. Think of a young Rocky Balboa training for an upcoming fight. And the saccharine ending is riddled with predictability.

Saint Ralph (2004) will ruffle no feathers and only appeal to mainstream audiences seeking safe cinema. Most people will not remember it very well.

2019 Films, Comedy, Independent, Independent Comedy

Booksmart-2019

February 17, 2021 scottmet99 Leave a comment

Booksmart-2019

Director Olivia Wilde

Starring Beanie Feldstein, Kaitlyn Dever

Scott’s Review #1,113

Reviewed February 17, 2021

Grade: A-

I usually avoid teenage coming-of-age comedies, or more to the point, being not of that demographic, they are not usually even on my radar.

The only reason I saw Booksmart (2019) is for the Independent Spirit Award it won and the Golden Globe nomination it achieved. Still, I was skeptical of what the appeal of two female teenage bookworms who decide to become party animals would have on me.

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

Director Olivia Wilde, in her very first effort, delivers the goods, believe it or not. She takes a genre told to death and knocks it on its keister, offering a fresh and creative spin on a tried-and-true formula that feels anything but formulaic.

There is diversity, inclusiveness, and heart for miles without the feeling that these add-ons were done intentionally for a modern spin.

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

Molly (Beanie Feldstein) and Amy are forever friends.

The girls study, they giggle, they hang out, and they share their problems, both sexual and otherwise, with each other. The kicker is that Molly is straight and Amy is gay. Amy is happily “out” and nobody gives a damn.

Her parents, played in small but juicy parts by Will Forte and Lisa Kudrow, are hilarious and progressive in their approach to understanding a gay child. They incorrectly assume that Molly and Amy are a couple, which the girls use to their advantage.

Anyway, Amy and Molly are intelligent and look forward to graduation day and attending great schools. Once they realize that their fellow students who, in their minds, slack off and party, are also going off to Ivy League schools, they panic.

They realize they have wasted four years studying and decide to finally let their hair down the night before graduation, intent on attending a popular boy’s (and Molly’s crush) party.

The situations the duo get themselves into are clever and witty, and the most fun in the film. Feldstein and Dever have exceptional chemistry, and I bought them as best friends from the moment of their first scene.

When they have a knock-down, drag-out argument towards the end of the film, it’s acting at its finest, which made me feel proud.

I admire young talent with great acting chops and pride in their craft, and Feldstein and Dever both have it.

Wilde peppers much of the film with hip and trendy pop songs that surprisingly enhance rather than detract from the viewer’s enjoyment. The lyrics match the specific events of the particular scene.

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

The creativity within Booksmart is admirable.

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

Booksmart (2019) is quite R-rated, almost shockingly so, which is not a negative. It’s a positive. Too many films of this ilk try to soften how teenagers speak and the feelings they have, which are usually sexual.

It’s raunchy and not for the younger teen set, but mature audiences will reminisce about their high school days.

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

1997 Films, Animated, Comedy, Disney, Fantasy, Kids

Hercules-1997

February 7, 2021 scottmet99 Leave a comment

Hercules-1997

Director Ron Clements, John Musker

Voices Tate Donovan, James Woods, Danny DeVito

Scott’s Review #1,109

Reviewed February 7, 2021

Grade: B-

Hercules (1997) is a modern-day Walt Disney film that centers on Ancient Greek mythology. The premise is one I find fascinating, and the characters of Hercules, Zeus, Hades, and Pegasus are the focus.

The names alone hold intrigue and appeal, but the film is only an adequate watch.

The product feels “produced” and lacks the authenticity and sincerity that are rich and seamless in beloved Disney classics like Snow White and the Seven Dwarfs (1937) or Bambi (1941).

Besides the initial story intrigue, the animations are nothing particularly special, and it feels too kiddie-like.

It’s like comparing The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band is a historical album, to a latter-day solo effort by Paul McCartney, and that’s being generous.

It may be fine, but it can’t hold a candle to the former.

And “fine” is not what I wanted from a Disney film. That’s what I felt about Hercules. It’s okay and entertaining, but not up to snuff as compared with finer films.

The film is equipped with a fantastic villain, though the best part of Hercules is not the mythological elements. James Woods, who voices the character of Hades, is wonderful, and I’m hardly a James Woods fan, but for other reasons, like his politics.

Anyway, the rivalry and competitive edge of Hercules and Hades are unique and compelling and will hold one’s attention.

It all begins in a perfect Disney way when Hercules (Tate Donovan), a son of the gods, is snatched as a baby by Hades and forced to live among mortals as a half-man, half-god.

When he becomes an adolescent, Hercules must undergo a rite of passage on Earth to prove himself worthy to live with the gods on Mount Olympus.

With his sidekick, Philoctetes (Danny DeVito), in tow, Hercules must learn to use his strength to defeat evil creatures.

The strong message is written in Hercules to appeal to a sense of good overthrowing evil. It’s a Disney film, trust me, it will.

Though predictable, the story feels good in a world where far too often the bad guys get away with bad things and the good guys don’t get enough credit.

Appealing and targeted mostly to kids, the film made a ton of money, which means a lot of kids saw it. A great reminder is that with any luck, truth and honesty will win out. So will remaining true to oneself.

Woods makes Hades a villain with an edge rather than a generic, cookie-cutter type. Hades speaks rapidly, like a used car salesman trying to sell a customer a good deal. We can tell we are being swindled, but there is fun in that.

Megara (Susan Egan), Hercules’ intended love interest, works for Hades, adding a layer of intrigue.

Unfortunately, the romance between Hercules and Meg never gets off the ground or works well. The main issue is that there is little chemistry or romantic potential between the couple.

Meg isn’t my favorite Disney character. She is a sarcastic damsel whom Hercules saves from the centaur Nessus.

After Hercules and the others leave, Meg is revealed to be Hades’ servant, having sold her soul to him to save a lover who then left her. She’s had a tough life and finally does the right thing, but I never felt invested in the character.

The main song from the film is okay, but rather forgettable. The title of “Go the Distance” is a song of determination, but also generic and unmemorable.

The look of the animations has a 1990s vibe, with bright, vibrant colors that feel “of the time” rather than classic or alive.

A decent effort, Hercules (1997) hits its mark sometimes and misses completely at other times.

I was enraptured by the historical and mythological gods and the trappings that go along with that mystique, but the modern spin didn’t work and only made me yearn for the classics from the 1940s and 1950s.

Oscar Nominations: Best Original Song-“Go the Distance”

2001 Films, Action, Comedy, Guy Films, Heist, Vegas

Ocean’s Eleven-2001

January 28, 2021 scottmet99 Leave a comment

Ocean’s Eleven-2001

Director Steven Soderbergh

Starring George Clooney

Scott’s Review #1,105

Reviewed January 28, 2021

Grade: A-

Steven Soderbergh was awarded the Best Director Academy Award for his exceptional direction in Traffic (2000), one of my all-time favorite films.

He follows up that gem with a slick, commercial film that is stylish and looks cool.

It’s fast-paced, with quick editing, and is set in the dangerously appealing world of casinos, as a group of sophisticated thieves attempts to steal $160 million from a casino owner with whom they have a vendetta.

I expected a film of this type to be generic and by-the-numbers, but instead it’s unpredictable and unexpected.

Ocean’s Eleven (2001) is the first (and best) installment of the popular Ocean’s franchise and a remake of the 1960 Rat Pack film of the same name.

George Clooney was in his film prime and led the pack of A-list stars like Brad Pitt, Julia Roberts, and Matt Damon in a packed and brimming two-hour entertainment fest.

A nice touch is inviting two stars from the original, Henry Silva and Angie Dickinson, to appear as themselves.

Clooney leads the charge and embraces his status as a leading man with charm, polish, and style. He plays a handsome Danny Ocean, a man with a plan.

Less than one day into his parole from a New Jersey penitentiary, the thief is already traveling to California to plot his next move with his partner in crime, Rusty (Brad Pitt).

It’s tinged with revenge.

They abide by three rules: Don’t hurt anybody, don’t steal from anyone who doesn’t deserve it, and play the game like you’ve got nothing to lose.

Danny orchestrates his charges to pull off the most sophisticated, elaborate casino heist in history. And it will take place in glitzy Las Vegas on the night of a boxing match.

Providing the rules makes me think fondly of a similar proclamation in David Fincher’s 1999 film Fight Club, where Danny and the gang immediately feel sympathetic to me.

After all, they don’t intend to hurt anyone, and the money stolen will be from folks who are dastardly and might even deserve to be penniless.

Didn’t Jigsaw from the Saw films only kill those who harmed other people? Suddenly, their motives are clear and justified, making them the good guys.

As a bonus, the “victim” of the heist is the unlikable Terry Benedict (Andy Garcia), who owns three casinos and is worth billions.

Making the bad guys the heroes and Benedict the bad guy is clever and situates the players properly, so the audience knows who to root for.

As if the film doesn’t have enough treats, some drama is thrown in. Danny’s ex-wife, Tess (Julia Roberts), is Benedict’s girlfriend. Is she loyal to Danny or Benedict, or might she be playing both sides?

Loyalties are tested and questioned, and the intricate bank heist sequence is titillating and an edge-of-your-seat thrill ride.

The Las Vegas backdrop, with the casino’s bright lights, bells, and other elements, cements Ocean’s Eleven as one of the best in its genre.

It’s also tough not to root for Clooney, Pitt, and Damon in or out of character.

Ted Griffin writes the screenplay and adds some nice characters, more than one-note bank robbers or thieves.

Along with Soderbergh’s direction, which adds the nice atmospheric trimmings like the razzle-dazzle casino scenes, they make a great pair.

I love how Danny and Rusty recruit a team with specialized skills like mechanics, pickpockets, and an electronics and surveillance specialist. There’s even an acrobat!

This seems like an ode to the 1960s television series Mission: Impossible, as the team is carefully selected for their skills.

A highly entertaining popcorn film just perfect for a summer night, Ocean’s Eleven (2001) is sure to satisfy. The intention is to sit back and enjoy what is offered, and all the elements come together perfectly.

The culminating main event boxing match and subsequent twist catapult the film from pure entertainment to something more nuanced and exciting.

The film was a success at the box office and with critics, leading to two Soderbergh-directed sequels and a spin-off with an all-female lead cast, released in 2018.

1994 Films, Comedy, Screwball Comedy

Naked Gun 33 1/3: The Final Insult-1994

January 26, 2021 scottmet99 Leave a comment

Naked Gun 33 1/3: The Final Insult-1994

Director Peter Segal

Starring Leslie Nielsen

Scott’s Review #1,104

Reviewed January 26, 2021

Grade: B-

Despite being the third and final installment in the popular Naked Gun (1988-1994) franchise, Naked Gun 33 1/3: The Final Insult (1994) is my favorite of the trio, despite having a silly title.

The title of “33 1/3” is a reference to the resolutions per minute of an LP playing on a phonograph, a point that has nothing to do with the actual film.

It was also inexplicably decided to omit the “The” from the title, leaving “Naked Gun” instead of “The Naked Gun.”

Why is anyone’s guess? Nor does it matter.

Don’t get me wrong. It’s not a great film, but it’s better than the other two, which is shocking in a spoof/screwball comedy going for the standard gags.

But, as dumb as the film is, it’s also kind of fun and lightweight.

It’s like a needed chuckle that requires little thought after a rough day at the office.

A familiar formula is followed, and this time the events culminate at the glorious Hollywood Oscar celebration, the apple in the eye of all Los Angeles, undoubtedly the main reason this effort is marginally enjoyable.

For unfamiliar viewers, the Naked Gun films are a combination of Airplane! (1980-1982) and the over-exhausted Police Academy (1984-1994) franchises.

The films were out of gas by 1994.

The franchise is based on the short-lived television series Police Squad! (1982), a procedural comedy about bumbling police personnel and the situations they get themselves into to showcase their ineptness.

The Naked Gun 33 1/3: The Final Insult was O.J. Simpson’s final role before he was damned for all eternity for his presumed role in the murder of his wife and her friend in a ritzy area of California.

Leslie Nielsen returns as Frank Drebin, retired and living with his wife Jane (Priscilla Presley).

Bored with life, they experience marital problems and seek counseling. Six months after Frank’s retirement, he is visited by Captain Ed Hocken (George Kennedy) and Officer Nordberg (Simpson), who ask for Frank’s help with an investigation.

Police Squad has caught wind that mischievous bomber Rocco Dillon (Fred Ward), who is currently incarcerated, has been hired by terrorists to conduct a major bombing against the United States.

As Frank tries to keep Jane from discovering that he is dabbling in detective work again, he jokes that he is having an affair to throw her off the scent.

When she begins to suspect he is having an affair, it leads to a silly series of misunderstandings and gags, which, as is always the case in films like this, are naturally wrapped up.

Nielsen is the main draw, and he does what he does best and what makes him the king of spoof films. A serious actor before Airplane!, he became a typecast but had lots of successes ahead of him.

He embraces his role, which adds freshness. He doesn’t take himself so seriously that audiences can sit back and relax and enjoy the entertainment.

The lavish awards ceremony and the ingenious idea of planting the bomb within the coveted Best Picture Oscar-sealed envelope are delicious, especially when the bomb is set to detonate when the card is pulled from the envelope, and the winner is crowned.

This creates a good sense of suspense as the award show moves toward the big finale.

George Kennedy has little to do, but it’s the inclusion of stars like Vanna White, Weird Al Yankovic, and Pia Zadora that add zest to the production.

Director Peter Segal, famous for lightweight comedies with heart, is wise to keep the running time at a quick one hour and twenty-two minutes. If longer, any momentum the film musters would have disintegrated.

This was his feature-length directorial debut.

The Naked Gun 33 1/3: The Final Insult (1994) may be the best of the trio, but that says little, given it’s based on funnier, fresher endeavors.

I champion the early Police Academy films for a needed dose of police incompetence and hilarity done up in a fun way. If one must watch a Naked Gun film and is partial to the Academy Awards, this one is begrudgingly suggested.

2020 Films, Comedy, Favorite Film of the Year, LGBTQ+ Comedy, LGBTQ+ Films, Musical, Musical Comedy

The Prom-2020

January 17, 2021 scottmet99 Leave a comment

The Prom-2020

Director Ryan Murphy

Starring Meryl Streep, James Corden, Nicole Kidman

Scott’s Review #1,101

Reviewed January 17, 2021

Grade: A

Hollywood legends Meryl Streep and Nicole Kidman take on singing and dancing roles in the lovely and timely film, The Prom (2020).

James Corden joins them in a prominent role in a musical based on the popular and recent Broadway production of the same name.

The LGBTQ+ storyline is important and influential, but doesn’t overshadow the fun. The message is perfectly incorporated in the delicious comedy romp.

The Prom reminds me of John Waters’ Hairspray from 1988 or even the fun remake from 2007. Instead of racism, the topic is now homophobia, with a few characters rebuffing the lifestyle.

Most of the performances are over-the-top, but the film works on all levels. The one-liners are crackling and polished, especially by Streep and Corden.

Director Ryan Murphy has become a favorite of mine for creating both extremely dark and light-hearted projects alike that usually slant towards LGBTQ+ recognition and inclusion.

His treasured FX series American Horror Story (2011-present) and miniseries The Assassination of Gianni Versace: American Crime Story are excellent examples of this.

I drool with anticipation over what his next offering might be.

High school student, Emma Nolan (Jo Ellen Pellman), wants to bring a female date to the upcoming prom. Chaos has erupted after the head of the PTA (Parent-Teacher Association), Mrs. Green (Kerry Washington), has canceled the prom.

The setting is Indiana, where same-sex couples face conflicts with the town’s traditional beliefs and values. Little does she know that her daughter, Alyssa (Ariana DeBose), is Emma’s secret girlfriend. The school principal, Tom Hawkins (Keegan-Michael Key), supports Emma and has leaked the story to social media outlets.

Meanwhile, in sophisticated New York City, snooty broadway stars Dee Dee Allen (Streep), Barry Glickman (Corden) are devastated when their new musical flops.

They join forces with struggling performers Angie Dickinson (Kidman) and Trent Oliver (Andrew Rannells) and take a bus trip with the cast of Godspell to champion Emma’s cause and drum up sympathy from their fans and critics.

The rest of the film, as one might expect, features bursts of song and dance, teaching the stuffy residents of small-town Indiana to accept and even embrace Emma and her LGBTQ+ brethren.

Amid a flurry of misunderstandings, mainly between newly dating Tom and Dee Dee, Emma and Alyssa, and Alyssa and her mother, a lavish prom is funded for the town, high school students, straight and gay, to flock to and co-mingle in unity.

While The Prom (2020) is sheer fantasy and real life doesn’t usually work out so perfectly, the sentiment is meaningful, and the film takes a progressive stance.

2007 Films, Comedy, Musical, Musical Comedy, Romantic Comedy, Social Issues

Hairspray-2007

December 28, 2020 scottmet99 Leave a comment

Hairspray-2007

Director Adam Shankman

Starring Nikki Blonsky, John Travolta

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), runs the television station and thwarts Tracy’s efforts, fueling 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 focuses 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 such as anti-racism, integration, and being true to oneself, which are central themes of the film, along with the merry songs.

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

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

2003 Films, Comedy, Independent, Independent Comedy

Calendar Girls-2003

December 11, 2020 scottmet99 Leave a comment

Calendar Girls-2003

Director Nigel Cole

Starring Helen Mirren, Julie Walters

Scott’s Review #1,090

Reviewed December 11, 2020

Grade: B+

A clever female version of The Full Monty (1997), the middle-aged, bordering on senior-citizen characters, nudity comparisons notwithstanding, Calendar Girls (2003) has standard similarities.

The film is a light-hearted affair, charming and fun, with positive and inspiring messages about friendship and helping with cancer research.

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

That said, it’s hardly high drama or material that requires much thought or dissection. I’d wager to say you only need to see it once.

There lies a situational or clichéd theme as the women face the predictable, awkward moments, but the film entertains in style.

Calendar Girls is based on a true story, adding merit, appreciation, and an endearing quality. It’s a feel-good film if there ever was one, which is just fine in this case.

The film was a box-office smash, and why not? It’s a comically robust experience.

A likable group of “women of a certain age” conspires to launch a calendar that showcases their best assets for all to see.

Before this sounds too scandalous or corny, the ladies do it for a good cause and not for any titillating pleasure.

The women are British and, while attractive, are average-looking gals with womanly figures. These tidbits lead to humorous and embarrassing situations, as some of the women are more modest than others, especially in the conservative, crusty town they live in.

This causes shock among the prudish townspeople.

Chris (Helen Mirren) and Annie (Julie Walters) are best friends. When Annie’s husband dies of leukemia, they conjure up the idea of creating a nude calendar, where women pose while doing traditional duties like baking and knitting. The proceeds will go to research for the deadly disease.

Unexpectedly, Chris and Annie, along with others from the Women’s Institute, of which they are members, achieved worldwide success and were even invited to Los Angeles to appear on The Tonight Show Starring Jay Leno.

The women clash over their success and differing life paths before reconciling and deciding that their ordinary lives aren’t so bad. They happily resume their nice lives away from the spotlight.

The comparisons to The Full Monty (1997) must be mentioned because they are obvious. Whereas the men in The Full Monty strip on stage, the women prefer more modesty, nestled behind calendars for safety, but both groups hail from the English countryside and are regular folk.

Since nudity is the word of the day, both groups possess average bodies and champion worthy causes. Like it or not, this setup produces giggles.

The “calendar girls” are a relatable group that is a marketing genius, and allows the film to achieve much merit. Who would care if a bunch of supermodels posed nude while baking cookies?

No, the everywoman factor is sky-high, allowing the film to be appreciated and savored.

Because Mirren and Walters, two respected British actresses, appear in Calendar Girls, the film has added respectability.

After all, would either choose a project less than credible? The obvious answer is they make the film better than it might have been. Penelope Wilton does too.

There is a classiness the ladies bring that lets us sink into our theater seats and revel in the good-natured comedy, assuring ourselves we are seeing something of quality, too.

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

1986 Films, Comedy

Back to School-1986

December 7, 2020 scottmet99 Leave a comment

Back to School-1986

Director Alan Metter

Starring Rodney Dangerfield, Sally Kellerman

Scott’s Review #1,089

Reviewed December 7, 2020

Grade: B

Back to School (1986) is a formulaic, mid-1980s comedy featuring obnoxiously loud funnyman, Rodney Dangerfield, the comedian you may love to hate.

On paper, this film might have been a train wreck, but some proper pacing and good casting save it from being classified as a drivel. Let’s be clear- it’s not great filmmaking, but it serves a purpose- to amuse and delight.

A vehicle for Dangerfield with a character mirroring his real personality, the film works. With a brisk one hour and thirty-six minutes, the film sticks to the script, not wasting time getting its point across, nor pretending to be some serious film with a clever message.

No, there is little special or inventive about the film, but it’s light, entertaining fun.

The premise, a middle-aged man who returns to college and tries to persevere, is a setup rife with standard situations and comedic moments.

Director Alan Metter, known for gag films, one of his most notable, and the big studio Orion, takes full advantage of the task at hand. They provide a mainstream summer popcorn-flick approach.

Presumably, the story was conjured up by a group tasked with crafting an appropriate story for Dangerfield, and they succeeded.

The film delivers what it sets out to.

This might be a nice, nostalgic watch for parents and soon-to-be college-bound kids to watch together.

Thornton Melon (Dangerfield) is a wealthy corporate tycoon who wants his son, Jason (Keith Gordon), to get the college education that Thornton was unable to receive.

While enrolled in college, Jason is unhappy and ready to quit. Thornton decides to enroll in the same college, determined to achieve his respect.

Jason tries to fit in with his peers, while Thornton falls in love with his literature professor, the sophisticated Dr. Diane Turner (Sally Kellerman), and feuds with the college dean, David Martin (Ned Beatty).

Predictably, Thornton is hardly the college type, so he pays others to write his papers for him, which is all the fuel that the dean needs to ruin him.

He also attends parties and raucous events, preferring these to study groups. Thornton is eventually found out and forced to pass an exam to prove himself.

A more straight-ahead approach would have been to make Thornton an unsuccessful man, thereby making his need to return to school more important and his son’s desire to obtain a college education more powerful, but this might have made Back to School too serious a film.

We can ponder why Thornton joining Jason in college will do anything but alienate the kid, and we can ask ourselves why Jason is bullied by the swim team. He is a nice, likable kid, and students aren’t typically bullied in college- this is more a junior high or high school torture.

There’s also little reason Diane would have a romantic interest in Thornton, and clichéd characters like the dean and Thornton’s bitchy ex-wife, Vanessa (Adrienne Barbeau), surface along the way.

But, Back to School isn’t a film to be overanalyzed either.

On the positive side, the chemistry between Dangerfield and Kellerman is a nice addition, not as forced as it might have been. They flow through their scenes with a light-hearted innocence.

The father-son relationship is a success. Gordon’s brooding nature counterbalances Dangerfield’s over-the-top nature, so they have different personalities.

I’m not sure Back to School (1986) has the legs to be remembered very well. Too similar to other successful comedies of the late 1970s and early 1980s, like Porky’s (1981) or Animal House (1978), it struggles to stand out and is for fans of Dangerfield only.

Perhaps served up as an opening act to the better and much funnier Caddyshack (1980), one of the best genre films of the decade.

1980 Films, Adventure, Airplanes, Comedy, Screwball Comedy

Airplane!-1980

December 2, 2020 scottmet99 Leave a comment

Airplane! -1980

Directors Jim Abrahams, David Zucker, Jerry Zucker

Starring Robert Hays, Julie Hagerty

Scott’s Review #1,087

Reviewed December 2, 2020

Grade: A-

Airplane! (1980) is a landmark film in the spoof genre, leading the pack in the decade of silly (the 1980s), where films of this ilk and dumb comedies, in general, became a dime a dozen, oversaturating the market.

While the film is unabashedly brainless, with gags for miles, the jokes work, and the tasteless humor delivers plenty of belly laughs.

Better yet, Airplane! never ages, holding up incredibly well long after its initial release. It’s perfect for a Saturday late-night watch, or when you need cheering up.

It’s in my Top 10 comedies.

When it was originally released, the timing was perfect to spoof the aging world of disaster films.

I refuse to believe Jim Abraham and the Zucker brothers had malcontent on their minds, since they created a friendly, benevolent yarn that’s perfectly timed.

Good comedy is tough to find, but this film gets it right. The monotone dialogue, delivered with a straight face, makes the hysterics genuine and palpable.

Not unfairly, it is to say that Airplane! is to disaster films what Mary Hartman, Mary Hartman was to daytime soap operas—a celebration and a clever wink to each, infusing much-needed light-hearted appreciation.

It’s fun to rewatch Airport (1970) and Airport ’75 with fresh eyes and a new perspective alongside this film.

Ted Striker (Robert Hays) is an ex-fighter pilot traumatized by the war, now working as a taxi driver. He is terrified of flying despite his previous occupation.

His girlfriend, Elaine (Julie Haggerty), conveniently a flight attendant, dumps him just before her flight from Los Angeles to Chicago.

Naturally, Ted throws caution to the wind and boards the flight, hoping to reconcile.

When several of the passengers and flight crew succumb to food poisoning, an inflatable named Otto must steer the plane toward Chicago.

The crew convinces Ted to muster the courage to land the plane safely because Otto can’t, and he must conquer his fear of flying. A perilous yet comical landing ensues, and Ted and Elaine happily reunite.

The plot is a direct steal from Airport ’75 when poor Karen Black’s flight attendant character is famously instructed how to land the aircraft.

Until, in a sexist fashion, the men arrive to take control and send her back to serve coffee. This is intentional and spot-on, showing the ridiculous nature of that plot point.

The gags are legendary; the “Surely you can’t be serious,” “I am serious…and don’t call me Shirley” exchange is the most famous one, always providing a laugh.

The effortless dialogue, as inane as it is, somehow works exceptionally well and combines brilliantly with the pacing and delivery.

It’s like a long and wonderful episode of television’s Saturday Night Live.

The chemistry between Ted and Elaine is very strong, making the audience root for their eventual reconciliation, though it’s obvious they will ride off into the proverbial sunset together.

Actors Hays and Hagerty deserve tremendous praise for bringing the characters to life so well. Also of note are the efforts of Leslie Nielsen and Peter Graves as Doctor Rumack and Captain Oveur, respectively.

Nielsen would subsequently become famous for spoof films, none of them as good as Airplane!

I’ll never profess to be a slapstick person, but Airplane! (1980) is one that I embrace, undoubtedly because of my love for disaster films and fondness for airplanes.

Sit back, relax, and enjoy the zany ride this satirical, very funny film offers.

Golden Globe Nominations: Best Picture- Comedy or Musical

1974 Films, Comedy, Drama, Romantic Comedy, Romantic Drama

Alice Doesn’t Live Here Anymore-1974

October 27, 2020 scottmet99 Leave a comment

Alice Doesn’t Live Here Anymore-1974

Director Martin Scorsese

Starring Ellen Burstyn

Scott’s Review #1,075

Reviewed October 27, 2020

Grade: A-

Deserving of the Best Actress statuette she won for her role, Ellen Burstyn carries the film Alice Doesn’t Live Here Anymore (1974) from start to finish with drama and comedy.

I can’t watch any performance of Burstyn’s without smarting that she lost the same award years later, after her frighteningly good performance in Requiem for a Dream (2000).

She lost to Julia Roberts, who delivered an adequate, though unexceptional, performance in Erin Brockovich (2000).

But, I digress.

A character study, Alice Doesn’t Live Here Anymore, tells the powerful story of a woman (Burstyn) forced to begin a new life and forge her path after her husband is killed in a car accident.

She is thirty-five years old and wary of the approaching middle age as she pursues a singing career.

She is joined by her young son, Tommy (Alfred Lutter), and faces fear and loneliness as they embark on a journey through the southwestern United States.

She dates, fights, and does a soul search, finally landing a job as a waitress at a roadside diner.

On paper, this film could have been reduced to a TV movie, since the premise sounds kind of corny and sentimental.

Shocking to me is that Martin Scorsese directed it. Best known for male-driven mobster pictures like Goodfellas (1993), Gangs of New York (2002), and The Irishman (2019), Martin Scorsese’s introspective female-journey film doesn’t seem like his thing.

A fun fact is that he agreed to direct at Burstyn’s urging, since she wouldn’t have starred otherwise. The actress surmised that the script needed more darkness and grit, which it contains without losing its heart.

A strange yet lovely photographed scene kicks off the picture and seems to be an homage to The Wizard of Oz (1939). With a dusty, golden backdrop, a young Alice looks like Dorothy with an idyllic life.

Suddenly, Alice’s mother bellows for her to come home for dinner. She responds with salty language. The scene feels out of place compared to the rest of the film, but it still looks good.

Burstyn made me care about Alice from the first scene featuring adult Alice. Alice is a good person. She is hard-working and strives to please her husband, hoping he will enjoy the delicious dinner she has prepared for him.

He barely grunts at the meal and has a tumultuous relationship with Tommy, whom Alice spoils.

This plot point returns later in the film.

Alice is not a doormat; however, she provides humor and comic relief during tense moments. She also shares a warm friendship with her neighbor. We do not know what the husband’s demons are (depression?).

He and Alice share an emotional moment in bed one night before he dies the next day.

With her marriage behind her and limited financial means, Alice and Tommy take to the road. I adore their relationship. Tommy isn’t always easy to parent, and he exhausts his mother with typical young-adult nonsense.

It’s easy to forget that he has lost his father and has no direction. Their relationship is complicated, but it’s full of love.

The juiciness comes when Alice finally lands a singing gig at a seedy lounge bar and meets the maniacal Ben, played flawlessly by Harvey Keitel.

At first, he is charming and attentive, wooing her like she’s never been wooed before. When she learns he is married, he turns psycho, and she is forced to leave town.

The meat of the film comes when Alice begins working at the diner and meets her new friend, Flo (Diane Ladd), and her new love, David (Kris Kristofferson). After some trials and tribulations, Alice realizes her life is not so bad.

As much as there are dramatic elements, Alice Doesn’t Live Here Anymore is not a soap opera or overwrought. The scenes and situations bristle with energy and authenticity, thanks to the great acting and fluid direction.

My favorite scenes occur at the diner. With greasy blue-plate specials and dishes piled with ham, eggs, and hash browns, the working-class extras are perfectly positioned around the diner.

In the background, they create a sense of rush, chaos, and family tradition. The diner scenes are where Alice bonds the most with Flo and David, and they are delicious.

Alice Doesn’t Live Here Anymore (1974), a lighter, wholesome production, was turned into a popular television sitcom in the late 1970s, titled Alice.

It’s a progressive story about a woman on her own, getting it done, and mustering the courage to face whatever life throws at her.

It’s an inspiring story for both women and men.

Oscar Nominations: 1 win-Best Actress-Ellen Burstyn (won), Best Supporting Actress-Diane Ladd, Best Original Screenplay

Golden Globe Nominations: Best Actress- Drama- Ellen Burstyn, Best Supporting Actress-Diane Ladd

1985 Films, Comedy, Dark Comedy, Independent, Independent Comedy, New York City

After Hours-1985

October 9, 2020 scottmet99 Leave a comment

After Hours-1985

Director Martin Scorsese

Starring Griffin Dunne

Scott’s Review #1,069

Reviewed October 9, 2020

Grade: A-

After Hours (1985) is a gem of a film.

When thoughts of director Martin Scorsese are conjured, Taxi Driver (1976), Raging Bull (1980), and Goodfellas (1993) immediately spring to mind.

Scorsese’s decision to create a pared-down independent film was met with enormous success and accolades for the very first Best Feature indie film victory and Best Director honors.

The experience is a black comedy set in the gritty, unpredictable underbelly of Soho, New York City, in the 1980s.

Mixing comedy with satire, Scorsese leaps from the similar content of The King of Comedy (1983) to this film made only two years later.

Any fan of New York City will cheer at the authenticity of shooting the film on location.

The Big Apple in the 1980s was a notoriously violent cesspool, so the genuine setting, along with the dark streets and alleys, is an immeasurable treat and adds zest to this unusual film.

A nice guy, Paul Hackett (Griffin Dunne), works hard as a computer data entry worker by day and shares an encounter with a quirky young woman named Marcy Franklin (Rosanna Arquette) in a Manhattan coffee shop.

After she gives him her number and leaves, he can’t stop thinking about her and embarks on a late-night adventure to see her at her apartment.

The night does not end how he thinks it will, not by a long shot, as he spends the rest of the long night meeting various women and other strange characters as he traverses around the city attempting to get back home. He has lost his money and is broke.

After Hours’ strengths are its bizarre characters and cinematography that offers a tantalizing view of downtown Manhattan.

The film is atmospheric and zany, with gloomy, steamy side streets and odd locales sprinkled with color.

A dingy bar, a sophisticated artist’s apartment, and a man sculpture that follows Paul everywhere are usurped by the film’s strangest and most interesting set, Club Berlin, an “after-hours” club inhabited by punks who want to shave Paul’s head into a mohawk.

I enjoyed this film as a sort of “A Day in the Life of Paul” adventure story, albeit a gothic one.

The film concludes wonderfully as the sun begins to rise, and thus Paul’s wild night finally ends.

I was chomping at the bit with the thought of what a new morning would bring and the possibilities of reuniting with any of the women he encountered the night before, either dead or alive.

Particularly charming to me while watching After Hours, the decade of decadence long past, are the relics that were once commonplace in everyday life. A phone booth, the traditional yellow cabs, and desktop personal computers are heavily featured.

These items, relevant when the film was made, now feel like throwback niceties that make the film endearing, like a glimpse into someone’s time capsule.

I didn’t pick up on much authentic romance between Paul and any of the female characters, Marcy, June, Gail (Catherine O’Hara), or Julie (Teri Garr), but maybe that’s the point. While one winds up dead, not one, but two of them pursue him, and not in a good way.

The film is mystical, weird, and energetic. Cheech & Chong’s inclusion only adds to the revelry.

Sadly, underappreciated and too often forgotten, After Hours (1985) is a Scorsese treat worth dusting off now and then.

This film helped launch the Independent Spirit Awards, which owes much of its success to a, and the admiration works both ways.

For a glimpse of the creative genius that is Martin Scorsese, this film earns an enthusiastic recommendation.

Golden Globe Nominations: Best Actor-Comedy or Musical-Griffin Dunne

Independent Spirit Award Nominations: 2 wins-Best Feature (won), Best Director-Martin Scorsese (won), Best Female Lead-Rosanna Arquette, Best Screenplay, Best Cinematography

1987 Films, Comedy

Adventures in Babysitting-1987

October 5, 2020 scottmet99 Leave a comment

Adventures in Babysitting-1987

Director Chris Columbus

Starring Elisabeth Shue

Scott’s Review #1,067

Reviewed October 5, 2020

Grade: B

Swimming in the myriad of teen comedies that were all the rage in the 1980s, a few good, most bad, Adventures in Babysitting (1987) is one of the “okay” ones.

It’s lightweight, yet fun.

I like the female-centered character who drives the story, likable, and personable, but also strong and bold, capable of handling tough situations without the saving hands of a man.

The antics throughout Chicago are also a major draw, as I loved seeing the city’s landscape and sights. The film is formulaic but works better than most.

The premise is quite far-fetched, bordering on the absurd, and masks no reality whatsoever.

The plot points are gimmicky, silly, predictable, and filled with urban, inner-city stereotypes, playing on the timely feeling of terror at the thought of being lost and in danger amid a major city.

The reality of this decade was of crime-ridden United States cities, and the idea is brilliant for a mostly suburban audience safely nestled in their homes away from any real trouble.

They can securely escape to the cinema where pretend danger awaits.

Elisabeth Shue, a near-novice fresh off her debut film role in The Karate Kid (1984), takes center stage as the cool, pretty girl who is everyone’s best friend, not the least bit snobby.

She plays Chris Parker, the fresh-faced, perky, seventeen-year-old high school senior, who is ditched by her boyfriend on their anniversary and is convinced by her mother to spend the evening babysitting the two Anderson kids, Brad (Keith Coogan) and Sara (Maia Brewton).

Naturally, trouble ensues, and a planned dull evening of popcorn and a movie goes awry.

The gags must not be taken seriously.

Beginning in the friendliness of Oak Park, Illinois, the action quickly spells out danger as a dirty, downtown bus station becomes the next set.

Teenagers and youngsters being left alone in a metropolis is most parents’ worst nightmare, and the film uses this angle to create one perilous situation after another.

The gang even dangles from a skyscraper!

Adventures in Babysitting is director Chris Columbus’s first film and a worthy debut. Soon to hit the big time with the Home Alone film and its sequel (1990-1992), it’s easy to see how those films are patterned after Adventures. The tone is similar, and the antics of a young adult are explored.

Columbus then moved to success with Mrs. Doubtfire (1993) before taking on the Harry Potter films. So, he adopts stories with a youthful or a young person’s point of view.

While watching Adventures in Babysitting, the viewer needs to suspend all disbelief and just go with the experience for the enjoyment.

I vividly recall seeing this film in a theater on a hot summer night with popcorn and soda in tow, eager for a nice, light-hearted experience.

This film delivered then and still does.

The best part is watching Chris and the gang drive a station wagon through downtown Chicago. Could this particular car be any more obvious a symbol of the ‘burbs? Does anyone in a city ever drive a station wagon? The image conjures up a boatload of kids, the shopping mall, and McDonald’s.

Chris is so out of place in the city and the situations so preposterous that we should be annoyed by the hijinks.

But, somehow, the film works!

Of course, the film is riddled with banalities like car thieves, gangs, a dirty blues club, and as many criminals as one can imagine.

For viewers aching for a carefree trip down memory lane, 1980s style, the typical bunch of offerings from John Hughes- the trio of Sixteen Candles (1984), The Breakfast Club (1985), and Pretty in Pink (1986) usually come to mind first.

But let’s not forget a fine and fun film, Adventures in Babysitting (1987), with a subtle message about a young woman taking charge and control, albeit with every other stereotype in the book glaringly on display.

Enjoy the ride.

2009 Films, Comedy, Drama, Independent, Independent Comedy, Romantic Comedy, Romantic Drama

Adventureland-2009

October 1, 2020 scottmet99 Leave a comment

Adventureland-2009

Director Greg Mottola

Starring Jesse Eisenberg, Kristen Stewart

Scott’s Review #1,066

Reviewed October 1, 2020

Grade: B-

Adventureland (2009) is a cute film.

That may seem like a compliment, but it’s not. There is nothing wrong with this film, but it’s a rather safe experience.

In a word, it is fine, nothing more, nothing less.

It plays like a romantic comedy and is mixed with a coming-of-age theme about two young adults merging from kids to adulthood.

It’s a story that most of us can appreciate, though it’s been done too many times in cinema for this film to do much more with.

However, the selling point is the excellent acting.

The theme park (aka Adventureland) and the nostalgic 1980s time is a nice touch, though it feels like a 2009 film with the actors fitted into retro costumes and hairstyles.

Greg Mottola directed Superbad in 2007, so you can see the influence. He has a knack for directing films with a light comedic touch that will appeal to young adults going through some angst or young, blossoming feelings of love.

The stars of the film, Jesse Eisenberg and Kristen Stewart, terrific actors in their own regard, have little chemistry together, and that weakens the picture.

They are helped immensely by a talented supporting cast, who pick up the slack and improve the film. Bill Hader, Kristen Wiig, Wendie Malick, and Ryan Reynolds give a comic boost to the events.

Unfortunately, despite positive trimmings, the film feels like your standard, everyday, independent comedy with little left to separate it from other contemporaries.

It just has big stars.

Likable James Brennan (Eisenberg) anticipates a fabulous trip to Europe after graduating from Oberlin College, having earned it for his achievements.

Unfortunately, his parents Mr. and Mrs. Brennan (Jack Gilpin and Malick) break the bad news to him. They are in dire financial straits and can no longer support him. He must get a part-time job immediately.

The disappointing news disappointed me as well. I was savoring a nice adventure in London, Paris, and Rome.

Sadly, the rest of the film takes place in an amusement park in Pennsylvania.

Predictably, Mottola, who wrote the screenplay as well, offers banal and stereotypical characters such as Mike Connell (Reynolds), the resident mechanic, who is a rival for the affections of Em (Stewart), James’s love interest.

Thrown into the mix are various characters who are a bitch, a sarcastic college student, and a nerd. And, for good measure, James is a virgin. Naturally.

The film nosedives with some slapstick humor and misunderstandings worthy of American Pie (1999).

When Adventureland was made, Eisenberg was on the brink of breaking out into a fantastic role in The Social Network (2010) that garnered him an Oscar nomination and credibility.

Stewart, meanwhile, was in the middle of her Twilight (2008-2012) years, which made her a household name but was undoubtedly creatively very unfulfilling.

This film is a reminder that actors need to work and make the best of the material they are given.

Truth be told, the main attraction of watching Adventureland is to sit back and admire what was to become of Stewart and Eisenberg. Since the film’s release in 2009, they have traversed meatier and better projects.

Eisenberg has a Tom Hanks or James Stewart-like likability. He is someone to whom the average young male can relate, and the problems that James must face could easily be challenges the viewer might also have.

In the case of Stewart, what a star this girl is with the right roles. Since 2012, she has declined roles in big-budget films in favor of independent productions for the next few years.

She took on a terrific supporting role in the drama Still Alice (2014) as a troubled daughter. Still young, the future looks very bright for the talented actress.

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

2002 Films, Comedy, Drama, Independent, Independent Comedy, Independent Drama, Los Angeles, New York City

Adaptation-2002

September 24, 2020 scottmet99 Leave a comment

Adaptation-2002

Director Spike Jonze

Starring Nicolas Cage, Meryl Streep, Chris Cooper

Scott’s Review #1,064

Reviewed September 24, 2020

Grade: B+

Adaptation (2002) is a kooky film recommended for all writers or lovers of the written word, especially those who have ever suffered from writer’s block.

The film is wonderful for people who are either curious about or obsessed with (me!) how a novel is turned into a screenplay.

With an A-list cast featuring Nicolas Cage and Meryl Streep, the offering is credible and not just a bumbling indie experiment on a shoestring budget.

Stars must get paid, which allows the film a mainstream audience, and awards.

The film will be too weird for some.

There is a measure of conceit and self-indulgence (it’s set in Los Angeles after all!) that is sometimes off-putting, but I adored the premise too much and chomped at the bit at what I was offered.

It’s quite non-linear, and the characters sometimes do things that are weird or out of turn.

Adaptation is different (in a good way) and is recommended for its oddness, as I cannot think of another film like it, though Being John Malkovich (1999) would be close.

Director Spike Jonze would later create Her (2013) and, of course, directed Malkovich too.

Charlie Kaufman wrote the screenplay, and the central character is Charlie Kaufman, played by Cage, who also plays Kaufman’s brother Donald, a mooch. Charlie is self-loathing and disheveled but somehow likable.

He struggles mightily to bring words into his head as he nervously sits at his typewriter day after day when he is tasked to adapt the novel, The Orchid Thief, into a film.

The novel’s author, Susan Orlean, played by Meryl Streep, intimidates Charlie, who decides to pay her a visit to New York City.

This film features the best work of Cage’s career. An actor who is “not for everybody”, the performance rivals that of Leaving Las Vegas (1995), in which he won an Academy Award.

A dual role is tough to play, but the actor does so with bombast and confidence, making the characters very different from each other and making me forget they were Cage.

Too often sinking to inferior action films like Face/Off (1997) or Con Air (1997), the actor wisely had an epiphany or something and made a wise decision. Cage does best when he goes for wacky- Raising Arizona (1987) is proof of that.

The supporting players, specifically Streep and Cooper, are fantastic. Streep could fart through a film and still give a great performance, and you can tell she enjoys the part of Susan, which allows her to let loose.

Her character loves sex and drugs and is not above devious shenanigans to get her way.

Cooper, who won the Oscar, is delicious as John Laroche, a theatrical character with missing front teeth who is Susan’s secret lover.

Both provide great entertainment.

Adaptation simply feels good for a thought-provoking writer providing oodles of “writer things” to ponder and discuss with friends after the credits roll.

Many scenes are rich with layered dialogue and rife with originality, making the words sparkle with pizzazz.

And there are enough twists and turns to keep viewers guessing.

One of the most original and kooky films you will ever see, Adaptation (2002) pairs well with Being John Malkovich (1999) for an evening of the odd and absurd, but also films not altogether hard to follow.

The satirical Hollywood theme will both please and annoy, but it’s all good fun and a lesson in creative art cinema.

Oscar Nominations: 1 win-Best Actor-Nicholas Cage, Best Supporting Actor-Chris Cooper (won), Best Supporting Actress-Meryl Streep, Best Adapted Screenplay

2002 Films, Comedy, Drama, Independent, Independent Comedy, Independent Drama

About Schmidt-2002

August 18, 2020 scottmet99 Leave a comment

About Schmidt-2002

Director Alexander Payne

Starring Jack Nicholson

Scott’s Review #1,054

Reviewed August 18, 2020

Grade: A-

Anyone familiar with the works of director Alexander Payne knows he is notorious for crafting pictures with wry humor and dark sarcasm, all mixed with emotion.

Election-1999, Sideways-2004, and The Descendants-2011 immediately spring to mind.

Interestingly, several of his projects are set in Omaha, Nebraska, not exactly a hotbed of excitement, but there is a reason for this- he embraces every man.

Payne also has a knack for casting big stars, sometimes before they are big stars, giving them meaty and clever roles to sink their teeth into.

With About Schmidt (2002), he hits the jackpot and obtains the legendary Jack Nicholson, an actor famous for turning down many roles that simply aren’t good.

This already bodes well for the film, which spotlights an older character and plants the spotlight firmly on him, admirable in youth-obsessed Hollywood.

The film is very good, sometimes adding stock characters, but it is an admirable, worthwhile effort with surprisingly strong emotion and sentimentality.

The result was both a critical and commercial success and is highly recommended.

The film kicks off showing Walter Schmidt (Nicholson) staring at the clock in his office, day after day, counting the minutes until his shift concludes and he goes home for dinner.

He has a dull job as an actuary at a life insurance company.

Finally, one day, he retires and, feeling useless, sponsors an African child, and the two become quick pen pals. Suddenly, Walter’s wife, Helen (June Squibb), dies as they are about to embark on a cross-country trip in their Winnebago.

Devastated, he finally goes it alone.

About Schmidt is a film that evokes many emotions: happiness, anger, and sadness.

Walter is a lonely, unhappy man in a loveless marriage with Helen, though he doesn’t have the heart to tell her. She’s a nice lady, but the honeymoon ended years ago, and the spark has dulled.

At the same time, he has a tough time coping with her death and can barely cook, clean, or do laundry. He uncovers a secret about his wife that both sends his life into a free fall and inspires him to summon the nerve to live a little.

Walter is a great character and exhibits the traits of many, many men. He is someone for audiences (especially males) to relate to and fall in love with.

Bored with life, he is used to doing the same thing every day, no doubt eating the same meals, going to bed at the same time each night, etc.

Helen dictates what he does, reducing him to urinating and sitting down. Audiences will champion his reemergence to the land of the living! The fun is witnessing his escapades.

A hilarious sequence erupts when he meets the vivacious Roberta Hertzel (Kathy Bates). She is the mother of Walter’s daughter, Jeannie’s (Hope Davis) intended, Randall (Dermot Mulroney), and has a voracious sexual appetite.

She immediately sets her sights on Walter and attempts to seduce the unwitting man in her hot tub. Bates is terrific in the role, and her nude scene is something to remember.

Major props to the actress for letting it all hang out!

The characters of Jeannie and Randall are not written especially well, and I was not a fan at all. They are “types” meant to complicate the plot or affect other characters in some way.

Actors Davis and Mulroney do their best with what they are provided, but they are meant to be obstacles for Walter to overcome. He loves his daughter and doesn’t want to see her marry a jerk.

Jeannie is angry because her life hasn’t turned out the way she wanted, so she takes it out on Walter.

I did not buy or bond with Jeannie or Randall the way I did with Walter and Roberta.

Nicholson’s performance is one of the best of his career and the most multifaceted.

The final scene, when he returns home to find a note from his pen pal with a sentimental crayon drawing, is electric with emotion, feeling authentic, and is a pivotal breakthrough for Walter.

The character runs the course from submissive and lost to emboldened and strong. It’s a joy to watch his progression.

I love how Payne frequently celebrates and showcases older characters who are more than providers of advice, good listeners, or some other watered-down stock characters.

They have their own stories and enriched, meaningful lives.

About Schmidt (2002) has it all and is one of Payne’s top films, deservedly showcasing this generation in cinema.

Oscar Nominations: Best Actor-Jack Nicholson, Best Supporting Actress-Kathy Bates

2019 Films, Comedy, Dark Comedy, Horror, Horror-Comedy

Ready or Not-2019

July 16, 2020 scottmet99 Leave a comment

Ready or Not-2019

Director Tyler Gillett, Matt Bettinelli-Olpin

Starring Samara Weaving, Adam Brody

Scott’s Review #1,040

Reviewed July 16, 2020

Grade: B+

A hybrid of dark comedy, horror, and whodunit, Ready or Not (2019) is a splatter of a good time.

Witty and macabre, the film is patterned after Knives Out (2019), Clue (1985), and the television series Riverdale, with a dash of Kill Bill Volume 1 and 2 (2003-2004) peppered in for good measure.

The results are fantastic, gory, and fun, and the pacing is on point. The best aspect is the unpredictability factor, as the conclusion cannot be drawn, and the audience willingly plunges along for a thrilling ride, eager to see what happens next.

The film begins with a mysterious flashback.

A young boy living in a vast mansion is confronted by an injured man begging for help. The boy cries out for his family, who shoots the man dead.

Decades later, happier events transpire as Alex (Mark O’Brien) and Grace (Samara Weaving) enjoy a lavish wedding at the Le Domas family estate.

Alex’s family is extremely wealthy, and he asks Grace if she is certain she wants to join the family. Why wouldn’t she welcome a life of pampering and all the money she can imagine? She readily tells Alex that, yes, she is sure she wants to marry him.

After the wedding, Alex and Grace are summoned by the family to partake in a game, a family tradition. Grace will choose a card, and everyone will play that game.

When Grace chooses the Hide-and-Seek card, the reactions are morose. When she gleefully trots off at midnight to hide, she assumes it is an innocent game.

She quickly realizes that the family is determined to kill her as part of an ancient legend involving a deal to keep the family money secure. Grace spends the night being pursued by members of the family while the household staff is accidentally killed off.

Being a horror film, the rosy start to the movie (the wedding) is delicious and short-lived, as any fan of the horror genre knows that dreary events are soon in store. The fun is waiting for the other shoe to drop and the body count to begin rising.

Ready or Not succeeds most when Grace is being pursued, and when she emerges from the dumb waiter, thinking she will give up the game and enjoy a good night’s sleep, the scenes are spectacular. A house-nanny is shot by a doltish family member who mistakes her for Grace, cowering behind a bed.

At that moment the bride realizes she is screwed.

The final thirty minutes of Ready or Not take a different turn as victimized Grace turns into revenge-seeking Grace. Think Carrie White at the prom after being soaked with pig blood.

As Grace lumbers through the mansion in her blood-streaked white gown, happy to kill any one of the filthy rich family members, she has the most fun pummeling Alex’s mother, Becky Le Domas (Andie MacDowell), to death with a box, which he gets to witness.

Revenge Grace is like Uma Thurman’s The Bride in the Kill Bill double-feature.

Released the same year as Knives Out (2019), both films portray the wealthy characters similarly, rendering them as shallow and unlikable as humanly possible. Insipid, money-hungry, and impolite, they treat each other as badly as those considered beneath them.

Daniel (Adam Brody), may turn out to be Grace’s knight in shining armor but can he be trusted? Can Alex?

Snippets of the 1985 comedy Clue emerge as secret passageways are revealed, and one death is reminiscent of the singing telegram girl’s death, as the character leaps into the room only to be instantly killed. It’s a fun scene and not too seriously intended, which makes it enjoyable.

The gothic nature of the series Riverdale also comes into play with the modern trimmings and dark ambiance.

Ready or Not (2019) successfully produces what it intends to—an entertaining, cleverly written horror yarn. With a clear feminist stance and oozing with wealth and glamour, the rich people are horrible and ultimately get what they deserve.

This is satisfying to the viewer despite the silly motivations of the family.

Played for laughs, the film doesn’t take itself too seriously despite a subdued lesson in overindulgence and entitlement—a crackling, fun late-night offering.

2006 Films, Comedy, Independent, Independent Comedy, Musical, Musical Comedy

A Prairie Home Companion-2006

June 16, 2020 scottmet99 Leave a comment

A Prairie Home Companion-2006

Director Robert Altman

Starring Woody Harrelson, Tommy Lee Jones

Scott’s Review #1,033

Reviewed June 16, 2020

Grade: B

The final film by legendary and influential director Robert Altman is not his greatest work.

If I were to compare A Prairie Home Companion (2006) to another of Altman’s pictures, it would be Nashville (1975), both of which feature grassroots entertainment.

The latter combines satire amid a political rally in a southern city, while the former celebrates behind-the-scenes events at a long-running radio show in Minneapolis.

Difficult to criticize anything a genius does; my expectation was much more than what was given.

The film plods along with little excitement or juiciness, so the experience is to enjoy the standard Altman fixtures like a huge cast, overlapping dialogue, and witty chatter.

A melancholy effort since no new material will ever be released by the cinema great, but a chance to celebrate his achievements all the same.

Set in present times, events take place in Saint Paul, Minnesota, a chilly city in the United States Midwest. A long-running live radio variety show, A Prairie Home Companion, prepares for its final broadcast.

The radio station’s new parent company has scheduled the show’s home, the storied Fitzgerald Theater, for demolition and dispatched “the Axeman” (Tommy Lee Jones) to judge whether to save the show.

Prospects are grim as rableak, shows are increasingly seen as outdated.

The many radio stars revel and reminisce in memories as they prepare for cancellation.

Led by the singing Johnson Girls, Yolanda (Meryl Streep) and sister Rhonda (Lily Tomlin), and daughter Lola (Lindsay Lohan), who are most prominent, other characters include cowboy duo Dusty (Woody Harrelson) and Lefty (John C. Reilly); pregnant PA Molly (Maya Rudolph) and the show’s creator and host, Garrison Keillor.

A spirit known as “Dangerous Woman” (Virginia Madsen) also joins the group.

Star power is not the issue here, and it’s pleasing to witness a bevy of A-list Hollywood stars duke it out for screen time.

Anyone familiar with Altman knows he was an actor’s director, meaning he let his actors truly shine and interpret the characters’ motivations.

Garrison Keillor, who wrote the piece, follows Altman’s lead in this area, letting the cast try to bring to life what is on the written page.

Unfortunately, they fail.

While meandering greatly, A Prairie Home Companion has an earthy, humanistic theater-troupe quality. The stars of the radio show are like family, clinging to each other for moral support in times of uncertainty.

This feels nice to the viewer as common compassion is endearing; many of the individuals have spent decades together. Their stories and experiences resonate warmly, and one can’t help but be sucked into their lives.

The problem with this is that the stories go on and on and quickly seem pointless.

There is little doubt whether the show will close. While the people are enamored, nothing much really happens in the film, and it becomes a bore.

The character interactions lack energy and fail to carry the film in any direction. They merely are what they are.

I can appreciate a slow build if there eventually is a payoff. A Prairie Home Companion (2006) never achieves full throttle or hits the gas pedal, so the film exists but doesn’t shine.

With masterpieces such as The Long Goodbye (1973), Nashville (1975), and 3 Women (1977) my expectations were soaring so that may be a part of my letdown.

Prairie Home is not included in my go-to catalog of Altman greats and would teeter at the bottom of a master ranking of his films.

Independent Spirit Award Nominations: Best Director-Robert Altman

1968 Films, Biography, Comedy, Musical, Musical Comedy

Funny Girl-1968

May 11, 2020 scottmet99 Leave a comment

Funny Girl-1968

Director William Wyler

Starring Barbra Streisand, Omar Sharif

Scott’s Review #1,022

Reviewed May 11, 2020

Grade: B+

Barbra Streisand won the Academy Award for Best Actress for her outstanding portrayal of Fanny Brice in Funny Girl (1968).

She brought to the big screen a role she made famous on Broadway.

The role is vitally important and sends a powerful message: an unconventional woman with extraordinary talent can succeed in showbiz, leaving prim and proper starlets salivating with jealousy.

Features the classic tunes “People” and “Don’t Rain on My Parade” as well as the title track.

Fanny (Streisand) is an unhappy Jewish New Yorker, living in semi-poverty and dreaming of the big time.

Her mother (Kay Medford) and others in the community try to persuade Fanny to live an everyday life far from the hot, judgmental glare of the stage, but she will have none of it.

Finding success on her terms in Ziegfeld Follies throughout World War I, she also finds love and passion with the suave Nick Arnstein (Sharif) following her debut performance.

The story is loosely based on the life and career of the honest Fanny and her stormy relationship with the entrepreneur and gambler, Nick.

Taking nothing away from Sharif, who is more than adequate, the film belongs to Streisand. Despite being a novice, producers wanted no one but Streisand in the role, since she had hit a home run in the stage version.

A brief consideration of having Shirley MacLaine star in hindsight seems laughable and unimaginable.

Sharif’s suave, dangerous, swarthy characterization balances perfectly with Streisand’s naivety and innocence. The Jewish woman and the Muslim man must also have raised an eyebrow or two at the time.

Streisand is a breath of fresh air in a role that could mimic real life and reflect film in 1968 and beyond. Glamour girls were the height of fashion throughout the 1950s and 1960s, when looks sometimes usurped talent.

With the lifting of the Hollywood Code, women found grittier, dirtier roles. Streisand, as Fanny, proves that a self-proclaimed ugly duckling can rise to the top of the cream.

Refusing to get a nose job or otherwise alter her appearance or name, she mirrors Fanny in many ways, inspiring both women and men to be themselves to achieve truth.

Director William Wyler, no stranger to Hollywood success with pictures such as Mrs. Miniver (1942) and The Best Years of Our Lives (1946), knows how to pace and balance a film and to present a cheery, splendid offering, careful not to make the movie too lightweight.

Comic scenes, such as when Fanny upstages everyone and prances around the stage as a pregnant newlywed, becoming the talk of the town, are the best ones.

The film succeeds when it is fun.

Sharif does his best in a small role, which is surprising given the character’s importance, but the dramatic moments aren’t the best scenes.

They are okay and certainly not overacted by the stars, but do not work as well as when Streisand belts out “People” on a lonely sidewalk.

The issue is that Streisand is Funny Girl, and even prominent actors like Sharif never had a chance. The one exception is Medford, who goes toe to toe with Streisand in every scene with gusto and humor.

Funny Girl (1968) may suffer from a few overly melodramatic moments that slow it down, especially in the central romance, but its central message is to stay true to one’s colors.

Refusing to be influenced by elders or even her beau, Fanny inspires viewers. With delightful musical numbers and zesty wardrobe pieces, the film has a cheery and fun veneer, but more lies beneath the surface.

Whether the intention is a sing-along experience or a deeper meaning, the film has something for everyone.

Oscar Nominations: 1 win-Best Picture, Best Actress-Barbra Streisand (won), Best Supporting Actress-Kay Medford, Best Score of a Musical Picture-Original or Adaptation, Best Song Original for the Picture-“Funny Girl”, Best Sound, Best Cinematography, Best Film Editing

Golden Globe Nominations: 1 win-Best Motion Picture-Comedy or Musical, Best Director-William Wyler, Best Actress-Comedy or Musical-Barbra Streisand (won), Best Original Song-‘Funny Girl’

1987 Films, Comedy, Drama, International Drama, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ International, Spanish

Law of Desire-1987

May 8, 2020 scottmet99 Leave a comment

Law of Desire-1987

Director Pedro Almodovar

Starring Eusebio Poncela, Carmen Maura

Scott’s Review #1,021

Reviewed May 8, 2020

Grade: B+

Law of Desire or La ley del Deseo (as translated in original Spanish) is a 1987 film written and directed by Pedro Almodóvar.

Quite groundbreaking for its time and penned by a respected director, the film was rich in offering what was rarely presented in films during the 1980s- a complex love triangle between two men and a trans woman.

The fact that the trans woman is the sister of one of the men is a bonus for the soap opera premise.

In 2020, when LGBTQ+ films are more plentiful in cinemas (at least at the indie level), Law of Desire suffers slightly from a dated feel, and parts drag.

It’s tough to criticize a piece this brazen when it was released in arthouse and musty metropolitan theaters.

As groundbreaking as the film must be given credit for, the story now feels sillier than it should, and more outlandish than it probably intended to be over thirty years ago.

The fabulous setting of Madrid, Spain, is the backdrop for the luscious tale of love, obsession, jealousy, and revenge, think the prime-time television series Dynasty on steroids.

Cocky Pablo (Eusebio Poncela), a successful gay film director with his pick from a bevy of young, good-looking gay males, is madly in love with Juan (Miguel Molina), though he has a roving eye.

Suave Antonio (Antonio Banderas), who comes from a conservative family, is new to the gay scene and falls madly in love with Pablo when Juan goes to find himself.

Tina (Carmen Maura), who likes men and women, has just been dumped and is vulnerable.

Besides the obvious daring gender-bending, this story could be a simple one told many times across many genres.

Almodóvar spins things into a frenzy as the plot unfolds, adding manipulations, subplots, and bizarre characters into the mix.

For example, Ada is Tina’s surrogate daughter and is a precocious ten-year-old girl in love with Pablo. Ada refuses to go back with her mother (Bibi Andersen/Bibiana Fernández) when her mother returns to whisk her off to Milan to meet a man she has just met.

The gay subtext is what is center stage here. Back in the 1980s, the term LGBTQ+ was on nobody’s radar, and having any representation at all in cinema was still a territory barely scratching the surface.

This point kept returning to me throughout the film, and I imagined how fresh the experience would have been to any gay man or gay woman fortunate enough to have seen it. I am not sure any of the characters would serve as great role models, but the representation is nice.

Almodóvar adds a good deal of naked flesh for an added treat.

Several comic scenes arise with gusto. Antonio, who lives at home with a religious zealot of a mother, convinces Pablo to sign his letters from “Laura P”, a character from his latest play, to trick Antonio’s nosy mama.

Tina, not much of an actress, is cast in Pablo’s one-woman theatrical productions. She thinks her performance is great, but Pablo thinks she stinks. The comical moments are the ones that work best, giving the plentiful offbeat characters a chance to let loose and shine.

Towards the conclusion, Law of Desire takes a tragic and Shakespearean turn. A drunken Juan is thrown off a cliff to his death, prompting an investigation with Antonio and Pablo both prime suspects.

Finally, a kidnapping and police stand-off ensues with a murder/suicide providing the film’s final moments.

I am not a fan of the title that Almodóvar chose. Preferably, a title that is a bit more titillating. Even Lust of Desire or Object of My Desire would have been better choices.

Law of Desire screams of a tepid episode of television’s Law & Order.

For a director with such an outlandish approach and such bizarre characters, the title is bland, banal, and tough to remember.

Those seeking a kinky and provocative late-night affair will find Law of Desire (1987) a good old time. It lacks a clear message, instead offering a sexy romp and a dreary ending.

Running the gamut of adding musical score pieces as unique as the 1970s The Conformist, a film also shrouded in same-sex desire, to cheesy 1980s synth-laden beats, adds some confusion.

Nonetheless, diversity and inclusiveness are good recipes to chow down on and celebrate.

1988 Films, Comedy

A Fish Called Wanda-1988

April 20, 2020 scottmet99 Leave a comment

A Fish Called Wanda-1988

Director Charles Crichton

Starring John Cleese, Kevin Kline, Jamie Lee Curtis

Scott’s Review #1,013

Reviewed April 20, 2020

Grade: B

A Fish Called Wanda (1988) is an intelligent and witty British-American comedy that was a sleeper hit upon its release, garnering critical acclaim and awards.

The heist-flavored production has good comic timing and brisk acting. I adored it not quite as much as most critics, though admirable is a quick wit and energetic timing, to be respected in comedies.

With some silly moments thrown in that feel staged and unnecessary, the film is not as brilliant as some would say and is not a memorable entry in the comedy genre.

A crooked foursome, all from shady backgrounds and manipulative tendencies, come together to commit the heist of the century. They are about to get away with it until the London police arrest one of them.

Can the other three, now on the lam, persuade their comrade’s lawyer to reveal the location of the stolen loot?

Will they double-cross each other to find stolen diamonds that the gang leader has secretly hidden?

The players are con artist Wanda Gershwitz (Jamie Lee Curtis), Otto West (Kevin Kline), her lover posing as her sibling, George Thomason (Tom Georgeson), and his right-hand man, Ken Pile (Michael Palin), an animal lover with a stutter.

Each has their motivations while relying on the others to get what they want, presumably at the other’s expense, as events escalate to dire urgency.

The film gets props for being different.

Frequently, in the comedy genre, laughs are attempted at a dizzying speed, so that often they do not feel fresh. They also usually contain stereotypical or stock characters who serve little purpose other than to move events along for the sake of character development.

A Fish Called Wanda is quirky, to say the least, with some intelligently written dialogue and sequences, especially the reveal of where the key to the safe deposit box containing the diamonds is housed.

The film’s title is a major clue.

The chemistry between the actors is the best part of the film, especially between Kline and Curtis, two actors with exceptional comic timing.

As they spar, bicker, and plot not just against each other but against the others they are in cahoots with, the antics get wilder and wilder.

Kline was recognized with an Oscar nomination for Best Supporting Actor and a win. His character, Otto, is also the most developed.

The final sequence, which takes place at Heathrow Airport in London, is a fun wrap-up to the caper. A gun, a steamroller, and wet cement are key elements in the wacky finale as characters run rampant inside the airport and on the airport tarmac as an airplane is about to take off for parts unknown.

Many other scenes take place in London since that is where the film was shot.

Where the film loses me a bit is in its very limited sense of the subject matter’s meaning. The group is made up of con artists and other unsavory characters, but little more. There are no characters to root for or empathize with, and the events that transpire are quite silly and superfluous.

While the story is fun, what is the point? All the characters manipulate each other, but that is it.

Going against the grain in cinema is always appreciated, and the comedy genre is too often stagnant and trite, rarely feeling fresh.

A Fish Called Wanda (1988) is an encouraging project that dares to offer new and inventive gags and physical comedy. The film hits some high marks and strikes out in others, leaving an uneven result.

Oscar Nominations: 1 win-Best Director-Charles Crichton, Best Supporting Actor-Kevin Kline (won), Best Screenplay Written Directly for the Screen

1937 Films, Comedy

A Day at the Races-1937

April 13, 2020 scottmet99 Leave a comment

A Day at the Races-1937

Director Sam Wood

Starring Groucho Marx, Chico Marx, Harpo Marx

Scott’s Review #1,011

Reviewed April 13, 2020

Grade: B

The Marx Brothers created a collection of successful films throughout the 1920s and 1930s, including A Day at the Races (1937), which continues the zany adventures of the bumbling men.

Not as laugh-out-loud funny as their earlier works, particularly the memorable Duck Soup (1933), which is considered their best achievement, the film has trademark chuckles and physical comedy for miles that celebrate their vaudeville roots.

A horse and a private sanitarium are the major players in this installment.

The film suffers from a myriad of stereotypes and startling racial overtones, as any apt viewer will likely need to remind themselves of the decade the film was made. Thankfully, these scenes are brief and not the highlight of the story.

A Day at the Races belongs to the Marx Brothers as their klutzy humor and one-liners are the best parts, leaving the romantic leads and the foils as standard characters. Backstage problems were prevalent, leaving some continuity issues for the final product.

Judy Standish (Maureen O’Sullivan) owns the struggling Standish Sanitarium, which she can barely afford to keep afloat. The devious J.D. Morgan (Douglass Dumbrille) owns a nearby racetrack and nightclub and aspires to use the sanitarium space to open a successful casino.

Hugo Z. Hackenbush (Groucho Marx), a horse doctor, treats the wealthy Mrs. Upjohn (Margaret Dumont), who she thinks is a “real” doctor, and agrees to back the sanitarium financially, but only if Hackenbush runs it.

Suspicions arise when Morgan and his business manager attempt to locate the real Hackenbush in Florida.

Meanwhile, Judy’s fiancé, singer Gil Stewart (Allan Jones), who performs in Morgan’s nightclub, has just spent his life’s savings on a racehorse named Hi-Hat. He hopes that the horse he purchased from Morgan will win a big race and the money will save the sanitarium.

Hi-Hat is afraid of Morgan and runs away whenever he hears Morgan’s voice. All the principal players gather for a hysterical conclusion as an exciting horse race ensues with a case of mistaken identity mixed in for good measure.

The main attractions are Groucho, Harpo, and Chico, as they provide a robust dose of clumsy, action-filled pranks, misunderstandings pop, and bops that keep them fluttering about the silver screen in a fast-paced fashion.

The other characters serve as either foils or support for the trio of funny men, so much so that they feel like stock characters. Jones and O’Sullivan have some chemistry as the straight leads and a few tender moments, but neither is the film about them.

The running time of one hour and fifty minutes feels long for a genre film like this, and several scenes meant only to balance the physical comedy could have been eliminated.

The famous exchange between Hackenbush and Mrs. Upjohn, in which she exclaims, “I’ve never been so insulted in all my life!” and he replies, “Well, it’s early yet,” is a classic comedy and heartwarming to the eyes and ears, as the pacing between the characters is nice.

A Day at the Races (1937) feels dated during some scenes and is a stark reminder that inclusion did not always exist in cinema and that laughs were to be had at the expense of minority groups. Putting this aside, the writing is witty and entertaining as a comic creation and a perfect showcase for the Marx Brothers to continue their fantastic run of films.

The film might be suggested as part of a marathon or binge-watching effort rather than as a stand-alone since better chapters can be found elsewhere.

Oscar Nominations: Best Dance Direction

2018 Films, Comedy

Tag-2018

April 10, 2020 scottmet99 Leave a comment

Tag-2018

Director Jeff Tomsic

Starring Ed Helms, Jeremy Renner, Jon Hamm

Scott’s Review #1,010

Reviewed April 10, 2020

Grade: D

Tag (2018), starring Ed Helms, weakly attempts to re-create some semblance of magic that The Hangover trilogy (2009-2013) initially had, in which the actor starred.

The result is an over-the-top and self-indulgent mess that incorporates the standard gags that raunchy comedies always do and a little more.

The characters are caricatures, and the film provides no character development or anything fresh to stay with the viewer after the credits roll at the end.

The most interesting part is post-credits, where the real-life figures the film is based upon appear.

The film gets off to a dumb start as Hogan Malloy (Helms), an established physician, inexplicably gets a job as a janitor at an esteemed corporation to go undercover and “tag” Bob Callahan (Hamm).

The childhood friends, along with “Chilli” Cilliano (Jake Johnson), and Kevin Sable (Hannibal Buress) attempt to pursue and “tag” their other buddy Jerry Pierce (Jeremy Renner), who has alluded to the “loser award” for the past thirty years, given to the member last tagged during May, when their annual contest is held.

The rest of the film piggybacks on this premise as the group pursues Jerry in tired form as adventures ensue. The specifics are running through other people’s apartments, tumbling down fire escapes, impersonating older women, and continued use of backflips, stop-motion editing, and nutty situations.

You get the idea.

The least appealing quality of Tag is that it feels forced and too derivative of similar films. The filmmakers try to create a “buddy film” and a camaraderie between the characters that never amounts to much. The reason for this is that they embed each character with specific qualities that define them instead of making them fresh or creative in any way.

We meet Chilli as he smokes pot with his father, revealing that he is divorced, unemployed, and a pothead. Bob is uptight, business-like, and the ladies’ man. A token black character (Kevin) is the comic relief.

The characters are one-note and uninspired.

Other weak points from a character standpoint are prevalent. Hogan is written as the “straight man,” meaning the most sensible of the group. He is the main character and has a competitive streak that his wife, Anna (Isla Fisher), shares.

Her character is most irritating as she has fits of rage and then turns sweet. Fisher has been cast in raunchy comedies for most of her career, so it would be nice to see her branch out to better roles.

Finally, Hogan’s mother, the local bartender, and a fitness worker are written poorly.

As a bonus, the film adds a homophobic sequence to offend audiences. Meant for laughs, as are most offensives, the male fitness worker is lightly interrogated as the men attempt to locate Jerry.

A back-and-forth involving presumptive oral sex is written as a joke, and in addition to being unnecessary, the sequence goes on and on.

Wishful thinking is for genre comedies to finally create something fresh and stereotype-free or make mockeries of groups of people.

Predictably, the conclusion is silly and trite. The film culminates in a hokey wedding scene when the friends are tricked by Jerry’s fiance, who fakes a pregnancy and miscarriage in a gag-worthy effort. A moment of feigned sincerity is followed by a juvenile rapid-fire torrent of “You’re It!” that would make a ten-year-old boy roll his eyes in disbelief.

Tag is not a complete disaster. If one sticks to the entire watch, a couple of tidbits of pleasure emerge. Familiar classic rock songs like Danzig’s “Mother,” Ozzy Osbourne’s “Crazy Train,” and “Mmm Mmm Mmm Mmm” by Crash Test Dummies are interspersed throughout the running time.

An added romantic triangle between Bob, Cheryl (Rashida Jones), and Chilli has potential if it were not relegated to a subplot with no resolution. Both men have chemistry with Cheryl and possess some likeability.

A film that will certainly wind up in the $1.99 (or less) bargain bin, Tag (2018) might have been a relaxed effort by the cast of actors to shoot, but they must have had more fun than anyone watching it will have.

With big-name stars and an interesting premise on paper anyway, the film fails to deliver the goods, embellishes based on a true story to the max, and results in a complete waste of time.

2010 Films, Adventure, Animated, Comedy, French, Kids, Paris

A Cat in Paris-2010

April 1, 2020 scottmet99 Leave a comment

A Cat in Paris-2010

Director Jean-Loup Felicioli, Alain Gagnol

Starring (ENGLISH) Marcia Gay Harden, Steve Blum

Scott’s Review #1,006

Reviewed April 1, 2020

Grade: A-

For any lover of all things cats or all things Paris, A Cat in Paris (2010) is a double-punch winner in themes alone and a pure treat.

The French-made film was nominated for the Academy Award for Best Animated Feature along with Chico and Rita (2010), another foreign language animated feature, both considered surprise entries.

This was monumental, as it helped allow subsequent non-American features into the mix.

The former is a moody and mysterious caper story involving a cat and a young Parisian girl and the adventures they share.

The traditional ink colors and hand drawings are lovely and creative, adding to the inventive mood.

The feline-centered story and feminist empowerment angle provide a unique and memorable experience.

The French-language version features native-language voices, while the English version has English speakers.

The main protagonist of the film is Dino, a pet cat who leads a double life. By day, he lives with his friend Zoe (Lauren Weintraub), a little mute girl whose mother, Jeanne (Marcia Gay Harden), is a detective in the Parisian police force.

He sneaks out of the window each night to work with Nico (Steve Blum), a slinky cat burglar with a heart of gold, who regularly evades captors as he glides and swishes from rooftop to rooftop with the picturesque Paris skyline serving as a backdrop.

Dino’s two worlds collide when one night Zoe decides to follow Dino on his nocturnal adventures and falls into the dangerous hands of Victor Costa (JB Blanc), an intimidating gangster who is planning the theft of a rare statue.

Now the cat and cat burglar must team up to save Zoe from the bumbling thieves, leading to a thrilling acrobatic finale on top of Notre Dame.

In an acute tongue-in-cheek final moment, Nico gives Jeanne a snow globe with the Cathedral of Notre Dame in it as a Christmas present.

Despite the film being animated, this does not take away from the cultural and sophisticated Parisian experience.

Delicious views of the distinguished Eiffel Tower and the luminous, glowing skylines of the City of Lights assuredly will captivate each viewer fortunate enough to have ever visited the magical city in person, or those who have daydreamed an afternoon away imagining experiencing the grand city.

Alfred Hitchcock’s work is mirrored throughout A Cat in Paris, specifically his film To Catch a Thief (1955). That film is set along the French Riviera instead of in Paris but features a cat burglar, a thrilling rooftop climax, and enough cat-and-mouse thrills to last a lifetime.

The director’s work is easy to spot, and the filmmakers are wise to adapt to his style, carefully weaving elements into an animated film with the hopes of exposing children to intelligent filmmaking.

Adults will equally love the film.

At a mere one hour and five minutes, nearly teetering on the classification of a short film instead of a full-length feature, A Cat in Paris (2010) more than accomplishes what it sets out to in the limited time.

Utilizing fantastic silhouettes, lit shapes, and angles, the visual treats alone make this one exceptional.

Adding tidbits of the greatest film director of all time’s work without outright stealing it is a wise choice.

May more intelligent international animated films like this one receive the exposure they deserve from mass audiences.

Oscar Nominations: Best Animated Feature Film

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