Category Archives: Comedy

1948 Films, Camp, Comedy, Horror, Horror-Camp, Horror-Comedy

Abbott & Costello Meet Frankenstein-1948

Leave a comment

Abbott & Costello Meet Frankenstein-1948

Director Charles Barton

Starring Bud Abbott, Lou Costello

Scott’s Review #865

Reviewed February 9, 2019

Grade: B+

Abbott & Costello Meet Frankenstein (1948) was the first film of several to capitalize on the comedy duo’s popularity and merge them with several horror characters in a hybrid of the horror and comedy genres.

The zany film was enormously popular with fans, leading to other subsequent pairings, but this is the best of the bunch. The ingenious idea works well, and the bumbling pair presents an entertaining film fresh with good ideas and a harmless comedy romp.

The villainous Dracula, the Wolf Man, and the title horror character make the riches even loftier.

Working as baggage clerks at a Florida train station, Chick Young (Bud Abbott) and Wilbur Grey (Lou Costello) border on incompetence. After damaging two crates at the station, they deliver them to a local wax museum. Little do the pair realize that the crates house Count Dracula (Bela Lugosi) and the Frankenstein monster (Glenn Strange).

Once Chick and Wilbur arrive at the wax museum, a comedy of errors occurs as the monsters reanimate and escape while the pair are arrested for supposed theft.

Ultimately, the film culminates with an exciting finale at a nearby island castle, where a devious doctor (Lenore Aubert) intends to remove Wilbur’s brain.

The film is wonderfully campy and over-the-top, which is a substantial part of its appeal. The setup is delicious, as the audience knows Chick and Wilbur will ultimately face the various creatures but does not know how this will happen.

The quick-witted comedy duo hardly needs coaching, but their banter and timing seem particularly palpable in this screen offering. This is impressive given the historical account of neither actor wanting to make the film and both being convinced the result would be a bomb teetering on career suicide.

Any accusations that their hearts were not in it can be dismissed.

A large part of the appeal is the three individual monsters with different motivations and offerings.

Dracula is the villain in cahoots with the mad scientist.

Frankenstein’s monster is the victim, while the Wolf Man is the suffering hero.

Returning to roles that made them famous was crucial to the success of the film, and Lon Chaney Jr. and Bela Lugosi (Wolf Man and Count Dracula, respectively) deliver their lines with gusto, careful not to make themselves too menacing nor too foolish, and both blur the horror and comedy lines with perfection.

The filmmakers must be credited for the progressive slant of casting the mad scientist as a female rather than the traditional male.

Actress Aubert as Dr. Sandra Mornay is delicious as she lustfully seduces Wilbur in comic form. She needs not his body but the brain of a simpleton to insert into the head of the monster.

The young man and the gorgeous woman make an odd comedic pairing because of their physical differences. However, their combination is just right for a physical, lightweight comedy.

The final scene is clever and leads to a potential follow-up for the film. As Chick and Wilbur sail away from the looming castle in relief of their adventure, coming to a satisfying conclusion, Chick ensures Wilbur that all the monsters are gone.

An uncredited voice appearance by Vincent Price and a dangling cigarette coming from no mouth introduce the next chapter of The Invisible Man.

Hardly a masterpiece or cinematic genius, Abbott & Costello Meet Frankenstein (1948) does entertain.

Each player is well-cast, resulting in a culmination of good comedy infused with atmospheric horror elements done with the perfect light touch. The comic timing of all members ensures that all the pieces come together in just the right mix of fun and frights with a tongue-in-cheek approach.

What better choice for the escapist fare on a lazy Saturday afternoon?

2018 Films, Comedy, Drama, Romantic Comedy, Romantic Drama

Crazy Rich Asians-2018

Leave a comment

Crazy Rich Asians-2018

Director Jon M. Hu

Starring Constance Wu, Henry Golding

Scott’s Review #860

Reviewed January 26, 2019

Grade: B+

Crazy Rich Asians (2018), the romantic comedy smash of 2018, is a fun romp that is memorable because it centers on the Asian population, which is shamefully underrepresented in mainstream American cinema.

For this point alone, the film is recommended and worthy of praise, but otherwise, it is a standard genre film with gimmicks, stock characters galore, and a predictable conclusion.

The numerous cultural tidbits included must be mentioned, which raise the film above mediocrity.

Rachel Chu (Constance Wu) and Nick Young (Henry Golding) are a happily dating New York City couple; she is a New York University college professor, and he is an entrepreneur.

They fly to Singapore to attend Nick’s best friend’s wedding, which results in antics and anguish. Rachel realizes that Nick comes from an extremely wealthy family and is Chinese royalty, owning a multitude of lavish hotels and real estate.

Most of Nick’s family, especially his traditional mother Eleanor (Michelle Yeoh), disapproves of the pairing, viewing Rachel as a typical American who prioritizes passion over family.

Nick is a sought-after commodity among the single women of Singapore, and Rachel is forced to endure harassment and mockery at every turn. Her allies are Nick’s kind sister Astrid (Gemma Chan), Rachel’s outrageous college pal Peik Lin (Awkwafina), and her equally garish family.

The plot thickens when Nick’s scheming mother does a background check on Rachel and discovers a family secret.

Crazy Rich Asians is a formulaic romantic comedy with the standard situations and characters expected of a genre film. The rivalry between the good girl and her boyfriend’s domineering mother, the comic relief of the gay sidekicks as Peik Lin and another friend of Rachel’s, provides.

The caricatures of Peik Lin’s wild family, her unattractive brother fond of taking secret photos of Rachel, and Eleanor’s snooty, judgmental circle of female friends are all well cast yet one-dimensional.

It is perplexing why the filmmakers decided to make Nick only half Chinese rather than authentically Asian. Sadly, this may have been a reassurance that the film would be more marketable to mass audiences.

The film is presented as an Asian film, but it is an American film.

The storyline justification is that Nick’s father (surprisingly never seen) is British and that he and Eleanor met in college, only she being Chinese. Nick and Astrid’s English accents gnawed at me throughout the film.

Despite the myriad of cliches and manipulations, Crazy Rich Asians has a nice flow and offers a fun two hours. The film is flavorful with bright colors and visual spectacles of stylish and sophisticated Singapore and its modern and sleek nuances.

I adored the locales featuring the skyline and a rich overview of the robust and relevant city/country.

Fantastic is how the filmmakers add spices of traditional Chinese culture throughout the film’s telling, quickly becoming more of an ode to the good history. Nick’s grandmother, Su-Yi (Lisa Lu), takes pride in her excellent and artistic flowers, and Rachel is introduced to the art of dumpling making.

Crazy Rich Asians introduces a history lesson for those unfamiliar with ancient Chinese customs.

Flavorful inclusions of Mandarin Chinese language versions of American pop hits are also lovely additions, so the film has some tidbits to revel in other than the story.

Most songs reference money, such as “Money Honey” by Lady Gaga and “Rich Girl” by Hall & Oates.

The pacing of the film is nice. There is never a dull or dragging moment, and a nice balance of comedy and drama. Humorous is when Peik Lin provides Rachel with a costume makeover, ensuring she looks dynamic for the grand wedding, as she convinces her to fight Eleanor with fire.

Drama ensues when someone casts a dead fish on Rachel’s bed, and Eleanor spits that Rachel will never be enough for her son.

The film’s conclusion is predictable, resulting in a marriage proposal aboard a jet heading from Singapore to New York City. With a movie like Crazy Rich Asians, it is guaranteed that the couple lives happily ever after, riding off into the sunset in great defiance of Nick’s roots.

Due to the film’s success, a sequel is a solid bet, though I am also not betting the follow-up will be any good. Are romantic comedy sequels ever decent?

Filled with cliches, but satisfying most mainstream film-goers, Crazy Rich Asians (2018) creates a film with enough shards of Asian culture to at least get the Asian population on the map with a Hollywood production.

Although the film has a polished look and some stereotypes, it breaks no new ground other than good inclusion, and that is a start.

2018 Films, Biography, Comedy, Dark Comedy, Drama, Political Drama, Satire

Vice-2018

Leave a comment

Vice-2018

Director Adam McKay

Starring Christian Bale, Amy Adams, Steve Carell

Scott’s Review #849

Reviewed December 31, 2018

Grade: A

Following 2015’s The Big Short, Adam McKay once again creates an intelligently written, thought-provoking political film based on facts and historical accounts.

With Vice (2018) he focuses on former Vice President Dick Cheney and his rise through the political ranks to second in command.

Brilliant and wise in every way, the film is fair-minded in its approach. Predictably, in this era of “fake news,” it will be embraced by liberals but shunned by conservatives.

In the first seconds of Vice, a disclaimer appears stating that Cheney was a private man with secrets, but the filmmakers did their best to relay accurate information. The salty language in this clip will likely elicit chuckles, but McKay stays the course with his statement.

Immediately, the film flashes to the September 11 attacks with Cheney sitting in crisis mode, about to make an important decision.

Vice then retreats to 1963 Wyoming as a drunken college-aged Dick Cheney (Christian Bale) is pulled over for erratic driving after a barroom brawl. He is nearly dumped by his girlfriend and future wife Lynne Cheney (Amy Adams), who threatens to find another man if Dick does not straighten out.

He manages an internship and an admiration for Donald Rumsfeld (Steve Carell), a staunch Republican and White House Chief of Staff, and begins his political climb.

In clever form, the film is narrated by a character named Kurt (Jesse Plemons), who we do not know is connected to Cheney until the end of the film. This adds an added measure of intrigue to the overall film, as we know a secret will be revealed.

Vice is also unique in direction, with constant back-and-forth timeline scenes and quirky humor throughout. Are the Cheneys portrayed as ridiculous? No, but sardonic humor is directed at them as their ambitions and power-hungry motivations are completely exposed.

The film does a great job of taking the viewer through the political state of Cheney’s administration, roughly the early 1970s until 2008, when Obama took office. The Clinton years are completely skipped, but that is more to do with Cheney being in the private sector rather than an intentional slight.

The Nixon years and the George W. Bush years are given hefty screen time and the latter is portrayed as nearly a buffoon as Rockwell portrays him as a boozy, dumb frat boy.

Bale is startlingly good as Cheney and deservedly steals the show. In addition to the forty-pound weight gain, the actor endured the facial and hair treatments (props to the makeup department!) and became the man.

His body movements, smile, and speech patterns are daringly good. With a sneer and a calculating grin, we see the wheels spinning in Cheney’s head numerous times, and Bale is incredible at portraying these thoughts to the audience.

The film contains many well-known actors in vital supporting roles worth noting. The depictions of the following are examples of excellent casting with spot-on representations: Tyler Perry as Colin Powell, LisaGay Hamilton as Condoleezza Rice, Sam Rockwell as George W. Bush, Alison Pill as Mary Cheney, and Lily Rabe as Liz Cheney.

All portrayals are excellent to watch, especially for viewers who remember the real-life people involved.

Some will undoubtedly complain that the film has a “liberal slant” and portrays Cheney as power-hungry and self-serving. While this is a valid point, and McKay makes left-leaning choices, the director bravely carves the film into an experience that goes both ways.

More than a few scenes (including the final scene) justify Cheney’s actions, in his mind anyway. Claiming to do what is suitable for the people and be a true American, his actions and yearning for power can be understood to some degree, or perhaps by some people.

Vice (2018) is controversial and undoubtedly divisive, which is unsurprising given the current state of American politics. It tells an inspiring and rich story of an elusive politician’s life and policies, daring to be forgotten, that still resonate across the United States.

The more I ponder this film’s importance, the greater it becomes, but stay past the credits for arguably the best moment in the movie and of monumental importance in 2018.

Oscar Nominations: 1 win-Best Picture, Best Director- Adam McKay, Best Actor- Christian Bale, Best Supporting Actor- Sam Rockwell, Best Supporting Actress- Amy Adams, Best Original Screenplay, Best Makeup and Hairstyling (won), Best Film Editing

2003 Films, Christmas, Comedy, Kids, New York City, Screwball Comedy, Winter

Elf-2003

Leave a comment

Elf-2003

Director Jon Favreau

Starring Will Ferrell

Scott’s Review #846

Reviewed December 20, 2018

Grade: B-

Elf (2003) is one of the few lasting Christmas hits of recent memory, or at least one that many fans make a regular part of their holiday viewing each season.

The film is light and unarguably a safe, feel-good experience, mixing a hopeful Christmas message with comic gags and romance.

The key to its success is Will Ferrell, who possesses wonderful comic timing.

More wholesome than my tastes and lacking plausibility, the film does succeed as a family-friendly, ready-made, fun experience.

The story revolves around one of Santa’s elves (Ferrell) named Buddy, who learns he is human and was orphaned as an infant.

Revealed that his biological father Walter (James Caan) resides in New York City, Buddy embarks on a trip to find the man and spread Christmas cheer in a world filled with grizzled and cynical human beings.

In predictable comic form, Buddy has trouble adjusting to the human world and its fast-paced lifestyle, with misunderstandings recurring.

Buddy eventually wins over his father and family, finding love with downtrodden Jovie (Zooey Deschanel).

Hot on the heels of his Saturday Night Live stint ending in 2002, Ferrell was primed to embark on a successful film career. Elf is a great role for him as it capitalizes on his comic timing and energy, and the setup works.

At 6’3″, who better to play an elf for laughs than a hulking middle-aged man?

Due to his talents, Ferrell makes the role of Buddy fun, appealing, and the highlight of the film. With a lesser talent, the character would have been too annoying (as it is, there are too many hug jokes), and the overall film would have suffered.

Aside from Ferrell, the supporting roles are nothing memorable, except for Caan’s part.

The once-dashing star of films such as The Godfather (1972), Caan still has the charm and charisma to appeal, though his balding and dyed hair do nothing for him.

A small role by television star Bob Newhart as Papa Elf is fine, but Deschanel’s role and Mary Steenburgen’s role as Emily, Walter’s wife, could have been played by many actresses, and nothing is distinguishable about either part.

Lesser roles like Walter’s secretary, Walter’s boss, and Gimble’s store manager are stock parts with no character development.

A major highlight is the New York City setting, and the exterior scenes are plentiful.

Filmed in 2002 and released in 2003, the location shots were completed not long after 9/11, and showcasing a city with such recent decimation adds to the film’s appeal.

Scenes in Rockefeller Center, Central Park, and the Empire State Building are prominently featured, making the film festive and merry.

What greater city is there at Christmastime than New York?

Elf remains an entertaining experience with enough shiny ornaments and fun moments in the department store and Walter’s office to hold interest. The luster wears thin at the conclusion as all the traditional elements come together.

Jovie leads a chorus of strangers in “Santa Claus Is Coming to Town”, Walter quits his job without concern for paying bills, and everyone happily rides off into a sparkling winter wonderland.

This may satisfy some, but I wanted more conflict than a troupe of Central Park Rangers chasing Santa through the park.

A film that might be paired nicely with holiday favorites of similar ilk, such as National Lampoon’s Christmas Vacation (1989) or Christmas with the Kranks (2004), Elf is an energetic affair with a charismatic lead actor.

Containing silly moments but a spirited and worthwhile message nestled nicely within, the film is worth a watch if you’re in the mood for slapstick.

More thought-provoking holiday films with deeper merriment and stronger flair exist, but for a chuckle or two, Elf (2003) works well.

2017 Films, Comedy, Dark Comedy, Drama, Independent, Independent Comedy, Independent Drama

Beatriz at Dinner-2017

Leave a comment

Beatriz at Dinner-2017

Director Miguel Arteta

Starring Salma Hayek, John Lithgow, Connie Britton

Scott’s Review #844

Reviewed December 18, 2018

Grade: B+

Thanks to a well-written screenplay and a thought-provoking idea, Beatriz at Dinner (2017) spins an interesting concept about politics and class systems discussed over dinner.

Salma Hayek and John Lithgow give tremendous performances as characters with opposing viewpoints, helping the film succeed, though a flawed ending and cookie-cutter supporting characters detract from the overall enjoyment.

Set in southern California, presumably around Los Angeles, Beatriz (Hayek) is a holistic health practitioner. Moonlighting as a massage therapist, she becomes stranded at the wealthy home of one of her clients, Kathy (Connie Britton), whom she views as a friend.

Kathy invites Beatriz to stay for dinner, where she encounters real-estate mogul Doug Strutt (Lithgow). The two gradually develop a feud based on their differing politics and viewpoints.

The setup and flow of Beatriz at Dinner are commendable and pace the film nicely. The film is sort of a day in Beatriz’s life. It begins as the character awakens to her pet dogs and goat noisily beginning their day and culminates late at night when the dinner party concludes, and the last glass of wine is consumed.

This way, the film has a nice packaged feel that keeps the story confined and structured.

Being an independent film, the budget is small, and most scenes are shot in a spacious modern house overlooking the Pacific Ocean, which works well. Gorgeous and vast, many rooms are used as conversations among the characters occur, many overlapping each other.

Beatriz at Dinner could have been a play, which helps with the good flow.

Hayek and Lithgow are the main draws as their initial guarded pleasantries progress to venom and violence, albeit primarily imagined.

Initially thinking that Beatriz is the household help, Doug is inquisitive about her entry into the United States and makes numerous insulting gestures, mispronouncing her Mexican hometown and mocking her profession.

Beatriz calmly endures his racism and begins discussions about how his business harms animals and people as emotions escalate. The actors play off each other wonderfully and share chemistry.

With each glass of wine, Beatriz becomes brazen and shares how people in her village lost their land to real estate development. She shares a humanistic viewpoint, while Doug sees life as to be lived while you can.

Despite their dislike for each other’s lifestyles, the film shows Beatriz and Doug at least listening to each other and attempting to understand the other’s opinions, which is more than can be said for the supporting players’ motivations or lack thereof.

Besides Kathy, while sympathetic to Beatriz’s calm demeanor and life-rich philosophies, she also realizes that Doug is her family’s meal ticket.

The other party attendees are written as polite yet uninteresting twits with nothing to talk about except a reality star’s nude photos, dinner, or a handful of other nothing topics.

Chloë Sevigny, Jay Duplass, Amy Landecker, and David Warshofsky have little to do other than stand around and react to the meatier written material that Hayek and Lithgow get to play.

Beatriz at Dinner had me in its corner until the film took a jarring turn during the final act. As Beatriz leaves the party and sets about on her way home, she hastily decides to grab a letter opener and bludgeon Doug to death as the dinner guests hysterically realize what is happening.

Instead of leaving things be, the film chooses to make this only Beatriz’s fantasy and then have her go to the ocean and walk into the waves. Does this mean she commits suicide, or is this another fantasy? This final sequence is unclear and unsatisfying.

I am not sure why Beatriz at Dinner is considered a comedy. Perhaps a mild dark comedy, I argue that the film is a straight-ahead drama and lacks the witty humor that made dinner party-themed films such as Who’s Afraid of Virginia Woolf? (1966) and The Boys in the Band (1970) masterpieces.

Beatriz at Dinner (2017) is a valiant attempt at offering social commentary at a time when discussions like these are needed in films, and the project largely succeeds.

Hayek’s impassioned yet subdued performance deservedly earned her a Female Lead Independent Film nomination. The film’s rich writing garnered a Best Screenplay nomination, too, but a big whiff at the end lowers the overall experience a notch.

Independent Spirit Award Nominations: Best Female Lead-Salma Hayek, Best Screenplay

2018 Films, Comedy, Dark Comedy, Drama, Independent, Independent Comedy, Independent Drama, LGBTQ+ Comedy, LGBTQ+ Drama, LGBTQ+ Films, Period Drama, Satire

The Favourite-2018

Leave a comment

The Favourite-2018

Director Yorgos Lanthimos

Starring Olivia Colman, Emma Stone, Rachel Weisz

Scott’s Review #843 

Reviewed December 17, 2018

Grade: A

The Favourite (2018) is a deliciously wicked comedy about greed, jealousy, and rage during early eighteenth-century England.

The primary rivalry consists of two feuding cousins, each jockeying for position and “favor” with the Queen, both resorting to dire methods to achieve these goals.

With splendid acting and grand designs, director Yorgos Lanthimos adds to his growing collection of odd and compelling works with the dark comedy offering.

The film takes place during the British and French War of 1708, as a physically and mentally ill Queen Anne (Olivia Colman) rules the country through her confidante and secret lover, Sarah, Duchess of Marlborough (Rachel Weisz).

Though deals and modifications must be made with the ruling Parliament, Anne has the final say in all decisions, including doubling the state tax to pay for the war.

When Abigail (Emma Stone), a distant cousin of the Duchess, and former royalty herself, arrives seeking work as a servant, she quickly plots her way to the bedside of the Queen at all costs.

Lanthimos, known for such bizarre treats like Dogtooth (2009), The Lobster (2015), and The Killing of a Sacred Deer (2017), is not afraid to get down and dirty and wrestle with the macabre subject matter.

The Favourite is the director’s most mainstream affair yet and is quickly becoming one of my favorite modern-day films. As he now charts into royal territory, the possibilities are endless in a world of politics and scheming.

Some morose highlights include an abused bunny, naked tomato throwing, and pheasant shooting.

The film is not kind to animals.

Despite being mainstream for Lanthimos, The Favourite is a bizarre and brazen experience. The film’s numerous award nominations are remarkable, given that not all audiences will enjoy it.

Despite being categorized as a comedy (see more below), the film is not an easy watch, and none of the characters are likable. Abigail is initially sympathetic and quite humorous, but her true colors and motivations are exposed as the plot develops.

Conversely, Anne and Sarah are initially despicable, but garner support as the story evolves.

The comic elements are the best, and clever lines come at a deliciously rapid pace. The best dialogue is the sparring between Sarah and Abigail, as the women realize they are bitter enemies and each attempts to one-up the other in a chess game for Anne’s attention.

Anne, known for fits of emotion, stuffing her face with cake and vomiting, and berating the servants, offers her comic wit. The language is salty, bordering on vulgar, but that makes the experience so stellar and morosely enjoyable.

The musical score adds muscle, and the diabolical string arrangements give The Favourite a gruesome, morbid atmosphere.

The feeling of dread is prevalent and downright haunting at times, as the audience knows that some shenanigans will soon occur, but they do not know when or how.

This quality enhances the overall product and gives ambiance to a superior piece.

Finally, the acting in The Favourite is brilliant and worth the price of admission. This is unsurprising with heavyweights like Colman, Stone, and Weisz, but the gravy is in the individual moments.

The chemistry the women share is what works best, as every scene sparkles with exceptional delivery and a sly sense of humor. When the three women appear together, these are the best scenes.

Deserving of all the accolades lauded upon it, The Favourite is an experience that contains all elements of a fine film, though one that is quite an unconventional work.

With glistening art direction, authentic set pieces, and costumes that would make Scarlett O’Hara drool with envy, The Favourite (2018) takes all of its parts and spins a crafty tale that encompasses the entire film.

Oscar Nominations: 1 win-Best Picture, Best Director- Yorgos Lanthimos, Best Actress- Olivia Colman (won), Best Supporting Actress- Emma Stone, Rachel Weisz, Best Original Screenplay, Best Production Design, Best Cinematography, Best Costume Design, Best Film Editing

Independent Spirit Award Nominations: Best International Film

2018 Films, Best Picture Oscar Winners, Biography, Comedy, Drama

Green Book-2018

Leave a comment

Green Book-2018

Director Peter Farrelly

Starring Viggo Mortensen, Mahershala Ali

Scott’s Review #839

Reviewed December 10, 2018

Grade: A

To be candid, it was not originally on my radar to see Green Book (2018) despite the high regard and the bevy of award nominations reaped upon the film.

From the trailers, and admittedly my assumptions, the production looked somewhat like a Driving Miss Daisy (1989) role reversal with the standard over-saturation and glossy view of racism.

I confess to being wrong in my initial assessment. Green Book is a wonderful film with a multitude of worthy efforts. It successfully crosses the drama and comedy barriers and delivers an astounding message of compassion and benevolence.

Viggo Mortensen and Mahershala Ali exhibit tremendous flair and fine chemistry as an Italian blue-collar driver and an astute African-American classical pianist.

The men travel together in the Deep South circa 1962 on a concert tour requested by the renowned musician despite the dangers of southern racism and prejudice.

Mortensen’s Tony Lip is a struggling New York City bouncer who needs any gig for two months while the club he works for is closed for renovations. Ali plays a sophisticated musician who needs a driver with a measure of toughness, and Tony comes highly recommended.

The two men initially are strangers but form a close-knit bond and a deep understanding of each other as they become better acquainted during their journey.

The first half of the film focuses on Tony.

As viewers, we experience his Italian lifestyle. He possesses a strong family unit and a dedicated wife, Dolores (Linda Cardellini). He loves to eat and won a hot dog eating contest for $50 to pay the rent. He thinks nothing of beating an unsavory character to a bloody pulp if they are out of line and have more than one link to the mafia.

Still, he is a decent man, with a salt-of-the-earth mentality, and loves his family.

“Doc” Don Shirley (Ali) is the opposite of Tony. Raised as a highly gifted musical prodigy, he surrounds himself with high culture, is well-versed in many languages, and is of affluent means. Nonetheless, he is a wounded soul and drinks himself into oblivion each night, frequently deep in thought, pondering life and its problems.

Despite being black, he knows nothing about black culture.

Don is highly uncomfortable in his skin, while Tony is happy with who he is, a significant point that the film hits home on as the men have conflict. Don feels Tony can do much better to educate himself, while Tony sees nothing wrong with being who he is. The men forge a middle ground as they come to respect each other.

Ferrelli does a fantastic job in showing Tony as Don’s protector as he is accosted by rednecks or is caught with another man at the YMCA.

In turn, Don helps Tony write warm love letters to Dolores.

Green Book is a film about friendship and how different backgrounds can result in closeness and respect.

The film is humanistic in its approach to an overall message and is the feel-good film of 2018 without the slightest thread of sappiness or contrived situations. It is best about two real-life men who remained friends until their deaths.

Director Peter Farrelly, known chiefly for silly films such as Dumb and Dumber (1994), finds breakthrough success with Green Book.

The film is mainstream material, but of a sort that can be appreciated for the good it exudes. Don exhibits racism on more than one occasion- Birmingham and Mississippi specifically- but also experiences kindness from other folks.

Worth noting is that Don experiences discrimination and abuse not only from whites but also from blacks. Farrelly avoids the usual stereotypes or elicits humor from them as in the scene where Tony teaches Don to enjoy fried chicken, a foreign food to Don.

A key point of the film occurs early on when Dolores graciously invites two black workers to repair, thinking nothing of treating the men to a refreshing lemonade.

Seeing the empty glasses in the sink, Tony throws them in the trash, not wanting to drink from the same glasses. Is Tony, along with his family, racist or uncomfortable with blacks? Regardless of the answer, they think very differently after the film, which is monumental.

The final sequence of Green Book is teary, heartfelt, and provides a feeling of incredible warmth.

In the tumultuous times of current American history, Green Book (2018) is sentimental and inspirational in a day when racism once again reared its ugly head, thanks to the chaotic political environment.

The film is a lesson in how far we have come as a society, but also in how things have not changed so much and how much further we need to go to create equality for all.

Farrelly creates a timely and wonderful film that everyone can appreciate.

Oscar Nominations: 3 wins- Best Picture (won), Best Actor- Viggo Mortensen, Best Supporting Actor- Mahershala Ali (won), Best Original Screenplay (won), Best Film Editing

2017 Films, Comedy, Dark Comedy, Independent, Independent Comedy

Ingrid Goes West-2017

Leave a comment

Ingrid Goes West-2017

Director Matt Spicer

Starring Aubrey Plaza, Elizabeth Olsen

Scott’s Review #832

Reviewed November 16, 2018

Grade: A-

Ingrid Goes West (2017) is a deliciously wicked black comedy that boldly addresses the current obsession with social media.

Combined with a dynamite performance by young actress Aubrey Plaza and witty writing, the small independent film is a summertime treasure and has received two Spirit Award nominations.

The film is a breath of fresh air and a fine achievement by new director Matt Spicer.

The film immediately catapults the audience into the action as we are treated to a closeup of a sobbing Ingrid Thorburn (Plaza).

We immediately know that she is not well when she fumes with the realization that she has not been invited to her Instagram friend’s wedding and proceeds to interrupt the reception and attack the bride with pepper spray.

Ingrid is carted off to a mental hospital for analysis and recovery.

Once released, we learn that Ingrid’s mother has recently died, leaving her a tidy sum of money as an inheritance. Ingrid suddenly becomes obsessed with Taylor Sloane (Elizabeth Olsen), a popular and narcissistic young woman whom she follows on Instagram.

Taylor becomes Ingrid’s idol as she decides to move to Los Angeles and insinuates herself into Taylor’s life. She stalks Taylor and steals her dog only to pretend she rescued it, thereby becoming her close friend.

Gradually, Ingrid’s actions become more and more psychotic as Taylor catches wind of Ingrid’s antics.

Aubrey Plaza is perfectly cast as the unstable, manipulative title character. She possesses such strong comic timing, and with her wide eyes, nervous mannerisms, and determination to get what she wants, the audience roots for and falls in love with her.

On paper, we should dislike the character as she takes advantage of nearly everyone in her path, but Plaza embodies her with empathy and smarts. It is delightful to watch how she gets out of scrape after scrape with her quick thinking.

Plaza truly excels in the role.

Bold and calculating are words to describe Olsen’s performance as the selfish Taylor, and this may very well be why it is easy to root for Ingrid.

The character is so plastic and conniving that seeing her as the foil is intensely satisfying. Olsen usually plays good girl roles and possesses a girl-next-door quality, but in this part, she nestles nicely into a bitch role.

Olsen also uses excellent timing with her characters’ dialogue delivery, so much so that Olsen and Plaza had me in stitches during their one-on-one scenes.

I adore the Los Angeles setting. It is beyond appropriate for a film about phoniness, obsession, and plastic personas.

Beneath the sunny veneer lies darkness and tomfoolery in every direction, and besides Ingrid’s landlord/somewhat boyfriend, Dan (O’Shea Jackson Jr.), there are not many likable characters.

Attending party after party and lavish clubs, restaurants, or getaways, being involved in the “scene,” and the City of Angels is the perfect backdrop.

One gripe that knocks Ingrid Goes West down a rung is how the character of Taylor’s artist husband Ezra (Wyatt Russell) is written.

In one of the more authentic scenes, Ingrid realizes as she has a poolside heart-to-heart with the depressed Ezra that his wife is not the girl he knew when she moved to L.A. He and Ingrid seem to connect, but shortly after, it is as if the conversation never happened, and he is ferociously taking his wife’s side again.

A more admirable approach, and one I was hoping for, is that Ingrid and Ezra would ride off into the sunset, but the film misses this opportunity.

The entire film is a clever piece of work. From the performances to the dark humor and the witty dialogue, Ingrid Goes West (2018) succeeds on nearly all levels.

A modern-day Single White Female (1992) with a social media slant, the film goes for the gusto and gets there. I cannot wait to see more from up-and-coming star Aubrey Plaza, as the actress has the comic and dramatic chops to go very far.

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

2018 Films, Animated, Comedy, Drama

Isle of Dogs-2018

Leave a comment

Isle of Dogs-2018

Director Wes Anderson

Voices: Bryan Cranston, Edward Norton

Scott’s Review #831

Reviewed November 15, 2018

Grade: B+

Anybody familiar with a Wes Anderson production knows what they are in store for, and Isle of Dogs (2018) is par for the course.

With zany narratives and fantastic art direction, the film has a familiar stamp. Most resembling his other notable stop-motion film, Fantastic Mr. Fox (2009), Isle of Dogs offers what is to be expected- an intelligent and odd project by a visionary creative mind.

Anderson provides the film with a timely, corrupt government-type message that strongly resonates in 2018. In this way, Isle of Dogs, while animated, is so much more than a cookie-cutter story or a wholesome film for kids.

The director shows bravery in focusing on the corruption prevalent in today’s world and the fight for justice by ordinary people living under authoritarian control.

Set in dystopian Japan, a recent outbreak of canine flu causes corrupt Mayor Kobayashi to banish all dogs from society to the vast wasteland of Trash Island, where they will live out their days with other ostracized canines.

A brave twelve-year-old boy named Atari, who happens to be the mayor’s nephew, steals a plane and crash-lands on the island to rescue his beloved dog, Spots.

With help from a pack of dogs led by a former stray named Chief, the group sets out to find Spots and ultimately expose the government conspiracy. Obstacles abound as the mayor has sent a robot dog to return Atari and make mincemeat of any dog in its path.

Meanwhile, a professor, Tracy Walker, is on the cusp of discovering a serum as an outspoken American exchange student investigating the conspiracy.

Isle of Dogs is incredibly original and offers bravura visuals. From the lush and bright Japanese culture to the tired and haggard look of many dogs living on the island, the film is a treat for the eyes. The shimmering richness of the city is elegant and feels alive and powerful.

What I admire most about the film is its creativity and the blast of left-of-center storytelling, which blows away most animated offerings of today.

Many contain a robust helping of “cute”, which can turn off a mature viewer. With a target audience of the tween age, what is in it for adults? To sit there with a youngster and pretend to be jovial?

Isle of Dogs is not a crowd-pleaser; it is better than that. Anderson crafts a serious and timely message that begs to be absorbed by the careful viewer.

Assuredly, Anderson cannot escape providing a subtle allegory on an evil leader stirring the pot against the most helpless in our society. This point is timely and well thought out, especially in the tumultuous United States.
Could this be why an American character (Tracy) was added?

As dynamic as Anderson’s creativity is, the story in Isle of Dogs does not always embrace the viewer, and the jarring dialogue is tough to follow.

Standard in his films, the pacing is strange, the conversations between characters are odd, and the film lacks a truly welcoming or warm quality.

Therefore, the film is not an easy watch. And the dogs all speaking English rather than Japanese, with American accents, must be overlooked.

Critics and detractors of Wes Anderson need not see Isle of Dogs (2018) as they will be in store for typical Anderson fare. In addition, those seeking a standard mainstream animated feature will be disappointed.

Those with a more open-minded approach to cinema will revel in the film’s stunning look and the powerful message bubbling under the surface.

Oscar Nominations: Best Animated Feature Film, Best Original Score

1934 Films, Best Picture Oscar Winners, Comedy, Favorite Film of the Year, Romantic Comedy, Screwball Comedy

It Happened One Night-1934

Leave a comment

It Happened One Night-1934

Director Frank Capra

Starring Clark Gable, Claudette Colbert

Scott’s Review #824

Reviewed October 25, 2018

Grade: A-

Perhaps the film that best defines the early cinematic romantic comedy and certainly the one most modern genre films can learn from, It Happened One Night (1934) is a lively, fun romp.

The film carted away the Best Picture, Best Director, Best Actor, and Best Actress Academy Awards, a rare feat, and defined what romantic tension and thoughtful dialogue should be in a quality picture. All the elements sparkle into an excellent classic film watch.

Ellie Andrews (Colbert) is a pampered socialite who recently disobeyed her overbearing and wealthy father by eloping with a blue-collar pilot who is feared to be after her money.

Determined, Ellie escapes her father’s clutches and hops on a Greyhound bus headed from Florida to New York, where her husband is. When she crosses paths with an out-of-work journalist, Peter Warne (Gable), they each find an opportunity to use the other to their advantage.

The pair’s adventures along the East Coast lead to antics and schemes as they fall madly in love with one another.

It Happened One Night successfully mixes a good romance with some screwball comedy without ever becoming silly or trite.

The film also serves as a good old-fashioned adventure story as Peter and Ellie face one hurdle after another on their trek north.

Pleasing is how the duo slowly finds romance but first begins as irritants towards each other. The chemistry between the actors is superb and never seems forced or contrived.

Frank Capra, a famous director with successes throughout the 1930s, culminating with the holiday favorite It’s a Wonderful Life (1946), had several Oscar-winning films during the decade.

It Happened One Night seems to have inspired most of them, and the acting, absurd situations, dialogue, and direction all successfully come together.

Shot in black and white and the Motion Picture Production Code, which heavily restricted details deemed too violent or sexual, It Happened One Night pushed the envelope quite a bit.

This is to the film’s credit- who can forget the adorable yet provocative scene in which Ellie shows her shapely legs to enable the duo to catch a ride? The lovable scene, non-risque in today’s modern world, was anything but in 1934.

An interesting, at that time unique, point is that supporting characters are more layered than is typical in romantic comedies. Danker, whom Peter and Ellie hitch a ride with, is seemingly a decent man but ultimately attempts to steal their luggage.

Later, Ellie’s preposterous father turns out to be a decent man, so the film also contains a few character surprises.

While not quite a pure masterpiece, It Happened One Night (1934) is nonetheless an inspired legendary film that can be viewed and enjoyed for the period in which it was made.

The film stands out among the similarly themed romantic comedies of the 1930s and 1940s and is a teachable moment for all filmmakers who explore the same genre territory.

Oscar Nominations: 5 wins– Outstanding Production (won), Best Director (won), Best Actor-Clark Gable (won), Best Actress-Claudette Colbert (won), Best Adaptation (won)

1988 Films, Animated, Comedy, Disney, Drama, Kids

Oliver & Company-1988

Leave a comment

Oliver & Company-1988

Director George Scribner

Voices Joey Lawrence, Natalie Gregory, Billy Joel

Scott’s Review #818

Reviewed October 8, 2018

Grade: B

Oliver & Company (1988) is a darling animated film released by Walt Disney Pictures, the 27th Disney feature film produced.

The film is based on Charles Dickens’s novel Oliver Twist, but Oliver is now a homeless kitten who joins a gang of dogs, and the setting shifts from London to the dangerous streets of New York City in the present day.

We meet Oliver (Joey Lawrence) as he huddles with other homeless kittens in a cardboard box, chilly from a driving New York rain.

As all of the other kittens are snatched up by adoring animal lovers, Oliver is inexplicably left on his own.

He eventually meets up with Dodger (Billy Joel), a mongrel with street smarts, and the duo steals hot dogs from an abrasive food vendor.

When Dodger swindles Oliver out of his share, the kitten follows the dog to a barge, which turns out to be the hideout of Fagin (Dom DeLuise), a human pickpocket. Fagin houses a gang of assorted dogs as loan shark Sykes bullies him.

As Oliver bonds with the miscreants, his life suddenly takes a positive turn when he is rescued from the streets by a kindly, wealthy little girl named Jenny and her bumbling butler, Winston.

Jenny’s parents are on holiday in Europe, leaving her and Winston running the house.

Along for the ride is Jenny’s sophisticated and spoiled pet poodle, Georgette (Bette Midler), who takes a dislike to Oliver.

By the 1980s, Disney films were hardly the hot commodity they once were, and the small budget is evidence of that. Oliver & Company is not on par with classic, lovely offerings such as Pinocchio (1940), Fantasia (1940), or Dumbo (1941).

The film has a severe and decidedly “1980s quality”, mostly due to the upbeat soundtrack, which decades later makes the film feel rather dated.

Speaking of the soundtrack, the highlight is a treat entitled “Why Should I Worry?”, a tune sung by the ensemble cast and impossible not to hum along to.

The film features an array of famous voices that are perfectly cast.

The filmmakers wisely cast plenty of native New Yorkers, which results in a huge measure of authenticity. Brazen voices like Midler’s, Joel’s, and Cheech Marin’s, as feisty chihuahua Tito give credibility to their characters.

The odd romantic pairing of Georgette and Tito, on the surface completely mismatched, gives a good dose of comic relief to the story.

The story written for Oliver & Company is the best part of the entire production.  Anyone familiar with the famous Dickens novel or Oliver! (1968), the most famous of the film incarnations, knows how the story will end.

This did not hinder my enjoyment of the animated film, though, which was a compelling and charming experience. Sykes makes a great villain, drawn with a long face and enormous chin, interesting, but not too scary to frighten young children.

One conspicuous omission is the elimination of the important character of Nancy. As fans know, Nancy played a vital role in the original story. Perplexing is the decision not to include her, but perhaps her ultimate death would have made the story too dark, so this can be overlooked.

Surely not the best in the Disney bunch, Oliver & Company (1988) is nonetheless a decent offering, sadly overlooked by fans and critics alike.

The film is nearly forgotten and suffers from a dated quality, if not for the widespread knowledge of the classic novel. The film is not one of the storied Disney treasures, nor should it be dismissed altogether.

The result is a darling, innocent experience meant for pure enjoyment.

2017 Films, Comedy, Dark Comedy, Drama, International, International Comedy, International Drama, Satire, Swedish

The Square-2017

Leave a comment

The Square-2017

Director Ruben Östlund

Starring Claes Bang, Elisabeth Moss

Scott’s Review #814

Reviewed September 28, 2018

Grade: B+

The Square (2017) is an eccentric, highly interpretive Swedish-language film that does not always make perfect sense, as a more mainstream film would.

This is both a positive and a negative, as the film’s ultimate message is admirable, though some parts are perplexing and downright bizarre.

The film was undoubtedly commended for its bravery and cutting-edge approach and received an Oscar nomination for Best Foreign Language Film—subsequently, it lost to A Fantastic Woman (2017).

The film’s primary setting is the X-Royal Art Museum in Stockholm, Sweden. The action centers mainly around the museum’s new creative director, Christian (Claes Bang), attempting to introduce a new installation called “The Square.”

A misunderstanding with a youthful public relations firm hired to make the exhibit as accessible as possible leads to controversy.

The film also interjects various subplots that are generally interesting but do not always make logical sense.

Bang is quite compelling in the lead role and the film’s best part for me. He is charismatic and a good father to his two daughters. He helps people experiencing homelessness- even going so far as to help a young woman when nobody else will, only to find his wallet stolen- an unfortunate victim of a scam.

Furthermore, Christian’s desire to create “The Square” is humane and admirable- a safe zone for trust and compassion. The character is a good guy but is also concerned with his status.

Common themes of satire and human beings’ natural hypocritical nature abound. For example, in one scene, Christian, proud to drive his flashy Tesla car and give money to the homeless, is afraid to be seen in a run-down apartment house.

Later, a man with Tourettes syndrome disrupts an interview at the museum and is looked down on by “open-minded people” as a result. The latter scene is quite amusing as the man erupts with various expletives at the most inopportune times.

My favorite sequence occurs approximately midway through the film. As bizarre as the scene, it is riveting in its momentum and bravery.

When a group of well-dressed museum members gathers for a lavish dinner to watch a human art show, a bare-chested man who only grunts emerges and slowly antagonizes guests.

He begins pulling one woman’s hair while chasing an angry man from the hall. This scene is shocking, intense, and thought-provoking.

But what the scene means is perplexing.

A treat for me was viewing the famous Stockholm museum’s frequent interior and exterior scenes- which I was privy to have visited in 2016.

This experience was so fresh that it brought back wonderful memories of not only the museum but also the gorgeous city of Stockholm itself.

The chemistry between Christian (who is Swedish) and an American reporter, Anne (Elisabeth Moss), does nothing for the film. It feels wholly disjointed and unnecessary, and there is little connection between the two characters.

Engaging in a one-night stand, the duo has a dispute about a used condom. Does Christian think that Anne is desperate enough to use his sperm and impregnate herself? The resulting spat between the two seems meaningless.

The Square (2017) is a very tough film to review.

Oftentimes disjointed and impossible to make heads or tails of, one would be wise to simply “experience” the film on its own merits. I am not sure.

I mainly need to view it again and try to figure out the plot because I am uncertain if that was the intent of director Ruben Oslund.

Having directed the wonderful Force Majeure (2014), a more straightforward and superior film, The Square is worth a watch in its own right.

Oscar Nominations: Best Foreign Language Film

1999 Films, Comedy, Screwball Comedy, Teen Comedy

American Pie-1999

Leave a comment

American Pie-1999

Director Paul Weitz

Starring Jason Biggs, Eddie Kaye Thomas, Chris Klein

Scott’s Review #813

Reviewed September 23, 2018

Grade: B+

With each generation of film, there seems to be a gross-out comedy that speaks to a young, coming-of-age generation, mostly male and jock in persuasion.

American Pie (1999) finishes the 1990s strongly with a raunchy story that feels fresh and genuinely funny, with precarious situations facing the cast, specifically the protagonist and “everyman”, played by Jason Biggs.

The film is a teen sex comedy of the crudest nature yet engulfed with characters audiences like, not mean-spirited, but rather fun-loving and endearing.

An enormous box-office hit at the time, the film was all the rage and brought a tawdry new meaning to the Americana staples of apple pie and band camp.

Spawning several sequels over the next decade, the franchise successfully revived the teen comedy genre with strong, highly recognizable characters.

American Pie also brought back the fun to R-rated films and put a nice cherry on top of a creative decade in cinema. The film is not high art, but it does what it aims to do quite well.

Living a middle to upper-middle-class existence in the suburban USA (presumably Michigan), five high school seniors make a pact to lose their virginity by the time they graduate. Most of the group are nerdy, insecure, and sexually naive, the central character being Jim Levenstein (Biggs).

Most events are taken from his point of view, and he is continually advised by his very nerdy father, Noah (Eugene Levy).

The setup is an age-old premise with lots of room for jokes and precarious situations in hilarious form. As Jim has the hots for a sexy foreign exchange student, Nadia, she is out of his league.

In a hilarious scene, a “warm apple pie” incident leads to an attempt to set up a webcam to watch Nadia change clothes. When events go amiss, everyone gains access to the webcam link, and Nadia is sent back to Czechoslovakia in shame.

This leads to a new pursuit for Jim, a geeky band camp girl, Michelle (Alyson Hannigan). Surprisingly, they fall madly in love and have fantastic chemistry.

Some of the supporting characters add energy and sometimes hilarity. Jennifer Coolidge is great as the mother of Stifler (the jock of the group), who has eyes for younger men, specifically Finch.

As they finally consummate their relationship on a basement pool table, Stifler walks in at the worst time and faints in horror. These antics are genuine and fresh, with great acting by all principals.

Coolidge, Hannigan, and Levy are arguably the best secondary characters. Each, in a different way from the others, provides comic relief by crafting interesting nuances to the characters.

Levy, as Jim’s father, is well-meaning, yet bumbling. Every teen cringes at the thought of having a father like Noah, yet the pair share a close bond and a classic father-son relationship, making the character endearing.

American Pie was successful at coining new pop-culture phrases such as “warm apple pie, “milf” and “this one time in band camp…” that the young generation of the time (myself included) enjoyed giggling over and repeating in glee.

The film set the tone for similar genre films, but none of them matched the chemistry and charm of American Pie, and it was better than it ever should have been!

The turn-of-the-century version of Animal House, American Pie (1999), introduces a new generation of young people into the world of comedic, R-rated, raunchy fun. The numbers have churned out films like this, but rarely are any as authentic as this film feels.

The franchise sustained its popularity with well-written sequels, most notably American Pie 2 (2001), which further developed the storylines. Still, the original remains a fine blueprint for what good comedy can achieve.

1999 Films, Comedy, Dark Comedy, Satire

Office Space-1999

Leave a comment

Office Space-1999

Director Mike Judge

Starring Ron Livingston, Jennifer Aniston

Scott’s Review #811

Reviewed September 16, 2018

Grade: B+

Having become somewhat of a cult classic since its theatrical release in 1999, Office Space is delightful to watch for anyone who works in a corporate environment- or ever has- they will undoubtedly “get” this movie.

The dark humor and antics may be lost on those who have not, but for the rest of us, the film is quite the treat.

One may never view a stapler or the common office cake party in the same manner. Yes, the story and characters are somewhat over-the-top, but more than a few clever scenes ring with truth.

But over time, will the film become dated?

Writer and Director Mike Judge tells a story about life at a 1990s software firm.

Reportedly, the story is based on Judge’s cartoon series Milton, and his first foray into live-action filmmaking. His first film was Beavis and Butt-Head Do America (1996), which gives any indication of the type of humor that resonates.

Fraternity boy-minded, yes, but the writing is crisp and oftentimes rife with fun.

The film was not a box-office smash at the time of its release, yet it is well-regarded by critics.

Peter Gibbons (Ron Livingston) is a frustrated IT programmer at a company called Initech. Alongside two colleagues, one of whom is comically named Michael Bolton (not that Michael Bolton), they despise their sneaky boss, Lumbergh (Gary Cole).

The situation gets worse when two consultants are brought in to downsize the company, leaving everyone in panic mode.

After a failed hypnotherapy session, Peter becomes relaxed and confident, even winning praise from the consultants and scoring a promotion.

This puts him at odds with Lumbergh, especially after he begins dating a waitress, Joanna (Jennifer Aniston), and assumes she has slept with him as well.

Office Space shines most for its crackling dialogue and clever scenes set within the confines of the office. With stuffy cubicles for miles and the standard corporate jargon to make into witty lines, the subject matter is ripe for the picking.

With Cole’s sly requests that his employees work weekends, Judge creates authenticity and freshness that are incredibly appealing to corporate workers.

He successfully knocks down office politics with intelligent, wisely crafted, memorable satire.

In the supporting role of Milton Waddams, character actor Stephen Root is successful at stealing the show with his mumbling and bumbling character. Nearly invisible to all his colleagues, Milton is eventually moved to a desk in the basement and left out of the cake party.

When somebody borrows his prized red stapler, all hell breaks loose. Increasingly disgruntled, Milton’s fate is instrumental to the film’s hilarious conclusion, and he ultimately gets his revenge, satisfying everyone.

The romantic element between Peter and Joanna is okay, but not at all the highlight of the film. The romance seems unnecessary to me, but it was undoubtedly added, since comedies of this sort usually require something heartfelt to appeal to mainstream audiences.

Aniston, popular at the time for her role on the television show Friends, was on her way to becoming a marquee movie star, but not quite yet, so she must be content with the standard “girlfriend” role.

She’s cute, but hardly anything more.

Office Space is a fun ride, but the film is not a groundbreaking experience in filmmaking techniques, inventive ideas, or other technical or narrative achievements.

What it offers fans, it delivers very well, and it feels like a breath of fresh air in its genre.

The film is a comedy, but not a dumb comedy, as a myriad of similar style offerings have been released since the beginning of cinema. With witty one-liners and comic gold, Office Space (1999) is a film to be remembered.

2018 Films, Comedy

The Happytime Murders-2018

Leave a comment

The Happytime Murders-2018

Director Brian Henson

Starring Melissa McCarthy, Maya Rudolph

Scott’s Review #808

Reviewed September 6, 2018

Grade: B-

Some consider it the worst film of 2018, but I had no positive expectations as I walked into an empty movie theater.

In truth, The Happytime Murders is not that bad. It is more in tune with a fun, adult-humored late-night affair. The greatest assets are Melissa McCarthy’s comic talents and the neat whodunit that is the central part of the story.

The human actors acting opposite puppets are bizarre and take some getting used to, but the nice editing (not easy to do!) is to be commended.

Set in modern times, in the underbelly of Los Angeles, puppets live alongside humans and are not treated well. They are constantly bullied and taken for granted.

Sarcastic and angry puppet Phil Phillips (a nod to the American Idol winner?) works as a private investigator. An incident many years ago caused him to be booted from the LAPD police force forever.

When Phil is hired by a sexy blonde female puppet, Sandra, to find out who has been sending her blackmail letters, he stumbles upon a rash of puppet murders.

The killer is knocking off members of an 1980s television show, presumably for profit. Phil’s brother and grizzled ex-partner, Connie Edwards (McCarthy) become central to the story.

The first dynamic that works well in The Happytime Murders is the “chemistry” between Connie and Phil. The connection and good rapport are surprising, considering the human/puppet factor.

One might find it surprising that the two characters play well off each other, but their adult sparring and frequent vulgar language name-calling are oodles of fun to watch. McCarthy is always fantastic with comic timing, so her fans will not be disappointed.

As they shout vulgar “pleasantries” to each other, one cannot help but smirk.

Maya Rudolph plays an interesting role as Phil’s secretary. Named Bubbles, she is sexy, sultry, and coquettish—an unusual role for Rudolph, but she pulls it off in spades.

Otherwise, Elizabeth Banks, cast in the small role of Jenny, Phil’s blonde ex-girlfriend, is entertaining. Despite being a puppet, Phil is quite the lady’s man, and Sandra (a nymphomaniac) is his main conquest.

In one lewd scene, Phil beds her right in his office, spewing strands of white goo meant to be semen, and Sandra exposes her purple pubic hair.

The film is clearly for adults only, and hopefully, unwitting parents do not mistake the puppet characters for a kids’ movie. The film contains many scenes bordering on X-rated territory, yet the inclusion of puppets undoubtedly gives off a humorous, not-to-be-taken-too-seriously element.

The Handsome Joel McHale, as a Special Agent on the case along with a Lieutenant, Connie’s superior, makes it clear the characters are along for the comic ride, and the film never takes itself too seriously.

I admittedly had low expectations, so I was surprised to find myself enjoying the puppet characters and the rapport between them most of all. Phil, charismatic in a Dick Tracy sort of way, balances the other “over-the-top” puppets, including a drug lord, two puppet prostitutes, and a puppet bunny addicted to porn.

The creations are lively and unique.

Let’s not get carried away, though- The Happytime Murders is not the genius that Who Framed Roger Rabbit? (1988) is, but its crass nature is of some appeal.

I adored the Los Angeles setting as the sunny locale perfectly counterbalanced the murderous antics of a hooded killer. The big reveal I did not see coming added to my surprise.

To summarize, The Happytime Murders is not a work of art or anything spectacular.

Presumably, it will be forgotten, especially since McCarthy is appearing in another “more serious” film in 2018, Can You Ever Forgive Me?, which has enormous Oscar potential. Therefore, the focus will assuredly be on that film.

However, a work like The Happytime Murders (2018) does have its place as perhaps a fun late-night offering.

2001 Films, Chick Flicks, Comedy, Romantic Comedy

Legally Blonde-2001

Leave a comment

Legally Blonde-2001

Director Robert Luketic

Starring Reese Witherspoon, Luke Wilson

Scott’s Review #807

Reviewed August 30, 2018

Grade: B+

Legally Blonde (2001) is a film that, by all accounts, should have been a hot mess, but for some reason is a great ball of fun.

High art it ain’t by any means, and the plot is implausible beyond belief, and suspension of disbelief must be securely tucked away.

Despite portraying more serious roles before and after this film, Reese Witherspoon is largely responsible for the film’s success and is closely associated with it.

Quite simply, all the elements align perfectly in this film.

Elle Woods (Witherspoon) is the president of her sorority at a Los Angeles college. Clad in fluffy pink attire and carrying her cute dog everywhere she goes, she epitomizes the stereotypical “dumb blonde”.

However, she does carry a 4.0 grade point average in fashion.

Expecting a marriage proposal from her upper-class, snooty boyfriend, Warner, Elle instead finds herself dumped due to not being serious enough.

Determined to prove herself worthy, she manages acceptance into Harvard Law School, along with Warner, and embarks on hijinks and adventures.

Warner’s fiancée and a potential new love interest cause turmoil for the boisterous Elle.

Legally Blonde never takes itself too seriously and is simply a fun, silly-minded, comic adventure.

Audiences will likely chuckle and smile along with Elle on her adventures as she gets into one pickle after another, always determined to prove her intelligence.

To be clear, the film itself is very formulaic and could easily have been trivial and uninspired, resulting in a bomb. But Witherspoon shines in the lead role, adding a likable, charming quality to the character.

The actress possesses great wit and comic timing, so that her character becomes more of a champion, and we root for her to overcome obstacles and succeed.

By miles, she is the standout in the film.

Suspension of disbelief is at an all-time high. In “real life,” there is no way Elle would ever get into the elitist Ivy League school, brandishing a pink resume or other silly tricks to be cute and appealing.

Nor would she ever likely be so instrumental in winning a murder case so quickly. To nobody’s surprise, Elle eventually graduates with flying colors and is honored to give a graduation speech, inspiring those around her.

But as implausible as these situations are, they are also Legally Blonde’s appeal.

The supporting characters are pure caricatures, especially the main foils (Warner and Vivian- who take Elle’s place as fiancée). Both are villains, Vivian going so far as to embarrass Elle by inviting her to a stuffy party under the guise that it was a costume party.

In the end, one of the characters “turns good”, another common element of predictable films of this nature. But again, the film is just pure and simple fun, so these stereotypes are okay.

In more modern times (not that 2001 was so long ago), the film would not have been directed by a man, but rather by a woman.

Screenwriters Kirsten Smith and Karen McCullah Lutz prepared a female-driven film that was based on a novel by Amanda Brown.

Why a man was chosen to direct is beyond me, but, alas, this is the way things were at the time.

Interestingly, another recent film I reviewed, My Big Fat Greek Wedding (2002), would work perfectly as a retro romantic-comedy double feature with Legally Blonde (2001).

Both are fun and light, but also celebrate strong female characters.

Legally Blonde borrows heavily from the 1995 brilliant, similar-genre film Clueless, but is not as great as that film. Still, the film is an inspired effort, largely due to the charms of its lead star.

2002 Films, Comedy, Independent, Independent Comedy, Independent Romantic Comedy, Romantic Comedy

My Big Fat Greek Wedding-2002

Leave a comment

My Big Fat Greek Wedding-2002

Director Joel Zwick

Starring Nia Vardalos, John Corbett

Scott’s Review #806

Reviewed August 28, 2018

Grade: B+

My Big Fat Greek Wedding is a 2002 romantic comedy that became a surprising sleeper hit at the time of its release.

A novel story idea, the film was even recognized with a Best Original Screenplay Oscar nomination.

The film achieved success the old-fashioned way by garnering word-of-mouth buzz despite little promotion.

Good-natured, earnest, and tender, the film was nonetheless marred by an abysmal sequel and short-lived television series- a lesson learned in leaving well enough alone.

Comedian Nia Vardalos reportedly wrote the story as a one-woman play, and word of mouth among Hollywood A-list celebrities led to a film version starring Vardalos herself.

This casting choice adds enormous authenticity, as the writer’s vision shines through on screen.

The film has a fresh, modern feel. Otherwise, the supporting cast is brilliant and perfectly selected. From handsome love interest John Corbett to veterans like Lainie Kazan and Andrea Martin, everyone plays their part to the hilt and seems to be having a ball with the comic elements.

Dowdy Toula Portokalos is a lonely thirty-year-old Greek woman, considered the black sheep of her family. Of traditional roots, she is expected to marry and bear children as quickly as possible.

Toula still lives at home and works in the family restaurant in bustling Chicago, yearning for something more out of life.

When she sees dashing school teacher Ian Miller (Corbett) in the restaurant one day, she makes an embarrassing attempt to catch his attention.

Through a computer class, Toula blossoms and finally lands her man, but the drama is just beginning as the couples and their individual families’ differing cultures collide.

My Big Fat Greek Wedding is very well written, and, again, the authenticity shines through in each scene. Admittedly, it often feels like a television sitcom, and many scenes play for obvious laughs, but the laughs work.

The funniest of these scenes is when Toula and Ian (now engaged) decide to invite his parents to dinner at her parents’ house.

Predictably, events go awry as his parents, conservative and reserved, do not mesh well with hers-festive and bombastic.

Vardalos and Corbett may not have the greatest chemistry in film history, but the build-up and the romance are so charming that we can overlook the lack of lustful vigor or the sexual tension between the pair.

The film feels more like a PG-rated Cinderella story than anything heavier. Predictably, the couple shares a happily-ever-after ending.

As much of a jewel as My Big Fat Greek Wedding was in 2002, the risk with a film of this nature is to hold up well over time. Specifically, in the romantic comedy genre, films of this ilk have a short shelf life (if they are deemed relevant at all).

The humorous Windex references may be lost on audiences over time or grow stale.

Some may deem My Big Fat Greek Wedding (2002) fluff, largely because of the romantic comedy genre it falls into.

But it’s worth more than that, mainly because of the fresh, genuine use of culture and diverse backgrounds.

The film has a quality most standard “rom coms” lack: authenticity. Yes, it contains Greek stereotypes, but the overall vibe of the film is that of a sunny, fun, happy experience.

An uplifting film can sometimes be just what the doctor ordered.

Oscar Nominations: Best Original Screenplay

Independent Spirit Award Nominations: 1 win-Best Debut Performance- Nia Vardalos (won)

2018 Films, Biography, Comedy, Crime Drama, Dark Comedy, Drama

BlacKkKlansman-2018

Leave a comment

BlacKkKlansman-2018

Director Spike Lee

Starring John David Washington, Adam Driver

Scott’s Review #802

Reviewed August 14, 2018

Grade: A

Spike Lee’s latest offering, BlacKkKlansman (2018), is a brilliant effort and oh so timely given the tumultuous political climate in the United States in 2018.

Despite the film being set in the early 1970s, the racial issues and tensions that Lee examines are sadly still an enormous problem today. Lee infuses some humor and even romance into the drama, so the film is not too preachy or heavy.

A grand and relevant effort that all should watch.

As the film commences, we are treated to a clip from the 1939 classic Gone With the Wind, and BlacKkKlansman concludes with prominent clips of racial tensions circa 2017.

The timeline is crucial and influential, as the film clearly demonstrates that racism is still alive and well.

Lee, a known liberal, clearly puts a left spin on his work. BlacKkKlansman will likely not be seen by conservative filmgoers, which is sad, as valuable lessons can be learned by viewing this piece.

The story is based on a true story memoir written by Ron Stallworth, the first black police officer to be hired by the Colorado Springs police department. He successfully infiltrates the local chapter of the Ku Klux Klan with startling results.

The film begins with a speech by a doctor (Alec Baldwin) offering a “scientific explanation” of white superiority in 1957. Fast-forward to the early 1970s, where the rest of the film occurs.

Ron is initially hired by the police force as part of a progressive initiative for diversity, but he quickly moves into a detective role. He manages to pose as a KKK member via telephone while another detective, Flip Zimmerman (Adam Driver), goes to meetings in person.

Lee’s focus is clearly on the overall content and message of the film, and therefore, little character development is achieved. I admittedly did yearn to know the “hows ” and ” whys” of many of the characters, but the film is not really about the characters individually, and I am okay with this.

Why did Ron desire so much to become a police officer? What was his childhood like? How did Patrice become President of the black student union? What was her childhood like? What upbringings did some of the KKK members have?

Indeed, not enough time would have been allowed to answer these questions—minor gripe.

Lead actor John David Washington, son of Denzel Washington, was unknown to me before watching this film. He is tremendous in his role, as is Driver in his supporting role of Zimmerman, but again, these are not character-driven roles.

Washington has tremendous chemistry with his love interest, played by Laura Harrier. Ron and Patrice discuss politics and dance the night away, but she is an activist and a cop, making their chances of a happily ever after tough to imagine. Their romance is atypical of most films as it is based on intelligence and not silly, melodramatic aspects.

On the acting front, Topher Grace as the racist David Duke is tremendous. With a kindly demeanor mixed with a bubbling under the hatred of blacks and Jewish people, Lee makes sure he is the foil.

A delicious scene towards the end of the film, when Duke gets his comeuppance of sorts, is well done and received a thunderous roar from the theater audience.

Lee is careful to ensure the bad guys get their just due and are all portrayed as complete fools. With a false sense of nationalism, many hate minorities simply because they feel they are taking over their beloved country.

Not to harp on this, but BlacKkKlansman will attract those who already agree with Lee’s beliefs and politics. If only those who disagree would give the film a chance. Unlikely.

The final five minutes of BlacKkKlansman arguably are the most pivotal experience of the entire film, but they have nothing to do with the actual story portrayed in the rest of the production.

Lee concludes the 1970s portion of the film satisfyingly, then fast forwards to the horrific events that took place in Charlottesville, Virginia, in 2017 when protesters clashed with a racist group, resulting in an innocent woman’s death.

The controversial remarks of President Trump, refusing to cast blame on the racist group, are shown. Sitting in a crowded movie theater, these clips had the most significant reaction from the audience, with some flipping Trump the finger, while others sobbed in anguish and disbelief that we have achieved so little as a nation.

Rarely has a more pertinent or meaningful film been made for the current political climate in the United States. BlacKkKlansman (2018) brilliantly ties racism spanning one hundred and fifty years together and shows how it still exists.

Amid this message, however, lies a great drama containing humor and importance.

Oscar Nominations: 1 win-Best Picture, Best Director-Spike Lee, Best Supporting Actor-Adam Driver, Best Adapted Screenplay (won), Best Original Score, Best Film Editing

2005 Films, Comedy, Drama, Independent, Independent Comedy, Independent Drama, LGBTQ+ Drama, LGBTQ+ Films

Transamerica-2005

Leave a comment

Transamerica-2005

Director Duncan Tucker

Starring Felicity Huffman

Scott’s Review #795

Reviewed July 25, 2018

Grade: A

Transamerica (2005) is a brave and topical independent drama effort. By 2005, the LGBT genre was in full force with a multitude of similarly themed films gracing silver screens everywhere.

One prominent mainstream production (Brokeback Mountain, 2005) was in theaters everywhere.

So, in a year celebrating diversity, how wonderful and touching it is to witness a film focused on a transgender woman come into play.

Mixing drama with some much-needed humor, the film succeeds in large part because it does not take itself too seriously and never becomes too preachy; it merely tells a story.

The film’s brilliant casting of Felicity Huffman as a pre-op male-to-female transsexual is a success, as the decision to cast a woman rather than a man in this important role pays off in spades.

The premise allows for a story of both adventure and humor as the film mixes an important issue.

A transgender woman, Bree (Huffman), decides to go on a road trip with her long-lost son, Toby (Kevin Zegers).

The intrigue is that Toby is unaware that Bree is both transgender and his father, the fun coming from the relationship between the two.

Adding to the setup, a week before Bree’s scheduled operation, she has no idea who Toby is.

Encouraged by her therapist, Bree decides to throw caution to the wind and travel to pick up her son; however, she does not realize that Bree (being transgender) is his birth father.

Talk about complicated material!

I love the overall message of the film; its theme is self-discovery and a personal journey toward happiness. These qualities do not only apply to Bree but also to Toby.

Being a teenage boy, abused and neglected, he has his share of issues, which the film does not skirt over.

The areas of male prostitution and gay porn are featured, and the film does its best not to shy away from these sensitive matters.

Therefore, even though the film’s tone is light and more of a coming-of-age story, there are underlying painful emotions the characters experience.

This makes their bonding easier and more fulfilling.

Without a doubt, the film belongs to Huffman, who was honored with a Best Actress Oscar nomination for Best Actress. No offense to that year’s winner (Reese Witherspoon) for Walk the Line (2005), but the rightful owner of the statuette should be Huffman.

The actress simply comes out of nowhere and slays this role. Known for playing a different type of role on ABC’s hit television series Desperate Housewives, Bree is in a different league entirely.

Huffman possesses strength, vulnerability, and sarcasm, while physically undertaking a transformation that makes her both feminine and masculine, without becoming a “joke.”

All of this she pours into the character.

Transamerica (2005) is an unconventional film that, on the surface, feels mainstream, like many other road trip films made over the years.

With a twist and thus a breath of fresh air considering the importance and relevance of the time-released, the film should be championed.

When combined with Huffman’s tremendous performance, the film is a heavyweight and should be viewed and celebrated for its influence.

Oscar Nominations: Best Actress-Felicity Huffman, Best Original Song-“Travelin’ Thru”

Independent Spirit Award Nominations: 2 wins-Best Female Lead-Felicity Huffman (won), Best First Screenplay (won), Best First Feature

2018 Films, Comedy, Drama, LGBTQ+ Comedy, LGBTQ+ Drama, LGBTQ+ Films, LGBTQ+ Romantic Comedy

Love, Simon-2018

Leave a comment

Love, Simon-2018

Director Greg Berlanti

Starring Nick Robinson

Scott’s Review #789

Reviewed July 17, 2018

Grade: B+

Love, Simon (2018) is a friendly, mainstream, LGBT film focused on a likable central character. Given the myriad dark films within this genre, the film is refreshing, usually ensconced in the independent genre.

Finally, a wholesome, family-oriented “coming out” story is upon us, and the film succeeds in spades. Perhaps a shade too “happily ever after” with a couple of stereotypes among the supporting characters, Love. Simon is a film to be heralded and certainly recommended.

Popular high school senior Simon (Nick Robinson) has a close circle of friends, hip parents, and an affluent existence in the suburban USA. Seemingly “having it all,” he is nonetheless filled with angst and harbors a deep secret—he is gay.

Closeted, he finds solace with a similarly closeted male student through the school website.

Determined to find out who his classmate is, he embarks on a way to discover his secret crush’s identity while being blackmailed by another schoolmate.

Young newcomer Nick Robinson is an absolute gem and carries the movie successfully. This is in stark contrast to another 2018 release starring a newcomer who failed (A Wrinkle in Time). Alas, Robinson has charm, charisma, wholesome looks, and an earnest persona, which are perfect traits for a coming-of-age film such as Love, Simon.

The audience will instantly root for the teen to find happiness and come to terms with the dreaded coming out to family and friends, which any gay person can relate to.

An enormous positive to the film is that Simon is okay with being gay- it’s the telling of other people that bothers him. He daydreams about starting fresh next year as an out and proud college freshman.

He worries that coming out will ruin his final year of high school and change his relationships with his circle of friends. But he is never ashamed or self-harming in his preference for men.

Lesser, but still significant, high points to the film are the rich diversity among the supporting players.

Several of Simon’s friends are black, and his parents are liberal, open-minded, and well-rounded. Of course, they will be accepting of their son’s chosen lifestyle.

Love, Simon also features diversity among the teachers. The theater teacher is not only black but also a champion for LGBT fairness. These qualities are always a breath of fresh air in film, especially when the target audience undoubtedly is younger.

The filmmakers succeed at breaking a key barrier with Love, Simon. As often is the case, LGBT-themed films target the LGBT audience, which makes sense.

In the case of Love, Simon, the film is an experience that the entire family can watch together, regardless of anyone’s sexual preferences. This detail is critical, as LGBT matters should be considered daily.

At the risk of pigeon-holing, the fact that Simon is masculine and popular and not the slightest bit effeminate or girly is undoubtedly a key to the film’s success.

On that note, the film does add an extremely effeminate and outgoing supporting character named Ethan. I am not sure this character is necessary other than to contrast with Simon.

Perhaps to drive the point home, Simon is a cool, macho guy, and Ethan is not. In one scene, it is assumed that Simon and Ethan are boyfriends, and Simon seems mildly disgusted by this. I’m not sure this subplot works or serves the film’s overall message very well.

Love, Simon contains frequently seen supporting character types that bring us seasoned filmgoers back to the days of the 1980s teen coming-of-age films like Pretty in Pink (1986) and Sixteen Candles (1984).

Several subplots involving characters having crushes on other characters, while another character likes them, are added to the mix for fun and a little drama.

The conclusion is sweet as the initial mystery of “who is the other gay student?” is finally revealed amid a lovely scene of Simon waiting on a Ferris wheel for his online admirer to arrive.

In a purely inclusive moment, the entire school surrounds the newly united couple and beams with pride as the duo tenderly kisses. Mass audience members are exposed to a heartfelt moment and an enormous lesson in dignity and spirit.

Director Greg Berlanti creates a lovely Hollywood film that is rich with diversity, a powerful story, and an inclusive element.

Sure, the film is not heavy and either skims over or misses discussions of powerful emotions that many gay youngsters face, but it is nonetheless a brave and necessary story in its own right.

Love, Simon (2018) is classy, tender, and quite a pleasant experience.

2017 Films, Biography, Comedy, Drama

The Disaster Artist-2017

Leave a comment

The Disaster Artist-2017

Director James Franco

Starring James Franco, Dave Franco

Scott’s Review #781

Reviewed July 2, 2018

Grade: B

The Disaster Artist (2017) is a biography-comedy that I found to be middle of the road to primarily good if I’m judging in overall terms- most I liked with a bit of criticism.

Due to the many accolades, I confess to having anticipated a bit more from the finished product and hardly finding it a masterpiece.

Still, I was both impressed and unimpressed by James Franco’s performance in the lead role. I was awed at the actor’s emergence as a director, and the Los Angeles setting is great.

At times the film teeters almost into bad slapstick or shtick, and a bit silly, and as much as I respect his performance, this criticism is directed at Franco. Nobody can deny his acting talent if he chooses the right films.

His attempt to make his character peculiar is noticeable within seconds, so it seems Franco also makes him a bit of a goof, and I was not able to take the character seriously all of the time.

And the weird accent threw me.

This film is based on the nonfiction book The Disaster Artist. The book chronicles the making of 2003’s The Room, not to be confused with the 2015 film Room. The Room was considered amateurish and one of the worst movies ever made.

Told repeatedly that his acting stinks, oddball Tommie Wiseau (James Franco), a European-American aspiring actor, decided to screw Hollywood and produce, direct, and star in his film.

Wiseau has an endless amount of bank funds, which he uses towards the film. Roommate and friend Greg Sestero (Dave Franco) stars in the movie and thus gets his big break. The duo and various others pitch in to create the project, which suffers from ineptness on the part of Wiseau.

The Los Angeles setting resonates with me, as does the recurring theme of struggle in the Hollywood scene. These are significant pluses of the film as a whole.

Los Angeles can appear to be a sunny and glamorous town, but beneath its shiny exterior, it always has a gloomy, dark underbelly.

The film realistically depicts struggle and success, from the central characters to the supporting players, making it resemble an ensemble.

Thousands struggle daily for a break, and no respect or appreciation is given. The Disaster Artist scores a win by focusing on this.

When Tommie brazenly approaches an influential producer in a restaurant, he is unceremoniously dismissed for having no talent and told he will never get anywhere. In addition to Tommie, several actors associated with the film struggle.

In a fantastic scene, an older actress states that being on a bad movie set beats any other job by miles. The message here is that people in Hollywood are there because they genuinely love it.

The sweet, empowering theme of friendship and empowerment is also to be celebrated, especially given the cutthroat backdrop. Tommie and Greg are best friends and have each other’s backs through thick and thin.

Neither gives up on the other, even during the initial audience reaction to The Room premiere.

Could the film have been slightly darker? Yes, indeed, as very few scenes of drug destruction or the porn that many hopeful talents turn to are mentioned. But the film is not about that. It’s an enchanting tale of hope and fun.

It is interesting to note, and not evident to me while watching the film, that brothers James and Dave Franco play opposite one another. While there is somewhat of a physical resemblance, the chemistry works between the two actors as best friends.

James delivers a worthy portrayal of an unusual character with a strange dialect, long, stringy brown hair, and seemingly cross-eyed. The role is comedic and ideally suited for an unusual actor like Franco- he must have had a ball with the part.

Movies about movie-making always fascinate me. What goes on behind the scenes?

The Disaster Artist (2017) provides enough good film meat to make it an overall good experience. It stays true to some fine Hollywood history—the famous James Dean is referenced, and the spot where he died is even visited—nice touch! Franco is both good and disappointing in the main role.

All in all, this one is worth watching for those who enjoy filmmaking, Hollywood, or L.A.-set films.

Oscar Nominations: Best Adapted Screenplay

Independent Spirit Award Nominations: Best Male Lead-James Franco

2017 Films, Comedy, Screwball Comedy

Girls Trip-2017

Leave a comment

Girls Trip-2017

Director Malcolm D. Lee

Starring Regina Hall, Queen Latifah, Jada Pinkett Smith

Scott’s Review #760

Reviewed May 18, 2018

Grade: D-

I am genuinely baffled by some of the positive reviews of the film Girls Trip (2017) by viewers and respected critics.

Attempts to make females as raunchy as the guys in R-rated comedies never work, in my opinion (good writing does!), and the result is a largely unfunny, crude piece of drivel.

The fact that the film, which goes for a “female empowerment” theme, is directed by a man is as disappointing as disrespectful, especially given the fact that the writers are female- they couldn’t find a black female director?

At the risk of giving a testimonial, I fully know the importance of creating good female roles in cinema-perfect female black roles.

Unfortunately, the roles in Girls Trip do nothing to further the cause as tried and true, standardized parts commence with no well-written character to be found.

Modern films look to Black Panther (2018) or Hidden Figures (2016) as examples of positive black female role models- they exist!

The weak plot involves four forty-something lifelong friends who regroup for a reunion after years apart. Famous lifestyle guru Ryan Pierce (Regina Hall) decides to take her “Flossy Posse” to a music festival in New Orleans, where they will spend the weekend partying like it’s the 1990s once again.

Ryan is married to a man who cheats on her, Sasha (Queen Latifah) runs a failing gossip site, Lisa (Jada Pinkett Smith) is a divorced, overbearing nurse, and slutty, aggressive Dina (Tiffany Haddish), who has just been fired from her job.

In predictable form- think 2009’s The Hangover or a multitude of other raunchy comedies since then, the girls get into trouble, drink too much, have sex, and partake in other hi-jinks throughout the weekend.

The central plot is Ryan’s potential investment deal with rigid and uptight Bethany (Lara Grice) and a wisecracking agent. As events unfold, Ryan’s female nemesis shows up to cause trouble and stir up drama, testing the group’s patience.

Girls Trip is a typical American comedy film (not a compliment!) that offers weak writing and instead promotes stereotypical stock characters.

Many similar comedies have come before it, and many more will come after it. Since I disliked the film so much, I decided to ask myself a few rhetorical questions as I observed the mess.

In films with a group of women, why is there always a slutty one (Dina)? Why is there always a mousy one (Lisa)? Why is there always a fat one (Sasha)? Why is it deemed funny to watch women pee or suffer bathroom issues?

The only positives to Girls Trip come in one humorous scene when Dina mixes absinthe into the girls’ drinks before a meeting, causing them to hallucinate. As the girls begin to imagine themselves talking in deep baritone voices and Ryan imagines a waitress is her arch-enemy, the hilarity briefly ensues.

A quick wrap-up speech by Ryan after the film does send a nice message about being yourself and staying true to your loved ones, but why we have to suffer through two-plus hours of crap to get to the inspiration and point of the film is beyond me.

The success of Girls Trip (2017), which will inevitably produce a sequel, leads me to believe that the masses prefer their films idiotic, redundant, and fraught with cheap, crude laughs.

The film seems to be intended to push the envelope—not to create great art, but just to make the film as crass as possible. This is presumably to prove that girls can be as nasty as boys, which the film succeeds at portraying.

1995 Films, Classic TV, Comedy, Satire

The Brady Bunch Movie-1995

Leave a comment

The Brady Bunch Movie-1995

Director Betty Thomas

Starring Gary Cole, Shelley Long

Scott’s Review #750

Reviewed April 30, 2018

Grade: B

Capitalizing on nostalgia from the popular 1960s-1970s television comedy “The Brady Bunch”, 1995’s The Brady Bunch Movie offers a nice treat for fans of the series, fondly reminiscing about their youth or the hours spent enjoying subsequent reruns after the show ended.

For this reviewer, the film version is cute and silly. Still, as expected, the attention to detail, drawing on facets from the original series, makes the film a wonderful experience and a job well done by director Betty Thomas.

The Brady Bunch Movie is not highbrow nor complex,  nor should it be. The work is just peppered with great jokes and a solid ode to the fun past.

Film fans looking for a good comedy and not having seen the series might miss out on some of the fun, as a multitude of references only fans will appreciate abound throughout the film.

The plot is not the strongest quality, but liberties must be taken since the intention is of a throwback and not much more- the story might have existed during the series but lengthened for film purposes.

Larry Dittmeyer, played by Michael McKean, schemes to coax all of his Southern California neighbors into selling their houses at a good price to develop a lucrative shopping mall, presumably so they will all get rich.

When earnest Mike and Carol Brady (Gary Cole and Shelley Long) refuse the business deal, Larry embarks on a plot to use a foreclosing notice issued to the Brady’s as leverage in his deal.

The Bradys, owing $20,000 in back taxes due within a week, scramble to raise the money.

Predictably, the Brady kids rush to the rescue with a plan to secure the funds via a singing contest.

The film immediately gets off to a familiar start as we view the comfortable Brady house and all of the cozy qualities nestled inside- unchanged from the late 1960s- the groovy orange colors, the tie-dye, and the plaid outfits are all in tow.

Lovable Alice, in her blue-and-white housekeeper outfit, Mike, Carol, and all six Brady kids are back at the helm, having never missed a beat.

In short, they still live as if it were 1969 instead of 1995 and are oblivious to the outside world.

A tremendous treat for fans is the cameo appearances of a few of the original cast: Florence Henderson (Carol) and Ann B. Davis (Alice) have the more interesting parts, that of the Brady grandmother and truck driver, respectively.

Oddly, Maureen McCormick’s (Marcia), Susan Olsen’s (Cindy), and Mike Lookinland’s (Bobby’s) scenes were shot, but all cut- a major fail of the film whose fans undoubtedly would have liked to have seen all cast members.

Wouldn’t a group scene versus individual scenes have been a wonderful touch?

Missing is Robert Reed (Mike), who was deceased, and Eve Plumb (Jan), who refused to appear.

The plot is silly, trivial, and completely predictable, but so is the television series. As each episode was wrapped up in a nice bow with a defined conclusion and perhaps a lesson or two learned along the way, the film plays similarly.

McKean’s Larry and man-hungry wife Dina (Jean Smart) are perfect foils, playing their roles with a relish, only adding to the zany fun.

A wonderful and timely point is how a Japanese businessman saves the day for the Bradys, with a nice cultural inclusiveness touch that is still relevant today.

An observation made while watching the film in the present time (2018) is its intended point. In 1995, the point was to show how out of touch the Bradys were with “modern times”.

But in 2018, the tide has turned, and 1995 now seems dated concerning the Brady years- sadly, this gives the film itself more of a dated quality.

This is always a risk when a film uses the present as part of its plot.

The cool, hip cellular phone used by one character seems garish and uncool by today’s standards.

Still, from Marcia’s flattened nose, The Monkees’ Davy Jones resurfacing, Cindy’s tattling, Jan’s insecurities, Greg’s cool, suave manner, Peter’s breaking voice, and Bobby’s hall-monitor job, the familiar stories and antics all resurface in a fun-filled hour and a half of comic nostalgia.

The Brady Bunch Movie (1995) is a light achievement and a nice trip down memory lane for many folks.

1988 Films, Comedy, Romantic Comedy

Working Girl-1988

Leave a comment

Working Girl-1988

Director Mike Nichols

Starring Melanie Griffith, Harrison Ford, Sigourney Weaver

Scott’s Review #748

Reviewed April 26, 2018

Grade: B+

Released during a decade known for excess, fun, and light comedy films, especially in its latter half, 1988’s Working Girl was a blockbuster hit at the time and, in modern times, is perfectly positioned as an identifier of the decade itself.

This can be both good and bad, with both a dated feel and a whimsical, basic good girl versus a bad approach that is appealing.

The film is romantic comedy fluff, but it is entertaining and features lovely views of New York City- one of my very favorite locales.

The film is directed by Mike Nichols, better known for heavier subject matter (1966’s Who’s Afraid of Virginia Woolf and 1967’s The Graduate).

His leading of the picture, as well as all-star casting, surely made this film better than it ought to have been.

Tess McGill (Melanie Griffith) commutes via the Staten Island Ferry each morning into vast Manhattan, where she holds a secretarial job at a Wall Street investment bank.

When she has a bad experience with one of the brokers, she is reassigned to a female boss, the assertive Katharine Parker (Sigourney Weaver).

After Katharine steals Tess’s business idea and passes it off as her own to get in good with handsome Jack Trainer (Harrison Ford), Tess is determined to reveal the truth as a triangle develops among the three.

In tow are Tess’s best friend, Cynthia (Joan Cusack), and her cheating boyfriend, Mick (Alec Baldwin), in supporting roles.

Working Girl feels overwhelmingly like a “1980s film,” and while relevant at the time and kindly nostalgic, it does not hold up well in modern times, seeming better suited to a time capsule, unlocked from time to time for kicks.

The most garish example is the hideous hairdos that Nichols has Tess and Cynthia don- frizzed out and caked with Aqua Net hairspray is over-the-top even for the 1980s.

Then there are the inevitable tacky outfits, complete with bright colors and shoulder pads, as the girls hustle to their dull jobs. With these costume tidbits and the filming style, the tone screams the 1980’s.

The casting of the three leads is very good- Griffith, Ford, and Weaver all share nice chemistry, and the clear rooting value is for Tess and Jack to live happily ever after, with Katharine as the obvious foil.

The conclusion of the film is unsurprising, but as a romantic comedy, it is standard fare. The point is that the relationships are dynamic and the ride is fun.

Griffith is quite breathy and seductive in her role- a clear homage to the talents of Marilyn Monroe in her 1950s-era films.

Never known for great acting, Tess is the role of a lifetime for Griffith. Weaver sinks her teeth into an against-type villainous role, and Ford is dashing and charismatic as the leading man.

My favorite parts of Working Girl, and the strongest aspects of the film, leaving an indelible impression even after all of these years, are the sweeping camera sequences of New York City featured throughout the film.

Lots of scenes were shot in neighboring Staten Island, but the best shots of all are the luminous skylines of Manhattan that encompass the opening sequence and, later, viewpoints from the corporate offices.

There we see Tess on the Ferry heading across the Hudson River, all with the wonderful soundtrack song by Carly Simon, Let the River Run, playing in the background. The soothing tune and the approaching mammoth city set a nice tone.

The story itself is a sort of rags-to-riches, Cinderella-style experience from the point of view of Tess.

Taking night classes to better herself and clearly, a blue-collar type battling the giants of the corporate world, and the more sophisticated Katherine (she speaks fluent French!), is an enormous draw of the film to sustain mainstream audiences.

Corporate greed versus the little guy is an apt comparison here. Almost borderline fairy-tale, the fact that Tess gets the dashing Jack (in real life, he would undoubtedly be with Katharine) makes the film good escapist fare.

The working-class Staten Island versus the sophisticated Manhattan is another theme worth mentioning.

Thirty years beyond its original release. 1988’s Working Girl now seems dated, dusty, and of its time, like many similar-style films, but it still retains some of the enjoyment that undoubtedly made it a hit at the time of release.

A film that is fine to take out of the vault, dust off, and enjoy for some good escapist cinema and a predictable story of good overcoming bad.

Oscar Nominations: 1 win-Best Picture, Best Director-Mike Nichols, Best Actress-Melanie Griffith, Best Supporting Actress-Joan Cusack, Sigourney Weaver, Best Original Song-“Let the River Run” (won)

2017 Films, Animated, Best Animated Feature Oscar Winners, Comedy, Disney, Drama, Fantasy, Kids

Coco-2017

Leave a comment

Coco-2017

Director Lee Unkrich

Voices Anthony Gonzalez, Benjamin Bratt

Scott’s Review #737

Reviewed April 4, 2018

Grade: B+

Winner of the 2017 Best Animated Feature Academy Award, Coco is an exuberant and colorful affair, filled with marvelous lighting and a Mexican cultural infusion that serves the film well, making it feel robust in its diversity and inclusion.

The overall theme of family, traditions, and musical celebration is apparent, making for good razzle-dazzle with lots of upbeat songs and dance.

Mixed in is a lovely inter-generational theme, where older folks are respected, something lacking in today’s real world.

Miguel Rivera is a twelve-year-old boy living in Mexico with his extended family, including his elderly great-grandmother, Coco, who is sadly suffering from intermittent dementia.

Through flashbacks, we learn that Coco’s father (Miguel’s great-great-grandfather) was an aspiring musician who abandoned the family for greener pastures.

Subsequently, the Rivera clan banned all music in favor of a modest shoe-making business.

As Miguel realizes his passion for music, he comes into conflict with his family, who have other aspirations for him. Miguel embarks on a fantastic journey to the magical and somewhat frightening land of his deceased ancestors, coinciding with the festive Day of the Dead celebration, a Mexican cultural tradition.

There, he realizes the true nature of his great-great-grandfather’s sudden departure.

Coco is a film that all family members can enjoy, and it is structured just that way. The blatant use of multiple generations greatly appeals to the idea of blending the family unit.

Pixar successfully sets all the correct elements in place for a successful film, and the well-written story only adds layers. The film is quite mainstream, yet appealing to the masses.

Perhaps very young viewers may become frightened by some of the skeleton-laced faces of Miguel’s ancestors in the other world where he visits. Still, these images are somewhat tame and mixed with vibrant colors and extraordinary production numbers.

These images are undoubtedly meant to entertain rather than frighten, and the creatures have a friendly vibe.

Having viewed the film on an airplane traveling cross-country (admittedly not the best way to watch a film), the lovely and touching musical number “Remember Me (Lullaby)” entranced me, so much so that I was moved to tears right on the plane.

How’s that for effectiveness?

The emotional impact of this song impressed me immensely about Coco, even when the story is occasionally secondary to the visual or musical elements.

In fact, the story began to lag slightly until the aforementioned big musical number came into play. The song really kicked the emotional action into high gear, and I became more enamored with the characters and their connections to one another.

Miguel and his relatives’ love became more apparent, and the conclusion is pleasing and satisfactory.

A slight miss in the film, corrected midway through, is Miguel’s bratty and entitled nature. He heaves sighs when he does not get his way, which seems more apparent early on and was quite the turn-off.

At first, I did not care for the character, yet I knew I was supposed to.

Thankfully, the character becomes the film’s hero and ultimately proves to be a sweet, likable person. I pondered, “Is that what kids like these days?”

Pixar does it again, creating a family-friendly experience with a positive yet non-cliched message of belonging, forgiveness, and the importance of family connections that feels fresh.

In current times of divisiveness, especially with immigration and other cultures being attacked, how appropriate is it to experience Coco (2017), a feel-good yet not contrived project?

Oscar Nominations: 2 wins-Best Original Song-“Remember Me” (won), Best Animated Feature Film (won)