Category Archives: Paul Weitz

American Pie-1999

American Pie-1999

Director Paul Weitz

Starring Jason Biggs, Alyson Hannigan

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- of the mostly male and jock 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 tawdry new meaning to the Americana staples of apple pie and band camp.

Spawning several sequels throughout the next decade, the franchise successfully brought back the teen comedy genre with strong and 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 what it aims to do, it does 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 a webcam setup attempt 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, in 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, so the character is therefore enamoring.

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 other similar genre films, but none of them lived up to the chemistry and the charm that American Pie had. This film 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. Films like this have been churned out by the numbers, but rarely any are as authentic as this film feels.

The franchise was able to sustain its popularity with well-written sequels, most notably American Pie 2 (2001), which developed the situations more, but the original is a fine blueprint for what good comedy can achieve.

Grandma-2015

Grandma-2015

Director Paul Weitz

Starring Lily Tomlin, Marcia Gay Harden

Scott’s Review #275

Grandma_Movie_Poster

Reviewed September 21, 2015

Grade: B+

Grandma (2015) is clearly and deservedly, a showcase for the talented and interesting legendary Hollywood actress Lily Tomlin.

Years (twenty-seven to be precise) since she has had a starring turn in a film, the role of Grandma is custom-made for Tomlin, with the character’s sarcasm, wit, and downright bluntness emerging to the forefront.

The film is labeled a comedy/drama, which it is. It’s themed around a heavy topic of abortion and runs the risk of offending pro-life individuals, as the film undoubtedly contains a pro-choice slant.

Ellie (Tomlin) is a poet and former college professor in her seventies living in California. She is a lesbian and is mourning the recent death of her long-time partner. She has recently been dating a lovely young woman named Olivia (played by Judy Greer), whom she unceremoniously, and cruelly dumps, referring to Olivia as little more than a footnote in her life.

Afterward, Ellie breaks down in tears of guilt while showering.

One day her granddaughter, Sage, (her daughter Judy being the product of a one-night stand), appears on her doorstep asking for money for an abortion. Having just paid off her debts and destroyed her credit cards, Ellie is therefore broke.

The duo embarks on a quest for cash, and race against time to make the appointment in time for the scheduled procedure.

The film belongs to Tomlin but is enhanced by excellent supporting turns, specifically by Marcia Gay Harden as daughter Judy, and veteran actor Sam Elliot, as Ellie’s former flame Karl, to cite examples.

Judy and Ellie have experienced a tumultuous relationship their entire lives while Karl harbors resentment for Ellie for long-ago aborting their child. Harden is thrilling as a borderline, one-dimensional bitch character.

She is driven, angry, and self-centered, and it is mentioned that she has gone through numerous administrative assistants in her high-level corporate role.

I have not seen Harden in a role quite like this before. As unsympathetic as the character is, one cannot help wondering if Ellie’s mothering skills may have made Judy turn out this way.

Karl on the other hand is sympathetic. He is still wounded from his ages-ago relationship with Ellie and may still hold a flame for her, as unlikely a romance between them would be.

The film is darker than expected and is not the syrupy, mainstream, family story one might expect from the fuzzy one-word title.

Still, Tomlin’s cantankerous, sarcasm kept me in stitches and perfectly balanced the tough subject matter displayed in Grandma.

The relationships between the main characters are complex and tough to watch as they argue, swear, and insult each other.

Love is mixed in but complexities arise due to the controversial subject matter. The history of and, in many cases, painful memories are dredged up between characters.

Impressively, Grandma is not a film that debates the hot-button issue of abortion as one might assume. Sage never really considers keeping her baby and will have the procedure done as quickly as possible.  Ellie and Judy never try to persuade Sage to keep the child nor does Sage seriously contemplate keeping the baby.

The only instance of a pro-life perspective is when two ridiculous characters- a young mother and her ten-year-old daughter- suggest Sage not kill her baby. When Ellie steps in the young girl punches her in the face. Is this intended as comic relief or to make these characters appear as buffoons?

These characters are laughable.

The father of Sage’s baby is unsympathetic and a very minor blip on the radar. My theory is that the film chooses to go this route intentionally to avoid a debate over the abortion issue.

A debate is not the point, but the relationships between the characters are.

The scenes involving Ellie becoming irritated and sarcastic are priceless, successfully utilizing Tomlin. As she hilariously goes from situation to situation in an attempt to earn the $600 for Sage she resorts to various means as diverse as selling books, giving a kiss, or collecting an old debt.

This is the main draw of the witty little film, Grandma (2015).