Tag Archives: Amy Poehler

Mean Girls-2004

Mean Girls-2004

Director Mark Waters

Starring Lindsay Lohan, Rachel McAdams, Tina Fey

Scott’s Review #1,433

Reviewed July 21, 2024

Grade: B+

Upon its release, I doubt that the creators of Mean Girls (2004) knew how big of an influence the film would become. Not only becoming a box office hit it also became a Broadway musical with a reboot twenty years later.

It’s also one of those films everyone has heard of and immediately knows what it’s about.

After reading a self-help book about high school social cliques, Tina Fey, who stars in it, wrote the screenplay. The book also delved into school bullying and its damaging effects.

Mean Girls the film is intended to be a comedy and skirts over the horror and contempt that is the reality of vulnerable students being picked on by mean girls. I doubt that in real life ‘mean girls’ victims’ would appreciate a comedy based on their terror and ridicule.

A darker version while depressing would also be closer to reality. I took Mean Girls as a fantasy.

Nonetheless, the film is a roaring success if for no other reason than examining the insecurities and hierarchies of the high school (and middle school years) which ninety percent of adults would likely soon forget forever.

This is powerfully done via comedy so that we can all laugh at the over-the-top and hypocritical actions of the characters in different scenarios.

It’s fun to watch because it takes us back to a time in cinema when its star Lindsay Lohan was an up-and-coming sensation, and before co-stars Rachel McAdams and Amanda Seyfried were Oscar-nominated actors.

Cady Heron (Lohan) is a sophisticated yet naïve student, educated in Africa by her scientist parents. When her family moves to the suburbs of Illinois, Cady gets to experience public school and experiences the cruel laws of popularity that divide her fellow students into tightly-knit cliques.

She unwittingly finds herself in the good graces of an elite group of cool students dubbed “the Plastics,” but soon realizes how her shallow group of new friends earned this nickname. They are led by Regina (McAdams), a rich, popular mean girl.

Things quickly go south after Cady becomes smitten with Regina’s ex, Aaron (Jonathan Bennett).

Despite the title, the film is for anyone with teenage angst, a crush on a fellow student, or feeling either left out or part of a group at the expense of other unpopular kids.

The message of mean girls is universal and therapeutic since audiences can cheer along with Cady especially when she exacts her revenge on queen bee Regina in hilarious form.

The cat-and-mouse play between the two characters is merciless and delightful in the cruel measures to one-up the other in pure comical fashion.

Lohan and McAdams deserve kudos for energetically infusing the characters with likability even during scenes when they should be hated.

Cheering when Regina gets hit by a bus never felt so good.

The writing is astounding and surprisingly good with vicious quick wit and humorous scene after scene.

Wisely, the film ends after one hour and thirty-seven minutes which is a perfect length for a teenage comedy. Anything longer might have made it drag because the ending isn’t unexpected or a huge surprise.

Since we assume Cady will emerge victorious, which she does, the conclusion is satisfying and the event hints at a sequel.

The film is peppered with diversity which is also an enormous win. The principal of North Shore High School, Mr. Duvall (Tim Meadows) is black while other ethnic characters appear.

This provides a nice progressive message.

Watching the film twenty years following its release I never expected to enjoy it quite so much as I did. This is a testament to the power of Mean Girls (2004), director Mark Waters, and Tina Fey who create something that holds up well.

Sisters-2015

Sisters-2015

Director Jason Moore

Starring Tina Fey, Amy Poehler

Scott’s Review #458

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Reviewed July 31, 2016

Grade: B-

Slapstick comedy is admittedly not my genre of choice, though I will watch some for light entertainment or to see just how bad (or good) current offerings are.

Nonetheless, I have tried to put myself in a mindset of low expectations for these films that are usually fluff and plot-driven.

In the case of Sisters (2015), the film is pretty much as one would expect: vulgar, crass and raunchy. Yet, due to the chemistry between the leads (Amy Poehler and Tina Fey) and a few heartfelt romantic moments, something does work. It is not as mean as one might think.

This is not to say that Sisters is a great film. Hardly. But not as bad as I feared.

Poehler and Fey play Maura and Kate Ellis, respectively, two late thirties sisters, living in other areas of the country, who return home to Orlando, Florida, when their parents (James Brolin and Dianne Wiest) sell their childhood home.

Maura and Kate have been tasked with cleaning their bedrooms in time for the sale.

The sisters have an idea to throw one final bash and invite their high school classmates, who all conveniently still live in the same town. Events go awry and the party gets way out of hand.

Mixed in with the main plot are sub-plots consisting of a romantic interest for Maura, and a rival for Kate, played by Maya Rudolph.

The best part is the chemistry between Poehler and Fey. They “have it” whether it is a Saturday Night Live sketch, hosting the Golden Globe awards, or starring in Sisters. The banter and the jokes work well because the two comics work well together and it shows on-screen.

They are believable as sisters despite looking nothing alike.

Otherwise, Sisters is a traditional vulgar comedy. One irksome recent trend (now more female-driven than in years past) is the leading ladies being classless. This must be an attempt at female empowerment or the assumption that since adult comedies were once a man’s world, female characters should be written like men.

Do we need Kate and Maura swearing like sailors, making poop jokes, and being so raunchy? Behaving like ladies would now be the exception, not the norm (Bridesmaids, 2011, set this precedent).

Not surprisingly, the supporting characters are all caricatures as is typically the case in films of this genre. The parents are a bit clueless and have kinky sex much to the girl’s chagrin.

Brinda, bitchy, judgmental, yet insecure, the Korean (big stereotype) nail technician who cannot properly pronounce English words, the new owners of the house are snobbish, uptight, and clueless, and finally, James, the guy next door, who are Mr. Fix-it and the straight man in the high-jinks. He is sugar-sweet and the male hero.

The romantic scenes between Maura and James are sweet and sentimental, nicely balancing the vulgarity and raunchiness that the rest of the film encompasses. They are a nice couple and have a rich rooting value.

Most of the action takes place at Kate and Maura’s childhood home where posters of such 1980s films as E.T. and Out of Africa, and a poster of heartthrob Tom Cruise, hang on the walls.

This, and many other references that Generation X will delight from in this film are pointed out, so that is a treat and a positive of the film.

As the party gets off to a slow start, the thirty and forty-somethings appear dull and either talk about their kids or their various maladies and suddenly, after being fed drugs, are back to their college party days, are both dumb and cute at the same time.

Sisters (2015) (hopefully) knows what it is. It is a late Saturday night, raunchy comedy affair, meant as fluff and escapist fun. It is not a masterpiece nor does it intend to be one.

Rather, a full-length SNL sketch including many alumni. It is harmless fun.

Inside Out-2015

Inside Out-2015

Director Pete Docter

Starring Amy Poehler, Diane Lane

Scott’s Review #272

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Reviewed September 8, 2015

Grade: B+

Frequently, when I view a modern animated feature, (and by contemporary, I mean 1990 and beyond), I am either bored or left with a “meh” feeling, or both. It seems the trend is “Let’s create a manufactured film that will appeal to kids who will drag their parents to it”.

It is almost as if mediocrity is accepted in the animated film, but Inside Out (2015) challenges this trend with a thoughtful, interesting slab of story.

With this latest Pixar offering, we find a refreshing, intelligent film that makes the viewer think, containing a genuine cute factor, with lots of colors and interesting animation interspersed throughout.

Our story finds eleven-year-old Riley Anderson, and her five different personalities, working within her brain in unison. The emotions are five distinct little people representing (and named) Joy, Sadness, Disgust, Fear, and Anger. They overlap, conflict, and humorously strive to take control of Riley’s mind and thought processes.

Joy is central, and the happiest of emotions. They all live in Riley’s conscious mind, named Headquarters.

One day, Riley and her family pack up and move from Minnesota to the unknown and overwhelming city of San Francisco to capitalize on a job opportunity offered to Riley’s father.

The city is bustling and the family is thrown for a loop. Riley in particular has difficulty adjusting to this vastly different world and finds herself friendless and acting out of character.

Sadness accidentally begins touching other emotions within Riley’s mind, which sets off strange emotions causing her to behave erratically and become irritable.

Joy and Sadness struggle to return to Headquarters and fix the issues.

Inside Out is a complex animated film and will go way above the heads of many youngsters who will undoubtedly see it.

I find this rather refreshing.

It is a coming-of-age tale for adults and mature kids that challenges its audience rather than spitting out a retread or formulaic family story that we have seen countless times.

Riley and her parents are arguably supporting players in the story, taking a back seat to the small, interesting creatures in Riley’s mind. Her mind is a carnival of riches and cool characters emerge. I smiled as more characters were introduced. Riley’s imaginary friend from years ago, Bing Bong, was pulled to the forefront of her emotions, as he was sadly forgotten in her mind.

Who cannot relate to this? A childhood ritual of creating a friend.

I adored the trip through Riley’s mind and marveled at the revelation of the inner workings of her mind, with creative colors and bright interesting lights.

What a super-cool adventure for a young film lover to experience! Inside Out is quite sophisticated.

The main concern is the level of patience that this film requires. It is not a force-fed story but encourages one to experience and feel.

Touching scenes prevail, but the message I receive from Inside Out is important. A multitude of emotions in every human being is normal and the way the film shows them overlap and work together is ingenious. Nobody is one emotion, nor should they be as the movie promotes successfully.

Human beings are meant to feel.

The film also contains humor. I laughed out loud when one character saw a button labeled “puberty” and assumed it was unimportant. This inside joke is also alluded to after the film- a sequel perhaps? Since Riley is only eleven, puberty will be a natural progression.

Inside Out challenges the norm in animated films and entices audiences to think. It feels genuine, which is impressive in itself. It is sentimental without feeling contrived or corny.

The film succeeds on many levels.

Oscar Nominations: 1 win-Best Original Screenplay, Best Animated Feature Film (won)