Bobby Moynihan | Scott's Film Reviews-1,425 + Reviews posted so far!!!

Sisters-2015

Director Jason Moore

Starring Tina Fey, Amy Poehler

Scott’s Review #458

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.

Annie-2014

Director Will Gluck

Starring Quvenzhane Wallis, Jamie Foxx

Scott’s Review #231

Reviewed March 25, 2015

Grade: D-

The latest remake of the film version of Annie, the last film production in 1982, though at least one variation in television exists, and all based on the Broadway hit of the same name, is a saccharin-laden mess of a film.

Annie stars Quvenzhane Wallis, Jamie Foxx, and Cameron Diaz as Annie, William Sparks (changed from Daddy Warbucks), and Miss Hannigan, respectively, and features Rose Byrne and Bobby Cannavale in supporting roles.

Let me begin with the one redeeming quality of the film, though admittedly a bit of a stretch. I found the musical numbers okay, not great, but far from the worst parts of the film.

The numbers are remixed into hip-hop-type songs with a trendy approach, presumably to add a modern element. While not great, some songs are catchy and not dreadful, especially “It’s A Hard Knock Life” over the closing credits.

Whether the actors sing their songs is another question, which I might not want to know the answer to.

The rest of Annie is terrible.

The casting is poor. Wallis, very believable in Beasts of the Southern Wild (2012), portrays Annie as an intelligent, social-climbing child and I sensed awkwardness to the part. Regardless it did not work.

I did not buy her in the role and how she was awarded a Golden Globe nomination for Best Actress in a Musical Comedy speaks volumes for the limited choices in 2014.

Jamie Foxx completely phones in his performance as Cell-phone technical mogul, running for mayor, William Sparks. Why the film changed the character from Daddy Warbucks is a mystery. He is unbelievable as a germaphobe, an aggressive yet sensitive, powerful man who amazingly develops a soft spot for Annie.

Cameron Diaz completely overacts and turns Miss Hannigan into an obnoxious, hysterical shrew, who towards the end of the movie somehow “turns good”, with no real motivation for doing so.

Rose Byrne and Bobby Cannavale give uninteresting, very one-note performances in their respective roles of Sparks’s assistant, love interest, and right-hand man.

The film chooses to change so many aspects of the original stage version of Annie, that it is barely recognizable.

It takes place in present times rather than the Depression-era 1930s, Annie is no longer an orphan but is in foster care. Miss Hannigan’s first name is changed to Colleen instead of Agatha and now a former pop performer whose career subsequently died.

Hannigan’s brother Rooster and his girlfriend Lily are not featured at all.

The story has zero interest and zero believability.

But the worst part of the film is the corniness of it. It is so overwrought with contrived scenes that it is tough to take seriously.

At a Mayoral function, Annie (an untrained singer) suddenly leaps onstage and belts out a perfectly sung, choreographed number melting the hearts of the wealthy powerhouses in attendance.

The film is pure fantasy with no realism to speak of.

Miss Hannigan fosters an apartment full of children that she hates, to collect $150 a week, but her apartment is pretty spacious and beautiful by Manhattan standards.

The film contains one inconsistency after another and is a horrendous modern take of a long-loved treasure, the 2014 version of Annie should be seen once, snarled at, and put back on the shelf, and forgotten for good.