Tag Archives: Jason Sudeikis

Booksmart-2019

Booksmart-2019

Director Olivia Wilde

Starring Beanie Feldstein, Kaitlyn Dever

Scott’s Review #1,113

Reviewed February 17, 2021

Grade: A-

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

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

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

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

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

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

Molly (Beanie Feldstein) and Amy are forever friends.

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

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

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

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

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

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

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

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

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

The creativity within Booksmart is admirable.

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

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

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

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

Downsizing-2017

Downsizing-2017

Director Alexander Payne

Starring Matt Damon, Hong Chau

Scott’s Review #842

Reviewed December 14, 2018

Grade: B

Downsizing (2017) appeared on many critics’ top ten lists for the year, but it did not resonate well with the average viewer. Part of this discrepancy could have been the way the film was marketed.

Despite having Kristen Wiig among its cast, the film is NOT a comedy but a social commentary with some science-fiction and dramatic elements.

Downsizing has a wonderful and thought-provoking premise, but it ultimately fails to piece together all its parts in a completely satisfying way, leaving an erratic and disjointed result.

The elements are all there—a charismatic lead actor (Damon), an inventive, socially relevant premise, and a humanistic and beautiful message.

The film also contains some gorgeous cinematic treats of picturesque Norway that will make one melt if watched on the big screen.

The film has enough positives to recommend without it being truly great.

The story begins as a Norwegian scientist discovers a way to solve the world’s overpopulation state and global warming problems with a discovery that shrinks people, causing them to use few resources.

Paul and Audrey Safranek (Damon and Wiig) decide to undergo the procedure and begin a new life in a gorgeous community designed for small people. When Audrey bails at the last minute, leaving Paul alone, he must forge ahead with a lonely life, unable to be transformed from small to large.

He meets Ngoc Lan (Chau), a Vietnamese activist who, through her selflessness, changes his life forever. Paul realizes he does have a purpose after all.

The film’s positives are mostly in its individual components. It is true that the modern world suffers from overpopulation, and director Alexander Payne paints a dire picture of the eventual result. This gives the film a left-leaning environmental opinion that I relish.

I was immediately engaged in Payne’s humanistic approach and the possibilities of a new world with no suffering and riches for all. Of course, this is not sustainable or realistic, as the film shows.

The romantic dynamic is also a significant win.  The first half features Paul and Audrey as the romantic couple, a likable pair who struggle with bills and care for planet Earth.

Suddenly, this changes and Audrey is discounted from the equation in favor of Paul and Ngoc Lan. An unexpected item, their romance is a slow buildup, seemingly opposite types of people. He is laid-back and thoughtful, and she is brash and outspoken, yet they work wonderfully as a couple.

As a viewer, I became wholly invested in them by the closing credits.

Newcomer Huang Chau (Ngoc Lan) stands out and nearly upstages Damon. The young actress garnered a Golden Globe nomination for this role and deservedly so. There are far too few good roles for Asian actors, so Chau hits the jackpot with this part.

Her character is sympathetic yet tough. Once an outspoken advocate, she endured prison only to lose a leg and be reduced to a house cleaner in her new world.

Payne makes the point that a new society does not equate to joy, which is the film’s crux. At first, the community is lavish with luxurious homes and idyllic surroundings, but when Paul meets Ngoc Lan and sees her world of pain, starvation, and neglect, he is dumbfounded.

This sad reality leads him to make rash decisions about himself and his future.

Where Downsizing misses the boat is with the execution. As strong as the premise is, the story meanders. From Paul and Audrey’s mundane life in Nebraska to the new society to the slums to the introduction of the world ceasing to exist and finally, another world is created, there is too much going on.

The dots never connect, leaving the overall experience of Downsizing erratic.

Christoph Walz deserves a better role than Dusan, an aging Serbian party boy. His character is annoying and a weak attempt at portraying spoiled white men with all the advantages. He is unnecessary and does not work.

Downsizing (2017) is quite a brave effort, with an ingenious premise and a worthwhile message. I recommend the film for these reasons as Payne attempts to tell a story never told before, which is to be championed.

The elements do not add up, and the film lacks a solid structure, but as a whole, it is to be admired for what it intends to do.