Tag Archives: Kristen Wiig

#216 Favorite Film, 2011 Films, Ben Falcone, Chris O'Dowd, Comedy, Favorite Film of the Year, Jill Clayburgh, Jon Hamm, Judd Apatow, Kristen Wiig, Maya Rudolph, Melissa McCarthy, Paul Feig, Rebel Wilson, Romantic Comedy, Rose Byrne, Terry Crews, Tim Heidecker, Top 250 Films

Bridesmaids-2011

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Bridesmaids-2011

Director Paul Feig

Starring Kristen Wiig, Maya Rudolph

Top 250 Films #216

Scott’s Review #784

Reviewed July 6, 2018

Grade: A

Despite the raunchy romantic comedy genre not being my favorite, and despite not being such a fan of Judd Apatow (famed producer of several of these types of films), Bridesmaids (2011) is easily the best of its kind.

Influential in a multitude of female empowerment-themed comedies that followed, this one is witty, genuine, and funny because of its star, Kristen Wiig, who also co-wrote the film.

It is one of the best comedies (if not the best) of the decade.

Apatow is known mainly for producing comedy films that mix in the standard potty humor for cheap laughs. He is responsible for This Is 40 (2012) and Trainwreck (2015), both of which I found moderately funny, but they are also needlessly gross-out and tired.

My point is that minus the talents of Wiig (both in front of and behind the camera), Bridesmaids would likely have been mediocre like these films. Instead, Bridesmaids is a wonderful, uproarious experience with a star who captures a moment.

My one gnawing gripe is that a woman shouldn’t direct a film about women.

Annie (Wiig) has been asked to serve as the maid of honor at her best friend, Lillian’s (Maya Rudolph), upcoming wedding. Rather than being thrilled, Annie is depressed due to an ongoing string of bad luck.

Her bakery business fails, she loses her unfulfilling job at a jewelry store, she is dating a jerk (Jon Hamm), and her car is about to die. She has difficult roommates and is on the verge of having to move back in with her mother at age thirty-five.

The story hilariously follows Annie’s rivalry with Helen (Rose Byrne), Lillian’s soon-to-be husband’s boss’s controlling wife. Helen is intent on taking over the handling of the wedding events, much to Annie’s chagrin.

The ladies compete to one-up each other throughout the film- Rose is the perfect princess for Annie’s grit and cynicism.

Annie struggles through her issues, unhappy with the state of her love life, when she meets police officer, Rhodes (Chris O’Dowd), and they begin a tender friendship. However, their attraction is put to the test because of Annie’s shenanigans.

Annie must then fly to Las Vegas with the other bridesmaids despite being terrified of flying.

Despite the story being nothing not seen dozens of times before in romantic comedy history (the setups), the film is a laugh-out-loud riot. In addition to Wiig, Rudolph, and Byrne, the remaining cast of ladies all have tremendous chemistry with each other.

Special kudos go to Melissa McCarthy in her fearless role of Megan, a tomboy misfit who somehow is part of the wedding party. With her “tell it like it is” attitude, the actress sinks her teeth into this fabulous role without taking it too far across the line into ridiculousness.

In rip-roaring fashion, multiple scenes are permanently etched in my mind.

After Annie suggests a Brazilian steak restaurant for lunch, followed by a fitting at a chic dress shop, the girls suffer from food poisoning. This results in torrents of diarrhea scenes and one unlucky character being reduced to going to the bathroom in the middle of the street.

The scene, while super raunchy, is hilarious and fraught with perfect comic timing.

Not to be outdone, the airplane scene is equally tremendous; however, the scene belongs to Wiig rather than the entire ensemble. Being forced to fly coach while everyone else is treated to first-class, Annie unwisely accepts a pill from Helen to calm her during the flight.

Instead, Annie becomes belligerent and wild when she mixes the sedative with alcohol.

As good as the supporting cast is, Wiig owns the film through and through. Every scene she is in and each line she utters is perfectly timed. The fact that Wiig did some improvisation (the scene in the jewelry store) is evident and only adds to the genuine feel of the film.

Subsequently, to Wiig’s credit, she has been careful to choose more complicated roles to avoid the risk of being typecast. And a sequel was wisely never made- this would have ruined the appeal.

Bridesmaids (2011) is an authentic story rich with hilarity and crisp dialogue. The film is enhanced in that it’s a female-centered film written by women (though the direction and producers, too, would have been better).

Because of the tremendous cast led by Wiig, the film is blazing with humor and led a firestorm of similar “girl power” films (mostly bad) well into the decade.

Oscar Nominations: Best Supporting Actress-Melissa McCarthy, Best Original Screenplay

2009 Films, Bill Hader, Comedy, Greg Mottola, Independent, Independent Comedy, Jesse Eisenberg, Kristen Stewart, Kristen Wiig, Ryan Reynolds, Wendie Malick

Adventureland-2009

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Adventureland-2009

Director Greg Mottola

Starring Jesse Eisenberg, Kristen Stewart

Scott’s Review #1,066

Reviewed October 1, 2020

Grade: B-

Adventureland (2009) is a cute film. That may seem like a compliment, but it’s not. There is nothing wrong with this film, but it’s a rather safe experience.

In a word, it is fine, nothing more, nothing less.

It plays like a romantic comedy and is mixed with a coming-of-age theme about two young adults merging from kid to adulthood. It’s a story that most of us can appreciate though it’s been done too many times in cinema for this film to do much more with.

The selling point is the excellent acting.

The theme park (aka Adventureland) and the nostalgic 1980s time is a nice touch though it feels like a 2009 film with the actors fitted into retro costumes and hairstyles.

Greg Mottola directed Superbad in 2007 so you can see the influence. He has a knack for directing films with a light comedic touch that will appeal to young adults going through some angst or young, blossoming feelings of love.

The stars of the film, Jesse Eisenberg and Kristen Stewart, terrific actors in their regard, have little chemistry together and that weakens the picture. They are helped immensely by a talented supporting cast, who pick up the slack and improve the film.

Bill Hader, Kristen Wiig, Wendie Malick, and Ryan Reynolds give a comic boost to the events. Unfortunately, despite positive trimmings, the film feels like your standard, every day, independent comedy with little left to separate it from other contemporaries.

It just has big stars.

Likable James Brennan (Eisenberg) anticipates a fabulous trip to Europe after graduating from Oberlin College, having earned it for his achievements.

Unfortunately, his parents Mr. and Mrs. Brennan (Jack Gilpin and Malick) break the bad news to him. They are in dire financial straits and can no longer support him. He must get a part-time job immediately.

The disappointing news disappointed me as well. I was savoring a nice adventure in London, Paris, and Rome.

Sadly, the rest of the film takes place in an amusement park in Pennsylvania.

Predictably, Mottola, who wrote the screenplay as well, offers banal and stereotypical characters such as Mike Connell (Reynolds), the resident mechanic, who is a rival for the affections of Em (Stewart), the love interest of James.

Thrown into the mix are various characters who are a bitch, a sarcastic college student, and a nerd. And, for good measure, James is a virgin. Naturally.

The film nosedives with some slapstick humor and misunderstandings worthy of American Pie (1999).

When Adventureland was made Eisenberg was on the brink of breaking out into a fantastic role in The Social Network (2010) that garnered him an Oscar nomination and credibility.

Stewart, meanwhile, was in the middle of her Twilight (2008-2012) years which made her a household name but was undoubtedly creatively very unfulfilling.

This film is a reminder that actors need to work and make the best of the material they are given.

Truth be told, the main attraction of watching Adventureland is to sit back and admire what was to become of Stewart and Eisenberg. Since the film’s release in 2009, they have traversed meatier and better projects.

Eisenberg has a Tom Hanks or James Stewart likeability. He is someone to whom the average young male can relate and the problems that James must face could easily be challenges the viewer might also have.

In the case of Stewart, what a star this girl is with the right roles. Since 2012 she has declined roles in big-budget films in favor of independent productions for the next few years. She took on a terrific supporting role in the drama Still Alice (2014) as a troubled daughter.

Still young, the future looks very bright for the talented actress.

But, back to Adventureland (2009). This film is only suggested for a glimpse at the early work of Eisenberg and Stewart. Two young stars who went on to enormous critical cinematic success.

2017 Films, Alexander Payne, Christoph Waltz, Drama, Hong Chau, Jack Haven, James Van Der Beek, Jason Sudeikis, Kristen Wiig, Laura Dern, Margo Martindale, Matt Damon, Neil Patrick Harris, Niecy Nash, Rolf Lassgård, Science Fiction

Downsizing-2017

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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.

2017 Films, Brian Gleeson, Darren Aronofsky, Domhnall Gleeson, Ed Harris, Horror, Javier Bardem, Jennifer Lawrence, Jovan Adepo, Kristen Wiig, Michelle Pfeiffer, Thriller

Mother!-2017

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Mother! -2017

Director Darren Aronofsky

Starring Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer

Scott’s Review #687

Reviewed October 4, 2017

Grade: A

Mother! is an intense, disturbing, and brilliant 2017 work by acclaimed director Darren Aronofsky.

Having crafted left-of-center works such as 2000’s Requiem for a Dream, 2008’s The Wrestler, and 2010’s Black Swan, I shudder to think this film rivals the other in the insanity department.

With four principal characters portrayed by Hollywood mainstays, this film generated much buzz upon its release.

The film is thought-provoking and analytical, and we will discuss it after the conclusion. I appreciate the complex watches and Mother! succeeds in spades.

The film is set entirely within the confines of one enormous house in the middle of a vast field of land. Aronofsky never reveals the location, adding mystery to the already intriguing premise.

A young couple known only as Him (Javier Bardem) and Mother (Jennifer Lawrence) cheerfully enjoy married life together and seem very much in love. He is a renowned author suffering from writer’s block, and his mother fixed the house after it had burned long ago.

One day, a Man (Ed Harris) arrives looking for a place to stay. While Him is delighted by the visitor and encourages Man to stay, the mother is not as pleased.

When Man’s wife, Woman (Michelle Pfeiffer) arrives, the houseguests turn Him and mother’s lives upside down. This is merely the beginning of a complex puzzle.

As the plot unfolds, Mother! is oozing with one bizarre event after the other. Mother witnesses unsettling images such as a beating heart within the walls and a bloodstain on the floor that will not go away.

When relatives of a Man and a Woman overtake the house, and a violent event occurs, things go from dark to downright chaotic.

Giving too many plot points away would ruin the element of surprise, making Mother! a difficult film to review. The film is polarizing and mesmerizing, and each of the principal characters’ motivations can be analyzed and questioned.

Why do he and his mother react differently to the visitors? What manifests their resentment towards the mother?

Each actor gives a compelling turn, and Aronofsky admits that the mother’s character is the one he most relates to. Logically, one might assume that Bardem’s Him might receive that honor since the character is a famous writer. How strange, and this revelation by the director will only result in more character analysis.

How wonderful to see Michelle Pfeifer back in the forefront of a Hollywood film—it seems eons have passed since we last saw her grace the silver screen, and she is back with a vengeance.

Her bitchy portrayal is purely delicious, and she encompasses Woman with the perfect amount of venom, toughness, and mystery. As she icily quizzes mother about her intentions of starting a family, she slowly immerses herself in mother’s life without missing a beat.

The film is unconventional and layered with symbolism and differing interpretations. Is Aronofsky’s message biblical? Is it political? Or could it reference the obsessions everyday folk have with celebrities?

After much pondering, all three possibilities came to mind. The biblical message seems the most solid and plausible explanation, but with Aronofsky films, the pleasure is in the analysis.

The film’s final act is particularly macabre, as the action has exclusively focused on the four principal characters until this point, and the setting is mainly bright.

A slow burn, if you will, suddenly, all hell breaks loose as mobs, blood, fire, death, and darkness take over. The brutality and cannibalism involved will churn anyone’s stomach.

Quickly note the lurid closeups of Jennifer Lawrence’s face during most scenes. Indeed, the camera loves her, but more is happening here. Is the intention to make the viewer focus more on her character or to sympathize more with her character?

Mother! has stirred controversy among film-goers. Some have ravished its elements and themes, while others have reviled and revolted against it.

Time will tell if Mother! (2017) holds up well, but my hope and guess would be that it will become a film studied in film schools everywhere.

2015 Films, Alexander Skarsgård, Bel Powley, Christopher Meloni, Comedy, Drama, Independent, Independent Drama, Kristen Wiig, Marielle Heller

The Diary of a Teenage Girl-2015

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The Diary of a Teenage Girl-2015

Director Marielle Heller

Starring Bel Powley, Alexander Skarsgard, Kristen Wiig

Scott’s Review #614

Reviewed February 2, 2017

Grade: A-

I was not sure what I expected from the Independent Spirit award-winning film, Diary of a Teenage Girl (2015).

I surmised that I would be treated to a light-hearted, yet well-written coming-of-age story, but the film is much darker than I would have thought, and this is a plus.

The film is edgy.

There is so much depth to the central characters and an incredibly complex performance by newcomer, Bel Powley in the title role.

Stars Kristen Wiig and Alexander Skarsgard also give tremendous performances.

The film is based on the graphic novel The Diary of a Teenage Girl: An Account in Words and Pictures by Phoebe Gloeckner.

Set in 1976 in San Francisco, a time filled with hippies, drugs, music, and life, fifteen-year-old Minnie, an aspiring comic book writer, is as insecure as any typical fifteen-year-old is.

With wide eyes and stringy hair, she is cute, but rather quirky looking, not the prettiest girl in her class, and records her deepest thoughts into a cassette recorder. Minnie is intelligent and worldly, accepting of alternative lifestyles and drugs.

She is wise well beyond her years.

Minnie’s mother Charlotte (Wiig), lives a bohemian lifestyle, constantly partying and losing jobs, and is divorced from Minnie’s and sister Gretel’s affluent, but mostly absent father, Pascal (Christopher Meloni).

The girls refer to him as “Pascal” instead of “Dad”, which he hates. Determined to lose her virginity, Minnie is man crazy and develops a sweet relationship with her mother’s boyfriend, Monroe (Skarsgard).

Things begin slowly but develop into a full-blown sexual relationship. A controversial piece to the story is that Monroe is thirty-five years old- Minnie is only fifteen. Both Monroe’s and Minnie’s feelings are challenged due to circumstances and Minnie’s emotions spiral out of control.

The subject matter of The Diary of a Teenage Girl will undoubtedly be off-putting for many folks as the actions are technically statutory rape.

The film never goes in that direction.

Rather, director Marielle Heller crafts a tender story of young love, and when there is too much drama comic relief is added.

Monroe is never the aggressor and Minnie is. She is a young girl who knows what she wants.

Since the director is female there is no hint of Minnie being taken advantage of or regretting her affair- the film is not about this.

Rather, it is about a young girl with blooming sexuality and emotions finding herself in the world. I admire this left-of-center approach to the story immensely.

Other aspects of the film may be too much for some. Minnie and her best friend pretend to be prostitutes and orally service two young men in the men’s room on a lark.

Later, Charlotte uses filthy language to describe Monroe’s and Minnie’s relationship.

The film is not safe, but daring and honest. I admire its courage.

Enough cannot be said for the three principal actors in Diary of a Teenage Girl. Bel Powley is a find!

Nominated for an Independent Spirit award, this amazing young actress should have been recognized by the Academy Awards, but she no doubt has many years and films ahead of her.

She is a “regular girl” type and reminds me of actress Lena Dunham in her looks and her rich delivery.

Kristen Wiig is fantastic and is evolving into a great dramatic actress. As Charlotte, Wiig is wonderfully insecure and an offbeat mother. She does not discipline, but rather befriends her daughters, showering them with hugs and kisses and giving vulnerable neediness to the character.

Wiig, dynamite in the comedy/drama The Skeleton Twins (2014), has embraced small, but important indie films, and kudos to her for this.

Lastly, Skarsgard, mainly known as HBO’s villainous Eric on True Blood, is as inspiring as Monroe.

Providing his character with sympathy and humanity (tough when having an affair with a teenage girl who also happens to be your girlfriend’s daughter), Skarsgard evokes so much emotion into the role that you almost root for Monroe and Minnie before remembering that she is too emotionally fragile.

Skarsgard is brilliant in Monroe’s breakdown scene. I hope audiences see him in more of these complex roles as he is far more than a hunky actor.

Diary of a Teenage Girl (2015) intersperses graphic novel/animated elements into the story told from the perspective of Minnie and the character narrates parts of the film.

This authentic story is not only for teenagers but for smart thinkers and anyone who has ever been over their heads in the emotions of love.

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

2010 Films, Action, America Ferrera, Animated, Children, Chris Sanders, Dean DeBlois, Fantasy, Gerard Butler, Jonah Hill, Kristen Wiig

How to Train Your Dragon-2010

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How to Train Your Dragon-2010

Director Dean DeBlois, Chris Chambers

Starring Gerard Butler, America Ferrera

Scott’s Review #537

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Reviewed December 5, 2016

Grade: B-

How to Train Your Dragon is a  decent, but less than spectacular, animated film from 2010.

Undoubtedly targeted toward youngsters, it contains G-rated elements and I may have enjoyed it more if I were nine years old.

The film is loosely based on the British book series of the same name.

A subsequent sequel has commenced in 2014.

From a story perspective, the film does tell a story with a nice message. Young Hiccup is a teenage Viking on the cusp of becoming a man. As a ritual, he is expected to kill a dragon to prove his worth as a warrior to his tribe.

When put to the test, Hiccup finds that instead of desiring to kill the dragon, he wants to befriend it. Of course, the traditional Vikings want no part of any unity between the tribe and dragons, who are long-time enemies.

Mixed in with the main story is the inevitable love story between Hiccup and Astrid, a tough Viking girl.

There are way too many endless aerial battles between the tamed and vicious dragons, that it begins to feel more like an effort to fill time rather than furthering the main plot in any way.

This film has a nice message of kindness and togetherness but is very predictable and does not take any risks. There is nothing wrong with it, and animated fans may look at it differently, but to me, How to Train Your Dragon (2010) is quite run-of-the-mill.

Oscar Nominations: Best Animated Feature Film, Best Original Score

2010 Films, Animated, Children, Chris Renaud, Comedy, Elsie Fisher, Jason Segel, Julie Andrews, Kristen Wiig, Pierre Coffin, Russell Brand, Steve Carell

Despicable Me-2010

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Despicable Me-2010

Director Pierre Coffin, Chris Renaud

Starring Steve Carell, Jason Segel

Scott’s Review #526

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Reviewed November 25, 2016

Grade: B-

My immediate reaction upon seeing Despicable Me (2010) is that it’s a cute film, just custom-made for the masses- children and families alike. This is fine, but I was honestly hoping for something a bit edgier or of more substance, but I did enjoy it at the same time.

The film is a fun, family-style affair for all ages with a nice story.

It tells of a villain, named Gru, who is in competition with other super-villains and hatches a plan to shrink and steal the moon.

He is reformed through three orphans (Margo, Edith, and Agnes) he first uses in his plan, but later comes to love and eventually adopts.

The orphans predictably reform Gru and bring out the nice man within him.

They change his life for the better.

There is nothing wrong with this film, nor is there anything tremendous about it either. I know some people loved it.

To me, Despicable Me (2010) was decent, but I wanted a bit more and perhaps a more complex or interesting plot, but that is just my taste talking.

2010 Films, Ari Graynor, Comedy, Common, Gal Gadot, James Franco, Jon Bernthal, Kristen Wiig, Lowest Rated Films, Mark Ruffalo, Mark Wahlberg, Mila Kunis, Nick Kroll, Ray Liotta, Romantic Comedy, Samantha Bee, Shawn Levy, Steve Carell, Taraji P. Henson, Tina Fey, William Fichtner

Date Night-2010

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Date Night-2010

Director Shawn Levy

Starring Steve Carell, Tina Fey, Mark Wahlberg

Scott’s Review #481

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Reviewed September 17, 2016

Grade: D+

Date Night is a perfect example of mediocrity in modern filmmaking.

We have two current comedic actors here- Steve Carrell and Tina Fey- circa 2010- at the top of their game.

The filmmaker’s idea is to pair these two and make an appealing romantic comedy appealing to the masses.

The main issue with this film is that the result is generic and quite an average offering.

And the entire film is incredibly plot-driven with no character development to speak of. If I am being too harsh, admittedly there is rather nice chemistry between the two leads, but it is wasted because of sloppy writing.

A couple from the New Jersey burbs, Carrell and Fey portray husband and wife, Phil and Claire Foster. Saddled with two kids and their romance reaching dullsville, Phil decides to take Claire to a ritzy Manhattan restaurant.

When they arrive, they cannot get a table but pretend to be another couple (the Tripplehorns) to obtain their table after the other couple’s no-shows. This leads to a tale of mistaken identity as the Tripplehorns possess a flash drive that a mobster (Ray Liotta) wants.

This then leads to a chase throughout Manhattan to outrun and outwit their pursuers. Wahlberg plays a hunky client of Claire’s, always shirtless, who is meant to threaten Phil and Claire’s marriage.

Several others of the current Hollywood elite- Kristen Wiig, James Franco, Mila Kunis, and Mark Ruffalo, make small and somewhat pointless appearances. Specifically, Franco and Kunis as a stoner-type bickering couple are silly and unnecessary to the story.

Carrell and Fey are quite funny as individuals and as a duo- Date Night, though, does not capitalize on nor showcase their respective talents. The film tries too hard to come up with scenario after scenario of the two on the run and encountering one problematic situation after another.

As the plot of Date Night wears on, I find myself noticing that each situation that occurs is a measure of convenience.

Conveniently, Claire has a client in town (Wahlberg), who is a security expert. They go to him for help and, predictably, his hunkiness bothers Phil and piques Claire’s interest- though of course, we know full well Phil and Claire will end up together- that is how these mainstream films go.

In another scene. Phil and Claire can break into an office building unnoticed, trigger the alarms, conveniently find a needed file, and escape, miraculously all before the police arrive minutes later.

Very plot-driven.

The lead actors in Date Night are appealing and even charming together, but the silly, inane plot makes it unappealing to watch and the slew of stars that somebody decided would be a great addition to a lukewarm film is odd.

The roles written have little bearing on the central plot so it was apparent why they were added.

Date Night (2010) is a film we have seen time and time again with other actors in similar roles.

2015 Films, Adventure, Benedict Wong, Chiwetel Ejiofor, Donald Glover, Jeff Daniels, Jessica Chastain, Kate Mara, Kristen Wiig, Mackenzie Davis, Matt Damon, Michael Pena, Ridley Scott, Science Fiction, Sean Bean, Sebastian Stan

The Martian-2015

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The Martian-2015

Director Ridley Scott

Starring Matt Damon, Jessica Chastain

Scott’s Review #379

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Reviewed February 19, 2016

Grade: C-

The latest film from heralded director Ridley Scott (notable for classics Blade Runner-1981, and Alien, 1979), The Martian (2015), is a science-fiction/space adventure about a believed-dead astronaut (Matt Damon) trapped on Mars after his fellow team members thought he was dead.

NASA and a crew of rescuers fervently attempt to save him as supplies run out.

Extremely resourceful, Mark Watney (Matt Damon) cleverly avoids death by using his wits to survive and prosper on the challenging planet.

Hot on the heels of several other high-profile modern science fiction offerings, such as Interstellar (2014) and Gravity (2013), The Martian features a big Hollywood star in the lead role.

Much of the action is Watney on his own, attempting to grow to produce, ration food, and keep his sanity- think Tom Hanks in Castaway (1996) except on another planet, and with a “Hab”, an indoor operations station left by his abandoned crew.

The Martian has received accolades, even winning the Golden Globe for Best Musical or Comedy Film, though that is poor categorization.

The film has snippets of humor and a few songs in the background, but that is it. Maybe some late 1970s disco songs constitute a musical?

I found The Martian to be a Hollywood mainstream film in every sense. That may be a high compliment to some, but I expect more.

It is not that The Martian is a bad film, it is not, but it is mediocre, and has all the elements of an average offering. The film was going for an emotional experience that I did not experience.

I had little doubt that the ending would be sweet and wrapped in a bow.

Mark Watney is the typical all-American character in a “guy film”. He hates disco and loves ketchup. The film makes him a guys guy, so therefore the average film-goer will relate to him.

He is in good shape, cracks jokes, and is likable.

But that is also a problem with the character and The Martian. He lacks substance. We know little about him except he has parents who never appear on-screen.

The way that the film touts him as the hero and is cheered and praised, while in real life would be warranted, it just feels forced and contrived.

This is not a knock against Matt Damon, who does a decent job.

My beef is that the character is not fleshed out.  The well-built Damon at the beginning of the film versus the scrawny Damon at the conclusion is a facade as a body double was used in the later scenes.

This lack of authenticity disappointed me.

I expected more from the supporting cast. Jessica Chastain, Jeff Daniels, Chiwetel Ejiofor, and Kristen Wiig play one-note types that any actor could have played.

Why were big stars cast at all?

Chastain as a mission commander, Daniels as Director of NASA, Ejiofor as NASA mission commander, and Wiig as a Public Relations specialist. The casting, in particular, of Wiig in the straight-laced, stale was mysterious to me, and it was not a particularly good portrayal….and I am a Wiig fan.

The humorous parts in The Martian are contrived and not dissimilar to countless other films with the smart-ass remarks all containing a bland quality. Lines like “Eat your heart out Neil Armstrong” seem silly and unnecessary.

I expected more wit.

Let me be fair- the visual effects (it is space after all) are impressive, and it was fairly interesting to see what is supposed to be the planet of Mars, but really in this day and age of CGI effects the film is not that spectacular.

 I would much rather be given a compelling story than visual treats any day of the week.

My review of The Martian may seem harsh, but only because I expected more from it than I was given.

With several Oscar nominations including Best Picture, I anticipated a top-notch film, and The Martian did not come close.

Mediocrity, straightforward, and predictable describe The Martian (2015) film.

I have heard that the novel is fantastic and added it to my reading list.

Oscar Nominations: Best Picture, Best Actor-Matt Damon, Best Adapted Screenplay, Best Sound Editing, Best Sound Mixing, Best Production Design, Best Visual Effects

2014 Films, Bill Hader, Boyd Holbrook, Comedy, Craig Johnson, Dark Comedy, Independent, Independent Comedy, Joanna Gleason, Kristen Wiig, Luke Wilson, Ty Burrell

The Skeleton Twins-2014

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The Skeleton Twins-2014

Director Craig Johnson

Starring Bill Hader, Kristen Wiig

Scott’s Review #179

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Reviewed October 2, 2014

Grade: A-

The Skeleton Twins (2014) is a tremendous, character-driven, family drama that focuses on character development rather than standard plot devices.

The film stars Bill Hader and Kristen Wiig from Saturday Night Live, but do not be fooled based on the actors involved that The Skeleton Twins is a light comedy- it is not.

There are laugh-out-loud scenes throughout, but this is a serious story about depression, suicide, and anger, and at times, very dark.

Wiig plays Maggie, a woman in her thirties who seemingly has it all. Lance, her handsome, loyal husband, played by Luke Wilson, adores her. She has a stable job as a dental hygienist and lives a quiet, quaint life in upstate New York- seemingly enjoying a happy middle-class existence.

Hader plays Milo, Maggie’s estranged twin brother, who lives in Los Angeles and is a struggling actor with no agent, reduced to waiting tables in a lousy restaurant. Presumably, just out of a relationship, Milo attempts suicide by slitting his wrists.

Maggie flies to Los Angeles to visit Milo in the hospital and invites him to recuperate with Maggie and Lance in New York.

Having grown up as best friends, they reconnect once Milo moves in.

The Skeleton Twins is so jam-packed with interesting stories, both current and back story, that it becomes effortless to fall in love with Maggie and Milo.

When the twins were aged fourteen, their father committed suicide by jumping off a bridge, a father they were very connected to.

Their mother, played by Joanna Gleason, was a horrible mother growing up and, in present times, is a hippie involved in an interracial marriage. She awkwardly visits Maggie and Milo and attempts to heal them through meditation.

Other character history is revealed.

Milo, who is gay, was molested by his teacher when he was fifteen years old, a teacher he is still in love with, and is wonderfully played against type by Ty Burrell.

Maggie has carried on affairs with various men throughout her marriage to Lance and is secretly using birth control pills to avoid becoming pregnant. Lance happily thinks they are trying to conceive.

The characters of Milo and Maggie are incredibly layered and well-written. They are both damaged from a difficult childhood, suffer from depression, and now only have each other.

Scenes in The Skeleton Twins range from hysterical- a scene in a dentist’s office involving laughing gas rolling on the floor funny and a lip-synching scene to the hit “Nothing’s Gonna Stop Us Now”, are both wonderful.

Dramatic and shocking scenes where Milo and Maggie go at each other with gusto, dredging up childhood wounds, are brilliantly acted by Wiig and Hader.

The chemistry between Wiig and Hader is incredible and both actors are very successful at playing hysterical comedy versus dark drama, which impressed me.

Luke Wilson is great in support as the straight-laced, nice guy married to Maggie.

A slight criticism- the character of Milo is written as stereotypically gay- man-hungry and hardly a man’s man. He has trouble clearing brush because presumably, he is too girly to handle the task.

I wish more films would steer away from these stereotypes.

Ty Burrell’s character of Rich is so complex that I wish he would have been explored a bit more- being gay how can things work with his girlfriend while harboring many secrets? Is he still in love with Milo despite repeatedly pushing him away? I would have loved more depth to this complex character.

After the film, I felt the filmmakers did not go as dark as they could have, and audiences will know what I mean following the final scene.

There is no fairy tale ending ether.

Milo and Maggie are damaged goods who only have each other making for a dynamic character-rich film.

2013 Films, Amy Adams, Bill Hader, Brian Cox, Chris Pratt, Drama, Independent, Independent Drama, Joaquin Phoenix, Kristen Wiig, Olivia Wilde, Romantic Drama, Rooney Mara, Scarlett Johansson, Science Fiction, Spike Jonze

Her-2013

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Her-2013

Director Spike Jonze

Starring Joaquin Phoenix, Scarlett Johannson

Scott’s Review #147

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Reviewed August 5, 2014

Grade: A-

Her (2013) is a very unique film directed by Spike Jonze.

The film tells the tale of a lonely, depressed man named Theodore, played by Joaquin Phoenix, who lives in a beautiful high-rise in futuristic Los Angeles.

He works as a writer for a company that creates intimate cards for people in relationships. Having suffered a recent divorce, he falls in love with his computerized operation system named Samantha, played by Scarlett Johansson- voice only.

Conflicts emerge as the relationship deepens and intensifies. Her is a love story uniquely crafted, but also a story of loneliness and the world of technology we now live in.

It portrays human relationships as troubled and unsuccessful yet several characters have wonderful relationships with computers.

Is this what the future may bring with human beings? How many people have fallen in love with a fantasy or a voice on the phone?

The film ponders why relationships have been changed due to technological advances and wonders what will happen further into the future. Technology, while wonderful, has changed our interpersonal relationships and this film successfully delves deeply into that aspect.

The conversation is a lost art and Her features the joys and the tragedies of technology.

Visually, the film is successful because it portrays Los Angeles in a sophisticated, ultra-sleek, modern way that is fascinating.

Several technological games are featured (the Alien child is brilliantly comical) and the “Mom points” is fascinating in its irony.

Her is a deep film that raises questions and I applaud this in modern cinema.

Her is a slow-moving film, but a questioning one.

It won the 2013 Best Original Screenplay Oscar and I am so glad the academy recognized the originality of this film.

Oscar Nominations: 1 win-Best Picture, Best Original Screenplay (won), Best Original Score, Best Original Song-“The Moon Song”, Best Production Design