Tag Archives: Lisa Kudrow

2019 Films, Billie Lourd, Comedy, Independent, Independent Comedy, Lisa Kudrow, Will Ferrell

Booksmart-2019

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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, believe it or not, delivers the goods. She takes a genre told to death and knocks it on its keester 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 main female characters. Booksmart sure feels authentic to me.

Molly (Beanie Feldstein) and Amy are forever friends. The girl’s study, they giggle, they hang out, and they tell each other about their problems, sexual and otherwise. 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 anticipate graduation day and going off to 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 let 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 of 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 slow down or take away 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 hallucinogenic they accidentally ingest they imagine they are barbie dolls. The scene is laden with hilarity as they bend and 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 reminiscence about their high school days.

Independent Spirit Award Nominations: Best First Feature (won)

2017 Films, Animated, Children, Lisa Kudrow

The Boss Baby-2017

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The Boss Baby-2017

Director- Tom McGrath

Voices- Alec Baldwin, Tobey Maguire

Scott’s Review #713

Reviewed January 12, 2018

Grade: C

True confession- I was not expecting much from the 2017 offering of the animated film entitled The Boss Baby (a brooding, sarcastic newborn offered no appeal).

However, since the film was nominated for a Golden Globe award, I decided to throw caution to the wind and settle down for a viewing.

Predictably, the film fulfilled my hunch and resulted in a fair to middling experience- the attempt at a nice message was offset by cliched and silly characters and an over-produced film rather than a directed one, but yet held interesting and sometimes even beautiful visuals.

Seven-year-old Tim Templeton (voiced by Tobey Maguire), as an adult, narrates a story of his childhood days, living with his parents Ted and Janice, both busy marketing professionals, who work at Puppy Co.

One day, his parents return home with a bundle of joy in tow, Theodore Lindsey Templeton (voiced by Alec Baldwin), who immediately monopolizes their time and attention.

Isolated, Tim is envious and begins a rivalry with his baby brother, who is secretly a spy named “The Boss Baby”, and who has the mind of an adult in a baby’s body. It is revealed that he is working undercover as a spy to investigate why puppies are now receiving more love than babies.

The duo eventually teams up and forge a bond to prevent corporate America from ruining all of the love in the world.

To be fair, The Boss Baby presents a positive, good message of love and acceptance, which is nice to see, but this message can only carry a film so far, and there is little else of substance.

As with many animated films, the story here contains a “good versus evil” slant, which, in this case, renders the film rather one-dimensional. We are instructed who to root for and who not to root for, and while challenging corporate greed is certainly a cause worth championing, too often I found The Boss Baby causing my mind to wander elsewhere instead of keeping me engaged in the story- not a good sign.

The target audience for this film is quite young because many sappy or juvenile scenes continue to play out.

Closeups of Theodore and whimsical shots of his bulging eyes give the film cute, too wholesome quality, and predictably, there are the standard doody and poop jokes, which comedies do all too often to account for sloppy writing.

The character of Theodore is voiced by comedy stalwart Alec Baldwin, and this does wonder to make the baby a bit more interesting than otherwise might have been.

Baldwin, fusing assertion and a touch of sarcasm into Theodore, makes him witty and energetic, but again, this can only go so far, and by the time the film has concluded in happily ever after fashion, the once tough character has disintegrated into a hammy kid.

Older brother Timothy is perfectly fine and the idea of having Maguire narrate him as an adult is a nice touch.  The central theme of sibling rivalry between brother and brother and especially the difficulty of some kids adjusting to a newborn debuting into the family may be enough to encourage parents to make it a family outing and see The Boss Baby.

Sadly, the creative and unique sets of animations may be wasted on viewers seeking a good story. What a pity that The Boss Baby does not hold both qualities, but alas the film is little more than adequate and will undoubtedly be forgotten before very long.

Oscar Nominations: Best Animated Feature Film

2016 Films, Allison Janney, Drama, Édgar Ramírez, Emily Blunt, Haley Bennett, Justin Theroux, Lisa Kudrow, Luke Evans, Rebecca Ferguson, Tate Taylor, Thriller

The Girl on the Train-2016

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The Girl on the Train-2016

Director Tate Taylor

Starring Emily Blunt, Justin Theroux

Scott’s Review #493

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Reviewed October 12, 2016

Grade: B+

The blockbuster was the apparent must-see film of the fall of 2016. Almost everyone flocked to see it, and I happily saw it shortly after its release.

While containing some flaws, The Girl on a Train (2016) is an excellent thriller and companion to Gone Girl (2014). It is similar in style, tone, and, in a way, story.

A whodunit with psychological, almost Hitchcockian elements, it navigates twists and turns to an unfortunate, disappointing finale.

Still, it is a more than adequate offering that does not bore.

Based on the hit novel of the same name, which I understand is superior to the film.

First and foremost, how gorgeous was the scenic eye candy of suburban New York City, where the train chugs along the Hudson River in breathtaking beauty?

The film’s point is that affluent houses are nestled along the river banks, hidden with secrets. Beautiful neighborhoods are often riddled with affairs, drama, and backstabbing.

The train’s setting and element—peering through windows to witness smoldering events—were perfect.

The film’s standout is Emily Blunt, who gives a compelling, sometimes heartbreaking turn as a boozy, jobless, young woman fraught with heartbreak after heartbreak.

She finds solace on the Metro-North train as she peers into a particular well-to-do house, making up stories about a young woman she re-names daily, usually inebriated.

Though The Girl on the Train is not the typical “Oscar-type film,” I’d argue that a potential nomination is warranted for Blunt, who is brilliant on her emotional roller coaster.

Rachel fantasizes about being the stranger’s friend, revealing her desperation. We quickly learn about her life circumstances and feel empathy.

I anticipated an experience like Hitchcock’s classic Rear Window (1954), in which Rachel notices a crime and somehow becomes involved. This is partly true, but it is also different.

I was, however, treated to a film that never lags or waivers, and the action is plenty, not in bombs or car-chase way, but instead a circulating array of plot twists and emotions.

How wonderful to see Allison Janney, Lisa Kudrow, and Justin Theroux in a big-budget, mainstream film rather than independent small films for a change.

All three knock the material they are given out of the park, and kudos to the writers for making Kudrow, in little more than a cameo, a significant part of the grand reveal.

Arguably, Janney’s character of Detective Riley is the weakest written and seems to change motivations depending on the story shift. This is perplexing and too plot-driven.

In a way, the same might be said for Theroux’s character of Tom Watson, but, alas, it is a thriller, which sometimes happens in this genre.

Without giving much away, the conclusion to the film is unsatisfactory. We are given an ending wrapped in a neat, tidy bow, which contradicts the rest of the film.

The film is confusing, dream-like, and muddled—in a good way. Rachel’s thoughts disturb us, and we wonder what reality is. The climax is too clear, and instead of leaving much to the imagination, we are fed a linear, straightforward story ending, almost geared toward a Hallmark television movie (gag).

Wise would have been to write Rachel as still vague about her surroundings, but this does not occur.

The Girl on the Train (2016) will not redefine cinema or go down in history as fine art, but it is not intended to be the type of film designed to keep you on the edge of your seat and does so.

The story is above average and slick, but Blunt is worth heaps of praise and is head and shoulders above the rest of the film and the cast, which is no small feat considering the talent involved.

Great acting job, but the writing could have been slightly better.

2010 Films, Amanda Bynes, Comedy, Emma Stone, Fred Armisen, Lisa Kudrow, Malcolm McDowell, Patricia Clarkson, Romantic Comedy, Stanley Tucci, Thomas Haden Church, Will Gluck

Easy A-2010

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Easy A-2010

Director Will Gluck

Starring Emma Stone

Scott’s Review #478

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Reviewed September 10, 2016

Grade: B-

Easy A (2010) is an example of a film where some parts are good, and other parts are dumb. However, at the end of the day it is forgettable and who will remember a film like this in ten years?

The film is a teen comedy about a girl who makes up a rumor about herself to gain attention from her peers.

Emma Stone is great in this movie and shows the enormous potential of her budding film career. She reminds me a bit of Lindsay Lohan. She is likable and great at comedy and presents a fun persona.

Also deserving of credit is Lisa Kudrow who appears in the movie.

At times, the dialogue is intelligent and witty, other times it turns into a typical dumb comedy and that is sad because based on the star power involved, Easy A (2010) might have been a better film than it was.

2014 Films, Andy Samberg, Comedy, Lisa Kudrow, Lowest Rated Films, Nicholas Stoller, Rose Byrne, Seth Rogen, Zac Efron

Neighbors-2014

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Neighbors-2014

Director Nicholas Stoller

Starring Zac Efron, Seth Rogan

Scott’s Review #229

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Reviewed March 15, 2015

Grade: F

By far one of the worst movies I have seen, Neighbors (2014) is a silly, redundant, nonsensical, and plain old bad film. Whoever thought this film was a good idea and green-lit it should be examined.

Successful comedies- even raunchy, slapstick comedy, contain perfect comic timing and likable characters that the audience roots for, and at least a shred of creativity and originality.

Neighbors has none of these qualities.

Bridesmaids (2011) is an example of a modern raunchy comedy that works and is hysterical, sadly, Neighbors is a far cry from Bridesmaids.

Neighbors stars Seth Rogan, a familiar face in the slapstick comedy genre, and Rose Byrne as Mac and Kelly Radner, a married couple in their thirties with a newborn baby named Stella.

Former party animals in their college days, the two live in a college town and attempt to raise their daughter.

One day, Delta Psi Beta, a fraternity known as one of the rowdiest of frats, moves into the house next door to the Radners and begins causing chaos with their never-ending parties.

The frat is led by Teddy (Zac Efron).

Initially striking up mutual respect, the Radner’s relationship with Teddy is ruined due to a misunderstanding involving the police being called one night.

The remainder of the film focuses on Mac and Kelly’s attempts at getting the fraternity out of their house by sabotaging parties and pitting various frat brothers against each other, causing hijinks and war between parents and college kids.

If Neighbors is an attempt to harken back to the days of delicious college comedies such as Animal House (1978) or American Pie (1999), the film fails on every level.

It is simply not funny.

It contains a plot that is so unoriginal and the jokes featured to death in similar films (bathroom humor, frat jokes, drug jokes, male and female anatomy jokes) by this point, if you have seen one Seth Rogan film you have seen them all.

He is a one-trick pony and has become what Adam Sandler became- tired and dull.

Rose Byrne’s annoying character had me believing the actress was using a poor Australian accent only to realize that the actress is Australian. This is not a testament to Ms. Byrne’s acting ability.

The protagonists are quite irritating and not likable at all. What is the rooting value? Mac and Kelly are irresponsible parents.

They presumably leave Stella at home to visit the frat house and wind up getting drunk and high, stay out late, and wake up early the next day when Kelly attempts to feed Stella using tainted breast milk, which leads us to an unfunny scene between Mac and Kelly focusing on Kelly’s vein-popping breasts, which makes no sense anyway.

Other suspensions of disbelief and logic pop up left and right. Why would the police reveal to the fraternity the names of those who had called to complain about them and after catching the Radner’s in a lie, tell them never to call the police again?

How unrealistic.

Mac and Kelly live in a college town, and the risk of a fraternity or sorority being close never occurred to them. They acted surprised that college students existed at all.

The wonderful Lisa Kudrow is cast in a ridiculous role as the college Dean but is completely wasted in a hysterical, bubble-headed, dumb role.

If I had to give a positive to Neighbors (2014), it would be that Zac Efron does a halfway decent job portraying his character Teddy and Efron does possess a good deal of acting talent (think The Paperboy from 2012).

I am being quite generous and looking for a bright side to a train wreck.

The film is poor.