Tag Archives: Marlon Wayans

Air-2023

Air-2023

Director Ben Affleck

Starring Matt Damon, Ben Affleck

Scott’s Review #1,358

Reviewed April 19, 2023

Grade: B+

Ben Affleck both directs and co-stars in Air (2023), a sports drama that is surprisingly neither cliched nor enshrouded in a big climactic showdown at the conclusion. This happens in way too many sports-centered films.

Other than basketball game clips occasionally playing in the background the action takes place within boardrooms rather than on the court.

Being a basketball fan is not required.

There is a measure of predictability in Air which I didn’t mind, again surprising. Anyone superficially familiar with National Basketball Association superstar Michael Jordan knows about his famous  Air Jordan sneakers. His colorful footwear overtook the nation during the 1980s and 1990s.

This film is based on the true story of its origin and the circumstances surrounding it.

Air is a crowd-pleaser in every sense of the word with energy and affection and not a slow moment to be found.

An unlikely partnership develops between a then-rookie Michael Jordan and Nike’s struggling basketball division revolutionizing the world of sports and contemporary culture with the Air Jordan brand.

A Nike basketball talent scout Sonny Vaccaro (Matt Damon) comes up with an unusual and risky offer to land Jordan, a rising college star who would become the most successful NBA player in history.

His parents, Deloris and James (Viola Davis and Julius Tennon) cleverly negotiate for their son to earn his share of the pie usually saved only for executives and business people rather than the sports star. Deloris knows the worth of her son’s immense talent and unmovingly sticks to her guns.

A treat for anyone who grew up in the 1984 era, countless pop songs and pop culture references are included. Every few minutes, snippets of upbeat tunes emote from the screen adding pleasure and nostalgia to the film.

Peppered throughout also include automobiles, office telephones, fax machines, and basic computers. There’s even an early car cell phone included.

Other famous sneaker brands of the time like Adidas and Converse are represented during a time when celebrities and the like were starting to align with sneakers to make large profits.

I’ve said this too many times but in films set during a different time it either looks authentic or it looks like modern actors dressed for the times.

Affleck as a director knows his stuff in this regard. He is a good actor but a very good director.

Damon is the film lead and does so convincingly. Either wearing a padded suit or chunking up to fit the character of Sonny, it’s unclear which, the actor appears as a ‘regular guy’ rather than a Hollywood movie star. This is tricky to pull off for a big star but here it works.

Sonny’s earnestness to save Nike and his connection to the Jordan family feels fresh and unassuming. He’s painted as a good guy and counterbalances other scheming and bloodthirsty sports agents like David Falk, impressively played by Chris Messina.

Jason Bateman also shines brightly as Sonny’s colleague, Robby Strasser, a man revealed to be lonely. In a touching moment, Sonny brings Robby a birthday cake on a working Sunday, when his special day would otherwise have been forgotten.

Davis can never do wrong but is the anchor of the film and the role of common sense.

Finally, the character of Michael Jordan is portrayed in the film, though his face is not seen, and has limited dialogue.

Thanks to a crackling screenplay and genuine sincerity, Ben Affleck’s Air (2023) has gotten butts back in movie theater seats. It proves that people do love the theater when served a satisfying offering.

White Chicks-2004

White Chicks-2004

Director Keenen Ivory Wayans

Starring Shawn Wayans, Marlon Wayans

Scott’s Review #647

Reviewed May 29, 2017

Grade: D

Anything but high art, though at the time of release (2004), seeming like a clever, yet silly, slapstick farce, White Chicks was a film that I found rather enjoyable.

Watching the film in 2017, some thirteen years later, however, the film feels dated beyond belief and as dumb as can be.

The film also contains Paris Hilton’s gimmick characters and racial overtones that were lost on me when I first saw the film.

Influenced by the drag comedy (and classic) from 1959, Some Like It Hot, the premise sounds interesting and comical.

Kevin and Marcus Copeland (played by the comical Wayans brothers) are a pair of black,  masculine, F.B.I. agents who bungle an undercover investigation and are given one last chance to redeem themselves before being booted from the bureau for good.

They are assigned the task of protecting the mega-rich cruise-line heiresses Brittany and Tiffany Wilson, who are in town (at the Hamptons) from a planned kidnapping plot over Labor Day weekend.

Kevin and Marcus don blonde wigs, and freakish makeup, and awkwardly pose as the Wilson sisters to save their jobs.

As the story goes on, Kevin and Marcus (as Brittany and Tiffany) develop relationships with various characters including millionaire Latrell Spencer (Terry Crews), who takes an interest in Marcus (thinking he is Tiffany, and white).

Other antics occur as the “girls” try their best to form friendships with the heiress’s snotty friends as they attempt to foil the kidnapping plot.

Similarities to the classic Wilder hit, Some Like It Hot, are tough not to notice, and director, Keenen Ivory Wayans, is smart to borrow from a film considered one of the greatest comedies of all time.

Just as Joe and Jerry (Tony Curtis and Jack Lemmon) go on the lam to escape mafia figures out of desperation, Kevin and Marcus are desperate to keep their jobs, causing both sets of “impersonators”, to suffer from dire circumstances.

Also worth mentioning are similar conclusions in both films as love interest Osgood Fielding III, also a millionaire, as is Spencer in White Chicks, each is not phased by the “big reveal” as the men are de-masked as actually being males.

Clever in 2004, the incorporation of celebrity Paris Hilton, in 2017 now all but faded, seems dated and of the past. In real life being a hotel heiress, characters Brittany and Tiffany (cruise line heiresses) mirror Hilton as spoiled, self-centered, and oblivious to everyone around her.

The aspect was a good idea at the time of the release of the film, but now is irrelevant, not even as a nostalgia gag- perhaps in the year 2037 White Chicks might be appreciated more, but I would not hold my breath.

The overall tone of White Chicks is also fraught with silliness and with one gag after another. Rather than being believable as females, the Wayans brothers look downright frightening and robotic as Brittany and Tiffany.

In comedies, suspension of disbelief is required, but the producers should have done a bit more to feminize the characters instead of playing them as goofs.

The ending of the film is no-frills and formulaic with no real twist or surprise ending to speak of. The ridiculous misunderstandings with Kevin and Marcus’s real significant others, foolishly believing the men are having affairs with other women seem forced and amateurish.

Predictably, when the men profess their love for the girls earnestly, they fall for it hook, line, and sinker and the film wraps in disappointing, standard fashion.

Cute and fresh feeling at the time, White Chicks (2004) now feels stale and tired with racial overtones, deemed amusing back in the day, but now seems mean-spirited and unnecessary.

The film is an attempt at recreating a classic comedy for a younger audience, but I would recommend seeing the original Some Like It Hot (1959) instead- it is much more enjoyable.

Requiem for a Dream-2000

Requiem for a Dream-2000

Director Darren Aronofsky

Starring Ellen Burstyn, Jared Leto

Top 100 Films #51     Top 10 Disturbing Films #3    

Scott’s Review #172

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Reviewed September 21, 2014

Grade: A

Requiem for a Dream (2000) is a disturbing film and, at times, very difficult to watch, but it is also a brilliant masterpiece, visually as well as from a storytelling perspective, that I appreciate more and more with each painful (in a good way!) viewing experience.

The film is easily one of the most disturbing films I have ever seen.

The subject matter is drug trafficking/addiction that affects more than one character in the cast- this subject has been tackled by a myriad of different films- think Traffic, released around the same time as Requiem for a Dream for a comparison.

At the risk of directly comparing Requiem for a Dream to Traffic, which is unfair, I will say that as gritty as Traffic is, Requiem for a Dream makes it look like a kid’s film.

Director Darren Aronofsky’s direction is superb.

The story revolves around a young man (Harry) from Brooklyn, played by Jared Leto, his girlfriend Marion, played by Jennifer Connelly, Harry’s mother Sara, played by Ellen Burstyn, and Harry’s best friend Tyrone, played by Marlon Wayans.

Each individual falls into a trap of drug addiction in their way, but all are written sympathetically so that the audience cares about them and feels their sorrows intensely.

Harry and Tyrone are involved in drug selling but aspire to be successful and both love their mothers and their significant others- in Harry’s case that is Marion.

Marion (Connelly) falls in over her head and is forced to turn tricks to feed her heroin habit. She is an intelligent young woman from an affluent family, which makes her downward spiral into prostitution all the more shocking.

The standout among the central characters is Sara Goldfarb, who is a lonely widowed woman obsessed with a television game show. She develops delusions of grandeur of becoming a contestant and is tragically determined to lose weight to fit into her favorite red dress.

She becomes dependent on diet pills and begins hallucinating that her refrigerator is attacking her.

Aronofsky perfectly mixes in fantasy sequences showcasing Burstyn’s real attractiveness contrasted with the desperation of Sara. Sara is a sad character and Burstyn is mesmerizing in the role.

How she lost the Oscar to Julia Roberts in 2000 is and always will be one of the biggest Oscar travesties in my opinion.

The special part of this film is the visual and cerebral aspects. The film is dreamlike in its texture and extreme, fast-paced close-ups of the diet pills or heroin being consumed.

The viewer feels the highs and lows that the characters feel and there is immediately a sense that all of the characters are doomed and hopeless.

Besides, this film has one of the most effective and haunting scores I have ever experienced, right up there with John Carpenter’s Halloween.

The slow-motion sequences combined with frenetic images make this quite cerebral to watch. I cannot watch this film very often as it is too disturbing and upsetting, but I sure am glad it was made at all.

Oscar Nominations: Best Actress-Ellen Burstyn

Independent Spirit Award Nominations: 2 wins-Best Feature, Best Director-Darren Aronofsky, Best Female Lead-Ellen Burstyn (won), Best Supporting Female-Jennifer Connelly, Best Cinematography (won)