ANOMALISA (animated, 2015)

January 1, 2016

anomalisa Greetings again from the darkness. Seeing Charlie Kaufman’s work described as “strange”, “weird” or “bizarre” makes me cringe a little because most of his films hit my sweet spot of curiosity, insight and expression. I easily relate to his creative vision and commentary in films like Being John Malkovich, Adaptation, Eternal Sunshine of the Spotless Mind, and Synecdoche, New York. His characters are always searching for something and trying to discern the meaning of life … or at least of their own life. This latest has Kaufman adapting his own stage production, and collaborating with co-director Duke Johnson for what is likely (for the vast majority of us) our most startling existential stop-action animated puppet cinematic experience.

The unusual opening of the film is a black screen with only background noise and voices, and the first chuckle occurred within about a minute thanks to one of my favorite cultural references of the year: “Kojak, not Kolchak”. Slowly the screen evolves to show clouds in the sky, and soon an airplane appears and our first peek at Michael occurs … he’s a passenger on a flight. The vast majority of the rest of the film takes place inside the Fregoli Hotel – aptly named because Michael seems to suffer from a twist on Fregoli Delusion (a person believes those around him are all the same person in disguise).

We soon notice that Michael appears beaten down, even exasperated with life. He is an author in town to give a presentation on his specialty … Customer Service. The story continues along familiar lines of a business traveler in the midst of a mid-life crisis, until things change for him when he stumbles on a couple of his fans who are in town for his presentation. One of them is Lisa, whom Michael is attracted to thanks to her innocent energy and wonderful voice. What makes her voice so wonderful? Well, it turns out that Michael is voiced by British actor David Thewlis, Lisa is voiced by Jennifer Jason Leigh, and EVERY other character in the film (male or female) is voiced by Tom Noonan. Lisa and her voice are the anomaly that makes up the film’s title … Michael is smitten with her because her voice is not like all the others – providing a spark of hope.

Mr. Kaufman seems intent on making us realize how easily we can slip into a rut and simply go through the motions in life … every day and every person being pretty much like the rest. Michael has learned to wear his Customer Service mask – one who pretends to care about the issues of others. It’s a terrific metaphor for someone refusing to face the responsibility for their own happiness. His awakening occurs at the hands (and in bed) with Lisa. Yes, you should be prepared for the uncommon and slightly unsettling site of Puppet Private Parts. The clumsy passion of the first encounter between Michael and Lisa does wonders for each of them … restoring her self-esteem and awakening him from his daily slumber of hopelessness.

While the story itself is quite simple, the use of puppets prevents us from getting overly personal or judgmental with the characters, and forces us to deal with the emotional and mental aspects of what keeps so many from leading happy lives. Lisa’s acapella version of “Girls Just Want to Have Fun” ignites the fuse in Michael, and just like that, both he and Lisa are jolted from their own self-imposed limitations. No longer able to just go through the motions, Michael’s overreactions at breakfast and during his presentation are all part of his re-awakening … the most profound puppet awakening since Pinocchio. Perhaps Mr. Kaufman thought we might be more receptive to his message and observations if delivered by a non-threatening puppet, and perhaps he’s correct. The message is delivered loudly and clearly … though I will probably hear Tom Noonan’s voice in my nightmares. The look of the movie and the puppets is fantastic, and Carter Burwell provides yet another spot-on score.

watch the trailer:

 

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Posted by David Ferguson

JOY (2015)

December 26, 2015

joy Greetings again from the darkness. The movie is inspired by the true story of entrepreneur Joy Mangano (listed here as an Executive Producer) and her 1990 invention of the Miracle Mop. You should know that neither “Mangano” nor “Miracle Mop” is mentioned, and much of the story sprung from the mind of writer/director David O Russell. Also, if you have been a fan of Mr. Russell’s past few Oscar nominated films (American Hustle, Silver Linings Playbook, The Fighter), you should be warned that even though there is a large cast of familiar supporting players, it doesn’t play like his usual ensemble piece, but rather as a true star vehicle for Jennifer Lawrence (who plays Joy).

This is a working class Italian-American family, and the multi-generational aspect is in full play as Joy (a single, working mom) and her two kids share the house with Mimi (Joy’s grandmother played by Diane Ladd), Joy’s mom (Virginia Madsen) who is a recluse dressed in 60’s party attire and addicted to daytime soap operas, and Joy’s dad (Robert DeNiro) and her ex-husband Tony (Edgar Ramirez) who share the basement. Tony is the rare combination of slacker-Tom Jones impersonator. Also involved are Joy’s agitating and envious step-sister Peggy (Elizabeth Rohm) and Dad’s new wealthy girlfriend Trudy (Isabella Rossellini). This family makes The Royal Tenenbaums look suburban stale.

Flashbacks and dreams, along with the supportive words of Mimi, convince us that Joy is a creative genius, whose once promising abilities have been stifled by the harsh realities of raising kids, and overseeing a bunch of free-loaders who mostly never miss a chance to steal a bit of Joy’s light. All of that changes one day thanks to glass shards in her palm and the close proximity of crayons and drawing paper. Poof! Just like that, Joy has invented a revolutionary new kind of mop.

Given her family history and current situation, even when things go right for Joy, they never go all the way right. Having to borrow money from Trudy and depend on those who may or may not have her best interest at heart, makes for an endless chain of obstacles and challenges. But Joy is all about perseverance and self-actualization. The story emphasizes Joy’s stick-to-it-ness, and the process of learning about the legalities and pitfalls of starting and running one’s own business. Even those who should be supportive often ridicule and voice their doubts.

The film shifts when Joy meets Neal Walker (Bradley Cooper) who runs QVC. This was the time period when TV home shopping was in its infancy. Joan Rivers (played here by her daughter Melissa) was one of the early stars, and Joy’s Miracle Mop was one of the early successes. It’s a new world to Joy, but she’s a quick study and her tough-mindedness and sense of fairness and right come in to play on multiple occasions.

The above is much more story than I would typically describe, but it helps make the point that although Jennifer Lawrence continues to prove she is something quite special as an actress, the story is a bit of a mess and the pacing of the film is clumsy – slapstick blended with ultra-serious. It’s impossible to connect with this oddball group of folks, who mostly seem to be pulled right off of various TV sitcoms. Even using the soap opera (complete with Susan Lucci, Donna Mills, and Laura Wright) as a parallel to Joy’s life never quite works.

Jennifer Lawrence’s performance deserves to be ranked right with Joan Crawford’s in Mildred Pierce, but the different styles of the two movies results in only one being unforgettable. Director Russell mines the fractured family/group in many of his projects, and given his immense talent, we can be sure future projects will be more in line with the level of his recent past.

watch the trailer:

 

 

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Posted by David Ferguson

THE BIG SHORT (2015)

December 24, 2015

big short Greetings again from the darkness. Since there are so few subjects more hilarious than the 2008 financial crisis, let’s get the writer/director of Anchorman and Step Brothers to adapt the Michael Lewis best-selling book. OK, so it’s improbable that was the thought process, but kudos to whomever was responsible for bringing Adam McKay to the project. Before you go assuming it’s a poor fit, it should be noted that McKay is also one of the creative minds behind “Funny or Die”, a site filled with political and social satire. It’s that satirical approach that makes this explanation of what went wrong so accessible to the masses. Make no mistake … this is entertaining and educational and thought-provoking and nauseating and infuriating and funny and disheartening.

If the film were described as a tutorial on MBS (Mortgage-backed Securities), CDO (Collateralized Debt Obligations), Credit Default Swaps, Tranches, Bond Ratings, and Sub-Prime ARMs, most people’s eyes would glaze over and they would keep skimming for showtimes of other new movie releases. In truth, it is those things – and so much more. This is the story of how the housing market collapsed leading the government to the massive bailout that saved some of our largest financial institutions … and how a small group of people recognized what was happening and literally bet against the U.S. economy. It follows the bread crumbs to re-assemble the slow process of spotting the fault in the analysis that lead to massive corruption that finally crossed over into systematic fraud … and does so by using creative presentation approaches like a Bond Rating game of Jenga, and celebrity snippets for definitions and examples.

Ryan Gosling stars as Jared Vennett (based on Greg Lippmann), a slick Deutsche Bank trader who acts as our guide through the muck of shorting securitized mortgages, while simultaneously working the system for his personal benefit. He works with Mark Baum (a character based on Steve Eisman, played by Steve Carell) who manages FrontPoint Partners, and Baum’s team played by Rafe Spall, Hamish Linklater and Jeremy Strong (whom you might remember as Lee Harvey Oswald in Parkland). While this is going on, there are two other similar story lines we are following. The first is Christian Bale playing hedge fund manager and savant analyst Dr. Michael Burry at Scion Hedge Fund. Burry is often cited as the first to recognize the impending collapse and invest against the market. Finally, we have the “garage band” investment company based on Cornwall Capital run by (names changed) Jamie Shipley (Finn Wittrock) and Charlie Gellar (John Magaro) with a big boost from former trader Ben Rickert (played by Brad Pitt in a role based on Ben Hockett). The stellar cast is rounded out by Marisa Tomei as Baum’s concerned wife, Tracy Letts as the head of Scion, Max Greenfield and Billy Magnussen who play cocky and clueless subprime mortgage brokers, and Melissa Leo who plays a Standard & Poor’s employee.

It’s difficult to tell this story without casting blame, and few escape the wrath of Lewis, McKay and co-writer Charles Randolph. Those absorbing shots to the bow include: the Federal Reserve, the SEC, Rating Agencies, big Banks and Investment firms, Fund Managers, Traders, Realtors, and Mortgage Brokers. Companies specifically named include JP Morgan Chase, Bank of America, Deutsche Bank, Barclays, Merrill Lynch, Goldman Sachs, WAMU, Option One, Lehman Brothers, Bear Stearns, and The Wall Street Journal. The point made is that the problem goes/went beyond greed, and is/was truly system-wide, with each segment protecting themselves and their turf. Somehow the name Barney Frank is not mentioned, and FNMA and FHLMC escape mostly unscathed, while CRA lending requirements are not discussed.  It’s not politically correct (and not mentioned here) to question why so many borrowers who couldn’t pay their rent regularly accepted loans that they knowingly couldn’t afford to repay. But that’s a topic for another time.

With full disclosure, I will admit to having been in the mortgage business for 18 years. Though I was never involved with subprime loans, I will always disagree with the stance that the industry and institutions were not aware of the risk and impending collapse. It was common knowledge that “no doc” loans were absurd, and the adjustable rate schedules and prepayment penalties for subprime (and some conventional) loans were beyond impractical and more like homicidal (from a lending perspective). In the film, Baum interviews an exotic dancer who owns multiple homes … all loans made with minimal documentation due to the cash basis of her business. The terms of the loans set her, and other similar borrowers, up for financial ruin … right along with the housing sector and economy. The subprime mortgage brokers portrayed by Max Greenfield and Billy Magnussen may seem cartoonish, but Baum’s confusion with their “confession” versus “bragging” is spot on. There were many just like these two clowns who considered themselves “rock stars”, when in fact, there were really “bartenders who now own a boat”.  These weren’t the type to question whether the loans made sense … only how many could they close to pad their 5 and 6 figure per month income levels.  Of course, in defense of these morons, it was the banks and lenders who designed the loan programs to “feed the machine” with more and by necessity, higher risk loans … to the point where it was no longer possible to spread the risk wide enough for protection. Hence, the collapse.

By the end of the movie, you should expect to have a headache and feel quite cynical towards the system. Despite the humor interjected by quick-hit segments from Margot Robbie, Selena Gomez and Anthony Bourdoin, the seriousness of the topics is more than bubble baths, blackjack and fish stew. The film leaves us angry and nauseous from what happened in 2008, but more importantly questioning … Has anything changed? Have we learned anything? These answers are likely to cause a more sickening reaction than looking back seven years.

A recommended Economic Movie Marathon would include: Inside Job (2010 documentary from Charles Ferguson), Margin Call (2011, JC Chandor), The Big Short (2015, Adam McKay), and 99 Homes (2015, Ramin Bahrani)

watch the trailer:

 

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Posted by David Ferguson

TRUMBO (2015)

November 19, 2015

trumbo Greetings again from the darkness. For an industry that thrives on ego and self-promotion, it could be considered surprising that more movies haven’t focused on its most shameful (and drama-filled) period. The two Hollywood blacklist films that come to mind are both from 1976: Martin Ritt’s The Front (starring Woody Allen) and the documentary Hollywood on Trial. There are others that have touched on the era, but director Jay Roach and writer John McNamara (adapting Bruce Cook’s book) focus on blacklisted writer Dalton Trumbo in a film that informs a little and entertains a lot.

Director Roach combines his comedic roots from the “Austin Powers” and “Meet the Parents” franchises with his more recent politically-centered HBO projects Recount and Game Change. His subject here is the immensely talented writer Dalton Trumbo, whom Louis B Mayer signed to the most lucrative screenwriting contract of the 1940’s. It was soon after that Trumbo’s (and other’s) affiliation with the American Communist Party came under fire by the House Un-American Activities Committee headed by J Parnell Thomas. The divide in Hollywood was clear. On one side were the staunch Patriots like John Wayne (David James Elliott) and the Queen Muckracker, gossip columnist Hedda Hopper (Helen Mirren); on the other were “The Hollywood Ten” … those accused of being traitors simply because they stood up for freedom.

What’s interesting here is that despite the dark subject matter, the film has an enormous amount of humor … including multiple laugh out loud moments. This happens because most of the focus is on Trumbo the family man and Trumbo the justice fighter. Of course, as a writer, Trumbo does his best fighting with words … words whose message is “they have no right” to question the thoughts and beliefs of individual citizens. The committee’s mission was to prove treason by linking to the Russian agenda, but in reality these folks were mostly supportive of labor rights … most assuredly not a crime. The investigations, such as they were, seemed to prove the gentlemen were more Socialist than Russian – which makes an interesting contrast to modern day where we have an admitted Socialist running for President. The Hollywood Ten stood their ground, served jail time, and were either forced out of the industry or forced to go “underground” using pseudonyms. Trumbo, while unceremoniously writing under other names, won two Best Writing Oscars – one for Roman Holiday and one for The Brave One.

Bryan Cranston delivers a “big” performance as Dalton Trumbo. Everything is big – the glasses, the cigarette holders, the mustache, and definitely the personality. He does his best writing in the bathtub, and is never without a quick-witted comeback … whether sparring with The Duke or the committee. Unfortunately, Hedda Hopper does her most effective work in undermining the rights of Trumbo and his cohorts, including Arlen Hird (Louis CK) and Ian McClellan Hunter (Alan Tudyk). We also see how Edward G Robinson (Michael Stuhlbarg) quietly supports the cause, while also trying to salvage his fading career.

Trumbo is by no means presented as a saintly rebel with a cause. Instead, we see him as a loving yet flawed father, husband and friend. Once released from prison, he is so focused on writing and clawing his way back, that his relationships suffer – especially with his eldest daughter Nikola (Elle Fanning) and loyal wife (Diane Lane). It’s the King Brothers Production Company led by Frank (John Goodman) and Hymie (Stephen Root) who give Trumbo an outlet for writing and earning a living. Most were schlock movies, but there were also a few gems mixed in (Gun Crazy). However, it’s Kirk Douglas’ (Dean O’Gorman with an uncanny resemblance) courageous stand for his (and Stanley Kubrick’s) movie Spartacus, and director Otto Preminger (Christian Berkel) and his film Exodus, that put Trumbo’s name back on the screen, effectively ending Ms. Hopper’s crusade.

The ending credits feature clips of the real Dalton Trumbo being interviewed, and it brings clarity to Cranston’s performance, while more importantly relaying some incredibly poignant and personal words directly from the man … maybe they really should be “carved into a rock”. It’s an era of which Hollywood should not be proud, and it’s finally time it was faced head-on … and it’s quite OK that they bring along a few good laughs.

watch the trailer:

 

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Posted by David Ferguson

BURNT (2015)

October 30, 2015

burnt Greetings again from the darkness. This one is not just for all you foodies out there – though there is plenty to digest for those who fancy themselves as some hoity-toity chef to the rich and famous. Don’t go in expecting a “How to Cook” seminar. Instead, simmer down and prep yourself for a serving of massive ego topped with arrogance and a side of narcissism. Blend those ingredients into one character, and this chef somehow remains likable … when played by Bradley Cooper.

Enough with the cooking terms, but let’s heap more praise on Mr. Cooper. When first we meet his character Adam Jones, he is readying himself to bounce back after self-destructing his career as a two-star Michelin chef in Paris. He simply walks out the door of the Louisiana diner where he has been serving his self-imposed penance … shelling 1 million raw oysters, each one recorded in his pocket notebook. This provides our first glimpse into the obsessive-compulsive personality of Adam, and helps explain how he has managed to kick his drug, alcohol, and women addictions. Feeling refreshed and on a mission to garner that rarified third Michelin star, Adam begins assembling his team in London and encouraging his old co-worker Tony (Daniel Bruhl, Rush) to entrust him with his restaurant.

We can’t actually taste the magnificent food that’s served on screen, but the colors and textures are a kaleidoscope to our eyes. The movie is beautiful to look at. The restaurant dining rooms are showplaces, the kitchens are pristine, and the customers are mostly dressed like runway models. On top of that, Bradley Cooper and Alicia Vikander (in a small role) are two of the grand champions in the gene pool sweepstakes. All of that beauty is balanced out by the quest for perfection and lack of interpersonal skills displayed by Chef Adam. It’s not until his star pupil Helene (Sienna Miller) shows him another way, does Adam even start to resemble a human being.

Drug dealers, old flames, a therapist (Emma Thompson), an arch rival (Matthew Rhys, “The Americans”), an unrequited one-way love, a deceased mentor, a ridiculously cute kid (Lexi Benbow-Hart, sporting hair that would make Julia Roberts envious), and a wronged co-worker (Omar Sy) combine to add plenty of action. Even the quick cut shots in the kitchen manage to make grilling onions and carving a fish interesting.

Never digging too deep, director John Wells (August: Osage County) delivers an entertaining movie with wide appeal, and a message of teamwork and family. The story is from Michael Kalesniko and the script from Steven Knight (who also wrote last year’s Michelin star-centered The Hundred-Foot Journey). The dialogue is sharp enough to deliver some laughs, though the element of danger doesn’t really work, and a couple of times it teeters on gooey melodrama. It doesn’t reach the level of Mostly Martha (2002), and is a tick behind last year’s Chef (Jon Favreau), but it may offer the most creative lesson yet in how best to serve a dish of revenge. It’s a tasty enough treat for those in the mood for an entertaining movie and an endless stream of pretty things to look at.

watch the trailer:

 

 

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Posted by David Ferguson

OUR BRAND IS CRISIS (2015)

October 29, 2015

our brand is crisis Greetings again from the darkness. The world of political campaigns and elections is a never-ending treasure trove of material for movies. It’s a subject ripe for parody, satire, comedy, suspense and documentaries.  Need proof?  How about this widely varied list: The Manchurian Candidate, Bob Roberts, Wag the Dog, Bulworth, Welcome to Mooseport, and The Ides of March.  Director David Gordon Green has a resume equally as varied, ranging from Pineapple Express (2008) to Manglehorn (2014).

This wide spectrum of possibilities seems to have confused screenwriter Peter Straughan (the excellent Tinker Tailor Soldier Spy) who used Rachel Boynton’s 2005 documentary of the same name as inspiration. It seems to be both a comedy that’s not too funny and a drama that not very dramatic. Casting Sandra Bullock in the lead probably created a certain feeling of security with the filmmakers, as they assumed audiences would laugh along at such creative moments as her predictable pratfall from a private jet, the sunglasses-on-the-nose look of consternation, and the rah-rah speech given to a group of campaign volunteers who don’t speak English. Even fans of Ms. Bullock will recognize the laziness.

Alvin Lee and Ten Years After delivered the anthem “I’d Love to Change the World”, and never before this movie had I placed it in such a negative manner … how the United States sticks its nose where it doesn’t belong in international elections. Ms. Bullock’s character Jane is a political strategist brought out of self-imposed exile to run the campaign of Bolivia’s former President (played by Joaquim de Almeida). See he is far behind the leader in the polls – a progressive candidate whose campaign is being run by Bullock’s long-time rival Pat Candy (played by Billy Bob Thornton). Let the juicy rivalry games begin!

The only problem is … it’s a wasted rivalry filled with mostly lame games and it’s often quite plodding (just like real politics!). The character of Jane is based on the real life efforts of James Carville to influence South American elections, and yet it’s Pat Candy who sports the look of Carville. The supporting cast is filled with talent: Anthony Mackie, Ann Dowd, Scoot McNairy, and Zoe Kazan, yet none are given much to do other than play second fiddle to Bullock.

While the script offers no real surprises or twists, and the forced “message” at the end could be guessed by most any viewer 10 minutes in, it’s the amateurish ploys that make this one score high on the annoyance scale. Having Ms. Bullock sport the only blonde follicles in Bolivia, the over-use of super slow-motion to create some unnecessary effect, and using the word “crisis” the way Tarantino uses the f-word, all combine to give the film a very cheesy look and feel … and we aren’t even rewarded with a single memorable exchange between Bullock and Billy Bob. One thing for sure … this is not the garden spot of Bolivia.

watch the trailer:

 

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Posted by David Ferguson

ASTHMA (2015)

October 23, 2015

asthma Greetings again from the darkness. So this greasy, heroin-addicted slacker picks up a smartass tattoo artist while driving the Rolls Royce he has just stolen. What sounds like the beginning of a stand-up comedian’s best joke, is actually one of the earliest scenes from writer/director Jake Hoffman’s first feature film.  That’s right, you have seen him many times as an actor (he played shoe mogul Steve Madden in The Wolf of Wall Street), but now Dustin’s son is a full-fledged filmmaker.

When first we meet Gus (Benedict Samuel, “The Walking Dead”), he can’t be bothered to actually paint the wall he was hired to paint … “It’s already white!” Once relieved of his duties, he heads home and white washes his apartment … not just the walls, but his TV, books and Jim Morrison poster. He claims all of his heroes are dead, and that he was unfortunately born in the wrong era … the 70’s were so much more his style. He then proceeds to try and hang himself.  Of course, he fails at that too.

Next we see him car-jack the Rolls and then Ruby (Krysten Ritter) is accepting his offer of driving her to Connecticut. Having previously rebuffed his advances at a local bar, it’s obvious Ruby is intrigued by the banter and energy of Gus. The road trip brings it challenges and high points for Gus, and the two arrive at the communal retreat that features a mystic/yoga instructor (Goran Visnjic, Beginners) and a rock singer (Dov Tiefenbach), amongst others. Logan, the rock singer, and Gus softly battle for Ruby’s attention, but it’s difficult to watch as Gus drugs up and loses any sense of appeal.

It’s not long before Gus is being bailed out of jail by his well-off dad … played by Jerry Zucker, who in real life, directed Ghost and produced numerous Hollywood films. The two share an awkward car ride to the home of Gus’ bedridden mom played by Rosanna Arquette. Perhaps all of this makes more sense when you learn that Gus also takes life advice from his imaginary philosophical talking werewolf (voiced by  ). Maybe this explains what those of us who don’t shoot heroin are really missing.

The cast is strong, and each gives it their best shot. It’s just not very entertaining or enlightening to watch some aimless dude drift through life while higher than a kite. What is clear, and has been to me for quite some time, is that at some point the right role is going to come along for Krysten Ritter, and her career will take off. She has had a solid career up to now, but next level is within her grasp. She has quite a screen presence … way more than the imaginary werewolf. Mr. Hoffman’s feel for directing offers hope for future projects, and he is certainly to be commended for his use of cutting edge music. Next time … please give us a more interesting lead character.

watch the trailer:

 

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Posted by David Ferguson

THE INTERN (2015)

September 24, 2015

intern Greetings again from the darkness. A feel-good mainstream movie featuring two big time movie stars will likely have box office success and cause a lot of people to laugh out loud. In other words, the latest from writer/director Nancy Meyers should be celebrated for its entertainment value, rather than picked apart by film critics. Ok, I’ll give it a try.

Robert DeNiro stars as Ben Whittaker, a retired 70 year old widower, who just can’t seem to find meaning in hobbies and the leisure life. He applies and is selected for the “Senior Intern” program at About the Fit, a fast-growing online clothing company run by its founder Jules Ostin (Anne Hathaway). In addition to being a Type A driven and obsessed-with-details company leader (the type that rides her bike through the office to save time), Jules also has a husband, a young daughter and a fabulous brownstone. What she doesn’t have is enough sleep, any friends, or enough time to enjoy any of the good stuff.  You aren’t alone if a buddy flick with DeNiro and Hathaway seems unusual to you.

At the same time Ben arrives on the scene, Jules is struggling with her investors’ decision to hire a more experienced CEO so that the company can maintain its phenomenal growth. That’s about as deep as the business talk ever gets (but just try to keep track of all the Apple product placements). Jules initially spurns Ben, but of course, he soon becomes invaluable around the office, and while blinking his eyes, becomes her most valued confidant and adviser.

Much of the comedy is derived from Ben’s interactions with the young employees. It’s quite simply a ‘generation gap comedy’ that makes all the points it needs to make without really breaking a sweat: senior citizens are a wealth of knowledge and can bring value to an organization or relationship, young people can learn from elders (it’s OK to shave everyday and dress for success) … and vice versa (computers are our friend), there still exists some animosity between stay at home moms and working moms, stay at home dads face challenges of their own, running a company is hard work both physically and mentally, communication often requires more than a text or email, and staying true to one’s self is not always easy.

Ms. Meyers has brought us other mainstream films such as It’s Complicated (2009) and Something’s Gotta Give (2003), and she has a feel for presenting the upper-middle class as a punchline for the masses. She likes showing successful people in uncomfortable situations … leaning heavy on awkward, while avoiding dangerous altogether. Her latest is a feel good movie that makes you laugh, without causing you to think about anything in your life that might bring you down. And there is real value in that.

Ok, I tried, but there are some things that must be pointed out. There was so much of Ms. Meyers’ script that was begging to be pushed to the edge and analyzed from a societal aspect. Her specialty is rounding off the corners so that no one gets hurt, and because of that the film is bereft of conflict … the single most important element for a meaningful scene. For example, the conflict between Jules and her husband occurs in a hotel room, which would be fine except … only one of them is there!  Also, we never really get any of the story from Ben’s perspective. Instead, we are just to believe that his Gandhi-like influence on co-workers is the only reward he seeks. I also found myself bothered a bit in the quick glimpse we get into Ben’s personal life. He blows off the advances of Linda Lavin and pursues Rene Russo … understandable, but a bit off-putting given that this female writer chose to have him hook up with the 11 years younger character, rather than the one closer to his own age.  There are many other similar type issues that warrant discussion, but that’s why it’s best to just sit back and enjoy this one, rather than asking “what if?”

watch the trailer:

 

 

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Posted by David Ferguson

ADDICTED TO FRESNO (2015)

September 17, 2015

addicted to fresno Greetings again from the darkness. It’s not quite a unicorn, but it seems fair to call it a White Harbour Porpoise. Yes, it’s that rare to see a Comedy movie written by a woman, directed by a woman, starring women in a story about women. And it’s that rarity which makes it all the more disappointing when the finished product doesn’t match the expectation.

The cast is loaded with funny people, many of whom are best known for their work on TV. However, that’s not what makes this feel like an aimless TV sitcom straining too hard to make us laugh, often through cheap shock value. The movie leaves us with the feeling that writer Karey Dornetto (“Portlandia”) and director Jamie Babbit (But I’m a Cheerleader, “Gilmore Girls”) have spent too many hours studying the work of Judd Apatow, rather than letting their own voices speak. We are teased with glimpses, but mostly just left wanting.

On the bright side, Judy Greer finally gets a lead role after seemingly hundreds of support roles where she has often been the best thing about a movie. Yet somehow the filmmakers manage to dull Ms. Greer’s natural glow as she plays Shannon, a registered sex offender with little desire to break her sex addiction, or even become the least bit likeable. The very talented Natasha Lyonne plays Martha, Shannon’s younger lesbian sister who is her personality polar opposite, yet never can quite escape the “bad luck” following her around.

Martha decides to make Shannon’s recovery her mission in life, and secures her a job so they can work together as maids at a local motel. What follows is an accidental murder, a frantic attempt to dispose of the body, a mentally challenged housekeeping supervisor, multiple instances of sexual confusion, a sex shop hold-up, blackmailing pet cemetery owners, a profane rapping boy at his bar mitzvah, an inappropriate relationship with a therapist that breaks up a marriage, and a running gag with a chubby hotel guest in a Hawaiian shirt carrying a little dog. All of that zaniness leads to a disproportionately few number of laughs, although we do get a terrific Cousin It impersonation and an extremely rare (maybe a first ever?) Hammer-throw joke.

What’s lacking here, despite the best efforts of Ms. Greer and Ms. Lyonne, is any semblance of humanity or realism … necessities for comedy. We just never make any connection with the main characters. The supporting cast provides numerous diversions and feature the familiar faces of Ron Livingston (the therapist mentioned above), an underutilized Aubrey Plaza, Molly Shannon, the duo of Fred Armisen and Alison Tolman playing opportunistic small business owners, Jessica St Clair as one of the more emotional front desk clerks you’ll ever see, Jon Daly as one of the more unfortunate characters, and Malcolm Barrett as Shannon’s latest love interest/poet.

Of course, in keeping with the film’s title there is a never-ending stream of insults directed at the city of Fresno. If that much attention had been paid to the sister relationship and the forming of characters, perhaps the comedy would have been more effective. Instead, if you are all set on watching sisters working together in the clean-up business, the better recommendation would be Sunshine Cleaning.

watch the trailer:

 

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Posted by David Ferguson

SLEEPING WITH OTHER PEOPLE (2015)

September 9, 2015

sleeping with other people Greetings again from the darkness. In 1989, Rob Reiner’s When Harry Met Sally hit theatres, and many described it as an updated/contemporary version of Woody Allen’s 1977 classic Annie Hall.  It’s been 26 years since Billy Crystal and Meg Ryan debated whether guys and girls could be “just” friends, and now writer/director Leslye Headland shows us that same debate continues to this day.

Jason Sudekis (“Saturday Night Live”, Horrible Bosses) stars as Jake, and Alison Brie (“Mad Men”, “Community”) stars as Lainey. These two characters meet in college and promptly lose their virginity to each other. (It takes a little imagination to accept these two thirty-somethings as college kids) Twelve years later, they meet again by happenstance at a meeting for sex addicts. It turns out, Jake’s biggest phobia is related to commitment, and he’s a womanizer who has mastered the break-up (yep, he slept with your sister).  Lainey’s issue is commitment as well, only it’s her misplaced commitment to a married doctor (Adam Scott) instead of her boyfriend (Adam Brody) that causes problems.

Jake and Lainey quickly pick up their legendary (in their own mind) repartee, and it becomes a friendship comprised of rapid-fire one-liners. Yes, I used the F-word to describe their relationship. To protect their platonic bond, they go to the extreme of creating a safe word as an admission/warning if one is feeling overly amorous towards the other … it’s like a fire hose to extinguish any thoughts not related to being a good buddy.

While Sudekis and Brie are both talented and likeable, it’s the outdated pop culture references that create such an out-of-place feeling for the viewer. How many thirty-somethings these days reference Bobby Fischer, Anne Sullivan and Madame Butterfly during conversation? And the “Pontiac Aztec” line may be the best line in the movie, but how likely is it to resonate with most audience members?  There is certainly no shortage of dialogue committed to laughs, but so much of it seems out of step with the young adults it’s clearly targeting.

The obvious comparisons/tributes to When Harry Met Sally come in the form of the split screen during a text conversation (in contrast to Harry and Sally’s phone chats), and the uncomfortable scene featuring a glass tea bottle is the answer to Sally’s infamous diner scene. What’s lacking is the intellect and heart so prevalent in the 1989 film. It may be contemporary, but it’s missing any subtlety or nuance. Perhaps that’s the influence of Producers Will Ferrell and Adam McKay, both who specialize in laughs over nuance.

Additional support work is provided by Amanda Peet, as Jake’s boss and love interest; and Jason Mantzoukas and Andrea Savage, the married couple trying hard to help while delivering the film’s best and funniest scenes (the closing credits – wow!). Also contributing are Natasha Lyonne, Margarita Levieva, and Katherine Waterston (as the doctor’s wife).

Though they deliver some easy laughs (a good thing), if this movie and Amy Schumer’s recent Trainwreck are accurate social observations of the times, it’s difficult to have much hope for modern day relationships (not a good thing).

watch the trailer:

 

 

Leave a Comment » | Comedy, Rom-Com | Tagged: , , , , , , , , , , | Permalink
Posted by David Ferguson

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