MEAN GIRLS (2024, musical)

January 11, 2024

Greetings again from the darkness. High School is a challenging time. High School girls can be mean, especially to each other. Those two points were made quite clearly in the 2004 film MEAN GIRLS, written by the brilliant Tina Fey and directed by Mark Waters. The film struck a chord with that generation both emotionally and through vocabulary. Society has seen many changes since 2004, but evidently High School is still challenging, and High School girls are still often mean. That film was adapted for a musical stage production in 2017, and now that Broadway musical has been adapted back to the big screen for a new generation. Tina Faye returns as screenwriter (and as math teacher Ms. Norbury), and the new film is co-directed by Samantha Jayne and Arturo Perez Jr.

This is my first sojourn into MEAN GIRLS territory. Of course, I have come across ‘mean’ girls in real life, but I have not watched the 2004 film, the 2011 sequel (a TV movie), or the live musical production. Angourie Rice (THE NICE GUYS, “Mare of Easttown”) plays Cady Heron, the home-schooled girl who transfers to North Shore High when she and her mother (Jenna Fisher) relocate from Kenya. Excited for her new adventure, yet uncomfortable as the new kid, Cady is schooled on the social hierarchies (cliques) by artsy Janis (Auli’I Cravahlo, the voice of MOANA) and proud gay Damian (a talented Jaquel Spivey). Most of the education revolves around “The Plastics”, a trio of snooty girls: the not smart Karen Shetty (Avantika), the desperate to be seen Gretchen Wieners (Bebe Wood), and their leader and school villain, wealthy diva Regina George (Renee Rapp in the role made famous by Rachel McAdams).

Regina takes an interest in Cady (a near clone of Amy Adams) and high school life devolves into the mess that it too often is. Cady falls for hot boy and fellow Calculus classmate Aaron (Christopher Briney, DALILAND). This immediately changes the dynamics since Aaron is Regina’s ex. Petty jealousies intensify and personalities shift wreaking more havoc on relationships that were never very deep. Brief supporting roles are covered by Jon Hamm as the clueless coach and health teacher, Ashley Park (“Beef”) as a teacher, an over-the-top Bijou Phillips as Regina’s mom, and Tim Meadows as the fed-up Principal. Meadows is the only actor to appear in all three MEAN GIRLS movies, and he and Tina Fey each nail a couple of zingers. And yes, you can expect a couple of cameos.

The intended message is valuable and delivered clearly, however, for a musical, it’s the songs that often seem weak and sometimes forced. A couple of the songs land, but most miss the mark. Renee Rapp nails her song at the Halloween Party, and Auli’I Cravahlo is truly a standout when she gets the opportunity to showcase that voice. “Gruel” and “fetch” are recycled here for effect, and though the songs are a bit disappointing, we do hope the message is received by a new generation (even if most of these actors look like they should be out of college, rather than clunking through high school).

Opens nationwide in theaters on January 12, 2024

https://www.youtube.com/watch?v=fFtdbEgnUOkWATCH THE TRAILER

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Posted by David Ferguson

THE NICE GUYS (2016)

May 29, 2016

nice guys Greetings again from the darkness. Shane Black sold his first screenplay at a very early age which led him to become something of a phenom with the success of that film, Lethal Weapon (1987). Later, he disappeared from Hollywood for about 10 years before resurfacing in 2005 by directing his own terrific script with the immensely entertaining Kiss Kiss Bang Bang (my favorite movie of that year), and then hitting big-budget time with his script for Iron Man 3. This time, Mr. Black (directing and co-writing with Anthony Bagarozzi) returns to the detective-farcical-comedy-mystery-action genre and even adds an element of being a 1970’s period piece.

Black’s rapid-fire wise-cracks were perfect fits for Mel Gibson and Robert Downey Jr, and for this project he’s working with Ryan Gosling and Russell Crowe … both fine actors, though neither known for their comedic work. What’s clear from the beginning of the film is that both Gosling and Crowe are fully committed to the material and their respective characters. Gosling plays a boozy Private Detective and single dad who just can’t quite get things right, while Crowe plays a hired-hand bruise type – think of his Bud White in L.A. Confidential (1997), only with an extra 50 pounds (or did he borrow Eddie Murphy’s Norbit fat suit?) and a lot of miles. These two damaged boys play off each other very well, and with Black’s dialogue and visual gags, the film provides a good number of laugh out loud moments … more silly than the sophomoric humor that’s so pervasive at multiplexes these days.

Of course for comedy to really click, there needs to be some type of story to follow. In the opening scene a young boy (Ty Simpkins) watches as a car slams through his house, culminating with a “model/actress” named Misty Mountains meeting a not-so-pleasant ending. We then learn that Gosling’s Holland has been hired to find Amelia (Margaret Qualley), who bears an uncanny resemblance to Ms. Mountains – with two significant exceptions. Simultaneously, Amelia has hired Crowe’s Jackson to convince Holland to stop searching for her. Soon enough, Holland and Jackson are working together on the “case” that mixes in the Auto industry (Big 3), Porn industry, Justice Department (government conspiracies), environmental protestors, Killer Bees, LA parties, LA smog, The Waltons (John Boy), The Rockford Files, Detroit, and Richard Nixon … all hot topics in this 1977 era.

As much as the story is needed, it really doesn’t much matter. This is a movie of moments … some of them featuring funny words, while others focus on pretty astute physical comedy. Gosling (and his stunt double) provides some pretty impressive gags as he is bounced and slammed around for most of the run time. The surprising heart of the film … and moral core … is Holland’s daughter Holly played by Angourie Rice. Despite the title, she is really the only “nice guy” in the whole film, and her good-hearted nature keeps us rooting for Gosling and Crowe, despite their flaws.

Other support work comes from Matt Bomer as a “John Boy” hit man, Keith David, Lois Smith, Yaya DaCosta (quick, name another Yaya), Beau Knapp (as the toothy Blueface), Jack Kilmer (Val’s son as a “projectionalist”), and Kim Basinger (re-teaming with her LA Confidential co-star, Crowe). Also playing a significant role are the mid-to-late 1970’s vehicles, the period music and houses and décor that puts us right in the moment, and the clothes and hairstyles that are sure to inspire a chuckle or two.

Fans of Lethal Weapon and Kiss Kiss Bang Bang will surely find plenty of laughter here … despite one of the worst trailers in recent memory and even if the film is lacking the one thing it advertises – nice guys.

watch the trailer:

 

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Posted by David Ferguson