THE GREATEST BEER RUN EVER (2022)

September 25, 2022

Greetings again from the darkness. “Can I buy you a drink?” A simple phrase that can have a variety of meanings. In 1967, John “Chickie” Donohue did more than buy his buddies a drink. He hand-delivered beer after tracking them down at their military posts during the Vietnam War. Writer-director Peter Farrelly (an Oscar winner for GREEN BOOK, 2018) and co-writers Brian Hayes Currie (also an Oscar winner GREEN BOOK) and Pete Jones (HALL PASS, 2011) tell the story of Chickie’s dubious trip to the front lines. His mission was to show the neighborhood boys that folks back home care, and the results proved eye-opening.

Zac Efron plays Chickie Donohue, a Merchant Marine from the Inwood neighborhood of New York City. Chickie is a hard-drinking slacker and kind of a joke to his family and friends. He doesn’t really take life seriously and has no perceivable ambition. He is, however, a staunch defender of his country and the military personnel fighting a war that no one seems to be able to define. Especially ‘the boys’ from the neighborhood … too many who have died for the cause. One typically “full of hot air” evening at the local tavern where “The Colonel” (Bill Murray) tends bars, hones patriotism, and honors those who (like him) have served in war, Chickie blurts out his intention to head to Vietnam and hand-deliver a beer to each of his buddies stationed there. His drinking cohorts support his idea, yet fully believe this is simply the next thing that Chickie will never follow through on.

To everyone’s surprise, and despite pleas from his anti-war sister (played by Andy Serkis’ daughter Ruby Ashbourne Serkis), Chickie loads up a duffel bag with dozens of cans of Pabst Blue Ribbon and heads out. That seems to be the extent of his plan because he basically has to charm and ‘luck’ his way through each progressive stop once he has secured a spot on a container ship headed that way. In the film, he secures a 72-hour leave, but in real life, as documented in the memoir written by John “Chick” Donohue and JT Molloy, his journey took almost 8 weeks.

The film plays a bit like a road trip, where Chickie interacts with multiple characters along the way. Some in the military mistake him for undercover CIA, which he uses to his advantage. At a Saigon bar, Chickie debates with war correspondents, including a photojournalist played by Oscar winner Russell Crowe. Chickie questions why they report “only the bad stuff”, which is tough on morale back home, while the reporters counter with the defense of only telling the truth. A later part of Chickie’s journey finds him in the middle of the Tet Offensive, running for his life with Crowe’s character.

Director Farrelly, long celebrated as an iconic comedic filmmaker with his brother Peter, doesn’t break any new ground here, but the remarkable true story keeps us watching. In fact, it feels a bit like a war movie from the 1950s … mostly light, with a well-meaning, charming lead actor with limited range. Songs from the era are included, and the message seems to be that politicians don’t always tell the truth (an obvious fact that we live with every day). Chickie’s personal post-trip pledge of ‘less drinking, more thinking’ would be a good direction for many, and Farrelly includes a modern-day photo of Chickie and the boys from the neighborhood over the closing credits. A nice touch.

Opening in limited theaters on September 23, 2022 and on AppleTV+ beginning September 30, 2022

WATCH THE TRAILER

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Posted by David Ferguson

THE FRENCH DISPATCH (2021)

October 28, 2021

Greetings again from the darkness. Few things in the cinematic world are more instantly recognizable than a Wes Anderson movie. In fact, historically speaking, perhaps only Jacques Tati comes as close to having a signature style easily spotted by viewers (unless you want to count Tom Cruise sprinting or Julia Roberts cackling). This is Mr. Anderson’s 10th feature film in 25 years, and I now rate 5 of these very highly, though all 10 have a certain appeal. This latest, co-written by Anderson with frequent collaborators Roman Coppola, Hugo Guinness, and Jason Schwartzman, could be considered his most ambitious to date … and likely the most ‘Wes Anderson’ of all.

Billed as a love letter to journalists, it becomes crystal clear, that by this, Anderson means the esteemed stable of writers from the early days of “The New Yorker”. In fact, Anderson structures the film as if it were following the path of a magazine being published. We are informed upfront that this edition features “an obituary, a travel guide, and 3 feature articles”. An episodic format is not unusual for films, yet Anderson never does anything by the book. Each piece takes place in its own time period, and there appears to be little connection or crossover among key characters. Still, somehow he makes this work by ensuring each piece stands on its own and is filled with unusual characters and those patented, fabulous Anderson visuals.

The obituary is that of Arthur Howitzer Jr (a deadpan Bill Murray), the founder and publisher of “The French Dispatch” magazine, a spin-off from The Liberty Kansas Evening Sun … a move from a small town in Midwestern United States to a charming small town in France (hilariously and fittingly) named Ennui-sur-Blasé. Howitzer adores his writers, and the only guidance he offers them is, “Just try to make it sound like you wrote it that way on purpose”. He also has a “No Crying” sign posted in his office, likely as much as a reminder to himself as a rule for the staff.

Our travel guide section is fortunately quite brief since it involves Owen Wilson as a bicycle tour guide showing us around the town – the “Local Color”- of Ennui-sur-Blasé. This takes us to the first feature story, and the best of the lot. Tilda Swinton excels (doesn’t she always?) as a writer and art expert giving a colorful lecture entitled “The Concrete Masterpiece”. She tells the story of Moses Rosenthaler (Benecio del Toro), a genius modern artist serving a life sentence for murder, and as she lectures, we see it play out. While incarcerated, Moses continues to work and his muse is a prison guard named Simone, played exceptionally well by Lea Seydoux. Her nude posing for him leads to his signature modern art piece, which attracts the attention of an ambitious art dealer played by Adrien Brody.

“Revisions to a Manifesto” is the next feature, and it involves a young activist named Zeffirelli (Timothee Chalamet). He’s a chess expert, quite moody and has a questionable quest. He’s being covered by writer Lucinda Krementz (Frances McDormand), who is unable to maintain objectivity, and inserts herself right into the story, amongst other things. The segment pays tribute to the activism of the 1960’s and is filmed mostly in black and white.

The third feature, “The Private Dining Room of the Police Commissioner” involves writer Roebuck Wright (Jeffrey Wright) telling his story while a guest on Liev Schreiber’s Talk Show in the 1970’s. Roebuck is obviously inspired by James Baldwin, and he famously recalls every line he’s ever written. The story he recites involves a legendary chef played by Steve Park.

Actors mentioned so far are just the headliners, and Anderson has packed the film with his usual troupe, as well as dozens of others – some you’ll recognize, and some you won’t. There are at least seven Oscar winners involved: Christoph Waltz, Fisher Stevens, and Angelica Huston (as narrator), in addition to the aforementioned Swinton, McDormand, del Toro, and Brody. Numerous Oscar nominations and awards are included in the group of other familiar faces like Willem Dafoe, Saoirse Ronan, Edward Norton, Lois Smith, Henry Winkler Bob Balaban, Elisabeth Moss, and Mathieu Amalric.

Other frequent Anderson collaborators who deliver standout work include Production Designer Adam Stockhausen, Cinematographer Robert Yeoman, Editor Andrew Weisblum, and composer Alexandre Desplat. The film looks and sounds remarkable, and somehow it doesn’t feel like it’s moving fast – although we can barely keep pace. The film can be compared to ordering a flight at your local distillery. Each flavor is tasty, but they may not add up to a full drink.

Wes Anderson has delivered another stylish, fun film to watch, and one that is endlessly entertaining. It may not have as many moments of laughter as some of his previous films, yet there are still plenty of sight gags, insider references, and light-heartedness bathed in nostalgia – even if it’s not quite as whimsical. Shot in the French town of Angouleme, the visuals are as impressive as any you’ll find, serving up a collage of time, caricatures, color, and topics.

Opening nationwide in theaters on October 29, 2021

WATCH THE TRAILER

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Posted by David Ferguson

ON THE ROCKS (2020)

October 4, 2020

 Greetings again from the darkness. Sofia Coppola cemented her place among top filmmakers with the instant classic LOST IN TRANSLATION (2003). Sure, she’s had other successes with THE VIRGIN SUICIDES (1999), MARIE ANTOINETTE (2006), and SOMEWHERE (2010), but it’s her thought-provoking and self-analytical film with Bill Murray and Scarlet Johansson that struck an emotional nerve for so many. This time, she reunites with Murray in what could easily be a companion piece, as it’s both familiar and not.

Rashida Jones (“Parks and Recreation”) stars as Laura, who is trying to find herself as a writer amidst the fatiguing responsibilities that go with being a mother and wife, and having age 40 staring her in the face. Marlon Wayans (WHITE CHICKS, 2004) plays her charming, just-started-a-new-business husband Dean, who may or may not be cheating on her. Whether it’s Laura’s concern over how “boring” she has become, or the little clues she finds … well, it’s probably nothing … but doubt grows into suspicion.

It’s at this point when Felix (Murray), Laura’s father, enters the story. Felix is a likable cad (probably an archaic word, but it fits), who has never been much of a father to Laura. Instead he chases fun and skirts, and begins convincing Laura that all men are like him. Director Coppola examines contemporary relationships, and the insecurities that come with a long-term commitment. Can one person be enough? Can men be trusted?

What follows is an offbeat father-daughter husband-spying adventure, and an ill-advised one at that. Felix pulls up in his Alpha Romeo, and the two enjoy caviar on their stakeout – with the top down on the convertible. This leads to a scene clearly written to take advantage of Bill Murray’s talents. As he zips the sports car through the city, he gets stopped by New York’s finest. Depending on your perspective, you’ll either view this as a prime example of white privilege, or as the benefits of spending one’s life being a good listener, attentive to others – a people person making connections.

There is a great line from Felix that carries a great deal of weight, although it’s easy to treat it as a ‘throw away” line. He advises Laura, “You need to start thinking like a man.” Spending time with her dad makes her wonder if he’s right – do all men think like him? This plays well against the non-stop yapping mother Laura gets regularly cornered by when dropping her daughter for school. Jenny Slate is perfectly annoying as the mother who not only still thinks the world revolves around her, but also that the world is still interested.

Of course, we know, and Laura figures it out: her father worships her. He may gallivant around the globe looking for his next notch, but he absolutely realizes what a beautiful soul his daughter is, and what a better person she is than him. Probably the best lesson Ms. Coppola offers is that communication is key … or lack of communication can cause a thought to spin out of control. Sofia Coppola and Rashida Jones are both daughters of giants in their field, and likely could relate to having a larger-than-life figure cast a shadow. Eagle-eyed viewers will spot Barbara Bain as Gran. Ms. Bain rose to fame as Cinnamon Carter in the 1960’s TV series “Mission: Impossible”. She’s now 89 years old and still working! Sofia Coppola has delivered yet another film that’s interesting and provides terrific conversation after watching.

watch the trailer

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Posted by David Ferguson

THE DEAD DON’T DIE (20190

June 13, 2019

 Greetings again from the darkness. Love it or hate it. Sometimes it’s not that easy. Sometimes it is. Filmmaker Jim Jarmusch has been making his own brand of videos, shorts, documentaries and features since the 1980’s. He has a loyal following of viewers who “get” him, and even within those ranks there is debate about which of his projects work and which don’t. You know who doesn’t care?  Jim Jarmusch, that’s who. He creates the work he wants to create and works with the actors and crew that he wants to work with … he’s best described as the type who lets the art speak for itself.

As we pull into town, the billboard states “Welcome to Centerville. A real nice place. Population 738”. It’s a bland town with a bland name filled with bland people whose bland conversations focus on doughnuts and pie from the town’s only diner. The police force totals 3 (seems high for such a small town). Cliff Robertson (Bill Murray) is the veteran police chief, while Ronnie Peterson (Adam Driver) and Mindy Morrison (Chloe Sevigny) are the deputies … all three are bespectacled.

Initial interactions provide a quick lay of the land. Farmer Frank (a loud-mouthed Steve Buscemi) accuses Hermit Bob (Tom Waits) of stealing his chicken. Hermit Bob lives in the woods and doesn’t take kindly to accusations. Frank, despite his racist core, is somehow friendly with Hank (Danny Glover), a mild-mannered local who chats it up at the diner. Bobby Wiggins (Caleb Landry Jones) is the town’s pop culture guru who runs the gas station/comic book store.

Even this law enforcement team recognizes strange things are happening: the sun doesn’t set when it should, watches are stopped, and animals are disappearing. We hear news reports that ‘polar fracking’ has knocked the earth off its axis, coupled with government denials stating jobs are plentiful and profits are up. Obviously this is Jarmusch taking his shots at the environmental policies and focus on the economy of the current administration. Our first zombie attack happens at the diner (of course) and features Sara Driver (Jarmusch’s long-time partner) and Iggy Pop (who requires little make-up to be convincing as a zombie). Many more zombies follow.

While Murray’s Cliff and Mr. Driver’s Ronnie maintain their deadpan conversations and reactions, it’s Ms. Sevigny’s Mindy who is terrified in the face of their nonchalance. Adding color to the mix is Tilda Swinton as Zelda, the samurai sword wielding mortician with a Scottish accent, a flair for make-up and an other-worldly secret. Also appearing are Selena Gomez, Carol Kane, Rosie Perez and RZA.

As the opening film at this year’s Cannes Film Festival, it’s a blend of comedy, fantasy, horror, zombie, and social commentary … but none of the pieces are particularly effective. It’s somehow both wry and mundane, and not meant to be traditionally scary or laugh out loud funny. Jarmusch has delivered such diverse films as PATERSON (2016), ONLY LOVERS LEFT ALIVE (2013), and BROKEN FLOWERS (2005). “This isn’t going to end well” is a line Driver’s Ronnie states a few times, and it’s both foreshadowing and self-awareness from the filmmaker. It’s his commentary on the state of the world, as well as the movie.

Zombie-comedies have been done (SHAUN OF THE DEAD, DAWN OF THE DEAD and many others), and it’s usually best to bring something new to a tired genre. Instead, Jarmusch pays tribute to such films as NIGHT OF THE LIVING DEAD, KILL BILL, CLOSE ENCOUNTERS OF THE THIRD KIND, PSYCHO, and STAR WARS. He even tips his cap to Samuel Fuller (gravestone) and George Romero (a 1969 Pontiac LeMans). As if to acknowledge the love-hate factor that goes with his movies, Jarmusch allows Sturgill Simpson’s (also appearing as the guitar-zombie) theme song to exemplify such division. Selena’s character and Ronnie love the song, while Murray’s Cliff can’t stand it and flings the disc out of the car window.

You are likely wondering if the world needs yet another take on the zombie apocalypse. Of course, the answer is no … which means in Hollywood, there are countless more zombie apocalypse TV series and movies (numerous sequels) in the works. Jarmusch isn’t here to simply add another number to the genre. No, he uses the format to proclaim that our society is soul-dead. He believes we are all stumbling, zombie-like, through life, rattling off our favorite products. He may be right.

watch the trailer:

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Posted by David Ferguson

LOOPERS: THE CADDIE’S LONG WALK (2019, doc)

June 6, 2019

 Greetings again from the darkness. It’s a bit difficult, after watching this documentary, to not question the motives of director Jason Baffa. Was his mission really to explore the history that forged the bond between caddy and player, or was he actually after a fantasy trip to see the world’s most historic golf courses and interview some of the sport’s most iconic figures?  Either way, we can’t help but be a bit jealous!

Lest you think the jealousy might be exaggerated, you should know the film kicks off at Ballybunion Club in Ireland, and also includes visits to St. Andrews in Scotland, Canterbury Golf Club in Ohio, Carnoustie in Scotland, Bandon Dunes in Oregon, Augusta National in Georgia, and Pebble Beach in California. Director Baffa’s interviews include Tom Watson, Nick Faldo, Lee Trevino and Ben Crenshaw. And if that’s not enough, the narrator is none other than Bill Murray, himself a golf lover associated with the best “golf” comedy of all-time (the pond is good for him after a day of chasing gofers).

“Show up. Keep up. Shut up.” We learn that was the early creed for caddies as they were meant to only carry the bag for players, and occasionally help locate the misplaced shot. It didn’t take long, however, for players to recognize the value of local course knowledge, and caddying slowly evolved into a craft. It’s quite interesting to see the contrast between caddies hustling for a gig in the parking lots of clubs, to those who became rich and famous, often tied to the bag of a pro golfer for years. Examples shown include the heartfelt story of Bruce Edwards as a career caddy for Tom Watson; the first female caddy, Fanny Sunesson, working with Nick Faldo during his streak; and of course, Fluff Cowan and Steve Williams who both had runs with Tiger Woods.

Director Baffa and writer/editor Carl Cramer spend as much time talking to the history of golf as to how caddies fit in. They mention that 1474 is believed to be the first record of golf, but those in Scotland would argue it came about decades prior. A tale that ties golf to Mary Queen of Scots and the murder of her husband is told, and the true Cinderella Story of Greg Puga becoming the first caddy to tee it up at the Masters claims plenty of screen time.

Old Tom Morris’ legacy at St. Andrews is covered, as is the tie between the great Bobby Jones and Augusta National, and how the change in caddy policy affected so many African-American men. A trip to Oregon explains how Bandon Dunes is the closest thing the U.S. has to an actual links course, and most of us hear for the first time about the Evans Scholarship for caddies and George Solich’s Caddy and Leadership Academy. It turns out the CADDYSHACK really wasn’t a documentary, but it is true that the best caddies must be a blend of therapist, friend, and coach. It’s not job for the faint of heart, but caddies can certainly be the difference in a good round.

watch the trailer:

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Posted by David Ferguson

ISLE OF DOGS (2018)

March 29, 2018

 Greetings again from the darkness. It’s referred to (sometimes affectionately, sometimes not) as Wes World. Many directors have their own style, though few are as immediately recognizable as a film by Wes Anderson. THE GRAND BUDAPEST HOTEL, MOONRISE KINGDOM, FANTASTIC MR FOX, THE ROYAL TENNEBAUMS, and RUSHMORE all share a tone and style … a cinematic personality, if you will, that places them squarely in Wes World. Beyond the similarities, there is also a level of innovation and creativity in each of his projects. He consistently delivers a “Wow” factor, or in the case of his latest, a “bow-wow” factor (my one and only pun, I promise).

Expanding on the stop-action animation he used in FANTASTIC MR. FOX, director Anderson also plays homage to Japanese filmmaking – especially the animation of Hayao Miyazaki and the cinematic legend Akira Kurosawa. The film’s prologue, “The Boy Samurai” is a Japanese fable and sets the stage for a futuristic Japan where the Mayor of Megasaki, Kobayashi (voiced by Kunichi Nomura), has decreed that all dogs should be banned from society due to dog flu, snout fever and canine saturation. Kobayashi (an embittered politician who looks eerily similar to Japanese acting legend Toshiro Mifune) even ships off his nephew’s beloved Spots (Liev Schreiber) to Trash Island. In Part 1 “The Little Pilot”, that nephew, Atari (Koyu Rankin) crash lands his plane on Trash Island while attempting to rescue Spots.

Part 2 (“The Search for Spots”), Part 3 (“The Rendez-Vous”), and Part 4 (“Atari’s Lantern”) break the story into segments, but the real fun here is in the visual effects and the banter amongst the dogs. The five main dogs we follow are Chief (Bryan Cranston), Rex (Edward Norton), Boss (Bill Murray), King (Bob Balaban), and Duke (Jeff Goldblum). Chief is a stray dog who is the group skeptic and doesn’t hesitate in greeting most anyone with “I bite”. We know this because director Anderson explains “Barks are rendered in English”.

While assisting Atari with his search, the five dogs alternate between gossiping and decision-making by committee … spouting one-liners that are consistently funny and incisive. Anderson co-wrote the script with Roman Coppola and his frequent collaborator Jason Schwartzman. Kunichi Nomura provided expertise to ensure the Japanese segments were accurately portrayed. The usual Wes-style droll humor is evident throughout, though viewers must make sure their hearing is fined tuned to catch some of the wise-cracks that almost seem like background noise at times.

In addition to the humor, political corruption and conspiracies are at the core of what could be described as an animated rescue adventure comedy. Narrator Courtney B Vance ensures we are following along with the story, although the artistic beauty of Trash Island – a garbage strewn wasteland – is enough to hold our interest. Keeping track of the homages is challenging enough, but we also get Haikus, Puppy Snaps, and Yoko Ono as a scientist. Greta Gerwig voices Tracy, an idealistic Foreign Exchange student who recognizes a corrupt politician when she sees one, and there are a couple of brilliant noirish scenes between Chief and Nutmeg (Scarlett Johansson). A recurring visual of dogfights in a cloud of dust harken back to the days of classic cartoons and the unbridled violence that we’ve always found so comical in animation.

It’s a dystopian tale … well it is if you happen to be a dog. Cat lovers probably view this as paradise. An all-star cast of voice actors keeps us interested even when the story bogs down at times, although the look of the film always seems to be priority one. It’s such an easy movie to respect, however, one that’s a bit more difficult to speak passionately about. This review doesn’t address the ever-present complaints from those looking to create a race or nationality based scandal. To me, the film is creative and appears to be against unkindness and discrimination and corruption. Perhaps that message overrides some easily ruffled feathers.

watch the trailer:

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Posted by David Ferguson

ALOHA (2015)

May 30, 2015

aloha Greetings again from the darkness. Since I can usually find something of interest, it’s rare that I feel cheated after watching a movie. Of course, feeling disappointed happens more often, but feeling cheated is something altogether different and, unfortunately writer/director Cameron Crowe’s latest is the perfect reminder of that difference.

Three outstanding lead actors (Bradley Cooper, Emma Stone, Rachel McAdams), a terrific and deep supporting cast, and a beautiful filming location of Hawaii mean that the fault lies with Mr. Crowe’s script and direction. The film plays like the broad strokes of a screenplay idea, rather than a finished product. It’s as if we are watching filmed rehearsals as a group of writers scramble to connect the story dots … still trying to determine if this is a drama or comedy.

It seems the film was cast with a full-out comedy in mind, but then somewhere along the line, a narrative shift occurred with the hope of making a statement on the privatization of the military and space exploration. There is also an undercurrent of the mistreatment of native Hawaiians, as we are teased with cultural myths, legends and the distrust of the military. Trying to balance these topics with a more traditional romantic-comedy-three-way involving the main characters, results in a disjointed viewing experience that provides only a few chuckles, and a half-baked story of redemption.

The gradual connection of Cooper and Stone (cast as a Navy Fighter Pilot) offers some initial verbal sparring that had potential for comedy gold, but inevitably spun off down a bunny trail of Hawaiian lore or the magic found in the sky. The re-connection of Cooper’s and McAdams’ characters seemed to have continuity holes that might have been left on the editing room floor.  John Krasinski plays McAdams’ husband, and his non-verbal exchanges are the highlight of the film, though the later subtitled version seems lifted from that drawing board straight comedy mentioned earlier.

Bill Murray is cast as the duplicitous billionaire at the core of Cooper’s mission and chance at redemption, though mostly he just acts like Bill Murray with little explanation for his motives. Danny McBride, Alec Baldwin and Bill Camp have their moments, but much more should have been devoted to McAdams’ kids played by Jaeden Lieberher (St. Vincent) and Danelle Rose Russell.

Cameron Crowe seems to have a driving need to examine interpersonal relationships and what causes some to work, while others falter. His film classics Say Anything, Jerry Maguire and Almost Famous are impressive, but also many years in the past. The last fifteen years have produced Crowe projects that teeter between optimism and outright sap. On the bright side, he always has a knack for music, and on that front, he comes through again … “Factory Girl” is blended with traditional Hawaiian songs and even Dylan and The Who. It’s because of this, that you won’t know for sure if your toe-tapping is due to the music or that gut feeling of being cheated.

watch the trailer:

 

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Posted by David Ferguson

ST. VINCENT (2014)

October 19, 2014

st vincent Greetings again from the darkness. Moments after Bill Murray’s Vincent cracks a rare on screen “Chico and the Man” reference, we get our first glimpse of scrawny Oliver (newcomer Jaeden Lieberher), and we immediately know where this story is headed. The fact that we never lose interest is thanks to Mr. Murray, the rest of the cast and writer/director Theodore Melfi (his first feature film).

Though this is ultra-predictable and even strains credulity, we nonetheless connect to Murray’s Vincent – a grumpy, drunken, slobby, chain-smoker who has a bond with a pregnant Russian prostitute/stripper (Naomi Watts). Melissa McCarthy plays Oliver’s mom Maggie, who has separated from her philandering husband, and is intent on making a life for her son. It’s here where it should be noted that Ms. McCarthy plays the role straight – none of her usual funny-fat moments. Instead, she excels in a scene with an emotional dump on Oliver’s principal and teacher (a standout Chris O’Dowd).

Surprisingly, this could even be described as a message movie. Vincent quickly notices that Oliver is lacking street smarts and sets out to correct this. The story reminds us that all people are multi-faceted. The good have their rough edges, and the “bad” likely have a back-story and some redeeming value. Vincent is so cantankerous that it takes a kid as appealing as Oliver to balance the story. Even knowing a feel good ending is coming, we as viewers don’t mind being dragged through the sap.

Murray is outstanding, and if the script had a bit more heft, he would probably garner some Oscar consideration. McCarthy deserves notice for going against type, and Naomi Watts flashes some real comedic timing (maybe the biggest surprise of all). O’Dowd has some of the best one-liners in the film, and shows again that he is immensely talented. Terrence Howard seems a bit out of place as a loan shark, but he has limited screen time, as does Ann Dowd as the nursing home director.

Prepare for the feel-bad-then-good ride, culminating in a school auditorium event that reunites the key characters, and allows the child actor to draw a tear or two from the audience. Good times that end with classic Murray over the closing credits.

SEE THIS MOVIE IF: you have missed the fully-engaged Bill Murray last seen in Lost in Translation (2003)

SKIP THIS MOVIE IF: unpredictable endings are why you see movies

watch the trailer:

 

2 Comments | Comedy, Drama | Tagged: , , , , , , , | Permalink
Posted by David Ferguson

THE GRAND BUDAPEST HOTEL (2014)

March 16, 2014

grand budapest Greetings again from the darkness. Some of the finer things in life are an acquired taste. The exception to that is the film canon of writer/director Wes Anderson. You either “get” it or you don’t. Which side of the line you fall is much more a matter of style and taste than intellect.

This latest from Anderson may be his most visually distinct and stylistic presentation yet. He even tosses in a bit of a plot so that we have more reason to follow the outlandish antics of master concierge (and murder suspect) M Gustave – played with comic verve by Ralph Fiennes. Yes, the Ralph Fiennes known for such comedy classics as Schindler’s List, The English Patient and The Hurt Locker. Admit it, when you need a laugh, you fire up the Ralph Fiennes stand-up routine. OK, so he did have a role in the terrific dark comedy In Bruges, but nothing has prepared us for seeing him in this witty, fast-talking role at the center of Anderson’s wildest ride yet.

As any follower of Anderson films will tell you, there is always fun to be had in picking out the members of his supporting cast. Assisting Mr. Fiennes with this one are Edward Norton, Jude Law, F Murray Abraham, Tilda Swinton (oddly cast after Angela Lansbury dropped out), Adrien Brody, Willem Dafoe, Jeff Goldblum, Harvey Keitel, Tom Wilkinson, Saoirse Ronan, Lea Seydoux, Mathieu Amalric, Jason Schwartzman, and Owen Wilson. Of course, there is also Bill Murray, in his seventh collaboration with Anderson. The most impressive new face is that of Tony Revolori, who plays the teenage Lobby Boy in-training … a role that turns vital when he is befriended by Gustave, and is invaluable in the telling of the story.

None of that really matters though, as the best description I give this is “spectacle”. It’s a whimsical romp with nostalgic tributes throughout. It’s a movie for movie lovers from a true movie lover. You will notice the three distinct aspect ratios used to depict the different time periods, and the music is perfect … from Vivaldi’s Concerto for Lute and Plucked Strings to Alexandre Desplat’s fantastic composition over the closing credits. If you are up for some hyper-stylistic eye candy, this one is tough to beat (especially this time of year).

SEE THIS MOVIE IF: colorful costumes and wild set design combined with oddly humorous deadpan dialogue delivery from the mind of Wes Anderson is something you “get” OR you never miss a Ralph Fiennes comedy!

SKIP THIS MOVIE IF: traditional story telling is your preference for movies

Below you will find two links … one for the trailer and one for the Desplat’s closing credit song.

the closing credit song:

http://www.youtube.com/watch?v=skpyDiCrMZs

the trailer:

http://www.youtube.com/watch?v=1Fg5iWmQjwk

 

 

 

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Posted by David Ferguson

THE MONUMENTS MEN (2014)

February 11, 2014

monuments Greetings again from the darkness. Movies based on real life are often some of my favorites, but that doesn’t let them off the hook in needing to be well made. The real life story of the Monuments Men provides both pride and heartbreak. The Allied group tracked down and rescued so much Nazi-stolen artwork, while at the same time being so short-staffed that they resorted to picking and choosing what parts of history and culture to save.

For much of 2013, this movie was mentioned as a possible Oscar contender. When the release date was delayed and director George Clooney admitted he was struggling with the film’s “tone” – a balance of comedic and dramatic and historic elements – all the warning flags shot up. This final version would certainly have benefited from script improvement, though the cast is so strong and the mission so true, that the film is still enjoyable enough. Director  Clooney and co-writer Grant Heslov have adapted the source material from Robert M Edsel, but Clooney can’t resist stamping the movie with his smirk appeal, despite capturing the look of the era.

The actual Monument Men spend very little time together, so it’s tough to call this an ensemble piece. Bill Murray and Bob Balaban have their own subtle comedy routine going, while John Goodman and Jean Dujardin enjoy a jeep ride. Matt Damon and Cate Blanchett add a dose of gratuitous love interest where it’s not needed, and Hugh Bonneville strikes the heroic pose of redemption. Director Clooney ensures that actor Clooney and his buddy Damon get the most screen time and close-ups, detracting from what the real story should be … the men who saved art and culture.

Michelangelo’s Madonna of Bruges and Hubert van Eyck’s Ghent Altarpiece are supposedly the centerpieces of this group’s mission, but the film really is just an amalgam of individual scenes that leave the viewer working frantically to tie all the pieces together. Shouldn’t that be the filmmaker’s job? The question gets asked a couple of times, “Is art worth a human life?”. That critical theme could have been the core of a far superior movie … one not in such desperate need of suspense rather than more punchlines.

Very few war projects have successfully blended comedy and drama. A few that come to mind are Kelly’s Heroes, The Dirty Dozen and TV’s “Hogan’s Heroes“. It’s a tricky line to walk, even with a great cast. So while this one has sufficient entertainment value for a February release, I would rather recommend two others that deal with this same subject matter: The Rape of Europa (2007, documentary) and The Train (1964, directed by John Frankenheimer, starring Burt Lancaster).

**NOTE: the phrase “women love a man in uniform” was well established prior to anyone seeing John Goodman don the Army green.

**NOTE: the actor playing an elderly Frank Stokes (Clooney’s character) viewing the Madonna near the end of the movie is actually George Clooney’s real life father.

SEE THIS MOVIE IF: it’s February and you just need a pleasant movie break

SKIP THIS MOVIE IF: you are seeking for an in-depth look at the fascinating folks behind this fascinating story

watch the trailer:

http://www.youtube.com/watch?v=CreneTs7sGs

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Posted by David Ferguson

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