THE UNBEARABLE WEIGHT OF MASSIVE TALENT (2022)

April 21, 2022

Greetings again from the darkness. Calling all Nicolas Cage fans! Put the bunny back in the box and get ready for the most fun you’ll ever have with Nicolas or Nic or Nick or Nicky. And if one Cage isn’t enough for you, you’re in luck. This film has Nicolas Cage playing the (somewhat) fictional Nick Cage, and Nicolas Kim Coppola (Nicolas Cage’s birth name) playing imaginary alter-ego Nicky, a younger version of Nicolas Cage from the WILD AT HEART era who spends the movie constantly reminding Nick that he’s a movie star.

If you can’t make much sense out of all that, don’t worry, writer-director Tom Gormican and co-writer Kevin Etten have created a film that is sure to strike a chord with Nicolas Cage fans. What we see is a parody going meta in a surreal way. Very few get to star in the tribute to their own legend, but that’s what happens here. Nicolas Cage goes ‘inside baseball’ on the career of Nicolas Cage … only he does so as struggling actor Nick Cage, an actor so desperate for “the role of a lifetime” that he improvs a reading for director David Gordon Green (Cage’s director on JOE) in the parking lot of Chateau Marmont.

Having been kicked out of his rental after falling behind $600,000 in rent, Nick agrees to take a humiliating job pitched by his agent, Fink (Neil Patrick Harris). For one million dollars, he is to fly to Mallorca and hang out at the birthday party of rich super fan, Javi Gutierrez (a terrific Pedro Pascall, “The Mandalorian”). The twist here is that CIA agents played by Tiffany Haddish and Ike Barinholtz suspect Javi of being a notorious gun dealer who has kidnapped the young daughter of the Catalonia President. Spy-type shenanigans ensue as Nick and Javi develop a bromance that finds the two new buddies writing a film script together. And if that’s not quite enough subplots, you should know that Nick is at a breaking point in his relationship with his ex-wife Olivia (Sharon Horgan) and teenage daughter Abby (Lily Sheen, real life daughter of Michael Sheen and Kate Beckinsale).

The zaniness includes nods to more than a dozen Nicolas Cage movies, and much of the fun is derived from recognizing these. Easter eggs are everywhere for fans, and Nic expertly plays Nick (and Nicky) as a loving tribute to the characters we’ve seen in so many iconic films over the years. Additionally, on screen love is provided for the 1920 classic, THE CABINET OF DR. CALIGARI, as well as the more recent gem, PADDINGTON 2 (2017), making this a tribute to cinema lovers, Nicolas Cage fans, and comedies in general. I will admit to disliking director Gormican’s 2014 movie, THAT AWKWARD MOMENT, so much that I hoped he was done as a filmmaker. It turns out, he’s back (and much improved) … not that he ever went anywhere.

Opens in theaters on April 22, 2022

WATCH THE TRAILER


THE HUNT (2020)

March 12, 2020

 Greetings again from the darkness. Let’s face it. It was a brilliant marketing strategy. In the wake of mass shootings, the release date of this film was delayed when its subject matter was deemed controversial, even scandalous The film’s new marketing slogan became, “The most talked about movie of the year is one that no one’s actually seen.” Of course, it wasn’t really true, as very few were actually talking about it. But that’s what made it genius marketing … they created interest amidst controversy that has since proven unnecessary. Director Craig Zobel (Z FOR ZACHARIAH, 2015) has delivered the least controversial, non-polarizing film of the year. It basically laughs at extremes on the left and right, and reminds us how laughing at something can often take away its power. And regardless of your “side”, you’ll find some laughs here.

If you’ve seen the trailer, you know that the premise has a group of liberal elites hunting a hand-selected group of social media-active MAGA deplorables. It’s a twist on Richard Connell’s 1924 short story “The Most Dangerous Game”, although the modern day rich aren’t hunting for sport, but rather for political affiliation – gun lovers and climate change deniers. That may sound politically charged, but in fact, it plays as more comedy than comeuppance. Sure, the violence is over-the-top and often quite graphic, but this is a skewering of both red and blue.

Preventing the project from falling into B-movie muck is a standout performance from Betty Gilpin (“Glow”) as Crystal. She’s a Rambo-type who speaks (with a southern drawl) only when necessary, and seems to have learned a lot while serving in Afghanistan. Most of the time she looks like she has “a pinch between her cheek and gum” (a tip of the Stetson to Walt Garrison), and she also hums to herself and tosses down some unusual facial expressions. This is a seriously oddball performance that is the film’s highlight.

One of the best sequences of the film comes quite early as the dozen or so ‘deplorables’ slowly wake-up and find themselves gagged in a field. A container of weapons leads to an early massacre that allows the filmmaker to tease us with numerous familiar faces taking turns as the heir-apparent lead. Some of the faces that pop up include Ike Barinholtz, Wayne Duvall, Ethan Suplee, Emma Roberts, Christopher Berry, Sturgill Simpson, Kate Nowlin, Amy Madigan, Reed Birney, Glenn Howerton, Hannah Alline (flight attendant), and Usman Ally.

Of course we know this is headed to a showdown between Crystal and Athena (2-time Oscar winner Hilary Swank), the ringleader of the hunting party. A fight scene reminiscent of the KILL BILL movies (sans Samurai swords) takes place at Athena’s “manor”, and it is stunningly staged and executed. Unfortunately this scene also highlights the mostly inadequate dialogue that exists throughout the film. Some of the quips click, but many fall flat – surprising since the co-writers Nick Cuse and Damon Lindelof have previously collaborated on “Watchmen” and “The Leftovers.”

Blumhouse Productions keeps cranking out these offbeat genre films, and this one likely benefits from a misplaced scandal, and it strives for self-importance by comparing itself to George Orwell’s “Animal House” and with an obscure reference to TEARS OF THE SUN (2013). It’s not at the level of last year’s gem READY OR NOT, and it missed the opportunity to make some political points, but it’s a hoot to watch and as an added bonus, Hilary Swank teaches us the proper way to make a grilled cheese sandwich!

watch the trailer:


SONG OF BACK AND NECK (2018)

December 4, 2018

 Greetings again from the darkness. Paul Lieberstein is best known and easily recognizable as Toby, Michael Scott’s HR nemesis on “The Office”. Mr. Lieberstein also wrote and directed many episodes of that popular TV show, and now he turns his talents to the big screen: donning all 4 hats as writer-director-producer-actor in his feature film debut as a filmmaker. It’s a romantic-comedy of pain, and the featured pain comes in both varieties: physical and emotional.

Fred (Lieberstein) is a long-term paralegal at the law firm his dad co-founded. He’s a frumpy every-man suffering in silence with loneliness and back pain so debilitating that his morning ritual is often performed by sliding prone on the floor through his house. A long-awaited appointment with a back specialist (played by BRIDESMAIDS director and “The Office” producer Paul Feig) is comprised of numerous smart-ass one-liners from the doctor that result in no help for the patient and the dreaded diagnosis of “the trifecta of back and neck pain”.

In addition to this physical pain, Fred is miserable at work as he’s forced to take direction from a cocky millennial lawyer (Clark Duke), who is the firm’s new partner now that Fred’s protective dad is retiring. He’s also miserable in his personal life due to loneliness. While we see that all this pain is interconnected, it takes a fortuitous encounter with Regan (Rosemary DeWitt), who is in need of a divorce attorney, to start Fred on the path of discovery and recovery.

Regan refers Fred to her acupuncturist Dr. Kuhang (Raymond Ma), who is astounded at the musical tones the injected needles produce along Fred’s spine. The leads to one of the film’s more outlandish recurring gags in the movie – a quite unique and humorous situation involving a cello. Other supporting work is provided by screen veterans Sam Anderson, Robert Pine (Chris Pine’s dad) and Brian d’Arcy James as Regan’s husband. Ike Barinholtz also provides a brief comedic cameo as an orderly, and Scott Hutchison delivers a welcome musical interlude. Mr. Hutchison, founder of Frightened Rabbit, sadly passed away earlier this year.

This is a nice little low budget indie that shows how even a temporary interpersonal connection can provide a spark of hope and remind us of how important fulfillment in life can be towards our physical and emotional health. Since the film is based on Mr. Lieberstein’s own back pain, he provides a special thanks to John E Sarno, MD, author of “Healing Back Pain: The Mind-Body Connection”. The film is wry and sad, while at the same time somewhat illuminating and hopeful. It’s a pleasant debut from filmmaker Lieberstein.

watch the trailer:


BLOCKERS (2018)

April 5, 2018

 Greetings again from the darkness. Teen sex comedies exploring new boundaries are a Hollywood tradition. ANIMAL HOUSE (1978), PORKY’S (1981), AMERICAN PIE (1999), and SUPERBAD (2007) all pushed the limits of decency for their era, and provided varying levels of laughter while doing so. In her directorial debut, Tina Fey protégé Kay Cannon (“30 Rock”, PITCH PERFECT franchise), offers up what has been called the first “Feminist teen comedy”, and the risqué humor is far more extreme than that of its predecessors noted above.

We have become quite accustomed to the all-too-common male-centric perspective in these types of movies, so kudos to director Cannon for taking a look from the other side: a Female-centric teen sex comedy. Co-writers Brian and Jim Kehoe unfortunately try to cram too much into what should mostly be a laugh-a-thon. We get the #SexPact2018 from 3 high school senior best friends who agree to lose their virginity on prom night. We get the far-too-involved parents trying to prevent that from happening. We get those same parents dealing with the pending empty nest syndrome, while those three friends are immersed in drugs, alcohol and sex talk. If that’s not quite enough, there is also a sexual identity awakening and a hotel party more extreme than you would find in Las Vegas.

Leslie Mann plays Lisa, the helicopter single mom to Julie (Kathryn Newton). WWE star John Cena is Mitchell, the overprotective dad and life coach to Kayla (an outstanding Geraldine Viswanathan); and comedian Ike Barinholtz (“The Mindy Project”) is Hunter, the estranged/absentee/banished dad to Sam (Gideon Adlon). Julie envisions the perfect romantic encounter, while Kayla just wants to be done with it, and Sam is still trying to figure out why she isn’t so attracted to boys.

Riffing off of the “one wild and crazy night” theme, prom night is chosen by the three amigas, and what follows is outrageous and periodically hilarious. Most of the humor comes courtesy of the parents on the ill-fated ‘blocking’ mission. The story bounces from heartfelt emotions of parents to ‘butt-chugging’ at a party. There is also a car explosion, felony breaking and entering, and projectile vomiting. Perhaps there is an overuse of hulking John Cena crying, but that’s less cringe-inducing than the role-playing of Gary Cole and Gina Gershon (parents of one of the girl’s dates).

Setting the story in Chicago allows the filmmakers to take on the conservative Midwestern attitudes toward sex, while also providing a teenager with the “I’m getting as far away as possible” (UCLA) comeback. It makes sense that SUPERBAD co-writers Seth Rogen and Evan Goldberg are Producers, as this film often feels like the female cousin to that 2007 film. Hannibal Buress has a small memorable role, as does Jimmy Bellinger, as fedora wearing Chad. The real standouts here are relative newcomer Geraldine Viswanathan, and John Cena, who previously has excelled with less screen time (DADDYS HOME 2, TRAINWRECK). Many will be offended on numerous occasions, and certainly most parents will be uncomfortable with the drug use and sexcapades of teenagers. However, the theater was often filled with boisterous laughter, proving that this is what constitutes contemporary cinematic comedy. Only you can decide if you are OK with that.

watch the trailer: