Suburbicon


Matt Damon is having a really bad night.

(2017) Black Comedy (Paramount) Matt Damon, Julianne Moore, Noah Jupe, Oscar Isaac, Richard Kind, Gary Basaraba, Leith Burke, Karimah Westbrook, Tony Espinosa, Glenn Fleshler, Alex Hassell, Don Baldaramos, Ellen Crawford, Megan Ferguson, Corey Allen Kotler, Steven Shaw, Steve Monroe, Allen Wasserman, Rupert Pierce, Pamela Dunlap, Biff Yeager, Lauren Burns. Directed by George Clooney

 

Suburbicon is a black comedy. Suburbicon is a treatise on social injustice. Suburbicon is a crime drama. Suburbicon is a period piece. Suburbicon is all of those things and none of those things. It’s a pastiche of different things that flutter through the proscenium and then wither on the screen. It’s one of the most disappointing movies of 2017.

Based on an unproduced script by the Coen Brothers, Clooney and writing partner Grant Heslov have added a bit of contemporary social commentary – white racists in a suburban planned community in the Northeast talk endlessly about erecting a giant wall around the home of the first African-American residents of the community but this is no mere Trump-bashing exercise although it is that too.

The arrival of the Meyers family into  lily-white planned suburban community in the Eisenhower 50s only shows the insidious racism lurking just beneath the surface of America’s golden age – and by implication, continues at present. However, that’s not the only story going on here. During a home invasion, Rose Lodge (Moore) dies of a chloroform overdose, leaving her grieving husband Gardner (Damon), son Nicky (Jupe) and twin sister Margaret (Moore again) to pick up the pieces.

Much of the comedy centers around the blatant consumerism of the suburban 50s and as well there are certain Coen moments (like an oily insurance investigator (Isaac) who figures out what’s going on or a chase scene between a thug (Fleshler) and Gardner in a VW and child’s bike, respectively) that will delight their diehard fans. Still, there aren’t enough of them to overcome the curiously flat energy and the wildly all-over-the-place script that derails the project despite the presence of high-wattage stars. There are enough moments to make it worth checking out, but not enough to go out of your way to do so.

REASONS TO GO: Matt Damon plays way against type. There are some occasional moments of offbeat humor.
REASONS TO STAY: The comedy is scattershot and the energy is flat. The soundtrack is annoying.
FAMILY VALUES: There is plenty of violence (some of it graphic), profanity and some sexuality.
TRIVIAL PURSUIT: This was the first time Clooney directed a film in which he did not also appear as an actor.
BEYOND THE THEATERS: Amazon, Fandango Now, Frontier, Google Play, iTunes, Paramount Movies, Vudu, YouTube
CRITICAL MASS: As of 3/31/18: Rotten Tomatoes: 29% positive reviews: Metacritic: 42/100.
COMPARISON SHOPPING: Downsizing
FINAL RATING: 6/10
NEXT:
Finding Your Feet

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Jurassic World


Here comes the cavalry.

Here comes the cavalry.

(2015) Science Fiction  (Universal) Chris Pratt, Bryce Dallas Howard, Vincent D’Onofrio, Ty Simpkins, Jake Johnson, Irrfan Khan, Nick Robinson, Omar Sy, BD Wong, Judy Greer, Lauren Lapkus, Brian Tee, Katie McGrath, Andy Buckley, Eric Edelstein, Courtney James Clark, Colby Boothman-Shepard, Jimmy Fallon, James DuMont, Matthew Burke, Anna Talakkotur. Directed by Colin Trevorrow

It is not unusual to be fascinated by dinosaurs. We all look at the great lizards who ruled the world before men walked upright in awe and wonder. Now there is nothing left but the fossilized remains of their bones. We know precious little about them, mostly extrapolating from the few tantalizing clues we’ve discovered over the years. How would it capture the imagination if we could examine a real, living dinosaur – and how insanely dangerous would that be?

John Hammond had a dream. He’d discovered away to clone dinosaurs using blood found in mosquitoes trapped in amber over several million years. He wanted to display them in a biological preserve on Isla Nublar off the cost of Costa Rica. Unfortunately, his plans to open Jurassic Park (as he hoped to call the theme park) met with disaster and death.

However, that was 22 years ago. His dream became reality eventually – in Jurassic World, a high-tech theme park complete with Starbucks and a resort hotel. Hammond is no longer with us, but his successor – Simon Masrani (Khan) – has given the world a major tourist attraction that draws millions every year.

However, like every human endeavor, the shine wears off pretty quickly and people grow jaded, their attention captured by other things. In order to stay competitive, Masrani knows he has to present new attractions to keep the crowds coming. But dinosaurs don’t exactly grow on trees; there are only so many of them to go around. He knows what the public wants – bigger, louder, more teeth. So he sets his chief mad scientist Dr. Henry Wu (Wong) to genetically engineer one, one with the traits of a variety of different dinosaurs – only bigger, louder and with more teeth.

Park director Claire (Howard) has no problem with that. She’s already got Verizon interesting in sponsoring the new exhibit. However, one of her top trainers isn’t so excited. Owen (Pratt), who has a history with Claire (they dated for about five minutes years ago) and a military background, has managed to make some inroads with the Velociraptors who at least have a kind of mutual respect thing going with him and will occasional listen to his commands.  A genetically engineered dinosaur? Messing with nature can only end up in disaster.

And so it does. The new dinosaur – dubbed Indominus Rex or “fierce/untamed king” – using previously undiscovered abilities has escaped from her enclosure and she’s got a mean on. She doesn’t kill for food; she kills for sport. That’s bad news for the other dinosaurs, but worse news for the tourists who aren’t aware that they’re going to become snacks for the new predator. And to make matters worse, Claire’s two nephews – brilliant Gray (Simpkins) and hormonal Zach (Robinson) – have ditched the sitter she sent to keep an eye on them and are about to have an up close and personal encounter with Indominus. She gets Owen to go out and fetch her wayward nephews but once he does, where does he take them when there is literally no safe place on the entire island?

Jurassic World broke box office records opening weekend, proving that there is still life in a franchise that Universal had abandoned some fourteen years previously. Director Colin Trevorrow (Safety Not Guaranteed) who also co-wrote this beast made a conscious effort to disconnect his movie from the other films in the franchise in subtle ways – only Wong, who appeared in the very first film, returns from the previous installments in the series. Fans may miss Ian Malcolm, Ellie Sattler and Allen Grant. However, there are plenty of connections still there, some subtle, some not so much.

First thing that fans are going to want to know is that there are dinosaurs and plenty of them. With CGI technology so much more advanced than they were in 1993 when the first film opened, the dinosaurs are much more detailed and realistically rendered here. There are almost no practical effects regarding the thunder lizards here, which is good and bad. You don’t get a sense of their physical presence as much, although Trevorrow utilized motion capture in order to make them move more realistically.

The park itself is modeled after modern theme parks, complete with Margaritaville restaurants, merchandising and a shopping/dining/entertainment zone in addition to the various attractions. Visitors kayak in a stream with Stegosauruses, roam a paddock in a gyrosphere with Apatosauruses, ride a monorail past the Tyrannosaurus Rex and watch a Mosasaurus leap out of a lagoon to pull a shark into the water before the stands are lowered to watch the leviathan devour its lunch through gigantic glass walls. There is an undercurrent of consumerism throughout that is meant to be a criticism of modern society, which while certainly inarguable is kind of like shooting fish in a barrel. I’m pretty sure most of us have noticed all the corporate sponsorship around us all these days.

Pratt, who shot to superstardom with Guardians in the Galaxy last summer looks to own this summer as well. I can’t recall an actor who has had two back-to-back movies do this kind of box office, and there are some pretty compelling reasons why audiences are connecting with Pratt. For one thing, he is an extremely likable sort with a quirky sense of humor that people first became familiar with in Parks and Recreation. He is also a genuinely nice guy who has connected with fans on a personal level, and that comes through onscreen.

Howard has one of her higher profile roles yet and Ron’s daughter acquits herself nicely. She is playing a kind of ice queen sort early on who has no idea how to interact with her nephews, so she fobs them off on an overworked and harried assistant (McGrath). Eventually she develops an ability to show the feelings she’s submerged over the years and as the movie progresses she becomes more identifiable – most of us know what it’s like to invest too much of ourselves into our jobs.

The supporting cast is pretty impressive, with D’Onofrio playing an InGen executive looking to militarize dinosaurs (which seems to be a potential theme for the inevitable sequel) and Johnson providing some comic relief as a nerdy technician with a crush on another nerdy technician (Lapkus). He also has one of the film’s nicer moments when it is revealed he’s wearing a Jurassic Park t-shirt that he got on E-Bay. The movie also visits the original Park at one point in the movie which is both touching and a bit creepy as well. Greer has a brief but memorable turn as the mother of the nephews and Claire’s sister.

The movie never recaptures the wonder that the first Jurassic Park elicited from audiences, but quite frankly that genii has already left the bottle, so expecting to be wowed in the same way just isn’t realistic. This is an entirely different movie made in an entirely different era so those grousing that the movie isn’t as good or the same as the first one are banging their heads against the wrong wall.

That isn’t to say that the movie is perfect. Like the first movie in which genius kids rescue the entire park, the kids – who put adults in danger by failing to listen to adult instructions – become insufferable because they are apparently more competent than people who have trained all their lives to do what they do. Like Alex the hacker who puts the whole park back online after the computer reboot in the original, the boys manage to elude dinosaurs that have wiped out entire squadrons of security guards better armed than they.

Short of that subplot ringing untrue, the movie has all the enjoyable elements needed for a good summer movie. While it doesn’t measure up to the first (and never intended to), it certainly stands on its own as a fun ride constructed well, although without innovation. While I can agree with those who grouse that the plot is too similar to the first Jurassic Park and follows in the formula that all four of the movies have been constructed with, I have to admit that when something works there’s no point in abandoning it. While I would love to see a JP 5 that eliminates the kids from the equation, it is unlikely that will ever happen. Kids after all make up a goodly chunk of the core audience for this film, so it would be economic suicide to ignore that chunk. This is nonetheless good, solid summer fun and anyone who says otherwise has a dino-sized stick up their rump.

REASONS TO GO: More dinosaurs is always a good thing. The park looks like a place I’d want to visit. Pratt has become a pre-eminent action hero.
REASONS TO STAY: Lacks the wonder that the first film created. Suffers from genius kid syndrome.
FAMILY VALUES: A goodly amount of dino-violence, peril and people being eaten.
TRIVIAL PURSUIT: Bryce Dallas Howard’s outfit is all white in tribute to the costume worn by the late Sir Richard Attenborough as John Hammond in Jurassic Park. Both of the characters were directors of the park in their respective films.
CRITICAL MASS: As of 6/20/15: Rotten Tomatoes: 71% positive reviews. Metacritic: 59/100.
COMPARISON SHOPPING: The Lost World: Jurassic Park
FINAL RATING: 7/10
NEXT: Carnage

The Joneses


The Joneses

David Duchovney is justs a material girl trying to live in a material world.

(2009) Dramedy (Roadside Attractions) David Duchovney, Demi Moore, Amber Heard, Ben Hollingsworth, Gary Cole, Chris Williams, Lauren Hutton, Glenne Headly, Christine Evangelista, Rob Pralgo, Tiffany Morgan, Joe Narciso. Directed by Derrick Borte

Our society has devolved into one in which the old truism “whoever dies with the most toys wins” has taken on a new meaning. The crucial signposts of life have become the things we acquire – the shiny new sports car, the state of the art electronics, the high end golf clubs, the designer clothes. Our pursuit of the trappings of success has overcome our pursuit of excellence, making keeping up with the Joneses more than just a spectator sport.

Into a wealthy suburban enclave move in Steve Jones (Duchovney), his impossibly gorgeous wife Kate (Moore), his gorgeous daughter Jenn (Heard) and his handsome son Mick (Hollingsworth). They don’t just have the outer trappings of success – they embody it.

However, what you see on the surface – behind the beautiful home, the flashy car, the nice clothes – is something completely different than what is underneath. There are problems in the perfect family. In fact, they aren’t really a family of all.

What they are is revealed in the trailer, which is another case (see Dream House) of a marketing department robbing a film of its maximum impact. For that reason, I’m leaving the plot description a little thin, other than to say that what the movie is really about is America’s obsession with consumerism and how it robs us of our soul.

Duchovney is perfect for the role of Steve. He has a dry delivery that just hints of the smarmy while remaining acerbic and eventually, empathetic. For a role that could easily descend into self-parody and completely turn off audiences, the very likable Duchovney turns it into a role that audiences will identify with as his character is forced to confront the fall-out of his actions and put his familial loyalty to the test.

Moore has never been one of my favorite actresses, but it has to be said that she can play the driven executive-sort better than nearly anybody and that’s the place she goes for this part. She makes a good foil for Duchovney and I must say the 40-something Moore looks amazing.

That’s neither here nor there though. What I liked is that first-time writer/director Borte takes a terrific concept and uses it to look at an issue that is subtle and seldom explored onscreen, with surprising insight and humor. There is an element of parody to it, but it also hits somewhat uncomfortably close to home.

When it comes right down to it, we tend to be sheep moving from one trend to the other, fickle consumers with an eye to what’s the latest and greatest, not realizing that these things are going to be obsolete in less time than it takes to bring it home from the store. Still, keeping up with the Joneses is as American as apple pie. We just should take a good look at the Joneses and ask why we should aspire to keep up with them.

WHY RENT THIS: A witty, smart commentary on materialism. Duchovney’s dry delivery serves him well here. 

WHY RENT SOMETHING ELSE: The movie’s plot twist is given away in the trailer. The final reel is a bit predictable.

FAMILY VALUES: There is some drinking and teenage drug use, a bit of sexuality and a fair amount of foul language.

TRIVIAL PURSUIT: Borte is the brother of professional surfer Jason Borte; both were born in Germany but raised in Virginia.

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $7M on a $10M production budget; the movie was unprofitable.

FINAL RATING: 7/10

TOMORROW: The Three Musketeers (2011)