LX 2048


Driving with the top down in a hazmat suit – how very 2020!

(2020) Science Fiction (QuiverJames D’Arcy, Anna Brewster, Delroy Lindo, Gabrielle Cassi, Juliet Aubrey, Gina McKee, Jay Hayden, Linc Hand, Ronin Zaki Moshe, Majus Motiejus Prokopas. Directed by Guy Moshe

 

You can tell the state of a society by how it perceives the way the world will end. Our society, chronically depressed and stressed, turns out apocalyptic movies that have no explosions, no meteors, no heroic astronauts…just a world where everyone plays on a virtual Realm waiting for things to come to a close.

Adam Bird (D’Arcy) sees the end coming sooner. He works for a virtual reality hardware firm that supplies the hardware necessary to enter The Realm, the virtual reality utopia that everyone is plugged into. He can see the company’s future and it is grim – the hardware will soon be rendered obsolete by an implanted chip that will do the same thing faster, more efficiently, and less expensively. Adam is a voice crying in the wilderness – quite literally. He’s the only one to actually go into the office. Most people work from home and attend meetings via The Realm (sound familiar?)

But that isn’t even the worst news in Adam’s day. His doctor (McKee) has informed him that his heart is failing, and soon. But no worries – he has three kids and because he and his wife Reena (Brewster) bothered to procreate (most people don’t) he is eligible for Premium 3 insurance, which in the event of the death of either him or his spouse provides for a clone replacement, with all their memories intact. The two spouses even get to tweak their genetically enhanced replacement mates with characteristics that are more in tune with what they want – more attentive, sexier, less annoying and so on.

It’s a pretty bleak world – one of the reasons nobody goes out to work is because sunlight has become toxic, likely due to the erosion of the ozone. The population copes by taking state-mandated tranquilizers – LithiumX – which numbs them to the fact that life has become an absolute cluster muck. And Adam being something of a rebel, refuses to take his medication. So when Reena catches him having a go at a virtual sex doll, she blows a gasket and tosses him out on his tush. But with the company in danger of failing, Adam knows he has to figure out a way to keep it afloat long enough for the insurance to cash in and support his estranged wife and children.

There’s an awful lot of concepts thrown into the mix here, and one has to give the filmmakers credit for trying to tackle them all. There’s an intelligence to the movie that is more often than not missing from science fiction movies, and that’s refreshing. That doesn’t mean the movie is always successful in what it’s trying to do.

D’Arcy actually does a pretty bang-up job as Adam, and the movie totally rests on his shoulders so that’s a good thing. Often, he is having conversations with people who are online; we aren’t invited to The Realm so mostly what we see is Adam shouting in an empty conference room. It is a bit disconcerting, but I suspect that given the situation we’ve all been in the past several months we all feel a little bit like that’s exactly what we’re doing.

The problem here is that Adam is not really a pleasant guy. There’s a reason everyone’s on Lithium; it’s just too much for the psyche to handle, and Adam with everything going on – his marriage failing, his health failing, his business failing, the world failing – is losing it and not just a little bit. He’s desperately trying to have a conversation with Reena trying to express his fears but she isn’t having it, and so his attempts to reach out degenerate into shouting matches and vicious put-downs. “I can’t believe I ever loved you,” he cries out during one such exchange.

The movie tries to take a sharp left turn late in the movie but this is ill-advised. There really is enough going on to keep the discussion group going for ages without throwing in a final twist. The last 20 minutes virtually (no pun intended) undoes all the goodwill that the first eighty minutes generated. That’s a shame because despite being a low-budget affair, the production design is pretty aces – it looks like it has a budget probably 10 to 20 times what it actually had, and the ideas that it’s grappling with are very relevant right now, with climate change, online addiction, drug addiction, the deterioration of relationships in an increasingly plugged-in world and the ethics of medical technology exceeding our maturity to handle them.

I almost forgot to mention Delroy Lindo who has a small but crucial role as a reclusive scientist, and all I can say is that even his less visible roles are intriguing. Delroy Lindo is undeniably a cool mofo, and we are reminded of that every time he pops up onscreen.

In any case, this is a movie with lofty aspirations that occasionally achieves them, but ultimately shoots itself in the foot when it tries to insert a twist that wasn’t really needed. Fans of thoughtful science fiction will find much to chew on here. Those who prefer their movies a little bit less crammed with ideas might find it indigestible.

REASONS TO SEE: Lots of great ideas – almost too many.
REASONS TO AVOID: The characters are all so contemptible it’s hard to root for any of them.
FAMILY VALUES: There is profanity and some sexual content..
TRIVIAL PURSUIT: D’Arcy is best known for his work in the MCU playing the human Jarvis in the Agent Carter miniseries.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Microsoft, Redbox, Vudu, YouTube
CRITICAL MASS: As of 9/29/20: Rotten Tomatoes: 41% positive reviews, Metacritic: 61/100
COMPARISON SHOPPING: Gattaca
FINAL RATING: 6.5/10
NEXT:
The Artist’s Wife

Big Night


Brothers squabble while their women patiently endure.

Brothers squabble while their women patiently endure.

(1996) Dramedy (Goldwyn) Stanley Tucci, Tony Shalhoub, Minnie Driver, Ian Holm, Campbell Scott, Isabella Rossellini, Allison Janney, Susan Floyd, Marc Anthony, Liev Schreiber, Pasquale Cajano, Gene Canfield, Andre Belgrader, Caroline Aaron, Larry Block, Peter McRobbie, Peter Appel, Karen Shallo, Robert W. Castle, Tamar Kotoske, Alaveta Guess, Dina Spybey. Directed by Campbell Scott and Stanley Tucci

Films For Foodies

A good movie can make you care about the story or the characters. A very good movie can make you care about both. A great movie will make you feel you lived in the story with those characters and want to then revisit that movie again and again. Big Night is just such a movie.

In the late 50s, a pair of brothers recently come to America from their native Italy have opened an Italian restaurant on the Jersey shore. Called Paradise, the brothers intended for the restaurant to stand out from the mamma mia spaghetti and meatball joints that were what passed for Italian in that era, like the huge successful restaurant down the street from theirs that was run by Pascal (Holm).

The brothers divided their labors thusly; Primo (Shalhoub), the eldest, ran the kitchen and he was a culinary genius before we knew such things existed. He made an astounding risotto but all anyone ever wanted was – you guessed it – spaghetti and meatballs. When one somewhat ignorant customer (Aaron) asks for a side of spaghetti and meatballs with her risotto, Primo nearly hits the roof. “How about I give her a side of mashed potatoes with that,” he explodes, nearly refusing to give the customer a starch to go with her starch.

Secondo (Tucci), the younger, runs front of house and the business side of things and only he knows what desperate straits the restaurant is in. Behind in their mortgage payments, the bank is about to foreclose. He argues with his brother on his rigid high standards but deep down, he supports them because that is the kind of restaurant he dreams of running.

Their love lives aren’t in much better shape. Primo has a thing for the local florist (Janney) but is far too shy to tell her how he feels. Secondo has a girlfriend, the ever-patient Phyllis (Driver) who waits for him to propose but is losing that patience rapidly. He also has a mistress, the straight-shooting and sexy Gabriella (Rossellini) who is also Pascal’s mistress. She gets around.

Secondo approaches Pascal about a loan which the penurious Pascal is loathe to do, but he will do the brothers a solid – it so happens that famed Italian crooner Louis Prima and his band are going to be in town the following week. He happens to know Louis and will invite him and his band to a dinner at Paradise. The accompanying press and notices may be what’s needed to save the Paradise.

Secondo and Primo set to preparing the restaurant for the biggest night of their lives. With Phyllis helping out as well as their put-upon kitchen boy Cristiano (Anthony), it promises to be a night to remember but will Primo’s stubbornness and Secondo’s love life torpedo everything the brothers have worked for and drive an irreparable wedge between them? Either way, you know that the meal that they serve on this big night will be one that will be absolutely unforgettable.

Tucci, who co-directed and co-wrote the movie in addition to co-starring in it, was just beginning to get his career going when this was made. He has since become one of Hollywood’s busiest actors with a variety of roles in which he mostly plays oily slimeballs. In fact, writing this movie was an effort to write a part for himself that wasn’t the sort he usually got cast in. In fact, there are plenty of well-known names and faces in this movie who were just starting their careers out. Schreiber has a blink and you’ll miss it role as the doorman at Pascal’s joint, while Driver was a year away from her breakout roles in Good Will Hunting and Grosse Pointe Blank.

You become entwined in the story of the struggling restaurant and the sibling squabbling that goes on will feel familiar to anyone who has a brother or a sister. So will the struggles of the brothers appeal to anyone who has ever owned or worked in a small business. In fact, all of the characters have something about them that will speak to you; they may not necessarily be someone you know but there will be something familiar nonetheless…in many ways Primo and Secondo are the brothers I never had.

This is one of those movies that will get under your skin and stay there; you’ll want to see it more than once. Sadly, the home video edition has no extra features other than the original trailer. I’d love to see interviews with the cast now nearly 20 years after the fact about this great little movie that stands the test of time. Even so, the movie is well worth getting. Just don’t be surprised if you don’t get an inescapable craving for Italian food by the time it ends.

WHY RENT THIS: Well-written with terrific performances throughout. Captures ambience and era perfectly.

WHY RENT SOMETHING ELSE: A bit ambiguous on the ending.

FAMILY VALUES:  There is quite a bit of rough language.

TRIVIAL PURSUIT: The movie was shot over a period of just 35 days. Tucci and Shalhoub would work together many times following this film, including in the film The Imposters as well as on Shalhoub’s hit TV show Monk.

NOTABLE HOME VIDEO EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $12.0M on a $4.1M production budget.

COMPARISON SHOPPING: Moonstruck

FINAL RATING: 8.5/10

NEXT: Films for Foodies continues!

Peep World


Peep World

Sarah Silverman puts up her dukes.

(2010) Comedy (IFC) Michael C. Hall, Sarah Silverman, Rainn Wilson, Judy Greer, Taraji P. Henson, Ron Rifkin, Leslie Warren, Alicia Witt, Lewis Black (narrator), Stephen Tobolowski, Nicholas Hormann, Kate Mara, Ben Schwartz, Octavia Spencer, Geoffrey Arend. Directed by Barry Blaustein

 

Families are our bedrock but they can also drive us crazy. Sometimes we love ’em to death but other times they can make us so mad we can’t see straight. You love your family more than anyone but the flipside is that you can hate your family more than anyone too.

The Meyerwitz family is gathering at a swanky L.A. restaurant to celebrate the 70th birthday of patriarch Henry (Rifkin). The family, dysfunctional and argumentative at the best of times, is living under a veil of tension more than usual. That’s because Nathan (Schwartz), the baby of the family, has written a best-selling novel that is a thinly veiled account of his family, with all their dirty secrets intact and there for the world to see.

Daughter Cheri (Silverman), a failed actress is actually suing her brother. Eldest brother Jack (Hall), who before Nathan’s success was the most successful Meyerwitz, is seeing his architecture business crumble and to relieve the stress, regularly goes to peep shows to take out his frustrations. His wife Laura (Greer) is pregnant to compound matters.

Joel (Wilson), the ne’er-do-well of the family, is on the run from loan sharks and is desperately trying to guilt money out of his brother Jack who doesn’t have the money to give any longer. He tries to keep the knowledge of the unsavory things he’s done from his girlfriend Mary (Henson) who only sees the good in him.

And Nathan himself isn’t without his own demons. Condescending and cruel to those around him, he takes an erectile dysfunction pill while getting ready for a date and winds up with a monster boner that won’t quit. And even Henry has a few secrets of his own – and you can bet they’re all going to come out at this dinner from hell.

The movie has a terrific ensemble cast, led by Hall who is in my opinion one of those actors who always elevates the material he has. I’ve never been a huge fan of Silverman but she turns in what might just be her best performance yet as the neurotic Cheri. This is a bit of a stretch for the usually caustic Silverman (and there are elements of her usual persona here albeit much toned down) and she nails it nicely.

Wilson is kind of the comic foil here but while he’s usually pretty good this is not one of his better performances. Greer however is golden here – she has become one of my favorite comic actresses in just the last couple of years. She and Henson make up the heart of the movie.

The issue here is that most of the characters are pretty one-dimensional and cliché. The actors cope to varying degrees but it becomes noticeable often. The story isn’t that much better – there are no real surprises and nothing that you haven’t seen before and done better. Even Lewis Black’s narration is by the numbers and a waste of this inventive comedian’s talent.

This is a movie that wasted its potential. The premise is a sound one albeit one that has been done before (the dysfunctional family gathering) and the cast is superb. With better writing this could have been an indie classic. Still, the talent holds it up just enough to make it worth seeing.

WHY RENT THIS: A nice ensemble cast who try real hard. Some funny moments.

WHY RENT SOMETHING ELSE: One-dimensional characters.

FAMILY VALUES: There’s a whole lot of bad language and a fair amount of sexual themes.

TRIVIAL PURSUIT: The hand with the different color painted nails in the salon that Jack enters is the same hand of the “Ice Cream Killer” that is on the trophy shelf of “Dexter,” the Showtime series that Hall also stars in.

NOTABLE HOME VIDEO EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $14,351 on an unreported production budget; this was a big box office flop.

COMPARISON SHOPPING: The Royal Tenenbaums

FINAL RATING: 6/10

NEXT: Hotel Transylvania