New Releases for the Week of June 1, 2018


ADRIFT

(STX) Shailene Woodley, Sam Claflin, Grace Palmer, Jeffrey Thomas, Elizabeth Hawthorne, Tami Ashcraft, Kael Damlamian. Directed by Baltasar Kormákur

A young couple meets over their love of sailing, bond and fall in love. When the opportunity arrives to set out on the adventure of a lifetime, they don’t realize they are sailing into the teeth of one of the most destructive hurricanes in recorded history. The damage is terrible; the young man is gravely injured and the boat damaged beyond repair. It will take the young woman all her skill and resolve to save the only man she has ever loved – not to mention saving herself.

See the trailer, video featurettes, clips, interviews and B-roll video here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Adventure
Now Playing: Wide Release

Rating: PG-13 (for injury images, peril, language, brief drug use, partial nudity and thematic elements)

Action Point

(Paramount) Johnny Knoxville, Brigitte Lundy-Paine, Susan Yeagley, Dana Schick. A daredevil with a penchant for hare-brained schemes opens up a theme park with his friends. You’ve never seen a theme park anything like this..

See the trailer, interviews and B-roll video here.
For more on the movie this is the website

Release Formats: Standard
Genre: Comedy
Now Playing: Wide Release

Rating: R (for crude sexual content, language, drug use, teen drinking, and brief graphic nudity)

Always at the Carlyle

(Good Deed) George Clooney, Tommy Lee Jones, Jon Hamm, Jeff Goldblum. New York’s iconic Carlyle Hotel is not only a destination for jet-setters but also a favorite haunt for New York’s most trendy and iconic local celebs.

See the trailer here.
For more on the movie this is the website

Release Formats: Standard
Genre: Documentary
Now Playing: Regal Winter Park Village

Rating: PG-13 (for some suggestive content, drug references and brief partial nudity)

How to Talk to Girls at Parties

(A24) Elle Fanning, Nicole Kidman, Ruth Wilson, Alex Sharp. An alien on a tour of the galaxy gets separated from her group and ends up in the London suburb of Croydon during the late 70s punk revolution. This is based on a Neil Gaiman story and is directed by the estimable John Cameron Mitchell.

See the trailer here.
For more on the movie this is the website

Release Formats: Standard
Genre: Sci-Fi Comedy
Now Playing: AMC Universal Cineplex, Enzian Theater

Rating: R (for language throughout, sexual content, some drug use and nudity)

The Rider

(Sony Classics) Brady Jandreau, Tim Jandreau, Lily Jandreau, Cat Clifford. A young cowboy suffers a near-fatal head injury. Needing to establish an identity with much of his old self lost, he must figure out what it means to be a man in the heart of America in the age of Trump.

See the trailer and clips here.
For more on the movie this is the website

Release Formats: Standard
Genre: Drama
Now Playing: Regal Winter Park Village, Rialto Spanish Springs Square

Rating: R (for language and drug use)

Social Animals

(Vertical) Josh Radnor, Carly Chaikin, Samira Wiley, Zoë Wells. Young Zoë finds her life spiraling into chaos. Her business is going under, she’s being evicted from her home and her love life is essentially a series of one-night stands going nowhere. That all changes when she meets Paul, a fellow lovable loser with whom instantly connects. She seems to have found her perfect guy; the trouble is, he’s married. However, that won’t stand in the way of her true love and her bold plan to save her business.

See the trailer here.
For more on the movie this is the website

Release Formats: Standard
Genre: Comedy
Now Playing: AMC Universal Cineplex

Rating: R (for strong and crude sexual content, language and drug use)

Upgrade

(BH Tilt) Logan Marshall-Green, Betty Gabriel, Richard Cawthorne, Harrison Gilbertson. In the not-so-distant future, technology controls every aspect of our lives. For one man, a self-proclaimed technophobe who wants nothing of the brave new world, life goes tumbling head over heels and out of control when he is paralyzed during a mugging and the person he loves most in the world is brutally murdered. Unable to move, his only hope to get justice – or more accurately, vengeance – is to have a chip inserted into his spine that will restore his body to working order. But for all things there is a price.

See the trailer here.
For more on the movie this is the website

Release Formats: Standard
Genre: Science Fiction
Now Playing: Wide Release

Rating: R (for strong violence, grisly images, and language)

Veere di Wedding

(Zee Studios) Kareena Kapoor, Sonam Kapoor, Swara Bhaskar, Sumeet Vyas. Four childhood friends are reunited ten years later in Delhi where they grew up and find that while the bonds of friendship remain strong, they have each changed. Re-exploring their childhood homes, they discover how much has changed in society, in their hopes and dreams and in the culture they grew up in.

See the trailer here.
For more on the movie this is the website

Release Formats: Standard
Genre: Comedy
Now Playing: AMC West Oaks
Rating: NR

ALSO OPENING IN ORLANDO/DAYTONA:

Ee Maa Yove
Officer
Sanky Panky 3

ALSO OPENING IN MIAMI/FT. LAUDERDALE:

Abhimanyudu
B Tech
Bye Bye Germany
Ee Maa Yove
The Gospel According to Andre
Raju Gadu
Sanky Panky 3
The Seagull

ALSO OPENING IN TAMPA/ST. PETERSBURG:

Abhimanyudu
Officer
Raju Gadu
Sanky Panky 3

ALSO OPENING IN JACKSONVILLE/ST. AUGUSTINE:

Abhimanyudu
Borg/McEnroe
Officer
Raju Gadu
Sanky Panky 3

SCHEDULED FOR REVIEW:

Adrift
Borg/McEnroe
Upgrade

FILM FESTIVALS TAKING PLACE IN FLORIDA:

Studio Ghibli Fest – Miami

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

For the Love of George


Nothing says Valentine’s Day like cuddling with your honey and a movie.

(2017) Romantic Comedy (Vision) Nadia Jordan, Rex Lee, Rosanna Arquette, Tate Donovan, Kristen Johnston, Shaun Sipos, Petra Bryant, Henry Hereford, Ruth Connell, Adrienne Whitney, Marina Sirtis, Paul Provenza, Ben Gleib, Tracy Ransome, Sandro Monetti, Jo Price, Ron S. Geffner, Danny Araujo, Valley Hintzen, Andrea Batista, Ian Mill, Laura Waddell. Directed by Maria Burton

 

One of the problems with romantic comedies is that although they are theoretically aimed at couples (and let’s face it, women in particular) they very rarely are the products of predominantly female creative sorts. That’s why it’s so refreshing to see a rom-com coming from a female writer-director who went out of her way to make sure that as many roles in the film’s behind the camera crew were filled by women. That gives this movie a much more authentic point of view of a female character than we normally get to experience.

Poppy (Jordan) has been going all out to prepare for her husband Stephen’s (Hereford) birthday, making a fantastic meal, baking a lovely cake and preparing for a romantic evening with rose petals on the bed, candles and sexy lingerie. When he calls saying that a rare bird had been spotted in the area (he’s an avid birdwatcher) she’s very much disappointed that he’s chosen to go out and find the bird but it is his birthday after all and he should spend it doing what he likes. After she hangs up, he calls her back and she realizes he’s butt-dialed her. And what she hears turns her world inside out and upside down.

Fed up with being the perfect wife to a man who is cheating on her, she decides to visit her former wedding planner Justin (Lee) in Los Angeles so she heads off to Heathrow and makes the long journey to Southern California to lick her wounds and figure out what happens next. While she’s there she sees a news story on George Clooney, the world’s most eligible bachelor (this is set some years ago) and the charity work he’s doing. The more she hears, the more she realizes that George is THE perfect man and sets out to go get him for herself.

Undaunted by reality, she goes to a bar that Clooney frequents but he’s not there that day. She also tries to attend a party that he’s invited to thrown by her new friend Marcy (Whitney) from Texas but the world’s worst Uber driver torpedoes her plans to meet him. After that disappointment, she goes to a bar to drown her sorrows and runs into a handsy Hollywood producer who tries to take things way too far – a scene that I’m sure resonates with a lot of women both in Hollywood and, well, everywhere else I imagine. Concerned that she has become obsessive about George, Justin refers her to a therapist (Arquette) who listens to her tales of woe with a somewhat skeptical ear.

She starts going out with Luke (Sipos), a vendor of vitamin juices who seems too good to be true – and is. However, she’s bonded with not only Justin but Marcy and Irina (Bryant), Justin’s Russian housekeeper who while at first rubbing Poppy the wrong way eventually finds common ground with her. The strong bonds of sisterhood are very much a theme here. However all is once again thrown into turmoil with the arrival of Steven, looking to win his wife back. On top of that, news of George Clooney’s engagement has put her into a tailspin. Will she give him a second chance or will she embrace the happiness she has found in Los Angeles and continue to live the life she has chosen for herself?

This is very much a woman’s movie in that one of the central themes is empowerment; that women shouldn’t necessarily live for their husband and/or children but also live for themselves. Poppy as a character starts off very nurturing and giving but ends up standing up for herself in ways she probably didn’t know she could. I wouldn’t say that most of the straight male characters in the movie are jerks but most of the important ones are which might ruin the romantic mood for the straight guy in your life.

Then again, most of the characters here aren’t particularly well drawn out with the exception of Poppy. Justin is the gay Asian male who is sexually aggressive and a little bit catty but a loyal gay friend; Irina is the Russian immigrant with vague ties to the mob and an affinity for vodka. Luke is a dumb as a rock hunk who in typical male fashion gives little thought to Poppy’s needs except to use them as a means to get what he wants. Marcy is a Texas hottie with a thick drawl and a big personality, while Sharon (Sirtis) who is Poppy’s boss at the online publication she writes for (yes, Poppy is a writer – isn’t everyone in indie films?) is a high-strung English version of a New York Jewish lady who kvetches with an English accent.

I would have liked to have seen fewer clichés and characters – and plot points – that were a bit more realistic. Considering what Burton was trying to do here, I think it would have benefited her to rather than go for the laughs at the expense of the story to have emphasized the romance and the characters. The empowerment message would have gone a lot farther I think had she done that.

I’m not so sure this is an ideal Valentine’s Day movie – Poppy is a little too hung up on Clooney and the flaws a bit too glaring for an unqualified recommendation, but certainly there are some aspects here worth cheering for and hopefully Burton will learn from this film and go on to make some movies that really do send positive messages that young women in particular need to hear at this point in time.

REASONS TO GO: This is very much of a feminine perspective with a side of empowerment.
REASONS TO STAY: There are a few too many stereotypical characters and plot devices.
FAMILY VALUES: There is some mild profanity and sexual situations.
TRIVIAL PURSUIT: Burton was inspired to write the movie after reading Don Cheadle’s book Not on Our Watch which details Clooney’s involvement with raising awareness of the genocide in Darfur and she realized that the world’s most eligible bachelor (at the time) was also an unusually sensitive and compassionate man. Two weeks later his engagement was announced and she had her idea for her film.
BEYOND THE THEATER: Amazon, Fandango Now, Vudu
CRITICAL MASS: As of 2/14/18: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Love Field
FINAL RATING: 5.5/10
NEXT:
The Millionaires’ Unit

Money Monster


Clooney busts a move.

Clooney busts a move.

(2016) Thriller (Tri-Star) George Clooney, Julia Roberts, Jack O’Connell, Dominic West, Caitriona Balfe, Giancarlo Esposito, Christopher Denham, Lenny Venito, Chris Bauer, Dennis Boutsikaris, Emily Meade, Condola Rashad, Aaron Yoo, Carsey Walker Jr., Grant Rosenmeyer, Jim Warden, Joseph D. Reitman, Olivia Luccardi. Directed by Jodie Foster

The American Experience

There are a lot of ways to get a person under your thumb. Economically is usually the best method and involves the least bloodshed. However, it must be said that people can only be pushed so far before bloodshed becomes inevitable.

Lee Gates (Clooney) is a financial expert who has a popular financial advice program on a cable network. It is somewhat wild and crazy like Lee himself; Lee has a tendency, much to the exasperation of his producer Patty Fenn (Roberts), to go off the reservation. So when a flustered young delivery man, carrying a couple of packages wanders onto the set, Lee is sure it’s his crew playing a practical joke on him while Patty thinks that it’s one of Lee’s improvisations.

It’s neither. It’s Kyle Budwell (O’Connell), a working class schmoe who was crazy enough to follow Lee’s investment advice – except that advice turned out to be tragically wrong. IBIS, the software company that Kyle invested in, had seen $800 million of its assets vanish overnight and its charismatic CEO Walt Camby (West) is nowhere to be seen. He was supposed to be a guest on Lee’s program but instead they were sending Diane Lester (Balfe), a publicity flack (whom Camby is  apparently sleeping with).

Kyle has loaded guns which he demonstrates by firing into the ceiling, getting everyone’s attention. He slaps on a bomb vest that he hid in one of the packages onto Lee and proceeds to demand to talk to the absent CEO. Patty manages to clear the studio, but it seems only a matter of time before Kyle loses complete control of the situation. What neither Patty nor Lee count on is that they too would be swept up in Kyle’s saga and want to find out the answers for their own peace of mind as well.

Given the somewhat negative view most people have regarding the shenanigans on Wall Street over the past few years, this movie plays into those feelings pretty much perfectly – almost to the point of cliché. The villain of this piece is too easily spotted and becomes almost laughable. We don’t get a real sense of depth to that person; it’s just greed, greed, greed and a sense that people deserve to get their life savings defrauded from them because they don’t have the kind of fortune that the villain has. It’s a bit of a cop-out in my opinion.

That said, this is the kind of movie that is going to give you a good idea of why people are angry at Wall Street. The Lee Gates character – who is clearly modeled on Jim Cramer and the show clearly Mad Money on steroids – is a bit buffoonish and certainly a paean to poor investment strategies which is something Cramer is sometimes accused of peddling in real life. Clooney gives the character a bit more depth than we might have otherwise. Would the film have worked better if Lee was the kind of insensitive douchebag that he appears to be at the beginning of the movie? I don’t think so, but at least one critic accused the filmmakers of “star saving” Clooney (i.e. making him appear nicer than he appears to be in order to maintain his likability) which is not something Clooney has indulged in over the years.

Roberts is seen far less frequently onscreen than I would like, but continues to be every inch the star she’s been for the past *mumble, mumble* years – has it really been that long? She has deepened into more of a solid actress over the past decade, not needing to rely quite as much on the wattage of her amazing smile and the glow of her incandescent personality that over the years has made her the ultimate girl next door. Here, she’s a working stiff trying to labor for the unappreciative and has been a little bit beaten down by her star’s lack of empathy. Still, she prides herself on her professionalism and when the rubber hits the road, responds with calm and decisive leadership. This is one of those roles that is slightly subversive without being obvious about it; perhaps Foster, certainly one of the strongest women in Hollywood, has something to do with it as well. To my mind, Patty is the real hero of this piece but not many will get that.

O’Connell is best known for his role in Unbroken but to my mind finally really shows what he’s capable of going back to small but memorable roles in films like Harry Brown. His performance as Kyle shows a man beaten down to the bone by a system that chews up and spits out people like Kyle. With nothing else to lose, he demands answers from those who aren’t willing to give them and this leads him to an act of desperation – and yes, stupidity – that becomes the crux of the film’s emotional center.

Foster has been the kind of director who makes magic even when the scripts she’s given to work with don’t necessarily have a lot of it in it. There’s a good deal that’s way too familiar here but Foster works with it well and gives us a credible film despite the predictability of the plot. There’s some sly satire here about America’s penchant for greed and making money without wanting to put in the work. It is counter to our Puritan heritage in which hard work is valued and indeed, rewarded. In this modern era, we seem to be more inclined to value cutting corners – and rewarding those who do inordinately. And maybe that’s at the center of why Main Street is so pissed off at Wall Street. Perhaps some of the captains of industry need to be reminded of those ethics that made this country great in the first place.

REASONS TO GO: Foster is a masterful director. Clooney and Roberts are always eye-catching. Dials in to the anger that a lot of people are feeling about Wall Street.
REASONS TO STAY: Pretty cliché storyline. The villain of the piece is a little too obvious.
FAMILY VALUES: A fair amount of profanity, some sexuality and some violence.
TRIVIAL PURSUIT: This is the fourth time Clooney and Roberts have appeared in a film together.
CRITICAL MASS: As of 7/4/16: Rotten Tomatoes: 56% positive reviews. Metacritic: 55/100.
COMPARISON SHOPPING: The Big Short
FINAL RATING: 7/10
NEXT: The Conjuring 2

Norman Lear: Just Another Version of You


Little Norman at the lectern.

Little Norman at the lectern.

(2015) Documentary (Music Box) Norman Lear, Rob Reiner, Amy Poehler, John Amos, Russell Simmons, George Clooney, Louise Lasser, Mel Brooks, Bob Saget, Carl Reiner, Bill Moyers, Jon Stewart, Lyn Lear, Kate Lear, Keaton Nigel Cooke, Jay Leno, Martin Mull, Jimmie Walker, Bud Yorkin, Sally Struthers, Mary Kay Place, Valerie Bertinelli, Adrienne Barbeau. Directed by Heidi Ewing and Rachel Grady

Florida Film Festival 2016

One of the giants of the television landscape is Norman Lear. While there are those who criticize his politics (he’s an unabashed liberal who brought progressive thought to the airwaves back when it was dominated by conservative sorts) nobody can deny the success that he enjoyed (the only man to have six shows in the top ten simultaneously) nor the legacy he left behind.

This documentary is mainly aimed at the glory days of Lear’s career in the 70s, as we follow the creation and execution of shows like All in the Family, Maude, Good Times and The Jeffersons among others. There are some interesting things worth noting, like Carroll O’Conner had a very hard time reconciling his own liberal beliefs with the racist dialogue his character had to say. He often fought Lear on certain elements of dialogue because he felt so uncomfortable about saying it, even as a character not himself. Generally, Lear prevailed and as such we got Archie Bunker, America’s favorite bigot as TV Guide once termed him.

While there are plenty of talking head interviews, the most interesting are with Lear himself who even as a nonagenarian is clear-eyed and a charismatic raconteur. While some of the interviews come a bit close to fawning, certainly if anyone warranted such treatment its Lear. As we hear from such modern comedy icons as Amy Poehler and Jon Stewart (as well as Everybody Loves Raymond creator Phil Rosenthal) one gets a real sense of just how influential the man continues to be. Certainly the modern television landscape would be a very different place without him.

Best of all, we get to see a goodly amount of clips of some of the various shows’ best moments. For those like myself who grew up in that era, the sense of nostalgia is palpable, and very welcome. While I didn’t religiously watch these shows (I grew up in a conservative household with a dad who thought Lear was too political and certainly too much of a leftie for his tastes), I did watch them often and enjoyed them.

There is a bit of a misstep; there are some linking devices here with a young boy, wearing a hat similar to the one that Lear has become known for wearing (for more than 50 years, no less) apparently playing Lear as a young man re-enacting some of the events of Lear’s life on a bare stage. While I give the filmmakers props for at least trying to get out of the typical talking head/archival footage mode that characterizes most profile documentaries, it just doesn’t work.

What does work is Lear himself. He had a difficult relationship with his own father, who was jailed when Lear was just nine years old. One of the more powerful moments is when Lear unexpectedly breaks down when discussing his relationship with his dad. It’s one of the times we get to see inside the inner Lear.

And there’s the rub. I don’t think we get a very complete view of who Lear the man is, but you’re not really going to do that in an hour and a half in any case. Thinking that any documentarian can do so is simply unrealistic. We do get a good sense of Lear’s accomplishments and what he means to modern television in general. We also come to the understanding that as influential as Lear is, and as much as his work echoes into the modern day small screen ethos, nobody makes ‘em like the master anymore and there is a hint of the bittersweet in that fact that is inescapable. There will never be another quite like him.

REASONS TO GO: Some very powerful emotional moments. A trip down memory lane. Really gives you an idea of how influential Lear is.
REASONS TO STAY: Not sure we needed Little Norman.
FAMILY VALUES: A little bit of profanity.
TRIVIAL PURSUIT: Lear was 93 years old when interviewed for this film.
CRITICAL MASS: As of 4/17/16: Rotten Tomatoes: 80% positive reviews. Metacritic: No score found.
COMPARISON SHOPPING: The Kid Stays in the Picture
FINAL RATING: 8/10
NEXT: Wrestling Alligators

Hail, Caesar!


Friends, Romans, Communists...

Friends, Romans, Communists…

(2016) Comedy (Universal) Josh Brolin, George Clooney, Alden Ehrenreich, Channing Tatum, Scarlett Johansson, Tilda Swinton, Ralph Fiennes, Frances McDormand, Jonah Hill, Veronica Osorio, Heather Goldenhersh, Alison Pill, Max Baker, Fisher Stevens, David Krumholtz, Clancy Brown, Alex Karpovsky, Robert Picardo, Christopher Lambert, Ming Zhao. Directed by Ethan and Joel Coen

Hollywood is often portrayed as a dream factory and during its golden age, it was just that. Massive studios cranked out classic films (and, to be fair, a lot of crap too) and created lasting images of a time that never really existed. We look back at that era fondly because in many ways it was a lie.

Eddie Mannix (Brolin) is the studio chief at Capital Pictures. He fixes things when they go wrong, be they a ditzy starlet posing for risqué pictures or a family musical star (Johansson) ho has gotten herself knocked up and needs a husband pronto. Hobie Doyle (Ehrenreich), a cowboy star, has been unaccountably put into a drawing room comedy lensed by the immortal British director Laurence Laurentz (Fiennes). And the studio’s big budget production of Hail, Caesar! – A Tale of the Christ – looks to be a huge hit.

Except that Baird Whitlock (Clooney), the film’s star, has turned up missing. And not just missing, kidnapped by a group that calls itself The Future. This could be an absolute public relations disaster. Not only does Eddie have to get the ransom paid and his mercurial star back on the set in time to film the climactic speech, he also has to make sure it stays out of the gossip columns particularly via twin sisters Thessaly and Thora Thacker (Swinton). However in the meantime he’ll have to oversee a Sailor’s musical starring an athletic dancer (Tatum), a Busby Berkeley-like mermaid spectacular, a singing cowboy Western as well as the aforementioned films.

This is equal part tribute to old Hollywood and spoof of it. Clearly the Coens have a good deal of affection and reverence for the old movies. They also have a sense of whimsy that has influenced people like Wes Anderson and Charlie Kaufman. That’s present here too, more than in recent Coen Brothers films and more subversive in a lot of ways.

The production designer does a wonderful job of capturing the 50s look and the big studio vibe. Bright colors, as you’d see in a Technicolor production of the time, dominate here. The costume design is also flawless. One of the things that is typical to Coen Brother period films is the attention to detail is generally very serious even if the films themselves are more comedic.

As with many Coen Brother pictures, the cast is impressive. Clooney plays the empty-headed star to the hilt, while Brolin gives Mannix – who as a real person on the MGM lot by the way although he is fictionalized here – the harried demeanor that you’d expect from a studio executive. While Brolin’s Mannix is a bit more quirky than the real one was (the real Mannix was rumored to have had mob ties), his Catholic need for regular confession and ability to juggle a number of different balls in the air give him more personality than other writer-directors might have given a character like his. Ehrenreich projects a good deal of likability which bodes well for his future career.

Some of the supporting roles are little more than cameos but the ones that caught my attention were Swinton as the imperious gossip columnist twins whose rivalry is as abiding as their twin noses for a story. Hill is low-key as a notary public, and Johansson has moxie as the knocked up mermaid. As is usual for the Coen Brothers, the absurdity of the characters and their situation is played deadpan which only heightens the absurdity.

The problem I have here is that there are certain scenes that drag a little bit and fall a little flat. The scenes where Whitlock is having philosophical discussions with his captors is a bit silly and a lot more uninteresting. I know Da Queen complained that she was bored with the movie and I’ve heard similar complaints from other friends, some of whom are Coen Brothers fans. I can’t say that I was bored but I can see why they were.

I get that the Coen Brothers are not for everybody. People who didn’t like The Grand Hotel Budapest, for example, are not likely to enjoy this either. There is a quirkiness to their work that is I grant you an acquired taste. From a personal standpoint, it’s a taste I’ve acquired but I recognize that isn’t necessarily the same for you – and that’s not a bad thing. Your taste is your taste.

Any Coen Brothers movie is worth seeing. In my book, they’ve yet to make a movie that had no redeeming qualities. And to be fair, this isn’t going to be considered one of their best I’m quite sure – I’d rank it right about the middle of their pack. But the middle of the Coen pack is better than the entire work of plenty of other directors out there.

REASONS TO GO: Typical Coen Brothers vibe. Captures the era and location nicely. Love the whimsy!
REASONS TO STAY: Drags a little bit.
FAMILY VALUES: For the most part, pretty harmless although there’s some content that’s slightly racy.
TRIVIAL PURSUIT: The fictional Capitol Pictures Studios also appears in the previous period Coen Brothers film Barton Fink.
CRITICAL MASS: As of 2/16/16: Rotten Tomatoes: 80% positive reviews. Metacritic: 72/100.
COMPARISON SHOPPING: The Player
FINAL RATING: 7/10
NEXT: Where to Invade Next?

New Releases for the Week of February 5, 2016


Hail CaesarHAIL CAESAR

(Universal) Josh Brolin, George Clooney, Scarlett Johansson, Channing Tatum, Ralph Fiennes, Tilda Swinton, Jonah Hill, Frances McDormand. Directed by Joel and Ethan Coen

In the Golden Age of Hollywood, a studio head struggling to get the studio’s prestige project made while keeping an eye on all the other movies in production suddenly finds a crisis developing when the star of his big release is kidnapped. Trying to keep the news out of the gossip columns while negotiating with the kidnappers and dealing with the egos of stars and directors alike is just another day at the office.

See the trailer, clips, interviews, a featurette and B-roll video here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Comedy
Now Playing: Wide Release

Rating: PG-13 (for some suggestive content and smoking)

The Choice

(Lionsgate) Benjamin Walker, Teresa Palmer, Maggie Grace, Tom Welling. Nicholas Sparks strikes again as a beautiful, spunky med student moves in next door to a laid-back ladies man. She wants nothing more than to settle down with her long-term boyfriend while he doesn’t want his lifestyle tied down to a particular woman so the two are wary of one another. Of course, they fall in love with each other and change each other’s lives for the better – until one of them becomes faced with a heart-wrenching decision that nobody should have to make.

See the trailer, clips and a promo here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Romance
Now Playing: Wide Release

Rating: PG-13 (for sexual content and some thematic issues)

Pride and Prejudice and Zombies

(Screen Gems) Lily James, Sam Riley, Bella Heathcote, Matt Smith. The classic Jane Austen novel gets an overhaul as the people of Longbourn and Regency-era Britain are faced with a plague that kills much of the population but also reanimates the dead. The prim and proper ladies of the time are forced to learn the arts of war along with the arts of homemaking. That in itself to the people of the time is a definite sign of the apocalypse.

See the trailer, clips, interviews and B-roll video here.
For more on the movie this is the website.

Release Formats: Standard
Genre: Horror
Now Playing: Wide Release

Rating: PG-13 (for zombie violence and action, and brief suggestive material)

A Very Murray Christmas


More fun to make than it is to watch?

More fun to make than it is to watch?

(2015) Musical (Netflix) Bill Murray, Paul Shaffer, George Clooney, Miley Cyrus, Chris Rock, Michael Cera, Rashida Jones, Jason Schwartzman, Maya Rudolph, Jenny Lewis, Amy Poehler, David Johansen, Dmitri Dimitrov, Julie White, Phoenix. Directed by Sofia Coppola

Back in the day, celebs like Dean Martin and Judy Garland used to put on Christmas specials and variety shows that would have the thinnest of plot lines but were mainly an excuse for them to sing a few Christmas tunes, have a few friends show up and generally just be themselves.

Director Sofia Coppola is trying to resurrect that vibe and has picked the perfect guy to do it; Murray plays a version of himself, contracted to do a live Christmas special at the Hotel Carlyle in New York City with its retro-cool Bemelmans’s Bar and Cafe Carlyle. An impressive guest list and audience however has evaporated as the city is paralyzed by a blizzard. Sensing catastrophe, Murray sinks into a booze-fueled depression as Hollywood handler-types (Poehler, White) and wanna-be agents (Cera) beset his Christmas mellow.

Guests happen by (Rock) or turn up as hotel employees (Lewis as a waitress, who has one of the better songs when she covers the Pogues’ “Fairytale of New York”, the band Phoenix whose frontman is married to Coppola, as a group of singing chefs) and musical numbers ensue. Murray captures the barfly/hipster mode nicely and sings adequately, but this is the type of Christmas show you’ll want to watch with a shaker full of martinis, a bowlful of peanuts and a pack of cigarettes.

Murray is a genial host but not in the tradition of a Dean Martin, a Mel Tormé or a Steve and Edie. Yes, he’s got that same rumpled charm that Dino had, but there is a weather-beaten feel to him, like someone who’s been too far and seen too much. The show opens with a bluesy downbeat Christmas song that sets the tone; world-weary Murray feeling the depression that often accompanies the Holidays. Essentially confined to the hotel by the weather and prowling the hallways like a claustrophobic cat, he hangs out in the bar and drinks away his sorrow, interacting with a bride (Jones) and groom (Schwartzman) whose wedding fell apart and whose relationship may be as well and listening to a lounge singer (Rudolph) belt out a few Christmas tunes.

Much of the action takes place in the hotel, other than a fantasy sequence featuring Clooney and Cyrus that takes place after Murray passes out. This is the kind of Christmas special for the crowd that identifies strongly with Mickey Rourke in Barfly or Nicolas Cage in Leaving Las Vegas. And yet, there is a hipness to it, like Murray has us in on the coolest night in that crazy New York town ever, a place where Chris Rock might just stumble in from out of the cold and warble a duet of “Do You Hear What I Hear?” with Murray.

So this isn’t for everybody, needless to say. Some will find it too irreverent and even take insult – those who think there’s a war on Christmas might see this as yet another salvo (it’s not). I think it’s far more subversive, taking a pot shot at our attitudes towards the holiday and snickering at it, reminding us at once that there are those who are lonely and depressed at this time of year, but also reminding us that the holidays can take a bunch of strangers and make them family, even if just for one night. In that sense, A Very Murray Christmas is suffused with holiday magic. I don’t know that this would bear repeated viewings but I suspect that those who revel in this sort of thing will make it an annual tradition. As for me, I’ll take A Charlie Brown Christmas every time.

REASONS TO GO: Hippest Christmas special ever. Murray is always a hoot.
REASONS TO STAY: Might be overly irreverent for some. A bit heavy on the quirk.
FAMILY VALUES: Some profanity, adult themes, drinking and general attitude.
TRIVIAL PURSUIT: Bill Murray doesn’t have Netflix and refuses to get it, which means he won’t be able to watch his own movie – not that he does that anyway.
BEYOND THE THEATER: Netflix
CRITICAL MASS: As of 12/11/15: Rotten Tomatoes: 79% positive reviews. Metacritic: 69/100.
COMPARISON SHOPPING: Scrooged
FINAL RATING: 6.5/10
NEXT: Children of Men

Leatherheads


Even in 1925, "hi, mom" was a thing.

Even in 1925, “hi, mom” was a thing.

(2008) Comedy (Universal) George Clooney, Renee Zellweger, John Krasinski, Jonathan Pryce, Stephen Root, Jack Thompson, Max Casella, Wayne Duvall, Keith Loneker, Malcolm Goodwin, Matt Bushell, Tommy Hinkley, Tim Griffin, Robert Baker, Nick Paonessa, Randy Newman, Grant Heslov, Mike O’Malley, Heather Goldenhersh. Directed by George Clooney

The NFL is the most powerful sports league in the United States. The championship game, the Super Bowl, is one of the most-watched sporting events on planet Earth. The league makes billions in advertising and sponsorship revenue, broadcasting rights fees, game attendance and merchandising. Millions follow their teams week after week during the fall. But it wasn’t always that way.

Carter Rutherford (Krasinski) is on the top of the world. The star football player for the Princeton Tigers football team, he is matinee idol handsome, a war hero, admired by millions and blessed with a bright future ahead of him. Pro football? C’mon, it’s 1925! Pro football is for miners, farmers and lumberjacks, the pay is ridiculously low, there are no rules to speak of and the crowds are ghastly.

Dodge Connelly (Clooney) is at rock bottom. The star player for the Duluth Bulldogs pro football team is trying to hold together his club by the skin of his teeth. They have to forfeit a football game because the game ball – the only one the team has – is stolen. As much as he loves the game, Connelly knows the future is bleak. He’s no longer a young man, he has almost no skills to speak of and football is all he knows. To make matters worse, the Bulldogs main sponsor is pulling out, and the team is about to fold.

Lexie Littleton (Zellweger) is on the ladder to success. A brassy dame hustling, scratching and clawing to make her way as a reporter in a man’s world, she’s given a plum assignment by her editor (Thompson); a lieutenant (Casella) in Rutherford’s unit has stepped forward, claiming that his war record is false. Littleton is to get the confidence of Rutherford, build him up with a series of puff pieces and then when she gets the dirt, print the exclusive. If she does it, there’s an editorial position for her.

Connelly hits upon the bright idea of enticing Rutherford into pro football. In order to do it, he’s going to have to fast talk Rutherford’s agent/publicist CC Frazier (Pryce) into even considering pro football. When Dodge brashly guarantees ten grand per game, Frazier and Rutherford (mostly Rutherford who loves the game and wants to play past his college years) agree to join the Bulldogs. Littleton, smelling a fish story, decides to tag along.

At first, it looks like the most brilliant idea ever. Huge crowds show up to see the college star – even at Bulldog practices. The players begin to work harder to get into shape and Rutherford suggests some “effective” plays he used at Princeton. Of course, being a natural athlete better than most of the people playing the game doesn’t hurt and the Bulldogs begin to win. Connelly does his part by playing up the new guy and making sure he’s the one to score the touchdowns and that Rutherford gets all the glory. Dodge is far more interested in getting the girl, but when she discovers the truth, everything is at risk.

A nice period piece that captures the very early days of professional football nicely although I’m sure the NFL would take issue with some of the more, ahem, sordid aspects of the Duluth Bulldogs. Krasinski does some fine work as the ultra-preppy Carter “The Bullet” Rutherford. He was still best known for his work in The Office at the time (which was still on the air) and launches his film career with a completely different character than his Office work and does a great job in the process.

Clooney does his usual solid job; he seems to have an affinity for period pieces (O Brother Where Art Thou, Goodnight and Good Luck) and he plays a wise-cracking, hard-nosed Leatherhead well. Zellweger seems born to play the brassy, sassy dame with more than a little moxie. She looks right for the flapper era, and gets the cadences right.

Clooney captures the period nicely, with speakeasies and swell hotels. While the football sequences are mostly played for laughs rather than for any kind of authenticity, they are at least staged in an entertaining manner. Randy Newman’s score is reminiscent of his work in Ragtime and Parenthood; look for his cameo in one of the bar scenes.

I’m not sure whether Clooney intended an homage to screwball comedies or to actually make one; either way, it’s a bit light on jokes to match up to the better examples of the genre. The chemistry between Zellweger and Clooney isn’t as convincing as it could be.

Leatherheads is flawed, but generally entertaining. They try for the kind of screwball comedy that made things like His Girl Friday, Sullivan’s Travels and Adam’s Rib, but don’t quite get there. With a better script and better chemistry between the leads, this could have been a memorable movie, but it’s still worthwhile on several fronts – just not really anything you’d want to sing the praises of too loudly. Definitely worth the rental at least if you don’t have anything particularly pressing that you’d like to see. It’s not a complete waste of your time and money at least.

WHY RENT THIS: Nice era re-creation. Clooney and Krasinski do fine jobs.
WHY RENT SOMETHING ELSE: Fails at being a true screwball comedy. Chemistry between Clooney and Zellweger not quite there.
FAMILY MATTERS: There is a smattering of foul language.
TRIVIAL PURSUITS: Due to a dispute with the Writer’s Guild of America over credit on the script, George Clooney removed himself as a voting member of the Guild.
NOTABLE HOME VIDEO FEATURES: Infamous prankster Clooney is shown playing some memorable pranks on his unsuspecting cast and crew.
BOX OFFICE PERFORMANCE: $41.3M on a $58M production budget.
SITES TO SEE: Netflix, Amazon, iTunes, Flixster, Vudu
COMPARISON SHOPPING: Eight Men Out
FINAL RATING: 5/10
NEXT: Minions

Tomorrowland


George Clooney has a chat with Brett Robertson over her TV viewing habits.

George Clooney has a chat with Brett Robertson over her TV viewing habits.

(2015) Science Fiction (Disney) George Clooney, Hugh Laurie, Britt Robertson, Raffey Cassidy, Tim McGraw, Kathryn Hahn, Keegan-Michael Key, Chris Bauer, Thomas Robinson, Pierce Gagnon, Matthew MacCaull, Judy Greer, Matthew Kevin Anderson, Michael Giacchino, D. Harlan Cutshall, Shiloh Nelson, Xantha Radley, David Nykl, Priya Rajratham. Directed by Brad Bird

The future is a subject that fascinates most of us. How we view the future tends to be a reflection of how we view the present; in the optimistic days of the early and mid-60s, the epoch of the New York World’s Fair, there was optimism. Things would get better and our ingenuity would get us there. The future was full of sleek buildings, mass transit via monorail, wondrous scientific advances, cities on the moon, flying cars, jetpacks and cheerful, smiling people without a care in the world. In short, a theme park.

These days the way we view the future is dark and hopeless. Inevitably in our view of the future civilization has collapsed, resources have been depleted and humanity is on the verge of extinction. There are no gleaming cities, no jetpacks, no cheerful, smiling people; just dirty, destitute denizens of a hardscrabble world desperate to survive in a world where survival on any given day is no picnic. Welcome to the 21st century, no?

In Brad Bird’s Tomorrowland, yet another Disney film based on a theme park attraction – or, in this case, an entire themed zone within a theme park – there is a return to that bright shiny future but in this particular case, the future isn’t all that it used to be.

Meet Frank Walker (Robinson). He’s a brilliant kid living out in the sticks who dreams of jetpacks and shiny cities and heads over to the 1964 World’s Fair with stars in his eyes and a (nearly) working jetpack under his arm for a competition for inventors. His invention is rejected but a little girl named Athena (Cassidy) gives Walker a pin and tells him to follow her and her group. Walker follows them onto the It’s a Small World ride via which he is transported to an alternate dimension, one in which the future is now. He has arrived in Tomorrowland, a place where humanity’s most creative minds, most artistic souls and most brilliant scientists have gathered to create a Utopia. In short, not unlike the SyFy Channel’s Eureka.

Flash forward 50 years and over to Central Florida where Eddie Newton (McGraw), a NASA engineer, is given charge of dismantling the launch site for the Space Shuttle after which he’ll be out of a job. His spunky daughter Casey (Robertson), who has a brilliant intuitive mind and is able to figure out almost instantly “how things work,” has been repeatedly sabotaging his efforts. One of her attempts at sabotage gets her caught and lands her in jail. When she goes to collect her things, there’s a strange pin among them – one she didn’t have before. Whenever she touches it, she is transported to Tomorrowland, although it is more of an immersive hologram of Tomorrowland. And there’s a time limit on the pin’s battery, after which it  ceases working.

Casey is obsessed with finding Tomorrowland and her search takes her to the doorstep of Frank Walker (Clooney), now a grizzled old hermit whose house looks dilapidated yet is taking in more electrical current than Walt Disney World. It turns out that Frank was exiled from Tomorrowland, and that he harbors a terrifying secret; while in Tomorrowland he built a machine able to look into the future and to his horror, it showed that the end of the human race was approaching. And it appears that Casey may hold the key to stopping it, but they have to get to Tomorrowland to do it. And there are some killer robots who are dead set on making sure that doesn’t happen.

Bird has created a marvelous universe that is brilliant to watch. Sure, it’s a bit of a retro vision but he has managed to make it visually stunning, an extension of the future worlds we saw 50 years ago (that are supposed to be now) but modernizing them somewhat. Tomorrowland thus becomes believable, at least to 2015 eyes.

In a movie in which ideas and dreams are extolled, Bird has several of his own and they bear thinking about. For example, he posits that because we’re conditioned to think that the future is bleak and awful, that we are making it come to pass. It’s a concept not without merit. The news about our present is unrelentingly bleak, when you consider climate change, income inequality, peak oil, religious fanaticism, water and food shortages, overpopulation and all the other issues that are affecting our survival. Hollywood also tends to make big budget sci-fi movies about futures in which mankind is not prospering. Post-apocalyptic wastelands are easier and cheaper to create than futuristic utopias, after all.

The constant Disney references in the movie are probably delightful to most Disneyphiles, from visions of Space Mountain on the edge of the frame during a visit to Tomorrowland, to the It’s a Small World ride in 1964 – which was actually filmed at the attraction in Anaheim, which is much longer than the original which was in the Pepsi Pavilion and not its own stand-alone facility. However, I’m betting those of you who have ridden the attraction are now cursing me because they know they won’t be able to get the song out of their heads for hours. In any case, there are references to Disney movies, Disney theme parks and Disney memorabilia throughout the movie and while most of it is subtle, some of it is blatant enough that it makes one feel like one is experience a 2 1/2 hour advertisement for Disney. But that isn’t the movie’s deadliest sin.

What I object to most about Tomorrowland is that the filmmakers have dumbed it down to appeal to a younger audience. Gigantic leaps in logic and common sense abound here as we get to watch a kid save the world. I don’t object intrinsically to having a kid be smart, but smarter than everyone else? Wisdom comes with experience; it isn’t something we are born with, something movies aimed at kids conveniently tend to overlook in order to stroke the fantasies of kids in that they’re smarter than the adults around them, and more able. While thankfully most of the adults in the film aren’t portrayed as buffoons as they often are in kid-oriented films, not one of them seems to have any sort of optimism within them whatsoever which defies the odds. I think making this too kid-oriented was a tremendous error. Look at the facts; on those Disney attraction-based films that have been completely kid-oriented (i.e. The Haunted Mansion, Country Bears) the box office has been anemic. On those that have aimed to be entertaining to all audiences (i.e. the Pirates of the Caribbean franchise) the box office was through the roof. Not all of it was Johnny Depp, mateys; a lot of it had to do with that most adults won’t watch Nickelodeon, the Cartoon Network or the Disney Channel for very long.

Clooney puts aside his suave sex symbol image and plays an unshaven, pessimistic sort who out-Get Off My Lawns Clint Eastwood in Gran Torino. He doesn’t flash his trademark grin very often in the movie, but remains engaging and charismatic nonetheless. I can’t say the same for Robertson however. I get that her character is supposed to be optimistic to the point of mania but she comes off as cloying instead. Worse, she seems to be overacting throughout, using broad gestures and expressions where subtlety would have been more appreciated. The 24-year-old Robertson is playing a young girl in her mid-teens and I get that girls that age are generally more dramatically inclined and that playing it over-the-top is more realistic than subtlety but it takes me out of the movie as I am continually reminded that someone is acting here.

This will probably rank as one of the summer’s greater disappointments. I had high hopes for it and was hoping that perhaps a new franchise might be brewing. The movie is doing pretty well at the box office but given its monster budget will have a hard time recouping all of it at the rate it is going.. I think if Bird had taken a page from Gore Verbinski’s book and appealed less to the youngest moviegoing audience and more to a more mature audience, this could have been a huge hit; it does have some admirable ideas to think about and is visually impressive but at the end of the day the things in the film that are annoying trump the things in the movie that are worthwhile. A world of tears, indeed.

REASONS TO GO: Nifty eye candy (not Clooney). Some fairly complex themes.
REASONS TO STAY: Dumbed down. Robertson overacts.
FAMILY VALUES: Some mildly bad language, sci-fi violence (robots beating each other up) and some adult themes.
TRIVIAL PURSUIT: When Casey confronts the holographic dog early on in the film, her footprints form a Hidden Mickey.
CRITICAL MASS: As of 6/3/15: Rotten Tomatoes: 49% positive reviews. Metacritic: 60/100.
COMPARISON SHOPPING: Mom and Dad Save the World
FINAL RATING: 5.5/10
NEXT: Top Spin