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

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Star Trek: Insurrection


Data has a bad day.

Data has a bad day.

(1998) Science Fiction (Paramount) Patrick Stewart, Jonathan Frakes, Brent Spiner, Levar Burton, Michael Dorn, Gates McFadden, Marina Sirtis, F. Murray Abraham, Donna Murphy, Anthony Zerbe, Gregg Henry, Daniel Hugh Kelly, Michael Welch, Mark Deakins, Stephanie Niznik, Michael Horton, Bruce French, Tom Morello, Jennifer Tung. Directed by Jonathan Frakes

I sometimes like to characterize myself as a Trekker with both eyes wide open. In other words, I love the world that Gene Roddenberry created, but I don’t love it blindly.

“Insurrection,” the ninth movie in Paramount’s cash-cow franchise, posits a race (the Baku) who are being studied in secret by the Federation and their new allies, the Son’a. When Data (Spiner), a member of the study team and as all good Trekkers know, an integral part of the crew of the Enterprise-D goes berserk. Captain Picard (Stewart) abruptly leaves a diplomatic mission to go and see what’s goin’ on, to quote Marvin Gaye.

What’s going on is that a smarmy Starfleet admiral (Zerbe) has put the Federation in bed with the nasty Son’a (you know they’re nasty because they use subspace weapons and even the Borg don’t stoop to that), with the intention of forcing the peaceful Baku to another world. It seems that particles in the rings of the Baku planet give off an energy that, properly processed, can reverse the aging process … indefinitely. In short, a kind of stellar Fountain of Youth.

Picard objects strenuously, but because of the planet’s location in a remote corner of the quadrant, communication with the Powers That Be in the Federation is impossible. Picard must rely on his own code of ethics to guide him. The title should tell you which direction he leans toward.

Producer Rick Berman may have been too overloaded when making this movie, with two television series and the feature film to contend with, along with the opening of a then-new attraction in Las Vegas. Insurrection is unable to break the curse of the odd-numbered Trek movies – the worst films in the franchise to this point are all odd numbered. Insurrection isn’t as bad as The Final Frontier, but it doesn’t really distinguish itself, either.

The trouble with the Trek movies is that too many of them have a perspective too influenced by the television screen. They don’t really fill up the big screen all that well, unless Nicholas Meyer is directing them. But then, unlike many of the Trek directors, Meyer already had a couple of feature films under his belt before tackling Star Trek: The Wrath of Khan. Unfortunately, the reality of the situation is that Paramount has often had to offer the directing reins to actors in order to get them to play ball. This leads to the odd situation of having some of the studio’s most valuable properties in the hands of inexperienced directors.

It’s not that director Jonathan Frakes (who also plays First Officer Riker) is incompetent, it’s just that I’d wanted to see more cinematic sweep to a Star Trek movie than heretofore had been shown. For example, Insurrection alludes to a Federation that is desperate for allies after being decimated by the Borg and is involved with a life-or-death struggle with the Dominion. Against that background, you’d think you could get a better plot than one that basically says that forced relocation is a bad thing. I think most of us have already figured that one out.

In a situation like the one described above, you’d also think that the Federation’s premier starship would be on the front lines instead of making diplomatic contact with second-rate species, but that’s just a minor point. The problem here is that once again it seems to be the Picard-Data-Worf (Dorn) show, as LaForge (Burton), Dr. Crusher (McFadden) and Counselor Troi (Sirtis) are given almost nothing to do. Riker is kind of involved but for the most part, it’s all platitudes and posturing and not enough gee whiz.

At the time this was made, I really wanted to see Star Trek movies become more like Major Events with storylines that directly influenced the television shows without forcing the audience to be immersed in the show (as the X-Files movie did). That, sadly, never came to pass which might be just as well; the last two Star Trek movies which have rebooted the cinematic franchise have become Event Films. Part of the problem with Insurrection was the miserly budget which in many ways was justified – up to that point the cinematic Star Trek wasn’t pulling in enough box office for the most part to justify nine figure budgets. The reality was that Trekkers were getting more than their fix of the franchise on TV and the TV version was in many ways superior to what was going up on the big screen. Why pay to see something you can see for free at home, and it’s hard to blame audiences for that. Still, seeing what Marvel is doing with their franchise tells me that it could have been done. Ah well, I suppose in this case I was slightly ahead of my time – or overreaching the grasp of my beloved franchise.

WHY RENT THIS: You’re a Trekker completist. Holds up well among the Next Generation movies.

WHY RENT SOMETHING ELSE: Lacks cinematic scope, playing as an extended TV episode. Tame action scenes.

FAMILY VALUES: There’s some sci-fi violence, a few mildly bad words and a bit of sensuality.

TRIVIAL PURSUITS: The first Star Trek movie in which all of the outer space shots were computer generated. Among the firms providing CGI and software support were Blue Sky Studios and Pixar, both of which would go on to be major CGI animation studios.

NOTABLE HOME VIDEO EXTRAS: The 2-disc DVD Collector’s edition includes a look at Alien women in the Star Trek universe and fairly detailed looks at how some of the special effects were created. The Blu-Ray edition (available as part of a collection of Star Trek: Next Generation films) adds a Trek Roundtable in which fans and experts discuss the film with an eye to its place in the overall Star Trek universe and a Star Trek Academy feature which is set up as an Academy lecture on the origins of the conflict between the Baku and the Son’a.

BOX OFFICE PERFORMANCE: $112.6M on a $58M production budget; the movie pretty much broke even.

COMPARISON SHOPPING: Rabbit-Proof Fence

FINAL RATING: 5/10

NEXT: Good Neighbours