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Movie Metropolis (309 KP) rated The Boss (2016) in Movies
Jun 11, 2019
Where's the comedy?
Melissa McCarthy is one of the biggest stars in Hollywood. Her rise to fame has been nothing short of extraordinary, helped in part by her leading roles in The Heat, Spy and of course the hilarious Bridesmaids.
However, each of those examples of comedic brilliance had one thing in common, apart from McCarthy, director Paul Feig. He brings out the very best in the actress and we’ll see if this formula continues to work with the controversial Ghostbusters reboot, released later this year.
For now, McCarthy teams up with director and real-life husband Ben Falcone (Tammy) in The Boss. But does it offer you a laugh a minute?
The Boss follows the fall from grace of Michelle Darnell (McCarthy), one of America’s wealthiest women, and her efforts to get back on top. Her plan? To start a cake-making empire. Alongside her for the ride is long-suffering assistant Claire (Kristen Bell). Side roles are reserved for Game of Thrones star Peter Dinklage as Michelle’s rival and Kathy Bates as her mentor.
Unfortunately, the biggest problem The Boss has is one that blights many films nowadays; the best bits have already been shown in the trailer. For an action adventure, this is disappointing, but for a comedy, it’s silver-screen suicide. Having laughed in the pre-release clips already, the rest of the film is as barren as the Sahara when it comes to raising a titter.
That’s a real shame as the film’s plot, whilst hardly ground-breaking, is fundamentally solid and the acting is, Dinklage’s hammy performance aside, decent. McCarthy in particular takes a poor script and injects some much-needed spice into it – a testament to her incredible talents as a comedienne. Bell is on-point and bounces off McCarthy’s presence very well while Kathy Bates provides the film with one of its more memorable scenes, albeit one already used in the trailer.
There’s also a well-choreographed bust-up between two groups of teenage girls that manages to raise a chuckle, but again the majority of it was added to the most recent trailer.
Overall, The Boss is McCarthy’s second true turkey with Tammy being the first, but there’s no blame to be placed on her shoulders here. Michelle Darnell is a cracking character, despite her striking resemblance to Rita from Coronation Street, and is one that deserves far better than a film that’s light on laughs and has to rest on the laurels of its lead star – now that’s just lazy.
Perhaps the next time her husband asks her to star in one of his comedies, she should really, really think about it first.
https://moviemetropolis.net/2016/06/11/wheres-the-comedy-the-boss-review/
However, each of those examples of comedic brilliance had one thing in common, apart from McCarthy, director Paul Feig. He brings out the very best in the actress and we’ll see if this formula continues to work with the controversial Ghostbusters reboot, released later this year.
For now, McCarthy teams up with director and real-life husband Ben Falcone (Tammy) in The Boss. But does it offer you a laugh a minute?
The Boss follows the fall from grace of Michelle Darnell (McCarthy), one of America’s wealthiest women, and her efforts to get back on top. Her plan? To start a cake-making empire. Alongside her for the ride is long-suffering assistant Claire (Kristen Bell). Side roles are reserved for Game of Thrones star Peter Dinklage as Michelle’s rival and Kathy Bates as her mentor.
Unfortunately, the biggest problem The Boss has is one that blights many films nowadays; the best bits have already been shown in the trailer. For an action adventure, this is disappointing, but for a comedy, it’s silver-screen suicide. Having laughed in the pre-release clips already, the rest of the film is as barren as the Sahara when it comes to raising a titter.
That’s a real shame as the film’s plot, whilst hardly ground-breaking, is fundamentally solid and the acting is, Dinklage’s hammy performance aside, decent. McCarthy in particular takes a poor script and injects some much-needed spice into it – a testament to her incredible talents as a comedienne. Bell is on-point and bounces off McCarthy’s presence very well while Kathy Bates provides the film with one of its more memorable scenes, albeit one already used in the trailer.
There’s also a well-choreographed bust-up between two groups of teenage girls that manages to raise a chuckle, but again the majority of it was added to the most recent trailer.
Overall, The Boss is McCarthy’s second true turkey with Tammy being the first, but there’s no blame to be placed on her shoulders here. Michelle Darnell is a cracking character, despite her striking resemblance to Rita from Coronation Street, and is one that deserves far better than a film that’s light on laughs and has to rest on the laurels of its lead star – now that’s just lazy.
Perhaps the next time her husband asks her to star in one of his comedies, she should really, really think about it first.
https://moviemetropolis.net/2016/06/11/wheres-the-comedy-the-boss-review/
Lee (2222 KP) rated Last Christmas (2019) in Movies
Nov 16, 2019
I guess I’m not exactly the target audience for a Christmas rom-com, but I don’t usually mind them. Providing the leads have believable chemistry, there’s a good story behind it all, a few laughs and something that gives you that Christmas feel good feeling, I’m happy to watch them. Sadly though, for the most part, Last Christmas struggles to tick most of those boxes.
Emilia Clarke stars as Kate (short for Katerina, her original Yugoslav name), a 26 year old who’s struggling at life right now. Her nights are filled with one-night stands and sleeping over at friends houses, dragging her suitcase behind her the next morning as she either heads to work in a Covent Garden Christmas shop or off to an audition for a West end show. She’s also currently ignoring calls from her mum (Emma Thomson), disappointing her boss (Michelle Yeoh) and coming across as selfish and not really very likeable. It’s safe to say, she’s lost her way - “Why is my life so shit?!” she exclaims after yet another disaster happens.
And then one day, Kate notices a man gazing up at a bird outside the Christmas shop and goes outside to see what he’s doing. His name is Tom (Henry Golding) and he’s handsome and charming (but a bit wooden) and despite them turning out to have zero chemistry together, they strike up a relationship - because, y’know, this is a rom-com after all. Tom takes Kate on spontaneous walks down alleyways and into nearby pocket parks, making her look up regularly so that she can appreciate the world around her. He rides a bike everywhere, doesn’t have a mobile phone and disappears for days on end. Yet his presence and friendship appear to have a positive effect on Kate, who begins to start turning her life around.
The first half of the movie is just terrible. Badly written dialogue and characters in an attempt to try and recapture some kind of Love Actually spirit, but just failing. It even tries to cram in some Brexit references and a little bit of racism to highlight the plight of immigrants. Written by Emma Thomson and directed by Paul Feig, Last Christmas is said to be inspired by the music of George Michael although, aside from its namesake, not very much of it actually ends up featuring much in the movie.
If you’ve seen the trailer, then you may well have figured out the twist that comes towards the end of the movie. If not, then you’ll probably work it out pretty early on anyway. However, I’d be lying if I said that Last Christmas didn’t manage to hit me emotionally when the time came. It also managed to invoke some warm Christmas feels and spirit too, so not quite the complete disaster it started out as.
Emilia Clarke stars as Kate (short for Katerina, her original Yugoslav name), a 26 year old who’s struggling at life right now. Her nights are filled with one-night stands and sleeping over at friends houses, dragging her suitcase behind her the next morning as she either heads to work in a Covent Garden Christmas shop or off to an audition for a West end show. She’s also currently ignoring calls from her mum (Emma Thomson), disappointing her boss (Michelle Yeoh) and coming across as selfish and not really very likeable. It’s safe to say, she’s lost her way - “Why is my life so shit?!” she exclaims after yet another disaster happens.
And then one day, Kate notices a man gazing up at a bird outside the Christmas shop and goes outside to see what he’s doing. His name is Tom (Henry Golding) and he’s handsome and charming (but a bit wooden) and despite them turning out to have zero chemistry together, they strike up a relationship - because, y’know, this is a rom-com after all. Tom takes Kate on spontaneous walks down alleyways and into nearby pocket parks, making her look up regularly so that she can appreciate the world around her. He rides a bike everywhere, doesn’t have a mobile phone and disappears for days on end. Yet his presence and friendship appear to have a positive effect on Kate, who begins to start turning her life around.
The first half of the movie is just terrible. Badly written dialogue and characters in an attempt to try and recapture some kind of Love Actually spirit, but just failing. It even tries to cram in some Brexit references and a little bit of racism to highlight the plight of immigrants. Written by Emma Thomson and directed by Paul Feig, Last Christmas is said to be inspired by the music of George Michael although, aside from its namesake, not very much of it actually ends up featuring much in the movie.
If you’ve seen the trailer, then you may well have figured out the twist that comes towards the end of the movie. If not, then you’ll probably work it out pretty early on anyway. However, I’d be lying if I said that Last Christmas didn’t manage to hit me emotionally when the time came. It also managed to invoke some warm Christmas feels and spirit too, so not quite the complete disaster it started out as.
BankofMarquis (1832 KP) rated A Simple Favor (2018) in Movies
Apr 8, 2020
Well Worth Watching
I'll start this review by stating for the record - I LIKE BLAKE LIVELY. I think the former Gossip Girl star is extremely watchable and interesting - and in the right role, can take over a film.
And...in A SIMPLE FAVOR...she is in the right role.
Also starring Anne Kendrick (INTO THE WOODS), A SIMPLE FAVOR tells the tale of a suburban mother (Kendrick) who forms a friendship with a lively (no pun intended) working mom (Lively) - from "The City" no less - who asks her friend for "A Simple Favor" - watch her child while she tends to some urgent business. When the working Mom goes missing, the suburban Mom starts snooping into what happened.
Directed by Paul Feig (BRIDESMAIDS), A SIMPLE FAVOR finds itself in a bit of a "no man's land" of style and genre. Is it a made for TV Movie like BIG LITTLE LIES (no...it's ambition and production style is more ambitious than that). Is it a "Major Motion Picture" a la GONE GIRL (no...it's not that ambitious). Is it a satire on the suburban Mom (partially), a whodunnit (partially), a mystery (partially) a black comedy (partially).
And that's what is in this film's favor - and it's biggest issue. It's hard to define and pin down and the feel of the film floats all over the place, as do the performances of the leading ladies.
Anna Kendrick is perfectly well suited to play the frumpy suburban Mom, Stephanie, who's underlying unhappiness is masked by the perma-grin and energy of that Mom who volunteers for EVERYTHING at school. She is more than balanced by Lively's scene-stealing performance as Emily the working Mom from NYC that doesn't take crap - or orders - from anybody. Their scenes together are uneven and unbalanced - and that is perfect for what Stephanie is going through. She encounters a force of nature in Emily and is just trying to hang on for dear life.
And there, again, is where the issues of this film (and it's strengths) show up. Sometimes - it seems - that Stephanie is getting a foothold, only to slip and fall. But then she gets her foothold stronger and a whole new character emerges, only to have it slip again...and then she is SNARKY...and slips back to mousey...and then she is CLEVER...and slips back to mousey...and the she...
You get the idea. It keeps the audience guessing and off-guard, but the change in tone hurts the overall flow of the film.
It, ultimately, becomes a fairly clever whoddunit that had me guessing (for the most part) until the end, so I have to admit - I ended up enjoying it - mostly because of Lively's energy.
Letter Grade: B+ (well worth your time to check out)
7 (out of 10) stars and you can take that to the Bank (OfMarquis)
And...in A SIMPLE FAVOR...she is in the right role.
Also starring Anne Kendrick (INTO THE WOODS), A SIMPLE FAVOR tells the tale of a suburban mother (Kendrick) who forms a friendship with a lively (no pun intended) working mom (Lively) - from "The City" no less - who asks her friend for "A Simple Favor" - watch her child while she tends to some urgent business. When the working Mom goes missing, the suburban Mom starts snooping into what happened.
Directed by Paul Feig (BRIDESMAIDS), A SIMPLE FAVOR finds itself in a bit of a "no man's land" of style and genre. Is it a made for TV Movie like BIG LITTLE LIES (no...it's ambition and production style is more ambitious than that). Is it a "Major Motion Picture" a la GONE GIRL (no...it's not that ambitious). Is it a satire on the suburban Mom (partially), a whodunnit (partially), a mystery (partially) a black comedy (partially).
And that's what is in this film's favor - and it's biggest issue. It's hard to define and pin down and the feel of the film floats all over the place, as do the performances of the leading ladies.
Anna Kendrick is perfectly well suited to play the frumpy suburban Mom, Stephanie, who's underlying unhappiness is masked by the perma-grin and energy of that Mom who volunteers for EVERYTHING at school. She is more than balanced by Lively's scene-stealing performance as Emily the working Mom from NYC that doesn't take crap - or orders - from anybody. Their scenes together are uneven and unbalanced - and that is perfect for what Stephanie is going through. She encounters a force of nature in Emily and is just trying to hang on for dear life.
And there, again, is where the issues of this film (and it's strengths) show up. Sometimes - it seems - that Stephanie is getting a foothold, only to slip and fall. But then she gets her foothold stronger and a whole new character emerges, only to have it slip again...and then she is SNARKY...and slips back to mousey...and then she is CLEVER...and slips back to mousey...and the she...
You get the idea. It keeps the audience guessing and off-guard, but the change in tone hurts the overall flow of the film.
It, ultimately, becomes a fairly clever whoddunit that had me guessing (for the most part) until the end, so I have to admit - I ended up enjoying it - mostly because of Lively's energy.
Letter Grade: B+ (well worth your time to check out)
7 (out of 10) stars and you can take that to the Bank (OfMarquis)
Bob Mann (459 KP) rated Last Christmas (2019) in Movies
Nov 25, 2019
Alas, Christmas
Oh Dear! Now I wouldn't go as far as saying I had "high hopes" for this film, but as a real fan of the goo-fest that is "Love Actually" I at least thought this might fill some seasonal void in the run up to the festive season. "Best Christmas film of the decade!!" screams the marketing. Er... no.
This review will be spoiler free.
The plot: Kate (Emilia Clarke) is an immigrant from the former-Yugoslavia now living in London. She has a dead-end job working for "Santa" (Michelle Yeoh) in a Christmas shop in Covent Garden. She is perennially lubricated both with drink and other bodily fluids thanks to her hedonistic lifestyle. And she really likes George Michael.
But life just seems vacuous and to have no purpose for her anymore. Her composure is not helped by her mother (Emma Thompson) constantly fussing about her health, since Kate has only recently recovered from a serious illness.
Dropping into her life then comes Tom (Henry Golding). Smartly dressed and calmly reassuring, Tom seems to have the potential to start turning Kate's life around. But is she prepared to listen?
There are startling similarities here with Phoebe Waller-Bridge's triumphant tribute to hedonistic 30-something sex-addicted females everywhere.... "Fleabag". Kate is similarly louche, hopping from bed to bed in a heartbeat. She has a dysfunctional family and - most strikingly - she has a particularly difficult relationship with her high-achieving sister. This is not helped by a remarkable similarity between the actress playing Marta (Lydia Leonard ) and Fleabag's Clare (Sian Clifford). But whereas Fleabag is both brilliantly written, heart-rending and hilarious, this simply is not.
There were a total of two laughs in the movie for me. Period. Both were lines delivered by Emma Thompson, and if you've seen the film you probably know the ones. Now, I'm aware that Thompson co-wrote the script and she is, of course, a national acting treasure. But here the script is clunky and all of the "comic" scenes are so laboured and forced that they land like leaden weights.
And some of it makes no sense whatsoever. There is some strange Danish sauerkraut salesman (Peter Mygind) with a crush on "Santa". He suddenly appears in the shop acting like some escaped mental patient. When he first appears, acting bizarrely, you think, "oh, there must be some fascinating backstory between these two - a murky past they are trying to rekindle". But no! This is the first time they have EVER met? It's completely bonkers!
Much was made of this being Michelle Yeoh's "first comedy". Sorry, but if she proves anything here it is that she is not a comic actress.
Emilia Clarke is still looking to land in a decent mainstream role outside "Game of Thrones", after a failed Terminator sequel, a half-decent weepie ("Me Before You") and the commercial failure that was "Solo". Here she certainly looks curvaciously cute as the Christmas elf. But unfortunately cute can't save her from the car-crash of a script.
Similarly Henry Golding is well-dressed eye-candy for the ladies, almost doing a re-tread of his cool and laid-back character from the excellent "Crazy Rich Asians". Without the same need to be "zany", he fairs slightly better from the script. But again, this feels like one to shuffle into a quiet corner of his CV.
What can I say that's even remotely good about this? Three things:
1) London. It looks glorious, decked out in lights like some chocolate-box-cover cum tourist-board publicity shot. London is one of the most photogenic cities on the planet, and I could relate to Tom's mantra to "look up" and see all of the architectural quirks and foibles that exist around every corner in that wonderful city;
2) The payoff. Exactly when you get the payoff will depend on how much you know going in (if you've managed to avoid the trailer... continue to avoid it!) and how attentive you are. There's an "aha!" moment. And it's nicely played out.
3) There's a topical xenophobic Brexit angle, that's a little clumsy in the exposition but - in my view - is good for the telling.
This is a movie desperately trying to blend "Love Actually" with another Christmas classic (no... not "Die Hard"... but to say more would introduce spoilers!) But in my view it misses badly.
The director is Paul Feig, famous for "Bridesmaids" and "Spy" and infamous for the female "Ghostbusters" reboot.
There are clearly lovers of this film. At the time of writing it has made an impressive $51M on its $25M budget. But I went with another three cinema-goers from my family, all of differing ages and sentiments: and we all universally agreed on the rating for this one.
(For the graphical review, please check out One Mann's Movies here - https://bob-the-movie-man.com/2019/11/25/one-manns-movies-film-review-last-christmas-2019/ . Thanks).
This review will be spoiler free.
The plot: Kate (Emilia Clarke) is an immigrant from the former-Yugoslavia now living in London. She has a dead-end job working for "Santa" (Michelle Yeoh) in a Christmas shop in Covent Garden. She is perennially lubricated both with drink and other bodily fluids thanks to her hedonistic lifestyle. And she really likes George Michael.
But life just seems vacuous and to have no purpose for her anymore. Her composure is not helped by her mother (Emma Thompson) constantly fussing about her health, since Kate has only recently recovered from a serious illness.
Dropping into her life then comes Tom (Henry Golding). Smartly dressed and calmly reassuring, Tom seems to have the potential to start turning Kate's life around. But is she prepared to listen?
There are startling similarities here with Phoebe Waller-Bridge's triumphant tribute to hedonistic 30-something sex-addicted females everywhere.... "Fleabag". Kate is similarly louche, hopping from bed to bed in a heartbeat. She has a dysfunctional family and - most strikingly - she has a particularly difficult relationship with her high-achieving sister. This is not helped by a remarkable similarity between the actress playing Marta (Lydia Leonard ) and Fleabag's Clare (Sian Clifford). But whereas Fleabag is both brilliantly written, heart-rending and hilarious, this simply is not.
There were a total of two laughs in the movie for me. Period. Both were lines delivered by Emma Thompson, and if you've seen the film you probably know the ones. Now, I'm aware that Thompson co-wrote the script and she is, of course, a national acting treasure. But here the script is clunky and all of the "comic" scenes are so laboured and forced that they land like leaden weights.
And some of it makes no sense whatsoever. There is some strange Danish sauerkraut salesman (Peter Mygind) with a crush on "Santa". He suddenly appears in the shop acting like some escaped mental patient. When he first appears, acting bizarrely, you think, "oh, there must be some fascinating backstory between these two - a murky past they are trying to rekindle". But no! This is the first time they have EVER met? It's completely bonkers!
Much was made of this being Michelle Yeoh's "first comedy". Sorry, but if she proves anything here it is that she is not a comic actress.
Emilia Clarke is still looking to land in a decent mainstream role outside "Game of Thrones", after a failed Terminator sequel, a half-decent weepie ("Me Before You") and the commercial failure that was "Solo". Here she certainly looks curvaciously cute as the Christmas elf. But unfortunately cute can't save her from the car-crash of a script.
Similarly Henry Golding is well-dressed eye-candy for the ladies, almost doing a re-tread of his cool and laid-back character from the excellent "Crazy Rich Asians". Without the same need to be "zany", he fairs slightly better from the script. But again, this feels like one to shuffle into a quiet corner of his CV.
What can I say that's even remotely good about this? Three things:
1) London. It looks glorious, decked out in lights like some chocolate-box-cover cum tourist-board publicity shot. London is one of the most photogenic cities on the planet, and I could relate to Tom's mantra to "look up" and see all of the architectural quirks and foibles that exist around every corner in that wonderful city;
2) The payoff. Exactly when you get the payoff will depend on how much you know going in (if you've managed to avoid the trailer... continue to avoid it!) and how attentive you are. There's an "aha!" moment. And it's nicely played out.
3) There's a topical xenophobic Brexit angle, that's a little clumsy in the exposition but - in my view - is good for the telling.
This is a movie desperately trying to blend "Love Actually" with another Christmas classic (no... not "Die Hard"... but to say more would introduce spoilers!) But in my view it misses badly.
The director is Paul Feig, famous for "Bridesmaids" and "Spy" and infamous for the female "Ghostbusters" reboot.
There are clearly lovers of this film. At the time of writing it has made an impressive $51M on its $25M budget. But I went with another three cinema-goers from my family, all of differing ages and sentiments: and we all universally agreed on the rating for this one.
(For the graphical review, please check out One Mann's Movies here - https://bob-the-movie-man.com/2019/11/25/one-manns-movies-film-review-last-christmas-2019/ . Thanks).
