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Gareth von Kallenbach (965 KP) rated Anchorman 2: The Legend Continues (2013) in Movies
Aug 6, 2019
I really wanted this movie to be epic. I wanted it to be the follow up that so many waited so long to see.
However, it fell just short of that goal in my book.
Anchorman 2 picks up in 1980 where Ron Burgandy (Will Ferrell) and Veronica Corningstone (Christina
Applegate) are married, have a 6-year old son, and are co-anchors for a local news station in New York.
Not long into the movie, something comes between the two, and we see Burgandy hit a new low as an
announcer at Sea World. But he is approached with an opportunity to work at the first 24-hour news
channel, and a chance to get his old team back together. Along with Brian Fantana (Paul Rudd), Champ
Kind (David Koechner) and Brick Tamland (Steve Carrell), Ron Burgandy takes the world by storm with
a new format, and vastly different “news” stories than what some traditionalists would call news.
As I said, there was so much potential for this movie that it just seemed to miss. It felt like they tried
to force too much of Brick’s “natural charm” that made him so popular in the first, even with the love
interest they brought in for him this go around. You top that off with recycled jokes, not just from
the first movie (which I would have been okay with), but from other movies as well. I immediately
recognized 2 from the Austin Powers franchise alone.
It’s not to say that the movie didn’t have its moments. There were quite a few times where I was caught
off guard by something I was not expecting, or where the joke fell naturally into place. But the rest of
the movie seemed forced. And one cameo in reference to MTV had me downright upset. But hey, not
everyone shares my view.
So my test? Would I pay to see this movie in theaters? No. Wait for it to come to disc/digital
download. I have a feeling it won’t be long before it gets there.
However, it fell just short of that goal in my book.
Anchorman 2 picks up in 1980 where Ron Burgandy (Will Ferrell) and Veronica Corningstone (Christina
Applegate) are married, have a 6-year old son, and are co-anchors for a local news station in New York.
Not long into the movie, something comes between the two, and we see Burgandy hit a new low as an
announcer at Sea World. But he is approached with an opportunity to work at the first 24-hour news
channel, and a chance to get his old team back together. Along with Brian Fantana (Paul Rudd), Champ
Kind (David Koechner) and Brick Tamland (Steve Carrell), Ron Burgandy takes the world by storm with
a new format, and vastly different “news” stories than what some traditionalists would call news.
As I said, there was so much potential for this movie that it just seemed to miss. It felt like they tried
to force too much of Brick’s “natural charm” that made him so popular in the first, even with the love
interest they brought in for him this go around. You top that off with recycled jokes, not just from
the first movie (which I would have been okay with), but from other movies as well. I immediately
recognized 2 from the Austin Powers franchise alone.
It’s not to say that the movie didn’t have its moments. There were quite a few times where I was caught
off guard by something I was not expecting, or where the joke fell naturally into place. But the rest of
the movie seemed forced. And one cameo in reference to MTV had me downright upset. But hey, not
everyone shares my view.
So my test? Would I pay to see this movie in theaters? No. Wait for it to come to disc/digital
download. I have a feeling it won’t be long before it gets there.
BankofMarquis (1832 KP) rated Barbie (2023) in Movies
Jul 21, 2023
More Than Meets The Eye
The Margot Robbie/Ryan Gosling curiosity BARBIE is a subversive film. This Greta Gerwig directed move lures you in by presenting a farcical/satirical look at the pastel colored “Barbieland” and the myriad of outfits and “golly-gosh” goodness of the world of this iconic Mattel doll (and her boyfriend, Ken). Once you are comfortably settled into this world, you are transformed to the “real world” and the much deeper themes of a women’s place in a patriarchal world.
As another toy’s slogan puts it, “there’s more than meets the eye” to this film.
And one should have expected something more than just a “surfacey-fun” film from the Writer/Director of such fare as LADYBIRD and FRANCES HA. Gerwing uses the stereotypes of Barbie and Ken to take a look at our society and the inherent hierarchy of the sexes while peeling back the layers of the key players to make them more than the plastic dolls they portray.
And…it works surprisingly well for adults - not so much for kids.
Margot Robbie, of course, is perfectly cast as the titular Barbie. She has the looks and the vacuous devil-may-care attitude of “Stereotype Barbie” and is a comfortable, pleasing entity to share this adventure with. But, with Gerwig’s direction, Robbie’s performance reveals, subtly, layer after layer until - at the end - we end up with a full fledged character and not just a living doll.
Ryan Gosling is just as strong as Barbie’s counterpart, Ken. He morphs from a Barbie worshipping boyfriend to something else once he encounters the real, male-dominated world. The BankofMarquis wondered why Gosling would agree to do a film that, on it’s surface, appears to be a one-note joke-fest, but once the film really drives to it’s point, one can see why Gosling agreed to be in this.
Issa Rae, Kate McKinnon, Simu Liu, Michael Cerra, Helen Mirren (as the narrator) and America Ferrara all spark - at times - during this film while it was good to see Rhea Perlman (Carla on CHEERS) have a role that she could sink her teeth into.
Only Will Ferrell - as the money hungry CEO of Mattel - falls short of interesting. His character - one of the only “real world” characters in this film - stays stereotypical throughout the movie. He is the only complete caricature in this film…and perhaps that is on purpose.
Credit for the surprising depth of this film goes to Gerwig who brings her sensibilities to this film to make a comment on our society. It’s a bold move by Gerwig and works well…unless you are a Mom that is bringing your 5 or 6 year old child to this film.
And, that is the caution to this movie. It’s not, necessarily, made for the youngsters that play with Barbies. The kids will love the early going of this film, but the more adult themes in the middle of the movie will probably make a good deal of them squirm in their seats, since these moments of depth will go over their heads.
A surprisingly fun…and deeper than it appears to be….film, this Barbie is a multi-level dreamhouse.
Letter Grade: A-
8 stars (out of 10) and you can take that to the BankofMarquis
As another toy’s slogan puts it, “there’s more than meets the eye” to this film.
And one should have expected something more than just a “surfacey-fun” film from the Writer/Director of such fare as LADYBIRD and FRANCES HA. Gerwing uses the stereotypes of Barbie and Ken to take a look at our society and the inherent hierarchy of the sexes while peeling back the layers of the key players to make them more than the plastic dolls they portray.
And…it works surprisingly well for adults - not so much for kids.
Margot Robbie, of course, is perfectly cast as the titular Barbie. She has the looks and the vacuous devil-may-care attitude of “Stereotype Barbie” and is a comfortable, pleasing entity to share this adventure with. But, with Gerwig’s direction, Robbie’s performance reveals, subtly, layer after layer until - at the end - we end up with a full fledged character and not just a living doll.
Ryan Gosling is just as strong as Barbie’s counterpart, Ken. He morphs from a Barbie worshipping boyfriend to something else once he encounters the real, male-dominated world. The BankofMarquis wondered why Gosling would agree to do a film that, on it’s surface, appears to be a one-note joke-fest, but once the film really drives to it’s point, one can see why Gosling agreed to be in this.
Issa Rae, Kate McKinnon, Simu Liu, Michael Cerra, Helen Mirren (as the narrator) and America Ferrara all spark - at times - during this film while it was good to see Rhea Perlman (Carla on CHEERS) have a role that she could sink her teeth into.
Only Will Ferrell - as the money hungry CEO of Mattel - falls short of interesting. His character - one of the only “real world” characters in this film - stays stereotypical throughout the movie. He is the only complete caricature in this film…and perhaps that is on purpose.
Credit for the surprising depth of this film goes to Gerwig who brings her sensibilities to this film to make a comment on our society. It’s a bold move by Gerwig and works well…unless you are a Mom that is bringing your 5 or 6 year old child to this film.
And, that is the caution to this movie. It’s not, necessarily, made for the youngsters that play with Barbies. The kids will love the early going of this film, but the more adult themes in the middle of the movie will probably make a good deal of them squirm in their seats, since these moments of depth will go over their heads.
A surprisingly fun…and deeper than it appears to be….film, this Barbie is a multi-level dreamhouse.
Letter Grade: A-
8 stars (out of 10) and you can take that to the BankofMarquis
Saturday Night Live. The Book
Book
On October 11, 1975 at 11:30 pm, NBC viewers who tuned in to the network's new late night show saw a...
Gareth von Kallenbach (965 KP) rated Bewitched (2005) in Movies
Aug 14, 2019
Turning a classic television series into a feature film can be a risky proposition. While the built in audience of Baby Boomers and new fans of a show gained through reruns make remakes a potentially lucrative venture, the task of recasting classic characters and modernizing the story to today’s audiences is rife with hazards.
For example, for every remake that succeeds, such as The Adams Family, Starsky and Hutch, and The Brady Bunch, there are countless others that fail, like The Wild Wild West, Car 54 Where Are You and I-Spy.
Sadly the new film version of Bewitched falls into the latter category. It is so bad it begs the question as to why such talents like Nicole Kidman, Michael Caine, and Will Ferrell signed on.
The story centers on Isabel Bigelow (Nicole Kidman), a young woman who is anxious to set off on her own and leave the family structure behind her. While this is not so uncommon for most people, Isabel is a witch and her decision to live as a mortal without her powers is of great consternation to her father (Michael Caine).
Isabel is convinced she can find a man, and can live in happiness and love with a mortal. She wants no part of the shallow and wandering eye that makes up their lifestyle. Convinced his daughter will never be able to live without her powers, her father chides her for her frequent and casual use of powers to do everything from find and furnish her home to paying for everyday needs.
At roughly the same time, fading actor Jack Wyatt is about to sign up to play the male lead in a new television version of the classic Bewitched television series. With the gigantic failure of his recent film, Jack is in need of a hit. Not wanting to take any attention away from his star turn, Jack insists that the producers cast a complete unknown in the role of Samantha. He does not want anyone infringing upon his spotlight.
A chance encounter with Isabel leads to her being cast by Jack in the new series. Isabel is taken by Jack and when she learns the role is that of a witch, she signs aboard despite some reservations.
Naturally Jack and Isabel will hit it off, and yes there will be issues, particularly when Jack’s shallow nature becomes clear to Isabel, and this is to say nothing of Isabel’s true identity which in and of itself is an issue.
What starts as a good premise with a solid cast quickly dissolves into a disjointed mess thanks to a paper thin plot that is rife with plot holes, non-sequitors, and unresolved moments. One such example is the character of Iris Smythson (Shirley Mac Laine), who plays Endora on the show. It is at first hinted at that she too is a witch and then made obvious. However there is no conclusion to this revelation. We see that she has a power and uses it, but we never really get the why she is there, how she chose to live as she does, and how her relationship with Isabel’s father is going to be altered by this.
Another problem the show has is that Ferell is reduced to running around, over-acting to get laughs. The situations go on way to long, and things that are at first amusing, become tedious after a while. One such scene has Ferell’s character appearing nude on a live television appearance. It is something that is used to generate laughs but there is no setup to the scene and it plays out as a desperate attempt to get laughs.
The only thing that works is the charm of Kidman who, as the quirky Isabel, is delightful, as is the supporting work of Caine and Steve Carell as Uncle Arthur. Sadly they are the only good things in a film that became so bad that many in the audience at my press screener were voicing their disdain when we left the film. Perhaps Samantha can twitch her nose and make this one vanish, as there is precious little to redeem it.
For example, for every remake that succeeds, such as The Adams Family, Starsky and Hutch, and The Brady Bunch, there are countless others that fail, like The Wild Wild West, Car 54 Where Are You and I-Spy.
Sadly the new film version of Bewitched falls into the latter category. It is so bad it begs the question as to why such talents like Nicole Kidman, Michael Caine, and Will Ferrell signed on.
The story centers on Isabel Bigelow (Nicole Kidman), a young woman who is anxious to set off on her own and leave the family structure behind her. While this is not so uncommon for most people, Isabel is a witch and her decision to live as a mortal without her powers is of great consternation to her father (Michael Caine).
Isabel is convinced she can find a man, and can live in happiness and love with a mortal. She wants no part of the shallow and wandering eye that makes up their lifestyle. Convinced his daughter will never be able to live without her powers, her father chides her for her frequent and casual use of powers to do everything from find and furnish her home to paying for everyday needs.
At roughly the same time, fading actor Jack Wyatt is about to sign up to play the male lead in a new television version of the classic Bewitched television series. With the gigantic failure of his recent film, Jack is in need of a hit. Not wanting to take any attention away from his star turn, Jack insists that the producers cast a complete unknown in the role of Samantha. He does not want anyone infringing upon his spotlight.
A chance encounter with Isabel leads to her being cast by Jack in the new series. Isabel is taken by Jack and when she learns the role is that of a witch, she signs aboard despite some reservations.
Naturally Jack and Isabel will hit it off, and yes there will be issues, particularly when Jack’s shallow nature becomes clear to Isabel, and this is to say nothing of Isabel’s true identity which in and of itself is an issue.
What starts as a good premise with a solid cast quickly dissolves into a disjointed mess thanks to a paper thin plot that is rife with plot holes, non-sequitors, and unresolved moments. One such example is the character of Iris Smythson (Shirley Mac Laine), who plays Endora on the show. It is at first hinted at that she too is a witch and then made obvious. However there is no conclusion to this revelation. We see that she has a power and uses it, but we never really get the why she is there, how she chose to live as she does, and how her relationship with Isabel’s father is going to be altered by this.
Another problem the show has is that Ferell is reduced to running around, over-acting to get laughs. The situations go on way to long, and things that are at first amusing, become tedious after a while. One such scene has Ferell’s character appearing nude on a live television appearance. It is something that is used to generate laughs but there is no setup to the scene and it plays out as a desperate attempt to get laughs.
The only thing that works is the charm of Kidman who, as the quirky Isabel, is delightful, as is the supporting work of Caine and Steve Carell as Uncle Arthur. Sadly they are the only good things in a film that became so bad that many in the audience at my press screener were voicing their disdain when we left the film. Perhaps Samantha can twitch her nose and make this one vanish, as there is precious little to redeem it.
Gareth von Kallenbach (965 KP) rated The LEGO Movie (2014) in Movies
Aug 6, 2019
Could The LEGO Movie just be considered one hour and a half long commercial for a children’s toy product? Absolutely. Does that make the movie any less entertaining? Nope! I grew up in the eighties. A time when toy manufacturers would make TV shows, mixing up entertainment with advertising in the tender minds of their youth demographic, and doing it well. We seem to be in a new age of that very same ethos of ultra-marketing, only now we have the internet to exacerbate the matter. That all said, The LEGO Movie is perhaps one of the cleverest, funniest, and perhaps most creative films I’ve seen in a long while. It’s enjoyable, fresh, and seems to celebrate with reckless abandon the joyous chaos of childhood play over the blind consumption of product.
The comforting, self-aware, almost self-deprecating tone that has found its way into the LEGO videogames that have been hitting the markets lately that defines The LEGO Movie. The film takes place in a world made of LEGOs, and the characters all have snap-on/snap-off hair and can merrily disassemble the world around them and build again from the ruins. And while it’s not filmed in stop-motion (which was more disappointing than I thought it would be), the characters have the pleasantly stiff and jerky movement that is the trademark to the style. It’s essentially a film with the rules of a young boy at play, just making it up as things progress.
Even the story felt like it was straight from a children’s book. An average, run-of-the-mill, Joe… well, Emmet (Chris Pratt) falls unsuspectingly into an adventure involving freedom fighters, superheroes, and villains in a very Matrix-esque plot. When he stumbles upon the legendary Piece of Resistance, the only force that can undo the Kragle, a mysterious weapon being used by Lord Business/President Business (Will Ferrell), Emmet begins his journey to fulfill the prophecy and become the best “master builder” in all the world. Along the way he is helped by a plethora of recognizable, and not so recognizable, characters including Batman (Will Arnett), Shaquille O’Neil (Himself), Vitruvious (Morgan Freeman) and Wyldstyle (Elizabeth Banks).
Most children’s films these days, especially in the CGI genre, tend to be lighting fast paced, basically overloading you with unfunny material hoping to distract your from how lame the movie really is. While The LEGO Movie is frantic, it feels like controlled chaos. It has a point. There is a direction where all this weird wild silliness is headed. And while The LEGO Movie would be fine were it just a frantic and clever child’s comedy, it additionally bothers to reach beyond its bounds and address its own artificiality in a plot twist that was way more clever, daring and meaningful than anything seen in most modern adult thrillers. But I don’t want to spoil that for you.
So here it is again, my “Would I buy it” test. Absolutely. The LEGO Movie is great fun and a joyous celebration of the chaos I recall as childhood.
The comforting, self-aware, almost self-deprecating tone that has found its way into the LEGO videogames that have been hitting the markets lately that defines The LEGO Movie. The film takes place in a world made of LEGOs, and the characters all have snap-on/snap-off hair and can merrily disassemble the world around them and build again from the ruins. And while it’s not filmed in stop-motion (which was more disappointing than I thought it would be), the characters have the pleasantly stiff and jerky movement that is the trademark to the style. It’s essentially a film with the rules of a young boy at play, just making it up as things progress.
Even the story felt like it was straight from a children’s book. An average, run-of-the-mill, Joe… well, Emmet (Chris Pratt) falls unsuspectingly into an adventure involving freedom fighters, superheroes, and villains in a very Matrix-esque plot. When he stumbles upon the legendary Piece of Resistance, the only force that can undo the Kragle, a mysterious weapon being used by Lord Business/President Business (Will Ferrell), Emmet begins his journey to fulfill the prophecy and become the best “master builder” in all the world. Along the way he is helped by a plethora of recognizable, and not so recognizable, characters including Batman (Will Arnett), Shaquille O’Neil (Himself), Vitruvious (Morgan Freeman) and Wyldstyle (Elizabeth Banks).
Most children’s films these days, especially in the CGI genre, tend to be lighting fast paced, basically overloading you with unfunny material hoping to distract your from how lame the movie really is. While The LEGO Movie is frantic, it feels like controlled chaos. It has a point. There is a direction where all this weird wild silliness is headed. And while The LEGO Movie would be fine were it just a frantic and clever child’s comedy, it additionally bothers to reach beyond its bounds and address its own artificiality in a plot twist that was way more clever, daring and meaningful than anything seen in most modern adult thrillers. But I don’t want to spoil that for you.
So here it is again, my “Would I buy it” test. Absolutely. The LEGO Movie is great fun and a joyous celebration of the chaos I recall as childhood.
BankofMarquis (1832 KP) rated The Big Short (2015) in Movies
Apr 19, 2020
Gets Better On Each Rewatch
Most of you reading this review remember the last time the U.S. had a downturn in it's economy - it was 2008 and the downturn was caused by a bubble that burst in the housing market. Michael Lewis' (author of MONEYBALL) book THE BIG SHORT attempted to explain what happend in lay man's terms. This books was considered "unfilmable" until the most unlikeliest of artists stepped in to make a wonderfully crafted and educational film that was also entertaining.
That person was Adam McKay - up until that time, known as the Director of such Will Ferrell films as STEP BROTHERS and ANCHORMAN.
Set in the timeframe right before - and during - the economic downturn (approx. 2006-2008), THE BIG SHORT follows 4 groups/individuals that begin to see that something is wrong - both with this seemingly "bullet proof" housing market and the institutions/regulations and governance around them.
Christian Bale is outstanding (and was nominated for an Oscar) for his work as Dr. Michael Burry a socially awkward genius who is the first to ferret out that something is wrong and "bets against the market". Bale's portrayal of a non-social (almost) recluse who speaks his mind is engaging and fascinating to watch. It was with this performance that I decided that Bale is, perhaps, the finest actor working today. Also stepping up his game - as a surprise to me - is Ryan Gosling as the narrator of this story. He has the right balance of charm and "smarminess" and often breaks the 4th wall to explain to us what is going on. Also on board, strongly, is Brad Pitt (one of the Producers of this film) as an ex-Wall Street maverick who is pulled back in by the opportunity this impending crash is creating.
But, the surprise to me in this film is the heart-breaking, gut-wrenching turn of Steve Carrell as Wall Street broker Mark Baum who's caustic personality hides some serious scars underneath and who takes the failures of "the system" to protect the people personally. Carrell was nominated for an Oscar the year before in his first major dramatic turn - FOXCATCHER - but I think his work here is stronger, more layered and nuanced and (if there is a hero in this story) had you rooting for this guy throughout the film.
But...none of this would have worked if McKay didn't figure out a way to make the boring-ness and tedium of explaining the housing financial system (tranches, CDO's, default swaps, etc) in such a way that educates and entertains the audience - and find a way he did. By pulling celebrities like Anthony Bordain, Selena Gomez and Margot Robbie in to break the 4th wall and explain extremely dry subject matter in such a way as to make it understandable and enjoyable, he makes this film succeed.
And, succeed it does, as it's 5 Oscar nominations (including Best Picture, Best Director and the aforementioned Best Supporting Actor nomination for Bale - a nomination that I would have been happy had Carrell gotten) would attest to - it did win the Oscar for Best Adapted Screenplay (for McKay and Charles Randolph).
This is a film that gets better for me on each rewatch, for I understand just a little more. If this is your 1st time watch - or your 10th - check out the BIG SHORT, it will be worth your time.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
That person was Adam McKay - up until that time, known as the Director of such Will Ferrell films as STEP BROTHERS and ANCHORMAN.
Set in the timeframe right before - and during - the economic downturn (approx. 2006-2008), THE BIG SHORT follows 4 groups/individuals that begin to see that something is wrong - both with this seemingly "bullet proof" housing market and the institutions/regulations and governance around them.
Christian Bale is outstanding (and was nominated for an Oscar) for his work as Dr. Michael Burry a socially awkward genius who is the first to ferret out that something is wrong and "bets against the market". Bale's portrayal of a non-social (almost) recluse who speaks his mind is engaging and fascinating to watch. It was with this performance that I decided that Bale is, perhaps, the finest actor working today. Also stepping up his game - as a surprise to me - is Ryan Gosling as the narrator of this story. He has the right balance of charm and "smarminess" and often breaks the 4th wall to explain to us what is going on. Also on board, strongly, is Brad Pitt (one of the Producers of this film) as an ex-Wall Street maverick who is pulled back in by the opportunity this impending crash is creating.
But, the surprise to me in this film is the heart-breaking, gut-wrenching turn of Steve Carrell as Wall Street broker Mark Baum who's caustic personality hides some serious scars underneath and who takes the failures of "the system" to protect the people personally. Carrell was nominated for an Oscar the year before in his first major dramatic turn - FOXCATCHER - but I think his work here is stronger, more layered and nuanced and (if there is a hero in this story) had you rooting for this guy throughout the film.
But...none of this would have worked if McKay didn't figure out a way to make the boring-ness and tedium of explaining the housing financial system (tranches, CDO's, default swaps, etc) in such a way that educates and entertains the audience - and find a way he did. By pulling celebrities like Anthony Bordain, Selena Gomez and Margot Robbie in to break the 4th wall and explain extremely dry subject matter in such a way as to make it understandable and enjoyable, he makes this film succeed.
And, succeed it does, as it's 5 Oscar nominations (including Best Picture, Best Director and the aforementioned Best Supporting Actor nomination for Bale - a nomination that I would have been happy had Carrell gotten) would attest to - it did win the Oscar for Best Adapted Screenplay (for McKay and Charles Randolph).
This is a film that gets better for me on each rewatch, for I understand just a little more. If this is your 1st time watch - or your 10th - check out the BIG SHORT, it will be worth your time.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Promising Young Woman (2020) in Movies
Apr 10, 2021
Powerful
Emerald Fennell’s feature length motion picture Directing debut, PROMISING YOUNG WOMAN, is a difficult film to categorize. Is it a Dark Comedy? A RomCom? A family drama? A portrait of a character’s descent? A hard critique of sexism and sexual predators? A revenge fantasy?
The answer is - it is ALL of these and thanks to a wonderful script (by Fennell), strong Direction (again, by Ferrell) and a terrific, Oscar-worthy performance in the lead role (by Carey Mulligan) it is a very effective, very powerful film.
PROMISING YOUNG WOMAN tells the tale of Cassandra who we are introduced to at a bar, obviously drunk, getting picked up (and taken advantage of) by a “nice guy” at the bar. Once back at his place, it is clear that she is NOT drunk and she confronts the “nice guy”.
To say anything else would spoil this wonderful film.
At the center of this film is Carey Mulligan (deservedly) Oscar nominated turn as Cassandra. This is a tortured soul who is looking for some sort of catharsis from a previous trauma and seeks various ways to achieve this. You see an intelligence and sadness in Cassandra at every turn and Mulligan’s performance seemed rooted in reality and was, ultimately, an effective, chillingly and (yes) sad character brought to life. It is the type of performance that I will be rooting for in the Oscar race, it’s that good.
Most of the other characters in this film fleet in and out of Cassandra’s life but all are strong performances, seemingly willing to bring their “A” game to match Mulligan’s performance and the strong script. Kudos to Jennifer Coolidge, Alison Brie, Laverne Cox, Bo Burnham, Christopher Mintz-Plasse (yes, a McLovin’ sighting!), Alfred Molina, Moly Shannon, Connie Britton and, especially, the great Clancy Brown. They all enhanced the film with their performances, working off of Mulligan effectively.
But, credit to all of this must go to Writer/Director Emerald Fennell (probably best known for playing Camilla Parker Bowles in THE CROWN) who's script is smart and thought-provoking and who’s Direction is crisp and sure. She clearly had a certain type of film in her head - the type of film that does not easily lend itself to definition/classification and packs a powerful punch at it’s conclusion. Without spoiling anything, she “ups her game” at the end of this film and I sat in thoughtful silence as the end credits ran.
Fennell is up for the Oscar for both Best Director and Best Original Screenplay and I, for one, would vote for her Screenplay hands-down.
An intriguing film that is sticking with me a few days later…always a mark of quality.
Letter Grade: A
9 Stars (out of 10) and you can take that to the Bank(ofMarquis)
The answer is - it is ALL of these and thanks to a wonderful script (by Fennell), strong Direction (again, by Ferrell) and a terrific, Oscar-worthy performance in the lead role (by Carey Mulligan) it is a very effective, very powerful film.
PROMISING YOUNG WOMAN tells the tale of Cassandra who we are introduced to at a bar, obviously drunk, getting picked up (and taken advantage of) by a “nice guy” at the bar. Once back at his place, it is clear that she is NOT drunk and she confronts the “nice guy”.
To say anything else would spoil this wonderful film.
At the center of this film is Carey Mulligan (deservedly) Oscar nominated turn as Cassandra. This is a tortured soul who is looking for some sort of catharsis from a previous trauma and seeks various ways to achieve this. You see an intelligence and sadness in Cassandra at every turn and Mulligan’s performance seemed rooted in reality and was, ultimately, an effective, chillingly and (yes) sad character brought to life. It is the type of performance that I will be rooting for in the Oscar race, it’s that good.
Most of the other characters in this film fleet in and out of Cassandra’s life but all are strong performances, seemingly willing to bring their “A” game to match Mulligan’s performance and the strong script. Kudos to Jennifer Coolidge, Alison Brie, Laverne Cox, Bo Burnham, Christopher Mintz-Plasse (yes, a McLovin’ sighting!), Alfred Molina, Moly Shannon, Connie Britton and, especially, the great Clancy Brown. They all enhanced the film with their performances, working off of Mulligan effectively.
But, credit to all of this must go to Writer/Director Emerald Fennell (probably best known for playing Camilla Parker Bowles in THE CROWN) who's script is smart and thought-provoking and who’s Direction is crisp and sure. She clearly had a certain type of film in her head - the type of film that does not easily lend itself to definition/classification and packs a powerful punch at it’s conclusion. Without spoiling anything, she “ups her game” at the end of this film and I sat in thoughtful silence as the end credits ran.
Fennell is up for the Oscar for both Best Director and Best Original Screenplay and I, for one, would vote for her Screenplay hands-down.
An intriguing film that is sticking with me a few days later…always a mark of quality.
Letter Grade: A
9 Stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Stuber (2019) in Movies
Jul 18, 2019
Lack of chemistry between the leads
"Chemistry" is a tricky thing in a film and one that "either you got it or you don't" - it's an elusive element that can sink or raise a film. Case in point 2 films I have seen this week.
I rewatched the 1998 Crime/Romance flick OUT OF SIGHT - starring George Clooney and Jennifer Lopez. I remembered this Steven Soderbergh directed film as "terrific" and was excited to show it to my bride. What I realized when watching it is that this is a middle-of-the-road film that is elevated by the tremendous (sexual) chemistry between Lopez and Clooney. It oozes off the screen and is palatable to the viewer.
On the other end of the scale is the recent Action/Comedy STUBER with comedian Kuamil Nanjiani (THE BIG SICK) and former pro wrestler Dave Bautista (Drax in the GUARDIANS OF THE GALAXY films). This is a middle-of-the-road film that is hurt (tremendously) by the LACK of chemistry between the two leads.
Nanjiani stars as Stu, a sad-sack Uber driver who does not stand up for himself while Bautista is a "nothing gets in my way" take charge cop who (because of recent eye surgery) cannot drive and hires an Uber driver, Stu (who gets called STUBER, hence the name of the film), to chase down clues to a criminal he's been on the hunt for - shenanigans ensue.
Individually, some of the scenes/scenarios of this film are fine/funny and Nanjiani is terrific as Stu and adds some clever comedic elements to a script that is "good enough" by Tripper Clancy.
And then there's Bautista.
He seems lost in this film, underplaying the things that make him good, his over-exuberance and over physicality (if that is a term) of someone of his size. Is this Bautista's fault or did Director Michael Dowse (GOON) purposely tone him down? It doesn't really matter for it doesn't really work.
And this is the beginning of the problem with the chemistry between the two leads - Nanjiani manic energy is not matched by Bautista - he seems to be an "energy sucker" and takes quite a bit of life out of this film. But...Director Dowse is also a problem, for he brings this lack of energy to quite a few of the big action scenes, underplaying, not overplaying what should have been over played.
There are some good things in this - besides the script and Nanjiani, Natalie Morales and Betty Gilpin are good and we do have a "Mira Sorvino sighting", which is welcome...but that's about it. Oh...except for an extended cameo by Karen Gillan (Nebula in the GUARDIANS films) she brings some energy. I would have loved to see her paired with Nanjiani in this.
If you're looking for a good "buddy cop" film with good chemistry between the leads, might I suggest THE OTHER GUYS (Will Ferrell/Mark Wahlberg), RUNNING SCARED (Billy Crystal/Gregory Hines) or the greatest example of strong chemistry - 48 HOURS (Nick Nolte/Eddie Murphy). Stuber would be the example of just the opposite.
6 stars out of 10 (for Nanjiani, Gillan and Sorvino - and a script and circumstances that could have worked had the chemistry between the leads been better)
Letter Grade: B- and you can take that to the Bank(ofMarquis)
I rewatched the 1998 Crime/Romance flick OUT OF SIGHT - starring George Clooney and Jennifer Lopez. I remembered this Steven Soderbergh directed film as "terrific" and was excited to show it to my bride. What I realized when watching it is that this is a middle-of-the-road film that is elevated by the tremendous (sexual) chemistry between Lopez and Clooney. It oozes off the screen and is palatable to the viewer.
On the other end of the scale is the recent Action/Comedy STUBER with comedian Kuamil Nanjiani (THE BIG SICK) and former pro wrestler Dave Bautista (Drax in the GUARDIANS OF THE GALAXY films). This is a middle-of-the-road film that is hurt (tremendously) by the LACK of chemistry between the two leads.
Nanjiani stars as Stu, a sad-sack Uber driver who does not stand up for himself while Bautista is a "nothing gets in my way" take charge cop who (because of recent eye surgery) cannot drive and hires an Uber driver, Stu (who gets called STUBER, hence the name of the film), to chase down clues to a criminal he's been on the hunt for - shenanigans ensue.
Individually, some of the scenes/scenarios of this film are fine/funny and Nanjiani is terrific as Stu and adds some clever comedic elements to a script that is "good enough" by Tripper Clancy.
And then there's Bautista.
He seems lost in this film, underplaying the things that make him good, his over-exuberance and over physicality (if that is a term) of someone of his size. Is this Bautista's fault or did Director Michael Dowse (GOON) purposely tone him down? It doesn't really matter for it doesn't really work.
And this is the beginning of the problem with the chemistry between the two leads - Nanjiani manic energy is not matched by Bautista - he seems to be an "energy sucker" and takes quite a bit of life out of this film. But...Director Dowse is also a problem, for he brings this lack of energy to quite a few of the big action scenes, underplaying, not overplaying what should have been over played.
There are some good things in this - besides the script and Nanjiani, Natalie Morales and Betty Gilpin are good and we do have a "Mira Sorvino sighting", which is welcome...but that's about it. Oh...except for an extended cameo by Karen Gillan (Nebula in the GUARDIANS films) she brings some energy. I would have loved to see her paired with Nanjiani in this.
If you're looking for a good "buddy cop" film with good chemistry between the leads, might I suggest THE OTHER GUYS (Will Ferrell/Mark Wahlberg), RUNNING SCARED (Billy Crystal/Gregory Hines) or the greatest example of strong chemistry - 48 HOURS (Nick Nolte/Eddie Murphy). Stuber would be the example of just the opposite.
6 stars out of 10 (for Nanjiani, Gillan and Sorvino - and a script and circumstances that could have worked had the chemistry between the leads been better)
Letter Grade: B- and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Vice (2018) in Movies
Jan 21, 2019
Good movie with 2 GREAT performances
Writer/Director Adam McKay was known for years as the writing partner/director of Will Ferrell, having written and directed such comedy gems as ANCHORMAN, TALLADEGA NIGHTS and STEP BROTHERS and then, in 2015, he stepped out of Ferrell's shadow - and the comedy world - and delivered the multi-Oscar nominated film THE BIG SHORT, a fascinating, terrifying and (at times) funny look at the financial crisis of the mid-2000's.
His follow-up to this film is another fascinating, terrifying and (at times) funny look at a serious subject - the life and career of former Vice President Dick Cheney, an unassuming bureaucrat that wields much power in the George W. Bush White House. I thought THE BIG SHORT worked on every level so was looking forward to this follow-up and this one works on MOST levels.
So..what does work? Let's start with the acting of the top-notch cast. Steve Carrell, Sam Rockwell, Lily Rabe, Justin Kirk and Tyler Perry all are terrific in smaller, supporting roles that depict real people (like Donald Rumsfeld, George W. Bush, Liz Cheney, Scooter LIbbey and Colin Powell, respectively). They all bring the necessary level of gravitas and ironic humor to their parts.
But...make no mistake...this film stars and IS ABOUT Lynne and Dick Cheney (Amy Adams and Christian Bale) and both of these two stars SHINE BRIGHTLY in their portrayal of a a Washington DC power couple who are always calculating the political angle of any issue and how they can benefit from it. I expect both of these two actors to get Oscar nominations.
What also works is the pseduo-documentary style that McKay brings to the screen (similar to THE BIG SHORT), the characters, at times, speak directly to the camera to explain something or (at one time) breaks into a Shakespearean scene to emphasize what's going on.
So...what doesn't work? I'm going to start with the Narrator of this piece, Jesse Plemons. He is a solid actor who can bring a wry sense of humor - or gravitas - to the proceedings. But, to be plain about it, Plemons narrator character (who we come to find out has a VERY big role in Cheney's life) is just not interesting enough to follow or listen to. In THE BIG SHORT, this role was filled by the charm and charisma of Ryan Gosling and, I'm afraid, Plemons just doesn't have that same level of charm and charisma.
Secondly, what didn't work for me was the people/events that were unfolding in front of me. There was NOT ONE character to root for on the screen. Every politician seen upon the screen was just out for themselves and were willing to screw (or stab in the back) anyone that is no longer any use for them. These are not very likable characters and I longed for someone to root for, which made this film fall short of "GREAT" status for me. It is a very good film - strongly acted - but not a GREAT film.
If you haven't seen it, I would recommend VICE to all if, for nothing else, the performances of Adams and Bale, they are mesmerizing, just don't expect to root for anyone.
Letter Grade B+
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
His follow-up to this film is another fascinating, terrifying and (at times) funny look at a serious subject - the life and career of former Vice President Dick Cheney, an unassuming bureaucrat that wields much power in the George W. Bush White House. I thought THE BIG SHORT worked on every level so was looking forward to this follow-up and this one works on MOST levels.
So..what does work? Let's start with the acting of the top-notch cast. Steve Carrell, Sam Rockwell, Lily Rabe, Justin Kirk and Tyler Perry all are terrific in smaller, supporting roles that depict real people (like Donald Rumsfeld, George W. Bush, Liz Cheney, Scooter LIbbey and Colin Powell, respectively). They all bring the necessary level of gravitas and ironic humor to their parts.
But...make no mistake...this film stars and IS ABOUT Lynne and Dick Cheney (Amy Adams and Christian Bale) and both of these two stars SHINE BRIGHTLY in their portrayal of a a Washington DC power couple who are always calculating the political angle of any issue and how they can benefit from it. I expect both of these two actors to get Oscar nominations.
What also works is the pseduo-documentary style that McKay brings to the screen (similar to THE BIG SHORT), the characters, at times, speak directly to the camera to explain something or (at one time) breaks into a Shakespearean scene to emphasize what's going on.
So...what doesn't work? I'm going to start with the Narrator of this piece, Jesse Plemons. He is a solid actor who can bring a wry sense of humor - or gravitas - to the proceedings. But, to be plain about it, Plemons narrator character (who we come to find out has a VERY big role in Cheney's life) is just not interesting enough to follow or listen to. In THE BIG SHORT, this role was filled by the charm and charisma of Ryan Gosling and, I'm afraid, Plemons just doesn't have that same level of charm and charisma.
Secondly, what didn't work for me was the people/events that were unfolding in front of me. There was NOT ONE character to root for on the screen. Every politician seen upon the screen was just out for themselves and were willing to screw (or stab in the back) anyone that is no longer any use for them. These are not very likable characters and I longed for someone to root for, which made this film fall short of "GREAT" status for me. It is a very good film - strongly acted - but not a GREAT film.
If you haven't seen it, I would recommend VICE to all if, for nothing else, the performances of Adams and Bale, they are mesmerizing, just don't expect to root for anyone.
Letter Grade B+
8 (out of 10) stars and you can take that to the Bank(ofMarquis)