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Rechnitz, and the Merchant's Contracts
Elfriede Jelinek and Gitta Honneger
Book
For much of her career, Elfriede Jelinek has been maligned in the press for both her unrelenting...
Burn After Reading (2008)
7.4
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Burn After Reading, a comedy thriller from Joel Coen and Ethan Coen (No Country for Old Men, Fargo,...
Vernon God Little: A 21st Century Comedy in the Presence of Death
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WINNER OF THE MAN BOOKER PRIZE 2003 WINNER OF THE 2003 WHITBREAD FIRST NOVEL PRIZE Named as one of...
LoganCrews (2861 KP) rated S1m0ne (2002) in Movies
Sep 21, 2020
The trifecta of flatness: a comedy with next to no laughs, a satire with no bite, and a drama without sufficient emotion. Yet another technophobic dud that fires on zero cylinders and has nothing to say - try to picture if šš¦š³ was one of the (many) shittier "Black Mirror" episodes. Besides Rachel Roberts' perfectly realized, fittingly mysterious performance (which, of course, is underused) nothing else shines through here - has zero depth beyond a few performative quips and has that rush-through-everything-of-any-importance pacing + structure that I detest. Here we have what could have been a poignantly interesting film about a disenchanted director whose only authentic relationship is with a synthetic A.I. as well as a boiling satire about the state of celebrity, the objectification of women in entertainment, technology, etc. But instead we're left with such a rote, surface-level, come-and-go boilerplate narrative about this thinly-written 'failed director' trope having to hide an obviously fake woman from every idiot on the planet. Skimps out on where it counts, the brief spoof arthouse movies in these are more intelligent and watchable than the actual movie - which ironically feels as insincere and fakey as its central character. Also I miss Jay Mohr.
Bob Mann (459 KP) rated Game Night (2018) in Movies
Sep 29, 2021 (Updated Sep 29, 2021)
Miss Scarlett at the Airport with the Jet Engine.
āGame Nightā is an American comedy film starring Jason Bateman (āHorrible Bossesā, āCentral Intelligenceā) as Max and Rachel McAdams (āSpotlightā, āDoctor Strangeā) as Annie: two hyper-competitive professionals who invite other couples around to their house for a weekly night of charades and board games. The regulars are long-term couple Kevin and Michelle (Lamorne Morris and Kylie Bunbury) and complete buffoon Ryan (Billy Magnussen, āThe Big Shortā) and his revolving door of generally vacant girlfriends. Estranged from the group, after his divorce, is the creepy police officer Gary (Jesse Plemons, āThe Postā, āAmerican Madeā) who lives next door.
Auditions for the next Spiderman movie were not going well.
But Max is not content (affecting the mobility of his fishes!) as he has a severe inferiority complex about his enormously successful and cocky older brother Brooks (Kyle Chandler, āManchester by the Seaā) who beats him at EVERYTHING. When Brooks barges into their game night things get heated and after he organises the next game night as āsomething differentā things take a sharp left into The Twilight Zone.
Bateman, McAdams and Chandler, with game night about to go in an odd direction.
As befits the quality of most modern American comedy films, its all complete nonsense of course. But actually, this is quite good nonsense. The script by Mark Perez (his first movie script in 12 years!) while following a fairly predictable path early in the film is littered with some good one-liners and funny scenes (a bullet-removal is a high-spot) and includes a memorable twist in the final real that I didnāt see coming.
Ryan and Sarah (Billy Magnussen and Sharon Horgan) about to get egged on. (There is a certain lack of logic in the action that follows).
Much of this is powered by the chemistry between Bateman and McAdams. McAdams in particular should do more comedy, as she is very adept at it. Playing the one bright spark in a parade of vacuousness, English comedienne Sharon Horgan also adds a butt to Magnussenās one-tone joke very effectively. The surprising comedy player though is Jesse Plemons who I thought was just uncomfortably hilarious.
Jesse Plemons and his very white hairy friend.
It is normally unusual to find special effects in a film like this, but here the team (headed up by Dean Tyrrell) should be congratulated for some very subtle but effective effects. Most of the long shots in the film of the neighbourhood/streets etc. are of models which only fade to live action as you zoom in. In the opening drone-fly-over of Max and Annie driving home I thought all the housing looked model-like but as we zoomed into them arriving home I thought I must have imagined in. Only in the subsequent scenes did I realise I was right after all! But itās so very subtle. I suspect many of the audience were similarly fooled (and many whoāve seen the film and are reading this will be still going āwhat??ā)! Thereās a kind of explanation for the randomness of these effects during the (very entertaining) end-titles.
Bullet removal with squeaky toy gagā¦ very funny.
Itās unusual for me to laugh at a comedy so much, but this one I really did. Every comedy film is allowed a little latitude to get the odd strand wrong, and this one is no exception (I didnāt think the spat between Kevin and Michelle really worked)ā¦ so itās not perfect, but novice directors John Francis Daley and Jonathan Goldstein (whoās only previous film project was 2015ās clearly missable āVacationā) have pulled off a really entertaining watch here.
Auditions for the next Spiderman movie were not going well.
But Max is not content (affecting the mobility of his fishes!) as he has a severe inferiority complex about his enormously successful and cocky older brother Brooks (Kyle Chandler, āManchester by the Seaā) who beats him at EVERYTHING. When Brooks barges into their game night things get heated and after he organises the next game night as āsomething differentā things take a sharp left into The Twilight Zone.
Bateman, McAdams and Chandler, with game night about to go in an odd direction.
As befits the quality of most modern American comedy films, its all complete nonsense of course. But actually, this is quite good nonsense. The script by Mark Perez (his first movie script in 12 years!) while following a fairly predictable path early in the film is littered with some good one-liners and funny scenes (a bullet-removal is a high-spot) and includes a memorable twist in the final real that I didnāt see coming.
Ryan and Sarah (Billy Magnussen and Sharon Horgan) about to get egged on. (There is a certain lack of logic in the action that follows).
Much of this is powered by the chemistry between Bateman and McAdams. McAdams in particular should do more comedy, as she is very adept at it. Playing the one bright spark in a parade of vacuousness, English comedienne Sharon Horgan also adds a butt to Magnussenās one-tone joke very effectively. The surprising comedy player though is Jesse Plemons who I thought was just uncomfortably hilarious.
Jesse Plemons and his very white hairy friend.
It is normally unusual to find special effects in a film like this, but here the team (headed up by Dean Tyrrell) should be congratulated for some very subtle but effective effects. Most of the long shots in the film of the neighbourhood/streets etc. are of models which only fade to live action as you zoom in. In the opening drone-fly-over of Max and Annie driving home I thought all the housing looked model-like but as we zoomed into them arriving home I thought I must have imagined in. Only in the subsequent scenes did I realise I was right after all! But itās so very subtle. I suspect many of the audience were similarly fooled (and many whoāve seen the film and are reading this will be still going āwhat??ā)! Thereās a kind of explanation for the randomness of these effects during the (very entertaining) end-titles.
Bullet removal with squeaky toy gagā¦ very funny.
Itās unusual for me to laugh at a comedy so much, but this one I really did. Every comedy film is allowed a little latitude to get the odd strand wrong, and this one is no exception (I didnāt think the spat between Kevin and Michelle really worked)ā¦ so itās not perfect, but novice directors John Francis Daley and Jonathan Goldstein (whoās only previous film project was 2015ās clearly missable āVacationā) have pulled off a really entertaining watch here.
A Decent Ride
Book
This book is shortlisted for the 2015 Bollinger Everyman Wodehouse prize for comic fiction. With a...
BankofMarquis (1832 KP) rated The Menu (2022) in Movies
Nov 24, 2022
Puts the DARK in Dark Comedy
If a Film Comedy is Milk Chocolate and a Dark Comedy is Dark Chocolate, then the new film THE MENU (Directed by Mark Mylod - Game of Thrones) is the SPECIAL INTENSE (90%) Dark Chocolate of films.
And I mean that as a compliment.
Written by Seth Reiss and Will Tracy, THE MENU tells the tale of an exclusive, isolated restaurant, the 12 clients that head out to the secluded island this restaurant is on and the ego-maniacal, celebrity chef that runs this restaurant - and this dining experience. What starts out as a satire of these types of restaurants, the chefs and the hero-worship of itās clientele turns into something much, much more sinister.
This is a film in 2 parts - the first part is a satire of the āFoodieā World with the dishes being somewhat absurd - and believable - as the attendees gush over the dishes, trying to interpret what they are being served and why. The 2nd half turns darker - as the real theme of the night emerges - but it is not the horror/slasher film that one is led to believe in the trailer, it is more of a psychological suspense thriller with some gore to accentuate the themes. (But make no mistake, there IS gore).
Ralph Fiennes (Voldemort in the Harry Potter films) is the perfect choice as the central figure in this film, Chef Slowik. He controls the screen by standing still and when he speaks and goes into action he pulls the audience - and his clientele - into his web.
Anya Tayor-Joy (THE QUEENāS GAMBIT) is growing into an actress that is extremely interesting to watch on film and she more than holds her own up against Fiennes in their scenes together. She becomes just as much a force as he is.
The supporting characters in this adventure are interesting ranging from the always good John Leguzamo to Judith Light to Nicholas Hoult and Janet McTeer. They all flesh out characters that could have been just 2 dimensional background characters, but in the capable hands of these performers, they become much more.
Special notice needs to be made of Hong Chau (DOWNSIZING) as Chef Slowikās main assistant. She pretty much holds down the center of the first part of this film (as we build up the entrance of Fiennesā character) and she pulls it off with an understated strong performance.
Director Mylod treads an interesting line in THE MENU as he starts this film as a satire, moves it to a dark comedy fairly quickly and then moves it to a much darker place while still keeping the satiric and dark comedic tones as the more sinister things are happening. Itās a tightrope walk to be sure, and Mylod pulls it off.
Itās the type of film that will be difficult to find an audience for it is 2 types of films put together as one - and neither will totally satisfy hard-core fans - but for someone who is looking for an intelligent suspense film (with some gore and, again, let me emphasize that there IS gore) than this MENU will satisfy.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
And I mean that as a compliment.
Written by Seth Reiss and Will Tracy, THE MENU tells the tale of an exclusive, isolated restaurant, the 12 clients that head out to the secluded island this restaurant is on and the ego-maniacal, celebrity chef that runs this restaurant - and this dining experience. What starts out as a satire of these types of restaurants, the chefs and the hero-worship of itās clientele turns into something much, much more sinister.
This is a film in 2 parts - the first part is a satire of the āFoodieā World with the dishes being somewhat absurd - and believable - as the attendees gush over the dishes, trying to interpret what they are being served and why. The 2nd half turns darker - as the real theme of the night emerges - but it is not the horror/slasher film that one is led to believe in the trailer, it is more of a psychological suspense thriller with some gore to accentuate the themes. (But make no mistake, there IS gore).
Ralph Fiennes (Voldemort in the Harry Potter films) is the perfect choice as the central figure in this film, Chef Slowik. He controls the screen by standing still and when he speaks and goes into action he pulls the audience - and his clientele - into his web.
Anya Tayor-Joy (THE QUEENāS GAMBIT) is growing into an actress that is extremely interesting to watch on film and she more than holds her own up against Fiennes in their scenes together. She becomes just as much a force as he is.
The supporting characters in this adventure are interesting ranging from the always good John Leguzamo to Judith Light to Nicholas Hoult and Janet McTeer. They all flesh out characters that could have been just 2 dimensional background characters, but in the capable hands of these performers, they become much more.
Special notice needs to be made of Hong Chau (DOWNSIZING) as Chef Slowikās main assistant. She pretty much holds down the center of the first part of this film (as we build up the entrance of Fiennesā character) and she pulls it off with an understated strong performance.
Director Mylod treads an interesting line in THE MENU as he starts this film as a satire, moves it to a dark comedy fairly quickly and then moves it to a much darker place while still keeping the satiric and dark comedic tones as the more sinister things are happening. Itās a tightrope walk to be sure, and Mylod pulls it off.
Itās the type of film that will be difficult to find an audience for it is 2 types of films put together as one - and neither will totally satisfy hard-core fans - but for someone who is looking for an intelligent suspense film (with some gore and, again, let me emphasize that there IS gore) than this MENU will satisfy.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
The Last Black Unicorn
8.7
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From stand-up comedian, actress, and breakout star of Girls Trip, Tiffany Haddish, comes The Last...
Patrick Wilson recommended Fletch (1985) in Movies (curated)
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DIRECTV NOW is your NEW standalone streaming service for Live TV and On Demand entertainment. Enjoy...