Insanely predictable, infectiously entertaining. If movies like Finding Your Feet, Calendar Girls, or Last Vegas make you smile, this is another for your list. It’s a silly, but effective, romp with a group of older retirees, complete with old and young nasty girls arrayed against them.
In addition to the women, there are a couple male characters that stand out. In particular, Charlie Tahan (Love is Strange) as the rescued grandchild and Bruce McGill as the comical chief of security.
As a first fiction feature by documentarian Zara Hayes, it is well-paced and cleverly avoids some challenges. And the imperfect script by first-timer Shane Atkinson makes its point; but aspects of the story are a little surfacy or rushed at times. However, if you don’t finish this one with a bittersweet smile ready to take on the world, this movie wasn’t for you.
Though it has a bit of a rocky start, this comedy eventually finds its tone and legs for a good dash to the end. And leading the running pack are Emma Thompson (Years and Years) and Mindy Kaling (Ocean’s 8), who are this film. Sure there are other characters…even good performances, but this is their film. Even John Lithgow (Beatriz at Dinner) falls into the background, despite providing a lot of punch for very little screen time.
However, it is also probably worth calling out a few supporting roles: Hugh Dancy (Hannibal) for his lovable rake, Reid Scott (Venom) for his petulant-but-open-minded writer, and Denis O’Hare (Lizzie) for his role as exhausted handler. All of whom Thompson and Kaling bulldoze on screen with charisma and action.
Director Nisha Ganatra’s heavy TV background shows in this movie. The pacing, presentation, and choices all feel a bit more small screen than large. Kaling’s script, likewise, picks up the story’s venue in its exchanges and scope, or at least feels like it does. And given that it is an Amazon film, with small screen as it’s ultimate venue (if not the screen on your phone) perhaps it was also the right choice. But whether for small or large screen, this is an entertaining romp, with just enough bite to provide a light meal.
Ugly Dolls suffers from a number of issues, but the main challenge was not understanding how to construct a musical. For example, the movie begins by introducing us to a character being created in a factory…but then we lose a bunch of time jumping to who will really be our main character… who gets a huge song and dance number… which is interrupted by the arrival of the first character and then continues… but then first character just sort of fades away as a bit part for the rest of the tale. I get the strong sense that something happened in the editing or the story breakdown that was just never fixed.
The truth is that Kelly Clarkson’s Moxy is infectious and sweet. And sure, like much of the cast, the woman has pipes. And while the songs are close to bubblegum pop, there is some nice effort on the lyrics to keep them from being too mind numbing.
For a young audience, say under 14, this flick will probably entertain, at least a little. Above that, it starts to wear thin in its relentless optimism and simplified view of the world, not to mention its generally unsurprising storyline.
Cute idea. Childish execution. Tina Gordon directed this movie as a Disney Channel special rather than as a feature release. The style and script, with co-writer Tina Oliver (Girl’s Trip), is very much a child’s view of the world rather than an adult learning about how to view the world as a child again.
It doesn’t help that Regina Hall’s (The Hate U Give) performance is so broad at the beginning at that I almost turned off the flick in frustration. There was no way this person would have still had a company with her behavior. This means that the movie started at a massive deficit…and I could never quite suspend disbelief because it was so obviously wrong. Issa Rae (Insecure) and Marsai Martin (Black-ish) help pull the movie back toward center, but never manage to make up for the the rest of the weaknesses even with their efforts.
People have been trying to recapture the magic that was Big for decades. The sentiment never really goes out of style, but while the general story is what people remember (even with the reversal), the filmmakers forgot that it was the chemistry of that film that really made it a classic. And no one in this cast matches Hanks’ vulnerability and charisma.
Yesterday delivers one of the best films of the summer so far. It embraces the kind of sweet magic that Mamma Mia delivered (if not its sequel), but with a more adult and wry edge. It is funny, romantic, honest, and not a little subversive in its way, offered up with care and love by two of the best story tellers out there behind the camera: director Danny Boyle (Trainspotting 2) and writer Richard Curtis (About Time).
Boyle (Trainspotting 2) is one of the most diverse directors out there, often slipping between genre without missing a step (Sunshine aside). And with Curtis (About Time) laying the trail, the two take us on a journey that is both nostalgic, current, and toe-tappingly hypnotic.
Himesh Patel, basically an unknown in the US though a constant on Eastenders for 11 years, carries this story solidly. Opposite him, Lily James (Mama Mia! Here We Go Again) is the sweet embodiment of missed chances. There are a slew of other players, too many to mention, but Joel Fry (Requiem) and Kate McKinnon (Leap!) are among them. And watch for several credited and uncredited appearances throughout the film, most notably one by Robert Carlyle (Trainspotting 2).
As a side note, I have to say that McKinnon surprised me. While talented, she usually goes way to far with her comedy, destroying reality for the laugh. Boyle kept her very restrained, making it one of her best and most believable performances…edgy and out there, but within the bounds of the story till near the end.
This is must see film for the summer for anyone who enjoys music, comedy, and romance… and it’s the cure for CGI and action-laden madness that crowds the screen through the hot months. That kind of film can certainly be fun, but Yesterday proves it isn’t the only reason to catch a film on the big screen. And, for all its silly fantasy and sweet romance, there is a point to Yesterday. It starts to crystallize near the end, with a hint in the credits if you miss it. Honestly, it turns the whole idea on its head and gives you one last smile as you leave the theater. But even if that slips by, the journey and the resolution are worth your time. Don’t miss this one.
Good Omens (4 stars)
Honestly, for David Tennant (Mary Queen of Scots) and Michael Sheen (Far From the Madding Crowd) alone this farcical romp about the world, life, and religion is worth it. It is delightfully Pratchett and Gaiman, just as their book was. For those unfamiliar, think an updated Monty Python’s Holy Grail in style, but with more of a coherent through line. That Gaiman wrote the series didn’t hurt in preserving its translation to small screen. And Douglas Mackinnon directed the material flawlessly.
With Jack Whitehall (Nutcracker and the Four Realms), Miranda Richardson (iBoy ), Adira Arjona (Emerald City ), and Michael McKean in inventive pivotal roles, the amusement and pointedness just keeps coming. The show is also chock full of special guest stars and smaller roles as well, which only adds to the fun. If you like British humor and don’t mind having religious institutions poked at, make time for this wonderful comedy.
The Tick (series 2) (3 stars)
I had my doubts when Amazon took up the Tick in its third broadcast incarnation (previously there was the animated series and a short-lived network series). Each captured aspects of the original graphic novels, but neither had found a solid enough formula to keep it going. The first series on Amazon was no exception. It was misbalanced and not quite credible, but it was amusing enough and with some nice character work to make you come back for more. The second series really found its footing and came together nicely. The balance of humor and absurd is much better and the story is more complex and compelling. I’d have loved to see what came next.
Unfortunately, the improvements weren’t enough for Amazon, who decided this would be the last season (at least for now). And this is part of my frustration with streaming services. Yes, they’re taking risks on new content, but they tend to throw it out there and then let it sink or swim on its own and forget about it when it isn’t an instant success. Even Cheers took years to build its audience. The point of these services was to try something new… perpetual content means you should be able to come to it when you’re ready. Sometimes that isn’t when the company drops the entire season at once. We’re just back to where we started with the inability to trust something will actually be supported and be back another season. So much for serving the niche audiences, as we were promised. Services should, at the least, insist all series come to an end so no one is left hanging if they get cancelled. That doesn’t mean the stories can’t continue, but the main narrative shouldn’t be left as a cliff-hanger. At least The Tick embraced that credo so we weren’t totally left to wonder.
Lucifer (series 4) (3.5 stars)
The last broadcast season of Lucifer was a mess. So much so that it lost enough viewers to find itself begging for a venue. Fortunately, Netflix saw the potential and revived the wonderfully acerbic and amusing mystery/romance/comedy… whatever it is. This season, having lost the fetters of the broadcast censors, is able to finally be much more of what it really could be (it still PG-ish, bordering on a soft R). And they took time with the writing this series to make it a much more satisfying journey. The characters this season all act much more believably than the last go-round. If you at all liked the first season of Lucifer and gritted your teeth through the subsequent two seasons as it diminished, come back to it again. Netflix really breathed life back into the afterlife on this one. Well, at least for one more season to come, which is to be its finale. I will add that the final moment of the fourth season has one of my favorite unspoken jokes of the year. It is a silent joke during a moment that isn’t intended as funny…but someone slipped in the chuckle. And, given the show, it is much in keeping with the show’s sensibility.
Love, Death, and Robots (3 stars)
This anthology series is everything great and everything awful about anime. It is a testosterone fueled set of adventures with buxom broads and hairy men (and the occasional funny episode). It was an idea rich with possibilities, but David Fincher (Gone Girl) and Tim Miller (Deadpool) as the primary producers got lost in their 13-year-old selves and missed the chance to tell a much wider range of stories. It isn’t that any individual episode isn’t interesting, they are all good in their own way. And the range of styles and ideas is pretty unique with all types of animation on display. But it is so male-dominated and full of violence and, mostly, naked women that after a few you’re almost embarrassed to watch it…its like someone found your porn stash but it’s up on your TV screen.
The issue isn’t the talent or the tech or the acting, it is simply that the anthology is horribly unbalanced and ends up missing an audience it could have had. Watch it, but in small doses to keep from burning out on it. I found 2 or 3, at about 5-15 min. each, sufficient for an evening. Beyond that, they got numbingly similar. On the up side, a second season is on order and it has Jennifer Yuh Nelson, who drove much of the animation for and directed the last two Kung Fu Panda movies, at the helm. Perhaps her sensibility will help bring some variety to the series. Certainly I applaud the idea behind the show; I’d like to see it succeed.
I wanted to like this more than I did. It is funny and distracting, but, for me, the humor was just a little too stretched at times. Over and over again, just as I would invest and believe, the characters would fall into broad slapstick and lose credibility. That doesn’t mean it wasn’t funny, or even poignant at times, but it lacked consistency and an over-all believability.
Taraji P. Henson (Ralph Breaks the Internet) gives a fine comedic and emotional performance, backed by Aldis Hodge (Jack Reacher: Never Go Back), Josh Brener (The Front Runner), Max Greenfield (Hello, My Name is Doris). And with ultimately throw-away performances by Jason Jones and Kellan Lutz (The Expendables 3), there are a lot of avenues to travel. However, despite the female empowerment message, and even plotting, you’ll notice that the cast is dominated by men rather than women. There are female characters, Erykah Badu in particular, but it is the men that stand-out around here. Some of that is the focus of the story…it is the men’s heads she’s focused on…but it’s far from a woman’s movie (like Sex and the City or even Mama Mia!); it is more a comedy for women than about them.
Director Adam Shankman (Hairspray) is no stranger to outlandish comedy. This movie, however, slips in and out of that sensibility rather than holding onto an approach. The effect is like being whipsawed on a roller-coaster as the transitions are abrupt from scene to scene rather than eased into and out of, generally. I had fun, but this isn’t a new classic comedy, or even one I’d likely go back to watch again, because it just isn’t that smoothly done. Once the jokes are delivered and the message complete, there isn’t much left there to return to. See it once and laugh with someone, but then you can confidently forget it and move on to the next empty comedy.
What kind of difference can the right casting make? This is a movie that is emblematic of the answer. There is nothing much new in Life Partners, but Leighton Meester (Like Sunday, Like Rain) and Gillian Jacobs (Life of the Party) make the film work. Both women are entertaining comediennes on their own, but here they are perfectly paired as best friends in this very sweet indie. Their humor and delivery makes it feel like they grew up together which, in turn, makes the script disappear into the performances.
To be fair, they don’t do it alone. Adam Brody (The Oranges) adds a nice tension to the friendship and, dutifully, hangs in the background of it all. Mark Feuerstein (In Your Eyes) and Gabourey Sidibe (Tower Heist) also provide a few nice moments in smaller roles. But this is Meester and Jacobs’ film.
Honestly, it’s a surprisingly effective film…it is done with such honesty and warmth that you can’t help but enjoy it. In her feature debut as director and co-writer, Susan Fogel shows she has both heart and talent. She was able to breathe life into the story and control the energy and flow of the performances to bring it all together in delightful ways. For a light and sweet evening that can give you hope without making your teeth ache, this one is worth your time.
Some movies are seasonally sensitive, and this is one of them. Not that Second Act isn’t entertaining, but it is squarely in that Christmas or mid-Summer fantasy sensibility that insists we just go with emotionally sweet, comically unlikely situations. And that can be enough when done well.
Jennifer Lopez (Shades of Blue), though clearly the center of this story, is surprisingly rather bland. Powerful at times, but not the brightest light in the landscape charisma-wise. She is surrounded by talent that shines brighter. Perhaps that was a story choice or an attempt to tamp her down to keep the movie balanced rather than just a star vehicle, but it is noticeable even if it works.
Among those brighter lights are Vanessa Hudgens (Freaks of Nature), Leah Remini (King of Queens), and Charlyne Yi (House). The latter two with their comic chops and Hudgens with just the pure light of youth.
Treat Williams (127 Hours) and Milo Ventimiglia (Cursed) add some nice balance around the often broad comedy that peppers the movie. And bit roles by Dave Foley (Monsters University) and Larry Miller (God Bless America) added to the overall fun. And there is a host of solid comedy talent throughout, but far too many to list.
Director Peter Segal’s predilection for over-the-top comedy, like Get Smart, was tempered by his 50 First Dates romantic chops to find a middle ground for this movie. And writers Justin Zackham (Bucket List) and Elaine Goldsmith-Thomas put together a tight plot that threads self-awakening with romance without falling too far into the treacle camp. Given the cast it is hard not to think of the result as This is Us meets The King of Queens. It manages both ends of the spectrum, though not always as smoothly and comfortably as I’d have liked.
And thus the seasonal comment. We’re willing to forgive certain eccentricities during certain times of the year. Dropping this last holiday season was smart. Away from Christmas it is an amusing romcom, uneven but with some nice choices, but not a brilliant movie or even classic holiday tale. That doesn’t mean you can’t have fun. While they did give away a couple of the funniest moments of the film in the trailers, fortunately it does have more going for it than just those few moments.
Instant Family is probably exactly what you expect. Humor, forced emotion, and light entertainment in an attempt to tackle a serious subject and encourage more family’s to foster and adopt. It is entertaining, but while Mark Wahlberg (Mile 22) and Rose Byrne (Juliet, Naked) are the stars, it is really Isabela Moner (Sicario: Day of the Soldado) that carries the film and comes across as anything close to real and honest.
The tone and result shouldn’t be too surprising with Sean Anders at the helm and also penning the script with long-time collaborator John Morris (Daddy’s Home 2). Subtle is not this duo’s forte. In this case is sort of works, though a bit more reality may have served the greater intention better. It didn’t have to be Short Term 12, but I would have liked it a little less broad at moments where it often busted the seams of the film.
Smaller supporting roles by Octavia Spencer (Shape of Water), Tig Notaro (Tig), and Margo Martindale (The Hollars) definitely keep it all humming. Martindale comes on a force of nature while Notaro and Spencer actually make a great comedy pairing, though you’d never really expect it.
For a sort of sweet, with a bit of bite, evening you can curl up with this. It doesn’t break any ground and it is utterly unrealistic far too often, but as a light entertainment and a slight propaganda film, it isn’t a total loss.
Art, writing, life explained… or at least commented upon…