Tag Archives: Dark Comedy

The Happy Prince

[3  stars]

When Oscar Wilde died, he was buried beneath a monstrosity of neo-classical faux Egyptian frieze of his own design…that, of course, had an enormous phallus extending from the winged vision of himself like some kind of air rudder or, more likely, a final statement to the world for how they treated him. So the story goes, shortly after its unveiling an elderly woman came by and whacked the adornment off with her umbrella.

Whether apocryphal or accurate, the sense of that ongoing tale, told daily in Père Lachaise cemetery, is mirrored in this reflection of Wilde’s final years. A clash of ego and society, a sense of self versus a sense of decorum. Woven though the movie is the thread of Wilde’s own children’s tale, The Happy Prince, which metes out the lesson much more poignantly. It reminds us also what he gave to the world and what the world did to him.

Writer, director, and star Rupert Everett (Miss Peregrine’s School for Peculiar Children) wore many hats for this period production. He gives us a tired and ruined Wilde in the last couple years of life, but with a strong memory of what came before. It is an intriguing performance, though only sympathetic through the actions of others against him; Wilde is just not a very nice guy in almost any way in this portrayal, though he is deeply passionate. Everett’s directing is subtle and he navigates a very complex narrative to bring us to the end. Ultimately this is as much metaphor about artists and outsiders as it is about Wilde (the near ultimate of both).

Everett is helped along by a number of solid performances, by the likes of Colin Firth (Kingsman: The Golden Circle), Emily Watson (Lear), and Tom Wilkinson (The Titan) to name a few. Joshua McGuire (Lovesick [nee Scrotal Recall]) has a particularly strong bit part to deliver too. However, it is Colin Morgan (The Living and the Dead), as Wilde’s long-time and volatile lover, Bosie (Lord Douglas), and Edwin Thomas as Wilde’s longtime friend that form the structure of the tale and its downward spiral with intense performances.

The Happy Prince isn’t a happy tale, to be sure. I can’t tell whether Everett liked or disliked Wilde, but he certainly tried to tackle him in one big gulp with this first feature script and first time directing. Unlike another recent artist biopic, Final Portrait, while we do get a glimpse inside the mature artist at the end of his days, we don’t quite get a sense of why he was the icon he had been; it is in this I think Everett missed, or perhaps made, his point. Honestly, either works but we’re more used to seeing Wilde as an outrageous and brilliant character than as a broken man. It isn’t that there aren’t moments of joy and glimpses of his glorious past, but simply that it is all through Wilde’s lens of loss with little triumph.

Ultimately, it isn’t a great film due to its pacing and slightly muddled resolution and focus. But it is a disturbing reflection of our current times and a hard look at the end of Wilde’s life without flinching. If you are intrigued by Wilde’s life, it is a look at this period in a rather different way than we’ve seen before in films like Russell’s Salome’s Last Dance or the more recent (and wonderful) Wilde. The performances are a study in quiet longing and devotion, even when unreciprocated. And the recreation of the era across several countries well executed. That may sound a bit clinical, but as I noted, Wilde, who dominates the story, isn’t particularly sympathetic, even if those around him are. It is a film you need to be in the mood or be warned that it may take you some dark places.

Tig

[3.5 stars]

Tig Notaro (In a World…) is a comic with a unique delivery and an even more unique story. I know I’m late to discovering this one, but I was impressed enough with the docu to recommend it to those who also may have missed it up till now.

Notaro was a rising star when events conspired, in an avalanche, to try and derail her. What followed those events was a study in perseverance and, yes I’ll say it, moxy. She took tragedy and coped with it by turning into something of value. Not immediately and not easily, but she did it. That is one portion of this docu.

The other aspect of this documentary is a smaller portion, but adds an interesting layer. You get to watch the evolution of a routine and the honing of a joke. I was reminded strongly of the ongoing edit sequence of the comedian’s efforts in All That Jazz till it was perfect. It is a lesson and a wonder to watch the choices and the subtlety of the effort (not to mention the bravery of a stand-up trying out work to see what’s ready or bombing).

I will admit that while I very much enjoyed this Tig installment, her more recent 2018 special Tig Notaro: Happy to Be Here is less solid. I don’t fault her for that, and it makes a fascinating companion piece to see what three years and life changes offered her comedy. I imagine that will continue to evolve because, if nothing else, this docu and her specials prove she is a comedienne through and through, and one to be reckoned with who will continue to surprise as life offers her material.  And, regardless of your interest in comedy, Notaro’s story is ultimately an empowering and positive one.

Sorry to Bother You

[3 stars]

Writer/director Boots Riley certainly didn’t tackle an easy narrative for his first feature film. This movie goes from broad humor, to dark humor, to absurdist, to surreal over the course of its unreeling. A strange journey indeed. Sort of a more grounded Idiocracy, and yet more disturbing for that fact. Riley even consciously nods to Eyes Wide Shut in both his approach and specific scenes.  It is also the latest in a growing collection of social commentaries across many genre (Get OutBlacKkKlansman, etc).

Lakeith Stanfield (Izzy Gets the F*ck Across Town) carries this film with a guileless approach. He accepts all the world has to throw at him and tries to play by the rules and then to use the rules to his favor. He is supported by his primary companions Tessa Thompson (Furlough), Jermaine Fowler (Superior Donuts), and Steven Yeun (Okja), who are each on their own journey and with their own sets of challenges for him and for themselves.

Three smaller roles provide impetus. Danny Glover (Old Man & the Gun) and Terry Crews (Deadpool 2) become mentors, of a sort. They represent two sides of the same coin for Stanfield to consider. And then there is Armie Hammer (Final Portrait), who gets to play an understated Steve Jobs-like character that serves a multitude of purposes. Hammer does an excellent job of keeping him human, despite the baggage the character has to represent.

There is no question that this is an interesting film. It is often funny. It is packed with commentary, some of it shouted at a very shrill pitch. But it isn’t just aimed at race, it encompasses art, personal success, corporate responsibility, political ennui, general happiness…the list goes on. Like I said, Riley tackled a complex narrative. It isn’t an easy film, but it manages to keep you as the world and story gets stranger and stranger, through to the final moments. But it definitely isn’t a film for everyone; it really depends on your tolerance for the bizarre.

I Think We’re Alone Now

[3 stars]

Peter Dinklage (The Angriest Man in Brooklyn) and Elle Fanning (How to Talk to Girls at Parties) may not be your first thought as a pairing, but the two balance each other nicely with neither’s presence taking over the screen at the cost of the other.  And, as unlikely as they are, they make a credible couple…given the circumstances. And, yes, circumstances matter. These two are the latest to tackle what is becoming a renewed trend: quiet apocalypse films.

Director Reed Morano (Handmaid’s Tale) takes her time laying out the tone and emotional landscape of these survivors. Like Into the Forest, These Final Hours, Z for Zachariah, even 10 Cloverfield Lane and A Quiet Place, to a degree, the end of the world is a backdrop to an emotional drama rather than the point of the story. The movie also manages marry current sensibilities with two classics from The Twilight Zone: Burgess Meredith’s turn in Time Enough at Last and Elizabeth Montgomery/Charles Bronson’s Two. And if you haven’t seen these two, find time to do so.

Charlotte Gainsbourg (The Snowman) and Paul Giamatti (Morgan) round out the small cast and add some necessary layers. Neither is particularly brilliant in their roles, but they are intended to feel out of place.

By the end, it is clear the film is as much metaphor as it is its own story. In fact, it has several messages, some highly personal and human and some social commentary (particularly in the final moments). It is to Marano’s credit that she delivers a kaleidoscope that allows you resolve those aspects that reflect on your own mood and place in life.

As always, watching Dinklage perform is a pleasure. Fanning delivers as well, adding another positive result in an opus that is less consistent for me. This isn’t a fast or even overly intense story, but it is highly human and very effective.

Boundaries

[3 stars]

This is a hard one to discuss. There are reasons to see this movie, but it isn’t ultimately for the story. Rather, you see this for the performances.

Christopher Plummer (Remember) sheds all of his typical uptightness and let’s loose with a morally reprehensible character who is also funny as hell. Vera Farmiga (The Commuter) as his semi-wannabe-estranged daughter manages to present the conflict of an ignored and abused child-now-adult dealing with the fallout. And as her son, Lewis MacDougall (A Monster Calls) creates a third generation casualty of the same. The dance between these three is the movie and is just as often disturbing as it is amusing. Around them are a collection of other interesting characters which they bounce off of during a most unusual road trip.

The issue with this movie isn’t that it isn’t entertaining, it is. And I will warn you that I am possibly giving away a bit here: It is also some of the worst wish-fulfillment and glossing of issues I’ve seen in similarly talent-laden movies. Real issues are brought up in the story. Real moments and confrontations occur throughout. But, somehow, that all gets forgotten or forgiven with barely a blink. Honestly, I kinda had to grit my teeth through the fairy tale ending and final cascade of shots. Writer/director Shana Feste (Country Strong) should be banned from creating scripts until she learns how to really commit and tell the story she intended (laughs, warts, and all) and not wimp out. There was a different road that could have been taken and that still could have been redemptive.

So should you see this? Yes. See it for the main actors and their supporting cast. There are some really good and complex performances. Just be prepared for a less than genuine resolution.

Old Man & the Gun

[4 stars]

Whether or not this is Robert Redford’s (The Discovery) final film, as he claims, it would be a solid one to go out on in performance and message. Redford is in full charm offensive and as wonderfully subtle as ever in his acting. Though he has Danny Glover (Proud Mary) and Tom Waits (Seven Psychopaths) as his partners-in-crime, his gang and this story is really a cult of personality: his.

And from the fringes and the pews, Redford brings along a motley group of additional folks. Primarily he pulls Sissy Spacek (A Home at the End of the World) into his orbit, who is every bit Redford’s equal in performance. Along with Spacek was an understated but effective Casey Affleck (A Ghost Story) as a disaffected cop looking for justice and what’s “right,” even when the choices aren’t easy or obvious. And, in a smaller role supporting Affleck, Tika Sumpter (Ride Along) is magnetic.

Writer/director David Lowery gathered Redford and Affleck from his previous efforts to pull off this rather impressive film: Pete’s Dragon and A Ghost Story respectively. What makes Old Man & The Gun so good is that Lowery gets us to gets us to react just like the people Tucker robbed. We cheer for Forrest Tucker and don’t feel bad about doing it. Lowery leaves us feeling both great about Tucker and about our own possibilities.

Lowery also did some clever work with the film to make it feel like the early 80s; from shaky credits, to washed out color, to the choice of fonts, a sense of appropriate nostalgia and current action was established. Amusingly, it was also screened for me on an old, reflective screen at an aging theater, which added an unintended layer to Lowery’s efforts that was wholly appropriate.

While this isn’t a big screen must, it is a wonderfully entertaining and, ultimately, positive film. It will be part of the awards buzz this year, so see it now rather than wait. And it doesn’t hurt to remind studios and distributors that there is a big market out there for just good film. Not everything has to flash, buzz, or blow-up to keep our attention. Though I certainly don’t mind that occasionally either, I like variety in my entertainment diet.

Bad Times at the El Royale

[4 stars]

Are you looking for something different? Then checking into the El Royale may be your best destination. Director and writer Drew Goddard (Cabin in the Woods, The Martian) has a very particular style to his film making. His stories have a similar color pallet and the plots are recognizable but not formulaic. They buck tradition but cleave to a sense of moral reality that is believable. They feel almost refreshing in their approach despite playing heavily into genre, whether that is horror, science fiction, or, in this case, noir. And his stories are chock full of subtle references for those steeped in the movies and television. (One nod to Silence of the Lambs was inspired.) This story is subtly political in its message as well.

Goddard is also good at assembling talented casts capable of bringing his vision to life in earnest without losing track of the style he is aiming for. Jeff Bridges (Kingsman: The Golden Circle) and Cynthia Erivo (The Tunnel) are particularly solid at driving a good part of the action. But Jon Hamm (Nostalgia), Dakota Johnson (A Bigger Splash), Cailee Spaeny (Pacific Rim: Uprising), and Lewis Pullman (Battle of the Sexes) complete the ensemble of odd characters who, despite coming to the El Royale for different reasons, find their paths crossing in unexpected ways. Nick Offerman (Hearts Beat Loud) has a nice cameo as well. As a final treat, Goddard got Chris Hemsworth (Thor: Ragnarok, Avengers) to reteam with him for a funny and terrifying role that continues to help establish his range (he can’t be Thor forever).

Like Cabin in the Woods, I suspect this film will take time to find its audience, which is a shame. It is crafted beautifully. Despite its almost 2.5 hour length it moves along crisply and keeps opening up surprises through till the finale. It is solidly acted and funny as well as dark and dangerous as its centering genre. It is very much a classic noir, but with Goddard at the helm very little can ever be assumed, and that is part of the joy of the story. And, as only his second stint in the director’s chair, it shows immense promise for what may come in the future as well. If you’re tired of sequels and formulaic drivel, support movies like this one that try to do something a bit different.

The Angriest Man in Brooklyn

[3 stars]

Talk about an unlikely pairing: Robin Williams (Absolutely Anything) and Mila Kunis (Hell and Back). And yet, it works. Both have great comedy chops and put them to solid use alone and together in what amounts to a black comedy with heart. The tale, essentially, asks: What do you want to do with your life and why aren’t you already doing it? It’s a simple and often asked question in movies, but this one has a nice layer of entertainment wrapping it up.

Supporting the antics, issues, and events are Melissa Leo (Equalizer 2) and Peter Dinklage (Three Billboards Outside Ebbing, Missouri). Though they both server their purpose well enough, Dinklage has the more nuanced character of the two. Frustratingly, Leo never quite finds the right groove for the tone of the movie. Hamish Linklater (Magic in the Moonlight) and Sutton Foster (Bunheads) round out the main cast nicely, but without a lot of impact. In addition, there are some cameos that are pleasant surprises.

Writer Assi Dayan adapted this film from his award winning Mr. Baum for English audiences and trusted it to director Phil Alden Robinson (Good Fight). The story is a bit halting and odd at times, I suspect from the conversion, but it holds up. It is also part of the collection of final films from Williams who did four that year before hanging up his shoes, making this movie both bittersweet and not a little ironic.

The Angriest Man in Brooklyn

The Seagull

[3 stars]

Chekov is hard, possibly one of the hardest playwrights to do well. He is often seen as tragedy, when he is primarily dark comedy. Stephen Karam’s (Speech & Debate) adaptation juggles those aspects rather well, and reframes the play in interesting ways, starting near the end and then showing us how we got there. It was a very clever device to help set understanding.

Annette Bening (Film Stars Don’t Die in Liverpool) is solid in her Diva role. It isn’t a new character for her, but she sells it well. Similarly for Brian Dennehy. On the other hand, Corey Stoll (Cafe Society) and Jon Tenney (Radio Free Albemuth) each get to tackle new types of characters and both deliver layered and broken men of the times.

Billy Howle (Dunkirk) and Saoirse Ronan (Loving Vincent) as the central love story play well enough together, but are a tad wooden. Unfortunately, that leaves Mare Winningham (Philomena), Glenn Fleshler (Braindead), and Michael Zegen (The Marvelous Mrs. Maisel) at the periphery and without a lot of impact, though Zegen has his moments.

However, it was Elisabeth Moss (The Square) that really stood out for me here. She embodied Chekov’s sensibility in wonderful dark and funny ways. Even as a side character, she is unforgettable and funny, punctuating the story with humor and pathos at important moments.

Director Michael Mayer (A Home at the End of the World) does some very interesting things with the story to bring it home. In addition to his understanding of the material, he embraced Karam’s new framing to show us where the characters end up and then how they got there, before wrapping it all up. He also managed to keep the period setting feel current without sacrificing the roots of the tale. Chekov is so often just a specialty piece for a narrow audience, like Vanya on 42nd Street, that it is nice to see it tackled so well as something more mainstream for a broader reach.

Bleach (2018)

[3 stars]

Live action adaptations of anime and/or manga via anime often fail miserably. (Consider the recent Attack on Titan attempt.) Usually it is due to assumptions the audience will know the story or an insulting approach as to what they’ll accept. I have to admit Bleach surprised me. I wasn’t very familiar with the story, but there was enough in the movie to help me understand and to invest in the characters.

This isn’t a great movie, as movies go, but it was entertaining if you like the genre; I do. Director Shinsuke Sato gave me characters with motivations. He also provided fun fight scenes, a bit of humor, and probably a bit too much high school romance forced in (it simply goes no where in this short-ish film). It didn’t hurt that there was some very competent actors driving the piece like Hana Sugisaki and Sôta Fukushi, both from Blade of the Immortal. Even the side characters have some cred, such as Miyavi (Kong: Skull Island).

It succeeded enough that I’m now curious to explore the anime series and its various movies to see what else goes on…there are several sequences to Bleach and this covered just one of them. And while I’m sure it was in a highly compressed way, the movie didn’t feel overly cheated.