Showing posts with label Alan Arkin. Show all posts
Showing posts with label Alan Arkin. Show all posts

Thursday, April 6, 2017

GOING IN STYLE

Morgan Freeman   Michael Caine   Alan Arkin   Matt Dillon  
Joey King   Peter Serafinowicz   Ann Margret   Kenan Thompson


      Going in Style is primarily a comedy, highlighting its three main stars (Freeman, Caine, Arkin), their struggles with aging, and the mixture of easy camaraderie and insults going on between them.  It’s a remake of the 1979 Going in Style with George Burns, Art Carney, and Lee Strassberg. As in the previous version, to spice it up, a bit of “justifiable” crime antics loosely akin to that in the recent Hell or High Water (at least in its rationale) make it much more interesting.  It plays on the immediate fears of older people today about their pensions and Social Security and the anger toward contemporary banks for their misbehavior. 
     Joe (Caine) is in a bad place because he is financing his granddaughter’s education; Willie has major kidney problems that need attention, and Albert (Arkin) is simply trying to survive.  When the company they worked for, for years, pulls the rug out from under them, they have to figure out a plan.  About the same time that Joe is having discussions with his obtuse, unsympathetic banker who sold him a policy that eventually tripled his mortgage payment (reminiscent of hundreds of such scams in our recent past), thieves hold up the bank.  When they get away with a million plus dollars, Joe says, “Hmmm…”
     The film proceeds formulaically like a comedy show with precise timing of jokes, human interest segments, and clever twists of plot.  A romantic connection is clearly inserted to appease those who need that element.  But the major twist toward the end involves an astute child wise beyond her years.  I guess it was the only way the filmmakers could get out of a bit of a mess, and it will surely please most of the audience. 
     Directed by Zach Braff (Garden State, Wish I was Here), a man much younger than the character and actors, it helps us empathize with so many older Americans who have lost their pensions to corporate thoughtlessness, greed, and bank scams.  Leads Michael Caine, Morgan Freeman, and Alan Arkin are all pros who have worked together previously in various combinations, and they give gravitas to the production.  Strong supporting roles are played by Dillon, Margret, Thompson, and King.  The soundtrack and original music of Rob Simonsen provide entertaining, lyrical tunes as an accompaniment.

An updated, timely version of three old friends’ lives.

Grade:  C+                                    By Donna R. Copeland

Wednesday, November 11, 2015

LOVE THE COOPERS

Alan Arkin   Diane Keaton   John Goodman   Marisa Tomei   June Squibb
                                        Olivia Wilde   Amanda Seyfried   Anthony Mackie   Ed Helms   Jake Lacy


          And you probably will end up loving the Coopers in a film that many will see as a perfect holiday movie.  Although don’t expect to be immersed in warm fuzzy feelings throughout; this is a family that can throw barbs and “gotchas” with hardly a twitch of an eyebrow.  They all seem to have some gene that eventually and invariably alienates the person they’re talking to.  The script reads a bit like Little Miss Sunshine in its mixture of bittersweet, tender, and outright comedy.  The difference is that in Love the Coopers there’s a lot more bitterness in tone, especially in the beginning when everyone seems to be writhing with unhappiness—or maybe it’s just anxiety about the upcoming get-together.
         The drama mainly centers around couples—not necessarily the expected pairings.  The paterfamilias (Arkin) is alone in his old age, but has made a solid friendship with a young waitress at the local diner (Seyfried).  His daughter Charlotte (Keaton) has been married to Sam (Goodman) for 40 years, but it looks like the parting of the ways for them.  Their current issue is whether or not to announce their separation at the family celebration.  Son Hank (Helms) is going through a divorce, and he is not in good shape at all.  His other daughter Emma (Tomei) is alone not by choice, except maybe it has something to do with her not being able to form a bond with anyone and tending to feel sorry for herself in being alone.  We’re introduced to Charlotte’s and Sam’s daughter Eleanor (Wilde) in the airport where she has bumped into Joe (Lacy) who is headed out to report to duty.  Present at the Christmas celebration are also a number of grandchildren who are as quick-witted and verbal as their elders.
          Certain interchanges between characters in the drama really entertained and sparked my interest.  One was Eleanor and Joe doing a complex, often contradictory, mating dance that epitomizes budding relationships today.  Liberal meets conservative, but somehow, after many fits and starts, they find more common ground than conflict.  Another was that between Emma and the policeman (Anthony Mackie) who arrests her for shoplifting.  Being a life coach, she starts out asking him about himself, but when it ends up, he is giving her valuable advice.  They end up helping each other, and he is to be admired for insisting on appropriate boundaries. 
        The depiction of Sam’s and Charlotte’s relationship is not terribly interesting—it’s rather hackneyed—and although these are fine actors, I found myself yawning and fidgeting during their interchanges.  The best ones (Eleanor and Joe; Emma and Officer Williams) entertain us and make us think, and therein lies the best of this movie.

A soulful family Christmas with meaningful observations on mating.

Grade:  B                                                            By Donna R. Copeland