ON THE ROCKS

Bill Murray     Rashida Jones     Marlon Wayans     Jenny Slate

     On the Rocks succeeds like Sofia Coppola’s films usually do; they are well composed with fine actors, music, and cinematography.  They are also low-key, although excitement does build here with the detective elements and fine locations spicing things up.  Even though it is somewhat predictable, it is enjoyable and would make a fine date movie.

     Laura (Jones) is a writer and young housewife whose young children occupy a good deal of her time.  Her husband Dean (Wayans) is often away from home, trying to build up a new company that has a lot of promise.  They seem very happy together, but when a couple of odd things happen, Laura confides in her father (Murray), a debonair art dealer who seems to engage every woman he meets in whatever circumstance—even ordering a meal at a restaurant.  Not only that, he is a world traveler and has made contacts everywhere he goes, from concierges to wealthy prospective and past clients.  He’s a lesson in making sure one keeps track of and remembers everyone crossing his path. Even when he is stopped by a traffic policeman in his red sports car, this information comes in handy.

     When Laura talks to her father about the “odd things” happening, in his response, as well as his philosophy about men and life, we see a tinge of self-projection in his perceptions, and that becomes part of the mystery of the film. As he drags his daughter around to all kinds of luxurious settings, we’re like Laura in wondering where reality ends and fantasy begins.  But whereas we can enjoy the experiences, she is usually on edge and in doubt.

     Rashida Jones portrays the young woman very well; indicating the sense of responsibility that Laura grew up attaining, but not having fully developed a sense of self-worth and confidence that would tide her over in writing blocks and questions of trust.  Murray plays his role like the pro he is with the ability to charm/wheedle/reason his way through any situation while still listening attentively to another point of view. Marlon Wayans does an excellent job in portraying a husband mostly oblivious to the emotional turmoil around him, but clearly having a zest for life.  His good looks and affability feed into the possibility that he has other things on the side.

     I loved the insertion (for comedic relief, I guess) of the Jenny Slate character, Vanessa.  She serves essentially as a stand-up comedian capturing Laura in the line to take their kids into school, pressure-talking about her own interests without regard to anyone else, even her own children, who seem to be an after-thought.  I figure that’s an experience everyone will recognize.

     Additional aspects of the film that are impressive include the musical score by Phoenix, always capturing the mood, and the cinematography by Philippe Le Sourd. Some of Le Sourd’s urban images—especially at night—reflect thrilling creativity.  Also, the mixing up of the races within a family was refreshing to see.

 

An enjoyable escapist film for ones isolated during these trying times.

 

Grade:  C+                                    By Donna R. Copeland 

THE DEAD DON'T DIE

Bill Murray     Adam Driver     Steve Buscemi     Danny Glover     Selena Gomez

Rosie Perez     Iggy Pop     Chloe Sevigny     Tilda Swinton     Tom Waits     Carol Kane

     Normally, I love Jim Jarmusch films (Only Lovers Left Alive, Paterson, Coffee and Cigarettes, e.g.), but although The Dead Don’t Die starts out rather interesting—primarily because of the characters introduced and the wry humor—but when the zombies arrive…and stay on and on…the script becomes repetitive and surprisingly boring, even though the low-key humor is still sprinkled liberally throughout.

     The most entertaining part of the movie is the group of small-town Centerville characters that include Chief of Police Robertson (Murray), his deputy Ronnie Peterson (Driver), hermit Bob (Waits), farmer Miller (Buscemi), and hardware store owner Hank (Glover); but the standout is Zelda Winston (Swinton), the Samurai sword wielding funeral director of the Ever After Funeral Home and computer expert.  

     All is quiet and the usual peaceful in Centerville until strange things start happening.  It stays light more than usual, electronics don’t work like they’re supposed to, the same song keeps playing on the radio…and then zombies start appearing and proliferating, doing their thing. 

     It seems to be a well-known fact of zombie lore that to rid yourself of a zombie, you must “kill the head.”  Zelda has nothing to fear when she goes outside because of her unfailing aim. Ronnie is the only other one to have had some training in the past, but he can also wield a sword effectively. Robertson is good at blasting heads with a shotgun.  So how will it all turn out when zombies—even those recently departed—start appearing everywhere?  To quote Ronnie, “This is all gonna end badly”, but is he right?  Will everything turn out OK?  With some prompting, Robertson reassures dispatcher Mindy Morrison (Sevigny) of just that.

     Writer/director Jarmusch’s intention may be to highlight the narrator, who happens to be the hermit Bob.  From his comments on what he observes through his binoculars, we get the impression that Bob is fully informed about what is going on in the world—including in nature—and comes to certain conclusions.  He makes pronouncements from time to time that could be seen as a commentary about contemporary society, with its penchant for material acquisitions at the expense of environmental and humane values.  

     Which prompts us to ask,  “Are we the people the zombies of today who have the potential to kill off whole species—including our own—because of misplaced desires?  If so, does Jarmusch mean that “the head” must be dealt with for us to save ourselves?

     This is a film that doesn’t seem to amount to much on the surface, but thoughtful reflection may turn up seeds of wisdom.

Not your usual zombie move, but one that provides food for thought.

Grade:  C+                                    By Donna R. Copeland

ISLE OF DOGS

Voices of:  Bryan Cranston   Koyu Rankin   Kunishi Nomura   Edward Norton   
Bob Balaban   Bill Murray  Jeff Goldblum   Greta Gerwig   Frances McDormand   
Scarlett Johansson   Harvey Keitel   Akira Ito  F. Murray Abraham   Tilda Swinton  
 Liev Schreiber   Yoko Ono   Courtney B. Vance   Akira Takayama

     In the hands of Wes Anderson, a stop-motion animated film with mostly dogs as characters and an allegorical theme will captivate children and adults without pandering to either.  Probably by coincidence, writer-director Anderson, with the help of Roman Coppola, Jason Schwartzman, and Kunichi Nomura, employ themes of topical relevance today:  government corruption, foreign influences on government, student protests, and issues related to animal research.  Additional weight comes from a case of repentance of justified charges for crime, followed by atonement.  Oh, yes, and murder and cannibalism are covered as well.

     Now, you might think from reading the above paragraph, that Isle of Dogs is entirely too serious and doesn’t sound entertaining at all.  But hold on—the action in the film is fascinating, rife with chuckling humor and imaginative sets, all accompanied by Alexandre Desplat’s wondrous score that enriches every scene.   Cinematography by Tristan Oliver and all the production and set design are remarkably artistic and enjoyable.

     The story takes place in feudal Japan, where Mayor Kobayashi (Nomura) and his cat-adoring people have decided that dogs are bad (as evidenced by dog flu, snout fever, and other symptoms) and a threat to humans, so must be banished to Trash Island (think of the environment in Wall-E); this is despite a noble scientist (Ito) announcing that a cure is imminent. 

     It turns out the mayor has a nephew who has become his ward after the child’s parents died.  Atari (Rankin) has a beloved dog named Spots (Schreiber), and even Spots has been banished.  This is too much for Atari, and in his grief and desperation (and smarts) he commandeers a small plane on his uncle’s estate and flies to Trash Island to find Spots.       That’s where many of the adventures and entertaining encounters take place.  Every dog has a personality and personal issues to deal with.  Anderson is able to insert drama in just about anything.

     Suspense is high in making us wonder whether Atari will find his dog (and there is an additional twist there), what will happen to all the dogs we’ve come to know on the island, and what will happen politically in Megasaki City.

     There is so much to process in Isle of Dogs that you are likely to want to see it again.  Noteworthy is the way the filmmakers bring home messages about justice, right, fairness, and joie de vivre without being condescending.  It’s all there for you in the experiencing of the film.

     Anderson has his favorite actors, and they are here, along with a host of others for us to admire.  I have heard that actors vie to be in an Anderson film, and it’s easy to see why.

Quintessential Wes Anderson in presentation, message(s), thoughtfulness, beauty, and fun. 

Grade:  A                                                   By Donna R. Copeland

GHOSTBUSTERS

Kristin Wiig   Melissa McCarthy   Kate McKinnon   Leslie Jones   Chris Hemsworth   Bill Murray   Cecily Strong

          For those who like slapstick comedy, sitcoms, and special effects, this movie will be a blast (literally).  It’s very much in the style of most of the Melissa McCarthy films, where she is outrageous but smart.  As Abby, she has three side-kicks here, one a legitimate scientist (Wiig as physicist Erin), one a female scientist-nerd (McKinnon as Jillion), and one a New York street-wise woman with practical connections and a vast knowledge of New York’s history (Jones as Patty).  At first, Erin is put off by Abby’s promotion of their co-authored book on parapsychology and ghosts from some years back, until….sightings of ghosts are reported throughout the city.  And when she witnesses a graphic ghost appearance, she is on board.  Unfortunately, she is fired from her university job for even being associated with such an endeavor.  Nevertheless, she goes on to form part of a team of ghostbusters who will be discredited but remain committed and valiant.

         Ghostbusters is remarkable for a number of assets that are impressive, particularly the casting and the special and visual effects.  Cinematography (Robert D. Yeoman) is likewise noteworthy.   McCarthy and Wiig have demonstrated their talent in numerous productions (Wiig:  Bridesmaids, The Skeleton Twins, Saturday Night Live; McCarthy:  Bridesmaids, Spy, St. Vincent), but McKinnon, new to moviedom, steals the show in her portrayal of a character not seen in most of movieland—a female nerd who is an expert in firearms.  She doesn’t just shoot them; she creates them.  McKinnon’s characterization of this odd, entertaining inventor is a rare treat, especially since, for all its female empowerment, this Ghostbusters pulls out all the tired female stereotypes we’ve seen in countless films:  Girlie shrieks and jumping up and down after a success, yammering and arguing over trivia, complete melt-down and foolishness at the sight of a handsome man, and on and on.  I’m disappointed in these actresses for this, as well as the writer Katie Dippold and director, Paul Feig, whom I thought previously was a champion of women.

      In their defense, the Hemsworth character, Kevin, who is supposed to be the receptionist for the ghostbuster group, goes against the actor’s normally heroic persona to one who is rather dim and narcissistic.  He doesn’t know how to answer the phone or respond logically to questions, and is completely preoccupied with his own interests.  He, the mayor (Andy Garcia), and other males don’t come off much better than the females.  Maybe female/male stereotypes were meant to be part of the jokes of the film.

        Other casting strengths include the number of the previous Ghostbuster actors (Bill Murray, Sigourney Weaver, Dan Akroyd, and Annie Potts) as well as cameo appearances of notables like Ed Begley, Jr., Charles Dance, Michael Kenneth Williams, Andy Garcia, and Al Roker.  These, as well as references to a host of other films add a special element of fun.

A surprising thriller teeming with goofiness.

Grade:  C+                        By Donna R. Copeland

THE JUNGLE BOOK

Neel Sethi and voices of:  Bill Murray   Ben Kingsley   Idris Elba   Lupita Nyong’o  

Scarlett Johansson, Christopher Walken   Giancarlo Esposito

                  

“Now this is the Law of the Jungle -- as old and as true as the sky;

And the Wolf that shall keep it may prosper, but the Wolf that shall break it must die.

As the creeper that girdles the tree-trunk the Law runneth forward and back --

For the strength of the Pack is the Wolf, and the strength of the Wolf is the Pack.”

                                                          The Jungle Book by Rudyard Kipling

          This is a beautiful production for children that adults will enjoy just as much.  The Jungle Book is based on Rudyard Kipling’s book of the same title (screenplay by Justin Marks.)  It is truly a work of art in its portrayal of sound principles and its visual manifestation in production design (Christopher Glass, Abhijeet Mazumder) and cinematography (Bill Pope); in music (John Debney); and in the phenomenal acting by young Neel Sethi as Mogli supported by a stunning cast of voices.  After starting out as an actor, Jon Favreau seems to have come into his own in directing (previous features include Chef, Cowboys and Aliens, and two Iron Man films), as here he is spot-on.

          There have been numerous productions through the years of the Kipling Jungle Book stories (including other Disney films and books), but this is probably the most successful by virtue of the talented filmmakers and new technology.  Mowgli sprinting through the jungle on his bare feet, shimmying up tall trees, and hanging precariously from brittle limbs and sheer cliffs should impress everyone.

       One of the most important contributions of the film is the crux of the story, which demonstrates over and over again the necessity for cooperation among all living things.  Humans are shown to be destructive in our many uses of fire, but we’re at the top of the chain in our creativity and resourcefulness.  Nevertheless, when we ignore the essentialness and value of the other components of our universe (e.g., animals, plants, air, water), we risk our own destruction.  Mowgli serves as a model for us to follow; he makes friends everywhere he goes (except for one glaring example who refused to cooperate), primarily through his contributions to others and the common good and promoting cooperation in general. 

        There is one feature about Jungle Book that warrants explanation.  Part of Mowgli’s success with others is his use of tools to help him solve problems.  While this shows human creativity that separates us from animals, it’s hard to imagine how Mowgli could have learned these, having been brought up by wolves.

       Some of the conflicts in this film are fierce and bloody, and I wondered if smaller children would get too frightened.  However, I heard no cries from any of the young children in the screening I attended, but parents with children who are sensitive to violence (even in the jungle) may want to wait until they are older to show them this film.

To everyone else, I say, “GO”, for a thrilling, fun, quality time in the theater.

Disney scores a hit with The Jungle Book.

Grade:  A                 By Donna R. Copeland

ROCK THE KASBAH

Bill Murray   Zooey Deschanel   Leem Lubany   Kate Hudson   Bruce Willis

            Rock the Kasbah is billed as a comedy, but it’s really one huge absurdity.  Now, if absurd is always funny to you, then you will enjoy the picture.  A washed-up agent for musicians, Richie (Murray), stumbles on a chance to go on a USO tour in Afghanistan, and takes his young client (Deschanel) who is begging to sing her own songs.  From the plane trip over, it becomes clear that she is not up to the “adventures” that seem to be in store for her, especially when they find Kabul is on lock-down and bombs are going off in the streets.  Needless to say, she doesn’t last long, and Richie has a major dilemma.  Will she return in time for the performance?  Where are his credit cards and money?

            To cope with his grief, Richie visits an ambitious American woman (Hudson), who knows an infinite number of ways to make him feel better.  They become friends and eventually partners in his business.

            As one of the sub-plots, Richie gets involved with some gun/ammunition dealers and winds up in a small village.  In the evening when he goes for a walk, he hears singing that stops him in his tracks.  The singer is so talented he must find her and contract to be her agent.  (It only takes a handshake, mind you; no one needs a contract because his word is good.)  That this is a Muslim country and women are prohibited from singing in public, especially (God forbid!) in English(!), is no deterrent for the supremely confident Richie. 

            Of course, he is able to locate Salima (Lubany) and plans are made to enter her in Afghanistan’s counterpart to our “American Idol.”  She sings once, and is a hit; however, being a loyal and obedient daughter, her ambivalence emerges, and it’s not clear whether she will compete in the second round for her chance to win. 

            Intrigue, challenges, and conflicts abound, and it’s touch-and-go as to whether Richie will even be able to survive, much less finally score a hit.

            Murray is a fine comedian, and does his “stuff” here, but I think it’s the script by Mitch Glazer that lets him down.  We see/hear none of the cleverness that elicits spontaneous chuckles from the audience, as in his role in Moonrise Kingdom and other films.  The same thing happens to Bruce Willis, a proven artist; his character should be hilarious, but it falls flat too. 

            And of course, Barry Levinson is an acclaimed producer/director/writer, but for some reason, his talent doesn’t come across here. 

            In addition to the script, I think that perhaps the problem with the film is the choice of Afghanistan, a Muslim country, as a setting.  So much tragedy and outright horrors of all kinds have taken place there, it’s incongruent and rather insensitive to make it the setting for a comedy.  I also wonder how well received the story will be by Muslims, as they are not shown in a very good light (backward and war-like).  Why was Afghanistan chosen? 

Bottom line:  Avoid this film if you are politically sensitive and look for clever comedy.

Grade:  D                                    By Donna R. Copeland